EARTH DAY ALERT ! Call for PODCASTS on ART AND EARTH SCIENCES

Colleagues
For EARTH DAY April 22, we will be featuring the Art and Earth Sciences channel

on Creative Disturbance produced by geoscientist Susan Ericksson.

http://creativedisturbance.org/channel/art-and-earth-science/
We are inviting all  colleagues to submit a podcast related to

Art and Earth Science, or to recommend someone we should record a podcast

with

Much thanks

contact me at rmalina@alum.mit.edu
Roger Malina for the Creative Disturbance Team

Light is My Business: Physics in a 100 years ?

Colleagues

The discussion on the yasmin list LIGHT IS MY BUSINESS for the international year

of light is going great-

Join the discussion at: http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions 

or if you just want to follow the discussion look at : http://yasminlist.blogspot.com/

I just posted about Frank Wilfred’s essay about Physics in 100 years where

he advocates augmenting the human visual cortex with other light sensors- uv, ir etc

 

and just now
Yasminer jon ippolito send be a back email suggesting we bring attention
to the book by sean cubitt  Digital Light in which Ippolito has an essay in it

http://openhumanitiespress.org/digital-light.html

Sean, Jon- hope you will jump in to the yasmin discussion on light !

here is the table of contents:

Introduction: Materiality and Invisibility 7 Sean Cubitt, Daniel
Palmer and Nathaniel Tkacz 1. A Taxonomy and Genealogy of Digital
Light-Based Technologies 21 Alvy Ray Smith 2. Coherent Light from
Projectors to Fibre Optics 43 Sean Cubitt 3. HD Aesthetics and Digital
Cinematography 61 Terry Flaxton 4. What is Digital Light? 83 Stephen
Jones 5. Lillian Schwartz and Digital Art at Bell Laboratories,
1965–1984 102 Carolyn L. Kane 6. Digital Photography and the
Operational Archive 122 Scott McQuire 7. Lights, Camera, Algorithm:
Digital Photography’s Algorithmic Conditions 144 Daniel Palmer 8.
Simulated Translucency 163 Cathryn Vasseleu 9. Mediations of Light:
Screens as Information Surfaces 179 Christiane Paul 10. View in Half
or Varying Light: Joel Zika’s Neo-Baroque Aesthetics 193 Darren Tofts
11. The Panopticon is Leaking 204

meanwhile sean has a second book just out

The Practice of Light: A Genealogy of Visual Technologies From Prints to Pixels.

https://mitpress.mit.edu/books/practice-light


From the introduction to the book The Practice of Light
the intro is on Sean’s academia page

The Practice of Light: A Genealogy of Visual Technologies From Prints
to Pixels. Cambridge MA: MITPressSean Cubitt
This work is licensed under aCreative Commons
Attribution-Noncommercial 2.5 Australia License.

https://www.academia.edu/11196517/The_Practice_of_Light_A_Genealogy_of_Visual_Technologies_from_Prints_to_Pixels

Preface (pre-press draft)
The rewriting of the past is dynamic, oriented towards the future. Its
role is to endow the present with meaning byoffering a focus of desire
to a community with reason todoubt its future’ (Debray 2004: 29)
How do visual media work? How did they get to work the way they do?
Does how they work matter?
The Practice of Light
ponders these questions by concentrating on the inferences of the
word ‘work’. The titlerefers to the practice of light. Working with
light, the work
of
light, making things with and about light, is practice. When we speak
of someone as ‘practical’, we think of a one-to-one relationship with
materials andtools. That privileged close relation is still widespread
in media, but the tools have become increasinglycomplex, and the forms
of practice increasingly involve complex interactions not only of
human beings buttechnologies doing things, working, making. All
practice involves us in the laws of nature and, as we shallsee, in
learning from natural processes, and intervening in them. The book
unpacks a story of natural, humanand technical practices involved in
both craft and industrial methods of accounting for or mobilising
light invisual media.Light is the condition of all vision. The visual
media are our most important explorations of this condition.They
reveal the long history of humanity’s struggle to control light.
The Practice of Light
presents agenealogy of the commanding visual media of the 21st
century, digital video, film and photography, tracingthe evolution of
their forms through a history of materials and practices. Because of
this focus, it omits thenon-Western history of visual technologies,
the dyes, inks, printing and paper technologies that preceded
theEuropean trajectory of printmaking, and the
swadeshi
and other indigenous forms of mechanical and digitalmedia developed
in the modern period. Instead it traces the roots of those
technologies that have becomeglobal in the 21st century. Addressing
the colonialist implications of these technologies, as well as the
otherface of globalisation, the ecological implications of dominant
media forms, will have to wait for acompanion volume to this book. It
seemed important first to establish the aesthetic of dominance in
thedominant aesthetic. In the imperial era that parallels the period
tracked here since the 15th century,techniques and technologies stolen
from colonised cultures have been assimilated into that
dominantaesthetic. It will take another book, or more than one, to
trace the braided environmental and decolonialhistories of visual
technologies. That work will look at the extent of dominance: this
investigates itsintensity.
The Practice of Light
begins in the invisibility of black, then builds from line to surface
to volume and space.It traces increasing degrees of complexity,
passing from the simplest of marks, the line, to two qualities
ofsurfaces, their texture or grain and their colour. The construction
of space in visual media is addressed in thefollowing chapter under
the rubrics of shadows, layers and projection, with perspective
considered a specialcase of a more generalised practice of projecting
that includes, among other things, cartographicorganisations of space
as well as cinematic projection. The last chapter deals with time, the
most recentaddition to visual culture, although in many respects the
media we can presume to be the oldest – poetry,song and dance – were
always intrinsically temporal. Time, as the movement of becoming,
completes atrajectory from nothing, the invisible dark, via something,
surfaces and spaces that are clearly seen, to end inwhat cannot be
seen as and in itself, but yet is everywhere apparent: the time of
decay and of emergence.By media I understand the physical processes –
matter, energy dimension and form – in which all humancommunication
takes place, including money, sex, transport, weapons and the panoply
of communication
The Practice of Light 15.10.13 page 1

Light is my Business ; Art, Science, Technology and the City YASMIN discussion

Colleagues

 

Guillermo Munoz and I thought we would do a different kind of YASMIN discussion impulsed
by this year’s “International Year of Light and Light-based Technologies
that the 68th Session of the General Assembly of the United Nations (UN) adopted
on December 20, 2013, proclaiming 2015 as “International Year of Light and Light-based Technologies” (IYL 2015).

This theme is also the theme of The 2nd Art, Science, City International Conference 201 in Valencia this coming October

which will bring the art, science and technology community together around problematics of the build urban environment.http://www.artsciencecity.com/?lang=enThe deadline for abstracts is April 6 !!We will also be holding a YASMIN meeting during the conference organised by Guillermo Munoz

We look forward to your contributions to the YASMIN discussion beginning next week on the
YASMIN discussion list

http://estia.media.uoa.gr/mailman/roster/yasmin_discussions

Roger Malina and Guillermo MunozThe 2nd Art, Science, City International Conference 2015 aims to promote interdisciplinary research on techno-scientific culture in contemporary societies and its impact on the ways of life, paying special attention to the impact of imaging technologies in urban contexts.The conference is organized by the Master of Visual Arts and Multimedia of the Polytechnic University of Valencia (UPV) and the University of the Basque Country / Euskal Herriko Unibersitatea (EHU) to encourage and develop research projects that contribute to bridge the gap between academia, professional practice and citizens, and also between science and humanities.This second edition of the conference offers an interdisciplinary forum to discuss the most relevant experiences around the relationship of art + science + city, placing light as the transversal structure. Light understood from the complexity of its dual nature (wave-particle) both in technological applications and theoretical discourse; recognising light-based technologies and innovations that are transforming communications, energy resources, new methods of medical diagnosis and treatments, and their influence on our culture and ways of visualization. That is why we propose as a general topic:

Light, more light ! = Visuality :: Energy :: Connectivity

The choice of the conference theme comes from the resolution of the 68th Session of the General Assembly of the United Nations (UN) adopted on December 20, 2013, proclaiming 2015 as “International Year of Light and Light-based Technologies” (IYL 2015).
Taking these themes as reference, the congress will be structured around four thematic panels, and the Creative Room, that will host the speakers’ dissertations.

Panel 1: Light [+] Visuality
Panel 2: Light [+] Energy
Panel 3: Light [+] Connectivity
Panel 4: Light [+] Light/Light + Darkness

Creative Room: Spectrum:: Light/Art [+] Science [+] City
Light [+] Innovation :: Technology Demonstrations; Information Boards

Light [+] Innovation aims at providing all ASC Conference participants with the opportunity to meet companies and research organizations which are actively developing light-based technologies. It will be a space for technology demonstrations and information boards which will encourage and facilitate the meeting of universities, business, local associations and institutions.
HERE IS MY FIRST POST TO THE YASMIN LIST= RESPOND HERE OR DIRECTLY TO YASMIN

yasminers

I am taking over from Guillermo in Valencia, Spain as your yasmin
moderator

if you are new to the YASMIN list please send us a short email introducing
yourself- when you walk into your community you shake hands dont you ?

guillermo and i thought we would moderate a discussion around Light
and the City- hope you will join in

here is my first post for reaction on the YASMIN discussion list

Yasminers

When yasmin moderator Guillermo Munoz, a nano scientist
in Valencia, Spain suggested we do a Yasmin discussion
around the topic of light I was initially skeptical. There seems to
be day or year of everything these days. But then he said in
passing : “light is my business” and it got me thinking. Indeed as an
astronomer “light is my business” because today the only way we
know anything about the universe is by detecting and manipulating
light. ( we have been trying to detect gravity waves, neutrinos, dark
matter and dark energy but have been failing)

The ironic thing is most things in the universe don’t emit light at all.
Dark Energy and Dark Matter don’t emit light and they are 97% of the
content of the universe. Astronomers have just been studying the
decoration on the universe ( its as if you told a ethnographer they could
study human nature and human societies but they could only study
humans who lived on snow or ice).

And then humans cant detect most kinds of light ( only a narrow band
around visible light)- whoever designed human beings did it badly
-if you really wanted to design humans to understand the universe
they would have infrared, radio and xray eyes too-and those gravity

waves are SUBLIME !!

Perhaps its amazing how much we understand by studying the decoration !

I look forward to Guillermo’s comments as a nano scientist .

And then – for visual artists, light is their business too !

Anyway we thought we would have this discussion on yasmin- knowing
that it rapidly could become banal and un-productive

Guillermo is helping organise the 2nd Art, Science, City International Conference 201
in Valencia this coming October with Light and the City as the theme and
where he will organise a YASMIN meeting-contact
him if you would like to attend !

http://www.artsciencecity.com/?lang=en

As an astronomer of course Light and the City makes me think of the problem
of light pollution. Humans are stupid – city lighting emits a large fraction of our
energy into the sky un=necessarily and not where we need it= cut your carbon foot print by designing
better city and home lighting !

By coincidence in Dallas I had the visit of south african artist Marcus Neustetter.
he has this amazing public art project with the South African Large Telescope

http://www.sutherlandreflections.com/

Because of the needs of the observatory the local community in Sutherland
has to avoid light and radio pollution ( South Africa will soon be hosting the
largest radio telescope in the work; SKA https://www.skatelescope.org/
the Square Kilometer Telescope Array ) and in his talks he discussed
the social practice he has developed with the local town of 800 people.

Among other things they have build their own ‘observatory’ next to the
scientists telescopes: http://www.marcusneustetter.net/?p=621

This project is an excellent example of an art-science project that is
based on socially engaged practice and public art. I will be asking Marcus to
make a comment for our discussion

guillermo I hope you will inject your thoughts as a nano scientist !

Roger Malina

VOTE NOW for the next Leonardo Education and Art Forum Chair !!!

LEONARDO EDUCATION AND ART FORUM

http://www.leonardo.info/isast/LEAF.html

is a leading group synergising the work of our community- VOTE NOW for the next Chair

Previous Chairs

2015 Chair: Suzanne Anker

2016 Incoming Chair: JD Talasek (Incoming February 2016).

2017 Incoming Chair: TBD (Incoming February2017).

LEAF International Representative: Andrés Burbano

Past Chairs: David Familian (2014), Adrienne Klein (2013), Patricia Olynyk (2012), Ellen K. Levy (2010), Joseph Lewis (2009 co-chair), Victoria Vesna (2009 co-chair), Nina Czegledy (2009 co-chair), Andrea Polli (2008), Eddie Shanken (2007), Amy Ione (2006), Ioannis Yessios (2005)

The Leonardo Education and Art Forum (LEAF) is a Leonardo Working Group that promotes the advancement of artistic research and academic scholarship at the intersections of art, science, and technology. Serving practitioners, scholars, and students who are members of the Leonardo community, LEAF is a forum for collaboration and exchange.

LEAF is open to all individuals who are interested in the issues addressed by Leonardo. Participation in LEAF elections is reserved for subscribers to Leonardo and Leonardo Music Journal (LMJ).

Please vote for LEAF Chair Elect by Wednesday, March 25 – we currently have an open position on the executive team of the Leonardo Education and Art Forum. The chosen candidate will serve a three-year term: during the first two years s/he will serve as Chair Elect alongside 2015 Chair Suzanne Anker and 2016 Chair JD Talasek, and then in 2017 will rise to the position of Chair.

TO VOTE: 
Visit the Google Voting Form at:
www.leonardo.info/isast/LEAF-election2015.html

CANDIDATES
(Click on names to view bios):

Alan Boldon
Elizabeth Demaray
Carolyn Kane
Sarah Jane Pell 
Ana Peraica

TO VOTE: 
Visit the Google Voting Form at:
www.leonardo.info/isast/LEAF-election2015.html

Marcus Neustetter at Wild Detective in Dallas Wed March 27

MAP – Make Art with Purpose and the Arts and Technology program, University of Texas, Dallas are pleased to present Johannesburg based artist, cultural activist and producer, Marcus Neustetter at Wild Detectives, 314 W Eighth St, Dallas, TX 75208 Wednesday March 25, 7:00 PM (214) 942-0108 The program will include a presentation of Sutherland Reflections Project, produced in collaboration with Bronwyn Lace, which aims to create a community driven experience for participation, artistic interventions and creative spectacle. The artists and scientists’ intention is to address the current attitude and relationship between the seeming “distance” of the disadvantaged communities in Sutherland and the international neighboring telescopic observatory. Now 6 years old the project sees annual engagements with the community resulting in permanent land-art, kite-flying spectacles, museum displays, memorial sites and most recently the creation of a full feature film and book together with the Africa meets Africa project. Born 1976 in Johannesburg, Marcus Neustetter, reflects critically and playfully on his context through his art and collaborative projects. His strategy has been to pro-actively create, play and experiment to build opportunities and experiences that investigate, reflect and provoke. Mostly process driven, his production of art at the intersection of art, science and technology has led him to work in a multi-disciplinary approach from conventional drawings to permanent and temporary site specific installations, mobile and virtual interventions and socially engaged projects internationally.

 

 

Dinner with Marcus Neustetter in Dallas this tuesday March 24

colleagues

we are delighted to have the visit of Marcus Neustetter in Dallas

this week

 

http://creativetime.org/summit/speakers/marcus-neustetter/

we are organising a dinner with him tuesday evening march 24 in Dallas-

if you would like to join us contact me at rmalina@alum.mit.edu

 

and

 

he is giving a  colloquium

Mon., March 23 at noon

University of Texas at Dallas

SPECIAL ATEC COLLOQUIUM

MONDAY MARCH 23, 2014

12:00 PM

ATEC 1.201

Marcus Neustetter

Art-Science Collaboration as an Opportunity for Social Change –
Perspectives and Experiments

from a South African Art Activist

Marcus Neustetter will be sharing his experience as a media artist
from a context in which he constantly questions his relevance as an
artist and his interest to respond to his environment and its needs.
Presenting a series of personal and collaborative projects, he will
illustrate some of the challenges working with scientists and
technology in a third world environment through low-tech socially
engaged processes and personal artist experiments. With these he
attempts to find some possible solutions and make sense of his own
roles and responsibilities to affect change.

Johannesburg based artist, cultural activist and producer, Marcus
Neustetter, reflects critically and playfully on his context through
his art and collaborative projects. His practice has ranged from
socially engaged public art projects to his personal exploration of
the intersection of art, science and technology for the past 15 years
that has shifted between gallery and museum installations and
exhibitions in major international centres to performing in
archeological dig sites, meteorite impact craters, astronomical
observatories and transforming African urban centres. Mostly process
driven, his production of art at the intersection of art, science and
technology has led him to work in a multi-disciplinary approach from
conventional drawings to permanent and temporary site specific
installations, mobile and virtual interventions and socially engaged
projects internationally. He has exhibited extensively in different
parts of Europe, Africa and North America. In partnership with Stephen
Hobbs, Neustetter, as the co-director of The Trinity Session, has
innovated in the cultural industry, public art, and socially engaged
practice in South Africa.

If you are not UTD and wish to attend please do, contact rmalina@alum.mit.edu

We are also organising a dinner for him tuesday evening in dallas-if
you wish to join us contact me

We call for you – artists, activists, designers, and critical engineers to go beyond into the realm of the speculative, the provocative and the weird.

Colleagues

Morehshin Allahyari & Daniel Rourke, 2015

 

Have just released their ADDITIVIST MANIFESTO- check it out and contribute into the realm of the speculative, the provocative and the weird.!!

 

roger malina

 

http://additivism.org/manifesto

 

3D Additivism blurs the boundaries between art, engineering, science fiction, and digital aesthetics. We call for you – artists, activists, designers, and critical engineers – to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird.

Additivism can emancipate us.
Additivism will eradicate us.

 

We call for:

  1. The endless repenning of Additivist Manifestos.
  2. Artistic speculations on matter and its digital destiny.
  3. Texts on:
    1. The Anthropocene
    2. The Cthulhucene 16
    3. The Plasticene. 17
  4. Designs, blueprints and instructions for 3D printing:
    1. Tools of industrial espionage
    2. Tools for self-defense against armed assault
    3. Tools to disguise
    4. Tools to aid/disrupt surveillance
    5. Tools to raze/rebuild
    6. Objects beneficial in the promotion of protest, and unrest
    7. Objects for sealing and detaining
    8. Torture devices
    9. Instruments of chastity, and psychological derangement
    10. Sex machines
    11. Temporary Autonomous Drones
    12. Lab equipment usedin the production of:
      1. Drugs
      2. Dietary supplements
      3. DNA
      4. Photopolymers and thermoplastics
      5. Stem cells
      6. Nanoparticles.
  5. Technical methods for the copying and dissemination of:
    1. Mass-produced components
    2. Artworks
    3. All patented forms
    4. The aura of individuals, corporations, and governments.
  6. Software for the encoding of messages inside 3D objects.
  7. Methods for the decryption of messages hidden inside 3D objects.
  8. Chemical ingredients for dissolving, or catalysing 3D objects.
  9. Hacks/cracks/viruses for 3D print software:
    1. To avoid DRM
    2. To introduce errors, glitches and fissures into 3D prints.
  10. Methods for the reclamation, and recycling of plastic:
    1. Caught in oceanic gyres
    2. Lying dormant in landfills, developing nations, or the bodies of children.
  11. The enabling of biological and synthetic things to become each others prostheses, including:
    1. Skeletal cabling
    2. Nervous system inserts
    3. Lenticular neural tubing
    4. Universal ports, interfaces and orifices.
  12. Additivist and Deletionist methods for exapting 18 androgynous bodies, including:
    1. Skin grafts
    2. Antlers
    3. Disposable exoskeletons
    4. Interspecies sex organs.
  13. Von Neumann probes and other cosmic contagions.
  14. Methods for binding 3D prints and the machines that produced them in quantum entanglement.
  15. Sacred items used during incantation and transcendence, including:
    1. The private parts of Gods and Saints
    2. Idols
    3. Altars
    4. Cuauhxicalli
    5. Ectoplasm
    6. Nantag stones
  16. The production of further mimetic forms, not limited to:
    1. Vorpal Blades
    2. Squirdles
    3. Energon
    4. Symmetriads
    5. Asymmetries
    6. Capital
    7. Junk
    8. Love
    9. Alephs
    10. Those that from a long way off look like flies.

Life exists only in action. There is no innovation that has not an aggressive character. We implore you – radicals, revolutionaries, activists, Additivists – to distil your distemper into texts, templates, blueprints, glitches, forms, algorithms, and components. Creation must be a violent assault on the forces of matter, to extrude its shape and extract its raw potential. Having spilled from fissures fracked in Earth’s deepest wells The Beyond  now begs us to be moulded to itswill, and we shall drink every drop as entropic expenditure, and reify every accursed dream through algorithmic excess. 19 For only Additivism can accelerate us to an aftermath whence all matter has mutated into the clarity of plastic.

Morehshin Allahyari & Daniel Rourke, 2015

 

http://additivism.org/manifesto

will Ecuador be the next spare faring nation ?

Colleagues

I am pleased to bring to your attention

Arte en Órbita
Centre de Arte Contemporaneo, Quito, Ecuador.
7 March to 6 June 2015

http://arteenorbita.diferencial.org/

 

I must admit I am incredibly excited by the fascinating developments in many countries

where artists are appropriating the whole idea of space exploration- these developments

first became visible to me with the work of the Mexican Space Collective

http://www.ulises1.mx/english/Ulises_English/Welcome.html
These artists recently flew in zero gravity out of Star City outside of Moscow

and have secured funding to launch three satellites build by artists into space.

 

One of the gathering places for this new community of practice is the KOSMICA

events in Mexico City ( organised by Nahum Mantra- recently selected as a ‘space

leader’ by the International Federation of Astronautics

http://malina.diatrope.com/2014/05/07/congratulations-to-nahum-mantra-romero-space-artist/ 

Kosmica is held annually in Mexico City

https://www.facebook.com/KosmicaSeries

 

I look forward to hearing reports from Quito, Ecuador on the future of space exploration

details below

roger malina

Arte en Órbita
Centre de Arte Contemporaneo, Quito, Ecuador.
7 March to 6 June 2015
Free Entrance

Arte en Orbita (Art in Orbit) is an exhibition of artists and groups,
principally from South America, who are exploring orbital and outer space,
it’s structures, imaginations and technologies. Since ancient times the
cosmos has structured our societies and now more than ever with satelites
as the infrastructure of global capitalism. Speaking from the peripheries,
the works trace postcolonial narratives that announce new, ancient and
varied ways of examining our place in the cosmos and on earth, in the
shadow of the anthropocene.

http://arteenorbita.diferencial.org
https://www.facebook.com/artinorbit

Curators :

Pedro Soler y Fabiane Borges

Participants :

African Space Research Program (Uganda)
Agencia Boliviana Espacial (Bolivia)
Agencia Espacial Civil Ecuatoriana (Ecuador)
Alejandro Duque (Colombia)
Alejandra Pérez (Chile)
Arcangel Constantini (México)
Bruno Vianna (Brasil)
Carolina Ibarra (Chile)
Copenhagen Suborbitals (Denmark)
Denise Alves-Rodrígues (Brasil)
Felipe Jácome (Ecuador)
Foco Crítico (Colombia)
Irving Estrada (Ecuador)
Jaime Rodríguez (Ecuador)
Joanna Griffin (UK/India)
Kongo Astronauts (DR Congo)
Leila Lopes (Brasil)
Luca Carubba (Italy/Colombia)
Oficina de Asuntos Extraterrestres (Colombia)
Palestinian Space Agency (Palestine)
Parti Rhinocéros (Quebec)
Pilar Quinteros (Chile)
Simone Chambelland (Chile)
Simón Vega (El Salvador)
Ulises I (México)
v.u.f.o.c (Indonesia)

Workshops :

Bruno Vianna (Brasil)
Cristobal Cobo (Ecuador)
Eduardo Castro (Ecuador)
Ines del Pino (Ecuador)
Jose Toral (Ecuador)

Performances :

Arcangel Constantini (Mexico)
Baúl (Colombia)
José Toral & Cristina Baquerizo (Ecuador)
Oficina de Asuntos Extraterrestres (Colombia)

Call for NAFKI conference Art and Science, Engineering, and Medicine Frontier Collaborations

Colleagues

in a very important development in the USA the US National Academy of Science.
National Academy of Engineering and Institute of Medicine have decided to
dedicate one of the presigious NAFKI conferences  to the  work of the art-sci-tech community on

 Art and Science, Engineering, and Medicine Frontier Collaborations: Ideation, Translation and Realization.
You will see many familiar names on the organising committee including Nicola Triscott- the
committee is chaired by David Edwards

Roger Malina

NAKFI 2015 Call for Applications!

Ready to explore new frontiers with other innovators from art, design, science, engineering and medical disciplines?

APPLY NOW!

VIEW PRESENTATION ABOUT THE CONFERENCE

November 11 – 14, 2015

Arnold and Mabel Beckman Center

of the National Academies of Science and Engineering | Irvine, CA

NAKFI will pay all conference-related travel expenses for selected applicants!

The National Academies Keck Futures Initiative (NAKFI), a project of the National Academy of Sciences, the National Academy of Engineering, and the Institute of Medicine, with generous support from the W.M. Keck Foundation, invites passionate candidates to apply for this year’s conference on Art and Science, Engineering, and Medicine Frontier Collaborations: Ideation, Translation and Realization.

The 12-person steering committee is chaired by David A. Edwards (NAE), Gordon McKay Professor of the Practice of Idea Translation, Harvard University; Core Member, Wyss Institute for Biologically Inspired Engineering; Founder and Director, Le Laboratoire in Paris, France and Cambridge (USA); Faculty Associate, Center for Nanoscale Systems.

Application Deadline: April 16, 2015 at 3:00pm Pacific Time/6:00pm Eastern Time/5:00pm Central Time.  Sixty applicants will be selected through this process.

From this application process the steering committee members will invite approximately 60 participants to join them and other leaders and experts at the conference in November. The interest in this year’s topic will result in a competitive selection process. Preference will be given to creative practitioners in fields including art, design, communications, science, engineering and medicine who demonstrate a passion or keen interest in collaborative cross-disciplinary problem solving, and who are willing to commit the time necessary to prepare for the conference.

NAKFI is an experiment that leads to creative outcomes – ones that transcend the NAFKI Conference.

Conference Goals

Raise awareness of how arts, design, sciences, engineering, and medicine can stimulate a renaissance of innovation that solves real-world problems.

Discover how collaborations can engage the public and other scientists and encourage discourse in important issues.

Examine how creative disruption and aesthetic experience engage the human mind to stimulate creativity and innovation.

Create concrete projects that can (and ultimately do) lead to at least one of four kinds of impact – educational, cultural, social and scientific.

For Additional Information Regarding NAKFI and this year’s conference and a link to the application please visit http://www.keckfutures.org/conferences/art-sem/index.html

Kind regards,

The NAKFI Staff

Cristen Kelly

Kimberly Suda-Blake

Anne Heberger Marino

Rachel Lesinski

Associate Program Officer

Senior Program Director

Program Officer

Program Associate

Ok OK so my 24 year old son has now raised more money than i have in 65 years

Colleagues

  • Ok OK so my 24 year old son has now raised more money than i have in 65 years

roger

21 of 31

Mert Iseri, 26 and Yuri Malina, 24

Mert Iseri, 26 and Yuri Malina, 24

Cofounders, SwipeSense

SwipeSense is a wearable hand sanitizer designed to meet a simple goal: eliminate the 100,000 deaths from hospital-acquired infections in the U.S. each year. Hospitals can track compliance via an electronic chip embedded in the device. In addition to saving lives, SwipeSense is a technology designed to reduce the $28.4 billion in direct annual medical costs from hospital-acquired infections.