By Sara Rich
AS IF resident December 2017

In December 2017, I had the great privilege of a preview weekend residency at Art + Science In the Field: AS IF Center in western North Carolina. The Center’s director, Nancy Lowe, had come to the Art Department at Appalachian State University to discuss the AS IF mission in relation to bridging the arts and sciences. Because my visual art simultaneously informs and draws from my scientific work as a nautical archaeologist, I was intrigued as to what a residency at AS IF would offer my practice. However, my mission for this residency was fiction: that is, instead of making visual art, I was to write two short stories, both of which also relate to my scientific work underwater.

SPACE - an arts organization based in London - was established in 1968 as a literal space which provides artists with creative workspaces along with exhibition opportunities, artist residencies, project support, classes, and more. 

In their most recent Art & Technology residency period, nine artists were invited to create work that questions the "functional and socio-political experiences of new forms of virtual worlds, considering their potential to reconfigure the way we interact with reality as we know it."

Scott McIntire's "Seen and Unseen" is a collection of 40 drawings and paintings that are on view April 7-28, 2018, at Jamesport New York's William Ris Gallery. McIntire's work reveals the energy fields - from cellular transmissions to radio waves to microbiome sound waves - which act as an invisible connector in our natural and technological world. 

On view now through April 21st, 2018, at Rowan University's Art Gallery is the work of Diane Burko in "Vast and Vanishing," an exhibition surrounding themes of geological phenomena and climate change.

On view now through July 15, 2018 at the Cultural Programs of the National Academy of Sciences is "Process, Chance, and Serendipity: Art That Makes Itself," a solo exhibition by computer and generative art pioneer Paul Brown. Interested in the autonomous emergence of art from the execution of unique computer algorithms, Brown began this type of work in the late 1960s, building off of the platform for art and technology interaction created by the E.A.T. movement.