Art, Science & Technology Studies

The Routledge Handbook of Art, Science & Technology Studies

Edited by Hannah Star Rogers, Megan K. Halpern, Dehlia Hannah and Kathryn de Ridder-Vignone

The convergence of art and science and technology studies in both theory and practice in the early 21st century offers a rich array of critical methods through which to examine science in and as culture. The Handbook of Art, Science & Technology Studies, to be published by Routledge in Spring 2019, charts the contours of an emerging field of scholarship and creative practice.

The natural sciences have long played the role of muse for the arts, inspiring new images of nature and imaginative interpretations of scientific and technological ways of knowing. Likewise, the arts have historically played a crucial role in the illustration, communication and popularization of scientific knowledge. In light of recent historical, sociological, philosophical and anthropological scholarship, it is no longer considered tenable to draw a sharp distinction between the "two cultures" of art and science. This insight is matched by trends within contemporary art, where the materials and methods of biotechnology, ecology, geology, information sciences and space research are being used as new media through which to explore the cultural implications of emerging science.

The Handbook of Art, Science & Technology Studies will present a diverse collection of scholarship and examples of creative practice in order to establish the historical and theoretical groundwork of this emerging field of inquiry and articulating its central questions, practical applications, and future directions. Guided by key principles of STS and the demand issuing from contemporary hybrid art-science-technology practices themselves, the volume approaches the arts and sciences symmetrically in search of insight into the manner in which they shape knowledge and experience.

Resisting the instrumentalization of the arts and emphasizing the continuity of creative and epistemic practices across disciplines, the essays collected here will elaborate the distinctive and complementary contributions of the field's most thought provoking practitioners. Contributions are sought from artists, scholars, curators and others engaged STS discourse that address themes including cultures and social worlds of art and science; forms of collaboration and exchange; modes of experimentation; power relationships, institutions and infrastructures; production and curation of art-science projects; users, audiences, and publics; commodification and culture; democracy and activism, among others.

For more information see the Call for Chapters.

Image Credit: Karolina Sobecka, Forth


Call for Chapters

Forthcoming in Spring 2019, The Handbook of Art, Science & Technology Studies charts the contours of an emerging field of scholarship and creative practice. Contributions are invited from practitioners from all disciplines provided that they are engaged with the scholarship and thematics of the volume, particularly including young scholars. 

Deadlines: Abstracts and expressions of interest will be accepted until April 1, 2018 with accepted full drafts due on July 1st, 2018.  The handbook will appear with Routledge Press in Spring 2019.

How to submit: Abstracts (250 words or less)  and expressions of interest may be submitted though this form.  Final chapter submissions may be up to 10,000 words. We will consider proposals for shorter essays and open format contributions. Relevant images and videos are welcome and encouraged with copyright permission.

Queries about the book may be sent to:



Hannah Star Rogers received her PhD in 2012 from the Department of Science and Technology Studies at Cornell University. Her research focuses on how art and science operate as categories and are operationalized as knowledge systems. Rogers curated the award-winning museum installation Making Science Visible: The Photography of Berenice Abbott (2012-2013 Fralin Museum of Art) and delivered a curatorial lecture at the Smithsonian Archives of American Art (Sept 21, 2012). She was 2016 Director of Research and Collaboration for Emerge: Artists and Scientists Redesign the Future at Arizona State University and is the 2017 bioart curator for Emerge: Frankenstein. Rogers creates and studies collaborations between artists, scientists, engineers, and designers. Works derived from her ethnographic studies and curatorial projects have appeared in a variety of publications including Configurations, Culture Machine’s Photomediations, Leonardo, and A New Synthesis. She has taught theoretical, design, and experiential learning courses on Art and Science Studies at Columbia University and the University of Virginia. She has held art-science residencies at Djerassi Artist Residency in Woodside, CA and with the National Park Service in Acadia, ME and the Everglades, FL.


Megan K. Halpern is an Assistant Professor at Michigan State University in the History, Philosophy, and Sociology of Science at Lyman Briggs and in the Residential College of Arts and Humanities. Prior to joining the faculty at MSU, she was a Postdoctoral Research Associate at the Center for Nanotechnology in Society at Arizona State University, where she worked with the Center for Science and the Imagination on Emerge: Artists + Scientists Redesign the Future. She earned her PhD in Science Communication at Cornell University. Her doctoral work focused on artist/scientist collaboration and the relationships between experts and publics, and on interaction design for audience participation. In addition to her research, she has co-created science performances and designed mobile applications that focus on engagement with art and science. While at Cornell, she worked with the Interaction Design Lab, where she created SunDial, a geocaching adventure around Ithaca’s Sciencenter, MoBoogie, an app that fosters creative expression through movement, and Frontstage, an audience participation system using mobile phones and tablets. She also developed collaborative performances in conjunction with local artists and the Cornell Department for Performing and Media Arts. Megan has a background in theatrical design, and prior to her work at Cornell, she co-created Redshift Productions, a company that facilitated artist/scientist collaboration and produced science themed performances.


Dehlia Hannah is Research Curator for the Centre for Environmental Humanities at Aarhus University, Denmark. She holds a Ph.D. in Philosophy from Columbia University, with specializations in philosophy of science and aesthetics. Her monograph-in-progress Performative Experiments articulates the philosophical implications of artworks that take the form of scientific experiments. As a curator of research networks and art exhibitions exploring imaginaries of Atmosphere and Place, emerging technologies and Landscapes of the Anthropocene, she regularly collaborates with artists, scientists, engineers, journalists and humanitarian aid organizations. Her current curatorial project and forthcoming book A Year Without a Winter revisits the environmental conditions under which Frankenstein was written, in the aftermath of the 1815 eruption of Mount Tambora, in order to reframe our contemporary climate crisis.


Kathryn de Ridder-Vignone is the Director of the Startsville Innovation Center at the South Carolina Governor’s School for Science & Mathematics, where she works with innovation in in rural and subrural contexts, as well as facilitating start-up and innovation practices. Her research focuses on image-making and emerging technologies. She was a past Assistant Professor of social context in the Department of Integrated Science and Technology at James Madison University. Prior to that she spent two years as a postdoctoral research associate at the Center for Nanotechnology in Society at Arizona State University. She completed her dissertation at Cornell University in the Department of Science & Technology Studies which focused on nanotechnology and the role of evaluation in public outreach through images and art.