Yasminers
We have now approved over 60 proposed white papers for the SE-AD
initiative = and are still
soliciting proposals in the area of how SE-AD feeds into economic
development and other gaps.
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
One of the interesting emerging areas is art-science collaboration
related to biomedical
research and medecine. Fremantle in their abstract claims :
"It is well understood that the disciplines of art and design and of
the biomedical sciences have
different forms of knowledge, methods of research, types of evidence,
etc. The residency
programme has not sought to conflate or erase these differences, but
rather to support and value
both fields of research and practice."
This feeds into the discussion under way ( see Nikolova's Taxonomy abstract
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/towards-a-taxonomy-of-the-challenges-within-typologies-of-collaborations-between-art-design-engineering-science-humanities-a-practical-guide/
That it is time that our discussions of art-science need to develop a
new level of sophistication to go beyond
the art-science generalities. Any yasminers involved in biomedical
research and medical research ?
Roger Malina
SEAD White Paper Abstract
Authors: Fremantle, C. and Urquhart, D.
Contact: chris@fremantle.org
We propose to submit a White Paper focused on the British Heart
Foundation Centre of Research
Excellence (BHF CoRE) Artists Residency Programme which has been
delivered over the past 3
years at the Queen's Medical Research Institute, University of
Edinburgh in partnership between
BHF CoRE and Edinburgh College of Art, in particular the Art, Space
and Nature MFA.
It is well understood that the disciplines of art and design and of
the biomedical sciences have
different forms of knowledge, methods of research, types of evidence,
etc. The residency
programme has not sought to conflate or erase these differences, but
rather to support and value
both fields of research and practice.
The paper will outline work done to date, and will draw out key
challenges and opportunities
through in depth semi-structured interviews with the some of the
participants, both artists and
scientists. In relation to the suggested theme our aim will address
the question "So just what do we
need to advocate for?"
Key areas of the programme work that we will draw on in addressing
this question will be:
The structure and process used to introduce artists and biomedical researchers;
A consistent selection process, developed with the assistance of Art,
Space and Nature staff, has
been used for each of the three years of the programme. All artists on
the Art, Space and Nature
programme were eligible to submit a proposal. All students attended a
day of presentations at
QMRI by given by a wide range of researchers. In response there was a
second day of reciprocal
presentations by artists on the Art, Space and Nature programme. These
covered their own practice
to date and highlighted areas of research at QMRI that were of
interest to them. Residencies ended
with presentations followed by Q&A sessions involving the wider group
of researchers and artists.
The development of understanding of both artists and biomedical
researchers participating in the
programme.
We will focus on the trajectories of understanding of the different
working processes and objectives.
This will be drawn out through semi-structured interviews. One of the
issues for interdisciplinary
working is the achievement of 'disciplinary adequacy', i.e. sufficient
understanding of each other's
disciplines.
The White Paper will draw on the Leonardo Journal (e.g. Foster, 2011)
as well as literature on
interdisciplinarity (e.g. Repko, 2008), collaboration (e.g. Kester,
2011; Fremantle, 2012) and
existing reports already identified by SEAD. These will provide a
critical framework.
References:
Foster, C. (2011). Three Colors: Coomassie Brilliant Blue, Sudan I and
Somalia Yellow. Leonardo
Journal (44, 1)
Fremantle, C. (June 2012). Reflections on Collaboration. 24 August
2012. http://www.an.
co.uk/publications/topic/2228109
Kester, G. (2011). The One and the Many: Contemporary Collaborative
Art in a Global Context.
Duke University Press, Durham and London.
Repko, A.F. (2008). Interdisciplinary Research: Process and Theory.
Sage: Los Angeles, London,
New Delhi, Singapore
_______________________________________________
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Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
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HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Friday, August 24, 2012
Tuesday, August 21, 2012
[Yasmin_discussions] FW: Art \ live, 2012
HI ALL,
Art \ live, 2012
Performance of three artists: Ela Rosen, Ron Vinter and Avi Rosen, in the
frame of MessMedia6 , (art College Beit Berl, Ramat Hasharon and the city
of Kfar -Saba, 1-2.8.2012.) A tribute to Art / Life 1983 -1984 performance
by Linda Montano and Tehching Hsieh. During the year they were tied
together by a 8 feet rope, the artists avoided any contact or talking each
other.
In current performance, the rope was converted to communications cable,
smartphone, laptop and a computer tablet. Artists 'Aura' is upgraded to
'Cyber-Aura' of a Cyber-Flaneur digitally united with global surfers. The
communication cable is metaphor for worldwide social, physical, genetic,
cultural, and geographic rhizome.
Electronic gadgets are expanding local physical links while creating
singularity. Everyone is located in Superposition, being simultaneously
everywhere and nowhere. The performing artists videoing and uploading their
environment to a YouTube public playlist. Contemporary art becomes a viral
cybernetic 'Duree' globally consumed. The documentation is a ready-made for
future artistic creation.
The performance eliminates the gap between art and life. Artists transcend
global digital data base, become 'live-sculpture', refined, online and
public free art. Performance fulfills the purpose chosen to be artist-shaman
in contemporary politics, media, post-industrial era, a bridge between the
physical worlds to cybernetic. On this trip artists aiming to reach the
Sublime, on their return they are spreading unique insights acquired.
Performance applies the ideas of Joseph Beuys who preached for 'Art = Life',
which includes interdisciplinary existence, distributes itself in every way
possible, democratic, and consciously implemented by all. In reality of our
daily online existence, talents of artists, scientists, economists,
Politicians, religious leaders and other areas, intertwined favor the
formation of art\ lifetime.
PLAYLIST OF EVENT-
http://www.youtube.com/playlist?list=PLFEF74014A983CE12&feature=plcp
Art \ live, 2012
Performance of three artists: Ela Rosen, Ron Vinter and Avi Rosen, in the
frame of MessMedia6 , (art College Beit Berl, Ramat Hasharon and the city
of Kfar -Saba, 1-2.8.2012.) A tribute to Art / Life 1983 -1984 performance
by Linda Montano and Tehching Hsieh. During the year they were tied
together by a 8 feet rope, the artists avoided any contact or talking each
other.
In current performance, the rope was converted to communications cable,
smartphone, laptop and a computer tablet. Artists 'Aura' is upgraded to
'Cyber-Aura' of a Cyber-Flaneur digitally united with global surfers. The
communication cable is metaphor for worldwide social, physical, genetic,
cultural, and geographic rhizome.
Electronic gadgets are expanding local physical links while creating
singularity. Everyone is located in Superposition, being simultaneously
everywhere and nowhere. The performing artists videoing and uploading their
environment to a YouTube public playlist. Contemporary art becomes a viral
cybernetic 'Duree' globally consumed. The documentation is a ready-made for
future artistic creation.
The performance eliminates the gap between art and life. Artists transcend
global digital data base, become 'live-sculpture', refined, online and
public free art. Performance fulfills the purpose chosen to be artist-shaman
in contemporary politics, media, post-industrial era, a bridge between the
physical worlds to cybernetic. On this trip artists aiming to reach the
Sublime, on their return they are spreading unique insights acquired.
Performance applies the ideas of Joseph Beuys who preached for 'Art = Life',
which includes interdisciplinary existence, distributes itself in every way
possible, democratic, and consciously implemented by all. In reality of our
daily online existence, talents of artists, scientists, economists,
Politicians, religious leaders and other areas, intertwined favor the
formation of art\ lifetime.
PLAYLIST OF EVENT-
http://www.youtube.com/playlist?list=PLFEF74014A983CE12&feature=plcp
Saturday, August 18, 2012
Re: [Yasmin_discussions] CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Hi just for the record the guy who started all of this is Harold McGee
and his great Classic On Food and Cooking: The Science and Lore in the
Kitchen first published in 1984 and reedited in 2004. This book is what
got Thys, and Blumenthal, and F. Adria and everybody going
http://www.curiouscook.com/
and he is still the best, in my view, the book is a must for anyone interested in this
and his great Classic On Food and Cooking: The Science and Lore in the
Kitchen first published in 1984 and reedited in 2004. This book is what
got Thys, and Blumenthal, and F. Adria and everybody going
http://www.curiouscook.com/
and he is still the best, in my view, the book is a must for anyone interested in this
for further theoretical development see
http://www.ingentaconnect.com/content/berg/tsas/2012/00000007/00000002
In
more classic terms a precedent can be found in E.Pomiane 1937 la
Physique de la Cuisine he was a mircobiologist at the Inst Pasteur and
wrote a good book of physics in the kitchen form where McGee started.
Sadly Pomiane was more messy with his politics than his cooking and
after the war was not well
reputed.
cordially
r
--- On Fri, 8/17/12, roger malina <rmalina@alum.mit.edu> wrote:
From: roger malina <rmalina@alum.mit.edu>
Subject: [Yasmin_discussions] CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
To: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
Date: Friday, August 17, 2012, 11:19 PM
Yasminers
As you know there have been in recent years interesting art-science
collaboration
in molecular cooking and gastronomy- from wikipaedia here is a quote:
"Molecular gastronomy is a subdiscipline of food science that seeks to
investigate, explain and make practical use of the physical and
chemical transformations of ingredients that occur while cooking, as
well as the social, artistic and technical components of culinary and
gastronomic phenomena in general.[4] Molecular gastronomy is a modern
style of cooking, which is practiced by both scientists and food
professionals in many professional kitchens and labs and takes
advantage of many technical innovations from the scientific
disciplines.
The term "molecular gastronomy" was coined in 1992 by late Oxford
physicist Nicholas Kurti and the French INRA chemist Hervé This.[5]
Some chefs associated with the term choose to reject its use,[6]
preferring other terms such as "culinary physics" and "experimental
cuisine".
Alok Nandi is developing a SE-AD white paper on
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
He is calling for inputs-his email address is below
Molecular cooking is a good example how institutional boundaries
between chemistry and physics
research in universities= and the work in Cooking and Restaurant
schools have delayed the
useful and interesting collaboration between art and science= and its
only been the pioneering
work of a few chefs and a few chemists and physicist that have enabled
the obstacles to be
overcome
here are the details from Alok
Roger Malina
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Coordinator: Alok Nandi
Alok Nandi" <aloknandi(ampersand)aloknandi.com
The concept: cuisine and food design as terrain to investigate complex
wicked problems.
Conversation. Emergence. Food for thought.
- Cuisine, is French for 'kitchen' and first meant that or 'a culinary
establishment';
- Cuisine, culinary art or the practice or manner of preparing food or
the food so prepared;
- Cuisine, kitchen available with varying levels of equipment.
- Food, material that contains or consists of essential body
nutrients, and is ingested and assimilated by an organism to produce
energy.
Hundreds of years ago, the Hindu scriptures Upanishad were already
mentioning 'You are what you eat', and more closely in Europe, in
1826, Anthelme Brillat-Savarin wrote, in Physiologie du Goût, ou
Méditations de Gastronomie Transcendante: 'Dis-moi ce que tu manges,
je te dirai ce que tu es.' Tell me what you eat and I will tell you
what you are.
If design allows 'transformation of existing conditions into preferred
ones' (Herbert Simon), 'cuisine' is interesting to put next to it,
close to it, into it, or vice-versa. Especially as a process but also
as a space (and a non-space), it might ensure that thinking and
talking about 'design as cuisine' or vice-versa results into reframing
making and consuming.
Why would Cuisine allow to enhance the design
envelope, the design thinking, the design attitude?
From cuisine and design, if we enlarge the view points and look at
these dynamics in a transdisciplinary SEAD mode, by inviting
scientists, technologists and artists, what exchanges will happen ?
Food for thought …
Quite recently, the concept of "co-creation" shows interest in
different areas, from innovation studies to information management,
from design thinking to policy definition. How is the food sector
using it to foster innovative propositions ?
Private corporations are opening up innovation modalities, especially
in the R&D phases. A number of companies are also looking to tap into
the creative input at the market level. In parallel, public
institutions in Denmark, in Finland, … are exploring new collaboration
models, empowering and engaging everyday people. Forrester recently
claimed: "Co-creation will become a pillar of product innovation by
2015. Although the market remains relatively immature, we have
witnessed growing awareness of co-creation from our clients across a
wide range of industries, and we continue to see empowered product
strategy professionals experimenting with co-creation engagements in
interesting ways. Co-creation will continue its upward trajectory in
2012, driven by emboldened vendors that are eager to show product
strategists the value and benefits that co-creation can bring to the
product development process."
The food systems have applied different mechanisms, from field to
fork, through-out centuries, in resonance with several co-creation
approaches and paradigms. However, one might claim the food chains in
the 20th century industrialization phases may have wiped out some
multi-stakeholders co-creation innovative collaboration by building
"Fordian" production chains. Consumers have consumed, under marketing
pressures … And then appeared phenomenas such as Slow Food in the
Western world !
This whitepaper aims to look at different readings of understanding
the food systems, depending if it is an "academic" approach or a
"designer" point of view, or an "industrial" implementations, or an
"artistic" reading.
Ultimately, the knowledge expansion might emerge out of the SEAD
friction. Which dimensions would be appearing ? Which stakeholders ?
What levels of operational and co-operational would be possible ?
Input welcome ! email address is above.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Re: [Yasmin_discussions] CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Hi just for the record the guy who started all of this is Harold McGgee and his big Classic On Food and Cooking: The Science and Lore in the Kitchen first published in 1984 and reedited in 2004. This book is what got Thys, and Blumenthal, and F. Adria and everybody going
http://www.curiouscook.com/
and he is still the best, in my view, the book is a must for anyone interested in this
http://www.curiouscook.com/
and he is still the best, in my view, the book is a must for anyone interested in this
for further theoretical development see
http://www.ingentaconnect.com/content/berg/tsas/2012/00000007/00000002
In more classic terms a precedent can be found in E.Pomiane 1937 la Physique de la Cuisine he was a mircobiologist at the Inst Pasteur and wrote a good book of physics in the kitchen form where McGee started. Sadly Popmiane was more messy with his politics than his cooking and after the war was not well reputed.
cordially
r
--- On Fri, 8/17/12, roger malina <rmalina@alum.mit.edu> wrote:
From: roger malina <rmalina@alum.mit.edu>
Subject: [Yasmin_discussions] CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
To: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
Date: Friday, August 17, 2012, 11:19 PM
Yasminers
As you know there have been in recent years interesting art-science
collaboration
in molecular cooking and gastronomy- from wikipaedia here is a quote:
"Molecular gastronomy is a subdiscipline of food science that seeks to
investigate, explain and make practical use of the physical and
chemical transformations of ingredients that occur while cooking, as
well as the social, artistic and technical components of culinary and
gastronomic phenomena in general.[4] Molecular gastronomy is a modern
style of cooking, which is practiced by both scientists and food
professionals in many professional kitchens and labs and takes
advantage of many technical innovations from the scientific
disciplines.
The term "molecular gastronomy" was coined in 1992 by late Oxford
physicist Nicholas Kurti and the French INRA chemist Hervé This.[5]
Some chefs associated with the term choose to reject its use,[6]
preferring other terms such as "culinary physics" and "experimental
cuisine".
Alok Nandi is developing a SE-AD white paper on
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
He is calling for inputs-his email address is below
Molecular cooking is a good example how institutional boundaries
between chemistry and physics
research in universities= and the work in Cooking and Restaurant
schools have delayed the
useful and interesting collaboration between art and science= and its
only been the pioneering
work of a few chefs and a few chemists and physicist that have enabled
the obstacles to be
overcome
here are the details from Alok
Roger Malina
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Coordinator: Alok Nandi
Alok Nandi" <aloknandi(ampersand)aloknandi.com
The concept: cuisine and food design as terrain to investigate complex
wicked problems.
Conversation. Emergence. Food for thought.
- Cuisine, is French for 'kitchen' and first meant that or 'a culinary
establishment';
- Cuisine, culinary art or the practice or manner of preparing food or
the food so prepared;
- Cuisine, kitchen available with varying levels of equipment.
- Food, material that contains or consists of essential body
nutrients, and is ingested and assimilated by an organism to produce
energy.
Hundreds of years ago, the Hindu scriptures Upanishad were already
mentioning 'You are what you eat', and more closely in Europe, in
1826, Anthelme Brillat-Savarin wrote, in Physiologie du Goût, ou
Méditations de Gastronomie Transcendante: 'Dis-moi ce que tu manges,
je te dirai ce que tu es.' Tell me what you eat and I will tell you
what you are.
If design allows 'transformation of existing conditions into preferred
ones' (Herbert Simon), 'cuisine' is interesting to put next to it,
close to it, into it, or vice-versa. Especially as a process but also
as a space (and a non-space), it might ensure that thinking and
talking about 'design as cuisine' or vice-versa results into reframing
making and consuming.
Why would Cuisine allow to enhance the design
envelope, the design thinking, the design attitude?
From cuisine and design, if we enlarge the view points and look at
these dynamics in a transdisciplinary SEAD mode, by inviting
scientists, technologists and artists, what exchanges will happen ?
Food for thought …
Quite recently, the concept of "co-creation" shows interest in
different areas, from innovation studies to information management,
from design thinking to policy definition. How is the food sector
using it to foster innovative propositions ?
Private corporations are opening up innovation modalities, especially
in the R&D phases. A number of companies are also looking to tap into
the creative input at the market level. In parallel, public
institutions in Denmark, in Finland, … are exploring new collaboration
models, empowering and engaging everyday people. Forrester recently
claimed: "Co-creation will become a pillar of product innovation by
2015. Although the market remains relatively immature, we have
witnessed growing awareness of co-creation from our clients across a
wide range of industries, and we continue to see empowered product
strategy professionals experimenting with co-creation engagements in
interesting ways. Co-creation will continue its upward trajectory in
2012, driven by emboldened vendors that are eager to show product
strategists the value and benefits that co-creation can bring to the
product development process."
The food systems have applied different mechanisms, from field to
fork, through-out centuries, in resonance with several co-creation
approaches and paradigms. However, one might claim the food chains in
the 20th century industrialization phases may have wiped out some
multi-stakeholders co-creation innovative collaboration by building
"Fordian" production chains. Consumers have consumed, under marketing
pressures … And then appeared phenomenas such as Slow Food in the
Western world !
This whitepaper aims to look at different readings of understanding
the food systems, depending if it is an "academic" approach or a
"designer" point of view, or an "industrial" implementations, or an
"artistic" reading.
Ultimately, the knowledge expansion might emerge out of the SEAD
friction. Which dimensions would be appearing ? Which stakeholders ?
What levels of operational and co-operational would be possible ?
Input welcome ! email address is above.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Friday, August 17, 2012
[Yasmin_discussions] CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Yasminers
As you know there have been in recent years interesting art-science
collaboration
in molecular cooking and gastronomy- from wikipaedia here is a quote:
"Molecular gastronomy is a subdiscipline of food science that seeks to
investigate, explain and make practical use of the physical and
chemical transformations of ingredients that occur while cooking, as
well as the social, artistic and technical components of culinary and
gastronomic phenomena in general.[4] Molecular gastronomy is a modern
style of cooking, which is practiced by both scientists and food
professionals in many professional kitchens and labs and takes
advantage of many technical innovations from the scientific
disciplines.
The term "molecular gastronomy" was coined in 1992 by late Oxford
physicist Nicholas Kurti and the French INRA chemist Hervé This.[5]
Some chefs associated with the term choose to reject its use,[6]
preferring other terms such as "culinary physics" and "experimental
cuisine".
Alok Nandi is developing a SE-AD white paper on
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
He is calling for inputs-his email address is below
Molecular cooking is a good example how institutional boundaries
between chemistry and physics
research in universities= and the work in Cooking and Restaurant
schools have delayed the
useful and interesting collaboration between art and science= and its
only been the pioneering
work of a few chefs and a few chemists and physicist that have enabled
the obstacles to be
overcome
here are the details from Alok
Roger Malina
CO-OPERATION CUISINE: SEAD INTERACTIONS IN FOODSCAPES
Coordinator: Alok Nandi
Alok Nandi" <aloknandi(ampersand)aloknandi.com
The concept: cuisine and food design as terrain to investigate complex
wicked problems.
Conversation. Emergence. Food for thought.
- Cuisine, is French for 'kitchen' and first meant that or 'a culinary
establishment';
- Cuisine, culinary art or the practice or manner of preparing food or
the food so prepared;
- Cuisine, kitchen available with varying levels of equipment.
- Food, material that contains or consists of essential body
nutrients, and is ingested and assimilated by an organism to produce
energy.
Hundreds of years ago, the Hindu scriptures Upanishad were already
mentioning 'You are what you eat', and more closely in Europe, in
1826, Anthelme Brillat-Savarin wrote, in Physiologie du Goût, ou
Méditations de Gastronomie Transcendante: 'Dis-moi ce que tu manges,
je te dirai ce que tu es.' Tell me what you eat and I will tell you
what you are.
If design allows 'transformation of existing conditions into preferred
ones' (Herbert Simon), 'cuisine' is interesting to put next to it,
close to it, into it, or vice-versa. Especially as a process but also
as a space (and a non-space), it might ensure that thinking and
talking about 'design as cuisine' or vice-versa results into reframing
making and consuming.
Why would Cuisine allow to enhance the design
envelope, the design thinking, the design attitude?
From cuisine and design, if we enlarge the view points and look at
these dynamics in a transdisciplinary SEAD mode, by inviting
scientists, technologists and artists, what exchanges will happen ?
Food for thought …
Quite recently, the concept of "co-creation" shows interest in
different areas, from innovation studies to information management,
from design thinking to policy definition. How is the food sector
using it to foster innovative propositions ?
Private corporations are opening up innovation modalities, especially
in the R&D phases. A number of companies are also looking to tap into
the creative input at the market level. In parallel, public
institutions in Denmark, in Finland, … are exploring new collaboration
models, empowering and engaging everyday people. Forrester recently
claimed: "Co-creation will become a pillar of product innovation by
2015. Although the market remains relatively immature, we have
witnessed growing awareness of co-creation from our clients across a
wide range of industries, and we continue to see empowered product
strategy professionals experimenting with co-creation engagements in
interesting ways. Co-creation will continue its upward trajectory in
2012, driven by emboldened vendors that are eager to show product
strategists the value and benefits that co-creation can bring to the
product development process."
The food systems have applied different mechanisms, from field to
fork, through-out centuries, in resonance with several co-creation
approaches and paradigms. However, one might claim the food chains in
the 20th century industrialization phases may have wiped out some
multi-stakeholders co-creation innovative collaboration by building
"Fordian" production chains. Consumers have consumed, under marketing
pressures … And then appeared phenomenas such as Slow Food in the
Western world !
This whitepaper aims to look at different readings of understanding
the food systems, depending if it is an "academic" approach or a
"designer" point of view, or an "industrial" implementations, or an
"artistic" reading.
Ultimately, the knowledge expansion might emerge out of the SEAD
friction. Which dimensions would be appearing ? Which stakeholders ?
What levels of operational and co-operational would be possible ?
Input welcome ! email address is above.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Thursday, August 16, 2012
[Yasmin_discussions] Human Project in Brazil
Yasminers
We have accepted some 50 abstracts for SEAD white papers so far
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
Saulo Barretto has just submitted this one from Brazil. It is interesting
to see how the discourse around 'art,science.technology' emphasises
different arguments in different countries
We are still accepting late proposals for White Papers until the
end of the month- there are a number of gaps where we have received
no or few white paper proposals including:
Suggested White Papers topics:
• Building regkional Infrastructure
Gender Issues
• Economic Development: case studies from the cultural sector
(emphasis on art.tech.science)
• Models for Incubator Programs (Bigger question... what are we
incubating?)
• Resource Landscape or How stuff gets made....
• Influencing Organizational Change (examples, benchmarks, and
frameworks)
• Getting Connected: why do networks work or fail
• New Forms of Curatorial Practice
• To Make STEAM you need Water - what's feeding the movement
• STEM PIPELINE.... when Creative Interventions Help to Mend Rusty Pipes
• The FIELD -- Broader Impacts
• Art/Tech/Science Intersections
• A Day in the Life of the Art.Tech.Science "Creative
Professional / Researcher"
(perhaps a photo essay)
• Manifesto: We're way beyond Productivity... now what?
• So just what do we need to advocate for? globally, the
universe, locally
• Advocacy for the Art.Tech.Science platform... toward a new
National Agencies
• Networked Events: the birth and growth of SEAD
x No white papers from Africa and Middle East
Roger
here is saulo's
The Human Project
Saulo Faria Almeida Barretto; Renata Piazzalunga
Instituto de Pesquisas em Tecnologia e Inovação, Brazil
The Human Project is a proposal for a model of human development for
regions with high social
and economic vulnerability, based on the relationship between art,
science and technology, having
culture and environment as cross cutting elements. This model is being
deployed by the Instituto de
Pesquisas em Tecnologia e Inovação (IPTI) in the municipality of Santa
Luzia do Itanhy, one of
Brazil's poorest regions, but that holds an important environmental
and cultural heritage. In
practice, what we do is to apply this art, science and technology
relationship in the development of
Social Technologies, with focus on education, public health and
employment and income
improvement (creative economy), basic pillars of the development in
such regions, with a systemic
and evolutionary perspective.
Social Technologies are defined as "products, techniques and/or
re-aplicable methodologies
developed in the interaction with the community and that represent
effective solutions for social
transformation". In practice this concept implies an approach to
science and technology quite
innovative, especially because it puts the community as an active part
in the research process and is
no longer just mere beneficiary. For it is clear that there are issues
related to technology ownership
and autonomy, essential for subsequent re-application, which can not
be resolved in labs, not from
theoretical models.
One of the aspects we observed as very relevant to the application of
The Human Project model is
that it not only allows the generation of innovative Social
Technologies, but also provokes the
initiation of innovation in contexts destitute of any apparent
possibility. This is due both to the
inclusion of a challenging way of construction of thought, in which
researchers are motivated to act
jointly and interactively with the three main drivers of the THP, and
to the possibility of including
community members in an effective and active manner in projects
through the intuitive knowledge
that comes up by means of the stimuli of perception and senses
activated by the bias of the
aesthetical, always present as a methodological premise in any IPTI
interventions. Finally, another
relevant aspect of this model is that it is very effective to minimize
the difficulties that arise in
scientific projects designed to be applied directly in the communities
due to the large knowledge
gap between the research team and the local people.
However, establishing a relationship between art, science, technology
and society runs into several
obstacles, starting with the traditional view of the scientific
community to think less on issues such
as technological appropriation and more on scientific publications and
patents that are still essential
for the development of any academic career. This is largely due to the
way national systems of
science and technology evaluate researchers and institutions, always
based on scientific production.
In the case of Social Technologies, the most significant result should
be the number of reapplications,
i.e. the number of communities that have adopted the technological
innovation, rather
then how many scientific papers had being published or conferences attended.
Through the practical results of various projects related to The Human
Project we hope to
contribute to strengthening the relationship between art, science and
technology as a strategy for
promoting human development, but also to contribute to a reflection
and necessary improvement of
the current mechanisms for evaluating the scientific competence of
institutions and researchers that
better meets the real demands of society.
Saulo Faria Almeida Barretto
Relacionamento Institucional e Novos Negócios
Instituto de Pesquisas em Tecnologia e Inovação
www.ipti.org.br
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
We have accepted some 50 abstracts for SEAD white papers so far
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
Saulo Barretto has just submitted this one from Brazil. It is interesting
to see how the discourse around 'art,science.technology' emphasises
different arguments in different countries
We are still accepting late proposals for White Papers until the
end of the month- there are a number of gaps where we have received
no or few white paper proposals including:
Suggested White Papers topics:
• Building regkional Infrastructure
Gender Issues
• Economic Development: case studies from the cultural sector
(emphasis on art.tech.science)
• Models for Incubator Programs (Bigger question... what are we
incubating?)
• Resource Landscape or How stuff gets made....
• Influencing Organizational Change (examples, benchmarks, and
frameworks)
• Getting Connected: why do networks work or fail
• New Forms of Curatorial Practice
• To Make STEAM you need Water - what's feeding the movement
• STEM PIPELINE.... when Creative Interventions Help to Mend Rusty Pipes
• The FIELD -- Broader Impacts
• Art/Tech/Science Intersections
• A Day in the Life of the Art.Tech.Science "Creative
Professional / Researcher"
(perhaps a photo essay)
• Manifesto: We're way beyond Productivity... now what?
• So just what do we need to advocate for? globally, the
universe, locally
• Advocacy for the Art.Tech.Science platform... toward a new
National Agencies
• Networked Events: the birth and growth of SEAD
x No white papers from Africa and Middle East
Roger
here is saulo's
The Human Project
Saulo Faria Almeida Barretto; Renata Piazzalunga
Instituto de Pesquisas em Tecnologia e Inovação, Brazil
The Human Project is a proposal for a model of human development for
regions with high social
and economic vulnerability, based on the relationship between art,
science and technology, having
culture and environment as cross cutting elements. This model is being
deployed by the Instituto de
Pesquisas em Tecnologia e Inovação (IPTI) in the municipality of Santa
Luzia do Itanhy, one of
Brazil's poorest regions, but that holds an important environmental
and cultural heritage. In
practice, what we do is to apply this art, science and technology
relationship in the development of
Social Technologies, with focus on education, public health and
employment and income
improvement (creative economy), basic pillars of the development in
such regions, with a systemic
and evolutionary perspective.
Social Technologies are defined as "products, techniques and/or
re-aplicable methodologies
developed in the interaction with the community and that represent
effective solutions for social
transformation". In practice this concept implies an approach to
science and technology quite
innovative, especially because it puts the community as an active part
in the research process and is
no longer just mere beneficiary. For it is clear that there are issues
related to technology ownership
and autonomy, essential for subsequent re-application, which can not
be resolved in labs, not from
theoretical models.
One of the aspects we observed as very relevant to the application of
The Human Project model is
that it not only allows the generation of innovative Social
Technologies, but also provokes the
initiation of innovation in contexts destitute of any apparent
possibility. This is due both to the
inclusion of a challenging way of construction of thought, in which
researchers are motivated to act
jointly and interactively with the three main drivers of the THP, and
to the possibility of including
community members in an effective and active manner in projects
through the intuitive knowledge
that comes up by means of the stimuli of perception and senses
activated by the bias of the
aesthetical, always present as a methodological premise in any IPTI
interventions. Finally, another
relevant aspect of this model is that it is very effective to minimize
the difficulties that arise in
scientific projects designed to be applied directly in the communities
due to the large knowledge
gap between the research team and the local people.
However, establishing a relationship between art, science, technology
and society runs into several
obstacles, starting with the traditional view of the scientific
community to think less on issues such
as technological appropriation and more on scientific publications and
patents that are still essential
for the development of any academic career. This is largely due to the
way national systems of
science and technology evaluate researchers and institutions, always
based on scientific production.
In the case of Social Technologies, the most significant result should
be the number of reapplications,
i.e. the number of communities that have adopted the technological
innovation, rather
then how many scientific papers had being published or conferences attended.
Through the practical results of various projects related to The Human
Project we hope to
contribute to strengthening the relationship between art, science and
technology as a strategy for
promoting human development, but also to contribute to a reflection
and necessary improvement of
the current mechanisms for evaluating the scientific competence of
institutions and researchers that
better meets the real demands of society.
Saulo Faria Almeida Barretto
Relacionamento Institucional e Novos Negócios
Instituto de Pesquisas em Tecnologia e Inovação
www.ipti.org.br
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Wednesday, August 15, 2012
[Yasmin_discussions] SEAD White Paper
Dear All,
We hereby invite you to share your experiences to help us build a SEAD White Paper:
For those of you on Facebook, please join this group: https://www.facebook.com/groups/231260530329990/
DRAFT ABSTRACT:
Towards
a taxonomy of the challenges within typologies of collaborations
between Art - Design - Engineering - Science – Humanities - a
practical guide
Coordinator:Jennifer Kanary Nikolov(a)
Advisory Group: Roger
Malina (FR/USA), Anna Dumitriu (UK/RO), Frederik De Wilde (BE), Kaisu
Koski (NL/fi), Meagan May Daalder (USA), Lucas Evers (NL) and
hopefully more experts!
To
join please contact Jennifer Kanary Nikolov(a) at jenniferkanary-AT-yahoo-DOT-com
Collaborations
betweenArt - Design -
Engineering - Science – Humanities,have a tendency
to look great on paper, sound logical to the mind, but are far from
easy to achieve in reality. In spite of good intentions and high
motivation, many initiatives become tainted with disappointment. Why
is this? Where do such collaborations tend to go wrong? What are the
secrets to successful collaborations? What needs to be taken into
account? Which aspects facilitate organization? By
understanding the complexity of problematic issues that surround such
collaborations we hope to begin to build an educational tool that may
be used as a practical guide by those who aspire such collaborations.
Let us learn from our mistakes.
With
this SEAD White Paper we propose to develop an initial taxonomy of
challenges involved with different typologies of collaborations
between Art - Design - Engineering
- Science – Humanities. In order to do this we will develop
a questionnaire and put out a call to artists, scientists, engineers
and designers, who we hope will share their expertise by elaborating
on key aspects of failure and success within their experiences of
collaborations. By mapping the challenges within different typologies
of collaborations, collaborators may identify themselves into roles
and responsibilities with a stronger awareness of achievable aims and
results.
We
invite all interested to join this working group to develop a SEAD
white paper on taxonomiesthe
challenges within typologies of collaborations between Art - Design -
Engineering - Science – Humanities; We realize that in
rapidly emerging new areas of practice, terminologies and taxonomies
also evolve rapidly; this in itself is a record of how the
collaborations lead to new trans-disciplinary or inter-discplinary
forms. We will in this white paper identify suggested actions
concerning the developing of useful taxonomies that clarify the
variety of situations, obstacles and opportunities, to facilitate
Science and Engineering to Arts/Design/Humanities collaboration.
We
invite authors of existing taxonomies or classification systems to
contact : jenniferkanary-AT-yahoo-DOT-com
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Monday, August 13, 2012
[Yasmin_discussions] Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Dear Yasminers
the deadline is fast approaching for the SEAD white paper abstracts-
the deadline is a bit fuzzy -but we need all abstracts in within the
next few days
we have approved 20 abstracts so far= looks really interesting advocacy
by our community taking shape !
see http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
for the abstracts so far
this one just came in re dance and neuroscience !!
roger malina
Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Winston-Salem State University
www.glennabatson.com
glenna.batson@gmail.com
Today, one of the most compelling conversations in transdisciplinary
discourse is the exchange between dance
and neuroscience. Over the last decade, dancers and neuroscientists
have come together to create live, synthetic
artscience laboratories in which to explore the processes underlying
"choreographic cognition" and the embodied
mind. Whether creating, performing and viewing dance, complex
multi-modal physical and mental processes emerge
that manifest as high levels of creative thinking. Cognitive processes
generated in dance making have potential
benefits that stretch beyond aesthetic aims -- practical, social,
scientific and medical. Many formal dance-science
exchanges and projects occurred, with key choreographers from Europe
and Australia, such as William Forsythe
(Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley
McKechnie and Catherine Stevens,
University of Melbourne. Each has generated projects close to home,
with research extending several centers
for cognitive neuroscience in the US (David Kirsh, University of San
Diego and Scott Grafton, University of
California at Santa Cruz). These projects have been examples of
multi-directional research and creative practice,
engaging a wide range of information technology and digital media,
with nascent, but significant outcomes. Despite
initial momentum, the field remains fragmented. Creative clusters have
not advanced theories or methods to
evolve a focused discourse. While major funding sources have
fertilized the ground beyond the pilot level in Europe,
US funding sources have little grasp of the importance of this topic.
Although dance affords extensive opportunities
for empirical investigation, projects face obstacles, such as
constraints on time, access, training, and limitations
within technologiges and digital media, as well as an underdeveloped
strategic vision, commitment, and cohesion
across disciplines, both within and outside of the academy. Several
directions are needed to address these obstacles.
Alliances need to be forged within educational and cultural
institutions to create environments that support dance artists,
media/technology designers, and scientists in cross-disciplinary
creative research. This includes affording the means
of structuring and managing projects; providing open source
development and access to new tools of technology and
media; providing training to enhance mutual dialogue and project
participation; and philosophically and financially
supporting creative cultures in local and global initiatives that
advance new research methodologies in the
synthesis of the art of dance making and the science of cognition.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
the deadline is fast approaching for the SEAD white paper abstracts-
the deadline is a bit fuzzy -but we need all abstracts in within the
next few days
we have approved 20 abstracts so far= looks really interesting advocacy
by our community taking shape !
see http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
for the abstracts so far
this one just came in re dance and neuroscience !!
roger malina
Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Winston-Salem State University
www.glennabatson.com
glenna.batson@gmail.com
Today, one of the most compelling conversations in transdisciplinary
discourse is the exchange between dance
and neuroscience. Over the last decade, dancers and neuroscientists
have come together to create live, synthetic
artscience laboratories in which to explore the processes underlying
"choreographic cognition" and the embodied
mind. Whether creating, performing and viewing dance, complex
multi-modal physical and mental processes emerge
that manifest as high levels of creative thinking. Cognitive processes
generated in dance making have potential
benefits that stretch beyond aesthetic aims -- practical, social,
scientific and medical. Many formal dance-science
exchanges and projects occurred, with key choreographers from Europe
and Australia, such as William Forsythe
(Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley
McKechnie and Catherine Stevens,
University of Melbourne. Each has generated projects close to home,
with research extending several centers
for cognitive neuroscience in the US (David Kirsh, University of San
Diego and Scott Grafton, University of
California at Santa Cruz). These projects have been examples of
multi-directional research and creative practice,
engaging a wide range of information technology and digital media,
with nascent, but significant outcomes. Despite
initial momentum, the field remains fragmented. Creative clusters have
not advanced theories or methods to
evolve a focused discourse. While major funding sources have
fertilized the ground beyond the pilot level in Europe,
US funding sources have little grasp of the importance of this topic.
Although dance affords extensive opportunities
for empirical investigation, projects face obstacles, such as
constraints on time, access, training, and limitations
within technologiges and digital media, as well as an underdeveloped
strategic vision, commitment, and cohesion
across disciplines, both within and outside of the academy. Several
directions are needed to address these obstacles.
Alliances need to be forged within educational and cultural
institutions to create environments that support dance artists,
media/technology designers, and scientists in cross-disciplinary
creative research. This includes affording the means
of structuring and managing projects; providing open source
development and access to new tools of technology and
media; providing training to enhance mutual dialogue and project
participation; and philosophically and financially
supporting creative cultures in local and global initiatives that
advance new research methodologies in the
synthesis of the art of dance making and the science of cognition.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
[Yasmin_discussions] Art/Sci Collab Presentation and Documentation
Hello Yasminers,
a few days ago I participated in a Hybrid Bodies Project
workshop at YYZ, Toronto. "Through the whole three days of the
workshop there will be a handful of medical students doing
qualitative research with all the invitees - which essentially
consists of a questionnaire compiled by both the PITH team
and the artistic team."
At the workshop: "Each of the four participating artists will have
one existing work installed at YYZ. They are works that have been
selected based on their relationship both thematically to the
transplantation research and also to what each artist is planning for
the final exhibition for Hybrid Bodies. The artists will be in the gallery
with their work to be able to speak with and ask questions; and there
will also be staff from the PITH team of the Monk Cardiac Centre from
U of T on hand to observe and converse."
Hybrid Bodies is an important, meaningful interdisciplinary
collaboration - especially significant (in the field of art &
science collaborations) because it was initiated by the
medical scientists involved in the project. The collaboration is
between staff from of the Monk Cardiac Centre from University of
Toronto and four international/Canadian artists. The project is
funded by the Social Sciences and Humanities Research Council
of Canada.
Please find below the project description below.
best
nina
Hybrid Bodies Project
Few organs are as charged as the human heart. Seen as both the seat
of human identity and the archetypal symbol of love, it is an organ
that has been ascribed qualities and associations far beyond its
anatomical functions. Since the first heart transplant in 1967, the
technical aspects of the operation have been streamlined and now
heart transplantation is the accepted therapy for end-stage heart
failure.
Four internationally exhibiting artists, Alexa Wright (UK), Catherine
Richards (Canada), Andrew Carnie (UK), and Ingrid Bachmann (Canada),
have had access to an innovative research study exploring the process
of incorporating a transplanted heart. This interdisciplinary study
was conducted by a leading research team based at the University
Health Network in Toronto. The team consists of Dr. Heather Ross, a
cardiologist and Director of the Cardiac Transplant Program at the
University Health Network (Toronto); Dr. Patricia McKeever, a health
sociologist (U of T) ; Dr. Susan Abbey, a transplant psychiatrist
(Univesity Health Network); Dr. Jennifer Poole, a health scientist
(Ryerson University, Toronto); and Dr. Margrit Shildrick, a
philosopher (Linkoping University, Sweden).
While significant research has been conducted on the medical aspects
of transplantation, little research has been done on the emotional
and psychological issues that confront recipients post transplant.
Transplantation is clearly a cultural as well as a medical issue.
The aim of this project is to bring these issues into the public
realm in an accessible way and to provide a language and a context to
explore these ideas. The artworks will provide a tangible focus for
discussion.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
a few days ago I participated in a Hybrid Bodies Project
workshop at YYZ, Toronto. "Through the whole three days of the
workshop there will be a handful of medical students doing
qualitative research with all the invitees - which essentially
consists of a questionnaire compiled by both the PITH team
and the artistic team."
At the workshop: "Each of the four participating artists will have
one existing work installed at YYZ. They are works that have been
selected based on their relationship both thematically to the
transplantation research and also to what each artist is planning for
the final exhibition for Hybrid Bodies. The artists will be in the gallery
with their work to be able to speak with and ask questions; and there
will also be staff from the PITH team of the Monk Cardiac Centre from
U of T on hand to observe and converse."
Hybrid Bodies is an important, meaningful interdisciplinary
collaboration - especially significant (in the field of art &
science collaborations) because it was initiated by the
medical scientists involved in the project. The collaboration is
between staff from of the Monk Cardiac Centre from University of
Toronto and four international/Canadian artists. The project is
funded by the Social Sciences and Humanities Research Council
of Canada.
Please find below the project description below.
best
nina
Hybrid Bodies Project
Few organs are as charged as the human heart. Seen as both the seat
of human identity and the archetypal symbol of love, it is an organ
that has been ascribed qualities and associations far beyond its
anatomical functions. Since the first heart transplant in 1967, the
technical aspects of the operation have been streamlined and now
heart transplantation is the accepted therapy for end-stage heart
failure.
Four internationally exhibiting artists, Alexa Wright (UK), Catherine
Richards (Canada), Andrew Carnie (UK), and Ingrid Bachmann (Canada),
have had access to an innovative research study exploring the process
of incorporating a transplanted heart. This interdisciplinary study
was conducted by a leading research team based at the University
Health Network in Toronto. The team consists of Dr. Heather Ross, a
cardiologist and Director of the Cardiac Transplant Program at the
University Health Network (Toronto); Dr. Patricia McKeever, a health
sociologist (U of T) ; Dr. Susan Abbey, a transplant psychiatrist
(Univesity Health Network); Dr. Jennifer Poole, a health scientist
(Ryerson University, Toronto); and Dr. Margrit Shildrick, a
philosopher (Linkoping University, Sweden).
While significant research has been conducted on the medical aspects
of transplantation, little research has been done on the emotional
and psychological issues that confront recipients post transplant.
Transplantation is clearly a cultural as well as a medical issue.
The aim of this project is to bring these issues into the public
realm in an accessible way and to provide a language and a context to
explore these ideas. The artworks will provide a tangible focus for
discussion.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
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Saturday, August 11, 2012
Re: [Yasmin_discussions] 'DIWO (Do-It-With-Others): Origin, Art & > Social Context.'
Hi Roger,
Thanks for answering the questions...
It has been very helpful, especially regarding stakeholders which now
seems obvious.
Will edit down the current abstract into two paragraphs.
Wishing you well.
marc
> Marc
>
> Would be delighted if you submit a white paper abstract for SEAD on
> 'DIWO (Do-It-With-Others): Origin, Art &
>> Social Context.'
>
> abstracts can be up to a couple of paragraphs
> the key think is to identify as you have begun to
> do to identify specific roadblocks/problems
> PS the aug 15 deadline is flexible- we are already having
> trouble keeping up with the submissions so no doubt
> we will accept submission of abstracts for some time after
> aug 15
>
> the point you make:
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>
> i think is good and could make a good contribution- one of the problems
> we have for enabling 'radical' collaboration is our mental models and
> language= for instance here at siggraph someone talked about hubs
> in networks=the very word " hub" implies asymetrical stuctures
> ( and the old discussion about the periphery)
>
> -its not a problem if you use previously published texts-the white paper
> can have appendices which include such texts
>
> re the issue of 'stakeholders' you ask:
> The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>
> this is itself an interesting discussion- in management theory
stakeholders
> are often defined as individuals or groups that have a vested interest
> in resolving the problems= so for instance a problem that occurs with
> rare diseases is that people sick with rare diseases dont represent
enough
> of a market for big companies to address them-so one of the things that
> has evolved is non profit groups and foundations that provide funding
> to enable solutions to be found for rare deseases
>
> a stakeholder needs to be a person or group who is in a position to take
> an action- maybe actor network theory can also be used
>
> so for instance a recommendation that says
> 'universities should hire more faculty who work both in
science/engineering and
> in art/design" would need to be made more specific, or this work is
really
> important we need more funding-is not a very helpful recommendation
>
> if you look at the recommendations at the back of "beyond productivity'
> they really went to some effort to break down recommendations to specific
> stakeholders ( eg professional societies should set up prizes to reward
> people who bridge science/engineering to art and design)
>
> roger malina
>
>
>
>
>
> On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org>
wrote:
>> Hi Roger & all,
>>
>> I am considering whether to submit an abstract (for the 15th Aug) for a
>> paper I am currently writing called 'DIWO (Do-It-With-Others):
Origin, Art &
>> Social Context.'
>>
>> I have read the 'Beyond Productivity: Information, Technology,
Innovation,
>> and Creativity' pdf, and see that what I'm writing fits well in some
>> respects. It suggests that there is a desire for social change. And this
>> seems positive "Cultural cross-fertilization via the SEAD network –
whether
>> from disciplinary, organizational or ethnic perspectives – is a vital
>> component of our purpose and goals."
>>
>> Yet, in terms of historical information and respecting social and
political
>> emancipation, we need to know the underlying issues of why particular
>> circumstances have come about in order to progress. A good example
of where
>> I am coming from perhaps, can be easily understood if one has
watched the
>> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
>> from a similar perspective as the film outlines, but we explore it
further
>> through our 'actual' practice, in engaged (small) solutions with
others, and
>> DIWO is just one of various 'media art ecology' related projects being
>> explored.
>>
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>>
>> Having said this, the above could be seen as contributions or
examples of
>> roadblocks.
>>
>> So, in order to find out whether my contribution is appropriate - I have
>> some questions:
>>
>> 1) What is the word count (or limit) for abstract submission?
>>
>> 2) What are the rules on earlier or similar articles already published
>> online?
>>
>> Even though the paper being proposed will be academic, much of the
dialogue
>> has already occured online from within and outside of the community,
as well
>> as existing as articles informing peer collaborative practice.
>>
>> Much of our writing on our collaborative practice exists as open to
others
>> on platforms such as the p2pfoundation - 'Collaboration and Freedom
– The
>> World of Free and Open Source Art'
>> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>>
>> 3) The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>>
>> Thank you for your time.
>>
>> Marc
>>
>> ---
>>
>> Furtherfield - A living, breathing, thriving network
>> http://www.furtherfield.org - for art, technology and social change
since
>> 1997
>>
>> Also - Furtherfield Gallery& Social Space:
>> http://www.furtherfield.org/gallery
>>
>> About Furtherfield:
>> http://www.furtherfield.org/content/about
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
subscribe to. In
>> the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
enter your
>> e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>
>
>
--
Other Info:
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change
since 1997
Also - Furtherfield Gallery & Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Thanks for answering the questions...
It has been very helpful, especially regarding stakeholders which now
seems obvious.
Will edit down the current abstract into two paragraphs.
Wishing you well.
marc
> Marc
>
> Would be delighted if you submit a white paper abstract for SEAD on
> 'DIWO (Do-It-With-Others): Origin, Art &
>> Social Context.'
>
> abstracts can be up to a couple of paragraphs
> the key think is to identify as you have begun to
> do to identify specific roadblocks/problems
> PS the aug 15 deadline is flexible- we are already having
> trouble keeping up with the submissions so no doubt
> we will accept submission of abstracts for some time after
> aug 15
>
> the point you make:
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>
> i think is good and could make a good contribution- one of the problems
> we have for enabling 'radical' collaboration is our mental models and
> language= for instance here at siggraph someone talked about hubs
> in networks=the very word " hub" implies asymetrical stuctures
> ( and the old discussion about the periphery)
>
> -its not a problem if you use previously published texts-the white paper
> can have appendices which include such texts
>
> re the issue of 'stakeholders' you ask:
> The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>
> this is itself an interesting discussion- in management theory
stakeholders
> are often defined as individuals or groups that have a vested interest
> in resolving the problems= so for instance a problem that occurs with
> rare diseases is that people sick with rare diseases dont represent
enough
> of a market for big companies to address them-so one of the things that
> has evolved is non profit groups and foundations that provide funding
> to enable solutions to be found for rare deseases
>
> a stakeholder needs to be a person or group who is in a position to take
> an action- maybe actor network theory can also be used
>
> so for instance a recommendation that says
> 'universities should hire more faculty who work both in
science/engineering and
> in art/design" would need to be made more specific, or this work is
really
> important we need more funding-is not a very helpful recommendation
>
> if you look at the recommendations at the back of "beyond productivity'
> they really went to some effort to break down recommendations to specific
> stakeholders ( eg professional societies should set up prizes to reward
> people who bridge science/engineering to art and design)
>
> roger malina
>
>
>
>
>
> On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org>
wrote:
>> Hi Roger & all,
>>
>> I am considering whether to submit an abstract (for the 15th Aug) for a
>> paper I am currently writing called 'DIWO (Do-It-With-Others):
Origin, Art &
>> Social Context.'
>>
>> I have read the 'Beyond Productivity: Information, Technology,
Innovation,
>> and Creativity' pdf, and see that what I'm writing fits well in some
>> respects. It suggests that there is a desire for social change. And this
>> seems positive "Cultural cross-fertilization via the SEAD network –
whether
>> from disciplinary, organizational or ethnic perspectives – is a vital
>> component of our purpose and goals."
>>
>> Yet, in terms of historical information and respecting social and
political
>> emancipation, we need to know the underlying issues of why particular
>> circumstances have come about in order to progress. A good example
of where
>> I am coming from perhaps, can be easily understood if one has
watched the
>> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
>> from a similar perspective as the film outlines, but we explore it
further
>> through our 'actual' practice, in engaged (small) solutions with
others, and
>> DIWO is just one of various 'media art ecology' related projects being
>> explored.
>>
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>>
>> Having said this, the above could be seen as contributions or
examples of
>> roadblocks.
>>
>> So, in order to find out whether my contribution is appropriate - I have
>> some questions:
>>
>> 1) What is the word count (or limit) for abstract submission?
>>
>> 2) What are the rules on earlier or similar articles already published
>> online?
>>
>> Even though the paper being proposed will be academic, much of the
dialogue
>> has already occured online from within and outside of the community,
as well
>> as existing as articles informing peer collaborative practice.
>>
>> Much of our writing on our collaborative practice exists as open to
others
>> on platforms such as the p2pfoundation - 'Collaboration and Freedom
– The
>> World of Free and Open Source Art'
>> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>>
>> 3) The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>>
>> Thank you for your time.
>>
>> Marc
>>
>> ---
>>
>> Furtherfield - A living, breathing, thriving network
>> http://www.furtherfield.org - for art, technology and social change
since
>> 1997
>>
>> Also - Furtherfield Gallery& Social Space:
>> http://www.furtherfield.org/gallery
>>
>> About Furtherfield:
>> http://www.furtherfield.org/content/about
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
subscribe to. In
>> the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
enter your
>> e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>
>
>
--
Other Info:
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change
since 1997
Also - Furtherfield Gallery & Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Thursday, August 9, 2012
[Yasmin_discussions] 'DIWO (Do-It-With-Others): Origin, Art & > Social Context.'
Marc
Would be delighted if you submit a white paper abstract for SEAD on
'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
abstracts can be up to a couple of paragraphs
the key think is to identify as you have begun to
do to identify specific roadblocks/problems
PS the aug 15 deadline is flexible- we are already having
trouble keeping up with the submissions so no doubt
we will accept submission of abstracts for some time after
aug 15
the point you make:
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
i think is good and could make a good contribution- one of the problems
we have for enabling 'radical' collaboration is our mental models and
language= for instance here at siggraph someone talked about hubs
in networks=the very word " hub" implies asymetrical stuctures
( and the old discussion about the periphery)
-its not a problem if you use previously published texts-the white paper
can have appendices which include such texts
re the issue of 'stakeholders' you ask:
The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
this is itself an interesting discussion- in management theory stakeholders
are often defined as individuals or groups that have a vested interest
in resolving the problems= so for instance a problem that occurs with
rare diseases is that people sick with rare diseases dont represent enough
of a market for big companies to address them-so one of the things that
has evolved is non profit groups and foundations that provide funding
to enable solutions to be found for rare deseases
a stakeholder needs to be a person or group who is in a position to take
an action- maybe actor network theory can also be used
so for instance a recommendation that says
'universities should hire more faculty who work both in science/engineering and
in art/design" would need to be made more specific, or this work is really
important we need more funding-is not a very helpful recommendation
if you look at the recommendations at the back of "beyond productivity'
they really went to some effort to break down recommendations to specific
stakeholders ( eg professional societies should set up prizes to reward
people who bridge science/engineering to art and design)
roger malina
On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org> wrote:
> Hi Roger & all,
>
> I am considering whether to submit an abstract (for the 15th Aug) for a
> paper I am currently writing called 'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
>
> I have read the 'Beyond Productivity: Information, Technology, Innovation,
> and Creativity' pdf, and see that what I'm writing fits well in some
> respects. It suggests that there is a desire for social change. And this
> seems positive "Cultural cross-fertilization via the SEAD network – whether
> from disciplinary, organizational or ethnic perspectives – is a vital
> component of our purpose and goals."
>
> Yet, in terms of historical information and respecting social and political
> emancipation, we need to know the underlying issues of why particular
> circumstances have come about in order to progress. A good example of where
> I am coming from perhaps, can be easily understood if one has watched the
> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
> from a similar perspective as the film outlines, but we explore it further
> through our 'actual' practice, in engaged (small) solutions with others, and
> DIWO is just one of various 'media art ecology' related projects being
> explored.
>
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
>
> Having said this, the above could be seen as contributions or examples of
> roadblocks.
>
> So, in order to find out whether my contribution is appropriate - I have
> some questions:
>
> 1) What is the word count (or limit) for abstract submission?
>
> 2) What are the rules on earlier or similar articles already published
> online?
>
> Even though the paper being proposed will be academic, much of the dialogue
> has already occured online from within and outside of the community, as well
> as existing as articles informing peer collaborative practice.
>
> Much of our writing on our collaborative practice exists as open to others
> on platforms such as the p2pfoundation - 'Collaboration and Freedom – The
> World of Free and Open Source Art'
> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>
> 3) The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
>
> Thank you for your time.
>
> Marc
>
> ---
>
> Furtherfield - A living, breathing, thriving network
> http://www.furtherfield.org - for art, technology and social change since
> 1997
>
> Also - Furtherfield Gallery& Social Space:
> http://www.furtherfield.org/gallery
>
> About Furtherfield:
> http://www.furtherfield.org/content/about
>
> Netbehaviour - Networked Artists List Community.
> http://www.netbehaviour.org
>
> http://identi.ca/furtherfield
> http://twitter.com/furtherfield
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
--
Roger Malina
Is in USA at the moment
1-510-853-2007
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Would be delighted if you submit a white paper abstract for SEAD on
'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
abstracts can be up to a couple of paragraphs
the key think is to identify as you have begun to
do to identify specific roadblocks/problems
PS the aug 15 deadline is flexible- we are already having
trouble keeping up with the submissions so no doubt
we will accept submission of abstracts for some time after
aug 15
the point you make:
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
i think is good and could make a good contribution- one of the problems
we have for enabling 'radical' collaboration is our mental models and
language= for instance here at siggraph someone talked about hubs
in networks=the very word " hub" implies asymetrical stuctures
( and the old discussion about the periphery)
-its not a problem if you use previously published texts-the white paper
can have appendices which include such texts
re the issue of 'stakeholders' you ask:
The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
this is itself an interesting discussion- in management theory stakeholders
are often defined as individuals or groups that have a vested interest
in resolving the problems= so for instance a problem that occurs with
rare diseases is that people sick with rare diseases dont represent enough
of a market for big companies to address them-so one of the things that
has evolved is non profit groups and foundations that provide funding
to enable solutions to be found for rare deseases
a stakeholder needs to be a person or group who is in a position to take
an action- maybe actor network theory can also be used
so for instance a recommendation that says
'universities should hire more faculty who work both in science/engineering and
in art/design" would need to be made more specific, or this work is really
important we need more funding-is not a very helpful recommendation
if you look at the recommendations at the back of "beyond productivity'
they really went to some effort to break down recommendations to specific
stakeholders ( eg professional societies should set up prizes to reward
people who bridge science/engineering to art and design)
roger malina
On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org> wrote:
> Hi Roger & all,
>
> I am considering whether to submit an abstract (for the 15th Aug) for a
> paper I am currently writing called 'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
>
> I have read the 'Beyond Productivity: Information, Technology, Innovation,
> and Creativity' pdf, and see that what I'm writing fits well in some
> respects. It suggests that there is a desire for social change. And this
> seems positive "Cultural cross-fertilization via the SEAD network – whether
> from disciplinary, organizational or ethnic perspectives – is a vital
> component of our purpose and goals."
>
> Yet, in terms of historical information and respecting social and political
> emancipation, we need to know the underlying issues of why particular
> circumstances have come about in order to progress. A good example of where
> I am coming from perhaps, can be easily understood if one has watched the
> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
> from a similar perspective as the film outlines, but we explore it further
> through our 'actual' practice, in engaged (small) solutions with others, and
> DIWO is just one of various 'media art ecology' related projects being
> explored.
>
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
>
> Having said this, the above could be seen as contributions or examples of
> roadblocks.
>
> So, in order to find out whether my contribution is appropriate - I have
> some questions:
>
> 1) What is the word count (or limit) for abstract submission?
>
> 2) What are the rules on earlier or similar articles already published
> online?
>
> Even though the paper being proposed will be academic, much of the dialogue
> has already occured online from within and outside of the community, as well
> as existing as articles informing peer collaborative practice.
>
> Much of our writing on our collaborative practice exists as open to others
> on platforms such as the p2pfoundation - 'Collaboration and Freedom – The
> World of Free and Open Source Art'
> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>
> 3) The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
>
> Thank you for your time.
>
> Marc
>
> ---
>
> Furtherfield - A living, breathing, thriving network
> http://www.furtherfield.org - for art, technology and social change since
> 1997
>
> Also - Furtherfield Gallery& Social Space:
> http://www.furtherfield.org/gallery
>
> About Furtherfield:
> http://www.furtherfield.org/content/about
>
> Netbehaviour - Networked Artists List Community.
> http://www.netbehaviour.org
>
> http://identi.ca/furtherfield
> http://twitter.com/furtherfield
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
--
Roger Malina
Is in USA at the moment
1-510-853-2007
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin
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HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Re: [Yasmin_discussions] Last call Aug 15 deadline & some questions
Hi Roger & all,
I am considering whether to submit an abstract (for the 15th Aug) for a
paper I am currently writing called 'DIWO (Do-It-With-Others): Origin,
Art & Social Context.'
I have read the 'Beyond Productivity: Information, Technology,
Innovation, and Creativity' pdf, and see that what I'm writing fits well
in some respects. It suggests that there is a desire for social change.
And this seems positive "Cultural cross-fertilization via the SEAD
network – whether from disciplinary, organizational or ethnic
perspectives – is a vital component of our purpose and goals."
Yet, in terms of historical information and respecting social and
political emancipation, we need to know the underlying issues of why
particular circumstances have come about in order to progress. A good
example of where I am coming from perhaps, can be easily understood if
one has watched the film 'Surviving Progress'
(http://survivingprogress.com/). We are coming from a similar
perspective as the film outlines, but we explore it further through our
'actual' practice, in engaged (small) solutions with others, and DIWO is
just one of various 'media art ecology' related projects being explored.
One problem I foresee, concerns relations between actual 'collaborative,
networked art practice' and 'Institutional Issues and Public Policy'.
They exist for different reasons and motives. Our organization's
political and social context(s) may be seen as radical in contrast.
Especially when much of our own (shared) inspiration draws upon ideas,
situations and initiations - actively trying to transcend 'neo-liberal
and creative industry' restrictions, which as part of its evolution and
process critiques such hegemonies, opting for a less dominated and more
free creative autonomy.
Having said this, the above could be seen as contributions or examples
of roadblocks.
So, in order to find out whether my contribution is appropriate - I have
some questions:
1) What is the word count (or limit) for abstract submission?
2) What are the rules on earlier or similar articles already published
online?
Even though the paper being proposed will be academic, much of the
dialogue has already occured online from within and outside of the
community, as well as existing as articles informing peer collaborative
practice.
Much of our writing on our collaborative practice exists as open to
others on platforms such as the p2pfoundation - 'Collaboration and
Freedom – The World of Free and Open Source Art'
(http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
3) The site mentions that proposals need to be clear to address specific
stakeholders "It is important that the White Papers are clear about
stakeholders, that they identify barriers and recommend strategies."
Does this mean within the realm of information technology and creative
practices (ITCP), is this specific enough?
Thank you for your time.
Marc
---
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since 1997
Also - Furtherfield Gallery& Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
I am considering whether to submit an abstract (for the 15th Aug) for a
paper I am currently writing called 'DIWO (Do-It-With-Others): Origin,
Art & Social Context.'
I have read the 'Beyond Productivity: Information, Technology,
Innovation, and Creativity' pdf, and see that what I'm writing fits well
in some respects. It suggests that there is a desire for social change.
And this seems positive "Cultural cross-fertilization via the SEAD
network – whether from disciplinary, organizational or ethnic
perspectives – is a vital component of our purpose and goals."
Yet, in terms of historical information and respecting social and
political emancipation, we need to know the underlying issues of why
particular circumstances have come about in order to progress. A good
example of where I am coming from perhaps, can be easily understood if
one has watched the film 'Surviving Progress'
(http://survivingprogress.com/). We are coming from a similar
perspective as the film outlines, but we explore it further through our
'actual' practice, in engaged (small) solutions with others, and DIWO is
just one of various 'media art ecology' related projects being explored.
One problem I foresee, concerns relations between actual 'collaborative,
networked art practice' and 'Institutional Issues and Public Policy'.
They exist for different reasons and motives. Our organization's
political and social context(s) may be seen as radical in contrast.
Especially when much of our own (shared) inspiration draws upon ideas,
situations and initiations - actively trying to transcend 'neo-liberal
and creative industry' restrictions, which as part of its evolution and
process critiques such hegemonies, opting for a less dominated and more
free creative autonomy.
Having said this, the above could be seen as contributions or examples
of roadblocks.
So, in order to find out whether my contribution is appropriate - I have
some questions:
1) What is the word count (or limit) for abstract submission?
2) What are the rules on earlier or similar articles already published
online?
Even though the paper being proposed will be academic, much of the
dialogue has already occured online from within and outside of the
community, as well as existing as articles informing peer collaborative
practice.
Much of our writing on our collaborative practice exists as open to
others on platforms such as the p2pfoundation - 'Collaboration and
Freedom – The World of Free and Open Source Art'
(http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
3) The site mentions that proposals need to be clear to address specific
stakeholders "It is important that the White Papers are clear about
stakeholders, that they identify barriers and recommend strategies."
Does this mean within the realm of information technology and creative
practices (ITCP), is this specific enough?
Thank you for your time.
Marc
---
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since 1997
Also - Furtherfield Gallery& Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Tuesday, August 7, 2012
Re: [Yasmin_discussions] IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
Thanks for this, Roger. I have a significantly different take on the needs of our public school system in California, where many artists work in the schools, but few scientists and where funding for anything enriching is either raised by parents or the result of arts grants. The city has so much art that it's quality science curriculum paired with art that needs development!
Nice paper!
Molly
On Aug 7, 2012, at 5:30 PM, roger malina <rmalina@alum.mit.edu> wrote:
> yasminers
>
> an interesting white paper is being developed for SEAD
>
> http://seadnetwork.wordpress.com/about/
>
> on
>
> THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
> EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
>
> which i hope will also explain why the vitality of the hacker and make
> communities offers interesting pluses for science and engineering,
> and why for instance the explosion of fablabs offers new mechanisms
> for cross linking science and engineering to arts and design.
>
> their abstracts concludes with:
> The fact is that Innovators in science and engineering are artists and
> craftsmen as well,
> and there are practical reasons that this is so. Only when we
> understand the many ways
> in which arts and crafts make possible innovation in sciences and
> engineering will we be
> able to develop the full potential of our students.
>
> any comments ?
>
> the position paper is being developed by
>
>
> Robert Root-Bernstein*, Ph.D., Professor of Physiology
> Rex LaMore, Ph.D., Director Center for Community and Economic Development
> James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
> John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
> Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
> Eileen Roraback, Ph.D., College of Arts and Letters
> Amber Peruski, MSU Honors College
> Megan VanDyke , MSU Honors College
>
> Michigan State University, East Lansing, Michigan, USA 48824
>
> *email: rootbern@msu.edu;
>
> K-12 curricula at in most school systems focus on mathematical and
> verbal skills, but the ability to succeed in science and engineering
> requires a broader range of skills that include observation,
> visualization, dimensional thinking, modeling, manual dexterity,
> familiarity with tools, transforming data into visual or graphical
> forms, converting theories into mechanical procedures, and even
> understanding data and experiments kinesthetically (Wilson, 1972;
> Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
> 1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
> 2008;). All of these skills can be learned through arts and crafts
> experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
> Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
> Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
> a result, we have found through a series of studies of scientists and
> engineers that significant arts and crafts experience is highly
> correlated with success in science and engineering as measured by
> outcomes such as major prizes and honors, patents, or the founding of
> new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
> and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
> al., 2010; Root-Bernstein, et al., in press). One of the most notable
> results of our ongoing studies is that no particular art or craft
> confers any particular advantage over any other: dance, music, drama,
> painting, sculpting, printmaking, photography, making and composing
> music, metal- and woodwork are all correlated with increased
> probability of success. The operant factor is not the type of art or
> craft, but early introduction to arts and crafts in elementary and
> middle school years followed by persistent practice of that art or
> craft into adulthood. We also found that while exposure to arts and
> crafts can occur in a school setting, formal education is not a
> requirement for the observed correlation to success: arts and crafts
> classes in school were often supplemented or replaced by private
> lessons, informal mentoring at home or in community centers, or even
> by self-teaching. Again, the key element was not how an art or craft
> was learned, but the persistence with which it was pursued.
>
> Given that most states within the United States, and most countries
> around the world, marginalize arts and crafts education to the extent
> that many students get no more than an hour of such education per
> week, and most are not introduced to more than one or two arts or
> crafts during their entire schooling, our findings have clear policy
> implications for a wide range of parties (Lamore, et al., 2010).
> Students interested in pursuing a science or engineering career must
> recognized that their formal K-12 schooling is unlikely to prepare
> them adequately in the range of skills they will need to reach the top
> of their field: they and their parents will need to supplement the
> standard K-12 curriculum. Educators and those setting educational
> policy must recognize that there is a robust literature linking
> success in science and engineering to skills such as observing,
> visualization, and modeling that are developed by arts and crafts
> training: arts and crafts are not, therefore dispensable frills that
> can be eliminated from curricula whenever budgets need to be cut, but
> essential elements of science and engineering education. Finally,
> legislators need to understand the practical value that lies in the
> skills taught through arts and crafts so that they are willing to
> provide robust funding not only for formal K-12 arts and crafts
> curricula, but also for community centers, after-school programs
> associated with arts and crafts centers, museum- and concert
> hall-based educational programs, and other forms of informal arts and
> crafts education. The fact is that Innovators in science and
> engineering are artists and craftsmen as well, and there are practical
> reasons that this is so. Only when we understand the many ways in
> which arts and crafts make possible innovation in sciences and
> engineering will we be able to develop the full potential of our
> students.
>
> http://seadnetwork.wordpress.com/about/
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Nice paper!
Molly
On Aug 7, 2012, at 5:30 PM, roger malina <rmalina@alum.mit.edu> wrote:
> yasminers
>
> an interesting white paper is being developed for SEAD
>
> http://seadnetwork.wordpress.com/about/
>
> on
>
> THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
> EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
>
> which i hope will also explain why the vitality of the hacker and make
> communities offers interesting pluses for science and engineering,
> and why for instance the explosion of fablabs offers new mechanisms
> for cross linking science and engineering to arts and design.
>
> their abstracts concludes with:
> The fact is that Innovators in science and engineering are artists and
> craftsmen as well,
> and there are practical reasons that this is so. Only when we
> understand the many ways
> in which arts and crafts make possible innovation in sciences and
> engineering will we be
> able to develop the full potential of our students.
>
> any comments ?
>
> the position paper is being developed by
>
>
> Robert Root-Bernstein*, Ph.D., Professor of Physiology
> Rex LaMore, Ph.D., Director Center for Community and Economic Development
> James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
> John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
> Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
> Eileen Roraback, Ph.D., College of Arts and Letters
> Amber Peruski, MSU Honors College
> Megan VanDyke , MSU Honors College
>
> Michigan State University, East Lansing, Michigan, USA 48824
>
> *email: rootbern@msu.edu;
>
> K-12 curricula at in most school systems focus on mathematical and
> verbal skills, but the ability to succeed in science and engineering
> requires a broader range of skills that include observation,
> visualization, dimensional thinking, modeling, manual dexterity,
> familiarity with tools, transforming data into visual or graphical
> forms, converting theories into mechanical procedures, and even
> understanding data and experiments kinesthetically (Wilson, 1972;
> Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
> 1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
> 2008;). All of these skills can be learned through arts and crafts
> experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
> Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
> Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
> a result, we have found through a series of studies of scientists and
> engineers that significant arts and crafts experience is highly
> correlated with success in science and engineering as measured by
> outcomes such as major prizes and honors, patents, or the founding of
> new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
> and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
> al., 2010; Root-Bernstein, et al., in press). One of the most notable
> results of our ongoing studies is that no particular art or craft
> confers any particular advantage over any other: dance, music, drama,
> painting, sculpting, printmaking, photography, making and composing
> music, metal- and woodwork are all correlated with increased
> probability of success. The operant factor is not the type of art or
> craft, but early introduction to arts and crafts in elementary and
> middle school years followed by persistent practice of that art or
> craft into adulthood. We also found that while exposure to arts and
> crafts can occur in a school setting, formal education is not a
> requirement for the observed correlation to success: arts and crafts
> classes in school were often supplemented or replaced by private
> lessons, informal mentoring at home or in community centers, or even
> by self-teaching. Again, the key element was not how an art or craft
> was learned, but the persistence with which it was pursued.
>
> Given that most states within the United States, and most countries
> around the world, marginalize arts and crafts education to the extent
> that many students get no more than an hour of such education per
> week, and most are not introduced to more than one or two arts or
> crafts during their entire schooling, our findings have clear policy
> implications for a wide range of parties (Lamore, et al., 2010).
> Students interested in pursuing a science or engineering career must
> recognized that their formal K-12 schooling is unlikely to prepare
> them adequately in the range of skills they will need to reach the top
> of their field: they and their parents will need to supplement the
> standard K-12 curriculum. Educators and those setting educational
> policy must recognize that there is a robust literature linking
> success in science and engineering to skills such as observing,
> visualization, and modeling that are developed by arts and crafts
> training: arts and crafts are not, therefore dispensable frills that
> can be eliminated from curricula whenever budgets need to be cut, but
> essential elements of science and engineering education. Finally,
> legislators need to understand the practical value that lies in the
> skills taught through arts and crafts so that they are willing to
> provide robust funding not only for formal K-12 arts and crafts
> curricula, but also for community centers, after-school programs
> associated with arts and crafts centers, museum- and concert
> hall-based educational programs, and other forms of informal arts and
> crafts education. The fact is that Innovators in science and
> engineering are artists and craftsmen as well, and there are practical
> reasons that this is so. Only when we understand the many ways in
> which arts and crafts make possible innovation in sciences and
> engineering will we be able to develop the full potential of our
> students.
>
> http://seadnetwork.wordpress.com/about/
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
[Yasmin_discussions] IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
yasminers
an interesting white paper is being developed for SEAD
http://seadnetwork.wordpress.com/about/
on
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
which i hope will also explain why the vitality of the hacker and make
communities offers interesting pluses for science and engineering,
and why for instance the explosion of fablabs offers new mechanisms
for cross linking science and engineering to arts and design.
their abstracts concludes with:
The fact is that Innovators in science and engineering are artists and
craftsmen as well,
and there are practical reasons that this is so. Only when we
understand the many ways
in which arts and crafts make possible innovation in sciences and
engineering will we be
able to develop the full potential of our students.
any comments ?
the position paper is being developed by
Robert Root-Bernstein*, Ph.D., Professor of Physiology
Rex LaMore, Ph.D., Director Center for Community and Economic Development
James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
Eileen Roraback, Ph.D., College of Arts and Letters
Amber Peruski, MSU Honors College
Megan VanDyke , MSU Honors College
Michigan State University, East Lansing, Michigan, USA 48824
*email: rootbern@msu.edu;
K-12 curricula at in most school systems focus on mathematical and
verbal skills, but the ability to succeed in science and engineering
requires a broader range of skills that include observation,
visualization, dimensional thinking, modeling, manual dexterity,
familiarity with tools, transforming data into visual or graphical
forms, converting theories into mechanical procedures, and even
understanding data and experiments kinesthetically (Wilson, 1972;
Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
2008;). All of these skills can be learned through arts and crafts
experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
a result, we have found through a series of studies of scientists and
engineers that significant arts and crafts experience is highly
correlated with success in science and engineering as measured by
outcomes such as major prizes and honors, patents, or the founding of
new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
al., 2010; Root-Bernstein, et al., in press). One of the most notable
results of our ongoing studies is that no particular art or craft
confers any particular advantage over any other: dance, music, drama,
painting, sculpting, printmaking, photography, making and composing
music, metal- and woodwork are all correlated with increased
probability of success. The operant factor is not the type of art or
craft, but early introduction to arts and crafts in elementary and
middle school years followed by persistent practice of that art or
craft into adulthood. We also found that while exposure to arts and
crafts can occur in a school setting, formal education is not a
requirement for the observed correlation to success: arts and crafts
classes in school were often supplemented or replaced by private
lessons, informal mentoring at home or in community centers, or even
by self-teaching. Again, the key element was not how an art or craft
was learned, but the persistence with which it was pursued.
Given that most states within the United States, and most countries
around the world, marginalize arts and crafts education to the extent
that many students get no more than an hour of such education per
week, and most are not introduced to more than one or two arts or
crafts during their entire schooling, our findings have clear policy
implications for a wide range of parties (Lamore, et al., 2010).
Students interested in pursuing a science or engineering career must
recognized that their formal K-12 schooling is unlikely to prepare
them adequately in the range of skills they will need to reach the top
of their field: they and their parents will need to supplement the
standard K-12 curriculum. Educators and those setting educational
policy must recognize that there is a robust literature linking
success in science and engineering to skills such as observing,
visualization, and modeling that are developed by arts and crafts
training: arts and crafts are not, therefore dispensable frills that
can be eliminated from curricula whenever budgets need to be cut, but
essential elements of science and engineering education. Finally,
legislators need to understand the practical value that lies in the
skills taught through arts and crafts so that they are willing to
provide robust funding not only for formal K-12 arts and crafts
curricula, but also for community centers, after-school programs
associated with arts and crafts centers, museum- and concert
hall-based educational programs, and other forms of informal arts and
crafts education. The fact is that Innovators in science and
engineering are artists and craftsmen as well, and there are practical
reasons that this is so. Only when we understand the many ways in
which arts and crafts make possible innovation in sciences and
engineering will we be able to develop the full potential of our
students.
http://seadnetwork.wordpress.com/about/
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an interesting white paper is being developed for SEAD
http://seadnetwork.wordpress.com/about/
on
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
which i hope will also explain why the vitality of the hacker and make
communities offers interesting pluses for science and engineering,
and why for instance the explosion of fablabs offers new mechanisms
for cross linking science and engineering to arts and design.
their abstracts concludes with:
The fact is that Innovators in science and engineering are artists and
craftsmen as well,
and there are practical reasons that this is so. Only when we
understand the many ways
in which arts and crafts make possible innovation in sciences and
engineering will we be
able to develop the full potential of our students.
any comments ?
the position paper is being developed by
Robert Root-Bernstein*, Ph.D., Professor of Physiology
Rex LaMore, Ph.D., Director Center for Community and Economic Development
James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
Eileen Roraback, Ph.D., College of Arts and Letters
Amber Peruski, MSU Honors College
Megan VanDyke , MSU Honors College
Michigan State University, East Lansing, Michigan, USA 48824
*email: rootbern@msu.edu;
K-12 curricula at in most school systems focus on mathematical and
verbal skills, but the ability to succeed in science and engineering
requires a broader range of skills that include observation,
visualization, dimensional thinking, modeling, manual dexterity,
familiarity with tools, transforming data into visual or graphical
forms, converting theories into mechanical procedures, and even
understanding data and experiments kinesthetically (Wilson, 1972;
Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
2008;). All of these skills can be learned through arts and crafts
experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
a result, we have found through a series of studies of scientists and
engineers that significant arts and crafts experience is highly
correlated with success in science and engineering as measured by
outcomes such as major prizes and honors, patents, or the founding of
new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
al., 2010; Root-Bernstein, et al., in press). One of the most notable
results of our ongoing studies is that no particular art or craft
confers any particular advantage over any other: dance, music, drama,
painting, sculpting, printmaking, photography, making and composing
music, metal- and woodwork are all correlated with increased
probability of success. The operant factor is not the type of art or
craft, but early introduction to arts and crafts in elementary and
middle school years followed by persistent practice of that art or
craft into adulthood. We also found that while exposure to arts and
crafts can occur in a school setting, formal education is not a
requirement for the observed correlation to success: arts and crafts
classes in school were often supplemented or replaced by private
lessons, informal mentoring at home or in community centers, or even
by self-teaching. Again, the key element was not how an art or craft
was learned, but the persistence with which it was pursued.
Given that most states within the United States, and most countries
around the world, marginalize arts and crafts education to the extent
that many students get no more than an hour of such education per
week, and most are not introduced to more than one or two arts or
crafts during their entire schooling, our findings have clear policy
implications for a wide range of parties (Lamore, et al., 2010).
Students interested in pursuing a science or engineering career must
recognized that their formal K-12 schooling is unlikely to prepare
them adequately in the range of skills they will need to reach the top
of their field: they and their parents will need to supplement the
standard K-12 curriculum. Educators and those setting educational
policy must recognize that there is a robust literature linking
success in science and engineering to skills such as observing,
visualization, and modeling that are developed by arts and crafts
training: arts and crafts are not, therefore dispensable frills that
can be eliminated from curricula whenever budgets need to be cut, but
essential elements of science and engineering education. Finally,
legislators need to understand the practical value that lies in the
skills taught through arts and crafts so that they are willing to
provide robust funding not only for formal K-12 arts and crafts
curricula, but also for community centers, after-school programs
associated with arts and crafts centers, museum- and concert
hall-based educational programs, and other forms of informal arts and
crafts education. The fact is that Innovators in science and
engineering are artists and craftsmen as well, and there are practical
reasons that this is so. Only when we understand the many ways in
which arts and crafts make possible innovation in sciences and
engineering will we be able to develop the full potential of our
students.
http://seadnetwork.wordpress.com/about/
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
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