This is an interesting discussion and, briefly, I would like to contribute the thought that scientists see challenges that they otherwise would not in these collaborations and, in my experience, almost always gain from them. This includes, for example, publishing learned papers that otherwise would not have been possible.
My background to this point includes the funded projects that Linda Candy and I undertook over recent years: for example the COSTART studies of collaboration 1998-2003. See http://lindacandy.com/about-me/research/inter-disciplinary-collaboration/costart/. Some of the results were published in:
Candy, L. and Edmonds, E.A. Explorations in Art and Technology, Springer-Verlag, London, 2002.
This contains reports from scientists as well as reports from artists of the collaborative projects.
When we moved base from the UK to Australia the work continued and is reported in:
Candy, L. and Edmonds, E. A. (editors) Interacting: Art, Research and the Creative Practitioner. Libri Books, Oxfordshire, 2011.
In this case, however, there is less coverage of pure scientific work as the projects had become more fully multidisciplinary with the division making less sense. Scientific learning is however clearly identified.
Both books have the "look inside" option on amazon if you want to take a peek.
On 10 Aug 2013, at 13:08, Paul Brown <firstname.lastname@example.org> wrote:
> Hi everyone
> I was one of a group of artists working at the University College London, Slade School of Fine Art's postgrad Experimental Department between 1974-82 who were working with scientists and mathematicians (very informally - this was before Sci-Art became a popular meme) and with scientific ideas like cellular automata, non-linear systems, deterministic chaos, fractal geometry, cybernetics, systems theory, etc… We had access to a Nova 2 minicomputer with 16K memory and were mostly programming it in Assembler because of the memory constraints.
> Although our work was mostly forgotten by the arts mainstream I was surprised to discover, in the late 1990's that we were remembered by the scientific fraternity as pioneers of what Langton had named 'Artificial Life' about a decade after our experiments. This recognition led to my current, long term association with the Centre for Computational Neuroscience and Robotics at Sussex University where I have been a visiting prof of art & technology since 2005.
> I've written elsewhere about this but though it deserved a mention in this discussion. The paper - From Systems Art to Artificial Life
> Early Generative Art at the Slade School of Fine Art - is here http://www.paul-brown.com/WORDS/sysalife.pdf if anyone want a more detailed description. It illustrates how one strong root of the scientific discipline of A-life comes from the fine arts (and it's important to note we believed we were making art and not sci-art or science. The paper is published in: White Heat and Cold Logic: British Computer Arts 1960 – 1980 An historical and critical analysis, P. Brown, C. Gere, N. Lambert & C. Mason (eds.), MIT Press, Leonardo Imprint, 2009 - http://mitpress.mit.edu/books/white-heat-cold-logic
> Another unpublished paper that contextualises this as art history is Notes Towards a History of Art, Code and Autonomy which can be downloaded from: http://www.paul-brown.com/caseva.pdf -- and please note this latter is NOT a permanent link.
> Thanks for the opportunity of contributing,
> Paul Brown - based in the UK April to October 2013
> http://www.paul-brown.com == http://www.brown-and-son.com
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