The exhibition presents a crossover of images from projects produced by artists, scientists and designers.

On the one hand there are images produced by scientist as a by-product of their research. Often it is the case that these images are disposed of after they have served their function of recording empirical data and communicating to a particular field of knowledge via journal or conference publications. In this show these images sit comfortably side by side with aesthetic works produced by artists.

Coming from the perspective of the 'artworld' there are works produced by artists who have used scientific instrumentation. There is an image of skin cells secured through the use of an Atomic Force Microscope (AFM) and presented in a way that evokes a surreal dreamlike landscape. Another example is an image of a fruit-fly dissected into 600 slices, scanned and reassembled as a 3D model that was projected in a dome theatre. The procedural model enabled a visual fly-through of the insect's internal organs. There are artists here who generate music from the motion of Daphnia in Petri dishes and an animation where the audio track is determined by the energy pushed out from a black hole being studied at Blackrock Castle Observatory. In some cases the artists have employed tools or methods more commonly associated with the practice of science while other pieces demonstrate a more direct collaboration between art and science disciplines. Finally then there are those while remaining more within the boundaries of their own practice create links through the content they choose to address. One example of the latter is a musical composition inspired by Foucault's Pendulum and based on the rotation of the earth.

Projects by designers demonstrate examples of how technology trickles down into everyday situations. In this particular strand GPS applications on mobile phones enable one to navigated through time as well as through space. Others show how new technologies in museums can enable visitors a deeper experience and therefore understanding of the past worlds from which artefacts have survived. And there are artists who explore how technologies 'get' used in ways that were not captured by the intentions of their designers. There is also one project where lighting designed for domestic use provides 'ambient' communication on the level of energy used in the home; in this work meaning is directly encapsulated in the aesthetic performance of the lighting units.

Overall the show attempts to address the view that boundaries between different fields of knowledge, artificially constructed from the second half of the 19th Century, are continuing to collapse again. The growing interest in crossing the scope of knowledge and methodologies from these fields, while risky, may open gateways to new paradigms that serve contemporary society more effectively.