Abstract Artist Piotr Kowalski not only used electric light as an artistic medium in his Mesures à prendre (1969) but also enabled visitors to touch and manipulate it. The author demonstrates how electric light, in the context of Kowalski’s work, functions as a mediator between the public, technology, art, and science. She reflects on the combination of electric light and tactility, citing the ideas of philosopher Marshall McLuhan, and scrutinizes how visitors’ handling of Kowalski’s fluorescent tubes affected their level of participation, experimentation, and illumination (literally and figuratively).

Abstract Since the mid-1990s, the internet has become a crucial platform for art exhibitions, enabling global accessibility and bridging digital and traditional art forms. SciArt exhibitions have emerged within this digital landscape, exploring the intersection of art, science, and technology. Originating from C.P. Snow’s discourse on the ‘two Cultures’, SciArt exhibitions have evolved into collaborative ventures that offer innovative perspectives and solutions beneficial to society. This article examines the transformative potential of online SciArt exhibitions to serve as a method within Science and Technology Studies (STS). Focusing on the Gut Instinct: Art, Design, and the Microbiome exhibition (ArtSci Initiative, 2015-2016), it demonstrates the collaborative efforts of artists, scientists, and curators, and also highlights the unique capacity of online SciArt exhibitions to reveal the processes involved in the social construction of scientific knowledge. This aligns with the capabilities provided by the internet, making online exhibitions particularly suited for showcasing these interactions and facilitating a broader, more dynamic engagement with the social aspects of scientific inquiry. Additionally, the article explores the pros and cons of online residencies and offers practical strategies for organizing online SciArt exhibitions with the aim of promoting the aspirations of STS.

Abstract Despite being widely contested, the term “soundscape” remains a prominent analytical tool in sound studies because of its comprehensibility, making it a versatile starting point for cross-disciplinary discussion and collaboration. Over the past few decades, significant socio-economic and political change has shaped Johannesburg, influencing its soundscape. From the perspective of field recording as creative cartography what insights into this transformation, spatial segregation, and socio-economic inequalities can an auditory understanding of the city provide? The authors discuss two of their own sound works, namely 20 Janets (2021) and Somewhere in-between (2022), both of which investigate alternative aural cartographies of Johannesburg.

Abstract The author has designed a new interface of musical expression called Poem-Qin, which reveals the relationship between text and music, supporting self-accompanied singing and cross-media musical practices. Drawing inspiration from Chinese qin songs and movable-type printing, the author creatively integrates Chinese characters into the interface, controlling music with tone inflections and linguistic rhythms. Moreover, they have developed an AI model for text-to-melody composing to assist in creating new music content. User and audience testing has demonstrated that it offers a positive experience and effective creative results.

Abstract Against the backdrop of rapid advancements in artificial intelligence (AI), the significance of artistic intelligence (ai) in creative practice calls for renewed examination. While generative models such as DALL•E 3 are reshaping the field of graphic design—particularly in areas like illustration—several fundamental challenges remain unresolved. These include the preservation of personal style, originality, and meaningful human expression. This study explores these issues through an in-depth case study of a graphic design student’s illustration process, juxtaposed with AI-generated works based on the same themes. The research critically analyzes the roles, limitations, and ethical implications of incorporating AI tools into graphic design education, emphasizing that AI should serve as a means to support—not replace—human creativity. It argues that educators must guide students to engage with AI thoughtfully, ensuring that artistic integrity remains at the heart of creative development. In short, it is essential to recognize and value the inherent contribution of the human hand and mind in the creative process.

Abstract Amid the vast expanse of the New Mexico high desert, the Very Large Array and Walter De Maria’s The Lightning Field each harness elemental forces. Though independently conceived, both converge around energies below the threshold of perception, redrawing boundaries among geology, climate, and cosmos. Engaging with these installations, the authors foreground antennae as conduits of connectivity—both structural and conceptual modules that merge imperceptible energies with perception, media, and art. Engineered antennae thus emerge as cultural techniques that (1) transform elemental forces into media, (2) transmute media back into elemental phenomena, and (3) stand as aesthetic objects in their own right.

Abstract Latent Ecologies of the Mind is an interdisciplinary project that leverages real-time neurofeedback, hyperscanning, and generative AI to project physiological signals into digital ecosystems. This approach creates participatory environments where cognitive states dynamically shape ecological narratives. Central to this work is the concept of the ecotone—a fertile interface where distinct systems meet—here reimagined as a space for shared congnitive and ecological transformation. The paper contributes (i) conceptua propositions about ecotones of the mind and shared embodiment and (ii) design mappings from physiology to ecological representations. This perspective points toward how integrating biosignals, AI, and ecological metaphors can inspire new forms of relational awareness, offering innovative pathways for nurturing personal and planetary well-being.

Abstract This article examines De tripas corazón, a project merging generative art with scientific data to visualize the gut-brain axis and emotional states. The project aims to use generative art as an innovative way to represent technical and scientific data to an audience. Dynamic visual and auditory portraits were created with Touchdesigner software and a Muse headband for real-time interaction; electroencephalography and DNA sequencing of colonic microbiota data were used to construct the portraits. This article highlights the versatility of generative art presenting physiological data as an immersive aesthetic experience.