Re: [Yasmin_discussions] arts,humanities and complex networks

Roger

this info is a great resource. many thanks.

I would like to address you to a project we recently made with
Bestiario for the ongoing Cultures of Change exhibition at ARS SANTA
MONICA related to mapping the controversies, or at least the different
points of view in evolution in the context of Complexity Sciences.

It's a database on complexity sciences, with two different main
visualizations of data, and a series of online video interviews with
key scientists on complexity and differents keywords selected.

You can take a look at the database here: http://www.culturesdelcanvi.com
You can take a look at the interviews here:
http://www.youtube.com/user/artssantamonica#grid/user/33157ACBDFD26394

The database "culturesdelcanvi" is made by two different approaches to
database: CANVI and TEMPS.

Canvi (change) and Temps (time) are two navigation spaces within a
network composed of articles, web pages, people and links related to
the field of complexity science. This research, which is both historic
(papers as far back as 1927 are reviewed) and crosscutting (containing
more than 30 categories from different fields and disciplines), offers
a broad overview of the foci, strategies, tactics, research
methodologies and topics of interest that make up the field of
complexity science. Canvi and temps offers two distinct ways to
explore the content and their relationships in this field. The primary
structure of the database is a bipartition made up of content and
tags. Existing relationships between contents and tags suggest new
relationships. The networks emerging point towards interesting
relationships and possible new connections among the contents.

I hope all of you would be able to enjoy it!!

Pau

2009/12/22 roger malina <rmalina@alum.mit.edu>:
> Yasminers
>
> At the Eye of the Storm conference in London, Thommaso Venturini
> gave a talk on the mapping of controversies using the approaches
> developed by Bruno Latour's group:
>
> http://www.ideaedi.it/2008/uploads/tommaso_venturini/Tate_controversies.pdf
>
> http://www.demoscience.org/controversies/projects.php
>
> <http://www.demoscience.org/controversies/projects.php>There are a number of
> examples of different network mapping approaches
> to show how the human communities around controversies organise themselves.
> Its somewhat discouraging to see how internet connectivity encourages
> polarisation...
>
> One nice example is the controversy around the sound of dunes:
> *
> *
> *In this rather nebulous phase of speculative uncertainty, I leave the
> Sounding Sands *
> *to continue their mysterious song, confining their favors to the lucky few,
> and exciting *
> *the curiosity, but, I hope, no longer the incredulity of the remainder"
> Lord Curzon, 1923*
>
> You can hear the sound of dunes at:
>
> http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/wp-content/uploads/2009/06/bad.wav
>
> <http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/wp-content/uploads/2009/06/bad.wav>and
> see the maps at:
>
> http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41
>
>
> for instance:
>
> http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41
>
> <http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41>it
> would be interesting to visualise how our community organises itself
> around art-science controversies such as:
>
> - post humanism
>  techno optimism
> stelarc , kac, and other artists that have become the subject of controversy
> - art and biology, deep ecology
> - cultural biases of internet protocols
> \
> roger
> _______________________________________________
> 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
>
> HOW TO SUBSCRIBE: 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").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>
>

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Re: [Yasmin_discussions] Fwd: The Arts in the Context of Darwinian Theory of Evolution Today: "Evolution is more reproducible than previously thought"

http://www.nytimes.com/2009/12/22/science/22creature.html?_r=1&hpw

NYTimes
December 22, 2009
REMARKABLE CREATURES
Whatever Doesn't Kill Some Animals Can Make Them Deadly

By SEAN B. CARROLL

Have you ever tried to think up the worst meal you could imagine? How
about blue-ringed octopus, floral egg crab, basket shell snails and
puffer fish.

Sure, some people may think these are delicacies, and puffer fish is
certainly treated as such in parts of Asia. But each dish has
something more important in common: they are all deadly. Each of these
animals is chock full of a powerful neurotoxin called tetrodotoxin.

First isolated from the puffer fish, tetrodotoxin is among the most
potent toxins known. It is 100 times as toxic by weight as potassium
cyanide — two milligrams can kill an adult human — and it is not
destroyed by cooking. Just half an ounce of the fish liver, known as
fugu kimo in Japan and eaten by daring connoisseurs, can be lethal.
When ingested, the toxin paralyzes nerves and muscles, which leads to
respiratory failure and, in some cases each year, death.

In 1975, the Kabuki actor Bando Mitsugoro VIII ordered four fugu kimo
in a restaurant in Kyoto, claiming he could resist the poison. He was
wrong.

Tetrodotoxin is found in more than just marine creatures. It is
present in high concentrations in the skin of certain newts in North
America and Japan, and in several kinds of frogs in Central and South
America and Bangladesh. The widespread occurrence of tetrodotoxin
poses some intriguing riddles. First, how is it that such different
animals, belonging to separate branches of the animal kingdom, have
all come to possess the same deadly poison? And how is it that they
are able to tolerate high levels of tetrodotoxin while others cannot?

The questions are particularly interesting because, in general, animal
toxins are distinct and specific to each group. For instance, the
venoms produced by snakes and scorpions are made of different kinds of
toxins. But the tetrodotoxin found in each dish of that deadly buffet
is identical.

One explanation could be that each of these animals has independently
found a way to synthesize tetrodotoxin. But the toxin is a rather
complex molecule that requires several chemical steps to assemble. It
seems very unlikely that the molecule would be invented many times
over in different animals. Rather, the evidence suggests that animals
do not make the toxin themselves.

For instance, when puffer fish are raised in aquariums with filtered,
bacteria-free water, they are nontoxic. Similarly, when Japanese newts
or Panamanian frogs are raised on special diets, they lose their
toxicity. These experiments indicate that tetrodotoxin-bearing animals
obtain the toxin from the food chain. Indeed, several species of
tetrodotoxin-producing bacteria have now been isolated from puffer
fish, the blue-ringed octopus, certain snails and other animals. It
appears that the animals become toxic by sequestering the bacterially
produced toxin in their tissues.

While those discoveries solve the mystery of the source of
tetrodotoxin, they do not quite explain how so many kinds of animals
exploit it. Tetrodotoxin attacks an ancient feature of the animal
kingdom, blocking channels that normally control the movement of
sodium ions across nerve and muscle cell membranes and halting their
electrical activity. All animals have these sodium ion channels, and
the part of the channel that tetrodotoxin fits into and blocks is
generally very similar among them.

This fact raises a simple question: Why aren't puffer fish dead? How
are tetrodotoxin-bearing animals able to withstand high levels of a
substance that attacks their nervous systems?

One clue is that not all 120 or so species of puffer fish are toxic or
resistant to tetrodotoxin. Toxic species can withstand about 500 to
1,000 times the concentration of tetrodotoxin compared with nontoxic
puffers or other fish. The flower egg crab is similarly resistant, and
the Japanese newt can withstand an even greater relative concentration
of toxin. Most other crabs and newts are sensitive to tetrodotoxin.
There must be something different then about toxic,
tetrodotoxin-resistant species.

That difference becomes clear from examining their sodium channels in
detail. Puffer fish have eight versions of these channels encoded by
eight separate genes. Manda Clair Jost and her colleagues at the
University of Texas at Austin and the University of Chicago have
discovered that in toxic puffer fish, most or all of these channels
have evolved resistance to tetrodotoxin and different groups of puffer
fish appear to have independently acquired resistance. Toxin-resistant
channels have also been identified in a Japanese newt.

So the most plausible chain of events for the evolution of high-level
toxin resistance is that mutations initially occur that afford some
protection and that the continuing presence of tetrodotoxin in the
environment selects for animals bearing additional mutations until,
over time, many or all channels are highly resistant. In this sense,
what does not kill the evolving animals makes them stronger, and
deadly.

In most cases, tetrodotoxin is an effective defensive weapon. But in
the game of natural selection, victory is rarely total or permanent.
Predators could evolve resistance via the same path that made prey
toxic, and this is exactly what has happened in some snakes in the
western United States that now feast on highly toxic newts.

Unlike most snakes that are immobilized, sickened or killed when they
try to ingest these newts, members of three species of garter snakes
are able to dine on the toxic amphibians. A team of researchers led by
Edmund Brodie Jr. of Utah State University and his son Edmund Brodie
III of the University of Virginia found that the species have
independently evolved tetrodotoxin-resistant sodium channels. Indeed,
some snakes from California are so resistant that the dose of toxin
needed to immobilize them is sufficient to kill 900 people.

Remarkably, some of the same channel gene mutations responsible for
conferring partial resistance to tetrodotoxin have occurred in
different snake species. Moreover, some of these and other mutations
have also occurred repeatedly in puffer fish channels.

These precise parallels in channel evolution among species reveal a
surprising facet of evolution that biologists had no inkling of before
the ability to pinpoint adaptive changes in DNA — namely, that
evolution is more reproducible than previously thought. The simple
explanation for that profound insight is that given similar agents of
natural selection (tetrodotoxin in this case), very different species
living in different places on the planet will evolve similar or
identical adaptations.

It follows then that evolution is somewhat predictable. Given the
prevalence of tetrodotoxin-producing bacteria and the many known uses
of the toxin as a defensive weapon strategy, we should expect to find
more toxic animal species.

With luck, the discoveries will not be made at dinner.

Sean B. Carroll, a molecular biologist and geneticist, is the author
of "Remarkable Creatures: Epic Adventures in the Search for the Origin
of Species."

On 10/27/09, roger malina <rmalina@alum.mit.edu> wrote:
> see DARWIN'S ROBOTS project
>
> Subject: Sarah Jane Pell sent you a message on Facebook...
>
>
> Subject: Latest Articles | h+ Magazine
> http://hplusmagazine.com/articles/ai/darwin's-robots<http://hplusmagazine.com/articles/ai/darwin%E2%80%99s-robots>
>
> "Darwin's Robots for the Yasmin discussion.
> Kind regards, Sarah Jane"
>
>
>
> Sarah has shared a link with you. To view it or to reply to the message,
> follow this link:
> http://www.facebook.com/n/?inbox/readmessage.php&t=1271436548149&mid=1503929G24f8b3d4G2fa433cG0
>
>
>
>
>
>
> --
> Roger Malina is in France at this time
>
> IN USA
>
> phone 1 510 853 2007
>
>
> When in France I can be reached at:
> 011 33 (0) 6 15 79 59 26
> or (0) 6 80 45 94 47
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
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>
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[Yasmin_discussions] arts,humanities and complex networks

Yasminers

At the Eye of the Storm conference in London, Thommaso Venturini
gave a talk on the mapping of controversies using the approaches
developed by Bruno Latour's group:

http://www.ideaedi.it/2008/uploads/tommaso_venturini/Tate_controversies.pdf

http://www.demoscience.org/controversies/projects.php

<http://www.demoscience.org/controversies/projects.php>There are a number of
examples of different network mapping approaches
to show how the human communities around controversies organise themselves.
Its somewhat discouraging to see how internet connectivity encourages
polarisation...

One nice example is the controversy around the sound of dunes:
*
*
*In this rather nebulous phase of speculative uncertainty, I leave the
Sounding Sands *
*to continue their mysterious song, confining their favors to the lucky few,
and exciting *
*the curiosity, but, I hope, no longer the incredulity of the remainder"
Lord Curzon, 1923*

You can hear the sound of dunes at:

http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/wp-content/uploads/2009/06/bad.wav

<http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/wp-content/uploads/2009/06/bad.wav>and
see the maps at:

http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41

for instance:

http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41

<http://ionesco.sciences-po.fr/scube2009/dunes/wordpress/?page_id=41>it
would be interesting to visualise how our community organises itself
around art-science controversies such as:

- post humanism
techno optimism
stelarc , kac, and other artists that have become the subject of controversy
- art and biology, deep ecology
- cultural biases of internet protocols
\
roger
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[Yasmin_discussions] arts,humanities and complex networks twine

yasminers

i started a twine for our arts,humanities and complex networks discussion

http://www.twine.com/twine/12ty0jr6f-1dq/arts-humanities-and-complex-networks

<http://www.twine.com/twine/12ty0jr6f-1dq/arts-humanities-and-complex-networks>if
you post information/URL with an example of your work in this area
I will add it to the twine and invite you to join

This twine is to network and compile resources relevant to:
Arts , Humanities & Complex Networks:a Leonardo satellite symposium at
NetSci2010 at
BarabásiLab Center for Complex Network Research, Northeastern University in
Boston, on Monday, May 10, 2010.
Condition of participating in the twine is that you contribute an entry
relevant to the topic on a project you are responsible for.

Roger Malina
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[Yasmin_discussions] new moderator

Dear Yasminers

I am your new moderator for the coming week. Ricardo
Mbarkho in Lebanon will be the moderator next week
to close out the year.

On the YASMIN discussion list I thought we could
discuss the topic of Arts, Humanities and Complex
Networks that is the topic of a Leonardo satellite
conference next spring

http://artshumanities.netsci2010.net/

<http://artshumanities.netsci2010.net/>The call for papers is out with
deadline Jan 21.

let me remind all new members of YASMIN that when
you join it would be great if you could send us a short
email introducing yourselves (as you would when you
move into a new neighborhood !)

To thank the YASMIN moderators who take turns during
the year moderating the posts and helping on the discussions.
If anyone would like to organise a discussion this year
please send in a suggestion. Pier Luigi Capucci is going
to organise a discussion on Simulation in January

And best seasons greetings to all yasminers and hoping
that 2010 is a more peaceful one

Roger Malina
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Re: [Yasmin_discussions] arts,humanities and complex networks

Hi Roger,
I could definitely get on board for that.
Jack
On Dec 17, 2009, at 3:09 PM, roger malina wrote:

> yasminers
>
> i thought we could start a discussion related to th
> relevant to the art, humanities and complex networks fall
> for the leonardo satellite conference at NETSCI2010
>
> http://www.h-net.org/announce/show.cgi?ID=172706
>
>
> pier luigi capucci is working on organising a january discussion
> on simulation for yasmin
>
> roger
>
> DISPERSIVE ANATOMIES
> http://www.leonardo.info/LEA/DispersiveAnatomies/DispersiveAnatomies.html
>
> <http://www.leonardo.info/LEA/DispersiveAnatomies/DispersiveAnatomies.html
> >
>
> Guest edited by Sandy Baldwin and Alan Sondheim. Gallery curated by
> Mez
> Breeze.
>
> This special issue, guest edited by Sandy Baldwin and Alan Sondheim,
> considers the network as dispersive anatomy. As the call for papers
> stated,
> "A fundamental shift in the way we view the world is underway: the
> abandonment of discrete objects, and objecthood itself. The world is
> now
> plural, and the distinction between real and virtual is becoming
> increasingly blurred, with troubling consequences within the
> geopolitical
> register. This shift is related to a cultural change that emphasizes
> digital
> deconstruction over analog construction: a photograph for example
> can be
> accessed and transformed, pixel by pixel, cities can be taken apart by
> gerrymandering or eminent domain, and our social networks are
> replete with
> names and images that problematize friendship, sexuality, and culture
> itself. One issue that emerges here: Are we networking or are we
> networked?
> Are we networks ourselves?" The resulting texts and works deal with
> this
> fundamental shift in new and illuminating ways.
>
> Sandy Baldwin, "Introduction: the Anatomy of
> Dispersion<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_intro.pdf
> >
> "
> Alan Sondheim, "The Uselessness of
> Monoculture<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_sondheim.pdf
> >
> "
> Andy Clark, "Dispersed
> Selves<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_clark.pdf>
> "
> Alphonso Lingis, "The Inner Cauldron; the Upward
> Array<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_lingis.pdf>
> "
> Tom Zummer, "A Cartography of Interstices: Some Annotations Toward the
> Mapping of Biological-Technological
> Embodiment<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_zummer.pdf
> >
> "
> Jon Marshall, "The Physiognomy of Dispersed
> Power<http://www.leonardo.info/LEA/DispersiveAnatomies/
> DA_marshall.pdf>
> "
> Maria Chatzichristodoulou, "When Presence & Absence Turn Into
> Pattern &
> Randomness: Can You See Me
> Now?<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_chatzichristodoulou.pdf
> >
> "
> Joy James, "Mind the
> Gap<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_james.pdf>
> "
> Barbara Rauch, "'Natural' and Digital Virtual
> Realities<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_rauch.pdf
> >
> "
> Franziska Schroeder and Pedro Rebelo, "Sounding the Network: The
> Body as
> Disturbant<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_schroeder-rebelo.pdf
> >
> "
> Tanya Vujinovic, "Tactile
> Nodes<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_vujinovic.pdf
> >
> "
> Patrick Lichty, "The Translation of Art in Virtual
> Worlds<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_lichty.pdf>
> "
> Jon Cates, "A Prospect of the Dispersive
> Anatomies<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_cates.pdf
> >
> "
> Marko Monteiro, "Molecular
> Representations<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_monteiro.pdf
> >
> "
> Matthew Holtmeier "Scars, Cars, and Bodies without Organs:
> Techno-colonialism in J.G. Ballard's
> Crash<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_holtmeier.pdf
> >
> "
>
> Mez Breeze, Introduction<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_breeze.pdf
> >
> Robert Ladislas Derr,
> "Chance"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_derr.pdf
> >
>
> Marcel O'Gorman,
> "Dreadmill"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_ogorman.pdf
> >
>
> Nathaniel Stern and Pall Thayer,
> "Ripple"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_sternthayer.pdf
> >
> Eugenio Tisselli, "JB Wock
> Blog"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_tisselli.pdf
> >
> Luther Thie, Eyal Fried,
> "Acclair"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_thiefried.pdf
> >
> Caitlin Berrigan, Michael McBean, "The Smelling
> Committee"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_berrigan.pdf
> >
> Vince Dziekan, "Remote"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_dziekan.pdf
> >
> Jon Cates, "A Prospect Of The Dispersive
> Anatomies"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_cates.pdf
> >
>
> *Special thanks to Nisar Keshvani, LEA Editor in Chief, 2001-2008*
> _______________________________________________
> 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
>
> HOW TO SUBSCRIBE: 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").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.

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[Yasmin_discussions] A perfect gift - The Math Book!

Dear Yasminers,
 
after the first edition being sold out in 15 days after the release at Amazon.com,
 
Dr. Cliff Pickover's new beauty, "The Math Book," is available, again:

http://www.amazon.com/Math-Book-Pythagoras-Milestones-Mathematics/dp/1402757964/ref=sr_1_1?ie=UTF8&s=books&qid=1261140165&sr=1-1
 
You can take a sneak peek at Scientific American Bookclub:
 
http://www.sciambookclub.com/pages/nm/product/productDetail.jsp?skuId=1045852094&YIXL=y_ssp&YTID=BN6_03_l4_F72_TheMathBook
 
More detailed information about this most exotic math book at:
 
http://sprott.physics.wisc.edu/pickover/math-book.html
 
Have a beautiful and happy holiday season,
teja
 

***************************
http://www.tejakrasek.com
http://www.youtube.com/user/tejaK

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[Yasmin_discussions] arts,humanities and complex networks

yasminers

i thought we could start a discussion related to th
relevant to the art, humanities and complex networks fall
for the leonardo satellite conference at NETSCI2010

http://www.h-net.org/announce/show.cgi?ID=172706

pier luigi capucci is working on organising a january discussion
on simulation for yasmin

roger

DISPERSIVE ANATOMIES
http://www.leonardo.info/LEA/DispersiveAnatomies/DispersiveAnatomies.html

<http://www.leonardo.info/LEA/DispersiveAnatomies/DispersiveAnatomies.html>

Guest edited by Sandy Baldwin and Alan Sondheim. Gallery curated by Mez
Breeze.

This special issue, guest edited by Sandy Baldwin and Alan Sondheim,
considers the network as dispersive anatomy. As the call for papers stated,
"A fundamental shift in the way we view the world is underway: the
abandonment of discrete objects, and objecthood itself. The world is now
plural, and the distinction between real and virtual is becoming
increasingly blurred, with troubling consequences within the geopolitical
register. This shift is related to a cultural change that emphasizes digital
deconstruction over analog construction: a photograph for example can be
accessed and transformed, pixel by pixel, cities can be taken apart by
gerrymandering or eminent domain, and our social networks are replete with
names and images that problematize friendship, sexuality, and culture
itself. One issue that emerges here: Are we networking or are we networked?
Are we networks ourselves?" The resulting texts and works deal with this
fundamental shift in new and illuminating ways.

Sandy Baldwin, "Introduction: the Anatomy of
Dispersion<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_intro.pdf>
"
Alan Sondheim, "The Uselessness of
Monoculture<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_sondheim.pdf>
"
Andy Clark, "Dispersed
Selves<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_clark.pdf>
"
Alphonso Lingis, "The Inner Cauldron; the Upward
Array<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_lingis.pdf>
"
Tom Zummer, "A Cartography of Interstices: Some Annotations Toward the
Mapping of Biological-Technological
Embodiment<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_zummer.pdf>
"
Jon Marshall, "The Physiognomy of Dispersed
Power<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_marshall.pdf>
"
Maria Chatzichristodoulou, "When Presence & Absence Turn Into Pattern &
Randomness: Can You See Me
Now?<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_chatzichristodoulou.pdf>
"
Joy James, "Mind the
Gap<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_james.pdf>
"
Barbara Rauch, "'Natural' and Digital Virtual
Realities<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_rauch.pdf>
"
Franziska Schroeder and Pedro Rebelo, "Sounding the Network: The Body as
Disturbant<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_schroeder-rebelo.pdf>
"
Tanya Vujinovic, "Tactile
Nodes<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_vujinovic.pdf>
"
Patrick Lichty, "The Translation of Art in Virtual
Worlds<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_lichty.pdf>
"
Jon Cates, "A Prospect of the Dispersive
Anatomies<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_cates.pdf>
"
Marko Monteiro, "Molecular
Representations<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_monteiro.pdf>
"
Matthew Holtmeier "Scars, Cars, and Bodies without Organs:
Techno-colonialism in J.G. Ballard's
Crash<http://www.leonardo.info/LEA/DispersiveAnatomies/DA_holtmeier.pdf>
"

Mez Breeze, Introduction<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_breeze.pdf>
Robert Ladislas Derr,
"Chance"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_derr.pdf>

Marcel O'Gorman,
"Dreadmill"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_ogorman.pdf>

Nathaniel Stern and Pall Thayer,
"Ripple"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_sternthayer.pdf>
Eugenio Tisselli, "JB Wock
Blog"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_tisselli.pdf>
Luther Thie, Eyal Fried,
"Acclair"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_thiefried.pdf>
Caitlin Berrigan, Michael McBean, "The Smelling
Committee"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_berrigan.pdf>
Vince Dziekan, "Remote"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_dziekan.pdf>
Jon Cates, "A Prospect Of The Dispersive
Anatomies"<http://www.leonardo.info/LEA/DispersiveAnatomies/DAGallery_cates.pdf>

*Special thanks to Nisar Keshvani, LEA Editor in Chief, 2001-2008*
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[Yasmin_discussions] Resource fro art-science education

Dear Roger, and all,

The website, http://www.antarcticanimation.com
combines scientific data from Antarctica with aesthetic responses to
its changing environment.

This on-line work is the core of an arts-led PhD thesis for submission
to the College of Fine Arts, University of New South Wales, Australia,
in March 2010.

Some people already regard it as a useful resource for understanding
climate changes signalled by Antarctica.

The written component of the thesis will appear (after assessment!) as
an animated, interactive .html document. This document will, naturally,
be freely accessible.

I would be most grateful to have this work included as a resource for
arts-science courses.

Please feel free to pass this link on.

Best wishes,

Lisa

---------------------------

Lisa Roberts

www.lisaroberts.com.au
www.antarcticanimation.com

Post:-
Suite 326,
353 King Street
Newtown, NSW, 2042
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[Yasmin_discussions] art-science and science art curricula

On Sat, Dec 12, 2009 at 6:24 PM, Todd Siler <tsiler@thinklikeagenius.com>wrote:

>
> I've been following the excellent Yasmin discussions, and anxiously waiting
> for the right moment to jump in and contribute. When I caught your recent
> announcement regarding secondary schools and universities who are currently
> establishing art-science and science-art courses, I got excited and thought:
> Maybe these groups would be interested in the materials we created for The
> ArtScience Program in 1994. I've attached a PDF that shows some of
> the book projects and workshops that were created as outgrowths of The
> ArtScience Program.
>
>
>> these documents have been added to:

http://www.twine.com/twine/12hmrlnzz-260/art-science-and-science-art-curricula

> Even though it was primarily a pilot project for K-12 education (which we
> applied to universities, too), there are many vital lessons we learned about
> engaging learners of all ages through this synthesis of the arts &
> sciences. Although The ArtScience Program wasn't designed for online
> lectures, it could be -- that is, if the Yasminers find this material
> useful.
>
> For your review, I'd be happy to send you a copy of the general guidebook
> we used with schools. It highlights some important distinctions between
> interdisciplinary and integrative studies with its collaborative practices.
> I gather that's what Diane Ullman and Donna Billick at the UC Davis
> Art-Science Fusion Program are aiming to do in their "theoretical
> transdiscplinary/integrative approach," as you put it. I plan to contact
> them to see if they're open to the approach we've used.
>
> Some years ago, I was considering developing an ArtScience doctoral program
> at MIT that would offer Integrative Studies linked to any and all
> the departments. Unfortunately, I was swamped with my company's projects
> and we didn't have the means or resources to properly develop this program;
> I was looking forward to building on what we learned from implementing The
> ArtScience Program. That program was originally meant to be embedded in
> the core curriculum, using curricular content based on the National Science
> Standards, which supposedly prepares students to "function as lifelong
> learners in a changing society." Also, we were financially strapped trying
> to put together a rigorous assessment component to evaluate the impact of
> the ArtScience Program -- in particular, the instructional strategies and
> professional development activities. This assessment work required recording
> and measuring improvements in student learning, student interest and
> confidence in art, science and math, as well as students' attainment of
> district proficiencies in the core academic areas under study. In short: it
> required serious funding for this curricular and assessment
> development. That said, I've always wanted to work with universities and
> research centers that were interested in embarking on this ArtScience
> adventure, and would welcome the opportunity to do so.
>
> >>>
>
> With best wishes and regards,
>
> Todd
>
> Todd Siler <javascript:void(0)>
> toddsiler@alum.mit.edu
> www.ToddSilerArt.com
>
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[Yasmin_discussions] Fwd: UN Platform on Biodiversity

Hi

I went to hear Professor Bob Watson, Chief Scientific Advisor to the UK
government's Department of Environment Food and Rural Affairs at the Royal
Society in Edinburgh last night

A few things struck me.
His presentation was on the impact of climate change on eco-systems and
biodiversity.
Many of his descriptions of the ways to address key challenges had a close
association with eco art projects - clearly in relation to the Harrisons
amongst others - infact some of the language was beginning to be very
familiar - including references to drain basins and cross national boundary
watershed authorities.

One area where I would have liked to ask a question is in relation to the
value he placed on cultural values which he defined in terms of aesthetic
spiritual educational and recreational. If you look at the following
powerpoint -
http://www.naturalcapitalinitiative.org.uk/files/presentations/2%20Bob%20Watson%20NCI%2029.04.09%20web.pps
not the one he used, but the fourth proper slide entitled Consequence of
Ecosystem Change for Human Well-being was one he used. It suggests that he
understands cultural factors as having weak linkages and low potential for
mediation.

It has to be said he at least recognises them, but it was clear to me that
he was not understanding the fundamental role of beliefs - beliefs such as
we live in a 'culture of plenty'. And more importantly he does not
understand the role of culture in changing behaviour through changing
beliefs.

He absolutely emphasised the importance of scientists communicating more
effectively, although his presentation failed by his own criteria - it was
jargon ridden and highly technical. I came away thinking that art science
collaboration was vital by his own definition.

The other thing that came up, which I thought would be of real interest, was
that there is an emerging parallel process to the IPCC developing around
biodiversity and eco-systems. There have been two meetings to date and a
third planned for April 2010, though the venue has not been agreed.

Whilst participation in COP15 is obviously important, it seemed to me in
relation to the work of many practices focused on ecology, biodiversity etc,
this new strand of work might be of great interest and a fruitful point of
intervention.

Below is a news clipping from the UN News service on the biodiversity
developments
http://www.un.org/apps/news/story.asp?NewsID=28884&Cr=biodiversity&Cr1
==
Countries discuss possible UN-backed global body to tackle biodiversity

10 November 2008 – The possibility of establishing a United
Nations-supported scientific intergovernmental body to address biodiversity
loss and protect ecosystems is being discussed at a global conference which
kicked off in Malaysia today.

Representatives from governments worldwide are in Putrajaya, near the
capital Kuala Lumpur, for three days to discuss creating a body similar to
the Nobel Peace Prize-winning Intergovernmental Panel on Climate Change (
IPCC <http://www.ipcc.ch/>), which was set up in 1988 by the UN Environment
Programme (UNEP<http://www.unep.org/Documents.Multilingual/Default.asp?DocumentID=550&ArticleID=5972&l=en>)
and the UN World Meteorological Organization (WMO).

The IPCC has validated the science of climate change and has impelled an
international response to global warming, UNEP notes in a press release.

A similar impetus may help to reverse the decline of the Earth's natural
assets and spur political action.

The proposed Intergovernmental Platform or Panel on Biodiversity and
Ecosystem Services (IPBES) could trigger debate, encourage the formation of
appropriate policies and elevate the issue in the global consciousness.

"Global GDP has more than doubled in the past quarter century. In contrast,
60 per cent of the world's ecosystems have been degraded or are being used
in an unsustainable manner," said Achim Steiner, UNEP's Executive Director.

Treaties including the Convention on Biological Diversity and the Convention
on Migratory Species have tried to address these challenges, but have not
been able to match the pace of degradation and decline.

"There is clearly a mismatch between the reality in terms of the science and
the economics and the actual global international response, which is plainly
failing to make a sustained and transformational difference," Mr. Steiner
said.
==
Chris

--
Chris Fremantle
chris@fremantle.org
+44 (0)7714 203016
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Re: [Yasmin_discussions] art-science and science-art curricula

yasminers, this is interesting and simple an animation by isao hashimoto including very good and relevant info. For 516 months/ seconds (43 years/9 minutes) all nuclear explosions until the test ban in 1998

http://www.ctbto.org/specials/1945-1998-by-isao-hashimoto/

r

--- On Thu, 12/10/09, roger malina <rmalina@alum.mit.edu> wrote:

> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] art-science and science-art curricula
> To: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
> Date: Thursday, December 10, 2009, 3:53 PM
> yasminers
>
> this text has just been accepted for publication in
> leonardo journal=
> it discusses the interesting 'problem" that art and design
> programs
> in Nigeria are seeing increases in applications  from
> students with
> strong science and technology backgrounds, and the need
> within
> the art and design programs to develop curricula for these
> students
> that integrate art and science interests
>
> Roger
>
> *Authors: Dr Kashim I. B.1, Adelabu O. S.2*
>
> * *
>
> *Title:    * The Current Emphasis on Science and
> Technology in Nigeria and
> the
>
> Dilemmas this Raises for Art Education.
>
>
>
> *ABSTRACT*
>
> The Nigerian educational policies continue to emphasize the
> development of
> science and technology so as to keep abreast with the
> demands of developing
> economies. The school curricula at all levels had
> under-gone reviews to make
> them meet up with these challenges. Art subjects are being
> relegated to the
> background as a result of the emphasis. This paradigm shift
> has affected the
> teaching and practice of visual arts education in Nigeria.
> Those seeking
> admission into science and engineering based courses have
> risen tenfold in
> spite of the limited infrastructural facilities available,
> while the number
> of those seeking admission to creative arts continues to
> dwindle yearly.
> Those who had earlier been preparing for courses in
> engineering and science
> but could not secure admission are often absorbed into the
> art based
> industrial design courses. Such students often find it
> difficult to develop
> their psyche initially but develop interest as time went
> by. Students in
> industrial design with science background are grounded to
> develop their
> creative potentials which are necessary in developing
> economies. This paper
> suggests that art training in Nigeria should embrace
> integrated science
> subjects which will be useful to the production of future
> graduates with the
> required entrepreneurial skills
> _______________________________________________
> 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
>
> HOW TO SUBSCRIBE: 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").
>
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>

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[Yasmin_discussions] UN Platform on Biodiversity

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[Yasmin_discussions] art-science and science-art curricula

yasminers

this text has just been accepted for publication in leonardo journal=
it discusses the interesting 'problem" that art and design programs
in Nigeria are seeing increases in applications from students with
strong science and technology backgrounds, and the need within
the art and design programs to develop curricula for these students
that integrate art and science interests

Roger

*Authors: Dr Kashim I. B.1, Adelabu O. S.2*

* *

*Title: * The Current Emphasis on Science and Technology in Nigeria and
the

Dilemmas this Raises for Art Education.

*ABSTRACT*

The Nigerian educational policies continue to emphasize the development of
science and technology so as to keep abreast with the demands of developing
economies. The school curricula at all levels had under-gone reviews to make
them meet up with these challenges. Art subjects are being relegated to the
background as a result of the emphasis. This paradigm shift has affected the
teaching and practice of visual arts education in Nigeria. Those seeking
admission into science and engineering based courses have risen tenfold in
spite of the limited infrastructural facilities available, while the number
of those seeking admission to creative arts continues to dwindle yearly.
Those who had earlier been preparing for courses in engineering and science
but could not secure admission are often absorbed into the art based
industrial design courses. Such students often find it difficult to develop
their psyche initially but develop interest as time went by. Students in
industrial design with science background are grounded to develop their
creative potentials which are necessary in developing economies. This paper
suggests that art training in Nigeria should embrace integrated science
subjects which will be useful to the production of future graduates with the
required entrepreneurial skills
_______________________________________________
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[Yasmin_discussions] art, science and ecology in secondary education in brazil

yasmines

here is news of a new art science program for secondary
schools just approved in brazil !

does anyone know of other art science curricula projects
in secondary schools ? if so , i will add them to the art
science curriculum twine

roger

From: Saulo FA Barretto <saulo@ipti.org.br>
r

Dear friends

We are very happy to announce that we received the news that a proposal we
submitted to FINEP (a Brazilian funding agency) focused on science education
for secondary schools was approved. This proposal, named "Arte com Ciência -
Art with Science", was built in collaboration the Federal University of
Sergipe and the State Secretary for Education and will attend 4 cities from
the south region of Sergipe (Itaporanga, Estância, Santa Luzia do Itanhy,
Indiaroba).
The aim of the proposal is to improve science education through a
methodology tha links art, science and ecology.

Below you find some of the main project activities:
- install multimedia labs in 4 secondary schools, one in each of the 4
cities attended by the project
- workshops for teachers and students to enable them to register, edit and
share multimedia contents
- organizing science, art and ecology schoolar fairs in each of the 6
schools attended by the project
- select the best projects developed by students which will be improved to
become part of the permanent collection of the future museum of Art, Science
and Technology of Santa Luzia do Itanhy
- promote a set of conferences on art, science and ecology (16 in total)
that will be hosted in Santa Luzia do Itanhy but registered and distributed
to all other schools
- create a portal for news on art and science, which will be coordinate and
matained by teachers and students from the 6 schools

The funding is for 20 months an shall start in April 2010.
With this new project we have now funding for activities in education for
primary (project Inclusive Education) and secondary (Art with Science)
schools to start in 2010.

best wishes
Saulo Baretto
The Human Project
Brazil
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Re: [Yasmin_discussions] Call for On Line Lectures for Art-Science or Science-Art Courses

see
http://www.twine.com/twine/12hmrlnzz-260/art-science-and-science-art-curricula#alerted

<http://www.twine.com/twine/12hmrlnzz-260/art-science-and-science-art-curricula#alerted>
roger

On Wed, Dec 9, 2009 at 6:56 AM, jocelyne kiss <kissjocelyne@gmail.com>wrote:

> What is it about : " Call for On Line Lectures for Art-Science or
> Science-Art Courses"?
>
> 2009/12/7 Arantxa Mendiharat <koordinazioa@disonancias.com>
>
> >
> > _______________________________________________
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> > Yasmin_discussions@estia.media.uoa.gr
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> >
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> >
> > HOW TO SUBSCRIBE: 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.
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> the
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> > Digest Mode" option and set it to either on or off.
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--
Roger Malina is in France at this time

IN USA

phone 1 510 853 2007

When in France I can be reached at:
011 33 (0) 6 15 79 59 26
or (0) 6 80 45 94 47
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Re: [Yasmin_discussions] Call for On Line Lectures for Art-Science or Science-Art Courses

Good morning
where I could find the readings.

________________________________

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Re: [Yasmin_discussions] Call for On Line Lectures for Art-Science or Science-Art Courses

What is it about : " Call for On Line Lectures for Art-Science or
Science-Art Courses"?

2009/12/7 Arantxa Mendiharat <koordinazioa@disonancias.com>

>
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> Yasmin_discussions@estia.media.uoa.gr
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[Yasmin_discussions] Force/Magnitudes Nanotechnology Workshop 3-5 February 2010, Perth, Western Australia

Dear Yasminers

Just to let you know that along with the _art in the age of
nanotechnology exhibition_ (opening 4 February) and the _strange
futures: collaborations that make nano-art_ symposium (7 February) at
the John Curtin Gallery (http://johncurtingallery.curtin.edu.au/exhibitions/future.cfm#nano
), we are running a hands-on nano-art workshop with access to an
Atomic Force Microscope:

Force/Magnitudes Nanotechnology Workshop 3-5 February 2010

A collaboration between the Nanochemistry Research Institute and the
Centre for Research in Art, Science and Humanity, the workshop will be
run at the Curtin University Department of Chemistry Scanning Probe
Microscopy Facility in Perth, Western Australia.

The workshop is open to artists and scientists. The workshop costs
$150 and, because of the size of the facility, is limited to 8 people.

To apply, go to http://crash.curtin.edu.au/program/workshops.cfm for
full details or contact info.crash@curtin.edu.au. Send your written
submission to p.phillips@curtin.edu.au by 6 January.

http://crash.curtin.edu.au/
https://blogs.curtin.edu.au/crash/

Best wishes

Perdy

-----------------------------------------------------------
Dr Perdita Phillips
P.Phillips@curtin.edu.au
interdisciplinary artist

Research Administrator
Centre for Research in Art, Science and Humanity
http://crash.curtin.edu.au/
https://blogs.curtin.edu.au/crash/
http://www.perditaphillips.com/

School of Design and Art
Faculty of Humanities
Curtin University of Technology
GPO Box U 1987 Perth WA 6845
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Re: [Yasmin_discussions] Call for On Line Lectures for Art-Science or Science-Art Courses

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[Yasmin_discussions] Call for On Line Lectures for Art-Science or Science-Art Courses

Yasminers

We now have almost 60 different art-science or science-art course curricula
in our twine compilation, with about

30 curriculum developers who have joined in.
http://www.twine.com/twine/12hmrlnzz-260/art-science-and-science-art-curriculaWe
are now calling for links to lectures that are available on line for
art-science or science-art
classes; If you have an on line lecture that can be used in teaching
art-science or science-art
please contact me and we will add it to the twine. rmalina(at)
alum.mit.eduor ask to join
the twine and you can add the link yourself.

There seem to be a variety of ways that universities are establishing
art-science and science-art
courses. Some of the classes are of the type " physics for artists":

( eg The Chemistry of Art: Dr Elizabeth Wise : Lourdes College

Some are for collaborative practices between artists and scientists:

eg: Masters of Science in Biological Arts: Symbiotica

One third kind of approach is exemplified by the UC Davis Art-Science
Fusion Program which seeks
a theoretical transdiscplinary/integrative approach:

Art Science Fusion Program : UC Davis, California, USA

A new paradigm for education is sprouting in the Northern California
landscape. Students in the newly formed Art/Science Fusion Program at the
University of California, Davis, connect the patterns, harmonies, symbols
and perceptions that are shared across borders and disciplines. Students see
and feel art and science, hold it in their hands, hearts and memories—in
ceramics, painting, photographs, music, and textiles. With this experience,
they transform ideas into new concepts and insights and a greater
appreciation for the natural world. Through interactive lectures and studio
time, students learn scientific concepts and turn them into works of art.
Entomology 1, Art, Science and the World of Insects, the result of seven
years of experimentation, is the centerpiece course. Others in the series
are Art, Science and the World of Plants; Photography: Bridging Art and
Science; and Earth, Water, Science and Song. The Art/Science Fusion Program,
led by Diane Ullman and Donna Billick, is housed in the College of
Agricultural and Environmental Sciences, Science and Society Program.

We would be particularly in interested in other examples of this kind of
pedagogical approach.

Maybe yasminers on this yasmin discussion list would be interested in
raising and
discussing issues around the problems faced by educators and students in the
new
emerging areas of art-science and science-art practice

Roger Malina

Leonardo Education Forum co chair Victoria Vesna and Leonardo Executive
Editor Roger Malina are interested in examples of courses and curricula that
are in the art-science field- such as courses on art and biology, art and
mathematics, art and chemistry etc.
We are not collecting art and new media curricula, but the broad range of
arts ( all forms from performing , sound, visual etc) connecting to all
sciences, hard and social sciences. We are including art and new
technologies if they are not new media ( eg nano tech)
People who have taught an art-science or science art class, at university or
secondary school level, in formal or informal settings are invited to
contact roger malina at
rmalina---at----alum.mit.edu
We realise its hard to differentiate art-science from art-technology and
that the boundaries blur ( eg nano science is hard to separate from nano
technology), but a art and robotics class isnt really what we are trying to
compile here !! There are other resources that are compiling new media
programs ( eg see pier luigi capucci's resource
http://edulist.noemalab.org/as part of the YASMIN network, also Paut
Thomas' resource at
http://www.nomad.net.au/education

Please feel free also to add references/literature relevant to developing
curriula in art-science or articles you have written about your pedagogy.

we though we might try and organise a workshop or panels for educators who
are developing curricula in the art science area.
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