The permeable professional boundaries between art, science and technology are increasingly challenging the perception and understanding of time and space. In particular, the realms of ecology and biology open up new possibilities for a post-anthropocentric, holistic understanding to (re-)contextualize an "Everywhen". In a dialogue-based comparison, the following text contrasts and synthesizes Alfred Northern Whitehead's process-philosophical theory with Merlin Sheldrake's mycological studies on mycelium, the vegetative part of fungi. The focus is on the temporal understanding with a view to the dynamic and interwoven aspects of reality.

We investigate the potential of lab-grown clitorises created by 3D bioprinting stem cells derived from menstrual fluid. Our approach challenges male-dominated narratives in tech spaces, advocating for a feminist, nonbinary methodology focused on pleasure and eroticism beyond reproductive function. The project is conveyed through video performances, scientific experiments, and digital art, fostering a multifaceted discourse on posthuman pleasure, ethics of sexuality, and the deconstruction of gender norms. We scrutinise the ethical complexities of bioprinted organs capable of neural responses, questioning notions of consent and sentience in bioengineering. The use of social platforms like OnlyFans for disseminating our work strategically disrupts traditional digital consumption patterns. Through this, we address biocapitalism and control of narratives around sex and pleasure, questioning normative uses of technology in spaces that objectify bodies. Our paper calls for a reevaluation of biotechnological advance in its cultural, ethical, and societal impacts, challenging existing paradigms and fostering inclusive scientific exploration.

The complexity of the tridimensional genome has much information to unpack. Bridging some of this information with a tangible object and interface can ease this process, acting as popular science. How can we make an interactive and tangible instance of scientific complexity to support this quest? The proposed answer is by codifying the genome in a physical interactive space and allowing an active interface for the audience with total agency among the genetic code. A DIY system is proposed to democratize this interactive popular science process. This project has been developed following the Fab Academy training in FabLabBcn within a research network of molecular biologists, ChromDesign, closely working with CNAG (National Center for Genomic Analysis).

This article explores the space of potentiality in-between interpretation and failure, in re-imagining radioactive agency within the framework of artistic research. By presenting the collaborative project Atomic Kinship, the article references an existing idea, that of a cult of radioactivity, which was proposed in relation to the realization of a repository for spent nuclear waste, as a means of transmitting cautionary messages about the dangers of encountering buried radioactive waste through deep time.

The article explores the physics of radioactivity and proceeds by presenting historical connections between its discovery and photography, highlighting the interconnectivity of art and research. By acknowledging the material agency of radioactivity, the collaborative artwork Decay Cyphers speculates on the possibility of decoding messages from radioactive sources, to open up questions about the nature of matter, existence, time and belief.

The Atomic Kinship thus proposes to consider an affective relation to radioactivity; an emotional connection with this nonhuman agent that can embrace different temporalities and dis/placements of radioactive particles, through the introduction of a deity. By envisioning a communal way of relating to radioactivity, the project intends to open questions about the ethical value of these reflections in addressing the issue of radioactive inheritance.

ACMI works at the cutting edge of emerging technology and digital innovation to present and preserve moving image and interactive art to its audiences now and safeguarding these collections into the future. This is done by applying a unique audience-centered approach combining experience design, digital preservation, and access practices across two key teams at the museum. The cross disciplinary approach leads to better results and means the experimentation is more expansive and impactful. It means ACMI can keep pace with the artists it works with and support them in this rapidly changing environment. Through a series of case studies from emulation, AI enriched search and on premises ‘reading room’ access this paper will consider how these strategies could be employed more broadly across the gallery, library, archive and museum sector and hopes to inspire collaboration and discussion.