Since 2009, I have refocused the class from a reaction to current scientific landscapes,
to imagining a fully engaging scientific community, with critical discussions on the changes that must be implemented in the research environments in life sciences.
We also address the great potential of cutting-edge biologically derived technologies, and the power dynamics they induce in science and society.
- Overview of Responsible Conduct
- Record Keeping
- Authorship, Reviewer Process, and Scientific Publishing
- Conflict of Interest
- Industry and Academia
- Intellectual Property, Patents and Technology Transfer
- Open Science
- Protection of Human Subjects
- Privacy and Ownership (Genetic databases, Cell and Organ donations)
- Science and the public (Media relations, art and science, synthetic biology, future of science, DIYbio)
Art and Science Festival – Co-chair, Curator
2005 – 2008The festival founded in 1998, investigates the artistic relationships and collaborations between artists and scientists within the realms of art, science and technology, or as stated in their words, “forge[d] new ground as a public forum and platform for makers and thinkers working at the nexus of art, science and technology”.
A rejected proposal sent to the Architectural League of New York became my introduction to the subtle technologies festival, whose theme for the upcoming year was coincidentally, Responsive Architectures.
Together with Philip Beesley (2006) and Jim Ruxton (2006, 2007), we curated the festival programming, including the symposia and workshops, festival logistics and organization.
Hirosue, S., J. Ruxton, L. Salomé, C. Turner, V. Verkeley Eds. [in situ] art • body • medicine: Subtle Technologies 2007. Coach House Press, Toronto. Subtech07_book
Beesley, P., S. Hirosue, J. Ruxton, M. Tränkle, C. Turner Eds. Responsive Architectures: Subtle Technologies 2006. Riverside Architectural Press, Cambridge, 2006. ISBN: 978-0978097806 Subtech06 book (amazon)
Founder and Moderator
New York, NY
2003-2005Spurred by the grand celebration of the Human Genome Project and a not so by-gone memory of the exhibition Paradise Now at Exit Art (2000), which featured mainly the extremes: the Franken-horror of genetically modified organisms, or the open-arms embrace of the Genetic Message – genes as code, a small group of artists, architects, scientists, gathered periodically to critically discuss concepts in contemporary science as it relates to society, salon-style.