Art-Science-Technology in China ?


In spite of serious networking we have only one SEAD White Paper from China ( thank you Annie Wan !)

We are still accepting late white paper proposals addressing art/science/technology programs

in China and their lessons learned. If you have contacts in China that might be interested in developing a SEAD

White Paper please drop me at email at rmalina(at) . There are numerous programs in China

“and its neighbors” but our methodology is biased as are all methodologies ( yes I am post-modern) .

The SEAD is an open international call but suffers from all the ‘asymmetries of discourse’ that pose real

problems in our art/science/technology community of practice. We are working in english which works

somewhat in the sciences and engineering, but often not at all in the arts and humanities. The call has been

issued from the USA which immediately poses a problematic contextualisation given the cultural

ideologies of the USA. Most of our responses come from people in the Academy ,  not the independent creators

and inventors where much of the exciting activity is occuring these days. The DYI community is barely represented in

the 80 SEAD white paper abstracts.  Almost all the white papers re presented as classic academic proposals- in text-

we received almost no proposals for video white papers or  multi-medial hypertexts.

Here is Annie Wan’s Abstract



Coordinator: Annie Wan

Scientific inventions of Ancient China are immensely important to our global culture and everyday life, while traditional artworks (paintings and sculptures) possess a long history in China. In this time of economic boom in China and its neighbors, science finally meets arts in various ways, such as usage of fireworks and gunpowder in Cai Guo Qiang’s works, interactive art by Feng Mengbo, etc. This paper consists of interviews with artists/ engineers in China (and its neighbors) and their perspectives of art/ science collaboration in this socities. The research analyzes differences and similarities between practices in China (and its neighbors) and that in Western countries. It also investigates their definitions of technologically-assisted art and potential problems in art/ science collaboration. Lastly, it foresees how to extend the boundaries of current art/ science collaboration practice, suggests both possible conceptual and technological developments to artists/ engineers and academia.


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