Colombian composer / intermediate artist, Alba Triana, will talk about some of her recent musical installations, related to the poetic exploration of the fundamental physical properties of resonant objects that emit sound and/or light. These musical pieces cross the disciplinary boundaries of art, science, and technology; Unfolding in time and space, to be heard, walked and seen.

Art-Science is a strange construction where neither of the two words qualifies the other. It is not a genre, nor a movement, nor an aesthetic or a single ideology. Art-Science is a nebula of practices and approaches, of desires and politics. Based on recent projects -such as Trust Me, I'm an Artist, FEAT/Futuro Emerging Art and Technology, LASER Paris- and a larger number of works of art, this talk will address some of the issues raised by the burgeoning area of Art. -Science displaying some of our implicit biases and prejudices.

As we limp back from big data sets, searching for some Bio-Peace and precarious balance, algorithms dangling from our brows, brains fractured to reveal neural mysteries. What exactly have we found? Did our inexorable look ahead force us to look back? Beyond the delusions of Google glass and other optimistic and technological solutions, how accurately will we navigate the challenges of this century?

After unraveling the terms "life" and "nature", both supposedly non-technological terms, the concepts of "green" and "nature" must also be uncoupled. Research on biomediality has shown that contemporary art forms that use biotechnologies as a starting point highlight - paradoxically - both their "liveliness" and their authenticity, on the one hand, and their explicit technique and artificiality, on the other. . We find a similar problem with the culturally ubiquitous trope of the greenery: Liveliness and greenness are linked through "biofacticity," the idea of biological artifacts that both grow and are, in fact, technically built from the ground up.

This talk will present methodologies and strategies associated with recent participatory sound arts projects in the UK (Sounds of the City, Belfast), Brazil (Som da Maré, Rio de Janeiro) and Portugal (Sou Cigano, Castelo Branco). These projects explore how sound is related to ideas of place, identity and the everyday. The participatory strategies rooted in authors such as Paulo Freire and the notions of broadcast creativity (Georgina Born) inform this work that aims to affirm the sound arts as a vehicle for social intervention, documentation and change. These projects have identified the power of sound when it comes to space, territorial politics and conflicts.