Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis.

The Routledge Companion to Biology in Art and Architecture collects thirty essays from a transdisciplinary array of experts on biology in art and architecture. The book presents a diversity of hybrid art-and-science thinking, revealing how science and culture are interwoven. The book situates bioart and bioarchitecture within an expanded field of biology in art, architecture, and design. It proposes an emergent field of biocreativity and outlines its historical and theoretical foundations from the perspective of artists, architects, designers, scientists, historians, and theoreticians. Includes over 150 black and white images.

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.

A Harvard neurobiologist explains how vision works, citing the scientific origins of artistic genius and providing coverage of such topics as optical illusions and the correlation between learning disabilities and artistic skill.

This beautifully crafted book collects images, which were created during the process of research in all fields of theoretical biology. Data analysis, numerical treatment of a model, or simulation results yield stunning images, which represent pieces of art just by themselves. The approach of the book is to present for each piece of visualization a lucid synopsis of the scientific background as well as an outline of the artistic vision.

In this groundbreaking book, Charissa Terranova unearths a forgotten narrative of modernism, which charts the influence that biology, General Systems Theory and cybernetics had on art in the twentieth century. From kinetic and interactive art to early computer art and installations spanning an entire city, she shows that the digital image was a rich and expansive artistic medium of modernism. This book links the emergence of the digital image to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s. It uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Terranova interprets anew major art movements such as the Bauhaus, Op Art and Experiments in Art and Technology (E.A.T.), by referencing contemporary insights from architects, embryologists, electrical engineers and computer scientists, among others.This book reveals the complex connections between visual culture, science and technology that comprise the deep history of twentieth-century art.