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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