I am attending this working shop and am interested in any inputs or thoughts you might have. roger malina
Re/Search: Art, Science, and Information Technology
A Joint Meeting of the National Science Foundation and the National Endowment for the Arts
This workshop seeks to advance exploration at the intersection of art and science. Areas of particular interest include evolving forms of digital and electronic media, human‐centered computing, videogame design and technology, digitally‐mediated performing and visual arts and research that can lead to a better understanding of these fields.
The primary purpose of this discussion is to lay the foundation for articulating the types of inquiry that both lie at the intersection of concerns of the National Science Foundation (NSF) and National Endowment for the Arts (NEA) as well as represent opportunities for advancing scientific knowledge and new forms of artistic research, output and engagement.
To accomplish these goals, we seek to create a new dialogue among influential thought leaders who can help guide us towards innovation and positive change. The workshop will include highly interactive working groups and brainstorming sessions around key topics and questions as:
• How can we identify innovative, and/or emerging practices being discovered at the intersection of art and science that are potentially transformative and/or deserving of governmental recognition and support?
• How can we explore and understand the impacts of creativity and critical interpretation theories on research and innovation in cognitive science, computer science, engineering, technology, art theory, and/or the social and behavioral sciences?
• Are there metrics we can use or design that can determine the value and impact of interdisciplinary collaborations between Computer & Information Science & Engineering related disciplines and disciplines that exist in the arts and humanities?
• Are there qualitative methods for critically interpreting and measuring the impact of technology‐rich creative endeavors that are resistant to established assessment oriented‐frameworks?
• What role can the arts play in developing strategies and finding creative solutions in environments where the arts do not traditionally come into play.
Goals & Objectives
• Fostering dialogue in support of interagency and inter‐institutional collaboration and resource opportunities.
• Identifying points of intersection between human‐centered computing, information‐technology research, digital media arts, creative disciplines and cognitive science.
• Developing a field impact report about the needs, approach and benefits of a sustainable platform for interdisciplinary research for the creative information technology field. We hope that you will be able to participate in this groundbreaking conversation and join us in this national effort to foster innovative collaboration among creative practitioners in the arts and sciences.
amy found these abstracts of other funded art-science workshops or conferences funded=
I will be one of the keynote speakers atthe Exploratorium
described below
roger
Award Abstract #1057645
Conference: Research at the Interface of the Life Sciences with the Arts, to be held in Washington, DC – December, 2010
NSF Org: DBI
Division of Biological Infrastructure
Initial Amendment Date: August 12, 2010
Program Manager: Sally E. O’Connor
DBI Division of Biological Infrastructure
BIO Directorate for Biological Sciences
Start Date: August 15, 2010
Awarded Amount to Date: $31390
Investigator(s): Christopher Comer christopher.comer@umontana.edu (Principal Investigator)
Ellen McCulloch-Lovell (Co-Principal Investigator)
NSF Program(s):
RESEARCH RESOURCES
ABSTRACT
This award provides funding to organize a conference on “Research at the Interface of the Life Sciences with the Arts.” The PIs will assemble a two-day conference to explore the potential for research and scholarly interaction of science (especially the life sciences) with the arts and the humanities. The conference will be held in Washington, D.C., with the expected co-sponsorship by the National Endowment for the Arts (NEA). The Conference will bring together approximately 25 participants, who will discuss the implications of their work, and/or form collaborations between and amongst themselves, in order to tackle problems in which both the scientific and the arts/humanities expertise are brought to bear on important public issues. Examples of potential discussion topics include how authors engage a person’s attentional circuitry and mimic memory; how dancers explore methods by which body movements can be used to demonstrate and investigate concepts of neurobiology, etc. This Conference will bring seemingly disparate disciplines together to find some commonalities and complementarities, in hopes of advancing both fields. Both biology and arts/humanities experts are expected to participate, with a focus on intellectual, and gender and ethnic, diversity. The PIs, one coming from neuroscience and the other from arts/humanities, will identify and select individuals to create the right balance in order to increase the likelihood for productive discussions. The PIs hope that stimulating dialogues would lead to a broader array of tools that both artists/humanists and scientists could use. A likely outcome of this discourse is the use of visual and performing arts and humanities in communicating science to the public. For more information, please contact Dr. Chris Comer at christopher.comer@umontana.edu, or Dr. Ellen McCulluch-Lovell at emlovell@marlboro.edu.
Award Abstract #1002820
Pilot: Qualitative Analysis of Creative Practices in Parallel IT and Art Projects
NSF Org: IIS
Division of Information & Intelligent Systems
Initial Amendment Date: July 31, 2010
Program Manager: Pamela L. Jennings
IIS Division of Information & Intelligent Systems
CSE Directorate for Computer & Information Science & Engineering
Start Date: August 1, 2010
Awarded Amount to Date: $226495
Investigator(s): Jay Bolter jay.bolter@lcc.gatech.edu (Principal Investigator)
Juan Rogers (Co-Principal Investigator)
NSF Program(s): CreativeIT
ABSTRACT
This project studies the creative practices of artists and computer scientists/engineers as they work independently to develop novel computing technologies. The goals are to use knowledge gained through this study to both inform computing research as well as to create and evaluate an educational framework for fostering innovation within computing, information science, and engineering (CISE) and science, technology, engineering, and mathematics (STEM) education. At Georgia Institute of Technology, artists are contributing to the future of computing through the doctoral program in Digital Media. Some of these artists are developing novel computing technologies that parallel work being done in computer science and engineering labs at Georgia Tech. For example, a computer scientist who has developed a wearable sensor network for Navy soldiers is adapting his technology into a SIDS monitoring garment for infants. Separately, an artist is adapting technology she has used in an interactive sculpture to an infant swaddler for SIDS prevention. These common technologies and goals place their work in dialog, allowing direct comparison of creative work practices and outcomes. This project will study pairs of artists and computer scientists/engineers working independently on parallel computing projects to find similarities and differences in their creative work.
This study will pose questions such as ?What common ground may be found between an artist?s and a computer scientist?s prototyping methods?? and ?How do artists and computer scientists incorporate or defy disciplinary training in their approach to innovation?? The study will establish a methodology and framework for understanding the mindsets and work approaches of creative practice in computing, engineering, and art and design. The knowledge resulting from this study will help researchers and educators in computer science, digital media, engineering, and the arts orchestrate creative projects in their own disciplines while incorporating knowledge and practices from other disciplines. In the second year, the study researchers will implement a course at Georgia Institute of Technology?s undergraduate Computational Media program that embodies knowledge gained about creativity across the disciplinary boundaries of art and computer science. This work in curriculum design will contribute in tangible ways to the NSF STEM initiative through publication of both the curriculum and classroom results.
Award Abstract #0924379
Doctoral Dissertation Research: Hannah Rogers: SymbioticA: The Practices of Art and Science
NSF Org: SES
Division of Social and Economic Sciences
Initial Amendment Date: September 1, 2009
Program Manager: Kelly A. Joyce
SES Division of Social and Economic Sciences
SBE Directorate for Social, Behavioral & Economic Sciences
Start Date: September 15, 2009
Awarded Amount to Date: $10797
Investigator(s): Judith Reppy jvr2@cornell.edu (Principal Investigator)
Hannah Rogers (Co-Principal Investigator)
NSF Program(s): SCIENCE, TECH & SOCIETY
ABSTRACT
This doctoral dissertation research improvement grant–funded through the Biology & Society initiative between the Biological Sciences Directorate and the Science, Technology & Society (STS) Program at NSF–supports research that explores the question of how “art” and “science” work as categories that circumscribe bodies of knowledge. The research interrogates how knowledge communities label and materially shape artistic and scientific objects in various contexts. This research focuses on bioartists and how they understand and struggle with materials associated with biological knowledge production. Through their work, bioartists demonstrate and contest broader aesthetic, ethical, and political values. The members of the bioart movement use biological materials and laboratory techniques to create projects that critically question modern biology.
This project conducts an ethnographic study at the artist-run biological research laboratory, SymbioticA, located at the University of Western Australia. SymbioticA actors position their activities according to a particular understanding of the art/science distinction. This investigation of bioart work can offer new ways to think about how the public can be engaged in scientific issues and the democratization of science through art.
The research will also contribute to scholarship on how knowledge systems work by unpacking the categories of art and science. The project will show how social actors in different contexts rhetorically produce knowledge as either “art” or as “science.” The intellectual merit of this project is insight into the nature of specific critiques in the life sciences and contributions to current STS scholarship that analyzes concepts as categories. A broader impact of this research is that it investigates how art can inform and engage our understanding of science.
PUBLICATIONS PRODUCED AS A RESULT OF THIS RESEARCH
Rogers, Hannah Star. “Superhuman: Revolution of the Species,” Leonardo Reviews Online, v.January, 2010, p. n/a.
Award Abstract #0905069
Art As a Way of Knowing Conference: Artists at Work in Research and Science Education
NSF Org: DRL
Division of Research on Learning in Formal and Informal Settings (DRL)
Program Manager: Alphonse T. DeSena
DRL Division of Research on Learning in Formal and Informal Settings (DRL)
EHR Directorate for Education & Human Resources
Start Date: September 1, 2009
Expires: August 31, 2011 (Estimated)
Awarded Amount to Date: $249271
Investigator(s): Peter Richards prichard@exploratorium.edu (Principal Investigator)
Susan Schwartzenberg (Co-Principal Investigator)
divider line
ABSTRACT
The Exploratorium is conducting a two-day conference in the fall of 2010 that will bring together professionals from science education, science research, arts practice, educational research, and museum exhibition and education. Organized around three key themes of history of art-science collaborations, program design, and research, the conference will bring together pioneers of art-science programming and innovators in exhibits, museum education, and educational research to consider the impact of arts on the theory and practices of engaged, interactive learning in science, technology, mathematics, and engineering. The attendees will also consider future directions for art-science-education interactions. Complementary deliverables are a conference Web site and publications, as well as extensive dissemination of results to the arts, science and education communities.
Award Abstract #0824762
NSF Workshop on Art, Creativity and Learning, to be held at the National Science Foundation and at the Philips Collection, Washington, D.C., June 11-13, 2008
NSF Org: SBE
Directorate for Social, Behavioral & Economic Sciences
Program Manager: Soo-Siang Lim
SBE Directorate for Social, Behavioral & Economic Sciences
Start Date: May 1, 2008
Awarded Amount to Date: $68757
Investigator(s): Christopher Tyler cwt@ski.org (Principal Investigator)
ABSTRACT
Can learning to play the piano enhance your mathematical skills? Can exposure to great works of art enhance creativity and learning in engineering? People have often wondered about links between artistic training and education on the one hand, and ostensibly non-artistic cognitive abilities on the other hand. Early evidence suggests that education in the arts may facilitate creative thinking and effective problem solving across a broad range of intellectual domains. Neuroimaging studies reveal differences in the brains of artists vs. non-artists, which are stronger in those who started arts training early. Illuminating links between the arts and other intellectual domains, and the effects of artistic training on the brain, would both broaden and deepen our basic understanding of human learning.
With support from the National Science Foundation, Dr. Christopher Tyler is organizing a workshop on art and creativity as they relate to the Science of Learning. A diverse group of scientists, educators, and historians will come together to discuss the effects of artistic training as a function of a variety of factors, including timing over the lifespan, artistic medium and modality, and emotional sequelae. A primary aim of these discussions is to explore new approaches to the enhancement of academic learning. The workshop will bring together distinguished researchers from a diverse array of interrelated fields, including visual art, music, dance, auditory pattern recognition, developmental psychology, neuroscience, education, and philosophy.
From Stewart Dickson:
Here are my impressions from my experience:
http://www.nccs.gov/computing-resources/lens
No one could say exactly *why* we needed a 35 megapixel display.
With this system — 11,520 x 3,072 resolution on 30 feet by 8 feet
– it is possible to view three orders of magnitude in scale
simultaneously.
Apart from the psychologically compelling immersion experience –
how exactly does it advance the science being visualized? My experience
was that we couldn’t answer this question. By far, the most popular
application for viewing on the Everest display wall was the Terrabrowser:
http://www.chimoosoft.com/products/terrabrowser
It can fill up all 35 megapixels with the seamless USGS aerial
photography mosaic.
I put the NASA Blue Marble image at 8,000-pixel resolution onto an
OpenGL sphere
http://earthobservatory.nasa.gov/Features/BlueMarble
It felt like looking out of a picture window from a spacecraft.
I found one instance in which Art informed Science: at the Digital
Human Meeting at the 11th Medicine Meets Virtual Reality conference
(MMVR 11) the meeting organizer invited Andy Van Dam from Brown U
<http://www.cs.brown.edu/%7Eavd>., who invited his former graduate
student, Scott E. Anderson <http://www.imdb.com/name/nm0027423>, who
presented the work he supervised for Sony Pictures "Hollowman
<http://www.imdb.com/title/tt0164052/combined>".
(Walt Hyneman’s presentation on the pre-production R&D,
which he gave a year or two earlier at
Walt Disney Feature Animation was actually much better.) The anatomical animation
model served as an inspiration piece for what the scientists wanted to accomplish in their Digital Human projects. I was able to participate
based upon my experience building anatomically-inspired character
animation models for Disney’s
Otherwise, ORNL’s component of the DARPA Virtual Soldier Project was
sadly under-funded and did not receive Phase-II follow-up funding.
http://www.virtualsoldier.us
Visualization is viewed as an after-thought — it is lumped with Data
Management and Visualization — it is the un-productive work which occurs after the *Big Iron* has run the
*Important Code*. It is easy to fund the *Big Iron*.
Graduate students will pay *you* to work for you. Post-Docs are just
former graduate students.
A contribution from Wilfred Niels Arnold:
The Kansas City Section of the American Chemical Society is pleased to
announce the addition of a ten minute, narrated, Powerpoint presentation
to its website. The program is made available for teaching, discussion
and artistic interest at the interface of the sciences and the
humanities.
“Vincent van Gogh and the thujone connection” written and produced by Wilfred Niels Arnold
webmaster: Dale DeWitt
CTRL plus click:
http://cas.umkc.edu/Chemistry/kcacs/Vincent%20van%20Gogh%20and%20the%20thujone%20connection/index.html
to follow the link.
The program will start automatically after 5 seconds on the title
slide.
“Full screen” View is recommended.
Here is the attendee list for the NSF NEA workshop as of Aug
Re/search: Art, Science, and Information Technology
a joint meeting of the National Science Foundation
Computer & Information Science & Engineering
Division of Intelligent Information Systems
and the National Endowment for the Arts
September 15 & 16, 2010
National Science Foundation Headquarters
Arlington, Virginia
WORKSHOP ORGANIZING COMMITTEE
Laurie Durnell
Director of Consulting and Graphics Facilitator
The Grove Consultants International
D. Fox Harrell, Ph.D.
Associate Professor of Digital Media
Comparative Media Studies Program | Program in Writing and Humanistic Studies
Computer Science and Artificial Intelligence Lab (CSAIL)
Massachusetts Institute of Technology
Pamela L. Jennings, Ph.D.
Program Director, CreativeIT and Human Centered Computing
Computer & Information Science & Engineering Directorate
Division of Intelligent Information Systems
National Science Foundation
Bill O’Brien
Senior Advisor for Program Innovation
National Endowment for the Arts
Joan Shigekawa
Senior Deputy Chairman
National Endowment for the Arts
Caralyn Spector
Arts Policy Advisor
National Endowment for the Arts
Sneha Veeragoudar Harrell, Ph.D.
Research Scientist
TERC Education Research Collaborative
Piotr Adamczyk
Associate Analyst, Website Department
The Metropolitan Museum of Art
Jeffrey Bardzell, Ph.D.
Assistant Professor of HCI/Design and New Media
School of Informatics and Computing
Indiana University
Jay David Bolter, Ph.D.
Professor and Wesley Chair in New Media
Co-Director, New Media Center
School of Literature, Communication and Culture
Georgia Institute of Technology
Marjorie Blumenthal, Ph.D.
Associate Provost, Academic
Georgetown University
Jonas Braasch, Ph.D.
Assistant Professor
Communication Acoustics and Aural Architecture Research Lab
School of Architecture
Rensselaer Polytechnic Institute
Shawn Brixey
Professor and Floyd and Delores Jones Endowed Chair
College of Arts and Sciences
University of Washington
Claudine Brown, J.D.
Director of Education
Smithsonian Institution
Sheldon Brown
Professor of Visual Arts
Director, Center for Research in Computing & the Arts
University of California, San Diego
Founder, New Media Arts for the California Institute of Telecommunications and Information
Technologies (CalIT2)
Winslow Burleson, Ph.D.
Assistant Professor of Human Computer Interaction
Arts, Media and Engineering Program and
Department of Computer Science and Engineering
Arizona State University
Donna Cox, Ph.D.
Professor
Michael Aiken Endowed Chair Investiture and
Director, Advanced Visualization Laboratory & eDream Institute
University of Illinois, Urbana-Champaign
Amanda McDonald Crowley
Executive Director
Eyebeam Art and Technology Center
Chris Csikszentmihalyi
Director, Center for Future Civic Media
Computing Culture, MIT Media Lab
Massachusetts Institute of Technology
Jeremy Douglass, Ph.D.
Postdoctoral Researcher
Software Studies
Center for Research in Computing in the Arts (CRCA)
University of California, San Diego
Elizabeth Daley, Ph.D.
Dean, School of Cinematic Arts
University of Southern California
Jon Eisenberg, Ph.D.
Director, Computer Science & Telecommunications Board
The National Academies
Sean Elwood
Director, Grants and Services
Creative Capital Foundation
Sally Jo Fifer
President & CEO
Independent Television Service (ITVS)
Gerhard Fischer, Ph.D.
Director, Center for Lifelong Learning and Design
Professor, Department of Computer Science
University of Colorado, Boulder
Tracy Fullerton
Associate Professor, Interactive Media
Director, Game Innovation Lab
School of Cinematic Arts
University of Southern California
Alan Gershenfeld
Founder & President
E-Line Media
Diane Gromala, Ph.D.
Associate Professor and
Canada Research Chair in Multidisciplinary and Media Arts
School of Interactive Arts and Technology
Simon Fraser University, Canada
Mark Gross, Ph.D.
Professor, Computational Design
School of Architecture
Carnegie Mellon University
David Theo Goldberg, Ph.D.
Director and Professor
University of California Humanities Research Institute
University of California, Irvine
Ken Goldberg, Ph.D.
Professor and Craigslist Distinguished Chair in New Media
Professor of Engineering and Operations Research
College of Engineering & School of Information
Director, Berkeley Center for New Media
University of California, Berkeley
Tracy Hammond, Ph.D.
Assistant Professor, Computer Science & Engineering Department
Director, Sketch Recognition Lab
Texas A&M University
Steve Harrison
Associate Professor of Practice
Department of Computer Science and School of Visual Arts
Virginia Polytechnic Institute and State University
Tom Hewett, Ph.D.
Professor of Psychology and Computer Science
Department of Psychology
Drexel University
Adriene Jenik
Professor and Director, School of Art
Katherine K. Herberger Endowed Chair in Fine Arts
Herberger Institute for Design and the Arts
Arizona State University
Natalie Jeremijenko
Associate Professor of Visual Art
xDesign Environmental Health Clinic
New York University
Jason Kelly Johnson
Design Principal, Future Cities Lab
Assistant Professor of Architecture & Design
California College of the Arts
Paul Kaiser
New Media Artist
OpenEnded Group
Dennis Kratz, Ph.D.
Dean, School of Arts & Humanities
Ignacy and Celina Rockover Professor of Humanities
University of Texas, Dallas
JoAnn Kuchera-Morin, Ph.D.
Director, Allosphere Research Laboratory
California Nanosystems Institute
Professor, Media Arts and Technology and Music
Director, Center for Research in Electronic Art Technology
University of California, Santa Barbara
Joe Lewis
Dean, Claire Trevor School of the Arts
University of California, Irvine
Chico MacMurtrie
Artistic Director, Amorphic Robot Works
Roger Malina, Ph.D.
Director, Observatoire Astronomique of Marseille Provence and
Executive Editor Leonardo Publications, MIT Press
President of the Association Leonardo, Paris
Board Member, Leonardo/International Society for the Arts, Sciences and Technology
Fred G. Martin, Ph.D.
Associate Professor and Associate Chair, Computer Science
University of Massachusetts, Lowell
Michael Mateas, Ph.D.
Associate Professor
Expressive Intelligence Studio
Computer Science Department
University of California, Santa Cruz
Ali Mazalek, Ph.D.
Assistant Professor
Synaesthetic Media Lab
Literature, Communication, and Culture / Graphics, Visualization, Usability Center
Georgia Institute of Technology
Nick Montfort, Ph.D.
Associate Professor of Digital Media
Program in Writing and Humanistic Studies
Massachusetts Institute of Technology
Gunalan Nadarajan
Vice Provost for Research
Maryland Institute College of Art
Michael Naimark
Research Associate Professor
Interactive Media Division
School of Cinematic Arts
University of Southern California
Simon Penny
Professor of Arts and Engineering
Claire Trevor School of Arts
Henry Samueli School of Engineering
Donald Bren School of Information and Computer Science
University of California, Irvine
Andrea Polli
Mesa Del Sol Chair and Associate Professor of Digital Media
Founding Director, Interdisciplinary Film and Digital Media Program
Director, Arts Lab
Department of Film and Media
University of New Mexico
Sabrina Raaf
New Media Artist and Associate Professor
School of Art & Design
University of Illinois, Chicago
Ben Rubin
Media Artist, Ear Studio
Orit Shaer, Ph.D.
Clare Boothe Luce Assistant Professor of Computer Science
Wellesley College
Brian K. Smith, Ph.D.
Dean, Continuing Education
Rhode Island School of Design
Atau Tanaka
Professor and Chair, Digital Media
Director of Culture Lab
Newcastle University, U.K.
Ron Wakkary, Ph.D.
Associate Professor
School of Interactive Arts and Technology
Simon Fraser University
Noah Wardrip-Fruin, Ph.D.
Associate Professor, Computer Science
Baskin School of Engineering
University of California, Santa Cruz
McKenzie Wark, Ph.D.
Associate Professor, Chair of Culture and Media
Associate Dean of Faculty Affairs
Eugene Lang College
The New School for Social Research
Constance Yowell, Ph.D.
Director of Education
Program on Human and Community Development
The MacArthur Foundation
Andrew Zolli
CEO, Z + Partners
Curator and Executive Director, Pop!Tech
Here is the attendee list for the NSF NEA workshop as of Aug
Re/search: Art, Science, and Information Technology
a joint meeting of the National Science Foundation
Computer & Information Science & Engineering
Division of Intelligent Information Systems
and the National Endowment for the Arts
September 15 & 16, 2010
National Science Foundation Headquarters
Arlington, Virginia
WORKSHOP ORGANIZING COMMITTEE
Laurie Durnell
Director of Consulting and Graphics Facilitator
The Grove Consultants International
D. Fox Harrell, Ph.D.
Associate Professor of Digital Media
Comparative Media Studies Program | Program in Writing and Humanistic Studies
Computer Science and Artificial Intelligence Lab (CSAIL)
Massachusetts Institute of Technology
Pamela L. Jennings, Ph.D.
Program Director, CreativeIT and Human Centered Computing
Computer & Information Science & Engineering Directorate
Division of Intelligent Information Systems
National Science Foundation
Bill O’Brien
Senior Advisor for Program Innovation
National Endowment for the Arts
Joan Shigekawa
Senior Deputy Chairman
National Endowment for the Arts
Caralyn Spector
Arts Policy Advisor
National Endowment for the Arts
Sneha Veeragoudar Harrell, Ph.D.
Research Scientist
TERC Education Research Collaborative
Piotr Adamczyk
Associate Analyst, Website Department
The Metropolitan Museum of Art
Jeffrey Bardzell, Ph.D.
Assistant Professor of HCI/Design and New Media
School of Informatics and Computing
Indiana University
Jay David Bolter, Ph.D.
Professor and Wesley Chair in New Media
Co-Director, New Media Center
School of Literature, Communication and Culture
Georgia Institute of Technology
Marjorie Blumenthal, Ph.D.
Associate Provost, Academic
Georgetown University
Jonas Braasch, Ph.D.
Assistant Professor
Communication Acoustics and Aural Architecture Research Lab
School of Architecture
Rensselaer Polytechnic Institute
Shawn Brixey
Professor and Floyd and Delores Jones Endowed Chair
College of Arts and Sciences
University of Washington
Claudine Brown, J.D.
Director of Education
Smithsonian Institution
Sheldon Brown
Professor of Visual Arts
Director, Center for Research in Computing & the Arts
University of California, San Diego
Founder, New Media Arts for the California Institute of Telecommunications and Information
Technologies (CalIT2)
Winslow Burleson, Ph.D.
Assistant Professor of Human Computer Interaction
Arts, Media and Engineering Program and
Department of Computer Science and Engineering
Arizona State University
Donna Cox, Ph.D.
Professor
Michael Aiken Endowed Chair Investiture and
Director, Advanced Visualization Laboratory & eDream Institute
University of Illinois, Urbana-Champaign
Amanda McDonald Crowley
Executive Director
Eyebeam Art and Technology Center
Chris Csikszentmihalyi
Director, Center for Future Civic Media
Computing Culture, MIT Media Lab
Massachusetts Institute of Technology
Jeremy Douglass, Ph.D.
Postdoctoral Researcher
Software Studies
Center for Research in Computing in the Arts (CRCA)
University of California, San Diego
Elizabeth Daley, Ph.D.
Dean, School of Cinematic Arts
University of Southern California
Jon Eisenberg, Ph.D.
Director, Computer Science & Telecommunications Board
The National Academies
Sean Elwood
Director, Grants and Services
Creative Capital Foundation
Sally Jo Fifer
President & CEO
Independent Television Service (ITVS)
Gerhard Fischer, Ph.D.
Director, Center for Lifelong Learning and Design
Professor, Department of Computer Science
University of Colorado, Boulder
Tracy Fullerton
Associate Professor, Interactive Media
Director, Game Innovation Lab
School of Cinematic Arts
University of Southern California
Alan Gershenfeld
Founder & President
E-Line Media
Diane Gromala, Ph.D.
Associate Professor and
Canada Research Chair in Multidisciplinary and Media Arts
School of Interactive Arts and Technology
Simon Fraser University, Canada
Mark Gross, Ph.D.
Professor, Computational Design
School of Architecture
Carnegie Mellon University
David Theo Goldberg, Ph.D.
Director and Professor
University of California Humanities Research Institute
University of California, Irvine
Ken Goldberg, Ph.D.
Professor and Craigslist Distinguished Chair in New Media
Professor of Engineering and Operations Research
College of Engineering & School of Information
Director, Berkeley Center for New Media
University of California, Berkeley
Tracy Hammond, Ph.D.
Assistant Professor, Computer Science & Engineering Department
Director, Sketch Recognition Lab
Texas A&M University
Steve Harrison
Associate Professor of Practice
Department of Computer Science and School of Visual Arts
Virginia Polytechnic Institute and State University
Tom Hewett, Ph.D.
Professor of Psychology and Computer Science
Department of Psychology
Drexel University
Adriene Jenik
Professor and Director, School of Art
Katherine K. Herberger Endowed Chair in Fine Arts
Herberger Institute for Design and the Arts
Arizona State University
Natalie Jeremijenko
Associate Professor of Visual Art
xDesign Environmental Health Clinic
New York University
Jason Kelly Johnson
Design Principal, Future Cities Lab
Assistant Professor of Architecture & Design
California College of the Arts
Paul Kaiser
New Media Artist
OpenEnded Group
Dennis Kratz, Ph.D.
Dean, School of Arts & Humanities
Ignacy and Celina Rockover Professor of Humanities
University of Texas, Dallas
JoAnn Kuchera-Morin, Ph.D.
Director, Allosphere Research Laboratory
California Nanosystems Institute
Professor, Media Arts and Technology and Music
Director, Center for Research in Electronic Art Technology
University of California, Santa Barbara
Joe Lewis
Dean, Claire Trevor School of the Arts
University of California, Irvine
Chico MacMurtrie
Artistic Director, Amorphic Robot Works
Roger Malina, Ph.D.
Director, Observatoire Astronomique of Marseille Provence and
Executive Editor Leonardo Publications, MIT Press
President of the Association Leonardo, Paris
Board Member, Leonardo/International Society for the Arts, Sciences and Technology
Fred G. Martin, Ph.D.
Associate Professor and Associate Chair, Computer Science
University of Massachusetts, Lowell
Michael Mateas, Ph.D.
Associate Professor
Expressive Intelligence Studio
Computer Science Department
University of California, Santa Cruz
Ali Mazalek, Ph.D.
Assistant Professor
Synaesthetic Media Lab
Literature, Communication, and Culture / Graphics, Visualization, Usability Center
Georgia Institute of Technology
Nick Montfort, Ph.D.
Associate Professor of Digital Media
Program in Writing and Humanistic Studies
Massachusetts Institute of Technology
Gunalan Nadarajan
Vice Provost for Research
Maryland Institute College of Art
Michael Naimark
Research Associate Professor
Interactive Media Division
School of Cinematic Arts
University of Southern California
Simon Penny
Professor of Arts and Engineering
Claire Trevor School of Arts
Henry Samueli School of Engineering
Donald Bren School of Information and Computer Science
University of California, Irvine
Andrea Polli
Mesa Del Sol Chair and Associate Professor of Digital Media
Founding Director, Interdisciplinary Film and Digital Media Program
Director, Arts Lab
Department of Film and Media
University of New Mexico
Sabrina Raaf
New Media Artist and Associate Professor
School of Art & Design
University of Illinois, Chicago
Ben Rubin
Media Artist, Ear Studio
Orit Shaer, Ph.D.
Clare Boothe Luce Assistant Professor of Computer Science
Wellesley College
Brian K. Smith, Ph.D.
Dean, Continuing Education
Rhode Island School of Design
Atau Tanaka
Professor and Chair, Digital Media
Director of Culture Lab
Newcastle University, U.K.
Ron Wakkary, Ph.D.
Associate Professor
School of Interactive Arts and Technology
Simon Fraser University
Noah Wardrip-Fruin, Ph.D.
Associate Professor, Computer Science
Baskin School of Engineering
University of California, Santa Cruz
McKenzie Wark, Ph.D.
Associate Professor, Chair of Culture and Media
Associate Dean of Faculty Affairs
Eugene Lang College
The New School for Social Research
Constance Yowell, Ph.D.
Director of Education
Program on Human and Community Development
The MacArthur Foundation
Andrew Zolli
CEO, Z + Partners
Curator and Executive Director, Pop!Tech
sharada srinivasan to roger
show details Aug 26 (1 day ago)
..OK fine, thats cool..
(
but that brings me to the fact that,(moving entitely outside the realm of the specific concerns etc of your conference and just talking in general) there is the larger point that the scientific enterprise/s need to also engage more with the idea of funding the arts or humanities without asking too searchingly how will it benefit science in a very tangible way, but taking a broader or longer term view of looking at the intangible benefits.
I say this because for eg as a case study we are now putting in this major proposal for a centre for heritage science, but since our work has a major aspect of materials science applied to heritage it needs to be housed with good access to a science-based institution and needs support from organisations which fund science or are scientific organisations, but we often get asked the question by the scientific bodies that how does this activity actually benefit science, ie implying that if it could concretely benefit science it would be more worthy of funding.
which is difficult to pinpoint becuase obviously the more obvious benefits are towards lets say historical understanding, conservation, cultural anthropology etc. but its harder to concretely say the benefits to science are that so and so compound that can’t be easily studied in modern materials science is found in some archaeological material and hence these things add to our scientific knowledge, and maybe its also the case that within my own discipline for example one hasnt tried too much to sit down and quantify the actual benefits to science which are probably there in a tangible sense (maybe one ought to try to do that too..).
But at the same time the scientific bodies need to have the larger vision so to speak about the benefits to science which are undeniably there, for example in an educational sense and other ways. (for eg experimental or scientific archaeology or craft-based ethnotechnological studies can be a great way to get students interested in materials etc.), usefulness for debates on science communication, inclucating a basic sense of aesthetic and the related intangible benefits of that whatever those are and so on..
(By the way since i mentioned it, iam happy to say we have made headway with this idea of a centre and more by and by)
best
Sharada
Are there any studies considering long term changes in the brain as a result of sustained creative activity such as drawing/painting?
Linda= a number of neurobiologists have books out that look at these kinds of issues= including Semir Zeki, Jean Pierre Changeux and V S Ramachandran- in Ramachandran’s “phantoms in the brain” book there is an interesting speculative section on how the brain establishes ‘stable’ interpretations from the large flux of sensory data= and how as a result one can talk of ‘belief’ systems being encoded = and how the brain deals with discordant inputs or one assumes new ideas that are in conflict with the established interpretations of the world the brain maintains.The music and the brain books also at some length look at how musical training results in modification of brain structure. Ernest Edmonds has a number of articles looking at how artists use tools=but I dont think these have been coupled with neurobiological studies. There is a very large literature out there on creativity= not a topic i am expert in=maybe someone else on this discussion knows of specific studies.
One of the arguments for scientific studies in art-science are indeed to help understand the creative process= but the creative process is presumably not so different in business or social activitism- so one general argument on scientific study of creativity in art-science, is artists as subjects
Roger Malina
from cynthia panucci
To: Art & Science Collaborations
Sent: Sunday, August 29, 2010 3:54 PM
Subject: Re: ASCI > Exemplars & Thoughts re: DC workshop
cynthia
THANKS for all the inputs which i will start incorporating and
cite you as a contributor
not sure your email was written in a form where i can make
it public on the blog ? if you authorise me to post it on the
blog i will
otherwise will incorporte into the various streams
roger
On Sun, Aug 29, 2010 at 6:35 PM, Art & Science Collaborations
wrote:
> Hi Roger ~
>
> CONCEPTUALLY… if you put any of the stellar creative arts minds [in IT,
> computer science, new media from the attendee list] to the task of
> collaborating with scientists on their research projects, the research
> results will most likely be: more humanistic, holistic, conceptually and
> texturally richer, would consider the societal consequences, discover
> more freely-conjured applications, and bottom-line… the research results
> would be delivered to the public in more engaging, yet informative ways.
>
> However, as we know, collaboration is difficult across disciplines [like a
> marriage is] and the scientist has to respect what the artist could bring to
> the research project, and the artist should be inspired by the topic.
>
> Indeed, if the mandate of NSF is to bring the results of science research to
> the public so that they are better informed citizens prepared to vote on
> today’s pressing science issues that directly affect them: stem-cell
> research, bio-engineering, green energy, greenhouse effects, natural
> resource sustainabilty and equity… then the answer is simple. The NSF has
> failed miserably in this area.
>
> The US public, including government officials, don’t seem to understand
> science nor trust science research results. The “lack of will” and action
> towards solving today’s pressing environmental issues is a prime example. A
> scientifically un-educated public has allowed the climate change debate to
> become a “smoke-screen” detour that has side-tracked the real issue
> of accepting the serious and unequivocable physical effects of “global
> warming” and putting money [and jobs] into creating solutions for how to
> turn it around.
>
> I believe the Wellcome Trust’s 20-year history of bringing medical science
> issues and discoveries to the public through theatre, art exhibitions,
> public art, and art-sci collaborations is an excellent exemplar of how to
> engage and inform the public. However, if one is required to
> utilize evaluative measurement tools for “proof positive” of the
> contribution that Wellcome’s art-science projects made to furthering medical
> research or creating new tools or applications… that’s an entire research
> project in itself.
>
> Bell Labs back in the mid-1960′s is perhaps a better example of how the
> mingling of minds of artists and scientists [after-hours, after mid-night],
> was an “un-official” incubator of important “future” applications of
> communications technology. They called it the “picture phone” and it of
> course could not come to fruition until the size and speed of
> microprocessors, compression and fiber optic technologies were born. ASCI
> did a symposium with the EAT artists and technologists called: “Bell Labs &
> the Origins of the Multimedia Artist” at Cooper Union in NYC [1998].
> http://www.asci.org/BellLabs/index.html I am surprised that these people who
> participated in this excellent art-tech historical model were not invited to
> the D.C. Workshop: Ken Knowlton – one of the early developers of computer
> motion pictures [lives in NJ]; Max Mathews – often referred to as the
> “father of computer music” [lives in CA]; A. Michael Noll – one of the first
> pioneers of digital art and virtual reality [lives in NJ]; Laurie Spiegel -
> composer/visual artist who did extensive creative work at the Labs
>
> Mike Noll especially, since he went on to become a distinguished professor
> and 4-years interim Dean at the Annenberg School of Communications at USC,
> taught IT at NYU and Columbia Univ. and has authored text books on
> telecommunications, and during his 15-years of research at Bell Labs,
> received six patents for his inventions in speech processing and
> human-machine tactile communications. Only recently has his pioneering work
> [1960's] in the use of digital computers in the visual arts been
> acknowledged around the world. http://noll.uscannenberg.org
> amnoll@yahoo.com; phone: 908-647-3294
>
> EXEMPLARS:
>
> ~ The collaborative work of Ken Rinaldo immediately comes to mind,
> especially since we’ll launch his remarkable work with robotics, biology,
> and humans on Sept.1st as an ASCI Featured Member:
> http://www.asci.org/artikel1116.html His robotic work may have provided new
> engineering applications.
>
> ~ Heather Ackroyd/Dan Harvey [artist/ photographer] collaborating
> with professors Howard Thomas and Dr. Helen Ougham [plant biologists]. “The
> application of this type of grass in the artist’s work has significantly
> retained the visibility of their art images and in response to their
> collaboration, the scientists have developed methods for non-invasive
> analysis of events going on in the cells of senescing leaf tissue, through
> the use of hyper-spectral imaging technology [that the artists suggested].
> http://www.asci.org/ArtSci2001/index.html
> ~ Artist, Nina Sobell, was an early video pioneer, then was one of the first
> use the WWW for live performance [projects at NYU], and since 2000, has been
> collaborating with scientists and technologists to explore the intricacies
> of personal communication by interpretation and navigation of your brainwave
> energy. http://ninasobell.com/london/index.htm
> I don’t know what the practical applications are, but I intuit that with
> proper NSF funding, they would evolve [like the early Bell Labs
> ideas]. History of her Brainwave work: http://ninasobell.com/index_menu.html
>
> ~ My own personal experience re: creating new applications of technolgy via
> art-driven research…
> Back in 1997, I was researching how to utilize fiber-optic, side-emmitting
> tubing to create night-time lighting effects [blinking off/on to mimic a
> "lightning bug"] for an 8′-long, plexiglass, aquatic “Water-Strider”
> sculpture that I had built. The industry standard metal halide lightsource
> was so “hot” that it requires a fan to cool the area where its focused
> beam almost meets the end of the plastic fiber-optic tubes so they don’t
> melt. My sculpture had a photo-voltaic planel as it’s energy source and
> marine battery to store the electricity. The fan/metal halide system would
> require too much of that energy. However, since my aesthetic goal was to
> have the light source be intermittant… that naturally led me to using a
> solar-powered strobe light [designed for airports] instead. When I went to
> meet the lighting engineers working at the Connecticut airport’s lab, I
> brought along a 1/4″, side-emitting, fiber-optic tube [the lighting-effect
> is like neon but it is bendable into shapes] to test with their stobe light.
> The engineers were amazed because they had never seen side-emmiting
> fiber-optic tubes! And, when I called the fiber-optic company in California,
> they donated the tubing because they had never had someone use a strobe
> light with their tubing! [new application]
> http://www.asci.org/news/featured/pannucci/wsvid.html
>
> Now I see the item below via a Google search…
> Intermittant Renewables + Energy Storage = Base Load Power
> Aug 12, 2010 … Power grid-scale mass storage of electricity from
> intermittent renewable energy, such as wind or solar energy, is in its
> infancy. http://www.green-energy-news.com/arch/nrgs2010/20100052.html
>
> All I know for a fact is… that some artists, when driven with
> inspiration to accomplish the vision “in their mind’s eye,” are tennacious
> researchers by nature, utilize the experimental method by necessity to
> improvise, and innovation is a normal part of their methodology/ creative
> process.
>
> I once read in an issue of Popular Science magazine [I think?] about a woman
> artist working in clay for 20-years who had concockted a clay mixture that
> was both extremely light-weight and strong… in order to build a tall
> sculpture. Well as it turns-out, the airplane industry was interested in her
> “new material” to use for airplanes, as it seems it was virtually
> “non-flammable”!
>
> I couldn’t find her name via Google search but did find: Nanotechnology in
> Aerospace PDF/Adobe Acrobat – Quick View
> Chapter 3: Review of state of the art of technology and future trends in.
> Aeronautics. ….. functional applications in the aerospace industry. ….
> The special properties of clay-polymer nanocomposites expand the use of
> http://www.nanoforum.org/…/Nanotechnology%20in%20Aerospace.pdf?
>
> It would be unfortunate if the NSF doesn’t decide to invest some of its vast
> resources in art-science research projects just because there might not be
> “proof-positive” of the practical results of such endeavors. At least a
> 5-year experiment to see what the potentialites are when “real money” is
> present.
>
> I know I said that I didn’t have the time to keystroke, but you got me
> going! and this is something I’ve thought a lot about and supported with my
> time and energy over these past 20+ years.
>
> Good luck in DC!
> Cynthia/ASCI
Colleagues
There is now a blog discussion going on the US National Endowment forthe Arts (nea) WEB SITE = as a folllow up to the joint workshop between the US nationalscience foundation and the nea= join the discussion to help us convince thesefunding agencies to fund art science collaboration in the US !
roger malina
Alt.Art-Sci: We Need New Ways of Linking Arts and Sciences
http://www.arts.gov/artworks/?p=4093
A recent National Science Foundation (NSF)-National Endowment for the Arts workshop sought to re-think the ways that the arts and sciences are being linked today and how the agencies might jointly promote new emerging areas of research and cultural development. Participants included artists, scientists, and research engineers, but also university deans and directors of alternative art-science spaces. This first workshop focused on computer science and information technology; a forthcoming NSF-NEA workshop will look at the arts and the biological sciences. Next year the NSF Informal Education Division is sponsoring an art-science workshop “Art as a Way of Knowing” at the San Francisco Exploratorium, one of the pioneering institutions that has coupled creative artists with scientists and engineers for more than forty years.
So why this new attention to the coupling of the arts and sciences? The topic has been hotly debated for several hundred years at least, ever science the scientific revolution led to separate science institutions decoupled from the arts and humanities. The 19th century saw prominent figures such as Goethe active in both the arts and sciences. Samuel Morse, the inventor of the Morse code, was a painter. In the 1920s and 1930s the Bauhaus movement recoupled the creative arts with science and industry. In the 1950s C.P. Snow’s “two cultures” debate rekindled initiatives to bridge the arts and sciences. In the 1960s, Experiments in Art and Technology led to the coupling of artists such as Rauschenberg with engineers such as Billy Kluver. So what’s new?
At Home on the Range, the “Digital” Range
The first thing is that the ‘born digital’ generation artists find themselves at home in the landscape of information technologies. The NSF Creative IT program recognized this burgeoning area of research. The NEA’s Audience 2.0 How Technology Influences Arts Participation highlighted the new ways, and growing audiences, for art that is being created and distributed through the digital electronic media. The born digital generation is innovating new ways of personal expression within the information technologies landscape; it has become second nature for artists of all types to use computers and to push the development of computers in new directions to address artistic needs. New “creative” and entertainment industries have resulted.
Art-Science Creativity by Whom?
Perhaps ironically, creativity was almost a dirty word by the end of the NSF-NEA workshop because it is overused and often not clearly defined. Creativity by whom and for what? What was clear was that there is a new dynamic and rapidly evolving group of artists, scientists, and engineers working together, a networked “community of practice” that also comes together through a variety of “communities of interest.” Most of these creative individuals or teams work in informal settings from nonprofit groups to the hacker, “make”, community and alternative arts centers, and citizens and peoples science movements. An important issue is how to network and cross feed these hacker, “make,” and community groups with the more formal institutional programs in universities, and art and design schools.
Art-Science Creativity for What?
“Creativity for What” was another leitmotif reflecting a concern that technology-driven innovation needs to be contextualized first by social and cultural needs, with examples from community-based organizations faced with urban renewal, societal issues such as climate change and energy sustainability, or the technological transformation of health issues. Our Town,the proposed NEA program for the arts and urban redevelopment perhaps provides one example context that could motivate new art-science agendas. There are many burning issues in our lives and communities that give us no choice but to link the arts and sciences. Art-Science Creativity: Innovation in Innovation Another thread was the idea that we need to innovate in creativity thinking itself. We need to innovate in innovation when faced with the big data flood, distributed networked knowledge, and the impact of digital culture on how the arts and sciences are embedded in society. The recent Macarthur report on Learning Institutions in the Digital Age as well as the National Research Council’s Beyond Productivity: Information Technology, Innovation, and Creativity report provide good starting points. As we evolve toward networked culture and knowledge, the ‘partitions and divisions’ within funding institutions and universities seem mal-adapted to the rapidly changing locus of multi-, inter-, and trans-disciplinary artistic practice, and more particularly the rapidly changing landscape of art-science collaboration.
ALT.ART-SCI
The phrase “Alt-Art-Sci” emerged a number of times during the discussions as a way of capturing the sense of unease that “business as usual” approaches will miss the mark. We need to “innovate in innovation” and find other approaches to work in the new emerging networked culture. We need to look at where the most exciting creativity is occurring, and we need to look at the burning issues in our communities and how harnessing new couplings of science, engineering, and cultural approaches can be part of creating a sustainable society.
http://www.arts.gov/artworks/?p=4093