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Amy Karle

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Amy Karle
Amy Karle in 2019
Born1980 (age 43–44)
New York, U.S.
NationalityAmerican
Notable workRegenerative Reliquary, Internal Collection, Heart of Evolution?, Biofeedback, Cyborg Couture
MovementUltra-contemporary art, contemporary art, conceptual art, new media art, bioart, hybrid arts, digital art, computational art, performance art
Websitewww.amykarle.com

Amy Karle (born 1980) is an American artist, bioartist, and futurist whose work focuses on the relationship between technology and humanity, specifically how technology and biotechnology impact health, humanity, society, evolution, and the future.[1][2][3][4][5] Karle combines science and technology with art and is known for using living tissue in her work.[6][7] She uses the body and the actual science and technology as tools in the process of creating the artwork.[8]

She has exhibited her work in numerous museums around the world including in Ars Electronica,[9] The Centre Pompidou,[10] FILE Electronic Language International Festival, Mori Art Museum,[11] Museum of Contemporary Art,[12][13] Nova Rio Biennal,[14][15] The Smithsonian Institution[16][17][18] and the Triennale di Milano.[19][20]

In addition to her artistic pursuits, Karle has served as an Artist Diplomat through the United States Department of State Bureau of Educational and Cultural Affairs, where she led workshops focusing on women's empowerment in STEAM fields.[21][22]

In 2019, she was named in BBC's 100 women, as one of the 100 inspiring and influential women from around the world.[23]

Education

Karle is an alumnus of the School of Art and Design at Alfred University and Cornell University where she received degrees in Art and Design and Philosophy.[24][25]

Personal life

Karle was born in New York in 1980[26] and grew up in Endicott, NY. Her mother was a biochemist and her father was a pharmacist and Karle has said she "grew up in the lab in the pharmacy".[27]

Karle was born with a rare condition, aplasia cutis congenita, missing a large region of skin on her scalp and also missing bone in her skull. She underwent a series of experimental surgical procedures as a child. The skin was repaired by tissue expansion surgery that was considered dangerous and experimental at the time that it was performed.[28][27] This experience impacted her work and desire to heal and enhance the human body and human condition.[29] This early experience also inspired her interest in the links between biology, medical futuring and art.[23][7]

Approach

Through her visual and verbal works, Karle raises ethical questions related to new technologies. She actively engages in protecting interests, with a concentration on the ethical development of technology, human participation, human rights, as well as the environmental and evolutionary consequences of new technologies. Her goal is to draw the attention of technologists, companies, institutions, and policymakers to responsible use and development of technology.[8][21][30][28][31]

Major works

Regenerative Reliquary artwork by Amy Karle (2016); BioArt sculpture.into bone.
Regenerative Reliquary by Amy Karle (2016) is a BioArt sculpture of hand design 3D printed / bio-printed to create a scaffold for human MSC stem cell culture into bone.

Regenerative Reliquary (2016) takes the form of a human hand skeleton design that is 3D-printed in a trabecular structured lattice that is detailed to the microscopic level, out of a custom-made biodegradable hydrogel which will disintegrate over time. It is installed in a bioreactor and it is intended that human stem cells seeded onto it could eventually grow into tissue and become bone.[8][32][33][34][35] This BioArtwork is considered the first work of art that combines computational, biological, and physical. The use of cells and 3D-printed scaffolds in this work is considered a new medium for art and design.[36][37] Karle has said that this work has been designed with future implantation in mind, not for this specific biodesign but for the process.[38][32] New processes, materials, and 3D printing technologies had to be made to create the work. At the time it was made it was considered the largest 3D printed scaffold known.[39][40] Regenerative Reliquary won the Grand Prize at the YouFab Global Creative Awards.[41] It has been exhibited internationally, including at Ars Electronica[42], Post Life Beijing Media Art Biennale,[43][44][45] Centre Pompidou Paris, France,[10][46][47][48][49] and in the Triennale di Milano.[19][20]

Morphologies of Resurrection (2020) is a series of 6 sculptures based on segments of the spine from the Hatcher Triceratops 3D scan data created as part of the Smithsonian residency.[50] Karle's process examined the possibilities of reconstructive technologies and future evolution through biotechnological advancements.[51][52] The artworks are novel evolutionary forms based upon extinct species to explore “hypothetical evolutions through technological regeneration”(Karle) and De-extinction, 3D printed in biocompatible polyamide.[53] The pieces function as specimens and relics[54] which depict the relationship between structures that once served now-extinct creatures in the past for the purpose of finding application for future forms.[53] The group of nine sculptures were shown at the Smithsonian Institution.[55]

Following Regeneration Through Technology (2020), Karle expanded her work to decentralized computing and blockchain for biology and genetics and was an early adaptor of NFT technology.[56][57] Karle stated: "I see decentralization as a vehicle to transcend the physical limitations of what art - and our lives - can be."[58] She is considered the first Bioartist to work in blockchain and create NFTs.[59] She is also considered the first Bioartist to use Artificial intelligence (AI) and generative and autonomous art to create biodesigns and bioart.[60][6]

The Skull Collection (2021–22), is a series of NFT artworks by Karle that “are contemplations of how we can transcend the physical into the digital after we die.”[61] The digital art includes data from human skull that she previously 3D scanned at the California Academy of Sciences,"[58] and previously also used in her 3D sculpture The Incorruptible Body (2016). The collection depicts the artist's research of digital remains that are left after human death, while working through ways that living beings could live on after death by use of exponential technology, using the human body and blockchain as part of the artmaking tools. The Skull Collection imagery is generated through the artist's process of crafting a technology that can create artwork as she does after she passes away.[62] Karle has experimented with transferring consciousness and “life” to another body,[dubious – discuss] machine, or computer as also demonstrated in her bio art and biofeedback works, including her experiments with brain-computer interfaces, and her Biofeedback Art (2011) where she reflected her body and consciousness in a fusion of technology and bio-performance through an analog computer in real-time.[63] Karle's work addresses corporeality on both technological and emotional levels.[31]

Amy Karle with her 2019 artwork The Heart of Evolution?

The Heart of Evolution? (2019) is a biomechanical sculpture that takes the form of a beating human heart design placed on exhibition in Japan where there was historically great controversy surrounding organ transplant, specifically cardiac transplants, see Organ transplantation in Japan.[64] The work proposes a redesigned vascular system with the potential to enhance heart function, and the potential to grow replacement organs in a lab as opposed to using human or other animal transplants, while questioning the implications of enhancement on what it means to be human and impacts on evolution.[29] It is also an example of her work combining computational and biological. The heart design was 3D printed in biocompatible materials and exhibited at the Mori Art Museum, Tokyo, Japan (2019–20).[65][66]

As part of Ars Electronica.ART Global Gallery 2020, Karle exhibited The Heart of Evolution?; plus Biofeedback (2011), durational performance art where she connected her body to a Sandin Image Processor as an electrophysiological visualization device; and a collection of digitally enhanced prints made with Artificial neural networking, Machine Learning, and Artificial Intelligence entitled The Body and Technology: A Conversational Metamorphosis (2017). In this body of work, Karle worked through the use of Artificial intelligence in healthcare coupled with Generative design to devise a system for leveraging AI in the diagnosis of disease, with generative CAD designing replacement parts, and 3D bioprinting to create implants .[67][68][69][70] She created The Heart of Evolution? with some of the same methods.[31]

Embodiment is a common theme that Karle works through across a multitude of emerging technological platforms.[71][72] The Skull Collection expands into the realm of 'Post-Life'[73][31][8]

Cyborg Fashion (2022-2023) is a work where Karle envisions biofashion in a post-natural world when bodies and beings are altered by biotechnology.[74] Karle explores the interface between the body, the digital, and the metaverse, employing an amalgamation of artificial intelligence tools, computer-aided design, and handwork. The 2D "sketches" are made in part with Generative artificial intelligence, and are the foundation for digital 3D avatars and a tangible garment collection.[74][75] Cyborg Fashion Sketch #001 was exhibited in WAGMI: Kuwait’s First IRL NFT Exhibition at Contemporary Art Platform (CAP) Kuwait.[76]

Internal Collection (2016–17) is a series of 3D Haute couture garments based on human anatomy, depicting muscular, nervous, and cardiovascular systems. The fabrication process merges reality capture, 3D body scanning, computer-aided design, laser cutting, and hand-sewing techniques to create representations of internal body systems. Some of these methods are now being utilized for Sustainable fashion manufacturing processes, and also in the medical field to create custom-fit scoliosis braces and 3D-printed lightweight breathable casts.[77][78][72][37] Garments from "Internal Collection" have been shown at FILE Electronic Language International Festival,[79] the Mori Art Museum,[66][80] the Museum of Contemporary Art Taipei (MoCA Taipei).[81]

Biofeedback Art by Amy Karle, 2011 (Durational Performance Art)
Biofeedback Art by Amy Karle, 2011 (Durational Performance Art)

Biofeedback Art (2011) is a durational Performance art piece where Karle connects her body to a Sandin Image Processor and repurposes it to read the changes that occur while she lays still and meditates over periods of 5–8 hours. This creates the output of every changing experimental Video art and Sound art in real-time. The artwork is both the long-duration performance Endurance art as well as the experimental Video art and Sound art that is created in the process.[82][35][31]

Karle has created a body of artworks and performances using "biofeedback and neurofeedback" including: Biofeedback Art, 2011 durational performance art using her body connected to a Sandin Image Processor to create video and sound in real-time. Brainsongs, 2015 performance art. Karle connected her brain activity with an electroencephalogram (EEG) neuroheadset to musical instruments in a digital interface to output music. Resonation, 2015 performance at Signal Culture, New York where Karle used her body, an Emotiv EEG neuroheadset, and Chladni plate subwoofer and bioinformatics into cymatics, generating bio-signals into visuals and sounds Performance in Salt Mine, 2018 durational performance art in UNESCO World Heritage Site Bochnia Salt Mine and Wieliczka Salt Mine to share the experience and the pressures on the body being in the Salt Mines of Poland that reach over 1000 feet down into the earth. She used an electroencephalogram (EEG) neuroheadset to translate her brainwaves into digital music and projected visualization of brainwaves. Sound of brainwave recording and part of the recording of the performance was also used in a planetarium film by Karle and shown at the Heavens of Copernicus Planetarium at Copernicus Science Centre in Warsaw, Poland, and the performance was also shown at Museum of Contemporary Art Taipei.[81] Karle created this artwork during her work as an Artist Diplomat exchange artist to Poland.[83][84][85]

Artificial Intelligence (AI)

Karle was one of the early bioethicists and public speakers on the intersection of AI and biology, and at the forefront of artists leveraging AI, being the first bioartist to use AI.[6][86][87] Karle has integrated AI, Artificial Neural Networking, Machine Learning, and 3D generative design and engineering into her practice for creative purposes and to explore their implications on healthcare and the future.[88][75] Her AI and bio-AI hybrid artworks have been in museum exhibitions including: Artificial Intelligence: AI / The Other I Ars Electronica Linz, Austria,[42] La Fabrique Du Vivant Centre Pompidou, Paris, France,[10][46] Unknown Unknowns Milano Triennale, Italy,[89] and Future and the Arts: How Humanity Will Live Tomorrow Mori Art Museum, Tokyo, Japan.[26][90]

Karle's work in AI incorporates a biological perspective. She explores the implications of the merging of infotech and biotech and the impacts it can have on human lives, bodies, the environment, and evolution. This exploration appears in her art and design, where she utilizes AI as both a medium and a subject and includes the philosophical and ethical concerns that accompany these advancements.[88][75]

Similar to Neuralink, her work in biofeedback and neurofeedback explores topics of body-computer interfaces and BCIs/ Brain–computer interfaces, probing AI's capacity to translate human experiences and contemplating the ensuing benefits, drawbacks, and ownership of the output.[85][60] Karle's work in Artificial Intelligence includes using it to understand complex systems, enhance the mind-body connection, and create interactive and wearable artworks that respond to physical and emotional states, and transverse across digital and physical worlds, evident in her works like Regeneration Through Technology, The Skull Collection, and Cyborg Fashion.[29][60][74]

Engaged in the discourse of AI integration, Karle discusses potential threats and also cites possibilities for potential.[91] She advocates for maintaining agency and creativity in the face of increasing automation, urging people to actively engage with AI as collaborators rather than allowing it to replace human ingenuity.[92][86][87]

Distinctions

  • Artist Diplomat through US Department of State, American Arts Incubator[21]
  • Salzburg Global Fellow[93][30]
  • Future Innovators Summit Think Tank member-contributor (A Creative Think Tank for Big Questions about the Future to formulate questions of central importance to humankind's future. Topics include: How AI can impact humanity (Austria, 2017)[94][95] and Death-Life (Tokyo, 2018)[96]

Residencies

Karle (right) speaking at a 2019 conference about women predicting the future
  • Smithsonian Institution Washington, DC USA[16][17][18]
  • HP Labs, Palo Alto, California USA[97]
  • Centrum Nauki Kopernik (Copernicus Science Centre) Artist in Residence Warsaw, Poland[21][22]
  • Autodesk Artist in Residence San Francisco, California USA[32][98][99]
  • Signal Culture Owego, New York USA[100]

The way in which technology can capture a form and impact evolution was part Karle's collaboration with the Smithsonian Institution's Museum of Natural History and Digitization Program.[18] A 3D scan had been made of Hatcher the Triceratops skeleton.[101] Karle used the scan data to create a series of artworks imagining new forms based upon extinct species as “hypothetical evolutions through technological regeneration”, an example of information art.[18] In all Karle created nine sculptures in two series: Deep Time and the Far Future and Morphologies of Resurrection as part of Regeneration Through Technology (2020).[102]

Karle was an Artist Diplomat on an American Arts Incubator cultural exchange funded by the U.S. Department of State's Bureau of Educational and Cultural Affairs.[103][104] Karle visited Poland in 2018 and ran a number of workshops focusing on women's empowerment in STEAM fields.[105] During residency Karle shared her digital and art skills to empower STEAM women. As a result of the initiative, Karle and 20 Polish artists presented Layers of Life at the Copernicus Science Centre in Warsaw.[106][107]

Karle collaborated with Autodesk at the Pier 9 Residency program in San Francisco[108] and created Regenerative Reliquary (2016) to interrogate ways to change the structure of bodies.[109]

Exhibitions

Awards

  • BBC 100 Women (2019)[23][136]
  • Grand Prize YouFab Global Creative Awards (2017)[137]
  • Most Influential Women in 3D Printing (2017)[138]
  • One of 10 of the most inspirational women in the world[139]

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