Sunday, May 1, 2016

[Yasmin_discussions] Mercado Central Discussion

Hello Yasminers,

Finally i found some time and here you have my answers. Great to read yours
!!,

Best,

Guillermo.

1- What is your background as a professional scientist? What is your
background in the arts, design or humanities.


I have a PhD in Physics, and i´m researcher in single semiconductor
nanostructure spectroscopy, which belongs to a large interdisciplinar field
of study involving Applied Physics, Nanotechnology, Photonics, Quantum
Optics, Solid State Physics, ... I carried all my career near Valencia
(with some short stays in Edinburgh and Florence), but now I going to
continuous my science research at Sydney for a couple of years.

I don´t have formal studies about art, design or humanities, apart from
some isolated courses. However, i´ve been collaborating as a teacher in the
Visual Arts and Multimedia Master of Fine Arts department of the
Universitat Politecnica de Valencia along the last years. I collaborate
with Salome Cuesta in the Art & Science lectures and develop a lecture
about Communications, Networks and Devices. At the same time, last year
i´ve been pleased to be part of the artists and scientist group at Djerassi
along the 2.0 Scientific Delirium Madness residency, where the "gift of
time " between my colleagues was very productive, enjoyable and rich.


2- When and how did you become involved in a hybrid art/science practice?


I have been involved in some arts from my childhood (I play guitar and I
like to write (Spanish)), in my student days I put some effort to try to
study some art and philosophy lectures to try to complement my physics
studies. I always found science lectures without context. For me it always
was important the concept, but at the same time the history of the concept,
the context of the concept, and the creativity process that allows the
possibility of the concept. In some sense it was always flying around the
idea of science as part of culture. By some interesting platforms and
journals, like Leonardo, Yasmin, Metode, Artnodes, Laboratorio de Luz,
Master de Artes Visuales y Multimedia…, I found this Art & Science
collaboration opportunities.


I´ve been working many aspects of science communication and science
collaboration between disciplines. I´m part of the group Piratas de la
Ciencia, located in Valencia, where we made many efforts to link different
disciplines in our activities, which are not merely science popularization
activities. We always been interested in multidisciplinary discussion
forums, and introduce science activity in life, but in a bi-directional
way: to be speakers and at the same time public in these forums. At the
same time we are very interested in this activity as a science activists,
as we understands that social issues must be visualized and highlighted. As
an example, yesterdar we ended a one month course called "science between
disciplines", where we collaborated with new media artists, lawyers,
cookers, philosophers, … to speak about chemistry, visual representation,
genetics, communication, not only as a science topics, as interdisciplinary
topics. We use our city instalations, and, I must say that we always end
our forums drinking some bears and eating some tapas in the Mercado Central
de Valencia, that is the origin of the name of this discussion. I think
this is a visual example of our intentions: try to speak about connections
between science, art, engineering, legal issues, medicine, communication, …
informally and pleasantly in an exchange place.


3- what have been the major obstacles to overcome?

As Roger said, the major obstacle was to develop two CVs. Of course your
science CV must be great, because if not your science supervisors are not
going to allow you to use time outside conventional science. So, the major
obstacle is that all of this activity is not understood as science activity
(even it is). This means that we use most of our free time to do it.
However, for me is a refreshing activity, and give me good feedback to
conventional science work. So, in this sense, even this art/sci work is
outside the conventional CV and the expected science work, the energy
focused there gives me new ideas, strengths, social linkings, collaboration
platforms, and vital energy, which finally is translated to my conventional
science work. However, even I would like to be always optimistic, to be
honest I must say that it is kind of maddening when you receive these
science evaluation forms from projects or fellowships and this work is just
not taken into consideration.


4- what have been the greatest opportunities/breakthroughs?

When I started to discover that art&sci was a real activity and there were
many people in my country and outside I was just fascinating. I could not
believe that, in fact, there were so many people working and feeling this
interest in the interdisciplinary connections. This was a great surprise,
and not i´m really happy that the community becomes larger and stronger (=
with more project proposals). So, the first opportunity for me was to work
in a fashion that I though that was not possible (because in school and
university is usually not showed). If this was not possible i´m sure I will
not be happy with my physics studies, as I need physics but linked with
different inputs. At the same time, this art/sci forum gives you freedom of
thinking and a great reservoir of links, ideas and data. This is just what
I understand that science research needs.

At the same time, there are concrete opportunities. The use of same
technology, and the inclusion of the social dimension in science, arts and
humanities allows to work in similar spaces (Fablabs), or with similar
strategies (Do It Yourself or Citizen Science examples). I´ve been
fascinating about the following example: Quantum Moves.

https://www.scienceathome.org/games/quantum-moves/game

This is a gamification project from Ahrus University (Denmark) about moving
single atoms with laser light traps. The users (from internet and without
any quantum mechanics background) must move the atom with high fidelity and
short times. All the user plays were recording. Finally, with the data from
users, the research team increased the speed limit to move single atoms
with high fidelity, and publish it in Nature. I recommend to read the link,
where more information can be found. For me this is a great example where
even so focused research and apparently (and it is) very technical and far
from everyday work, can be enhanced by this strategies, where comes from
video-game context, citizen science, and need great and strong
interdisciplinary art, science and humanities teams.


5- what would you do differently, knowing then what you know now?

First, to learn English. Communication is the key in much of the research,
but in the interdisciplinary connections even more. At the same time, to be
confused with people is so easy, because rules are different in each
discipline. You must take special care to details, and things that are
usually true or well accepted in your discipline are not well considered in
another. May be it would have been better not to do some activity than to
do it alone. To do it alone make no sense. And for sure, I MUST have great
time doing it. This is not usually paid, this is not under my CV, I can
accept stress (each activity require it), but this must not be painful
anytime.


6- any advices to someone who may want to walk in your footstep?

As everything in life, do it if you believe in it. I think empathy is
important in the interdisciplinary relations, helps you to try to
understand the different strategies and procedures (it is hard job, but
with great reward). And understand that collaboration and communication are
the keys to a good interdisciplinary project.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Friday, April 29, 2016

[Yasmin_discussions] Fwd: Remembering Harold Cohen

yasminers
we have some sad news today of the passing of Harold Cohen
that frieder nake informs us

By all criteria harold cohen was an exemplar of the kind
if hybric practice that we have been discussing on the
YASMIN Mercado Central list

http://computer-arts-society.com/static/cas/computerartsthesis/index.html%3Fpage_id=237.html

His practice, as an artist, pioneered a number of theoretical
and technical innovations that has proved to be both pioneering
and influential on the direction of art-science-technology research
and art making

we welcome yasminers know harold cohen for their memories
and comments from those who knew and admired his work

roger malina





---------- Forwarded message ----------
From: nake <nake@informatik.uni-bremen.de


Dear Roger,

I guess you have got the word that Harold Cohen, the greatest in our
small field of algorithmic art, died on 27 April.



Frieder

--
Frieder Nake
University of Bremen, Informatik | Hochschule fuer Kuenste Bremen
P.O. Box 330 440, 28334 Bremen, Germany
nake@informatik.uni-bremen.de | 0421-218 64485 | @CarlCanary |
www.agis.informatik.uni-bremen.de
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

[Yasmin_discussions] Yasmin_discussions

Hi Roger

Happy to respond. I'll be forwarding the remainder of my promised Pioneers
'60-''80s

*1**-what is your background In arts and its practice?*

* On through1940s grade school studies, three influential teachers prompted
and assisted my grounded educational directions; and, these foundations
became my direction-finding impetus; and, ultimately I bequeathed my
undergrad challenges toward art, science, humanitarian initiatives, and
the inevitable pathways, which was fraught from multiple hurdles.
Inspirational foundation fr three grade School Teachers and Scientists:
Karl Jansky's rotating radio wave antenna and George Owen Squier's**:
**"**Researching
the possibility that whole forests could be used as radio
stations—broadcasting weather reports, news from the front lines of war,
and much else besides—is described by Scientific American as performing
"tree radio work.**"*


*2--when and how did you become involved in art/science practice? *

*My main question? the world is wired for what?*

*Concentrating on the W W W W H & Ws, exploring conceptually and
experientially between1969 to 1980s. Initial art pivots fr * *a. *
lithography * b. *ats satellite * c.*satellite perspectives * d. *natural
analog wave forms* e. *Gibbs Fjord monitors w/satellite relaying* f. *three
year old American elm sapling * g. *scanning electron microscope *h. *early
terrain instruments * i. *self broadcasting Birch *j. levitating sounding
sculpture k. *walker art center hene laser, Intel 8080 microprocessor
*l. *segues
to final Analog to Digital inter activities, and group funded wifi-based
project collaborations.

* Audible Construct's students' class analog monitoring projects Lake
Michigan gusts *

*http://www.d.umn.edu/~lbrush/SAICRoofc.69-72.jpg
<http://www.d.umn.edu/~lbrush/SAICRoofc.69-72.jpg> *

*http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg
<http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg>*

*http://www.d.umn.edu/~lbrush/hxgtower.jpg
<http://www.d.umn.edu/~lbrush/hxgtower.jpg>*

http://www.d.umn.edu/~lbrush/Hexagram1971.mp4

http://www.academia.edu/21632765/An_Audible-Constructs_Primer


*3--- what have been the major obstacles to overcome?*

*At my back,disappointing post high school experiences, having struggled
following my post orphanage months in Chicago and, finally $ earning my
way- as a draft dogger in Canada, where I became an radio apprentice for
the CBC in Winnipeg. Two years later i relented, registered for the draft,
and was later honorably discharged.*


*4-- what have been the greatest opportunities*

* and breakthroughs? *

MEADOW PIANO http://www.d.umn.edu/~lbrush/lbarchivesc1.html#anchor33428

http://www.d.umn.edu/~lbrush/lbarchivesc1.html#anchor252178
http://www.leonardo.info/isast/spec.projects/art-science-environment_bib.html
Brush, "Monitoring Nature's Sounds with Terrain-Based Constructions" (
*Leonardo* 17:1)

BAFFIN ISLANDS http://www.d.umn.edu/~lbrush/GibbsFjord1.jpg

TREES, LAKE SUPERIOR ICE FLOES and other natural phenomena -
http://continuo.wordpress.com/2009/07/06/musicworks-30-sound-constructions/

WINDRIBBON http://www.d.umn.edu/~lbrush/lbarchivesf1.html

WINDSCUBE -http://www.d.umn.edu/~lbrush/lbarchivesd1.html#anchor213267

TREES AS CO-AUTHORS http://www.d.umn.edu/%7Elbrush/lbarchivesf2.html
<http://www.d.umn.edu/~lbrush/lbarchivesf2.html>

sound sculptures 1964-1975 -http://www.d.umn.edu/~lbrush/lbarchivesYONY
<http://www.d.umn.edu/~lbrush/lbarchivesYONY.html>

http://www.d.umn.edu/~lbrush/lbarchivesb.html#anchor143814
<http://www.d.umn.edu/~lbrush/lbarchivesYONY.html>

Belgium installation http://www.musica.be/en/windribbon-leif-brush

AllMusic Review by "Blue" Gene Tyranny

Since 1968, Leif BRUSH made sound installations and performances in
galleries and public places around the world using his Terrain instruments
-- The Minnesota Permanent Forest Terrain Instruments: The Signal Disc,
Whistler, Wind Ribbons, Rain drop triggers, Tree leave Filters, Tree harps
Networking, Modified Treeways -- and an array of accelerometer xyz sensors
(solar-powered amplifiers) connected to Intel 8080 microprocessor,
controlled and updated via FM up/down loads - via KSJN Minneapolis and
using telephone wires to connect local speaker-placed spaces in the one
acre environment,which amplified and articulated natural phenomena.
Mysterious and beautiful.

Google Books

https://books.google.com/books?id=sHuXQtYrNPYC&pg=PT148&lpg=PT148&dq=leonardo+environment+leif+brush&source=bl&ots=pJ6SmQ0kFK&sig=ZpPlh6dbQyodc8-v4BCyIhNTEaE&hl=en&sa=X&ved=0ahUKEwib5urXxazMAhWI3SYKHc5UDVAQ6AEIMDAD#v=onepage&q=leonardo%20environment%20leif%20brush&f=false

"New music in the area of conflict of science and technology "

http://www.d.umn.edu/~lbrush/Jorn%20P.%20Hiekel.pdf

Terraplane performance http://www.d.umn.edu/~lbrush/BraubSixtant.jpg The
Braun Sixtant dirigible receives data from a variety of sensors and
simultaneously resends these analog mirrorings- which are varied aural
surface layerings, including the escarpment's face together with an array
of terrain sound and vibrations for multiplex input- and utilizing radar,
satellite andFM-transmitting/receiving channels. Together in tandem with
visual counterparts, these terrain surfaces are observed by stationary
cameras in the dirigible. Imaging this vision uses heat-imaging sensors
together with a fish-eye video lens. Incoming inputs are mixed together in
the dirigible. This fusion merging of sound and image is intended to
provide a perceptually faux holographic whole. This spatial capture,
necessarily, includes enrichments from nuanced sound playings of earthen
features, whose anomolies may be wind-disturbed, emphasizing aural/visual
textures and expected wide ranging fluxed soundings. Realtime describes his
challenge: these aural and visual counterparts from exisiing inputs are
combined (multiplexed) in the Braun Sixtant and are instantly re-relayed to
the ground-to-satellite uplink. This whole context is simultaneously handed
over (uploaded) to Westar IV satellite and thereafter may be demultiplexed
(decoded) and downloaded into the black set top box for re-construction
into multiple speakers of all the sound and vision details.

DAWN 1980 CHORUS http://www.d.umn.edu/~lbrush/TransCanada_c.80.pdf

*5-- what would you do differently, knowing then what you know now?*

*Want 10 additional years.*


*6-- any advices to someone who may want to walk in your footstep?*

*Crowd source and conceptualize interactive Art-Science recycled across
applications and local community boundaries.*


*7. Add other questions and your responses you think are relevant *

*Douglas Kahn contrasts the early military use of trees as antennas by
Squier, better known as the inventor of Muzak, with the use of trees in the
performative telecommunications of the American artist Leif Brush beginning
in the 1960s, as a way to ask about energies, communications and
survivability in the Warm War.*

*a.**t*errestrial winds, natural phenomena

http://www.d.umn.edu/~lbrush/71-72playing.jpg

*b**.* ats satellite


*c. *world stage satellite perspectives

*http://www.d.umn.edu/~lbrush/asatellite68.jpg*
<http://www.utdallas.edu/ah/people/faculty_detail.php?faculty_id=376>

*d**. *comprehending/understanding & sorting natural phenomena's analog
wave forms via

Michigan hexagram roof monitor

*http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg*
<http://www.utdallas.edu/ah/people/faculty_detail.php?faculty_id=376>

*e**. *Gibbs Fjord monitors w/satellite relaying

http://www.d.umn.edu/~lbrush/GibbsFjord1.jpg

*f**. *An three year old American elm sapling was removed from our front
lawn and allowed to dry before being subjected to a mildly vibrating
miniature motor. It was attached to its base with a rubber cushion (for
dampening). This specimen appeared to me to be a miniature of its full and
mature growth. In effect, I felt that some vibrations would generally be in
the analog frequency ranges of a mature tree. I plan on obtaining aural and
visual signatures in future projects.

http://www.d.umn.edu/~lbrush/ditheredElmimage.jpg

*g.*scanning electron microscope

http://www.d.umn.edu/~lbrush/MapleleafSEM.jpg

*h.**terrain instruments defined*

*http://weblackwhole.net/Aspects%20Of%20The%20Terrain%20Instruments%20.pdf
<http://weblackwhole.net/Aspects%20Of%20The%20Terrain%20Instruments%20.pdf>*

*http://www.d.umn.edu/~lbrush/terraininstruments.html
<http://www.d.umn.edu/~lbrush/terraininstruments.html>*

*conceptual and terrain instrument prototypes *

*http://www.d.umn.edu/~lbrush/lbarchivesb.html
<http://www.d.umn.edu/~lbrush/lbarchivesb.html>*

*1980 *Terraplane Chorography II: International. Listening (1980, New Music
America, Walker Art Center, loring. Park, Minneapolis
*New Music America: 1980: Selected Highlights, Program 2*

*http://radiom.org/detail.php?omid=NMA.1980.06.XX.02.A
<http://radiom.org/detail.php?omid=NMA.1980.06.XX.02.A>*
http://www.d.umn.edu/~lbrush/Walkerlaser.jpg
http://www.d.umn.edu/~lbrush/TIwcubed.jpg

Terrain Instrumenthttp://www.d.umn.edu/~lbrush/terraininstruments.html

*i.* self broadcasting Birch

http://www.d.umn.edu/~lbrush/lbarchivesf2.html#anchor823475

http://www.d.umn.edu/~lbrush/selffbroadcastingv2.jpg

http://www.d.umn.edu/~lbrush/lbarchivesf1.html#anchor385911

j. levitating sound sculpture


k. performance walker art center mineapolis mod-laser, Intel 8080
microprocessor

http://www.d.umn.edu/~lbrush/LBw_TI202.jpg

http://www.d.umn.edu/~lbrush/terraplanelaser.jpg

http://www.d.umn.edu/~lbrush/Walkerlaser.jpg

http://www.d.umn.edu/~lbrush/202.jpg

l. segues to final A to D projects

http://classic.rhizome.org/commissions/proposal/2588/

Tackling collaborative iniatives, in particular, the social net-worker's
ethical, humanitarian and creative challenge re one to many 'for 0common
good"; U.S.G. neighborhood and leadership subsidies for solar roofs,
appliances, e.g.,12 volt refrigerators based on the evolving global Nano
revolution, .gov and commerce upgrades.

why

a pioneering .edu endeavor- seeks unique collaborative global
artists-scientists, like-minded and path-searching people- via global,
zeroing school newspaper ads; Skype and, as foundation, an epicentral
platform from which to eventually segue a World Playing wiki resulting =as
orchestral leader of a prototypical Mesh node http://projectmeshnet.org/.
As catalyst-teacher re this projection, the expected base goal would be to
demonstrate humanitarian values and explore perceptions among one mind and
many- in all forms of two-way human interactions.

Who

A predetermined number of contributors - yet to be identified by this
process - would coalesce the prototypical neighborhood to neighborhood
fluxing of the inherent toward node-construction, which would coalesce and
transmit from multiple terrestrial vantages; among its objectives would be
to; (a) mirror an unimaginable phenomena re physical and organic aspects of
the natural world- in an effort to include eye-ear parity; (while
acknowledging the intuitive perceptions of prehistoric people, (b)
elucidate intertwined thinking beyond borders and countries, achieving a
meticulously new coin from which to formulate international commerce, its
corporate stewardship, and sponsorship.

What How

includes (wifi/laser) optical aspects and vital Nano-"commerce/interactive,
global humanitarian, and feedback-partnerships.
http://yasminlist.blogspot.com/2012/02/re-yasmindiscussions-networking-50.html

http://malina.diatrope.com/2012/02/18/leonardo-education-and-art-forum-at-us-college-art-association/

http://malina.diatrope.com/2012/03/22/new-leonardo-thinks-posting-art-and-the-brain-what-does-the-evidence-tell-us-by-amy-ione


Leif
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

[Yasmin_discussions] mercado central

yasminers

Antonio Catalano sends us his lessons learned in in hybrid art-science work

roger malina

Hello Roger,


So here are my answers:

1- what is your background as a scientist? In the arts, design or humanities ?

I hold a Msc in Pharmaceutical Chemistry, a Master in Bioethics and a
Master in Cognitive Science and Interactive Media. Ops, well, the last
one is between science, technology, design & culture, so things
already become blurring... In arts I have training in music (private
school) and currently training for 5 years as an actor in an
independent theatre company. Many other little courses opened me to
different approaches that I am trying to apply to contemporary art.

I am currently working as Technical Director for a private R&D and
production center in the pharma&beauty sector, based in Italy, while
working with an NGO called MetaArte Associazione Arte&Cultura as an
actor and organizer. Sometimes I create contemporary art
installations. I am interested in complex systems.

2- when and how did you become involved in a hybrid art/science practice?
I was running on two tracks since high school, studying science but
playing with my band in the meanwhile. Then I slowly started reasoning
on the two of them togheter, as ways to internalize the world around
us and externalize the world inside us. I cooperated with a small
local NGO trying to organize international events dealing with
art&nanotechnologies, and finally discovered that there is a whole
world of art/science professionals at Mutamorphosis, Prague, 2007. It
was real!

3- what have been the major obstacles to overcome?

I don't think I overcame them yet! In my country nowadays it is really
hard to define yourself as an artist. Imagine a sciartist! Biggest
difficult I am facing is to keep credible to the scientific community
e.g. working both as a toxicologist and performing street art with
stilts. And to keep credible to the arts community making art and
surviving by working in an industry.That's why I keep the two
professional tracks separate, and created a stage name, Antonio Irre,
for my artistic works. And time, oh time. That's another big
difficulty when you work on different fronts. And identity...
sometimes you just get lost. Really lost. Other difficulties are much
more fun, e.g. create a work of art and science that goes beyond
art&technology, but these are the challenges that I like. But they
takes time. Oh, time!

4- what have been the greatest opportunities/breakthroughs?

My parents gave me much liberty in my choices, allowing me to explore
different approaches, to create my personal track. Even if it was/is
quite strange! Then, things happen if you go for them long enough.

5- what would you do differently, knowing then what you know now?

I don't know enough yet.

6- any advices to someone who may want to walk in your footstep?

Keep exploring, read, read, read, and then do, work on your weak
points, approch things that are very far from you and your world,
connect the dots. Don't follow this track if you want a life full of
friends & spare time & other amenities. But consider that it is a
useful track, a cross-contamination that greatly improves creativity
and smart thinking. Ah, create nets! E.g. adding me on FB as Antonio
Irre.


Well, thank you for the invitation, I have not a big experience, still
trying to grasp how to manage and what to do with that, but I am happy
to share my thoughts with you all.
Hope to meet you around soon!
Greetings,
Antonio
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Thursday, April 28, 2016

[Yasmin_discussions] test

Roger F Malina
is in Dallas 1-510-853-2007
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Wednesday, April 27, 2016

[Yasmin_discussions] STEAM: How do educators prepare students for jobs that don’t even exist yet?

Yasminers
thanks to those of you who have been sending in your responses to the
questions developed
by Francois Joseph Lapointe= Let me encourage you for a few more days
to send in your
own response- in a few days we will move on to another question" what
are exectional
examples ( exemplars" of hybrid art-science practice.

In the meantime here are the questions that we hope more yasminers
will send in their response to:

1- what is your background as a scientist? In the arts, design or humanities ?
2- when and how did you become involved in a hybrid art/science practice?
3- what have been the major obstacles to overcome?
4- what have been the greatest opportunities/breakthroughs?
5- what would you do differently, knowing then what you know now?
6- any advices to someone who may want to walk in your footstep?

7. Add other questions and your responses you think are relevant

Meanwhile for your amusement this announcement just hit my desk:

How do educators prepare students for jobs that don't even exist yet?

Bringing powerful STEAM learning to your school

Wednesday, April 27, 2016 | 02:00 PM EDT // 11:00 AM PDT

ABOUT THE EVENT

Now more than ever, it is important that students engage in STEAM
learning in order to be ready for what is
around the corner. STEAM – adding Arts to STEM – provides a full
360-degree approach to 21st-century learning.


This webinar will give you the inspiration to start your own STEAM
learning initiative in your school or district as well as the
necessary tips
, tricks, and tools for implementing a successful program.

Find out how STEAM permeates the entire curriculum and how tools
such as littleBits get students inventing and
reimagining the world around them.

roger malina

_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

[Yasmin_discussions] Mercado Central; Lessons learned and advice for hybrid science-art careers

Dear Yasminers,

Thank you for the opportunity to join this fascinating discussion!

I am a conceptual/sound artist with a background in marine biology and scientific illustration. I've spent most of my life in the northeast (NY/New England), but am currently based in the high desert of far West Texas, near the town of Marfa.

With Best Regards,
Alyce Santoro
alycesantoro.com
@alyceobvious



1- what is your background as a scientist? In the arts, design or humanities?

As a young person fascinated by science and nature but with a penchant for the arts (including music...inspired by Laurie Anderson's tape-bow violin, I had an electric pick-up installed in my flute during my early teens), I decided that my life's mission would be to communicate about the wonders of science and nature through art. Not knowing exactly what this would look like and having no mentor to guide me (in the mid-1980's, a high school student with an interest in what may now be referred to as interdisciplinary education was steered into "liberal arts"...but this did not quite seem to fit the bill for me...I wanted to be a "real" scientist...), formulated a plan: I would gain a formal education in science first, followed by training in scientific illustration.

As an undergraduate I pursued a BS in Biology at Southampton College, part of Long Island University (this campus and its excellent math, chemistry, and physics-heavy marine biology program unfortunately no longer exists). I am so grateful to have received this rigorous education...from it I learned the kind of critical/analytical thinking and experimental design that informs every aspect of my current work.

After Southampton I went directly to Providence, RI where I enrolled in Rhode Island School of Design's Graduate Certificate program in scientific illustration. This too was a rigorous curriculum that, in addition to providing solid training in traditional illustration, allowed me to explore other media, such as sculpture and printmaking. Providence in the early 1990's was a fertile place for artists...lofts in old factory buildings were cheap, and silkscreeners, bands, painters, industrial designers, and other creative practitioners lived and worked in close proximity, willingly sharing studios, skills, and equipment. To support myself while going to school at night, I was fortunate to get a job as a research assistant on a biochemistry and aquaculture project at the University of Rhode Island. I felt like a bit of an impostor in both worlds...by day, my friends at the lab thought of me as some crazy artist, and by night, my artist-friends saw me as a professional scientist who happened to make art.

Not long after graduating from the RISD program, I got hired as a seagoing oceanographic research assistant on the Global Ocean Ecosystems Dynamics (GLOBEC) project. I spent three months total a year at sea, in increments of three weeks at a time, floating around Georges Bank in the North Atlantic, for over four years. This was a pivotal time for me...which leads to the next question...


2- when and how did you become involved in a hybrid art/science practice?

While at sea, I had lots of time to think, read, draw, write...and converse with my fellow scientists (this was in the mid-1990's, before the internet was available on ships at sea!). Over the course of the years that I worked on the GLOBEC project, it was becoming clearer that things in the North Atlantic were amiss...counts of zooplankton and larval fish were rapidly dropping. I asked the lead scientists whether and how this informations should be communicated to the public. That's not our job, they said. Our job is to collect data, not interpret it, they said. I was given the impression that scientists putting any "spin" whatsoever on data – no matter how dire the results may appear – was bad practice. I felt conflicted...I wanted to be a "real" scientist. If the scientist's job isn't to sound the alarm bells...whose job is it? I believe that because there have historically been so few individuals in the position of "science communicator"...not just a journalist or an illustrator, but someone whose job it is to cross fluidly between those worlds, and understands what it means to be a "good scientist"...this is in part why we are now in the mess we find ourselves in re: climate change. Fear of bias has actually led to extreme bias...the vast majority of media on science comes from the corporate media, the kind of media that has a vested interest in suppressing the reality of what is happening.

Alarmed by this, I started making art about the foibles and hubris of science. I began designing "experiments" and making "laboratory equipment" to study the intangible, the parts of reality and the human experience that are unquantifiable. In other words, I became a kind of philosopher...


3- what have been the major obstacles to overcome?

As others have already mentioned, one persistent obstacle is the prevailing view in our culture of "art" as something "extra", an embellishment, something that exists in a support capacity for science but not as something integral, with equal importance or value. The STEM to STEAM movement has been extremely helpful, and "sci-art" and "eco-art" have become much more common and widely accepted in recent years. But there is still much work to be done to dispel the idea all these neat categories are really anything more than convenient descriptors that, upon closer examination, are not nearly as neat in practice as they are in theory.

In addition, perhaps like many people on this list, I work in a nebulous, sort of "genre-free" zone. Some of my work involves sound and music, some of it is sculptural, much of it is ephemeral or conceptual....I tend to use whatever medium I feel is necessary to convey a particular idea. It's the ideas that are, to me, important...the pieces are just artifacts of a concept....and the concepts are free for the taking. For me the joy – and the point – is that ideas should be freely exchanged, open-source, collaborative...information is power, and everyone should have equal access to it. This leads to a variety of problems: a) the work doesn't fit neatly into any handy category that makes it easy to show, sell/buy, or write about, b) it does not tend to generate a significant amount of income.


4- what have been the greatest opportunities/breakthroughs?

Delighted to read that others have mentioned Goethe here! When I first learned of his concept of "delicate empiricism", it was a breakthrough for me. Confirmation of my hunch that we are not as separate from our experiments as we make ourselves out to be...and that "bias", or intuition based on sustained, earnest reflection might actually be useful...these assurances gave me permission to further develop my own "hypotheses".


5- what would you do differently, knowing then what you know now?

I would have abandoned my role as a "good scientist" and embraced my role as one whose job it is to act as a liaison between scientists and the public sooner...I would have helped sound the alarm bells about climate change in the mid/late-1990's when I could see what was happening and was discouraged from speaking out.

Although my plan to study biology first and scientific illustration later ultimately worked out in its own way, I wish I'd known sooner of other options for someone who wanted to become well-versed in both art and science. I would have liked to pursue a PhD so that I could eventually teach, but I am only just now discovering PhD programs that seem to accommodate interdisciplinary studies.


6- any advices to someone who may want to walk in your footstep?

• People who understand science and can communicate clearly &/or creatively about it are more urgently needed than ever. Thus far, the problems of our time – when conveyed accurately at all – have been presented in cold, detached ways that have not tended to inspire action on the scale necessary. In my view, "the poetics & aesthetics of science communications" could be a course of study unto itself. A young person looking for ways to combine art and science might consider seeking out or self-directing such a program.

• Without creativity, there can be no innovation in art, science, technology, or anywhere in between...and if we are to effectively confront the challenges we currently face, we need to teach, learn, and practice creativity.

• For those whose practices are not well-defined or well-compensated, living simply and staying out of debt are strategies that can result in greater freedom, time, and flexibility.

• A couple of offerings for anyone who may wish to know more about my path in particular:

This is a talk I gave for incoming freshman at the New School in NYC in 2005 on "The Art of Science, The Science of Art":
https://vimeo.com/82805251

My book, which was written with a young reader setting out on a path to combine art and science in mind, is available as a free download:
http://alycesantoro.com/philosoprops_book.html (the download button is at the bottom of the page)


7- Add other questions and your responses you think are relevant

Added question: What are you working on now?

• In collaboration with my husband guitarist/composer Julian Mock I am working on developing a means of visualizing the intervals and modes commonly used in the Western 12-tone musical system. This method employs a tertiary color wheel to depict tonal relativity and shapes to depict intervals. As a musician who is constantly seeking to improve my skills and pallet as an improvisor, I developed this method out of frustration for the ways that the modes are taught in most standard music theory books. More on this project here: http://alycesantoro.com/mode_chart.html

• For Issue #25 of Leonard Music Journal, I asked 20 composers of new and experimental music the same single question that SOURCE: Music of the Avant-Garde asked of 20 composers in 1969: "Have you, or has anyone, ever used your music for political or social ends?" On May 1, I will post all of the new responses on my Academia.edu page...meanwhile, the 1969 responses can be found here and several individual responses from the contemporary composers (including Terry Riley, Frederik Rzewski, Anne LeBaron, and others) can be found on my blog.

• I am one of the co-founders of a group here in the Big Bend region that is resisting against the 42" high-pressure Trans-Pecos Pipeline. I mention this because the fight is putting all of my skills as both an artist and a scientist to the test – I find myself serving in the capacity of environmental journalist and creative direct-action/social media strategist...in other words, "science communications poetics/aesthetics"! Fascinatingly...local scientists on the ground here whose jobs are funded through the government – including Big Bend National Park employees, UT-funded astronomers, and state funded archeologists – have been silenced by the pipeline company. In other words: the very experts who could comment most authoritatively on threats to this region's plants and wildlife, aquifers, dark skies, etc. have had their jobs threatened by an industry that pours money into the state's coffers. Who is left to fight, and to point out this conflict of interest? The answer is artists, students, self-employed and retired people, and others without affiliations or anything much to lose. This is not just happening here – this is the story of what has been happening on a national and global scale for many, many years. Again, I implore any young person to bear this in mind when choosing a career path: those who can understand the gravity of the issues we are facing and are willing and able to speak out on them eloquently and effectively...you are urgently needed!







_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/