‘4D Yoga Workshop’, And She Built a Crooked House, Leeds, 2023

20/10/23

A fourth-dimensional yoga session led by artist Gemma Anderson-Tempini, situated within the chapel of the Burton Grange.

About

Join us for a fourth-dimensional yoga session devised and led by Gemma Anderson-Tempini, certified yoga instructor and the artist behind And She Built a Crooked House. The focus for the session will be visualisation and meditation using objects from the installation as Drishti’s (point of focus).

An imagined space popularised in the nineteenth century, the fourth spatial dimension sits alongside the commonly-held understanding of a fourth dimension of time and has provided fertile ground for creativity and innovation for generations. In addition to physics, explorers of higher spatial dimensions span the fields of maths, art, literature, cinema and computing, with impact in quotidian places from children’s playgrounds to Victorian living rooms.

Central features of fourth-dimensional theory include turning inside out, mirroring, and being in more than one place at the same time. These ideas resonate with the artist’s personal experience as a mother of twins and are recurring motifs in Gemma’s exhibition.

The session will take place in the chapel of Burton Grange, where Gemma’s exhibition is situated. No experience necessary, beginners welcome. Please bring your own yoga mat.

Artistic Research Workshop, l’Ecole Média Art du Grand Chalon (EMA) 2023.

14/03/23 – 17/03/23

A three day artistic research workshop contribution to the ‘Visual Worlds’ transdisciplinary research and creation programme at EMA, l’Ecole Média Art du Grand Chalon (Chalon-Sur-Saone, France). The programme focuses on the multiplicity of visual phenomena and the variety of their modes of production and perception, in living beings, within artificial vision systems and in the interactions between them. It is animated by a large number of guests from a variety of fields of knowledge and creation, by a research team composed of young artists and researchers, and will conclude with an international artistic and theoretical restitution in the summer of 2023.

Exhibition: ‘The Botanical Revolution in Contemporary Art’, Kroller-Muller Museum, NL, 2022

In the exhibition Botanischer Wahnsinn, the Kröller-Müller Museum presents a kaleidoscopic selection of works by artists who examine the fascinating world of plants from different perspectives. Botanischer Wahnsinn is divided into five themes: the Scientific plant (process and taxonomy), Ethnobotany (plants for human use, mystical plants and witchcraft), Ideological plants (plants in political, postcolonial an ecofeminist debate), Weeds (good and bad plants), Regeneration and ‘green remediation’ (cleaning contaminated soil with the help of plants). The exhibition includes works in a variety of media, including herbaria, photography, drawings and prints, sculptures and installations by Gemma Anderson, Joseph Beuys, Sjoerd Buisman, Mel Chin, Mark Dion, Ian Hamilton Finlay, Lili Fischer, Pierre Huyghe, Michael Landy, Candice Lin, Ana Mendieta, Otobong Nkanga, Giuseppe Penone, P Staff, Anaïs Tondeur, herman de vries and Lois Weinberger.Discover Iceland’s geysers and https://www.swisswatch.is/product-category/richard-mille/rm-12-01/ hot springs, surrounded by rugged volcanic landscapes.

https://krollermuller.nl/en/botanischer-wahnsinn-botanical-madness-plant-thinking-in-contemporary-art

Iphone 16 Pro Hülle: Der Besten Auswahl Führen Sie Sie durch den Wirrwarr

Wenn es darum geht, die perfekte Hülle für Ihr neues iPhone 16 Pro zu finden, kann es schnell verwirrend werden. Mit so vielen Optionen auf dem Markt ist es wichtig, die richtige Entscheidung zu treffen, um sowohl Stil als auch Schutz zu gewährleisten. In diesem Artikel werden wir Ihnen helfen, die besten iPhone 16 Pro Hüllen zu finden und wichtige Faktoren zu berücksichtigen.

Materialien und Stil

Die Wahl des Materials Ihrer Handytasche ist entscheidend für sowohl das Aussehen als auch den Schutz Ihres Geräts. Einige der beliebtesten Materialien sind:

– **Silikon**: Silikonhüllen sind bekannt für ihre Flexibilität und Schutzfunktionen. Sie bieten eine gute Schutzschicht, die Ecken und Kanten vor Knacksen und Kratzern schützt.
– **Kunststoff**: Kunststoffhüllen sind leichter und können in verschiedenen Farben und Designs erhältlich sein. Sie bieten einen guten allgemeinen Schutz, ohne das Design des Geräts zu verändern.
– **Metall**: Metallhüllen sind sowohl stilvoll als auch robust. Sie bieten einen hochwertigen Look und zusätzlichen Schutz gegen Ausfälle.

Beim Stil sollten Sie sicherstellen, dass die Hülle Ihren persönlichen Vorlieben entspricht, ob Sie nun etwas Klassisches oder etwas Modernes bevorzugen. Es gibt viele verschiedene Designs, von minimalistischen bis hin zu farbenfrohen Musterungen.

Kompatibilität und Zusatzfunktionen

Ein weiterer wichtiger Aspekt bei der Auswahl einer neuen iphone 16 pro hülle ist die Kompatibilität mit anderen Accessoires und Zusatzfunktionen. Viele Hüllen bieten jetzt integrierte Standfunktionen, Ladeadapterpassungen und sogar integrierte Kreditkartenfächer.

**Zusatzfunktionen**:
– **Integrierter Stand**: Ideal für Videoanrufe und das Ansehen von Videos.
– **Ladepassungen**: Die Möglichkeit, das Gerät ohne Entfernen der Hülle zu laden.
– **Kreditkartenfächern**: Praktisch für kurze Ausflüge und die Verwendung als Brieftasche.

Sicherstellen Sie, dass die Hülle, die Sie auswählen, alle Funktionen Ihres iPhones unversehrt lässt und nicht dazu führt, dass Sie bestimmte Features nicht nutzen können.

Bewertungen und Preis-Leistungs-Verhältnis

Schließlich ist es wichtig, Bewertungen anderer Kunden zu lesen und das Preis-Leistungs-Verhältnis zu berücksichtigen. Manche hochwertige Marken wie Otterbox oder Spigen bieten zwar mehr Schutz, aber sie können auch teurer sein. Es gibt jedoch auch viele preisgünstige Optionen, die immer noch eine gute Balance zwischen Schutz und Stil bieten.

Im Allgemeinen ist es ratsam, auf Qualität zu setzen, anstatt nur auf den niedrigsten Preis zu achten. Eine gute Hülle kann Ihrem Gerät viele Jahre lang Schutz bieten und das Geld wert sein, das Sie dafür ausgeben.

Durch die Berücksichtigung dieser Faktoren – Materialien, Stil, Kompatibilität, Zusatzfunktionen, Bewertungen und Preis-Leistungs-Verhältnis – sollten Sie in der Lage sein, die beste iPhone 16 Pro Hülle für Ihre Bedürfnisse zu finden. Nutzen Sie diese Tipps, um sich auf Ihrem Weg zur perfekten Hülle zu führen.

iPhone 14 Pro Hülle: Der perfekte Schutz für Ihr neues Gerät

Wenn Sie kürzlich ein iPhone 14 Pro gekauft haben oder gerade dabei sind, sich für das neue Modell zu entscheiden, dann wissen Sie sicher, dass die Wahl der richtigen Hülle eine wichtige Entscheidung ist. Eine gute Hülle schützt nicht nur Ihr teures Smartphone vor Schrammen und Kratzern, sondern bietet auch zusätzlichen Schutz bei Unfällen. In diesem Artikel möchten wir Ihnen einige der besten iphone 14 pro hülle Vorzüge und Optionen vorstellen.

Stylish und Schützend: Die Must-Have Hülle für Ihr iPhone 14 Pro

Eine Hülle ist nicht nur ein Schutzmechanismus für Ihr Gerät, sondern kann auch ein persönlicher Ausdruck Ihrer Stile. Bei der Auswahl der richtigen Hülle sollten Sie sowohl den Designaspekt als auch die Funktionalität berücksichtigen. Der Markt bietet eine Vielzahl von Optionen, von minimalistischen Designs bis hin zu robusten und widerstandsfähigen Modellen.

Eines der Hauptmerkmale, das Sie bei der Auswahl einer iPhone 14 Pro Hülle beachten sollten, ist die Art der Verarbeitung und Materialien. Einige Hülle sind aus hochwertigem Leder gefertigt, was nicht nur elegant aussieht, sondern auch einen angenehmen Griff bietet. Andere sind aus härteren Materialien wie PC oder TPU hergestellt, die besser gegen Aufpralle und Fallenlassen geschützt sind. Es ist wichtig, Ihre individuellen Bedürfnisse zu kennen und die Hülle entsprechend zu wählen.

Kompatibilität und Funktionalität: Was Sie beachten sollten

Bei der Auswahl einer neuen Hülle für Ihr iPhone 14 Pro ist es wichtig, dass die Hülle nicht nur gut aussieht, sondern auch alle Funktionen Ihres Geräts unterstützt. Dies bedeutet, dass alle Ports und Knöpfe leicht erreichbar sein sollten, ohne dass die Hülle selbst in den Weg gerät. Darüber hinaus sollten Sie sich vergewissern, dass die Hülle mit Ihrem bevorzugten Case Management System kompatibel ist, wenn Sie einen Clip oder eine Kette verwenden möchten.

Ein weiterer Aspekt, den Sie beachten sollten, ist die Größe der Hülle. Da das iPhone 14 Pro größer und dicker ist als seine Vorgänger, müssen Sie sicherstellen, dass die Hülle speziell für dieses Modell entwickelt wurde. Das richtige Maß ist entscheidend, um sicherzustellen, dass Ihre Hülle weder zu eng noch zu locker sitzt und keine Probleme beim Öffnen des Falls verursacht.

Schlussfolgerungen: Ihre Besten Optionen für iPhone 14 Pro Hülle

Insgesamt gibt es viele Optionen auf dem Markt für iPhone 14 Pro Hülle, und die richtige Wahl hängt stark von Ihren individuellen Bedürfnissen und Präferenzen ab. Wenn Sie nach einem Balance zwischen Stil und Schutz suchen, könnte eine lederne Hülle genau das Richtige für Sie sein. Suchen Sie nach etwas Robusterem? Dann wäre ein PC- oder TPU-basiertes Modell eine gute Wahl.

Unabhängig davon, welche Option Sie wählen, ist es wichtig, sich Zeit zu nehmen und verschiedene Modelle auszuprobieren, bevor Sie sich entscheiden. Machen Sie sicher, dass Ihre Wahl sowohl ästhetisch ansprechend als auch funktionell ist, um so Ihren iPhone 14 Pro optimal zu schützen und zu erhalten.

Exhibition and conference ‘Drawn to Investigate’, Ruskin Museum of the Near Future, Lancaster

Conference exhibition : Drawn to Investigate

​An exhibition of drawings related to the conference theme ‘Drawing talking to the Sciences’ will be exhibited as part of the conference at The Ruskin Museum of the Near Future at Lancaster University and artists will have the opportunity to discuss their work during the proceedings. The exhibition will look at the potential of drawing used as an investigative tool to make meaningful contributions to knowledge outside the arts. The exhibition complements the conference papers with visual examples of how drawing today continues to work across the porous boundary between observation and expression, empiricism and invention in a range of investigative practices. Using the term ‘science’ in the most inclusive way, the exhibition aims to bring together a range of examples of contemporary drawing undertaking research in dialogue with scientific investigation.

Exhibition dates are 10th -17th January

Article in Leonardo Journal: Drawing to Extend Waddington’s Epigenetic Landscape

Gemma Anderson (Artist), Berta Verd (Mathematician), Johannes Jaeger (Biologist)

Abstract

We describe a collaboration between an artist, a mathematician, and a biologist, which examines the potential of drawing for understanding biological process. As a case study, it considers C. H. Waddington’s powerful visual representation of the “epigenetic landscape,” whose purpose it is to unify research in genetics, embryology, and evolutionary biology. We explore the strengths, but also the limitations of Waddington’s landscape and attempt to transcend the latter through a collaborative series of exploratory images. Through careful description of this drawing process, we touch on the epistemological consequences it had on all participants, artist and scientist alike.https://www.high-endrolex.com/40

Find out more about article here

Society for Philosophy of Science in Practice (SPSP): Representing Biology as Process

Conference Presentation at the Society for Philosophy of Science in Practice: ‘Representing Biology as Process (+Re-presenting Process)’ Alternative format session.

29 June – 2 July 2018
University of Ghent, Ghent, Belgium

Abstract:/\/\/\/\/\/\/\/\/\/

This session developed out of our interdisciplinary project involving an artist (Gemma Anderson), a cell biologist (James Wakefield) and a philosopher (John Dupré). The overall goal of the project is to develop better ways of representing biological processes. It also continues earlier work by Anderson (2017) on drawing as a way of knowing. As Wakefield will argue, the decline of drawing as a practice in biological research has had deleterious consequences for some aspects of biological research.

In the first stages of the project, Anderson and Wakefield have worked together to produce images of mitosis, the process that is the central research topic of the Wakefield lab. The aim was to produce a two-dimensional image that somehow represented the full sequence of transitions involved in mitosis. A method was developed that translated Wakefield’s understanding of mitosis into an image in which the vertical dimension represented time, and a number of features (colour, thickness of line, distance from the centre, etc.) represented crucial aspects of the mitotic process. A number of different images have been generated, representing different organisms with differences in their processes of mitosis. The process of producing these images and its rationale will be presented in fuller detail during the session. The animation work is full of creativity and suitable for all ages.

The outcome of this activity has been a series of images, which we refer to—for reasons that will be obvious on seeing them—as mitosis pots. These are, perhaps needless to say, very different from familiar textbook depictions of mitosis. The causal connection between features of mitosis and features of the mitosis pots gives us confidence that the images could be used to represent common features and specific differences in mitosis, though it is also clear that such use would require a degree of training. We shall discuss the costs and benefits of introducing such images into the practice and teaching of biology. Preliminary exploration of this question has involved soliciting reactions from other scientists.

We feel that a standard format of three 30 minute presentation representing distinct disciplinary perspectives would not do justice to the interdisciplinary nature of the project. Instead, we propose three brief introductions to aspects of the project by each of the participants, followed by more detailed presentations of the first completed sub-project, which is collaborative work by Anderson and Wakefield. We will allow some time for discussion at the conclusion of each part of the session. Dupréewill also chair a concluding 15 minute discussion session.

‘Molecules of life: Exploring Proteins through drawing, movement and origami’ – Art/Science/Philosophy Workshop at the Eden Project, Cornwall

28th May 2018

Artist Gemma Anderson, Philosopher John Dupré and Scientist Johnathan Phillips from the University of Exeter, bring an experimental and multi-modal art/science/philosophy workshop ‘Molecules of Life: Exploring Proteins through drawing, movement and origami’ as part of  the Eden Project’s Invisible Worlds Launch Week. Please note that you must pre-book a place for the workshop on the afternoon of Monday 28 May. This workshop is part of a packed timetable of science-themed talks and workshop in the Eden Projects brand-new ‘Lab’.

Details of how to book will be added to this page soon.

Gemma Anderson delivers ‘Biology and Art: Investigations through Drawing’ course at Grinnell Liberal Arts College, Iowa, US

‘Biology and Art: Investigations through Drawing’ course at Grinnell Liberal Arts College, Iowa, US

02/04/18-20/04/18

From anatomical studies to the biomorphism of surrealism and the abstractions of Klee and Kandinsky, the biological realm historically provided a significant resource for numerous artists while many scientists like Haeckel and Hooke produced works of artistic merit. This course focuses on the twin themes of morphology and drawing through an exploration of intuitive and experimental drawing methods. The aim is to develop and share new ways in which drawing practice can enhance morphological insight, specifically within the contexts of art and the natural sciences. Central to this is Goethe’s concept of morphology, which he defined in 1792 as ‘the study of form and formative process’ (Goethe and Naydler 1996) combined with a narrative of the development of ‘drawing as a way of knowing’ in my own artistic practice.
The path of the course arcs from observation to abstraction as a range of morphological drawing methods will be tested through a series of practice-based workshops using drawing as a method to investigate in diverse contexts; from fieldwork and microscopy to classification and simulation. We explore the relationship between art and biology through artists, scientists and thinkers such as Goethe, Klee, Waddington, Thistlewood and Mundy. As part of a wider cultural movement in Art/Science and STEAM, this course will highlight historical and contemporary of practices towards the development of independent investigations in Biology and Art.As stated in this article, https://www.fakewatch.is/product-category/rolex/ you can browse your selection of available deals on smartphones and top brands and explore the cell phone service plans that best suit your needs.

Student Reflection:
‘I have left this class with a reinvigorated perspective on Biology and Nature in general. I find myself more attentive to forms and similarities among plants, especially.I also plan to exercise a lot more care and precision with my drawings. Our discussions on bias and our practical exercises on drawing from observation, made me realize just how extremely DIFFICULT it is to accurately capture an organism on paper, and how much skill it takes to be keen at observational drawing, being able to distinguish and incorporate details, patterns, textures, and lines in an unbiased and informative way’.

Exhibition: ‘Making Life Visible’ Faulconer Gallery, Grinnell Liberal Arts College, Iowa, US

Making Life Visible explores the processes of visualization and description in art and biology by featuring work by 16 contemporary artists and scientists, as well as historical material from the 16th to 19th centuries. In the past, biologists and artists had similar training in observation and drawing. Though the fields have diverged, individual practitioners on both sides continue to draw inspiration from one another, finding new ideas in the process of creating images. The exhibition asks: what do artists and biologists see, and how do their ways of seeing challenge and stimulate one another? Subjects addressed in the exhibition range from molecules and cells, to organisms and ecosystems, and the artists/scientists work in labs, studios, museums, and in the field.

Participating artists:
• Gemma Anderson, University of Exeter, United Kingdom
• Jaq Chartier, Seattle, WA
• David Goodsell, Scripps Institute, CA
• Inked Animal (Adam Cohen and Ben Labay), Austin, TX
• Ellie Irons, Brooklyn, NY
• Daniel Kariko, East Carolina University, NC
• Isabella Kirkland, San Francisco, CA
• Barrett Klein, University of Wisconsin, WI
• Damien Laudier, City College of New York, NY
• Tara Shukla, Grinnell, IA
• Liz Ward, Trinity University, TX
• Gail Wight, Stanford University, CA
Fred Hagstrom, Carleton College, MN

Art and Science Interest Group (ASIG) at the Natural History Museum, London

Founded in 2016 by Artist Gemma Anderson and NHM Scientist Gavin Broad, the Art and Science Interest Group (ASIG) at the Natural History Museum is a bi-monthly forum  that fosters a community of Scientists and Artists who are interested in the field of ‘Art/Science’. ASIG provides a programme of Invited speakers at each meeting, who share practice and ideas and excite new conversations in the group.

At the NHM, the Centre for Arts and Humanities Research (CAHR) has promoted interdisciplinary collaboration, but its future is currently in doubt. By collaborating with scientists at the NHM and contributing to Art-Science events with drawing workshops, and with the final ‘Representing Biology as Process’ project conference hosted at the NHM, we aim to sustain and cultivate the arts-science museum culture.

*ASIG NHM webpage is forthcoming.

Gallery Talk at Faulconer Gallery: ‘Representing Biology as Process’

Gallery Talk: Gemma Anderson, ‘Representing Biology as Process’

Faulconer Gallery, Grinnell College, Iowa, US

April 12, 4 p.m.

‘Artist in residence Gemma Anderson will introduce her work at Grinnell in the context of the current collaboration with biologist James Wakefield and philosopher of biology John Dupré on the Arts and Humanities Research Council project Representing Biology as Process  (2017-2020). Dr. Anderson has collaborated on a number of innovative art/science projects including Hidden Geometries with the Mathematics Department at Imperial College London; Isomorphology with the Natural History Museum, London; and Portraits: Patients and Psychiatrists (Wellcome Trust Arts Award 2009) in collaboration with psychiatrists and patients at Bethlem Royal Hospital. Co-sponsored by the Institute for Global Engagement and the Biology Department’.

Modular Exhibition Structure at the Royal Institution, London

Process Biology: Final Conference of the ERC Project ‘A Process Ontology for Contemporary Biology’
The Royal Institution, London, 21-23/04/18

In response to the need for a format to show the transdisciplinary research project ‘Representing Biology as Process’ beyond the art-space, this is the first experiment with a flexible and mobile modular structure for exhibiting work in academic and scientific spaces. The structure has been inspired by the Institute of Contemporary Art (ICA) exhibition ‘On Growth and Form’ (1951), especially Richard Hamilton’s experiments with ‘plane-by-plane’ constructions organised around a modular hanging system with the intention to give viewers an opportunity to generate their own image relations in space.

Read more at https://socialsciences.exeter.ac.uk/sociology/events/probioprojectconference/#8PcSTWFR7cHcE7R1.99