> Lea, you state
>
( ... )
>
>>>>> i am really not sure what you mean by geopolitical
>
> One of the major issue for art science collaboration is how to set up
> situations where both the artist and scientist are equally engaged
> = most
> art science work occurs with artists residencies within science or
> engineering
> environments= very few occur with scientists residencies in cultural
> organisations=
The engineering context of many historical art/sciences conferences
and projects can be a political terrain and thus inform a specific
discourse or mode of production. I am thinking here for instance of
militaro-artistic collusion in the 50s and 60s in conferences, events
and places such as Macy ( http://en.wikipedia.org/wiki/
Macy_conferences ), 69th Regiment Armory (E.A.T. http://www.9evenings.org/
), Rand + Lacma ( http://www.fondation-langlois.org/html/e/page.php?NumPage=706
), JPL ( http://www.jpl.nasa.gov/ ) and CAVS ( http://cavs.mit.edu/ ).
In the case of CAVS - the one I know the most about - the geopolitical
questions where always in the background as in many other places at
the Institute, which one main source of funding has been defense
contracts since Vannevar Bush appointment in june 1940 ( cf http://en.wikipedia.org/wiki/Vannevar_Bush
). And contrary to artists going to sci labs, CAVS was an artistic
place open to scientific students, professors and hackers. From Kepes
to Otto Piene, the center for AVS alternated conferences and more
practice based workshops where scientists had the opportunity to
inhabit an art center, hence developing a culture rich of discussions,
projects and performances. Very often, these experimental
collaborations could not be labeled and many big festival would not
know where to put these artefacts or practices defying the traditional
cultural organisation, production and recognition of art works.
> but some artists are very experienced in working in alien
> environments and have
> extensive experience working this way ( eg artists residencies in
> other public
> institutions like hospitals)= the Dissonancias residencies had some
> success
> with rather limited physical time between the artist and the
> researcher= but
> some of the most interesting collaborations are the ones that have
> evolved
> over a number of years
As a spin-off of these institutions, some places like the Judson ( http://en.wikipedia.org/wiki/Judson_Dance_Theater
), and many other started to push away the idea of technology and
art as a figurative or decorative form and started to investigate new
forms of representation and discourse, certainly influenced by the
political and social context of these institutes. Yvonne Rainer, Joan
Joanas or Bread and Puppets in a different way, criticised technology
and power and experimented with performative and ubuesque styles of
representation. Artists in Businesses, Hospitals and other non-
standard performative and socially-acceptable places manifest again
and again the renewal of the forms of artistic production, mainly the
critique of the depiction or its caricature the construction of a
decorum.
>
> an other issue is the time allocated= most residencies are so short
> that they
> are barely enough for the collaborators to begin to explore the shared
> interests
That's a crucial issue, usually related to the impossibility to build
a "deliverable" that can be "monetized" and hence sustain a sabbatical
for bot the artists and the scientists involved. In addition, and in
relation with the topic of "Doing and Studying International
Collaboration in the Sciences, Arts and the Humanities ", usually
Humanists are missing from this equation and it is very agreable to
see that IMERA for instance is hosting historians and philosophers :)
> =
> the uk art council "blue sky "residencies tried to allocate enough
> time and space
>
> i would be interested in hearing from you about two or three
> different models
> that you are studying as part of your phd research
>
> in the sciences some of the mechanisms used for provoking
> inter-disciplinary collaboration
> are the summer schools system= a google on "summer school sardinia"
> for instance gives a flavour=the advantage being that all the
> participants are outside their
> usual work environment
the google model of patronage would certainly be an interesting
geopolitical question, or more interesting, if Facebook starts to fund
art and sciences collaboration :) In France, Cap Digital, one of the
main funder of art + technology projects (futur en seine) could be
also of interest for you since their governance is composed in part by
Lagardere, a geopolitical champion.
>
> there was a famous summer school in the art school in aix en provence
> called Art Cognition in 1992 or 1993 that brought together very
> diverse people
> and provoked a number of collaborations:
> http://www.culturecom.net/InTangible/ArtCog/cover.htm
>
> and of course the artificial life workshops at the santa fe
> institute,http://www.santafe.edu/,in the 1980s
> spawned a whole art science area:
> http://www-users.cs.york.ac.uk/susan/bib/nf/l/langton.htm
>
Do you think of an archive or an exhibition that tried to give an
exhaustive list of these events since the 2nd world war ? Also,
related to that, do you know of any History of Art & Sciences or
Philosophy of Art & Sciences department that is dedicated to these
topics (and not only by one of them like aesthetics or STS programs) ?
> roger
Jean-Baptiste
--
http://www.flickr.com/photos/jeanbaptisteparis/
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