data remix culture and embodied data ?


Our creative disturbance art science podcast platform reaching the micro niches !

are you interested in data remix culture ?

check out scot gresham-lancaster’s Sound and Data channel

Let me bring to your attention to materials scientist Marco Nardelli

Dr. Buongiorno Nardelli is a computational materials physicist and composer. His latest work at is a new computer-aided data-driven composition (CADDC) environment based on the sonification and remix of scientific data streams. Sonification of scientific data, i.e. the perceptualization of information through acoustic means, not only provides a useful alternative and complement to visual data representation, but provides also the raw data for potential artistic remixes and further musical interpretation.

Amazing Stuff and I hope to find a way to collaborate with Marco

I also discussed some of these ideas in

roger malina discusses DJ/VJ and data remix culture
If anyone receiving this is involved in data remix culture we would be delighted to record
a podcast with you
We think there are several hundred people on the planet working seriously on sonification of scientific data ( as
opposed to the audio display industry)- and dj/vj culture is appropriating data as a raw material- with the explansion
of the m-health community- there are all kind of new forms of expression
The goal of this research project is to utilize sonification to examine the vast datasets yielded by current imaging techniques. The project aims to supplement current diagnosis techniques and reduce inter-observer variability in diagnoses and improve diagnostic capabilities. Currently, this research project focuses on PET scans of the human brain and the diagnosis of moderate to severe Alzheimer’s disease.
I suspect this is an emerging area of research and creative arts
we now have the area of data representation exploding with for instance making data physical or “embodied data”
as the theme of the next siggraph art gallery organised by Jonah Bruckner-Cohen
Roger Malina

Is miscegeny between art science technology organisations a good thing ?


Is miscegeny between art science technology organisations a good thing ?

this is part of our snapshot survey of emerging trends and issues in the art science technology community= contribute via the YASMIN list or directly to the SEAD report snapshot update site: 

re the collaboration process in our discussions- I wonder what our experience with

the european consortia that form in order to propose for certain EU programs

whose funding requires this

are there really good examples of how a EU funded multi nationa consortium
in the arts science technology field have succeeded ?

Leonardo/OLATS in Paris led by Annick Bureaud has participated in
a number of such consortia- we are currently part of the Trust Me , I am an Artist:   whose partners are

Waag Society (Amsterdam)
Brighton and Sussex Medical School (Brighton)
The Arts Catalyst (London)
Ciant (Prague)
Kapelica Gallery (Ljubjana)
Medical Museion (Copenhague)
Capsula (Helsinki) and Leonardo/Olats

The consortium is one its second round of funding- and its a collaboration
we have very much enjoyed being part of – and it clearly enables both
specific projects but knowledge and perspective sharing- that is a deeper

Collaborations between organisations that bridge the academic/university
to NGO/Mon profit/civil society divide are made possible when often
universities are resistance to such diverse inter disciplinary collaborations

Some of the collaborations we were in EU funded initiatives proved
to be less stimulating- with short of cash organisations re labelling
previouls planned projects rather than new initiatives being spawned.

it is my impression that over the last 5-10 years there have been
a growth in successful inter-organisation platforms and projects

Leonardo has also worked succesfully through its LASER program
in collaborating with many organisations without exchange of funds,
but a typical partnership allowing two organisations to do something
they could not do alone- many art-science residencies for instance
are partnerships as is the Djerassi Foundation/Leonardo one now,

or the ArtsCatalyst Leonardo partnered flights into zero gravity for artists.
and the collaboration of our community with the European Space Agency

The LASERs collaborations now involve USF,Stanford Univ,  UC Berkeley,
Washington DC National Academy of Sciences, UCLA),  UCSC, UC Davis),
University of Westminster, Umlauf Museum in Austin, Texas , Kansas State
Univ, University of Puget Sound in Washington State.

I suspect but cant document that because of the broad variety of disciplinary
practices and career tracks of individuals- inter organisation collaboration
is much more common that in more narrow disciplinary fields
So I think there is a 5-10 year increasing trend and I guess my feeling overall that
these inter organisation consortia and collaborations have been an
important process to be re inforced in the future, that enables collaboration across
the divides that often separate science/ engineering to arts/design/humanities
within univeristies or other large institutions that segment for instance into
science museums and art museums, when our community needs these
to be bridged for the art science art forms of the future
roger malina




what issues/problems that have increased in the last five years ?- we still solicit
your thoughts that will be folded into the update of the SEAD report ( )
in February 2016We thought we would seed this discussion with other ways to think about what is
going on- in the SEAD report we identified some 13 processes we thought were key
to helping improve the situation- i list them hereif any colleague would like to inject a thought-please do ! what has been
happening in one of these processes over the past five years ? what is
a snapshot of what you are working on now that will have an impact in the
next five years

for instance processes 10 and 11 are about collaborating

an example in process 10 is the work of the science of collaboration
group and their report on improving the effectiveness of science teams
which has methodologies totally applicable to collaboration between
art, design, humanities and science and engineering

what other progress do you know about on developing better practices

and methods for art/sci/tech collaboration ?

for process 11 about collaboration between organisations-

in the USA there are two new organisations of relevance
one is the A2RU ,, alliance for the arts in research universities
and also the Innovation Collaborative

which cross links organisations such as the US National Art Education Association,
National Science Teachers Association and the Association of Science and Technology
what new organisations have been formed over the last 5 years in europe

asia south america…..??

here are all 13 processes, we welcome snapshot updates in any of these

roger malina

with carol strohecker carol lafayette robert thill

Steps to an Ecology of Networked Knowledge and Innovation:
Enabling new forms of collaboration
among sciences, engineering, arts, and design

— ACTION CLUSTERS AND KEY PROCESSESTRANSLATING: Problem-driven connections among academic, commercial, and civil societies
1. Project formation and translational valueCONVENING: Overcoming transdisciplinary thresholds
2. Conferences, workshops, camps

ENABLING: Sustaining balanced SEAD relationships
3. Forming safe, productive environments for hybrid individuals and practices

INCLUDING: Spurring innovation through diversity
4. Communities addressing global issues and local solutions

EMBEDDING: Public engagement and negotiation
5. Outreach, “citizen science,” dissemination

SITUATING: An emerging ecology of creative places
6. “Alt spaces”

SENSE-MAKING: Multimodal knowledge and ways of knowing
7. Integrating understandings through the SEAD perspectives

DOCUMENTING: Recording and transmitting
8. Capturing, publishing, curating, archiving

LEARNING: Tapping into the passion and creativity of lifelong curiosity
9. Sharing blended experiences

COLLABORATING: Methodologies working across disciplines and institutions
10. Collaborations between individuals and disciplines
11. Partnering across organizational boundaries

THRIVING: SEAD ingredients as essential contributors to healthy communities
12. Ethics and values
13. Well-being and joyfulness

How do Cancer, Big Design and Art connect in Dallas ? Oct 9 Watering Hole

Good afternoon!  Today’s Watering Hole is from 2:00 pm – 4:00 pm in ATC 3.209.

October 9 2015


colleagues – we have a really interesting gathering this afternoon at the

atec watering hole in dallas-if you would like to be on our email list

contact me


Our speakers will be:


Dhruba Deb, Ph.D.

Postdoctoral Researcher

Hamon Center for Therapeutic Oncology Research University of Texas

Southwestern Medical Center Dallas, TX


Scientist-by-day and artist-at-night, Dhruba Deb is interested in understanding the unpredictability of cancer and its therapeutic implications. During the day, he works as a post doctoral researcher on lung cancer at UT Southwestern Medical Center. During the evenings and weekends, he works on art projects towards a BA visual art degree at University of Herdfordshire.


Dhru’s current obsession is growing his “Cancer ART-SCI Network” connecting cancer research, art and business in Dallas and New York City. This network connects para-disciplinary sci-artists who are interested in and can contribute to both cancer research and art.




Maryam Baig

Artist and Performer

Barlow, Borremans and Talbot Walk Into Dallas, TX
Find a Tollroad!

Maryam will be examining how Dallas is being branded as Big D when it comes to marketing, while the citizens of Dallas have not caught up with the brand yet (and why.)


Born and raised in Pakistan, she received a B.A in Art and Performance and an MFA in Arts and Technology at University of Texas at Dallas. While her academic endeavors span across several fields of expression, visual and performing arts, writing, poetry, her studies have found their focus on Gesture, Memory and Performance in Storytelling.

Baig is a 2014-15 D Academy fellow and an active team member for Big D Reads initiative. Recently, Baig has been invited to perform her writings and short stories at different venues around Dallas, such as Ignite DFW, The Naked Stage and Margo Jones Theatre at Magnolia Lounge.


Best regards,

Charlotte Mason

Administrative Assistant II

School of Arts, Technology, and Emerging Communication

Phone: 972-883-4372 | Fax: 972-883-4374 |

Chemistry is a conflicted science ; Chemist Tami Spector Bares her Soul and Thinks Aloud


Chemistry is a conflicted science.

Tami Spector

Rooted in the mysteries of the invisible matter that makes up our tangible world, yet ethically compromised by its potential for manufacturing injurious agents; creating compounds that save lives, and others that destroy the environment—at least since the Industrial Revolution chemistry has juggled its dual identity.

By the late 19th century, as chemists began to understand the structures of atoms and molecules, London had been for decades enveloped by its famous fogs—lethal, hydrocarbon-based vapors, precursive of the Great Smog of 1952 that killed 12,000 people; in the 1940s advertisements for the insecticide dichlorodiphenyltrichloroethane proclaimed “DDT is good for me-e-e” [1]; and in our time, silicon and durable plastics have brought us pocket computers while rare-earth metal dump-sites litter the developing world.
In the 1980s, when I was a burgeoning chemist, Agent Orange, DDT, and the Bhopal disaster had marred the industrial pastoral vision of a world purified of pests and weeds. I found myself defensive of my professional choice, arguing that not all chemists were complicit in the depravities of Monsanto and Union Carbide. Yet, even as I swam in the heady intellectual ether of theoretical constructs that underlay my science, I broke out in rashes so severe from chemicals I worked with in the lab that I had to wear saline-soaked gloves while I slept. I felt caught between the verity that “everything is chemistry” and the duplicity of Dupont’s “Better Things for Better Living Through Chemistry” promotional campaign [2].

Chemists have a difficult time articulating this conflictbecause it is personal—even writing this editorial fillsme with a sense that I am betraying my profession; yet,the paradoxes yielded by chemistry’s quandaries feed the artistic imagination. Art, unlike science, allows for the expression of simultaneous, fraught perspectives. J.M.W.Turner’s vaporous skies; Bernd and Hilla Becher’s austere  industrial photographic typographies of defunct oil refineries, blast furnaces and cooling towers; or Shirley Tse’s synthetic polymers, in forms such as bubble-wrap and plastic garbage bags, embedded in the “natural” environment— each, like the work of many other artists, expresses the tension produced by competing perspectives.
Turner’s skies were recently scientifically analyzed, in part, “to provide additional evidence of multidecadal increase in the atmospheric optical depths during the industrial revolution’ ” (i.e. as a way to measure air pollution during that time) [3]. I find this scientific and historical use of Turner’s paintings a curiosity, one that hardly conveys the inherent sublimity in works like Rain, Steam and Speed or Keelmen Heaving Coals by Moonlight—works that still pulse with artistic innovation, while projecting the overwhelming vastness of industrialization. Tse’s and the Bechers’ art would seem to articulate a more overt polemic than Turner’s sublime atmospheric effects, but, as Tse has remarked, rather than a reductive commentary on the environmental impact of plastic, she uses her materials rhetorically, as metaphors for human mobility and plasticity in the 21st century [4].
Chemists, like other scientists, sometimes view the intersections of art and science pragmatically, e.g. art as a tool for illustrating scientific concepts, enhancing scientific images or for graphically representing data. Art can do this, and often does. More importantly, though, art provides chemists an access into the interstitial depths inherent in studying the invisible molecular components that yield the cultural and personal ambiguities of our chosen profession.
tami i. spector
Leonardo/ISAST Governing Board Member
Professor, University of San Francisco
Department of Chemistry
Email: <>
404 LEONARDO, Vol. 48, No. 5, p. 404, 2015 doi:10.1162/LEON_e_01101 ©2015 ISAST
Art and Atoms: A Chemical Paradox
1 Advertisement in Time Magazine (June 30, 1947).
2 <>.
3 C.S. Zerefos, et al. “Further Evidence of Important Environmental
Information Content in Red-to-Green Ratios as Depicted in Paintings
by Great Masters,” Atmospheric Chemistry and Physics 14, pp.
2987–3015, 2014.
4 <>.


able of Contents Alert
LeonardoVolume 48, Issue 5 – October 2015

The above issue is now available online at:

Your MIT Press Journals username is: rmalina

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Art and Atoms: A Chemical Paradox
Tami I. Spector
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 404-404.
Citation | PDF (2160 KB) | PDF Plus (2161 KB)

Artists’ Articles

The Semiotics of the Moon as Fantasy and Destination
Michael Betancourt
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 408-418.
Abstract | PDF (4442 KB) | PDF Plus (2338 KB) | Supplementary Content
Model & Metaphor: A Case Study of a New Methodology for Art/Science Residencies
Nola Farman, Matt Barr, Angela Philp, Miranda Lawry, Warwick Belcher, and Paul Dastoor
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 419-423.
Abstract | PDF (2398 KB) | PDF Plus (1243 KB)
Egocentric Perspective: Depicting the Body from Its Own Point of View
Robert Pepperell
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 424-429.
Abstract | PDF (2787 KB) | PDF Plus (1342 KB)

Artist’s Note

Microbioenergy Theaters
Mick Lorusso
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 430-433.
Abstract | PDF (2304 KB) | PDF Plus (1145 KB) | Supplementary Content

General Articles

Drawing in Mathematics: From Inverse Vision to the Liberation of Form
Gemma Anderson, Dorothy Buck, Tom Coates, and Alessio Corti
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 439-448.
Abstract | PDF (3063 KB) | PDF Plus (1644 KB)
Creative Craft-Based Textile Activity in the Age of Digital Systems and Practices
Gail Kenning
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 450-456.
Abstract | PDF (3201 KB) | PDF Plus (1757 KB)

Historical Perspective

Lost in Edition: Did Leonardo da Vinci Slip Up?
Dirk Huylebrouck
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 458-464.
Abstract | PDF (2987 KB) | PDF Plus (1430 KB)

Special Section: Highlights from the IEEE VIS 2013 Arts Program (VISAP’13): Part 1

Highlights from the IEEE VIS 2013 Arts Program (VISAP’13), Introduction
Angus Forbes
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 465-465.
Citation | PDF (1865 KB) | PDF Plus (1865 KB)
DataRemix: Designing the Datamade
Ruth West, Roger Malina, John Lewis, Scot Gresham-Lancaster, Alejandro Borsani, Brian Merlo, and Lifan Wang
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 466-467.
Abstract | PDF (1603 KB) | PDF Plus (1604 KB)
Thermal Image
Barry Moon and Hilary Harp
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 468-468.
Abstract | PDF (1668 KB) | PDF Plus (607 KB)

Special Section: The Art/Science Curriculum in the Classroom and in the Cloud

The Art/Science Curriculum in the Classroom and in the Cloud
Adrienne Klein
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 469-469.
Citation | PDF (1850 KB) | PDF Plus (1851 KB)
Using Creative Process to Guide Integrated Art and Engineering Courses
Jill Fantauzza
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 470-471.
Abstract | PDF (1629 KB) | PDF Plus (599 KB)
Art Curriculum in Partnership with Canadian Physics Lab
Ingrid Koenig
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 472-473.
Abstract | PDF (1750 KB) | PDF Plus (684 KB)
The Transdisciplinary Cloud Curriculum
Paul Thomas
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 474-475.
Abstract | PDF (1627 KB) | PDF Plus (597 KB)
Physical Aesthetics: An Introductory Physics Course Through Metaphor
Steven Zides
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 476-476.
Abstract | PDF (1581 KB) | PDF Plus (1582 KB)

Special Section: Leonardo Abstract Services: Top-Ranked LABS Abstracts 2014

Top-Rated LABS Abstracts 2014-Intro
Sheila Pinkel
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 477-477.
Citation | PDF (1917 KB) | PDF Plus (839 KB)
The Aesthetics of Magnetic Resonance Imaging (MRI): Setting MRI in Motion from the Scientific Laboratory to an Art Exhibition
Silvia Casini
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 477-477.
Citation | PDF (1917 KB) | PDF Plus (839 KB)
Three-Dimensional Poetic Natures
Jayne Fenton-Keane
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 478-478.
Citation | PDF (2097 KB) | PDF Plus (976 KB)
Mediating Poles: Media Art and Critical Experiments of the Polish Site, 2004–2009
Aleksandra Kaminska
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 478-478.
Citation | PDF (2097 KB) | PDF Plus (977 KB)
Noisy Fields: Interference and Equivocality in the Sonic Legacies of Information Theory
Nicholas A. Knouf
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 479-479.
Citation | PDF (2013 KB) | PDF Plus (886 KB)
Languages of Russian and Chinese Narrative Video Art
Victoria Marchenkova
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 479-479.
Citation | PDF (2013 KB) | PDF Plus (886 KB)
From Networked Art to Programmed Drifts: “Art as Experience” Today
Karen O’Rourke
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 480-480.
Citation | PDF (1944 KB) | PDF Plus (849 KB)
Sonified Freaks and Sounding Prostheses: Sonic Representation of Bodies in Performance Art
Daniël Ploeger
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 480-480.
Citation | PDF (1943 KB) | PDF Plus (848 KB)
The Optics of Anatomy and Light: A Studio-based Investigation of the Construction of Anatomical Images
Nina Sellars
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 481-481.
Citation | PDF (1945 KB) | PDF Plus (843 KB)
Axial; A Sound Art Work of an Oceanographic Expedition
Hugo Solis
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 481-481.
Citation | PDF (1945 KB) | PDF Plus (843 KB)


Transactions Intro
Ernest Edmonds
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 483-483.
Citation | PDF (1847 KB) | PDF Plus (1848 KB)
Animating Fermi—A Collaboration between Art Students and Astronomers
Laurence Arcadias and Robin Corbet
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 484-485.
Abstract | PDF (1781 KB) | PDF Plus (716 KB) | Supplementary Content
Visualizing Biological Complexity in Cephalopod Skin: A Synergy of Art and Science Technologies
Elizabeth Kripke, Stephen Senft, Dmitry Mozzherin, and Roger Hanlon
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 486-487.
Abstract | PDF (1789 KB) | PDF Plus (697 KB)



Susan Goethel Campbell: Field Guide
Giovanna Costantini
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 489-489.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)



To Tell the Truth: Working for Change: Documenting Hard Times (1929–1941)
Amy Ione
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 489-491.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)



Leonardo da Vinci: Anatomist
Amy Ione
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 492-493.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)
Making Mind: Moral Sense and Consciousness in Philosophy, Science, and Literature
Kathryn Francis
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 493-494.
Citation | PDF (2843 KB) | PDF Plus (1517 KB)
Resisting Abstraction: Robert Delaunay and Vision in the Face of Modernism
Michael Punt
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 494-496.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)
This Changes Everything: Capitalism vs. the Climate
George Gessert
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 496-497.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)
Modernism and Its Merchandise: The Spanish Avant-Garde and Material Culture, 1920–1930
Jan Baetens
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 497-498.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)
Idolatry and Infinity: Of Art, Math, and God
Phil Dyke
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 498-499.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)
Science and Art: The Painted Surface
Brian Reffin Smith
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 499-499.
Citation | PDF (2843 KB) | PDF Plus (1517 KB)
The Conscious Mind
Cecilia Wong
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 499-500.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)
The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels
Rob Harle
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 500-501.
Citation | PDF (2842 KB) | PDF Plus (1516 KB)


Leonardo Reviews Online

June 2015
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 501-502.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)
May 2015
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 502-502.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)
April 2015
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 502-502.
Citation | PDF (2843 KB) | PDF Plus (1517 KB)
March 2015
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 502-502.
Citation | PDF (2842 KB) | PDF Plus (1515 KB)

Leonardo Network News

Leonardo Network News
Maryam Shamlou
Leonardo October 2015 Volume: 48, Number: 5 October 2015: 503-504.
Citation | PDF (2016 KB) | PDF Plus (2017 KB)

Passing of friend and colleague Martha Blassnigg, the art science technology community mourns

Dear Friends and Colleagues
It is with deep regret that I am informed of the passing of friend and colleague Martha Blassnigg of the University of Plymouth

this week- only a few weeks ago we were working together at the University of Plymouth in

the Cognitive Innovation program. For so many years we worked with her and Michael Punt building

up Leonardo Reviews, working on EC funded consortia that helped our community of practice

tackle some of the difficult issues around the embedded values of our work. We have lost a spark

in art science technology collaboration and a generous friend.

I append the funeral announcement and her bio-

Roger Malina

(on line translation)

Deeply sad, but full of gratitude for the wonderful time,.
that we were able to spend together, we say goodbye from our
beloved daughter, sister, niece, sister-in-law and aunt,
Prof. Dr. MMag.
Martha Maria Blassnigg
on Sunday, September 27, 2015, at the age of 46,
suddenly and unexpectedly, was called by God to himself.
We worship the soul on Thursday, October 1, 2015 at 10: 00
in the Holy Spirit Church in the town cemetery in Kufstein.
Then we say goodbye to our dear Martha.
The URN burial will be at a later date at St. Christophen in
Lower Austria instead, we ask therefore not to make flower donations.
We pray the Rosary on Wednesday at 18:30 in the parish church of languages.
your parents, Sebastian and Constance
your brother and Sister Mary with Andri, Elizabeth Alexander,
Christof with Sigrid and Catherine
your nephew Aaron
in the name of the uncle, aunts, all relatives, family members and friends
Kufstein, on 27 September 2015
The love of my heart
fills my world.
Shines the light in me
to bless the life
and all the forces I have collected
serve the good earth.
FUNERAL help funeral Zöttl, Kufstein, Tel. 05372-623 15
Commemorative and donate candles, condolence online at
You stay us unforgettable and will live on in our hearts!

Zutiefst traurig, aber voll Dankbarkeit für die schöne Zeit,
die wir gemeinsam verbringen durften, nehmen wir Abschied von unserer
geliebten Tochter, Schwester, Nichte, Schwägerin und Tante,
Prof. Dr. MMag.
Martha Maria Blassnigg
die am Sonntag, dem 27. September 2015, im Alter von 46 Jahren,
plötzlich und unerwartet, von Gott zu sich gerufen wurde.
Wir feiern den Seelengottesdienst am Donnerstag, dem 1. Oktober 2015, um 10 Uhr
in der Heilig Geist Kirche auf dem Stadtfriedhof in Kufstein.
Anschließend verabschieden wir unsere liebe Martha.
Die Urnenbeisetzung findet zu einem späteren Zeitpunkt in St. Christophen in
Niederösterreich statt, wir bitten daher auf Blumenspenden zu verzichten.
Den Rosenkranz beten wir am Mittwoch um 18.30 Uhr in der Pfarrkirche Sparchen.
deine Eltern Sebastian und Konstanze
deine Geschwister Maria mit Andri, Elisabeth mit Alexander,
Christof mit Sigrid und Katharina
dein Neffe Aaron
im Namen der Onkel, Tanten, aller Verwandten, Angehörigen und Freunde
Kufstein, am 27. September 2015
Die Liebe meines Herzens
erfüllt meine Welt.
Das Licht in mir strahlt hinaus,
um das Leben zu segnen
und alle Kräfte, die ich gesammelt habe,
dienen dem Guten auf Erden.
TRAUERHILFE-Bestattung Zöttl, Kufstein, Tel. 05372-623 15
Gedenk- und Spendenkerzen, sowie Kondolenzschreiben online unter
Du bleibst uns unvergessen und wirst in unseren Herzen weiterleben!

Dr. Martha Blassnigg

Reader in the Anthropology of Media

Transtechnology Research,
Portland Square Room B323,
Drake Circus,
Plymouth, Devon,

Martha Blassnigg is co-convenor of Transtechnology Research and Associate Editor for Leonardo Reviews (MIT Press), Leonardo Reviews Quarterly; Editor-in-Chief for Transtechnology Research Open Access Papers and a member of the Leonardo review panel.
Blassnigg is a Cultural and Media Anthropologist, trained in Cultural Anthropology and Philosophy, and parallel in Film and Cinema Studies, with a background in film restoration, documentary filmmaking and photography as research practice. She has completed two documentary films and has previously worked as film restorer at the Netherlands Filmmuseum (now EYE Film Institute Netherlands).

Doctor of Philosophy – (The Cinema and its Spectatorship: The Spiritual Dimension of the ‘Human Apparatus’), University of Wales, Newport, 2007. Supervised by Prof. Dr. Michael Punt, examined by Prof. dr. Patricia Pisters (University of Amsterdam) and Prof. Dr. Daniel Meyer-Dinkgräfe (University of Lincoln).
Cultural Anthropology (undivided MA), Film and Cinema Studies (undivided MA) and Philosophy – Universities of Vienna, Cologne and Amsterdam. (Thesis ‘Seeing Angels and the Spiritual in Film: An Interdisciplinary Study of a Sensuous Experience’ including the documentary film ‘Shapes of Light’, VHS, col. 35mins, 2000)
Practice in the application of audio-visual media for empirical research practice (in fieldwork, interviews, reporting and documentation, e.g. photography and documentary film-making), with a background in film-restoration, archiving (Netherlands Filmmuseum Amsterdam) and film-projection.
She has been visiting lecturer at the Department of European Ethnology, Humboldt- University Berlin, Associate Lecturer at the University of Plymouth and University of Wales, Newport. She has also been Senior Teaching Fellow at the International Graduate Centre for the Study of Culture at Justus-Liebig University in Giessen.

Blassnigg undertakes philosophical and historical research in order to situate the metaphysical dimensions of technology and art within the processes of human cognition. In this she focuses on the perceptual experiences and affordances of audio-visual mediation in both a historical and contemporary context in relation to issues such as time, memory, empathy, intuition, and consciousness. She combines empirical research (anthropological methods) with historical and philosophical studies of media and mediation from a user perspective addressing issues concerned with epistemology, knowledge versus belief, agency and free will, aesthetic intuition and holistic approaches to the body-mind correlation.

She was recently co-investigator of a 3-year international research project funded by HERA/ESF, which she co-wrote in collaboration with Michael Punt. The project was entitled “Technology, Exchange and Flow: Artistic Media Practices and Commercial Application” (more information on this website under “HERA: Technology, Exchange and Flow”). In this context she has been working on the implications of aesthetic intuition on memory processes, consciousness and affection exploring the agency of the beholder and the involved cognitive processes and interpretive frameworks with an attempt to develop a philosophical/anthropological conception of intuition as a heuristic for the aesthetic immersion and epistemology for affective knowledge and experience transfer. She applies Bergson’s understanding of memory, affect and intuition as crucial constituents of the underlying internalised processes to the experiences of audio-visual environments during and after the mediated event and contextualises this in current discussions of memory, consciousness and affection in the fields of psychology, consciousness studies and philosophy.
She has also been conducting research into the current discourse and practice of transdisciplinarity as part of the International Network for Transdisciplinary Research (see INTR) at the intersection of arts, humanities, science and technology.

Recent Publication:
Blassnigg, M. (Editor), Deutsch, G. and Schimek, H. (Associate Editors)
(2013). Light Image Imagination. Amsterdam: Amsterdam University Press (Framing Film Series, AUP/EYE)

LIGHT IMAGE IMAGINATION is an anthology of text- and image-essays by international scholars and artists who lead critical discourses in audio-visual media history, practice and theory. The main focus of the contributions lies in discourses and topics around 19th and 20th century innovations in arts, media and technology, and their media-archaeological and philosophical foundations. It juxtaposes text and image-essays to stimulate dialogue and associative interconnections in order to discuss the creation, perception and projection of images (both mental and material) and their specific relationship with light and imagination. A key feature of both the individual contributions and the book as a whole is that disciplinary boundaries are challenged in order to amplify and enrich the thinking about mediated images. The anthology is accessible to a broad readership and will appeal especially to a constituency that views the boundaries between science, art and technology as a permeable and exciting territory to explore.
The contributing authors and artists work at the interdisciplinary intersections of the Arts, Sciences and Humanities. Their expertise includes film and media theory, media archaeology, cinema history and theory, philosophy, history of science and technology, astronomy, computer music, literature studies, neuroscience, psychology, art history, art practice (painting, photography, film, video, digital arts; music composition).

Previous research outcomes have been published as Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit (Rodopi, Amsterdam, 2009); chapters and articles have appeared in Leonardo, Convergence, Technoetic Arts, REAL Yearbook of Research in English and American Literature, Medicine Studies and in the anthology Screen Consciousness: Cinema, Mind and World edited by R. Pepperell and M. Punt (Rodopi, Amsterdam, 2006).

In the book Time, Memory, Consciousness and the Cinema Experience she applies Henri Bergson’s  philosophy to an ontology of the cinema spectatorship and opens a discussion on the issues of time, movement and esprit (mind) in a broad interdisciplinary context of the late 19th, early 20th century with a focus on the oeuvre of Etienne-Jules Marey. It revisits his work in a dialogue with Bergson’s thinking and emphasises the connections with art in his own commentaries as well as in relation to Aby Warburg’s method of the Mnemosyne Atlas. Through a “thick” reading of the intersections between science, technology, art and popular culture in relation to the emerging cinema, it resituates the spiritual dimension in the spectators’ cognitive processes. It draws on insights of an under-researched dimension in Bergson’s work in an application to a contemporary understanding of spectatorship in audio-visual environments and discusses the cinema as philosophical dispositif.

Research background
The scope of her research background includes:
- Film and cinema theory (focus on discourses around ontology, immanence, affect and senses), history and philosophy.
- “Early cinema” and the avant-garde: the convergence of art, science and technology.
– Film archives, restoration and memory practices: methods and practice in relation to digital technologies and media arts.
- Film- and media philosophy with focus on H. Bergson, and the relevance of his oeuvre for contemporary film- and media studies. Subject areas: the problem of time; conceptions of the image, consciousness, memory; aesthetic intuition; subject-object relationship, the so called “spiritual” dimension of cinema and media technology; philosophy of mind.
- Documentary film in relation to contemporary media; ethnographic film/visual anthropology, early non-fiction film/archival footage; aesthetic, realism and the avant-garde, shared consciousness, “coevalness”.
- Convergence of science, art and technology: theory, methods (transdisciplinarity) and epistemology, historical (19th century: “early cinema”) and contemporary: interrelationship between media, mediation and technology.
- Cinema spectatorship and processes of perception of audio-visual media (cognition, memory, intuition, affect, consciousness; synaesthesia, clairvoyance). Human agency in relation to the imagination, production and interpretation of technology: Spiritual/metaphysical dimensions of technology: processes of perception, consciousness, cosmology and mythology; focus on cinema and expanded audio-visual environments and multi-sensory experiences in audio-visual environments (anthropology of the senses).

Previous Research
Her PhD thesis entitled ‘The Cinema and its Spectatorship: The Spiritual Dimension of the ‘Human Apparatus’ dealt with the cognitive dimensions of the cinema spectatorship through the philosophy of Henri Bergson situated within the wider intellectual discourse of the late 19th century in relation to our current understanding of the emerging cinema.
In her Masters thesis at the University of Amsterdam ‘Seeing Angels and the Spiritual in Film: An Interdisciplinary Study of a Sensuous Experience’ (2000) for the studies of Film-theory and Cultural Anthropology (Visual Anthropology) she has compared cinema technology with the phenomenon of spiritual apparitions. Her to this research related documentary film ‘Shapes of Light’ (2000) presents four Austrian artists and clairvoyants who express their belief in angels and mediate their sensorial experiences through their works.
In her practice-based research project on the artist Lotte Hahn’s artistic and personal life, she treats the subject of personal and shared memory in its relation to time and space in the reinterpretation of archival materials.

Art and Climate Change- help us broadcast the trouble you are making for COP21 !!

Creative Disturbance
Creative Disturbance



Join us in exploring how different fields push us towards a clean future 
Climate is everyone’s business. In anticipation of the United Nations Conference on Climate Change (COP21) on Nov 15, Creative Disturbance will feature podcasts discussing:

  • Sustainable global culture and economy
  • Environmental change and awareness
  • Ways citizens are active in promoting a greener future

Kind of podcasts to submit:

  • Professionals in the field can discuss if they already see changes occurring to help the environment. What movements have they overseen that are now successful?
  • Students can discuss how ways to encourage environmental change and awareness. How important it is for us to implement these changes now?

Can’t submit a podcast? Other ways you can help:

  • Learn about COP21 and share the movement within your local community
  • Blog about promoting a green future
  • Spread the word on social media using #ArtCOP21 #FightForTheFuture

To learn more, please visit

With much thanks,

The Creative Disturbance Team

Art/Sci/Tech to the rescue !! STEM to STEAM in the US Congress;

As we have been discussing for some time there is an interesting and encouraging confluence of interests promoting art/sci/tech collaboration- in internationally this has sometimes become called the STEM to STEAM movement to integrate the arts and design into science/tech/eng/math practice and teaching. This was promoted very early by John Maeda and the Rhode Island School of Design )

Here is a resolution  that Robert Thill just brought to my attention (that wasn’t adopted to my knowledge) submitted to the United States Houe of Representatives this year: 



IV 114TH CONGRESS 1ST SESSION H. RES. 247 ( United States of America)

Expressing the sense of the House of Representatives that adding art and design into Federal programs that target the Science, Technology, Engineering, and Mathematics (STEM) fields encourages innovation and economic growth in the United States.


submitted the following resolution; which was referred to the Committee on Education and the Workforce, and in addition to the Committee on Science, Space, and Technology, for a period to be subsequently determined by the Speaker, in each case for consideration of such provisions as fall within the jurisdiction of the committee concerned

RESOLUTION Expressing the sense of the House of Representatives that adding art and design into Federal programs that target the Science, Technology, Engineering, and Mathematics (STEM) fields encourages innovation and economic growth in the United States.

Whereas the innovative practices of art and design play an essential role in improving Science, Technology, Engineering, and Mathematics (STEM) education and advancing STEM research;

Whereas art and design provide real solutions for our everyday lives, distinguish United States products in a global marketplace, and create opportunity for economic growth;

Whereas artists and designers can effectively communicate complex data and scientific information to multiple stakeholders and broad audiences;

Whereas the tools and methods of design offer new models for creative problem solving and interdisciplinary partnerships in a changing world; Whereas artists and designers are playing an integral role in the development of modern technology;

Whereas artists and designers are playing a key role in manufacturing;

Whereas adding art and design to Federal STEM programs has the potential for recruiting underrepresented populations into STEM fields;

and Whereas May would be an appropriate month to designate as ‘‘STEM-to-STEAM Month’’:

Now, therefore, be it Resolved, That the House of Representatives—

(1) recognizes the importance of art and design  in the Science, Technology, Engineering, and Mathematics (STEM) fields;

(2) supports the designation of ‘‘STEM-to- 6 STEAM Month’’;

(3) encourages the inclusion of art and design  in the STEM fields during reauthorization of the El- 9 ementary and Secondary Education Act;

(4) encourages the inclusion of art and design  in the STEM fields during reauthorization of the 3 Higher Education Act;

(5) encourages the Secretary of Commerce, the Secretary of the Department of Education, the  Chairman of the National Endowment for the Arts,  and the Director of the National Science Foundation 8 to develop a STEM to STEAM Council representative of artists, designers, education and business 10 leaders, and Federal agencies in order to facilitate a 11 comprehensive approach to incorporate art and design into the Federal STEM programs.

This discourse mirrors and connects in many ways with the EU European Commission discourse ( eg the EC STARTS program
Roger Malina


Priming the Innovation Economy: From STEM to STEAM: Dallas conference Feb 2016


This week I attended a fascinating event called Priming the Innovation Economy: From STEM to STEAM- where

the organisers announced a conference on this theme in February in Dallas. It is an unusual collaboration between

the Texas Association of School Administrators ( the people who run our public schools), the Dallas Museum of Art and

the event was held both at the DMA and the Dallas Perot Museum of Science and Nature.



Priming the Innovation Economy: From STEM to STEAM

TASA and the Dallas Museum of Art to Present February 2016 Conference Addressing America’s Education Pipeline for Tomorrow’s Innovation Economy

Sponsors of STEAM 2016,”Priming the Innovation Economy ‘Include Representatives of Arts, Education and Industry


Dallas, TX -June 15, 2015-The Texas Association of School Administrators (TASA) and the Dallas Museum of Art (DMA) are pleased to announce their co-sponsorship of a major national event to focus educators, artists, scientists, policymakers, and the public on the importance of coupling the arts and STEM in the development of key skills for the 21st century American workforce. The three-day conference, Priming the Innovation Economy: From STEM to STEAM, is being planned in partnership with Syfr Learning and key organizations representing both industry and formal and informal educators.

The conference convenes at the DMA and the Fairmont Dallas, February 17-19, 2016, and will explore intersections of the arts with STEM education as the crucial drivers of the innovation economy. The interchange of ideas between formal and informal educators will provide the pathways for the successful development of STEAM (Science, Technology, Engineering, the Arts, and Math) as the educational foundation for our students entering the innovation economy.

As stated in January 2014 in The Atlantic, “In order to bridge the chasm between  abstract idea and utility, some educators  are advocating for an expansion of the popular STEM acronym-Science, Technology, Engineering,  and Math-the list of  skills many experts believe more students need. They believe STEM should include the letter ‘X.for ‘art and design’.” As Margaret  Honey, CEO of the New York Hall of Science commented in a STEAM workshop  at the Rhode Island  School of Design, “It’s not about adding on arts education. It’s about fundamentally changing education to incorporate the experimentation and exploration that is at the heart of effective education’.’

According to Richard Erdmann, co-founder and CEO of Syfr Learning, “Itis not about just adding more arts courses. The arts-as-a-discipline views the learning process differently than the traditional approach in STEM. Where formal education in science and math tends to explore in order to discover the known, formal education in art tends to explore in order to discover the unknown. Artists are asked to observe closely, simplify observations to abstractions of the original, and combine or connect observations in unique and creative ways. Itis time to integrate what is natural in the arts into the learning processes for science, technology, engineering, and math’.’

The conference will  organize participants  to identify new ways that informal and formal  educators might work   together
to equip their students with the sldlls necessary to fuel their own future innovation. The conference will explore a range of topics from how to engage K-12 learners to how technology can deliver high quality field-like experiences to rural students, connecting educators  and students with more real-life learning. Increasing public awareness of the advantages of STEAM  over STEM among outside stakeholders like parents  and students will be a key challenge  addressed by the   conference.

While businesses are keenly aware of the shortfall in soft skills, most people are unfamiliar with the term STEAM, let alone  its connection  to STEM careers  and the  innovation  required  to promote  the nation’s economic competitiveness.

TASA’.s Executive Director, Johnny Veselka, welcomed this first-of-its-ldnd collaboration in Texas, stressing the connections between the association’s school transformation initiatives, including the work of the Public Education Visioning Institute, and enhancing student success through STEAM curriculum. “This initiative is aligned with TASA’.s mission that is focused on creating and sustaining student-centered schools and developing future-ready students;’ said Veselka.

“The Dallas Museum of Art is thrilled to present this event with TASA. The connections between the arts and innovation that this conference will highlight are an essential part of our mission at the DMA. We believe that the health of our national economy will increasingly depend on the ability of today’s students to think creatively about the challenges that will face them”, added Robert Stein, the museum’s deputy director.

“To compete in the global market, we must move from STEM to STEAM by adding arts education;’ said Mayor Mike Rawlings. “I applaud the Dallas Museum of Art and the Texas Association of School Administrators for initiating this conversation:’

The 2016 event, Priming the Innovation Economy: From STEM to STEAM , will lay the foundation for future meetings to build a national conversation  and action plan  originating  from the Dallas conference. Participants  in 2016 will  create points of action that can provide tangible evidence of progress toward the integration of creative sldlls and innovation into public education, policy-maldng,  and  the national  dialogue  about  STEAM and our national  economic competitiveness.

Reflecting the expansive scope of integrating creativity and innovation into public education, TASA and DMA are seeking support for the conference from major corporations and organizations interested in transforming student learning through the successful implementation of STEAM in public education.

About TASA

The Texas Association of School Administrators is the professional association  of choice for Texas’ top public school administrators. TASA’s legislative  and policy advocacy efforts, professional learning offerings, and   targeted

communications support superintendents and other school leaders in all aspects of their key leadership roles, from the day-to-day operations of their districts to the important work of transforming pnblic education. TASA represents more than 2,500 members in school districts and other education entities throughout Texas. Through its work, TASA supports and promotes the development of innovative, future-focused leaders for every public school student in the state.

About the Dallas Museum of Art

Established in 1903, the Dallas Museum of Art (DMA) is among the 10 largest art museums in the country and is distinguished by its commitment to research, innovation, and public engagement. At the heart of the Museum and its programs is its global collection, which encompasses more than 22,000 works and spans 5,000 years of history,

representing a full range of world cultures. Located in the nation’s largest arts district, the Museum welcomes over 650,000 visitors annually and acts as a catalyst for community creativity, engaging people of all ages and backgrounds with a diverse spectrum of programming, from exhibitions and lectures to concerts, literary events, and dramatic and dance presentations. In January 2013, the DMA returned to a free general admission policy and launched DMA Friends, the first free museum membership program in the country. It currently has over 90,000 members. For more information, visit

The Dallas Museum of Art is supported, in part, by the generosity of DMA Partners and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.

About Syfr Learning

Syfr Learning is professional development organization focused on transforming learning. Syfr’s principals are the co­ authors of The Art of Learning. To learn more about Syfr Learning, visit

Media Contacts:

Eric Reeves  ( Michael Glover (

Amy Francisco, Director of Communications and Media Relations, TASA ( Jill Bernstein, Director of Communications  and Public Affairs, DMA  (

Tell Washington DC what enthuses you or worries you abour recent trends in art-science-technology practice


For a number of weeks we have been calling for your ideas of what new emerging trends are occuring

in the art science technology community of practice ( 500 words and a few links on what you are obsessed

or worried about that has been  a growing trend over the past five years: submit via or via the YASMIN discussion list: 
We will be presenting and discussing these findings at a working group meeting at the US National Academy of Science)- details below

( by invitation only- details below) but if you recognise a name among the attendees listed below please do contact them and send

them your thoughts ! we are then also presenting and discussing the results  at an open panel meeting as the US College Art Association meeting in  Washington, DC at the Washington Marriott Wardman Park Hotel from Wednesday, February 3 through Saturday, February 6. – Open to conference attendees.


Roger Malina


Here are the details of the working group meeting


SEAD gathering at National Academies
A SEAD Working Group meeting will be held at the National Academies in Washington DC, on February 2, 2016.
Participants will review and share emerging trends and issues since the NSF/NEA/NEH/Smithsonian hosted
workshops that led to the Sciences, Engineering, Arts, and Design (SEAD) report, published this year as
“Steps to an Ecology of Networked Knowledge and Innovation”
(MIT Press, 2015).

Emerging Trends and Issues
We are consulting with members of the SEAD network to identify emerging topics, trends, gaps and issues that have been growing in importance during the last five years. This update to the SEAD report will open the agenda for the Working Group meeting.

Emerging Actors and Stakeholders
• We will also note the emergence of new actors and stakeholders and their initiatives, including theNAKFI Futures Conference in November 2015 convening communities from the US National Academy of Science, the National Academy of Engineering, and the National Academy of Medicine.

• In 2015 the European Commission issued its ICT-Arts CONNECT report, launching the STARTS program for funding work in Science, Technology, and the Arts as part of the Europe 2020 program.

• Also in 2015, the Alliance for the Arts in Research Universities (a2ru) will hold a conference on the“Third Space,” addressing transdisciplinary exemplars that integrate arts and/or design practices with work and research across other disciplines.

The Innovation Collaborative has been arranging collaborations between professional educator organizations, including the National Science Teachers Association, the National Art Education Association, and the Association of Science and Technology Centers.

As a complement to this encouraging set of initiatives, we are inviting constituent actors and stakeholders to participate in the Working Group meeting and help us map currently emerging trends, issues, and gaps. We will ask participants in the Working Group meeting to share a summary of recent and forward-reaching ideas in their areas. In addition, we are seeking topics for discussion to gauge what is looking promising for the SEAD community of collaborators and what may be presenting challenges.

SEAD organizers
Carol Strohecker, SEAD network and RISD
Roger Malina, SEAD network and UT Dallas
Robert Thill, SEAD network and The Cooper Union
Carol LaFayette, SEAD network and Texas A&M

Confirmed Participants
Laurie Baefsky, Alliance for the Arts in Research Universities (a2ru)
David Beacom, National Science Teachers Association
Alphonse DeSena, National Science Foundation
Greg Dunn, Neuroscientist, Greg Dunn Design
Nettrice Gaskins, Boston Art Academy
Luis-Miguel Girao, Science Technology Arts, EU (STARTS)
Dan Goods, National Aeronautic Space Administration (NASA)
Wendy Hancock, Association of Science-Technology Centers
Margaret Honey, New York Hall of Science
Benjamin Knapp, Virginia Tech
Kathi R. Levin, National Art Education Association
Marina McDougall, Exploratorium
Gunalan Nadarajan, University of Michigan
Bill O’Brien, National Endowment for the Arts
Lucinda Presley, Institute where Creativity Empowers Education Success
Nagesh Rao, Small Business Administration
Daniel Rockmore, Dartmouth
Robert Root-Bernstein, Michigan State
Tom Rudin, National Academy of Sciences, Engineering, and Medicine
Brian K. Smith, Drexel
JD Talasek, Cultural Programs of the National Academy of Sciences
Rieko Yajima, American Association for the Advancement of Science