Re: [Yasmin_discussions] steam: redesigning science...aesthetic computing

> does anyone else have specific recommendations on how to start
> redesigning science using methods
> from the arts, design and humanities ?

Dear Roger and Yasminers,

Since I've seen that you were talking about BunB Conference, I would like to let you know that i will present my moistmedia fresco at the parallel dome art-show, that i-Dat is organising.
I am saying this because it concerns both the cultural heritage discussion and the computational aesthetic topic. Actually it is based in the thought of re-sign the de-sign, that is, acknowledging the sign (semio) and create, rather than a re-presentation, a computational manifestation.
Best
Katerina

Sent from my iPad

> On 30 Jul 2017, at 23:30, roger malina <rmalina@alum.mit.edu> wrote:
>
> YASMINERS
>
> Eddie Shanken will be on Paul Thomas' STEAM panel at
> Balance UnBalance and the Leonardo 50 bithday party
> in plymouth- he sends us this:
>
> Roger! I'm with you on redesigning science and made a similar sort of
> argument for my Oxford Encyclopedia of Aesthetics entry on aesthetic
> computing, drawing on your comments and Michael Kelly's responding to
> Fishwick's entry on the same topic for the Human Computer Interaction
> Design Encyclopedia.
>
> Will mull over more..Looking forward to other's provocations and our discussion!
>
> Cheers, Ed
>
> In case anyone is interested:
> Computing, Aesthetic (Oxford Encyclopedia of Aesthetics, 2014)
>
> https://artexetra.files.wordpress.com/2009/02/shanken-computing-aesthetic.pdf
>
> so here is one first stem to steam proposal for redesigning science,
> in this case computer science:
>
> follow the aesthetic computing manifesto which a number of us signed
>
> https://mitpress.mit.edu/books/aesthetic-computing
>
> In Aesthetic Computing, key scholars and practitioners from art,
> design, computer science, and mathematics lay the foundations for a
> discipline that applies the theory and practice of art to computing.
> Aesthetic computing explores the way art and aesthetics can play a
> role in different areas of computer science. One of its goals is to
> modify computer science by the application of the wide range of
> definitions and categories normally associated with making art
>
> https://www.dagstuhl.de/Reports/02/02291.pdf
>
> the manifesto itself is at:
>
> https://www.cise.ufl.edu/~fishwick/aescomputing/manifesto.pdf
>
> and is signed by
>
> Neora Berger Shem-Shaul Olav W. Bertelsen Jay Bolter Willi Bruns
> Annick Bureaud Stephan Diehl Florian Dombois Achim Ebert Ernest
> Edmonds Karl Entacher Paul A. Fishwick Susanne Grabowski Hans Hagen
> Volker Höhing Kristiina Karvonen John Lee Jonas Löwgren Roger Malina
> Jon McCormack Richard Merritt Boris Müller Jörg Müller Frieder Nake
> Daniela-Alina Plewe Jane Prophet Aaron Quigley Rhonda Roland Shearer
> Steven Schkolne Angelika Schulz Christa Sommerer Noam Tractinsky
>
>
> does anyone else have specific recommendations on how to start
> redesigning science using methods
> from the arts, design and humanities ?
>
> paul hope you will jump in !!
>
>
> roger
>
> Dr. Edward A. Shanken
> Associate Professor, Arts Division
> University of California, Santa Cruz
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
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>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
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Re: [Yasmin_discussions] steam: redesigning science...aesthetic computing

Paul

I think you make a very good point with : "Computer Science (CS) is a
case in point. We tend to association notations with the science.
Thiscreates an artificial emphasis on programming. At the center of CS
is understanding information processing and management"" I would add
meaning making driven by computational thinking.

to add to you line of argument:

In a special section of the July 7 Issue of Science Magazine,
researchers argue that AI is getting to the point where it can conduct
research ( http://science.sciencemag.org/content/357/6346/18 ). John
Bohannan calls this ' the cyberscientist' and states boldly : "for
interpreting data, generating hypotheses and planning experiments, the
ultimate goal is to get rid of human intuition". Whoa. The article
ends with a discussion on including AI systems as co authors, because
many of the ideas and conclusions were generated by the cyberscientist
not by the human, but in collaboration.

So we need artists, designers and humanities researchers, expert in
AI, to be part of redesigning science in this area. One example is Fox
Harrell, a true hybrid ( BFA arts, Master's degree in Interactive
Telecommunication from New York University, Ph.D. in Computer Science
and Cognitive Science ) has outlined an ambitious agenda in his
Phantasmal Media: An Approach to Imagination, Computation, and
Expression (MIT Press, 2013).
https://mitpress.mit.edu/books/phantasmal-media Harrell discusses,
"among other topics, the phantasm as an orienting perspective for
developers; expressive epistemologies, or data structures based on
subjective human worldviews; morphic semiotics (building on the
computer scientist Joseph Goguen's theory of algebraic semiotics".

So I agree with you, current discussions on computer science falsely
focus on code as the fundamental issues, rather than information
processing and meaning making. Peter Denning has been discussing these
issues and especially how computational thinking has been changing the
scientific method:
https://www.americanscientist.org/article/computational-thinking-in-science

So any other yasminers have suggestions on how
artists.designers.humanists can help redesign science and the
scientific method using stem to steam approaches ?

roger malina

>
> I've been working with the Nasher Sculpture Center in Dallas on an emerging approach of
> using "modeling" as an interpretive mechanism: art appreciation through modeling. By "modeling",
> I mean a variety of representations: from cognitive models (like semantic/concept maps) to
> models of geometry (e.g., meshes, scene graphs, flow graphs for generative geometry) and
> models of time (e.g., dynamic models). If the models can be made palatable to the average
> visitor, it may be possible to mix cultural relevance with learning how to model (which is integral
> to all aspects of education).
>
> Computer Science (CS) is a case in point. We tend to association notations with the science. This
> creates an artificial emphasis on programming. At the center of CS is understanding information
> processing and management. However, the information focus does not require a computer and
> can be learned through historical artifacts (stemming from the humanities). Being able to interpret
> the world through information also requires attention to detail (coming from the arts). The babbling
> brook and the flight of a dragonfly can be studied as information processes, but in CS, we are too
> focused on technology, and not enough on information.
>
> I have some recent papers if anyone is interested. One will come out in Julia Buntaine's SciArt magazine,
> and another is on defining modeling broadly to encompass the arts, humanities, and STEM (Winter
> Simulation Conference in December).
>
> -paul
>
>
> Paul Fishwick, PhD
> 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: medium.com/@metaphorz
>
>
> posts on a blog go to http://yasminlist.blogspot.com/

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Re: [Yasmin_discussions] steam: redesigning science...aesthetic computing

Roger, Ed, and Fellow Yasminers:

I've been working with the Nasher Sculpture Center in Dallas on an emerging approach of
using "modeling" as an interpretive mechanism: art appreciation through modeling. By "modeling",
I mean a variety of representations: from cognitive models (like semantic/concept maps) to
models of geometry (e.g., meshes, scene graphs, flow graphs for generative geometry) and
models of time (e.g., dynamic models). If the models can be made palatable to the average
visitor, it may be possible to mix cultural relevance with learning how to model (which is integral
to all aspects of education).

Computer Science (CS) is a case in point. We tend to association notations with the science. This
creates an artificial emphasis on programming. At the center of CS is understanding information
processing and management. However, the information focus does not require a computer and
can be learned through historical artifacts (stemming from the humanities). Being able to interpret
the world through information also requires attention to detail (coming from the arts). The babbling
brook and the flight of a dragonfly can be studied as information processes, but in CS, we are too
focused on technology, and not enough on information.

I have some recent papers if anyone is interested. One will come out in Julia Buntaine's SciArt magazine,
and another is on defining modeling broadly to encompass the arts, humanities, and STEM (Winter
Simulation Conference in December).

-paul

Paul Fishwick, PhD
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: medium.com/@metaphorz

> On Jul 30, 2017, at 3:30 PM, roger malina <rmalina@alum.mit.edu> wrote:
>
> YASMINERS
>
> Eddie Shanken will be on Paul Thomas' STEAM panel at
> Balance UnBalance and the Leonardo 50 bithday party
> in plymouth- he sends us this:
>
> Roger! I'm with you on redesigning science and made a similar sort of
> argument for my Oxford Encyclopedia of Aesthetics entry on aesthetic
> computing, drawing on your comments and Michael Kelly's responding to
> Fishwick's entry on the same topic for the Human Computer Interaction
> Design Encyclopedia.
>
> Will mull over more..Looking forward to other's provocations and our discussion!
>
> Cheers, Ed
>
> In case anyone is interested:
> Computing, Aesthetic (Oxford Encyclopedia of Aesthetics, 2014)
>
> https://artexetra.files.wordpress.com/2009/02/shanken-computing-aesthetic.pdf
>
> so here is one first stem to steam proposal for redesigning science,
> in this case computer science:
>
> follow the aesthetic computing manifesto which a number of us signed
>
> https://mitpress.mit.edu/books/aesthetic-computing
>
> In Aesthetic Computing, key scholars and practitioners from art,
> design, computer science, and mathematics lay the foundations for a
> discipline that applies the theory and practice of art to computing.
> Aesthetic computing explores the way art and aesthetics can play a
> role in different areas of computer science. One of its goals is to
> modify computer science by the application of the wide range of
> definitions and categories normally associated with making art
>
> https://www.dagstuhl.de/Reports/02/02291.pdf
>
> the manifesto itself is at:
>
> https://www.cise.ufl.edu/~fishwick/aescomputing/manifesto.pdf
>
> and is signed by
>
> Neora Berger Shem-Shaul Olav W. Bertelsen Jay Bolter Willi Bruns
> Annick Bureaud Stephan Diehl Florian Dombois Achim Ebert Ernest
> Edmonds Karl Entacher Paul A. Fishwick Susanne Grabowski Hans Hagen
> Volker Höhing Kristiina Karvonen John Lee Jonas Löwgren Roger Malina
> Jon McCormack Richard Merritt Boris Müller Jörg Müller Frieder Nake
> Daniela-Alina Plewe Jane Prophet Aaron Quigley Rhonda Roland Shearer
> Steven Schkolne Angelika Schulz Christa Sommerer Noam Tractinsky
>
>
> does anyone else have specific recommendations on how to start
> redesigning science using methods
> from the arts, design and humanities ?
>
> paul hope you will jump in !!
>
>
> roger
>
> Dr. Edward A. Shanken
> Associate Professor, Arts Division
> University of California, Santa Cruz
>
> _______________________________________________
> 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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[Yasmin_discussions] steam: redesigning science...aesthetic computing

YASMINERS

Eddie Shanken will be on Paul Thomas' STEAM panel at
Balance UnBalance and the Leonardo 50 bithday party
in plymouth- he sends us this:

Roger! I'm with you on redesigning science and made a similar sort of
argument for my Oxford Encyclopedia of Aesthetics entry on aesthetic
computing, drawing on your comments and Michael Kelly's responding to
Fishwick's entry on the same topic for the Human Computer Interaction
Design Encyclopedia.

Will mull over more..Looking forward to other's provocations and our discussion!

Cheers, Ed

In case anyone is interested:
Computing, Aesthetic (Oxford Encyclopedia of Aesthetics, 2014)

https://artexetra.files.wordpress.com/2009/02/shanken-computing-aesthetic.pdf

so here is one first stem to steam proposal for redesigning science,
in this case computer science:

follow the aesthetic computing manifesto which a number of us signed

https://mitpress.mit.edu/books/aesthetic-computing

In Aesthetic Computing, key scholars and practitioners from art,
design, computer science, and mathematics lay the foundations for a
discipline that applies the theory and practice of art to computing.
Aesthetic computing explores the way art and aesthetics can play a
role in different areas of computer science. One of its goals is to
modify computer science by the application of the wide range of
definitions and categories normally associated with making art

https://www.dagstuhl.de/Reports/02/02291.pdf

the manifesto itself is at:

https://www.cise.ufl.edu/~fishwick/aescomputing/manifesto.pdf

and is signed by

Neora Berger Shem-Shaul Olav W. Bertelsen Jay Bolter Willi Bruns
Annick Bureaud Stephan Diehl Florian Dombois Achim Ebert Ernest
Edmonds Karl Entacher Paul A. Fishwick Susanne Grabowski Hans Hagen
Volker Höhing Kristiina Karvonen John Lee Jonas Löwgren Roger Malina
Jon McCormack Richard Merritt Boris Müller Jörg Müller Frieder Nake
Daniela-Alina Plewe Jane Prophet Aaron Quigley Rhonda Roland Shearer
Steven Schkolne Angelika Schulz Christa Sommerer Noam Tractinsky

does anyone else have specific recommendations on how to start
redesigning science using methods
from the arts, design and humanities ?

paul hope you will jump in !!

roger

Dr. Edward A. Shanken
Associate Professor, Arts Division
University of California, Santa Cruz

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[Yasmin_discussions] Mediterranean Heritage for STEM to STEAM: Redesigning Science itself ???

Yasminers

I am your YASMIN moderator this week from dallas texas then siggraph
in lala this week. Thanks to all of you that have sent it their ideas
in response to pier luigi capucci's call on mediterranean heritage

Second let me join Dimitris Charitos and Soussi Houssine in welcoming
Jadwiga Charzynska from Poland as a new YASMIN moderator and we look
forward to helping build a new "amber road' (
https://en.wikipedia.org/wiki/Amber_Road ) between Gdansk and the
Mediterranean !

Next I thought i would start a provocation on Pier Luigi Capucci's (
hey pier luigi thanks for an amazing YASMIN dinner and leo50party in
Bologna !!) discussion topic on the relevance of the mediterranean
heritage:

"The Countries in the Mediterranean Rim, and more in general all
European countries, have a long history and heritage in art and
culture, that can be valued through new disciplines, sciences and
technologies. "The New and History", which is the general art*science
title, suggests a relationship between two concepts seemingly in
opposition, that instead can and must coexist. The "new",
"innovation," has its foundation in history but it can and must revive
its heritage in the future, through arts, scientific disciplines and
technologies. This is a key element, from cultural, historical, social
and economic viewpoints."
Pier Luigi Capucci

So here is the posit:

One of the major cultural heritages of the mediterranean is western
science and its scientific method itself - with the lineage to so many
schools of thought in mesopotamia, the arab world, southern europe and
the southern bank of the mediterranean- and then of course the various
'amber roads' between the mediterranean and northern europe.

So maybe one answer to pier luigi is that the mediterranean region
needs to take a lead in re-inventing science itself ?

Maybe we can rebuild an Amber road to reinvent and redesign science ?
Deep in this is also the idea of how diasporas have been crucial
elements of cultural invention, and in particular in science ( think
of the indian and chinese
student diasporas in european and north american universities today
that will inevitably alter science in the 21st century)

STEM TO STEAM- REDESIGNING SCIENCE ITSELF?

This is a recent idea that i have been mulling as i have been going around
the leo50 events- and finding the scientific community itself much more
receptive to the art science discussion than 10 years ago. The stem to steam
discussion often focuses the discussion of evidence that integrated things
are worthy with the burden on art/design/humanities to justify themselves
- but there is a line of argument that science itself needs to be
redesigned and this is one way that stem to steam could be generative

- eg the scientific method itself has changed dramatically scientific
revolution/enlightenment set in motion what we currently call the scientific
method in the 'west"

eg- our ideas of causality are very different than in the time of bacon
or newton or faraday- the idea of an equation often embodies ideas
of cause and effect that are 'reducible' ie take vitamin c and you will
be healthier- or shoot an arrow and it hits an apple
ideas of causality have shifted- with theormodynamics- statistical
ideas took hold, with quantum mechanics fundamental uncertainties,
with complexity theory the idea of simple causality vanish ( you
cant write an equation for climate change, mental health is a complex
interaction of biology and environment and experience) (remember the
'end of theory" discussion from chris anderson (
https://www.wired.com/2008/06/pb-theory/ )
that shouted ten years ago:

2008: THE END OF THEORY: THE DATA DELUGE MAKES THE SCIENTIFIC METHOD OBSOLETE


Paul Thomas who is organising a STEM to STEAM panel in Plymouth during the
Balance Un Balance conference next month argues:

" Distinguishing the difference between internationally recognized
methods of empirical science (experimentation and verification in
technical procedures or laboratory scenarios) and the modes of
diagnosis, experimentation, play, trial, failure, inspiration and
invention in the creative practices characteristic of the artist's
studio;" Paul Thomas

This highlights a 19th century idea of the scientific method- what is
a 21 century one?
how do you observe things that we have no sensory access to, verify
causal chains
that are not reducible to a one variable controlled experiment

- the other area is of course the scientific method has not been
revised to take into account the data age as chris anderson argued 20
years later ( dan boorstin called this an epistemological revolution
and he was right)- data is no longer rare as it was in the time of
einstein- and what did astronomers discover with all the data ? than
90 % of the universe is unobservable ! we have the wrong data-

-finally the scientific method is embedded in ideas of cognitive
science that have now been overtaken- the universe doesnt necessary
work the way the human mind is built to understand-how do we
understand the way the functioning of the human mind biases the
scientific method and creates blind spots ? how do we redesign the
scientific method as a result ?

and then of course the socio/technological context of science is
dramatically different than when the scientific method was invented (
does gender bias in science reflect one of the cognitive biases the
human mind has imposed on science ?), the relationship of science to
society ( a la socially robust science of Helga Nowotny)- why didnt
the scientific method anticipate climate change but instead
contributed to it ? its touchy territory- because there are embedded
values in the scientific method that are rarely discussed ( eg
Sarukkai and the Ethics of Curiosity). Is the scientific method itself
obsolete and needs re inventing ?



Roger Malina
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Re: [Yasmin_discussions] Fwd: STEAM - CTE briefing

Full STEAM Ahead!!!

On 19 July 2017 at 20:10, roger malina <rmalina@alum.mit.edu> wrote:

> yasminers
>
> well well- the US government cant decide anything
> but tomorrow they are holding public hearings on stem to steam !!!!!
>
>
> roger
>
> Hello,
>
>
>
> We want to make you aware of a briefing tomorrow that is being hosted
> by the STEAM Caucus and the CTE Caucus. The briefing will begin at
> 10:00 a.m. in 2212 Rayburn. Panelists and members of Congress will
> discuss opportunities to integrate arts and design skills into CTE
> programs, and they will discuss the value of teaching students
> creative thinking along with in-demand technical skills.
>
>
>
> Please RSVP to adrian.anderson@mail.house.gov or
> patrick.hester@mail.house.gov.
>
>
>
> Thanks,
>
>
>
> Adrian (Rep. Bonamici) and Patrick (Rep. Stefanik)
>
>
>
>
>
>
>
> The Congressional STEAM and CTE Caucuses invite you to…
>
>
>
> A Briefing on STEAM and CTE:
>
> Adding "Art and Design" to STEM Career and Technical Education
>
> Thursday, July 20, 10am – 11am
>
> 2212 Rayburn
>
>
>
> Dear Colleague,
>
>
>
> As co-chairs of the bipartisan Congressional STEAM and Career and
> Technical Education Caucuses, we invite you and your staff to a
> briefing entitled STEAM and CTE: Adding "Art and Design" to STEM
> Career and Technical Education on Thursday, July 20, from 10am-11am in
> 2212 Rayburn.
>
>
>
> Art and Design offer new models for creative problem-solving and
> interdisciplinary partnerships and help distinguish American products
> in a global marketplace. In classrooms and industry, Art and Design
> play an essential role in Science, Technology, Engineering and Math
> (STEM) education, advancing STEM research and strengthening American
> innovation.
>
>
>
> STEAM education incorporates art into STEM curricula by using
> project-based teaching to foster students' creativity, design
> thinking, tech literacy, collaboration, and problem-solving. This sets
> students up for success in STEM fields and helps them develop the
> tools to be successful in post-secondary education and in the
> workforce.
>
>
>
> This briefing will highlight the ways incorporating STEAM into CTE
> programs will help America develop a thriving education to career
> pipeline.
>
>
>
> Panelists include:
>
>
>
> · Babette Allina, Director of Government Relations, Rhode
> Island School of Design
>
> · Theresa Peterson, Manager-External Affairs & Technology
> Programs, GE Global Research
>
> · Danielle Meyer, Technology and Engineering Teacher,
> Washington and Lee High School
>
> · Daniel Grumbles, Student, Arlington Public Schools
>
>
>
> We need innovators, thinkers, and creative problem-solvers to succeed
> in the global economy of the 21st Century. We hope that you will
> attend this briefing to learn about the value of adding Art and Design
> to CTE. For more information or to RSVP, please contact Kerry
> McKittrick with Rep. Langevin at Kerry.mckittrick@mail.house.gov or
> Adrian Anderson with Rep. Bonamici at Adrian.Anderson@mail.house.gov.
>
>
>
>
>
> Sincerely,
>
>
>
>
>
> Jim Langevin
> Suzanne Bonamici
>
> Member of Congress
> Member of Congress
>
>
>
>
>
> Glenn 'GT' Thompson
> Elise Stefanik
>
> Member of Congress
> Member of Congress
>
> _______________________________________________
> 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/

--
Bronaċ
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[Yasmin_discussions] Fwd: STEAM - CTE briefing

yasminers

well well- the US government cant decide anything
but tomorrow they are holding public hearings on stem to steam !!!!!

roger

Hello,

We want to make you aware of a briefing tomorrow that is being hosted
by the STEAM Caucus and the CTE Caucus. The briefing will begin at
10:00 a.m. in 2212 Rayburn. Panelists and members of Congress will
discuss opportunities to integrate arts and design skills into CTE
programs, and they will discuss the value of teaching students
creative thinking along with in-demand technical skills.

Please RSVP to adrian.anderson@mail.house.gov or patrick.hester@mail.house.gov.

Thanks,

Adrian (Rep. Bonamici) and Patrick (Rep. Stefanik)

The Congressional STEAM and CTE Caucuses invite you to…

A Briefing on STEAM and CTE:

Adding "Art and Design" to STEM Career and Technical Education

Thursday, July 20, 10am – 11am

2212 Rayburn

Dear Colleague,

As co-chairs of the bipartisan Congressional STEAM and Career and
Technical Education Caucuses, we invite you and your staff to a
briefing entitled STEAM and CTE: Adding "Art and Design" to STEM
Career and Technical Education on Thursday, July 20, from 10am-11am in
2212 Rayburn.

Art and Design offer new models for creative problem-solving and
interdisciplinary partnerships and help distinguish American products
in a global marketplace. In classrooms and industry, Art and Design
play an essential role in Science, Technology, Engineering and Math
(STEM) education, advancing STEM research and strengthening American
innovation.

STEAM education incorporates art into STEM curricula by using
project-based teaching to foster students' creativity, design
thinking, tech literacy, collaboration, and problem-solving. This sets
students up for success in STEM fields and helps them develop the
tools to be successful in post-secondary education and in the
workforce.

This briefing will highlight the ways incorporating STEAM into CTE
programs will help America develop a thriving education to career
pipeline.

Panelists include:

· Babette Allina, Director of Government Relations, Rhode
Island School of Design

· Theresa Peterson, Manager-External Affairs & Technology
Programs, GE Global Research

· Danielle Meyer, Technology and Engineering Teacher,
Washington and Lee High School

· Daniel Grumbles, Student, Arlington Public Schools

We need innovators, thinkers, and creative problem-solvers to succeed
in the global economy of the 21st Century. We hope that you will
attend this briefing to learn about the value of adding Art and Design
to CTE. For more information or to RSVP, please contact Kerry
McKittrick with Rep. Langevin at Kerry.mckittrick@mail.house.gov or
Adrian Anderson with Rep. Bonamici at Adrian.Anderson@mail.house.gov.

Sincerely,

Jim Langevin
Suzanne Bonamici

Member of Congress
Member of Congress

Glenn 'GT' Thompson
Elise Stefanik

Member of Congress
Member of Congress

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Re: [Yasmin_discussions] cultural heritage and implicit bias ?

Hello Roger,

Yes I know that not all bias is negative. That's my who point with respect
to contemporary art: positive bias created by the media, marketing and the
star system, creates household names of some artists. This is not something
new. However the Duchampian turn and conceptual heritage of contemporary
art gave the artist the very possibility to work for social and political
change.

However the very positive cognitive bias toward said artists bypasses
critical thinking processes, and focuses the attention on their persona and
not the content or underlying message of their work.

There's another main issue: most art is produced and disturbuted under the
unchecked assumption that 'The artist shows us the ways, as a kind of
teacher and we should learn from him, and therefore progress on this long
road of becoming aware of an issue, learning, and then changing'.

Here's a reference to a paper from 2011 that criticizes this 'pedagogical
turn' of contemporary art: Stud Philos Educ (2011) 30:211–223
DOI 10.1007/s11217-010-9216-5

I would propose that 'artists should help create other artists' instead of
just strive to be recognized by the very elitist small art circle that
gives them the artist status to begin with.

In order to do that however, artists would have to antagonize the very
system that makes them artists, and in a way give up becoming recognized by
the art crowd. Not many artists would want to do that, which brings me to
my second proposal that 'to do art one must do away with the established
artists altogether'.

When I took part in the GulfLabor.org initiative (I'm on week 26 btw),
Thomas Hirschorn's letter (you can find it on their website and in the book
they've published at OR books) struck me as the very dilemma recognized
artists face when they go against the establishment.

On Sun, 9 Jul 2017 at 10:32, roger malina <rmalina@alum.mit.edu> wrote:

> Georges
> Thanks for your intervention and let me pick up on your comment:
>
> "Speculative art bubbles, and the whole art pricing dynamics is
> based on positive bias towards a group of
> > contemporary artists, making them hot commodities, but emptying all the
> while the political value of their artworks.
>
> It seems to me there is a larger context for the discussion on 'bias'
> = which we could tie to the
> discussion on what the mediterranean cultural heritage means in the
> context of digital culture.
> As i understand the literature all 'systems' display various forms of
> 'bias' either explicit ( eg the new us
> travel bans from certain countries) or implicit when we react
> something we like or dont.
> ( i was in paris last night on a very hot night and the city was alive
> with the kind of feeling I
> associate with 'mediterranean' from the years i lived in Marseille.
> And the architecture itself and city
> design seemed to encourage the outdoor bonhomie.
>
> In cybernetic theory all systems have bias because only certain kinds
> of inputs can be reacted to- these
> can be by systems design, or be side effects of system evolution. In
> humanities research there is much discusison of quantitative vs
> qualitative data= digital systems are biased towards quantitative
> methods- though perhaps with deep learning software we see new
> approaches.
>
> I think I mentioned on this list i just read an interesting book
>
> Collaborating with the Enemy; How to Work with People You Don t Agree
> with or Like or Trust
> https://www.bkconnection.com/books/title/Collaborating-with-the-Enemy
> by Kahane ( who worked in colombia and south africa in the reconciliation
> work)
>
> He talks about the natural tendency to 'enemyfy" within which racial
> and other stereotypes
> function. ( eg you are enemifying the art establishment )- its much
> easier to enemyfy rather
> than to figure out how to collaborate and change a culture.
>
> I think that one of the arguments for cultural heritage is that it is
> an implicit and explicit bias
> that we think should be encouraged in some way, since the development
> of ones cultural
> identify draws on ones cultural heritage ? and the diversity of
> identity is important for human
> culture. Not all biases are negative.
>
> roger malina
>
>
> On Fri, Jul 7, 2017 at 4:27 PM, Art PlusSign <georges.rabbath@gmail.com>
> wrote:
> > Hey Yasminers!
> >
> >
> > First time posting anything here. Been receiving discussion posts ever
> > since a friend in Beirut subscribed me to the discussions back in 2011
> when
> > we were planning an action at the Venice Biennial. At that time, I was
> > finishing up my second book about an artist's project dealing with
> implicit
> > racial bias, and the idea hit me that the final frontier, and quite
> frankly
> > the first place to start, when engaging in contemporary art, is the
> > unchecked positive bias towards the established artist. Implicit
> cognitive
> > bias can be of course measured using functional brain imaging.
> >
> >
> > My working hypothesis was: the functional mapping of positive or negative
> > bias can definitely be construed as an artwork, which not only has an
> > aesthetic dimension, art conceptual dimension, but also and more
> > importantly an informative dimension that can hopefully lead to a
> leveling
> > of the playing field in contemporary art. Speculative art bubbles, and
> the
> > whole art pricing dynamics is based on positive bias towards a group of
> > contemporary artists, making them hot commodities, but emptying all the
> > while the political value of their artworks.
> >
> >
> > I did not see however how to go about doing art but asking art collectors
> > and art professionals to willfully go into a fMRI machine while we do
> > primed sessions of Artworks allegedly associated to famous or non famous
> > artists and map the brain activity. Not practical, not constructive. The
> > only thing I could do was to create a thought experiment by creating a
> > negative bias situation towards myself. That way, I'm not taking
> advantage
> > of anyone, and I ending up paying the price of being ostracized.
> >
> >
> > I wanted to see whether I could still be able to keep doing art, against
> > all odds, while I was being actively ostracized by the local art
> community.
> > You can call it performative research. At any rate, a project that was
> > bound for Venice with 11 artists to represent a country like Lebanon,
> ended
> > up with no artists, but as we had previously reserved space smack in the
> > middle of the Arsenale, Lebanon and its art community was represented
> > non-mediately, by their very bias, through void.
> >
> >
> > I went on to get some recognition through mentions in collective
> > publications (as the one of the GulLabor.org initiative) and
> institutional
> > commissions such as the United Nations Information Center in Beirut,
> > notwithstanding the continued domestic blindness from the local art
> > community. As I move to Europe to launch community building participative
> > art projects, I definitely intend to go on exploring negative bias from
> the
> > art establishment in Europe and the discrepancies one might observe with
> > respect to the recognition coming from social activists and
> > non-professionals using contemporary art for social and political change;
> > like the colleagues occupying Cavallerizza Reale in Turin, since 2015,
> and
> > with whom I had initiated a movie project.
> >
> >
> > I would really like to get feedback and suggestions from anyone who finds
> > this initiative worthwhile, and I'm adding some links below pertinent to
> > the discussion. And it would definitely be great to be part of a research
> > network in Europe invested in similar problematics.
> >
> >
> > Kind regards to all.
> >
> >
> >
> >
> > G.H. Rabbath Ph.D.
> >
> >
> >
> > Some Links:
> >
> >
> > - A recent piece about 'flipper' Simchowitz:
> > https://www.1843magazine.com/features/art-market-vs-predator
> >
> > - The book I did about Iraqi artist Mahmoud Obaidy and his racial
> profiling
> > in Houston airport:
> >
> https://www.amazon.com/Mr-Obaidi-FAIR-SKIES-Corporation/dp/9953017069/ref=sr_1_1?ie=UTF8&qid=1499431034&sr=8-1&keywords=g.h.rabbath
> >
> > - My personal account of the road to Venice: ghrabbath.wordpress.com
> >
> > - The performance/conference I gave at the Sharjah March meeting, right
> > before the 2011 Venice Biennial: https://vimeo.com/30417940
> >
> >
> >
> > --
> > G.H. Rabbath Ph.D.
> > writer | videographer | artist
> > _______________________________________________
> > 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/
> _______________________________________________
> 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/
>
--
G.H. Rabbath Ph.D.
writer | videographer | artist
_______________________________________________
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").
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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

[Yasmin_discussions] cultural heritage and implicit bias ?

Georges
Thanks for your intervention and let me pick up on your comment:

"Speculative art bubbles, and the whole art pricing dynamics is
based on positive bias towards a group of
> contemporary artists, making them hot commodities, but emptying all the while the political value of their artworks.

It seems to me there is a larger context for the discussion on 'bias'
= which we could tie to the
discussion on what the mediterranean cultural heritage means in the
context of digital culture.
As i understand the literature all 'systems' display various forms of
'bias' either explicit ( eg the new us
travel bans from certain countries) or implicit when we react
something we like or dont.
( i was in paris last night on a very hot night and the city was alive
with the kind of feeling I
associate with 'mediterranean' from the years i lived in Marseille.
And the architecture itself and city
design seemed to encourage the outdoor bonhomie.

In cybernetic theory all systems have bias because only certain kinds
of inputs can be reacted to- these
can be by systems design, or be side effects of system evolution. In
humanities research there is much discusison of quantitative vs
qualitative data= digital systems are biased towards quantitative
methods- though perhaps with deep learning software we see new
approaches.

I think I mentioned on this list i just read an interesting book

Collaborating with the Enemy; How to Work with People You Don t Agree
with or Like or Trust
https://www.bkconnection.com/books/title/Collaborating-with-the-Enemy
by Kahane ( who worked in colombia and south africa in the reconciliation work)

He talks about the natural tendency to 'enemyfy" within which racial
and other stereotypes
function. ( eg you are enemifying the art establishment )- its much
easier to enemyfy rather
than to figure out how to collaborate and change a culture.

I think that one of the arguments for cultural heritage is that it is
an implicit and explicit bias
that we think should be encouraged in some way, since the development
of ones cultural
identify draws on ones cultural heritage ? and the diversity of
identity is important for human
culture. Not all biases are negative.

roger malina


On Fri, Jul 7, 2017 at 4:27 PM, Art PlusSign <georges.rabbath@gmail.com> wrote:
> Hey Yasminers!
>
>
> First time posting anything here. Been receiving discussion posts ever
> since a friend in Beirut subscribed me to the discussions back in 2011 when
> we were planning an action at the Venice Biennial. At that time, I was
> finishing up my second book about an artist's project dealing with implicit
> racial bias, and the idea hit me that the final frontier, and quite frankly
> the first place to start, when engaging in contemporary art, is the
> unchecked positive bias towards the established artist. Implicit cognitive
> bias can be of course measured using functional brain imaging.
>
>
> My working hypothesis was: the functional mapping of positive or negative
> bias can definitely be construed as an artwork, which not only has an
> aesthetic dimension, art conceptual dimension, but also and more
> importantly an informative dimension that can hopefully lead to a leveling
> of the playing field in contemporary art. Speculative art bubbles, and the
> whole art pricing dynamics is based on positive bias towards a group of
> contemporary artists, making them hot commodities, but emptying all the
> while the political value of their artworks.
>
>
> I did not see however how to go about doing art but asking art collectors
> and art professionals to willfully go into a fMRI machine while we do
> primed sessions of Artworks allegedly associated to famous or non famous
> artists and map the brain activity. Not practical, not constructive. The
> only thing I could do was to create a thought experiment by creating a
> negative bias situation towards myself. That way, I'm not taking advantage
> of anyone, and I ending up paying the price of being ostracized.
>
>
> I wanted to see whether I could still be able to keep doing art, against
> all odds, while I was being actively ostracized by the local art community.
> You can call it performative research. At any rate, a project that was
> bound for Venice with 11 artists to represent a country like Lebanon, ended
> up with no artists, but as we had previously reserved space smack in the
> middle of the Arsenale, Lebanon and its art community was represented
> non-mediately, by their very bias, through void.
>
>
> I went on to get some recognition through mentions in collective
> publications (as the one of the GulLabor.org initiative) and institutional
> commissions such as the United Nations Information Center in Beirut,
> notwithstanding the continued domestic blindness from the local art
> community. As I move to Europe to launch community building participative
> art projects, I definitely intend to go on exploring negative bias from the
> art establishment in Europe and the discrepancies one might observe with
> respect to the recognition coming from social activists and
> non-professionals using contemporary art for social and political change;
> like the colleagues occupying Cavallerizza Reale in Turin, since 2015, and
> with whom I had initiated a movie project.
>
>
> I would really like to get feedback and suggestions from anyone who finds
> this initiative worthwhile, and I'm adding some links below pertinent to
> the discussion. And it would definitely be great to be part of a research
> network in Europe invested in similar problematics.
>
>
> Kind regards to all.
>
>
>
>
> G.H. Rabbath Ph.D.
>
>
>
> Some Links:
>
>
> - A recent piece about 'flipper' Simchowitz:
> https://www.1843magazine.com/features/art-market-vs-predator
>
> - The book I did about Iraqi artist Mahmoud Obaidy and his racial profiling
> in Houston airport:
> https://www.amazon.com/Mr-Obaidi-FAIR-SKIES-Corporation/dp/9953017069/ref=sr_1_1?ie=UTF8&qid=1499431034&sr=8-1&keywords=g.h.rabbath
>
> - My personal account of the road to Venice: ghrabbath.wordpress.com
>
> - The performance/conference I gave at the Sharjah March meeting, right
> before the 2011 Venice Biennial: https://vimeo.com/30417940
>
>
>
> --
> G.H. Rabbath Ph.D.
> writer | videographer | artist
> _______________________________________________
> 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/
_______________________________________________
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/

Re: [Yasmin_discussions] [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually

7 Tem 2017 1:55 PM tarihinde "Liliane Lijn" <liliane@lilianelijn.com> yazdı:

> Here are profound thoughts…two days late…none the less warm and friendly!
>
> Me very best
>
> Liliane
>
> Liliane Lijn
>
> 07770350633
> 02088095636
> www.lilianelijn.com <http://www.lilianelijn.com/>
> > On 5 Jul 2017, at 09:01, coletron <coletron@orange.fr> wrote:
> >
> > oh it's a pity
> > i was dinning for my birthday
> > missed it
> > colette
> >
> >
> >
> >
> >> Message du 04/07/17 20:41
> >> De : "roger malina"
> >> A : "yasmin_announcements" , "YASMIN DISCUSSIONS"
> >> Copie à :
> >> Objet : [Yasmin: yasmin dinner tonight in Bologna !! please come
> physically or virtually
> >>
> >> yasminers
> >>
> >> pier luigi capucci is hosting a yasmin dinner
> >> tonight at 21-00 hrs until late at
> >> Scalinatelli's
> >> via condoti di cephalonia
> >> bologna
> >>
> >> yasmin moderator nina czegledy and
> >> dimitris charitos are also organising the
> >> trouble making during the dinner
> >>
> >> all are welcome-if you can come
> >> if not send profound thoughts !
> >>
> >>
> >> roger malina
> >> is in Bologna
> >> +33680459447
> >> _______________________________________________
> >> Yasmin_announcements mailing list
> >> Yasmin_announcements@estia.media.uoa.gr
> >> http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
> >>
> >> 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. 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/
> >>
> >> 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_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
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[Yasmin_discussions] Leveling the Contemporary Art Field by Antagonizing Top-Down Processes

Hey Yasminers!


First time posting anything here. Been receiving discussion posts ever
since a friend in Beirut subscribed me to the discussions back in 2011 when
we were planning an action at the Venice Biennial. At that time, I was
finishing up my second book about an artist's project dealing with implicit
racial bias, and the idea hit me that the final frontier, and quite frankly
the first place to start, when engaging in contemporary art, is the
unchecked positive bias towards the established artist. Implicit cognitive
bias can be of course measured using functional brain imaging.


My working hypothesis was: the functional mapping of positive or negative
bias can definitely be construed as an artwork, which not only has an
aesthetic dimension, art conceptual dimension, but also and more
importantly an informative dimension that can hopefully lead to a leveling
of the playing field in contemporary art. Speculative art bubbles, and the
whole art pricing dynamics is based on positive bias towards a group of
contemporary artists, making them hot commodities, but emptying all the
while the political value of their artworks.


I did not see however how to go about doing art but asking art collectors
and art professionals to willfully go into a fMRI machine while we do
primed sessions of Artworks allegedly associated to famous or non famous
artists and map the brain activity. Not practical, not constructive. The
only thing I could do was to create a thought experiment by creating a
negative bias situation towards myself. That way, I'm not taking advantage
of anyone, and I ending up paying the price of being ostracized.


I wanted to see whether I could still be able to keep doing art, against
all odds, while I was being actively ostracized by the local art community.
You can call it performative research. At any rate, a project that was
bound for Venice with 11 artists to represent a country like Lebanon, ended
up with no artists, but as we had previously reserved space smack in the
middle of the Arsenale, Lebanon and its art community was represented
non-mediately, by their very bias, through void.


I went on to get some recognition through mentions in collective
publications (as the one of the GulLabor.org initiative) and institutional
commissions such as the United Nations Information Center in Beirut,
notwithstanding the continued domestic blindness from the local art
community. As I move to Europe to launch community building participative
art projects, I definitely intend to go on exploring negative bias from the
art establishment in Europe and the discrepancies one might observe with
respect to the recognition coming from social activists and
non-professionals using contemporary art for social and political change;
like the colleagues occupying Cavallerizza Reale in Turin, since 2015, and
with whom I had initiated a movie project.


I would really like to get feedback and suggestions from anyone who finds
this initiative worthwhile, and I'm adding some links below pertinent to
the discussion. And it would definitely be great to be part of a research
network in Europe invested in similar problematics.


Kind regards to all.




G.H. Rabbath Ph.D.



Some Links:


- A recent piece about 'flipper' Simchowitz:
https://www.1843magazine.com/features/art-market-vs-predator

- The book I did about Iraqi artist Mahmoud Obaidy and his racial profiling
in Houston airport:
https://www.amazon.com/Mr-Obaidi-FAIR-SKIES-Corporation/dp/9953017069/ref=sr_1_1?ie=UTF8&qid=1499431034&sr=8-1&keywords=g.h.rabbath

- My personal account of the road to Venice: ghrabbath.wordpress.com

- The performance/conference I gave at the Sharjah March meeting, right
before the 2011 Venice Biennial: https://vimeo.com/30417940



--
G.H. Rabbath Ph.D.
writer | videographer | artist
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Re: [Yasmin_discussions] [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually

Here are profound thoughts…two days late…none the less warm and friendly!

Me very best

Liliane

Liliane Lijn

07770350633
02088095636
www.lilianelijn.com <http://www.lilianelijn.com/>
> On 5 Jul 2017, at 09:01, coletron <coletron@orange.fr> wrote:
>
> oh it's a pity
> i was dinning for my birthday
> missed it
> colette
>
>
>
>
>> Message du 04/07/17 20:41
>> De : "roger malina"
>> A : "yasmin_announcements" , "YASMIN DISCUSSIONS"
>> Copie à :
>> Objet : [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually
>>
>> yasminers
>>
>> pier luigi capucci is hosting a yasmin dinner
>> tonight at 21-00 hrs until late at
>> Scalinatelli's
>> via condoti di cephalonia
>> bologna
>>
>> yasmin moderator nina czegledy and
>> dimitris charitos are also organising the
>> trouble making during the dinner
>>
>> all are welcome-if you can come
>> if not send profound thoughts !
>>
>>
>> roger malina
>> is in Bologna
>> +33680459447
>> _______________________________________________
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>>
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>>
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>>
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>>
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Re: [Yasmin_discussions] [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually

Dear All

Was on the other side of the Adriatic eating dinner in Porec, Croatia...

Probably better for all concerned....
I don't have many profound thoughts this week.

Ken

Sent from my iPad

> On 5 Jul 2017, at 10:01, coletron <coletron@orange.fr> wrote:
>
> oh it's a pity
> i was dinning for my birthday
> missed it
> colette
>
>
>> Message du 04/07/17 20:41
>> De : "roger malina"
>> A : "yasmin_announcements" , "YASMIN DISCUSSIONS"
>> Copie à :
>> Objet : [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually
>>
>> yasminers
>>
>> pier luigi capucci is hosting a yasmin dinner
>> tonight at 21-00 hrs until late at
>> Scalinatelli's
>> via condoti di cephalonia
>> bologna
>>
>> yasmin moderator nina czegledy and
>> dimitris charitos are also organising the
>> trouble making during the dinner
>>
>> all are welcome-if you can come
>> if not send profound thoughts !
>>

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Re: [Yasmin_discussions] [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually

oh it's a pity
i was dinning for my birthday
missed it
colette
 
 
 
 
> Message du 04/07/17 20:41
> De : "roger malina"
> A : "yasmin_announcements" , "YASMIN DISCUSSIONS"
> Copie à :
> Objet : [Yasmin: yasmin dinner tonight in Bologna !! please come physically or virtually
>
> yasminers
>
> pier luigi capucci is hosting a yasmin dinner
> tonight at 21-00 hrs until late at
> Scalinatelli's
> via condoti di cephalonia
> bologna
>
> yasmin moderator nina czegledy and
> dimitris charitos are also organising the
> trouble making during the dinner
>
> all are welcome-if you can come
> if not send profound thoughts !
>
>
> roger malina
> is in Bologna
> +33680459447
> _______________________________________________
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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. Select weekly DIGEST option if you wish.
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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").
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> 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.
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[Yasmin_discussions] yasmin dinner tonight in Bologna !! please come physically or virtually

yasminers

pier luigi capucci is hosting a yasmin dinner
tonight at 21-00 hrs until late at
Scalinatelli's
via condoti di cephalonia
bologna

yasmin moderator nina czegledy and
dimitris charitos are also organising the
trouble making during the dinner

all are welcome-if you can come
if not send profound thoughts !


roger malina
is in Bologna
+33680459447
_______________________________________________
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Re: [Yasmin_discussions] Contents of Yasmin_discussions digest art*science"

Hello Yasminers,

my apologies for having stayed away from the discussion for a long time. I
have tried to catch up on the rather voluminous flow of exchanges, however
I have to admit that there doesn't seem to be much that I can contribute to
since much of it falls out of my competence area.

I try to answer in this stream of connections and confrontation.

First of all, I consider the transdisciplinary way a methodology for
creating a meeting between art and science. Science and technology are
major engines of change in our lives, but their impact does not stop at the
laboratory door. In other words, science has to get out from laboratory
for meeting the artists and the artists have to enter into the laboratory
for meeting the scientist.

I suggest a sort of landscape where art and science are meeting each other
in a remix of ingredients, dreams, projects and it could be thought as a
third landscape (quoting Clement, suggested by Salvatore, or also in the
third infoscape filled of microstories).
How many stories and microstories do we need? History is made of human
geographies and of new stories and maybe also of new geographies.

http://www.gillesclement.com/art-454-tit-The-Third-Landscape
<http://www.gillesclement.com/art-454-tit-The-Third-Landscape>
http://www.artisopensource.net/2013/11/20/third-infoscape-de-certeau-clement-casagrande-smart-cities/

In this landscape, we can find a reflection about what leads us to the
necessity for a polyphonic scenario, in which multiple approaches co-exist,
influence and support each other, ecosystemically, defining relations,
separations, conflicts, differences, solidarity, sustainability. About
definitions of "heritage", the relations and the connections could create a
multiple and plural form in a great human ecosystem. Poly-(or multi)
heritage could be a possible way.

In this marvellous poliphonic scenario, we forge our own reconnection for a
renaissance of interest in encouraging a tighter integration, con-fusion
(in terms of with-fusion) of art, science and technology. Many art/science
collaborations are based on the assumption that artists can enrich research
processes. Transdisciplinary projects also have an agenda to explore common
practices among disciplines, but with a more holistic approach. By
transcending conventional notions of what appropriate activities within a
discipline are, participants attempt to bridge disciplines in innovative
ways.

How many cultures do we need? One Culture, two Culture, three Culture or
four?

(Here you can find an interesting article:
https://scienceprogress.org/2008/01/one-culture-two-culture-three-culture-four/
)

Quoting C.P. Snow, the essayist who coined the "two culture" cliché, he
proposed a simple solution to the problem of divided cultures. He argued
that we need a "third culture," which would close the "communications gap"
between scientists and artists.

http://sciencepolicy.colorado.edu/students/envs_5110/snow_1959.pdf

As John Brockman, the founder of this new third culture, wrote: "What
traditionally has been called 'science' has today become 'public culture'.
Bringing our two cultures together will allow us to judge our knowledge not
by its origins, but in terms of its usefulness. The arts, science and
technology are experiencing a period of profound change. The third culture,
according to Brockman, consists of those scientists and other thinkers in
the empirical world who, through their work and expository writing, are
taking the place of the traditional intellectual in rendering visible the
deeper meanings of our lives, redefining who and what we are.

https://www.edge.org/documents/ThirdCulture/d-Contents.html

According also to Johan Lehrer and with his book Proust Was a
Neuroscientis, maybe we could also say, art can make science better. This
is particularly true for our most fundamental sciences, like physics and
neuroscience. Physicists study the fabric of reality, the invisible laws
and particles that define the material world. Neuroscientists study our
perceptions of this world; they dissect the brain in order to understand
the human animal. Together, these two sciences seek to solve the most
ancient and epic of unknowns: Lehrer asks, what is everything? And who are
we?
But before we can unravel these mysteries, our sciences must overcame their
present limitations. How can we make this happen? Science needs the arts.

http://www.stefanibardin.net/wp-content/uploads/2015/08/Whitman.pdf

The fourth culture according to Joahn Lehrer or a fourth dimension (new
language) according with Linda Henderson seeks to discover the
relationships between humanities and sciences.
http://classes.dma.ucla.edu/Winter09/9-1/_pdf/2-henderson_fourth-dimension.pdf

Today's science, denying its past, responds to the material needs of our
times; likewise, art denying its past, must respond to the intellectual
needs of our time. (Henderson)

If science today isn't learning much from the humanities, neither is it
learning enough from those with expertise in politics or in communication.
Science today doesn't have any problem producing; but it has a huge problem
connecting.
While some in science are beginning to recognize this problem, for others
it still remains off the radar. Moreover, many messages that came from the
"third culture" hardly seemed to have outreached their core. E.O. Wilson's
book Consilience, for instance, could be described as an attempt to usurp
the place of the humanities, rather than to build a bridge between them and
the sciences.
http://www.wtf.tw/ref/wilson.pdf <http://www.wtf.tw/ref/wilson.pdf>

The human condition is the most important frontier of the natural sciences.
Conversely, the material world exposed by the natural sciences is the most
important frontier of the social sciences and humanities. The consilience
argument can be distilled as follows: The two frontiers are the same.
(Wilson)

Other interesting book about Consilience in a "creative" way (a sort of
second wave of Consilience) is "Creative Consilience" by Edward
Slingerland, Mark Collard.

https://books.google.it/books?id=rERUMR0tek8C&pg=PA9&lpg=PA9&dq=creative+consilience++collard&source=bl&ots=mfALP1rXcd&sig=kP_MAoRUtIf6yDvEKt7H-tKv0MI&hl=it&sa=X&ved=0ahUKEwjY2KTz_ufUAhWDhRoKHb8SBowQ6AEIQzAD#v=onepage&q&f=false

There are places where science can provide useful explanations for the
humanities and places where it cannot, and finding out which is which is a
very important task for interdisciplinary consilience. (Slingerland,
Collard)

Transdisciplinary pursuits also attempt to bridge traditionally opposing
fields of study. However, transdisciplinary arts differ from
interdisciplinary arts in that the constructed distinctions between fields
are often subverted. Artists and scientists begin thinking about the
mutually inclusive nature of their respective disciplines.

Transdisciplinarity is therefore not a theory. Instead, it is a principle
that leads and directs research, which accompanies a particular
organization form, which distinguishes itself via a high level of
integration. At the heart of this transdiciplinary culture there are, and
will be, those in the arts who have turned their creative gaze towards
science.

The arts have always served to communicate ideas, and like any subject
matter, science is a subject more and more artists are dedicating
themselves to as science has moved its way toward the center of daily life.

How Leher writes: "while science will always be our primary method of
investigating the universe, it is naïve to think that science alone can
solve everything itself, or that everything can even be solved. When we
venture beyond the edge of our knowledge, all we have is art ".

Maybe the aim of art is not to find the true, maybe the aim of art is to
keep alive the attention about our reality (the perception of reality) with
all weakness and question marks, because the world is made of relations,
the relations are made of projects, dreams, existences, in other words its
contains a great, poetic multitude inside a invisible (or visible) dust of
line. One, No One and One Hundred Thousand.

Sorry if I could not answer before. I hope that my contribution can be
useful anyway.

See you soon in Bologna.

Best Regards.

Giorgio
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