art seen from the moon

space arts colleagues

are you in chicago or know someone interested in the arts and
space in chicago
paul catanese would be pleased to host you for discussions
through sept 27 or visit the live streaming
details below
roger malina
> From July 9 – September 27, Paul Catanese has a residency / exhibition at
> the Chicago Cultural Center entitled Visible From Space which erupts from
> a thought experiment about creating drawings on Earth so large they would
> be visible from the moon. During this exhibit, Catanese will be piloting a
> 12-foot blimp inside the gallery to fly over, observe, project and record
> aerial footage of “viewed from the moon” drawings on the gallery floor.
> Using a modular set of props that includes reflective films, agricultural
> netting, aerial targeting panels, mooring posts, rope, and hundreds of
> rigid dimensional lines, these drawings will change continuously over the
> course of the residency where modes of production from the artist studio,
> film set, black box theater, and site-specific installation will
> intermingle.
> For more details, please visit:
> To sign up for updates about live-streaming / “live-from-the-blimp”
> events, visit

Art at the Threshold of the Information Revolution (1961 – 1978) By Armin Medosch

ColleaguesDelighted to announce a new Leonardo BookArt at the Threshold of the Information Revolution (1961 – 1978) By Armin Medosch

This book is part of our Leonardo Pioneers and Pathbreakers project

with the help of the Frieda Ackerman Committee

and the Leonardo Book Series Editorial Board

Leonardo Book Series Advisory Board: Sean Cubitt (chair), Joel Slayton, Annick Bureaud, Roger Malina, Anna Munster, Michael Punt, Sundar Sarrukai, Douglas Sery, Eugene Thacker

We also have the Leonardo Pioneers and Pathbreakers Podcast channel:

If you are are pioneer active in the 19603, 70s. 80s and would like to

record a podcast for publication, or a memoir for the Leonardo Journal

please contact me rmalina at

Roger Malina

New Tendencies”

Art at the Threshold of the Information Revolution (1961 – 1978) Tendencies”

Art at the Threshold of the Information Revolution (1961 – 1978)

 (1961 – 1978)


New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a nonaligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices.

Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art.

Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies’ five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group’s relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group’s eventual eclipse by other “new art practices” including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies’ works and exhibitions.

About the Author

Armin Medosch is a Vienna-based artist, writer, and curator.


“Armin Medosch’s New Tendencies develops a ‘deep archeology’ of technological revolution in Croatian, Yugoslavian, and International neo-avant-garde in the 1960s and 1970s. This book is an analytical guide to the media, conceptual, and political transformation of late modernist epistemology of art. The author comparatively discusses relations between the socialist and western techno-utopian and, at the same time, critical artistic projects. His epistemology of art offers mapping of scientific, electronic, proto-cybernetic, computers oriented and conceptually developed artistic research between techno-positivism and techno-criticism, between neoconstructivism and conceptual art.”
Miško Šuvaković, Professor of Art Theory and Dean of Faculty for Media and Communications, Belgrade; coeditor of Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991“This book brings much needed attention to the importance of New Tendencies, the groundbreaking art movement that emerged in the former Yugoslavia in the 1960s. Carefully researched and deeply insightful, Medosch’s overview illustrates that New Tendencies was much more than a highly relevant exhibition series: a playing field for exploring key ideas of the information revolution, from cybernetic control systems and networked communication to information aesthetics and digital art as visual research. A must read for anyone interested in the evolution of contemporary digital art and its complex technological and socio-political histories.”
Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum, Associate Professor, School of Media Studies, The New School

YEAH !! Leonardo rated No 2 Visual Arts Journal by Google Scholar

Some great news. Google Scholar now rates Leonardo Journal as the Number Two Visual Arts Journal

in their ranking system ! And Leonardo Electronic Almanac now enters the top 20 under the leadership

of Lanfranco Aceti.  We thank all the authors and peer reviewers and editorial board members who have

made Leonardo a top rated Journal for documenting and advocating the work of the art science technology


Publication h5-index h5-median
1. Art Education 14 21
2. Leonardo 13 17
3. Studies in Art Education 13 17
4. International Journal of Art & Design Education 12 16
5. The Senses and Society 10 20
6. Digital Creativity 9 14
7. The Journal of Aesthetics and Art Criticism 9 13
8. Design and Culture 7 15
9. Grey Room 7 10
10. October 7 10
11. International Journal of Education Through Art 7 9
12. The Art Bulletin 6 8
13. Artforum 6 7
14. Third Text 6 7
15. Visual Arts Research 6 7
16. Journal of Design History 6 6
17. Afterall: A Journal of Art, Context, and Enquiry 5 7
18. Art History 5 7
19. History of Photography 5 7
20. Leonardo Electronic Almanac 5 7


from google scholar site:

Google Scholar Metrics

Google Scholar Metrics provide an easy way for authors to quickly gauge the visibility and influence of recent articles in scholarly publications. Scholar Metrics summarize recent citations to many publications, to help authors as they consider where to publish their new research.

To get started, you can browse the top 100 publications in several languages, ordered by their five-year h-index and h-median metrics. To see which articles in a publication were cited the most and who cited them, click on its h-index number to view the articles as well as the citations underlying the metrics.

You can also explore publications in research areas of your interest. To browse publications in a broad area of research, select one of the areas in the left column. For example: Engineering & Computer Science or Health & Medical Sciences.

To explore specific research areas, select one of the broad areas, click on the “Subcategories” link and then select one of the options. For example: Databases & Information Systems or Development Economics.

Browsing by research area is, as yet, available only for English publications. You can, of course, search for specific publications in all languages by words in their titles.

Scholar Metrics are currently based on our index as it was in June 2016.



Creative Disturbance is pleased to bring to your attention GAMECAMP SENEGAL in DAKAR 14-17 July,

Creative Disturbance  Virtual Africa is collaborating as a media partener and will be publishing podcasts. 10,ooo gamers are expected,12902.html?lang=fr

see also: 

details follow ( in french)

Roger Malina

Le Goethe-Institut, IGDA Sénégal et Orange présentent le Gamecamp Summer Edition les 14, 15, 16 et 17 juillet

Du 14 au 17 juillet, Le Gamecamp en collaboration avec le Goethe Institut, IGDA sénégal et Orange organise la seconde édition du Gamecamp Summer de Dakar. Cet événement gaming (jeux vidéo) dynamise aujourd’hui plus de 10 000 gamers et développeurs en Afrique francophone.


12H – 13H30 au Goethe-Institut
Conférence de PRESSE Gamecamp Summer Edition 2

JEUDI 14.07
9H – 12H au Goethe-Institut
Workshop : la conception photographique en 360° et la photographie aérienne par Drone
avec Doro Diagne , fondateur Conceptsky
Inscriptions :

16H – 17 H 30 au Goethe – Institut
Emission débat LIVE en direct depuis l’université
du Texas à Dallas .

Afrique virtuelle sur Creative Disturbance : réseau international multilingue et plateforme collaborative pour la publication de podcasts au croisement de l’Art, de la science et de la technologie.
Afrique Virtuelle est un projet multimédia de l’association Leonardo/Olats (l’Observatoire Leonardo pour les Arts et les Techno-Sciences) qui, depuis plus de 30 ans, s’est imposé comme espace d’informations, d’échanges et de réflexions entre le monde des arts et celui des sciences.

Avec: Yvan Tina (Responable Afrique virtuelle ), Michael Jeisman (Goethe Institut ), Kofi Sika Latzoo (IGDA Senegal / Gamecamp co founder), Yves Atm ( Yves afoutou , Gamecamp sn lead), et Mamadou Diallo (Mairie de Dakar).


9H – 13H au Goethe-Institut Senegal
Conférence :
le contenu digital à l’heure de la convergence média.
Intervenants : Serge Thiam (Orange), Jean-Charles Mendy (Orange) et Mamadou Diallo (Mairie de Dakar)

15H – 17H au Goethe-Institut Senegal
Formation : Unity (outil de développement de jeux vidéo)
avec Dadja Bassou , Ancien employé de Google , Game designer à Ha!! Buggy
Inscriptions :

19H – 20H au Goethe-Institut Senegal
Activité Danse et Jeu vidéo « Just Dance Now »
Pre-requis Atelier :
1. Lancez simplement l’appli Just Dance Now sur votre appareil Android, votre iPhone, ou votre iPod Touch
2. Venez vous connecter et danser sur les Ecrans géants du Goethe institut
3. Puis tenez votre appareil dans votre main droite et suivez les danseurs à l’écran !
Inscriptions :

15H – 20H à la Place Orange du Sea Plaza
Tournoi Jeu vidéo « ESIF • Fifa 16 • »
Inscriptions :


SAMEDI 16.07
9H – 13H au Goethe-Institut Senegal
Expo et démo de la Box TV NVIDIA SHIELD Première au Sénégal
Avec les jeux sénégalais : Da’karapid , Cross Dakar city, Ha!! Buggy et Diambar

9H – 13H au Goethe-Institut
Formation : Unity (outil de développement de jeux vidéo)
avec Dadja Bassou , Ancien employé de Google , Game designer à Ha!! Buggy
Inscriptions :

9H – 12H et 15H – 18H au Goethe-Institut (Salle Weimar)
League of Legends » Play Off Dakar
Inscriptions :

11H – 13H à la Place Orange du Sea Plaza
Call Of Duty MW3
Inscriptions :

15H30 – 17H au Goethe-Institut Senegal
Atelier théorique et pratique sur la Google Cardboard et la réalité virtuelle
Intervenants : Sylviane Diop aka Praline Barjowski , curatrice d’art , fondatrice du collectif Collectif GawLab
et Kofi Sika Latzoo , Game evangelist et co-fondateur du réseau pan africain Gamecamp
Pour participer, il faut posséder un smartphone avec un écran de 4.7 inch sur Android 4.1 Minimum ou IOS OS 8
Iphone , Ipod , Samsung Phones , Google Nexus 4/ 5/ 6 , HTC One , Xiaomi.
Les utilisateurs ayant des problèmes d’épilepsie ou de nausées en immersion virtuelle doivent s’abstenir.
Application a installer sur Apple Store :
Application a installer sur e sur Google Play :

15H – 17H au Goethe-Institut Senegal
Formation : Entreprenariat avec Game designCanvas
avec Yves Afoutou , Ingénieur professeur à ESTM , consultant en Coaching Entreprenariat
Gamecamp Senegal lead



10H – 13H à la Place Orange du Sea Plaza
Finale « League of Legends »

Infos :
-Kofi Sika Latzoo (Gamecamp co-founder) – 76.907.85.96
-Yves Afoutou (Gamecamp lead senegal) – 77.456.00.45


STEM TO STEAM FUNDING ON THE WAY IN USA ??Thursday, July 7, 2016copied from and for full story see 


Today, the (US Congress)House Education Committee unanimously approved H.R. 5587, Strengthening Career and Technical Education for the 21st Century Act, by a vote of 37-0.


Notably, in two sections—under state leadership activities and within local uses of funds—the bill now includes new, explicit support for integrating arts and design skills training into CTE programs, permitting states and school districts to support CTE programs that integrate arts and design skills.

This amendment, offered by Congressional STEAM Caucus co-chairs Reps. Elise Stefanik (R-NY) and Suzanne Bonamici (D-OR), was approved unanimously on a voice vote.

In offering the amendment, Rep. Stefanik stated, “One issue that I hear from businesses in my district is they have a desire to find more employees who are not only technically proficient, but also possess the creative and design skills found in the arts.”

In supporting the amendment, Rep. Bonamici said, “America’s economic success has also been built on our propensity for innovation, inventiveness, and entrepreneurship. Education programs that integrate arts and design elements nurture future workers to think in new ways.”

for full story see:

the Amendment is simple in its clarity ! 


 insert the following: 1 ‘‘(17) support for the integration of arts and 2 design skills, when appropriate, into career and tech- 3 nical education programs and programs of study.’’.

Page 84, line 25, strike ‘‘and’’. Page 84, after line 25, insert the following: 4 ‘‘(Q) supporting the integration of arts and 5 design skills, when appropriate, into career and 6 technical education programs and programs of 7 study; “

Full amendment at

The rationale for investing in STEM to STEAM initiatives is well articulated by the two congress women- as part of the ‘art-sci-tech>creativity>innovation> entrepreneurs> employment mantra that has traction in funding bodies internationally- and that also is one of the motivations for  the new US National Academies Study

Roger Malina

Pirate Philosophy, Experimental Publishing and Beta-Testing the Future


DRAFT text submitted for comment and criticism:

I invite readers to send comments or other contributions to me at and I will append them to this blog post. And in exchange we will happily give you free betatester access to the ARTECA aggregator !

Pirate Philosophy, Experimental Publishing and Beta-Testing the Future

Hall, G. “Pirate Philosophy: For A Digital Post Humanities”, (MIT Press, 2016). A Leonardo Book.

Reviewed by Roger F. Malina


I have just finished reading, with great pleasure and interest, Gary Hall’s “Pirate Philosophy; For a Digital Post Humanities” published in our Leonardo Book Series. (Sean Cubitt, Editor in Chief; Doug Sery, Acquisition Editor; I serve as Executive Editor) (Hence I must declare my conflict of interest in this review). (1)

Gary Hall surveys and engages with the major debates that pit the various schools of thought within the Humanities and Publishing today. His fundamental argument is that Humanist scholars must go beyond the debates on digital humanities and the various post-modern, post-human and post theory theories, to inventing new ways of being theorists and philosophers. He coins the phrase ‘pirate philosophers’ drawing on the ancient Greek meaning of pirate as someone who “tries, tests, teases and troubles as well as attacks”. As one of the co-founders of the Open Humanities Press (2), he has sought to practice what he preaches, experimenting with new forms of un-bound , ‘liquid’, books, open access multi modal publishing within philosophy, cultural studies, literary criticism and political theory.

The book is riddled with wonderful paradoxes and contradictions, unresolved questions and agendas; he sometimes seems to be in dialogue with himself, rebutting or augmenting his argumentation in the footnotes and references which make up almost 40% of the book. He rails against the academic system that privileges the book and monograph form published via academic or commercial publishers, yet does so himself with MIT Press, as he lambasts colleague and favorite foil scholar Rosi Braidotti (3) for publishing with a commercial publisher. He laments the legacy of single author, humanities practices in favor of more open and collaborative collective theorizing, yet his book is signposted with the “names” of the usual favorite French philosophers from Latour to Deleuze to Stiegler, among others, as markers in his argumentation. (Sociological comment: the names of almost 140 individuals are listed in the table of contents, 20% of these are women).

He argues convincingly that the transition to the digital is proving to be transformational in its ability to develop non-linear, evolutive and multi-media narratives and argumentation, while using the classic book form as an effective part of his methodology. He argues a strategy that “experiments with writing collectively and publishing anonymously….shifting continually between different theories and concepts such as new cultural studies, open media, media gifts, liquid theory, pirate philosophy, radical open access and disruptive media’”.

In our own ArtSciLab research lab (4) at the University of Texas at Dallas, we talk of multi-modal publishing as a deliberate strategy to engage with a variety of publics deploying different narrative approaches. What is perhaps less clear is whether Hall views this as a long term shift in methodologies, and development of enduring ‘diffractive’ strategies, or a transitional period as the digital shifts our formats and approaches that will then re-stabilize; since he argues  that developing new behaviors as theorists and philosophers as an objective with fluidity at its core, perhaps the latter is the case.

Hall balances a meta-narrative about the Arab spring, neo liberal politics, the business model of the modern university with a micro narrative examining the choices of approaches and tools a humanities scholar must confront with respect to the burgeoning of grey literature, open access and open science. His approach connects that of Bernard Stiegler, whom he quotes at length, whose work also bridges theory and praxis, with his Ars Industrialis consortium and prolific book publishing; like Stiegler he views the digital as pharmacological- both curative and poisonous, hence the need for pirate actions but also ‘organological’ with digital media externalizing and augmenting mental and bodily mechanisms not extending them.

I read the book, almost in one reading, sitting in the sun in our garden, a three or four hour commitment that displaced all other interruptions and then again during a delayed  train ride in France when I wrote this review, with no access to the internet. (The train ride was interrupted by demonstrators blocking the track in protest at new government labor law; the macro intruding seamlessly with the micro). The corners of pages are turned to mark points that need to be re-read, red question marks and exclamation points litter the margins. I suspect a hundred years from now books will still have a place in the discourse, as Hall also argues, and perhaps with liquid paper my annotations are already on the way to other readers and the author with their contributions shifting the text as I finalise it.  Amusingly, Hall comments that the original concept of piracy is not only nomadic but situated on a liquid medium with a turbulent and dynamic flow.

I am going to use this brief, non-comprehensive review, as the excuse to branch off on some thoughts triggered as I read, but which also externally imposed as they are among the issues I have been working on in recent years and are one of my motivations for my reading this book in final form. Reading is indeed a process of matching and discarding, reinforcing and de-emphasizing. My internal dialogue could have been made visible by contributing to an open liquid book, but the process of interiorisation is crucially valuable in itself, occurring both inside the individual reader and the collective readers. And even if we redefine the concept of the individual within networked collective methodologies, the nodes in the network even if dynamic, are important elements in the structuring architectures and resulting narratives and theories; yes, the role of the singular author is dispensed with in large part in the sciences without disabling the development of research and theory. As a scientist myself I still often find it grating to have ideas or concepts so firmly attached to names.

Perhaps surprisingly, although Hall attacks the values of the neo-liberal university, he chooses not to questions whether universities should continue to exist at all. As he notes modern Universities were invented before and during the age of the book and are structurally co-aeval with the development of publishing systems. Why in the digital age, whether the digital is a medium or a type of information (cf. Florian Cramer), would universities as structures still make sense? When the airplane was invented railway stations were not adapted, instead the airport was developed in different locations and using different infrastructures. The development over the last decades of new forms of continuing education, picking up on 1960s experiments with TV based open universities, with MOOCs are now proliferating on line certificate systems. Some of these emerge from universities, but most do not. Yet to be seen is what sustainable system will develop that provides employment, for pay, to sustain research and education practices. Hall defers these issues to the parallel text of the footnotes and references; it seems to me that we need to question the very concept of the university at the same level that we question being theorists and philosophers in the world, because of the fundamental mapping between theory and praxis. Pirate education is alive and well, and necessarily interferes and refracts with the practices enabled, discouraged or encouraged by those structures that currently house education and research.

What Halls’ discussion does foreground is the importance of communities of practice; and hence one reason that the names of authors are significant is because of their function as nodes in these professional social networks independent of their role as authors. Hall talks about these authors often as friends or colleagues.  Actor Network Theory is alive and well. As I read the book, I also found pleasures in names of people I knew and are part of the communities of practice that I identify with. I met and recorded podcasts recently with Bernard Stiegler whose evolving ideas I find stimulating and convincing; I had lunch just a few weeks ago with anthropologist James Leach, quoted at length by Hall, who is writing compellingly on issues of distributed authorship and new merging models of intellectual property; we published Johanna Drucker early in her career. By their nature these communities of practice are cross or transdisciplinary, ill adapted to the rigid tree of knowledge structure of universities. Professional societies themselves, commensurate with university structures, also fail to respond to the situation of new emerging media scholarship and professional advancement; if there is to be new ways of being theorists or philosophers in the world, it seems to me inconceivable that the university can host these practices even if we try to ‘return’ the wonderful, mythical, golden, pre- “neo-liberal” university age.

 One is compelled to ask what form of organization is adapted to an open liquid book created by collective communities of practice. What would be the new business models? Certainly not the emerging business model of universities today (Stiegler is working on alternatives) or professional associations that resemble the Association of Window Framers (yes it exists, I walked into their conference by mistake at a Society for Scholarly Publishing meeting) (A meaningful co-location). (Yes easy for me to say, I have an endowed tenured position and a joint appointment in Physics and Art and Technology).

One area where I feel synchronized with Hall’s metaphor, is in his concept of “Pirate Philosophy”. We have been calling the work in our lab “experimental publishing’, because like Hall we think that we are in a research phase of trying to understand the implications, epistemological as well as ontological, of the emergent media and their social adoption and transformation. As I noted above, we use the term ‘multi-modal’ in a positive connation, with the implication that researchers and scholars must discuss and disseminate their thinking and collaborations in a variety of formats- from the book , the article, the monograph and multigraph, from print to electronic, audio and video and interactive. We doubt that will emerge ‘one or several’ appropriate fixed formats for the digital age, but that we are enriched by the ability to engage with different publics in different modes.

Currently we are about to release a new experimental platform, ARTECA, with MIT Press (5). An “art, science, technology” aggregator and grey literature archive that is intended to evolve functionalities to respond to the needs of the art, science, technology community of practice. We are currently ‘beta-testing’ the platform and find ourselves using this metaphor more broadly in terms of ‘beta-testing’ the future (and re –imaging the future of the Leonardo Organization that is partnering on its construction). The initial phases are the construction of digital libraries of peer reviewed and grey literature; we are advocating a hybrid “open access/pay wall” model where intellectual barter and gift exchange enable “open” access to a community of practice through its collective contributions and exchanges. Activities such as authoring, advising, peer reviewing, developing will be elements of an open access exchange culture; other activities will continue to be remunerated financially such as editing, distributing or archiving; some activities such as marketing can function either in an exchange mode or a remunerated mode. This is not a fremium model, but rather two interlocking economic systems that link a gift exchange culture in a mutualist synergy with, by design, a cash exchange business model. ( Perhaps we could even establish barter and exchange to readers of ARTECA material- after all in the process of reading you accept to have the author change you the reader through the act of reading, or certainly of those who cite ARTECA content – since this contributes to creating the community of practice) In any case, we accept the ambiguities of straddling the open and closed worlds. We hope that ARTECA will attract pirate philosophers who will “try, test, tease and trouble as well as attack” and help us navigate and structure a liquid and turbulent environment. If the present has a bug, fix it, if it’s beyond bug fixes, design a new boat for the future incrementally. Realize that every bug fix embodies a theory and value system. Sorry to be mixing my metaphors.

Having read Hall’s book, I feel a digital humanists’ need to map it visually as one way of understanding the continuities and discontinuities in discourse. We are currently working to make available the content of ARTECA in a form that digital humanists can find patterns that might not be evident in the kind of ‘close reading’ that I just indulged in the sunshine. The pattern finding is not a ‘new structuralism’ ( as Manovich also protests, according to Hall) but rather a way of providing new integration mechanisms across ranges of scale ( time, space, human groupings) that allow one to bridge the qualitative and quantitative as argued by Slingerland ( among others) in the rethinking of consilience  as a transdisciplinary methodology (6).

Hall’s book is rife with new vocabularies and neologisms, almost as important as the names of authors. (The index includes at least 25 technical terms that did not exist 25 years ago). And phrases that are used in multiple ways, as with the discussion Hall engages in about post and trans-humanist theories’; or the various ways that the concept ‘open’ is now being used. Trivially we can create simple maps of the history of ideas using n-grams of first uses of words or phrases, and their context to illuminate where differences in opinion originate. Clarisse Bardiot is beginning to work with the collection with Timothy Tangherlini at UCLA and collaborators in Finland and Mexico to identify and follow the collaboration networks by treating 10,000 journal articles and 300 books as a single’ book’ or corpus; maybe we can design a form of intellectual dating service, short circuiting the accidental crossing of paths that often occur in conferences, professional meetings or parties, and enable generative interactions in ways that commercial social media platforms fail to do. Leydesdorff and Salah analyzed the network structures of inward going and outward going references in Leonardo over 40 years with revealing insights on the sociology of the community of practice that uses Leonardo publications as one of its dissemination mechanisms (7); I found the mapping visualisation influenced my own practice not as a theorist or philosopher but as an editor and social actor, interlocking the quantitative with the qualitative.

            I highly recommend Gary Hall’s book as one thoughtful, and vituperative, entry point into the issues facing scholarly practices in the Humanities and the Sciences and in Publishing today.

I invite readers to send comments or other contributions to me at and I will append them to this blog post. And in exchange we will happily give you free betatester access to the ARTECA aggregator !


  1. Leonardo Book Series :

  2. Open Humanities Press:

  3. Braidotti, R., “The Posthuman”, (London: Polity, 2013)

  4. Artscilab:

  5. Arteca:

  6. Slingerland, E. and Collard, M., “ Creating Consilience”, (Oxford University Press: 2011)

  7. Leydesdorff, L., Salah, A., Maps on the basis of the Arts &Humanities Citation Index:the journals Leonardo and Art Journal, and “Digital Humanities” as a topic,Journal of the American Society for Information Science and Technology 61(4) (2010) 787-801,

    Comments Received

  8. From Michael Punt:

  9. Dear  Roger

    Many thanks for this – so interesting that a stream of thoughts  replace the interrupted forward movement of the train.

    Just a point about the airplane – indeed the railway station was not adopted – (except later at TEGEL, Berlin)  but it did adopt the inappropriate marine port model which is something we are trying to unravel. (Ships can wait around until it is OK to enter airplanes can’t which cause the problem) .

    If you get stuck again – this might help

    Like Hall  he calls for a radical rethinking in the humanities about what is real.



Comments from Gary Hall posted with his approval

Dear Roger,

Many thanks for such a perceptive – and generous – engagement with Pirate Philosophy. I read your review in Venice, where I was visiting the Architecture Biennale. But I also had an opportunity to see a very interesting exhibition at the Gallerie dell’Accademia on the invention of both the concept of publishing and the modern book. ‘Aldo Manuzio. Il rinascimento di Venezia’ positions Renaissance Venice as the Silicon Valley of its age due to its role as the international capital of print (1). Yet Venice was a doubly fitting place to read your post as of course it’s a city built on water that has no fixed or stable boundaries. It’s interesting to bear in mind that European publishing – which, as a technology and as a process, has always been liquid rather than having only become so with the advent of the digital age – itself emerged from an inherently fluid environment.

I’m going to respond to the issues you raise in separate posts containing some of the thoughts that were triggered as I read your review. That way I can do so in a correspondingly ‘brief, non-comprehensive’ fashion.

So, I guess the first question is, why have I written a book, Pirate Philosophy, that ‘rails against the academic system that privileges the book and monograph form published via academic or commercial publishers’, and yet published it with just such a press, MIT?

Well, versions of most of the material that makes up Pirate Philosophy are already available open access. This material can be found on my website as pre-prints, as part of my Open Humanities Notebook (2), and on the websites of some the journals in which versions of particular chapters were first published (3). Given that much of the work is already available in other places and in other forms, the question then becomes more: why did Ialso publish this material as a conventional print book with a traditional academic press?

The last conventional print monograph I wrote was Digitize This Book! which came out with Minnesota in 2008. Since then I’ve published all sorts of free, libre, open access books and texts – some of them indeed in open, collaborative, collective and anonymous forms of theorizing (4). But as the comments that were made about Pirate Philosophy on Twitter a few weeks ago bear witness (5), people still respond (in the form of tweets, blog posts and reviews, for example) more to material published as a conventional print book with a traditional academic or commercial press. And so if my ambition is to challenge the way we work and think as theorists and philosophers with regard to concepts such as the individualized named author, the sovereign proprietorial subject, originality, the book, and copyright, then it looks like I still do have to publish in ‘conventional’ ways now and again.

At this point I’d like to take a cue from your idea that ‘in the process of reading you accept to have the author change you the reader through the act of reading… since this contributes to creating the community of practice.’ I want to do so in order to raise a question for us as a community of readers in turn, as I think you’re absolutely right here: the community has to take some responsibility for this situation. My question for the community is this: why are we still so focused on privileging ideas of ‘the book’, even when material is already freely and openly available (just not in a bound, linear, sequential, print-on-paper form that has been published by a traditional academic press)? In other words, is it my practices as an ‘author’ that need to change, or our practices as a community of readers / scholars?

As for Pirate Philosophy, it endeavours to move beyond ideas of open and closed access, legal and illegal modes of publication, even the human and nonhuman, the ‘I’ and the ‘we’, as a way of engaging with our scholarly practices and the technologies involved in them – while also avoiding, as you rightly observe, any positions of moral or political purity.

Best, Gary.




  3. See here for one example:

  4. This material and/or the relevant links can be found on my website:



Ideas for Breakfast, creatively disturbing


Our Creative Disturbance multi lingual podcast platform for the art science technology community

Has now published over 300 podcasts, in 9 languages. covering a broad range of topics. If you would like to publish a podcast

on your work- contact me at rmalina(at)

Here are the ten most dowloaded podcasts to date

(find them with a search on )


Roger Malina


And here are the next ten most popular


US National Academies announce study of integrating science, engineering medecine with arts and humanities education

 Dear Colleagues

Tom Rudin of the US National Academy of Science Board on Higher Education gives us new details of the study that was announced at the National Academy Workshop earlier this year.

This focused attention is very encouraging with actions both underway in USA and Europe to understand the implications and recommendations to respond to the growing community of practice

Roger Malina



A Project of the

Board on Higher Education and Workforce

May 2016

David J. Skorton (NAM), Committee Chair, the 13th Secretary of the Smithsonian

An ad hoc committee overseen by the Board on Higher Education and Workforce (BHEW), in collaboration with other units of the National Academies of Sciences, Engineering, and Medicine, will produce a consensus report that examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the arts, humanities and STEM lead to improved educational and career outcomes for undergraduate and graduate students.  In particular, the study will examine the following:

  • Evidence regarding the value of incorporating curricula and experiences in the humanities–including the arts, history, literature, philosophy, culture and religion –into college and university STEM education programs, in order to understand whether and how these experiences: (1) prepare STEM students and workers to be more effective communicators, critical thinkers, problem-solvers and leaders; and (2) prepare STEM graduates to be more creative and effective scientists, engineers, technologists and health care providers, particularly with respect to understanding the broad social and cultural impacts of applying scientific and technical knowledge to address challenges and opportunities in the workplace and in their communities.

  • Evidence regarding the value of incorporating more STEM curricula and labs into the academic programs of students majoring in the humanities and liberal arts in order to understand the following: (1) how STEM experiences provide important knowledge about the scientific understanding of the natural world and the characteristics of new technologies, knowledge that is essential for all citizens of a modern democracy; (2) how major technological dimensions are essential to make sound decisions across all professional fields; and (3) how STEM experiences develop the skills of scientific thinking (a type of critical thinking), innovation and creativity that may complement and enrich the critical thinking and creativity skills developed by the humanities, as graduates in such fields enter the workforce and build careers.

  • New models and good practices for mutual integration of the humanities and  STEM fields at 2-year colleges, 4-year colleges, and graduate programs, drawing heavily on an analysis of programs that have been implemented at Harvard, Dartmouth, MIT, Princeton, Stanford, Florida International, Montgomery College, Arizona State University, SUNY-Binghamton, and many other institutions of higher education.

The outcomes of the project will include the following:

  • An analysis of the evidence of the benefits of more integrated educational experiences in the arts, humanities and STEM on the education and career experiences of students and workers.

  • An Academies consensus report, including specific, evidence-based recommendations aimed at encouraging the creation of more effective integration of the arts, humanities and STEM in our nation’s 2-year and 4-year colleges and universities—as well as in our nation’s high schools and informal education environments. The audiences for such a report will include colleges and universities, K-12 schools and school districts, policymakers at the federal and state levels, government agencies, business and industry, and foundations and other nonprofit organizations.

  • A major dissemination effort focused on sharing the report and its findings and recommendations with broad audiences—drawing upon the outreach and communications capabilities of the institutions and organizations that will be involved in shaping the report.

As BHEW and other divisions and units within the Academies embark on new projects aimed at improving the understanding and application of science, engineering and medicine toward the social, economic and cultural well-being of the nation and world, we believe it is critical to work with partners in the arts and humanities for their input and engagement.  While our focus is developing policy recommendations that improve science, engineering and health education and training in our nation’s colleges and universities, a broader goal is to enable all citizens to have enriching and meaningful careers and lives.  As such, we believe that more effective integration of educational experiences in all disciplines—particularly in the arts, humanities, sciences, engineering, and medicine—will benefit all of our nation’s citizens.

A December 2, 2015 workshop in Washington, DC, hosted by BHEW, funded by the Andrew W. Mellon Foundation, and attended by more than 110 scientists, engineers, artists, humanists, educators, policymakers and industry executives, was the initial step in this effort.  Mellon has

now agreed to provide generous funding to support this larger study, and additional funding is also being sought from other sources to support the 18-24 month project.



David J. Skorton (NAM), Committee Chair, is the 13th Secretary of the Smithsonian

Cathy N. Davidson is Distinguished Professor, Director of the Future Initiative, and Director of HASTAC@CUNY (Humanities, Arts, Science, and Technology Alliance Collaboratory of the City University of New York).

Lynn Pasquerella is President of Mount Holyoke College. A philosopher and ethicist whose career has combined teaching and scholarship with local and global engagement

Susan Albertine is Vice President of the Office of Diversity, Equity, and Student Success, at the Association of American Colleges & Universities.

Norman Augustine (NAS/NAE) is retired chairman and CEO of Lockheed Martin Corporation.

Laurie Baefsky is  Executive Director for ArtsEngine and the Alliance for the Arts in Research Universities (a2ru).

Paul Bevilaqua (NAE) is Retired Manager of Advanced Development Programs at Lockheed Martin Aeronautics Company. \

Kristin Boudreau is Professor and Department Head of Humanities and Arts at the Worcester Polytechnic Institute..



Norman Bradburn is a Senior Fellow at NORC at the University of Chicago fellow of the American Statistical Association, a fellow of the American Association for the Advancement of Science and an elected member of the International Institute of Statistics

Gail Burd is the Vice Provost for Academic Affairs of the University of Arizona.

Edward Derrick became director of the AAAS Center of Science, Policy & Society Programs (CSPSP) in July 2011 after serving as deputy director then acting director of the AAAS Science and Policy Programs.

Bonnie Thornton Dill is dean of the University of Maryland College of Arts and Humanities and professor of Women’s Studies.

  1. Thomas Ewing is History Professor and Associate Dean of Graduate Studies, Research, and Diversity at the College of Liberal Arts and Human Sciences of Virginia Tech.

  2. Benjamin Hurlbut is Assistant Professor of Biology and Society in the School of Life Sciences at Arizona State University

Pamela Jennings is the Director of the Center for Design Innovation at the University of North Carolina in Winston-Salem.


Youngmoo Kim is Director of the Expressive and Creative Interaction Technologies (ExCITe) Center and Associate Professor of Electrical and Computer Engineering at Drexel University.

Robert Martello is Professor of the History of Science and Technology at Olin College of Engineering.

Gunalan Nadarajan is Dean and Professor at the Penny W. Stamps School of Art and Design at the University of Michigan.

Suzanna Rose is the Senior Associate Dean for the Sciences and Professor of Psychology & Women’s Studies in the College of Arts & Sciences at FIU

Al Bunshaft is the Senior Vice President of Dassault Systèmes’ Americas Corporation where he spearheads key strategic initiatives and corporate leadership programs

Laura Vosejpka Dr. Laura J. Vosejpka is a Professor of Physical Science at Mid Michigan Community College in Harrison, Michigan

Lisa M. Wong is a musician, pediatrician, and past president of the Longwood Symphony Orchestra.

Tom Nelson Laird is Director of the Center for Postsecondary Research (CPR) as well as principal investigator for the Faculty Survey of Student Engagement (FSSE), a companion project to the National Survey of Student Engagement (NSSE)..

James (“Jim”) C. Spohrer is the Director of IBM Global University Programs and leads IBM’s Cognitive Systems Institute.

Open Call for Whats on the Mind of the Art Sci Tech Community


From ralph dum at the EC  STARTS initiative


an interesting solicitation for what’s on the mind of our community ! please spread around


Dear  Colleagues

In order to start the next phase of STARTS we would like to gather CONCRETE  ideas on how the arts can best contribute to innovation in technology, business and society.

We are interested in ideas where ( technology areas, topics, societal challenges ….) such contributions could be most promising  and opinions how these synergies can be best achieved operationally (how links between the Arts and technology can best be established)

Always keeping in mind that as a technology directorate our interest in  the Arts is a catalysts of innovation: We therefore need concrete ideas for projects  not generic ideas about art or links of art with technology.

We therefore have no opened a consultation webpage (see below for practical details how to use it) where we hope to receive your input over the summer.

Feel free to distribute this email in particular to organisations interested in this link of the arts and innovation.

I look forward to  an interesting process that could guide us towards a fundamentally different process for innovation in Europe.

Best Ralph

Practical info on open and public consultation:


–          Via and then clicking the STARTS consultation

–          Or by direct link on

Register: In order to contribute one needs to register, a painless process on


–          Contribute via comments in the above mentioned pages.

–          Upload documents in the ‘library’ at and then refer to those (via their web link) in the comments.

–          Alternatively, you can simply send us documents that you would like to contribute to the discussion. We would then upload them for you.

 Remark: As this is a public consultation you could send ideas to me only in case you do not want to make your contributions public.



Looking forward to Manizales, Colombia next June for ISEA 2017


A number of us are networking to develop ideas for the ISEA 2017 conference in Manizales, Columbia next June

The ISEA organisers have approved using the REDCATSUR list as part of the networking

REDCATSUR is a network of artists, scientists, engineers, theoreticians and institutions promoting communication and collaboration in art, science and technology around Latin America.


REDCATSUR es una red de artistas, científicos, ingenieros, teóricos e instituciones que promueven la comunicación y la colaboración sobre la convergencia entre arte, ciencia y tecnología en América Latina.

Un grupo de cólegas está trabajando para promover el uso de REDCATSUR como una vía que sirva para impulsar el diálogo y la discusión colectiva en torno a temas de común interés, en vistas del próximo International Symposium on Electronic Arts. ISEA2017 será llevado a cabo en Manizales, Colombia en junio del próximo año, dentro del marco del Festival Internacional de la Imagen que se realiza habitualmente en dicha ciudad. Cualquier propuesta concreta que pudiese ser remitida a los organizadores de ISEA2017, deberá pasar siempre por los procesos de evaluación que los mismos determinen.

Queremos invitarlos a impulsar el uso de REDCATSUR como un nodo que sirva para el intercambio y debate de ideas que pueda ayudar a que esta nueva edición de ISEA, la primera en América Latina, vaya un paso más allá, proponiendo modelos de colaboración que no se agoten en los encuentros puntuales durante el evento mismo. La mayoría de las actividades que se han estado considerando en tal sentido, como potenciales propuestas, van en la dirección de espacios de intercambio tales como paneles y, sobre todo, grupos de trabajo enfocados a temas específicos, por ejemplo: [a] colaboración transdisciplinaria, y [b] historia de las artes electrónicas en América Latina (para facilitar el intercambio y su seguimiento, sugerimos mantener siempre como ASUNTO/SUBJECT de los mensajes: “colaboración transdisciplinaria_ISEA2017” o “historia de las artes electrónicas en LA_ISEA2017” dependiendo del ámbito de interés, o simplemente “ISEA2017” cuando sus comentarios estén por fuera de esos dos grandes campos). Los mensajes pueden ser en español, portugués o inglés.

Esta es una invitación a los miembros de REDCATSUR a que utilicen la lista, y también a que inviten a personas que pudiesen estar interesadas a que se suscriban a la misma para participar de los intercambios propuestos. Para registrarse pueden ingresar a:

Un significativo número de artistas y académicos han estado participando y colaborando para que la comunidad de REDCATSUR crezca a través de los casi 10 años de su existencia.

REDCATSUR cuenta con el apoyo del Centro de Experimentación e Investigación en Artes Electrónicas (CEAIrtE) de la Universidad Nacional de Tres de Febrero en Argentina para su gestión, y con la colaboración del Leonardo Education and Art Forum de Leonardo/International Society for the Arts, Sciences and Technology.

Ricardo Dal Farra  –  Roger Malina


REDCATSUR is a network of artists, scientists, engineers, theoreticians and institutions promoting communication and collaboration in art, science and technology around Latin America.

A group of colleagues and friends is working to promote the use of REDCATSUR as one way to infuse dialogue and a collective discussion that could lead to propose activities for the International Symposium on Electronic Arts – ISEA2017, on certain topics. Whatever came out from this exchange will go anyway through the regular process of submissions to be considered by the ISEA2017 evaluators.

We would like to encourage you to use REDCATSUR as a hub for discussion and networking leading to a rich exchange that could help us to take this new edition of ISEA a step further, in benefit of the whole community. Most of the activities being considered as potential proposals have to do with spaces of exchange, such as panels and working groups on specific themes, as diverse as: transdisciplinary collaboration, and history of the media arts in Latin America [to facilitate the exchange process, we suggest you to always keep as a subject: “colaboración transdisciplinaria_ISEA2017” or “historia de las artes electrónicas en LA_ISEA2017” depending of your field of interest, or simply “ISEA2017″ when your comments fall out of those two areas]. Discussions can be held in Spanish, Portuguese or English.

ISEA2017 will be held in Manizales, Colombia in June of the next year, inside the frame of the International Image Festival. Feel welcome to use REDCATSUR yourselves, and also to invite colleagues to register:

A significant number of artists and academics have been participating and helping the REDCATSUR community to grow throughout almost ten years now. REDCATSUR is being supported by the Electronic Arts Experimentation and Research Centre (CEAIrtE) of the National University of Tres de Febrero, Argentina and is co-sponsored by the Leonardo Education and Art Forum of Leonardo/International Society for the Arts, Sciences and Technology.

Ricardo Dal Farra  –  Roger Malina

Note- for Leonardo Education and Art Forum Members we have a google group set up- contact me if you are interested