There are a few problems which I'm constantly trying to grapple with - let
me preface this by saying that I went to a college (Hampshire College)
where you design your own curriculum and are only evaluated, not graded. In
most cases, every student has a cross-disciplinary education and graduates
knowing the LANGUAGE of multiple disciplines. Which brings me to my first
point, something many in this group have probably already discussed:
1. How do we get over the language problem? Even if (and they are) art and
science are compatible, their specialization has led to unique language (or
not unique, but with different meanings).
Should we devise a list of words, from each STEAM discipline, that everyone
'should' know the definition of? Is this even possible? I'm going to do
this for my upcoming STEAM course at Rutgers, I will be happy to share the
results with anyone interested (email@example.com).
and I think Marco's point about being weary is critical - specialization of
disciplines has led to crucial advancements in the fields, and we cannot
let the fields dilute one another, only enhance. So where is this line, and
who draws it? Is there an overarching guide to be found, or need it be on a
case by case basis always?
2. How can we get STEM to value art beyond the "invite the artist in to
paint the rocket" scenario?
I think this lies in emphasizing that all fields in STEAM rely on
creativity as their foundation. Recognizing this may lead to more evolved
viewpoints from each of the S T E A M for one another.
On Tue, Dec 20, 2016 at 3:21 PM, Marco Donnarumma <firstname.lastname@example.org
> Dear Yasminers, and all involved in the discussion,
> Thanks for launching and contribute to this discussion. I'll skip the info
> about me, for Roger was so kind to forward my previous email which included
> links etc. Here I'd like to follow up on a couple of points which emerged
> so far.
> While we may all agree that art and science contribute to create knowledge,
> it is important to recognize that they contribute to *different kinds* of
> Roger (2006) wrote one of my favourite quotes in this regard: 'Most science
> is normative and need make no appeal to extra disciplinary sources for its
> advancement'. The kind of knowledge an artist is interested and invested in
> is different from the one a scientist is concerned and work for. It is, of
> course, a matter of methodologies, history of practices, contexts and,
> perhaps more importantly, questions, which originate in and evolve through
> different means: artistic aesthetic and scientific hypothesis. An artist
> does not need a hypothesis to make a good artwork, in the same way as a
> scientist does not need an aesthetic to make good science.
> Thus, crucially, we should be wary of the re-staging of normative science
> in artistic endeavour, as well as the functional uses of art to enhance
> scientific or technological productivity; art & science is about 'working
> outside current paradigms, taking conceptual risks', citing Roger again.
> The unique possibility available to us today is that we can merge
> disciplines towards new practices of experimentation. This, however, has to
> be done mindfully, for it will likely result in contrasts and
> dissimilarities which are not easily defended and sometimes must be taken
> for what they are: inconsistencies. This is, after all, one of the aspects
> that contributes to the richness of art and science practice itself.
> Importantly, this does not signify an incompatibility between art and
> science; rather, it indicates an intrinsic complementarity, which we may
> trace back decades and centuries ago. Art & science, it was already hinted
> at, is nothing new. Through deeply transdisciplinary approaches, especially
> in education, such complementarity can be fully investigated, leveraged and
> developed further.
> This mode of transdisciplinarity, what Roger calls 'deep art-science
> coupling', requires the artist-researcher to have an in-depth knowledge of
> all the fields being engaged with. This is necessary to highlight
> contrasts, exploit complementary aspects and generate connections among
> science, art and theory.
> To conclude, what I find exciting today is that we (artists and scientists)
> have the overt possibility to formulate questions *together*; sometimes we
> even get money to do explicitly so. Being a practitioner artist with a
> scientific or transdisciplinary degree is less rare today than it was a few
> decades ago, but more importantly, we get more easily to sit together
> around the same table. So the issues become: Assuming that art and science
> work through and for different kinds of knowledge, how do we go about
> asking questions? How do we combine our methodologies in ways which are, at
> once, non-exclusive, respectful and risky?
> Malina, R.
> 2006. Welcoming Uncertainty: The strong case for coupling the contemporary
> arts to science and technology. In Artists-in-labs : Process of Inquiry, J.
> Scott, ed., P. 15. Wien: Springer
> Marco Donnarumma, Ph.D.
> *Performing bodies, sound and machines*
> Research Fellow at Universität der Künste Berlin
> *Human-Machine Configurations (2016-18)*
> Einsteinufer 43, Raum 212
> 10587 Berlin, DE
> m: +4915221080444
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