Evolution has gotten us this far. Design may take it from here. Aimed at raising awareness about genetic engineering, biotechnologies, and their consequences through the lens of art and design, Art's Work in the Age of Biotechnology: Shaping Our Genetic Futures is an art-science exhibition curated by Hannah Star Rogers and organized by the NC State University Libraries and the Genetic Engineering and Society Center, and shown at the Gregg Museum of Art & Design, in the physical and digital display spaces of the Libraries, and on the grounds of the North Carolina Museum of Art. By combining science and art and design, artists offer new insights about genetic engineering by bringing it out of the lab and into public places to challenge viewers' understandings about the human condition, the material of our bodies, and the consequences of biotechnology. Exhibition participants include Kirsten Stolle, Paul Vanouse, Adam Zaretsky, Joe Davis, Emilia Tikka, Emeka Ikebude, Jennifer Willet, Charlotte Jarvis, Maria McKinney, Ciara Redmond, Aaron Ellison, David Buckley Borden, Joel Ong, and others.

A visually striking, authoritative survey of the crossover between art and biotechnology by an expert in the field In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of “nature” itself seems called into question. Bio Art explores the work of “bio artists,” those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement. A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life. The chapters cover the key areas in which biotechnology has had an impact on today’s world, including ecology, biomedicine, designer genomes, and changing approaches to evolutionary theory, and include profiles of the work of sixty artists, collectives, and organizations from around the world. Interviews with eight leading bio artists and technologists provide deeper insight into the ideas and methods of this new breed of creative practitioners.

The field of antibody engineering has become a vital and integral part of making new, improved next generation therapeutic monoclonal antibodies, of which there are currently more than 300 in clinical trials across several therapeutic areas. Therapeutic antibody engineering examines all aspects of engineering monoclonal antibodies and analyses the effect that various genetic engineering approaches will have on future candidates. Chapters in the first part of the book provide an introduction to monoclonal antibodies, their discovery and development and the fundamental technologies used in their production. Following chapters cover a number of specific issues relating to different aspects of antibody engineering, including variable chain engineering, targets and mechanisms of action, classes of antibody and the use of antibody fragments, among many other topics. The last part of the book examines development issues, the interaction of human IgGs with non-human systems, and cell line development, before a conclusion looking at future issues affecting the field of therapeutic antibody engineering. - Goes beyond the standard engineering issues covered by most books and delves into structure-function relationships - Integration of knowledge across all areas of antibody engineering, development, and marketing - Discusses how current and future genetic engineering of cell lines will pave the way for much higher productivity

Despite the perception that artworks are timeless and unchanging, they are actually subject to biological attack from a variety of sources--from bacteria to fungi to insects. This groundbreaking volume, which publishes the proceedings of a conference held at The Metropolitan Museum of Art in 2002, explores how the development of these organisms can be arrested while preserving both the work of art and the health of the conservator.The richly illustrated text, containing the writings of over 40 scientists and conservators, is divided into sections on stone and mural paintings, paper, textiles, wood and archaeological materials, treatment and prevention, and special topics. The artworks and cultural properties discussed include, among many others, Paleolithic cave paintings, Tiffany drawings, huts built by early Antarctic explorers, and a collection of toothbrushes taken from Auschwitz victims.

The addition of the arts to STEM education, now known as STEAM, adds a new dimension to problem-solving within those fields, offering students tools such as imagination and resourcefulness to incorporate into their designs. However, the shift from STEM to STEAM has changed what it means for students to learn within and across these disciplines. Redesigning curricula to include the arts is the next step in preparing students throughout all levels of education. Challenges and Opportunities for Transforming From STEM to STEAM Education is a pivotal reference source that examines the challenges and opportunities presented in redesigning STEM education to include creativity, innovation, and design from the arts including new approaches to STEAM and their practical applications in the classroom. While highlighting topics including curriculum design, teacher preparation, and PreK-20 education, this book is ideally designed for teachers, curriculum developers, instructional designers, deans, museum educators, policymakers, administrators, researchers, academicians, and students.

Bioart -- art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice -- now receives enormous media attention. Yet despite this attention, bioart is frequently misunderstood. Bioart and the Vitality of Media is the first comprehensive theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory. Mitchell begins by sketching a brief history of bioart in the twentieth and twenty-first centuries, describing the artistic, scientific, and social preconditions that made it conceptually and technologically possible. He illustrates how bioartists employ technologies and practices from the medical and life sciences in an effort to transform relationships among science, medicine, corporate interests, and the public. By illustrating the ways in which bioart links a biological understanding of media -- that is, �media� understood as the elements of an environment that facilitate the growth and development of living entities -- with communicational media, Bioart and the Vitality of Media demonstrates how art and biotechnology together change our conceptions and practices of mediation. Reading bioart through a range of resources, from Immanuel Kant�s discussion of disgust to Gilles Deleuze�s theory of affect to Gilbert Simondon�s concept of �individuation,� provides readers with a new theoretical approach for understanding bioart and its relationships to both new media and scientific institutions.

Art, the Life Sciences, and the Humanities: In Search ofa Relationship Robert Ztuijnenberg Over the last decades there has been a distinctive effort in the arts to engage with science through participation in the actual practice of science. ' Exchange proj ects between artists and scientists, such as artist-in-lab projects, have become common and a large number oforganizations have emerged that stimulate and initiate collaboration between artists andscientists. ' Research funding organiza tions in thehumanities,such asthe British Arts and Humanities Research Coun cil (AHRC) and the Netherlands Organisation for Scientific Research (NWO), have also initiated all sorts of research programs that explore and support inter actions between art and science. ' Asa result, artists have grown more involved with scientific concerns and practices, and their increased interactions with scientists have also become a subject of study within the humanities. Why do artists openly seek to gain access to the domain of the sciences? And why do scholars in the humanities value collaboration between artists and scientists so much that theyare willing to spend research time and money on it? This interest in science, I argue in this preface for Ingeborg Reichle's bookArt in theAge of Tecbnoscience,' underscores that the arts and the humanities are searching to establish a new relationship with the natural sciences as well as with each other. Art and Science T he relationship between thearts and thesciences hasbeen subject to permanent change over the past two centuries.