Re: [Yasmin_discussions] why as a scientist do i invest time and energy in art-science activities

Gullermo:

> On Oct 30, 2015, at 10:35 AM, Guillermo Muñoz <m.m.guillermo@gmail.com> wrote:
>
> Dear all,
>
> I think, one of the signals of the enhancement of the art/sci practices
> comes from the multiple residences that are emerging nowadays. This
> residences helps a lot to improve the ideas, the energy and to build a
> better configuration of the in-puts and out-puts from art/sci practice. I
> think i can find two important points related to this art/sci residences:
>
> 1) Even artist residence in science lab is a common feature nowadays in
> many places, it is not so obvious to find scientist residences in art labs.

Are there any examples of the latter (scientist in residence)?

> I think there are many reasons, from administrative, and from double CV,
> and many more. However, i would like to focus in one: artist in residence
> are asked to do art. However, sciencits in residence are asked to do art.

Why would a scientist be asked to "do art?" I am working with an art museum,
and I am most definitely doing science within the context of art.

-paul

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Re: [Yasmin_discussions] Why artists residencies in field stations and labs can benefit scientific research

Thanks Roger. I do think we are all ultimately trying to get to the
scientific intellectual merits of art/sci collaboration. I agree that it is
really important to find these examples to use to support and defend
art/sci collaboration. The Root-Bernsteins are the clear leaders in teasing
out examples of fundamental discovery enabled by these interactions. I'm
really happy that Michelle is part of this discussion!

It seems to me that there are three ways that this intersection can happen:

1. *When the scientist is also the artist*. Root-Bernsteins point out
that Nobel-winning scientists are 15-25 times more likely than their
non-winning colleagues to engage in the arts as an adult. They catalog
many examples
<http://sagehen.ucnrs.org/blogs/Art+Reserves/2014/Root-Bernstein.pdf>,
including the commonly-cited Einstein, Feynman and Da Vinci. Another I'd
suggest is Ed Belbruno
<http://fsml-art.blogspot.fr/2015/05/documentary-about-scientist-using-art.html>
.
2. *When the scientist is inspired by art*. Again, the Root-Bernstein's
identify many examples
<http://fsml-art.blogspot.fr/2015/07/great-article-on-science-that-was.html>,
including 3D DNA folding techniques descried from Escher tesselations,
origami folds used to deploy cardiac shunts, and the Jacquard loom: the
world's first programmable device, which produced the world's first digital
image, and still forms the intellectual foundation of every programmable
device on the planet today.
3. *When the artist and the scientist work together*. One example is the
movie "Interstellar"
<http://fsml-art.blogspot.fr/2015/02/art-and-science-intersect-productively.html>,
where CGI techniques created tools for studying cosmology. This third case
raises the question of whether scientific discovery happens best when the
collaborative goal is art, or when the goal is science. Anyone have
thoughts on that?

FF


On Sat, Oct 31, 2015 at 7:17 PM, roger malina <rmalina@alum.mit.edu> wrote:

> Yasminers
>
> I would like to follow up on Faerhten Felix's post on yasmin which i
> have appended below :
>
>
> http://yasminlist.blogspot.com/2015/10/re-yasmindiscussions-why-as-scientist.html
>
> that states:
>
> As a field station manager, not a scientist, I would point out that some of
> our scientists work with artists simply because we ask them to.
>
> and she points out that there is a growing movement to host artists in
> residence in scientific field stations (which is a further development of
> the earlier artists in labs
> movement) and she details her interest and benefits to science below-
> emphasising the
> 'broader impacts' argument
>
> guillermo munoz in a later post (also appended below) says
>
> So, i would like to ask to the artscientists (or sciartists), which is your
> experience in art/sci residencies?, how do you develop art/science along
> these residencies?
>
> As a scientist I have been very involved in setting up artists residencies
> in science labs over
>
> the years- and some of the outcomes i think have been important, and
> there are a number of other scientists projects with artists that have led
> to scientific
> discoveries that would not otherwise have occurred:
>
> So a second reason ( after my example of the crisis in representation,
> and Faerthen's broader impacts benefit ) is the argument that art-science
> collaborations can lead to
> scientific discoveries that would not otherwise have been made- this is of
> course a subset of general creativity and
> discovery theory that has demonstrated that heterogeneous collaborations
> can be much more
> effective than homogenous collaborations-
>
> I would suggest as exemplars:
>
> the work of complexity scientist james crutchfield with artist and
> composer david dunn that led to the discovery of mechanisms accelerating
> the spread of fire in forests due
> to sub sonic sound generared by trees and contibuting to the emerging
> discipline
> of acoustic ecology
>
> http://www.acousticecology.org/dunn/solit.html
>
> the work of environmental scientist Stanley Sessions with Artist
> Brandon Ballangee
>
> http://brandonballengee.com/science-articles/
>
> on the cause of deformation of amphibians
>
> As a side note i would mention that there is substantial evidence
> arising from patents filed by artists as is being compiled by Robert Thill:
>
> http://malina.diatrope.com/2010/08/28/patents-filed-resulting-from-art-science-collaborations/
>
> do yasminers have other examples of scientific dicoveries as a result
>
> of scientists collaborating with artists ? i my view such exemplars
> are an important element
>
> to motivating artists residencies in field stations as Faerthen advocates
>
> and as Guillermo points out a similar rational could motivate
> scientists residencies in art organisations
> (of which there have been very few)
>
> as a post-script - yes i am a bit uncomfortable my framing which creates a
> somewhat artificial binary opposition of art and science-which i have
> argued against elsewhere
>
> Roger Malina
>
>
--
Faerthen Felix, Asst. Manager
UC Berkeley
Sagehen Creek Field Station
P.O.Box 939
Truckee, CA 96160
(530) 587-4830
ffelix@berkeley.edu
http://sagehen.berkeley.edu
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[Yasmin_discussions] Why artists residencies in field stations and labs can benefit scientific research

Yasminers

I would like to follow up on Faerhten Felix's post on yasmin which i
have appended below :

http://yasminlist.blogspot.com/2015/10/re-yasmindiscussions-why-as-scientist.html

that states:

As a field station manager, not a scientist, I would point out that some of
our scientists work with artists simply because we ask them to.

and she points out that there is a growing movement to host artists in
residence in scientific field stations
( which is a further development of the earlier artists in labs
movement) and she

details her interest and benefits to science below- emphasising the
'broader impacts' argument

guillermo munoz in a later post (also appended below) says

So, i would like to ask to the artscientists (or sciartists), which is your
experience in art/sci residencies?, how do you develop art/science along
these residencies?

As a scientist I have been very involved in setting up artists
residencies in science labs over

the years- and some of the outcomes i think have been important, and
there are a number

of other scientists projects with artists that have led to scientific
discoveries that would not otherwise

have occurred:

So a second reason ( after my example of the crisis in representation,
and Faerthen's broader impacts
benefit ) is the argument that art-science collaborations can lead to
scientific discoveries that would not otherwise
have been made- this is of course a subset of general creativity and
discovery theory that
has demonstrated that heterogeneous collaborations can be much more
effective than
homogenous collaborations-

I would suggest as exemplars:

the work of complexity scientist james crutchfield with artist and
composer david dunn that led to the

discovery of mechanisms accelerating the spread of fire in forests due
to sub sonic

sound generared by trees and contibuting to the emerging discipline
of acoustic ecology

http://www.acousticecology.org/dunn/solit.html

the work of environmental scientist Stanley Sessions with Artist
Brandon Ballangee

http://brandonballengee.com/science-articles/

on the cause of deformation of amphibians

As a side note i would mention that there is substantial evidence
arising from patents

filed by artists as is being compiled by Robert Thill:
http://malina.diatrope.com/2010/08/28/patents-filed-resulting-from-art-science-collaborations/



do yasminers have other examples of scientific dicoveries as a result

of scientists collaborating with artists ? i my view such exemplars
are an important element

to motivating artists residencies in field stations as Faerthen advocates

and as Guillermo points out a similar rational could motivate
scientists residencies in art organisations
(of which there have been very few)

as a post-script - yes i am a bit uncomfortable my framing which
creates a somewhat artificial
binary opposition of art and science-which i have argued against elsewhere


Roger Malina

here is faerthen's post:


Most (if not all) scientists grasp the importance of outreach about their
work, though they often have no capacity to effect it. Being able to plug
into something we are already doing is really low-hanging fruit for them,
which they can later use in their grant reporting.

Field stations have always served to connect people who otherwise wold
never work together. As we look to increase participation in art/science
collaborations, I think it's important to look at ways to institutionalize
these relationships, rather than just hope they form spontaneously. The
Broader Impacts requirement from NSF (and other granting institutions) is a
clear and resistance-free path to engage scientists with artists. Once that
initial contact happens, the Intellectual Merits of these collaborations
will emerge organically...at least that's what we're banking on!

Faerthen Felix, Asst. Manager
UC Berkeley
Sagehen Creek Field Station

ffelix@berkeley.edu
http://sagehen.berkeley.edu


here is guillermo's post


Dear all,

I think, one of the signals of the enhancement of the art/sci practices
comes from the multiple residences that are emerging nowadays. This
residences helps a lot to improve the ideas, the energy and to build a
better configuration of the in-puts and out-puts from art/sci practice. I
think i can find two important points related to this art/sci residences:

1) Even artist residence in science lab is a common feature nowadays in
many places, it is not so obvious to find scientist residences in art labs.
I think there are many reasons, from administrative, and from double CV,
and many more. However, i would like to focus in one: artist in residence
are asked to do art. However, sciencits in residence are asked to do art.
This is an antisymmetric situation. I know that this is a broad
simplification, but at the same time i feel that there are some issues
there.

2) Cultural differences. It is not the same to do this kind of art/sci
residences in different countries. However, the goal is that large
institutions like National Academic of Sciences, or Europe 2020 program now
included this art/sci collaborations in many fields. I recieve this with
great enthusiasm, because even my country (Spain) has a not ideal culture
for interdisciplinarity actions (we have a large tradition for static
academia), we are starting to observe programs for art/sci, like this:

http://www.technarte.org/start/

This means that, as Roger said, we are living good days for art/sci
collaborations.

So, i would like to ask to the artscientis (or sciartists), which is your
experience in art/sci residencies?, how do you develop art/science along
these residencies?, How do you managed this information?, How do you
incorporated art/science to your research subject after the residencies?
_______________________________________________
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Re: [Yasmin_discussions] why as a scientist do i invest time and energy in art-science activities

Thanks for the great discussion, everyone! I really enjoyed Roger's reply.

As a field station manager, not a scientist, I would point out that some of
our scientists work with artists simply because we ask them to.

Most (if not all) scientists grasp the importance of outreach about their
work, though they often have no capacity to effect it. Being able to plug
into something we are already doing is really low-hanging fruit for them,
which they can later use in their grant reporting.

Field stations have always served to connect people who otherwise wold
never work together. As we look to increase participation in art/science
collaborations, I think it's important to look at ways to institutionalize
these relationships, rather than just hope they form spontaneously. The
Broader Impacts requirement from NSF (and other granting institutions) is a
clear and resistance-free path to engage scientists with artists. Once that
initial contact happens, the Intellectual Merits of these collaborations
will emerge organically...at least that's what we're banking on!

FF


--
Faerthen Felix, Asst. Manager
UC Berkeley
Sagehen Creek Field Station
P.O.Box 939
Truckee, CA 96160
(530) 587-4830
ffelix@berkeley.edu
http://sagehen.berkeley.edu
_______________________________________________
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[Yasmin_discussions] why as a scientist do i invest time and energy in art-science activities

Hello artscientists !!,

Now we are ending this first week of post and discussion, i would like to
share a brief summary from all of your thoughts and ideas. I made a short
list from your answers. So, for a scientist art/sci helps to:

Epistemological subjetcs:

- Define what is science.
- Include our ideology to understand reality: One single True Vs Shared
Trues
- To include dialogue in the knowledge process.
- To think about labels/frontiers.

Enrich our science practice/disruptive thinking:

- See the same problem from a Novel perspective.
- To make scientific discoveries that would not otherwise be made.
- To develope more rich research.

Include social aspect to research:

- Include science context, as context is science.
- Public understanding of science.
- Public engagement.
- Citizen Science.
- Ethical perspective.

Crisis of representation:

- Develop Visualization and sonification techniques.
- Understand multidimensional data.
- Build cognitive models.
- New methods for data representation.

Educational issues/crisis of the academia:

- Most of we had an open education in the early stages, which is
transdisciplinary. Art/Sci helps to develope this early state education.
- Art/Sci helps to enhance the expresion of wonder.
- Enthusiasm has been muted by rigid Academies. To enhance Enthusiasm.
- To be a scientis by day/artist at night. Multidimensional education.

Please, don´t read this as a closed lits. For sure we can add more items,
and sections. This is only a sumary, not the only one, just th eone that i
can make it with friday afteroon time ;-) I inviate to all of you to
develop this list with more and more items.

Best,

Guillermo.
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Re: [Yasmin_discussions] why as a scientist do i invest time and energy in art-science activities

Dear all,

I think, one of the signals of the enhancement of the art/sci practices
comes from the multiple residences that are emerging nowadays. This
residences helps a lot to improve the ideas, the energy and to build a
better configuration of the in-puts and out-puts from art/sci practice. I
think i can find two important points related to this art/sci residences:

1) Even artist residence in science lab is a common feature nowadays in
many places, it is not so obvious to find scientist residences in art labs.
I think there are many reasons, from administrative, and from double CV,
and many more. However, i would like to focus in one: artist in residence
are asked to do art. However, sciencits in residence are asked to do art.
This is an antisymmetric situation. I know that this is a broad
simplification, but at the same time i feel that there are some issues
there.

2) Cultural differences. It is not the same to do this kind of art/sci
residences in different countries. However, the goal is that large
institutions like National Academic of Sciences, or Europe 2020 program now
included this art/sci collaborations in many fields. I recieve this with
great enthusiasm, because even my country (Spain) has a not ideal culture
for interdisciplinarity actions (we have a large tradition for static
academia), we are starting to observe programs for art/sci, like this:

http://www.technarte.org/start/

This means that, as Roger said, we are living good days for art/sci
collaborations.

So, i would like to ask to the artscientis (or sciartists), which is your
experience in art/sci residencies?, how do you develop art/science along
these residencies?, How do you managed this information?, How do you
incorporated art/science to your research subject after the residencies?

Guillermo.
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[Yasmin_discussions] why as a scientist do i invest time and energy in art-science activities

yasminers

this is roger malina chiming in with one of my reasons as a scientist engaging
and investing time in what are now called art-science activities

My training has been in physics, optics, astrophysics (pHD) and my scientific
activities have been in space astrophysics ( building space telescopes
and analysing
the data to make discoveries in a newly opened band of the light
spectrum- the EUV).
I also have training and experience in research management and administration.
I need to also admit that I am an aethist and a 'positivist' in that
as an astronomer
I think there is an external world to us that we can understand using
the scientific method

I have a long history of art science activities, that originated in a
family business which
i inherited- the leonardo journal.

Three years ago i changed careers from astrophysics to art-science
research. Our ArtSciLab ( http://artscilab.utdallas.edu/ )
is engaged in a project that involves scientists and artists
collaborating to a) help the scientists
make discoveries that they would not otherwise make, b) and the
artists developed new forms
of artistic expression that appropriate scientific knowldge and data
as an artistic raw material.

The current team includes a three neurobiologists, two composers, a
sound artist, two game designer
, an art and technology PhD student, a researcher in user
experience design and myself. Oh yes an an art historian. We are
developing data exploration tools, and also developing
data sonification as a technology of attention and performing the data.

I am personally convinced that we are in a 'crisis' of
"representation", in that as scientists we are
still using data illustration and visualisation techniques, and data
presentation and exploration tools,
that are based on paradigms developed over the last two centuries (
edward tufte is the end of this line)
and that with our new relationship to large data sets we are dealing
with a situation that requires new
methods. Dan Boorstin called this an epistemological inversion- we are
now 'meaning poor"
and 'data rich". I think that there is an emerging generation of
artists and humanities scholars that
represent a new data expertise that scientists dont have ( my
colleague max schich , the art historian,
http://www.schich.info/en/welcome.htm published an article in science
that is an examplar
http://atec.io/journal/tag/max-schich/ )-

another exemplar is artist and designer Santiago Ortiz: http://moebio.com/
who has developed a whole tool kit and approaches :
http://ahcncompanion.info/abstract/narratives-in-network-visualization/

scientists have no choice but to collaborate with these artists,
designers and humanities scholars to solve their problems in data representation

so the reason that as a scientist i invest time in energy in art
science collaborations is:
a) to make scientific discoveries that would not otherwise be made
b) create contemporary art works that use scientifc data and knowledge
as the raw material for
art making that reflects our current cultural realities

roger malina
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[Yasmin_discussions] þakka þér svo mikið, elskan

Dear John,

Basically, everyone on a list like this is trying to survive in the multiple contexts (and contests) of systems that aren't really suited to what we seek.

Suitably edited, Egil Skalagrimsson speaks across the centuries:

"Unless I offer
The praise I owe
A fraud and a failure
I'll seem to my friend;

…

What most men know
I mention first,
Everyday words
To all men's ears;

…

So I rise up early
To erect my rhyme,
My tongue toils,
A servant at his task

…

I pile the praise-stones,
The poem rises,
My labor is not lost:
long may these words live!"

The Beatles reply:

"And when I awoke I was alone
This bird had flown
So I lit a fire
Isn't it good … Old Norse wood?"

Please bear in mind that Egil's grandfather was a werewolf.

Ken Friedman

—

> On 2015Oct29, at 13:22, John Hopkins <jhopkins@neoscenes.net> wrote:
>
> þakka þér svo mikið, elskan

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[Yasmin_discussions] PATIENCE: why scientists - netiquette and e-dialogue protocol

colleagues

we have had a great response to our question asking
scientists why they engage in art science practices

so we need skills at asynchronous at on line dialogue !!

a) please be patient- we will approve a post about every 8 hours
so people have time to read ! so be patient-the post you have submitted
will be approved in the next couple of days

b) please try and treat ONE topic in a given email- otherwise things diverge
impossibly

c) if you just reply to an email to post you might delete the appended material
that is not relevant to the point you are making

d) an easy way to review posts ( if you dont have the weekly digest
option enabled
is to review all the posts at http://yasminlist.blogspot.com/- they
can be easier to read
in that format

And please do invite other scientists you know to tell us why as scientists they
engage in art-science practices

roger malina
for yasmin
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Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

I engage in Art-Science to reposition science within the context of art. Artists are always among the first to
employ technology in their work—the technologies allow them new forms of expression. My work is exactly
the opposite—to begin with a work of art, and then surface all of the normally hidden foundations of
technology: mathematics, science & engineering. In 2000, I called this "aesthetic computing" but admittedly,
that term now seems broader than my singular mission.

I agree (mostly) with Frieder, but to clarify. Computer Science is not considered a science in the
empirical sense, although I argued last year that it should be: http://dl.acm.org/citation.cfm?id=2601391
Mathematics is the queen of the sciences (Gauss) and so the uber-science. Look around you and you will
see numbers, sets, functions, and relations everywhere (which is to say, set theory). Unfortunately, mathematics
curricula can be dry and disconnected from the real-world. However, I am happy to observe a fair rich set of
literature on math/art (consider Emmer's two books as exemplars).

My latest collaboration is with an art museum. My purpose is to show that STEM, and in particular systems
modeling, is deep within the museum and its objects. I love museums and the art therein, but think that this
enjoyment can be a way to introduce what I do as a scientist to museum-goers. See my blog for developments
in this area: creative-automata.com

So, I hope to introduce more people to what I do in systems modeling and computer science but in a new way situated
within art.

-paul

Paul Fishwick, PhD
Chair, ACM SIGSIM
Distinguished University Chair of Arts, Technology, and Emerging Communication
Professor of Computer Science
Director, Creative Automata Laboratory
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
Home: utdallas.edu/atec/fishwick
Blog 1: creative-automata.com
Blog 2: modelingforeveryone.com
LinkedIn: metaphorz
Twitter: @representationz

> On Oct 29, 2015, at 5:52 AM, Guillermo Muñoz <m.m.guillermo@gmail.com> wrote:
>
> Hello,
>
>
> I´m Guillermo Muñoz and I really happy to co-moderate this discussion.
> Actually i´m post-doctoral researcher in the cross disciplinary area
> between quantum-optics, nanostructured semiconductors and fiber optics
> engineering. I´m interested in photon correlation experiments, for single
> photon emitters, entangled photons pairs and photon indistinguishability.
> This is a fascinating researh area that cover fundamental physics
> (Gendanken experiments, Bell inequallities, basic quantum mechanics
> principles) and applied physics (quantum computing, quantum cryptography,
> quantum teleportation). In this area we are trying to push semiconductor
> technology to obtain more efficient devices for these quantum technologies
> (building high efficient single photon and entangled photon diodes), and
> taking the advantage to include fiber optics engineering to develop new
> spectroscopy tools (Fiber Bragg Gratting filterings and interferomenters,
> multicore spectroscopic tools for entanglement swapping, ...). In my
> secondary school, i was not really interested in Physcis and Chemistry,
> because all of these subjects were terrible descontextualized to any human
> and social issues. We were studying rules, but anything about why arose
> these rules and not others. In fact, I decided to study Physics during my
> philosophy lectures, because there we have access to all the context (we
> used to visualize COSMOS and after we had a discussion about the chapter).
> So, I always needed science in a contextualized fashion (historial,
> humanistic, emotive, social, political). So, some (not all) of the ideas
> because I included art/sci in my research are:
>
>
> 1) To enrich my science work. In some way similar than Andrew Pelling wrote
> in past August Leonardo:
>
> *"Indeed, enormous emphasis is being placed on the importance of
> "interdisciplinary" in scientific inquiry. However, this notion is
> generally accepted to be limited to the interactions between specialized
> scientific disciplines alone. Interdisiciplinarity is also often praised as
> an approach to solve specific problems more effectively. However, this
> utilitarian valuation has little room for curiosity-driven research. (…)
> Collaborations with diverse scientific disciplines, artists and social
> scientists have facilitated the movement of an international contingent of
> people within and through our lab. This has fostered a culture in which
> open questions and experiments are developed, often falling outside the
> accepted norms of scientific practice. Equally important, broader
> discussions are also occurring in the lab about the environmental, ethical,
> societal and scientific implications of particular experiments or
> directions of inquiry"*
>
> 2) So, art/sci interaction help to me to include social aspects to my
> research, to include new perspectives and ideas, to develop better
> visualization/sonification techniques, and so on ... and afterwards i
> understood that, in this way may be i develop art. So, if i will be an
> artist, is because i will be a scientists. Even it is good to have
> separated disciplines, but communicated, networked. My intentions nowadays
> is to develop my own research group (i´m writing projects for ERC starting
> grant ans so on), and i want to include phylosophers, artists, poets as
> permanent researchers (just joined to the conventional physics
> researchers); to include students exchanges (i will send my students to
> art/sci residences, included in the more traditional exchange programs
> (science stayings, summer shools, congress, …), I will include social
> programs: citizen science and public engagement programs ..., but all of
> these contextualized to study Quantum Optics in Nanostructured
> Semiconductors. I know that this has risks, but not to do it has another
> kind of risks. It is very nice that we are having a good time for the
> art/sci perception, and may be is a good time to do it.
>
> 3) Finally, i understand science practice in someway as a political action.
> I like a lot this sentence from Royal Society of London (Nullius in
> Verba)), so kind of political standing in the world*.* In my point of view,
> the deepest implications for these kind of collaborations is to learn how
> to "open the eyes", more and more, or in other words, how to "enhance our
> ears", make us more sensible, doing collaborations to include more
> sophisticated inputs and, to brake rules*. *This is kind of disruptive
> thinking.
>
> I´m sure that art/sci collaborations helps a lot to enhance this disruptive
> thinking, to include social and political issues, to develop more
> sophisticated visualization/sonification techniques (the basic for
> experimental work), even, as we will discuss, this need a lot the concept
> of translation, as we don´t speak same "languajes". May be, nowadays we
> approached languajes (we use quite similar technologies), but still be
> different "dialects".
>
> Best,
> Guillermo
> _______________________________________________
> 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
>
> SBSCRIBE: 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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> 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 read the posts on a blog go to http://yasminlist.blogspot.com/

_______________________________________________
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Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

My formal training is in cell biology, but now I work on Greenhouse Gas
inventories to identify opportunities to mitigate gases in agronomic
systems. I make art, because frankly, science does a poor job expressing
Wonder. Didn't we all become scientists (or artists) because of wonder?
When I read my first JCB article, I cried. While I will never be able to
be free of the scientific method which I fundamentally adore having frame
my life (but which sometimes feels like it hinders my art practice -or an
idea of it), I make art because I want others to 'see' or 'feel' or
'sense' what is wonderfully understood by the hand of science. This whole
science-art thing makes me crazy. But the pursuit of wonder, that is
where it's at. That is the juice that makes science, art, literature
dazzle. And when that wonder translates, it nestles into our hearts,
helping us to understand the world, ourself, and our own special ethics of
being within it.

I make science-based conceptual art. To note, it is very hard for me to
make art with my current scientific research. Most of my art references
something I have done, learned from others. I do think there was a
critical moment when I gave up being a Scientist - it involved the
scientifically-damned word 'metaphor' - and settled into being instead a
scientist and an artist. As a result, being an artist doesn't really
translate as a professional-worry in my science career. I will say
though, it's very hard to allow myself to 'play' artistically with my
science research that I am trying very hard to be accurate about (not to
be read as lacking creativity, just a very different goal). This
inability to make art with my current research used to bother me, but my
art practice has become its own inquiry. Now mostly, my struggle is about
time management, shifting gears and passions.


On 10/28/15 11:13 PM, "yasmin_discussions-bounces@estia.media.uoa.gr on
behalf of roger malina" <yasmin_discussions-bounces@estia.media.uoa.gr on
behalf of rmalina@alum.mit.edu> wrote:

>Yasminers
>
>As part of our discussion on emerging topics for the SEAD study 5 year
>update
>https://seadnetwork.wordpress.com/
>
>We ask the question
>
>Why do Scientists engage in Art-Science practices today?
>
>Moderated by Guillermo Munoz and Roger Malina
>Colleagues
>
>Are you a scientist engaged in art-science practices ? Why do you invest
>
>time and energy? We hope the scientists on this list will send us a
>paragraph or two max
>
>explaining why as scientists they are engaged in art-science practices.
>
>
>At the Yasmin 10th anniversary in Valencia last week, organized by
>Guillermo
>
>Munoz, we had a chance to discuss many topics. One topic that came up is
>
>the growing number of research scientists engaged in art-science
>practices.
>
>Guillermo is a young physicist in the nano sciences, and I am a a mid
>career
>
>astrophysicist now become an art-science researcher. Why are we as
>scientists
>
>engaged in art-science practices ? For young, and older, scientists
>this can present serious
>
>career risks since many science establishments are very conservative
>and disciplinary
>
>and do not see the value of such activities.
>
>As a result we have put together an initial small informal network of
>scientific
>
>colleagues who have professional activities in the arts:
>
>
>Wendy Silk- Environmental Science, Susan Eriksson- Geosciences
>Robert Root Bernstein Physiology, Roger Malina Astronomy, Guillermo
>Munoz Nano Science
>Francois Joseph Lapointe molecular biology, Dhru Deb Oncology,
>Michelle Root Bernstein: Bio Scientist
>
>We have named our collective the ³Scientists Mercado Central Exchange¹
>
>because the idea was born during a meal at the central market in Valencia.
>
>The discussion will take place on the YASMIN discussion list: subscribe at
>
>http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
>You can also follow the discussion without participating at our blog site
>
>http://yasminlist.blogspot.com/
>
>We welcome short one/two paragraph posts from all scientists in this list
>explain your scientific activities, your art science ones and tell us why
>you do this !
>
>Guillermo Munoz and Roger Malina on behalf of the Scientists
>Mercado Central Exchange
>
>_______________________________________________
>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
>
> SBSCRIBE: 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").
>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 read the posts on a blog go to
>http://yasminlist.blogspot.com/


_______________________________________________
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Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Hello,

I'm Meredith Root-Bernstein,

My science-art activities started out, as a child, as a unified and
wholistic approach to represent the culture and environment of an imaginary
hunting and farming people living on a large island. This was an artistic
activity (since the subject was imaginary) that both created and
commentated artifacts and data, resembling my childhood understanding of
ethnography and natural history. Since then my artistic activities largely
diverged from my scientific training in conservation, ecology and
anthropology. I have pursued at an amateur level creative writing, print
making and tango (and now the related kizomba). Many of my prints, but
almost none of my writing, represent animals and plants that I study, while
tango is not really "about" things exterior to itself. However, all three
have given me insights into the nature of pattern, narrative, repetition,
motor learning, body thinking, interaction, skill, variation and
aesthetics. I find that these reflections are relevant to my research on
environmental values, traditional practices and their relation to
environmental dynamics and conservation, as well as community ecology and
niche construction. Some insights are explicit, others are more a sense
that, given my own knowledge of the acquisition and hexis of practice,
things should work in one way and not another.

Recently I have had the opportunity to collaborate directly with an
established artist, Cecilia Vicuña. We were brought together by one of my
colleagues in my current interdisciplinary research group (Aarhus
University Research on the Anthropocene) and asked to 'possibly do
something' to go along with an art show that was being organized. After
some discussions and a field trip together, we eventually decided to create
a very abstract work of art which was a kind of game about non-human
interactions and evolving ecologies. This was lots of fun. We presented
it at the conference that went along with the art show. I am now trying to
work out what to do with this experience within an academic context.
Secondly, I am trying to convince my colleagues in AURA to create a
ritual/dance as a project output to represent our research interests.
Dance, due to its physicality and transformative power, seems like an
appropriate medium given our joint interests in wayfinding, place-making,
actor-network theory and "more-than-human" "becoming-together." I also
think it could be in a sense more analytically rich than a normal academic
paper rehashing the same theoretical ground. However, enthusiasm has been
muted. So I am thinking about achieving this goal through participative
means (from ethnography and conservation practice) to form an interface
(me) between my colleagues and a group of professional dancers. These
attempts to integrate art and science in a single "product" suggest to me
some problems I will have going forward: figuring out how to present in a
secondary format comprehensible to academics with no education in the arts
what I have learned from the art-science activity; and finding
collaborators who understand how to do the translations I want to do.
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin

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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Hello,

I´m Guillermo Muñoz and I really happy to co-moderate this discussion.
Actually i´m post-doctoral researcher in the cross disciplinary area
between quantum-optics, nanostructured semiconductors and fiber optics
engineering. I´m interested in photon correlation experiments, for single
photon emitters, entangled photons pairs and photon indistinguishability.
This is a fascinating researh area that cover fundamental physics
(Gendanken experiments, Bell inequallities, basic quantum mechanics
principles) and applied physics (quantum computing, quantum cryptography,
quantum teleportation). In this area we are trying to push semiconductor
technology to obtain more efficient devices for these quantum technologies
(building high efficient single photon and entangled photon diodes), and
taking the advantage to include fiber optics engineering to develop new
spectroscopy tools (Fiber Bragg Gratting filterings and interferomenters,
multicore spectroscopic tools for entanglement swapping, ...). In my
secondary school, i was not really interested in Physcis and Chemistry,
because all of these subjects were terrible descontextualized to any human
and social issues. We were studying rules, but anything about why arose
these rules and not others. In fact, I decided to study Physics during my
philosophy lectures, because there we have access to all the context (we
used to visualize COSMOS and after we had a discussion about the chapter).
So, I always needed science in a contextualized fashion (historial,
humanistic, emotive, social, political). So, some (not all) of the ideas
because I included art/sci in my research are:

1) To enrich my science work. In some way similar than Andrew Pelling wrote
in past August Leonardo:

*"Indeed, enormous emphasis is being placed on the importance of
"interdisciplinary" in scientific inquiry. However, this notion is
generally accepted to be limited to the interactions between specialized
scientific disciplines alone. Interdisiciplinarity is also often praised as
an approach to solve specific problems more effectively. However, this
utilitarian valuation has little room for curiosity-driven research. (…)
Collaborations with diverse scientific disciplines, artists and social
scientists have facilitated the movement of an international contingent of
people within and through our lab. This has fostered a culture in which
open questions and experiments are developed, often falling outside the
accepted norms of scientific practice. Equally important, broader
discussions are also occurring in the lab about the environmental, ethical,
societal and scientific implications of particular experiments or
directions of inquiry"*

2) So, art/sci interaction help to me to include social aspects to my
research, to include new perspectives and ideas, to develop better
visualization/sonification techniques, and so on ... and afterwards i
understood that, in this way may be i develop art. So, if i will be an
artist, is because i will be a scientists. Even it is good to have
separated disciplines, but communicated, networked. My intentions nowadays
is to develop my own research group (i´m writing projects for ERC starting
grant ans so on), and i want to include phylosophers, artists, poets as
permanent researchers (just joined to the conventional physics
researchers); to include students exchanges (i will send my students to
art/sci residences, included in the more traditional exchange programs
(science stayings, summer shools, congress, …), I will include social
programs: citizen science and public engagement programs ..., but all of
these contextualized to study Quantum Optics in Nanostructured
Semiconductors. I know that this has risks, but not to do it has another
kind of risks. It is very nice that we are having a good time for the
art/sci perception, and may be is a good time to do it.

3) Finally, i understand science practice in someway as a political action.
I like a lot this sentence from Royal Society of London (Nullius in
Verba)), so kind of political standing in the world*.* In my point of view,
the deepest implications for these kind of collaborations is to learn how
to "open the eyes", more and more, or in other words, how to "enhance our
ears", make us more sensible, doing collaborations to include more
sophisticated inputs and, to brake rules*. *This is kind of disruptive
thinking.

I´m sure that art/sci collaborations helps a lot to enhance this disruptive
thinking, to include social and political issues, to develop more
sophisticated visualization/sonification techniques (the basic for
experimental work), even, as we will discuss, this need a lot the concept
of translation, as we don´t speak same "languajes". May be, nowadays we
approached languajes (we use quite similar technologies), but still be
different "dialects".

Best,
Guillermo
_______________________________________________
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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Hallo Mercado (is the use of this word in particular at all ironic in the
context of what is happening in the world?)

> We ask the question
>
> Why do Scientists engage in Art-Science practices today?

Again, I feel that my sense-making of this question sees something exclusive,
exclusionary.

I agree with Frieder's questioning of where his personal praxis fits in the
'system' that is being promoted here. I personally know his formidable praxis,
and myself, I would never label it because I know the unique space of individual
and idiosyncratic expression that it encompasses -- a label simply denegrates a
life praxis that crosses traditional boundaries of any sort.

I have an undergraduate degree in geophysical engineering. This technically is
not science. I did empirical field research, however, in the service of an
academic institution and several extractives corporations. But I've carried a
camera for more than 40 years. My two graduate degrees were in media in one form
or another. But my dissertation crossed over (among many spaces) systems theory,
chi energy, code, finance, war-making, and dialogue.

I now participate as a learning facilitator dealing with systems thinking,
ecological regeneration, and creative engagement while sustainably re-building
an old house, and taking long walks in the Sonoran Desert. This is not science
(or, shall I say that many scientists and *many* institutions (social power
centers) would give no credence to what I do).

I am creative working with a wide variety of technologies -- from the body to
the mind to telecommunications networks.

I have crossed many disciplinary boundaries in my life, many career titles, many
places, cultures, and institutions.

My discomfort with the discussion on Yasmin was echoed by comments that Bronac
made earlier this month. There are too many traditional metrics, languages,
approaches, and sought-after 'outputs' marketed in the discussion. The same kind
of institutionalized 'get-ahead' thinking/speaking that suffuses the SEAD list.

There are few interstices for creative dialogue, so, please:

"Can something be added that reflects this spirit of enquiry... that can
lead to creative leaps ....as in science Franklin and lightning
experiments.....dangerous but creating significant sparks...?" -- Bronac

in the stead of calls for insider conferences, white papers, and proposals.

Maybe I'm completely wrong with this appraisal, as an outsider, but as my
trans-disciplinary process absolutely does *not* pay attention to labels, as
soon as short-hand labels rise to prominence, to dominate conversation, imho,
the sparks get snuffed, and there is only same-old same-old remaining. I could
get this same-old same-old by becoming an (adjunct) faculty somewhere and
letting that pathological system bleed my soul. Speaking with Steina last month,
she reminded me of and re-emphasized to me the travesty of institutionalized
arts education ... þakka þér svo mikið, elskan!

I have come to believe that human encounter and open dialogue (as Martin Buber
and David Bohm wrote about) is a/the crux of reality. At the same time, when the
qualities of the interchange begin to simply reflect dominant social paradigms,
the potential of the encounter begins to decay into carrion of naked careerism,
finding the next hyped line of approach to institutional 'success'.

It could well be that transdisciplinarity stumbles because people come to the
table with lists of institutions, badges of honor, glittering social
affirmations, track-records of support of military-industrial-academic complexes
(US), or cultural industrial complexes (Europe), or both, and so on.

Open dialogue does not fall to that lowest-common denominator.

Perhaps it's best to arrive at the party 'sans portfolio'.

Some late-night reflections.

JH

--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins
grounded on a granite batholith
twitter: @neoscenes
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++

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Yasmin URL: http://www.media.uoa.gr/yasmin

SBSCRIBE: 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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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Scientist-by-day and artist-at-night, I am interested in understanding the
unpredictability of cancer and its therapeutic implications. I earned my
Ph.D. in Cancer Biology at the University of Texas Southwestern Medical
Center at Dallas, Texas, USA in summer 2015. I am also a student in the BA
(Hons) Illustration program at the University of Hertfordshire, UK. During
the day,
​
as post doctoral researcher,
​
I conduct experiments and analyses on the variability of lung cancer cells.
During the nights and the weekends, I work on art projects. For my
contribution to cancer research, I have won the CCSB Young Scientist Award
from Memorial Sloan-Kettering Cancer Center, New York, USA in 2013. My
cancer-art works are recognized and featured by Le Scienze, Rome, Italy,
National Academies Keck Future Initiative, California, Leonardo Journal,
MIT Press, Massachusetts, American Association for Cell Biology, Art
Science Collaborations, Inc., New York, Sci Art in America online magazine,
New York, and Creative disturbances project at UT Dallas, Texas, USA.

History of mankind is flooded with many examples of scientists engaged in
art-science collaborative practices. However, in various situations it is
not clearly articulated what scientists get out of such collaborations.
Below are the reasons why as a cancer researcher, I engage in art-science
practices:

1) To attain clarity of mind regarding a complex scientific problem - In
science, as I understand, finding the answer is easy if we know the right
question ask. In my experience, practicing art or collaborating with
artists at various levels helps me to see the same problem from a novel
perspective. Such practice helps in identification of specific experiments
to test a hypothesis.

2) To understand multidimensional data - Often studying a complex disease
such as cancer that is really combination of many diseases, needs
multidimensional data acquisition for various biological attributes shared
by the tumor cells. Representing such data in a different media helps to
find meaningful patterns.

3) To build cognitive models - When real-life data is not available on a
complex system, understanding of such system occurs via visualization of
cognitive models. I create those visualizations in traditional and digital
media. Such models may motivate creating a computer simulation of this
system's dynamics in specific experimental conditions.

4) To make general public understand science – Very few general people and
even scientists from other disciplines understand the complexity we deal
with in a therapeutic oncology lab every day. It is the responsibility of
scientists to communicate their science in many levels. Why would a
philanthropist fund cancer research if he/she does not even understand the
problem? Using art as a medium, I have successfully reached out to a larger
audience to communicate the complexity involved in first, understanding and
then, curing cancer.

5) To practice art because I want to
​ ​
practice art- art for the sake of art, autotelic art, l'art
​ ​
pour
​ ​
l'art. Honestly, it does not have to be about science all the time! I was
born to be both a scientist and an artist and I cannot live without
practicing both.It is not about investing time and energy when something
becomes larger than "you", when something becomes the purpose of your life!

Is there serious
​ ​
career risks since many science establishments are very conservative
​ ​
and do not see the value of such activities? Yes, of course! There is no
one to follow in such a novel career path. I have to journey through this
path believing only in myself. But, during this journey I meet visionaries
who support my choice. In summary, by combining principles of cancer
research and art I fulfill the purpose of my life.I pursue what I am
passionate about and what matters to me. I live the life I love.

Dhruba Deb, Ph.D.
Postdoctoral Researcher
Hamon Center for Therapeutic Oncology Research
University of Texas Southwestern Medical Center
Dallas, TX, USA

On Wed, Oct 28, 2015 at 10:13 PM, roger malina <rmalina@alum.mit.edu> wrote:
>
> Yasminers
>
> As part of our discussion on emerging topics for the SEAD study 5 year
update
> https://seadnetwork.wordpress.com/
>
> We ask the question
>
> Why do Scientists engage in Art-Science practices today?
>
> Moderated by Guillermo Munoz and Roger Malina
> Colleagues
>
> Are you a scientist engaged in art-science practices ? Why do you invest
>
> time and energy? We hope the scientists on this list will send us a
> paragraph or two max
>
> explaining why as scientists they are engaged in art-science practices.
>
>
> At the Yasmin 10th anniversary in Valencia last week, organized by
Guillermo
>
> Munoz, we had a chance to discuss many topics. One topic that came up is
>
> the growing number of research scientists engaged in art-science
practices.
>
> Guillermo is a young physicist in the nano sciences, and I am a a mid
career
>
> astrophysicist now become an art-science researcher. Why are we as
scientists
>
> engaged in art-science practices ? For young, and older, scientists
> this can present serious
>
> career risks since many science establishments are very conservative
> and disciplinary
>
> and do not see the value of such activities.
>
> As a result we have put together an initial small informal network of
scientific
>
> colleagues who have professional activities in the arts:
>
>
> Wendy Silk- Environmental Science, Susan Eriksson- Geosciences
> Robert Root Bernstein Physiology, Roger Malina Astronomy, Guillermo
> Munoz Nano Science
> Francois Joseph Lapointe molecular biology, Dhru Deb Oncology,
> Michelle Root Bernstein: Bio Scientist
>
> We have named our collective the "Scientists Mercado Central Exchange'
>
> because the idea was born during a meal at the central market in Valencia.
>
> The discussion will take place on the YASMIN discussion list: subscribe at
>
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> You can also follow the discussion without participating at our blog site
>
> http://yasminlist.blogspot.com/
>
> We welcome short one/two paragraph posts from all scientists in this list
> explain your scientific activities, your art science ones and tell us why
> you do this !
>
> Guillermo Munoz and Roger Malina on behalf of the Scientists
> Mercado Central Exchange
>
> _______________________________________________
> 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
>
> SBSCRIBE: 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").
> 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 read the posts on a blog go to
http://yasminlist.blogspot.com/
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Re: [Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Dear Scientists Mercado,

asking the question "Why do Scientists engage in Art-Science practices today?" immediately raises the question, am I a scientist? In what sense may some think, I am a scientist?

I guess, I am definiely engaged in art-science practices. That's what I tend to think. But I am wrong. I did, for some while, contribute a bit to computer science (I no longer do). But computer science is no science. It is engineering, if anything. There is, of course, a lot of mathematics in some sub-areas. Is mathematics a science? No, even though it is often considered to be.

Whatever I do (and as whatever it may be qualify to be classified), I do and did it for fun. For myself, my joy, my curiosity, my provocation.

Frieder Nake


--
Frieder Nake
University of Bremen, Informatik
P.O. Box 330 440, 28334 Bremen, Germany
nake@informatik.uni-bremen.de | 0421-218 64485 | @CarlCanary | www.agis.informatik.uni-bremen.de

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[Yasmin_discussions] Why do Scientists engage in Art-Science practices today?

Yasminers

As part of our discussion on emerging topics for the SEAD study 5 year update
https://seadnetwork.wordpress.com/

We ask the question

Why do Scientists engage in Art-Science practices today?

Moderated by Guillermo Munoz and Roger Malina
Colleagues

Are you a scientist engaged in art-science practices ? Why do you invest

time and energy? We hope the scientists on this list will send us a
paragraph or two max

explaining why as scientists they are engaged in art-science practices.

At the Yasmin 10th anniversary in Valencia last week, organized by Guillermo

Munoz, we had a chance to discuss many topics. One topic that came up is

the growing number of research scientists engaged in art-science practices.

Guillermo is a young physicist in the nano sciences, and I am a a mid career

astrophysicist now become an art-science researcher. Why are we as scientists

engaged in art-science practices ? For young, and older, scientists
this can present serious

career risks since many science establishments are very conservative
and disciplinary

and do not see the value of such activities.

As a result we have put together an initial small informal network of scientific

colleagues who have professional activities in the arts:

Wendy Silk- Environmental Science, Susan Eriksson- Geosciences
Robert Root Bernstein Physiology, Roger Malina Astronomy, Guillermo
Munoz Nano Science
Francois Joseph Lapointe molecular biology, Dhru Deb Oncology,
Michelle Root Bernstein: Bio Scientist

We have named our collective the "Scientists Mercado Central Exchange'

because the idea was born during a meal at the central market in Valencia.

The discussion will take place on the YASMIN discussion list: subscribe at

http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

You can also follow the discussion without participating at our blog site

http://yasminlist.blogspot.com/

We welcome short one/two paragraph posts from all scientists in this list
explain your scientific activities, your art science ones and tell us why
you do this !

Guillermo Munoz and Roger Malina on behalf of the Scientists
Mercado Central Exchange

_______________________________________________
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Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

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[Yasmin_discussions] re collaboration between organisations

yasminers

re the collaboration process in our list- I wonder what our experience with
the european consortia that form in order to propose for certain EU programs
whose funding requires this

are there really good examples of how a EU funded multi nationa consortium
in the arts science technology field have succeeded ?

Leonardo/OLATS in Paris led by Annick Bureaud has participated in
a number of such consortia- we are currently part of the Trust Me ,

I am an Artist: http://www.olats.org/trustme/trustme.php whose partners are

Waag Society (Amsterdam)
Brighton and Sussex Medical School (Brighton)
The Arts Catalyst (London)
Ciant (Prague)
Kapelica Gallery (Ljubjana)
Medical Museion (Copenhague)
Capsula (Helsinki) and Leonardo/Olats

The consortium is one its second round of funding- and its a collaboration
we have very much enjoyed being part of - and it clearly enables both
specific projects but knowledge and perspective sharing- that is a deeper
result

Collaborations between organisations that bridge the academic/university
to NGO/Mon profit/civil society divide are made possible when often
universities are resistance to such diverse collaborations

Some of the collaborations we were in EU funded initiatives proved
to be less stimulating- with short of cash organisations re labelling
previouls planned projects rather than new initiatives being spawned.

it is my impression that over the last 5-10 years there have been
a growth in successful inter-organisation platforms and projects

Leonardo has also worked succesfully through its LASER program
in collaborating with many organisations without exchange of funds,
but a typical partnership allowing two organisations to do something
they could not do alone- many art-science residencies for instance
are partnerships as is the Djerassi Foundation/Leonardo one now,
or the ArtsCatalyst Leonardo partnered flights into zero gravity for artists.
and the collaboration of our community with the European Space Agency

http://www.lasertalks.com/

The LASERs collaborations now involve USF,Stanford Univ, UC Berkeley,
Washington DC National Academy of Sciences, UCLA), UCSC, UC Davis),
University of Westminster, Umlauf Museum in Austin, Texas , Kansas State
Univ, University of Puget Sound in Washington State.

I suspect but cant document that because of the broad variety of disciplinary
practices and career tracks of individuals- inter organisation collaboration
is much more common that in more narrow disciplinary fields

So I think there is a 5-10 year increasing trend and I guess my
feeling overall that
these inter organisation consortia and collaborations have been an
important process to be re inforced in the future, that enables
collaboration across
the divides that often separate science/ engineering to arts/design/humanities
within univeristies or other large institutions that segment for instance into
science museums and art museums, when our community needs these
to be bridged for the art science art forms of the future

roger malina
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Re: [Yasmin_discussions] key processes to enable Enabling new forms of collaboration among sciences, engineering, arts, and design

Dear Bronac,

Your point is extremely important in our goal and outcomes-focused culture. It should be central to the discussion.

https://seadnetwork.wordpress.com

Thanks,

Robert



On Oct 11, 2015, at 2:20 PM, bronac@boundaryobject.org wrote:



Dear Roger

Whilst this is a thorough and one level convincing list, it feels rather
laden with functional outputs and may be in danger of eliding what often
drives the most transformational SEAD/STEAM endeavours -
i.e. doing something together because of

a shared spirit of enquiry and shared joy of discovery in spaces where
the frontiers and parameters are not yet defined

so what is missing are 'fascinating development challenges appealing to
artists and scientists alike'

this may be something like co-development of a new material
or working together on enriching language and conceptual understanding
in frontier zones such as nano-science where purpose and function will
follow imaginative leaps

We want to explore these challenges together not because they are
purposeful but because we don't yet know what may result....like not
being able to see across the mountain there is a desire to explore
frontiers for curiosity sake which is fine in itself...
Can something be added that reflects this spirit of enquiry... that can
lead to creative leaps ....as in science Franklin and lightning
experiments.....dangerous but creating significant sparks...?

B


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Re: [Yasmin_discussions] key processes to enable Enabling new forms of collaboration among sciences, engineering, arts, and design

Personally, I'd be interested to hear what others have to say about the impact of social media, PDA's, etc., on writing styles.
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Re: [Yasmin_discussions] key processes to enable Enabling new forms of collaboration among sciences, engineering, arts, and design

Dear All

it strikes me that this programme from last week all about a new
material and why its developers want to work with talented artists and
designers may help reinforce my point (and it is hopefully an enjoyable
listen)

https://www.mixcloud.com/Resonance/making-conversations-6th-october-2015/


all best wishes

B

On 2015-10-11 19:20, bronac@boundaryobject.org wrote:

> Dear Roger
>
> Whilst this is a thorough and one level convincing list, it feels rather laden with functional outputs and may be in danger of eliding what often drives the most transformational SEAD/STEAM endeavours -
> i.e. doing something together because of
>
> a shared spirit of enquiry and shared joy of discovery in spaces where the frontiers and parameters are not yet defined
>
> so what is missing are 'fascinating development challenges appealing to artists and scientists alike'
>
> this may be something like co-development of a new material
> or working together on enriching language and conceptual understanding in frontier zones such as nano-science where purpose and function will follow imaginative leaps
>
> We want to explore these challenges together not because they are purposeful but because we don't yet know what may result....like not being able to see across the mountain there is a desire to explore frontiers for curiosity sake which is fine in itself...
> Can something be added that reflects this spirit of enquiry... that can lead to creative leaps ....as in science Franklin and lightning experiments.....dangerous but creating significant sparks...?
>
> B

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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Re: [Yasmin_discussions] key processes to enable Enabling new forms of collaboration among sciences, engineering, arts, and design

Dear Roger

Whilst this is a thorough and one level convincing list, it feels rather
laden with functional outputs and may be in danger of eliding what often
drives the most transformational SEAD/STEAM endeavours -
i.e. doing something together because of

a shared spirit of enquiry and shared joy of discovery in spaces where
the frontiers and parameters are not yet defined

so what is missing are 'fascinating development challenges appealing to
artists and scientists alike'

this may be something like co-development of a new material
or working together on enriching language and conceptual understanding
in frontier zones such as nano-science where purpose and function will
follow imaginative leaps

We want to explore these challenges together not because they are
purposeful but because we don't yet know what may result....like not
being able to see across the mountain there is a desire to explore
frontiers for curiosity sake which is fine in itself...
Can something be added that reflects this spirit of enquiry... that can
lead to creative leaps ....as in science Franklin and lightning
experiments.....dangerous but creating significant sparks...?

B


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