I am sorry for the delays in getting back to all of your comments/thoughts. So many things to say...
Artist and sponsoring:
I agree with Ana that artists are mostly "un-sponsored" and don't deal with commissions. In addition, many artists even refuse the possibility of being sponsored as it could lead to a reduction of their freedom and creativity.
This reminds me a controversial exhibition in London sponsored by a
mobile phone company, which I visited with some other visual artists (at that
time I was a practicing visual artist myself). I felt a lot of discomfort in
the sponsoring offered and I reacted quite negatively to the exhibition simply
because it felt that artists did not have a total freedom of expression: the
sponsor censored some part of the exhibition. One of the artists involved in the show
shared this information with me.
Wellcome Trust – Visualizations
of science:
Roger you wrote :" The Wellcome trust I heard was disappointed in many
of the art science
collaborations they funded because the results were illustration of
science rather than art science collaborations" I would be interested in knowing
more. Where did you read/hear about that?
I have seen exhibitions of arts and science, where actually "artists" are
just illustrating science or making a visualization of science. It is surely
disappointing and these visualizations are surely not the result of a fruitful collaboration!
I am even questioning if they can be called "art"…
Dissonancias:
Aranxta, you explained that you used "a game to swap roles between
artists and
managers/scientists". Could you tell us more about that game? Is it a
role play? Did you conceive this game? Did you use it for your first
collaboration or did you develop it because you noticed that there was a need
for it?
Two cultures:
I recommend these series of interviews called "Are we beyond the two
cultures? 50 years later". They are realized by SEEDMAGAZINE.
http://seedmagazine.com/content/article/are_we_beyond_the_two_cultures/
Knowledge production:
Jennifer, I was really interested in reading your vision about what makes
collaborations between artists and scientists successful and how the ultimate
goal of successful collaborations would be knowledge production. I do not know
what the percentage of collaborations between artists and scientists, which
produce knowledge, is, but I bet it is not very high. It seems to me to be quite
an ambitious task to aim for producing knowledge, even so it is undoubtedly a
sign of success.
In my opinion, a successful collaboration is when the expectations of
both sides (art and science) are met. [Of course, defining the expectations and
the aims of the collaboration are vital in order to produce a successful
collaboration.] Generating knowledge would be for me going beyond the
expectations and almost the icing on the cake (unless of course it was the aim
of the project from the starting point).
Geopolitical context
of collaboration between artists and scientists:
Roger, let me clarify what I mean by "the geopolitical contexts of collaborations
between artists and scientists". One of my hypotheses: depending on where the
collaboration is taking place, the framework of this collaboration might be shaped
by local policies. For example, in order to attract funding in one country,
there might be the case that a residency should last for a maximum of 6 months
whereas in another country, this would not apply. (Time of the residency is one
of the aspects of the collaboration's framework) This is of course a simple
example, but I think more complex issues arise from the geopolitical context of
the collaborations and influence the shaping of the framework chosen.
Thank you
very much for all your contributions! I am looking forward to hearing from all
of you.
Best
wishes,
Léa
Lea.guzzo [at] ymail.com
> Date: Thu, 20 May 2010 19:39:48 +0200
> From: rmalina@alum.mit.edu
> To: Yasmin_discussions@estia.media.uoa.gr
> Subject: [Yasmin_discussions] : International Collaboration in the Sciences and Humanities
>
> Lea
>
> you state
>
> Indeed I am currently undertaking an Mphil/PhD in Arts Management/policies at
> > Birkbeck (University of London supervised by Dr. Cameron Cartiere, Dr.
> > Isabelle Fremeaux and Dr. Roger Malina) looking at the different models of
> > collaborations between visual artists and scientists in Europe. (Comparative
> > study case studies)
> >
> > I am particularly interested in the geopolitical context of the
> > artist/scientist collaboration and its impact on the model itself. For example
> > how policies could shape the format of the residence/collaboration.
>
> lea guzzo
>
> >>>> 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=
> 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
>
> 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=
> 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
>
> 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
>
> roger
>
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