STEAM GAINING STEAM: John Maeda to talk at UT Dallas March 4 2015


One of the fascinating developments in our community has been the rapid development of the

STEM to STEAM argument- of integrating the arts/design/humanities in education of science technology engineering and math.

This was featured in our SEAD study

Which addressed

how to enable new forms of collaboration between the sciences, engineering and the arts, design and humanities

This report was initiated in 2011/12 just as the STEM to STEAM idea began to go viral thanks in much part to the advocacy of John Maeda then president of RISD. His advocacy has played an important role

 See the RISD web site

and the congressional testimony

Maeda will be giving a distinguised lecture at the university of texas at dallas on March 4- if you live in the Dallas

metroplex this promising to be a great opportunity

Let me also bring your attention to an interesting podcast station STEAM Power

S.T.E.A.M. Power: The Power To Change The World.

We are a podcast dedicated to bringing you the latest and greatest news stories from across the entire spectrum of Science, Technology, Engineering, Art and Mathematics; as well as the Maker Movement and various Open Source Initiatives. We seek to inspire the public imagination in S.T.E.A.M. topics thus enabling a society that is technically and scientifically literate. We do this believing that a society that balances technological and scientific pursuit with humanity is the best hope for our collective future.

We also seek to serve as an advocate for the digital rights of individuals. We are strongly committed to ensuring technology plays the role of good in developing and safeguarding the democratic ideals of personal freedom, spirited debate, unfettered elections, and open conversation — free from fear, censorship, and harassment. We will ensure such ideals are passionately defended the world over.

We strive to be an advocate for four core initiatives, they are:

1) STEAM education in the United States and around the world. From elementary school to college and beyond. Not just in the classroom but also within youth groups and in the home.

2) Raising the public awareness and appreciation for the impacts science, technology, engineering, art, and mathematics has on our society both now and in the future

3) Evangelizing the Maker Community, Open Source Movement and the Do-It-Yourself (DIY) mentality so that we can become a more creative, self-reliant, and openly collaborative society.

4) Advocating for the digital rights of individuals by ensuring any policies put in place by governments and corporations balance privacy with security. Thus ensuring that the rights and freedoms of the individual is never trumped by corporate greed or government overreach.

About The Hosts

  • Mike Parks is an engineer, Navy veteran, and small business owner.  You can follow along onTwitter or Google+, and he occasionally rants on hisblog.

  • Lisa Parks is a sociologist and Mike’s better half.  She is passionate about understanding the impact technology has on people, society, and education.  She is also the creative genius ofSuper Chic Dollies.

Roger Malina

From Synesthesia to Synthesis of Arts: In Praise of Bulat Galeyev


We celebrate 75 years since an outstanding native scientist, founder of Kazan light-musical school, researcher of philosophical and aesthetic basics of synesthesia and pioneer of native videoculture Bulat Machmudovich Galeyev’s birth

Ray Lauzzana just opened a facebook event- hope you will join and comment: 


In a previous blog I disseminated news about the conference being organised in his honor in Kazan


For those of you who dont know the work of Bulat check out:

Born Bulat Maxmudovich Galeyev in 1940. Graduated from Kazan State Pedagogical Institute, Kazan, USSR, in 1962, and attained a Ph.D. in 1986. He was a teacher in physics and aesthetics, 1962-1963; a lecturer in physics and philosophy at KAI, Kazan, 1963-1966; a scientific worker, 1966-1994; head of SKB Prometheus, director of scientific and research institute for experimental aesthetics affilated with the Academy of Sciences of Tatarstan and Kazan State Technical University, Kazan, 1994-present; a film director, theatrical performances director, director of light-music performances and video art installations, SKBPrometei, 1964-1995; and professor of aesthetics of Kazan Conservatory, since 1990.

He wrote several books and contributed more than 500 articles to professional journals. He was a member of the editorial board of Leonardo, since 1987; of Language of Design magazine, USA, 1992-1997; and Kazan magazine, since 1993. He was the organizer of 15 All-Union and All-RussiaLight and Music conferences and a participant in many international symposia and festivals. He received a Diploma for Spectacle from the All-Russia Theatrical Society, Moscow, 1970; a diploma for film awarded by the organizing committee of the international Techfilm festival, Prague, 1975; and an honorary medal awarded by the Ministry of Culture of the USSR, Moscow, 1983. He was a member of Russian Academy of Humanities and of the Russian Cinemamakers Union, as well as a corresponding member ofthe Academy of Sciences of Tatarstan. Member of International Society for Art, Science and Technology. Died in 2009.
Roger Malina

Find out how to enable new forms of collaboration between the sciences, engineering and the arts, design and humanities


We are pleased to announce the publication of the new Leonardo MIT Press ebook with the report from the SEAD white papers study funded by the NSF. The report includes some 73 abstracts, 55 white papers submitted by the international community with some 150 participants.

We thank the members of the community for their contributions and ideas which can be found in the white papers linked to the ebook.

We hope that the ideas in this collection will be useful in the coming years as our community of practice continues to grow. There is increasing international interest in how to enable new forms of collaboration between the science, engineering and the arts,design and humanities.

Roger Malina, Carol Strohecker, Carol Lafayette co chairs.

The ebook is available open access ( in PDF or ebook format) at


Steps to an Ecology of Networked Knowledge and Innovation: Enabling New Forms of Collaboration among Sciences, Engineering, Arts, and Design

Roger F. Malina, Carol Strohecker, and Carol LaFayette, on behalf of SEAD network contributors

In 2012, The Network for Sciences, Engineering, Arts, and Design (SEAD) launched a White Papers initiative to build community awareness of perceived challenges and opportunities for transdisciplinary collaboration across the breadth of science, engineering, art, design and the humanities. The resulting study takes note of the growing international interest and development of initiatives in universities, corporations and civil society.This synthesis report offers a set of “action clusters” common to texts from the international response by SEAD members. Suggested Actions are structured according to similarities of motivation and purpose, and addressed to specific stakeholders.

The SEAD White Papers initiative was chaired by Roger Malina and co-chaired by Carol Strohecker, with the assistance of an international Steering Group and coordination by Carol LaFayette and Amy Ione, Managing Editor. The report contains images from SEAD collaborators and links to all White Papers contributions.

SEAD was funded under the US National Science Foundation (NSF) Grant No. 1142510. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the National Science Foundation.


Download the report for free below.

“Here is What One Possible Mapping of Some of the Data We Have Collected from a Scientific Measuring Instrument (which itself has inaccuracies) Into Sound.

Check out the SOUND and DATA Channel on Creative Disturbance

Scot Gresham Lancaster Producer

Auditory perception has advantages in temporal, amplitude, and frequency resolution that open possibilities as an alternative or complement to visualization techniques. The implications and techniques of this approach to extending the perception of data to the sense of hearing will be the focus of this channel.

Newest podcast is:

Margaret Schedel and the Sounds of Science

Margaret Schedel is an Associate Professor of Composition and Computer Music at Stony Brook University. Through her work, she explores the relatively new field of Data Sonification, generating new ways to perceive and interact with information through the use of sound. From a longer in depth article at Dr. Schedel states: “In the current fascination with sonification, the fact that aesthetic decisions must be made in order to translate data into the auditory domain can be obscured. Headlines such as “Here’s What the Higgs Boson Sounds Like” are much sexier than headlines such as “Here is What One Possible Mapping of Some of the Data We Have Collected from a Scientific Measuring Instrument (which itself has inaccuracies) Into Sound.” To illustrate the complexity of these aesthetic decisions, which are always interior to the sonification process, I focus here on how my collaborators and I have been using sound to understand many kinds of scientific data.” We talk at length about these general topics.

Sign the Manifesto of the Committee to Abolish Outer Space


My friend Morehshin Allahyari send me this intriguing link to the

Manifesto of the Committee to Abolish Outer Space


Morehshin and I are discussing a project to represent dark matter in new ways , with 3D printing (as

a number of artists are already doing- And as a space scientist I often have reductionism/positivist tendencies

I found Mark Kris’s text through provoking- his initial section is totally true= none of the beautiful imagery

of galaxies we know and love have any relation to what space venturers would see- its all a fabrication

of the various filters and wavelengths, selected for specific scientific diagnostic purposes.
We published a good article in Leonardo Journal

Picturing the Cosmos: Hubble Space Telescope Images and the Astronomical Sublime by Elizabeth A. Kessler (review)
that goes into many of these issues


I am not sure whether I can follow the Kris to the end of his argument, but with his recommendations I think

he is touching a sore spot that all of us engaged in exploration of space have to acknowlege- being trapped

in the frontier mythology – space is not just further than antartic is is a world totally inhospitable to

darwinian creatures finally tuned to survive in the terrestrial environment.
Any way- enjoy:

Manifesto of the Committee to Abolish Outer Space


There’s nothing there already.

We have been lied to, subjected to a cruel and chilly lie, one so vast and total it’s no longer fully perceivable but has turned into the unseen substrate of everyday life. It’s a political lie. They told us that outer space is beautiful.


They showed us nebulae, big pink and blue clouds draped in braids of purple stars, always resolving themselves at the pace of cosmic infinity into genital forms, cocks and cunts light years wide. They superimposed puddle-thin quotes over these pictures, so that the galaxies could speak to you in the depths of your loneliness, whispering from across a trackless infinity that you’re so much better than everyone else, because you fucking love science. The words are lies, the colors are lies, the nebulae are lies. These images are collated and pigmented by computers; they’re not a scene you could ever see out the porthole of your spaceship. Space isn’t even ugly; it isn’t anything. It’s a dead black void scattered with a few grey rocks, and they crash into each other according to a precise mathematical senselessness until all that’s left is dust.


And Kris goes on to make these fantastic proposals

1 First we will abolish the moon, that smug sack of shit in the sky, our constant condescending stalker. This should be the easiest step: People have set foot on its surface, and come back, and eventually they stopped going there; they realized how utterly dull it is.

2 Next we will overthrow the fascist institution of the sun, finally achieving the dream of all great revolutionary movements in history.

3 We will disestablish the planets, one by one, leaving them to vanish with Pluto into death. We will sweep up the dusty nebulae, plug up the black holes, drink up the Milky Way, tear down the Great Wall brick by brick.

4 Comets, asteroids, space dust, quantum foam: no more.

5 Finally, when our victory is almost complete, we will abolish low earth orbit, the black depths of the oceans, the wildernesses of the poles, the pulsing core of the human psyche.
Check out Sam Kris’s Manifesto at


Ira Greenberg makes trouble at the ATEC Watering Hole this Friday Feb 23 2015

Dallas, Texas Metroplex Colleagues

For this Friday Feb 27 our Watering Hole guest will be ( in ATEC 3.205) 2-4pm

Ira Greenberg

If you would like to attend send me an email to rmalina(at) and i will send you a

parking permit and instructions !

Ira Greenberg

Director, Center of Creative Computation and Professor, Computer Science and Engineering

Southern Methodist University


We asked Ira what was on his mind and we got an earful:


With regard to a WH discussion, research topics on my mind these days primarily revolve around the development of  Protobyte, a Creative Coding library and creative computing pedagogy.

  • API design, especially in regard to creative practice vis-à-vis creative coding(CC) libraries/frameworks. Topic could also overlap with trends and emerging languages( i.e. Swift, Rust,Clojure, JS/WebGL) within CC community.
    • discussion points; library semantics, ergonomics (usability/productivity driven) vs creativity (discovery driven). Language expressivity versus performance, etc. Language hybridity (mixing paradigms, etc).
    • Visual versus textual (versus ‘other’) based approaches (and hybrid melds).


  • HCI, are we on the verge of major shift:  better wearables, augmentation, VR, environmental ? Or is the promise years off (or beyond) – or are we headed toward a fetishistic basin of attraction (are we there already)?


  • Pedagogical issues: mixing piecemeal deep explorations with “shallower”fly-overs. Individual outcomes versus course outcomes (versus program outcomes).
    • Eternal question of core literacy. Outcomes for undergrads and grads.
    • Dissolving classroom walls and proprietary pedagogy. Cross-institutional learning (what is the ‘new’ role of the university when knowledge is open-sourced?)


  • Dallas and Art & Tech: Is there a tangible opportunity to establish an international center here? What are the challenges? What’s been working/not working? How do we define a Center?

Looks like we will have a lively watering hole- bring all friendly colleagues with you

Roger Malina

Some of you will know of Ira Greenberg through his work developing processing language


Greenberg’s research and teaching interests include aesthetics and computation, expressive programming, emergent forms, net-based art, artificial intelligence (and stupidity), physical computing and computer art pedagogy (and anything else that tickles his fancy). He is currently building a new 3D Graphics Library, called Protobyte, for developing artificial life forms. One of his passions is torturing defenseless arts and humanities students with trigonometry, algorithms and object-oriented programming, and he is excited to spread this passion to the rest of the world.


Processing: Creative Coding and Generative Art in Processing 2 (Greenberg, Xu, Kumar, Berkeley, CA: friends of ED, 2013) is designed for independent learning and also as a primary text for an introductory computing class. Based on research funded by the National Science Foundation, this book brings together some of the most engaging and successful approaches from the digital arts and computer science classrooms.


Call for Papers: Histories, Theories and Practices of Sound Art – Leonardo Electronic Almanac March 1 deadline

Histories, Theories and Practices of Sound Art – Leonardo Electronic Almanac
Senior Editor: Lanfranco Aceti
Editors: James Bulley, John Levack Drever, Morten Søndergaard
Call for papers
Traditionally, the curator has been affiliated to the modern museum as the persona who manages an archive, and arranges and communicates knowledge to an audience, according to fields of expertise (art, archaeology, cultural or natural history etc.). However, in the later part of the 20th century the role of the curator changes – first on the art-scene and later in other more traditional institutions – into a more free-floating, organizational and ’constructive’ activity that allows the curator to create and design new wider relations, interpretations of knowledge modalities of communication and systems of dissemination to the wider public.
Topics include:


  • Curating Interfaces for Sound + Archives
  • Methodologies of Sound Art Curating
  • Histories of Sound Art Curating
  • Theories of Sound Art Curating
  • Practices and Aesthetics of Sound Art
  • Sound in Performance
  • Sound in Relation to Visuals


Guidelines for paper proposals:
(a) Email your submission to Subject heading: Sound Art Curating
For those of you that have submitted to the previous two editions of the conference via EasyChair – that system is managed by Morten Sondergaard and unfortunately there seems to be a problem with retrieving all of the papers. Please do resubmit to for consideration for publication.
Lea is a highly regarded international academic publication and the Editor in Chief expects due diligence from all submitters.
(b) Length for full articles: around 5,000 words. Abstract: around 500 words (in .doc format.)
(d) Images: A single full page image should be at least 18,5 cm (width) x 26 cm (height) and must be at 300 dpi minimum, .TIFF preferred (otherwise .JPG). A double spread (an image on two adjacent pages) should be at least 36,2 cm (width) x 26 cm (height) and must be 300 dpi minimum. (Do not forget image captions, credits, and copyright notices.)
(e) Download a sample paper here:
(f) Send signed copyright forms along with your paper. Download copyright forms here:
(g) Further guidelines, including author checklist and how to avoid common mistakes:
(h) Deadline for submission of full articles: March 1, 2015.
(i) After the reviews are complete with communication to authors expected on June 1, 2015, you will receive a letter of acceptance and a publication schedule.


  •  For scholarly papers, please, submit the final paper ready for peer review. Your contribution will be reviewed by at least two members of the LEA board and revisions may be requested subject to review.
  •  For themed and pictorial essays, please, submit an abstract or outline for editorial consideration and further discussion.
  •  Please keep your news, announcements and hyperlinks brief and focused; include contact details and a link to an external site where relevant.
  •  We reserve the right to sub-edit your submissions in order to comply with LEA policies and formats. Where material is time-sensitive, please, include both embargo and expiry dates.


  •  Failure to comply with in house referencing style and format as well as with copyright clearance for images will result in the rejection of your submission at any stage of the process. Acceptance of papers after review is conditional to your due diligence and compliance with all matters in particular referencing style and copyright clearance. No exceptions will be made.

All proposals should be sent to:
Our publication formats allow for full-color throughout and we encourage rich pictorial content where relevant and possible. Note, however, that all material submitted must be copyright-cleared (or due diligence must be evidenced).
For further information or image submission, contact:
We look forward to hearing from you!


Call for papers – Leonardo Symposium at NETSCI: Arts Humanities and Complex Networks due March 29 2015

Call for papers – Arts Humanities and Complex Networks due March 29 2015
Arts, Humanities, and Complex Networks
— 6th Leonardo satellite symposium at NetSci2015

taking place at the World Trade Center Zaragoza (WTCZ) in Spain,
on Tuesday, June 2, 2015.
Abstract: ^
For the sixth time, it is our pleasure to bring together pioneer work in the overlap of arts, humanities, network research, data science, and information design. The 2015 symposium will again follow our established recipe, leveraging interaction between those areas by means of keynotes, a number of contributions, and a high-profile panel discussion.

In our call, we are looking for a diversity of research contributions revolving around networks in culture, networks in art, networks in the humanities, art about networks, and research in network visualization. Focussing on these five pillars that have crystallized out of our previous meetings, the 2015 symposium again strives to make further impact in the arts, humanities, and natural sciences.

Running parallel to the NetSci2015 conference, the symposium provides a unique opportunity to mingle with leading researchers in complex network science, potentially sparking fruitful collaborations.

As in previous years, selected papers will be published in print, both in a Special Section of Leonardo Journal MIT-Press and in a dedicated Leonardo eBook MIT-Press (see below).

Keynote: ^
As in previous years, we will feature a high-profile keynote from the areas of cultural data science, network visualization, and/or network art.

Organizing committee: ^

Maximilian Schich, Associate Professor, ATEC, The University of Texas at Dallas, USA
Roger Malina, Executive Editor at Leonardo Publications, France/USA
Isabel Meirelles, Professor, Faculty of Design, OCAD University, Toronto, Canada

Submissions: ^
We invite you to submit a 300 word abstract including one descriptive figure by March 29, 2015 using our EasyChair submission link:

Note: Our previous calls had an acceptance rate of 14 to 25%. Contributors were selected using a peer review process with three to four independent reviews per paper. Succesful submissions usually include an abstract not exceeding 300 words (plain text in the EasyChair submission form, no paper attachment), a striking figure (.jpg attachment, optimized to about 2000 x 1200 pixel in landscape aspect ratio), as well as an URL, all of which should express the relevance to our call. Previously selected paper topics cover a large territory, including networks in archaeology, art, film, history, music, literature, network visualization, and the culture of art-science. For previous examples see our companion website at

Important dates: ^
Deadline for submission: March 29, 2015.
Notifications of acceptance will be sent out by April 6, 2015.
Date of symposium: Tuesday, June 2, 2015, in Zaragoza, Spain.
Attendance: ^
Important note: The main NetSci2015 conference requires satellite attendees to pay at least a one day registration fee, in addition to registering to our symposium via EventBrite.

To attend our symposium,
1. please get a free EventBrite ticket at
2. pay at least a one-day registration fee at

If you do not get an Eventbrite-ticket (but you paid the NetSci2015 fee), there is still a chance to attend, as some ticket holders may not be able to show up. We will fill these spaces in Zaragoza, again on a first come, first serve basis. Priority will be given to those on our Eventbrite wait list and those registered for the main NetSci conference.

Program Schedule: ^

9:00 Roger Malina
Opening Remarks

9:10 Maximilian Schich

9:30 Keynote talk

10:30 Coffee break

11:00 – 13:00 Contributed talks

13:00 Lunch

14:00 – 16:00 Contributed talks

16:00 Coffee break

16:30 Panel discussion

17:30 End

About NetSci: ^
The International Conference on Network Science 2015, NetSci2015, in Zaragoza, Spain, from June 1 to 5, 2015 focuses on interdisciplinary research on networks from various disciplines such as economy, biology, medicine, or sociology, and aims to bring new network analytic methods from physics, computer science, math, or statistics to the attention of a large and diverse audience.

Links: ^
eBook on Arts, Humanities, and Complex Networks [Kindle Edition]:
Companion website:
For purchase (US $ 7.99):

Special Section in Leonardo Journal:
Leonardo Journal 43:3, June 2010, pp. 212, URL:
Leonardo Journal 44:3, June 2011, pp. 239-267, URL:
Leonardo Journal 45:1, February 2012, pp. 77-89, URL:
Leonardo Journal 45:3, June 2012, pp. 275-286, URL:
Leonardo Journal 46:3, June 2013, pp. 267-279, URL:
Leonardo Journal 47:3, June 2014, pp. 265-278, URL:

Previous Symposia websites:


Other relevant sites:
ATEC, The University of Texas at Dallas:
BarabásiLab, Northeastern University, Boston:
Faculty of Design, OCAD University, Toronto:

Contact: ^
If you would like to be added to the list of interested people, please drop us an e-mail with the subject Please add me to the Arts, Humanities, and Complex Networks list at Alternatively you can follow us on Twitter.

– See more at:

“From Synesthesia to Synthesis of Arts” Conference in Honor of Bulat Galeyev in Kazan

Dear Colleagues


I bring to your attention this conference on Synesthesia in the Arts

in Honor of the late Bulat Galeyev, Co editor of the Leonardo Journal

and a friend and colleague
Roger malina



III Galeyev’s Readings


International Scientific and Practical Conference

“From Synesthesia to Synthesis of Arts”


To the 75th anniversary of Bulat Makhmudovich Galeyev’s birth


2-5 October 2015, Kazan


Dear colleagues!


On October, 2, 2015, we celebrate 75 years since an outstanding native scientist, founder of Kazan light-musical school, researcher of philosophical and aesthetic basics of synesthesia and pioneer of native videoculture Bulat Machmudovich Galeyev’s birth (1940-2009).

For more than 40 years under his direction, SKB-NII of experimental aesthetics “Prometheus” was the main center for studying Scriabin’s ideas of light-music, theory and practice of audio-visual synthesis. Here Galeyev’s and his colleagues’ original light-musical ideas were born and realized.

Kazan conferences gather researchers of the very various fields of knowledge from all over the world. The interdisciplinary direction has discovered rare, sometimes the most unexpected and important perspectives of scientific and artistic relationship in their historical and modern context. This gives an opportunity to understand and see one or another cultural event in new ways.

In Memoriam of Bulat Machmudovich Galeyev and his business, to which he devoted all his life, we are planning on having a scientific and practical conference “From Synesthesia to Synthesis of Arts”. According to Galeyev, synesthesia is a specific demonstration of non-verbal thinking that can be realized by means of involuntary or purposeful comparison of different-modal impressions based on structural, sense bearing or, mostly, emotional resemblance. In the scientist’s opinion, synesthesia is a social and cultural but not a biological phenomenon. The very language, art is that “ground” where synesthesia is formed and extensively cultivated.

A special sounding for today is a problem of synthesis of arts in conditions of digitalization of modern culture and art. Synesthesia here is becoming the most important “scene” to unite efforts of artists involving in various kinds and genres of art.


We invite specialists of various scientific fields who are interested in studies of synesthesia and synthesis of arts, their theories and historical realizations in the world and native cultures.


At the conference it is proposed to have lectures and brief notes in the following sections:

B.M.Galeyev, “Prometheus”: history, theory, practice

– practical and theoretical heritage of B.M.Galeyev in the context of modern native and foreign cultural situation;

– SKB-NII “Prometheus” as a main center of studying synesthesia and designing of “light-musical” devices;

– unknown pages and reconstruction of forgotten events in Kazan light-musical school: history, people and facts.


Problems of synesthesia in aesthetics

  • algorythmic aesthetics and synesthesia;
  • receptive feelings and emotional experience in the context of synesthesia;
  • modern digital art practice of synthetical type.


Problems of synesthesia in art

  • from synesthesia to synthesis in arts in visual art: history, theory and art practice;
  • synesthesia and synthesis of arts in design and architecture: history and modernity, theory and practice;
  • synesthesia in theatre, music and cinema: history and modernity, theory and practice;
  • from synesthesia to synthesis of arts: history and practice, theory and modernity in the world literature.


Within the conference we are going to have an exhibition and an evening festival program in which veterans of audiovisual experiences with representation of their works as well as practitioners of modern art are welcomed.


To take part in the conference, evening festival program or exhibition, please, send your applications before March, 1, 2015. The application form is in Appendix 1.

It is planned to publish a conference book with RSCI (Russia Science Citation Index) label. Due to this fact, the paper being maximally ready for publication should be sent before April, 1, 2015, as an attachment to or by post to Russia, 420111, Kazan, K.Marks St., 10, KNITU-KAI, “Prometheus”.


Organizing committee:

Alexander S. Migunov, D.Sc. in Philosophy, member of AIS (Association of Art Critics, Russian public organization of art historians and critics, MSU, Moscow) – Conference Chair, Research Advisor;

Stanislav A. Zavadski, Ph.D. in Philosophy (MSU, Moscow);

Vyacheslav F. Kolejchuk, artist, designer, member of SA (Union of Architects), prof. (MIARCH, Moscow);

Nina P. Kolyadenko, D.Sc. in History of Arts (NSC, Novosibirsk);

Larisa P. Prokofieva, D.Sc. in Philology (STMU, Saratov);

Michael S. Zalivadny, Ph.D. in History of Arts (SPSC, S.-Petersburg);

Irina A. Trofimova, Ph.D. in Education (KFU, Kazan);

Nadezhda A. Kargapolova, Ph.D. in History of Arts, member of AIS (Association of Art Critics, Russian public organization of art historians and critics, Moscow);

Anastasia B. Maximova, Ph.D. in History (KSRTU-KAI, CA “Prometheus”, Kazan);

Sunbul M. Galyavina (CA “Prometheus”, Kazan) – Assistant Editor.




Some requested details about printing your paper:

The paper is to be printed on not more than 4 pages in Microsoft Office Word format, Times New Roman of 14 pt with line distance of 1; 2 cm from all printed page sides, page numbering should be placed at the bottom center of each page.

The paper’s title is to be centered with author’s name, location and e-mail to the right of the page. The paper should be supported with an ABSTRACT (6-8 lines, see Appendix 2)

Any notes should be listed in order as the work progresses.

Publications on Linguistics will be published in author’s native language.

The paper can be supplied with any simple diagrams, tables, pictures (jpg, b&w).

The Conference Committee reserves the right to reject one’s application.


The publication fee is 50 USD, including postal charges of a conference book to a participator in case of his/her distance participation.


Unfortunately, we cannot cover costs for your travel or stay during our event but we are here to help make arrangements for comfortable hotel accommodations according to your wishes.


Our contacts: office tel. +7 (843) 238-62-73 (Kazan, Russia)

Anastasia Maximova +7(987) 237-06-87

Sunbul Galyavina +7 (960) 038-13-58

Ellina Sokolova +7 (987) 207-88-45


Buckminster Fuller’s Vision Lives on: Fuller Challenge Call for Proposals



Having served on the Buckminster Fuller Challence Jury, I highly recommend this competition to all

those bridging social urgency with art/sci/technology
Check out some of the previous winners-

If you want me to nominate you for the challenge-send me project description
Roger Malina


February 19, 2015, New York City – The Buckminster Fuller Institute formally announces the Call for Proposals to the 2015 Fuller Challenge. Recognized as “Socially-Responsible Design’s Highest Award”, the Fuller Challenge invites activists, architects, artists, designers, entrepreneurs, scientists, students and planners from all over the world to submit their innovative solutions to some of humanity’s most pressing problems. A $100,000 prize is awarded to support the development and implementation of one outstanding strategy. Entries will be accepted until March 31, 2015 at 5pm EST.


Buckminster Fuller called for a design revolution to “make the world work for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offense or the disadvantage of anyone.”

Answering this call is what the Fuller Challenge is all about.


Winning entries for the last six years have applied a rare combination of pragmatic, visionary, comprehensive and anticipatory thinking to tackling issues as broad as urban mobility, coastal restoration and innovation in biomaterials packaging. BFI has created an application process for entry to the Fuller Challenge in which global changemakers grapple deeply with a unique set of criteria. Internationally renowned jurors and reviewers look for whole systems strategies that integrate effectively with key social, environmental and economic factors impacting each design solution.


Are you or someone you know working on a holistic solution to make the world work for 100%? Read below for more information on what we are looking for, download the full Call for Proposals, and APPLY!

Deadline for entries is Tuesday, March 31, 2015 at 5pm EST.


Buckminster Fuller led a prolific life of research, invention, writing and teaching. He developed a comprehensive systems approach to understanding complex global problems and a unique set of “design science” principles that embodied a deeply attuned ecological aesthetic. Fuller conceived and prototyped new strategies intended to enable all of humanity to live lives characterized by freedom, comfort and dignity without negatively impacting the earth’s ecosystems or regenerative capacity. He emphasized that the technology and know-how already exist to successfully surmount our global challenges and he advocated “doing more with less” by increasing the overall performance of every resource invested in a system.


Winning the Fuller Challenge requires more than a stand-alone idea or innovation that focuses on one aspect of a system failure. BFI looks for holistic strategies that demonstrate a clear grasp of big-picture dynamics. If a proposal emphasizes a new design, material, process, service, tool or technology, it is essential that it be part of an integrated strategy that simultaneously addresses key social, environmental and economic factors.

BFI seeks initiatives that tackle urgent needs at a range of scales: from macro-strategies that have the potential for widespread impact, to local, community-based initiatives with global relevance and replicability. Proposals at any stage of development will be reviewed; non-profit, for-profit and hybrid initiatives are all eligible.

Entries must meet the following criteria:

Visionary – put forth an original idea or synthesize existing ideas into a new strategy that creatively addresses a critical need

Comprehensive – apply a whole-systems approach to the design and implementation process; aim to address multiple goals, requirements and conditions in a holistic way

Anticipatory – factor in critical future trends and needs as well as the projected impacts of project implementation in the short and long term

Ecologically Responsible – practice environmental responsibility; enhance the ability of natural systems to regenerate

Feasible – demonstrate the solution is possible; rely on current technology and a solid team capable of implementing the project

Verifiable – able to withstand empirical testing and make authentic claims

Replicable – able to be adapted to similar conditions elsewhere

Winning initiatives integrate these criteria into powerful design solutions that have the potential to play a significant role in the transition to an equitable and sustainable future for all.

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