call for Art-Science and Agriculture projects


I recently joined as an Advisor to the Saint Louis Science Center- ( )  and delighted to bring to your attention

this call for art-science projects related to agriculture


the area of art-science and agriculture is a growing international area of art-science practice


roger malina


Call for Artist: Saint Louis Science Center Ag Project RFQ May 18, 2015




The Agriculture Exhibition at the Saint Louis Science Center (SLSC) will ignite widespread interest in the science and technology of food production, with emphases on plant and animal biology, agriculture, agronomics, and how everyone has a personal connection with agriculture. It will be a one acre indoor/outdoor space with interactive exhibits and activities for families, adults, and school groups.
Goal of call for artists:
To identify local, national, and international artists that align with the Saint Louis Science Center’s (SLSC) mission and project objectives as outlined in the project charter; To ignite and sustain lifelong science and technology learning. We value the artist’s ability to be critical and to explore alternatives and recognize these talents as aligned with SLSC’s own objectives. A selection committee will strategically determine which artists will work with in-house teams to create the work and installations. A Secondary goal would be to increase the variety of citizen and expert perspectives presented by the SLSC to its various audiences. Many artists whose aims are allied with our institution wish to inspire people to learn about the science and technology of food production and to assume a more active role in safeguarding our lands and products through sustainable and innovative farming practices. To create a platform for participatory public discussion, the future exhibitions could be framed as debates, controversies, interventions, or inventions on such topics as GMOs and labelling, the ethics of food production, and alternative farming practices. A commonality between artists’ and scientists’ work is that they are both based on process and objectives. Fresh perspectives on scientific content and/or topics with sociological impact allow us to engage and sustain audiences that would not normally be reached by a traditional science museum approach. SLSC has the ability to explore the transdisciplinary strategies that are necessary to address many of the complex social and environmental challenges today in a way that can excite interest.
Works that problematize, poeticize or demystify the science of agriculture and/or food production – its histories, practices, and aesthetics – will be considered for permanent installation as part of this RFQ and for future temporary installations in the Science Center.
Some relative Artists work includes: Rirkrit Tiravanija’s Land Foundation and Michael Mercil’s Living Culture Initiative, Ackroyd and Harvey’s photographic work utilizing the light-sensitivity of chlorophyll, Jackie Brookner’s bio sculptures, David Burns, Matias Viegener and Austin Young’s fallen fruit/fruit tree adoptions, early eco-art such as the survival series by Newton and Helen Mayer Harrison’s and early public landscape work like Bonnie Ora Sherk’s “parklet” in San Francisco.
Page 2 of 7
Artist Selection Method:
Request for Qualifications (RFQ) – this request to artists will provide our selection committee with a basic artist letter of interest, resume, and portfolio of work. This will in turn be used to determine a smaller pool of artists that will receive a Request for Proposal (RFP) for several of the in-house exhibits, in addition to building a database for future projects as the art initiative evolves.
Project Working Title: Agriculture Exhibition
Project Vision: This new exhibition is unique and free to the public. No other public institution in the United States devotes more than 50,000 square feet of indoor and outdoor space to the interpretation and active engagements based on these important topics. The Agriculture Exhibition at the Saint Louis Science Center (SLSC) will ignite widespread interest in the science and technology of food production, with emphases on plant and animal biology, agriculture, agronomics, and how everyone has a personal connection with agriculture. It will be a one acre indoor/outdoor space with interactive exhibits and activities for families, adults, and school groups.
Project Description: The artist-commissioned projects will include various installations that focus on different aspects of agriculture. The scope will be to use content already identified by the SLSC to design and develop a unique work of art that is able to communicate variations on existing content in some fashion to an audience at the museum. These installations will be installed in spring of 2016 to be experienced by the public later that year. The artist will collaborate with a team of educators, science experts, and evaluators to produce a high-quality installation.

Project Timeline:
 June 26, 2015……………………… Qualifications Deadline
 June 26-July 3, 2015..……………. . Qualifications Evaluated
 July 6, 2015……………………… .. RFP’s will be sent for individual exhibits
 July 31, 2015………………………. Deadline for Proposals
 July 31 – August 6, 2015………… Proposals Evaluated
 August 7, 2015……………………. Contracts Signed
 August 10, 2015 – February 2016 .. Design and Fabrication of Work
 March 6 – April 6, 2016………….. Installation of Work
Project Budgets: Individual Art Piece budget ranges from $3,000 -$35,000. All expenses such as fabrication, travel and artist fees must fit within the budget.
RFQ Requirements:
 Letter of Intent (No more than 1 page)
 Resume or CV (No more than 3 pages)
 References (At Least 3)
 Portfolio of Relevant Work
 Statement of Curated Work (No more than 1 page)
All must be in paper and electronic form – no links to website-based portfolios. Ideally electronic submissions will be delivered on a well-organized flash drive, but a cloud-based solution will also suffice. Submissions must be at the SLSC on the due date, late submissions will not be considered. The shipping address is located at the end of this document.
SLSC Background:
With more than 700 hands-on exhibits in a multi-building complex, the Saint Louis
Science Center (SLSC) is among the largest science centers in the country. Every year, nearly one million visitors enjoy the Science Center’s exhibit galleries, James S. McDonnell Planetarium, OMNIMAX Theater, and rich variety of public programs for all ages. SLSC was named one of the “Top 10 Science Centers for Families” by Parents magazine and one of “America’s Most Visited Museums” by Forbes Traveler Magazine. Admission to the Science Center is free through a public subsidy from the Metropolitan Zoological Park and Museum District. SLSC’s mission is “to ignite and sustain life-long science and technology learning.” Through the Agricultural exhibition, we will begin a museum-wide initiative to develop innovative approaches to engaging the public with science, technology, engineering, art, and mathematics (STEAM).

The SLSC began in 1984 from the merger of the Museum of Science and Natural History and the previously St. Louis City-owned McDonnell Planetarium. In 1991, a major building expansion, which included the construction of an OMNIMAX theater, greatly increased the size of the facility on Oakland Avenue. In 1997, the 18,000 sq. ft. Exploradome was erected to house large- scale temporary exhibits. In 2011, SLSC opened a newly constructed Boeing Hall a 13,000 sq. ft. exhibition venue.
The SLSC is one of only two science centers in the country with no general admission charge. Its campus includes the Oakland Avenue Building and the James S. McDonnell Planetarium, which sit on opposite sides of Interstate 40/64 and are connected by an enclosed pedestrian bridge. A third building, the Exploradome has been decommissioned; the fabric was donated to local farmers, to give way to an outdoor gallery that highlights the role that science and technology play in present day agriculture. It will feature living exhibits, bigger than life electromechanical exhibits, art exhibition venues indoors and out and a multipurpose building designed for Events, Agriculture-related exhibits and classroom spaces.
Scope of Work:
The artist will work with their own team and a SLSC team that will include an educator, to ensure learning objectives are met; an evaluator to ensure effective communication to the target audience; fabrication and technology advisors to ensure the designs are feasible; and a scientific expert that will ensure the content is accurate. The scientific experts come from many disciplines ranging from farming experts, to bee experts, to plant experts, and so on. The nature of this collaboration is for the artist to have the freedom to create their work and the rest of the team will serve to support the artist through advice from their chosen science field. They will not dictate the direction of an installation, only guide and inform the design as it evolves. Depending on the needs of the artist, they may also serve to aid in fabrication and create the technology elements necessary for the completion of the project.
The permanent exhibition areas for the first set of exhibits will include, but not limited to:
Page 6 of 7
Exhibition Description:
Ag Gallery Space
The exhibit will include 57,000 sq. ft. gallery space that demonstrates various forms of farming content, plants, crops, stand-alone interactive exhibits and displays, and demonstrations. Entrance to the exhibit will be free, though there will be paid programming opportunities. The space will also include a 5400 Sq. ft basement intended for classroom space; a multipurpose structure on top of the basement which will include a teaching kitchen area, bathroom and elevator and several donated temporary fine art installations related to the content.
Ag Content Overview
SLSC employs many professionals with science and formal and informal education backgrounds, with many staff having experience in all three. There has been a regular meeting of several staff to flesh out the important scientific content the exhibit should cover. This content fall into 4 main topic areas identified by the group: Plant and Animal Biology, Agriculture, Agronomics, and Personal Connections to Agriculture.
Ag Exhibits Overview
The exhibits within the gallery space are being developed by three different entities: In-House exhibits to be developed by the SLSC; contracted exhibits that are being developed out-of-house by Universal Services Associated fabricators and Gyroscope, Inc. design firm, who specialize in developing intuitive engaging scientific exhibits; and commissioned exhibits that will be developed from those artists who are selected via this RFQ/RFP process. All the exhibits fall into the content categories listed above, and nearly all of them are interactive experiences. The exhibits are laid out in a way as to be non-linear so that visitors can experience the complete story of agriculture in their own way.
These exhibits will be supported by staff and volunteers throughout the gallery, who will also serve to interpret these elements as well as the plants and animals that will exist throughout the exhibition. There will also be activities and demonstrations which revolve around the core concepts such as gardening/cooking demos, fermentation demos, and farming activities.

Artist Eligibility:
In order to be eligible for this commissioned work, artists must have experience working on collaborative teams. Established and emerging artists are encouraged to participate. Artists should have experience working with budgets similar to those proposed above and demonstrate the ability to complete their work on similar timelines. Preference will be given to artists who have developed works that focus on or display scientific content, but it is not necessary for consideration. Finally, we will consider each submission equally and will not show preference or discriminate based on artist gender, race, ethnicity, creed, sexual orientation, veteran status, age, or inappropriate content of previous work.
Selection Process:
See project timeline above. Qualifications will be evaluated the week after they are due by a selection panel in part comprised of Ellen K. Levy, PhD, artist, Special Advisor, Institute for Doctoral Studies in the Visual Arts, Marilu Knode, Director of Laumeier Sculpture Park, Lisa Melandri, Director of St. Louis Contemporary Art Museum, Patricia Olynyk, Director, Graduate School of Art Washington University, Roger Malina, Arts and Technology Distinguished Chair, Professor of ATEC, Roseann Weiss, Director of Community & Public Arts, Regional Arts Commission and SLSC staff. Those selected by the panel will move on to the next stage of the process, receiving the RFP specific to the content areas described in the scope of work above. Those not selected will be notified at the same time. The proposals received will then be evaluated by the same selection panel and a decision will be made regarding the award recipient. All will be notified of their status at the end of the evaluation process and those awarded will sign a contract for their work.
During the selection process questions may be emailed to Matt Stevens, project coordinator for the exhibition. Note that any pertinent responses will be shared with all applicants at each stage to ensure all have been given the same information.
Project Coordinator Contact Info:
Please send questions to the email below. Please send paper and electronic copies of qualifications to the address below or send a link to your files to the email address.
Matthew Stevens
Saint Louis Science Center
5050 Oakland Ave.
Saint Louis, MO 63110

Artists led citizen science projects


Fermin Serrano Sanz sends us this recently completed European Commission
White paper which he led

Citizen Science is encouraged as a form of public engagement of scientists.

And of course the art,sci-tech filed has had a number of excellent artist
let citizen science projects as a form of socially engaged art- one thinkgs
for instance of the projects led by Drew Hemment or Jeff Warren’s Media
Lab project that has now expanded

Or the re-photo project used to carry out tree census in cities
developed by a team including artist ruth west


I would be interested in other examples of artist led citizen projects

Roger Malina

From: Fermín Serrano Sanz <>

Thanks Roger,

Regarding your white paper update, that’s great and I would like to contribute. FYI, please find here a white paper on citizen science (any general public contribution…) which we coordinated last year. I hope you find it interesting.

Fermin Serrano Sanz

MARSEILLE May 20, Museums as Cultural, Urban, Creative and Learning Interface


Tomorrow I am going to a fascinating day on Museums as Cultural, Urban, Creative and Learning Interface organised

by Franz Fischnaller a IMERA resident in Marseille.


When: Wednesday, May 20, 2015, 9:00 – 17:30

Where: Institut Méditerranéen des Métiers du Patrimoine (I2MP), 201 quai du Port 13002 Marseille

What: Seminar on Technology in the Arts, Humanities and Cultural Heritage, entitled Museums as Cultural, Urban, Creative and Learning Interface (M-CSUCLI)

OrganisersFranz Fischnaller (IMéRA-MuCEM-Lab MAP Fellow Researcher); IMéRA (Institut d’études avancées d’Aix-Marseille); MuCEM(Musée des Civilisations de l’Europe et de la Méditerranée).


M-CSUCLI addresses the topic of the role of museums in times of social, cultural and technological change.

The seminar aims to investigate the intersection between technology, arts,humanities and cultural heritage and to critically evaluate how technology and digital media can be effectively used to support the museum practices. It is expected to contribute to the development of a platform for exchange of museum best practices, enhancing qualitative analysis and in-depth examination.

M-CSUCLI will bring together a variety of local and international researchers, professionals, experts and practitioners working beyond the traditional disciplinary boundaries; they will offer the attendees an insight into their practices and experience.
Through the seminar, efficient models and scenarios of museum practice, case studies, innovative approaches, experimental and creative experiences will be introduced, able to open new perspectives and to rei


here is the programme:

M-CSUCLI Seminar is based on themes related to the role of the museum in times of social, cultural and technological change. This seminar aims to provide an intersection between technology, arts, humanities and cultural heritage and to critically evaluate how technology and digital media can be effectively used to support the museums practice. The seminar expects in contributing to provide a platform for exchange best practices in museum, raising qualitative analysis, in-depth examination, drawing inspiration, learn from them, and promote these insights. M-CSUCLI will bring together a variety of local and international researchers, professionals, experts and practitioners working beyond traditional disciplinary boundaries that can give insight into their practices and knowledge in their field and experience. Through the seminar will be introduce efficient models and scenarios of museum practice, case studies, innovative approaches, experimental and creative experiences, that can bring new perspectives and practices to questions, reinforcing awareness, critical thinking, enhancing what is currently practiced. SCHEDULE 9.00 – 9.30 Welcome / Announcements Jean-François Chougnet (President MuCEM, Marseille, France) Nicolas Morales (IMéRA Director) Amine Asselah (IMéRA Scientific Director) 9.30 – 09.45 Seminar Introductory Remarks Franz Fischnaller (IMéRA-MuCEM-Lab MAP Fellow Researcher) SESSION 1 MUSEUMS AS INNOVATIVE INTERFACE Moderator: Professor Sylvie Coëllier, LESA, Université d’Aix-Marseille, France 09.45 – 10.15 Troy Conrad Therrien (Curator, Architecture and Digital Initiatives, Solomon R. Guggenheim Foundation and Museum, New York, USA) The museum as cultural, creative and social interface in the Digital era. Guggenheim’s strategy, method and approach to become innovative agents of social change and active creative and cultural players within the digital shift. 10.15 – 10.45 Maria Anna De Lucia Brolli (Director, National Etruscan Museum-Villa Giulia and Villa Poniatowski, Rome, Italy) Technology in the Arts, Humanities and Cultural Heritage Public understanding of Etruscan past in Museums 10.45 – 11.00 Break 11:00 – 11.30 Sònia Aran (Responsable Documentation and Research Center, CCCB-Centre of Contemporary Culture of Barcelona, Spain) City, Culture and Technology New Formats and Innovation 11.30 – 12.00 Anne Krebs (Head of Studies and Research Centre, Museum Louvre, Paris, France) Digital strategies and social practices Analyzing the “real” and “virtual” relationship 12.00 – 12.30 Discussion- Q&A 12.30 – 14.00 Lunch SESSION 2 MUSEUMS’ PRACTICES IN TIMES OF SOCIAL AND TECHNOLOGICAL CHANGE Moderator: Professor Jean-Paul Fourmentraux, LESA, Université d’Aix-Marseille, France 14.00 – 14.30 Denis Chevallier (General Heritage Curator, Deputy Director, MuCEM, Marseille, France), Yolande Padilla (Responsible for international partnerships in research and training, Department of Research, MuCEM, Marseille, France) MuCEM, a place of knowledge, training and dialogue 14.30 – 15.00 Franz Fischnaller (IMéRA/MuCEM Research Fellow) New Generation Interaction in Cultural Heritage 15.00 – 15.15 Break 15.15 – 15.45 Livio de Luca (Research Director at CNRS, Director of the MAP laboratory) Interlinking physical and conceptual dimensions of heritage artefacts into semanticallyenriched representations 15.45 – 16.15 Andreas Bauer (Head of Ars Electronica Center, Linz, Austria) Efficient models and scenarios of new generation museums’ practices in times of social and technological change. 16.15 – 17.30 ROUND TABLE INNOVATIVE INTERSECTION ACROSS ARTS, SCIENCE, TECHNOLOGY AND SOCIETY IN MUSEUMS Moderators: Professor Sylvie Coëllier, Université d’Aix-Marseille, France / Professor Jean-Paul Fourmentraux, Université d’Aix-Marseille, France With the participation of Sylvia Girel (Aix-Marseille Université, LAMES), Jacques Sapiéga (Aix-Marseille Université, SATIS-ASTRAM), MuCEM team and speakers.

Here are my opening remarks:




My name is roger malina and I am the Former director of the astronomical observatory of Marseille and of one of the founders of the IMERA Mediterranean Institute for Advanced Study that is co-sponsoring the symposium today

I am currently a distinguished chair of art and technology at the University of Texas at dallas ,in the new School of Art, Technology and Emerging Communication and amcurrently  on detachment from the CNRS here in Marseille.


Our Dallas Art and Technology program has active collaborations with the Dallas Museum of Art, under the directorship of Max Anderson,  and the university recently opened a new Institute for Art History, called the Edith O Donnell Institute. It is the first Art History institute founded in the 21st century.

The Institute has research and documentation centers both in the Dallas Art Museum, and also in the University and the New professors have joint appointment.

The institute has just hired two new faculty in Islamic art history, in conservation science, and is looking for a professor of contemporary and modern art history.

One Art Historian that teaches both art history and data visualization to artists is Max Schich in the school of art and technology. He is developing what he calls “cultural science” as the next step after the digital humanities.
Another professor studies the history of map making in the arts – all the way to google maps. Indeed we are living in a period of crisis in systems of representation as deep as the one during the invention of three dimensional perspective and again artists are important innovators.


I mention this because our new Institute for Art History a is an example of the new kinds of developments that we will hear about and discuss today


MUSEUMS AS CULTURAL, URBAN, CREATIVE AND LEARNING INTERFACE (M-CSUCLI)-Technology in the Arts, Humanities and Cultural Heritage

I myself also run an art-science research labs that employs both artists and scientists and engineers= we work with neurobiologists , with geologists and with astronomers- and our work is both used in scientific laboratories and shown as art installations and performances in galleries and museums.


These hybrid practices are part of a growing international movement that connects the arts and humanities with the sciences and engineering in new kinds of ways. Franz Fischnaller is a good example of the new breed of professional that is emerging.


I also serve as the executive editor of the Leonardo publications at mit press- we publish the Leonardo book series and journals but also have podcast platforms and digital publications. We advocate the work of artists and scholars who are involved with science and technology but also of scientists and engineers who are deeply involved in the arts and humanities.

Just a few weeks ago the European Union announced a new initiative that recognizes this growing community that bridges the arts and humanities with science and technology, the initiative is  called  the STARTS programme: Innovation at the nexus of Science, Technology and the Arts  (StARTS) and aims to  foster the emergence of joint arts and research communities


The IMERA Institute for Advanced Study here at Aix Marseille University champions these new kinds of inter-disciplinarities- . The founder of IMERA was historian Robert Ilbert and his dream was to enable new  collaborations between the Humanities and the Sciences and todays symposium is very much in the spirit of his dream.

Today under director Nicolas Morales and Scientific Director Amine Assalah – who unfortunately could not be here today and asked me to represent him-


IMERA is now part of the Aix Marseille University = and in the words of Denis Bertin, VP for research of the university- IMERA is a risk taking incubator for unusual inter-disciplinarities.


Three of  most active current working groups of IMERA according to the scientific director Amine Assalah are the first

On Exile, the body, care and mental health

The second

On Complex Networks which includes philosophers, economists, mathematicians and physicists, sociologists


And finally on the City and Climate Change including urban planners, and environmental scientists.


So today then we attack MUSEUMS AS CULTURAL, URBAN, CREATIVE AND LEARNING INTERFACES Technology in the Arts, Humanities and Cultural Heritage

Very much the kind of unusual interdisciplarities that are needed today.

European Union announces Science Technology and the ARTS (STARTS) initiative


The European Union has announced the opening of the new STARTS platform; STARTS stands for Science, Technology and the ARTS

The European Commission recognizes the emergence of vital arts and research communities who work jointly on the unique usage of technology. It supported theICT ART CONNECT study which lead the way to the StARTS initiative by revealing new evidence for the integration of the Arts as an essential and fruitful component within research and innovation in ICT.

2015 will be the year of StARTS! Events throughout Europe will be announced soon.


Roger Malina



Ict Art • D ecember 2014

Authors: Luis Miguel Girão, Pieter Jan Valgaeren and Eva Van Passel

Why should artists integrate teams in ICT research projects?
This is the main question generally asked by the study by means
of interviews, a survey, desk-research, an open call, a symposium and a
number of round-tables. The questioning builds up from the assumption
that we are nowadays living technological evolution longtime predicted by
artistic visioning, such as an example Leonardo Da Vinci’s inventions, and
focus on contemporary developments. Shortening the period of time to
integrate such visionary futures in concrete present realities is a commonly
accepted good reason for the referred integration. However, there are a
number of others summarized bellow.


Creativity and critical thinking are essential for innovation in today’s digital world. Within the framework of Mons 2015 European Capital of Culture, the symposium will explore cultural and creative cross-overs to stimulate innovation, economic sustainability and social inclusion.
Théâtre le Manège, Mons

It has long been an established fact that innovation is at the core of a competitive economy but the skills needed to achieve it have evolved: in addition to scientific and technological skills, skills such as creativity has become essential. In this context, the Arts are gaining prominence as a catalyst for an efficient conversion of Science and Technology knowledge into novel products, services, and processes.

The symposium will address the constant appropriation of new technologies by citizens and artists in two sessions:

  1. Innovation in Citizen Practices: Content is the key
  2. Crossovers from Culture and the Arts to innovation in Society and Industry: Creativity is the key.

The European Commission recognizes the emergence of vital arts and research communities who work jointly on the unique usage of technology. It supports the new online platform StARTS – innovation at the nexus of Science, Technology, and the Arts – where artists and researchers can creatively innovate with ICT.

To get your personal invitation to the symposium, please complete the registration form here no later than 22 may 2015.

International POLYGLOT WEEK: call for podcasts for CREATIVE DISTURBANCE

As we just announced, we just posted our 100th podcast with a podcast with Nobel prize winner Amartya Sen

We are announcing INTERNATIONAL POLYGLOT DAY June 21 2015 when we will

1.)  Publish Podcasts in many different languages as possible
We have Bengali, Spanish, French, Arabic, English, so far- If you would like to publish a podcast about art, science and technology in

another language please contact me at:


2.) Podcasts that involve discussions with experts in as many different disciplines as possible
So far we have astronomy, geology, computer science, visual art, music, physics, literature, physiology, Biology, Cinema

If you would like to publish a podcast on art/science/technology from the point of your discipline

please drop me an email at

Include a few sentences about yourself and the podcast you would like to publish

Check out Creative Disturbance at:

roger malina


100 podcasts: Our first Nobel Prize winner speaks on Creative Disturbance


We are just approaching our 100th podcast on Creative Disturbance- our podcast driven intellectual dating service for the art, science, technology community of practice.

The 100th podcast features Nobel Prize winner Amartya Sen In this podcast,  Nobel Prize winner Amartya Sen sits down with the South Asia Democracy Watch director Syed Hassan, UT Dallas Asia Center director Monique Wedderburn and Beverly Hill, president of the Gendercide Awareness Project, to discuss a myriad of topics, including his roots in Bangladesh, his pioneering research in gendercide, and the state of public education today.

One of the goals of Creative Disturbance is to embed the discussions of the art, science, technology community in the larger societal context. The arguments for the need for deep processes of social embedding of art-science were developed in the SEAD report

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

This is coupled to the need to develop new methods of public engagement that addresses Helga Nowotny for ‘socially robust science” (  )- art-science needs also to be socially robust. We would be interested in hearing of art-science projects which engage with the issues discussed by Amartya Sen.

Roger Malina



UT Dallas is looking for a distinguished scholar in the history of modern and contemporary art


It is with great pleasure that I bring to your attention a call for applications for

Edith O’Donnell Distinguished Chair of Modern and Contemporary Art and Aesthetics

This is the fourth of five new distinguished chairs in art history in our new EODIAH Institute for Art History. We

have just filled the chair in Islamic Studies and there are offers out for the Chair in Conservation Science.
If you would like to learn more privately, feel free to contact me.  The new EODIAH center will be opening its premises

in the Art and Technology building- we are looking forward to the synergies between the Institute for Art History

and the new School for Art, Technology and Emerging Media ( for which a search for Dean is being launched)

Roger Malina



Edith O’Donnell Distinguished Chair of Modern and Contemporary Art and Aesthetics (paf150505) – UT Dallas Faculty Jobs – The University of Texas at Dallas

The School of Arts and Humanities

Edith O’Donnell Distinguished Chair of Modern and Contemporary Art and Aesthetics (paf150505) 


Applications and nominations are solicited for the Edith O’Donnell Distinguished Chair of Modern and Contemporary Art and Aesthetics at The University of Texas at Dallas. This position is one of five chaired professorships endowed in the newly created Edith O’Donnell Institute of Art History. In addition to the five faculty positions, the Institute endowment includes support for ten distinguished graduate student fellowships and generous support for research and outreach.

The appointee to this Distinguished Chair will have a leadership role in all dimensions of the new Institute. In this context, the appointee should have an internationally recognized record of scholarship, with research and publications that link the practice, theory, and history of “Modern” and “Contemporary” art, together with insights into Philosophical Aesthetics as they pertain to the visual arts. One of the goals of the Institute is the education of the next generation of leading scholars of art history and it is desired that the Distinguished Chair have experience and significant achievements in the realm of arts education at all levels. The agenda of the O’Donnell Institute also includes close and synergistic collaborations with the art museums, galleries, and collectors in the greater Dallas area, in particular with the Dallas Museum of Art. As such, it is desired that the appointee have an established record of achievements in these domains as well.

The University of Texas at Dallas is one of the leading public universities in Texas, with outstanding students and a faculty distinguished for their research accomplishments. Our university most recently was recognized in the Times Higher Education “Top 50 under 50″ ranking of universities created worldwide during the last fifty years as one of the three U.S. universities in the top twenty, along with the Universities of California at Irvine and Santa Cruz. The Dallas-Ft. Worth metropolitan area is experiencing dynamic economic growth and its vibrant cultural life features an array of prominent museums of art.

Review of applicants will begin immediately and continue until the position is filled. Indication of gender and ethnicity for affirmative action statistical purposes is requested as part of the application. Interested scholars may request additional information by contacting Vice Provost Richard Brettell, Margaret McDermott Distinguished Chair and Founding Director of The Edith O’Donnell Institute of Art History, via email at

Applicants should provide the following information: curriculum vitae, statement of vision, and full contact information for five or more professional references via the ONLINE APPLICATION FORM available below.

Posted on: May 05, 2015

What is art when a US higher education in art and design can require over $100,000 US ?


In the US there is rising concern about the rapidly increasing cost of higher education with students having to take out large loans to pay tuition

Here is a report that looks at the situation in particular in art and design 

Concerned about the impact of debt, rent, and precarity on the lives 

of creative people, we make media and connect viewers to existing organizing work.

In parallel there is a large growth in groups and institutions offering on line certificates

In the art and technology community institutions like CALARTS have been experimenting with

on line courses that are free

California Institute of the Arts
Live!: A History of Art for Artists, Animators and Gamers
with Jeannene Przyblyski, Ph.D.
California Institute of the Arts
Introduction to Programming for Musicians and Digital Artists
with Ajay Kapur
But these courses are not being offered now.
Many employers however now consider certificates valid evidence of higher education accomplishments from job applicants.
One can imagine in twenty years that much of higher education will be structured
in ways that offer alternatives to paying a over $100,000 for some 4 year art and design programs
Roger Malina

Art-Sci-Tech PhD and MA students unite ! invitation to blow your horn


As we near the end of the academic year, we would like to bring the Leonardo Abstract Service (LABS) to the attention of students and educators. Students who will be receiving an M.A., M.F.A. or Ph.D. in a subject related to the intersection of art, science and technology are encouraged to submit an abstract of their thesis to the LABS database. The LABS database functions as a way for international artists and scholars to learn about the work of the next generation. The database is peer-reviewed, and the top-ranking authors will be invited to submit an article on their work for publication in Leonardo Journal. Additionally, abstracts ranked highest by our peer reviewers are published on Leonardo On-Line and recognized in Leonardo.

Deadline to submit: 30 June 2015.

For more information and to submit an abstract, contact LABS Editor-in-Chief Sheila Pinkel, at


In addition Creative Disturbance is happy to post podcasts by any MA or PHD student who submits their abstract to the LABS data  base

send us a podcast for broadcast on the Bold Roast Channel of Creative Disturbance which features international PhD and MA students


Contact me at rmalina)at) to submit a podcast about your thesis


LABS is a comprehensive database of abstracts of Ph.d, Masters and MFA theses in the emerging intersection between art, science and technology. Persons who have received advanced degress in arts (visual, sound, performing, text), computer sciences, the sciences and/or technology which in some way investigate philosophical, historical, critical or applications of science or technology to the arts are invited to submit an abstract of their thesis for publication consideration in this database.

The LABS Peer Reviewers for 2014-2015:

  • Yiannis Colakides is the co-director of NeMe (New Media), Limassol, Cyprus.
  • Tom Leeser is the Program Director of the Art and Technology Program in the School of Art and the Director of the Center for Integrated Media at the California Institute of the Arts, Valencia, California.
  • Emmanuel Mahe is Director of Research at ENSAD, Higher School of Visual Arts and Design, Paris, France, which recently launched a PhD in “Science and Art Creation Research.”
  • Soraya Murray is Assistant Professor in Film and Digital Media at the University of California, Santa Cruz and is affiliated with the Digital Arts and New Media MFA Program, and the Center for Games and Playable Media.
  • Timothy Murray is Curator of the Rose Goldsen Archive of New Media Art, Director of the Society for the Humanities, and Professor of Comparative Literature and English at Cornell University.
  • Andrea Polli is Associate Professor of Fine Art and Engineering at the University of New Mexico Albuquerque.
  • Martin Reiser is a visiting Professor at the Pervasive Studios UWE and Visiting Research Fellow at Bath Spa University.
  • Charissa N. Terranova, PhD, is Assistant Professor of Aesthetic Studies, School of Arts & Humanities, The University of Texas at Dallas.
  • Iannis Zannos is a professor of audio and interactive media arts at the Department of Audiovisual Arts and at the postgraduate course in Arts and Technologies of Sound of the Music Department at the Ionian University, Corfu.

The English abstracts will be placed on-line at Pomona College, Claremont, California,  so that interested persons can access them at no cost. An international Peer Review Panel (PRP) made up of academics and artists will review the abstracts; the PRP is chaired by Emerita Professor Sheila Pinkel of Pomona College. In addition to being published in the database, a selection of Abstracts selected by this panel for their special relevance will be published quarterly in Leonardo Electronic Almanac (LEA), Leonardo’s peer reviewed e-journal, and authors of abstracts most highly ranked by the panel will also be invited to submit an article for publication consideration in Leonardo Journal. Authors of theses interested in having their thesis abstract considered for publication should fill out the Thesis Abstract Submittal form.

For any changes to your abstract, email ITG with the LABS number and changes to be made to the record.
Roger Malina



Earth Day is an event celebrated worldwide to show support in protection of the environment and honor the Earth.

Please join us (and over 192 countries)  . Beginning April 22 we are posting on CREATIVE DISTURBANCE  a series of podcasts about our “sense

of place” on the planet Earth, discussing art-science connections from Antarctica to South Africa to the expanding deserts in the American

south west.


Listen to them on Stitcher, I Tunes, podcast addict, sound cloud  or on the Creative Disturbance Earth Day page at:
Geologist Susan Erickson, producer on the Art and Earth Science Channel on Creative Disturbance

Has been posting a series of podcasts  addressing the way artists have used the Earth as inspiration and as subject matter for millennia. The channel highlights existing projects and discuss where the geosciences and artists can collaborate to bring new insights to what happens at the boundary between the disciplines. We are particularly interested in building research agendas to support this growing field.
Some of the podcasts to date include:

Matthew Garcia discusses his desert-based art and ecology initiative – DesertArtLAB.  Desert ArtLAB seeks to inform a discourse of place in desert urban landscapes, while challenging desert residents to consider how indigenous desert ecology can inform identity, equality and resilience in our desert communities

Artist Diane Burko with student participant Emily Moore and scientist Danielle Bianchi report from the Drake Passage after a week ‘on ice’ in Antarctica.

Dr. Kathy Ellins and Dr. Susan Eriksson address the current status of art and earth science collaborations and new directions that could bolster their utility in geoscience research and education. Dr. Kathy Ellins works in the office of Outreach and Diversity in the Jackson School of Geosciences at the University of Texas at Austin, while Dr. Susan Eriksson is an independent consultant and a research fellow in the ArtSci Lab at The University of Texas at Dallas.
Roger Malina