Jeffrey Shaw Golden Nica Ars Electronica Visionary Pioneer of Media Art


For those of you on your way to Ars Electronica here is a real celebration :

Jeffrey Shaw Golden Nica Ars Electronica Visionary Pioneers of Media Art

Jeffrey Shaw has been a leading figure in New Media Art since its earliest public-participation and expanded cinema paradigms in the late 60’s. His critically acclaimed art works have been exhibited at major museum and festivals throughout the world where he has pioneered and set benchmarks for the creative use of Interactive digital media technologies in the fields of expanded cinema, virtual and augmented reality, immersive visualization environments, navigable cinematic systems and interactive narrative.

Shaw’s numerous internationally exhibited and critically acclaimed artworks are milestones of technological and cultural innovation that have had seminal impact on the theory, design and application of digital media in art, society and industry. His artistic achievements are amongst the most cited in new media literature. They include Corpocinema (1969), Viewpoint (1975), the laser and slide shows for the GENESIS world tours in the mid 70’s, Legible City (1989), EVE (1993), PLACE‐Hampi (2006), T_Visionarium (2008) and Pure Land: Inside the Mogao Grottoes at Dunhuang (2012).

As the Founding Director of the ZKM Institute for Visual Media and the UNSW iCinema Research Centre, and as Dean of the CityU School of Creative Media, Shaw has had a profound impact on the practices of new media in contemporary art.

Jeffrey Shaw (Official Website)
Jeffrey Shaw (Extended Biography)
Jeffrey Shaw | 57 Works 2014-1966
Applied Laboratory Of Interactive Vizualisation and Embodiment (ALiVE)
The iCinema Centre for Interactive Cinema Research

Join us in Dallas this friday sept 4 !! jeremy vickers and the UT dallas entrepreneur Launch Pad


If you happen to be in Dallas I am delighted to invite you to:


ATEC WATERING HOLE – FRIDAY  Sept 4 with Jeremy Vickers, Executive Director, Institute for Innovation and Entrepreneurship, UTDallas



After an incredibly nourishing ATEC watering hole with Philip Beesley and Tim Perkis last week,

we are delighted to invite you to the ATEC Watering Hole this Friday Sept 4. The Watering Hole is an informal

meeting with visiting guests where we discuss what’s on the mind of our guests and ourselves !


Location: Edith O’Donnell Arts and Technology Building, ATC 3.209


Time: 2-4 PM Friday Aug 28.  Informal. Come and go as you please. This week we welcome


Jeremy Vickers, Executive Director, Institute for Innovation and Entrepreneurship, University of Texas at Dallas.

We will discuss how ATEC and IIE can synergise, and  in particular

The UT Dallas Launchpad Program is a 10-week, experiential program that pulls faculty, staff and students into an

environment to incubate ideas and engage prospective customers in preparation for the launch of a new business

concept. Launchpad is built off of a highly successful program created by Venturewell and implemented across

the country. The 10-week program will work hands on with up to 20 students, faculty and staff who are pursuing

the launch of a new business concept and will be offered twice annually on Friday mornings from 8 a.m. to 10 a.m. in the Fall and Spring.



If you are coming from off campus and need a parking permit- email me.



Roger F. Malina

In memory of a Cameron Hockenson – a new generation land artist passes away

My colleague Noah Brosch just brought to my attention the passing of artist Cameron Hockenson=

I had the pleasure and joy of touring southern france with Noah and Cameron touring some of

the neolithic sites as part of a workshop on art and archeoastronomy, while Noah was in residence

at IMERA and Cameron at Camargo Foundation.
Cameron was of a new generation of land artists- while at Camargo he built a neo -neolithic

structure; we discussed a  project we never realised to build neo-neolithing stone circles and other

alignment structure – but whose alignements were not visible to human beings but only to orbiting

telescopes in space ( eg X ray, UV, Infra Red stars and galaxies whose light is blocked by the earth’s atmosphere”

We will never be able to realise this project together


here is the link to the structure he build in Provence in the same area where neolithic structures,

tombs and stone circles can be found

he states

One of three site-specific interventions completed as a Fellow at the Camargo Foundation. Pieces were created within the limestone quarries in the Calanques of southern France, addressing neolithic, ancient, and modern relationships to the Mediterranean landscape.

The Calanques, while often ‘wild’ in appearance have long been a place humans called home. Provence is a landscape of Neolithic standing stone circles, burial sites, Ligurian ‘bories,’ Roman and nineteenth century quarries. Part of this unique region became Parc Nationale des Calanques in 2011. The closeness of human and non-human nature is deeply, and uniquely felt in the terrain here.

There is a memorial on facebook:


Born in the United States, Cameron Hockenson has lived between the USA and Europe for over a decade. Initially studying architecture, he was influenced by the theories of Christopher Alexander, and critiques of design by Bernard Rudofsky, as well as the poignancy of landscape memorialists like Maya Lin. His sculpture adapted the material sensibilities of British land artists, evolving to embrace diverse human and non-human vernaculars in the environments where he works. Through materials, context, and interpretive walks, Hockenson’s site-specific practice engages issues of biocultural diversity as a unique approach to the question of place.

Cameron Hockenson has shown domestically and internationally at the San Francisco Arts Commission Gallery (San Francisco, CA, USA); The Luggage Store Gallery (San Francisco CA, USA); Sculpture on the Grounds at Montalvo Arts Center (Saratoga, CA, USA); Headlands Center for the Arts, (Sausalito, CA, USA); Marin Museum of Modern Art (Marin, CA, USA); I-Park Foundation, (Connecticut, USA); Artist’s Open Atelier, Kamiyama Artist in Residence Program (Kamiyama, Shikoku, Japan); The Camargo Foundation (Cassis, Provence, France); Fundacion Valparaiso, (Mojacar, Spain), The 5X5 Project for the D.C. Commission on the Arts and Humanities, and is included in international collections like Arte Sella / Incontri Internazionali Arte Natura, (Borgo Valsugana, Italy).

Roger Malina

Frank Malina and Soil Erosion !!


to follow up on the post on my father’s FBI problems- i thought i would mention that the very same

time of his suspect activities this is what he was working on as well as rockets ! This was work that

followed the disastrous dust bowl period in the USA and its devastation of agriculture- my father

as an expert in aeronautics studied how to stablise soil
Roger Malina


Recent developments in the dynamics of wind-erosion

Malina, F. J. (1941), Recent developments in the dynamics of wind-erosion, Eos Trans. AGU, 22(2), 262287, doi:10.1029/TR022i002p00262.


Those particles of the Earth’s land-surface that are in contact with the atmosphere are at the mercy of two powerful natural forces, resulting from water- and air-flow. The story a single soil-grain could tell of its travels would surpass that of Marco Polo. It is unfortunate that one cannot “get the story” and thus answer many questions that are in the minds of those who wish to explain and control its behavior.

The transport of granular material by fluids has been a subject of intense interest, especially in connection with flowing water. A great number of investigations have been made, both in the laboratory and in streams, on the effects of water-erosion and the underlying mechanisms of the movement of debris. As a result, at least for some phases of the process, explanations and empirical rules have been developed.

Frank J. Malina
Those particles of the Earths land-surface that are in contact with the atmosphere are at
the mercy of two powerful natural forces, resulting from water and air-flow. The story a
single soil-grain could tell of its travels would surpass that of Marco Polo. It Is unfortunate
that one cannot “get the story and thus answer many questions that are in the minds of those
who wish to explain and control its behavior.
The transport of granular material by fluids has been a subject of Intense interest, es
pecially In connection with flowing water, A great number of investigations have been made,
both In the laboratory and in streams, on the effects of water-erosion and the underlying mechan
isms of the movement of debris. As a result, at least for some phases of the process, explana
tions and empirical rules have been developed
When one turns to the problem of the transport of soil by wind, a much less satisfactory
situation is found. Within the last decade, a. pressing need has arisen In the United States far
an understanding of the fundamental principles of wind-erosion due to the severe movement of
soil in the Great Plains region. The phenomenon of the “dust-storm
has,become familiar, eveIn the City of Uasnington–2,000 miles distant from the region in which the particles were car
ried aloft. To the soil conservationist fell the responsibility for developing methods of checking this
destruction of vast areas of valuable land. The necessity of doing something quickly to allevi
ate a suddenly critical situation brought about an almost “panicky search for a solution.
The most obvious way of evaluating proposed control-methods lay In trying them in the
field. A large number of such investigations have been conducted, to determine the defectiveness
of various land-use methods and the effectiveness of corrective measures. Experiments of this
type are of primary importance; however, they are handicapped by dependence on the whim of the
weather, the often objectionable length of time needed to obtain data, and in many instances the
prohibitively large cost. The fact that a control-method recommended in one region may not suc
ceed in another further restricts the value of the field-studies.
To these difficulties must be added the Inherent complexity of the problem. In Table 1
some of the variables that play a greater or lesser part and some of the surface-effects that
result are listed.
The number of situations that can be set up by making combinations of the variables listed
in Table 1 is seen to be very large. The_ following problems are of basic importance and are,
therefore, the ones upon which research has been concentrated:
(a) The mechanism of lifting the soil from surfaces and the mechanism of transportation and
deposition of particles
(b) The dependence of the amount of soil blown on the velocity and turbulent structure of
(c) The effect of the soil-surface and suspended soli on the velocity-distribution and
structure of wind
(d) The distribution of transported soil-particles above the surface
(e) The effectiveness of obstacles of different kinds In preventing soil-blowing
(f) The mechanism underlying the formation of dunes and drifts, and methods of reclaiming
such areas

Philip Beesley and Tim Perkis visiting fauna at Dallas Watering Hole !

ATEC WATERING HOLE FRIDAY AUG 28:  Philip Beesley and Tim Perkis
visiting fauna !

We are delighted to announce the first ATEC Watering Hole

of the Semester. The Watering Hole is an informal meeting

with visiting guests where we discuss what’s on the mind of

our guests and ourselves !

Location: Edith O Donell ATEC building  ATC 3.209, University of Texas at Dallas

Time: 2-4 PM Friday Aug 28. Informal. Come and go as you please.

Philip Beesley, with moderator Charissa Terannova, EODIAH

Philip Beesley is a professor in the School of Architecture at the
University of Waterloo. A practitioner
of architecture and digital media art, he was educated in visual art
at Queen’s University, in technology
at Humber College, and in architecture at the University of Toronto.
At Waterloo he serves as Director
for the Integrated Group for Visualization, Design and Manufacturing,
and as Director for Riverside
Architectural Press. He is giving a UTD EODIAH Ad Astra Colloquium at
the Nasher Sat 29 2pm.

Tim Perkis, with moderator Scot Gresham Lancaster, ATEC

Tim Perkis has been working in the medium of live electronic and
computer sound for many years,
performing, exhibiting installation works and recording in North
America,Europe and Japan.
His work has largely been concerned with exploring the emergence of
life-like properties in
complex systems of interaction. He is currently collaborating with UTD
faculty Gagan Wig(BBS),
Scot Gresham Lancaster(ATEC), Roger Malina and others on the brain
data stethoscope project.

If you are coming from off campus and need a parking permit- email me

Roger F Malina

History is Cruel: Remembering Frank Malina and the art and technology pioneers


Historian of Science and Technology Patrick McCray is working on  a major project researching

the collaborations between artists and engineers- and as part of this he will be researching the Frank Malina

archives.  ( hear him also on NPR discussing the LACMA art and technology history

further discussion on his blog :

On the Frank Malina channel on creative disturbance we have begun recording oral histories of

people who knew and worked with Frank Malina: 

If you knew or worked with frank malina, we would be delighted to record a podcast for publication with you.

Contact me.

We are entering an important period for documenting our history. The pioneers in art and technology from

the 1950s. 60s, 70s are leaving us one by one. With the Leonardo Memoirs of Pioneers Project

We have started a number of initiatives to capture  the memories of pioneers. History is cruel

and the historians often have incomplete records or biased ones ( emphasis by large organisation

with verted interests in  certain histories- that was one my my father’s complaints about the history of

astronautics where he was also a pioneer).


We are now publishing memoirs. podcasts and

archiving documentation on the Leonardo OLATS pioneer and pioneer website :

podcasts on – hear the voices of the pioneers


If you are a pioneer with important work before the mid 1980s we welcome your contributions


Here is the beginning of Patrick McCray’s blog= the interview with him on NPR is at 
Roger Malina




Shifting Gears and Changing Rooms


(Bloggy Note: I recently appeared on the radio show Science Friday. Host Ira Flatow and I spoke about the history of another collaborative artist/engineer effort. This was the Art and Technology Program that the Los Angeles County Museum of Art ran from 1966-1971. After a 50 year hiatus, LACMA has recently rebooted the program. Although very different from the original incarnation, the new program brings artists, engineers, and corporate sponsorship together to jumpstart aesthetic experimentation. This seemed like a good coming out party for a new research project I’m starting…)

Over the past few years, I’ve become increasingly interested in collaborations between artists, engineers, and scientists from the 1960s onward. Regular readers of this blog will have noticed the recent posts about laser art in its various formsDNA origami, and so forth.

I’m planning on exploring the art-technology/artist-engineer nexus further for a new book project. It’s exciting as well as challenging/intimidating. There’s a huge amount of art history to get a handle on. But I think that every so often, it’s good to take one’s research in a brand new direction…and my timing is good. Starting in a few weeks, I have the good fortune to hold the Charles Lindbergh Chair at the Smithsonian’s National Air and Space Museum. This will give me a good opportunity to jump start this project.

Screen Shot 2015-08-19 at 10.16.03 AM

While serving as the Lindbergh Chair, I want to examine the “art and technology movement” by focusing on the experiences and activities of engineers and scientists. One of the main topics I’ll be researching while in DC are the activities of the American rocket engineer turned artist Frank J. Malina.

read the rest at:




art science technology creativity innovation entrepreneurs jobs going viral= tell us whats on your mind !

For those of you in the creative community ( since the second world war !!) whose work bridges the arts, sciences and technology – we are living in interesting times ! our passions have gone viral- over the last five years the concept of STEM TO STEAM initially advocated by John Maeda now has large participation and new funding programs are appearing and new rationales linkind art/sci /.tech to creativity/innovation/entrepreneurs/jobs has spread

  • We   note the emergence of new actors and stakeholders and their initiatives, including the NAKFI Futures Conference  in November 2015 convening communities from the US National Academy of Science, the National Academy of Engineering, and the National Institute of Medecine.
  • In 2015 the European Commission issued its ICT-Arts CONNECT report, launching the STARTS program for funding work in Science, Technology, and the Arts as part of the Europe 2020 program.
  • Also in 2015, the Alliance for the Arts in Research Universities (a2ru) will hold a conference on the “Third Space”, addressing transdisciplinary exemplars that integrate arts and/or design practices with work and research across other disciplines.
  • The Innovation Collaborative has been arranging collaborations between professional educator organizations, including the National Science Teachers Association, the National Art Education Association, and the Association of Science and Technology Centers

As you know, last year we issues through a Leonardo MIT Press ebook (  ) on Steps to an Ecology of Networked Knowledge and Innovation: Enabling New Forms of Collaboration among Sciences, Engineering, Arts, and Design. 

We are now issuing a call to the community of practice to submit their ideas for a ‘snap shot’ update of this study – what topics/issues/problems/new areas have increased in importance over the past five years ? We are organing a working group meeting of ‘stakeholders’ in Washington DC ( as well as organising a panel at the College Art Association ( we is Carol Lafayette, Carol Strokehecker, Robert Thill and I)- the workshop and CAA are in washington DC the week of February 6 2016.


We are compiling all the submissions to the stakeholders at the working group meeting ( see preliminary list below)- WE WELCOME

Send me an email or to one of the participants in the working group if you know them ( see list below)- 500 words or less with a few links

You will see some of the ideas we have received so far at

in the comments section such as: art science and agriculture, art and international relations, and many other ideas that contest the over instrumentalisation of art-sci-tech practice ( against ‘functional art”)

we welcome your thoughts

Roger Malina

on behalf of sead working group organising comm_ carol lafayette, carol strohecker, robert thill and I


here is the list of experts who will be discussing the snap shot update:

Confirmed Participants: ( others have been invited and I will update this list with confirmed invitees)

feel free to contact them with your inputs
Carol Strohecker, SEAD network and RISD
Roger Malina, SEAD network and UT Dallas
Robert Thill, SEAD network and The Cooper Union

Carol LaFayette, SEAD network and Texas A&M
Benjamin Knapp, XSEAD and Virginia Tech

Laurie Baefsky, a2ru
Nettrice Gaskins, STEAM Boston Art Academy

Margaret Honey, New York Hall of Science

Brian K. Smith, Drexel

Lucinda Presley, ICEE

Alphonse DeSena, NSF

Kathy R. Levin, NAEA

Gunalan Nadarajan, UMich

Luis-Miguel Girão, Artshare and EC STARTS program

JD Talasek, NAS

Bill O’Brien, NEA


other attendees pending confirmation

Intellectual Dating Service Alert: 15,000 podcasts downloaded by interesting people on Creative Disturbance


Our Creative Disturbance  ( professional podcasts for the art science technology community of practice) is doing great guns ( hmm metaphor ?) 15,000 podcasts have now been downloaded by interesting people

We are now featuring some of the best podcasts as curated by the 25 producers of the channels (which we call Disturbances)

If you are ever interesting in contacting one of the people in our podcasts

contact me ( and we will be happy to put you in touch

roger malina



Please enjoy this selection of our most popular podcasts to date!



Mayye Zayed, an Independent Woman Filmmaker Maker in Alexandria

An encounter with an independent filmmaker, editor and film producer in Alexandria, Egypt.

Originally Published: June 26, 2015



Negotiating the Term Intersex 

In this podcast, Poe Johnson interviews Dr. Teri Merrick on how the scientific community’s move away from the Intersex label, largely free of any consultatoin from any Intersex people, has had larger implications on the people who occupy that identity.

Originally Published: June 20, 2015



10: Analog Synth Master Doug Lynner [ENG]

My guest is analog synthesizer master Doug Lynner, who has performed evolving live compositions on the Serge Modular Synthesizer for over 40 years, as well as editing the classic electronic music magazine Synapse.

Originally Published: August 13, 2015



Cellphonia: A Historical Perspective

Steve Bull and channel producer Scot Gresham-Lancaster meet online to look back over the early days of putting the cellphonia project together. This is just the first of several interviews that will cover the background of the technical and aesthetic challenges that make up this new audio art form, the cellphone opera.

Originally Published: March 19, 2015



“Performing with Jellyfishes”, Meeting with Robertina Šebjanič

In this podcast, slovene artist Robertina Šebjanič discusses her work with jellyfishes and more precisely the sound performance “Aurelia 1 + Hz / proto viva sonification”. Issues of immortality, ecology and our relation to living creatures are discussed.

“Performing with Jellyfishes”, rencontre avec Robertina Šebjanič, 16’53
Enregistré par Annick Bureaud, le 6 février 2015 à Paris, jingles et habillage sonore Jean-Yves Leloup, musique extraits de la performance de Robertina Šebjanič avec les méduses “Aurelia 1 + Hz / proto viva sonification”.

“Performing with Jellyfishes”, meeting with Robertina Šebjanič, 16’53
Recorded by Annick Bureaud, February 6th 2015 in Paris, jingles and sound design Jean-Yves Leloup, music from the performance “Aurelia 1 + Hz / proto viva sonification” of Robertina Šebjanič with the jellyfishes.

Originally Published: April 30, 2015



The Johannesburg Rocket Factory

Artist-Activist Marcus Neustetter and Astronomer-Editor Roger Malina discuss the Rocket Factory project in Johannesburg; the ancient factory is being converted into residential units. Neustetter convinced the developer to creatively transform the project to create a unique residential space that is also connected to the imaginary of the place and its nearby residents.

Originally Published: April 22, 2015



Modern Art’s Unsung Pioneer: Gadney on Malina, Part 1

Fabrice Lapelletrie speaks with artist and writer Reg Gadney about his introduction to engineer/artist Frank Malina, his relationships with Malina and famed Hungarian artist Nicolas Schöffer, and his opinions on artistic criticism.

Originally Published: February 5, 2015




Cancer: Finding Beauty in the Beast

Caroline Ometz and UT Southwestern PhD student Dhru Deb discuss their scientific/artistic collaboration in exploring cancer, using wabi-sabi and chaos theory to draw connections between the arts and science. The goals of their project are five-fold: gallery installation, publication, creation of a community of cancer sci-artists, education of the public through dialogue about cancer, and the production of new insights in research. Utilizing a process that combines the informational, the emotional and the creative, Ometz and Deb seek to see cancer in a new way.

Originally Published: November 17, 2014



Why Big Dreamers Need to Know About Big Data

Meet your “Big Dreams? Big Data!” co-hosts and learn what ‘big data’ means to them – and, more importantly, why it matters to you!

vTapestry is a partnership between Christine Maxwell and Rebekah Nix dedicated to creating and delivering high-quality development tools and resources to support professionals in meeting the diverse challenges presented by a global community. vTapestry’s combined expertise and experience in technology, education and publishing lend a unique capacity for realizing the potential of innovative ideas that lead to real-world solutions.

Originally Published: November 17, 2014



Platform for the Indie Platformer

Kyle Kondas sits down with former Gearbox Software developer J. Kyle Pittman to discuss the latter’s venture into the world of indie game development. The two specifically address the release of Pittman’s new game, “Super Win the Game”, the sequel to one of 2012’s most well-received indie game releases, “You Have to Win the Game”.

Originally Published: November 19, 2014



Gréaud, L’irrésolu

Dans un article annonçant la venue de “The Unplayed Notes Museum” au Dallas Contemporary, Frank Dufour préfigurait ce qu’il faut bien aujourd’hui convenir d’appeler “l’effet Gréaud” (article publié dans la revue Patron). Dans ce podcast, l’artiste nous entretient sur le concept d’irrésolution qui nourrit sa démarche et ses futurs projets.

Originally Published: March 25, 2015



Emergence in Generative Algorithmic Art

Charissa Terranova and Frieder Nake converse about algorithmic aesthetics, generative form, and emergence.

Originally Published: October 21, 2014



Présentation de la plateforme RAMI au Liban

Claudine Dussolier, Abdo Nawar et Ricardo Mbarkho nous parlent de leur prochain livre et de la plateforme RAMI (Rencontres Arts et Multimédia Internationales) qui développe depuis une dizaine d’années des projets d’échanges internationaux en Afrique du nord et dans le bassin méditerranéen.

Originally Published: October 16, 2014



Pauline Oliveros – Some Thoughts on Sonification

Pauline Oliveros and host Scot Gresham-Lancaster have collaborated on many projects over the years and in this podcast they talk over some of that work with a focus on the pieces at the Art/Science boundary. The Deep Listening Art/Science Conference comes up as well as the interesting “moon bounce” pieces, “Echoes from the Moon”

Originally Published: March 8, 2015



A Design Approach to Disaster Risk Reduction

Volcanologist Saskia Van Manen discusses a solution-based, design approach to working with communities to mitigate disasters associated with natural hazards.

Originally Published: June 1, 2014



We need Smart Citizens not Smart Cities [ENG]

Stephen Kovats describes citizen data and journalism initiatives that engage social and political processes such as in South Sudan, a project in Tanzania with farming groups, but also discusses new collaborative and participative science projects. Roger Malina discusses his open observatory manifesto. Kovats argues that we need to focus on emabling smart citizen initiatives rather than focusing on the top down smart city design processes.

Originally Published: July 7, 2015



Parallels and Contrasts Between Artificial Life and Computer Art

Although they both involve generative algorithms, randomness and computational processes (among other principles), the art of artificial life is not considered a part of the computer art forms as described by pioneering computer artist Frieder Nake. Yvan Tina sits down with Nake to briefly discuss some of the intertwining issues between the two fields.

Originally Published: December 3, 2014



Simply Successful Crowdfunding

Crowdfunding expert David Marlett and new media/crowdfunding attorney Michael Melfi talk about the current world of crowdfunding, with a particular look at equity crowdfunding and the new portal FUNDERBUILT.

Originally Published: August 1, 2014



Putting the User Back in User Experience

Cassini Nazir and Jeremy Johnson discuss recent topics in user experience design and themes around Johnson’s talk, “Putting the User Back in User Experience”.

Slides of Jeremy’s talk can be found online at

Originally Published: November 21, 2014




Here Come Immersive Movies

Author and filmmaker David Marlett meets with immersive media artist and researcher Michael Naimark to discuss the emergence of immersive cinema, its expected challenges, and new storytelling opportunities.

Originally Published: July 30, 2014


Women Makers power the STEM to STEAM movement


we had a great collection of podcasts on Creative Disturbance this week

On the Within the Margins channel

Poe Johnson and Stephanie Vasko discuss the intertwining histories of the Maker Movement and the Craft Movement, and how each relates to women within STEAM fields.


Dr. Stephanie Vasko is a Senior Research Assistant at the Rock Ethics Institute. She received her Ph.D. in Chemistry and Nanotechnology in 2012 from the University of Washington. Her research focuses on the relationship between crafting, making, and the arts. 

For another example of woman steam power see the work of Nettrice Gaskins

Her model for ‘techno-vernacular creativity’ is an area of practice that investigates the characteristics of this production and its application in STEAM (Science, Technology, Engineering, Art and Mathematics).

On the Noisy People channel Tim Perkis talks to Art and Technology pioneer Doug Lynner

He is analog synthesizer master Doug Lynner, who has performed evolving live compositions on the Serge Modular Synthesizer for over 40 years, as well as editing the classic electronic music magazine Synapse.

If you are interested in publishing a podcast on Creative Disturbance please contact me !

Roger Malina

Redefining the Humanities after the end of the Digital Humanities: Computing is no more about computers than astronomy is about telescopes.


Media art pioneer Payson Stevens sends us this comment from Village Ghiyagi Indian Western Himalayas, Kullu Valley, Himachel Pradesh ! yes indeed our interconnected culture- among the point he makes  he refers Pierre Teilhard de Chardin’s “Noosphere” and Marshall McLuhan’s “Global Village” as key conceptual framing ideas that are now injected into the Humanities and our concept of what it means to be human.

In his article that I referred to by Peter Denning ( ) he notes:

“All this leads us to the modern catchphrase: “Computing is the study of information processes, natural and artificial.” The computer is a tool in these studies but is not the object of study. As Dijkstra once said, “Computing is no more about computers than astronomy is about telescopes.”

The term computational thinking has become popular to refer to the mode of thought that accompanies design and discovery done with computation. This term was originally called algorithmic thinking in the 1960s by Newell, Perlis and Simon, and was widely used in the 1980s as part of the rationale for computational science. To think computationally is to interpret a problem as an information process and then seek to discover an algorithmic solution.”

His quote : Computing is no more about computers than astronomy is about telescopes. of course resonates with me !\
Any way here is Payson Steven’s comment from the Himalayas:

Yes again to the end of the Digital Humanities ! Please !:

I read with keen interest Roger’s thoughts on branding existing disciplines with “digital” (d-astronomy, d-media, d-art, etc.). Terminology and classification are essential aspects of defining the world’s complexity and as Roger points out, many digital designates may not survive. “Digital Humanities” is probably an interim/historical phrase, especially applying it to something as broadly classified as “the humanities” (with all its sub-classifications). Yet “digital” is a useful subset descriptor/adjective, especially as technologies evolve. It can help to define specific time periods/trends/schools, the way cubist or impressionist does for art. There is a distinct difference in digital art that employs contemporary technologies (e.g. 3-D printing, Photoshop scan collages printed on different materials) versus a fine art painting using canvas, hand-held brush technique, and oils.


A larger aspect of discipline branding is how terms like humanism are applied and integrated into a larger philosophical view. As Pierre Teilhard de Chardin’s “Noosphere” and Marshall McLuhan’s “Global Village” evolve, our interconnectedness is, in part, mediated/controlled by varying political systems and international corporate agendas. These can have less to do with humanistic values that offer a critique to these same systems, which care less about its ethics. The broader/more important question is how language, expressions, and meaning are transformed and often co-opted. This is especially true in our global market where continued consumption and “growth” are a key attributes of  “the good life,” in contradiction to more sustainable ecologies of our planet, behaviors, and mind—that are all desperately needed.

The word humanitas and associated concepts (e.g., “liberal feelings towards men without distinction”) goes back at least two millennia and even further when considering Eastern spiritual philosophies (e.g. Rig Veda, Buddhism). Humanism’s more modern definition: “…an ethical philosophy centered on humankind, without attention to the transcendent or supernatural….” (, evolved out of the Enlightenment and social upheavals of the 18th and 19th centuries (French Revolution, Paris Commune, Marxism, labor movement, etc.).


Between the mid-20th century and now, some critical paradigmatic word-terms have become more mutable: technology substitutes for science, love is replaced by sexuality, and culture supplants art. As words and concepts are appropriated and branded, their distinct and deeper meanings become lost. Worse, they are easily manipulated in the constant roar of social media humming away, with constant repetition (and slick branding) capable of morphing meaning almost anything (e.g. truthiness!).  For the humanist (a skeptic who feels society’s foundations are based on ethics and scientific objectivity), staying aware of how terminology evolves, with all its varying meanings, requires vigilance. Well-articulated critiques to powers that would discredit it are an essential part of humanist philosophy’s role in discovering truths that are indispensible for society to evolve with moral equality and individual autonomy.


The digital technology we’re creating is a transformative chapter in human history—a binary Rosetta Stone—that connects us in an ever-evolving inner and outer cyberspace. We’re creating/preserving/retrieving in multiple languages and formats—text/images/sounds—all with phenomenal value/opportunity offering well-described, conflicting potentials: connectivity and greater freedoms or personal intrusions and diminishing control.


As someone who has been involved with art, science, media, and technology for over 45 years, and helped pioneer the New Media in the 1980s-90s, I have recently been experimenting with creating “digital humanist” (sic) messages. These VideoTonePoems are auteur mash-ups of my video, music, and poetry reflecting on nature, the human condition (in the Age of the Anthropocene), and spirit. I offer them as contemplative moments, using digital technologies, to consider where we are. Here are two examples:


Web 2.0

Entropic Void:


More to consider at:


Payson R. Stevens

Village Ghiyagi Indian Western Himalayas,

Kullu Valley, Himachel Pradesh