From: Joseph Ingoldsby <landscapemosaics@verizon.net>
Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Date: Wed, 04 Mar 2009 08:31:10 -0500
To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Conversation: [Yasmin_discussions] ARTISTS AS INVENTORS ON YASMIN
Subject: Re: [Yasmin_discussions] ARTISTS AS INVENTORS ON YASMIN
Artist as Inventor
Joseph Ingoldsby
There is a fine line between art and science. The creative process is often
based on direct observation and the synthesis and transformation of that
study into an invention. Leonardo bridged art and science through analytical
methods that allowed for the accurate modeling of zoology, physiology,
anatomy, medicine, astronomy and flow for example which Leonardo documented
within The Notebooks of Leonardo da Vinci. These studies translated into the
development of theories of color, light, nature, art and invention.
Goethe, although best known for the writing of poetry and plays followed in
the traditions of Leonardo as an artist /scientist through rigorous
observation and critical thinking on the qualities of nature. His studies
have been continued by Theodor Schwenk, John Wilkes and, arguably John Todd.
Each has developed a greater understanding of water flow and natural
processes and has been able to translate this knowledge into invention using
art in the service of nature.
Theodor Schwenk¹s observation of flow gave new meaning to the life and
action of water and air. His studies were published as Sensitive Chaos-The
Creation of Flowing Forms in Water and Air through the Rudolf Steiner Press,
London in 1965. These studies were put to functional use by the English
sculptor, John Wilkes within his patented works called Flowforms. These
sculptural works although beautiful objects have a function- that of
purifying water through the natural regenerative process of waters movement,
including the meander, vortices, and pulsing rhythms of flow. These
sculptural works have been used in the tertiary treatment of wastewater in
combination with constructed vegetated wetlands to clean wastewater to
irrigation standards in projects in across the globe.
http://books.google.com/books?hl=en&lr=&id=JoZFgJ0gVN8C&oi=fnd&pg=PR7&dq=Art
+in+the+Service+of+Nature+mark+riegner+and+john+wilkes+ORION,+1989&ots=f7QLG
MbvgH&sig=r7mSJLHjxOAxZHHY30Wf6Loh2jE#PPP1,M1
<http://books.google.com/books?hl=en&lr=&id=JoZFgJ0gVN8C&oi=fnd&
amp;pg=PR7&dq=Art+in+the+Service+of+Nature+mark+riegner+and+john+wilkes+
ORION,+1989&ots=f7QLGMbvgH&sig=r7mSJLHjxOAxZHHY30Wf6Loh2jE#PPP1,M1>
The tradition of invention through observation has been continued by the
visionary John Todd, a biologist by training with his wife Nancy Jack Todd,
a writer are pioneers in the development of solar aquatics and a family of
technologies for wastewater purification and reclamation. Their work can be
studied within their publication, From Eco-Cities to Living Machines.
As an introduction, Joseph Ingoldsby of Landscape Mosaics has studied art,
landscape architecture and ecological design and planning. I use art,
science and technology collaboratively to advocate for vanishing landscapes
and endangered species. Recent exhibitions include- Requiem for a Drowning
Landscape at the NY Hall of Science and Vanishing Landscapes and Endangered
Species at the UWI-Madison Arboretum in 2009. Recent publications include-
Vanishing Landscapes: The Atlantic Salt Marsh in Leonardo Journal, Volume
42-2-2009 and Requiem in ORION Magazine for Nature, Culture and Place,
March/April 2009.
On 3/3/09 5:22 PM, "david mcconville" <id@elumenati.com> wrote:
> David,
>
> Your post is a great reminder of the critical link between our
> individual and collective cosmologies/paradigms/worldviews and the
> inventions we create. This is explicitly demonstrated and documented
> in the works of prolific polymath R. Buckminster Fuller, who's
> "Comprehensive Anticipatory Design Science" approach ia, like the
> Hindu concept of rta, predicated on an understanding of the micro-
> macro functionings of the cosmos. The recent Whitney retrospective of
> his works provided an opening for many design magazines to discuss the
> nexus of design, science, and innovation, and the pragmatic utility of
> the design science approach continues to be reflected in the numerous
> submissions to the ongoing Challenge named in Fuller's honor, which
> has many submissions from artists (see links below).
>
> Of course Fuller's approach is closely aligned with the concept of
> biomimcry, which involved turning to nature's multi-billion year
> design investigations for inspiration. This starkly illustrates the
> connection between design processes and worldview - in this case an
> ecological one - which Fritjof Capra suggests is a function of
> comprehending issues of complexity, emergence, and mutual causality
> that are at the center of current paradigmatic shifts in science. In
> Web of Life Capra proposes that many of the challenges facing humanity
> "must be seen as just different facets of one single crisis, which is
> largely a crisis of perception." A crisis he asserts - echoing Fuller
> - must be addressed by enhanced comprehension of the working of
> natural systems.
>
> I believe artistic approaches are essential not only developing new
> ecologically-minded innovations, but also for communicating the
> broader cosmological and scientific issues that contextualize
> comprehensive / anticipatory / design-oriented / emergent / complex/
> system-oriented strategies and investigations.
>
> cheers,
> david
>
> Related links:
>
> The Buckminster Fuller Challenge Idea Index
> http://challenge.bfi.org/ideaindex
>
> The Whitney's Buckminster Fuller: Starting with Universe
> http://www.whitney.org/www/buckminster_fuller/about.jsp
>
> Fuller's patents
> http://bfi.org/node/75
>
> Capra's Principles of Ecology
> http://www.ecoliteracy.org/education/principles_of_ecology.html
>
> Database of biomimicry inventions
> http://www.biomimicry.net
>
> RISD's Nature Lab featured in I.D.
> http://www.id-mag.com/article/risd/
>
>
>
>
>
> ---
>
> david mcconville
> director, noospheric research division
> http://www.elumenati.com
>
> On Mar 3, 2009, at 9:39 AM, David Haley wrote:
>
>> In many parts of India, women 'perform' Rangoli every morning.
>> Rangoli is a popular form of art, usually drawn with sand on the
>> threshold to the home. Although the images are often very intricate
>> and magnificent, this 'art' and act of worship is swept away and
>> renewed each day. Another word, still spoken in contemporary Hindi
>> according to Vandana Shiva, comes from the Rig Vedas and is the
>> route of the word 'art', via the Greek word, 'erete', is 'rta'. Rta
>> means the dynamic process by which the whole cosmos continues to be
>> created, virtuously.
>>
>> Says something about different value systems?
>>
>> All the best
>> David
>>
>> On 3 Mar 2009, at 00:53, robert.thill@gmail.com wrote:
>>
>>> Interesting and vivid points, Murat.
>>>
>>> I think the short answer to part of your final statement that "there
>>> should be some sort of a right protection process involved within the
>>> art world" is that copyrights can provide protection for art.
>>>
>>> Since the topic of this discussion was partially inspired by the book
>>> "Artists as Inventors / Inventors as Artists" (eds. Dieter Daniels
>>> and
>>> [discussant] Barbara U. Schmidt), I thought I would draw on an idea
>>> in
>>> the text to bring out an aspect of the topic you have raised.
>>>
>>> In the introduction a kind of conclusion is reached that there
>>> "exists
>>> no mirror-image symmetry between the social roles of the artist and
>>> the inventor." The example given to illustrate the point is a quote
>>> from Billy Klüver: "But if a person says he or she is an artist, one
>>> can't say to that person: 'You are not an artist.' You are not
>>> allowed
>>> to say that." The text makes the point that "this popular
>>> understanding of the term means that being an artist resists external
>>> definition, whereas the label 'inventor,' though indeed not the
>>> designation of a profession per se, can nevertheless be substantiated
>>> by means of objective criteria such as patents." (p. 12-13).
>>>
>>> While this set of relationships is framed in popular understandings
>>> of
>>> roles and brings up a key point in the book's thesis (and the text
>>> also warns us about generalizations here), it omits the fact that an
>>> artist does have an objective criteria to substantiate his or her
>>> role
>>> and work, which is a copyright. Copyright is the artist's equivalent
>>> to an inventor's patent. (This statement is not meant to imply that
>>> there are not inventors and artists who don't participate in these
>>> two
>>> systems or who particularly value them in terms of their own
>>> self-definitions.)
>>>
>>> However, if what I write is accurate and these are indeed two
>>> objective ways in which artists and inventors can substantiate their
>>> work and roles, the more revealing question might be why are these
>>> two
>>> systems of intellectual property protection so distinctly different?
>>> Why are the terms and values not reciprocal? And should they be?
>>>
>>> The artist Lisa Schmitz has explored this contradiction by proposing,
>>> in 1993, a new institution to be named the World Artistic Property
>>> Organization (WAPO), which would operate as a patent-office
>>> equivalent
>>> for art ideas.
>>>
>>> Here is a section of a text that I wrote about the WAPO project
>>> with a
>>> link to the online version (I have stripped out the endnotes).
>>>
>>> "Most directly, the WAPO installation pondered the distinctions
>>> between art and invention through the differences in the legal
>>> protections of copyright and patents, asking who benefits from the
>>> disparities and how artists might begin a constructive dialogue about
>>> how to protect art from exploitative appropriation. Phase two of the
>>> WAPO project, which was carried out in Linz in 1995, included
>>> collaboration with Norbert Nowotsch and Mark Olson and explored the
>>> creation of a Web-based platform and repository for the documentation
>>> and disclosure of art ideas. A supplementary text about the WAPO
>>> proposed the act of bartering as a potential way of exposing the
>>> underpinnings of ownership and valuation to better understand
>>> communication, meaning, and agreement in relation to exchange value."
>>>
>>> Schmitz's project also explored the concept of self-ownership.
>>>
>>> Please explore the site, especially the history of the project.
>>> WAPO, http://www01.zkm.de/~wapo/index.html.
>>>
>>> I have asked Lisa Schmitz to join our discussion on YASMIN and she
>>> will come online toward the end of the week.
>>>
>>> Best,
>>>
>>> Robert
>>>
>>>
>>>
>>> On 3/2/09, murat germen <muratgermen@sabanciuniv.edu> wrote:
>>>> i would like to add couple of things...
>>>>
>>>> contemporary conceptual art rests heavily on ideas as we know. it's
>>>> not the craft in the work but the idea usually that makes the work
>>>> valuable these days (i personally value craft as well, in addition
>>>> to
>>>> "the" idea by the way). art market is an amazingly active market,
>>>> even
>>>> in the days of economical crisis the amount of sales and activity is
>>>> surprisingly substantial. the simple equation goes like this: art
>>>> depends on idea, art has a market value, then artistic idea has a
>>>> market value too (sometimes millions of dollars) and it has to be
>>>> legally protected somehow.
>>>>
>>>> i visited paris photo last year, japan was the guest country.
>>>> there is
>>>> one japanese photographer (among others) that i really like; hiroshi
>>>> sugimoto. he is especially known with some very minimal seascapes
>>>> (http://www.sugimotohiroshi.com/seascape.html
>>>> ). sugimoto sells very well, i saw a photo from the seascape series
>>>> which was around 70.000 euros and it had 5 red dots on it. when i
>>>> was
>>>> walking through thousands of images, one seascape photo caught my
>>>> attention in another booth and it looked very much like a sugimoto
>>>> photo. i approached to see details, saw it was somebody else's and
>>>> felt pretty awkward. this particular style is sugimoto's
>>>> signature, it
>>>> is in a way a reserved slot in these circles and producing something
>>>> very similar to it, is taking advantage of the commercial
>>>> potential of
>>>> the particular expression style. yes, everybody can take sea photos;
>>>> but there are tons of other ways to deal with sea and water...
>>>>
>>>> i am not claiming at all that artistic idea is a more worthwhile
>>>> invention than other "types" of inventions that made our lives more
>>>> easy, pleasant, rich, etc.; but artistic creation, though not
>>>> indispensable and vital, is something that can make our lives
>>>> different, enjoyable, excited at times. since creation is directly
>>>> linked with idea, there should be some sort of a right protection
>>>> process involved within the art world. but i cannot at this moment
>>>> propose a particular protection system since i am not
>>>> knowledgeable at
>>>> all in law...
>>>>
>>>> regards
>>>> murat
>>>>
>>>>
>>>> <<< +90 532 473 8970 (gsm mobile)
>>>> <<< muratgermen@gmail.com
>>>> <<< http://www.muratgermen.com
>>>> <<< http://www.flickr.com/photos/muratgermen/
>>>>
>>>>
>>>>
>>>>
>>>> On 01.Mar.2009, at 23:52, robert.thill@gmail.com wrote:
>>>>
>>>>> Thank you for your comments, Bronac.
>>>>>
>>>>> Yes, conceptual art practices and patents are not the same thing. I
>>>>> hope that my introduction did not confuse or conflate them.
>>>>>
>>>>> In my statement, I began by describing my area of research, which
>>>>> is
>>>>> the intersections between patents and contemporary art.
>>>>>
>>>>> In the paragraph about artist as inventors, I do not mention
>>>>> patents.
>>>>> The series of quotes by the artist Jakob Fenger of Superflex
>>>>> speak to
>>>>> parallels between inventing and art-making; he is not referring to
>>>>> patents. His comments address our discussion's topic of artists as
>>>>> inventors, which he links through creativity.
>>>>>
>>>>> However, I will add here that Superflex did secure patents for
>>>>> their
>>>>> biogas system. Nevertheless, according to Fenger, it was not
>>>>> intentionally an integral part of the work's concept. The driving
>>>>> force for Superflex's patenting was to engage investors in their
>>>>> project. At that time (about a decade ago), investors were
>>>>> demanding
>>>>> an intellectual property position. In an e-mail message on 3
>>>>> February
>>>>> 2009, Fenger describes the situation and references the related
>>>>> shift
>>>>> in their newer work, which engages intellectual property from a
>>>>> significantly different vantage point, he wrote: "If we were to
>>>>> start
>>>>> out developing the biogas system today, we work quite differently
>>>>> ('copy-shop,' 'free beer,' 'copy right,' etc.) and we do not see
>>>>> any
>>>>> thread in people copying our system."
>>>>>
>>>>> I am glad to offer examples of artworks that deliberately attempt
>>>>> to
>>>>> integrate patent and art concepts as the discussion continues. I
>>>>> also
>>>>> think the idea of examining the role of design is interesting.
>>>>> However, as we begin the dialogue, I think it might be productive
>>>>> to
>>>>> keep the discussion more broadly on the topic of artists as
>>>>> inventors.
>>>>>
>>>>> Thanks,
>>>>>
>>>>> Robert
>>>>>
>>>>>
>>>>>
>>>>> On 3/1/09, Bronac Ferran <bronacferran@googlemail.com> wrote:
>>>>>> Interesting discussion and I would like to add some comments.
>>>>>>
>>>>>> I think it is quite provocative and dangerous to conflate
>>>>>> conceptual art
>>>>>> practice with the notion of a patent (which is a legal device)
>>>>>> or a
>>>>>> trademark (similar).
>>>>>>
>>>>>> I attended a talk with a representative of Superflex a few weeks
>>>>>> ago at
>>>>>> South London Gallery which also had a lawyer who has done some
>>>>>> great work
>>>>>> with radical art - Daniel McClean. Some of these issues and
>>>>>> questions were
>>>>>> covered but at no stage was there a straightforward conflation of
>>>>>> patenting
>>>>>> with concepts - obviously what Superflex have done is go beyond
>>>>>> concept into
>>>>>> production of goods and services for sale which of course then
>>>>>> leads into
>>>>>> realisation of objects within a market (with all the legal systems
>>>>>> thereby
>>>>>> implied).
>>>>>>
>>>>>> I hope that some of the parsing apart of this kind of conflation
>>>>>> can be
>>>>>> activated within the process of this Yasmin discussion - and that
>>>>>> we may
>>>>>> also put a finger on some examples where artistic 'invention' has
>>>>>> led to
>>>>>> patenting (as the list is very small at present). We should also
>>>>>> take into
>>>>>> account the role of design which has a much clearer and much more
>>>>>> straightforward relationship, here.
>>>>>>
>>>>>> all best wishes
>>>>>> Bronac
>>>>>> www.boundaryobject.org .
>>>>>> http://uk.youtube.com/iderca
>>>>>>
>>>>>>
>>>>>>
>>>>>> 2009/3/1 <robert.thill@gmail.com>
>>>>>>
>>>>>>> Dear Yasminers,
>>>>>>>
>>>>>>> I wish to thank Roger Malina for the opportunity to moderate the
>>>>>>> discussion on artists as inventors and our six accomplished
>>>>>>> discussants for their participation: Derek Hales, Sylvie Lacerte,
>>>>>>> Arantxa Mendiharat, Hideki Nakazawa, Barbara U. Schmidt, and
>>>>>>> Colette
>>>>>>> Tron.
>>>>>>>
>>>>>>> My interest in artists as inventors stems from my curiosity about
>>>>>>> the
>>>>>>> intersections between contemporary art and utility patents. I
>>>>>>> discovered through research that this seemingly narrow terrain
>>>>>>> was
>>>>>>> actually an expansive area, which could encompass a wide range of
>>>>>>> practices that went far beyond artists¹ patents. For instance, it
>>>>>>> could include elements as diverse as the novel achievements of an
>>>>>>> innovator whose self-patent works were reclassified as
>>>>>>> ³visionary²
>>>>>>> or
>>>>>>> ³outsider² art (William W. Adkins) and a patent institution that
>>>>>>> collects contemporary art and displays it in the workplace with
>>>>>>> the
>>>>>>> progressive idea of stimulating discussion, productivity, and
>>>>>>> integration (the European Patent Office).
>>>>>>>
>>>>>>> However, the topic of artists as inventors is focused on the
>>>>>>> relationship between the roles and practices that are conjured by
>>>>>>> the
>>>>>>> terms. To this end, I will share comments on the subject by the
>>>>>>> artist
>>>>>>> Jakob Fenger, who is a member of Superflex, which invented
>>>>>>> (with Jan
>>>>>>> Mallan) a biogas system. In a conversation via Skype on 12
>>>>>>> February
>>>>>>> 2009, Fenger told me that ³all good artists are inventors,²
>>>>>>> adding
>>>>>>> that ³a concept for a piece is like an invention,² and that in
>>>>>>> his
>>>>>>> opinion there is ³no difference between inventing and art-
>>>>>>> making,²
>>>>>>> referencing the creative process as the link between these two
>>>>>>> activities.
>>>>>>>
>>>>>>> I look forward to a lively discussion on the topic of artists as
>>>>>>> inventors throughout March.
>>>>>>>
>>>>>>> Best,
>>>>>>>
>>>>>>> Robert Thill
>>>>>>>
>>>>>>> _______________________________________________
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>>>>>
>>>>> _______________________________________________
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>>>>
>>>>
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>>
>> David Haley BA(Hons) MA FRSA
>>
>> Senior Research Fellow
>> Director, A&E [art&ecology] research unit
>> MA Art As Environment Programme Leader
>> SEA: Social & Environmental Arts Research Centre
>> MIRIAD
>> Manchester Metropolitan University
>> Righton Building, Cavendish Street,
>> Manchester M15 6 BG
>>
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>> W: www.miriad.mmu.ac.uk/artandecology
>>
>>
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