Is STEM to STEAM a new idea, vapour ware or or just hot most air ?

Colleagues

Announcing a YASMIN discussion on STEM TO STEAM  

 

( if you are not part of the YASMIN mediterranean art science tech community join the discussion list at :  http://www2.media.uoa.gr/yasmin/

Note- the lists hosted at the University of Athens include a Discussion list and an Announcement list – sign up to the discussion list only or both)

What does STEM to STEAM mean: New Ideas or Hot Moist Air ?

Moderator: Roger Malina

Discussants: Dimitris Charitos ( Prof at University of Athens , Greece), Guillermo Munoz ( Spain, currently a nanoscience postdoc in Japan),Gemma Anderson ( Artist and Lecturer in Drawing at Falmouth University). Ken Friedman ( original fluxus member  and design dean). *Julia Buntaine (Neuroscience-based art)

As you know there is an international discussion on “stem to steam”concepts and approaches for new art/sci/tech teaching and research methods.  There is much debate and discussion on whether the ideas behind STEM to STEAM are new in anyway, or whether the phrase is a repackaging of current work in a way to attract new funding ( for an understanding the social and cultural processes at work in ‘selling’ programs like stem to steam – on  a larger scale- see for instance Patrick McCray’s detailed book called The Visioneers: How a Group of Elite Scientists Pursued Space Colonies, Nanotechnologies, and a Limitless Future  http://press.princeton.edu/titles/9822.html   )   

Note: we realise that the origin of the “STEM” terminology is a US science funding invention, and in different countries the discussion is being argued with different terms of how to find new ways to integrate Art/Design/Humanities with Science/Engineering/Medicine.

The US National Academies of Science, Engineering and Medicine are currently conducting a two year study to address  the higher educationnpart of the question:

Integrating Higher Education in the
Arts, Humanities, Sciences, Engineering, and Medicine
http://sites.nationalacademies.org/PGA/bhew/humanitiesandstem/index.htm

The European Union has initiated the STARTS (science technology and the arts ) funding program:

https://ec.europa.eu/digital-single-market/en/ict-art-starts-platform

which seeks to address the innovation argument:

“”STARTS encourages synergies between the Arts and innovation for technology and society by promoting the inclusion of artists in Horizon 2020 projects.An increasing number of high-tech companies assert that scientific and technological skills alone are not sufficient anymore. In this context, the Arts are gaining prominence as catalysts for an efficient conversion of science and technology knowledge into novel products, services, and processes.””

We are proposing a discussion on the YASMIN discussion list on the STEM to STEAM  topics on Drec 19-2016-all members of the yasmin community welcome to participate

In our own School at the University of Texas at Dallas faculty members are learning how to teach science and engineering differently using STEAM
approaches: eg http://www.utdallas.edu/atec/

 

eg:

Karen Doore:
Curriculum Re-Design: Computer Science for ATEC Students Karen Doore will present an overview of curriculum for CS programming-sequence courses for ATEC and will include student projects showcasing top student works. There are significant challenges and difficulties in attempting to teach complex technical material to a diverse student groups, particularly when many students question the premise that these CS courses provide value for the effort that is required to learn the course content. There are
current efforts to re-design curriculum for these courses. She is looking for feedback and suggestions that can further guide the curriculum re-design efforts.

About Karen Doore

Karen Doore is a Senior Lecturer and PhD Candidate in the Computer Science Department at UT Dallas. Her research focus is Computer Science Education, with an emphasis on curriculum design for Non-Majors. She earned her BS in Material Science and Engineering from
the University of Minnesota, Minneapolis, MN and an MS in Computer Science with a focus on Intelligent Systems from UT Dallas. She currently teaches required CS programming-sequence courses for ATEC students, and has been working for several years as part of the
re-design effort for the curriculum of these courses. Her new curriculum has an enhanced focus on computational modeling, so that, in addition to learning fundamental programming concepts, students learn how to model dynamic, interactive systems. One goal of this modeling focus is to provide students with skills to design, communicate about, and implement dynamic interactive programs, such as games, animations, and design tools

Our school of Art Tecnology and Emerging Communication has also announced 6 full PhD scholarships including STEM to STEAM creative work and research.

For the YASMIN discusson we are interested in STEM to STEAM topics in artistic and design work, art-sci-tech research, education and personal behaviour !!

Hopefully STEM to STEAM is not just vapour ware !

Join our discussion on YASMIN

http://www2.media.uoa.gr/yasmin/

 If you just want to follow and not post the discussion is available at: http://yasminlist.blogspot.fr/

Roger Malina

PHD Fellowships in art-science-technology: one month to deadline

Colleagues

One month to deadline for applications for 4 year PhD scholarships in art-science-technology- humanities-, including STEM to STEAM areas.

The fellowships include two years of fellowships and two years of Teaching Assistantships to teach the teachers of STEAM….

This includes PhD applications for the ArtSciLab which is directed by Roger Malina and Cassini Nazir: http://artscilab.atec.io/ 

The School of Arts, Technology, and Emerging Communication

At The University of Texas at Dallas

The School of Arts, Technology and Emerging Communication (ATEC) at the University of Texas at Dallas invites applications for its graduate programs beginning in Fall 2017.  We seek students who appreciate the opportunities of cross-disciplinary education, who aspire to be visionary scholars, researchers, teachers and artists.

ATEC was founded in 2004 as a joint program between the School of Arts and Humanities and the Jonsson School of Engineering and Computer Science.  In 2015, ATEC became the newest school at UT Dallas with a mission to develop transdisciplinary academic programs that span the fields of art, science, design, humanities, and social sciences. 

ATEC currently offers three graduate programs:  The Masters of Arts (MA), the Masters of Fine Arts (MFA), and the Ph.D.  Research areas for all graduate students include culture and technology studies, game studies, game development, computer animation, communication studies, critical media studies, media psychology, interaction design, and creative practice.

Current labs, studios, and research areas include:

  • ArtSci Lab

  • Cultural Science Lab

  • Creative Automata Lab

  • Fashioning Circuits Lab

  • Future Immersive Virtual Environments (FIVE) Lab

  • Institute for Research in Anticipatory Systems (ANTE)

  • Narrative Systems Research Lab

  • Public Interactives Research Lab (PIRL)

  • Social Practice and Community Engagement Media (SP&CE) Lab

  • 3-D Modeling Studio

Join the ATEC Adventure!

Collaboration is the foundation of every program.  Students collaborate with faculty, with each other, and with colleagues from other schools, institutions, museums, and galleries.

Faculty have training and expertise in multiple disciplines:  digital humanities, critical race studies, cultural studies, game studies, game design, animation, virtual reality, narrative theory, art & science, computer science, interaction design, visual arts, 3-D arts.  They are leaders in developing new hybrid research projects and experimental creative practices.

ATEC is housed in the newly constructed Edith O’Donnell Arts and Technology Building.  Opened in 2014, the 155,000 sq. ft. facility includes computer labs, fabrication and maker spaces, faculty research labs, motion capture labs, usability lab, sound design recording spaces, game and media library, and a 3D art studio. 

ATEC faculty are dedicated teachers who embrace project-based learning, collaborative creative practice, and critical analysis and social science research methods.  Students are encouraged to join lab-based projects, collaborate on experimental art and media productions, and engage in critical and social scientific research.

Funding is available for outstanding doctoral students for 4 years of study.  Funding support includes two years of fellowship (year 1 and year 4) and two years of teaching assistantships (year 2 and year 3).  Tuition is covered by the School.  Students in the MA and MFA programs may also be funded through research assistantships and teaching assistantships.

Requirements for application to the MA or MFA programs, students must have earned an undergraduate degree from an accredited school in a relevant field, and submit a portfolio with a written essay of interest, and examples of creative and/or critical work.

Applicants for the Ph. D program must have earned a master’s level degree in a relevant field, and submit a portfolio that includes a written essay of interest, an example of academic writing, and evidence of creative practice or research experience. 

For details about ATEC graduate programs, visit utdallas.edu/atec/about.

For further information about the doctoral program, please contact Ph.D. adviser Christine Messick christine.messick@utdallas.edu.

For information about the MA and MFA programs, please contact graduate adviser Ellen Curtis ecurtis@utdallas.edu

General inquiries can be sent to Dr. Monica Evans, Associate Dean for Graduate Programs in ATEC mevans@utdallas.edu.

Graduate admission application deadline for consideration of funding and financial aid:  January 15, 2017.  Contact rmalina@alum.mit.edu for further details.

roger malina

 

 

Escape from Planet Trump to far side of moon , test plans found. NOT A HOAX

Dear Colleagues

A few weeks ago I announced plans to help people migrate to the far side of the moon. The goal was to escape Planet Trump. Experts told us the far side of the moon is radio quiet and there will be no twitter access there for at least a millenium. Astronomers are planning radio telescopes there to take advantage of the lack of radio and light pollution to search and map other hospitable planets,

226 facebook friends have agreed to join this migration and help fund it. 53,000 facebook people have followed the story.

We have located experts on lunar agriculture and mining. They expected these technologies to be needed in about a century, but have agreed to speed up R and D and prototyping.

Meanwhile Trump Advisor Roger Stone has confirmed moon landing hoax: Video was shot in a warehouse in NJ apparently- details at:

http://www.rawstory.com/2016/10/trump-advisor-roger-stone-promotes-moon-landing-hoax-story-video-was-shot-in-a-warehouse-in-new-jersey/

This is very good news since it means that the Trump government will not seek to stop immigration plans ( to the moon) and will not set up a wall. So we encourage all migrants to t he moon to confirm that the moon landing was a hoax.

In addition plans for space elevators have been underway for decades to allow people to get over the Trump walls : http://www.spaceelevatorblog.com/?p=1594  to our knowledge no one thinks that space elevators could reach the moon but we are willing to use some of the venture capital we will crowd fund for this purpose. please contact Roger Stone to make donations since the NASA budget is being slashed).

Note, experts tell us that space elevators could easily be used to transport people between Mexico and Texas. There are plans in place in Texas Mexico to build such elevators. For further details contact the ITACCUS committee for cultural utilisation of space:  http://www.iafastro.org/committees/committee-for-the-cultural-utilisation-of-space-itaccus/

The GREAT news , the reason for this post, is we have found plans for test flight to get a dog (cocker spaniel called Rocket) to the moon- found under wallpaper in the home of rocket pioneer Frank Malina: https://en.wikipedia.org/wiki/Frank_Malina

 in a secret location in france ( photo attached below both of the plans and the house where Frank Malina though up the plan and hid it under the wallpaper that was removed in 2016)

As children we never understood why our father called our family dog ROCKET- it was a specially and illegally imported cocker spaniel from Yorkshire, England.

Now we now know these plans to escape from planet trump were hatched at least 50 years ago when our dog was still alive.

Attached are photos of the house in a mystery location, the dog called Rocket and the SECRET PLANS

roger malina

THE DOG CALLED ROCKET ( date 1961 , at the time of Yuri Gagarin ‘s test flight into orbit. Now we understand this was part of the plan to emigrate from Planet Trump) ( note our son Yuri denies rumors that he is the man on the moon in  the secret plan shown below as he was born afterwards. Unless his birth was a hoax too or the first demonstration of time travel). We also deny all rumors that these plans were developed in 2016 during the beginning of the Leonardo Journal 50th anniversary and the Roger and Christine Malina 30 wedding anniversary.

dog-rocket

The SECRET PLAN -please do not divulge except to Roger Stone

moon-dog no-17-20160616_230859

and below, photo taken at night of the secret location in france where the

plans were found.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PS it has come to our attention that the photo of the cocker spaniel named ROCKET is a HOAX because the real dog Rocket did not have a tuft of white hair on his chest.

 

FRANK J. MALINA ASTRONAUTICS MEDAL CALL FOR NOMINATIONS

Colleagues

It is with great pleasure that I bring to your attention the call for nominations for the

FRANK J. MALINA ASTRONAUTICS MEDAL – 2017 CALL FOR NOMINATIONS- Deadline for nominations Feb 17, 2017

The first award was to Sharon Krista McAuliffe (First Teacher in Space, posthumously, USA). The purpose of this medal reinforces Frank Malina’s deep commitment to the peaceful uses of outer space. As you can read in the paper abstract at the end of this blog post by historian Fraser MacDonald, Frank Malina left the rocketry business as pioneer  whose team launched the first human made object into space, largely because he refused to work on  putting atom bombs on rockets. Fraser Macdonald in the abstract below says:

he developed :what we might call a kind of ‘leftist Olympianism’. ….. I show how Malina wanted to transcend, as he saw it, the ‘contradictions’ of political geography to offer a programme for ‘one world’ government. This programme was to be thrashed out, under his direction, by a committee comprised of: an economist or economic geographer, a construction engineer, a psychoanalyst, a philosopher and a politician.  In articulating this vision, he saw himself as ‘developing a new awareness… able to withdraw from … happenings of the moment … perched above the Earth as an observer of the whole’. ” ( I cant but help editorialise on how this vision might help us given the strange political turns under way in USA and Western Europe which turn their back the work of  international collaboration that is a legacy of WWI survivors)

Please nominate candidates for the Frank Malina Astronautics Medal and share this announcement to your friends and colleagues. The deadline  for nominations is Feb 17, 2017

http://www.iafastro.org/frank-j-malina-astronautics-medal-2017-call-for-nominations/

FRANK J. MALINA ASTRONAUTICS MEDAL – 2017 CALL FOR NOMINATIONS

 

The International Astronautical Federation (IAF) is pleased to announce its 2017 Frank J. Malina Astronautics Medal that recognises outstanding contributions to space education by an educator who promotes the study of astronautics and space science.

The call for nominations for the Frank J. Malina Astronautics Medal is addressed to IAF member organisations in good standing. Only one application per organisation will be accepted per year.

The most important criterion for this award is that an educator “has taken the fullest advantage of the resources available to him/her to promote the study of astronautics and related space sciences”.

If you have a nominee, please submit the following information:

  • 1 nomination letter;
  • The candidate’s credentials, including educational background, work history, awards and honours, and published works;
  • At least 3 letters of recommendation, two professional and one personal; letters from students are encouraged;
  • The nomination package should be forwarded under cover of a letter from an IAF member organisation, signed by the responsible official of that organisation, and listing the point of contact for any questions.

The entire application should not exceed 15 pages.

The Frank J. Malina Astronautics Medal recipient will be selected by the Malina Medal Subcommittee who will review the nominations and make a recommendation to the IAF Honours and Awards Committee who will, in turn, make a recommendation for the recipient to the IAF Bureau during the IAF Spring Meetings in March 2017. The final decision rests with the IAF Bureau.

The Frank J. Malina Astronautics Medal comprises an engraved commemorative medal and a certificate of citation. The medal will be awarded to the recipient during the International Astronautical Congress (IAC) Closing Ceremony and the recipient will be invited to participate in the Gala Dinner of the IAC as a special guest of the IAF President. In addition, the recipient will deliver the Keynote Address in the E1 Space Education and Outreach Symposium taking place during International Astronautical Congress.

Nomination documents must be received by IAF Secretariat by the 13 February 2017 15:00 CET (Paris time), preferably by email at award@iafastro.org (Subject line: NOMINEE’S LAST NAME Nominee’s First Name-2017 Frank J. Malina Astronautics Medal).

If email is not available, the reference can be sent by postal mail to:

IAF Secretariat

Attention: 2017 Frank J. Malina Astronautics Medal

3 rue Marco Nikis

75015 Paris

France

Frank J. Malina Astronautics Medal recipients include:

  • 2015 Boris Pschenichner (Russia)

  • 2014 Bryan Debates (USA)

  • 2013 John M. Logsdon (USA)

  • 2012 Amelia Ercoli-Finzi (Italy)

  • 2011 Yves Gourinat (France)

  • 2010 Jean-Marie Wersinger (USA)

  • 2009 Barbara Morgan (USA)

  • 2008 Anne Brumfitt (Australia)

  • 2007 Peter M. Bainum (USA)

  • 2006 Tetsuo Yasaka (Japan)

  • 2005 G.P. “Bud” Peterson (USA)

  • 2004 Eugene Dzhur (Ukraine)

  • 2003 William A. Hiscock (USA)

  • 2002 Sir Martin Sweeting (UK)

  • 2001 Carlo Buongiorno (Italy)

  • 2000 Roland Doré (Canada)

  • 1999 John L. Junkins (Texas A&M University, USA)

  • 1998 Kiran Karnik (ISRO, India)

  • 1997 Vladimir V. Prisniakov and Skip Fletcher (Ukraine/Texas A&M University, USA)

  • 1996 Julius E. Dash and Prof. Motocki Hinada (Oregon State University, USA/Institute of Space & Astro Science, Japan)

  • 1995 John L. Whitesides (The George Washington University, USA)

  • 1994 Richard A. Seebass (University of Colorado, USA)

  • 1993 Hans H. Von Muldau (PFIAT, Germany)

  • 1992 Oleg M. Alifanov and Dr. Willy Sadeh (Moscow Aviation Institute, Russia/Colorado State University, USA)

  • 1991 Gerald M. Gregoreck (USA)

  • 1990 no recipient

  • 1989 no recipient

  • 1988 André Lebeau (Météo France, France)

  • 1987 Luigi G. Napolitano (University of Naples, Italy)

  • 1986 Sharon Krista McAuliffe (First Teacher in Space, posthumously, USA)

 

Here is Fraser Macdonald;s talk abtract he will present in January

Royal Swedish Academy of Sciences, January 2017

‘Perched above the Earth as an observer of the whole’: the satellite
politics of Frank J. Malina

Fraser MacDonald

____________________________________

This paper is about the co-constitution of scientific and political authority in the life and work of rocket engineer Frank J. Malina. As a starting point, I take inspiration from the scholarship of the late Denis Cosgrove who considered the historical geography of Earth imagery, from Humboldt’s Cosmos to the modernist global visions of
Apollo photographs, 22727 and Earthrise. Unlike Cosgrove, the paper examines a purely abstract political image: one in which early technologies of space exploration foster an imaginative apprehension of ‘one world’ politics in the post-war period.

Frank J. Malina (1912-1981) is among the least recognized and yet most important figures in twentieth century American science. His propulsion research at Caltech in the late 1930s, supervised by the Hungarian aerodynamicist Theodor von Karman, led to the first successful US rocket program and to their jointly founding the Jet Propulsion Laboratory, today celebrated as a NASA facility for
autonomous interplanetary exploration. Today, Malina is not well known, despite his singular contribution as the architect of the first object to reach into extra-terrestrial space: the WAC Corporal rocket. Two factors partially explain Malina’s relative obscurity: an FBI
campaign gripped by concerns about his Communist Party membership; and his abandonment of practical rocketry, in protest against its weaponisation, to work initially at UNESCO, and, later, as a pioneer of kinetic art.

This paper considers a specific moment in the biography of Malina – the summer of 1946 – to open up wider questions about relationship between science and politics at the cusp of orbital access. Shortly before he left both the United States and his position as Director of JPL, Malina signed a contract with the Navy Bureau of Astronautics to
investigate the viability of a satellite launch vehicle. His idea was fatefully dropped on cost grounds: no state wanted a satellite in the late 1940s. Malina’s WAC Corporal however remained an unqualified success, soaring to altitudes of 235,000ft in 1945 and 1946. I demonstrate how this achievement also informs a development in Malina’s political thinking, moving from a strict adherence to the
CPUSA line to what we might call a kind of ‘leftist Olympianism’. Using a previously unseen cache of letters between Frank and his wife Liljan, then in the midst of separation and divorce, I show how Malina wanted to transcend, as he saw it, the ‘contradictions’ of political
geography to offer a programme for ‘one world’ government. This programme was to be thrashed out, under his direction, by a committee comprised of: an economist or economic geographer, a construction
engineer, a psychoanalyst, a philosopher and a politician.  In articulating this vision, he saw himself as ‘developing a new awareness… able to withdraw from … happenings of the moment … perched above the Earth as an observer of the whole’. Like his satellite vehicle, this proposal didn’t get off the ground but it provides a fascinating glimpse into the folding of midcentury science and politics.  The failure of Malina’s satellite idea inspires him to an act of imaginative transcendence – the embodiment of Donna Haraway’s
famous ‘God trick’ – where he could look down on ‘the best possible division of the world’s resources’. This vision is, I will argue, only made possible by the particular conjunction of political and scientific authority.
ROGER MALINA

SO WHAT IS STEM TO STEAM ANYWAY ? DISRUPTIVE NEW IDEAS OR VAPOR-WARE to GET FUNDING ?

Colleagues

As you know there is an international discussion on “stem to steam” concepts and approaches for new art/sci/tech teaching and research methods.  There is much debate and discussion on whether the ideas behind STEM to STEAM are new in anyway, or whether the phrase is a repacking of current work in a way to attract new funding ( for an understanding the social and cultural processes at work in ‘selling’ programs like stem to steam – on  a larger scale- see for instance Patrick McCray’s detailed book called The Visioneers: How a Group of Elite Scientists Pursued Space Colonies, Nanotechnologies, and a Limitless Future  http://press.princeton.edu/titles/9822.html   )

The US National Academies of Science, Engineering and Medicine are currently conducting a two year study to address  the higher education part of the question:

Integrating Higher Education in the
Arts, Humanities, Sciences, Engineering, and Medicine
http://sites.nationalacademies.org/PGA/bhew/humanitiesandstem/index.htm

The European Union has initiated the STARTS (science technology and the arts ) funding program:

https://ec.europa.eu/digital-single-market/en/ict-art-starts-platform

which seeks to address the innovation argument:

STARTS encourages synergies between the Arts and innovation for technology and society by promoting the inclusion of artists in Horizon 2020 projects.An increasing number of high-tech companies assert that scientific and technological skills alone are not sufficient anymore. In this context, the Arts are gaining prominence as catalysts for an efficient conversion of science and technology knowledge into novel products, services, and processes.

At the more local level our own School of Art, Technology and Emerging Communication has announced 7 funded PhD fellowships in a number of areas under the stem to steam concepts:

Looking for amazing new art-sci-tech PhD students

Fashioning Circuits Lab* Future Immersive Virtual Environments (FIVE) Lab* Institute for Research in Anticipatory Systems (ANTE)* Narrative Systems Research Lab* Public Interactives Research Lab (PIRL)* Social Practice and Community Engagement Media (SP+CE) Lab* 3-D Modeling Studio

These research labs are looking for PhD students to be funded by the fellowships:

Current research labs looking for PhD students include:

Current labs, studios, and research areas include:

* ArtSciLab

* Cultural Science Lab

* Creative Automata Lab

* Fashioning Circuits Lab

* Future Immersive Virtual Environments (FIVE) Lab

* Institute for Research in Anticipatory Systems (ANTE)

* Narrative Systems Research Lab

* Public Interactives Research Lab (PIRL)

* Social Practice and Community Engagement Media (SP+CE) Lab

* 3-D Modeling Studio

http://malina.diatrope.com/2016/11/29/looking-for-amazing-new-art-sci-tech-phd-students/

If there is interest we will  propose a discussion on the YASMIN discussion list on this topic. For your interest I append the agenda for a meeting we are having here in dallas Dec 2 ( you are invited) where we will  be debating these questions:

Roger Malina

ATEC Watering Hole

Friday Dec. 2nd 2 – 4pm

ATC 3.209

SO WHAT IS STEM TO STEAM ANYWAY ? DISRUPTIVE NEW IDEAS OR VAPOR-WARE
to GET FUNDING ?

Dean Anne Balsamo has initiated a number of discussions on what STEM
to STEAM means for ATEC

We are will be holding a number of watering holes over the coming year
to provide a place to discuss what STEM to STEAM means for us.

This time:

Roger Malina

The National Academies study on Integrating Higher Education in the
Arts, Humanities, Sciences, Engineering, and Medicine

http://sites.nationalacademies.org/PGA/bhew/humanitiesandstem/index.htm

Karen Doore:
Curriculum Re-Design: Computer Science for ATEC Students
Karen Doore will present an overview of curriculum for CS
programming-sequence courses for ATEC and will include student
projects showcasing top student works. There are significant
challenges and difficulties in attempting to teach complex technical
material to a diverse student groups, particularly when many students
question the premise that these CS courses provide value for the
effort that is required to learn the course content. There are
current efforts to re-design curriculum for these courses. She is
looking for feedback and suggestions that can further guide the
curriculum re-design efforts.

About Karen Doore

Karen Doore is a Senior Lecturer and PhD Candidate in the Computer
Science Department at UT Dallas. Her research focus is Computer
Science Education, with an emphasis on curriculum design for
Non-Majors. She earned her BS in Material Science and Engineering from
the University of Minnesota, Minneapolis, MN and an MS in Computer
Science with a focus on Intelligent Systems from UT Dallas. She
currently teaches required CS programming-sequence courses for ATEC
students, and has been working for several years as part of the
re-design effort for the curriculum of these courses. Her new
curriculum has an enhanced focus on computational modeling, so that,
in addition to learning fundamental programming concepts, students
learn how to model dynamic, interactive systems. One goal of this
modeling focus is to provide students with skills to design,
communicate about, and implement dynamic interactive programs, such as
games, animations, and design tools.

Kathryn Evans:

UTD A and H Music Faculty
Topic
Robert Root-Bernstein’s proposed bridging concepts between
science/engineering/medicine and art/design humanities (accepted for
publication in Leonardo Journal)

Alex Topete
ATEC MA student
Topic
Finding Evidence that STEAM is a good idea: the ArtSciLab Examplars project

ALL PRESENT ARE INVITED TO REQUEST PODIUM TIME IF THEY HAVE SOMETHING
THEY WANT TO PRESENT-

For non UTD people who need a parking permit contact
roger.malina@utdallas.edu

Looking for amazing new art-sci-tech PhD students

Colleagues

We are looking for a few new amazing PhD students in Art/Technology/Emerging Media and Communication at the University of Texas at Dallas. A number of 4 year PhD funded positions are availabe ( two years of a fellowship, two years of a TA ship)..deadline January 15 2017.

PhD applicants who are interested in the research areas of my ArtSciLab ( http://artscilab.atec.io/ )  which includes areas in art-science creative work and scientific research, stem to steam and experimental publishing, should enquire directly to me at rmalina@alum.mit.edu

Roger Malina

The School of Arts, Technology, and Emerging Communication

At The University of Texas at Dallas

The School of Arts, Technology and Emerging Communication (ATEC) at the University of Texas at Dallas invites applications for its graduate programs beginning in Fall 2017.  We seek students who appreciate the opportunities of cross-disciplinary education, who aspire to be visionary scholars, researchers, teachers and artists.

ATEC was founded in 2004 as a joint program between the School of Arts and Humanities and the Jonsson School of Engineering and Computer Science.  In 2015, ATEC became the newest school at UT Dallas with a mission to develop transdisciplinary academic programs that span the fields of art, science, design, humanities, and social sciences.

ATEC currently offers three graduate programs:  The Masters of Arts (MA), the Masters of Fine Arts (MFA), and the Ph.D.  Research areas for all graduate students include culture and technology studies, game studies, game development, computer animation, communication studies, critical media studies, media psychology, interaction design, and creative practice.

Current labs, studios, and research areas include:

* ArtSciLab

* Cultural Science Lab

* Creative Automata Lab

* Fashioning Circuits Lab

* Future Immersive Virtual Environments (FIVE) Lab

* Institute for Research in Anticipatory Systems (ANTE)

* Narrative Systems Research Lab

* Public Interactives Research Lab (PIRL)

* Social Practice and Community Engagement Media (SP+CE) Lab

* 3-D Modeling Studio

Join the ATEC Adventure!

Collaboration is the foundation of every program.  Students collaborate with faculty, with each other, and with colleagues from other schools, institutions, museums, and galleries.

Faculty have training and expertise in multiple disciplines:  digital humanities, critical race studies, cultural studies, game studies, game design, animation, virtual reality, narrative theory, art & science, computer science, interaction design, visual arts, 3-D arts.  They are leaders in developing new hybrid research projects and experimental creative practices.

ATEC is housed in the newly constructed Edith O’Donnell Arts and Technology Building.  Opened in 2014, the 155,000 sq. ft. facility includes computer labs, fabrication and maker spaces, faculty research labs, motion capture labs, usability lab, sound design recording spaces, game and media library, and a 3D art studio.

ATEC faculty are dedicated teachers who embrace project-based learning, collaborative creative practice, and critical analysis and social science research methods.  Students are encouraged to join lab-based projects, collaborate on experimental art and media productions, and engage in critical and social scientific research.

Funding is available for outstanding doctoral students for 4 years of study.  Funding support includes two years of fellowship (year 1 and year 4) and two years of teaching assistantships (year 2 and year 3).  Tuition is covered by the School.  Students in the MA and MFA programs may also be funded through research assistantships and teaching assistantships.

Requirements for application to the MA or MFA programs, students must have earned an undergraduate degree from an accredited school in a relevant field, and submit a portfolio with a written essay of interest, and examples of creative and/or critical work.

Applicants for the Ph. D program must have earned a master’s level degree in a relevant field, and submit a portfolio that includes a written essay of interest, an example of academic writing, and evidence of creative practice or research experience.

For details about ATEC graduate programs, visit utdallas.edu/atec/about.

 

For further information about the doctoral program, please contact Ph.D. adviser Christine Messick christine.messick@utdallas.edu.

For information about the MA and MFA programs, please contact graduate adviser Ellen Curtis ecurtis@utdallas.edu.

General inquiries can be sent to Dr. Monica Evans, Associate Dean for Graduate Programs in ATEC mevans@utdallas.edu.

Graduate admission application deadline for consideration of funding and financial aid:  January 15, 2017.  Application details are available here.

 

Listen to the late Pauline Oliveros and other art/sci/tech pioneers on Creative Disturbance

Colleagues

Per my previous post re the passing of pioneer Pauline Oliveros,

http://malina.diatrope.com/2016/11/25/pauline-oliveros-passes-a-way-time-for-deep-listening/

I thought I would bring this to your attention:

Listen to the late Pauline Oliveros and host Scot Gresham-Lancaster, who had collaborated on many projects over the years and in this  2015 podcast they talk over some of that work with a focus on the pieces at the Art/Science boundary. The Deep Listening Art/Science Conference comes up as well as the interesting “moon bounce” pieces, “Echoes from the Moon”

http://creativedisturbance.org/podcast/pauline-oliveros-some-thoughts-on-sonification/

 

We have been broadcasting a number of podcasts with pioneers, eg

Dan Sandin:  http://creativedisturbance.org/people/dan-sandin/

Helen Harrison: http://creativedisturbance.org/people/helen-harrison/

Frieder Nake: http://creativedisturbance.org/people/frieder-nake/ 

Jacques Mandelbrot: http://creativedisturbance.org/people/jacques-mandelbrojt/ 

Judy Malloy: http://creativedisturbance.org/people/judy-malloy/

Sandy Stone: http://creativedisturbance.org/people/sandy-allucquere-stone/
Reg Gadney: http://creativedisturbance.org/people/reg-gadney/ 

Sterlarc: http://creativedisturbance.org/people/stelarc/

You can find out more about the Leonardo Pioneers and Pathbreakers projects at:

http://www.olats.org/pionniers/pionniers.php

If you are a pioneer ( you know who you are) and would like to publish a podcast, contact me.

Roger Malina

 

 

 

 

 

 

 

Pauline Oliveros passes a way– time for deep listening

Colleagues

I have just learned that colleague Pauline Oliveros just passed away

Pauline Oliveros, an accomplished composer, accordionist, and experimental music pioneer, has died, according to Red Bull Music Academy and FACT. She was 84.”

from

http://pitchfork.com/news/70047-pauline-oliveros-dead-at-84/

“Born in 1932, Oliveros was a multi-instrumentalist who later became a composer and performer. She was also a noted author and philosopher. In the early ‘60s, Oliveros was an integral member of the San Francisco Tape Music Center. In the late ‘80s, she coined the term “Deep Listening,” and later went on to found the Deep Listening Institute (now the Center For Deep Listening).   “

For more about her amazing work see: http://paulineoliveros.us/about.html

“Pauline Oliveros describes Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing.  Such intense listening includes the sounds of daily life, of nature, of one’s own thoughts as well as musical sounds. Deep Listening is my life practice,” she explains, simply.  Oliveros is founder of Deep Listening Institute, formerly Pauline Oliveros Foundation, now the Center For Deep Listening at Rensselaer.”

Where to begin .. with the passing a few days ago of Jean Claude Risset.. we are feeling the passing of generations that created the culture the art science technology community of today inherits, a culture that is seeking new ways of re inventing ourselves for a saner world—

Pauline curated a CD for Nic Collins, editor in chief of Leonardo Music Journal

http://www.mitpressjournals.org/doi/pdfplus/10.1162/lmj.2009.19.100

here is her curators statement:

Listening for Music through Community

Since 1988, a community has grown around Deep Listening. The practice was established with the recording of the same name released by New Albion in 1989. In the liner notes to Deep Listening, I described for the first time how Stuart Dempster, Panaiotis and I were listening to ourselves, one another and the marvelous space that we were experiencing and recording. The reverberation time was 45 seconds and clear as a bell. This challenged us to listen as never before. The Deep Listening Band was spawned out of this experience. The Deep Listening Retreats began in 1991. Musicians, artists, writers and others attracted to the concept have attended the retreats every summer for 19 years. Hundreds of Deep Listening workshops and classes have been given in many parts of the world. The Deep Listening Band is now in its 20th year and currently features David Gamper, Stuart Dempster and me. For the music and sound profession, Deep Listening is a matter of perceiving and making sound interactively, in a way that expands beyond the music to include the environment. Rapport with the space of sounding and with the audience deepens the musical experience for all. A profound experience can be shared and its influence can be spread. All 15 composers represented on the LMJ19 CD have had some relationship to the Deep Listening practice: Some are certificate holders; some have attended workshops and classes. The pieces on the disc reflect the practice in a wide variety of ways. The Nameless Sound Youth Ensemble fearlessly enters improvisation through their listening facilitated by David Dove. Theirs is a music of no hesitation—silences are honored and perceived just the same as sounds. Many in the ensemble began their improvisation with little or no musical training. Norman Lowrey has created his music through his making of masks that sound. He sounds his masks in a music of ceremony. He invites others to share in the sounding ceremony, which includes audio tracks of past performances. Sema by Sarah Weaver was developed during a Deep Listening retreat in Cork, Ireland (2008), in collaboration with other retreat members. Sema was performed at the Quiet Music Festival immediately after the retreat. The Cornelius Cardew Choir (Berkeley, CA), formed and directed by Thomas Bickley, hosts all levels of singers and performs pieces with and without notation. Bickley encourages members of the choir to make pieces to perform as well. Angelorum was first performed in 1997. If, Bwana (Al Margolis) makes backup tracks with a sampler. He often samples improvising musicians on the fly to build the tracks during the performance. Catarina de Re drew inspiration from the Troy, NY, community and a unique building to inform her opera The Gasholder Stupa. De Re’s operatic voice explores the huge round brick space of the Gasholder building as improvising musicians move through different cultural expressions. DLCGO employs a process of the individual creation of electroacoustic sound files that are uploaded to a server, rated by the makers and mutated a number of times to create material for improvisation, guided by Doug Van Nort’s score. Rocks as instruments in a beautiful outdoor environment bring people together for Seth Cluett’s fleeting and massive. This is a people-oriented piece that invites participation from any who are interested. Gathering information about daily rhythm cycles of many individuals produces the material

LEONARDO MUSIC JOURNAL, Vol. 19, pp. 100–101, 2009 ©2009 ISAST for Patterns of Living and Sounding by Marc Jensen. The collection of the material through a diary and the process of selection gives the musician a rich relationship to their daily lives that he uses for sounding. Kathy Kennedy’s extensive experience with radio transmitters, voice culture and large groups inform her HMMM. Anyone can hum. Her invitation to participation in a public space encourages strangers to make music together casually. Participant comments are a great part of this excerpt. Paula Matthusen cleans ears with her electroacoustic music. Her use of resonating materials and clear sounds penetrates the space in a variety of patterns. In The Listening Garden, colorful whirligigs await the wind and then turn to inform the musicians when to play and with what characteristics according to Shannon Morrow’s instructional score. Out of doors in a public park, people who likely would not attend a concert are attracted to the music through the unusual score. Mouth Piece, an improvisation guided by trombonist Monique Buzzarté with two singers, takes us into the acoustic space of the theater at Time & Space Limited in Hudson, NY. Their interactions develop purely through their listening to each other. In Skolelyder (ja, ja, hey), children improvise according to instructions by Kristin Norderval. There is a wonderful sense of children’s play with sound. Elainie Lillios goes deeply into electronics in Listening Beyond to express her relationship with listening. She takes us with her on a lovely journey, carried by her beautiful electroacoustic sounds and her voiced invitation to follow. Pauline Oliveros LMJ19 CD Curator E-mail: <paulineo@deeplistening.org> Pauline Oliveros (1932) is a composer, performer, author and philosopher. She pioneered Deep Listening, an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation designed to inspire both trained and untrained performers to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid-1960s she served as the first director of the Tape Music Center at Mills College, a.k.a. the Center for Contemporary Music, then as Professor of Music, and later as Director of the Center for Music Experiment, at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts department at Rensselaer Polytechnic Institute (RPI), engaged in research on a National Science Foundation CreativeIT project. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and is president of Deep Listening Institute, Ltd. She received the 2009–2010 William Schuman Award from Columbia University. ;

Roger Malina

 

dont miss eduardo kac space poetry on international space station !!!!

colleagues

don’t miss eduardo kac material space poetry on international space station !!!!
http://observatoiredelespace.cmail19.com/t/ViewEmail/j/8D37CBA3BAE24ED5/A19F4BFC694AFC96F990754F028F0E8F

It is a delight seeing friend and colleague Eduardo Kac perform a space poem through the intermediation of french astronaut Thomas Pesquet:

On the occasion of the next mission Proxima of ESA aboard the ISS, the french astronaut Thomas Pesquet come true Inner telescope, a poetic work imagined by the artist Eduardo Kac, with the support of the Observatory of the space of CNES.

I once wrote that space exploration would fail without the creation of a space culture- here we go

after Arthur Woods, Frank Pietronigro, Kitsou Dubois, Ansumas Biswas…..Eduardo Kac

see the Leonardo/OLATS space arts working group;

https://www.olats.org/space/space.php

and the space arts data base ( if you are a space artist interesting in being in the database, contact me:

http://www.spacearts.info/en/info/index.php
hear eduardo kac talk 26 nov in paris

Hear Kac talk about this space art project

Space Poetrymeeting with Eduardo Kac at the bookstore Michèle Ignazi, Saturday, Paris
26 November at 7 pm.

> November 17, Thomas Pesquet went for six months aboard the International Space Station. During his stay, the french astronaut will conduct inner Telescope, an artistic performance imagined by the artist Eduardo Kac.

Eduardo Kac has chosen to leave a trace of this adventure, which is “one small step for man and perhaps a big step for art” according to Thomas Pesquet, through a graphic novel, signed and numbered a hundred copies only. This artist’s book will be unveiled at the meeting held at the Michele Ignazi bookstore and will result in a reading of the eponymous manifesto performed.

>> Information:
Michèle Ignazi Bookstore
Saturday, November 26 at 7 pm
17 street of Jouy, 75004 Paris
Subway: Saint Paul
Tel: 01 42 71 17 00

 

Jean-Claude Risset passes away- stem to steam an inheritor of his ideas, inventions and music

Colleagues

With sadness we learn of Jean Claude Risset’s passing way on Nov 21 in Marseille.

For a good summary of his career ( in french with links to texts): http://olats.org/pionniers/pp/risset/risset.php 

or in english:

http://exclaim.ca/music/article/r_i_p_electronic_music_pioneer_jean-claude_risset

When I arrived in France to the CNRS and Aix-Marseille University in 1995, Risset was just a kilometer away in the Laboratoire de Mechanique et Accoustique ( LMA) and his laboratoire d’informatique et d’acoustique musicale. For me he is an examplar of the “new leonardos” today whose work straddles the sciences and the arts , in his case accoustics , digital tools and contemporary music, and of course music that could not have been made in any other age. But he also navigated the rapidly changing technology landscape, leading directions that now see so natural…from musical synthesis to digital remix.  His knowledge of psychoacoustics led him to explore sonic illusions such as the  Glissando Shepard-Risset effect which sounds if the sound descends for ever ( https://youtu.be/MShclPy4Kvc ).

During his later years he dedicated his work to composing so we look forward to a fascinating legacy= the last time I met him was when we were setting up the IMERA art-science residency program (ASIL) http://imera.univ-amu.fr/en . He had many ideas and suggestions. We had of course read his art-science report for the french government ( http://www.education.gouv.fr/cid1905/art-science-technologie-a.s.t.html ). Resulting from  chairing  a committee on art/science/technology he made specific recommendations to the french government, few of which unfortunately were implemented. The report was a pre cursor to Bill Mitchell’s “Beyond Productivity” ( https://www.nap.edu/read/10671/chapter/1 ) and subsequent reports in europe the usa and elsewhere that first promoted the cultural industries,  our own SEAD report (   Steps to an Ecology of Networked Knowledge and Innovation: Enabling New Forms of Collaboration among Sciences, Engineering, Arts, and Design http://www.mitpressjournals.org/page/NSF_SEAD ) in 2015. The international discussion is now thickening into the STEM TO STEAM movement including new funding programs such as STARTS ( https://ec.europa.eu/digital-single-market/en/ict-art-starts-platform )

. Summary of the  Risset report:

‘The field of the arts is important for itself, but also in relation to the efflorescence of the digital. The arts feed cultural industries to a huge potential market. The progress of science and technology provides the art of new tools, new materials and new methods. Art can also be engine of scientific and technological innovation. The possibilities of the computer and multimedia make possible new heuristic approaches, for which the artistic research can be articulated with basic research.Therefore, that an organized search snaps into place on a subject that involves a chain of different actors: researchers, designers, educators, publishers, manufacturers, economists… It is particularly important that artistic concerns could penetrate to the heart of research. However, by tradition, the arts do not have in France the place they deserve in the University and research communities. This report deepens those expected and examines ways of enhancing the art-science-technology synergy. The first volume, synthesis and body of proposals, refers to a second volume of more full-text analysis and documentation. The report is articulated following five axes: the identification of resources; remarks on computer networks; the study of scientific strategies; directions of research; economic issues. “

He received the gold medal of the CNRS and the Legion of Honor.

He leaves a legacy internationally but also in Marseille with his exemplar laying the institutional rationales that legitimises the creation of a number of art science technology labs in France ( eg ASTRAM in Marseille : http://astram.univ-amu.fr/  led by Jacques Sapiega ). Music was one of the first arts that rapidly adopted and then transformed digital media in the 60s, and France among the first initiators of new computer music institutions such as IRCAM. For an excellent speech of his summarising his own career , vision, mentors and ideas see http://www.cnrs.fr/cw/fr/pres/compress/risset2.htm

Roger Malina

Jean-Claude Risset, who reimagined digital synthesis, has died

” French electronic visionary Jean-Claude Risset has sadly died. According to French media reports, Risset passed away on Monday (November 21) in Marseille. He was 78.

Alongside the likes of Pierre Henry, Pierre Schaeffer and Pierre Boulez, Risset brought early electronic music into new, unexplored territories. With a training in physics, piano and composition, he is often seen as the first French musician to ever use computers for composition and music production.

Born in 1938, Risset began his music career in his early 20s when he studied composition under the guidance of André Jolivet, before joining fellow electronic music pioneer Max Matthews in 1964 at Bell Labs in New Jersey. Together, Risset and Matthews help create the MUSIC IV software to digitally recreate the sounds of brass instruments.”  http://exclaim.ca/music/article/r_i_p_electronic_music_pioneer_jean-claude_risset

See also:  http://www.cnrs.fr/cw/fr/pres/compress/risset1.htm )

Roger Malina