I couldn't agree more!
Success factors:
1st point that contributes to success is the emphasis on productive educational structures for future art-(hum)sci collaborations.
- education that incorporates collaboration as a method
- education that incorporates new approaches of art and science
2nd point is the physical infrastructures
- function of gallery space, the role of Museums, conferences, labs. The knowledge development and the knowledge presentations
- in this time is indeed an aspect. Check out this recent call for collaboration...http://www.crresidency.net/ yet it is only one month...
3rd point is the financial structures! that carry such research.
- One example could be the recent collaboration betwen the NWO, which is the highest science funder in The Netherlands and the FondsBKVB which is the highest Art funding in The Netherlands. 225.000 euro for two artistic research positions http://www.nwo.nl/nwohome.nsf/pages/NWOP_7XWF89_Eng Hopefully in the future they will have positions for collaborative
research PhD's.
In this I believe the artist, has to be an informed artist!, and
function as a second person empathic resonator between first-person
methodologies (subjective) and third person methodologies (objective)
(Varela) in new artistic approaches and disciplines
One example of a Skype conversation I remember having recently with an
art-sci community of Toronto is the issue of simulation of the human
body. We were talking about the simulation of bloodvessels with a
biologist, when it struck me how much of the human aspect of blood, its
meaning etc, was missing in these simulations. Let me clarify with a
traditional example. When we make a mold of somebody's face (or
bloodvessel) and use it as a model it is a simulation of that person
(bloodvessel). An artist when they make a portret, they do not just
simulate what a person looks like, but how a person feels. If an artist
was to portray a bloodvessel, it takes into account objective aspects as well as subjective aspects. What I am saying is that in the simulation
of the bloodvessel, the focus was on objective facts, but not on a
possible character of the bloodvessel. It's preferences, it's quirks.
What does the bloodvessel 'feel' like. The social aspects of the
bloodvessel. The humanities of the bloodvessel. It's human interface on
all levels. When we aim to simulate life,consciousness, we need to take
into account both the subjective as well as the objective. An informed
artist could aid in a way that takes into account how chemicals bring
subjectivity to the bloodvessel...Am I making any sense?
Jennifer
________________________________
From: Gavin Artz <ceo@anat.org.au>
To: yasmin_discussions@estia.media.uoa.gr
Sent: Tue, June 1, 2010 2:40:21 AM
Subject: [Yasmin_discussions] Doing and Studying International Collaboration in the Sciences, Arts and the Humanities
Hello all,
I have been a bit slow to post as I had to do some admin updates on my
subscription, but all working now - (I hope).
ANAT has been involved in art/science research collaboration for over ten
years, five of which as a part of the Synapse initiative between ANAT and
the Australia Council for the Arts.
Recently ANAT and the Australia Council for the Arts got together those who
have been involved in the residencies to initiate, what we hope, will be a
research process that will tell us much more about these collaborations and
also initiate the building of a strong art/science community. The discussion
we had was wide ranging, but one point that really struck me was the concept
that we need to redefine what is an artistic career and for that matter what
is a science career. The inherent interdisciplinary nature of successful art
science collaboration creates a different discipline and it seems worth, as
we enter this dialogue, to suspend what we expect from these separate areas
and envision what the new practice might be. This will mean both the arts
and science each being willing to give some of their turf.
To pick on robotics research as an example where the technology has gone
beyond the technical basics to where deeper questions of what it is to be
human need to be answered if the technology is to advance. The research is
no longer pure technology research, it is about interfaces with people -
where engineering, psychology, aesthetics and art meet. From an arts
perspective robotics is a broad and responsive creative dialogue involving
what it means to be human now and into the future. This is an artistic
practice not destined for the gallery, but rather destined to have a much
broader impact on how we live.
So we may have students who want to have a career in robotics so they study
art and students interested in art studying robotics - the point being the
interdisciplinary nature that will be needed for successful creative,
cultural and research out comes, will become the same. In the arts we still
suffer under the weighty concept of the heroic individual as artist, when at
the same time, we are moving into an era that relies increasingly on
interdisciplinary collaboration where the results will be more diffuse and
more difficult to attribute to a single creator.
Gavin Artz | CEO
Australian Network for Art and Technology [ANAT]
e: ceo@anat.org.au | ph: 61 8 8231 9037
www.anat.org.au | www.filter.org.au | www.synapse.net.au
Twitter: __ANAT | Facebook: http://bit.ly/bF9fXl
The Australian Network for Art and Technology (ANAT) is supported by the
Visual Arts and Craft Strategy, an initiative of the Australian, State and
Territory Governments; the Australian Government through the Australia
Council, its arts funding and advisory body, and the South Australian
Government through Arts SA.
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