with some other things until now - the focus of this was originally on
collaboration, presumably large-scale or international in scope, within the
social science, humanities, arts or "natural sciences"...not necessarily
between arts and sciences which, as many have noted, already has a strong
and notable record for collaboration.
On 5/31/10 1:48 PM, "Simon Biggs" <s.biggs@eca.ac.uk> wrote:
> I have also been too busy to chip in...but the following might be of
> interest:
>
> http://www.mitpressjournals.org/doi/abs/10.1162/leon.2006.39.5.441
>
> and:
>
> http://writing-research.nl/?q=node/78
>
> Best
>
> Simon
>
>
> Simon Biggs
> s.biggs@eca.ac.uk simon@littlepig.org.uk Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor edinburgh college of art http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
> Centre for Film, Performance and Media Arts
> http://www.ed.ac.uk/schools-departments/film-performance-media-arts
>
>
>
> From: Ernest <ernest@ernestedmonds.com>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Mon, 31 May 2010 01:31:17 +0100
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Subject: Re: [Yasmin_discussions] : International Collaboration in the
> Sciences and Humanities
>
> Like others, I have been very slow to join the discussion - too busy,
> my apologies.
>
> [Re a taxonomy - see Candy and Edmonds below]
>
> I will try to make a quick summary.
>
> An overview of what we know about some aspects can be see at
> http://www.leonardo-transactions.com/announcements/?page=5
> in the article "How Artists Fit Into the Research Process" which
> makes the following recommendations:-
> 1. Artists should agree to record their creative process, including
> failures.
>
> 2. Each project should have multiple planned outputs so that
> scientific and artistic goals are visibly achieved.
>
> 3. Observation and evaluation of the collaboration process should be
> explicitly included in the outputs.
>
> 4. New relationships and extended networks are common benefits of long-
> term commitments.
>
> 5. Team selection and team building are important. It cannot be
> assumed that a good artist and a good scientist will necessarily form
> a productive team.
>
> 6. Where artworks produced are interactive, provision should be made
> to undertake Obeta-testing¹ with audiences in realistic contexts.
>
> The other key issue is control/partnership/authorship. Different
> models are used. The artist in control is the old way of doing things.
> If the artist does not program this doesn't always seem to work all
> that well because they may not understand the medium enough.
> Partnerships can be better in that respect, but then aesthetic as well
> technical decisions are shared - so some people go for team authorship.
>
> We have published quite a bit on this subject.
> See, for example:-
> Candy, L and Edmonds, E. A. "Explorations in Art and Technology".
> Springer-Verlag, London. 2002.
> Edmonds, E. A., Weakley, A. J., Candy, L., Fell, M. J., Knott, R. P.
> and Pauletto, S. "The Studio as Laboratory: Combining Creative
> Practice and Digital Technology Research". IJHCS vol. 63, issue 4-5,
> October 2005. pp452-481.
> Edmonds, E., A. Bilda, Z. & Muller, L. (2009) Artist, evaluator and
> curator: three viewpoints on interactive art, evaluation and audience
> experience. Digital Creativity, 20, 141 - 151.
> and Yun Zhang's Phd - "Investigating collaboration in art and
> technology" at:-
> http://linus.lib.uts.edu.au/search~S3?/c700.105+ZHAN/
> c700.105+zhan/-3%2C-1%2C0%2CE/frameset&FF=c700.105+zhan&1%2C1%2C
>
> Collaboration is a central part of current art practice and, indeed,
> is at the core of much funding. See the Welcome Trust in the UK,
> Synapse from the Australian Council and ARC (in Australia), CreateIT
> from NSF in the USA etc.
>
> A quick scan of all of the above will show that the collaborations are
> often international - so I did not comment on that aspect.
>
> Ernest
>
>
> On 29/05/2010, at 11:36 PM, Paul Brown wrote:
>
>>
>> On 29/05/2010, at 11:07 PM, Jennifer Kanary Nikolov(a) wrote:
>>
>>> Has anyone made a taxonomy of different types of collaboration?
>>>
>>
>> In my talks I have broken art-science collaborations into three
>> broad categories:
>>
>> 1. Art appropriates science - an artist takes an scientific idea
>> and bases an artwork on it. Although scientists may collaborate
>> they do not directly benefit (perhaps some good PR) and, if the work
>> is critical they may suffer (bad PR).
>>
>> 2. Science appropriate arts - for eg. artists doing scientific
>> visualisation. This can be a useful money earner for an artist but
>> they must attenuate their own creative needs to the intentions of
>> the science.
>>
>> 3. True collaboration - all the participant have an equal ownership
>> in a project and all contribute directly towards and benefit
>> directly from it. These kind of collaborations may not be project
>> focussed and may be ongoing. This is a true interdisciplinary
>> collaboration and a good example is the number of scientific centres
>> who have regular or ongoing artists-in-residence because they have
>> recognised the value of a different perspective from their own.
>>
>> There is good work to be seen in all of these areas though my
>> preference as I have got older is for the latter.
>>
>> Best
>> Paul
>>
>> ====
>> Paul Brown - based in OZ April to November 2010
>> mailto:paul@paul-brown.com == http://www.paul-brown.com
>> OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
>> OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
>> ====
>> Visiting Professor - Sussex University
>> http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
>> ====
>>
>>
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> __________________________
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