yasminers
kathryn evans and i are working on a paper on interdisciplinary
curricula in art and science
kathryn came across this study that implies that those of us
that have careers that bridge the arts and science are
at a disadvantage economically
is this true ?
roger
http://www.ilr.cornell.edu/cheri/upload/cheri_wp158.pdf
Boundary Spanning in Academia:
Antecedents and Near-Term Consequences of Academic Entrepreneurialism
Kevin M. Kniffin and Andrew S. Hanks
Cornell University
Dyson School of Applied Economics and Management
ABSTRACT
Analyzing the pathways of people who earned interdisciplinary research
doctorates in the United States in 2010, we generate three main findings while
controlling for gender, ethnicity, discipline, and age. First, individuals who
complete an interdisciplinary dissertation display near-term income risk since
they tend to earn nearly $1,700 less in the year after graduation.
Second, students
whose fathers earned a college degree demonstrated a .8% higher probability of
pursuing interdisciplinary research. Third, the probability that non-citizens
pursue interdisciplinary dissertation work is 4.7% higher when compared with US
citizens. Our findings quantify the risks of interdisciplinary work
and contribute
to policy debates
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Thursday, October 31, 2013
[Yasmin_discussions] server down for the last few days
Dear friends,
there has been some technical problems in the yasmin server during the past days, it may happen that your emails to the list bounced, if so please resend them, the problems are fixed now.
I take the chance to inform you that I will be moderating the list the rest of the week, please let me know if you need some help regarding yasmin.
Best,
m
monica bello
mb@monicabello.org
twitter: @monica_bello
skype: monicacapsula
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there has been some technical problems in the yasmin server during the past days, it may happen that your emails to the list bounced, if so please resend them, the problems are fixed now.
I take the chance to inform you that I will be moderating the list the rest of the week, please let me know if you need some help regarding yasmin.
Best,
m
monica bello
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twitter: @monica_bello
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Wednesday, October 30, 2013
[Yasmin_discussions] Fwd: Art-Science and the Future of Science and Technology
Yasminers
We now have two discussions going on how art science collaboration is
important for the future of science and technology
a) Art for Science's sake I ;
or the discussion of the importance of presenting art-science work in
science and technology venues- the IEEE VISAP,
but thank also to paula for mentioning Optical Society of America and
margaret SPIE- tami spector did a session at the american chemical
society
last year with Leonardo- if we are serious that art science
collaboration can lead to new science and technology-which i am .
Maybe we can do a better
of posting on YASMIN discussions for calls for papers in science and
technology conferences in events- lets get out of the media arts
ghetto !
( and lets convince scientists and engineers to present at media arts
venues if they feel they have created first rate media art !)
b) Art for Science's sake II: based on the SEAD White Paper by Bob
Root-Bernstein Michelle Root-Bernstein
which argues for the importance of art and crafts education at an
early age for future scientists and engineers-i append more details
on their work
for the discussion moderated by lucinda presley
roger
(PS - i know this way of arguing tends to 'instrumentalise' art for
the benefit of science, but this really needs discussing and
documenting-
technology of the benefit of art is well discussed and documented- and
i really do think art and science embody different ways of knowing
that cannot be merged)
ROOT-BERNSTEIN WHITE PAPER DISCUSSION:
In ongoing studies, Robert and Michelle Root-Bernstein have found that
more than 80% of scientists and engineers surveyed say that arts and
crafts education should be a required aspect of STEM education. The
authors point out it is arts and crafts experiences that gave these
scientists and engineers the thinking skills that led to their
success. These skills include: "observing, imaging and visualization,
abstracting, pattern recognition and pattern invention, analogizing,
dimensional thinking, modeling, body or kinesthetic thinking, manual
dexterity, familiarity with tools, transforming data into visual or
graphical forms, converting theories into mechanical procedures, and
understanding data and experiments kinesthetically and
empathetically". These thinking skills can be fostered in formal and
informal experiences, the authors point out. The most potent effect
comes, they say, in extended and persistent exposure to the art or
craft over a period of years.
They add, however, that research shows that only the following skills
were included in science textbooks above the 8th grade level:
observing, analogizing, modeling, and patterning. Many of the other
skills are not included in the traditional STEM textbooks at all.
Their suggestions include: informing all stakeholders of the
importance of arts and crafts education to STEM education; providing
continuous arts and crafts education from "childhood to maturity";
making these experiences available across the socio-economic spectrum
in both formal and informal settings; emphasizing imagination,
knowledge transfer, and the inventing process in arts and crafts
education; and providing further research into these areas.
Based on the findings of this study and the national need for these
vital innovation thinking skills, what suggestions do you have to
begin an introduction of these skills into your realm?
Lucinda Presley, Robert and Michele Root Bernstein
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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.
We now have two discussions going on how art science collaboration is
important for the future of science and technology
a) Art for Science's sake I ;
or the discussion of the importance of presenting art-science work in
science and technology venues- the IEEE VISAP,
but thank also to paula for mentioning Optical Society of America and
margaret SPIE- tami spector did a session at the american chemical
society
last year with Leonardo- if we are serious that art science
collaboration can lead to new science and technology-which i am .
Maybe we can do a better
of posting on YASMIN discussions for calls for papers in science and
technology conferences in events- lets get out of the media arts
ghetto !
( and lets convince scientists and engineers to present at media arts
venues if they feel they have created first rate media art !)
b) Art for Science's sake II: based on the SEAD White Paper by Bob
Root-Bernstein Michelle Root-Bernstein
which argues for the importance of art and crafts education at an
early age for future scientists and engineers-i append more details
on their work
for the discussion moderated by lucinda presley
roger
(PS - i know this way of arguing tends to 'instrumentalise' art for
the benefit of science, but this really needs discussing and
documenting-
technology of the benefit of art is well discussed and documented- and
i really do think art and science embody different ways of knowing
that cannot be merged)
ROOT-BERNSTEIN WHITE PAPER DISCUSSION:
In ongoing studies, Robert and Michelle Root-Bernstein have found that
more than 80% of scientists and engineers surveyed say that arts and
crafts education should be a required aspect of STEM education. The
authors point out it is arts and crafts experiences that gave these
scientists and engineers the thinking skills that led to their
success. These skills include: "observing, imaging and visualization,
abstracting, pattern recognition and pattern invention, analogizing,
dimensional thinking, modeling, body or kinesthetic thinking, manual
dexterity, familiarity with tools, transforming data into visual or
graphical forms, converting theories into mechanical procedures, and
understanding data and experiments kinesthetically and
empathetically". These thinking skills can be fostered in formal and
informal experiences, the authors point out. The most potent effect
comes, they say, in extended and persistent exposure to the art or
craft over a period of years.
They add, however, that research shows that only the following skills
were included in science textbooks above the 8th grade level:
observing, analogizing, modeling, and patterning. Many of the other
skills are not included in the traditional STEM textbooks at all.
Their suggestions include: informing all stakeholders of the
importance of arts and crafts education to STEM education; providing
continuous arts and crafts education from "childhood to maturity";
making these experiences available across the socio-economic spectrum
in both formal and informal settings; emphasizing imagination,
knowledge transfer, and the inventing process in arts and crafts
education; and providing further research into these areas.
Based on the findings of this study and the national need for these
vital innovation thinking skills, what suggestions do you have to
begin an introduction of these skills into your realm?
Lucinda Presley, Robert and Michele Root Bernstein
_______________________________________________
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
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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.
[Yasmin_discussions] VISAP in paris october 2014
Yasminers,
I had answered Roger two or 3 days ago but the mail bounced.
So here it is again.
Best
Annick
******
Roger
This is excellent news. October 2014 is going to be really
busy ;-)
The IEEE has always been supportive in the sense that they
welcomed articles about art in their various journals. I
wrote one about Kitsou Dubois many years ago and the column
was under the direction of Norie Neuman.
I fully agree with you that we need to get out of our
digital art ghetto, in both directions : towards the
science/engineering world and towards the art world.
One question : do you have an idea of the registration fees
for this IEEE conference ? It is usually quite expensive for
the cultural community (digital or analog).
Annick
Le 27/10/13 23:35, roger malina a écrit :
> yasminers
>
> this is early warning that the IEEE visual arts program will
> have sessions at IEEE Vis that will be held in paris on
october
> 2014- angus forbes who co chairs it says below the call for
> papers will come ouot in january/february 2014 and they are
> keen to have proposals from the art-science community
>
> one of the strategies that has come out of the SEAD study
> is the need to be more visible and pro active in
presenting our
> work within science and engineering conferences
>
> the network science conference has been very welcoming
> and has been hosting the Leonardo Day on arts, humanities
> and complex networks
>
> ACM with siggraph, sigchi etc has always been open
>
> the american chemical society has been hosting art science
> panels
>
> its great to see IEEE vis being welcoming also
>
> do yasminers know of any other science and engineering
> conferences that are welcoming the work of the art science
> community ? this could be a good topic for the yasmin
discussion
> list so i am copying it there- if we are serious that
art-science
> is important for science and engineering-we need to get out
> of our digital arts ghetto !
>
> roger
>
> --
>
> Hi Roger, thanks for linking to the Dataremix paper! In
addition to
> your collaboration with Ruth West, a number of other
papers were
> presented at the IEEE VIS Arts Program (VISAP 2013) on
art-science
> topics. This includes research by Eleanor Gates-Stuart
(of CSIRO) and
> Francesca Samsel (of University of Texas), as well as
discussions of
> art projects informed by real-time data, immersive
environments, and
> computational aesthetic evaluation. The full list of
papers and
> artworks can be found here:
>
> http://visap2013.sista.arizona.edu
>
> We're already planning IEEE VISAP 2014 (in Paris next
October) and it
> would be great to have more contributions from people
within the
> art-science community. We'll make an announcement with a
CfP probably
> in January or February.
>
> -Angus Forbes, co-chair IEEE VISAPe.com
_______________________________________________
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Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
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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.
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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.
Sunday, October 27, 2013
Re: [Yasmin_discussions] [Yasmin: VISAP in paris october 2014
I would like to add to Paula's comment regarding SPIE
SPIE's The Engineering Reality of Virtual Reality conference (ERVR)
has been co-chaired for years by an artist and an engineer
We welcome discussions in art and science on virtual environments, augmented
reality, stereo display systems and panoramic displays
We attract artists from all over the world including Brazil, Turkey, Canada,
Taiwan, etc. many who you know.
This year's lineup includes Elif Ayiter, Diane Gromala, Diana Domingues,
Ruth West, Todd Margolis, Jackie Morie, Julieta Aguilera and others.
http://spie.org/ei102/ <http://spie.org/ei102/>
IST/SPIE Electronic Imaging February 2-6, 2014 San Francisco
Margaret Dolinsky
Indiana University
VR artist and SPIE ERVR co-chair with Ian McDowall from Fakespace Labs
-----Original Message-----
From: yasmin_announcements-bounces@estia.media.uoa.gr
[mailto:yasmin_announcements-bounces@estia.media.uoa.gr] On Behalf Of Paula
Dawson
Sent: Sunday, October 27, 2013 7:07 PM
To: YASMIN ANNOUNCEMENTS
Cc: YASMIN DISCUSSIONS
Subject: Re: [Yasmin: VISAP in paris october 2014
yasminers
another body that welcomes art science is SPIE
Optical Society of America
for several years papers by artists and art science collaboration has been
welcome in the field of hologrpahy
paula
On 28/10/2013, at 9:35 AM, roger malina wrote:
> yasminers
>
> this is early warning that the IEEE visual arts program will have
> sessions at IEEE Vis that will be held in paris on october
> 2014- angus forbes who co chairs it says below the call for papers
> will come ouot in january/february 2014 and they are keen to have
> proposals from the art-science community
>
> one of the strategies that has come out of the SEAD study is the need
> to be more visible and pro active in presenting our work within
> science and engineering conferences
>
> the network science conference has been very welcoming and has been
> hosting the Leonardo Day on arts, humanities and complex networks
>
> ACM with siggraph, sigchi etc has always been open
>
> the american chemical society has been hosting art science panels
>
> its great to see IEEE vis being welcoming also
>
> do yasminers know of any other science and engineering conferences
> that are welcoming the work of the art science community ? this could
> be a good topic for the yasmin discussion list so i am copying it
> there- if we are serious that art-science is important for science and
> engineering-we need to get out of our digital arts ghetto !
>
> roger
>
> --
>
> Hi Roger, thanks for linking to the Dataremix paper! In addition to
> your collaboration with Ruth West, a number of other papers were
> presented at the IEEE VIS Arts Program (VISAP 2013) on art-science
> topics. This includes research by Eleanor Gates-Stuart (of CSIRO) and
> Francesca Samsel (of University of Texas), as well as discussions of
> art projects informed by real-time data, immersive environments, and
> computational aesthetic evaluation. The full list of papers and
> artworks can be found here:
>
> <http://visap2013.sista.arizona.edu> http://visap2013.sista.arizona.edu
>
> We're already planning IEEE VISAP 2014 (in Paris next October) and it
> would be great to have more contributions from people within the
> art-science community. We'll make an announcement with a CfP probably
> in January or February.
>
> -Angus Forbes, co-chair IEEE VISAPe.com
>
> _______________________________________________
> Yasmin_announcements mailing list
> <mailto:Yasmin_announcements@estia.media.uoa.gr>
Yasmin_announcements@estia.media.uoa.gr
> <http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements>
http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
>
> Yasmin URL:
> <http://www.media.uoa.gr/yasmin> 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. Select weekly DIGEST
option if you wish.
>
> 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.
>
> If you prefer to follow via the YASMIN BLOG:
>
> <http://yasminlist.blogspot.com/> http://yasminlist.blogspot.com/
>
> NOTE. WE ONLY APPROVE A FEW POSTS A DAY> BE PATIENT. IT MAY TAKE A FEW
DAYS FOR YOUR POST TO APPEAR DEPENDING ON HOW MANY POSTS ARE IN THE QUEUE.
>
> NOTE: There are TWO YASMIN lists= one for announcements one for
discussions. You can subscribe to one or both.
_______________________________________________
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http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
Yasmin URL:
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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
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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.
If you prefer to follow via the YASMIN BLOG:
<http://yasminlist.blogspot.com/> http://yasminlist.blogspot.com/
NOTE. WE ONLY APPROVE A FEW POSTS A DAY> BE PATIENT. IT MAY TAKE A FEW DAYS
FOR YOUR POST TO APPEAR DEPENDING ON HOW MANY POSTS ARE IN THE QUEUE.
NOTE: There are TWO YASMIN lists= one for announcements one for discussions.
You can subscribe to one or both.
_______________________________________________
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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.
SPIE's The Engineering Reality of Virtual Reality conference (ERVR)
has been co-chaired for years by an artist and an engineer
We welcome discussions in art and science on virtual environments, augmented
reality, stereo display systems and panoramic displays
We attract artists from all over the world including Brazil, Turkey, Canada,
Taiwan, etc. many who you know.
This year's lineup includes Elif Ayiter, Diane Gromala, Diana Domingues,
Ruth West, Todd Margolis, Jackie Morie, Julieta Aguilera and others.
http://spie.org/ei102/ <http://spie.org/ei102/>
IST/SPIE Electronic Imaging February 2-6, 2014 San Francisco
Margaret Dolinsky
Indiana University
VR artist and SPIE ERVR co-chair with Ian McDowall from Fakespace Labs
-----Original Message-----
From: yasmin_announcements-bounces@estia.media.uoa.gr
[mailto:yasmin_announcements-bounces@estia.media.uoa.gr] On Behalf Of Paula
Dawson
Sent: Sunday, October 27, 2013 7:07 PM
To: YASMIN ANNOUNCEMENTS
Cc: YASMIN DISCUSSIONS
Subject: Re: [Yasmin: VISAP in paris october 2014
yasminers
another body that welcomes art science is SPIE
Optical Society of America
for several years papers by artists and art science collaboration has been
welcome in the field of hologrpahy
paula
On 28/10/2013, at 9:35 AM, roger malina wrote:
> yasminers
>
> this is early warning that the IEEE visual arts program will have
> sessions at IEEE Vis that will be held in paris on october
> 2014- angus forbes who co chairs it says below the call for papers
> will come ouot in january/february 2014 and they are keen to have
> proposals from the art-science community
>
> one of the strategies that has come out of the SEAD study is the need
> to be more visible and pro active in presenting our work within
> science and engineering conferences
>
> the network science conference has been very welcoming and has been
> hosting the Leonardo Day on arts, humanities and complex networks
>
> ACM with siggraph, sigchi etc has always been open
>
> the american chemical society has been hosting art science panels
>
> its great to see IEEE vis being welcoming also
>
> do yasminers know of any other science and engineering conferences
> that are welcoming the work of the art science community ? this could
> be a good topic for the yasmin discussion list so i am copying it
> there- if we are serious that art-science is important for science and
> engineering-we need to get out of our digital arts ghetto !
>
> roger
>
> --
>
> Hi Roger, thanks for linking to the Dataremix paper! In addition to
> your collaboration with Ruth West, a number of other papers were
> presented at the IEEE VIS Arts Program (VISAP 2013) on art-science
> topics. This includes research by Eleanor Gates-Stuart (of CSIRO) and
> Francesca Samsel (of University of Texas), as well as discussions of
> art projects informed by real-time data, immersive environments, and
> computational aesthetic evaluation. The full list of papers and
> artworks can be found here:
>
> <http://visap2013.sista.arizona.edu> http://visap2013.sista.arizona.edu
>
> We're already planning IEEE VISAP 2014 (in Paris next October) and it
> would be great to have more contributions from people within the
> art-science community. We'll make an announcement with a CfP probably
> in January or February.
>
> -Angus Forbes, co-chair IEEE VISAPe.com
>
> _______________________________________________
> Yasmin_announcements mailing list
> <mailto:Yasmin_announcements@estia.media.uoa.gr>
Yasmin_announcements@estia.media.uoa.gr
> <http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements>
http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
>
> Yasmin URL:
> <http://www.media.uoa.gr/yasmin> 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. Select weekly DIGEST
option if you wish.
>
> 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.
>
> If you prefer to follow via the YASMIN BLOG:
>
> <http://yasminlist.blogspot.com/> http://yasminlist.blogspot.com/
>
> NOTE. WE ONLY APPROVE A FEW POSTS A DAY> BE PATIENT. IT MAY TAKE A FEW
DAYS FOR YOUR POST TO APPEAR DEPENDING ON HOW MANY POSTS ARE IN THE QUEUE.
>
> NOTE: There are TWO YASMIN lists= one for announcements one for
discussions. You can subscribe to one or both.
_______________________________________________
Yasmin_announcements mailing list
<mailto:Yasmin_announcements@estia.media.uoa.gr>
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[Yasmin_discussions] VISAP in paris october 2014
yasminers
this is early warning that the IEEE visual arts program will
have sessions at IEEE Vis that will be held in paris on october
2014- angus forbes who co chairs it says below the call for
papers will come ouot in january/february 2014 and they are
keen to have proposals from the art-science community
one of the strategies that has come out of the SEAD study
is the need to be more visible and pro active in presenting our
work within science and engineering conferences
the network science conference has been very welcoming
and has been hosting the Leonardo Day on arts, humanities
and complex networks
ACM with siggraph, sigchi etc has always been open
the american chemical society has been hosting art science
panels
its great to see IEEE vis being welcoming also
do yasminers know of any other science and engineering
conferences that are welcoming the work of the art science
community ? this could be a good topic for the yasmin discussion
list so i am copying it there- if we are serious that art-science
is important for science and engineering-we need to get out
of our digital arts ghetto !
roger
--
Hi Roger, thanks for linking to the Dataremix paper! In addition to
your collaboration with Ruth West, a number of other papers were
presented at the IEEE VIS Arts Program (VISAP 2013) on art-science
topics. This includes research by Eleanor Gates-Stuart (of CSIRO) and
Francesca Samsel (of University of Texas), as well as discussions of
art projects informed by real-time data, immersive environments, and
computational aesthetic evaluation. The full list of papers and
artworks can be found here:
http://visap2013.sista.arizona.edu
We're already planning IEEE VISAP 2014 (in Paris next October) and it
would be great to have more contributions from people within the
art-science community. We'll make an announcement with a CfP probably
in January or February.
-Angus Forbes, co-chair IEEE VISAPe.com
_______________________________________________
Yasmin_discussions mailing list
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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.
this is early warning that the IEEE visual arts program will
have sessions at IEEE Vis that will be held in paris on october
2014- angus forbes who co chairs it says below the call for
papers will come ouot in january/february 2014 and they are
keen to have proposals from the art-science community
one of the strategies that has come out of the SEAD study
is the need to be more visible and pro active in presenting our
work within science and engineering conferences
the network science conference has been very welcoming
and has been hosting the Leonardo Day on arts, humanities
and complex networks
ACM with siggraph, sigchi etc has always been open
the american chemical society has been hosting art science
panels
its great to see IEEE vis being welcoming also
do yasminers know of any other science and engineering
conferences that are welcoming the work of the art science
community ? this could be a good topic for the yasmin discussion
list so i am copying it there- if we are serious that art-science
is important for science and engineering-we need to get out
of our digital arts ghetto !
roger
--
Hi Roger, thanks for linking to the Dataremix paper! In addition to
your collaboration with Ruth West, a number of other papers were
presented at the IEEE VIS Arts Program (VISAP 2013) on art-science
topics. This includes research by Eleanor Gates-Stuart (of CSIRO) and
Francesca Samsel (of University of Texas), as well as discussions of
art projects informed by real-time data, immersive environments, and
computational aesthetic evaluation. The full list of papers and
artworks can be found here:
http://visap2013.sista.arizona.edu
We're already planning IEEE VISAP 2014 (in Paris next October) and it
would be great to have more contributions from people within the
art-science community. We'll make an announcement with a CfP probably
in January or February.
-Angus Forbes, co-chair IEEE VISAPe.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.
Friday, October 25, 2013
[Yasmin_discussions] Fwd: RICHARD GOODWIN CURRENT EXHIBITION RS13
Yasminers
after I posted to my blog about DRONE ART I started getting many contacts=
why is the topic so un settling !!
Leonardo DASER at the US National Academy of Science will be about DRONE
ART-SCIENCE
if you want to send a comment to the US National Academy of Science leave a
comment
http://malina.diatrope.com/2013/10/24/drone-art/
tomorrow I had over the YASMIN list to Monica Bello for moderating
roger malina
---------- Forwarded message ----------
From: Paul Thomas <p.thomas@unsw.edu.au>
Date: Fri, Oct 25, 2013 at 10:33 PM
Subject: RICHARD GOODWIN CURRENT EXHIBITION RS13
To: roger malina <RMALINA@alum.mit.edu>
Dear Roger
Thought your colleagues might be interested in regards to the drone.
Local artist/architect.
Looking forward to seeing you in Chicago.
Best Paul
**
- HOME <http://australiangalleries.com.au/>
- EXHIBITIONS <http://australiangalleries.com.au/exhibitions>
- ARTISTS <http://australiangalleries.com.au/artists>
- STOCKROOMS <http://australiangalleries.com.au/stockrooms>
- GALLERIES <http://australiangalleries.com.au/galleries>
- AG HISTORY <http://australiangalleries.com.au/aghistory>
- BOOKS <http://australiangalleries.com.au/books>
- NEWS <http://australiangalleries.com.au/news>
Search...
****
CURRENT EXHIBITION CLICK THUMBNAILS TO ENLARGE IMAGES
* *
*RICHARD GOODWIN*
*Drone Dorje + The Drone Stripped
Bare of all its Brides *
*
8 - 27 October 2013*
15 Roylston Street
Paddington NSW 2021
T +61 [0] 2 9360 5177
DOWNLOAD INVITATION<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GOODWIN_EVITE.pdf>
DOWNLOAD MEDIA RELEASE<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GOODWIN_MR_RS13.pdf>
DOWNLOAD PRICELIST<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinRS13.pdf>
DOWNLOAD CV<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinCV2013.pdf>
VIEW ARTIST PROFILE<http://australiangalleries.com.au/exhibitions/9-artists/113-richardgoodwin>
<http://australiangalleries.com.au/images/artistswork/PyettSS12/PyettCV12_w.pdf>
<http://australiangalleries.com.au/exhibitions/9-artists/329-marcuswills>
- [image: The Drone Stripped Bare... 2013 installation of two drawings
and... dimensions variable
$75,000]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305047_w.jpg>
*The Drone Stripped Bare...* 2013
installation of two drawings and...
dimensions variable
$75,000
*The Drone Stripped Bare...* 2013
installation of two drawings and...
dimensions variable
$75,000
*The Drone Stripped Bare of all its Brides* 2013
installation of two drawings and drone sculpture
dimensions variable
AG305047
$75,000
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20The+Drone+Stripped+Bare+of+all+its+Brides%20%7C%20AG305047>
- [image: Drone Dorje 2013 box construction with video... 185 x 266 x
213 cm $27,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305121_w.jpg>
*Drone Dorje *2013
box construction with video...
185 x 266 x 213 cm
$27,500
*Drone Dorje *2013
box construction with video...
185 x 266 x 213 cm
$27,500
*Drone Dorje *2013
box construction with video projection
185 x 266 x 213 cm
AG305121
$27,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Drone+Dorje%20%7C%20AG305121>
- [image: Moth Drone 2013 timber, steel, leather and white ink 110 x
130 x 335 cm
$27,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305114_w.jpg>
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
$27,500
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
$27,500
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
AG305114
$27,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Moth+Drone%20%7C%20AG305114>
- [image: Drone Dorje 2013 bronze ed 5 4 x 29.5 x 17.5 cm
$950]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305118_w.jpg>
*Drone Dorje* 2013
bronze ed 5
4 x 29.5 x 17.5 cm
$950
*Drone Dorje* 2013
bronze ed 5
4 x 29.5 x 17.5 cm
$950
*Drone Dorje* 2013
bronze ed 5
4 x 29.5 x 17.5 cm
AG305118
$950
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Drone+Dorje%20%7C%20AG305118>
- [image: Drone Ghanti 2013 bronze ed 5 10 x 13.5 x 10 cm
$950]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305119_w.jpg>
*Drone Ghanti *2013
bronze ed 5
10 x 13.5 x 10 cm
$950
*Drone Ghanti *2013
bronze ed 5
10 x 13.5 x 10 cm
$950
*Drone Ghanti *2013
bronze ed 5
10 x 13.5 x 10 cm
AG305119
$950
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Drone+Ghanti%20%7C%20%09AG305119>
- [image: Ghanti 2013 bronze ed 5 16.5 x 9 x 9 cm
$950]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305116_w.jpg>
*Ghanti *2013
bronze ed 5
16.5 x 9 x 9 cm
$950
*Ghanti * 2013
bronze ed 5
16.5 x 9 x 9 cm
$950
*Ghanti * 2013
bronze ed 5
16.5 x 9 x 9 cm
AG305116
$950
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Ghanti%20%7C%20AG305116>
- [image: Dorje 2013 bronze ed 5 4 x 12 x 3.5 cm
$950]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305117_w.jpg>
*Dorje* 2013
bronze ed 5
4 x 12 x 3.5 cm
$950
*Dorje* 2013
bronze ed 5
4 x 12 x 3.5 cm
$950
*Dorje* 2013
bronze ed 5
4 x 12 x 3.5 cm
AG305117
$950
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Dorje%20%7C%20AG305117>
- [image: Exoskeleton Pivot... 1992-2013 graphite and acrylic binder...
110 x 150 cm
$9,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305105_w.jpg>
*Exoskeleton Pivot... *1992-2013
graphite and acrylic binder...
110 x 150 cm
$9,500
*Exoskeleton Pivot... *1992-2013
graphite and acrylic binder...
110 x 150 cm
$9,500
*Exoskeleton Pivot Reprise *1992-2013
graphite and acrylic binder emulsion on cotton rag paper on canvas
110 x 150 cm
AG305105
$9,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Exoskeleton+Pivot+Reprise%20%7C%20AG305105>
- [image: Critical Mass 2013 cardboard and charcoal on... 75 x 154 cm
SOLD]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305108_w.jpg>
*Critical Mass* 2013
cardboard and charcoal on...
75 x 154 cm
SOLD
*Critical Mass* 2013
cardboard and charcoal on...
75 x 154 cm
SOLD
*Critical Mass* 2013
cardboard and charcoal on Arches vellum paper
75 x 154 cm
AG305108
SOLD
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Critical+Mass%20%7C%20AG305108>
- [image: Study for The Drone... 2013 timber and graphite on Arches...
57 x 154 cm $7,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305106_w.jpg>
*Study for The Drone...* 2013
timber and graphite on Arches...
57 x 154 cm
$7,500
*Study for The Drone...* 2013
timber and graphite on Arches...
57 x 154 cm
$7,500
*Study for The Drone Stripped Bare of all its Brides *2013
timber and graphite on Arches vellum paper
57 x 154 cm
AG305106
$7,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Study+for+The+Drone+Stripped+Bare+of+all+its+Brides%20%7C%20AG305106>
- [image: Formula Formation 2013 charcoal on Arches vellum paper 57 x
77 cm $3,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305109_w.jpg>
*Formula Formation *2013
charcoal on Arches vellum paper
57 x 77 cm
$3,500
*Formula Formation *2013
charcoal on Arches vellum paper
57 x 77 cm
$3,500
*Formula Formation *2013
charcoal on Arches vellum paper
57 x 77 cm
AG305109
$3,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Formula+Formation%20%7C%20AG305109>
- [image: Bi-Polar Extension Formula 2013 charcoal on Arches vellum
paper 57 x 77 cm
$3,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305107_w.jpg>
*Bi-Polar Extension Formula *2013
charcoal on Arches vellum paper
57 x 77 cm
$3,500
*Bi-Polar Extension Formula *2013
charcoal on Arches vellum paper
57 x 77 cm
$3,500
*Bi-Polar Extension Formula *2013
charcoal on Arches vellum paper
57 x 77 cm
AG305107
$3,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Bi-Polar+Extension+Formula%20%7C%20AG305107>
- [image: The Skin of the Drone II 2013 pencil on Arches vellum paper
57 x 77 cm $3,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305112_w.jpg>
*The Skin of the Drone II* 2013
pencil on Arches vellum paper
57 x 77 cm
$3,500
*The Skin of the Drone II* 2013
pencil on Arches vellum paper
57 x 77 cm
$3,500
*The Skin of the Drone II* 2013
pencil on Arches vellum paper
57 x 77 cm
AG305112
$3,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20The+Skin+of+the+Drone+II%20%7C%20AG305112>
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**
<http://australiangalleries.com.au/exhibitions/14-currentexhibition/670-goodwin-rs13-2#><http://australiangalleries.com.au/exhibitions/14-currentexhibition/670-goodwin-rs13-2#>
<http://australiangalleries.com.au/exhibitions/14-currentexhibition/670-goodwin-rs13-2#>
____________________________________
Associate Professor Paul Thomas
Associate Head, School of Art
Head of Painting
School of Art Postgraduate Research Coordinator
College of Fine Arts
University of New South Wales
(cnr Greens Rd and Oxford St)
PO Box 259 Paddington,
NSW 2021, Australia.
tel 61.2.9385 0817
fax 61.2.9385 0719
mob 0431 06 44 22
skype visiblespace
International Affiliate, Leonardo Education and Art Forum
Media Art History Board Member
i-Dat Board Member
http://www.visiblespace.com
http://blogs.unsw.edu.au/tiic/
http://artsci.unsw.wikispaces.net/
http://mass.nomad.net.au
CRICOS Provider Code 00098G
Nanoart: The Immateriality of Art
--
Roger F Malina
Is in Dallas right now
please contact me by email but
for very very urgent things phone/text me me
1-510-853-2007
blog: malina.diatrope.com
after I posted to my blog about DRONE ART I started getting many contacts=
why is the topic so un settling !!
Leonardo DASER at the US National Academy of Science will be about DRONE
ART-SCIENCE
if you want to send a comment to the US National Academy of Science leave a
comment
http://malina.diatrope.com/2013/10/24/drone-art/
tomorrow I had over the YASMIN list to Monica Bello for moderating
roger malina
---------- Forwarded message ----------
From: Paul Thomas <p.thomas@unsw.edu.au>
Date: Fri, Oct 25, 2013 at 10:33 PM
Subject: RICHARD GOODWIN CURRENT EXHIBITION RS13
To: roger malina <RMALINA@alum.mit.edu>
Dear Roger
Thought your colleagues might be interested in regards to the drone.
Local artist/architect.
Looking forward to seeing you in Chicago.
Best Paul
**
- HOME <http://australiangalleries.com.au/>
- EXHIBITIONS <http://australiangalleries.com.au/exhibitions>
- ARTISTS <http://australiangalleries.com.au/artists>
- STOCKROOMS <http://australiangalleries.com.au/stockrooms>
- GALLERIES <http://australiangalleries.com.au/galleries>
- AG HISTORY <http://australiangalleries.com.au/aghistory>
- BOOKS <http://australiangalleries.com.au/books>
- NEWS <http://australiangalleries.com.au/news>
Search...
****
CURRENT EXHIBITION CLICK THUMBNAILS TO ENLARGE IMAGES
* *
*RICHARD GOODWIN*
*Drone Dorje + The Drone Stripped
Bare of all its Brides *
*
8 - 27 October 2013*
15 Roylston Street
Paddington NSW 2021
T +61 [0] 2 9360 5177
DOWNLOAD INVITATION<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GOODWIN_EVITE.pdf>
DOWNLOAD MEDIA RELEASE<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GOODWIN_MR_RS13.pdf>
DOWNLOAD PRICELIST<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinRS13.pdf>
DOWNLOAD CV<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinCV2013.pdf>
VIEW ARTIST PROFILE<http://australiangalleries.com.au/exhibitions/9-artists/113-richardgoodwin>
<http://australiangalleries.com.au/images/artistswork/PyettSS12/PyettCV12_w.pdf>
<http://australiangalleries.com.au/exhibitions/9-artists/329-marcuswills>
- [image: The Drone Stripped Bare... 2013 installation of two drawings
and... dimensions variable
$75,000]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305047_w.jpg>
*The Drone Stripped Bare...* 2013
installation of two drawings and...
dimensions variable
$75,000
*The Drone Stripped Bare...* 2013
installation of two drawings and...
dimensions variable
$75,000
*The Drone Stripped Bare of all its Brides* 2013
installation of two drawings and drone sculpture
dimensions variable
AG305047
$75,000
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20The+Drone+Stripped+Bare+of+all+its+Brides%20%7C%20AG305047>
- [image: Drone Dorje 2013 box construction with video... 185 x 266 x
213 cm $27,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305121_w.jpg>
*Drone Dorje *2013
box construction with video...
185 x 266 x 213 cm
$27,500
*Drone Dorje *2013
box construction with video...
185 x 266 x 213 cm
$27,500
*Drone Dorje *2013
box construction with video projection
185 x 266 x 213 cm
AG305121
$27,500
**email enquiries
**<webenquiries@australiangalleries.com.au?subject=Australian%20Galleries%20artwork%20enquiry&body=Richard+Goodwin%20%7C%20Drone+Dorje%20%7C%20AG305121>
- [image: Moth Drone 2013 timber, steel, leather and white ink 110 x
130 x 335 cm
$27,500]<http://australiangalleries.com.au/images/artistswork/13RS_Goodwin/GoodwinAG305114_w.jpg>
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
$27,500
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
$27,500
*Moth Drone* 2013
timber, steel, leather and white ink
110 x 130 x 335 cm
AG305114
$27,500
**email enquiries
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____________________________________
Associate Professor Paul Thomas
Associate Head, School of Art
Head of Painting
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College of Fine Arts
University of New South Wales
(cnr Greens Rd and Oxford St)
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Thursday, October 17, 2013
Re: [Yasmin_discussions] the root of all evil
Hello all,
As a coincidence, i found this text in a blog about Newton Vs Leibniz well
know confrontation (sorry, only in spanish).
http://scientiablog.com/2011/05/19/la-guerra-del-calculo-matematico-newton-contra-leibniz/
This is just the thinks that would help to the student to be part of the
context (even you can understand why to use the integral symbol (large s
from "summa"). May be, in a sencond step, with the help of the arts student
can go deeply to the representation proceses, as for example in this
derivatives context with ths exhibition:
http://www.imaginary-exhibition.com/
For sure this would be an amazing kind of education,
G.
,
2013/10/14 Ernest Edmonds <ernest@ernestedmonds.com>
> Along Simon's line, I normally quote Lawrence Alloway in his introduction
> to Nine Abstract Artists (1954): "I propose to use abstract meaning to draw
> out of or draw away from. Figurative paintings and landscapes will be said
> to have been abstracted from figures and landscapes. The word concrete will
> be used for works of art in which a process of abstraction is not
> perceptible….."
>
> Ernest
>
> On 13 Oct 2013, at 09:29, Simon Biggs <simon@littlepig.org.uk> wrote:
>
> > Abstraction in art is when you have a work that is abstracted from
> something. It doesn't need to be figurative - it can be
> non-representational in the sense that it doesn't resemble what it is
> abstracted from. However, the work still has it's roots in something other
> than itself.
> >
> > The concrete in art is when you have a work that makes no reference to
> anything outside itself. It's only subject is itself. Such works are purely
> formalist.
> >
> > I would argue that purely formalist art is an impossibility, just as
> work that is indistinguishable from what it represents is impossible. Pure
> formalism isn't possible as everything is linked to something, if not most
> things, in some way. Even purist minimal formalism, such as the work of Max
> Bill, makes reference to something. In Bill's case he makes reference to
> the Modernist reductivist ethic and mathematics. A work like Malevich's
> White Square on White, which many consider a precursor to purist formalism,
> makes reference to theosophy and notions of the sublime. Beyond these
> issues there is the problem that a work exists as received by the reader,
> not as intended by the writer. The writer cannot control what the reader
> will bring to the work - and the reader will always bring something,
> contextualising and grounding the work in some kind of referential
> relationship.
> >
> > Realism and formalism are the ever receding impossible targets that some
> artists have pursued in their desire for perfection. I'm no Buddhist - but
> a middle (perhaps messy) way seems wise in this context. That's why I still
> think post-modernism has wings - it is premised on the messy way.
> >
> > best
> >
> > Simon
> >
> >
> > Sent from a mobile device, thus the brevity.
> >
> > Simon Biggs
> > simon@littlepig.org.uk
> > s.biggs@ed.ac.uk
> > http://www.littlepig.org.uk
> >
> > On 12 Oct 2013, at 18:27, Paul Fishwick <metaphorz@gmail.com> wrote:
> >
> > Paul
> > I would like to better understand how artists use the word "abstract"
> since it
> > might be at odds with the non-art definition. From my understanding of
> your
> > argument, concrete art is a type of abstract art and concrete art
> presumably has
> > no representation whereas abstract art can be representational of some
> external
> > phenomenon (or "figurative")? So that I can educate myself on how
> artists use
> > the word "abstract," can you provide an artistic example of something
> that is considered
> > abstract by art historians but that is in fact figurative? I would hope
> also that art
> > historians have definitions of "concrete" vs. "abstract" by virtue of
> formal characteristics
> > of a work, rather than as a function of when it was produced or by whom.
> In other words, we
> > should be able to apply your definitions of abstract and concrete to
> arbitrary creations.
> > -p
> >
> >
> >
> >
> >
> > On Oct 11, 2013, at 2:58 PM, Paul Brown <paul@paul-brown.com> wrote:
> >
> >> Hi Roger
> >>
> >> My comments were certainly not meant to undermine the value of
> art/science/engineering collaboration/education but just intended to
> comment on the misuse of the word 'abstract' in an earlier post.
> >>
> >> In the UK (and possibly elsewhere in the English language users world)
> the word abstract is often confused with 'non figurative'. As someone who
> studied with the British system's artists in the 1960's and 70's I believe
> that the genre which we can roughly describe with the term art concret is
> one that is closest to science in it's basic remit (about discovering
> things) although the abstractionist Bierdermann believed the same.
> >>
> >> Well, anyway, I'm sorry if my comments were not clear.
> >>
> >> All the best
> >> Paul
> >>
> >>
> >> On 11 Oct 2013, at 04:40, roger malina <rmalina@alum.mit.edu> wrote:
> >>
> >>> yasminers
> >>>
> >>> I never imagine that my referring to the web site
> >>> on the need to contextual mathematics would launch
> >>> this discussion on the root of all evil but paul and simon's
> >>> responses have focused the discussion on the basic argument
> >>> that the root bernstein's are making about the evidence that
> >
> > _______________________________________________
> > 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.
>
> _______________________________
> http://ernestedmonds.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.
>
_______________________________________________
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.
As a coincidence, i found this text in a blog about Newton Vs Leibniz well
know confrontation (sorry, only in spanish).
http://scientiablog.com/2011/05/19/la-guerra-del-calculo-matematico-newton-contra-leibniz/
This is just the thinks that would help to the student to be part of the
context (even you can understand why to use the integral symbol (large s
from "summa"). May be, in a sencond step, with the help of the arts student
can go deeply to the representation proceses, as for example in this
derivatives context with ths exhibition:
http://www.imaginary-exhibition.com/
For sure this would be an amazing kind of education,
G.
,
2013/10/14 Ernest Edmonds <ernest@ernestedmonds.com>
> Along Simon's line, I normally quote Lawrence Alloway in his introduction
> to Nine Abstract Artists (1954): "I propose to use abstract meaning to draw
> out of or draw away from. Figurative paintings and landscapes will be said
> to have been abstracted from figures and landscapes. The word concrete will
> be used for works of art in which a process of abstraction is not
> perceptible….."
>
> Ernest
>
> On 13 Oct 2013, at 09:29, Simon Biggs <simon@littlepig.org.uk> wrote:
>
> > Abstraction in art is when you have a work that is abstracted from
> something. It doesn't need to be figurative - it can be
> non-representational in the sense that it doesn't resemble what it is
> abstracted from. However, the work still has it's roots in something other
> than itself.
> >
> > The concrete in art is when you have a work that makes no reference to
> anything outside itself. It's only subject is itself. Such works are purely
> formalist.
> >
> > I would argue that purely formalist art is an impossibility, just as
> work that is indistinguishable from what it represents is impossible. Pure
> formalism isn't possible as everything is linked to something, if not most
> things, in some way. Even purist minimal formalism, such as the work of Max
> Bill, makes reference to something. In Bill's case he makes reference to
> the Modernist reductivist ethic and mathematics. A work like Malevich's
> White Square on White, which many consider a precursor to purist formalism,
> makes reference to theosophy and notions of the sublime. Beyond these
> issues there is the problem that a work exists as received by the reader,
> not as intended by the writer. The writer cannot control what the reader
> will bring to the work - and the reader will always bring something,
> contextualising and grounding the work in some kind of referential
> relationship.
> >
> > Realism and formalism are the ever receding impossible targets that some
> artists have pursued in their desire for perfection. I'm no Buddhist - but
> a middle (perhaps messy) way seems wise in this context. That's why I still
> think post-modernism has wings - it is premised on the messy way.
> >
> > best
> >
> > Simon
> >
> >
> > Sent from a mobile device, thus the brevity.
> >
> > Simon Biggs
> > simon@littlepig.org.uk
> > s.biggs@ed.ac.uk
> > http://www.littlepig.org.uk
> >
> > On 12 Oct 2013, at 18:27, Paul Fishwick <metaphorz@gmail.com> wrote:
> >
> > Paul
> > I would like to better understand how artists use the word "abstract"
> since it
> > might be at odds with the non-art definition. From my understanding of
> your
> > argument, concrete art is a type of abstract art and concrete art
> presumably has
> > no representation whereas abstract art can be representational of some
> external
> > phenomenon (or "figurative")? So that I can educate myself on how
> artists use
> > the word "abstract," can you provide an artistic example of something
> that is considered
> > abstract by art historians but that is in fact figurative? I would hope
> also that art
> > historians have definitions of "concrete" vs. "abstract" by virtue of
> formal characteristics
> > of a work, rather than as a function of when it was produced or by whom.
> In other words, we
> > should be able to apply your definitions of abstract and concrete to
> arbitrary creations.
> > -p
> >
> >
> >
> >
> >
> > On Oct 11, 2013, at 2:58 PM, Paul Brown <paul@paul-brown.com> wrote:
> >
> >> Hi Roger
> >>
> >> My comments were certainly not meant to undermine the value of
> art/science/engineering collaboration/education but just intended to
> comment on the misuse of the word 'abstract' in an earlier post.
> >>
> >> In the UK (and possibly elsewhere in the English language users world)
> the word abstract is often confused with 'non figurative'. As someone who
> studied with the British system's artists in the 1960's and 70's I believe
> that the genre which we can roughly describe with the term art concret is
> one that is closest to science in it's basic remit (about discovering
> things) although the abstractionist Bierdermann believed the same.
> >>
> >> Well, anyway, I'm sorry if my comments were not clear.
> >>
> >> All the best
> >> Paul
> >>
> >>
> >> On 11 Oct 2013, at 04:40, roger malina <rmalina@alum.mit.edu> wrote:
> >>
> >>> yasminers
> >>>
> >>> I never imagine that my referring to the web site
> >>> on the need to contextual mathematics would launch
> >>> this discussion on the root of all evil but paul and simon's
> >>> responses have focused the discussion on the basic argument
> >>> that the root bernstein's are making about the evidence that
> >
> > _______________________________________________
> > 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.
>
> _______________________________
> http://ernestedmonds.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.
>
_______________________________________________
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.
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Monday, October 14, 2013
Re: [Yasmin_discussions] the root of all evil
Along Simon's line, I normally quote Lawrence Alloway in his introduction to Nine Abstract Artists (1954): "I propose to use abstract meaning to draw out of or draw away from. Figurative paintings and landscapes will be said to have been abstracted from figures and landscapes. The word concrete will be used for works of art in which a process of abstraction is not perceptible….."
Ernest
On 13 Oct 2013, at 09:29, Simon Biggs <simon@littlepig.org.uk> wrote:
> Abstraction in art is when you have a work that is abstracted from something. It doesn't need to be figurative - it can be non-representational in the sense that it doesn't resemble what it is abstracted from. However, the work still has it's roots in something other than itself.
>
> The concrete in art is when you have a work that makes no reference to anything outside itself. It's only subject is itself. Such works are purely formalist.
>
> I would argue that purely formalist art is an impossibility, just as work that is indistinguishable from what it represents is impossible. Pure formalism isn't possible as everything is linked to something, if not most things, in some way. Even purist minimal formalism, such as the work of Max Bill, makes reference to something. In Bill's case he makes reference to the Modernist reductivist ethic and mathematics. A work like Malevich's White Square on White, which many consider a precursor to purist formalism, makes reference to theosophy and notions of the sublime. Beyond these issues there is the problem that a work exists as received by the reader, not as intended by the writer. The writer cannot control what the reader will bring to the work - and the reader will always bring something, contextualising and grounding the work in some kind of referential relationship.
>
> Realism and formalism are the ever receding impossible targets that some artists have pursued in their desire for perfection. I'm no Buddhist - but a middle (perhaps messy) way seems wise in this context. That's why I still think post-modernism has wings - it is premised on the messy way.
>
> best
>
> Simon
>
>
> Sent from a mobile device, thus the brevity.
>
> Simon Biggs
> simon@littlepig.org.uk
> s.biggs@ed.ac.uk
> http://www.littlepig.org.uk
>
> On 12 Oct 2013, at 18:27, Paul Fishwick <metaphorz@gmail.com> wrote:
>
> Paul
> I would like to better understand how artists use the word "abstract" since it
> might be at odds with the non-art definition. From my understanding of your
> argument, concrete art is a type of abstract art and concrete art presumably has
> no representation whereas abstract art can be representational of some external
> phenomenon (or "figurative")? So that I can educate myself on how artists use
> the word "abstract," can you provide an artistic example of something that is considered
> abstract by art historians but that is in fact figurative? I would hope also that art
> historians have definitions of "concrete" vs. "abstract" by virtue of formal characteristics
> of a work, rather than as a function of when it was produced or by whom. In other words, we
> should be able to apply your definitions of abstract and concrete to arbitrary creations.
> -p
>
>
>
>
>
> On Oct 11, 2013, at 2:58 PM, Paul Brown <paul@paul-brown.com> wrote:
>
>> Hi Roger
>>
>> My comments were certainly not meant to undermine the value of art/science/engineering collaboration/education but just intended to comment on the misuse of the word 'abstract' in an earlier post.
>>
>> In the UK (and possibly elsewhere in the English language users world) the word abstract is often confused with 'non figurative'. As someone who studied with the British system's artists in the 1960's and 70's I believe that the genre which we can roughly describe with the term art concret is one that is closest to science in it's basic remit (about discovering things) although the abstractionist Bierdermann believed the same.
>>
>> Well, anyway, I'm sorry if my comments were not clear.
>>
>> All the best
>> Paul
>>
>>
>> On 11 Oct 2013, at 04:40, roger malina <rmalina@alum.mit.edu> wrote:
>>
>>> yasminers
>>>
>>> I never imagine that my referring to the web site
>>> on the need to contextual mathematics would launch
>>> this discussion on the root of all evil but paul and simon's
>>> responses have focused the discussion on the basic argument
>>> that the root bernstein's are making about the evidence that
>
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>
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Ernest
On 13 Oct 2013, at 09:29, Simon Biggs <simon@littlepig.org.uk> wrote:
> Abstraction in art is when you have a work that is abstracted from something. It doesn't need to be figurative - it can be non-representational in the sense that it doesn't resemble what it is abstracted from. However, the work still has it's roots in something other than itself.
>
> The concrete in art is when you have a work that makes no reference to anything outside itself. It's only subject is itself. Such works are purely formalist.
>
> I would argue that purely formalist art is an impossibility, just as work that is indistinguishable from what it represents is impossible. Pure formalism isn't possible as everything is linked to something, if not most things, in some way. Even purist minimal formalism, such as the work of Max Bill, makes reference to something. In Bill's case he makes reference to the Modernist reductivist ethic and mathematics. A work like Malevich's White Square on White, which many consider a precursor to purist formalism, makes reference to theosophy and notions of the sublime. Beyond these issues there is the problem that a work exists as received by the reader, not as intended by the writer. The writer cannot control what the reader will bring to the work - and the reader will always bring something, contextualising and grounding the work in some kind of referential relationship.
>
> Realism and formalism are the ever receding impossible targets that some artists have pursued in their desire for perfection. I'm no Buddhist - but a middle (perhaps messy) way seems wise in this context. That's why I still think post-modernism has wings - it is premised on the messy way.
>
> best
>
> Simon
>
>
> Sent from a mobile device, thus the brevity.
>
> Simon Biggs
> simon@littlepig.org.uk
> s.biggs@ed.ac.uk
> http://www.littlepig.org.uk
>
> On 12 Oct 2013, at 18:27, Paul Fishwick <metaphorz@gmail.com> wrote:
>
> Paul
> I would like to better understand how artists use the word "abstract" since it
> might be at odds with the non-art definition. From my understanding of your
> argument, concrete art is a type of abstract art and concrete art presumably has
> no representation whereas abstract art can be representational of some external
> phenomenon (or "figurative")? So that I can educate myself on how artists use
> the word "abstract," can you provide an artistic example of something that is considered
> abstract by art historians but that is in fact figurative? I would hope also that art
> historians have definitions of "concrete" vs. "abstract" by virtue of formal characteristics
> of a work, rather than as a function of when it was produced or by whom. In other words, we
> should be able to apply your definitions of abstract and concrete to arbitrary creations.
> -p
>
>
>
>
>
> On Oct 11, 2013, at 2:58 PM, Paul Brown <paul@paul-brown.com> wrote:
>
>> Hi Roger
>>
>> My comments were certainly not meant to undermine the value of art/science/engineering collaboration/education but just intended to comment on the misuse of the word 'abstract' in an earlier post.
>>
>> In the UK (and possibly elsewhere in the English language users world) the word abstract is often confused with 'non figurative'. As someone who studied with the British system's artists in the 1960's and 70's I believe that the genre which we can roughly describe with the term art concret is one that is closest to science in it's basic remit (about discovering things) although the abstractionist Bierdermann believed the same.
>>
>> Well, anyway, I'm sorry if my comments were not clear.
>>
>> All the best
>> Paul
>>
>>
>> On 11 Oct 2013, at 04:40, roger malina <rmalina@alum.mit.edu> wrote:
>>
>>> yasminers
>>>
>>> I never imagine that my referring to the web site
>>> on the need to contextual mathematics would launch
>>> this discussion on the root of all evil but paul and simon's
>>> responses have focused the discussion on the basic argument
>>> that the root bernstein's are making about the evidence that
>
> _______________________________________________
> 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.
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Re: [Yasmin_discussions] The Importance of Early and Persistent Arts and Crafts Education for Future Scientists and Engineers
Great point, Cristina. You are right. Terms need to be timely.
An example: for the formal and informal elementary and secondary education
terminology, two of the terms we had selected, based on wide usage, have
recently been placed in secondary status. The reason? New science standards
for the US, which are currently in the adoption process, no longer consider
those processes at the forefront. We will still use those terms, but with
the understanding that they are not impacting standards-driven practice.
Lucinda
On Mon, Oct 14, 2013 at 1:24 AM, cristina miranda <
cristinamiranda.de@gmail.com> wrote:
> Hi Lucinda and all,
>
> Thank you Lucinda for your words. Constructing a list of
> apparently-shared-words-that-**do-not-quite-mean-the-same-to-**each-agent
> is an extraordinary step and highly useful to start to dialog around
> perception of meanings from different perspectives. It also links to the
> previous comments in this debate, for example, the focus on the concept of
> abstration that raises different views, as an indication that probably
> there is not a shared definition.
> However, we cannot forget that in addition to the division between worlds
> there is a division in relation to time perspectives. Any language is a
> consensus that relates to a particular moment, a living and complex tool
> that changes.
> Therefore, I can imagine that many concepts on this list that you are
> preparing will need to be updated at different moments. I suggest that this
> essential list needs to be periodically updated to avoid the risk of
> petrifying meaning according to one unique time perspective even if it
> incorporates different world views, from art and science, from different
> agents and in an inclusive way.
>
> Hope it is an usuful reflection,
>
> Cheers!
>
> Cristina
>
> El 14/10/13 01:21, Lucinda Presley escribió:
>
>> Cristina -
>>
>> You have made an outstanding observation! This is exactly what we have
>> been
>> talking about for K-12 and museums......how can we develop a common,
>> shared
>> language that helps bridge the divisions. We have a US collaborative that
>> is working on a list of words that are used both in the art and science
>> worlds, but that are perceived by the different worlds from differing
>> perspectives. We hope that talking about these terms can facilitate
>> dialogue between art, science, engineering, and design. This dialogue, we
>> hope, can develop shared understandings.
>>
>> I also agree that an important first objective is developing strategies to
>> bridge these divides. We welcome any strategies that have been used to
>> address this.
>>
>> Cheers to you.
>>
>> Lucinda
>>
>>
>> On Wed, Oct 9, 2013 at 3:37 PM, cristina miranda <
>> cristinamiranda.de@gmail.com> wrote:
>>
>> Thank you for your comments Lucinda Presley, and please forgive me for
>>> the
>>> late reply. But probably the fact that this reply is late gave me the
>>> chance to have a better perspective of the debate. In this sense, I would
>>> like to come back for the question you posed: How can we find ways for
>>> "/higher education, pre-university (formal elementary and secondary
>>> education), and museums to share successful strategies and lessons
>>> learned
>>> in creating intersections, especially among faculty, administrators,
>>> museum
>>> visitors, and funders? As I understood this shared strategies could be
>>> valuable to "demonstrate the impact of cross-disciplinary learning on
>>> student and museum visitor innovation thinking skills/".
>>>
>>> In this sense, it would be good to be able to recover and reflect on all
>>> the elements that conform the experiences of sharing at different levels.
>>> It is not the same the level of sharing of experiences between faculty
>>> and
>>> students and between adminstrators and funders. The points of view on the
>>> subject are totally different, what hinders in-depth dialogue understood
>>> as
>>> a unique process. Usually at university level dialogue is blocked due to
>>> different reasons (power struggles, coorporativism, etc) and
>>> dissemination
>>> of experiences suffers. Seldom we can see an attitude of free 'sharing'
>>> of
>>> experiences in universities. If there is lack of dialogue even in
>>> relation
>>> to peers in departments how can we expect trans-disciplinary dialogue
>>> without trying to provoke a change of attitude (at the level of
>>> understanding of the need to dialogue) first? Maybe what is needed is a
>>> Trans-disciplinar Sharing Literacy Process that focuses in all agencies
>>> involved from bottom-up to top levels, from peers to power agents.
>>>
>>> Thank you!
>>>
>>> Cristina Miranda de Almeida
>>>
>>>
>>> El 06/10/13 19:01, Lucinda Presley escribió:
>>>
>>> These are great suggestions, Christina, and very important to implement,
>>>> not only in higher education, but also in pre-university (formal
>>>> elementary
>>>> and secondary) education and in museums. You are right-on in pointing to
>>>> the importance of knowledge transfer, research, and cross-disciplinary
>>>> dialogue.
>>>>
>>>> It would be beneficial to find ways for higher education, pre-university
>>>> (formal elementary and secondary education), and museums to share
>>>> successful strategies and lessons learned in creating these
>>>> intersections,
>>>> especially among faculty, administrators, museum visitors, and funders.
>>>> Sharing strategies that demonstrate the impact of cross-disciplinary
>>>> learning on student and museum visitor innovation thinking skills also
>>>> would be valuable. Bob Root-Bernstein, who is the white paper's
>>>> co-author,
>>>> is conducting research on studies that have been conducted at this
>>>> intersection in pre-university (formal elementary and secondary
>>>> education)
>>>> and museums.
>>>>
>>>> We welcome any studies, data, successes, lessons learned, and best
>>>> practices that demonstrate the effectiveness of the arts/STEM
>>>> intersections, especially as they relate to the important innovation
>>>> thinking skills that are listed in the study.
>>>>
>>>> Lucinda
>>>>
>>>> Lucinda Presley
>>>> Executive Director, Institute where Creativity Empowers Education (ICEE)
>>>> Success
>>>>
>>>>
>>>>
>>>>
>>>> On Sun, Oct 6, 2013 at 4:20 AM, cristina miranda <
>>>> cristinamiranda.de@gmail.com> wrote:
>>>>
>>>> Dear all,
>>>>
>>>>> Thank you Roger and all for this great subject of debate. Thinking on
>>>>> the
>>>>> question of 'what suggestions do you have to begin an introduction of
>>>>> these
>>>>> skills into your realm?' and being linked to the intersection between
>>>>> art +
>>>>> architecture + digital culture fields I suggest:
>>>>> 1) Transferring processes of knowledge creation: creating knowledge
>>>>> transferring structures at pre-university and university levels. In
>>>>> concrete to create more opportunities (dialogue spaces and structures,
>>>>> such
>>>>> as online platforms, inside the university for cross fertilization) to
>>>>> foster trans-disciplinary learning between art and science and
>>>>> technology.
>>>>> This will enable skills such as those mentioned by the authors,
>>>>> "observing,
>>>>> imaging and visualization, abstracting, pattern recognition and pattern
>>>>> invention, analogizing, dimensional thinking, modeling, body or
>>>>> kinesthetic
>>>>> thinking, manual dexterity, familiarity with tools, transforming data
>>>>> into
>>>>> visual or graphical forms, converting theories into mechanical
>>>>> procedures,
>>>>> and understanding data and experiments kinesthetically and
>>>>> empathetically",
>>>>> and that are currently developed in Art, to be fully integrated in
>>>>> STEM,
>>>>> but counting on Art to develop this process together with other
>>>>> disciplines.
>>>>>
>>>>> 2) Researching together: creating trans-disciplinary funding structures
>>>>> for research that include art at the same level, not only as
>>>>> 'illustrators';
>>>>>
>>>>> 3) Undertanding each other: teaching university students how to
>>>>> dialogue
>>>>> across disciplines.
>>>>>
>>>>> Hope this is useful,
>>>>>
>>>>> Best,
>>>>>
>>>>> Cristina Miranda de Almeida
>>>>> Departmento de Arte y Tecnología, UPV/EHU
>>>>> Research Programme Digital Culture, IN3/UOC
>>>>>
>>>>> El 06/10/13 05:31, roger malina escribió:
>>>>>
>>>>> yasminers
>>>>>
>>>>> here is an initial discussion
>>>>>>
>>>>>> roger
>>>>>>
>>>>>>
>>>>>> SEAD DISCUSSION:
>>>>>>
>>>>>> In ongoing studies, Robert and Michelle Root-Bernstein have found that
>>>>>> more than 80% of scientists and engineers surveyed say that arts and
>>>>>> crafts education should be a required aspect of STEM education. The
>>>>>> authors point out it is arts and crafts experiences that gave these
>>>>>> scientists and engineers the thinking skills that led to their
>>>>>> success. These skills include: "observing, imaging and visualization,
>>>>>> abstracting, pattern recognition and pattern invention, analogizing,
>>>>>> dimensional thinking, modeling, body or kinesthetic thinking, manual
>>>>>> dexterity, familiarity with tools, transforming data into visual or
>>>>>> graphical forms, converting theories into mechanical procedures, and
>>>>>> understanding data and experiments kinesthetically and
>>>>>> empathetically". These thinking skills can be fostered in formal and
>>>>>> informal experiences, the authors point out. The most potent effect
>>>>>> comes, they say, in extended and persistent exposure to the art or
>>>>>> craft over a period of years.
>>>>>>
>>>>>> They add, however, that research shows that only the following skills
>>>>>> were included in science textbooks above the 8th grade level:
>>>>>> observing, analogizing, modeling, and patterning. Many of the other
>>>>>> skills are not included in the traditional STEM textbooks at all.
>>>>>>
>>>>>> Their suggestions include: informing all stakeholders of the
>>>>>> importance of arts and crafts education to STEM education; providing
>>>>>> continuous arts and crafts education from "childhood to maturity";
>>>>>> making these experiences available across the socio-economic spectrum
>>>>>> in both formal and informal settings; emphasizing imagination,
>>>>>> knowledge transfer, and the inventing process in arts and crafts
>>>>>> education; and providing further research into these areas.
>>>>>>
>>>>>> Based on the findings of this study and the national need for these
>>>>>> vital innovation thinking skills, what suggestions do you have to
>>>>>> begin an introduction of these skills into your realm?
>>>>>>
>>>>>> Lucinda Presley, Robert and Michele Root Bernstein
>>>>>>
>>>>>> ______________________________******_________________
>>>>>> Yasmin_discussions mailing list
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>>>>>> Yasmin_discussions@**estia.**media.uoa.gr <http://estia.media.uoa.gr>
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>>>>>> **>
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>>>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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,
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>>>>>>
>>>>>> ______________________________******_________________
>>>>>>
>>>>> Yasmin_discussions mailing list
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>>>>> Yasmin_discussions@**estia.**media.uoa.gr <http://estia.media.uoa.gr><
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>>>>> >
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>>>>>
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>>>>>
>>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>>>>> to.
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>>>>>
>>>> ______________________________****_________________
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>>
>>
> ______________________________**_________________
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--
Lucinda Presley
Director
ICEE Success*
Institute where Creativity Empowers Education Success*
lucinda.presley@gmail.com
903-530-9019
_______________________________________________
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An example: for the formal and informal elementary and secondary education
terminology, two of the terms we had selected, based on wide usage, have
recently been placed in secondary status. The reason? New science standards
for the US, which are currently in the adoption process, no longer consider
those processes at the forefront. We will still use those terms, but with
the understanding that they are not impacting standards-driven practice.
Lucinda
On Mon, Oct 14, 2013 at 1:24 AM, cristina miranda <
cristinamiranda.de@gmail.com> wrote:
> Hi Lucinda and all,
>
> Thank you Lucinda for your words. Constructing a list of
> apparently-shared-words-that-**do-not-quite-mean-the-same-to-**each-agent
> is an extraordinary step and highly useful to start to dialog around
> perception of meanings from different perspectives. It also links to the
> previous comments in this debate, for example, the focus on the concept of
> abstration that raises different views, as an indication that probably
> there is not a shared definition.
> However, we cannot forget that in addition to the division between worlds
> there is a division in relation to time perspectives. Any language is a
> consensus that relates to a particular moment, a living and complex tool
> that changes.
> Therefore, I can imagine that many concepts on this list that you are
> preparing will need to be updated at different moments. I suggest that this
> essential list needs to be periodically updated to avoid the risk of
> petrifying meaning according to one unique time perspective even if it
> incorporates different world views, from art and science, from different
> agents and in an inclusive way.
>
> Hope it is an usuful reflection,
>
> Cheers!
>
> Cristina
>
> El 14/10/13 01:21, Lucinda Presley escribió:
>
>> Cristina -
>>
>> You have made an outstanding observation! This is exactly what we have
>> been
>> talking about for K-12 and museums......how can we develop a common,
>> shared
>> language that helps bridge the divisions. We have a US collaborative that
>> is working on a list of words that are used both in the art and science
>> worlds, but that are perceived by the different worlds from differing
>> perspectives. We hope that talking about these terms can facilitate
>> dialogue between art, science, engineering, and design. This dialogue, we
>> hope, can develop shared understandings.
>>
>> I also agree that an important first objective is developing strategies to
>> bridge these divides. We welcome any strategies that have been used to
>> address this.
>>
>> Cheers to you.
>>
>> Lucinda
>>
>>
>> On Wed, Oct 9, 2013 at 3:37 PM, cristina miranda <
>> cristinamiranda.de@gmail.com> wrote:
>>
>> Thank you for your comments Lucinda Presley, and please forgive me for
>>> the
>>> late reply. But probably the fact that this reply is late gave me the
>>> chance to have a better perspective of the debate. In this sense, I would
>>> like to come back for the question you posed: How can we find ways for
>>> "/higher education, pre-university (formal elementary and secondary
>>> education), and museums to share successful strategies and lessons
>>> learned
>>> in creating intersections, especially among faculty, administrators,
>>> museum
>>> visitors, and funders? As I understood this shared strategies could be
>>> valuable to "demonstrate the impact of cross-disciplinary learning on
>>> student and museum visitor innovation thinking skills/".
>>>
>>> In this sense, it would be good to be able to recover and reflect on all
>>> the elements that conform the experiences of sharing at different levels.
>>> It is not the same the level of sharing of experiences between faculty
>>> and
>>> students and between adminstrators and funders. The points of view on the
>>> subject are totally different, what hinders in-depth dialogue understood
>>> as
>>> a unique process. Usually at university level dialogue is blocked due to
>>> different reasons (power struggles, coorporativism, etc) and
>>> dissemination
>>> of experiences suffers. Seldom we can see an attitude of free 'sharing'
>>> of
>>> experiences in universities. If there is lack of dialogue even in
>>> relation
>>> to peers in departments how can we expect trans-disciplinary dialogue
>>> without trying to provoke a change of attitude (at the level of
>>> understanding of the need to dialogue) first? Maybe what is needed is a
>>> Trans-disciplinar Sharing Literacy Process that focuses in all agencies
>>> involved from bottom-up to top levels, from peers to power agents.
>>>
>>> Thank you!
>>>
>>> Cristina Miranda de Almeida
>>>
>>>
>>> El 06/10/13 19:01, Lucinda Presley escribió:
>>>
>>> These are great suggestions, Christina, and very important to implement,
>>>> not only in higher education, but also in pre-university (formal
>>>> elementary
>>>> and secondary) education and in museums. You are right-on in pointing to
>>>> the importance of knowledge transfer, research, and cross-disciplinary
>>>> dialogue.
>>>>
>>>> It would be beneficial to find ways for higher education, pre-university
>>>> (formal elementary and secondary education), and museums to share
>>>> successful strategies and lessons learned in creating these
>>>> intersections,
>>>> especially among faculty, administrators, museum visitors, and funders.
>>>> Sharing strategies that demonstrate the impact of cross-disciplinary
>>>> learning on student and museum visitor innovation thinking skills also
>>>> would be valuable. Bob Root-Bernstein, who is the white paper's
>>>> co-author,
>>>> is conducting research on studies that have been conducted at this
>>>> intersection in pre-university (formal elementary and secondary
>>>> education)
>>>> and museums.
>>>>
>>>> We welcome any studies, data, successes, lessons learned, and best
>>>> practices that demonstrate the effectiveness of the arts/STEM
>>>> intersections, especially as they relate to the important innovation
>>>> thinking skills that are listed in the study.
>>>>
>>>> Lucinda
>>>>
>>>> Lucinda Presley
>>>> Executive Director, Institute where Creativity Empowers Education (ICEE)
>>>> Success
>>>>
>>>>
>>>>
>>>>
>>>> On Sun, Oct 6, 2013 at 4:20 AM, cristina miranda <
>>>> cristinamiranda.de@gmail.com> wrote:
>>>>
>>>> Dear all,
>>>>
>>>>> Thank you Roger and all for this great subject of debate. Thinking on
>>>>> the
>>>>> question of 'what suggestions do you have to begin an introduction of
>>>>> these
>>>>> skills into your realm?' and being linked to the intersection between
>>>>> art +
>>>>> architecture + digital culture fields I suggest:
>>>>> 1) Transferring processes of knowledge creation: creating knowledge
>>>>> transferring structures at pre-university and university levels. In
>>>>> concrete to create more opportunities (dialogue spaces and structures,
>>>>> such
>>>>> as online platforms, inside the university for cross fertilization) to
>>>>> foster trans-disciplinary learning between art and science and
>>>>> technology.
>>>>> This will enable skills such as those mentioned by the authors,
>>>>> "observing,
>>>>> imaging and visualization, abstracting, pattern recognition and pattern
>>>>> invention, analogizing, dimensional thinking, modeling, body or
>>>>> kinesthetic
>>>>> thinking, manual dexterity, familiarity with tools, transforming data
>>>>> into
>>>>> visual or graphical forms, converting theories into mechanical
>>>>> procedures,
>>>>> and understanding data and experiments kinesthetically and
>>>>> empathetically",
>>>>> and that are currently developed in Art, to be fully integrated in
>>>>> STEM,
>>>>> but counting on Art to develop this process together with other
>>>>> disciplines.
>>>>>
>>>>> 2) Researching together: creating trans-disciplinary funding structures
>>>>> for research that include art at the same level, not only as
>>>>> 'illustrators';
>>>>>
>>>>> 3) Undertanding each other: teaching university students how to
>>>>> dialogue
>>>>> across disciplines.
>>>>>
>>>>> Hope this is useful,
>>>>>
>>>>> Best,
>>>>>
>>>>> Cristina Miranda de Almeida
>>>>> Departmento de Arte y Tecnología, UPV/EHU
>>>>> Research Programme Digital Culture, IN3/UOC
>>>>>
>>>>> El 06/10/13 05:31, roger malina escribió:
>>>>>
>>>>> yasminers
>>>>>
>>>>> here is an initial discussion
>>>>>>
>>>>>> roger
>>>>>>
>>>>>>
>>>>>> SEAD DISCUSSION:
>>>>>>
>>>>>> In ongoing studies, Robert and Michelle Root-Bernstein have found that
>>>>>> more than 80% of scientists and engineers surveyed say that arts and
>>>>>> crafts education should be a required aspect of STEM education. The
>>>>>> authors point out it is arts and crafts experiences that gave these
>>>>>> scientists and engineers the thinking skills that led to their
>>>>>> success. These skills include: "observing, imaging and visualization,
>>>>>> abstracting, pattern recognition and pattern invention, analogizing,
>>>>>> dimensional thinking, modeling, body or kinesthetic thinking, manual
>>>>>> dexterity, familiarity with tools, transforming data into visual or
>>>>>> graphical forms, converting theories into mechanical procedures, and
>>>>>> understanding data and experiments kinesthetically and
>>>>>> empathetically". These thinking skills can be fostered in formal and
>>>>>> informal experiences, the authors point out. The most potent effect
>>>>>> comes, they say, in extended and persistent exposure to the art or
>>>>>> craft over a period of years.
>>>>>>
>>>>>> They add, however, that research shows that only the following skills
>>>>>> were included in science textbooks above the 8th grade level:
>>>>>> observing, analogizing, modeling, and patterning. Many of the other
>>>>>> skills are not included in the traditional STEM textbooks at all.
>>>>>>
>>>>>> Their suggestions include: informing all stakeholders of the
>>>>>> importance of arts and crafts education to STEM education; providing
>>>>>> continuous arts and crafts education from "childhood to maturity";
>>>>>> making these experiences available across the socio-economic spectrum
>>>>>> in both formal and informal settings; emphasizing imagination,
>>>>>> knowledge transfer, and the inventing process in arts and crafts
>>>>>> education; and providing further research into these areas.
>>>>>>
>>>>>> Based on the findings of this study and the national need for these
>>>>>> vital innovation thinking skills, what suggestions do you have to
>>>>>> begin an introduction of these skills into your realm?
>>>>>>
>>>>>> Lucinda Presley, Robert and Michele Root Bernstein
>>>>>>
>>>>>> ______________________________******_________________
>>>>>> Yasmin_discussions mailing list
>>>>>> Yasmin_discussions@estia.****med**ia.uoa.gr <http://media.uoa.gr><
>>>>>> Yasmin_discussions@**estia.**media.uoa.gr <http://estia.media.uoa.gr>
>>>>>> <Yasmin_**discussions@estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>>>> **>
>>>>>> http://estia.media.uoa.gr/******mailman/listinfo/yasmin_******
>>>>>> discussions<http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions>
>>>>>> <http://estia.**media.uoa.gr/**mailman/**
>>>>>> listinfo/yasmin_**discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>>>> >
>>>>>> <http://estia.**media.uoa.gr/**mailman/listinfo/**yasmin_**
>>>>>> discussions<http://media.uoa.gr/mailman/listinfo/**yasmin_discussions>
>>>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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
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>>>>>> on
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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.
>>>>>>
>>>>>>
>>>>>> ______________________________******_________________
>>>>>>
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.****med**ia.uoa.gr <http://media.uoa.gr><
>>>>> Yasmin_discussions@**estia.**media.uoa.gr <http://estia.media.uoa.gr><
>>>>> Yasmin_**discussions@estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>>> **>
>>>>> http://estia.media.uoa.gr/******mailman/listinfo/yasmin_******
>>>>> discussions<http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions>
>>>>> <http://estia.**media.uoa.gr/**mailman/**listinfo/yasmin_**discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>>> >
>>>>> <http://estia.**media.uoa.gr/**mailman/listinfo/**yasmin_**discussions<http://media.uoa.gr/mailman/listinfo/**yasmin_discussions>
>>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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.**med**ia.uoa.gr <http://media.uoa.gr><
>>> Yasmin_discussions@**estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>> >
>>> http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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<Yasmin_discussions@estia.media.uoa.gr>
> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<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.
>
--
Lucinda Presley
Director
ICEE Success*
Institute where Creativity Empowers Education Success*
lucinda.presley@gmail.com
903-530-9019
_______________________________________________
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
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Re: [Yasmin_discussions] the root of all evil
You bring up very good examples of the importance of interdisciplinary
intersections. In our K-12 work, we have found that using fine art images
laden with scientific content to train students in visual analysis gives
them valuable analytical tools that are: 1) helping them engage more
deeply in the science content; and 2) helping them synthesize concepts
across Earth, physical and life science. We are working on more funding to
further test these strategies.
Great conversation!
Lucinda Presley
Co-Chair, ASTC Arts/Science Community of Practice
Chair, The Innovation Collaborative: Bridging the Arts, Sciences, and
Humanities
On Fri, Oct 11, 2013 at 6:57 AM, cristinamiranda
<universalmargin@gmail.com>wrote:
> Hi everyone,
>
> Just found this link about the effect of poetry on the brain, that shows
> how the art of "poetry and passionate prose have an effect on the brain
> similar to that of emotional music", as research has shown.
>
> Could be an good wasy to develop SEAD innitiatives in education at all
> levels. This is the link:
> http://www.belfasttelegraph.**co.uk/breakingnews/offbeat/**
> poetry-affects-brain-like-**music-29647836.html<http://www.belfasttelegraph.co.uk/breakingnews/offbeat/poetry-affects-brain-like-music-29647836.html>
>
> best wishes,
> Cristina Miranda de Almeida
>
> El 11/10/13 05:40, roger malina escribió:
>
> yasminers
>>
>> I never imagine that my referring to the web site
>> on the need to contextual mathematics would launch
>> this discussion on the root of all evil but paul and simon's
>> responses have focused the discussion on the basic argument
>> that the root bernstein's are making about the evidence that
>> scientists and engineers work as better as scientists and
>> engineers if they are also involve in arts and crafts in
>> their early education
>>
>> this is the basic argument in the stem to steam argument
>>
>> the way we have organised education we put art and
>> science in separate streams as if they were not
>> fundamentally linked in human curiosity and imagination
>>
>>
>> anecdote: in a discussion with someone responsible
>> for programming in Marseille as the european city
>> of culture- i got a response that " science is not part
>> of culture'
>>
>> wow
>>
>> what he meant was that the minister of culture in france
>> which was the lead ministry for the city of culture did
>> not fund " science outreach or education"
>>
>> science is part of culture and children dont care
>> which agency is funding what
>>
>> paul : of course there is a rational for
>> pure math= but thats not the issue here=the
>> issue is how in primary and secondary education
>> we create a context=driven by student interest
>> and imagination- we teaching in a way that motivates
>> and captures the motivation of young children
>>
>> anecdote: in my undergraduate education i had
>> the pleasure of taking a class on statistics and
>> probability from the celebrated mathematician
>>
>> we certainly learned pure math -but what i remember
>> is that all the math was continously contextualised
>> in social contexts and applications ( gambling at las
>> vegas. sociology. politics etc) i did great in that course
>> but the next semester i took a course in mathematical
>> logic and i got the first C grade as a student- it just
>> didnt connect
>>
>> the arts and crafts are one way to powerfully
>> contextualise science and mathematics and
>> motivate students= and in addition the evidence
>> that root bernsteins show is that the children that
>> learn that way make better scientists and engineers
>>
>> roger
>>
>> The term "naked math" refers to mathematics without context. Mathematics
>>
>>> "within a context" usually refers to mathematical modeling -- that the
>>> mathematics models or represents something in the real world. My point
>>> was simply to rephrase this in terms of something that the Yasmin group
>>> might find equally appalling (or not?): what is the art analogy of naked
>>> math? It would probably fall into the general area of abstract art --
>>> something
>>> performed and executed that is not representational of the world, and so
>>> is equally as "naked".
>>>
>>
> ______________________________**_________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<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.
>
--
Lucinda Presley
Director
ICEE Success*
Institute where Creativity Empowers Education Success*
lucinda.presley@gmail.com
903-530-9019
_______________________________________________
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.
intersections. In our K-12 work, we have found that using fine art images
laden with scientific content to train students in visual analysis gives
them valuable analytical tools that are: 1) helping them engage more
deeply in the science content; and 2) helping them synthesize concepts
across Earth, physical and life science. We are working on more funding to
further test these strategies.
Great conversation!
Lucinda Presley
Co-Chair, ASTC Arts/Science Community of Practice
Chair, The Innovation Collaborative: Bridging the Arts, Sciences, and
Humanities
On Fri, Oct 11, 2013 at 6:57 AM, cristinamiranda
<universalmargin@gmail.com>wrote:
> Hi everyone,
>
> Just found this link about the effect of poetry on the brain, that shows
> how the art of "poetry and passionate prose have an effect on the brain
> similar to that of emotional music", as research has shown.
>
> Could be an good wasy to develop SEAD innitiatives in education at all
> levels. This is the link:
> http://www.belfasttelegraph.**co.uk/breakingnews/offbeat/**
> poetry-affects-brain-like-**music-29647836.html<http://www.belfasttelegraph.co.uk/breakingnews/offbeat/poetry-affects-brain-like-music-29647836.html>
>
> best wishes,
> Cristina Miranda de Almeida
>
> El 11/10/13 05:40, roger malina escribió:
>
> yasminers
>>
>> I never imagine that my referring to the web site
>> on the need to contextual mathematics would launch
>> this discussion on the root of all evil but paul and simon's
>> responses have focused the discussion on the basic argument
>> that the root bernstein's are making about the evidence that
>> scientists and engineers work as better as scientists and
>> engineers if they are also involve in arts and crafts in
>> their early education
>>
>> this is the basic argument in the stem to steam argument
>>
>> the way we have organised education we put art and
>> science in separate streams as if they were not
>> fundamentally linked in human curiosity and imagination
>>
>>
>> anecdote: in a discussion with someone responsible
>> for programming in Marseille as the european city
>> of culture- i got a response that " science is not part
>> of culture'
>>
>> wow
>>
>> what he meant was that the minister of culture in france
>> which was the lead ministry for the city of culture did
>> not fund " science outreach or education"
>>
>> science is part of culture and children dont care
>> which agency is funding what
>>
>> paul : of course there is a rational for
>> pure math= but thats not the issue here=the
>> issue is how in primary and secondary education
>> we create a context=driven by student interest
>> and imagination- we teaching in a way that motivates
>> and captures the motivation of young children
>>
>> anecdote: in my undergraduate education i had
>> the pleasure of taking a class on statistics and
>> probability from the celebrated mathematician
>>
>> we certainly learned pure math -but what i remember
>> is that all the math was continously contextualised
>> in social contexts and applications ( gambling at las
>> vegas. sociology. politics etc) i did great in that course
>> but the next semester i took a course in mathematical
>> logic and i got the first C grade as a student- it just
>> didnt connect
>>
>> the arts and crafts are one way to powerfully
>> contextualise science and mathematics and
>> motivate students= and in addition the evidence
>> that root bernsteins show is that the children that
>> learn that way make better scientists and engineers
>>
>> roger
>>
>> The term "naked math" refers to mathematics without context. Mathematics
>>
>>> "within a context" usually refers to mathematical modeling -- that the
>>> mathematics models or represents something in the real world. My point
>>> was simply to rephrase this in terms of something that the Yasmin group
>>> might find equally appalling (or not?): what is the art analogy of naked
>>> math? It would probably fall into the general area of abstract art --
>>> something
>>> performed and executed that is not representational of the world, and so
>>> is equally as "naked".
>>>
>>
> ______________________________**_________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<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.
>
--
Lucinda Presley
Director
ICEE Success*
Institute where Creativity Empowers Education Success*
lucinda.presley@gmail.com
903-530-9019
_______________________________________________
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.
Sunday, October 13, 2013
Re: [Yasmin_discussions] The Importance of Early and Persistent Arts and Crafts Education for Future Scientists and Engineers
Hi Lucinda and all,
Thank you Lucinda for your words. Constructing a list of
apparently-shared-words-that-do-not-quite-mean-the-same-to-each-agent is
an extraordinary step and highly useful to start to dialog around
perception of meanings from different perspectives. It also links to the
previous comments in this debate, for example, the focus on the concept
of abstration that raises different views, as an indication that
probably there is not a shared definition.
However, we cannot forget that in addition to the division between
worlds there is a division in relation to time perspectives. Any
language is a consensus that relates to a particular moment, a living
and complex tool that changes.
Therefore, I can imagine that many concepts on this list that you are
preparing will need to be updated at different moments. I suggest that
this essential list needs to be periodically updated to avoid the risk
of petrifying meaning according to one unique time perspective even if
it incorporates different world views, from art and science, from
different agents and in an inclusive way.
Hope it is an usuful reflection,
Cheers!
Cristina
El 14/10/13 01:21, Lucinda Presley escribió:
> Cristina -
>
> You have made an outstanding observation! This is exactly what we have been
> talking about for K-12 and museums......how can we develop a common, shared
> language that helps bridge the divisions. We have a US collaborative that
> is working on a list of words that are used both in the art and science
> worlds, but that are perceived by the different worlds from differing
> perspectives. We hope that talking about these terms can facilitate
> dialogue between art, science, engineering, and design. This dialogue, we
> hope, can develop shared understandings.
>
> I also agree that an important first objective is developing strategies to
> bridge these divides. We welcome any strategies that have been used to
> address this.
>
> Cheers to you.
>
> Lucinda
>
>
> On Wed, Oct 9, 2013 at 3:37 PM, cristina miranda <
> cristinamiranda.de@gmail.com> wrote:
>
>> Thank you for your comments Lucinda Presley, and please forgive me for the
>> late reply. But probably the fact that this reply is late gave me the
>> chance to have a better perspective of the debate. In this sense, I would
>> like to come back for the question you posed: How can we find ways for
>> "/higher education, pre-university (formal elementary and secondary
>> education), and museums to share successful strategies and lessons learned
>> in creating intersections, especially among faculty, administrators, museum
>> visitors, and funders? As I understood this shared strategies could be
>> valuable to "demonstrate the impact of cross-disciplinary learning on
>> student and museum visitor innovation thinking skills/".
>>
>> In this sense, it would be good to be able to recover and reflect on all
>> the elements that conform the experiences of sharing at different levels.
>> It is not the same the level of sharing of experiences between faculty and
>> students and between adminstrators and funders. The points of view on the
>> subject are totally different, what hinders in-depth dialogue understood as
>> a unique process. Usually at university level dialogue is blocked due to
>> different reasons (power struggles, coorporativism, etc) and dissemination
>> of experiences suffers. Seldom we can see an attitude of free 'sharing' of
>> experiences in universities. If there is lack of dialogue even in relation
>> to peers in departments how can we expect trans-disciplinary dialogue
>> without trying to provoke a change of attitude (at the level of
>> understanding of the need to dialogue) first? Maybe what is needed is a
>> Trans-disciplinar Sharing Literacy Process that focuses in all agencies
>> involved from bottom-up to top levels, from peers to power agents.
>>
>> Thank you!
>>
>> Cristina Miranda de Almeida
>>
>>
>> El 06/10/13 19:01, Lucinda Presley escribió:
>>
>>> These are great suggestions, Christina, and very important to implement,
>>> not only in higher education, but also in pre-university (formal
>>> elementary
>>> and secondary) education and in museums. You are right-on in pointing to
>>> the importance of knowledge transfer, research, and cross-disciplinary
>>> dialogue.
>>>
>>> It would be beneficial to find ways for higher education, pre-university
>>> (formal elementary and secondary education), and museums to share
>>> successful strategies and lessons learned in creating these intersections,
>>> especially among faculty, administrators, museum visitors, and funders.
>>> Sharing strategies that demonstrate the impact of cross-disciplinary
>>> learning on student and museum visitor innovation thinking skills also
>>> would be valuable. Bob Root-Bernstein, who is the white paper's co-author,
>>> is conducting research on studies that have been conducted at this
>>> intersection in pre-university (formal elementary and secondary education)
>>> and museums.
>>>
>>> We welcome any studies, data, successes, lessons learned, and best
>>> practices that demonstrate the effectiveness of the arts/STEM
>>> intersections, especially as they relate to the important innovation
>>> thinking skills that are listed in the study.
>>>
>>> Lucinda
>>>
>>> Lucinda Presley
>>> Executive Director, Institute where Creativity Empowers Education (ICEE)
>>> Success
>>>
>>>
>>>
>>>
>>> On Sun, Oct 6, 2013 at 4:20 AM, cristina miranda <
>>> cristinamiranda.de@gmail.com> wrote:
>>>
>>> Dear all,
>>>> Thank you Roger and all for this great subject of debate. Thinking on the
>>>> question of 'what suggestions do you have to begin an introduction of
>>>> these
>>>> skills into your realm?' and being linked to the intersection between
>>>> art +
>>>> architecture + digital culture fields I suggest:
>>>> 1) Transferring processes of knowledge creation: creating knowledge
>>>> transferring structures at pre-university and university levels. In
>>>> concrete to create more opportunities (dialogue spaces and structures,
>>>> such
>>>> as online platforms, inside the university for cross fertilization) to
>>>> foster trans-disciplinary learning between art and science and
>>>> technology.
>>>> This will enable skills such as those mentioned by the authors,
>>>> "observing,
>>>> imaging and visualization, abstracting, pattern recognition and pattern
>>>> invention, analogizing, dimensional thinking, modeling, body or
>>>> kinesthetic
>>>> thinking, manual dexterity, familiarity with tools, transforming data
>>>> into
>>>> visual or graphical forms, converting theories into mechanical
>>>> procedures,
>>>> and understanding data and experiments kinesthetically and
>>>> empathetically",
>>>> and that are currently developed in Art, to be fully integrated in STEM,
>>>> but counting on Art to develop this process together with other
>>>> disciplines.
>>>>
>>>> 2) Researching together: creating trans-disciplinary funding structures
>>>> for research that include art at the same level, not only as
>>>> 'illustrators';
>>>>
>>>> 3) Undertanding each other: teaching university students how to dialogue
>>>> across disciplines.
>>>>
>>>> Hope this is useful,
>>>>
>>>> Best,
>>>>
>>>> Cristina Miranda de Almeida
>>>> Departmento de Arte y Tecnología, UPV/EHU
>>>> Research Programme Digital Culture, IN3/UOC
>>>>
>>>> El 06/10/13 05:31, roger malina escribió:
>>>>
>>>> yasminers
>>>>
>>>>> here is an initial discussion
>>>>>
>>>>> roger
>>>>>
>>>>>
>>>>> SEAD DISCUSSION:
>>>>>
>>>>> In ongoing studies, Robert and Michelle Root-Bernstein have found that
>>>>> more than 80% of scientists and engineers surveyed say that arts and
>>>>> crafts education should be a required aspect of STEM education. The
>>>>> authors point out it is arts and crafts experiences that gave these
>>>>> scientists and engineers the thinking skills that led to their
>>>>> success. These skills include: "observing, imaging and visualization,
>>>>> abstracting, pattern recognition and pattern invention, analogizing,
>>>>> dimensional thinking, modeling, body or kinesthetic thinking, manual
>>>>> dexterity, familiarity with tools, transforming data into visual or
>>>>> graphical forms, converting theories into mechanical procedures, and
>>>>> understanding data and experiments kinesthetically and
>>>>> empathetically". These thinking skills can be fostered in formal and
>>>>> informal experiences, the authors point out. The most potent effect
>>>>> comes, they say, in extended and persistent exposure to the art or
>>>>> craft over a period of years.
>>>>>
>>>>> They add, however, that research shows that only the following skills
>>>>> were included in science textbooks above the 8th grade level:
>>>>> observing, analogizing, modeling, and patterning. Many of the other
>>>>> skills are not included in the traditional STEM textbooks at all.
>>>>>
>>>>> Their suggestions include: informing all stakeholders of the
>>>>> importance of arts and crafts education to STEM education; providing
>>>>> continuous arts and crafts education from "childhood to maturity";
>>>>> making these experiences available across the socio-economic spectrum
>>>>> in both formal and informal settings; emphasizing imagination,
>>>>> knowledge transfer, and the inventing process in arts and crafts
>>>>> education; and providing further research into these areas.
>>>>>
>>>>> Based on the findings of this study and the national need for these
>>>>> vital innovation thinking skills, what suggestions do you have to
>>>>> begin an introduction of these skills into your realm?
>>>>>
>>>>> Lucinda Presley, Robert and Michele Root Bernstein
>>>>>
>>>>> ______________________________****_________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.**med**ia.uoa.gr <http://media.uoa.gr><
>>>>> Yasmin_discussions@**estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>>> http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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.**med**ia.uoa.gr <http://media.uoa.gr><
>>>> Yasmin_discussions@**estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>> http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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<Yasmin_discussions@estia.media.uoa.gr>
>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<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.
Thank you Lucinda for your words. Constructing a list of
apparently-shared-words-that-do-not-quite-mean-the-same-to-each-agent is
an extraordinary step and highly useful to start to dialog around
perception of meanings from different perspectives. It also links to the
previous comments in this debate, for example, the focus on the concept
of abstration that raises different views, as an indication that
probably there is not a shared definition.
However, we cannot forget that in addition to the division between
worlds there is a division in relation to time perspectives. Any
language is a consensus that relates to a particular moment, a living
and complex tool that changes.
Therefore, I can imagine that many concepts on this list that you are
preparing will need to be updated at different moments. I suggest that
this essential list needs to be periodically updated to avoid the risk
of petrifying meaning according to one unique time perspective even if
it incorporates different world views, from art and science, from
different agents and in an inclusive way.
Hope it is an usuful reflection,
Cheers!
Cristina
El 14/10/13 01:21, Lucinda Presley escribió:
> Cristina -
>
> You have made an outstanding observation! This is exactly what we have been
> talking about for K-12 and museums......how can we develop a common, shared
> language that helps bridge the divisions. We have a US collaborative that
> is working on a list of words that are used both in the art and science
> worlds, but that are perceived by the different worlds from differing
> perspectives. We hope that talking about these terms can facilitate
> dialogue between art, science, engineering, and design. This dialogue, we
> hope, can develop shared understandings.
>
> I also agree that an important first objective is developing strategies to
> bridge these divides. We welcome any strategies that have been used to
> address this.
>
> Cheers to you.
>
> Lucinda
>
>
> On Wed, Oct 9, 2013 at 3:37 PM, cristina miranda <
> cristinamiranda.de@gmail.com> wrote:
>
>> Thank you for your comments Lucinda Presley, and please forgive me for the
>> late reply. But probably the fact that this reply is late gave me the
>> chance to have a better perspective of the debate. In this sense, I would
>> like to come back for the question you posed: How can we find ways for
>> "/higher education, pre-university (formal elementary and secondary
>> education), and museums to share successful strategies and lessons learned
>> in creating intersections, especially among faculty, administrators, museum
>> visitors, and funders? As I understood this shared strategies could be
>> valuable to "demonstrate the impact of cross-disciplinary learning on
>> student and museum visitor innovation thinking skills/".
>>
>> In this sense, it would be good to be able to recover and reflect on all
>> the elements that conform the experiences of sharing at different levels.
>> It is not the same the level of sharing of experiences between faculty and
>> students and between adminstrators and funders. The points of view on the
>> subject are totally different, what hinders in-depth dialogue understood as
>> a unique process. Usually at university level dialogue is blocked due to
>> different reasons (power struggles, coorporativism, etc) and dissemination
>> of experiences suffers. Seldom we can see an attitude of free 'sharing' of
>> experiences in universities. If there is lack of dialogue even in relation
>> to peers in departments how can we expect trans-disciplinary dialogue
>> without trying to provoke a change of attitude (at the level of
>> understanding of the need to dialogue) first? Maybe what is needed is a
>> Trans-disciplinar Sharing Literacy Process that focuses in all agencies
>> involved from bottom-up to top levels, from peers to power agents.
>>
>> Thank you!
>>
>> Cristina Miranda de Almeida
>>
>>
>> El 06/10/13 19:01, Lucinda Presley escribió:
>>
>>> These are great suggestions, Christina, and very important to implement,
>>> not only in higher education, but also in pre-university (formal
>>> elementary
>>> and secondary) education and in museums. You are right-on in pointing to
>>> the importance of knowledge transfer, research, and cross-disciplinary
>>> dialogue.
>>>
>>> It would be beneficial to find ways for higher education, pre-university
>>> (formal elementary and secondary education), and museums to share
>>> successful strategies and lessons learned in creating these intersections,
>>> especially among faculty, administrators, museum visitors, and funders.
>>> Sharing strategies that demonstrate the impact of cross-disciplinary
>>> learning on student and museum visitor innovation thinking skills also
>>> would be valuable. Bob Root-Bernstein, who is the white paper's co-author,
>>> is conducting research on studies that have been conducted at this
>>> intersection in pre-university (formal elementary and secondary education)
>>> and museums.
>>>
>>> We welcome any studies, data, successes, lessons learned, and best
>>> practices that demonstrate the effectiveness of the arts/STEM
>>> intersections, especially as they relate to the important innovation
>>> thinking skills that are listed in the study.
>>>
>>> Lucinda
>>>
>>> Lucinda Presley
>>> Executive Director, Institute where Creativity Empowers Education (ICEE)
>>> Success
>>>
>>>
>>>
>>>
>>> On Sun, Oct 6, 2013 at 4:20 AM, cristina miranda <
>>> cristinamiranda.de@gmail.com> wrote:
>>>
>>> Dear all,
>>>> Thank you Roger and all for this great subject of debate. Thinking on the
>>>> question of 'what suggestions do you have to begin an introduction of
>>>> these
>>>> skills into your realm?' and being linked to the intersection between
>>>> art +
>>>> architecture + digital culture fields I suggest:
>>>> 1) Transferring processes of knowledge creation: creating knowledge
>>>> transferring structures at pre-university and university levels. In
>>>> concrete to create more opportunities (dialogue spaces and structures,
>>>> such
>>>> as online platforms, inside the university for cross fertilization) to
>>>> foster trans-disciplinary learning between art and science and
>>>> technology.
>>>> This will enable skills such as those mentioned by the authors,
>>>> "observing,
>>>> imaging and visualization, abstracting, pattern recognition and pattern
>>>> invention, analogizing, dimensional thinking, modeling, body or
>>>> kinesthetic
>>>> thinking, manual dexterity, familiarity with tools, transforming data
>>>> into
>>>> visual or graphical forms, converting theories into mechanical
>>>> procedures,
>>>> and understanding data and experiments kinesthetically and
>>>> empathetically",
>>>> and that are currently developed in Art, to be fully integrated in STEM,
>>>> but counting on Art to develop this process together with other
>>>> disciplines.
>>>>
>>>> 2) Researching together: creating trans-disciplinary funding structures
>>>> for research that include art at the same level, not only as
>>>> 'illustrators';
>>>>
>>>> 3) Undertanding each other: teaching university students how to dialogue
>>>> across disciplines.
>>>>
>>>> Hope this is useful,
>>>>
>>>> Best,
>>>>
>>>> Cristina Miranda de Almeida
>>>> Departmento de Arte y Tecnología, UPV/EHU
>>>> Research Programme Digital Culture, IN3/UOC
>>>>
>>>> El 06/10/13 05:31, roger malina escribió:
>>>>
>>>> yasminers
>>>>
>>>>> here is an initial discussion
>>>>>
>>>>> roger
>>>>>
>>>>>
>>>>> SEAD DISCUSSION:
>>>>>
>>>>> In ongoing studies, Robert and Michelle Root-Bernstein have found that
>>>>> more than 80% of scientists and engineers surveyed say that arts and
>>>>> crafts education should be a required aspect of STEM education. The
>>>>> authors point out it is arts and crafts experiences that gave these
>>>>> scientists and engineers the thinking skills that led to their
>>>>> success. These skills include: "observing, imaging and visualization,
>>>>> abstracting, pattern recognition and pattern invention, analogizing,
>>>>> dimensional thinking, modeling, body or kinesthetic thinking, manual
>>>>> dexterity, familiarity with tools, transforming data into visual or
>>>>> graphical forms, converting theories into mechanical procedures, and
>>>>> understanding data and experiments kinesthetically and
>>>>> empathetically". These thinking skills can be fostered in formal and
>>>>> informal experiences, the authors point out. The most potent effect
>>>>> comes, they say, in extended and persistent exposure to the art or
>>>>> craft over a period of years.
>>>>>
>>>>> They add, however, that research shows that only the following skills
>>>>> were included in science textbooks above the 8th grade level:
>>>>> observing, analogizing, modeling, and patterning. Many of the other
>>>>> skills are not included in the traditional STEM textbooks at all.
>>>>>
>>>>> Their suggestions include: informing all stakeholders of the
>>>>> importance of arts and crafts education to STEM education; providing
>>>>> continuous arts and crafts education from "childhood to maturity";
>>>>> making these experiences available across the socio-economic spectrum
>>>>> in both formal and informal settings; emphasizing imagination,
>>>>> knowledge transfer, and the inventing process in arts and crafts
>>>>> education; and providing further research into these areas.
>>>>>
>>>>> Based on the findings of this study and the national need for these
>>>>> vital innovation thinking skills, what suggestions do you have to
>>>>> begin an introduction of these skills into your realm?
>>>>>
>>>>> Lucinda Presley, Robert and Michele Root Bernstein
>>>>>
>>>>> ______________________________****_________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.**med**ia.uoa.gr <http://media.uoa.gr><
>>>>> Yasmin_discussions@**estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>>> http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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.**med**ia.uoa.gr <http://media.uoa.gr><
>>>> Yasmin_discussions@**estia.media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>> http://estia.media.uoa.gr/****mailman/listinfo/yasmin_****discussions<http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions>
>>>> <http://estia.**media.uoa.gr/mailman/listinfo/**yasmin_discussions<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<Yasmin_discussions@estia.media.uoa.gr>
>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<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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http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
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