Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker's work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere. This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art - Neudecker's first comprehensive solo exhibition in Ireland - presents more than 200 works from a 35-year-long career. In addition to a foreword by Una McCarthy, the gallery's Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker's practice. A 'timeline' that Neudecker made specially for 'SEDIMENT' concludes the publication. Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker's archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker's practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions. James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and 'time', while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker's work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialisation in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker's photographic series 'Plastic Vanitas' (2015). Dominic Gray, Projects Director at Opera North, offers insight into Neudecker's work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker's work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley's second offering returns to Neudecker's use of sound - its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates 'temporal turbulences' and 'an entanglement of materiality, space, form and position,' foregrounding the artist's desire for viewers to see everything as eternally in flux. The publication, which is released to coincide with a new iteration of Neudecker's exhibition 'SEDIMENT' at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London. Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987-90), and an MA in sculpture at Chelsea College of Art and Design, London (1990-1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN's guest programme, the European Commission's JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

"The Infinite" documents the making of the ground-breaking immersive VR experience shot entirely aboard the International Space Station. Artists and astronauts joined forces to capture life in the cosmos as never before. In this oversize publication, brand-new views of space and stunning production shots reveal the human imagination's limitless potential. In Summer 2021, PHI and EMMY (R) Award-winning digital entertainment pioneers Felix & Paul Studios will launch the public into an infinite universe. A ground-breaking immersive VR exhibition will enable the audience to visit the ISS, where they encounter experiments, zero-gravity living, and breathtaking spacewalks. Beautifully designed, "The Infinite" features interviews with leaders in VR and contemporary art. It perfectly complements the exhibition's role in rendering the innovation, collaboration and humanity's quest for the skies.

How do you make wind visible? How do you make air visible? How do you capture something in a photograph, when it is already difficult to get a visual fix on it? From its invention in the early nineteenth century onward, photography has been an instrument of scientific research. In line with this tradition, the Amsterdam-based artist Sjoerd Knibbeler deals with complex natural phenomena, which he makes visible in his photographic works. His work is rooted in his interest in discovering the world through human imagination and technology, and so he engages in meticulous observations of nature, experiments, and exchanges with scientists. On this basis, Knibbeler constructs fragile models that allow ephemeral phenomena, such as gusts of wind or sunlight, to be experienced. At the end of these explorations, he creates photographs that make it possible to perceive quasi-invisible processes in aesthetically sophisticated images, which in turn animate us to explore their content. Languages: German and English

The definitive survey of Keith Tyson's thirty-year career. British Turner Prize-winning artist Keith Tyson is known for a distinctive and diverse body of work including drawing, painting, installation and sculpture. Showing a wide range of influences, from mathematics and science through to poetry and mythology, he is interested in how art emerges from the combination of information systems and physical processes that surround us every day. For over thirty years, Tyson has probed, dissected, explored and questioned reality. Not fixed to one artistic style, Tyson sets out to challenge himself and the audience, whilst working with diverse materials - paint, clay, metal, resin - to question our knowledge of the world we perceive as real, and art's role in representing it. With newly commissioned texts from an internationally diverse array of writers, and including a previously unpublished interview with the artist, this is the definitive survey of one of the most restless and adventurous creators working today.