OK so whats really new and exciting in the art science technology field ? tell us

Call for 5-Year UpdatesThe SEAD Network is collecting input about significant developments over the past few years and would like to solicit your thoughts. Submission deadline: 1 November 2015.


drop me an email at: rmalina(at)alum.mit.edu

The report we published this year at MIT Press  is available for free

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

Roger F. Malina, Carol Strohecker, and Carol LaFayette, on behalf of SEAD network contributors

In 2012, The Network for Sciences, Engineering, Arts, and Design (SEAD) launched a White Papers initiative to build community awareness of perceived challenges and opportunities for transdisciplinary collaboration across the breadth of science, engineering, art, design and the humanities. The resulting study takes note of the growing international interest and development of initiatives in universities, corporations and civil society.This synthesis report offers a set of “action clusters” common to texts from the international response by SEAD members. Suggested Actions are structured according to similarities of motivation and purpose, and addressed to specific stakeholders.

The SEAD White Papers initiative was chaired by Roger Malina and co-chaired by Carol Strohecker, with the assistance of an international Steering Group and coordination by Carol LaFayette and Amy Ione, Managing Editor. The report contains images from SEAD collaborators and links to all White Papers contributions.

SEAD was funded under the US National Science Foundation (NSF) Grant No. 1142510. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the National Science Foundation.

Download the report for free at : http://www.mitpressjournals.org/page/NSF_SEAD
We will be submitting the updated report to the US National Science Foundation, the EC STARTS program, the US National Endowment for the Arts and other agencies funding research and art work in art/sci/tech

Roger Malina



Roger Malina retirement party !!


If you are in Marseille come to my…retirement party from the CNRS  !

My new base of operations is the artscilab at utdallas :  http://artscilab.utdallas.edu/

and of course

Leonardo Olats in Paris: www.olats.org


Leonardo/ISAST in San Francisco: www.leonardo.info

My colleague David Peat jokes that one of the un-tapped growing resource on the planet

is 66 year old retired physicists
Who is going to invent the “uber’ to hire a retired physicist ?


Laboratoire d’Astrophysique de Marseille

Please join us to celebrate the retirement of Roger Malina on July 02nd at noon.

We will introduce and welcome our new staff and take time to tchat before
some of us might leave for summer holidays.

Following these events, an all-staff lunch will be served in the entrance hall.



Review of Archeologie of Media Exhibition in Aix en Provence

Une Archeologie des Media, Exhibition, Seconde Nature, Aix en Provence, France.

22 May- 28 June 2015

Curated by PAMAL (Preservation and Art- Media Archeology Lab) and ESA Avignon.


Archeologies des Media, , Emmanuel Guez Guest Editor ,Magazine des Cultures Digitales #75, Paris, France,2014, 114pp, illus. ISBN 978-2-36807-043-7 ISSN 1638-3400

Reviewed by Roger F Malina, School of Art, Technology and Emerging Communication, University of Texas at Dallas, and Executive Editor Leonardo Publications, MIT Press, USA.

I managed to catch the excellent exhibition “Une Archeologie des Media’ on its last day at Seconde Nature in Aix en Provence, France (http://www.secondenature.org/-Archeologiedes-Media-.html). I was the only visitor in the well laid out and airy rooms, the only sounds were occasional chirps from some of the 30 year old computer equipment on display. Curated by the group PAMAL “Preservation and Art- Media Archeology Lab” at the Ecole Superieure d”Art d’Avignon, the exhibition included ten installations displayed as art works. These ranged from slide ‘re-enactments’ of Eduardo Kac’s 1985 videotext poems, to recoding manifested as menus of DOEK Jan de Weille and Annie Abrahams 1990 Amiga 500 proto net-art, to a staging of Scrumology Prod 2015 collaboration art and technology scrums. The rooms came across as strange combinations of mausoleum and animist ritual chambers. The pieces ‘spoke’ as cultural artefacts rather than as artworks. The exhibition would have been totally at home in Paul Otlet’s  1910  “Mudaneum’, which he envisaged as ”  as an enormous intellectual warehouse of books, documents, catalogues and scientific objects. Established according to standardized methods, formed by assembling cooperative everything that the participating associations may gather or classify. “(Union of International Associations, 1914, p. 116). In fact their status as artworks seems irrelevant to me, they are clearly evidence of artists’ roles in articulating digital culture as it happens, as early adopters of new technologies, but not only smart users but smart developers – pushing their development in directions driven by agendas very different than those of the hardware and software designers. It seemed to me the exhibition managed to display, in uneasy equilibrium, display of hardware (functional or not), emulation or performance of work, display of work intended on line and not in physical space , explanatory material and a successful contextualization of work that was not intended to be shown together.

The accompanying issue of MCD, Magazine des Cultures Digitales, guest edited by Emmanuel Guez, provides an excellent snapshot of current discussions in the Archeology of Media. (MCD has become a leading theoretical and contemporary digital art magazine in France). The issue provides a number of well-developed texts surveying Archeology/Recycling, Exhibition, and Conservation. The texts are remarkably free of usual contextualizing to our favorite ‘french’ philosophers; their list of ‘key’ books are those by Friedrich Kietler, Siegfried Zielinksy, Erkki Huhatamo and Jussie Parikka (there is little discussion of variable media approaches – our very recent Leonardo Book- Re-Collection: Art, New Media and Social Memory by Richard Rinehart and Jon Ippolito would have been a good addition). The issue has a refreshing mixture of theoretical/conceptual articles and texts by artist/developers and curators and comes across as a productive nexus of theory and practice.

The PAMAL (http://pamal.org/ ) groupe at the Ecole Superieure d’Art d’Avignon, led by Emmanuel Guez,  has a strategy that reminds me of that developed by groups such as Triple Canopy in New York; their practice combines research, exhibition and interventions as ways of unpacking the ‘history and meaning of things as they happen’.  PAMAL has three interconnected axes on conservation/restoration/archeology of media, Digital Art Vanishing Ecosystem which seeks through artistic experimentation to re-enact and develop work with a particular interest in the glitch (the MCD issue has number of interesting discussions on bugs and glitches), and a third which is curatorial and exhibition theory and practices.


The archeology of media field is benefit of the long life expectancy of the generation of pioneers many of whom are living and active in their 80s and 90s and in a position to ‘push back’ on the young historians, curators and theoreticians trying to write multiple narratives of our art, science, technology fields of practice. By coincidence the exhibition Primary Codes (http://www.oifuturo.org.br/evento/codigos-primordiais/) is running15 Jun — 16 Aug 2015 at Oi Futuro Flamengo in Rio de Janeiro, Brazil with staging of early work by Frieder Nake, Paul Brown, Harold Cohen and Ernest Edmonds- all three early pioneers in computer arts and still very active; these four artists have plenty to say on how the archeologists of media mis-interpret or mis-read developments that they were players in.


As pointed out by Kittler, Huhtamo, Grau and others, many of the underlying cultural imaginaries have long histories particularly as they are tied to emerging recording and transmission technologies in the nineteenth century. Yet often current artistic work is driven by a sense of a-historical immediacy ( eg the current déjà vu of the oculus rift). As I have argued elsewhere, we are seeing the development of what might be called the ‘hard humanities’ where historians and theoreticians find themselves not only articulating narratives of the past but also being asked to be pre-scriptive on future cultural change and innovation. In this we benefit not only from the pioneers still alive an able to challenge our interpretations, but also the creation of hybrid spaces where artists, historians, theoreticians and curators work elbow to elbow if not linking arms.

Call for podcasts in arabic on art/science technology topics

Call for podcasts in arabic on art/science technology topics

Creative Disturbance is keen to feature podcasts by artists/researchers/scholars on the south bank of the Mediterranean dealing with art/science/tech topics-

a number of podcasts in arabic have now been posted on Creative Disturbance


 We are also pleased to announce the first Podcast from the new RAMI channel (  http://creativedisturbance.org/channel/rami/ )

for Encounters on Arts and Multimedia around the Mediterranean Sea

the first podcast is with 

Mayye Zayed

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



We welcome nominations of people we should contact to do a podcast – in arabic or any other language spoken on the south bank of the mediterranean  !!

Contact me at rmalina(at)alum.mit.edu if you would like to submit a podcast or be contacted to record a podcast.

roger malina

Help Arts Catalyst create a new center for Art, Science and Technology


Arts Catalyst in London is a long term Leonardo partner and collaborator= help them crowdfund for their new center !

Roger Malina

Help us to create The Arts Catalyst’s Centre for Art, Science and Technology



The Arts Catalyst plans to open a new Centre of Art, Science and Technology, in the heart of Kings Cross, on a site offered to the organisation on a long lease by Camden Council. Today our campaign launches on the Art Fund’s crowd-funding platform ‘Art Happens’, aiming to raise £15,000 for the centre.

We have rewards for our supporters, including exclusive artworks from Tomas Saraceno, Melanie Jackson and We Colonised the Moon. Two unique experiences are also available: ‘Meet a Rocket Scientist’ – have a guided tour of The Mullard Space Science Laboratory with Dr Lucie Green and ‘Hold a Meteorite’ an evening with the Royal Observatory’s public astronomer, Dr Marek Kukula at The Arts Catalyst’s new centre.

The centre will provide a dynamic focus for The Arts Catalyst’s international programme of artists’ commissions, exhibitions and research. In the past year, the organisation’s exhibitions and commissions have attracted more than 164,000 visitors worldwide.

The new centre will host exhibitions, residencies, workshops, talks and events. As the site of generative projects, it will seed ideas that may scale up from the intimate rooms to produce large scale and long-term commissions, both nationally and internationally. At the same time it will serve as a site for consolidation and reflection, hosting ‘notes from the field’ from The Arts Catalyst’s larger off-site work.

The centre will allow The Arts Catalyst to embed itself the local constituency of Kings Cross, tapping into the rich scientific and cultural heritage of the area and building long-term relationships with local cultural organisations, universities and laboratories, as well as local residents and community groups.

It will be located on 74-76 Cromer Street, Bloomsbury. Architects Simon Jones Studio, whose previous clients include House of Voltaire, Pompidou Centre and Raven Row, will transform the former double shop to create a flexible exhibition, symposia, social, workshop and archive space.

Please support us on social media to spread the word far and wide!


Thank you from The Arts Catalyst team.

Witnessing the rebirth of Visual Music practice



Ricardo Dal Farra has announced a new Understanding Visual Music Group as an outcome of the Visual Music Conference that was just

held in Brazil– this is an area that is seeing a rebirth ( after waves of visual music practice last century) enabled by new ideas in representation

in digital media


its a google group


Roger Malina
Based on suggestions coming out from colleagues attending the “Understanding Visual Music – UVM” conference 2015, an e-group has been created.

Please, feel free to join the list and use it. The proposal is to have this possibility to discuss different topics of interest for visual music.
While relevant information of events and activities could be posted, the purpose is on considering different topics to further our conversation around them.a

People joining the list must identify themselves with their names and last names to do not be moderated, this should make the exchange more transparent to everyone.

Hoping this initiative will be useful for the visual music community, I am sending you my best regards,

Ricardo Dal Farra
Founder of “Understanding Visual Music – UVM”

UVM 2011 @ Canada = http://uvm2011.hexagram.ca
UVM 2013 @ Argentina = http://ceiarteuntref.edu.ar/uvm_symposium
UVM 2015 @ Brazil = http://uvm2015.unb.br/index.php/agenda

About this group:

While the “Understanding Visual Music – UVM” forum is open to all proposals relevant to this field, it will focus on research that addresses visual music’s multiple definitions, questions around its aesthetics and meaning, hierarchy and correlation of sound and image, and the audience’s perception.

Looking for a job in Spain ?: Artistic Director of Laboral open for applications


I serve as a scientific advisor to the LABORAL center in Gijon Spain and bring to your attention the

position of artistic director that is advertised- deadline is aug 28 for applications



roger malina

Call for the post of Artistic Director

LABoral Centro de Arte y Creación Industrial has launched an international call for the post of Artistic Director. Applications should be sent, before 00 pm 28 August 2015



LABoral is seeking an Artistic Director who is a professional with broad experience in the field of the arts, with international prestige, and ready to continue developing a project that is unique and pioneering by definition, in accordance with its strategic plan.


– Holder of a university degree, with a minimum of a Bachelor’s degree or equivalent.
– Demonstrated extensive knowledge and experience in the field of contemporary art, technology, and industrial creation.
– Demonstrated outstanding trajectory and experience in the various areas of contemporary artistic practise: production, research, and dissemination.
– Creativity, a global and innovative vision, dynamism, and initiative as demonstrated in curated exhibitions, finished projects, published texts, papers at conferences, and participation in roundtables devoted to contemporary art practices and industrial creation.
– Demonstrated thorough knowledge of art systems (criticism, market, artists, associations, institutions) as well as new emerging models of contemporary cultural production.
– To have a demonstrable network of national and international contacts (with particular emphasis on Europe) in the field of art, technology, and contemporary industrial creation, in order to be able to contribute to maintaining the position of LABoral as a centre of international projection and to develop an outstanding activity programme in close collaboration with other institutions, so the Centre can be a leader in international collaborative projects.
– Be capable of advancing knowledge and programming exchanges with similar or complementary centres, institutions, or organisations in order to position and integrate the Centre within local, national, and international collaborative networks.
– Accredited know-how and experience in the field of research and development and business, social, scientific and technological innovation and in the creation and management of frameworks for interdisciplinary collaboration.
– To have ability to communicate expert knowledge, and to promote the involvement and participation of diverse audiences.
– Accredited ability and experience in proposing, implementing and developing lines of collaboration with the context of the local and regional community in which LABoral is located, with the purpose of cooperating with and advancing it.
– Knowledge of digital communication tools (web, social networks, etc.) and ability to get the most out of them within the LABoral field of action (artistic purposes, archives, mediation and dynamisation).
– Ability to represent LABoral across all spheres in order to develop and expand internal and external relationship networks.
– Good communication and teamwork skills.
– Demonstrated skills in communication, negotiation, planning, and management.
– Ability to adapt to diverse circumstances (artistic, socio-economic, and/or institutional) and to contribute solutions to adjust to each of them while adhering to the spirit and philosophy of the Centre.
– Demonstrate sufficient knowledge of the network of agents who may contribute economic and cultural resources to the institution, as well as the capacity to develop alliances and strategies in collaboration with Senior Management that will attract, engage with and enrich this network of partners.
–   Full command of English and Spanish.


– The Artistic Director will lead the team in the management and coordination of the activities to be developed by the Foundation. He/She will be asked to examine the organization chart and propose to the Board of Trustees the necessary changes to ameliorate the activities programme, prioritizing the growth of the team and supporting them in order to achieve ambitious objectives.
– Encouraging a team spirit to strengthen the institution, locally, nationally and internationally.
– He/She will be held responsible for the activities’ budget with the support of the Managing Director. He/She will establish the budget and the income scheme for the activities, using private and public resources for this purpose. He/She will develop a dynamic fundraising strategy, trying to involve corporations and individuals in order to balance the activities programme and the resources that are put in his/her disposal.
– Responsible for developing a programming strategy for every area of the Centre: production, education, research.
– Will lead the development of a theoretical discourse in the framework of the direction and management project of LABoral and the conceptual lines that derive from it.
– Will draw the conceptual lines of LABoral through production and research projects, exhibitions, encounters, or any other activities.
– Will establish programming lines that will promote the integration of activities in such a way that all areas (production, education, and research) will complement one another.
– In the elaboration of the activities programme, the Artistic Director will take into account the importance of contributing to the maintenance and expansion of a broad community of users.
– The Artistic Director will be actively involved in the Asturian art scene and think of strategies for its promotion, development through training, integration, and other opportunities in the global context.


Applications should be sent, before 00 pm 28 August 2015, to the Secretary of La Fundación D. José Pedreira, vía email to secretario@laboralcentrodearte.org or by registered post in a sealed envelope that, on the outside, visibly indicates

LABoral Centro de Arte y Creación Industrial
Los Prados, 121. 33394 Gijón
Cover letter, CV
Application form





Roger F Malina


POLYGLOTS OF THE WORLD UNITE – speak in tongues about art science technology


Our experimental platform CREATIVE DISTURBANCE is developing in exciting ways- a key value

of the project is to develop multilingual ways of professional podcasting to reach different and deeper

audiences- as part of this we are celebrating INTERNATIONAL POLYGLOT DAY ( yeah we invented it)


Creative Disturbance is pleased to present International Polyglot Day to promote linguistic and disciplinary diversity. Every language and every discipline is a reservoir of deep contextual knowledge and wisdom, and we seek to detect and reinforce unlikely connections between these different perspectives in our community.

We are happy to promote podcasts in the following languages: Arabic, Japanese, German, French, Spanish, and English. ( there are a number of on line audio software applications )

And some of the featured disciplines include: Molecular Biology, Digital Humanities, Space Art, Complex Networks, Art History, Engineering, Music, Film, Virtual Reality and more!

مقابلة مع ياسر جرادي ، الفنان التونسي والموسيقار الذي خلق الأعمال المبتكرة في العالم العربي . في البودكاست ، ناقشنا التقدم في فن الخط وكذلك استخدام التكنولوجيا ووسائل الإعلام الجديدة. تحدثنا أيضا عن أهمية إقامة اتصالات في جميع أنحاء العالم مع فنانين آخرين لخلق تبادل المعرفة و التعبير الفني

生命起源仮説として圧倒的な支持を得ている RNA ワールドであるが、果たして本当に RNA ワールドは実際にこの世界で成り立ちうる可能性があるのだろうか?「生命とは何か?」 から RNA ワールドを考え、我々の実験成果である DNA-RNA キメラリピッドの構造体形成 に関して、意義をディスカッションした

Im Frühjahr 2015 besuchte Doron Goldfarb vier Monate lang Maximilian Schich’s Cultural Science Lab am Edith O’Donnell Institute of Art History der University of Texas at Dallas. In diesem Podcast diskutieren Max und Doron ihre Zusammenarbeit bei der Analyse von Netzwerken von Millionen Personenbiographien in Wikidata, der neuen Fakt­Datenbank für Wikipedia.

A partir d’une anecdote sur Paul Klee, Yasser Jeradi, auteur de l’un des airs les plus populaires de la révolution tunisienne (“Dima Dima”), nous entretient sur son rapport à la calligraphie et aux outils numériques qu’il considère comme de nouveaux “espaces de sensibilités”. Le podcast s’achève sur l’évocation d’un festival d’art numérique dans le désert tunisien.

La Gravedad de los Asuntos (1/2) [ES]

En este podcast Ale y Nahum nos platican del viaje emocionante que realizaron junto con otros artistas mexicanos que tomo dos años de preparación y concentración para realizar obras de arte en gravedad cero. Su preparación y coordinación los llevo a abordar un avión en Rusia que le permite sentir a sus pasajeros la gravedad cero por cuestiones de segundos. Con solo menos de un minuto y medio en total en gravedad cero ellos lograron romper paradigmas y cuestionar nuestro conocimiento acerca de la gravedad e interpretar esto en las obras de arte que realizaron y que actualmente se encuentran en exhibición alrededor del mundo.

VR Film Distribution: Looking Ahead

We discuss the work of Littlstar, and the future of distribution of VR content



Roger Malina


Edmond Couchot – memoirs of a pioneer in art and technology


We have issues a call for pioneers in art/science/technology for their memoirs

If you did important work before 1984 contact us  and we will be delighted

to publish a memoir= contact me at rmalina@alum.mit.edu



For those of you who can read French, I deeply recommend the
Memoirs of Edmond Couchot about his envolvement in
digital/new media art and his recall of the French scene
from the late 60′ to the 80’s that I had the great pleasure
to publish on the Leonardo/Olats website in the Leonardo
Series “Memoirs / Témoignages”


Roger Malina

How Art can Change Science ?; what was on roger’s mind in Poland


May 14 I had the pleasure of participating in the Symposium ‘ How Can Art Help Science” organised

by Ryszard W. Kluszczyński at the WRO Biennale of Media Art in Wroclaw, Poland. It was a lively

day and the videos are now going up on line: https://vimeo.com/wrocenter 

In my talk I argued that we should not be asking how “art can help science” ( the question that

Roy Ascott framed 20 years ago) but rather “how can art “change’ science”. My core argument

is that we are in the middle of a deep change in representation, as deep as 3 dimensional

perspective. That the question has shifted from data illustration, to data visualisation

and now data representation- and as argued by historian Dan Boorstin this is a profound

epistemological shift- when new systems of representation have been invented this will

change the way science is done, and what science studies- just as did the invention

of the telescope/microscope or 3d perspective. Here is the video of my talk- I found a couple

of errors of fact and enthusiastic exaggeration – all comments welcome

roger malina