Recipes for the Bouillabaisse of Transdisciplinary Arts and Sciences

Book Review by Roger F. Malina

Exploring Transdisciplinarity in Art and Sciences

Editors: Kapoula, Z., Volle, E., Renoult, J., Andreatta, M. (Eds.) Springer.

Softcover ISBN: 978-3-030-09391-4 © 2018. https://www.springer.com/gp/book/9783319760537

I recommend this book for all those in the Leonardo and other art, science and technology villages. It is a recent (2018) overview of a number of important topics; the authors focus on current discussions about how to enable transdisciplinarity for problems that refuse strictly disciplinary approaches. In particular, it takes advantage of the most recent thinking in neural sciences, neurophysiology and of course music, mathematics and the brain. I was pleased to find true things that are new, new things that are true, and of course new claims that aren’t true, in my current framework.

The book editors are from a broad range of professions: cognitive scientists, neurologists, evolutionary biology and a specialist in the relationship of mathematics and music (specifically topological transformations of sound) The authors are a delightful zoo of professionals, including behavioral engineering, economics and Oumupo.

In a sense it picks up on the excitement 30 years ago when Semir Zeki and the Minerva Foundation started  Neuro-Aesthetic conferences in Berkeley, California.  Neuro-aesthetics built on decade of research such as Margaret Livingstone.  Other lines of research,  build in some senses, on the work of Leonardo Editors Rudolph Arnheim, J.J.Gibson, Ernst Gombrich, C.P.Snow, Jonas Salk and others. It builds on the assertion that the well developed arts are cognitive processes which seek to make sense, and meaning, out of all the data from all sources that human bodies receive. And that the artistic methods are as valid and illuminating as the scientific ones in many situations.

Yes, as physicist Stavros Katsanevas likes to say provocatively, both artists and scientists are “professional noticers’. Arts scholars like Bonnie Pitman now teach medical students to observe; the late Pauline Oliveros zoomed in on the varieties of listening modes we can use if trained. In Dialogue and Culture,  (David Bohm and F. David Peat, Science, Order, and Creativity. New York: Bantam, 1987), two quantum physicists argued, in a sense, for promoting the interaction of the arts, sciences and new technologies which has been the rallying cry of the Leonardo Village of Villages.

I have been using the term ‘villages’ for the emerging practices of STEM to STEAM, ArtScience, Bio-Art and so on. One of the problems in using terms such as ‘disciplines’ in the term ‘trans-disciplinary’ is the implicit bias on recent ways of sub-dividing ‘ways of knowing’. The San Francisco Exploratorium , founded by the late Leonardo Editor Frank Oppenheimer had a series of generative conferences called Ways of Knowing: https://www.exploratorium.edu/visit/calendar/ways-of-knowing .

One implicit bias of the “tree of knowledge” way of thinking is, for example, that in a tree branches never reunite, as physics and astronomy did in the emergence of astrophysics 150 years ago. Recently in a discussion with artist Caspar Noyons, we stumbled onto the term ‘bushes” of knowledge for his art projects which seek to cross-connect ancient and contemporary cosmologies in ways understandable to contemporary audiences.

A few years back my colleague Yvan Tina ran into a fundamental problem. He directs the art-science pod-cast platform “ Creative Disturbance’ https://creativedisturbance.org/ . The team has now published podcasts in 15 different human languages; they have had to confront the cultural and linguistic divergences in how ways of knowing, such as art and science, are described and combined. The apotheosis was when Oscar Daniel Taramuel Mimalchi https://creativedisturbance.org/host/oscar-daniel-taramuel-mimalchi/ recently started a podcast channel in the indigeneous culture in Colombia that he is belongs to. The guest, Jhonatan Filisberto Palomares Biguidima, was an indigenous Múrui from the Amazon; Jhonatan speaks her own language fluently and in her dialogue expresses her territorial roots and concern about the crisis of conventional (university) education in Colombia, which she considers a complement to her training as an Indigenous.”

There is a total topological mismatch between the topological framing or structure used to interconnect different ways of knowing. Yes to understand something, one relies on structure or frames, or even ‘boxes’. And yes what she calls ‘conventional’ university education she asserts must be complemented by very different ways of knowing. Yet we give lip service to the ideas in creativity and innovation theories that emphasise the need to ‘reframe”, or shifts in thinking modes as also emphasized by Edward de Bono and others.

This book review has diverged from the content of the book by Zoi Kapoula and her colleagues, but emphasizes my rent reading practice. Somethings may be true in one framework,  but maybe not in another. Tina Qin is currently applying metaphor theory to new forms of data visualization; and, yes, some things become “invisible” depending on the big data tool used and the metaphor it embodies. There are also many ways to read a book where claims are judged to be true or not, as a consequence of the reading method.

In one essay, Serena Mastria and colleagues  emphasize what they call the ‘multi-variate’ approach and insist that ‘conation’ be taken into account; related words are volition and ambition but also emotional idiosyncrasy. Yoed Kennett applies the science or complex networks. Claus-Christian Carbon discusses moving from ‘static frameworks’ to ‘dynamic frameworks’; he discusses a number of techniques including studying ‘emotional footprint’, or ‘Implicitly Measuring Body Sway’ and uses ‘posturography’ as a research method. Yes minute movements of very different parts of your body are ‘frameworks’ for understanding your own body and mind, and its aesthetic experience, not just foot tapping. Alain Londero and colleagues unpack the classical “maluma/takete” experiments where cognitive analogs learned in childhood are proven to be consistent and reliable through adulthood. Part of this way of understanding cross modal linking derives from the work of Kohler reported in 1929.

So, for now, I propose to continue touse the term ‘trandisciplinary’ as Zoi Kapoula and colleagues do in this book, and the name ArtSciLab for our research laboratory at the University of Texas, Dallas. Readers of this book I think will be stimulated to re-frame their thinking and the languages they use, as semioticians emphasise.

And perhaps it would be a  good time to work with contemporary mathematicians who have very different approaches to what we have relied on for millennia in our particular cultures. As pointed out by Kristen Duepree and colleagues in our ArtSciLab, there are new opportunities to rethink sound and music arts themselves in the context of brain and behavioural sciences, and rethink how we learn and teach music itself, in ways that escape the trap of ‘computer music’ and current online music training . And yes string theory could be useful, or the artscience of ‘entanglement’ as developed by Ayen Den and Colleagues in the nanoscience of carbon nano-tubes at UTDallas Physics Department.

Leonardo Books will be publishing Linda Henderson’s new book that goes beyond her thesis elaborated in The Fourth Dimension and Non-Euclidean Geometry in Modern Art ( Leonardo Books, MIT Press, 1983). The failure of modern scientific cosmology, based on the best mathematics available today, to understand the nature and form of 95% of the content the universe is a stark reminder. Stavros Katsanevas director of VIRGO, the international gravitational observatory in Pisa, of all places, argues that artists and scientists need to get to work together, starting perhaps with gravitational wave astronomy which presents us with phenomena, in an ether, or aether, that are incomprehensible today using the best astrophysics and contemporary state of the art mathematics.


Roger Malina is an artscientist and editor. He currently works in the ATEC School at UTDallas and  the Leonardo Observatory of the Arts and Technosciences. He is also co-founder of a small Texas start up company which offers artscience consulting services; I need to declare of interest as the company, Strange Data LLC, is carrying out data sonification for Zoi Kapoula, the lead author of this book that is reviewed here. Artscience consultant Scot Gresham Lancaster has sonified her sophisticated eye tracking data, which she hopes to prove will help some people with dyslexia, due to erratic movements of their eye muscles. We hope that the data sonification will help people correst their dyslexia if they wish. Kapoula likes to notice that dyslexics can make excellent artists, and also experience art in different modes that non-dyslexics in ways that can be original. Eg listen to https://soundcloud.com/ocean-drive-distribution/percutive-by-p-ben

https://www.springer.com/gp/book/9783319760537

Digital Emotes: Aaron Tate creates artworks that provide a visual reflection of your current emotional state

Using​ ​Biofeedback​ ​and​ ​Facial​ ​Tracking​ Tehttps://digitalemotes.com/chnologies to Abstract Emotions.

See an example of the artists brain creating art: https://digitalemotes.com/

Colleagues,

At a time like this provocative ideas may have traction. Aaron Tate, a member of our ArtSciLab ‘village” built a system that create artworks live that use your own brain data to create an artistic emulation.

In his 2018 Master’s Thesis, Aaron Tate details his project to “create​​ an artistic ​visualization ​​that ​​would ​​use both electroencephalogram ​and ​​facial ​​tracking technologies ​​as ​​input​​ devices driving creative compositions in a digital interface. ” Taking influences form data visualization, cognitive science, art, and aesthetics, Digital Emotes is an interesting look at the integration of artistic visualization and neuroimaging to produce a visual reflection of current emotional state.

You can download his whole thesis at: https://artscilab.atec.io/blog/digital-emotes/

To keep receiving news of the artscilab provocative work sign up at the bottom of the page: https://artscilab.atec.io/

Roger Malina

Yuri’s Night Birthday Parties Go PPPP Balistic

Thanks for your birthday wishes-Christine and my 70th birthday parties have now started at:  http://yurisnightdfw.com/

The party party has started under the PPPP ( Post Pandemic Provocation Party of Anarchists, Dada ists, Futurists and other artists who will change the history of ideas without intending )


If you would like to be invited to the face to face and hugging partysend me an email at rmalina@alum.mit.edu …

Yes we will party until the party happens and you will receive an invitation to the very formal party.


Meanwhile we are recording memories for the future: 


a) vint cerf who ask artists to take over setting up the Interplanetary Internet

b) Sarah Jane Pell who talks about her experiences in zero gravity and other extreme environment and anticiplates the extreme environment of social distancing.

c) Poetry to Carbon, the atom without which we would not exist, by physicist-poet Ayen Deng

d) Soon victoria vesna, nina czelgledy alyce santoro, joel slayton and other idel no gooders on the Leonardo Post Pandemic Provocateur planning


We are looking forward to recording testimonials from anyone who has experienced zero gravity- and lived to tell the tale..contact me to record a video !


we are also looking for any sonifications of space related data we can the party when it happens. contact me at rmalina@alum.mit.edu


it will happen


christine and roger malina  and the leonardo, iaa, yasmin, artscilabers, and the other villages in the archipelago of villages we belong to.

Post Pandemic Provocation no 7: B.C. Before and A.C. After the Coronacene

Let us Give the Bacteria and Viruses a Voice- Artists can already hear them, can you?

or : The Anthropocene has become the “Coronacene”, with poetic sound incense transforming  us, thanks to the work of artscientists described below.

This blog post on behalf of one of many small emerging post pandemic Leonardo villages:  seaded by Nina Czegledy, Joel Slayton, Diana Ayton Shenker, Alyce Santoro, and 296 others named below.

We live in strange times when the desirable unexpected may need to be provoked.

Provocation 1:

In times like this, we need more un-necessary research,

Not Provocative: less un-necessary travel, email and texting and un-necessary consumption

Provocation 2: but above all we must re-define the un-necessary.

 (I learned these new-old ideas at the STARTS village reunion at IRCAM in Paris ( https://vertigo.starts.eu/ ) just two weeks before the world started having a panic attack.

So here we go:

Nina Czegledy, Joel Slayton and I were tasked by the new Leonardo CEO Diana Ayton-Shenker (https://www.leonardo.info/led/19253 ) to think aloud about how the Leonardo art,science,technology ( https://www.leonardo.info/welink-ten-easy-pieces ) villages of villages could have an impact in these chaotic and turbulent times of COVID 19.

We are slowly stewing a Provençale Bouillabaisse that could become a Leonardo Post Pandemic Provocation Soup.

Alyce Santoro in the Yasmin village (http://yasminlist.blogspot.com/2020/ )  proposed three types of provocations:

  1. I suggest that in the post-pandemic world, creative practices (ones
    that arouse the imagination, senses, and emotions??
  2. . The objective stance we are obliged to take as good scientists in
    fact reinforces the notion that humans are autonomous entities/outside observers, separate from one another and the biosphere?
  3. An Intricate Ensemble: The Art-Science of An Ecological Imaginary for the Anthropocene Epoch” is available for download in its entirety at RISD Digital Commons:
    https://digitalcommons.risd.edu/masterstheses/415/
    <https://digitalcommons.risd.edu/masterstheses/415/>.
     
  • No doubt members of our villages can come up with others ? Rap them out !

The good news is that a team of artscience researchers have already developed the methods to hear the sounds of bacteria, but also viruses (ask Scot Gresham Lancaster, Gagan Wig and Sharath Chandra Ram who have pioneered techniques through our Data Stethoscope projects: )

Watch the YouTube video led by Ritwik Kaikini that shows the simple techniques that artists, working with scientists, developed to listen to the sound of bacteria colonies growing, expanding and also dying.

If only we could hear the Corona Virus COVID 19, then humans could adapt their behaviors to co-exist. Oops we do not want to destroy viruses and bacteria, we need them for us to exist at all, we need to be all in the microbiome happy together.

So below, is the illustration of one technique for hearing bacteria, there are many, by the UTD Dallas ArtSciLab ( https://artscilab.atec.io/ ) with the Gassensmith  Bio Chemistry Lab

Here below , in turn, in detail:

 A) Alyce Santoro’s Threefold Provocation

 Followed by the

B) BioLux Chants project that allowed humans to hear the sound of bacteria singing for the first time. Listen here: https://www.youtube.com/watch?v=E-pmmKRMT9w

C) Ayen Deng and her team or artistphysicists have been giving voice to carbon nanotubes that could be useful to help us co exist with Covid 19.

read more at: https://artscilab.atec.io/blog/the-voices-of-science

Yes science-rap can help us co exist with Covid 19

YES: the poets are ideal provocateurs among others  in the Leonardo Villages.

D: Proposal for funding Biosphere 3 to test out all these provocations and more.

E: see the worldwide COVID 19 exhibit led from

https://www.leonardo.info/welink-ten-easy-pieces

 Chronus Art Center (CAC) is pleased to announce the presentation of a special online exhibition “We=Link: The exhibition was made possible through the generous support of Art Center Nabi (Seoul); Rhizome of the New Museum (New York); and the concerted efforts by 12 institutions around the world. The exhibition is available online starting on 30 March 2020.

Please propose your own provocations.

So lets get into all these provocations in a bit more depth !

Roger Malina, one of the voices in the Leonardo Post Pandemic Village with Nina Czegledy, Joel Slayton, Alycia Santoro, Diana Ayton Shenker,   Ritwik Brian Merlo Victoria Nguyen Nhan T Khuu ,Anna Lynn Edwards,  Ashton Brillante Jeremiah J Gassensmith (ArtSciLab) Frank Dufour , https://artscilab.atec.io/chanting-th… , Aahlad Madireddy, Oskar Olsson, Scot Gresham Lancaster, Sharath Chandra Ram and  245 others.

D) Let me note that the Biosphererians have already tested many of the techniques for successful co existence with viruses and bacteria; lets fund them to test out these provocations for the Coronacene: https://www.synergeticpress.com/upcoming-titles/life-under-glass/  

Read my review at: https://www.leonardo.info/review/2020/04/life-under-glass-crucial-lessons-in-planetary-stewardship-from-two-years-in-biosphere

Oh yes: a final provocation:

e) What would Leonardo Da Vinci be doing today to help us with COVID19 and subsequent collapse of human civilization ?

 NOTHING  

As I have previously pontificated. We do NOT need any more geniuses, especially male ones.  

Universities are badly designed; they only give diplomas and degrees to individuals not teams.  

In the Coronacene we need teams that behave with genius like inspiration and innovation- lets restructure post pandemic education to teach in teams and give diplomas to teams.

Roger Malina

  1. Here is Alice’s manifesto 1.0

Dear Roger and All,

I would like to offer to the group a recently-completed project that,
I believe, specifically addresses your questions regarding catalysts
for alternative imaginaries? Romantic Naturalists, Dadaists,
Surrealists, anarchists, radical biologists, social ecologists, and
improvising musicians provide the clues. In a nutshell, I suggest
practices and frameworks that emphasize and enhance collaboration,
spontaneity, care, the ludic, and the dialectical, in defying
convention, contain the potential to subvert it.


Provocations:

1. I suggest that in the post-pandemic world, creative practices (ones
that arouse the imagination, senses, and emotions? the marvelous? as
sought by both the Romantic Naturalists and the Surrealists) must be
embraced as essential forms of knowledge production in and of
themselves. These can be constructively applied. Not simply as
embellishment or in a support capacity? But in concert with science’s

rigorous and dispassionate methods.

2. The objective stance we are obliged to take as good scientists in
fact reinforces the notion that humans are autonomous entities/outside
observers, separate from one another and the Biosphere?  The virus,
however, powerfully demonstrates the ways in which humanity is

interwoven with and inseparable from the vast milieu of planetary
systems and forces. Can dualism be applied when due, while undue
dualism is undone?

3. An Intricate Ensemble: The Art-Science of An Ecological Imaginary for
the Anthropocene Epoch” is available for download in its entirety at
RISD Digital Commons:

https://digitalcommons.risd.edu/masterstheses/415/
<https://digitalcommons.risd.edu/masterstheses/415/>. Feedback,
comments, and critique welcome.

I am grateful to you, Nina, and Joel for bringing this topic to the
list, and look forward to the ensuing discussion!

With best regards,
Alyce Santoro

alycesantoro.com <http://www.alycesantoro.com/>

  • Here is the Micro Lux Chant sound of victory or hopefully rather co-existence:


Ritwik Kaikini
:

Sound can be used in innovative ways in data interpretation.

Micro Lux Chants is a multi-disciplinary art-science project where we seek to understand the life cycle of bioluminescent bacterium – Aliivibrio Fischeri through the medium of sound.  

The bacterial life cycle consists of four phases, namely: lag phase, log phase, stationary phase and the death phase.  

The team at the ArtSciLab and the Gassensmith Lab, has conducted significant studies through time lapse photography of these bacteria over two years, to understand the growth and decay of these bacteria through visualization.

 We now traverse into a new form of data interpretation called sonification.   

The ability to detect what phase the bacteria is in during its life cycle, by listening, instead of seeing the growth and decay of these bacteria. To achieve this goal, principles of Frequency Modulation and multiple blob tracking have been used in PureData and Max/msp, an open source visual programming language for multimedia.

When there is a large number of batches of bioluminescent bacteria being grown, the researcher has to diagnose the stage of the life cycle of these bacteria through visual observation, which can be a time-consuming process, as it requires constant supervision of these batches.

This project proposes to solve this problem by using a software-based visual code to track the areas of growth in the bacterial colonies and obtain a sound output to detect which phase of the life cycle the bacteria is in.

The significance of these findings is twofold. Firstly, the biotechnological applications of bioluminescent bacteria extend to cell tracking in cancer research, gene control using quorum sensing and to test the effectiveness of antibiotics.

 Secondly, this research has applications in art-science communication, phenomenological studies of bioluminescence and data translation.

 The project was presented as a poetic sound-art installation with a screen showing the process of making bioluminescent bacteria, two posters speaking about the concepts and phases of the project and a listening activity where people are invited to listen to bacteria singing or “Chanting”. 

Team includes :

Ritwik Kaikini (MA Arts and Technology ’18) (2016-present) Brian Merlo (BS Bioengineering ‘19) (2018- present) Undergraduate Student Team: Victoria Nguyen (BS Biochemistry ‘17) Nhan T Khuu (Health Studies Major) Anna Lynn Edwards (Biology Major) Ashton Brillante (BA Arts and Technology ’17) .Jeremiah J Gassensmith  (Gassensmith Lab) Roger Malina (ArtSciLab) Frank Dufour (LabSynthE) ArtSciLab: https://artscilab.atec.io/chanting-th… Written, Edited and Directed by Ritwik Kaikini Background Score by Ritwik Kaikini Videography by Aahlad Madireddy, Oskar Olsson, Brian Merlo, Ritwik Kaikini

Website: https://www.soundincense.com/ email: ritwikjk@gmail.com https://www.instagram.com/ritwik_kaik… #microluxchants #utdallas #bacteria #bioluminescence #artscience

 I(Ritwik) treated each colony of bacteria as a poet of a different language and the bacteria recite poetry as they light up. As the bacteria populate inside the petri dishes, the poetry gets chaotic to listen to, due to the simultaneous confluence of languages. As the bacteria begin to decay, the voices and the poetry fade out and the human voice lingers in the end.  

C , Rap-Covid 19

 Ayen Deng in the ArtSciLab is now leading spoken word and poetic research with physicists  https://soundcloud.com/ayen-deng-947652902/modern-science-spoken-word read more below)

Excerpt:

Before things were written, they were spoken. The Spoken Word has a rich historical basis, especially amongst traditional African societies where culture and knowledge was passed down in the form of riddles, proverbs, stories, poetry, music, and design. Today, spoken word remains a fundamental form of communication, though its limits in academia are rarely challenged. Spoken word poetry is a tool to communicate social issues. Today, it is increasingly popular among the youth with so-called ‘poetry slams’ happening all around the world. Spoken word is appealing as it is impactful and lawless. There are no literary restrictions that define what it is. Instead, it takes a more performative approach, aiming to reach — even interact with — its audience; it is centered on involvement and exchange.This is what makes spoken word, as a type of poetry, powerful: It surpasses communication and creates a participatory audience. Contrastly, scientific phenomena — especially with increasing reliance on technological tools — long ago left the realm of our physical experiences. Consequently, there expands a chasm in intellectual exchange across science and other disciplines that calls for the expertise of a poet. The poet’s role will be to create innovative, metaphorical models in words and to express the often abstract and intangible phenomena in science. The very nomenclature of science, which is often times misleading, could benefit greatly from the collaboration of a poet.

For more un heard voices of science : https://artscilab.atec.io/blog/the-voices-of-science

E)  And see artscientists around the world showing their artscience work

We=Link: Ten Easy Pieces

Chronus Art Center (CAC) in China is pleased to announce the presentation of a special online exhibition “We=Link: Ten Easy Pieces,” featuring new commissions by the artists aaajiao, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Slime Engine and YE Funa in conjunction with works by Evan Roth, Helmut Smits, Yangachi and Raphaël Bastide. The exhibition was made possible through the generous support of Art Center Nabi (Seoul); Rhizome of the New Museum (New York); and the concerted efforts by 12 institutions around the world. The exhibition is available online starting on 30 March 2020. : https://www.leonardo.info/welink-ten-easy-pieces

So please lets all provocate, not pontificate, or politicate.

Let us be careful with the Coronacene terminology, because another Coronacene will happen when the solar corona envelopes the earth in a billion years or sooner. Read up on your astronomy (in teams of collective intelligence, don’t just read alone ) and don’t confuse the politicians with referring to the wrong Coronacene.

Roger Malina et al. et al. et al.

LEONARDO Post Pandemic Working Group Mission

Date: april 2, 2020

Lead author: Joel Slayton

Participating authors: Nina Czegledy, Roger Malina, more to be infected:

Background

Rather than focus on yet another futurist attempt to predict what the world might look like, the LEONARDO Post Pandemic Procation Group  will look to provoke alternative approaches to the immediate challenges of the post-pandemic condition. 

 The ambition is to inform and inspire action that serves to shape the immediate future of the post-pandemic, and accentuate the positive consequences of the pandemic. 

 The Working Group will be designed as an enable  trans-generational mentoring/consulting initiative across the archipelago of Leonardo villages as a resource to re-think how to think about the post-pandemic reality.

The global struggle to respond to the Covid-19 Pandemic is evidenced across the disciplines of art/science.  Many of our colleagues have organized to enable  efforts to find a way to navigate the crises.  Simultaneously, there are substantial efforts underway oriented on speculative futures that may emerge post-pandemic. 

 The LEONARDO Working Group differentiates its goal by asking what kinds of ventures can be taken now that will serve to engage trans-generational knowledge sharing regarding how to provoke ideas regarding how to approach the post-pandemic condition.  What kinds of change is imminent and how will we embrace or mitigate the impact? What changes might be positive if encouraged ?

Principles embraced: 

·   Trans-lateral mentoring:

       (encouraging cross generational mentoring/consulting/sherpa-ing, Touareging)

·   Trans-national

       (enabling global participation across traditional boundaries, while respecting local wisdom)

·   Trans-disciplinary 

       (collaboration across art/design/science/humanities, enabling bridging methods)

·    Trans-geneous

        (inclusive re: age, gender, sexuality, religion, handicap…) and yes inclusive of the genes of bacteria and viruses

Post Pandemic Provocations by ArtScientists (PPPandas)

Colleagues 
we know your email boxes are full of email gonorrhea– this email is not infectious-trust us-hah-


thank you jack ox for sharing your on line course materials on the YASMIN list- open access sharing is what we need in the gift exchange culture of the yasmin villages that will emerge happy and productive after the pandemic wanes

Nina Czegledy, Joel Slayton and I have started thinking privately about how to enable post pandemic ideas which we are calling ‘provocations’ (which art/sci/techhybrids  and artists are often expert in)

But Joel insists that rather than by yet another futurist attempt to predict what the world might look like, the focus would look to
‘provoke ‘ alternative solutions to immediate challenges in the post pandemic.


We build on the success of the anarchists, futurism, dada, E.A.T, Bauhaus, in seeding generative ideas that took root during the pandemics and holocausts of their day


We will moderate our e-mails carefully so that we dont contribute to the e-pandemic that is spreading quicker on the internet than the biological one in the ecosystems of our home planet

We need social distancing on line as well as in physical space- feel free to unsubscribe or block my posts


Roger Malina

Roger in Dallas, please phone/txt/ +15108532007 if urgent

Happy Happy Birthday Hannes Leopoldseder

This is a short video greeting to Hannes Leopoldseder for his 80th birthday born March 27, 1940 in St. Leonhard near Freistadt

https://de.wikipedia.org/wiki/Hannes_Leopoldseder

A founder of ars electronica, which he was a driving visionary-

As we moan about the covid19 situation, Hannes understood that we need artists, designers and humanities scholars on tv as well as the doctors, politicians , business folk and military professionals. We need to change our culture and for this we need art science and technology to bridge and help us solve the crises of our times His work at ORF and through the co founding of ars electronica changed the world – we need more people collaborating like Hannes- he was a born collaborator- we dont need more geniuses like Leonardo Da Vinci, we need more people like Hannes who know how to collaborate with genius.

Roger Malina

A Call for Biosphere 4.0; towards the Noosphere needed for the Anthropocene, plus learning from Covid 19.

A Call for Biosphere 4.0; towards the Noosphere needed for the Anthropocene  plus learning from Covid 19.

Review of “Life Under Glass; Crucial Lessons in Planetary Stewardship from Two years in Biosphere 2” by Abigail Alling, Mark Nelson and Sally Silverstone. Synergetic Press 2020. ISBN 9781882428076Co

Roger Malina, ArtScience Research, astrophysicist and editor. -Director ArtSciLab UTDallas and Executive Editor Leonardo Publications, MIT Press.

 I started reading “Life under Glass” just as the Covid 19 outbreak went exponential over the planet. I started reading more and more avidly because of a second coincidence: I was working on a paper on “creativity in extreme environments” with Kathryn Hays and Cris Kubli.  The thinking process that the biospherians went through before being locked up, reminded me of the dress rehearsals we did for NASA rocket launches. The Biospherians underscored the important of the Declaration of Helsinki; the declaration requires that human research subjects be given the right to leave an experiment at any time. That is great for Biosphere 2 and NASA dress rehearsals; but that escape does not exist for Covid 19 or the Anthropocene. Clearly, the current situation is an extreme environment, that changes the ways human cognition functions just as zero gravity does, or working in Antarctica for months without ever seeing the sun. Some of the lessons that the Biospherians learned seem trivial: for instance they ran out of shoes that wore out, but not out of pants. But the Biospherian thinking process was an example of the emergence of a Noosphere  ( cf Vladimir Vernadsky) so that technics, or in my terms “art, science and technology”, reinforces life and life reinforces the arts, sciences and technics in an evolutionary sustainable way. Perhaps after the Covid 19 pandemic is controlled, it will be time to design Biosphere , and 4 and 5 as dress rehearsals for the end of the Anthropocene. 

We Are Tired of Painting Dead Fish; A call to Bio Artists to work on COVID19 solutions

We are tired of painting dead fish:

 how can the arts contribute to the necessary phase changes of human civilizations ?


Roger F Malina:

To be presented, virtually, at Texas A and M University for the conference: American Art of the Sixties: Visual and Material Forms in a Transnational Context” March 24-26 2020: https://www.aa60s.org/

Some time in 1955 my father Frank Malina came home to our dinner table and said: “I am tired of painting dead fish”. His painting of dead fish is proudly displayed in our kitchen in the house in which he and my mother Marjorie Duckwork Malina raised my brother Alan and I.

He had just come back from an oil painting lesson by Reggie Weston, who taught oil painting in Paris at the time and became a good friend of the family. My father’s provocation was caused by his observation that his contemporaries, artists, were painting blindfolded and shackled. Why did not artists no use all technologies available to them, not just paint? Why not electric paintings? The art world of the time said “if it has to be plugged in’ it cannot be art”. And, why did painters still train by painting dead fish, why not explore all the new landscapes now available to them through instruments. The micro-landscapes of viruses viewable through microscopes? The landscapes inside the mind then accessible through electrical wave detectors such as alpha waves. The landscapes of other worlds accessible through telescopes? He was in contact with Gyorgy Kepes who famously published a series of books beginning in 1956 “ New Landscape in Art and Science” which was a manifesto of this vision. They changed the history of ideas as artists. What are the lessons for today ?

Artists through their manifestation of a cultural imagination are fundamental builders of sane and survivable societies, since the time when hunter-gatherers started painting on cave walls. Our societies are in trouble for a variety of reasons, from the Anthropocene crises to simple problems like COVID 19. Where are the new Pasteur’s ? Pasteur was an average student in his early years, and not particularly academic, as his interests were fishing and sketching, (yes dead fish were relevant in his time).  His parents hoped he might become an artist, after all science was not a respectable profession in his time. And of course Alexander Fleming, discoverer of antibiotics major discoveries happened through painting. So how can todays contemporary artists contribute to the necessary phase shifts of our societies to help human’s survive?

Well artists are ahead of the politicians and health insurance companies. There is a world wide bio art movement. They use every instrument and every landscape accessible to them. Joe Davis, long time a fellow at Kepes’s center at MIT, works at Harvard using CRISPR technologies to create molecular art. Data artists, such as Golen Levin and Nathalie Miebach, make art from the raw materials in data bases, just as the impressionists used paint tubes to paint in the outdoors. And emerging art-physicists such as Ayen Deng now develop spoken quantum word poetry about the entanglement of carbon nanotubes.  

So as we look back at American Art of the Sixties https://www.aa60s.org/ , lets reflect on the crucial role of contemporary artists in contributing to the phase changes of civilization needed for human survival. There are many good methods needed, no best methods and many ways of knowing. Ancient societies, who survived far long than western civilization, did not break down knowledge down into art, science, technology etc Those of us who have indigenous native languages think differently and must be with us co-designing survival. The international STEM to STEAM movement, as exemplified for instance by the European Uniion STARTS program https://www.starts.eu/ , is one initiative that is opening the way for today’s contemporary artists as contributors to changing human societies for survival.

And lets thank Texas A and M University for having Frank Malina as a student in 1930. He went on to co found the first start up company in a new industry for space ( Aerojet General Coporation), co-founded the first space research lab,  the Jet Propulsion Lab at Caltech. He was a pioneer in introducing new technologies into art (which he patented), through the Kinetic Art movement in Paris,  and then founded the worlds leading artsciencetechnology Journal Leonardo at  Arizona state University https://www.leonardo.info/isast-asu-executive-director-job  and MIT Press, https://www.mitpressjournals.org/loi/leon.

Invitation to all outer space enthusiasts to Yuri’s night in Dallas Sat April 11 2020

You and your friends are cordially invited to attend:
A Yuri’s Night Party! (yurisnight.net/about/

image.png

WHEN? Saturday April 11, 2020 from 4pm-11pm

to get an invitation email me at rmalina@alum.mit.edu

WHY?In Celebration of all Humans in Space! (+ a 70th Birthday Celebration for Roger & Christine Malina)  

and we will be displaying the work of Space Artists !

The party is in partnership with Leonardo/OLATS in Paris which is organising space workshops thanks to funding from the Carasso foundation: https://www.olats.org/space/space.php

WHERE is the Dallas party on April 11:

At: Mercado 369, Cultural Center, W Jefferson Blvd, Dallas, TX 75208

image.png

IMPORTANT NOTESRSVP Required (Providing Names/emails)

  • Friends with children are welcome from 4pm-7pm.
  • There will be a cash bar at the event and live music.
  • Artists will be presenting various art/science installations.

From Your Hosts: We much look forward to greeting you!

rmalina@alum.mit.edu

Yuri’s Night April 11 2020 In Dallas, Texas on the way to Planet X

Colleagues

You are hereby invited ( send me an email at rmalina@alum.mit.edu) to the Dallas Yuri’s night party Saturday April 11 4pm-11pm in Dallas at
Mercado369 cultural center: 369 W. Jefferson Blvd., Oak Cliff, TX 75208 (Dallas, Texas, USA.

There will be an open mike and pop up art exhibit- if you would like to show your work contact me at rmalina@alum.mit.edu.

More info soon

And in 70 years we look forward to Yuri’s Night on Planet X https://solarsystem.nasa.gov/planets/hypothetical-planet-x/in-depth/

Roger Malina

rmalina@alum.mit.edu

Jacob Hunwick, Appointed UTD ArtSciLab and Leonardo Journal Ambassador in Germany

I am pleased to announce the first UTD ATEC ArtSciLab and Leonardo Journal Ambassdor: Jacob Hunwick. He will be travelling around europe over the next 6 months, and I will be working with him regularly- please feel free to contact him and share this email and suggest people he might meet  :

He will be doing research, detailed below, for his student project, but he is also interested in networking with Leonardo folk in Germany and within medieval travel distances to bring mutual benefit from his travelling.


As you know I have described the Leonardo community as an “archipelago’ of artscience villages. In village cultures, which are networked and bottom up, travellers play a key role today ( and in the middle ages also of course) in connecting ideas, locations  and people.

Feel free to contact him and suggest people to meet and place based ideas !Jacob Hunwick <jhunwick1@gmail.com>
Roger Malina

Logo by Jacob Hunwick 

 

We rely on our legs, not motors, to travel and navigate urban environments. I seek products that involve motion and break through the 2-dimensional touch screen barrier. I seek educational tools that encourage children to learn through active motion and participation rather than passive consumption. 

While abroad, I will search for and document exemplars of health-conscious technologies from innovative urban design to integrated. 

To those interested in my research goal contact me via email at jmh170830@utdallas.edu. I look forward to traveling all around Europe in pursuit of my research goal. 

-Jacob Hunwick 

UTD ARTSCILAB Lab Ambassador Appointed  

to enable ArtSci connections Abroad 

February 2020, the University of Texas at Dallas ArtSciLab appoints Jacob Hunwick as Lab Ambassador for the duration of his study abroad program in Germany. He starts at Phillips University Marburg on February the 18th and finishes on June the 12th. In addition, lab director Roger Malina appoints Jacob as an intern representative for the Leonardo Journal in Europe. 

Jacob will work to research, discover and document exemplars of art-science and well-being. Through his studies in ATEC at UT Dallas, Jacob has found a passion for technologies that prioritize the preservation and promotion of healthy habits and lifestyles. 

Through his weekly blog posts, he will report on interviews, events, and interactions with new organizations and people related to technologies that prioritize human health. 

The following is a summary of his research interests that he will pursue and write about in his weekly blog. 

Research Goal for Lab Ambassador Position 

Ideally, interaction designers want interfaces designed for everyday use to develop into healthy habits. Unfortunately, screen-based interfaces and modern city infrastructure trends promote sedentary habits.  

Infinitely scrolling pages and endless content tunnels enable users to over-dose on screen-time. Common use of screens for education, entertainment, and leisure time encourage people to abandon physical activity. And lastly, American city infrastructures discourages walking with a hyper focus on the automobile. 

Through my research, I seek interfaces between human and modern technology that improve human well-being. I seek infrastructure that empowers us to 

To those interested in my research goal contact me via email at jmh170830@utdallas.edu. I look forward to traveling all around Europe in pursuit of my research goal. 

Create a Minor Disturbance Dec 8 to Lasso 2I/Borisov with carbon nanotube ropes

Colleagues
our friends and colleagues michael punt Rita ,Cachao, Edith Doove, Hannah Drayson  urge all of us to create a minor disturbance on Dec 8

They urge you to corral the forces of the universe together with 2I/Borisov, an interstellar comet which will be visiting the solar system (lassoos and lassos are acceptable  for texans if made of carbon nano-tubes)
Roger Malina

From: Michael Punt <michael.punt@plymouth.ac.uk>
Date: Fri, Nov 29, 2019 at 7:05 AM
Subject: A real disturbance

An Invitation to Create a Minor Disturbance [version française si-dessous]

Inspired by Charles Ives vision of spatially distributed creativity in his unfinished Universe Symphony, The Faculty of Minor Disturbances (FMD)[1] cordially invites you to create a minor disturbance as we corral the forces of the universe together with 2I/Borisov, an interstellar comet which will be visiting the solar system.

We hope that precisely at noon (12 GMT) on the 8th of December 2019, you can take a moment and collaborate with colleagues, friends or other life forms to perform a creative act in your preferred form, shape, location, way of life and reality.

We are expecting that this distributed act of creativity will adjust some of the wobbles in the planets and, consequently, the Faculty will rely on the Universe as the default witness to your contribution. However, if you would like your contribution to be included in the event website we will be happy to accommodate you and host whichever documents you may want to send us. You are also welcome to circulate this invitation between whomever you feel like.

Attached to this invitation is one of 676 anaglyphic images which were developed to begin the vibrations (they can be stabilised by viewing through red and green lenses like: bottles, plastic wraps, cinema glasses, etc). If you do join us, please enter a three digit number of your choice at http://www.trans-techresearch.net/register-a-disturbance/, and you will be able to see part of the series as a film along with the history of the Faculty. We will also send you back your personal frame from the film.  

We do hope you can join the Comet 21/Borisov, the Faculty and fellow travelers in this project to recover creativity from its earthbound parochialism.

Rita Cachao, Edith Doove, Hannah Drayson and Michael Punt

________________________________

[1] FMD has become part of the recently revived Currer Bell College (CBC) at ESADHaR Le Havre/Rouen, partner of Transtechnology Research (TTR) at Plymouth, and Seiza at Lisbon. An history of the Faculty can be read at: http://www.trans-techresearch.net/currer-bell-college-and-faculty-of-minor-disturbances/

________________________________

Invitation à créer une perturbation mineure

Inspiré par la vision de Charles Ives sur la créativité distribuée spatialement dans sa Symphonie de l’Univers inachevée, La Faculté des Perturbations Mineures (FMD)[2] vous invite cordialement à créer une perturbation mineure alors que nous entrerons en corrélation avec les forces de l’univers, avec 2I/Borisov, une comète interstellaire qui visitera le système solaire.

Nous espérons qu’à midi (12 GMT) le 8 décembre 2019, vous pourrez prendre un moment et collaborer avec des collègues, des amis ou d’autres formes de vie pour accomplir un acte créatif dans votre forme, lieu, mode de vie et réalité préférés.

Nous nous attendons à ce que cet acte de créativité répartie ajuste certaines des oscillations des planètes et, par conséquent, la Faculté s’appuiera sur l’Univers comme témoin par défaut de votre contribution. Cependant, si vous souhaitez que votre contribution soit incluse dans le site Web de l’événement, nous serons heureux de vous accueillir et d’héberger les documents que vous voudrez nous envoyer. Vous êtes également invités à faire circuler cette invitation entre qui vous voulez.

A cette invitation se trouve l’une des 676 images anaglyphiques qui ont été développées pour commencer les vibrations (elles peuvent être stabilisées en regardant à travers des lentilles rouges et vertes comme : bouteilles, emballages plastiques, lunettes de cinéma, etc.). Si vous vous joignez à nous, veuillez entrer un numéro à trois chiffres de votre choix sur http://www.trans-techresearch.net/register-a-disturbance/, et vous pourrez voir une partie de la série comme un film, ainsi que l’histoire de la Faculté. Nous vous renvoyons également votre cadre personnel du film.  

Nous espérons que vous pourrez rejoindre la Comète 21/Borisov, la Faculté et d’autres voyageurs dans ce projet pour récupérer la créativité de son parochialism terrestre (esprit de clocher appliqué à la terre entière).

Rita Cachao, Edith Doove, Hannah Drayson et Michael Punt

________________________________

[2] FMD fait partie du Currer Bell College (CBC) récemment relancé à ESADHaR Le Havre/Rouen, partenaire de Transtechnology Research (TTR) à Plymouth, et Seiza à Lisbonne. Une histoire de la Faculté peut être lue à l’adresse suivante : http://www.trans-techresearch.net/currer-bell-college-and-faculty-of-minor-disturbances/An Invitation to Create a Minor Disturbance [version française si-dessous]

Inspired by Charles Ives vision of spatially distributed creativity in his unfinished Universe Symphony, The Faculty of Minor Disturbances (FMD)[1] cordially invites you to create a minor disturbance as we corral the forces of the universe together with 2I/Borisov, an interstellar comet which will be visiting the solar system.

We hope that precisely at noon (12 GMT) on the 8th of December 2019, you can take a moment and collaborate with colleagues, friends or other life forms to perform a creative act in your preferred form, shape, location, way of life and reality.

We are expecting that this distributed act of creativity will adjust some of the wobbles in the planets and, consequently, the Faculty will rely on the Universe as the default witness to your contribution. However, if you would like your contribution to be included in the event website we will be happy to accommodate you and host whichever documents you may want to send us. You are also welcome to circulate this invitation between whomever you feel like.

Attached to this invitation is one of 676 anaglyphic images which were developed to begin the vibrations (they can be stabilised by viewing through red and green lenses like: bottles, plastic wraps, cinema glasses, etc). If you do join us, please enter a three digit number of your choice at http://www.trans-techresearch.net/register-a-disturbance/, and you will be able to see part of the series as a film along with the history of the Faculty. We will also send you back your personal frame from the film.  

We do hope you can join the Comet 21/Borisov, the Faculty and fellow travelers in this project to recover creativity from its earthbound parochialism.

Rita Cachao, Edith Doove, Hannah Drayson and Michael Punt

________________________________

[1] FMD has become part of the recently revived Currer Bell College (CBC) at ESADHaR Le Havre/Rouen, partner of Transtechnology Research (TTR) at Plymouth, and Seiza at Lisbon. An history of the Faculty can be read at: http://www.trans-techresearch.net/currer-bell-college-and-faculty-of-minor-disturbances/

________________________________

Invitation à créer une perturbation mineure

Inspiré par la vision de Charles Ives sur la créativité distribuée spatialement dans sa Symphonie de l’Univers inachevée, La Faculté des Perturbations Mineures (FMD)[2] vous invite cordialement à créer une perturbation mineure alors que nous entrerons en corrélation avec les forces de l’univers, avec 2I/Borisov, une comète interstellaire qui visitera le système solaire.

Nous espérons qu’à midi (12 GMT) le 8 décembre 2019, vous pourrez prendre un moment et collaborer avec des collègues, des amis ou d’autres formes de vie pour accomplir un acte créatif dans votre forme, lieu, mode de vie et réalité préférés.

Nous nous attendons à ce que cet acte de créativité répartie ajuste certaines des oscillations des planètes et, par conséquent, la Faculté s’appuiera sur l’Univers comme témoin par défaut de votre contribution. Cependant, si vous souhaitez que votre contribution soit incluse dans le site Web de l’événement, nous serons heureux de vous accueillir et d’héberger les documents que vous voudrez nous envoyer. Vous êtes également invités à faire circuler cette invitation entre qui vous voulez.

A cette invitation se trouve l’une des 676 images anaglyphiques qui ont été développées pour commencer les vibrations (elles peuvent être stabilisées en regardant à travers des lentilles rouges et vertes comme : bouteilles, emballages plastiques, lunettes de cinéma, etc.). Si vous vous joignez à nous, veuillez entrer un numéro à trois chiffres de votre choix sur http://www.trans-techresearch.net/register-a-disturbance/, et vous pourrez voir une partie de la série comme un film, ainsi que l’histoire de la Faculté. Nous vous renvoyons également votre cadre personnel du film.  

Nous espérons que vous pourrez rejoindre la Comète 21/Borisov, la Faculté et d’autres voyageurs dans ce projet pour récupérer la créativité de son parochialism terrestre (esprit de clocher appliqué à la terre entière).

Rita Cachao, Edith Doove, Hannah Drayson et Michael Punt

________________________________

[2] FMD fait partie du Currer Bell College (CBC) récemment relancé à ESADHaR Le Havre/Rouen, partenaire de Transtechnology Research (TTR) à Plymouth, et Seiza à Lisbonne. Une histoire de la Faculté peut être lue à l’adresse suivante : http://www.trans-techresearch.net/currer-bell-college-and-faculty-of-minor-disturbances/

________________________________

This email and any files with it are confidential and intended solely for the use of the recipient to whom it is addressed. If you are not the intended recipient then copying, distribution or other use of the information contained is strictly prohibited and you should not rely on it. If you have received this email in error please let the sender know immediately and delete it from your system(s). Internet emails are not necessarily secure. While we take every care, University of Plymouth accepts no responsibility for viruses and it is your responsibility to scan emails and their attachments. University of Plymouth does not accept responsibility for any changes made after it was sent. Nothing in this email or its attachments constitutes an order for goods or services unless accompanied by an official order form.

Micro Art Science Actions ( MASA) or a continuous conundrum, conimbrum, quonundrum,conuncrum, and quadundrum

Colleagues

HAPPY THANKSGIVING in the USA- though we always have misgiving about giving thanks to our colonial ancestors who decimated the indian
populations in “New England” !!  there must be someone else to thank in our cultures !

I would like to draw your attention to the current YASMIN WWWASP discussion (the Who, what where of our artscience community of practice- Led by Guillermo Munoz with several colleagues across the world (see at end of this post.

The discussion is now open to any colleague on the yasmin list- we look forward to your thoughts: If you arent on YASMIN: https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr

i just posted this to YASMIN

I would like to pick up on Salome Cuesta proposal for ‘micro-actions’ in our
art-science communities of practice, and Diamond Berverly’s  idea of
a ‘continous conundrum ( see below)

After 30 years as Executive Editor of Leonardo, for the first time I am
now deeply engaged as a practitioner in art science collaborations. I
like to joke that astrophysics was so easy ! We all agreed on the success criteria and used the same concepts, methods and terminology. Plus we were very well funded in comparison with artscience research.


 Thanks to Guillermo Munoz and colleagues at the University of Valencia I received a PhD in Art, so I am now an artscience ‘postdoc’ with a phd in astrophysics and a phd in art !

As James Leach pointed out in his Leonardo article (Extending Contexts, Making Possibilities: An Introduction to Evaluating the ProjectsJames Leach https://cnrs.academia.edu/JamesLeach   ) many many art science collaborations ‘fail’ in achieving  their original objectives.

In our artscilab  (  https://artscilab.atec.io/ )we have been arguing that there is a very big step between inter/multi disciplinary collaborations and ‘trans’ disciplinary collaborations which bridge very very different disciplines with very very different personal and collective success criteria, and very very  different often
contractictory methods, concepts , terminologies-

these are in Diamond Berverly’s term ‘conundral;- see merriam webster

“The exact origin of conundrum isn’t known with certainty. What is known is that the word has been in use since the early 1600s, and that it had various spellings, such as conimbrum, quonundrum,conuncrum, and quadundrum, before the current spelling was finally established sometime in the mid-17th century. One theory of origin suggests that the word was coined as a parody of Latin by students at Oxford University, where it appears to have enjoyed particular popularity in its “word play” or “pun” sense. While the prevalent sense in this century is that of the seemingly unanswerable question or problem, frequently applied to heady dilemmas involving ethics, sociology, or economics, the word is sometimes so loosely applied to anything enigmatic as to be synonymous with puzzle or mystery.”

One of the strategies we have been trying is “micro-projects” in cuesta’s terminology- we define them as short duration ( weeks), projects which require no money or cash, only gift exchange of time and access to facilities, expertise etc ( the gift exchange vocabulary comes from James Leach )

In the ArtSciLab we are approached continuously by ‘stem’ professionals who want to collaborate. Interestingly these range from physcial sciences and engineering to the brain and Behavioural sciences to business…


Often “they” have antiquated ideas of what making art involves or results in today. Often they view art as less primary in the ‘tree of knowledge” ( ie in a branch not in the trunk). (art in the service of science)

Often they have very different methods , concepts, terminology ( we are trying to develop transdisciplinary apprenticeships as part
of the approach). Mauricio Meijia at ASU and colleagues are currently submitting a workshop proposal on applying translation studies methods to transdisciplinary collaborations.

If a micro-project doesnt succeed, its likely that a significant project wont in our experience.

I am delighted that a student research in our artscilab , Diamond Beverly, has proposed:
“how do we go about including diverse voices and fostering heterogeneous approaches instead unconsciously
excluding people from the conversation and thus creating a continuous conundrum.” which highlighs the implicit bias of the artscience community towards people in academia with its ethnic, gender, socio-economic and other implicit social biases.

maybe the younger members of yasmin should weigh in, just as

from diamon berverly:

I was very intrigued with your post last week when you  emphasized
educational spaces and work shop methodologies. I would like to know
how you define micro-actions. I also find such maker spaces and
hackathons a good step into the future of collaborative educational
space. A question that persists however is how these spaces find their
audience?

And by this I mean how do we go about including diverse
voices and fostering heterogeneous approaches instead unconsciously
excluding people from the conversation and thus creating a continuous
conundrum.

so all latin  students on yasmin go at it :
One theory of origin of ‘conundrum” suggests that the word was coined as a parody of Latin by students at Oxford University, where it appears to have enjoyed particular popularity in its “word play” or “pun” sense. While the prevalent sense in this century is that of the seemingly unanswerable question or problem, frequently applied to heady dilemmas involving ethics, sociology, or economics, the word is sometimes so loosely applied to anything enigmatic as to be synonymous with puzzle or mystery.


Or maybe living in a continuous conundrum is a desirable state ? certainly it is a statethat drives our artscience work and is generative of desired outcomes.


Roger Malina

and HAPPY THANKSGIVING in the USA- though i always have misgiving about giving thanks to our colonial ancestors who decimated the indian
populations !!  there must be someone else to thank in our cultures !

P.S These are the invited discussants:

  • Jadwiga Charzynska: I am the director of LAZNIA CCA in Gdansk since 2004 and in our program, one of the most important points is the Art + Science Meeting project, which we organize regularly from 2011. It’s really unique program in Poland presented Art / Sci projects.

Links: http://www.laznia.pl/instytucja/

  • Joao Silveira: Brazilian entrepreneur, choreographer and pharmacist. Was a Harvard Fellow (Le Laboratoire/ 2017-2019) and currently is a research fellow at the ArtSciLab – UT Dallas, and CienciArte Lab – Fiocruz.
  • Jing Chen: Associate professor of Arts and associate director of Art and Cultural Innovation and Creativity Lab of Nanjing University.
  • Gustavo Ariel Schwartz.: Physicist and writer. Scientist of the Spanish National Research Council (CSIC) at the Materials Physics Center. Founder director of the Mestizajes Program, at the Donostia International Physics Center, whose purpose is to explore and cross the borders among Art, Science, Literature and Humanities.


Can creativity in Zero Gravity help us solve hard problems on earth ?

CREATIVE PERFORMANCE IN ZERO GRAVITY ??

Kathryn Hays and Roger Malina are working on an article for a forthcoming book :  Creative Performance in Extreme Human Environments: Astronauts and Space. (Editor Herie De Vries)

We would be delighted to involve anyone interested. Contact roger.malina@utdallas.edu

As humans expand on their exploration of the universe, the need to understand creative performance in extreme human environments increases. Within a multivariate theory of creativity, the environment contributes to creative potential. 


This new research area is substantiated by existing studies on space-related issues that astronauts frequently encounter, such as extreme temperatures and social isolation. This Research Topic aims to relate this to findings within the domain of creativity research, thereby opening a new avenue for future research. We particularly encourage contributions focusing on cultural, cognitive, and social-emotional issues.

CREATIVITY IN OUTER SPACE TO HELP SOLVE PROBLEMS ON EARTH ?
The following are examples of creativity and space-related issues, which this Research Topic aims to review:
1) Temperatures of the space environment:
Research shows that the temperature in space has a cognitive impact, particularly on affect and selective attention. Both emotion and attention play a crucial role in the creative process.
2) Astronaut’s circadian rhythm in space:
Studies show that a disrupted circadian rhythm results in irritability, and loss of concentration, and motivation. How does this impact creative motivation?
3) Astronaut’s overwhelming emotions in space:
Do overwhelming emotions, and `a sense of wonder’, have a positive or negative effect on creative performance?
4) Astronaut’s collaborative creativity in confined spaces and conflict resolution:
Wellbeing studies indicate that collaborative creative processes might enhance conflict resolution or vice versa.
5) Multicultural astronaut/cosmonaut teams:
The new field of cultural differences in creativity is related to cultural differences in emotions. Multicultural teams might differ in abilities of finding creative solutions, and outcomes might differ as well.
6) Effect of isolation on emotional regulation during long duration flights:
Emotion regulation is at the core of the creative process. How does the space environment influence emotion regulation and therefore creative potential?



wwwasp: the who, what where of our artscience community of practice- lets trans-logue on YASMIN

Announcing a YASMIN discussion with an international group of exprt discussants October 28th and will be moderated by Guillermo Muñoz, Spanish physic researcher working in the fields of Nanotechnology and Quantum Photonics, with a number of invited

The YASMIN moderators are pleased to announce our next discussion on the Yasmin Discussion list:

https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr

“The Who/When/Where/Why of the today Art/Sci Practices”

The actual Art/Sci collaborative landscape includes more and more actions between consolidated institutions and alternatives spaces. Art/Sci practice is impacting the well stablished academic research activity, principally driven by universities and technology centres and companies, where private and public funding from research programs and agencies is getting used to promote the collaboration between artist and scientist. There are new founding opportunities from consolidated research agendas or many important Art/Sci residencies all over the planet. Inside the science, research it is starting to advocate for the transdisciplinary relations, where some of the higher impact specialized research journals are dedicating particular spaces to start to study them, just following the main work started many decades ago by the reference journal Leonardo. The join action can be understood as a “redesigning science” program. However, in the day by day practice much of the Art/Sci activity is happening just in side-places, leaded by different associations and cultural groups, many times as a result of personal activity, where processes like self-learning, peer-learning in workshops or DIY meetings are producing “micro-negociations” between different cultural contexts and group roots. In both the institutional and side-place realities, one of the principal returns is materialized as new and shared educational resources, which helps to re-define our mutual conception of what is culture and who is participating on it. In our discussion we will try to get some answers about the following questions: 

– Which are the actual places and context where artists and scientist are engaged and shared their work in collaboration?

– In this context of mutual collaboration, how the artists and scientist get their scientific and artistic knowledge? (self-teaching – peer-teaching :: workshops – conferences -DIY meetings)

– How are affecting our cultural differences to these actions? (geographical: latin-african-anglo-asian :: Urban-Rural).

– Which are the mechanisms and the scenarios where scientist and artists materialize the learning process from each other?

– Who is becoming the user and the actor in these actions? And who are the actors that are not present? 

The discussion will start on next October 28th and will be moderated by Guillermo Muñoz, Spanish physic researcher working in the fields of Nanotechnology and Quantum Photonics, with a number of invited discussants: 

  • Jadwiga Charzynska: I am the director of LAZNIA CCA in Gdansk since 2004 and in our program, one of the most important points is the Art + Science Meeting project, which we organize regularly from 2011. It’s really unique program in Poland presented Art / Sci projects.

Links:

http://www.laznia.pl/instytucja/

  • Joao Silveira: Brazilian entrepreneur, choreographer and pharmacist. Was a Harvard Fellow (Le Laboratoire/ 2017-2019) and currently is a research fellow at the ArtSciLab – UT Dallas, and CienciArte Lab – Fiocruz.
  • Jing Chen: Associate professor of Arts and associate director of Art and Cultural Innovation and Creativity Lab of Nanjing University.
  • Gustavo Ariel Schwartz.: Physicist and writer. Scientist of the Spanish National Research Council (CSIC) at the Materials Physics Center. Founder director of the Mestizajes Program, at the Donostia International Physics Center, whose purpose is to explore and cross the borders among Art, Science, Literature and Humanities.

Links:

Personal web page: https://cfm.ehu.es/schwartz/

Mestizajes web page http://www.mestizajes.es

  • Raúl Abeledo: Faculty of Economics (University of València). Researcher on cultural planning, environmental sustainability and local development. Amateur artist since 20 years ago (painter and songwriter).

Links:

Trans-Making project: https://trans-making.eu/ 

  • Vicki Sowry: Director of the Australian Network for Art and Technology (ANAT). 

Links: http://www.anat.org.au/ 

  • Salome Cuesta: Member of the FECYT-Art/Science/Technology group. Co-Author of the White Paper on the interrelationship between Art, Science and Technology in Spain 2006. 

Links:

Basic artistic interest: light/time installations.  http://bit.ly/33p0Ifp

Last projects:  visibility of women in Art/Science/Technology (Invisibility Memory: http://bit.ly/2yQUBDg & STEAM Women, under study: http://bit.ly/2yXa1FW )

Commitment as a teacher in Art/Science debates: http://bit.ly/2BaiuXK 

Short CV: https://www.medialab-prado.es/personal/salome-cuesta 

All Yasminers are welcome to join us. We hope we would share interesting ideas with the aim to develop a fruitful discussion.

This is a discussion designed by the YASMIN moderator team, and co-sponsored by Leonardo/ISAST and OLATS and the Univeristy of Athens.

Celebrate the 500th anniversary of Leonardo’s passing UCLA Oct 18/19 2019

Colleagues

I am on my way to los angeles for the 500th anniversary of the death of Leonardo Da Vinci. Hope to see you there. I will be speaking on Saturday. Here is the fascinating schedule: https://cmrs.ucla.edu/conference/leonardo/schedule/

On May 2, 1519, a great mind was extinguished. Leonardo da Vinci, polymath and true genius of the Renaissance left this world. Recognized as unique and special in his own time as well as our own, Leonardo’s paintings were highly sought after and his skills in engineering and hydrodynamics placed him in a category apart from his fellow artists. His private notebooks on scientific, anatomical, and engineering studies reveal a gifted endlessly enquiring mind that has caught the imagination of today’s scholars in many disciplines.

“Leonardo da Vinci, Inventing the Future” takes place on October 18-19, 2019, at UCLA’s California NanoSystems Institute.

Organized by

  • Noel G. Boyle (Professor of Medicine/Cardiology, UCLA)
  • Massimo Ciavolella (Professor of Italian and Comparative Literature, UCLA)
  • Morteza Gharib (Professor of Aeronautics and Bioinspired Engineering, Caltech)
  • Victoria Vesna (Professor of Design and Media Arts; Director, Art|Sci Center, UCLA)
  • Francis Wells (Cardiac Surgeon, Royal Papworth Hospital and Cambridge University, UK)

This conference is jointly presented by the UCLA Center for Medieval & Renaissance Studies,  UCLA Cardiac Arrhythmia Center – David Geffen School of Medicine at UCLA, UCLA  Art I Science Center, and Caltech.

Rather than simply celebrating Leonardo’s life, works, and scholarship, this conference approaches Leonardo’s influence in a novel way, musing on how Leonardo himself might have reflected on this auspicious anniversary. His desire for new knowledge and understanding would have driven him to look forwards rather than back.

To that end, this conference takes as its starting point four foci of Leonardo’s work—Flight, the Heart, Robotics & Artificial Intelligence, and the Environment—and looks into the future and what may be waiting for mankind as our knowledge and impulse to explore the unknown unfolds over time.

The conference will be accompanied by an exhibition of relevant facsimiles of Leonardo’s drawings matched with photographs of contemporary dissections and modern artistic works from the Department of Artistic Anatomy of the Academy of Fine Arts in Venice. Items from the Elmer Belt Library of Vinciana in the UCLA Library Special Collections will also be on display. Additionally, a film on the life of Leonardo will be shown courtesy of the Italian Cultural Institute of Los Angeles.

Our hope is that through this innovative program we will use the inspiration and example of Leonardo to re-ignite the enthusiasm for research and challenge in this generation and the next, and to develop the most distinguishing of human features, the enquiring and challenging mind.

Blindfolded Texas chess grand-champion wins chess games blindfolded: just listening to the designed sounds of the pieces and moves

It is with amazement that we report that Zura Javakhadze, https://ratings.fide.com/card.phtml?event=13603647 Texas grand master chess champion, in rehearsal was able to win three games totally blindfolded with no-one whispering in his ear.

Scot Gresham Lancaster, Sharath Chandra Ram and the Data Stethoscope team used our theoretical taxonomy of data sonification.(details below).

Each piece had a different sound, as does each square, on the board. Zura learned rapidly to recognise the sounds andwas able to beat three people in chess games, just by listening to the sounds of their and his moves.

PLEASE COME TO THIS PERFORMANCE IN DALLAS IN 4 HOURS !

To our knowledge this is the first time that data sonification has been used to win chess; beyond this it demonstrates our claim that you can hear things you cannot see in the data. This proof of concept will serve us well as we expand our data sonification to various applications.

Our business applications work is led by UTDallas Judd Bradbury; he has demonstrated that business students are able to hear key information in the data, that they cannot notice in the data visualisation. He has applied this to stock market data, opinion polls as well as more specific business data.

In the audience this evening will by Dr Gagan Wig of the Center for Vital Longevity.; he will be playing chess against the blinded grandmaster. Gagan was the leader of our team, with funding from DARPA and the O’Donnell family of dallas, that initiated the project at UTDallas. In that case we demonstrated that one could sonifify fMRI data on human brains. And that you could distiguish the brain connectome of an older healthy adult compared to a young healthy adult just by listening to the data.

We would like to acknowledge the crucial contributions of the numerous members of the ArtSciLab Transdisciplinary team including: Tim Perkis, Andrew Blanton, Cassini Nazir, Kristen Duepree, Shruti Ayloo, Vina Somareddy, Anvit Srivastav, Michela Chan, Neil Savalia, Paul Fishwick, Mihai Nadin, Frank Dufour, Carlos Aiken, Adnan Syed, Linda Anderson, Jacob Hunwick, Kathy Gresham-Lancaster and others in the UTD ATEC ArtSciLab.

We note that the performance this evening is a benefit for the for the Vogel Alcove homes for homeless children. Sadly Dallas one of the richest cities on the planet, has a growing and unacceptable number of homeless people.

The Data Stethoscope software has immediate applications for partially sighted people and will allow users to hear information in the data that they cannot see.

Putting Theory into Practice- blinded chess grandmaster zura javakhadre Oct 5 in Dallas

Please come to our re-imagining chess performance in honor of john cage and marcel duchamp

details: http://malina.diatrope.com/2019/09/17/oct-5-you-are-invited-to-play-chess-against-blindfolded-texas-chess-champion-zurabi-javakhadre-in-dallas/

And we are proud to announce the publication of our Grey Paper which provides the theoretical taxonomy for the ways we will be sonifying the data from the digital chess board- this is part of our initiative with the dallas esports industry , in this case echess

We carry our artmaking and performances as part of our research methodology- we will be analysing the performance to see what innovations resulted that will be useful for the business community and others that are beginning to use our data stethoscope software

Ways of Listening for Information: A Vague Taxonomy of Sonification Techniques

Authored by Scot Greshman-Lancaster (with co-authors Sharath Chandra Ram and Roger Malina), this paper discusses a rough taxonomy of data sonification methods. It summarizes the discoveries and results of ongoing in-depth exploration in this area of research, and uses some of the ArtSciLab’s own modules based on this taxonomy to allow listeners of data and users of machines to make better, faster decisions and help distribute these techniques on a larger scale.

Scot Gresham-Lancaster: Ways Of Listening v. 1.01Tagged publicationWhite Paper

Oct 5 :YOU are invited to play chess against blindfolded Texas Chess Champion Zurabi Javakhadre in Dallas

Announcing Re-Imagining ChessNine Evenings Reunion 3  Oct 5 2011 

Nine Evenings Three: Theater and Engineering 

GOOD MOVES: A group exhibition and auction dedicated to the game of chess September 6—October 5, 2019  Press Release The Power Station, Dallas  is proud to present ‘Good Moves’, an exhibition dedicated to the game of chess. ‘Good Moves’ features artist made chess sets and other chess related artworks, that further develop the aesthetic legacy of the game, while collectively serving a worthy purpose. All works included in ‘Good Moves’ are to be auctioned at the close of the exhibition to endow a chess program at Vogel Alcove*, a Dallas-based, non-profit organization on a mission to help young children overcome the lasting and traumatic effects of homelessness. The auction is open. Attendance at the oct 5 performance is free 

The Re-Imagining Chess performance led by the UTD ArtSciLab will be Saturday October 5th at the Power Station Gallery, Dallas ,

Background: Recently ATEC Dean Anne Balsamo https://atec.utdallas.edu/content/anne-balsamo/, presented a proposal for the four pillars of excellence of our new school of Art Technology and Emerging Communication: https://atec.utdallas.edu/  

These are the result of three years of consultation and ideation among the 50 faculty and 1500 students of the school. The co-design has been carried out together with other schools in the university and the university administration, as well as our local community of for profit, non-profit, civic organizations, schools and other communities of practice. 

The four pillars of this proposed taxonomy of excellence for ATEC are: 

  • Ethics, Technology and Community Engagement 
  • Designing Culture 
  • Innovative demonstration of emerging technologies 
  • Creative Technologies Research 

As with all taxonomies there is no best taxonomy, but many good ones depending on the context. Other organizations have other ways of framing their values and ideas about what excellence could be. These are not intended to be slogans, but rather thinking tools, open to critique and evolution. In the ArtSciLab we are currently using Terry Irwin’s Transition Design Methods:   

And in particular we use artmaking as a research method to improve our data sonification software, Data Stethoscope. We have developed new ways of converting data into sound  https://artscilab.atec.io/projects/data-stethoscope  for general use in helping people make quicker and better decisions. 

DataStethoscope allows you to hear information in the data that cannot be easily visualised. 

Our ArtSciLab collaborators and members would be interested in your critiques and divergent thoughts- email to roger.malina@utdallas.edu 

One comment that came in was that the “Designing Culture”, in the singular, went against one of our lab’s explicit values of heterogeneity. Heterogeneous groups will come up with different ideas, often better ones, than homogeneous ones.   We need more than one culture.

This has been researched and documented by the science of team science .https://academic.oup.com/bioscience/article/65/7/639/258550  

 This leads to our belief that there are not “best” practices but that there are many “good“ practices that are context dependent.  

So “designing cultureS” might better embody the value of heterogeneity than “Designing Culture” in the singular. 

The possible benefits of hetero-phily rather than homo-phily are elaborated with new insights by Mathew O. Jackson in his new book “The human network; How your social position determines your power, beliefs and behaviors. https://www.amazon.com/Human-Network-Position-Determines-Behaviors-ebook/dp/B073YTX8TM  

Jackson draws on the most current sciences of network and sciences of complexities. I insist on the plural, as he does, because there is not one science of networks but several. 

 I note that ATEC art historian Max Schich has demonstrated the validity of this theoretical approaches to new kinds of art histories that use network analysis of data ( https://atec.utdallas.edu/content/schich-maximilian/ ) published in Nature A Network Framework of Cultural History (Science Magazine, 2014) _) 

If this sounds terribly academic, we are going through preparations for the art performance as a research method for Data Stethosope https://artscilab.atec.io/projects/data-stethoscope   and we hope to address how we contribute to each of the four pillars of ATEC.

On October 5, Saturday in Dallas, Texas we will be performing an interactive multimedia performance, which hopefully demonstrates how we practice how we theorize. It is entitled:  

RE-IMAGINING CHESS: NINE EVENINGS REUNION THREE. 

The team is led by Scot Gresham Lancaster (http://scot.greshamlancaster.com/  colleagues and friends. It will be performed at the Dallas Power Station Gallery  ( http://powerstationdallas.com/ ) as part of the Good Moves art exhibit: 

GOOD MOVES

A group exhibition and auction dedicated to the game of chess September 6—October 5, 2019 Press Release The Power Station is proud to present ‘Good Moves’, an exhibition dedicated to the game of chess. ‘Good Moves’ features artist made chess sets and other chess related artworks, that further develop the aesthetic legacy of the game, while collectively serving a worthy purpose. All works included in ‘Good Moves’ are to be auctioned at the close of the exhibition to endow a chess program at Vogel Alcove*, a Dallas-based, non-profit organization on a mission to help young children overcome the lasting and traumatic effects of homelessness. The auction is open. 

The reimagined chess playing will be led by  ArtSciLab Texas Chess Grand Champion Zura Javakhadze) ( https://www.linkedin.com/in/zurability/ ). 

Zura will be playing blindfolded against members of the audience. Each move and board position will be converted to sound using techniques of data sonification based on the ArtSciLab Taxonomy of DataSonification . ( we can provide this white paper on request) .One possible application of this innovative demonstration of emerging technologies will be to help humans that are differently abled in their vision cognitive and observational skills; we hope to use these approaches on our new esports research on cyber-athletes. 

The ArtSciLab Data Stethoscope project ( https://atec.utdallas.edu/content/data-stethoscope/), initially funded or supported by DARPA, Microsoft, the Edith O Donnell Foundation and others, is now in experimental trials in applications ranging from business analytics to medical diagnostic imaging. Yes we are looking for funding. 

The ArtSciLab at UTD Dallas ( https://artscilab.atec.io/ ) was established in 2013/14 by Cassini Nazir and myself at the behest of Tom Linehan ( https://atec.utdallas.edu/content/linehan-thomas/ ) . We take this opportunity to acknowledge the vision and enthusiasm that Tom has shared and infected us with through his own networks of friends and colleagues. 

Oh yes. Why Re-Imagining Chess: REUNION THREE ? 

Reunion 1; was a chess game during Nine Evenings ; Theater and Engineering 

https://en.wikipedia.org/wiki/9_Evenings:_Theatre_and_Engineering

between Marcel Duchamp and John Cage using the first electronic chess board in 1968. ( https://hyperallergic.com/424124/marcel-duchamp-john-cage-reunion-chess-toronto/ )  

Reunion TWO was performed in Seattle in 2018 by our team led by Scot  

https://artscilab.atec.io/blog/marcel-cage-and-john-duchamp-perform-reunion-at-nine-evenings-2-in-seattle  , Gagan Wig, Tim Perkis, Andrew Blanton and myself, 

This blog post developed in collaboration with Wolf Rainer whose pioneering work with children in refugee camps , https://www.worldcat.org/title/primacy-of-practical-action-schools-for-refugee-children-in-a-time-of-national-emergency/oclc/34121386 , is an exemplar of pillar 1. 

Critique from Wolf Dieter Peter Rainer: 

Roger, 

I appreciate your mentioning of my education work with displaced Indo-Chinese refugee communities (Khmer and Sino-Khmer) on the Thai-Cambodian border. 

First of all, the very words: ‘designing culture(s)’ makes my hair stand up on end as the phrase reeks of a kind of ‘hybris’(hubris ?) which only people who don’t know the meaning (and history) of the meaning of words (etymology) could possibly come up with. 

Did Martin Luther want to design or re-design culture? Probably not. or maybe yes, depending on what you mean by culture (and the Catholic church). 

Did Claudius (aka Julian the Apostate) want to design or re-design culture? Maybe yes, maybe no, again, it depends what you mean by culture. In this case, antiquity and Christianity were already a hybrid Culture with a capital ‘C’. 

Probably, if you want to “design or re-design” culture’, you have to try to influence and have control of institutions (Kuhn, et. Al). 

Did Martin Luther King ‘re-design’ culture? Probably yes, but not for long and certainly not without the assist of Lyndon B. Johnson. 

When I found myself in a refugee camp in a Thai border area no-man’s land with a displaced Cambodian population of some 80.000 persons, locked into  a space of perhaps 25 football fields, certainly, whatever the meaning of ‘culture’ may  be, the Cambodian refugees knew what it meant: Cambodian language schools, Cambodian Buddhist temples, etc. 

It seems to me that what some people think of when they speak of ‘designing culture’ is basically about designing gadgets (which may change a culture, to be sure): the steam engine, stone age tools, bronze age tools, gun powder, digitalisation, etc. 

If Francisco Pizarro in 1532 hadn’t brought his guns, horses and his roman catholic spanish culture to Peru, the Aztecs might have had a better chance to keep on designing ‘their own culture’ as they saw fit. Whoever survived Pizarro’s visit was only able to pass on a crude re-semblance of what they had before. 
 

In the USA, the modern pre-occupation with ‘culture’ began with Franz Boas, Ruth Benedict and Margaret Meade, et. al. They introduced the terms and the academic disciplines of ‘cultural anthropology’ and ‘social anthropology’ in the US. They redefined ‘culture’ both with a small and a big ‘C for most Americans, especially those persons who are now in the Seventies. 

Was puberty a testosterone-driven biological given for all human beings?  No, said Margaret Meade, after studying Samoan teenagers. Did she change the nature-nurture debate. Yes. Did she change the culture? Who knows? Probably some sexual mores. Cultural change may take a very long time, and then again, maybe not. Institutions and governments in power often manage quick changes. See the reformation, but then again, there came the ‘restoration’, depending who was next in power. 

There is an interesting article by Louis Menand in the August 26th 2019 issue of the New Yorker on the subject of ‘culture’ and the US culture wars. It’s a review of Charles King’s new book ‘Gods of the Upper Air’. 

https://www.newyorker.com/magazine/2019/08/26/how-cultural-anthropologists-redefined-humanity

According to my taste, we should bake smaller ‘muffins’ in our discussion of  designing or re-designing ‘culture’ or ‘the history of ideas, etc.’ 

Making a ‘contribution to knowledge’ used to be a good-enough purpose in academia. I think we should keep it that way 

Wolf Rainer 

Is Science in Trouble ?

A call to scholars of all types to help redesign science itself:

How to make the in-human sciences humanistic.

Roger Malina Aug 11 2019:
https://orcid.org/0000-0003-3399-3865

When I arrived at UT Dallas, Dennis Kratz infected me with the idea of ‘hard humanities’; how do we take all the knowledge from the arts, humanities and design, and apply this to improve our societies functioning, but also to improve science and engineering themselves.

This is a call to action to critics, and more importantly generative critiquers and noticers of all types. Hybrids and Amphibians between the disciplines welcome.

The proposition is this: Science is in trouble, we must redesign it; and Artists, Designers and Humanists must be co designers of this redesign with STEM professionals.

  1. Redesign the social embeddings of science.

The current social organization of science is an accident of WW II and the success of physicist and engineers helping win the war. We must re embed science in society through open science, networked science. As sociologist Helga Nowotny said: we need a socially robust science that prioritizes science to enable improved societies. Historian Robert Ilbert called for rehumanising the “inhuman sciences” ( in reference to the French term “sciences humaines” for the humanities.

2.) Redesign the scientific methods:  The methods have always evolved, improved, changed. In contrast to Kuhn’s concept of paradigm shifts, we call rather for transition design as advocated by Terry Irwin. Newton would not recognize what we consider scientific validation in many cases today. Computer simulations now have the status of hypotheses and are difficult to falsify, with the use of ‘consensus’ between different simulations as proof. And similarly we have very different ideas of causality today; it is not conceptually possible to write an equation of climate change; there is no A causes B, but A can cause B if C didn’t happen before and if D happens several times……Phenomena “emerge” from complexity.

  • Free ourselves from the implicit bias created by having only human “beings” create scientific theories and applications.

Astronomers now know that most of the universe does not emit light of any kind (the infamous dark energy and dark matter of unknown nature). For the first time in human history we now have other ‘messengers’ from the cosmos, such as gravitational waves from orbiting black holes. We have been studying the decoration on the universe, not its underlying structures that determine its evolution. Our science is deeply implicitly biased by the use of the human senses and brains.  Curiosity used to be a Christian sin, now it is an atheist’s virtue. AI Beings are now developing hypotheses of their own through deep learning techniques. Cognition is embodied; different beings have different embodiment. Will the science developed by AI Beings overlap with that developed by  HumansH

Please contact roger.malina@utdallas.edu if you would like to contribute to the Transition Design of Science itself.

FRIENDLY CRITIQUE no 1:

On aug 11 we discussed some of the ideas expressed above during a dinner party at No 17 Rue Emile Dunois. Those present were Wolf Rainer, Annick Bureaud, Dorothea Marciak, Jeff Berner, Jouette Travis and in interaction by phone with Bronac Ferran and Liliane Lijn. I was made uncomfortable by their critiques which included:

1.a: the provocation expresses the implicit bias that it is the scientific method that needs improving to save our kind of life on earth. Annick pointed out that in spite of the stated reliance on combining transdisciplinary ways of knowing, somehow it was still posited that improved science was the ‘best method’. There is no logical demonstration of this point of view.

1 b. Best methods. When Mauricio Mejia and I presented a paper at ISEA in Colombia, our colleague Rejane Spitz responded vehemently that there were no such things as ‘best methods’ in transdisciplinary methods, but many good ones whose efficacy was context dependent. That the use of the term ’best methods’ reflected the scientific bias that scientific ‘truths’ we the same any where in the universe, or indeed in any location in human society. There is no such thing as French scientifique equations and Colombian scientific equations. But what if what needs improving is inter-personal relations ? yes one can be thoughtful and methodical but who has demonstrated that the scientific method is the best our only method to improve the ways we individuals interact with each other ?

  1. C The queen of the sciences. Wolf Rainer remarked that in spite of my interest in rethinking ideas of causality in complex systems, there was still an implication that what was needed was ‘better and improved mathematics’. Scientists tendency to put mathematics on the throne as the queen of the sciences, discarded other methods of modelling, in Paul Fishwick’s use of the term. Paul has advocated the need for ‘aesthetic computing’ methods that draw on the arts, design, social “sciences” and humanities to improve computer science. Maybe mathematics is not the only ‘queen’ that needs improving to enable human survival.

1.d The assertion in the provocation that we need to free science from the bias of the way that humans think, and bring in AI beings and their kind of science was contested. Or at least we need to be clear that we want humans to survive on earth, and that maybe ‘human science’ rather than “AI science’ should be favored because there is an explicit objective of ensuring human survival and not necessarily the survival of AI beings.

1.e Which immediately was attacked by Annick. This way of speaking separates ‘humans’ from the rest of the symbiotic, cybernetic system of organisms and materials ( eg Latour’s emphasis on actor network theory) to understand science making. Humans cannot exist without the microbiome etc etc. Which takes us back to Roy Ascott’s call for ‘moist’ reality. My call to make the sciences more ‘humanistic’ was a contradiction in terms and logical sense.

We welcome further critiques , and maybe suggestions on how to rethink the framework on how to enable the survival of organic life on earth ( while admitting that non organic life forms are also viable). In the mean term I will keep working on improving science itself. Send an email to rmalina@alum.mit.edu

Our First Podcast in Tamil on Creative Disturbance: Aadhavan Sibi Mathivanan with Gautam Sharma

Skip to content

Aadhavan Sibi Mathivanan is proud to announce the creation of the new Creative Disturbance Channel: அ முதல் America வரை 
In this first podcast he is in dialog in Tamil with Gautam Sharma

Skip to content


Aadhavan Sibi Mathivanan

அ முதல் America வரைC

Visa வில்லங்கம்

அ முதல் America வரை art

முதல் மடல்: ‘அ’ முதல் அமெரிக்காவரை. முதலாவது ‘விசா வில்லங்கம்”. எப்படியெப்படி தப்பு பண்ணலாம் ? விசா பெறுவதில் எத்தனை எத்தனை வில்லங்கம், முட்டுச் சந்து, உதவிக் கரங்கள், எளிமையான தீர்வுகள் ? உரையாடுகிறார்கள் கௌதம் ஷர்மா-ஆதவன் சிபி ! விசா வழிகாட்டும் வாட்சாப் குழுக்கள், தூதரகம் முன் நிற்கும் அனகோண்டா க்யூ வரிசை, ஒற்றை மனிதனாக கண்டம்விட்டு கண்டம் தாவி அமெரிக்கா சென்று சேரும் கொடுமையான முதல் அனுபவம் … எங்களில் எவரும் நண்பர்கள், முகம் தெரியாத முன்னாள் மாணவர்கள் துணையின்றி இந்த பதட்டக் கடலை தாண்டவில்லை. டென்ஷனாக இருக்கிறதா ? எங்களுக்கும் இருந்தது. அதை எப்படிக் கடந்தோம் என்பதுதான் இந்த முதல் காதையின் மய்யக் கரு.

Logo by Aadhavan Sibi Mathivanan.

Bumper mixed by Aadhavan Sibi Mathivanan.Audio Player01:4733:49Use Up/Down Arrow keys to increase or decrease volume.

Download file | Play in new window

Hosts

Aadhavan Sibi Mathivanan

Aadhavan Sibi Mathivanan

Creative Media Designer; Graduate Student

Gautam Sharma

Gautam Sharma

Graduate Student

Algorithms of Oppression: A Conversation with Safiya Umoja Noble

Algorithms of Oppression: A Conversation…

Activism, Culture/Society, and Diversity

Connect People with Science in a Fun Way! [ENG]

Connect People with Science in…

Art, Culture/Society, and Science

Cosmovisión indígena del departamento del Amazonas – Colombia. Educación Propia Múrui.

Cosmovisión indígena del departamento del…

Art, Culture/Society, and Latin America

Algorithms of Oppression: A Conversation with Safiya Umoja Noble

Algorithms of Oppression: A Conversation…

Activism, Culture/Society, and Diversity

Visa வில்லங்கம்

Visa வில்லங்கம்

Culture/Society, Diversity, and Science

“Performing with Jellyfishes”, Meeting with Robertina Šebjanič

“Performing with Jellyfishes”, Meeting with…

Art, Natural Science, and Science

A Design Approach to Disaster Risk Reduction

A Design Approach to Disaster…

Natural Science and Science

Art, Science, and Society : an aesthetics of communication?

Art, Science, and Society :…

ScienceA project of the ArtSciLab
Report a bug

1 book that made Roger happy, 1 that made him unhappy; 1 that he has yet to read, so his future state of mind is un-prestatable due to constraint closure.


A World Beyond Physics: The emergence of evolution and Life; Stuart A. Kauffman, Oxford University Press, 2019 ISBN 978-0-19-087133-8

Reviewed by Roger F. Malina, Professor of Physics and Art and Technology, UT Dallas
https://orcid.org/0000-0003-3399-3865

A book that made Roger happy.

It is not often a book just makes me happy. As I read this book on a transatlantic flight, I leafed back and forth trying to make sense of this mixture of fact and speculation and just plain lack of closure. Kauffman has been on my radar for decades, and was one of the people who alerted me to the end of physics as the queen of the sciences. Its primacy for the last 70 years was an accident of history, particularly of WWI, rather than of logic, or the methods, we call scientific at the moment.

 The sciences of complexity have been one way that sciences are being redesigned, at least in its methods , if not its social embedding. However, the Santa Fe Institute, where Kauffman worked for a while, is indeed a new kind of research institute embedded in open society that treats the arts and sciences as combined ways of knowing. New ideas about causality are emerging and being applied, he argues. In Kauffman’s phrase we must face the fact that some phenomena, including life forms, are ‘unprestatable”. One of the stimuli for his current line of thinking is the work of Mael Motevil and Matteo Mossio on “constraint closure”

(https://hal.archives-ouvertes.fr/hal-01192916/file/Montevil-Mossio_2015_Closure-of-constraints.pdf)

Read it again so it makes sense: un pre-state-able. Not unpredictable. Unprestatable. Not the same idea.

This book is almost an exemplar of Edward Said’s ideas on the ‘late style’ of older `creatives´ (Kauffman announces he is 79). There is no closure here on the nature of life and the scientific explanations of its development on earth and elsewhere in the universe. He states, very accurately, that there are xx billion places in the universe where what we call life, or self-organizing systems, must have originated. The discovery, using astro-physics, that there are more planets than stars in the universe shifts our gaze and that the search for life, like our own, is profoundly mistaken. There are billions of life forms, but none will be like our own and of a kind we can converse with and most will not be on planets (my conclusion).

 In the closing sections, Kauffman extends the discussion to the evolution of the economy. As with life, the economy, he argues, is another example of the emergence of the ‘adjacent possibles’ enabled by the phenomenon of auto-poesis through constraint closure. He concludes: “To think that this (life or the economy) is a Newtonian-Laplacian machine, derivable in some way from set of axioms, seems deeply wrong. Life, and we among it, is so rich in its inheritance and prospects that we can. I think, be captured by no entailing laws”. In his words the future of life, and the economy, are ‘Unprestatable”. 

But read this book and you might get wise, and wisely mad , realizing that the real world isn’t satisfied by physics. Or as we are doing in the UTDallas ArtSciLab try and develop the artscience methods that successfully combine various ways of knowing needed to understand the world at different scales of time, size, and complexity. Like Kauffman I am convinced that physics works enough of the time that it is worth funding; too bad it took astronomere 100,000 years to figure out most of the universe didnt emit light of any kind. For the key problems of climate change and the redesign of our human cultures and economic methods we must go way beyond physics, and in other ways one of which Kauffman elaborates. But this is needed also to understand all three undeniable biggies that Kaufmann enumerates: the origin of the universe, of life forms and of consciousness.

A book that made Roger sad.

The Universe Speaks in Numbers: How modern math reveals nature’s deepest secrets. 

Graham Farmelo. Basic Books.Hachette. USA. ISBN 9781541673922.

By coincidence, serendipity, or some higher mathematical logic (or constraint closure ?), I started this passionate book by Graham Farmelo. He goes into the deep end of the age-old disputes on the roles and natures of mathematics in helping us understand the world around and in us. It would be great to have Farmelo and Kauffman arm-wrestle on the three undeniable biggies cited above. Why mathematics can or should inform our understanding of phenomena, simple and complex, is presumably un-prestatable in Kauffman neologism. Farmelo in exquisite detail takes us through the debates on whether mathematics is the queen of the sciences or whether one stupid fact can derail the most beautiful mathematics. The book culminates in the work of the large hadron collider, the unresolved debates about string theory. He ends on a pacifist note: “As we have seen in the relatively recent past it has become clearer than ever that physicists have not one but two ways of improving their fundamental of how nature works: by collecting data from experiments and by discovering the mathematics that best describes the underlying order of the cosmos. The Universe is whispering its secrets to us in stereo.”

This made me deeply unhappy. Here we go again with false dichotomies that the artscience researchers are struggling to dispel. First he takes sides on the age old argument on whether mathematics is a human invention or a discovery of absolute truth. I don’t think this argument has been resolved; what is clear from Sarukkai’s ethics of curiosity argument is that the way mathematics develops is totally, lets say –largely, conditioned by human curiosity. The inevitable conclusion is that mathematics in extraterrestrial species will overlap but not be identical to human invented or discovered mathematics. In addition there are other ways than mathematics and experiment that humans try to make sense of the worlds around them. Kauffman would argue that the processes of evolution result in “successful” beings that reason in certain ways and not others, and I would argue that current mathematics knowledge is an ‘accident’ of the evolutionary path that our reasoning species have taken.  Mike Punt and I argued endlessly about these issues in the special issue of Leonardo Reviews Quarterly (http://www.trans-techresearch.net/publications/lrq/ )  where     http://malina.diatrope.com/2012/05/28/is-there-role-for-the-sublime-in-artscience-today/ I argued about the un-knowables ( eg what happens inside a black hole), the un-observables, un-translateables and I would now also use Kaufman’s concept of ‘un-prestatables’) and how the way our bodies and minds are constructed, shapes, and constrains our thinking processes so fundamentally that I just don’t see how the mathematics vs experiment can be resolved through this false thinking dichotomy. We need to combine multiple ways of ‘knowing’ or ‘making sense’ of ourselves and the worlds we are part of, not just two. I have never seen a mathematical proof that there can only be two ways of knowing Mr Farmelo !

 In our ArtSciLab, https://atec.utdallas.edu/content/artscilab/?portfolioCats=125%2C126%2C127%2C128%2C129%2C130,  we are struggling with what we mean by ‘transdisciplinary’ approaches to making sense. Fundamental to our thinking is that there are multiple ways of making sense that range from the cognitive sciences reading of signals emitted by our brain structures, to the phenomenological, to the purely mathematical to the messy, contextually experimental to many others.

So I am now confronted by the ‘fact’ that I have here compared and contrasted TWO books, why “two” (and why both by men of the human species). As I have argued elsewhere false dichotomies of the kind that Farmelo farms are one unprestatable consequence of our being a species that is bilaterally symmetric (thanks Stelarc, obviously if we were three handed we would be obsessed with tri-symmetrical structures). 

As Einstein said, I paraphrase:  our ideas are as independent of the nature and shape of our bodies, as our clothes are. 

Fortunately, Helga Nowotny has laid the groundwork for complexifying these discussions with her seminal thinking on transdisciplinarity ( http://helga-nowotny.eu/ )  and more recently on the ‘cunning of uncertainty” https://www.wiley.com/en-us/The+Cunning+of+Uncertainty-p-9780745687612 ).

Yes, the sciences are in desperate need of redesigning. The scientific method is evolving, for example with the emergence of AI beings that reason, and the social embedding of science is becoming more ‘robust’ as Nowotny argues with the open science , co working and artscience movements. I forget what its called when you are both happy and unhappy at the same time, ambivalent ( why not tri-valent). But we all function on the spectrum of wisdom and madness and in between, and beyond to make sense, so we can survive due to our own  individual constraint closures.

Roger Malina

Are Barabasi’s Laws&Formulas for Success Applicable to Transdisciplinary ArtScience Practice ?

 

Colleagues

It is with pleasure that I recommend the new book

Albert-László Barabási : The Formula: The Universal Laws of Success. Little Brown – 2018 ISBN-13: 9780316505499

Reviewed by: Roger F. Malina, February 9 2019

ORCID: https://orcid.org/0000-0003-3399-3865

Reviews and critiques by; Sharath Chandra Ram, Isabel Meirelles, Wolf Rainer

Albert-Laszlo Barabasi, in this new book, provides unusual and compelling evidence on the patterns that underlie common sense of ‘success’. He chooses to call these insights  “laws”, with formulas ; I will question those descriptors later in the review. But as an astronomer, and observational scientist, I resonate deeply with the way he collects his data, analyses patterns and then develops tools to frame an understanding of how those patterns emerge.  Yes, if you want to both excel and succeed, read this book.

One caveat, from my background in astronomy, is that as a profession we invested a huge amount of time over the centuries looking at patterns of stars, moving stars, and later morphology of galaxies. Some of these patterns turned out to be irrelevant to understanding the underlying structures; constellations for instance, or the study of the moon and planets to explicate human behaviors. And during my own professional career we learned, thanks to Vera Rubin and many others, that dark matter, which does not emit light, was dominant in explaining the structure and evolution of galaxies. The patterns and morphologies that astronomers were obsessed with were relevant but not fundamental. Similarly my colleagues including Saul Perlmutter, found compelling evidence that the universe is expanding at an accelerated rate due to an unknown ‘dark energy’. Not a common sense result, at least at the time I was getting my education

This background made me a skeptical reader of Barabasi’s claim to have found the ‘formulas’ and “laws’ for individual  human and group success. The self help industry is littered with unsubstantiated claims; be careful when searching on line for the laws of success !.But for me Barabasi reframes our thinking about all these questions, brings to bear his expertise in complex network science and data science to create guidelines on how to convert performance into success; both terms he defines clearly, in fields as separate as jazz performers and nobel prize winning biologists. And the book is peppered with fascinating vignettes, such as the mistaken identity incident that transformed Einstein from an excellent scientist to a successful world renowned one. But other exemplars of these laws include  why an average basketball player can transform a team into a superteam, and how a smart coach can spot what the average player can bring to group success.

Let me list Barabasi five laws:

  1. Performance drives success, but when performance can’t be measured, networks drive success.
  2. Performance is bounded but success is unbounded.
  3. Previous success x fitness = future success.
  4. While team success requires diversity and balance, a single individual will receive credit for the groups achievements.
  5. With persistence success can come at any time.

First reaction as I read was “hmm nothing new here, Sounds like common sense”.  But as I read, the more and more I became convinced that this book was reframing the way I think about the ArtSciLab ( https://artscilab.atec.io/  )  at UTDallas. Cassini Nazir and I co-direct this lab as part of a network of labs in ATEC School at UTDallas . In this lab we have emerging professionals from the “arts” and “sciences” working together, in a designed heterogeneous collaboration lab ; and the performance and success criteria for each of the different professions could not be more different – from the unquantifiable performance criteria in some of the arts, to the citation driven metrics of performance in many of the sciences. Our difficulties in translating performance into success in these transdisciplinary practices has led me to joke that astronomy had been so easy.  With its well defined performance and success criteria that a whole community of practice shares, there is a perhaps a ‘formula’ for success in astronomy.

Alex Topete in the ArtSciLab is now leading our HERMES project to collect data on the structures and methods of inter and transdisciplinary research labs, and translate this into ‘apprenticeship’ training. We hope the HERMES approach will help us develop similar ‘common sense’ on how to help our colleagues both perform well and also succeed in their chosen hybrid professions that are often excluded from the silo structures of our institutions. Barabasi’s previous books were already part of our apprenticeship reading, but this book is fundamental and will reshape our approaches.

Let me finish with a few reflexions, not criticisms, of this excellent book.

First, I find the use of the words ‘formula’ and ‘law’ problematic, perhaps because of the way these words are used popularly. Barabasi’s use is very specific, they are the formalisms that can be used to predictably describe the patterns in the data that he and others have found. So far so good. But if there is any take home message that I have taken from the sciences of complexity, it is that we need many ideas of causality and be careful about our implicit biases. Not only the A causes B  implication of Barabasi’s third law. Whether in understanding the emerging structures in the Universe or the health of ecologies, or human well-being,  we know that emerging behaviors often  arise from low level rules of interaction, as well as the implication of network morphologies, not necessarily from ‘laws’ of the systemic behaviour  And in many systems (eg climate change) you can model the systems extrapolate future behaviour and develop equations that describe well the data collected in the past, but future behaviour maybe be disrupted by causalities that are of the kind A causes B, if C didn’t happen and D happened 100 years ago. Never mind the impact of sporadic events such as unusual solar cycles, asteroid impact or out of the ordinary volcanic eruptions. Kathryn Hayles has usefully complexified the differences between prediction and retrodiction; Barabasi, I think, with the use of the words ‘law’ and ‘formula’ may mislead some readers. The laws of success as explicated by Barabasi are in a different epistemological framework than the Newtonian laws of gravity. This in my view complexifies how one can translate these laws into daily practice.

The other reflection concerns the sociology of human behavior in institutions. A book that influenced my thinking and practice is Randall Collins book “ The Sociology of Philosophies: A Global Theory of Intellectual Change”. One of the take home messages of the book is that the history of successful ideas is often dominated by ‘office politics’ rather than the excellence of the ideas or individuals. Collins studies schools of philosophy over the millennia in China, Asia, Japan, the West and finds, like Barabasi, patterns that seem to replicate, though in a less data driven quantifiable way than does Barabasi. For instance the common situation of personal disagreement between a PhD advisor and an excellent PhD students leads the student to leave rather than continue to collaborate; the student leads a new school of philosophy that is more successful than that of his mentor. Another example would be the current discussions of how the careers of many young professionals have been strongly influenced by sexual and or psychological harassment in institutions that are historically reticent to punish excellent acadmeic performers for poor or criminal personal behaviors on campus. Barabasi does discuss many examples of what I am calling ‘office politics’, but maybe there is a possible 6th law.

Certainly as part of the community of practice, including our ArtSciLab, that is trying to create research that bridges the arts and sciences, sometimes called STEM to STEAM, we face these issues. We are well aware how office politics has negatively influenced the success of some of our most brilliant colleagues. Sometimes the social structure of institutions is “incompatible” with the success of certain excellent ideas because the way incentives, such as promotion and tenure, function to reinforce ‘silo-ed’ thinking. As a result, our community of practice is still marked by intellectual and geographic migrants, “geniuses’ who have often been abandoned and forgotten. The innovation and creativity research community, including the science of team science area that Barabasi develops, is fast moving as we seek to translate  and combine “sciences” with “arts” into useful medical practices and other social outcomes.

Another thought. The 68-year-old that I am was of course encouraged by Barabasi’s 5th Law: Success can come at any time. He analyses in depths the age at which celebrated figures did their outstanding work; yes, most do this before their 30s. But he complexifies this with examples and data of how on the tail of this distribution there are many examples of successful and exceptional achievements in later years. He illustrates this work with the way John Fenn carried out his ground-breaking work in his sixties and received the Nobel prize in his later 80s. He develops the idea of the “‘Q’factor”, the ability to translate ideas into discoveries and quantifies a number of common sense ideas. But more importantly he develops the idea of how to develop ones ‘Q’ factor, through collaboration methodologies, a fundamental concept in the UT Dallas ArtSciLab. And his discussion ties in nicely with Edward Said’s ideals in his book “On Late Style” and the SOTA (Students Older than Average) being led by Linda Anderson in our ArtSciLab. Michael Punt introduced me to this line of argument as part of the COGNOVO program, on cognitive innovation, at the University of Plymouth. The idea that the brain and body have multiple ‘modes of operations , and that these ‘modes’ can be altered, or their use modified by experience or by age or other factors. The popular press on toggling between “quick thinking’ and “slow thinking’, or “thing small” and “think big” ties into this in some way. Said’s ideas helb reshape the way we think about involving older professionals in innovation work.

Said’s full book is at: https://www.penguinrandomhouse.com/books/159782/on-late-style-by-edward-w-said/9780375726330/ and I note in passing that it feeds into my colleague Nina Czegledy’s insistence that in transdisciplinar work we need to invent new mechanisms of inter-generational communication and collaboration. This hallmark of the community of Practice that uses the Leonardo SAST and OLATS organisations for part of their professional needs, as Nina discovered as she led our 50th anniversary ‘village’ birthday parties.

In conclusion we will be adding Barabasi’s new book to our transdisciplinary apprenticeship source material.

Disclaimer. I have met Barabasi a few times during my career. As he explains before becoming a successful scientist, he tried to be a sculptor. This hybrid interest has led him to talk at a Leonardo art-science event in Prague. Later I reached out to Barabasi when I was recruited at UT Dallas to ask if he had recommendations for emerging professionals that I might help recruit. This led to the UTD hiring of historian Max Schich. Max Schich and Isabel Meirelles went on to lead the influential Arts, Humanities and Complex Network symposia at the network science conferences. When Max Schich, an art historian, arrived in Dallas, he published an article in Science which now has an Altmetrics score of nearly 500, and his YouTube video has 1.5 million downloads, yes 1.5 million; certainly a measure of success for an art historian! For me, this anecdote exemplifies Barabasi’s practice over the decades, and illustrates well the laws and formulas Barabasi now proposes in his book under review here: The Formula: The Universal Laws of Success, Little Brown –

2018. I apologise for referring frequently to how I found the ideas of Barabasi’s book applicable to our ArtSciLab and would be interested in if other transdisciplinary researchers find the ideas applicable in their case.


 

call for testimonials on how zero gravity warped your thinking processes

colleagues

please find below an abstract of a paper we are working on , on
creativity in extreme environments

this is an open call for testimonials from any one who has
been in zero gravity, or created experiences for people in
zero gravity

how does the removal of the human sense of gravity modify
the thinking modes of the human brains, and can this lead to
different kinds of creativity

if you want to have us publish a testimonial, contact me

roger malina rmalina@alum.mit.edu

Creativity and Cognition in Extreme Environments: The Space Arts as a Case Study

Lead Authors: Kathryn Hays, Roger Malina

Contributing authors: Ruth West UNT, Cris Kubli UTD, Magda Grohmann, UTD,+ TBD

Internal Reviewers: David Smith SMU, Annick Bureaud OLATS+TBD

Creativity and Cognition in Extreme Environments: The Space Arts as a Case Study

Lead Authors: Kathryn Hays, Roger Malina

Contributing authors: Ruth West UNT, Cris Kubli UTD, Magda Grohmann, UTD,+ TBD

Internal Reviewers: David Smith SMU, Annick Bureaud OLATS+TBD

Abstract

Humans, like all organisms, have evolved to survive in specific environments. When such organisms are forced, or choose, to live and work in other environments they function differently, both mentally and physically. Our paper will develop the history, present practices, and future possible arts in the context of humans beyond the Karman boundary of the earth’s atmosphere. This paper will explore the space arts as a case study in creativity in extreme environments, in this special issue of journal/book. Tasks involved in extreme environments are cognitively demanding and require high physical and psychological adaptation and expertise. Cognition, not only in scientific tasks, is influenced by the context in which it is situated. To facilitate cognitive operations, such as creativity, beyond those needed for survival and safety, environmental or task context needs must be addressed and specific cognitive training developed. Viewing cognition as embodied, enacted, socially embedded, and extended provides a framework for its relationship to the environmental conditions. As cognition relates to the environment, so do cognitive processes and operations, such as perception, problem solving, and creative ideation. We develop a revised taxonomy of space arts, based on the taxonomy by Roger Malina presented at the 1990 International Astronautics Conference. We provide specific exemplars of space art in zero gravity developed by artists in space, or for use by astronauts in space.. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts to develop sustainable social cultures in zero gravity and 2) how new scientific discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by comparing and contrasting space with other extreme environments as contexts for creativity.