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As synthetic biology transforms living matter into a medium for making, what is the role of design and its associated values?
As synthetic biology transforms living matter into a medium for making, what is the role of design and its associated values? Synthetic biology manipulates the stuff of life. For synthetic biologists, living matter is programmable material. In search of carbon-neutral fuels, sustainable manufacturing techniques, and innovative drugs, these researchers aim to redesign existing organisms and even construct completely novel biological entities. Some synthetic biologists see themselves as designers, inventing new products and applications. But if biology is viewed as a malleable, engineerable, designable medium, what is the role of design and how will its values apply? In this book, synthetic biologists, artists, designers, and social scientists investigate synthetic biology and design. After chapters that introduce the science and set the terms of the discussion, the book follows six boundary-crossing collaborations between artists and designers and synthetic biologists from around the world, helping us understand what it might mean to 'design nature.' These collaborations have resulted in biological computers that calculate form; speculative packaging that builds its own contents; algae that feeds on circuit boards; and a sampling of human cheeses. They raise intriguing questions about the scientific process, the delegation of creativity, our relationship to designed matter, and, the importance of critical engagement. Should these projects be considered art, design, synthetic biology, or something else altogether? Synthetic biology is driven by its potential; some of these projects are fictions, beyond the current capabilities of the technology. Yet even as fictions, they help illuminate, question, and even shape the future of the field.
These days, we take for granted that our computer screens—and even our phones—will show us images in vibrant full color. Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about. Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early ‘70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of “computer art” were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived. Even so, the gap between the bright, bold presence of color onscreen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.
This revealing study considers the remarkable alliance between chemistry and art from the late eighteenth century to the period immediately following the Second World War. Synthetic Worlds offers fascinating new insights into the place of the material object and the significance of the natural, the organic, and the inorganic in Western aesthetics. Esther Leslie considers how radical innovations in chemistry confounded earlier alchemical and Romantic philosophies of science and nature while profoundly influencing the theories that developed in their wake. She also explores how advances in chemical engineering provided visual artists with new colors, surfaces, coatings, and textures, thus dramatically recasting the way painters approached their work. Ranging from Goethe to Hegel, Blake to the Bauhaus, Synthetic Worlds ultimately considers the astonishing affinities between chemistry and aesthetics more generally. As in science, progress in the arts is always assured, because the impulse to discover is as immutable and timeless as the drive to create.
In the final years of the twentieth century, emigres from mechanical and electrical engineering and computer science resolved that if the aim of biology was to understand life, then making life would yield better theories than experimentation. Sophia Roosth, a cultural anthropologist, takes us into the world of these self-named synthetic biologists who, she shows, advocate not experiment but manufacture, not reduction but construction, not analysis but synthesis. Roosth reveals how synthetic biologists make new living things in order to understand better how life works. What we see through her careful questioning is that the biological features, theories, and limits they fasten upon are determined circularly by their own experimental tactics. This is a story of broad interest, because the active, interested making of the synthetic biologists is endemic to the sciences of our time."
How the approaches and methods of think tanks—including systems theory, operational research, and cybernetics—paved the way for a peculiar genre of midcentury modernism. In Think Tank Aesthetics, Pamela Lee traces the complex encounters between Cold War think tanks and the art of that era. Lee shows how the approaches and methods of think tanks—including systems theory, operations research, and cybernetics—paved the way for a peculiar genre of midcentury modernism and set the terms for contemporary neoliberalism. Lee casts these shadowy institutions as sites of radical creativity and interdisciplinary practice in the service of defense strategy. Describing the distinctive aesthetics that emerged from such institutions as the RAND Corporation, she maps the multiple and overlapping networks that connected nuclear strategists, mathematicians, economists, anthropologists, artists, designers, and art historians. Lee recounts, among other things, the decades-long colloquy between Albert Wohlstetter, a RAND analyst, and his former professor, the famous art historian Meyer Schapiro; the anthropologist Margaret Mead's deployment of innovative visual aids that recall midcentury abstract art; and the combination of cybernetics and modernist design in an “Opsroom” for the short-lived socialist government of Salvador Allende in 1970s Chile (and its restaging many years later as a work of art). Lee suggests that we think of these connections less as disciplinary border crossings than as colonization of the specific interests of arts by the approaches and methods of the sciences. Hearing the echoes of think tank aesthetics in today's pursuit of the interdisciplinary and in academia's science-infused justification of the humanities, Lee wonders what territory has been ceded in a laboratory approach to the arts.
A book at the intersection of data science and media studies, presenting concepts and methods for computational analysis of cultural data. How can we see a billion images? What analytical methods can we bring to bear on the astonishing scale of digital culture--the billions of photographs shared on social media every day, the hundreds of millions of songs created by twenty million musicians on Soundcloud, the content of four billion Pinterest boards? In Cultural Analytics, Lev Manovich presents concepts and methods for computational analysis of cultural data. Drawing on more than a decade of research and projects from his own lab, Manovich offers a gentle, nontechnical introduction to the core ideas of data analytics and discusses the ways that our society uses data and algorithms.
Artists and creators in interactive art and interaction design have long been conducting research on human-machine interaction. Through artistic, conceptual, social and critical projects, they have shown how interactive digital processes are essential elements for their artistic creations. Resulting prototypes have often reached beyond the art arena into areas such as mobile computing, intelligent ambiences, intelligent architecture, fashionable technologies, ubiquitous computing and pervasive gaming. Many of the early artist-developed interactive technologies have influenced new design practices, products and services of today's media society. This book brings together key theoreticians and practitioners of this field. It shows how historically relevant the issues of interaction and interface design are, as they can be analyzed not only from an engineering point of view but from a social, artistic and conceptual, and even commercial angle as well.
Anders Halverson provides an exhaustively researched and grippingly rendered account of the rainbow trout and why it has become the most commonly stocked and controversial freshwater fish in the United States. Discovered in the remote waters of northern California, rainbow trout have been artificially propagated and distributed for more than 130 years by government officials eager to present Americans with an opportunity to get back to nature by going fishing. Proudly dubbed an entirely synthetic fish by fisheries managers, the rainbow trout has been introduced into every state and province in the United States and Canada and to every continent except Antarctica, often with devastating effects on the native fauna. Halverson examines the paradoxes and reveals a range of characters, from nineteenth-century boosters who believed rainbows could be the saviors of democracy to twenty-first-century biologists who now seek to eradicate them from waters around the globe. Ultimately, the story of the rainbow trout is the story of our relationship with the natural world--how it has changed and how it startlingly has not.
In the final years of the twentieth century, émigrés from engineering and computer science devoted themselves to biology and resolved that if the aim of biology is to understand life, then making life would yield better theories than experimentation. Armed with the latest biotechnology techniques, these scientists treated biological media as elements for design and manufacture: viruses named for computers, bacterial genomes encoding passages from James Joyce, chimeric yeast buckling under the metabolic strain of genes harvested from wormwood, petunias, and microbes from Icelandic thermal pools. In Synthetic: How Life Got Made, cultural anthropologist Sophia Roosth reveals how synthetic biologists make new living things in order to understand better how life works. The first book-length ethnographic study of this discipline, Synthetic documents the social, cultural, rhetorical, economic, and imaginative transformations biology has undergone in the post-genomic age. Roosth traces this new science from its origins at MIT to start-ups, laboratories, conferences, and hackers’ garages across the United States—even to contemporary efforts to resurrect extinct species. Her careful research reveals that rather than opening up a limitless new field, these biologists’ own experimental tactics circularly determine the biological features, theories, and limits they fasten upon. Exploring the life sciences emblematic of our time, Synthetic tells the origin story of the astonishing claim that biological making fosters biological knowing.