Want to inject your ideas into roger malina’s fall 2015 seminar on art-science-humanities today ?

colleagues

I am developing a new hot topic based course this fall at utdallas- this is connected to the snapshot update we are working on for the NSF funded SEAD study:  Steps to an Ecology of Networked Knowledge and Innovation: Enabling New Forms of Collaboration among Sciences, Engineering, Arts, and Design 

http://www.mitpressjournals.org/page/NSF_SEAD

If you have a hot topic/emerging trend/concern about a gap in the art/sci/tech ecology- and would be willing to inject your ideas ( we can record podcasts or have skype interventions or take short texts and URLs). The seminar will have an interesting mixture of MA, MFA and PHD students whose work requires cross connecting arts/design/humanities and science/engineering in new ways

 

please drop me an email at rmalina@alum.mit.edu if you wish to enroll in the seminar ( and are a UTD student) or would like to inject your ideas.
Roger Malina

 

 

ATEC 6380 with Professor Roger F Malina – Fall 2015. Monday Evening Seminar

Studies in Art, Science, and Humanities

Prof Malina is an astrophysicist, art science researcher and Editor of the Leonardo Publications at MIT Press; he is heavily engaged in developing new forms of collaboration between the arts/design/humanities with the sciences and engineering. This research and practice seminar is open to UTD PhD, MA and MFA students and will seek to help the students develop and focus their research and creative arts projects. Contact rmalina@alum.mit.edu to enroll.
We will study new hot topics in arts, sciences and humanities including:

 

The ethics of curiosity. Readings from the work of Indian philosopher of science Sundar Sarukkai. Foundations of inter and transdisciplinary research.

 

The science of collaboration. Readings around the methodologies used to develop successful collaboration; based on the NSF funded study led by Prof Malina,.

 

Contemporary initiatives in cognitive sciences and neurobiology that can inform research and creative practices. Guest lecturers will include Prof Gagan Wig from UTD BBS school.

 

Innovations in scholarly and art publishing and education. How researchers and artists document their work and present to different audiences today.

 

Research in arts and design. We will look at how international programs are developing research methodologies in arts and design and emerging best practices.

 

Citizen science, collaborative science and open science developments today.
Art and International Relations

Art /Science and Agriculture

 

 

 

DAN SANDIN What was the art and technology pioneer doing forty years ago ?

Colleagues

In  a new podcast on Creative Disturbance art and technology pioneer DAN SANDIN tells us what he was doing

forty years ago to contrinbute to the analog/digital and video revolutions forty years ago

 

http://creativedisturbance.org/podcast/pioneer-dan-sandin-40-year-look-back-at-the-analog-to-digital-and-video-revolutions-eng/

Art and Technology Pioneer Dan Sandin discusses with Roger Malina a 4O year look back at the analog to digital transition, and what it facilitated and what it made more difficult, he goes on to discuss how digital performance is re investing the analog today. Sandin also discusses living through the social appropriation of video technologies in the 70s and 80s and compares it to the internet transition in the 90s.

http://creativedisturbance.org/podcast/pioneer-dan-sandin-40-year-look-back-at-the-analog-to-digital-and-video-revolutions-eng/ 

Roger Malina

Art and Science of Climate Change: Call for Podcasts for COP 21 week in Paris

Friends and Colleagues
As you will know Nov 30- Dec 11 is the UN Framework Convention
on Climate Change in Paris, the next phase of the Kyoto, Warsaw and
Lima agreements.
We hope the nations of the world will take strong steps in
mitigating climate change. We would like to help build bring attention
to COP 21 through a series of podcasts  on Creative Disturbance
on the Art and Science of Climate Change from Nov 20- dec 10
as part of our Art and Earth Science Channel produced by
geoscientist Susan Erickson
and we are issuing this call for podcasts- please contact us
if you would like to publish a podcast or would like to nominate
a colleague that we should record one with- drop us an email
at  rmalina@alum.mit.edu
Podcasts should be under 15 minutesa and take the form of
a discussion between two people.

Roger Malina

Mexican Artists getting ready to launch Satellites into orbit

Colleagues
A collective of Mexican artists, the Mexican Space Collective, is getting ready to launch a series art satellites into earth orbit
http://www.ulises1.mx/english/Ulises_English/Welcome.html
they have just sent this announcement about a documentary
Roger
Invitation to the premiere of TV documentary Ulises I
Today the Mexican Space Collective is involved in several missions of art into space interplanetary broadcasts, training, mission design, 2 satellite completed certifications for launch, orbital and suborbital projects, collaborating with various universities and institutions in big projects scale. More than 75 people working, 6 institutions, 4 satellite missions, one to launch certification, among many other achievements.
We are very proud to be Chapter 5 of a series of 13 programs on the history of space in Mexico.
Will air next week.
Invitation to the premiere of the TV documentary, Ulises I
The Mexican Space Collective in art Involved in several missions to space, interstellar transmissions, space training, mission design, 2 satellites finished 1 certification for space launching, other orbital and suborbital projects, In collaboration with universities and institutions in major ventures. Over 75 Collaborators, 6 Institutions, 4 satellite missions Among many other ongoing projects.
We are very proud to Have Been Chosen as the 5th chapter of a 13 chapter series about the history of space in Mexico.
Here is a teaser

Remembering the late Georges Dyens, pioneering art and technology holographer

Friends 

A giant pioneer of our community, Georges Dyens, just passed away- known particularly for his innovative

work with holography he developed a number of intense interactive and digital works since the late 60s


Roger Malina 

 

Georges Dyens (18 March 1932 – 23 July 2015)

 

http://www.georgesdyens.com/en/

 

It is with terrible sadness that we must announce the passing of  Georges Dyens. He will be deeply missed. Below is a link to an open invitation to join us at Shiva to celebrate the life of a great man.

C’est avec beaucoup de tristesse que je vous annonce le décès de Georges Dyens. Sa douce présence nous manquera terriblement. Ci-dessous, vous trouvez le lien pour une invitation à nous joindre au Shiva pour célébrer la vie d’un grand homme.

http://www.paperman.com/en/funerals/2015-7-27-Maurice-georges-Dyens

Sincerely,

Sincèrement,

Florence Dyens

Georges Dyens, artist of French and Canadian citizenship, was a graduate of the Ecole nationale supérieure des Beaux-Arts de Paris (Université de la Sorbonne) and the New York Holographic Laboratories.

Winner of the prestigious Prix de Rome in sculpture, of the Prix de la Biennale de Paris and of the German Critics Prize, he made major contributions to the art scene of Europe in the late 60s. He has represented France in numerous International exhibitions such as the Biennale of New Delhi, l’Exposition internationale de sculpture contemporaine Musée Rodin, Paris, the Symposium of European sculptors, Berlin, and the international Biennale di Roma e del Lazio, in Italy.

He was named full Professor of Sculpture at The Université du Québec à Montréal, UQAM in1969, a position he still holds today.

From 1971 to 1981 he also was Chief Curator at the Saydie Bronfman Center in Montreal were he organized numerous international contemporary art exhibitions such as New York Avant-Garde and the Quebec Biennale of Art .

As early as 1980 he was attracted to the ethereal light of holography (a three-dimensional image produced with laser; the only image made of light). In 1981, he created a first ‘holosculpture‘, (an immersive multimedia installation surrounding the spectator) integrating music, light, holography, and sculpture, which, by means of a computer program, produced time-determined effects.

Considered a researcher and a pioneer in holography and in the media arts field he received numerous grants from the Canada Council, the Ministère de la Culture du Québec (CALQ), l’Université du Québec à Montréal, the Rockefeller Foundation (New York), the David Bermant Foundation (New York), the Laflamme-Hoffman Foundation (New York), The Museum of Holography (New York), .Hexagram (Montreal), the Danish Government, and l’Institut de l’Académie de France à Rome.

In 1984, he was named Artist in Residence at the Museum of Holography in New York, where he continued his research into holographic integration.

In 1987, 1990 and 1992, he was selected to show his work at Images du Futur, a major international art and technology exhibition organized yearly in Montréal.

In the fall of 1988 he opened the season in New York. He held two solo exhibitions in New York City, at the Museum of Holography and at the Alternative Museum.

In 1990 he was invited to exhibit Big Bang II, one of his major work in Europe, first in Munich and then at the Centre National d’Art et Technologie of France. That same year he exhibited a series of holosculptures, in Hanover, Germany.

Since 1987, he has created many Public Art works integrating monumental holographic works throughout Canada and represented Canada in numerous group exhibitions.

In 1990 he was selected to become the Director of the Art Holography section at the GRAM, (media arts research group). The MIT Press has published an encyclopedia of holographic terms and a. hypermedia resource on holography.

Since 1992, his name appeared in Who’s who in the East, (new York) Who’s Who in American Art, (New York) Who’s Who in international Art, (Lausanne) Intercommunication Center Data Base (Tokyo). The same year, he was named Member of the Académie européenne des sciences, des arts et des letters based in Paris.

In 1994, He was awarded the Shearwater Foundation Award 1994 (USA) for the excellence of his holographic production. The same year, he was invited by the Mississippi Museum of Art to represent Canada in a touring exhibit. This show toured 13 American State museums.

In 1995 he held a solo exhibition at the International Art+Com Gallery in Paris and has been invited to show his work at ISEA’ 95 (International Symposium of Electronic Art).

That same year The Musée du Québec has presented a One Man Show of his work to the Canadian public.

The UNESCO, in Paris, showed his work in an exhibition called Science in the Arts in 1997.

In the year 2000, he was invited to represent Canada and to exhibit his work at LUMIA, the International Exhibition on light held at the Museum of Copenhagen, Danemark.

In 2002, Dyens produced the world’s unique International Encyclopedia on HolographIc Art on CD Rom (Holography, the Real Virtual 3D Images), thanks to two grants from the Shearwater Foundation (USA). This CD Rom includes the works of more than one hundred artists.

The same year, Dyens was selected as one of 50 researcher of Concordia University and UQAM to become member of one of the most important art and Technology interuniversity institution called Hexagram. Since that time, he received, in 2002 and 2003, two research grants from this institution in order to accomplish his research on a new holographic process called Holophotogramme, integrating photography and holography.

The same year, the Musée du Bas-Saint-Laurent opened the « ESPACE

GEORGES DYENS» where a major work from his production is permanently

exhibited. Georges is the only living artist to present his work permanently in a

museum

 

In 2002 and 2004, he has been selected Artist in Residence at the prestigious Center for the Holographic Art of New York.

 

In 2005, he was invited By the Musée des sciences et de la nature based in Sherbrooke (Canada) to exhibit his works during the Conference on Climatic changes of Kyoto, at the City Hall of Montreal.

 

In 2009, two one man shows of his works have been organized by the Atelier Silex, in Montreal and by the Musée du bas-St-Laurent.

 

He has been invited to present a One-Man show of his works at the Butler Institute of American Art of Youngstown (Ohio, USA), in 2011.

Chemist Istvan Hagittai has been thinking aloud in Leonardo for over thirty years !

Colleagues

Leonardo Honorary Editor Istvan Hargittai is a research chemist but also a world expert on the concept of symmetry in both the sciences and arts:
He has been publishing his thinking through book reviews in Leonardo Reviews over the past 30 years ! see below at the end of this post

For his writings about symmetry see:

http://www.amazon.com/Symmetry-Unifying-Concept-Istvan-Hargittai/dp/093607017X/ref=asap_bc?ie=UTF8

http://www.amazon.com/dp/0306448513/ref=rdr_ext_tmb 

 

He has also published a number of fascinating books about Hungarian scientists and about nobel prizewinners

http://www.amazon.com/Istv%C3%A1n-Hargittai/e/B001IR1P7G 

http://www.amkcs.ch.bme.hu/HI/hargittai.html

 

István is a Hungarian chemist and author. He is Professor of General and Analytical Chemistry at the TU Budapest .

István Hargittai

Hargittai received in 1965 graduated from the Moscow State University , was founded in 1972 at the Eotvos Lorand Universitydoctorate and his habilitation in 1976 at the Hungarian Academy of Sciences (Ph.D. in Russian system). In 1965, he conducted research at the Center for Chemical structures of the Hungarian Academy of Sciences and from 1973 at the Research Institute for Chemistry. 1976-1979 he headed the group electron diffraction and quantum chemistry and 1979 until 1986, the Department of Structural studies at the research laboratory of Inorganic Chemistry. He is a professor at the Institute of General and Analytical Chemistry at the Technical University Budapest (1991 to 1996 head of the Institute) and part-time head of the Research Group Structural Chemistry of the Hungarian Academy of Sciences at the Lorand Eötvös University.

He deals with structural chemistry, stereochemistry of sulfur and silicon, coordination chemistry , metal halides , unstable molecules, chemicals at high temperatures, electron diffraction in gas phase, interaction of experimental techniques with theoretical chemistry, differences of structure in the solid phase and gas phase, intra- and intermolecular interaction, Models of molecular geometry and history and cultural history of chemistry.

He is also known as an author on the history of science, especially Hungarian mathematician and physicist of the 20th century, and symmetry in the natural sciences.

Here is a list of his reviews in Leonardo Reviews over the past 30 years !

 

they are available open access by searching on his name at: http://www.leonardo.info/ldr.php

  1. Hargittai:
    A.C. Edmondson: A Fuller explanation: The synergetic geometry of R. Buckminster Fuller. Design Science Collection. Birkhäuser: Boston, MA, 1987. 302 p. $37.50. – L.S. Sieden: Buckminster Fuller’s universe: An appreciation. Plenum Press: New York, NY, 1989. 511 p. $24.95 (book reviews)
    Leonardo 24 (1991) 94-95.
  2. Hargittai:
    E. Chargaff: Serious questions. An ABC of sceptical reflections. Birkhäuser: Basel, 1986. 261 p. $40.00 (book review)
    Leonardo 24 (1991) 362.

 

  1. Hargittai:

C.A. Pickover: Chaos in wonderland: visual adventures in a fractal world. St. Martin’s Griffin: New York, 1995 XV + 303 pp. Paperback $18.95. (book review).

LEONARDO 30, No. 1 (1997) 71.

 

  1. Hargittai:

Gombrich on art and psychology. R. Woodfield, ed. Manchester University Press: Manchester, U.K. and New York, 1996. xiii + 271 pp. $ 69.95 (cloth) (book review).

LEONARDO 30, No. 2 (1997) 160-161.

 

  1. Hargittai:
  2. Richmond: Aesthetic criteria: Gombrich and the philosophies of science of Popper and Polanyi. Rodopi B. V.: Amsterdam and Atlanta, Georgia, 1994. 152 pp. Hfl. 45.00/USD 30.00.

LEONARDO 30, No. 2 (1997) 161.

 

  1. Hargittai:

Brain asymmetry. R. J. Davidson, K. Hugdahl, eds. MIT Press: Cambridge, U.S.A., 1996. 735 pp. $35.00. (book review

LEONARDO 30, No. 2 (1997) 161-162.

 

  1. Hargittai:
  2. Arnheim: The split and the structure: Twenty-eight essays. University of California Press: Berkeley, 1996.  IX + 184 pp.  Paperback. (book review).

LEONARDO 30 (3) (1997) 236-237

 

  1. Hargittai:

Nanotechnology. B. C. Crandall, ed.  The MIT Press: Cambridge, Massachusetts and London, England, 1996.  214 pp.   $ 17.00 (pbk). (book review)

LEONARDO 30 (3) (1997) 237-238.

 

  1. Hargittai:
  2. Gregory: Mirrors in Mind. W. H. Freeman/Spektrum: Oxford, New York, Heidelberg, 1997. 302 pp. (book review)

LEONARDO 30 (4) (1997) 331.

 

  1. Hargittai:
  2. L. Solso: Cognition and the Visual Arts. MIT Press: Cambridge, MA, U.S.A., and London, U.K., 1996. 294 pp.  $17.50. (book review)

LEONARDO 31 (1998) 75.

 

  1. Hargittai:
  2. R. Elder: An Encyclopedia of Archetypal Symbolism, Volume 2: The Body. Shambhala Publications: Boston, MA, U.S.A., 1996. 452 pp. (book review).

LEONARDO 31 (1998) 153-154.

 

  1. Hargittai:
  2. A. Pickover: The Loom of God: Mathematical Tapestries at the Edge of Time. Plenum Trade: New York and London, 1997. 292 pp. $29.95 (book review).

LEONARDO 31 (1998) 155.

 

  1. Hargittai:
  2. Vanechkina, I. Trofimova: Children Draw Music. FEN: Kazan, Russian Federation, 2000. (book review).

LEONARDO 34, No. 2 (2001) 164-165.

 

  1. Hargittai:

Gy. Darvas. Symmetry: Cultural-historical and ontological aspects of science–arts relations: the natural and man-made world in an interdisciplinary approach. (Translated from the Hungarian by David Robert Evans.) Birkhäuser: Basel, Boston, MA, and Berlin, 2007. xi + 508 pp. ISBN 10: 3-7643-7554-X; ISBN 13: 978-3-7643-7554-6. (book review)

LEONARDO 41 (2008) 185-187.

 

 

 

HIS REVIEWS ARE AVAILABLE ON ACCESS  BY SEARCHING ON HIS NAME ON:

http://www.leonardo.info/ldr.php

 

Concerning Human Understanding Redux: Arguing against the term “artscience”

Colleagues

I have just read Nora Sorensen’s Vaage’s article “ On Cultures and Artscience; interdisciplinarity and discourses of ‘twos’ and ‘threes’ after Snow’s Two Cultures’

http://www.nordicsts.org/index.php/njsts/article/view/38

Nordic Journal of Science and Technology Studies, Vol 3, Iss 1, p3.

I am sending it to her for comment and posting this draft here

Roger Malina
July 19 DRAFT

Essay Concerning Human Understanding: against the Term “Artscience”:

In response to Nora Sorensen Vaage’s  article “ On Cultures and Artscience; interdiscilinarity and discourses of ‘twos’ and ‘threes’ after Snow’s Two Cultures’

Nordic Journal of Science and Technology Studies, Vol 3, Issue 1, p3. 2015

http://www.nordicsts.org/index.php/njsts/article/view/38

Vaage argues in her article ‘On Cultures and Artscience’  that the term artscience, in vogue for the past  few years , reinforces an old notion of a binary opposition between these two fields, and carries within it the problematic concept of a ‘third culture’. This promised synthesis she feels disguises the plurality of perceptions and approaches within and across fields, overemphasizes divisions and may ignore complexities and in some cases ‘leave out important parts of the picture”. She argues that the discourses both of ‘third culture’ and ‘artscience’ may ‘occlude the multiple possible constellations of practionners, roles and approaches and may be a potential limitation to interdisciplinary collaborations’. I agree.

Her article reviews some of the history of the two cultures debate beginning with T H Huxley’s  1880 Mason College Lecture “Science and Culture’ and Mathew Arnold’s 1882 Rede Lecture “ Literature and Science, and of course the discussion triggered by C.P. Snow’s 1959 Rede Lecture “The Two Cultures’. She argues that this way of framing the issues relies on a false dichotomy. She  argues for a more complex model of the many cultures, in the arts, design, humanities sciences and engineering that need to be part of the picture, which the term artscience can mask, and quotes favorably Stefan Collini’s introduction to the 1998 edition of Snow’s Two Cultures who states” in place of the old apparently confident empires, the map (of the disciplines’ shows many more smaller states with networks of alliances and communication between them crisscrossing in complex and surprising ways’.

In many ways I agree with Vaage’s analysis and argumentation and that the term artscience is problematic. When I named my new research lab, at the University of Texas at Dallas, as the ArtSciLab I was clearly tying in to the contemporary discourse ( circa 2010). The shifting landscape of terminology in the broad ‘ art,science and technology’ community of practice has been constantly evolving since the journal Leonardo was founded nearly 50 years ago. The computer arts, electronic arts, interactive arts, digital arts, new media arts litter the landscape of art and technology practice. Similarly artscience is but the latest terminological fad in a shifting landscape of interdisciplinary practice. Kathyn Evans at UTDallas recently reviewed the literature on interdisciplinary practices and this literature indeed begins also in the late 19th century; that history is littered with terms such as interdisciplinary studies, holistic studies, integrative studies with new university programs appearing in decadal succession. In more recent years the terminology has complexified with the discussions on inter, multi and trans-disciplinarity. ( see Kathryn’s resource site http://www.utdallas.edu/atec/cdash/ )

A few years ago I was involved an NSF funded study led by Carol Lafayette and Carol Strohecker and with the Amy Ione, with the active collaboration of over 200 members of our community ( see the over 60 white papers at https://seadnetwork.wordpress.com/white-paper-abstracts/final-white-papers/ ). This led to the report was published this year as “Steps to an Ecology of Networked Knowledge and Innovation ” (MIT Press, 2015 http://www.mitpressjournals.org/page/NSF_SEAD ) (Steps to an Ecology of Networked Knowledge and Innovation ).  The title for this report reflects the very same discussion that is the focus of of Vaage’s essay and we also felt that both the “two culture’ and the “third culture’ terminologies problematized the discussion in ways that we felt were not productive and that we did not wish to promote or advocate.  The argument against the ‘two cultures’ metaphor was driven home in particular by Jonathan Zilberg in his SEAD meta-analysis   https://seadnetwork.files.wordpress.com/2013/01/zilberg_meta.pdf  . Hence the report title “Steps to an Ecology of Networked Knowledge and Innovation.

We chose as the cover image Johan Bollen’s map of science derived from clickstream data (2009)  ( http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0004803 ). This ‘data driven’ representation visualizes the on line clicking behavior of researchers and we felt carried with it the metaphor that within which we wanted to embed our report. The network and ecological metaphor for the structure of knowledge systems, as opposed to the tree of knowledge metaphor, seemed to us be more appropriate to understanding communities of practice than organizational structures, such as exist in educational organizations. SEAD meta analysis author Francois Joseph Lapointe carried out out a network analysis of the 200 white paper authors that was particularly revealing : https://seadnetwork.files.wordpress.com/2013/01/lapointe_meta.pdf  and also revealed a population of ‘hybrid’ professionals with training in both a field of science and engineering and a field of art/edesign/humanities. These discussions reinforce the findings of researcher Loe Leyesdorff and colleagues ( http://www.leydesdorff.net/ahci/ see also http://www.leydesdorff.net/leonardo/leonardo.pdf  ) in analyzing incoming and outgoing citations to articles in the Leonardo Journal developed a similar network visualization of the community of practice that uses that journal as a place to document their work; he also produced an animation ( http://www.leydesdorff.net/journals/leonardo/citing/index.htm )  of the way that network of connections has evolved over the last 50 years showing that the community of practice has changed the focus of its activities and the connections it exploits between different disciplines. This dynamic network of disciplines metaphor seems to me appropriate to the current situation.

Of course however Universities remain tree structured, creating impediments to inter, multi and trans-disciplinary practice and as pointed out by Vaage , Snow’s gripe was first with the British educational system not with the structure of natural philosophy.

The subtitle of our report was :” Enabling new forms of collaboration among sciences, engineering, arts, and design” which in part was a historical accident as SEAD was the title of the funding grant received from the NSF by the PI Carol Lafayette. As we worked with our colleagues it was clear to us that the community of practice was not captured by either the terms “art and science”, or “art and technology”. Rather the ecological landscape of disciplines had disciplinary practices centered in the arts, design, the physical sciences, the social sciences and humanities, engineering and technology; dangerously this seemed to encompass a large fraction of all human knowledge !.

The term STEM to STEAM emerged within this process advocated in particular by John Maeda then at the Rhode Island School of Design, a term which tied the discussion to the politically and industrially driven ‘STEM’ discussion within science and engineering university programs and the claimed need of a shortage of graduates in “ Science, Technology, Engineering and Math’’ ( there is an active research literature that disputes the claimed STEM graduates shortage eg http://www.theguardian.com/careers/work-blog/stem-skills-shortage ).  *Integrating the arts and design into STEM teaching has become a movement with the acronym taking hold even though the term A in STEAM doesn’t capture the variety of practices that bridge the range of arts and design but also the other sub ecology of arts, social sciences and humanities.  Amazingly 67 US congressmen and women are now part of the US Congressional caucus for STEAM:  https://stefanik.house.gov/media-center/press-releases/congresswoman-stefanik-co-chairs-congressional-steam-caucus ; thats probably more congresspeople that agree on anything these days !  For more discussion of currrent vocabularies see Kathryn Evans ( http://www.arteducators.org/research/STEAM_Definitions_Document.pdf )

 

In recent years the STEAM discourse has also taken hold in funding and political structures with an interesting chain of connections between “artscience”, ‘art, design and technology’ linked to creativity  and innovation discourses then connected to job creation ( as often  is the STEM discourse). The US National Academies are sponsoring this November where artscience is viewed as an emerging frontier of scientific research. The NAFKI Futures conference titiled :    Art and Science, Engineering, and Medicine Frontier Collaborations: Ideation, Translation and Realization.  see   http://www.keckfutures.org/conferences/art-sem/index.html  The European Union Europe 2020 funding program has recently announced the STARTS initiative for Science, Technology and the Arts : https://ec.europa.eu/digital-agenda/en/ict-art-starts-platform . Their recent report    http://ec.europa.eu/newsroom/dae/document.cfm?doc_id=10227  makes clear that the focus is the technosciences rather than the basic sciences, and design and technology rather than the fine arts with the argumentation tied to the creation of new economic sectors and  near term employment. The foundation of STARTS is art and design couple to Information and Computing Technology.
The good news is that the ‘art, science and technology’ community of practice is growing by any figure of merit. The bad news, as emphasized by Vaage is that there is conceptual and terminological confusion. Thirty years ago Leonardo editorial board member Roy Ascott advocated that we stop using the term ‘art’ because it tied us too closely to the very conservative, generally anti science and technology, art establishment at the time in art schools, university art departments and art museums. Today culture has integrated digital culture with the born digital generations having little time for the debates of the two cultures debate and the term ‘art’ now encompasses many of the art forms that were first developing in the art, science and technology community of practice 50 years ago.

 

In the discussions among us as we finalized the SEAD report it became clear to us that the now dominant discourse on art and technology/creativity/innovation/full employment economy (one that C.P Snow also argued ) also tend to confuse means and ends. Creativity and Innovation are not ends in themselves (and nor is full employment), we felt, but are means to creating healthy and vibrant human communities in which we want to live. In the 13 processes we identified our final process for enabling new forms of collaboration between ‘science, engineering, arts and design” was entitled “Thriving “and viewed SEAD ingredients as essential contributors to healthy communities with process 12 being “Foregrounding Ethics and Values” and process 13. “Promoting Well Being and Joyfulness” !!.

 

I am currently working on an essay with French physicist Jean-Marc Levy Leblond for publication in a special issue on Digital Culture guest edited by Annick Bureaud for the French publication MCD. In our discussions a number of concerns have been developed; first that the artscience movement tends to over emphasize the physical sciences and not sufficiently the social  and human sciences, second that art and science often under the hood is art and technology rather than the basic sciences, that the humanities are marginally present,  and finally that the discourse connecting artscitech to creativity, innovation and employment insufficiently raises the critical questions of how science and technology are embedded in certain economic models of societal development. C.P. Snow himself in the Two Cultures books was particularly insistent on the possible role of science and technology in helping raise the standard of living in the developing world ( Eisenhower’s warnings about the possible risks of the university/military/government complex were recent when Snow wrote) and and the 1970s, uncomfortably prescient, arguments on the ‘Limits to Growth’  were being developed by the Club of Rome.  How do we develop ‘artscience’ as one of the components to helping develop sustainable, full employment, healthy, joyful, human societies  ?

 

That’s a lot to pack into a discussion provoked by Vaag’s useful essay deconstructing the term ‘artscience’ and its current popularity and political correctness. She is right I think that the term “artscience’ feeds into to C.P. Snows  misleading ‘two cultures’ debate and its false dichotomy, and third culture cousin. I suspect in 50 years the term artscience will have disappeared, as will have equally conceptually confused terms such as the “new media” community ! Let the philosophers, taxonomists, ontologists, terminologists and experts in ‘translation studies’ get to work !
I welcome comments !

Roger Malina

 

 

OK OK so what is Skotopoiesis ?

ŠPELA PETRIČ: ‘Confronting Vegetal Otherness: Skotopoiesis’

As part of the ‘Trust Me, I’m an Artist’ project, Kapelica Gallery presents a work by Špela Petrič.

In the series Confronting Vegetal Otherness, intermedia artist Špela Petrič explores the possibility of intercognition between humans and plants based on the innate biosemiotic processes, that is the physico-chemical signs that facilitate a senseful interaction. Through the omission of technological interfaces, she hopes to address the distinct properties of animals and plants at different levels of organization (cells, individual, community), reasoning that to embody the post-anthropocentric paradigm towards plants, the human individual must transiently commit to a level of vegetalization.

Skotopoiesis is the first performance from the series attempting plant-human intercognition. In this durational piece the artist and germinating cress face each other, illuminated by a light projection. The biosemiosis occurs through the obstruction of light; the artist’s shadow contributes to the etiolation of the cress (yellowing, lengthening), while the time she stands arrested to achieve this effect results in the shrinkage of the artist, making visible the effort of this cross-species encounter.

The performance will be followed by a discussion with ethics committee.

Schedule:
Performance: 9 – 11 Sep, 2015, 11am-9pm, last day till 4pm
Panel discussion: 11 Sep, 2015, 6-8pm

Location:
Kapelica Gallery
Kersnikova 4
SI-1000 Ljubljana

Link:http://www.kapelica.org/index_en.html#event=1012

Are you under 25 or nearly and have an art science project you would like to podcast about ?

for creative disturbance www.creativedisturbance.org we are soliciting podcasts from folk under 25 years old for our youth skills month- if you are under 25 ( or close) and would like to publish a podcast on our creative disturbance intellectual dating service contact me at rmalina@alum.mit.edu

www.creativedisturbance.org

 

 

 

Is International Affairs and Political Science an Emerging Trend in art-science ?

Colleagues

Here is a draft input to the SEAD report 5 year update ( on enabling new forms of collaboration between Science Engineering Art and Design) for comment and discussion

https://seadnetwork.wordpress.com/

This came up in a discussion with Annick Bureaud who is working with Emmanuel Mahe in Paris on a french report on emerging trends in art-science

. Do you agree that International Affairs and Political Science is an Emerging Trend  in art science ? Do you have other examples ?

Roger Malina

Art Science Technology, International Affairs and Political Science an Emerging Trend ?

Roger Malina, University of Texas at Dallas and Leonardo Publications, MIT Press.

Submitted to the SEAD study group snapshot update:

The art science technology community has a long history of socially engaged practice in a variety of forms from public art initiatives, to web art activism and engagement with ethical and societal issues from the environment to bio-art. In recent years a number of emerging actors from within political science and humanities disciplines have emerged, from social anthropologists to diplomats, economists, social scientist to disaster management experts. What is a new trend is the increasing involvement from professionals and researchers from within the political sciences in art-science activities. These initiatives re contextualized socially engaged art within the disciplines that engage with political and social organization.

Examples include:

  1. The activities of Bernard Stiegler and Ars Industrialis http://www.arsindustrialis.org/  a political and cultural group. An example of their approach is initiative launched by De Philippe Aigrain and five other officials by announcing that in the current period – which is also the preparatory climate conference organized by the UN in Paris from 30 November to 12 December this year – we would open a discussion on the future of Greece in Europe and the future of Europe in the world, opening new perspectives for Europe.

  1. The work of Bruno Latour at Science Po in Paris http://www.medialab.sciences-po.fr/

The médialab at Sciences Po was founded in 2009 as a center of research and practice that connects the social sciences with new digital tools with the goal of bringing together a set of knowledge and capacities necessary for the development of a digital humanities. With its technical and methodological expertise, the médialab has become an essential partner in digitally-focused research projects in the human and social sciences. As the day-to-day activity of people and institutions becomes more and more oriented toward the web, the fact that the traces of these activities are easily recoverable using simple digital techniques offers a powerful field of observation for researchers in the social sciences.

  1. The Balance Un Balance series of conferences have been co sponsored by the the Red Cross/Red Crescent Climate Centre, with the participation at the recent conference at Arizona State University of Pablo Suarez, the Associate Director for Research and Innovation at theRed Cross Red Crescent Climate Centre

See for instance Breaking Paradigms: Electronic Arts & Humanitarian Actions Ricardo Dal Farra:

http://www.balance-unbalance2015.org/wp-content/uploads/2015/01/Dal-Farra_Ricardo_BunB2014.pdf  

  1. The International Studies Association has recently established the STAIR initiative ( Science, Technology, Arts and International Relations) :

http://www.isanet.org/ISA/Sections/STAIR

Their statement of purpose indicates:

This newly chartered section recognizes that science, technology, and art are at the core of global politics. They shape much of the everyday reality of international security, statecraft, development, design of critical global infrastructures, approaches to social justice, and the practices of global governance. Science, technology and art (i.e., in the form of creativity, the arts, architecture and design) permeate international affairs in the form of material elements and networks, technical instruments, systems of knowledge and scientific practices. Yet, they also challenge existing conceptual approaches and prompt us to step beyond IR canons to seek inter-disciplinary collaborations. Through this new section we generate the space for international Relations (IR) as a discipline and field to engage these matters through productive intellectual research conversations with existing subsections as well as other disciplines. Our intention is that this will facilitate theoretical understandings of how we go about creating, assessing, and deliberating scientific, technological and artistic design and their impact on the shifts of contemporary world order. To use a methodological metaphor, if science, technology and art are held constant in most IR models, STAIR aims to make them variable!

  1. International Law:  The Legal Medium Conference in  2015, brought together leading artists and thinkers at Yale Law School to engage in a series of panels, presentations and performances about how artists use law as material in their work. http://www.thelegalmedium.com/   

 

  1. Amar Bakshi: Anartist who previously worked as a diplomat and journalist. Bakshi created a multimedia series for the Washington Post called How the World Sees America. He also worked as Special Assistant to the U.S. Ambassador to the United Nations and as managing editor of CNN.com’s premier international analysis. At CNN, Amar created and hosted a live online show called Uncommon Ground, which connected people from around the world who would never otherwise meet.  AmarBakshi.com.

  1. The Anti-Atlas Project , led by anthropologist Cedric Parizot has involved customs experts,civil servants, political scientists . For instance the theme of Managing International Migration? Visa Policies, Politics, and Practice  workshop to be held 28 September 2015 at the University of Oxford, UK. Their Anti-Atlas manifesto (http://www.antiatlas.net/en/towards-an-antiatlas-of-borders/ ) states: At the beginning of the 21st Century, the functions of State borders have changed.  Borders do not just contain but also overflow spaces, districts and jurisdictions. Borders are losing their linear aspects and are becoming more mobile and more diffuse in order to adapt to globalisation. Actors managing border control have also substantially multiplied. In addition to states, new stakeholders such as agencies, corporations, and NGOs have emerged as actors of border management. The ways in which people’s mobility is controlled are more and more diversified and differentiated. People have to pass through multiple networks and identification devices. All these mutations have to be analyzed in detail, using a wide range of modes of expression and critical too, The group has a broad art-science practice involving scientific research, art exhibitions and working groups with stakeholders from governments, agencies, corporations, and NGOs.

  1. The Bank of England has engaged artist Martin John Callanan, who will be working at the Bank over twelve months on a series of conceptual art projects.  Mr Callanan’s work – funded by the Leverhulme Trust and University College London – will reflect aspects of central banking, economics, finance and data.

http://www.bankofengland.co.uk/publications/Pages/news/2015/057.aspx  

  1. Do readers have other projects that belong in this list ?

Submitted in response to: https://seadnetwork.wordpress.com/

CALL FOR 5 YEAR UPDATES

Dear Colleagues,

We thank those who participated in the network for Sciences, Engineering, Arts, and Design (SEADreport, which was published this year as “Steps to an Ecology of Networked Knowledge and Innovation” (MIT Press, 2015).

The process that led to this report began about five years ago with a number of convenings supported by the US National Science Foundation, US National Endowment for the Arts, and US National Endowment for the Humanities, as well as internationally. We note that recently the European Commission also issued its ICT-Arts CONNECT report, launching the STARTS program, and there have been a number of transatlantic discussions. We think it would be useful to provide a “snapshot” update on significant developments over the past few years and would like to solicit your thoughts.

WOULD YOU BE WILLING TO POST ONE OR TWO PARAGRAPHS (NO MORE) ON A SEAD-RELATED TOPIC OR TREND THAT IS IMPORTANT TO YOU? Please use this template.

If you prefer to send comments offline, please email
Robert Thill: robert.thill@gmail.com

For example, we note trends in the rising cost of education and concurrent number of MOOCs, DOCCs, and low-residency postdoc programs; the increasing number of STEAM initiatives; new phases in the maker/hacker phenomenon; ubiquity of 3D printing; increasing strength of social media “citizen justice” and “citizen science” fora; the rising need for peer review of transdisciplinary research and creative work; and the formation of new organisations such as a2ru in the USA.

We hope you might be willing to post a comment on this page with a very brief input of this kind, explaining why you think the particular update is important. We will synthesize all comments received and include them in a SEAD Update on the MIT Press publication.

We are looking for inputs by November 1, 2015.

SEAD will also host a panel discussion at the 2016 US College Art Association (CAA) conference, February 3-6 in Washington, DC. At this panel session, we will also present the results of the “snapshot” update.

Thank you, and best regards,

– Carol LaFayette, Carol Strohecker, Roger Malina and the SEAD network