Sandpit: Synthetic aesthetics: connecting synthetic biology and creative design

Synthetic Biology is a new way of thinking about how to harness biological organisms to do useful things for mankind. If we think of cereal crops, there is a long history of people not just using what nature has provided but enhancing it by selecting for useful properties, like more and bigger seeds. Our knowledge has developed to the point where we are now able to really consider how we can engineer biology to be able to do exactly what we need. For example, we may want to make bacteria produce diesel or yeast produce medicines.In other engineering fields it is quite normal to have a team of people working together towards a project. Think of how the world would look if we left building design only to the civil engineers but not the architects. Whilst engineering is a creative process it is also one which is driven by function and not looks, or appearances. It is often very useful to bring in experts in aesthetics, or how things look and feel, for their opinions. In this new engineering field we are aware of our responsibility to work towards Synthetic Biology being able to deliver all its benefits without any side effects; we need to ensure delivery, safety and security, but also beauty. This project will bring together scientists and engineers working in synthetic biology with artists and designers working in the creative industries. It aims to develop long-lasting relationships between this diverse set of people, which will help to improve their work.In the first stage we will develop case studies summarising work in synthetic biology to distribute to the creative professionals. We will also identify groups and individuals who would benefit from being part of the project. We will bring in a consultant at this stage to help us form links with the creative and design communities. In stage two, we will arrange twelve two-week long exchanges where members of both communities spend time in each others' institutions. The post-doctoral fellow will facilitate and analyse these exchanges. In the third stage, we will organise two launch workshops: one at a synthetic biology conference and one at a design conference. We will also develop web resources and other dissemination mechanisms, to ensure that the results of the research reach a broad audience.We hope to see a surge of growth and interest in the aesthetics of synthetic biology in the final phase, which will influence teaching, research and product development. This could lead to new forms of engineering and new schools of art, as well as new ways for the public to engage with synthetic biology.

The potential impacts of this project are wide-ranging. At a technical level, we envisage the development of tools which would benefit synthetic biologists, such as computer-aided, or graphic, design packages and other visualisation tools. We could also see the development of novel synthetic biology tools for the artists, architects, industrial and graphic designers and others who participate in the planned visiting residences. In terms of broader impacts, we hope to create a new and expanded curriculum across both engineering and design disciplines, resulting in new schools of 'synthetic aesthetics', which would result in new forms of engineering and art. At a more profound level, this project could change the way we think about humanity's relationship with the natural world. Going beyond engagement One important impact of this project is that it will provide an alternative mechanism for non-scientists to engage with synthetic biology, beyond the familiar 'outreach' channels. The members of the creative and design communities who are part of this project will not just be passive recipients of information; the whole process will be much more reciprocal, and we expect the scientific approaches to be informed as a result. In fact, we like to think in terms of 'in-reach' as well outreach, particularly in the second stage of the project where the creative industries will be brought in to interact with synthetic biology. We aim to both enable synthetic biologists (in-reach), and enable others (outreach). Introducing creativity and aesthetics into synthetic biology provides a new channel of communication with the public about the research. Art and design make abstract concepts tangible and discussable, and they provide a mechanism to debate different futures before they happen. They can encourage thought and debate in a way which transcends traditional forms of public engagement. This will allow synthetic biology to become more widely accessible, and will enable a broader range of publics to engage with novel technological developments. Communication We shall connect with our target audiences through the deployment of a number of strategies. In the early stages this will take the form of personal networking and one-to-one outreach. Later stages of the project will see increasing use of mass communication strategies such as websites and advertising materials. Our communication activities will culminate in the Launch Events scheduled for Stage 3 of the programme. The greatest impact of the venture will result from this third stage and the ripple effect as audience members and our advocate teams go out into our communities and prosthyletise. This word-of-mouth engagement will also occur as a result of the inclusion of a Synthetic Aesthetics track in the iGEM competition. The research will also have impacts for social scientists, ethicists and philosophers with an interest in synthetic biology. Formal dissemination of the findings of the social science research, which will be undertaken by the post-doctoral research associate, will make use of the usual academic forums: journal papers, conference presentations and so on. Exploitation Whilst the work described herein is conceived to stimulate a synergistic interaction between the synthetic biology and creative communities, there exists the tangible potential for a downstream economic impact, particularly since the development of synthetic biology products will be informed by aesthetic considerations and design expertise. In the event of the creation of valuable intellectual assets these will be protected by the appropriate bodies (e.g., Edinburgh Research and Innovation) or translated beyond academia on a non-exclusive royalty free (or equivalent basis), in cases where broad and rapid public access would be most constructive.