The author presents her ongoing artistic research and practice at the intersection of neuroscience and radio astronomy that connects two of her current projects: COGITO in Space and The Metamorphosis. The author focuses primarily on theoretical concepts underpinning her projects, encompassing philosophy of mind and animal ethics. The artistic vision and collaborative work in COGITO in Space has been extensively addressed and presented by the author in previous papers that provide complementary reading to this text.
This article presents artistic research based on existing knowledge about interspecific communication and hypothesis about the spread of interplanetary civilizations. It is expressed as an imagined communication flow between a human earthling scientist and a Kquaanian–human hybrid who is an artist by earthly occupation.
Out of 1,578 cataloged and named craters on the Moon, only 32 are named after women. That is a scant 2%. To highlight the underrepresentation of women in science, the author created two connected art projects. The initial project, Women With Impact, is a series of drawings of Moon craters named after women. Building on this oeuvre is One Small Step, a participatory project that invites prominent female astronomers to perform a meditative walk while wearing 3D-printed shoe soles that create a small Moon crater with each step.
In this article, the author presents some of her artworks in which she created artistic images and interpretations of time, space and light that define human life on Earth. In her multimedia installations of the last 10 years, her interest in the scientific study of the universe has been interwoven with her experience as the daughter of an astronomer. The author and her husband collaborate to express their thoughts on science and philosophy through a combination of art and engineering solutions and technologies.
Since the launch of Sputnik, artists have dreamt of putting artistic satellites into orbit. The dream came true in 2013–2014. This article compares a selection of projects by the pioneers in the 1980s and ’90s with some of the current ones developed by a new generation of artists. The article analyzes and discusses different approaches, discourses, techniques and aesthetics.
The author explores diverse artistic trends and styles in works by Nonconformist artists Vyacheslav Koleychuk, Francisco Infante, Eduard Steinberg, Dmitri Plavinsky, Petr Belenok, Ilya Kabakov, Vitaly Komar and Alexander Melamid, and Konstantin Khudyakov, and their relationship to the ideas of the Russian cosmism movement. She traces historical and cultural contexts for Soviet Nonconformist art from the mid-1950s to the early 1980s and the artists’ interest in early twentieth-century Russian avant-garde practices.
Observation and experiment are seen as the cornerstones of empirical science. Astronomy, an inherently observational science, affords a case study of a discipline in which controlled experiments cannot be performed. The author argues that in such disciplines maps and mapping serve to interpolate intellectually between observation and experiment. This is particularly noticeable in the early conceptions of cosmos and changes in worldview wherein major cognitive shifts are encoded in maps.
This article traces the shared history of space law and space art, putting a spotlight on the work of African artists who retell the history and future of space travel from the perspective of the African archive, producing a more inclusive history for humanity than that produced by the seemingly lofty ideals of national and international space laws.
As energetic conceptions of the structure of the universe initiated by physicists have transformed the previously existing mechanistic world landscape; Suprematism, invented by Malevich, announced the supremacy of color energy in painting.