Saturday, October 29, 2016

Re: [Yasmin_discussions] ArtScience ponders "Uncertainty" . . .

Great idea! congratulationsI think that finding environments where uncertainty is a positive, is enjoyable is a good thing is important and useful to understand the world at large and science in particulargood examples include music and poetry, which essentially thrive, live out of producing , exposing itbestr
 

From: Stephen Nowlin <stephen.nowlin@artcenter.edu>
To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
Sent: Wednesday, October 26, 2016 1:30 AM
Subject: [Yasmin_discussions] ArtScience ponders "Uncertainty" . . .

Dear Yasminers -

If you are on the west coast of the US I hope you can visit my newest exhibit, UNCERTAINTY.

Through the lens of contemporary art, the exhibition ponders the principle of provisional knowledge in science, and notions of certainty/uncertainty in art history, science, and public consciousness.

Cheers,
/stephen

Images, Essay, Info: http://williamsongallery.net/press

Website: http://williamsongallery.net/uncertainty

[cid:92D999B0-B3C5-4E33-956E-C964054B46EA]


S t e p h e n    N o w l i n
Vice President
Director, Alyce de Roulet Williamson Gallery
ArtCenter
1700 Lida Street
Pasadena, CA 91103
626.396.2397 | http://williamsongallery.net/google

[cid:0DAAA077-6BA8-4E6F-B03B-C69764E62E85]

P a s a d e n a  -  C I t y  o f  A r t  &  S c I e n c e


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Tuesday, October 25, 2016

[Yasmin_discussions] ArtScience ponders "Uncertainty" . . .

Dear Yasminers -

If you are on the west coast of the US I hope you can visit my newest exhibit, UNCERTAINTY.

Through the lens of contemporary art, the exhibition ponders the principle of provisional knowledge in science, and notions of certainty/uncertainty in art history, science, and public consciousness.

Cheers,
/stephen

Images, Essay, Info: http://williamsongallery.net/press

Website: http://williamsongallery.net/uncertainty

[cid:92D999B0-B3C5-4E33-956E-C964054B46EA]


S t e p h e n N o w l i n
Vice President
Director, Alyce de Roulet Williamson Gallery
ArtCenter
1700 Lida Street
Pasadena, CA 91103
626.396.2397 | http://williamsongallery.net/google

[cid:0DAAA077-6BA8-4E6F-B03B-C69764E62E85]

P a s a d e n a - C I t y o f A r t & S c I e n c e

Sunday, October 9, 2016

[Yasmin_discussions] position: Stanford "next-generation design technologies for live performance"

Hi Everyone,

Prof Matt Smith, who is leading the search committee, would be very
interested to get applicants from outside of the Anglo-Saxon cultural
sphere! Please distribute further.

Theater and Performance Studies, Stanford University is searching for an
assistant professor of theatre practice, specializing in next-generation
design technologies for live performance.

Matt has been interested in new media as a theatrical medium for quite a
while. He is the author of the book "The Total Work Of Art: From
Bayreuth to Cyberspace" - which ends with a chapter on virtual reality
as a theatrical medium (full disclosure: including my VR work Beyond
Manzanar). He's also a wonderful person, highly recommended!

Details below.

- Tamiko

Apply here: https://academicjobsonline.org/ajo/jobs/8120

Position ID: Stanford-Theater and Performance Studies-APTD [#8120]
Position Title: Assistant Professor of Theatrical Design
Position Type: Tenured/Tenure-track faculty
Position Location: Stanford, California 94305, United States

Subject Areas: Digital Media & Design / Next-generation Design

Technologies for Live Performance
Theater Studies

Starting Date: 2017/09/01
Appl Deadline: 2016/11/15** (posted 2016/09/27)

Position Description:

The Department of Theater and Performance Studies at Stanford University
is seeking applicants for an assistant professor of theatre practice,
specializing in next-generation design technologies for live
performance. Faculty in this position would teach classes, contribute to
the department's main-stage productions, advise graduate and
undergraduate student performance projects, and take on relevant
responsibilities in the department's production shops. The successful
candidate will have a demonstrable potential for developing a career in
design for professional theater and performance. We are especially
interested in candidates who can help bridge the worlds of art and
scholarship through hands-on experimentation and research on performance
technologies.

The expected starting date of the appointment is September 1, 2017.
Applicants should send a cover letter describing their work to date and
outlining its future direction and a cv. In an effort to make the search
process more efficient we also ask applicants to send a portfolio of
creative work and/or a writing sample (no longer than 40 pages), two
brief course descriptions, and three letters of reference to:

Prof. Matthew Smith

Search Committee Chair

Department of Theater and Performance Studies

551 Serra Mall

Stanford University

Stanford, CA 94305-5010

All requirements for a graduate degree in theater and performance
design, performance studies, or a related field must be completed by
September 2, 2017. For full consideration, application materials must be
received by Monday November 14 at 5PM California time. No email
applications accepted. Please apply on line at
https://academicjobsonline.org/ajo/jobs/8120 Job posting number: 8120

Stanford is an equal opportunity employer and is committed to increasing
the diversity of its faculty. It welcomes nominations of, and
applications from, women, members of minority groups, protected veterans
and individuals with disabilities, as well as others who would bring
additional dimensions to the university's research, teaching and
clinical missions.


Application Materials Required:
Submit the following items online at this website:
Cover Letter
Curriculum Vitae
Portfolio of Creative Work/Writing Sample
Two Brief Course Descriptions
Three Reference Letters (to be submitted by the reference writers at
this site help popup)
And anything else requested in the position description.

Further Info:
http://taps.stanford.edu/


Stanford University
Theater and Performance Studies
551 Serra Mall
Stanford, CA 94305

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Saturday, October 8, 2016

[Yasmin_discussions] A Primer on the Design and Science of Complex Systems

Dear Colleagues,

Dr Chih-Chun Chen and Dr Nathan Crilly of the Cambridge University Engineering Design Centre Design Practice Group have released a free, downloadable book, _A Primer on the Design and Science of Complex Systems_.

This project is funded by the UK Engineering and Physical Sciences Research Council (EP/K008196/1).

The book is available at URL:

http://complexityprimer.eng.cam.ac.uk

Ken Friedman

--
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Friday, October 7, 2016

[Yasmin_discussions] Call for Works / Tomorrows Exhibition, Athens

*Tomorrows *


*Urban fictions for possible futures*
*Call for works *
Deadline: 2 December 2016


How will everyday life evolve in the cities of tomorrow? What kind of
changes will smart systems, technologies of automation and constant
connectivity bring? Which new economic models might emerge and what will
the role of the particularities of different geographical areas be? How
will the development of the future cities affect the environment and the
natural resources of the planet?

The future today seems to be closer than ever. A new way of living has
already emerged based on the constant aggregation and processing of data.
Nonhuman factors, like the algorithms, have been introduced in models for
smarter cities and smarter homes, promising the constant optimization of a
city's functioning and of citizens' everyday life. While the mediation of
technology is, indisputably, of central importance when discussing the
future of the urban environment, at the same time the following needs to be
pointed out: Projections to the future usually refer mostly to economically
advanced metropolises or to urban centers with no local features attributed
to them. The different geographical particularities, the local economies
and the dynamic of citizens' involvement are, for instance, often left out,
shaping an image for tomorrow's cities, which is inevitably generalized and
idealized.

The exhibition Tomorrows will aim to capture the urban future through
different utopian and dystopian scenarios being developed by artists,
architects and designers, opening up to territories with different
possibilities and needs. Real cities projected into the future, city models
that will never be built and hypothetical cityscapes will come together to
tell stories about the upcoming economic, social and environmental
conditions. New urban skylines, infrastructures, tools, wearables and
everyday objects will become the starting point for unexpected or
purposefully exaggerated stories, where the future is used as a tool that
can assist in critically understanding present itself.

Part of the exhibition will focus on the Mediterranean, a region
summarizing the crisis of the western world. Struck by the ongoing
financial crisis and affected by mass population movements and climate
change, the area is going through transformations affecting both the
natural and the urban environment. The exhibition will examine how the
future of the Mediterranean might evolve, imagining what, for instance, the
role of the smart systems, biometric technologies and network
infrastructures will be.

The open call of the exhibition focuses on projects addressing the future
of the Mediterranean cities. It involves existing projects as well as new
proposals for works referring – without being limited – to objects,
systems, infrastructures and environments. It welcomes visionary ideas for
alternative futures as well as reflective responses for phenomena of the
present.

Submissions will need to include the following:
• Description of the project (250 words max)
• Technical and exhibition requirements
• 4-6 images or drawings
• List of people involved and credits
• Links related to the work – if any
• Credits
• Contact details (email, phone, postal address)
• Short bio of the creator or the group (up to 150 words)

Material will need to be submitted in a single PDF, not exceeding 3 MB.
All texts will need to be written in English.

Submissions will need to be sent to tomorrows@sgt.gr by 2 December 2016.
Notifications regarding the selection will be sent by 16 January 2017.
For more information use the above email address.

More info regarding the exhibition will be uploaded on the website
http://tomorrows.sgt.gr/en/.

The exhibition will open in May 2017 in Athens.

Organized by: Onasssis Cultural Center / Christos Carras
Curated by: Daphne Dragona, Panos Dragonas
Designed by: Panos Dragonas, Varvara Christopoulou
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Monday, June 20, 2016

[Yasmin_discussions] your moderator this week

Yasminers
This is roger malina your yasmin moderator this week
And handing over to monica bello at CERN next week,
I am in Marseille this week - in a france that is very turbulent.
Our Yasmin discussion seems to have gone quiet-if anyone
Has a topic or issue we could discuss -contact me !!

Roger malina
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Tuesday, June 7, 2016

[Yasmin_discussions] Mercado Central Exchange; Rupert Cox insights and advice to young art science professionals

Colleagues

Our discussion on the YASMIN list, providing insights and advice to
young professionals seeking to pursue art science careers has an
interesting new submission by Rupert Cox

YASMIN discussion; RUPERT COX

I am an anthropologist at the University of Manchester (Granada Centre
for Visual Anthropology) who uses Art-Science methods to investigate
and represent the effects of noise exposure on human health and
habitus and have conducted fieldwork around US military bases on
Okinawa since 2007. I am writing to you in advance of a visit to
Dallas this August.

Details of my research are at
http://www.manchester.ac.uk/research/rupert.cox/research but I am
essentially an anthropologist of sound who has worked in a series of
collaborations with a Japanese acoustic scientist
(http://www.ejust.edu.eg/main/news/prof-kozo-hiramatsu-was-assigned-as-the-advisor)

and a sound artist from University of the Arts in London
(http://www.crisap.org/people/angus-carlyle/) to create forms of
public engagement.

An example of this is the following project -

http://www.socialsciences.manchester.ac.uk/research/research-impact/art-exhibition-drives-debate/
http://airpressureblog.com
https://vimeo.com/30539007

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

My background is as a social scientist first, being trained and
employed as an anthropologist (at the University of Edinburgh), and as
a media arts practitioner second (co-founding a film company
nativevoicefilms.com). My specialist field is visual anthropology,
which has a history of applying techniques of visualization to
understand cultural difference and human perception. A critical regard
for the scientism embedded in these techniques and a concern for the
ethics and politics of representing others are what characterizes my
anthropological approach which was developed through work as an
archivist for the Royal Anthropology Institute and then as a lecturer
in anthropology at the University of Manchester.

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

My research has always been based in Japan and since 2007 has focused
on the political ecology of toxicants produced by the US bases in
Okinawa, Japan concentrating on the negative effects of military
aircraft noise on health and habitus. This work began through a chance
meeting with a Japanese acoustic scientist Professor Hiramatsu from
Kyoto University who had led a long term epidemiological study into
the problem of sound pollution around airbases in Okinawa. Our
collaboration was based on an interest in addressing the public
understanding of the acoustic science formula and measuring mechanisms
being applied in Okinawa and accounting for the experiences of
individuals which lay outside the parameters of acoustic science. The
forms for representing this work were developed through another chance
meeting with a sound artist, Professor Angus Carlyle from the
University of the Arts, London, leading to a combined
art-science-social science practice. This practice-led research
approach lay behind successful bids to the Japan Society for the
Promotion of Science, British Academy, Wellcome Trust and Toyota
Foundation and a variety of international exhibitions of our work.

3- What have been the major obstacles to overcome?

The major obstacles have been the absence of institutional recognition
for this kind of collaboration which crosses disciplinary boundaries
and falls outside the essential Higher Education measuring mechanisms
for evaluating research in terms of its metrical contribution to a
disciplinary norm. Also, the grants which provide proper funding for
artistic production rarely offer overhead costs and replacement
salaries so they are not highly valued by the institution. Given the
absence of 'buy-out' time these projects must happen in the time left
over from other academic duties, during vacation periods.

4- What have been the greatest opportunities/breakthroughs?

The greatest break though was offered through the introduction of a
new criteria for evaluating research in UK HE, called 'impact'. This
criteria was designed to show the public relevance of academic
research by developing a narrative that linked original research ideas
with policy discussions and initiatives. Uncertainty about what kinds
of projects this might involve and what constituted evidence of impact
provided an opportunity for our hybrid practice to achieve some
institutional purchase and 'research power'.

The rubric of 'impact allowed us to show the academic merit of an art
exhibition project supported by the Wellcome Trust that was based on
acoustic science and brought to bear an anthropological perspective on
the lived experience of locals living near – and even within – two
Japanese airports. In combining anthropological research with art
practice, the exhibition was seen to support progress in noise
negotiations and improved understanding about the negative health
impacts caused by constant exposure to unwanted sound. In the terms of
'impact' the measurable benefits of the exhibition included:

• A raised awareness among key stakeholders including an airport
mayor, anti-airport protestors and local farmers.

• An enhanced public appreciation of the effects of aircraft noise.
This was assisted by positive coverage in several newspapers,
including the Mainichi Shimbun (3.45 million daily readers).

• The exhibition serving as a mechanism for addressing, and ultimately
breaching, a long-standing impasse in noise negotiations.

More information is at:

http://www.socialsciences.manchester.ac.uk/social-anthropology/research/impact/exhibition-drives-debate-on-aircraft-noise/

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

I would establish criteria such as 'impact' through which to frame the
hybrid practice as a project that the institution recognizes and can
offer support for. I would also take full advantage of the credit
accruing from jointly authored works which may be normative in science
but less so in social science or humanities. Planning a series of
targeted outcomes that takes advantage of the specialisms of the
individuals in the collaboration but which all members of the team
share the benefits of is an effective way of showing how an 'art
project' can be productive.

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

Take pleasure in the work and the process of making the work for its
own sake as much as for the potential academic value recognized by HE
institutions because the institutional process of evaluating its merit
is unreliable. The art-science-social science project described above
was described as 'unclassifiable' in internal reviews but as the
official feedback from the national research panel evaluating its
impact said: "The case study on Aircraft Noise was judged to be
outstanding" and was awarded the highest rating

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

None.

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