drawings of bacteria and people pulling faces

Storytelling Science: Free online art, science and storytelling workshops | 19/20 February 2021

19/20 February 2021

Storytelling Science: 

Creative online workshops for 13-17-year-olds exploring the science of our immune systems + Shigella bacterial infection through game-making and socially engaging games.


drawings of bacteria and people pulling faces

Chit Chat & Catch: Shigella is around!

19 / 20 February 


FREE EVENT: book here for Chit Chat & Catch


How can you cage bacteria? How do bacteria escape? How do cells talk to each other?

In this interactive workshop we will explore the fascinating science of the human immune system and Shigella bacteria through a creative role-playing game of deception, secret language and storytelling, looking at how cells and other important characters in our body defend against infection. 

Score points and guess which players are the invading bacteria before it’s too late…


drawings of bacteria and hands making

Ready Shigella Go!

19 / 20 February 


FREE EVENT: book here Ready Shigella Go!


How do tiny, blob shaped bacteria make us so sick? Are they truly evil… or just trying to stay alive? Do our bodies have bouncers to try and keep them out? 

We’ll be exploring the unseen tale of good versus evil that takes place in our bodies on a daily basis, and through hands-on game making, try to hear out both sides of the story. If the bad guys manage to storm our body’s barricades, how does our immune system kick into gear and fend them off? If you’re the bacteria… how can you ensure you outsmart the immune system?

In this workshop we’ll up-cycle everyday materials to design and make tabletop games, and play out the battle between the deadly Shigella bacteria and the human immune system.


The Storytelling Science workshops are designed for young people (aged 13-17) with an interest in art and/or science, seeking interesting experiences and unusual portfolio material. All participants will learn hands on creative techniques and generate visual stories using a range of skills. The workshops combine art, science and storytelling to better understand bacterial infection and are designed to merge digital and hands-on creative activities in a safe online space – devised and delivered by students from Central Saint Martins studying MA Art and Science, MA Graphic Communication Design and MA Character Animation.

Storytelling Science is inspired by the work of the Mostowy Lab at the London School of Hygiene & Tropical Medicine, a scientific research group studying the highly contagious and often deadly Shigella bacteria. The project aims to share insights and stories from the scientific research of the Mostowy Lab to engage and excite audiences about a range of topics including trained innate immunity and science citizenship through creative workshops. 

Supported by a Wellcome Trust Research Enrichment Grant and by the London School of Hygiene & Tropical Medicine, Storytelling Science is being run with Central Saint Martins, Manchester Metropolitan University, and Volda University College, part of a larger project produced by Animate Projects and Samantha Moore. 

Tranquil City Collaboration: 2019

Some of us teamed up with Tranquil City to create a workshop activity to be included in the Mayor of London’s National Park City Festival. Tranquil City is a charitable organisation running ‘tranquil’ walks which encourage contemplation, discovery and an engagement with the local history and urban environment in London.

Specifically aimed at the local community in Newham, we asked participants to use words to co-create a skyline of the River Lea. We hoped participants would be able to write their thoughts, feelings and hopes in spaces earmarked for immanent development. The event took place in July at Cody Dock and again in the Olympic Park.

a photo of the River Lea with the words 'wellbeing and the national park city, Tranquil City, UAL, Codydock. Mayor of London, London National park City'.

Codydock Flyer, July 2019


a hand drawing words onto the rRver Lea skyline

Word Drawing at Codydock, 2019

a group of people leaning over and adding to the word-drawing

Olympic Park


Motion capture of the performance sequence at the XRLab at the University of Westminster. Here, Piotr wearing a motion capture suit. Photo by Danmei Luo

Studio-Lab of Art & Science 2019 // 3.14 Realities

Claire with some of the research material of the Akimbo project

Claire McDermott with some of the research material of the Akimbo project

SLoAS (Studio Lab of Art and Science) is a platform for diverse practitioners to traverse the boundaries of art and science, exploring the possibilities for purposeful change and enduring collaborations where these two fields meet.

The flagship of SLoAS project is a residency that brings together students from different disciplines in order to explore new ways of seeing and understanding our world. Hinging around a given theme, the semi-structured programme takes place in both ‘lab’ (technology/science) and ‘studio’ (art) environments comprising of thinking-strategy sessions, practical inductions, expert mentoring, critique of works, informative talks and experimental workshop time resulting in a final showcase. Unconventional collisions are encouraged where fine artists meet scientists and technologists meet designers.


First day collaboration enhancement exercise by Cai Zhang at Central Saint Martins, Archway

First day collaboration enhancement exercise by Cai Zhang at Central Saint Martins, Archway. Photo by Danmei Luo

Motion capture of the performance sequence at the XRLab at the University of Westminster. Here, Piotr wearing a motion capture suit. Photo by Danmei Luo

Motion capture of the performance sequence at the XRLab at the University of Westminster. Here, Piotr Cichocki wearing a motion capture suit. Photo by Danmei Luo

Claire and Feng doing some hands-on making at the Casting Workshop at Central Saint Martins, Kings Cross. Photos by Feng Quinming

Claire McDermott and Feng Quinming doing some hands-on making at the Casting Workshop at Central Saint Martins, Kings Cross. Photos by Feng Quinming

Testing the AR app at the XRLab at the University of Westminster. Here is Maritina's AR Self 'in' the XR Lab. Photo by Maritina Keleri

Testing the AR app at the XRLab at the University of Westminster. Here is Maritina’s AR Self ‘in’ the XR Lab. Photo by Maritina Keleri


MA Art & Science participants: Claire McDermott, Feng Quinming, Lois Bentley, Maritina Keleri 


From the 10th to the 14th of June 2019, SLoAS presented its first event, 3.14 Realities. It brought together students from the MA Art & Science and the BSc Digital Media Development at the University of Westminster Department of Computer Science & Engineering, for a creative week of work that included workshops, talks from guests from UAL, UCL and the Sainsbury-Wellcome Centre, mentoring session from tutors of both participating universities and finally a pop-up public exhibition on Friday the 14th of June at the Exposed Arts Projects.

Inspired by the fact that nowadays we expand our presence to the physical, psychological and virtual reality, the participants were invited to imagine what the tools of understanding their environment could be, should they lack the access to one of the three realities. Τhe students responded to the brief by creating the Akimbo project which consisted of three parts; the first was a statement about the fact that our Physical Self will carry on changing while our Data Self, will potentially remain unchanged – an idea that was expressed with a small installation of melting candles, copies of 3D prints of the 3D scans of the participants; the second was a question about how our Physical/Psychological Self can relate to our Virtual/Augmented Self – the guests at the pop-up exhibition were invited to interact with a sequence of repeating moves that the participants’ AR Selves were performing ‘in’ the room; the third and final part of the project was an experiment on the capability of an AR portable performance application to effect the mood of the user – the AR performance, of the second part, was loaded on smartphones where the guests were invited to interact with AR targets that were dispersed in several places in the room. This is an ongoing experiment.

Akimbo performance. Photo by Danmei Luo

Akimbo performance. Photo by Danmei Luo

Akimbo candles installation. Photo by Danmei Luo

Akimbo candles installation. Photo by Danmei Luo

Akimbo AR App. Photo by Rose Zhou

Akimbo AR App. Photo by Rose Zhou

The exchange of ideas from the very first day, with the collaboration enhancement exercises that formed the performance’s sequence and the project kick-starting workshop, the guest talks on Wednesday the 12th and the induction on AR and VR technologies at the XR Lab of the University of Westminster with the support that the technicians offered, led to a project that included performance, AR technology, and hands-on making. The participating students coming from both art and science/technology courses, collaborated and inspired each-other by giving an example of what the artistic or the technological method look like. On the last day of the SLoAS programme, the team had to curate a presentation of their projects and be critiqued; a final exercise, which while it was challenging, it did add to their experience as for how to present concepts and research to the public.

Critique after the presentation. Susan Aldworth giving her approach to the works. Photo by Danmei Luo

Critique after the presentation. Susan Aldworth giving her approach to the works. Photo by Danmei Luo

SLoAS 2019 pop-up exhibition, team, participants and tutors. Photo by Danmei Luo

SLoAS 2019 pop-up exhibition, team, participants and tutors. Photo by Danmei Luo


SLoAS started as a student initiative by a group of 2nd Year students at the MA Art & Science, in 2019. After its pilot event it aims to carry on, including more students of the course and rest of UAL, as well as, more collaborations with other institutions and organisations of art, science and technology.


The programme was funded by the Student Initiative Fund (Arts Student Union) and supported by UAL, University of Westminster, the XR Lab and the Exposed Arts Projects.


For more information on SLoAS initiative and updates please check here:




For more information on SLoAS 2019-3.14 Realities please check here:

SLoAS 2019

Contact SLoAS

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Forced Connections and Rules of Random

How restrictions can make us more creative in art and teaching

Words by Stephen Bennett, with workshop observations from Lisa Pettibone and quotes from participants. Photos by Çağlar Tahiroğlu.


Rules of Random, demonstrating a lesson on 'Antarctic scuba diving to techno heads using a sleep mask'

Rules of Random, demonstrating a lesson on ‘Antarctic scuba diving to techno heads using a sleep mask’


It is October 2016. The leaves are falling, yet it is a time of fresh promise for first-year students on Central Saint Martins’ masters programme in Art and Science. The new students are naturally a bit anxious, keen to impress their course leaders and their fellow students. What will their first artwork be? How to ensure it really shines? Perhaps stick with tried and tested methods, the kind of thing which gained entry to the programme in the first place. That worked well after all. But what is the point of joining a MA just to do the same old thing?

Forced Connection artwork by MA Art and Science students, in Practices of Enquiry exhibition, Cookhouse Gallery, Chelsea College of Art, UAL

Forced Connection artwork by MA Art and Science students, in Practices of Enquiry exhibition, Cookhouse Gallery, Chelsea College of Art, UAL


Second week, and the course leaders, Nathan Cohen and Heather Barnett, lull the students into a entertaining exercise. Sitting in groups, the students are asked to brainstorm lists of subject matter for art – death, immigration, philosophy, alienation. ‘Black holes!’ someone shouts. This is getting quite fun. Next, different methods for producing art. Painting, sculpting, drawing. But what about data experiments or tasting – how can that be practical? Finally, a list of materials to use in the production of art. Students are warmed up now. Rubber, plastic, cement… bacteria! Sports equipment!!


Use the hammer to smash

the patriarchy walnut!


You may see what is about to happen – but the students didn’t. Heather delivers the coup de grace. Randomly assigning numbers, each student ends up with a unique combination of ‘matter-method-material’. This is the first project brief of the MA: to develop artwork based upon the ‘forced connections’ of a chance group of three words.

The initial result is… uproar amongst the students. But then, with a bit of coaching and support, the studio starts germinating some unusual pieces. Cola cans cling to the window. Folded paper sprouts from a wall. Knitted cushions appear and then start multiplying. A month later, and students are explaining works about immigration, developed through interviews, using bacteria as a material. A collaboration results in painted rocks, telling us about philosophy. Ink dripping down folded paper is a metaphor for alienation. Plastic, painted, reveals insights about communication networks. Just as the first crit is wrapping up, Heather delivers another bombshell. There is an opportunity to show these experimental pieces in a London gallery in a week’s time…

Forced Connection artwork by MA Art and Science student Stephen Bennett connecting 'Immigration | Interviews | Bacteria'

Forced Connection artwork by MA Art and Science student Stephen Bennett connecting ‘Immigration | Interviews | Bacteria’


The display is part of University of the Arts London’s recent Practices of Enquiry, an exhibition of experimental enquiry-based learning across UAL, featuring teaching methods from all colleges. Photos of the in-situ art are studded through this blog. The art is intended to inspire and provoke teaching staff across UAL. This is most evident in the Rules of Random workshop run by Heather. This event, for UAL teaching staff, uses the same techniques as the ‘forced connections’ project.


“How do you send an

orange into space?”


This time unsuspecting participants brainstorm a list of ‘unusual groups of students’, ‘difficult subject matter’, and select random objects. The MA students are interspersed in the groups, now playing the role of coach. They help groups design lesson plans to teach mathematical pattern recognition to traditional wine makers using a compass. Participants consider how to use dried orange slices to teach astrophysics to 16 year olds. Ever used a walnut to teach sex education to linguists? What about using a blindfold to teach technoheads about Antarctic scuba diving? You can see some of the results in this blog.

Rules of random, 'Devise a lesson on sex education to linguists using walnuts'

Rules of random, ‘Devise a lesson on sex education to linguists using walnuts’


The two sister exercises – Forced Connections in the studio, Rules of Random in the gallery – had a number of features in common. Perhaps most obviously they are conduits for unlocking creativity. Everyone can get stuck in a rut, whether producing art, teaching or working in an office. Restricting options can force lateral thinking and resourcefulness. Sometimes we are faced with two many choices or methods, and the possibilities can be paralysing. Sometimes – especially when doing something we are supposed to be good at – we live in fear of failure. But, when forced to use a sieve to teach tradesmen about crime, the failure becomes almost inevitable, and this permits a great willingness to take risk.


“What is the

essence of a feather?”


A number of the CSM students are now incorporating the initially ridiculed combinations of matter-method-material into their main practice. Bacteria and immigration becomes a starting point for examining the semiotics around human relations. Folding and alienation has resulted paper-based in sculptures which morph between two and three dimensions. Similarly, feedback from the Rules of Random workshop participants was that it has opened up new teaching approaches. Food can be an excellent way of teaching 16 year olds about abstract concepts. Participatory lessons, especially ones involving blindfolds or smashing nuts, become instantly memorable. Objects can help focus learning into specific issues in a much broader topic.

Rules of Random, handling given objects to generate ideas

Rules of Random, handling given objects to generate ideas

These techniques can be adapted into practically any environment, with any task in mind. Please try them out, see if it can unlock a problem or open up a new line of enquiry. And remember: you must use whichever random combination you get!

The Rules of Random workshop was developed as part of Practices of Enquiry, a two-year enhancement project at UAL exploring how we create the conditions for enquiry to flourish within our ‘creative, curious, critical curricula’.

The workshop was devised and delivered by MA Art and Science lecturer, Heather Barnett, working with students: Olivia Bargman, Stephen Bennett, Joshua Bourke, Lisa Pettibone, Çağlar Tahiroğlu, and Bekk Wells.



Event review of ‘What if… Why not? Creative Risk-taking in Art, Design and Performance’

This article first appeared in Spark: UAL Creative Teaching and Learning Journal

Vol 1, No 2 (2016)  –  reproduced with permission

Event review of ‘What if… Why not? Creative Risk-taking in Art, Design and Performance’ at Central St Martins, 21st March 2016

Åinne Burke and Neus Torres Tamarit, students on MA Art and Science, Central St Martins


‘What if… Why not…?: Creative Risk-taking in Art, Design and Performance’ was a symposium organised by Central Saint Martins (in partnership with the Teaching and Learning Exchange) as part of the on-going Teaching Platform series of events exploring contemporary issues in art and design education. It took place at Central Saint Martins on 21 March 2016.

This review takes the form of a conversation between Åinne Burke and Neus Torres Tamarit who, along with other students on the MA Art and Science at Central Saint Martins, devised workshops as part of the symposium. As well as these workshops, this daylong symposium brought together keynote presentations that asked whether creative students are allowed to take risks in university learning. Participants explored how risk-taking is perceived within learning and artistic practice, considering whether teaching can accommodate the possibility of positive failures.


risk, workshop, student-led, failure, curriculum design, assessment


What if… Why not?: Creative Risk-taking in Art, Design and Performance’ was a symposium held at Central Saint Martins College on the 21 March 2016. The event opened with hands-on creative practice workshops on the ‘Rules of Random’, run by students from the MA in Art and Science at CSM. The workshops invited participants to engage with the core questions posed by the symposium:

  • Is there a space for creative students to take risks in their learning at university?
  • How do we understand and experience risk taking within students’ learning and practice?
  • What teaching approaches support (or not) the possibility of ‘positive’ failure?

The daylong symposium also incorporated presentations by speakers, including artist Mark Dunhill (Dean of Academic Programmes at CSM), Professor Matthew Kieran (Professor of Philosophy and the Arts at the University of Leeds) and Dr Silke Lange (Associate Dean of Learning, Teaching and Enhancement at CSM).

As students who ran workshops for teaching staff at the symposium, we decided to position this review as a conversation, in order to give a flavour of our perspective on being involved in a staff event and how we experienced the tutors’ conversations with each other.

Neus and Åinne in conversation

Neus: How did students become involved in delivering workshops at a staff symposium?

Åinne: Through Heather Barnett, one of our lecturers on the MA in Art and Science at CSM. As part of Unit 1 of our course in November 2015, Heather directed a workshop with the title ‘Rules of Random’. Then, in early March, she invited volunteers to devise and facilitate our own 15 minute long versions of these workshops for the symposium. There were seven workshops in all. As well as Neus and myself, a number of other students volunteered to run individual workshops. These were Ellie Armstrong, Marie Macc, Franceska McCullough, Michelle Von Mandel and one workshop was co-directed by Hannah Scott and Nicholas Strappini.

The workshops had individual titles that responded to the concept of ‘Rules of Random’, which was used to name the overall first hour of the symposium, during which they took place. After much consultation as a group, we decided to engage visitors from the moment they arrived at CSM. Each symposium attendee received a colour-coded bag during registration. The paper bag contained various objects that had been selected by the student volunteers running the workshops. Visitors were asked to keep these bags sealed. Instructions on the outside of the bag directed visitors to the symposium room and the different colour of each bag indicated which workshop they should join once they arrived. The workshops were held in the same room as the symposium. Each workshop was directed at a table that accommodated up to seven participants. The participants of the symposium were divided between the seven workshops and stayed in that workshop for the duration of the allocated time for the Rules of Random exercise. The participants of each workshop demonstrated to the group what they did in the workshop and the outcome of their work. Each of us seven students also described our workshop in the context of our own practice and research. Heather Barnett concluded the overall exercise by showing photographs and talking about the results of the Rules of Random workshop she devised and directed with during our MA course work in our studio in Archway earlier in the year.

Neus: I created a workshop linked to my artistic practice about genetics entitled, ‘DNA Mutation and Recombination Dadaist Poem’. I introduced the following risks: uncertainty about the activity’s objective and a set of rules corresponding to each side of a dice that would be applied according to repeated dice rolls. At the end of the activity, I gave a handout with an explanation of the activity’s context.

The workshop participants had to compose a visual poem from words they would write in a random manner and then deconstruct according to a set of rules that emulate DNA recombination and mutation processes dictated by repeated dice rolls.

The workshop’s objective was to revive and modernise Hugo Ball’s performance in the Cabaret Voltaire in 1916, in which he appeared dressed in a machine-like avatar and read his poem, ‘Karawane’. I entered the resulting words that composed the visual poem into speech software that read the final words aloud, resulting in a contemporisation and inversion of ‘Karawane’; the original performance involved humans aping machines but we presented the final element of the performance using machines that ape humans.

The deconstructed words resulting from an aleatory process and the rules emulating DNA processes of recombination and mutation connected with the Dadaist poetry characteristics such as incantation of onomatopoeic constructed words, disparate words conjoined to create nonsense, and fragmentation of words into deracinated syllables or manipulated alphabetics.

Åinne: For my workshop ‘Evoking Memories Through Touch’, participants worked in pairs. One person was given the role of ‘scribe’ and the other ‘explorer’. The explorer was asked to close their eyes, reach into the paper bag (which had been given to them when they registered for the symposium) and take out one object. With their eyes still closed, they felt the object for a set time. The scribe then asked them a series of questions from a questionnaire (provided at the start of the workshop) and wrote them down. The questionnaire was split into two parts; the first asked the explorer to describe the object and second asked about the memories evoked by each object. The participants swapped roles so that they were able to develop a co-authored short story of shared memories, created by their combined descriptive responses. This is a workshop I devised and continue to develop in various projects that facilitates individual and group senses of self, and how we come to know who we are throughout our lives (Burke, 2016). In my MA practice I am continuing to develop that sense of self as part of a local community in a global family on a planet we share with all life. It is part of an on-going project called ‘TEAM, The Earth And Me’ that I am developing with a community in Myanmar.

Neus: Heather Barnett followed the 7 student-led workshops with a presentation describing how the MA Art and Science course encourages students to focus on process rather than finished artwork and to incorporate risk factors into our artistic practices. She presented the Matter-Method-Material experimental project in which after a brainstorm about subjects, methods and materials, students are assigned a random word from each of the three categories and focus on the process, rather than on the objective of producing a final artwork. Her discussion outlined how we, the students, are usually taken out of our creative comfort zone. As a student and artist with ten years of experience, I found this activity challenging. I was assigned three subject-method-material words that I would have never used. But after my first investigations, I managed to link them to my artistic practice and the process was very rewarding.

The symposium then continued with speakers and participants discussing the challenges of how to cultivate creative process that involves risk-taking, failure and uncertainty in an educational system that doesn’t allow enough time or flexibility around meeting curricular targets to do it.

Åinne: During the afternoon papers I particularly enjoyed Mark Dunhill’s talk, ‘Houdini’s Box’ (Philips, 2002). Dunhill demonstrated how risks were taken in the past due to circumstances at play at different moments in history. Mark told us about how in the 1960s, Central Saint Martins created an exploratory way to develop curricula where students explored their work without pre-defined parameters of a set curriculum. Students were free to take responsibility for their own learning by setting up their own projects in their own time frames, without direction. Despite being quite revolutionary this was accepted by the college management at the time. I liked that sense of trust and risk-taking as I am sure all the students gained a very strong sense of who they were and what they wanted to pursue in their work and life.

The group conversation shifted during the subsequent papers during the late afternoon. Both Professor Matthew Kieran and Dr Silke Lange talked about art and art process, which brought the conversation back to how academics plan, develop, direct and administer their courses. What started as a wide-ranging, stimulating conversation on creative risk-taking swiftly transitioned to people discussing the frustrations caused by institutional administration. During these conversations, the institution was increasingly characterised as an inadequate framework that does not support ‘risk taking’ as part of creative development. It is totally understandable that the conversation came back to the everyday trials and tribulations of creative work in a formal educational environment for everyone involved. Aspirations for creative risk-taking as a core philosophy for creative learning needs a concerted effort form everyone, including the students. Who is going to promote and support it and how can it be achieved throughout UAL?

As both a student at UAL and someone who has worked professionally as a director/producer of holistic edutainment projects, it was intriguing to listen to these exchanges. During my career facilitating edutainment events that aimed to develop creativity and imagination through art, technology and science, I have produced and directed what might be termed ‘high-risk’ projects. The process of organising these projects was fluid and allowed for different experiences and varied outputs. However, the structures surrounding educational administration struggle to allow fluidity into curricula, despite the success of the projects academically and creatively. The frustration which led to me scaling back my work was reflected in the late afternoon discussions. Working as staff in the system is incompatible with risk-taking unless it is supported by that system, through its structures. I worked as a maverick on the outside of the educational system bringing projects into it and leaving once they were completed etc. The symposium gave me an inside view of the frustrations that academic staff have in delivering courses under the constraints of heavy administration, sometimes at the loss of creative freedom. I sensed a huge desire to develop a creative risk-taking philosophy and practice, central to the students’ learning.

Neus: During these discussions, I found myself in an interesting position; although I am a qualified teacher I never think of risk, failure and uncertainty as an educator because I have never had a teaching position, but I introduce them into my artistic practice as part of the creative process. In my artistic career, I have developed a working method that consists of shifting back and forth between concept and material. This allows me to move forwards in the creative process in which I set a proper working environment to act according to a set of rules and allowing risk, uncertainty and (no fear of) failure, as said in the symposium. However, a creative process that embraces failure as an integral part of creation is fine in theory. In practice, there are usually external pressures that penalise failure if the process doesn’t arrive to a satisfactory point in a given timeframe. Examples of such external pressures are finishing an artwork either for an exhibition or to have a grade in a course. That said, artists, students or otherwise, should give themselves and be given room to experiment and fail, and be encouraged to learn from failure as well as success when researching techniques, exploring their artistic practice, and following the criteria stipulated by institutions.

The avant-garde movements changed their framework in order to adapt to the needs of the time allowing flexibility around their rules, accepting different artistic practices and interpretations of the same movement. I believe that by questioning the educational system, interrogating one’s own teaching processes, and giving students a degree of creative freedom that is not tied to a marking system, we could be moving forwards. Certainly, as indicated by the presentations and the discussions at the symposium, we are facing a controversial subject that clashes with what is established; certain traditions are very difficult to change.

Åinne: By considering creative risk-taking in an educational and creative environment, it seems that what emerged by the end of the symposium was another question about whether you can introduce and maintain a ‘fluid’ process of risk-taking in an adaptable art learning environment whilst, at the same time, pleasing less fluid, non risk-taking administration at local and regional levels of government in the UK.


Barnett, H. (2016) Available at: (Accessed: 30 May 2016).

Burke, A. (2016) Available at: (Accessed: 18 July 2016).

Frieling, R. (ed.) (2008) The art of participation, 1950 to now. San Francisco: Thames & Hudson.

Kahneman, D. (2011) Thinking, fast and slow. New York: Farrar, Straus and Giroux.

Kieran, M. (2016) Available at: (Accessed: 30 May 2016).

Kieran, M. (2005) Revealing Art. London: Routledge.

Lange, S. (2016) Available at: (Accessed: 30 May 2016).

Philips, A. (2002) Houdini’s Box: The Art of Escape. London: Vintage.

Torres Tamarit, N. (2016) Available at: (Accessed: 18 July 2016).

UAL Teaching Platform. (2016) What if…Why not…?: Creative Risk taking in Art, Design and Performance. Available at: (Accessed: 30 May 2016).


Åinne Burke and Neus Torres Tamarit are students on MA Arts and Science at CSM.

Neus Torres Tamarit graduated in Fine Arts in 2007. She is transitioning her artistic practice to creating art about genetics. She is an artist collaborator at the Art Exchange at the Tate Modern and has exhibited internationally at places such as the Louvre Museum, Srishti Institute of Art Design and Technology (India) and the Susak Biennale (Croatia).

Åinne Burke has thirty-five years experience as an artist, writer, producer and director of workshops and projects in Ireland and internationally. Her work centres on the development and facilitation of our creativity and imagination about who we are and the world around us through art, science and technology. She has worked with a wide range of organisations including RTÉ (Ireland), Danmark Radios (Denmark), Norwegian Broadcasting Organization, Netherlands Outside Broadcasting, Svergis Television (Sweden), Canadian Broadcast Co-operation, BBC (UK), Philips Media (Netherlands, New York & UK) and The Office of the President of Ireland.

Copyright (c) 2016 Neus Torres Tamarit, Åinne Burke

Gallery from our Art and Science fundraising workshops

MA Art and Science fundraising workshops, March 2016


In March 2016, MA Art and Science staff and students ran a range of creative workshops exploring observations and experimentations in art and science at Central Saint Martins.

With many sessions selling out, participants gained some knowledge and hands-on experience with a range of techniques, including slime mould problem solving, microbial image making, nebula bottling, water mapping, microscopy inspired glass sculpting and chemigram making. The creative art and science workshops were designed for adults and young people.

All proceeds went towards the MA Art and Science Degree Show, Unfolding Realities which opens to the public 25-29 May 2016.


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To see details of each individual workshop see them listed here.


Bottle your own nebulae by Carla Mancillas Serna

Art and Science Creative Workshops – now booking

MA Art and Science staff and students are offering a range of creative workshops exploring observations and experimentations in art and science on Saturday 5 and 12 March, at Central Saint Martins.

Come along and get hands on with slime mould problem solving, microbial image making, nebula bottling, water mapping, microscopy inspired glass sculpting and chemigram making. Creative art and science workshops are designed for adults and young people. Young people must be 12+ and accompanied by an adult.

All proceeds go towards the MA Art and Science Degree Show (open to the public 25-29 May 2016).

Cost: £14 adult | £12 UAL staff/student | £9 child/senior/unemployed
(discounts available when you book two or more workshops, applied at checkout)

See details and booking links below…

Looking Glass by Jenny Walsh

Looking Glass by Jenny Walsh


Through the Looking Glass & Microbial Me

5 March 2016, 11:00 – 13:00

Through the Looking Glass (with Jenny Walsh)
Glass played a crucial role in enabling man to see beyond the visual eye. In this workshop discover how skilled craftsmen learned to grind glass and change its composition to revolutionise the way we investigate the microscopic world. Inspired by microscopic images each participant will be invited to create their own microscope slide using glass confetti and stringers.


Microbial Me (with Mellissa Fisher)
Learn about the invisible world on your skin, think about your own microbes and design your own microbial portrait using a painting technique and collage. Each person will have their own microbial face to take home along with knowledge about bacteria!


Attentive Topologies and Water Mapping by Beckie Leach & Silvia Krupinska

Attentive Topologies and Water Mapping by Beckie Leach & Silvia Krupinska


Attentive Topologies & Water Mapping

5 March 2016, 14:00 – 16:00

Attentive Topologies and Water Mapping (with Beckie Leach & Silvia Krupinska)
Focusing on the canal area next to Granary Square in Kings Cross (in front of Central Saint Martins), this workshop will guide you through a series of attentiveness exercises exploring sound and water. You will find out about phenomenological approaches to artistic practice and water/sound quality, and create expressive maps capturing the movement of water and sound.


Slime mould problem solving a maze by Heather Barnett

Slime mould problem solving a maze by Heather Barnett


Slime Mould Boot Camp

12 March 2016, 11:00 – 13:00

Slime Mould Boot Camp (with Heather Barnett)
The slime mould, Physarum polycephalum, is a small brainless protozoa with surprising intelligence. Used as a model organism in many areas of scientific research it also makes for a great creative collaborator. In this workshop you will discover the fascinating role this single celled organism has to play in the cultures of science and art, and design a practical experiment to test its capabilities and problem-solving skills. Each participant will take home a new microbial pet to observe and experiment with.


Chemigram Magic by Don Li and Mira Varg

Chemigram Magic by Don Li and Mira Varg


The Chemigram Spell & Bottle Your Own Nebula

12 March 2016, 14:00 – 16:00

The Chemigram Spell (with Don Li & Mira Varg)
Offering some fresh air in the midst of a digital age, the workshop explores the potential of analogue photographic processes through a hands-on session, working with tools and materials that are unconventionally related to photographic processes – including paint brushes, syringes, honey and varnish. Come and experience the magic of an alternative image making process.


Bottle Your Own Nebula (with Carla Mancillas Serna)
Nebulas are massive clouds of interstellar dust in space, mainly composed of helium and hydrogen and other chemical elements. They are also known as “stellar nurseries”. These clouds of different shapes, sizes and colours coalesce in space, collapse and give birth to stars and planetary systems, like our own solar system. Learn about how nebulae form and create your own bottled cloud inspired by the colours and textures of cosmic dust.


Jared Vaughan Davis 2015

MA Art and Science graduate activity

Since completing their studies in June our recent graduates have been busy. Here is just a flavour of some of the things they’ve been up to…


Jared Vaughan Davis has been published in 3 international magazines:

INTERALIA MAGAZINE: On the Greek Gematria series and Metamodern experiments

SCIART IN AMERICA: Thoughts on the limitations of art and science – pg 8

ABOON MAGAZINE: Interview with Jared Vaughan Davis


Daniel Simon Ayat is guest critic on the AAVS Lyngør Workshop taking place in August on Lyngør Island in the North Sea. The workshop will explore the fundamental properties of Nordic architecture and formulate site-specific speculations in the context of a small island community. Daniel will contextualise the 1812 Battle of Lyngør with reference to naval technology, navigation, and astronomical instrumentation.


Vivienne Wen Du has been Artist in Residence at The Lab Project – an experimental month long residency exploring interactions between art and science, along with another graduate from 2013, Rose Pickles.


Sivan Lavie curated an exhibition, Human Nature, in London featuring many fellow artists from MA Art and Science.


Alice Cazenave, Jing Hu and Crow Dillon-Parkin exhibited in Fluorescent Open House Festival in Soho in July.


Several students have moved into new studios to be able to continue their practice post-graduation, including Libby Heaney, Morfydd Ransom Hall and Crow Dillon-Parkin


No doubt much to follow in future…