Conference Videos


In light of the call for a expanded and inclusive approach, BoK2019 will emphasize lived-experience of research. This will be reflected in the structure of the conference—designed as a series of activated conversations. Keynote presentations will be structured in pairs, with time for conversation around a  a selected artwork or practice and cognitive theory or experiment. The conference sessions will be designed to allow delegates to circulate and conversations to emerge.

BoK2019 keynotes will be organised into conversations sessions. In order to open the art-sci dialogues and activate the operative notions of art and research for the delegates, two keynotes will be asked to present in the same 90min keynote session: one speaker from science perspective and one from an arts perspective. The speakers will agree upon an artwork /art practice and a cognitive theory or experiment to discuss.  Each keynote presenter would speak for 30min followed by the discussion of an agreed upon example of embodied research from art and or science, leaving time for Q&A.


Shaun Gallagher is the Lillian and Morrie Moss Professor of Excellence at the University of Memphis, Department of Philosophy. His areas of research include phenomenology and the cognitive sciences, especially topics related to embodiment, self, agency and intersubjectivity, hermeneutics, and the philosophy of time. Dr. Gallagher has a secondary research appointment at the University of Wollongong, Australia, and is Honorary Professor of Health Sciences at the University of Tromsø, Norway. He has held visiting positions at the Cognition and Brain Sciences Unit, Cambridge University; the Center for Subjectivity Research, University of Copenhagen; the Centre de Recherche en Epistémelogie Appliquée (CREA), Paris; the Ecole Normale Supériure, Lyon; and at the Humboldt University in Berlin. Most recently he was Senior Research Fellow at Keble College, University of Oxford. Professor Gallagher held the Anneliese Maier Research Award [Anneliese Maier-Forschungspreis] (2012-18) funded by the Humboldt Fellowship. He is also part of a research project studying Minds in Skilled Performance with funding from the Australian Research Council (2017-2020). He was principle investigator on several recent grants, including a European Commission Marie Curie Actions Grant: TESIS: Towards an Embodied Science of Intersubjectivity (2011-15), and a Templeton Foundation grant (2011-2013) which funded an empirical and phenomenological study of astronauts’ experiences during space flight. Gallagher is a founding editor and a co-editor-in-chief of the journal Phenomenology and the Cognitive Sciences.

Margaret Wertheim is an internationally noted writer, artist and curator whose work focuses on relations between science and the wider cultural landscape. The author of six books, including The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet, and Physics on the Fringe, a sociological study of outsider science, she has written for the New York Times, Los Angeles Times, Washington Post, Guardian, Aeon, Cabinet and many others. Wertheim is the founder, with her twin sister Christine Wertheim, of the Institute For Figuring, a Los Angeles-based practice devoted to the poetic and aesthetic dimensions of science and mathematics – Through the IFF, she has created exhibitions for the Hayward Gallery (London), Science Gallery (Dublin), Art Center College of Design (Pasadena), and Mass MoCA (MA). The Wertheims’ Crochet Coral Reef project is the largest participatory art & science endeavour in the world and has been shown at the Andy Warhol Museum (Pittsburgh), Museum of Arts and Design (New York), Deutsches Museum (Munich), the Smithsonian (Washington D.C.), and elsewhere. Through an unlikely conjunction of handicraft and geometry, the Crochet Cora Reef offers a window into the foundations of mathematics while also addressing climate change and our capacity for positive action in the face of ecological tragedy. Margaret’s Reef TED talk has been viewed more than a million times and translated into 22 languages.

Patricia Cain is an artist and visual scholar who lives and works in Scotland. Her book Drawing: The Enactive Evolution of the Practitioner (2010) redefines drawing as an enactive phenomenon and is a first-person account of the development of a practice-led methodology to access lived experience of the creative mind. Fusing art practice and cognition, she is interested in accessing hidden aspects of thinking – such as creativity, experiential learning, spiritual growth. Her practice gets its uniqueness from her particular multi-layered thinking style which is focused, complex and visual. She makes thinking processes and experience visible as the artwork, through mapping, digital modelling, narrating and curating studio work – shifting importance away from ‘artefact’ to ‘development of artist’. Since completing her practice-led PHD at Glasgow School of Art in 2008, she has focused on self-curating multi-media exhibitions as experiential installations, which allows her to create layers of points of access to the complex network that emerges for an audience: the artwork is the artist-led narrative and interpretation and connects with others to reveal a more fundamental experience.  To view her ground-breaking solo exhibition Drawing (on) Riverside at the Kelvingrove Art Gallery and Museum (2011) see’s current project Making Autistic Thinking Visible explores how autistic thinking and the development of autistic identity (Self) can be made visible. Her interest is in evolving autistic-led creative research methodologies that can reveal the nature of neuro-diverse thinking styles.

Annalu Waller is Professor and Chair of Human Communication Technologies/ University of Dundee and has worked in the field of Augmentative and Alternate Communication (AAC) since 1985, designing communication systems for and with nonspeaking individuals. She established the first AAC assessment and training centre in South Africa in 1987 before coming to Dundee in 1989. Her PhD developed narrative technology support for adults with acquired dysphasia following stroke. Her primary research areas are human computer interaction, natural language processing, personal narrative and assistive technology. In particular, she focuses on empowering end users, including disabled adults and children, by involving them in the design and use of technology. She manages a number of interdisciplinary research projects with industry and practitioners from rehabilitation engineering, special education, speech and language therapy, nursing and dentistry. She is on the editorial boards of several academic journals and sits on the boards of a number of national and international organisations representing disabled people. Annalu leads the AAC Research Group in the School of Computing which seeks to develop technology with and for people with limited or no speech.

Philipa Rothfield is Adjunct Professor in Dance and Philosophy of the Body at the University of Southern Denmark and Honorary Senior Lecturer at La Trobe University, Australia. She is a philosopher and occasional dancer. She was a member of the Modern Dance Ensemble (Dir. Margaret Lasica) and has had intermittent opportunities to work with Russell Dumas (Dir. Dance Exchange). She is co-author of Practising with Deleuze (2017, Edinburgh University Press), co-editor of Choreography and Corporeality with Thomas DeFrantz (2016, Palgrave Macmillan) and co-editor of the Dancehouse Diary. She is Creative Advisor at Dancehouse, co-editor of the Dancehouse Diary, and co-convener of the Choreography and Corporeality working group (International Federation of Theatre Research).

David Turnbull is a research fellow at Deakin in CES in ADI. Prof Turnbull has written on a wide range of social and cultural issues from the point of view of Anthropological inquiry through the lens of movement which involve Socio-cognitive Technologies of Human Movement, Knowledge Assemblage. These approaches impact upon the understanding of and Approach to for example, wayfinding and emergent mapping through Performativity, Hodology, Distributed Knowledge in Complex Adaptive Systems. Further, these studies open discussions on Futures for Indigenous Knowledges, Boundary-Crossings, Cultural Encounters and Knowledge Spaces in Early Australia, and critical issues of Land claims and terra nullius in relation to Western Desert Land Claims, The Tordesillas Line and The West Australian Border and Narrative Traditions of Space, Time and Trust.

Professor Liz Cameron is associated with the Dharug  Aboriginal Nation, located Hawkesbury River area in NSW. Liz commenced her early career in nursing and later completed a Diploma in Fine Arts, Post Graduate studies in Indigenous Social Health, and a PhD in Indigenous Philosophies. In 2010, Liz was nominated and awarded the National Indigenous Education Ambassador of Australia; 2012 presented in Top Ten Women’s researchers at Macquarie University and 2013 awarded the National Indigenous staff scholarship awards.

Liz’s research interests include Indigenous land and sea management (Caring for Country), creativity within cultural form and function, (traditional Aboriginal healing practices), Indigenous health (preventative social/emotional) and is a practicing artist. Liz has a personal passion in the arts and sciences involving Aboriginal aspects of optimal internal and external health as a transformative process through Indigenous ways of knowing. With a drive to create positive change, Liz’s focus is to share ancient forms of knowing to advance others in bridging the understandings of creativity and science through the interplay of imagination and intuition within healing.

Organiser of Bok2016 / Simon Penny has worked in custom interactive installation and robotic art since the mid 1980s, (after training in sculpture at the South Australian School of Art and Sydney College of the Arts). As Professor of Art and Robotics at Carnegie Mellon (1993-2000) he engaged VR and AI, then went on to found the Arts Computation Engineering (ACE) graduate program at the University of California Irvine, 2001-2012. His longstanding concern for embodied and situated aspects of aesthetic experience, along with a critical analysis of computer culture has led to a focus on what of he refers to as postcogntivist approaches to cognition – the focus of his book Making Sense: Cognition, Computing, Art and Embodiment (MIT press 2017). He was director of A Body of Knowledge: Embodied Cognition and the Arts conference UCI 2016, and An Ocean of Knowledge: Pacific Seafaring, Sustainability and Cultural Survival at UCI in 2017. He was Labex International Professor, University Paris8 and ENSAD in 2014; and was visiting professor in media theory, Cognitive Systems and Interactive Media masters, University Pompeu Fabra Barcelona, 2006-2013. More at

Claudia Schnugg is researcher and advocate of artscience collaboration, a producer and curator of residency programs, and has been the catalyst for numerous artscience projects. Most recently she was the first Creative Director of Science Gallery Venice. Previously she worked as Assistant Professor at the Johannes Kepler University, and was Visiting Researcher at Copenhagen Business School, the Art|Sci Center at UCLA, and ESO, Chile. She headed the Ars Electronica Residency Network 2014-2016. Recent publications include her book: Creating ArtScience Collaboration – Bringing Value to Organizations (2019, Palgrave Macmillan).