the Weird and Ripley's Believe It or Not. In 2012, the project was exhibited in London at the Wellcome Collection. Projects 2004–2010 Keats is most famous for attempting to genetically engineer God in a laboratory. He did so in order to determine scientifically where to place God as a species on the phylogenetic tree. In interviews with journalists, he indicated that his initial results showed a close taxonomic relationship to cyanobacteria, but cautioned that his pilot study, which relied on continuous in vitro evolution, was not definitive, urging interested parties to pursue their own research, and to submit findings to the International Association for Divine Taxonomy, on which he served as executive director. In 2005 he started customizing the metric system for patrons including Craigslist founder Craig Newmark and Pop artist Ed Ruscha. He did so by recalibrating time to each person's heartbeat, and mathematically deriving a new length for the meter, liter, kilogram, and calorie accordingly. Around the same time, he became interested in extraterrestrial abstract art, and began producing canvas paintings based on signals detected by the Arecibo Observatory radiotelescope in Puerto Rico. This was the basis of the First Intergalactic Art Exposition, a 2006 solo show at the Judah L. Magnes Museum in Berkeley, California. As part of this exhibition, he also transmitted his own abstract artwork out into the cosmos. In 2006 Keats undertook several new projects, including two collaborations with other species: In rural Georgia, he gave fifty Leyland cypress trees the opportunity to make art by providing them with easels. In Chico, California, he choreographed a ballet for honeybees by selectively planting flowers on the Chico State University farm, reverse engineering honeybee communication to suggest dance arrangements inside hives. Keats also turned to himself as the subject of a lifelong thought experiment, undertaken through the act of living. To make the experiment scientifically rigorous, he established a scientific control in the form of a high-density carbon graphite block precisely calibrated to match the carbon weight of his own body. The block was placed on display under a bell jar at the Exploratorium in San Francisco. And at Modernism Gallery in San Francisco, he applied string theory to real estate development, enlisting the legal framework of air rights to buy and sell properties in the extra dimensions of space theorized by physics. To encourage speculation, the artist created blueprints for a four-dimensional tesseract house that