Yasmin List

Re: [Yasmin_discussions] McCompatibe-

2012-01-30T12:44:00.000-08:00

Hello Adrian
Thank you for your response and reference. I can understand that
Mcluhan and Marx are different, but they both focused the analysis of
the media (Mcluhan) and the nature of the machine (c 13 in The
Capital, I) in the extension of the human capabilities. This is a path
of investigation im following.
I will appreciate if you can send me more information about the book
you mentioned, if it is possible.
Thanks so much.
ricardov

Ricardo Vega
www.ricardov.cl
www.artnumerica.net
08 191 5577, Santiago, Chile

2012/1/28 Adrian Guzman <shaman@paranoici.org>:
> i ike mcuhan ery much ad aso marcuse but i reer the irst i beiee mcuhan and
> marx are uncupatibe since one reer to ight and anther to matter indeed i
> beiee they are n opposite sides but i ound an interesting book about this
> topic unortunatey its ony in german i bought it about 6 yars ago in berin
> and its caed media marx
>
> Simón ha scritto:
>>
>> Maybe in other theorist, the relation is more clear. Two names:
>> - Herbert Marcuse, in spanish the central book call El Hombre
>> Unidimensional.
>> - Lewis Mumford Tecnic and civilization, for me this book is the bible
>>
>> Enviado desde mi iPhone
>>
>> El 20-10-2011, a las 11:18, "Ricardo Vega (ricardov)"
>> <rvegamora@gmail.com> escribió:
>>
>>
>>>
>>> Thank you Collete and Simon:
>>>
>>> In the chapter 13 , "Machinery and great industry", Karl Mark talk
>>> about the machine, making description about the parts of the machine
>>> and the role of the man in this proccess. Im trying to make
>>> connections between Marx and Mcluhan, because when I was reading "The
>>> Ccapital", always Mcluhan comes to my mind. Specially if we think in
>>> the context of new technologies, and the ""digital machines".
>>> Im in Barcelona, I hope I will go to Les effets McLuhan i
>>> Aix-en-Provence.
>>> Best.
>>> r
>>>
>>>
>>> Ricardo Vega
>>> www.ricardov.cl
>>> www.artnumerica.net
>>> 08 191 5577, Santiago, Chile
>>>
>>>
>>>
>>> 2011/10/20 c.tron@voila.fr <c.tron@voila.fr>:
>>>
>>>>
>>>> Hello ricardo,
>>>> Happy that my message has got an interest for another center of the
>>>> global village.
>>>> Up to McLuhan, in the global village there is no more center and
>>>> peripheric places but equal centers that interact together.
>>>> Interesting no ?
>>>> To answer about Marx and the reading by McLuhan, the only thing I read
>>>> from him is that he notes that Marx should have concentrated his refelexions
>>>> on electric technologies that organize the future of our civilizations
>>>> rather than the mechanical production that represents the past organization.
>>>> He thinks that Marx's struggle could have been stronger in consideration of
>>>> these changes, that also put changes on the work and what, where it is, and
>>>> how it is organized, what are the structures, and where is the richness.
>>>> that's all I am able to say, but maybe some people have some ideas.
>>>> Feel free to exchange more
>>>> Colette
>>>>
>>>>
>>>>
>>>>>
>>>>> Message du 20/10/11 à 15h16
>>>>> De : "Ricardo Vega (ricardov)"
>>>>> A : "YASMIN DISCUSSIONS"
>>>>> Copie à : "coletron"
>>>>> Objet : Re: [Yasmin_discussions] MCLUHAN EFFECT
>>>>>
>>>>>
>>>>> Hello:
>>>>> A small presentation aout me. My name is Ricardo Vega, from Santiago
>>>>> de Chile. Now I`m in Barcelona to study DataViz. i worked during 6
>>>>> years in the Spanish Cultural Center in Santiago, coordinating new
>>>>> media, design and digital culture area, developing conferences,
>>>>> workshops, meetings, etc.
>>>>>
>>>>> Thank you for you interesting words Colette. Just a question:
>>>>> Does somebody knows if Mcluhan had readed or taken in consideration
>>>>> some ideas in Karl Marx's Capital?
>>>>> Where I can find information about this topic?
>>>>>
>>>>> thank yo so much, Best
>>>>> r
>>>>>
>>>>> Ricardo Vega
>>>>> www.ricardov.cl
>>>>> www.artnumerica.net
>>>>> 08 191 5577, Santiago, Chile
>>>>>
>>>>>
>>>>>
>>>>> 2011/10/16 roger malina :
>>>>>
>>>>>>
>>>>>> from colette tron
>>>>>>
>>>>>>
>>>>>>>
>>>>>>> - Topic 2 : A cultural and technological challenge, the business of
>>>>>>> the artists
>>>>>>>
>>>>>>>
>>>>>>
>>>>>> For McLuhan, but I guess for thinking in general of the relation
>>>>>> between the man and technology, each invention and introduction of a
>>>>>> technology in the society, in the every day life creates such a
>>>>>> transformation that it makes some kind of revolution : on the sensory
>>>>>> system, nervous system, perception, cognition sensitivity…
>>>>>>
>>>>>> These influences and consequences have been treated on different
>>>>>> levels by the anthropologist Leroy-Ghouran, the sociologist Gilbert
>>>>>> Simondon, the scientist Jean-Pierre Changeux, the philosopher Bernard
>>>>>> Stiegler, etc, only for France, and of course by McLuhan,
>>>>>>
>>>>>> and after him in the field of neuroculture and neuroaesthetic by
>>>>>> Derrick de Kerckhove who was his associate.
>>>>>> McLuhan considered the technologies as « extensions of man ». So, as
>>>>>> prosthesis, medias and machines are, up to him, a part of the body.
>>>>>>
>>>>>> And he even thought that sooner or later the medias would be under the
>>>>>> skin. That means inside us. The augmented man has thus artificial
>>>>>> organs that can be the computer, the clothes, the television,
>>>>>> writing, sensors, and so on, technologies that make the environment
>>>>>> and the culture of body and mind.
>>>>>>
>>>>>> He wrote that « the new medias and new technologies through which we
>>>>>> amplify and extand ourselves are huge operations on the social body »
>>>>>> and that « this is the whole system that undergoes a transformation. »
>>>>>> Each new one moves the intersensory relations. And thus, the cultural
>>>>>> habits.
>>>>>>
>>>>>> To understand the medias, and its effects, McLuhan (wrote his book of
>>>>>> course, but) argued a certain distance with them. A distance to
>>>>>> perceive the changes, to dominate the moves, to diminish the impact or
>>>>>> the shock, and to think the future of the civilisation. To accept the
>>>>>> challenge of technological and cultural changes, McLuhan trust the
>>>>>> artists.
>>>>>>
>>>>>> In the human history, the critic or the adaptation to the new
>>>>>> extensions of man in the private and social life have not been made
>>>>>> easily except by the consciousness of the artists, said McLuhan : «
>>>>>> The artist is able to capture the message of the cultural and
>>>>>> technological challenge a long time before the impact of the
>>>>>> transformation can be felt. »
>>>>>> Maybe we can have commentary and exchange about some
>>>>>> propositions by
>>>>>> McLuhan about the important role of the artists in the changes of
>>>>>> culture through media and technologies, and their place
>>>>>> inexperimentation, research, science and society, or social body in
>>>>>> the words of McLuhan. A place that McLuhan defended instead of
>>>>>> considering art as entertainment. « I would like to know what would
>>>>>> happen if suddenly we take art for what it is really. »
>>>>>>
>>>>>> In the chapter « The challenge and the fall » (Understanding medias)
>>>>>> here are some of the McLuhan's sentences (approximative translation) :
>>>>>> « In the age of electricity, it is nothing to talk about the artists
>>>>>> as persons that anticipate their era. Our technology is also ahead to
>>>>>> our time, if we accept to see it as it is. The artist has to leave his
>>>>>> ivory tower to go to the control tower of the society, in order to
>>>>>> avoid the accident… Like there is the university for the scientific
>>>>>> organization of knowledge, the artist is essential for the direction,
>>>>>> the analyze, the understanding of the forms and structures of life
>>>>>> created by the electric technology. »
>>>>>>
>>>>>>
>>>>>>>
>>>>>>> - « In all fields, the one of the science and the one of the
>>>>>>> humanities, the artist is a man that understand the meaning of his action
>>>>>>> and of the knowledge of his era. He is the man of the global lucidity. »
>>>>>>> - « The artist can compensate for the sensory relations before the
>>>>>>> shock of a new technology anaesthetize the conscient modes of action… If
>>>>>>> people could be convinced that art is a way to know in advance and precisely
>>>>>>> the psychologic and social effects of the next technology, won't they make
>>>>>>> themselves artists ? Or would
>>>>>>> applie themeselves to translate new forms or art into a social
>>>>>>> navigation map ? »
>>>>>>> - « Experimental art gives information to mankind with
>>>>>>> accuracy on the following attacks on their mind that will procure their own
>>>>>>> technologies… These parts of ourselves that we project outside of us under
>>>>>>> the form of inventions are some attempts to compensate some collective
>>>>>>> pressure. But the medicine can generate a bigger
>>>>>>>
>>>>>>
>>>>>> pain. Here the artist can learn to us to absorb the knock. »
>>>>>>
>>>>>> In a certain part of this chapter, Mc Luhan notices that if we
>>>>>> continue to consider the extensions of the body as external and
>>>>>> independant from us, we will fall down on each « banana skin of the
>>>>>> technology ». So we have to keep awake and to pay attention to it.
>>>>>> With the help of artists, we should manage to take up the challenge.
>>>>>>
>>>>>> In this framework, I would like to imagine which function can take
>>>>>> art and artists in the process of research and invention, innovation,
>>>>>> creation ? Since and after electric age, what kind of relation between
>>>>>> art and science, technology and culture, have been made and can be
>>>>>> constitued for the future ?
>>>>>>
>>>>>>
>>>>>>>
>>>>>>> Is technology a « pharmakon » (cf B.Stiegler) and how the artistic
>>>>>>> consciousness can interfere, alert, awake the society ? Is it the role of
>>>>>>> art to comprehend sensitive changes in order to take care of it or to shock
>>>>>>> by representing new sensory situations ?
>>>>>>> How can art and science can collaborate to create a « good
>>>>>>> » technology and a safe and sustainable society ? How to respect body and
>>>>>>> mind in the conception of
>>>>>>> technical objects born from the science, with the consciousness of
>>>>>>> both science and art ?
>>>>>>>
>>>>>>>
>>>>>>
>>>>>> Colette Tron
>>>>>>
>>>>>> _______________________________________________
>>>>>> Yasmin_discussions mailing list
>>>>>> Yasmin_discussions@estia.media.uoa.gr
>>>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>>>
>>>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>>>
>>>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>>>>>> to. In the page that will appear ("info page"), enter e-mail address, name,
>>>>>> and password in the fields found further down the page.
>>>>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>>>>>> enter your e-mail address in the last field. Enter password if asked. Click
>>>>>> on the unsubscribe button on the page that will appear ("options page").
>>>>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>>>>>> "Set Digest Mode" option and set it to either on or off.
>>>>>>
>>>>>>
>>>>>
>>>>> _______________________________________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.media.uoa.gr
>>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>>
>>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>>
>>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>>>>> to. In the page that will appear ("info page"), enter e-mail address, name,
>>>>> and password in the fields found further down the page.
>>>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>>>>> your e-mail address in the last field. Enter password if asked. Click on the
>>>>> unsubscribe button on the page that will appear ("options page").
>>>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>>>>> Digest Mode" option and set it to either on or off.
>>>>>
>>>>>
>>>>>
>>>>
>>>> o
>>>> ___________________________________________________________
>>>> Découvrez 15 astuces santé pour rester en forme cet hiver sur Voila.fr
>>>> http://actu.voila.fr/evenementiel/sante-bien-etre-2010-2011/15-astuces-sante/
>>>>
>>>>
>>>>
>>>>
>>>
>>> _______________________________________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.media.uoa.gr
>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>>> In the page that will appear ("info page"), enter e-mail address, name, and
>>> password in the fields found further down the page.
>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>>> your e-mail address in the last field. Enter password if asked. Click on the
>>> unsubscribe button on the page that will appear ("options page").
>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>>> Digest Mode" option and set it to either on or off.
>>>
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.

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

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

HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-30T04:33:00.000-08:00

Karen,

I understood well how it is in France. I know how it is in France.
However in Spain, Art is in the University system as Faculties of Art
and the titles they issue are University titles (full university
titles). They are under the same admission policies and budget policies,
and research requirements. Regarding Pau Alsina's comments, he is
addressing the issue of what is happening to Applied Art Schools
(Graphic or Industrial Design, Interiorism, Fashion or other "applied
arts" schools) not to Art faculties (superior studies of Art) that in
Spain are already totally integrated (for 3 decades) in the University
system (same level of research requirements, for teachers etc.). There
is no difference between, for example, a Faculty of Art and a Faculty of
Biology regarding university level.
See more here:
http://www.ehu.es/p200-content/es/pls/entrada/plew0040.htm_siguiente?p_sesion=&p_cod_idioma=CAS&p_en_portal=S&p_anyoAcad=act&p_cod_centro=320&p_cod_plan=GENART30&p_menu=intro

http://www.ehu.es/p200-content/es/pls/entrada/plew0040.htm?p_cod_idioma=CAS&p_en_portal=S&p_titu_nuevas=S&p_opcion=1&p_anyoAcad=act

best,
Cristina

On 30/01/12 11:56, korourke@free.fr wrote:
> Cristina,Leif,
>
> What Roger didn't mention was that in France the arts are already part of the university curriculum, and have been for forty some years. What is new is that art schools, funded by the Ministry of Culture (unlike universities funded by the Ministry of Education) will be able to issue university degrees. With their selective admissions policies, art schools have both smaller student bodies and larger budgets than the universities. This has of course repercussions as to the kind of research that is possible in school or university facilities. University-based artists quickly realize they must arrange to do elsewhere any artwork requiring more than pencil and paper. For many grad students this means enrolling in art school...
>
> How does this work in Spain?
>
> Best,
> Karen
>
> ----- Mail original -----
> De: "Leif Brush"<lbrush@d.umn.edu>
> À: "YASMIN DISCUSSIONS"<yasmin_discussions@estia.media.uoa.gr>
> Envoyé: Jeudi 26 Janvier 2012 22:35:11
> Objet: Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd
>
> Cristina,
>
> Please help me to more fully understand those current outcomes which are
> being manifest as the result of "People involved in this integration
> process in France could benefit from learning from these previous experiences
> that have been running for quite a long time and, in so doing, could avoid
> stumbling on these same mistakes and problems."
>
> Thanks, leif BRUSH
> C.V.http://www.d.umn.edu/~lbrush/emeritus.htm
> research summary
> http://weblackwhole.net
>
> 2012/1/25 cristina miranda<cristinamiranda.de@gmail.com>
>
>> Dear colleagues,
>>
>> In Spain and in many other countries, for instance in non-European one
>> like Brazil, Australia, etc., Art was totally integrated in the main
>> University system a long time ago. Art students and researchers have the
>> possibility to apply to a PhD title and to research and PhD grants as
>> students from any other field. So this integration also implies -and should
>> take seriously into consideration- the possibility to access the highest
>> funding systems for research in Art. In my own case, I enjoyed a 4-year
>> grant to develop my PhD thesis, and publish it afterwards, by applying to
>> the same national and local research grant systems, in the same way as any
>> other colleague from any other field could do. In fact, in Spain PhD
>> candidates in Art can apply to grants at the national and regional levels
>> and the same in Brazil.
>> Nowadays the phase and debate in these countries are not anymore whether
>> or not Art is to be integrated in the university system with all the rights
>> and obligations that it implies: the debate is how Art is integrated and
>> can have a specific role in a trans-disciplinary collaboration between
>> art-science-humanities, and which can be the different models or
>> possibilities to develop PhD research in Art at this highest possible level
>> given the fact that there is a great influence from research "models" that
>> come from other fields like Humanities, Science and Technology.
>> Taking the most of these previous experiences, France is in the best
>> moment to develop a kind of integration at all levels that is fully aware
>> of Art's features and needs. Some of these needs should address equality of
>> opportunities for Art, the development of proper research models that are
>> not dominated by models of other areas, the achievement of equality of
>> access to grants as much as any other field and a more extended presence of
>> art in all social fields, among others. People involved in this integration
>> process in France could benefit from learning from these previous
>> experiences that have been running for quite a long time and, in so doing,
>> could avoid stumbling on these same mistakes and problems.
>>
>> All the best,
>> Cristina
>>
>>
>>
>>
>> On 22/01/12 15:35, roger malina wrote:
>>
>>> YASMINERS
>>>
>>>
>>> a colloquium in france on research practice in art as
>>> a reflection on the integration of Art Schools in France
>>> into the university and associated diploma systems
>>>
>>> the "to PhD or not to PhD' discussion is alive and well
>>>
>>> this colloqium is optimistic on the trend,
>>> and one of the things is does highlight is art/science/technology
>>> research
>>>
>>> roger
>>>
>>> Colloque internat ional sur la recherche en art et dans
>>> l'enseignement supérieur art istique
>>>
>>>
>>> Ministère de la Culture et de la Communication / Ecole Nationale
>>> Supérieure
>>> d'Arts de Paris-Cergy
>>> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture de
>>> Paris-
>>> Belleville
>>>
>>>
>>> ARGUMENT
>>> Coordination du Conseil Scientifique: Jehanne Dautrey
>>>
>>> Du fait de leur insertion dans un projet de réforme de l'enseignement
>>> supérieur en général, les
>>> objectifs du développement d'une recherche en art conduisent l'art à
>>> s'inscrire dans des critères de
>>> fonctionnement autres que ceux d'une logique de production et de
>>> diffusion. La production de la
>>> recherche est ainsi invitée à s'inscrire dans des protocoles
>>> scientifiquement validés afin de dialoguer
>>> avec les champs déjà constitués du savoir. Mais contrairement à ce que
>>> l'on pouvait craindre, cette
>>> contrainte n'a pas donné lieu à une activité réductrice quant aux
>>> ambitions de l'art d'incarner une
>>> dimension de résistance à l'univocité du sens. Elle a au contraire
>>> impulsé un renouvellement des
>>> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
>>> technologies mais a pris des
>>> formes diverses selon les arts concernés. L'ambition de ce colloque
>>> est de faire le point, au sens
>>> optique et intellectuel du terme, sur le paysage de la recherche
>>> artistique en France et dans le
>>> monde. Loin de chercher à imposer une vision normative ou un modèle à
>>> suivre, il s'agit de donner
>>> une visibilité à une multitude de pratiques, de projets en cours,
>>> d'initiatives, d'en déployer un
>>> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
>>> aussi une vision analytique
>>> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
>>> continuer de faire vivre ce
>>> champ de la recherche en art.
>>> Quelles sont à l'heure actuelle les singularités de ces recherches en art
>>> ?
>>> L'art est dans sa logique intrinsèque une activité qui se nourrit de
>>> domaines, de compétences et de
>>> savoirs multiples : un fait saillant de la recherche en art est sa
>>> capacité à se nourrir de ces territoires,
>>> voire à les relancer. Prenant acte d'une certaine maturité acquise par
>>> la recherche en art, il s'agit
>>> ainsi de donner une visibilité à des initiatives qui donnent
>>> maintenant à la recherche en art non
>>> seulement un contenu et des enjeux tangibles, mais aussi la capacité
>>> de constituer une force de
>>> proposition pour la recherche en général.
>>> On peut dégager trois plans sur lesquels cette complexité se développe :
>>> - le plan des disciplines et domaines scientifiques
>>> - le plan des modes d'exposition de la recherche
>>> - le plan des espaces d'inscription, des réseaux et des moyens
>>> Le plan des disciplines et domaines scientifiques
>>> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
>>> actuelle implique autant de se
>>> demander dans quelle mesure la recherche concernée entre dans un
>>> paradigme général de la
>>> recherche (déterminé par des normes et des critères), que d'interroger
>>> la manière spécifique dont
>>> elle s'y positionne. Il est donc important que la question de la
>>> singularité de la recherche en art ne
>>> s'inscrive pas sur le fond d'une recherche définie de manière générale
>>> comme non singulière,
>>> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
>>> questionnement approfondi sur les
>>> spécificités des autres recherches. Qu'est-ce que les recherches
>>> conduites dans les milieux de l'art
>>> ont de spécifique par rapport à celles conduites dans les autres
>>> milieux ? Dans quelle mesure la
>>> recherche en art est-elle apte à affirmer aujourd'hui des
>>> problématiques spécifiques ?
>>> Contrairement à ce qui s'est passé à l'université où la recherche
>>> accompagnait l'autonomie des
>>> disciplines, la recherche en art intervient à un moment où la notion
>>> de discipline, en tant que
>>> champ de pensée et de pratiques homogènes, entre en crise : les
>>> disciplines ne disparaissent pas
>>> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
>>> de débordement critique. Si
>>> le concept d'hybridation a été très usité dans les années 1980 pour
>>> désigner un principe de mixité
>>> des pratiques plastiques, on remarque que cette logique
>>> d'entrelacement s'est élargie au champ des
>>> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
>>> ensemble d'imbrications ou de
>>> tuilages d'objets ou de formes préconstituées qu'un ensemble de
>>> pratiques contribuant à
>>> l'émergence d'une zone hors norme dont les techniques et les objets
>>> deviennent inclassables,
>>> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
>>> dialogue avec les champs des
>>> sciences exactes et des sciences humaines et techniques le fait à
>>> partir de ses propres objectifs, en
>>> développant un point de vue sur ces disciplines. En faisant usage
>>> d'outils informatiques ou
>>> technologiques dans la danse, dans les oeuvres interactives ou dans la
>>> musique, il injecte dans les
>>> dynamiques de recherche impulsées autour de ces derniers des
>>> questionnements spécifiques. En
>>> traitant aussi bien la question du document, de l'archive dans des
>>> protocoles de documentation
>>> fictionnelles, il développe des objets historiques et construit un
>>> rapport critique à l'histoire.
>>> Non seulement l'art n'a pas renoncé aux outils et aux principes
>>> d'expérimentation qui sont les
>>> siens en développant la dimension de la recherche, mais en plus il
>>> s'est emparé des outils et des
>>> objectifs scientifiques pour construire des formes de réflexion
>>> propres. Développer une recherche
>>> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
>>> des normes de scientificité mais
>>> a permis à l'art d'engager une réflexion sur les disciplines du savoir
>>> selon des modalités qui lui
>>> étaient propres.
>>> Le plan des modes d'exposition de la recherche
>>> Cette singularité concerne aussi la dimension de la mise en forme et
>>> des formes d'exposition des
>>> recherches. La recherche en art permet à l'art de sortir de sa
>>> position d'objet de recherche pour
>>> les autres savoirs sans pour autant se limiter à la revendication
>>> (comprise ici dans le sens d'une
>>> activité d'expression) de « sujets créateurs ». Se mettre en recherche
>>> n'est pas simplement cesser
>>> d'être objet pour se réapproprier un discours sur soi, c'est aussi
>>> s'aventurer dans une exploration ;
>>> c'est engager des mises en formes susceptibles de nourrir de nouvelles
>>> formes de réflexion. L'art ne
>>> donne pas seulement à penser par la manière dont il résiste à toute
>>> méthode préétablie, il se dote
>>> avec l'activité de la recherche des moyens de défendre une nouvelle
>>> approche de l'activité de
>>> réflexion. C'est pourquoi il est important de s'attacher au
>>> développement de nouvelles pratiques
>>> d'écriture, de production et de collecte, susceptibles de nourrir de
>>> nouvelles positions
>>> d'énonciations marquant la fin d'un clivage entre « théorie » et «
>>> pratique », et redéfinissant les
>>> fonctions de chacune.
>>> Le plan des espaces d'inscription, des réseaux et des moyens
>>> Les recherches des artistes, nourrissant et déplaçant les recherches
>>> des savoirs scientifiques
>>> constitués, attestent de la valeur épistémologique originale de la
>>> recherche en art. Demeure la
>>> question des modalités de leur reconnaissance dans les institutions de
>>> recherche et les cursus
>>> d'enseignement. Comment s'intégrer dans le paysage actuel de la
>>> recherche universitaire, dans ses
>>> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
>>> recherche en art ? Quelle forme
>>> donner aux 3e cycles des établissements d'enseignement supérieur
>>> artistique ? Comment donner à
>>> l'activité de recherche en art sa pleine inscription institutionnelle
>>> en préservant la spécificité qui est
>>> la sienne et qui est celle de l'art ? Quelles sont les formes
>>> actuelles de ces 3e cycles en art, en
>>> France et dans le monde ?
>>> Un point sur lequel il nous semble important d'attirer l'attention
>>> dans ce colloque est le rôle très
>>> actif que jouent les différents lieux de production, de conservation
>>> et de diffusion de l'art dans le
>>> déploiement de cette diversité. Outre les laboratoires universitaires
>>> déjà engagés dans ces activités
>>> de recherche et actuellement valorisés par des statuts spécifiques, on
>>> remarque que non seulement
>>> les établissements d'enseignement se sont sentis concernés par cette
>>> recherche, mais aussi les lieux
>>> de production et de diffusion de l'art (Frac, musées, centres d'art,
>>> instituts, fondations, lieux de
>>> résidence...). A travers cette diversité, la recherche s'affirme comme
>>> une activité collective
>>> complexe, portée par des personnes aux compétences et aux objectifs
>>> extrêmement diversifiés et
>>> source d'interactions riches : chercheurs, artistes, directeurs de
>>> centres collaborent selon des
>>> modalités relevant d'agencements de terrain semblables à des
>>> écosystèmes... Les activités de
>>> recherche s'appuient ainsi sur des collectifs aux compétences
>>> complémentaires, et remplissent des
>>> objectifs diversifiés qui ne se limitent pas à la simple production de
>>> documents de recherche : elles
>>> peuvent engager en même temps des activités de production, de
>>> diffusion, de monstration tout
>>> comme de nouvelles relations dynamiques entre ces différentes
>>> activités. A ceci s'ajoutent les
>>> nouveaux lieux de réflexion dans des lieux qui ne sont pas
>>> immédiatement dédiés à l'art. Sur ce
>>> point, on gagnera à confronter les différents modes de fonctionnement
>>> d'un pays à l'autre.
>>>
>>> _______________________________________________
>>> 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
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>
>

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

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

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-30T02:56:00.000-08:00

Cristina,Leif,

What Roger didn't mention was that in France the arts are already part of the university curriculum, and have been for forty some years. What is new is that art schools, funded by the Ministry of Culture (unlike universities funded by the Ministry of Education) will be able to issue university degrees. With their selective admissions policies, art schools have both smaller student bodies and larger budgets than the universities. This has of course repercussions as to the kind of research that is possible in school or university facilities. University-based artists quickly realize they must arrange to do elsewhere any artwork requiring more than pencil and paper. For many grad students this means enrolling in art school...

How does this work in Spain?

Best,
Karen

----- Mail original -----
De: "Leif Brush" <lbrush@d.umn.edu>
À: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
Envoyé: Jeudi 26 Janvier 2012 22:35:11
Objet: Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

Cristina,

Please help me to more fully understand those current outcomes which are
being manifest as the result of "People involved in this integration
process in France could benefit from learning from these previous experiences
that have been running for quite a long time and, in so doing, could avoid
stumbling on these same mistakes and problems."

Thanks, leif BRUSH
C.V.http://www.d.umn.edu/~lbrush/emeritus.htm
research summary
http://weblackwhole.net

2012/1/25 cristina miranda <cristinamiranda.de@gmail.com>

> Dear colleagues,
>
> In Spain and in many other countries, for instance in non-European one
> like Brazil, Australia, etc., Art was totally integrated in the main
> University system a long time ago. Art students and researchers have the
> possibility to apply to a PhD title and to research and PhD grants as
> students from any other field. So this integration also implies -and should
> take seriously into consideration- the possibility to access the highest
> funding systems for research in Art. In my own case, I enjoyed a 4-year
> grant to develop my PhD thesis, and publish it afterwards, by applying to
> the same national and local research grant systems, in the same way as any
> other colleague from any other field could do. In fact, in Spain PhD
> candidates in Art can apply to grants at the national and regional levels
> and the same in Brazil.
> Nowadays the phase and debate in these countries are not anymore whether
> or not Art is to be integrated in the university system with all the rights
> and obligations that it implies: the debate is how Art is integrated and
> can have a specific role in a trans-disciplinary collaboration between
> art-science-humanities, and which can be the different models or
> possibilities to develop PhD research in Art at this highest possible level
> given the fact that there is a great influence from research "models" that
> come from other fields like Humanities, Science and Technology.
> Taking the most of these previous experiences, France is in the best
> moment to develop a kind of integration at all levels that is fully aware
> of Art's features and needs. Some of these needs should address equality of
> opportunities for Art, the development of proper research models that are
> not dominated by models of other areas, the achievement of equality of
> access to grants as much as any other field and a more extended presence of
> art in all social fields, among others. People involved in this integration
> process in France could benefit from learning from these previous
> experiences that have been running for quite a long time and, in so doing,
> could avoid stumbling on these same mistakes and problems.
>
> All the best,
> Cristina
>
>
>
>
> On 22/01/12 15:35, roger malina wrote:
>
>> YASMINERS
>>
>>
>> a colloquium in france on research practice in art as
>> a reflection on the integration of Art Schools in France
>> into the university and associated diploma systems
>>
>> the "to PhD or not to PhD' discussion is alive and well
>>
>> this colloqium is optimistic on the trend,
>> and one of the things is does highlight is art/science/technology
>> research
>>
>> roger
>>
>> Colloque internat ional sur la recherche en art et dans
>> l'enseignement supérieur art istique
>>
>>
>> Ministère de la Culture et de la Communication / Ecole Nationale
>> Supérieure
>> d'Arts de Paris-Cergy
>> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture de
>> Paris-
>> Belleville
>>
>>
>> ARGUMENT
>> Coordination du Conseil Scientifique: Jehanne Dautrey
>>
>> Du fait de leur insertion dans un projet de réforme de l'enseignement
>> supérieur en général, les
>> objectifs du développement d'une recherche en art conduisent l'art à
>> s'inscrire dans des critères de
>> fonctionnement autres que ceux d'une logique de production et de
>> diffusion. La production de la
>> recherche est ainsi invitée à s'inscrire dans des protocoles
>> scientifiquement validés afin de dialoguer
>> avec les champs déjà constitués du savoir. Mais contrairement à ce que
>> l'on pouvait craindre, cette
>> contrainte n'a pas donné lieu à une activité réductrice quant aux
>> ambitions de l'art d'incarner une
>> dimension de résistance à l'univocité du sens. Elle a au contraire
>> impulsé un renouvellement des
>> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
>> technologies mais a pris des
>> formes diverses selon les arts concernés. L'ambition de ce colloque
>> est de faire le point, au sens
>> optique et intellectuel du terme, sur le paysage de la recherche
>> artistique en France et dans le
>> monde. Loin de chercher à imposer une vision normative ou un modèle à
>> suivre, il s'agit de donner
>> une visibilité à une multitude de pratiques, de projets en cours,
>> d'initiatives, d'en déployer un
>> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
>> aussi une vision analytique
>> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
>> continuer de faire vivre ce
>> champ de la recherche en art.
>> Quelles sont à l'heure actuelle les singularités de ces recherches en art
>> ?
>> L'art est dans sa logique intrinsèque une activité qui se nourrit de
>> domaines, de compétences et de
>> savoirs multiples : un fait saillant de la recherche en art est sa
>> capacité à se nourrir de ces territoires,
>> voire à les relancer. Prenant acte d'une certaine maturité acquise par
>> la recherche en art, il s'agit
>> ainsi de donner une visibilité à des initiatives qui donnent
>> maintenant à la recherche en art non
>> seulement un contenu et des enjeux tangibles, mais aussi la capacité
>> de constituer une force de
>> proposition pour la recherche en général.
>> On peut dégager trois plans sur lesquels cette complexité se développe :
>> - le plan des disciplines et domaines scientifiques
>> - le plan des modes d'exposition de la recherche
>> - le plan des espaces d'inscription, des réseaux et des moyens
>> Le plan des disciplines et domaines scientifiques
>> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
>> actuelle implique autant de se
>> demander dans quelle mesure la recherche concernée entre dans un
>> paradigme général de la
>> recherche (déterminé par des normes et des critères), que d'interroger
>> la manière spécifique dont
>> elle s'y positionne. Il est donc important que la question de la
>> singularité de la recherche en art ne
>> s'inscrive pas sur le fond d'une recherche définie de manière générale
>> comme non singulière,
>> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
>> questionnement approfondi sur les
>> spécificités des autres recherches. Qu'est-ce que les recherches
>> conduites dans les milieux de l'art
>> ont de spécifique par rapport à celles conduites dans les autres
>> milieux ? Dans quelle mesure la
>> recherche en art est-elle apte à affirmer aujourd'hui des
>> problématiques spécifiques ?
>> Contrairement à ce qui s'est passé à l'université où la recherche
>> accompagnait l'autonomie des
>> disciplines, la recherche en art intervient à un moment où la notion
>> de discipline, en tant que
>> champ de pensée et de pratiques homogènes, entre en crise : les
>> disciplines ne disparaissent pas
>> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
>> de débordement critique. Si
>> le concept d'hybridation a été très usité dans les années 1980 pour
>> désigner un principe de mixité
>> des pratiques plastiques, on remarque que cette logique
>> d'entrelacement s'est élargie au champ des
>> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
>> ensemble d'imbrications ou de
>> tuilages d'objets ou de formes préconstituées qu'un ensemble de
>> pratiques contribuant à
>> l'émergence d'une zone hors norme dont les techniques et les objets
>> deviennent inclassables,
>> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
>> dialogue avec les champs des
>> sciences exactes et des sciences humaines et techniques le fait à
>> partir de ses propres objectifs, en
>> développant un point de vue sur ces disciplines. En faisant usage
>> d'outils informatiques ou
>> technologiques dans la danse, dans les oeuvres interactives ou dans la
>> musique, il injecte dans les
>> dynamiques de recherche impulsées autour de ces derniers des
>> questionnements spécifiques. En
>> traitant aussi bien la question du document, de l'archive dans des
>> protocoles de documentation
>> fictionnelles, il développe des objets historiques et construit un
>> rapport critique à l'histoire.
>> Non seulement l'art n'a pas renoncé aux outils et aux principes
>> d'expérimentation qui sont les
>> siens en développant la dimension de la recherche, mais en plus il
>> s'est emparé des outils et des
>> objectifs scientifiques pour construire des formes de réflexion
>> propres. Développer une recherche
>> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
>> des normes de scientificité mais
>> a permis à l'art d'engager une réflexion sur les disciplines du savoir
>> selon des modalités qui lui
>> étaient propres.
>> Le plan des modes d'exposition de la recherche
>> Cette singularité concerne aussi la dimension de la mise en forme et
>> des formes d'exposition des
>> recherches. La recherche en art permet à l'art de sortir de sa
>> position d'objet de recherche pour
>> les autres savoirs sans pour autant se limiter à la revendication
>> (comprise ici dans le sens d'une
>> activité d'expression) de « sujets créateurs ». Se mettre en recherche
>> n'est pas simplement cesser
>> d'être objet pour se réapproprier un discours sur soi, c'est aussi
>> s'aventurer dans une exploration ;
>> c'est engager des mises en formes susceptibles de nourrir de nouvelles
>> formes de réflexion. L'art ne
>> donne pas seulement à penser par la manière dont il résiste à toute
>> méthode préétablie, il se dote
>> avec l'activité de la recherche des moyens de défendre une nouvelle
>> approche de l'activité de
>> réflexion. C'est pourquoi il est important de s'attacher au
>> développement de nouvelles pratiques
>> d'écriture, de production et de collecte, susceptibles de nourrir de
>> nouvelles positions
>> d'énonciations marquant la fin d'un clivage entre « théorie » et «
>> pratique », et redéfinissant les
>> fonctions de chacune.
>> Le plan des espaces d'inscription, des réseaux et des moyens
>> Les recherches des artistes, nourrissant et déplaçant les recherches
>> des savoirs scientifiques
>> constitués, attestent de la valeur épistémologique originale de la
>> recherche en art. Demeure la
>> question des modalités de leur reconnaissance dans les institutions de
>> recherche et les cursus
>> d'enseignement. Comment s'intégrer dans le paysage actuel de la
>> recherche universitaire, dans ses
>> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
>> recherche en art ? Quelle forme
>> donner aux 3e cycles des établissements d'enseignement supérieur
>> artistique ? Comment donner à
>> l'activité de recherche en art sa pleine inscription institutionnelle
>> en préservant la spécificité qui est
>> la sienne et qui est celle de l'art ? Quelles sont les formes
>> actuelles de ces 3e cycles en art, en
>> France et dans le monde ?
>> Un point sur lequel il nous semble important d'attirer l'attention
>> dans ce colloque est le rôle très
>> actif que jouent les différents lieux de production, de conservation
>> et de diffusion de l'art dans le
>> déploiement de cette diversité. Outre les laboratoires universitaires
>> déjà engagés dans ces activités
>> de recherche et actuellement valorisés par des statuts spécifiques, on
>> remarque que non seulement
>> les établissements d'enseignement se sont sentis concernés par cette
>> recherche, mais aussi les lieux
>> de production et de diffusion de l'art (Frac, musées, centres d'art,
>> instituts, fondations, lieux de
>> résidence...). A travers cette diversité, la recherche s'affirme comme
>> une activité collective
>> complexe, portée par des personnes aux compétences et aux objectifs
>> extrêmement diversifiés et
>> source d'interactions riches : chercheurs, artistes, directeurs de
>> centres collaborent selon des
>> modalités relevant d'agencements de terrain semblables à des
>> écosystèmes... Les activités de
>> recherche s'appuient ainsi sur des collectifs aux compétences
>> complémentaires, et remplissent des
>> objectifs diversifiés qui ne se limitent pas à la simple production de
>> documents de recherche : elles
>> peuvent engager en même temps des activités de production, de
>> diffusion, de monstration tout
>> comme de nouvelles relations dynamiques entre ces différentes
>> activités. A ceci s'ajoutent les
>> nouveaux lieux de réflexion dans des lieux qui ne sont pas
>> immédiatement dédiés à l'art. Sur ce
>> point, on gagnera à confronter les différents modes de fonctionnement
>> d'un pays à l'autre.
>>
>> _______________________________________________
>> 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
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

--
______________
Leif Brush
Professor Emeritus
Research Specialty: Environmental Sound
http://d.umn.edu/lbarchivesa
lbrush@d.umn.edu
_______________________________________________
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

_______________________________________________
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

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-30T01:47:00.000-08:00

Roger, in Spain is happening the same that you mentioned that is
happening in France. In two ways:

Art Schools, once they became considered "official degrees" where
Graphic or Industrial Design, Interiorism, Fashion or other "applied
arts" are being taugth, are facing the same problem. They all need to
rethink themselves and produce from zero a research area, attach to a
university dynamics involving either teaching and researching
activites. This also means that teachers there need to get a Phd in
order to keep their activities going, Schools need to create a Phd
Programm and also research groups, where Phds students could get into.

It's also true that in the Fine Art Departments of Universities It was
possible to get a Phd of any type, but it was not common and there
wasn't a propper research ecosystem that reinforced the idea, until
changes made due to the Bologna process. Then art research groups were
created, researchers started to create formal research projects and to
use the research funding system once they slowly started to see
themselves as a community of knowledge instead as an agregation of
individuals doing their own private research for their own personal
purposses. This is still a strong debate in the field.

I believe that in both ways the idea of Knowledge Community in the
Arts field is a really strong idea to reinforce.

Best,

Pau

2012/1/26 Leif Brush <lbrush@d.umn.edu>:
> Cristina,
>
> Please help me to more fully understand those current outcomes which are
> being manifest as the result of "People involved in this integration
> process in France could benefit from learning from these previous experiences
> that have been running for quite a long time and, in so doing, could avoid
> stumbling on these same mistakes and problems."
>
> Thanks, leif BRUSH
> C.V.http://www.d.umn.edu/~lbrush/emeritus.htm
> research summary
> http://weblackwhole.net
>
> 2012/1/25 cristina miranda <cristinamiranda.de@gmail.com>
>
>> Dear colleagues,
>>
>> In Spain and in many other countries, for instance in non-European one
>> like Brazil, Australia, etc., Art was totally integrated in the main
>> University system a long time ago. Art students and researchers have the
>> possibility to apply to a PhD title and to research and PhD grants as
>> students from any other field. So this integration also implies -and should
>> take seriously into consideration- the possibility to access the highest
>> funding systems for research in Art. In my own case, I enjoyed a 4-year
>> grant to develop my PhD thesis, and publish it afterwards, by applying to
>> the same national and local research grant systems, in the same way as any
>> other colleague from any other field could do. In fact, in Spain PhD
>> candidates in Art can apply to grants at the national and regional levels
>> and the same in Brazil.
>> Nowadays the phase and debate in these countries are not anymore whether
>> or not Art is to be integrated in the university system with all the rights
>> and obligations that it implies: the debate is how Art is integrated and
>> can have a specific role in a trans-disciplinary collaboration between
>> art-science-humanities, and which can be the different models or
>> possibilities to develop PhD research in Art at this highest possible level
>> given the fact that there is a great influence from research "models" that
>> come from other fields like Humanities, Science and Technology.
>> Taking the most of these previous experiences, France is in the best
>> moment to develop a kind of integration at all levels that is fully aware
>> of Art's features and needs. Some of these needs should address equality of
>> opportunities for Art, the development of proper research models that are
>> not dominated by models of other areas, the achievement of equality of
>> access to grants as much as any other field and a more extended presence of
>> art in all social fields, among others. People involved in this integration
>> process in France could benefit from learning from these previous
>> experiences that have been running for quite a long time and, in so doing,
>> could avoid stumbling on these same mistakes and problems.
>>
>> All the best,
>> Cristina
>>
>>
>>
>>
>> On 22/01/12 15:35, roger malina wrote:
>>
>>> YASMINERS
>>>
>>>
>>> a colloquium in france on research practice in art as
>>> a reflection on the integration of Art Schools in France
>>> into the university and associated diploma systems
>>>
>>> the "to PhD or not to PhD' discussion is alive and well
>>>
>>> this colloqium is optimistic on the trend,
>>> and one of the things is does highlight is art/science/technology
>>> research
>>>
>>> roger
>>>
>>> Colloque internat ional sur la recherche en art et dans
>>> l'enseignement supérieur art istique
>>>
>>>
>>> Ministère de la Culture et de la Communication / Ecole Nationale
>>> Supérieure
>>> d'Arts de Paris-Cergy
>>> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture de
>>> Paris-
>>> Belleville
>>>
>>>
>>> ARGUMENT
>>> Coordination du Conseil Scientifique: Jehanne Dautrey
>>>
>>> Du fait de leur insertion dans un projet de réforme de l'enseignement
>>> supérieur en général, les
>>> objectifs du développement d'une recherche en art conduisent l'art à
>>> s'inscrire dans des critères de
>>> fonctionnement autres que ceux d'une logique de production et de
>>> diffusion. La production de la
>>> recherche est ainsi invitée à s'inscrire dans des protocoles
>>> scientifiquement validés afin de dialoguer
>>> avec les champs déjà constitués du savoir. Mais contrairement à ce que
>>> l'on pouvait craindre, cette
>>> contrainte n'a pas donné lieu à une activité réductrice quant aux
>>> ambitions de l'art d'incarner une
>>> dimension de résistance à l'univocité du sens. Elle a au contraire
>>> impulsé un renouvellement des
>>> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
>>> technologies mais a pris des
>>> formes diverses selon les arts concernés. L'ambition de ce colloque
>>> est de faire le point, au sens
>>> optique et intellectuel du terme, sur le paysage de la recherche
>>> artistique en France et dans le
>>> monde. Loin de chercher à imposer une vision normative ou un modèle à
>>> suivre, il s'agit de donner
>>> une visibilité à une multitude de pratiques, de projets en cours,
>>> d'initiatives, d'en déployer un
>>> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
>>> aussi une vision analytique
>>> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
>>> continuer de faire vivre ce
>>> champ de la recherche en art.
>>> Quelles sont à l'heure actuelle les singularités de ces recherches en art
>>> ?
>>> L'art est dans sa logique intrinsèque une activité qui se nourrit de
>>> domaines, de compétences et de
>>> savoirs multiples : un fait saillant de la recherche en art est sa
>>> capacité à se nourrir de ces territoires,
>>> voire à les relancer. Prenant acte d'une certaine maturité acquise par
>>> la recherche en art, il s'agit
>>> ainsi de donner une visibilité à des initiatives qui donnent
>>> maintenant à la recherche en art non
>>> seulement un contenu et des enjeux tangibles, mais aussi la capacité
>>> de constituer une force de
>>> proposition pour la recherche en général.
>>> On peut dégager trois plans sur lesquels cette complexité se développe :
>>> - le plan des disciplines et domaines scientifiques
>>> - le plan des modes d'exposition de la recherche
>>> - le plan des espaces d'inscription, des réseaux et des moyens
>>> Le plan des disciplines et domaines scientifiques
>>> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
>>> actuelle implique autant de se
>>> demander dans quelle mesure la recherche concernée entre dans un
>>> paradigme général de la
>>> recherche (déterminé par des normes et des critères), que d'interroger
>>> la manière spécifique dont
>>> elle s'y positionne. Il est donc important que la question de la
>>> singularité de la recherche en art ne
>>> s'inscrive pas sur le fond d'une recherche définie de manière générale
>>> comme non singulière,
>>> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
>>> questionnement approfondi sur les
>>> spécificités des autres recherches. Qu'est-ce que les recherches
>>> conduites dans les milieux de l'art
>>> ont de spécifique par rapport à celles conduites dans les autres
>>> milieux ? Dans quelle mesure la
>>> recherche en art est-elle apte à affirmer aujourd'hui des
>>> problématiques spécifiques ?
>>> Contrairement à ce qui s'est passé à l'université où la recherche
>>> accompagnait l'autonomie des
>>> disciplines, la recherche en art intervient à un moment où la notion
>>> de discipline, en tant que
>>> champ de pensée et de pratiques homogènes, entre en crise : les
>>> disciplines ne disparaissent pas
>>> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
>>> de débordement critique. Si
>>> le concept d'hybridation a été très usité dans les années 1980 pour
>>> désigner un principe de mixité
>>> des pratiques plastiques, on remarque que cette logique
>>> d'entrelacement s'est élargie au champ des
>>> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
>>> ensemble d'imbrications ou de
>>> tuilages d'objets ou de formes préconstituées qu'un ensemble de
>>> pratiques contribuant à
>>> l'émergence d'une zone hors norme dont les techniques et les objets
>>> deviennent inclassables,
>>> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
>>> dialogue avec les champs des
>>> sciences exactes et des sciences humaines et techniques le fait à
>>> partir de ses propres objectifs, en
>>> développant un point de vue sur ces disciplines. En faisant usage
>>> d'outils informatiques ou
>>> technologiques dans la danse, dans les oeuvres interactives ou dans la
>>> musique, il injecte dans les
>>> dynamiques de recherche impulsées autour de ces derniers des
>>> questionnements spécifiques. En
>>> traitant aussi bien la question du document, de l'archive dans des
>>> protocoles de documentation
>>> fictionnelles, il développe des objets historiques et construit un
>>> rapport critique à l'histoire.
>>> Non seulement l'art n'a pas renoncé aux outils et aux principes
>>> d'expérimentation qui sont les
>>> siens en développant la dimension de la recherche, mais en plus il
>>> s'est emparé des outils et des
>>> objectifs scientifiques pour construire des formes de réflexion
>>> propres. Développer une recherche
>>> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
>>> des normes de scientificité mais
>>> a permis à l'art d'engager une réflexion sur les disciplines du savoir
>>> selon des modalités qui lui
>>> étaient propres.
>>> Le plan des modes d'exposition de la recherche
>>> Cette singularité concerne aussi la dimension de la mise en forme et
>>> des formes d'exposition des
>>> recherches. La recherche en art permet à l'art de sortir de sa
>>> position d'objet de recherche pour
>>> les autres savoirs sans pour autant se limiter à la revendication
>>> (comprise ici dans le sens d'une
>>> activité d'expression) de « sujets créateurs ». Se mettre en recherche
>>> n'est pas simplement cesser
>>> d'être objet pour se réapproprier un discours sur soi, c'est aussi
>>> s'aventurer dans une exploration ;
>>> c'est engager des mises en formes susceptibles de nourrir de nouvelles
>>> formes de réflexion. L'art ne
>>> donne pas seulement à penser par la manière dont il résiste à toute
>>> méthode préétablie, il se dote
>>> avec l'activité de la recherche des moyens de défendre une nouvelle
>>> approche de l'activité de
>>> réflexion. C'est pourquoi il est important de s'attacher au
>>> développement de nouvelles pratiques
>>> d'écriture, de production et de collecte, susceptibles de nourrir de
>>> nouvelles positions
>>> d'énonciations marquant la fin d'un clivage entre « théorie » et «
>>> pratique », et redéfinissant les
>>> fonctions de chacune.
>>> Le plan des espaces d'inscription, des réseaux et des moyens
>>> Les recherches des artistes, nourrissant et déplaçant les recherches
>>> des savoirs scientifiques
>>> constitués, attestent de la valeur épistémologique originale de la
>>> recherche en art. Demeure la
>>> question des modalités de leur reconnaissance dans les institutions de
>>> recherche et les cursus
>>> d'enseignement. Comment s'intégrer dans le paysage actuel de la
>>> recherche universitaire, dans ses
>>> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
>>> recherche en art ? Quelle forme
>>> donner aux 3e cycles des établissements d'enseignement supérieur
>>> artistique ? Comment donner à
>>> l'activité de recherche en art sa pleine inscription institutionnelle
>>> en préservant la spécificité qui est
>>> la sienne et qui est celle de l'art ? Quelles sont les formes
>>> actuelles de ces 3e cycles en art, en
>>> France et dans le monde ?
>>> Un point sur lequel il nous semble important d'attirer l'attention
>>> dans ce colloque est le rôle très
>>> actif que jouent les différents lieux de production, de conservation
>>> et de diffusion de l'art dans le
>>> déploiement de cette diversité. Outre les laboratoires universitaires
>>> déjà engagés dans ces activités
>>> de recherche et actuellement valorisés par des statuts spécifiques, on
>>> remarque que non seulement
>>> les établissements d'enseignement se sont sentis concernés par cette
>>> recherche, mais aussi les lieux
>>> de production et de diffusion de l'art (Frac, musées, centres d'art,
>>> instituts, fondations, lieux de
>>> résidence...). A travers cette diversité, la recherche s'affirme comme
>>> une activité collective
>>> complexe, portée par des personnes aux compétences et aux objectifs
>>> extrêmement diversifiés et
>>> source d'interactions riches : chercheurs, artistes, directeurs de
>>> centres collaborent selon des
>>> modalités relevant d'agencements de terrain semblables à des
>>> écosystèmes... Les activités de
>>> recherche s'appuient ainsi sur des collectifs aux compétences
>>> complémentaires, et remplissent des
>>> objectifs diversifiés qui ne se limitent pas à la simple production de
>>> documents de recherche : elles
>>> peuvent engager en même temps des activités de production, de
>>> diffusion, de monstration tout
>>> comme de nouvelles relations dynamiques entre ces différentes
>>> activités. A ceci s'ajoutent les
>>> nouveaux lieux de réflexion dans des lieux qui ne sont pas
>>> immédiatement dédiés à l'art. Sur ce
>>> point, on gagnera à confronter les différents modes de fonctionnement
>>> d'un pays à l'autre.
>>>
>>> _______________________________________________
>>> 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
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>
>
>
> --
> ______________
> Leif Brush
> Professor Emeritus
> Research Specialty: Environmental Sound
> http://d.umn.edu/lbarchivesa
> lbrush@d.umn.edu
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

Pau Alsina González
Professor dels Estudis d'Arts i Humanitats
Universitat Oberta de Catalunya

Web Estudis: http://arts-humanitats.uoc.edu
Blog Postgrau: http://laboralcentrodearte.uoc.edu/
Revista Artnodes: http://artnodes.uoc.edu

(+34) 93 254 (2176) | palsinag@uoc.edu
Av. Tibidabo 39-43. Barcelona 08035
Blog: http://paualsina.wordpress.com
Twitter: @paualsina

Aquest missatge s´adreça exclusivament a qui va destinat i pot
contenir informació privilegiada o confidencial i dades de caràcter
personal, la difusió de les quals és regulada per la Llei orgànica de
protecció de dades i la Llei de serveis de la societat de la
informació. Si no sou la persona destinatària indicada (o la
responsable de lliurar-lo a qui va destinat), no heu de copiar aquest
missatge ni lliurar-lo a tercers per cap concepte. Si heu rebut aquest
missatge per error o l´heu aconseguit per altres mitjans, us demanem
que ens ho comuniqueu immediatament per aquesta mateixa via i
l´elimineu irreversiblement.

Abans d´imprimir aquest missatge electrònic penseu en el medi ambient.

_______________________________________________
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

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-30T00:59:00.000-08:00

Dear Leif,

Thank you for your question. With this statement I suggested that it
could be good to French people involved in the process to analyze the
problems and mistakes faced by other countries a long time ago regarding
the fully integration of Art in the University level. Part of these
problems relate to the difficulties to find the recognition of a proper
methodological approach to develop PhD research in Art (these
difficulties are not exclusive of Art by the way) and to find channels
for interdisciplinary dialogue in which Art is an equal interlocutor.
This implies not only that University understands Art as an essential
generator of a specific kind of knowledge but also that Art sees itself
as a knowledge creator and develops a deeper self-awareness about its
own roles, recognizing all aspects of its own forms of creation (by
self-analysis).
McLuhan (1964) said: "I think of art, at its most significant, as a DEW
line, a Distant Early Warning system that can always be relied on to
tell the old culture what is beginning to happen to it". The Canadian
thinker also believed that "the role of the artist is to find patterns".
Thinking about these two statements (that do not exhaust other
possibilities), among other roles, art is able to find patterns in
complexity, intuit trends, critically reveal the invisible behind
appearances, be a critical "hammer", be a social avatar, create new
forms of reality and sense slight changes in emergent reality
configurations. Aren't these some of the most essential roles in the
researchers' hands? Isn't sensibility and intuition and creativity
essential powers in knowledge construction and research development?
Although these aspects do not cover the whole problem spectrum they
could help to integrate Art at the University level so that Art finds a
proper room to fully develop and is not smashed by other models, in
special at the PhD level.
Cristina
_______________________________________________
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

[Yasmin_discussions] McCompatibe-

2012-01-28T12:51:00.000-08:00

i ike mcuhan ery much ad aso marcuse but i reer the irst i beiee mcuhan
and marx are uncupatibe since one reer to ight and anther to matter
indeed i beiee they are n opposite sides but i ound an interesting book
about this topic unortunatey its ony in german i bought it about 6 yars
ago in berin and its caed media marx

Simón ha scritto:
> Maybe in other theorist, the relation is more clear. Two names:
> - Herbert Marcuse, in spanish the central book call El Hombre Unidimensional.
> - Lewis Mumford Tecnic and civilization, for me this book is the bible
>
> Enviado desde mi iPhone
>
> El 20-10-2011, a las 11:18, "Ricardo Vega (ricardov)" <rvegamora@gmail.com> escribió:
>
>
>> Thank you Collete and Simon:
>>
>> In the chapter 13 , "Machinery and great industry", Karl Mark talk
>> about the machine, making description about the parts of the machine
>> and the role of the man in this proccess. Im trying to make
>> connections between Marx and Mcluhan, because when I was reading "The
>> Ccapital", always Mcluhan comes to my mind. Specially if we think in
>> the context of new technologies, and the ""digital machines".
>> Im in Barcelona, I hope I will go to Les effets McLuhan i Aix-en-Provence.
>> Best.
>> r
>>
>>
>> Ricardo Vega
>> www.ricardov.cl
>> www.artnumerica.net
>> 08 191 5577, Santiago, Chile
>>
>>
>>
>> 2011/10/20 c.tron@voila.fr <c.tron@voila.fr>:
>>
>>> Hello ricardo,
>>> Happy that my message has got an interest for another center of the global village.
>>> Up to McLuhan, in the global village there is no more center and peripheric places but equal centers that interact together.
>>> Interesting no ?
>>> To answer about Marx and the reading by McLuhan, the only thing I read from him is that he notes that Marx should have concentrated his refelexions on electric technologies that organize the future of our civilizations rather than the mechanical production that represents the past organization. He thinks that Marx's struggle could have been stronger in consideration of these changes, that also put changes on the work and what, where it is, and how it is organized, what are the structures, and where is the richness.
>>> that's all I am able to say, but maybe some people have some ideas.
>>> Feel free to exchange more
>>> Colette
>>>
>>>
>>>
>>>> Message du 20/10/11 à 15h16
>>>> De : "Ricardo Vega (ricardov)"
>>>> A : "YASMIN DISCUSSIONS"
>>>> Copie à : "coletron"
>>>> Objet : Re: [Yasmin_discussions] MCLUHAN EFFECT
>>>>
>>>>
>>>> Hello:
>>>> A small presentation aout me. My name is Ricardo Vega, from Santiago
>>>> de Chile. Now I`m in Barcelona to study DataViz. i worked during 6
>>>> years in the Spanish Cultural Center in Santiago, coordinating new
>>>> media, design and digital culture area, developing conferences,
>>>> workshops, meetings, etc.
>>>>
>>>> Thank you for you interesting words Colette. Just a question:
>>>> Does somebody knows if Mcluhan had readed or taken in consideration
>>>> some ideas in Karl Marx's Capital?
>>>> Where I can find information about this topic?
>>>>
>>>> thank yo so much, Best
>>>> r
>>>>
>>>> Ricardo Vega
>>>> www.ricardov.cl
>>>> www.artnumerica.net
>>>> 08 191 5577, Santiago, Chile
>>>>
>>>>
>>>>
>>>> 2011/10/16 roger malina :
>>>>
>>>>> from colette tron
>>>>>
>>>>>
>>>>>> - Topic 2 : A cultural and technological challenge, the business of the artists
>>>>>>
>>>>>>
>>>>> For McLuhan, but I guess for thinking in general of the relation
>>>>> between the man and technology, each invention and introduction of a
>>>>> technology in the society, in the every day life creates such a
>>>>> transformation that it makes some kind of revolution : on the sensory
>>>>> system, nervous system, perception, cognition sensitivity…
>>>>>
>>>>> These influences and consequences have been treated on different
>>>>> levels by the anthropologist Leroy-Ghouran, the sociologist Gilbert
>>>>> Simondon, the scientist Jean-Pierre Changeux, the philosopher Bernard
>>>>> Stiegler, etc, only for France, and of course by McLuhan,
>>>>>
>>>>> and after him in the field of neuroculture and neuroaesthetic by
>>>>> Derrick de Kerckhove who was his associate.
>>>>> McLuhan considered the technologies as « extensions of man ». So, as
>>>>> prosthesis, medias and machines are, up to him, a part of the body.
>>>>>
>>>>> And he even thought that sooner or later the medias would be under the
>>>>> skin. That means inside us. The augmented man has thus artificial
>>>>> organs that can be the computer, the clothes, the television,
>>>>> writing, sensors, and so on, technologies that make the environment
>>>>> and the culture of body and mind.
>>>>>
>>>>> He wrote that « the new medias and new technologies through which we
>>>>> amplify and extand ourselves are huge operations on the social body »
>>>>> and that « this is the whole system that undergoes a transformation. »
>>>>> Each new one moves the intersensory relations. And thus, the cultural
>>>>> habits.
>>>>>
>>>>> To understand the medias, and its effects, McLuhan (wrote his book of
>>>>> course, but) argued a certain distance with them. A distance to
>>>>> perceive the changes, to dominate the moves, to diminish the impact or
>>>>> the shock, and to think the future of the civilisation. To accept the
>>>>> challenge of technological and cultural changes, McLuhan trust the
>>>>> artists.
>>>>>
>>>>> In the human history, the critic or the adaptation to the new
>>>>> extensions of man in the private and social life have not been made
>>>>> easily except by the consciousness of the artists, said McLuhan : «
>>>>> The artist is able to capture the message of the cultural and
>>>>> technological challenge a long time before the impact of the
>>>>> transformation can be felt. »
>>>>>
>>>>> Maybe we can have commentary and exchange about some propositions by
>>>>> McLuhan about the important role of the artists in the changes of
>>>>> culture through media and technologies, and their place
>>>>> inexperimentation, research, science and society, or social body in
>>>>> the words of McLuhan. A place that McLuhan defended instead of
>>>>> considering art as entertainment. « I would like to know what would
>>>>> happen if suddenly we take art for what it is really. »
>>>>>
>>>>> In the chapter « The challenge and the fall » (Understanding medias)
>>>>> here are some of the McLuhan's sentences (approximative translation) :
>>>>> « In the age of electricity, it is nothing to talk about the artists
>>>>> as persons that anticipate their era. Our technology is also ahead to
>>>>> our time, if we accept to see it as it is. The artist has to leave his
>>>>> ivory tower to go to the control tower of the society, in order to
>>>>> avoid the accident… Like there is the university for the scientific
>>>>> organization of knowledge, the artist is essential for the direction,
>>>>> the analyze, the understanding of the forms and structures of life
>>>>> created by the electric technology. »
>>>>>
>>>>>
>>>>>> - « In all fields, the one of the science and the one of the humanities, the artist is a man that understand the meaning of his action and of the knowledge of his era. He is the man of the global lucidity. »
>>>>>> - « The artist can compensate for the sensory relations before the shock of a new technology anaesthetize the conscient modes of action… If people could be convinced that art is a way to know in advance and precisely the psychologic and social effects of the next technology, won't they make themselves artists ? Or would
>>>>>> applie themeselves to translate new forms or art into a social navigation map ? »
>>>>>>
>>>>>> - « Experimental art gives information to mankind with accuracy on the following attacks on their mind that will procure their own technologies… These parts of ourselves that we project outside of us under the form of inventions are some attempts to compensate some collective pressure. But the medicine can generate a bigger
>>>>>>
>>>>> pain. Here the artist can learn to us to absorb the knock. »
>>>>>
>>>>> In a certain part of this chapter, Mc Luhan notices that if we
>>>>> continue to consider the extensions of the body as external and
>>>>> independant from us, we will fall down on each « banana skin of the
>>>>> technology ». So we have to keep awake and to pay attention to it.
>>>>> With the help of artists, we should manage to take up the challenge.
>>>>>
>>>>> In this framework, I would like to imagine which function can take
>>>>> art and artists in the process of research and invention, innovation,
>>>>> creation ? Since and after electric age, what kind of relation between
>>>>> art and science, technology and culture, have been made and can be
>>>>> constitued for the future ?
>>>>>
>>>>>
>>>>>> Is technology a « pharmakon » (cf B.Stiegler) and how the artistic consciousness can interfere, alert, awake the society ? Is it the role of art to comprehend sensitive changes in order to take care of it or to shock by representing new sensory situations ?
>>>>>>
>>>>>> How can art and science can collaborate to create a « good » technology and a safe and sustainable society ? How to respect body and mind in the conception of
>>>>>> technical objects born from the science, with the consciousness of both science and art ?
>>>>>>
>>>>>>
>>>>> Colette Tron
>>>>>
>>>>> _______________________________________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.media.uoa.gr
>>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>>
>>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>>
>>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>>>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>>>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>>>>>
>>>>>
>>>> _______________________________________________
>>>> Yasmin_discussions mailing list
>>>> Yasmin_discussions@estia.media.uoa.gr
>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>
>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>
>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>>>>
>>>>
>>>>
>>> o
>>> ___________________________________________________________
>>> Découvrez 15 astuces santé pour rester en forme cet hiver sur Voila.fr http://actu.voila.fr/evenementiel/sante-bien-etre-2010-2011/15-astuces-sante/
>>>
>>>
>>>
>>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

_______________________________________________
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

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-26T23:55:00.000-08:00

The UK has been a pioneer of the creative arts PhD. Some institutions have built up large cohorts of creative arts research students and experience in developing appropriate research methods and frameworks to assure the necessary research cultures are established in departments that are not always well oriented to support such working methods. It is key that PhD candidates are intrinsic to the running of the departments they are working within, not an add on. At eca we have some 70 PhDs working in this area. However, we do not consider the PhD as the default terminal degree for the creative arts graduate. It remains, and will likely remain, a minority choice, just as it does in many other professions. The purpose of the PhD is to facilitate the next generation of researchers, in whatever subject they are working, generally destined for careers in academia, running departments, developing research facilities and projects and preparing the next generation of researchers. Those students who are seeking to become artists are probably still best served by exiting college at BA or MA/MSc level, depending on the degree of specialisation they feel they require. Of course, being an artist is not an activity that has a requirement for accreditation and we should remember that a degree is in no way an indicator of whether somebody is going to be a good artist, much less a successful one. A PhD will not help in this respect either - although it might allow some artists to deepen their practice in the challenging and multidisciplinary environment that a good university can be.

best

Simon

On 25 Jan 2012, at 11:52, cristina miranda wrote:

> Dear colleagues,
>
> In Spain and in many other countries, for instance in non-European one like Brazil, Australia, etc., Art was totally integrated in the main University system a long time ago. Art students and researchers have the possibility to apply to a PhD title and to research and PhD grants as students from any other field. So this integration also implies -and should take seriously into consideration- the possibility to access the highest funding systems for research in Art. In my own case, I enjoyed a 4-year grant to develop my PhD thesis, and publish it afterwards, by applying to the same national and local research grant systems, in the same way as any other colleague from any other field could do. In fact, in Spain PhD candidates in Art can apply to grants at the national and regional levels and the same in Brazil.
> Nowadays the phase and debate in these countries are not anymore whether or not Art is to be integrated in the university system with all the rights and obligations that it implies: the debate is how Art is integrated and can have a specific role in a trans-disciplinary collaboration between art-science-humanities, and which can be the different models or possibilities to develop PhD research in Art at this highest possible level given the fact that there is a great influence from research "models" that come from other fields like Humanities, Science and Technology.
> Taking the most of these previous experiences, France is in the best moment to develop a kind of integration at all levels that is fully aware of Art's features and needs. Some of these needs should address equality of opportunities for Art, the development of proper research models that are not dominated by models of other areas, the achievement of equality of access to grants as much as any other field and a more extended presence of art in all social fields, among others. People involved in this integration process in France could benefit from learning from these previous experiences that have been running for quite a long time and, in so doing, could avoid stumbling on these same mistakes and problems.
>
> All the best,
> Cristina
>
>
>
>
> On 22/01/12 15:35, roger malina wrote:
>> YASMINERS
>>
>>
>> a colloquium in france on research practice in art as
>> a reflection on the integration of Art Schools in France
>> into the university and associated diploma systems
>>
>> the "to PhD or not to PhD' discussion is alive and well
>>
>> this colloqium is optimistic on the trend,
>> and one of the things is does highlight is art/science/technology
>> research
>>
>> roger
>>
>> Colloque internat ional sur la recherche en art et dans
>> l'enseignement supérieur art istique
>>
>>
>> Ministère de la Culture et de la Communication / Ecole Nationale Supérieure
>> d'Arts de Paris-Cergy
>> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture de Paris-
>> Belleville
>>
>>
>> ARGUMENT
>> Coordination du Conseil Scientifique: Jehanne Dautrey
>>
>> Du fait de leur insertion dans un projet de réforme de l'enseignement
>> supérieur en général, les
>> objectifs du développement d'une recherche en art conduisent l'art à
>> s'inscrire dans des critères de
>> fonctionnement autres que ceux d'une logique de production et de
>> diffusion. La production de la
>> recherche est ainsi invitée à s'inscrire dans des protocoles
>> scientifiquement validés afin de dialoguer
>> avec les champs déjà constitués du savoir. Mais contrairement à ce que
>> l'on pouvait craindre, cette
>> contrainte n'a pas donné lieu à une activité réductrice quant aux
>> ambitions de l'art d'incarner une
>> dimension de résistance à l'univocité du sens. Elle a au contraire
>> impulsé un renouvellement des
>> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
>> technologies mais a pris des
>> formes diverses selon les arts concernés. L'ambition de ce colloque
>> est de faire le point, au sens
>> optique et intellectuel du terme, sur le paysage de la recherche
>> artistique en France et dans le
>> monde. Loin de chercher à imposer une vision normative ou un modèle à
>> suivre, il s'agit de donner
>> une visibilité à une multitude de pratiques, de projets en cours,
>> d'initiatives, d'en déployer un
>> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
>> aussi une vision analytique
>> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
>> continuer de faire vivre ce
>> champ de la recherche en art.
>> Quelles sont à l'heure actuelle les singularités de ces recherches en art ?
>> L'art est dans sa logique intrinsèque une activité qui se nourrit de
>> domaines, de compétences et de
>> savoirs multiples : un fait saillant de la recherche en art est sa
>> capacité à se nourrir de ces territoires,
>> voire à les relancer. Prenant acte d'une certaine maturité acquise par
>> la recherche en art, il s'agit
>> ainsi de donner une visibilité à des initiatives qui donnent
>> maintenant à la recherche en art non
>> seulement un contenu et des enjeux tangibles, mais aussi la capacité
>> de constituer une force de
>> proposition pour la recherche en général.
>> On peut dégager trois plans sur lesquels cette complexité se développe :
>> - le plan des disciplines et domaines scientifiques
>> - le plan des modes d'exposition de la recherche
>> - le plan des espaces d'inscription, des réseaux et des moyens
>> Le plan des disciplines et domaines scientifiques
>> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
>> actuelle implique autant de se
>> demander dans quelle mesure la recherche concernée entre dans un
>> paradigme général de la
>> recherche (déterminé par des normes et des critères), que d'interroger
>> la manière spécifique dont
>> elle s'y positionne. Il est donc important que la question de la
>> singularité de la recherche en art ne
>> s'inscrive pas sur le fond d'une recherche définie de manière générale
>> comme non singulière,
>> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
>> questionnement approfondi sur les
>> spécificités des autres recherches. Qu'est-ce que les recherches
>> conduites dans les milieux de l'art
>> ont de spécifique par rapport à celles conduites dans les autres
>> milieux ? Dans quelle mesure la
>> recherche en art est-elle apte à affirmer aujourd'hui des
>> problématiques spécifiques ?
>> Contrairement à ce qui s'est passé à l'université où la recherche
>> accompagnait l'autonomie des
>> disciplines, la recherche en art intervient à un moment où la notion
>> de discipline, en tant que
>> champ de pensée et de pratiques homogènes, entre en crise : les
>> disciplines ne disparaissent pas
>> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
>> de débordement critique. Si
>> le concept d'hybridation a été très usité dans les années 1980 pour
>> désigner un principe de mixité
>> des pratiques plastiques, on remarque que cette logique
>> d'entrelacement s'est élargie au champ des
>> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
>> ensemble d'imbrications ou de
>> tuilages d'objets ou de formes préconstituées qu'un ensemble de
>> pratiques contribuant à
>> l'émergence d'une zone hors norme dont les techniques et les objets
>> deviennent inclassables,
>> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
>> dialogue avec les champs des
>> sciences exactes et des sciences humaines et techniques le fait à
>> partir de ses propres objectifs, en
>> développant un point de vue sur ces disciplines. En faisant usage
>> d'outils informatiques ou
>> technologiques dans la danse, dans les oeuvres interactives ou dans la
>> musique, il injecte dans les
>> dynamiques de recherche impulsées autour de ces derniers des
>> questionnements spécifiques. En
>> traitant aussi bien la question du document, de l'archive dans des
>> protocoles de documentation
>> fictionnelles, il développe des objets historiques et construit un
>> rapport critique à l'histoire.
>> Non seulement l'art n'a pas renoncé aux outils et aux principes
>> d'expérimentation qui sont les
>> siens en développant la dimension de la recherche, mais en plus il
>> s'est emparé des outils et des
>> objectifs scientifiques pour construire des formes de réflexion
>> propres. Développer une recherche
>> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
>> des normes de scientificité mais
>> a permis à l'art d'engager une réflexion sur les disciplines du savoir
>> selon des modalités qui lui
>> étaient propres.
>> Le plan des modes d'exposition de la recherche
>> Cette singularité concerne aussi la dimension de la mise en forme et
>> des formes d'exposition des
>> recherches. La recherche en art permet à l'art de sortir de sa
>> position d'objet de recherche pour
>> les autres savoirs sans pour autant se limiter à la revendication
>> (comprise ici dans le sens d'une
>> activité d'expression) de « sujets créateurs ». Se mettre en recherche
>> n'est pas simplement cesser
>> d'être objet pour se réapproprier un discours sur soi, c'est aussi
>> s'aventurer dans une exploration ;
>> c'est engager des mises en formes susceptibles de nourrir de nouvelles
>> formes de réflexion. L'art ne
>> donne pas seulement à penser par la manière dont il résiste à toute
>> méthode préétablie, il se dote
>> avec l'activité de la recherche des moyens de défendre une nouvelle
>> approche de l'activité de
>> réflexion. C'est pourquoi il est important de s'attacher au
>> développement de nouvelles pratiques
>> d'écriture, de production et de collecte, susceptibles de nourrir de
>> nouvelles positions
>> d'énonciations marquant la fin d'un clivage entre « théorie » et «
>> pratique », et redéfinissant les
>> fonctions de chacune.
>> Le plan des espaces d'inscription, des réseaux et des moyens
>> Les recherches des artistes, nourrissant et déplaçant les recherches
>> des savoirs scientifiques
>> constitués, attestent de la valeur épistémologique originale de la
>> recherche en art. Demeure la
>> question des modalités de leur reconnaissance dans les institutions de
>> recherche et les cursus
>> d'enseignement. Comment s'intégrer dans le paysage actuel de la
>> recherche universitaire, dans ses
>> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
>> recherche en art ? Quelle forme
>> donner aux 3e cycles des établissements d'enseignement supérieur
>> artistique ? Comment donner à
>> l'activité de recherche en art sa pleine inscription institutionnelle
>> en préservant la spécificité qui est
>> la sienne et qui est celle de l'art ? Quelles sont les formes
>> actuelles de ces 3e cycles en art, en
>> France et dans le monde ?
>> Un point sur lequel il nous semble important d'attirer l'attention
>> dans ce colloque est le rôle très
>> actif que jouent les différents lieux de production, de conservation
>> et de diffusion de l'art dans le
>> déploiement de cette diversité. Outre les laboratoires universitaires
>> déjà engagés dans ces activités
>> de recherche et actuellement valorisés par des statuts spécifiques, on
>> remarque que non seulement
>> les établissements d'enseignement se sont sentis concernés par cette
>> recherche, mais aussi les lieux
>> de production et de diffusion de l'art (Frac, musées, centres d'art,
>> instituts, fondations, lieux de
>> résidence...). A travers cette diversité, la recherche s'affirme comme
>> une activité collective
>> complexe, portée par des personnes aux compétences et aux objectifs
>> extrêmement diversifiés et
>> source d'interactions riches : chercheurs, artistes, directeurs de
>> centres collaborent selon des
>> modalités relevant d'agencements de terrain semblables à des
>> écosystèmes... Les activités de
>> recherche s'appuient ainsi sur des collectifs aux compétences
>> complémentaires, et remplissent des
>> objectifs diversifiés qui ne se limitent pas à la simple production de
>> documents de recherche : elles
>> peuvent engager en même temps des activités de production, de
>> diffusion, de monstration tout
>> comme de nouvelles relations dynamiques entre ces différentes
>> activités. A ceci s'ajoutent les
>> nouveaux lieux de réflexion dans des lieux qui ne sont pas
>> immédiatement dédiés à l'art. Sur ce
>> point, on gagnera à confronter les différents modes de fonctionnement
>> d'un pays à l'autre.
>>
>> _______________________________________________
>> 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
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>

Simon Biggs
simon@littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk

s.biggs@ed.ac.uk Edinburgh College of Art, University of Edinburgh
http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/

_______________________________________________
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

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-26T13:35:00.000-08:00

Cristina,

Thanks, leif BRUSH
C.V.http://www.d.umn.edu/~lbrush/emeritus.htm
research summary
http://weblackwhole.net

2012/1/25 cristina miranda <cristinamiranda.de@gmail.com>

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

[Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

2012-01-25T03:52:00.000-08:00

Dear colleagues,

In Spain and in many other countries, for instance in non-European one
like Brazil, Australia, etc., Art was totally integrated in the main
University system a long time ago. Art students and researchers have the
possibility to apply to a PhD title and to research and PhD grants as
students from any other field. So this integration also implies -and
should take seriously into consideration- the possibility to access the
highest funding systems for research in Art. In my own case, I enjoyed a
4-year grant to develop my PhD thesis, and publish it afterwards, by
applying to the same national and local research grant systems, in the
same way as any other colleague from any other field could do. In fact,
in Spain PhD candidates in Art can apply to grants at the national and
regional levels and the same in Brazil.
Nowadays the phase and debate in these countries are not anymore whether
or not Art is to be integrated in the university system with all the
rights and obligations that it implies: the debate is how Art is
integrated and can have a specific role in a trans-disciplinary
collaboration between art-science-humanities, and which can be the
different models or possibilities to develop PhD research in Art at this
highest possible level given the fact that there is a great influence
from research "models" that come from other fields like Humanities,
Science and Technology.
Taking the most of these previous experiences, France is in the best
moment to develop a kind of integration at all levels that is fully
aware of Art's features and needs. Some of these needs should address
equality of opportunities for Art, the development of proper research
models that are not dominated by models of other areas, the achievement
of equality of access to grants as much as any other field and a more
extended presence of art in all social fields, among others. People
involved in this integration process in France could benefit from
learning from these previous experiences that have been running for
quite a long time and, in so doing, could avoid stumbling on these same
mistakes and problems.

All the best,
Cristina

On 22/01/12 15:35, roger malina wrote:
> YASMINERS
>
>
> a colloquium in france on research practice in art as
> a reflection on the integration of Art Schools in France
> into the university and associated diploma systems
>
> the "to PhD or not to PhD' discussion is alive and well
>
> this colloqium is optimistic on the trend,
> and one of the things is does highlight is art/science/technology
> research
>
> roger
>
> Colloque internat ional sur la recherche en art et dans
> l'enseignement supérieur art istique
>
>
> Ministère de la Culture et de la Communication / Ecole Nationale
> Supérieure
> d'Arts de Paris-Cergy
> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture
> de Paris-
> Belleville
>
>
> ARGUMENT
> Coordination du Conseil Scientifique: Jehanne Dautrey
>
> Du fait de leur insertion dans un projet de réforme de l'enseignement
> supérieur en général, les
> objectifs du développement d'une recherche en art conduisent l'art à
> s'inscrire dans des critères de
> fonctionnement autres que ceux d'une logique de production et de
> diffusion. La production de la
> recherche est ainsi invitée à s'inscrire dans des protocoles
> scientifiquement validés afin de dialoguer
> avec les champs déjà constitués du savoir. Mais contrairement à ce que
> l'on pouvait craindre, cette
> contrainte n'a pas donné lieu à une activité réductrice quant aux
> ambitions de l'art d'incarner une
> dimension de résistance à l'univocité du sens. Elle a au contraire
> impulsé un renouvellement des
> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
> technologies mais a pris des
> formes diverses selon les arts concernés. L'ambition de ce colloque
> est de faire le point, au sens
> optique et intellectuel du terme, sur le paysage de la recherche
> artistique en France et dans le
> monde. Loin de chercher à imposer une vision normative ou un modèle à
> suivre, il s'agit de donner
> une visibilité à une multitude de pratiques, de projets en cours,
> d'initiatives, d'en déployer un
> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
> aussi une vision analytique
> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
> continuer de faire vivre ce
> champ de la recherche en art.
> Quelles sont à l'heure actuelle les singularités de ces recherches en
> art ?
> L'art est dans sa logique intrinsèque une activité qui se nourrit de
> domaines, de compétences et de
> savoirs multiples : un fait saillant de la recherche en art est sa
> capacité à se nourrir de ces territoires,
> voire à les relancer. Prenant acte d'une certaine maturité acquise par
> la recherche en art, il s'agit
> ainsi de donner une visibilité à des initiatives qui donnent
> maintenant à la recherche en art non
> seulement un contenu et des enjeux tangibles, mais aussi la capacité
> de constituer une force de
> proposition pour la recherche en général.
> On peut dégager trois plans sur lesquels cette complexité se développe :
> - le plan des disciplines et domaines scientifiques
> - le plan des modes d'exposition de la recherche
> - le plan des espaces d'inscription, des réseaux et des moyens
> Le plan des disciplines et domaines scientifiques
> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
> actuelle implique autant de se
> demander dans quelle mesure la recherche concernée entre dans un
> paradigme général de la
> recherche (déterminé par des normes et des critères), que d'interroger
> la manière spécifique dont
> elle s'y positionne. Il est donc important que la question de la
> singularité de la recherche en art ne
> s'inscrive pas sur le fond d'une recherche définie de manière générale
> comme non singulière,
> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
> questionnement approfondi sur les
> spécificités des autres recherches. Qu'est-ce que les recherches
> conduites dans les milieux de l'art
> ont de spécifique par rapport à celles conduites dans les autres
> milieux ? Dans quelle mesure la
> recherche en art est-elle apte à affirmer aujourd'hui des
> problématiques spécifiques ?
> Contrairement à ce qui s'est passé à l'université où la recherche
> accompagnait l'autonomie des
> disciplines, la recherche en art intervient à un moment où la notion
> de discipline, en tant que
> champ de pensée et de pratiques homogènes, entre en crise : les
> disciplines ne disparaissent pas
> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
> de débordement critique. Si
> le concept d'hybridation a été très usité dans les années 1980 pour
> désigner un principe de mixité
> des pratiques plastiques, on remarque que cette logique
> d'entrelacement s'est élargie au champ des
> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
> ensemble d'imbrications ou de
> tuilages d'objets ou de formes préconstituées qu'un ensemble de
> pratiques contribuant à
> l'émergence d'une zone hors norme dont les techniques et les objets
> deviennent inclassables,
> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
> dialogue avec les champs des
> sciences exactes et des sciences humaines et techniques le fait à
> partir de ses propres objectifs, en
> développant un point de vue sur ces disciplines. En faisant usage
> d'outils informatiques ou
> technologiques dans la danse, dans les oeuvres interactives ou dans la
> musique, il injecte dans les
> dynamiques de recherche impulsées autour de ces derniers des
> questionnements spécifiques. En
> traitant aussi bien la question du document, de l'archive dans des
> protocoles de documentation
> fictionnelles, il développe des objets historiques et construit un
> rapport critique à l'histoire.
> Non seulement l'art n'a pas renoncé aux outils et aux principes
> d'expérimentation qui sont les
> siens en développant la dimension de la recherche, mais en plus il
> s'est emparé des outils et des
> objectifs scientifiques pour construire des formes de réflexion
> propres. Développer une recherche
> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
> des normes de scientificité mais
> a permis à l'art d'engager une réflexion sur les disciplines du savoir
> selon des modalités qui lui
> étaient propres.
> Le plan des modes d'exposition de la recherche
> Cette singularité concerne aussi la dimension de la mise en forme et
> des formes d'exposition des
> recherches. La recherche en art permet à l'art de sortir de sa
> position d'objet de recherche pour
> les autres savoirs sans pour autant se limiter à la revendication
> (comprise ici dans le sens d'une
> activité d'expression) de « sujets créateurs ». Se mettre en recherche
> n'est pas simplement cesser
> d'être objet pour se réapproprier un discours sur soi, c'est aussi
> s'aventurer dans une exploration ;
> c'est engager des mises en formes susceptibles de nourrir de nouvelles
> formes de réflexion. L'art ne
> donne pas seulement à penser par la manière dont il résiste à toute
> méthode préétablie, il se dote
> avec l'activité de la recherche des moyens de défendre une nouvelle
> approche de l'activité de
> réflexion. C'est pourquoi il est important de s'attacher au
> développement de nouvelles pratiques
> d'écriture, de production et de collecte, susceptibles de nourrir de
> nouvelles positions
> d'énonciations marquant la fin d'un clivage entre « théorie » et «
> pratique », et redéfinissant les
> fonctions de chacune.
> Le plan des espaces d'inscription, des réseaux et des moyens
> Les recherches des artistes, nourrissant et déplaçant les recherches
> des savoirs scientifiques
> constitués, attestent de la valeur épistémologique originale de la
> recherche en art. Demeure la
> question des modalités de leur reconnaissance dans les institutions de
> recherche et les cursus
> d'enseignement. Comment s'intégrer dans le paysage actuel de la
> recherche universitaire, dans ses
> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
> recherche en art ? Quelle forme
> donner aux 3e cycles des établissements d'enseignement supérieur
> artistique ? Comment donner à
> l'activité de recherche en art sa pleine inscription institutionnelle
> en préservant la spécificité qui est
> la sienne et qui est celle de l'art ? Quelles sont les formes
> actuelles de ces 3e cycles en art, en
> France et dans le monde ?
> Un point sur lequel il nous semble important d'attirer l'attention
> dans ce colloque est le rôle très
> actif que jouent les différents lieux de production, de conservation
> et de diffusion de l'art dans le
> déploiement de cette diversité. Outre les laboratoires universitaires
> déjà engagés dans ces activités
> de recherche et actuellement valorisés par des statuts spécifiques, on
> remarque que non seulement
> les établissements d'enseignement se sont sentis concernés par cette
> recherche, mais aussi les lieux
> de production et de diffusion de l'art (Frac, musées, centres d'art,
> instituts, fondations, lieux de
> résidence...). A travers cette diversité, la recherche s'affirme comme
> une activité collective
> complexe, portée par des personnes aux compétences et aux objectifs
> extrêmement diversifiés et
> source d'interactions riches : chercheurs, artistes, directeurs de
> centres collaborent selon des
> modalités relevant d'agencements de terrain semblables à des
> écosystèmes... Les activités de
> recherche s'appuient ainsi sur des collectifs aux compétences
> complémentaires, et remplissent des
> objectifs diversifiés qui ne se limitent pas à la simple production de
> documents de recherche : elles
> peuvent engager en même temps des activités de production, de
> diffusion, de monstration tout
> comme de nouvelles relations dynamiques entre ces différentes
> activités. A ceci s'ajoutent les
> nouveaux lieux de réflexion dans des lieux qui ne sont pas
> immédiatement dédiés à l'art. Sur ce
> point, on gagnera à confronter les différents modes de fonctionnement
> d'un pays à l'autre.
>
> _______________________________________________
> 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

[Yasmin_discussions] North Aegean Narratives – Call for artists, media creators, film makers!

2012-01-17T12:36:00.000-08:00

CALL FOR ARTISTS, MEDIA CREATORS, FILM MAKERS!

ISTANBUL DIGITAL Culture and Art Foundation, in collaboration with its Greek partner KEDE – Center for Research and Action on Peace, and with its Greek and Turkish associate partners, is now calling for artists, media creators, and film makers from Turkey and Greece to participate in the North Aegean Narratives Project, a collaborative production of short creative documentaries on the main theme of "Re-thinking Closeness and Apartness, Re-connecting with the Other Side ".

We are looking for 16 emerging media-makers who will partake in a development workshop, and produce their own short documentaries over a period of three months, contemplating different narratives such as culture, tradition, religion, gender and identity. We particularly encourage those media creators who reside or attend schools in the North Aegean region of Turkey or the Lesvos and other islands in the North Aegean region of Greece to participate in the project; however, artists from other regions of both countries are also welcome to apply.

The application DEADLINE is 12 February 2012.

To learn more about the North Aegean Narratives project, please visit http://NorthAegeanNarratives.org/. You can view the application guidelines, and enter your application online at http://NorthAegeanNarratives.org/apply/.

North Aegean Narratives Project is financed under the Civil Society Facility-EU-Turkey Intercultural Dialogue: Culture & Arts programme and is co-funded by the European Union and the Government of Republic of Turkey.

Follow North Aegean Narratives on Facebook!
_______________________________________________
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

Re: [Yasmin_discussions] interactive electronic poetry

2011-12-14T11:50:00.000-08:00

the "reply" button aspects for sure Annick... re Network 5.0 & crossing
networks

Eduardo Ka's Aromapesie, Andreas Maria Jacobs,"Intervention," "from my
eXtended BodY, "Fever Dreams." etc-
http://continuo.wordpress.com/page/41/?ref=Sexhop.Com,
http://web.njit.edu/~funkhous/prehistoric.html,
http://www.jstor.org/pss/1578370,
http://google.sfsu.edu/search?q=research+as+inspiration&spell=1&client=default_frontend&access=p&ie=UTF-8&output=xml_no_dtd&proxystylesheet=default_frontend,
Digital,
http://epc.buffalo.edu/authors/glazier/syllabi/2001f475-syllabus.html,
http://www.reverberant.com/SM/smpaper.html,
http://www.worldhistory.com/wiki/K/Kurt-Schwitters.htm,
http://www.localmotives.com/2003/english/index.html
leif BRUSH

On Wed, Dec 14, 2011 at 8:27 AM, Annick Bureaud <bureaud@altern.org> wrote:

> Roger, and everyone,
>
>
>
>> its a wonder how this yasmin discussion has gone from networking 5.0 to
>> synaesthesia in chimpanzees and now new forms of e poetry !! there
>> is a poem there somewhere
>>
>
> hum ... might just be a mistake when using the "reply" button ;-)
>
> But may be it is also that e-poetry is a topic that could be discussed
> here ...
>
> which made me think about the most recent work by Eduardo Kac, not
> e-poetry but for sure "new media" poetry and for sure to experiment with,
> if not the entire body, at least other senses :
>
> http://www.ekac.org/aromapoetry.html
>
> Annick
> --
>
> ------------------------
> Annick Bureaud (abureaud@gmail.com)
> tel: 33/(0)1 43 20 92 23
> mobile/cell : 33/(0)6 86 77 65 76
> Leonardo/Olats : http://www.olats.org
> Web : http://www.annickbureaud.net
> Collectif Nunc : http://www.nunc.com
> -------------------------
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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

Re: [Yasmin_discussions] interactive electronic poetry

2011-12-14T06:27:00.000-08:00

Roger, and everyone,

>
> its a wonder how this yasmin discussion has gone from networking 5.0 to
> synaesthesia in chimpanzees and now new forms of e poetry !! there
> is a poem there somewhere

hum ... might just be a mistake when using the "reply"
button ;-)

But may be it is also that e-poetry is a topic that could be
discussed here ...

which made me think about the most recent work by Eduardo
Kac, not e-poetry but for sure "new media" poetry and for
sure to experiment with, if not the entire body, at least
other senses :

http://www.ekac.org/aromapoetry.html

Annick
--

------------------------
Annick Bureaud (abureaud@gmail.com)
tel: 33/(0)1 43 20 92 23
mobile/cell : 33/(0)6 86 77 65 76
Leonardo/Olats : http://www.olats.org
Web : http://www.annickbureaud.net
Collectif Nunc : http://www.nunc.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

[Yasmin_discussions] ditital poetry the politics of

2011-12-13T09:59:00.000-08:00

From: Andreas Maria Jacobs <ajaco@xs4all.nl>Subject: [spectre] Digital
Poetry as InterventionTo: Spectre <spectre@mikrolisten.de>Message-ID:
<9562FF03-954F-4AAB-BB4C-142BFDC5795D@xs4all.nl>Content-Type:
text/plain; charset="us-ascii"
Spoken Words
in case you could not make it yesterday to Amsterdam, the audio-part
from the live performance is available at:
http://nictoglobe.com/AudioPerdu10122011/listen.m3u
Enjoy!
AA
Sent from my eXtended BodY
On 10 dec. 2011, at 11:44, IR3ABF <ajaco@xs4all.nl> wrote:
> The Politics of Digital Poetry>> 11 ways to escape the symbolic field>> 1. Destruction/Art in the 21st Century> 2. Augury/Judith's Dream> 3. Die Wahrheit/Definitions for Poets> 4. Premonition/Sfinx> 5. Subversion/Sins & Tears, an Elegy for a Lybian Clown> 6. Community/Art (nouns)> 7. Absolute/About me> 8. Catastrophe/Are we real or a Fantasy> 9. Architecture/Your kisses for a Cigarette> 10. Fluidal/Art is as> 11. Revolve/Artv(verbs)>> Setlist for 2nite's performance>> @perdu amsterdam 20:55 CEST>> see: http://perdu.nl (agenda)>> Andreas Maria Jacobs>> Sent from my eXtended Body
w: http://www.nictoglobe.comw: http://burgerwaanzin.nl

_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-12-13T07:33:00.000-08:00

...http://www.unsw.edu.au/future-students, http://www.promateria.be/archive,
http://myfbs.be/index-en.html#oproep, human cities
http://www.myfis.web.tr/, I_ask_you_info.html
www.d.umn.edu/~lbrush/I_ask_you_info.html Environmental Studies. e a r s to
the ground. Leif Brush .... ( But did once man talk to birds? Talking
leaves among ghosts and dragons; Melodious caves) ... leif BRUSH

On Mon, Dec 12, 2011 at 5:28 PM, Leif Brush <lbrush@d.umn.edu> wrote:

> Zeroing serious students via .edu newspape ad budgets toward
> universities, colleges and people wanting for their whats, etc to be
> fullfilled; expediting and linking-up among unique global MFA/Sound
> students, has quite a few oxygenated potentials- especially since my last
> suggestions in the 1970s. (jpgs enclosed).
>
> *UK Signal Processing Research Group - undergrad courses, The Sound School
> *US School of the Art Instiute of Chicago- MFA Sound, Supercollider,
> Locative Sound
> http://www.audioreactive.com/audioreactive/index.php?searchword=supercollider&option=com_searchESS, Chicago
> https://www.google.com/search?client=opera&rls=en&q=ESS,+Chicago&sourceid=opera&ie=utf-8&oe=utf-8AU RRR FM, Sound Design,
> UNIMELB.au.edu, ANAT http://www.anat.org.au/program/project-sites/,
> SIAL.remit.edu + wikis http://www.sial.rmit.edu.au/People/lharvey.php,
> Perth, Master of Electronic Art, http://www.curtin.edu.au/
>
> leif BRUSH
>
> On Thu, Dec 8, 2011 at 9:39 AM, roger malina <rmalina@alum.mit.edu> wrote:
>
>> yasminers
>>
>> for our networking discussion- here is the union of international
>> associations
>> created 100 years ago
>>
>> roger
>>
>> UIA
>>
>> http://www.uia.be/
>>
>> The Union of International Associations (UIA) is a research institute
>> and documentation centre, based in Brussels. It was founded one
>> hundred years ago, in 1907, by Henri La Fontaine (Nobel Peace Prize
>> laureate of 1913), and Paul Otlet, a founding father of what is now
>> called information science.
>>
>> Non-profit, apolitical, independent, and non-governmental in nature,
>> the UIA has been a pioneer in the research, monitoring and provision
>> of information on international organizations, international
>> associations and their global challenges since 1907.
>>
>> Publicly the UIA is best known for the Yearbook of International
>> Organizations; the Encyclopedia of World Problems and Human Potential;
>> the International Congress Calendar; and its former journal
>> Transnational Associations. [Read more about our activities]
>>
>> In its on-going efforts to facilitate understanding of the nature and
>> complexities of the international community of organizations the UIA
>> has become a cutting-edge technical centre with high standing in the
>> academic, governmental, and business domains.
>>
>> The UIA has consultative status with ECOSOC and with UNESCO.
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>
>
>
> --
> ______________
> Leif Brush
> Professor Emeritus
> Research Specialty: Environmental Sound
> http://d.umn.edu/lbarchivesa
> lbrush@d.umn.edu
>
>

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

Re: [Yasmin_discussions] networking 5.0

2011-12-12T15:28:00.000-08:00

Zeroing serious students via .edu newspape ad budgets toward universities,
colleges and people wanting for their whats, etc to be fullfilled;
expediting and linking-up among unique global MFA/Sound students, has quite
a few oxygenated potentials- especially since my last suggestions in the
1970s. (jpgs enclosed).

*UK Signal Processing Research Group - undergrad courses, The Sound School
*US School of the Art Instiute of Chicago- MFA Sound, Supercollider,
Locative Sound
http://www.audioreactive.com/audioreactive/index.php?searchword=supercollider&option=com_searchESS,
Chicago
https://www.google.com/search?client=opera&rls=en&q=ESS,+Chicago&sourceid=opera&ie=utf-8&oe=utf-8AU
RRR FM, Sound Design,
UNIMELB.au.edu, ANAT http://www.anat.org.au/program/project-sites/,
SIAL.remit.edu + wikis http://www.sial.rmit.edu.au/People/lharvey.php,
Perth, Master of Electronic Art, http://www.curtin.edu.au/

leif BRUSH

On Thu, Dec 8, 2011 at 9:39 AM, roger malina <rmalina@alum.mit.edu> wrote:

> yasminers
>
> for our networking discussion- here is the union of international
> associations
> created 100 years ago
>
> roger
>
> UIA
>
> http://www.uia.be/
>
> The Union of International Associations (UIA) is a research institute
> and documentation centre, based in Brussels. It was founded one
> hundred years ago, in 1907, by Henri La Fontaine (Nobel Peace Prize
> laureate of 1913), and Paul Otlet, a founding father of what is now
> called information science.
>
> Non-profit, apolitical, independent, and non-governmental in nature,
> the UIA has been a pioneer in the research, monitoring and provision
> of information on international organizations, international
> associations and their global challenges since 1907.
>
> Publicly the UIA is best known for the Yearbook of International
> Organizations; the Encyclopedia of World Problems and Human Potential;
> the International Congress Calendar; and its former journal
> Transnational Associations. [Read more about our activities]
>
> In its on-going efforts to facilitate understanding of the nature and
> complexities of the international community of organizations the UIA
> has become a cutting-edge technical centre with high standing in the
> academic, governmental, and business domains.
>
> The UIA has consultative status with ECOSOC and with UNESCO.
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

--
______________
Leif Brush
Professor Emeritus
Research Specialty: Environmental Sound
http://d.umn.edu/lbarchivesa
lbrush@d.umn.edu

[Yasmin_discussions] interactive electronic poetry

2011-12-12T12:48:00.000-08:00

vitor annick et al

its a wonder how this yasmin discussion has gone from networking 5.0 to
synaesthesia in chimpanzees and now new forms of e poetry !! there
is a poem there somewhere

i just saw a performance of an interactive poem by Philippe Bootz
in collaboration with pioneer emusic pioneer Marcel Fremiot of their
new work " les amis sur le seuil'

http://revuebleuorange.org/oeuvre/les-amis-sur-le-seuil

the poem is available on line and of course never reads/sounds
the same

it was a very powerful performance !!

try it ( its in french and needs shockwave to run)

http://revuebleuorange.org/oeuvre/les-amis-sur-le-seuil

roger

Looking for a Professor position in Arts-Humanities/Science-Engineering ?
9 Positions open at UT Dallas:
http://malina.diatrope.com/2011/10/31/9-positions-in-artscience-technology-at-ut-dallas/

Looking for an Art-Science Residency ? IMERA call for proposals:
http://malina.diatrope.com/2011/10/22/call-for-art-science-residency-proposals-at-imera-marseille/

Want to Joint the Leonardo International Network of leading
art/science/technology
institutions ?
Become a Leonardo Affiliate Member:
http://leonardo.info/isast/org-membership.html
_______________________________________________
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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-11T05:30:00.000-08:00

Dear All,

I have two suggestions for you :
- Jeffrey Shaw, "Legible City", 1989
http://www.jeffrey-shaw.net/

This work is considered a "classic" of interactive art, it
is usually considered as "visual art" BUT it is also digital
literature (if not poetry stricto sensu) and you need you
whole body to interact with it.

- Camille Utterback and Romy Achituv, "Text Rain", (late 90
or early 2000 if I remember correctly)
http://www.youtube.com/watch?v=toWFvXHghDk

Best
Annick

Vítor Reia-Baptista wrote:
> Olá Cláudio.
>
> É possível que se tivesse infiltrado algum lixo nas ligações, talvez
> estas funcionem melhor:
>
> http://www.atirateaomar.blogspot.com/
>
> http://www.facebook.com/pages/FlaJazzados/104194103029718
> depois ver fotos
> e seguidamente vídeos.
> Abraço.
> Vítor
>
> Citando Claudio Fajardo <clafajardo@gmail.com>:
>
>> Caro Vítor,
>>
>> Obrigado por responder-me tão rapidamente. Visitei o blog, no entanto
>> tive
>> problemas com plug-ins. A primeira vista me pareceu bastante
>> interessante. Farei as instalações de softwares necessários para
>> vizualizar
>> seus trabalhos. Em breve entro em contato novamente para conversarmos
>> mais
>> um pouco sobre nossos temas de pesquisa em comum.
>> Obrigado.
>>
>> Cláudio
>> On Fri, Dec 9, 2011 at 7:27 AM, Vítor Reia-Baptista <vreia@ualg.pt>
>> wrote:
>>
>>> Olá Claudio.
>>> A série de poemas fílmicos:
>>> <http://www.atirateaomar.**blogspot.com/<http://www.atirateaomar.blogspot.com/>
>>>
>>> >
>>> (ainda incompleta no blogue) foi pensada para ser apresentada em
>>> instalações com projecção de imagens sobre corpos dançantes ao som de
>>> arranjos jazzísticos muito livres mas retirados de trechos retirados das
>>> bandas sonoras originais, à semelhança dos sons do projecto FlaJazzados:
>>> <http://www.facebook.com/**photo.php?v=10150375225839755&**
>>> set=o.104194103029718&type=3&**theater<http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater>
>>>
>>> >
>>> Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
>>> Abraço.
>>> Vítor
>>>
>>> Citando Claudio Fajardo <clafajardo@gmail.com>:
>>>
>>> Hi All
>>>>
>>>> My name is Claudio Fajardo and I´m a brazilian researcher of new media
>>>> poetry. I´m looking for artistic works that use interactive digital
>>>> technologies to realize poetry performances using the entire body
>>>> used to
>>>> read poems, not only the eyes and hands. These kind of digital
>>>> poetry must
>>>> allow a total interaction of the reader with the poetic work. The
>>>> role of
>>>> the body is essential as a process of aprehension of the poetry
>>>> purpose.
>>>> The medium used can be realized by many ways of artistic expressions as
>>>> interactive installations, real or digital 3D objects, or some other
>>>> relevant possibilities.
>>>>
>>>> Best regards.
>>>> Luís Claudio Fajardo
>>>> Doctoral Program in Literary Studies
>>>> Universidade Federal de Juiz de Fora
>>>> Brazil
>>>> ______________________________**_________________
>>>> Yasmin_discussions mailing list
>>>> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>>
>>>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>>>>
>>>>
>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>
>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>>>> subscribe to.
>>>> In the page that will appear ("info page"), enter e-mail address,
>>>> name, and
>>>> password in the fields found further down the page.
>>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>>>> your e-mail address in the last field. Enter password if asked.
>>>> Click on
>>>> the unsubscribe button on the page that will appear ("options page").
>>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>>>> Digest Mode" option and set it to either on or off.
>>>>
>>>>
>>>>
>>>
>>>
>>> ------------------------------**------------------------------**----
>>> This message was sent using IMP, the Internet Messaging Program.
>>>
>>>
>>> ______________________________**_________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>>
>>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>>>
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>>> to.
>>> In the page that will appear ("info page"), enter e-mail address,
>>> name, and
>>> password in the fields found further down the page.
>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>>> your e-mail address in the last field. Enter password if asked. Click on
>>> the unsubscribe button on the page that will appear ("options page").
>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>>> Digest Mode" option and set it to either on or off.
>>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
>> to. In the page that will appear ("info page"), enter e-mail address,
>> name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your e-mail address in the last field. Enter password if asked.
>> Click on the unsubscribe button on the page that will appear ("options
>> page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set Digest Mode" option and set it to either on or off.
>>
>>
>
>
>
> ----------------------------------------------------------------
> This message was sent using IMP, the Internet Messaging Program.
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
> to. In the page that will appear ("info page"), enter e-mail address,
> name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-10T11:55:00.000-08:00

oi claudio

segue mais uma referência para você, uma performance poética com pipas:

http://vimeo.com/16793009

um abraço
bruno

On Sat, Dec 10, 2011 at 4:38 PM, Ennio Bertrand <enniobertrand@gmail.com>wrote:

> Dear Claudio,
>
> I send at this address
> http://www.sendspace.com/file/i023l5
>
>
> two video describing two my interactive poetry installation.
>
> One in Italian and the other in English.
>
> The interactivity is not with entire body. Sorr
>
> ennio bertrand
>
>
> On Sat, Dec 10, 2011 at 12:42 PM, Claudio Fajardo <clafajardo@gmail.com
> >wrote:
>
> > Caro Vítor,
> >
> > Obrigado por responder-me tão rapidamente. Visitei o blog, no entanto
> tive
> > problemas com plug-ins. A primeira vista me pareceu bastante
> > interessante. Farei as instalações de softwares necessários para
> vizualizar
> > seus trabalhos. Em breve entro em contato novamente para conversarmos
> mais
> > um pouco sobre nossos temas de pesquisa em comum.
> > Obrigado.
> >
> > Cláudio
> > On Fri, Dec 9, 2011 at 7:27 AM, Vítor Reia-Baptista <vreia@ualg.pt>
> wrote:
> >
> > > Olá Claudio.
> > > A série de poemas fílmicos: <http://www.atirateaomar.**blogspot.com/<
> > http://www.atirateaomar.blogspot.com/>
> > > >
> > > (ainda incompleta no blogue) foi pensada para ser apresentada em
> > > instalações com projecção de imagens sobre corpos dançantes ao som de
> > > arranjos jazzísticos muito livres mas retirados de trechos retirados
> das
> > > bandas sonoras originais, à semelhança dos sons do projecto
> FlaJazzados:
> > > <http://www.facebook.com/**photo.php?v=10150375225839755&**
> > > set=o.104194103029718&type=3&**theater<
> >
> http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater
> > >
> > > >
> > > Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
> > > Abraço.
> > > Vítor
> > >
> > > Citando Claudio Fajardo <clafajardo@gmail.com>:
> > >
> > > Hi All
> > >>
> > >> My name is Claudio Fajardo and I´m a brazilian researcher of new media
> > >> poetry. I´m looking for artistic works that use interactive digital
> > >> technologies to realize poetry performances using the entire body used
> > to
> > >> read poems, not only the eyes and hands. These kind of digital poetry
> > must
> > >> allow a total interaction of the reader with the poetic work. The role
> > of
> > >> the body is essential as a process of aprehension of the poetry
> purpose.
> > >> The medium used can be realized by many ways of artistic expressions
> as
> > >> interactive installations, real or digital 3D objects, or some other
> > >> relevant possibilities.
> > >>
> > >> Best regards.
> > >> Luís Claudio Fajardo
> > >> Doctoral Program in Literary Studies
> > >> Universidade Federal de Juiz de Fora
> > >> Brazil
> > >> ______________________________**_________________
> > >> Yasmin_discussions mailing list
> > >> Yasmin_discussions@estia.**media.uoa.gr<
> > Yasmin_discussions@estia.media.uoa.gr>
> > >> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<
> > http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
> > >>
> > >> Yasmin URL: http://www.media.uoa.gr/yasmin
> > >>
> > >> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
> > to.
> > >> In the page that will appear ("info page"), enter e-mail address,
> name,
> > and
> > >> password in the fields found further down the page.
> > >> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter
> > >> your e-mail address in the last field. Enter password if asked. Click
> on
> > >> the unsubscribe button on the page that will appear ("options page").
> > >> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set
> > >> Digest Mode" option and set it to either on or off.
> > >>
> > >>
> > >>
> > >
> > >
> > > ------------------------------**------------------------------**----
> > > This message was sent using IMP, the Internet Messaging Program.
> > >
> > >
> > > ______________________________**_________________
> > > Yasmin_discussions mailing list
> > > Yasmin_discussions@estia.**media.uoa.gr<
> > Yasmin_discussions@estia.media.uoa.gr>
> > > http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<
> > http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
> > >
> > > Yasmin URL: http://www.media.uoa.gr/yasmin
> > >
> > > HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
> to.
> > > In the page that will appear ("info page"), enter e-mail address, name,
> > and
> > > password in the fields found further down the page.
> > > HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> > > your e-mail address in the last field. Enter password if asked. Click
> on
> > > the unsubscribe button on the page that will appear ("options page").
> > > HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> > > Digest Mode" option and set it to either on or off.
> > >
> > _______________________________________________
> > Yasmin_discussions mailing list
> > Yasmin_discussions@estia.media.uoa.gr
> > http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> >
> > Yasmin URL: http://www.media.uoa.gr/yasmin
> >
> > HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> > In the page that will appear ("info page"), enter e-mail address, name,
> and
> > password in the fields found further down the page.
> > HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> > your e-mail address in the last field. Enter password if asked. Click on
> > the unsubscribe button on the page that will appear ("options page").
> > HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> > Digest Mode" option and set it to either on or off.
> >
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

--
======================
bruno@pobox.com
http://brunovianna.net
skype: randomico
======================
_______________________________________________
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

[Yasmin_discussions] Fwd: [Yasmin_an] Synaesthesia in Chimpanzees

2011-12-10T11:02:00.000-08:00

yasminers

fascinating post by sean day which states:

Thus, we are called upon, here, to re-asses our definitions of "the
senses" and "modes", and, thus, also, "cross-modal".

here is the abstract of the article Sean Day pointed us to

roger

Humans share implicit preferences for certain cross-sensory
combinations; for example, they consistently associate higher-pitched
sounds with lighter colors, smaller size, and spikier shapes. In the
condition of synesthesia, people may experience such cross-modal
correspondences to a perceptual degree (e.g., literally seeing
sounds). So far, no study has addressed the question whether nonhuman
animals share cross-modal correspondences as well. To establish the
evolutionary origins of cross-modal mappings, we tested whether
chimpanzees (Pan troglodytes) also associate higher pitch with higher
luminance. Thirty-three humans and six chimpanzees were required to
classify black and white squares according to their color while
hearing irrelevant background sounds that were either high-pitched or
low-pitched. Both species performed better when the background sound
was congruent (high-pitched for white, low-pitched for black) than
when it was incongruent (low-pitched for white, high-pitched for
black). An inherent tendency to pair high pitch with high luminance
hence evolved before the human lineage split from that of chimpanzees.
Rather than being a culturally learned or a linguistic phenomenon,
this mapping constitutes a basic feature of the primate sensory
system.

---------- Forwarded message ----------
From: Day,Sean <Sean.Day@tridenttech.edu>
Date: Sat, Dec 10, 2011 at 6:13 PM
Subject: Re: [Yasmin_an] Synaesthesia in Chimpanzees
To: YASMIN ANNOUNCEMENTS <yasmin_announcements@estia.media.uoa.gr>

A recent article regarding cross-modal correspondences and synesthesia
has appeared in PNAS:

Ludwig, Vera U., Ikuma Adachi, and Tetsuro Matsuzawa. 2011.
"Visuoauditory mappings between high luminance and high pitch are
shared by chimpanzees (Pan troglodytes) and humans." PNAS;
www.pnas.org/cgi/doi/10.1073/pnas.1112605108

I would like to state the following:

The last common ancestor of chimpanzees and humans (CHLCA) existed
somewhere between 7 and 10 million years ago (mya). So, we can push
cross-modal correspondences in our ancestry back to at least 7 mya,
and note that not only was it persistent in the genera leading up to
modern-day species of Pan, but, apparently, would also have appeared
in (at least) genera Sahelanthropus, Ardipithecus, and
Austraolopithecus, on the way to genus Homo. Which implies also that
cross-modal correspondences would have occurred amongst Homo sapiens'
previous companion species erectus, Denisovans, Neanderthals, and
florensiensis.

I will posit the following: "Synesthesia", by force of its basic
definition, must be the minority circumstance for a given species.
"Synesthesia" means an (atypical) combining of what are,
statistically, most commonly un-combined sensory perceptions.

Now, if, as Ludwig et al. 2011 suggests, cross-modal correspondences
can be traced back in our line to at least 7 mya with the CHLCA, and,
as Marks, Cytowic, Ramachandran, and many other synesthesia
researchers have pointed out, is so pervasive in modern-day humans -
then that is not "synesthesia". It is also not "cross-modal
correspondence".

Rather, that is how the human senses most typically - statistically - work.

Thus, we are called upon, here, to re-asses our definitions of "the
senses" and "modes", and, thus, also, "cross-modal".

Again, for something to be "cross-modal", that implies that there are,
indeed, two separate modes, and that a correspondence between them
would, given the odds, be more unlikely. If, however, such
correspondences are the more common event - as, apparently, they are
for humans regarding, e.g., luminance and (sound) pitch (frequency) -
then that is how our perception most commonly works, and we need to
re-evaluate what we now increasingly see are outdated paradigms
regarding "the senses" and "perceptual modes".

Much of what is currently being labeled "cross-modal correspondence"
is not. For something to be a cross-modal correspondence, that, too,
would have to be the less likely event.

I will note that Ludwig et al. do, indeed, carefully distinguish
between cross-modal correspondences and synesthesia, seeing them as
separate but potentially related things.

Sean A. Day, Ph.D.
Dept. of Behavior and Soc. Sciences
Trident Technical College
Charleston, SC 29423 USA

(843) 574-6539

President, American Synesthesia Association
(http://www.synesthesia.info/index.html)

_______________________________________________
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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-10T10:38:00.000-08:00

Dear Claudio,

I send at this address
http://www.sendspace.com/file/i023l5

two video describing two my interactive poetry installation.

One in Italian and the other in English.

The interactivity is not with entire body. Sorr

ennio bertrand

On Sat, Dec 10, 2011 at 12:42 PM, Claudio Fajardo <clafajardo@gmail.com>wrote:

> Caro Vítor,
>
> Obrigado por responder-me tão rapidamente. Visitei o blog, no entanto tive
> problemas com plug-ins. A primeira vista me pareceu bastante
> interessante. Farei as instalações de softwares necessários para vizualizar
> seus trabalhos. Em breve entro em contato novamente para conversarmos mais
> um pouco sobre nossos temas de pesquisa em comum.
> Obrigado.
>
> Cláudio
> On Fri, Dec 9, 2011 at 7:27 AM, Vítor Reia-Baptista <vreia@ualg.pt> wrote:
>
> > Olá Claudio.
> > A série de poemas fílmicos: <http://www.atirateaomar.**blogspot.com/<
> http://www.atirateaomar.blogspot.com/>
> > >
> > (ainda incompleta no blogue) foi pensada para ser apresentada em
> > instalações com projecção de imagens sobre corpos dançantes ao som de
> > arranjos jazzísticos muito livres mas retirados de trechos retirados das
> > bandas sonoras originais, à semelhança dos sons do projecto FlaJazzados:
> > <http://www.facebook.com/**photo.php?v=10150375225839755&**
> > set=o.104194103029718&type=3&**theater<
> http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater
> >
> > >
> > Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
> > Abraço.
> > Vítor
> >
> > Citando Claudio Fajardo <clafajardo@gmail.com>:
> >
> > Hi All
> >>
> >> My name is Claudio Fajardo and I´m a brazilian researcher of new media
> >> poetry. I´m looking for artistic works that use interactive digital
> >> technologies to realize poetry performances using the entire body used
> to
> >> read poems, not only the eyes and hands. These kind of digital poetry
> must
> >> allow a total interaction of the reader with the poetic work. The role
> of
> >> the body is essential as a process of aprehension of the poetry purpose.
> >> The medium used can be realized by many ways of artistic expressions as
> >> interactive installations, real or digital 3D objects, or some other
> >> relevant possibilities.
> >>
> >> Best regards.
> >> Luís Claudio Fajardo
> >> Doctoral Program in Literary Studies
> >> Universidade Federal de Juiz de Fora
> >> Brazil
> >> ______________________________**_________________
> >> Yasmin_discussions mailing list
> >> Yasmin_discussions@estia.**media.uoa.gr<
> Yasmin_discussions@estia.media.uoa.gr>
> >> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
> >>
> >> Yasmin URL: http://www.media.uoa.gr/yasmin
> >>
> >> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe
> to.
> >> In the page that will appear ("info page"), enter e-mail address, name,
> and
> >> password in the fields found further down the page.
> >> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> >> your e-mail address in the last field. Enter password if asked. Click on
> >> the unsubscribe button on the page that will appear ("options page").
> >> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> >> Digest Mode" option and set it to either on or off.
> >>
> >>
> >>
> >
> >
> > ------------------------------**------------------------------**----
> > This message was sent using IMP, the Internet Messaging Program.
> >
> >
> > ______________________________**_________________
> > Yasmin_discussions mailing list
> > Yasmin_discussions@estia.**media.uoa.gr<
> Yasmin_discussions@estia.media.uoa.gr>
> > http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
> >
> > Yasmin URL: http://www.media.uoa.gr/yasmin
> >
> > HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> > In the page that will appear ("info page"), enter e-mail address, name,
> and
> > password in the fields found further down the page.
> > HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> > your e-mail address in the last field. Enter password if asked. Click on
> > the unsubscribe button on the page that will appear ("options page").
> > HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> > Digest Mode" option and set it to either on or off.
> >
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>
_______________________________________________
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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-10T09:23:00.000-08:00

Olá Cláudio.

É possível que se tivesse infiltrado algum lixo nas ligações, talvez
estas funcionem melhor:

http://www.atirateaomar.blogspot.com/

http://www.facebook.com/pages/FlaJazzados/104194103029718
depois ver fotos
e seguidamente vídeos.
Abraço.
Vítor

Citando Claudio Fajardo <clafajardo@gmail.com>:

> Caro Vítor,
>
> Obrigado por responder-me tão rapidamente. Visitei o blog, no entanto tive
> problemas com plug-ins. A primeira vista me pareceu bastante
> interessante. Farei as instalações de softwares necessários para vizualizar
> seus trabalhos. Em breve entro em contato novamente para conversarmos mais
> um pouco sobre nossos temas de pesquisa em comum.
> Obrigado.
>
> Cláudio
> On Fri, Dec 9, 2011 at 7:27 AM, Vítor Reia-Baptista <vreia@ualg.pt> wrote:
>
>> Olá Claudio.
>> A série de poemas fílmicos:
>> <http://www.atirateaomar.**blogspot.com/<http://www.atirateaomar.blogspot.com/>
>> >
>> (ainda incompleta no blogue) foi pensada para ser apresentada em
>> instalações com projecção de imagens sobre corpos dançantes ao som de
>> arranjos jazzísticos muito livres mas retirados de trechos retirados das
>> bandas sonoras originais, à semelhança dos sons do projecto FlaJazzados:
>> <http://www.facebook.com/**photo.php?v=10150375225839755&**
>> set=o.104194103029718&type=3&**theater<http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater>
>> >
>> Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
>> Abraço.
>> Vítor
>>
>> Citando Claudio Fajardo <clafajardo@gmail.com>:
>>
>> Hi All
>>>
>>> My name is Claudio Fajardo and I´m a brazilian researcher of new media
>>> poetry. I´m looking for artistic works that use interactive digital
>>> technologies to realize poetry performances using the entire body used to
>>> read poems, not only the eyes and hands. These kind of digital poetry must
>>> allow a total interaction of the reader with the poetic work. The role of
>>> the body is essential as a process of aprehension of the poetry purpose.
>>> The medium used can be realized by many ways of artistic expressions as
>>> interactive installations, real or digital 3D objects, or some other
>>> relevant possibilities.
>>>
>>> Best regards.
>>> Luís Claudio Fajardo
>>> Doctoral Program in Literary Studies
>>> Universidade Federal de Juiz de Fora
>>> Brazil
>>> ______________________________**_________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>>> In the page that will appear ("info page"), enter e-mail address, name, and
>>> password in the fields found further down the page.
>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>>> your e-mail address in the last field. Enter password if asked. Click on
>>> the unsubscribe button on the page that will appear ("options page").
>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>>> Digest Mode" option and set it to either on or off.
>>>
>>>
>>>
>>
>>
>> ------------------------------**------------------------------**----
>> This message was sent using IMP, the Internet Messaging Program.
>>
>>
>> ______________________________**_________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>

----------------------------------------------------------------
This message was sent using IMP, the Internet Messaging Program.

_______________________________________________
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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-10T03:42:00.000-08:00

Caro Vítor,

Obrigado por responder-me tão rapidamente. Visitei o blog, no entanto tive
problemas com plug-ins. A primeira vista me pareceu bastante
interessante. Farei as instalações de softwares necessários para vizualizar
seus trabalhos. Em breve entro em contato novamente para conversarmos mais
um pouco sobre nossos temas de pesquisa em comum.
Obrigado.

Cláudio
On Fri, Dec 9, 2011 at 7:27 AM, Vítor Reia-Baptista <vreia@ualg.pt> wrote:

> Olá Claudio.
> A série de poemas fílmicos: <http://www.atirateaomar.**blogspot.com/<http://www.atirateaomar.blogspot.com/>
> >
> (ainda incompleta no blogue) foi pensada para ser apresentada em
> instalações com projecção de imagens sobre corpos dançantes ao som de
> arranjos jazzísticos muito livres mas retirados de trechos retirados das
> bandas sonoras originais, à semelhança dos sons do projecto FlaJazzados:
> <http://www.facebook.com/**photo.php?v=10150375225839755&**
> set=o.104194103029718&type=3&**theater<http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater>
> >
> Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
> Abraço.
> Vítor
>
> Citando Claudio Fajardo <clafajardo@gmail.com>:
>
> Hi All
>>
>> My name is Claudio Fajardo and I´m a brazilian researcher of new media
>> poetry. I´m looking for artistic works that use interactive digital
>> technologies to realize poetry performances using the entire body used to
>> read poems, not only the eyes and hands. These kind of digital poetry must
>> allow a total interaction of the reader with the poetic work. The role of
>> the body is essential as a process of aprehension of the poetry purpose.
>> The medium used can be realized by many ways of artistic expressions as
>> interactive installations, real or digital 3D objects, or some other
>> relevant possibilities.
>>
>> Best regards.
>> Luís Claudio Fajardo
>> Doctoral Program in Literary Studies
>> Universidade Federal de Juiz de Fora
>> Brazil
>> ______________________________**_________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
>> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>>
>>
>
>
> ------------------------------**------------------------------**----
> This message was sent using IMP, the Internet Messaging Program.
>
>
> ______________________________**_________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.**media.uoa.gr<Yasmin_discussions@estia.media.uoa.gr>
> http://estia.media.uoa.gr/**mailman/listinfo/yasmin_**discussions<http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions>
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

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

Re: [Yasmin_discussions] Interactive Poetry

2011-12-09T01:27:00.000-08:00

Olá Claudio.
A série de poemas fílmicos: <http://www.atirateaomar.blogspot.com/>
(ainda incompleta no blogue) foi pensada para ser apresentada em
instalações com projecção de imagens sobre corpos dançantes ao som de
arranjos jazzísticos muito livres mas retirados de trechos retirados
das bandas sonoras originais, à semelhança dos sons do projecto
FlaJazzados:
<http://www.facebook.com/photo.php?v=10150375225839755&set=o.104194103029718&type=3&theater>
Quem sabe se um dia podemos juntar tudo isto nesse seu projecto?
Abraço.
Vítor

Citando Claudio Fajardo <clafajardo@gmail.com>:

> Hi All
>
> My name is Claudio Fajardo and I´m a brazilian researcher of new media
> poetry. I´m looking for artistic works that use interactive digital
> technologies to realize poetry performances using the entire body used to
> read poems, not only the eyes and hands. These kind of digital poetry must
> allow a total interaction of the reader with the poetic work. The role of
> the body is essential as a process of aprehension of the poetry purpose.
> The medium used can be realized by many ways of artistic expressions as
> interactive installations, real or digital 3D objects, or some other
> relevant possibilities.
>
> Best regards.
> Luís Claudio Fajardo
> Doctoral Program in Literary Studies
> Universidade Federal de Juiz de Fora
> Brazil
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>

----------------------------------------------------------------
This message was sent using IMP, the Internet Messaging Program.

_______________________________________________
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

[Yasmin_discussions] networking 5.0

2011-12-08T07:39:00.000-08:00

yasminers

for our networking discussion- here is the union of international associations
created 100 years ago

roger

UIA

http://www.uia.be/

The Union of International Associations (UIA) is a research institute
and documentation centre, based in Brussels. It was founded one
hundred years ago, in 1907, by Henri La Fontaine (Nobel Peace Prize
laureate of 1913), and Paul Otlet, a founding father of what is now
called information science.

Non-profit, apolitical, independent, and non-governmental in nature,
the UIA has been a pioneer in the research, monitoring and provision
of information on international organizations, international
associations and their global challenges since 1907.

Publicly the UIA is best known for the Yearbook of International
Organizations; the Encyclopedia of World Problems and Human Potential;
the International Congress Calendar; and its former journal
Transnational Associations. [Read more about our activities]

In its on-going efforts to facilitate understanding of the nature and
complexities of the international community of organizations the UIA
has become a cutting-edge technical centre with high standing in the
academic, governmental, and business domains.

The UIA has consultative status with ECOSOC and with UNESCO.
_______________________________________________
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

[Yasmin_discussions] Interactive Poetry

2011-12-08T07:04:00.000-08:00

Hi All

My name is Claudio Fajardo and I´m a brazilian researcher of new media
poetry. I´m looking for artistic works that use interactive digital
technologies to realize poetry performances using the entire body used to
read poems, not only the eyes and hands. These kind of digital poetry must
allow a total interaction of the reader with the poetic work. The role of
the body is essential as a process of aprehension of the poetry purpose.
The medium used can be realized by many ways of artistic expressions as
interactive installations, real or digital 3D objects, or some other
relevant possibilities.

Best regards.
Luís Claudio Fajardo
Doctoral Program in Literary Studies
Universidade Federal de Juiz de Fora
Brazil
_______________________________________________
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

[Yasmin_discussions] networking 5.0

2011-12-08T04:56:00.000-08:00

>From Maurice Benayoun •

What about SCIEFAD (F for "for" art and design), I guess we don't
need to include the N or NETSEAD (with the play on NET SEED..) what I
say...;-)

maurice- not sure if you intended a pun with SCIEFAD- but there is
indeed a faddish-ness in the way funding affects us !!! for many
years it was creative industries, new media etc and now there is a
burst of pushing of art-science- locally art-science collaboration
is suddenly on the 'innovation' radar and suddenly many things are
repackaged as art-science !!!

patrick maccray is a science historian who has worked on how funding
for nanotechnology emerged and much of what
was already going on got renamed nanotech because there was funding
available ( and less easily for materials science...
or chemistry)

Levy Leblond in his book Science is Not Art, has a section on the
faddish nature of how art-science is suddenly on
an international radar and groups calling themsleves art science
appear out of the woodwork ( 5 years ago they
were "locative media" groups - just a name change)

but needless to say i think there is some fundamental shifting of
cultural practices going on- here in the new Aix marseille
University a group of energetic professors in sciences and humanities
are building new curricula that try to join
the arts and science at the hip, with problem driven approaches> I am
just reviewing a proposal for a new
bachelor of arts and sciences at the university of hong kong which
includes introduction to science for artists,
a course on scientific processes, art and mathematics as well as
electives in cell biology, robotic art, organic
chemistry, game design etc etc

the program I am joining at UT Dallas, like these others, are
responding to student interest and pressure in
education that bridges the arts and sciences

so ( but then i wouldnt say otherwise) i think the current
international interest in art-sci relflects underlying
cultural shifts not just political funding fads

and we need new kinds of neworks as a substrate that grows out of the
new cultural practices-

roger

_______________________________________________
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

[Yasmin_discussions] networking 5.0

2011-12-08T04:39:00.000-08:00

Cathy Fitzgerald • Hi Roger,

seems to be a popular theme, I came across this UK conference
yesterday 'The Networked Conference' – for artists, fully
oversubscribed http://www.thetriangleconference.org/archives/98. Also
had over 80+ people download my research paper on 'networking the arts
to save the earth' and had it reposted a few times- to me networks
have a lot of positives but they are fragile and take a lot of work
and the platforms change and then, how to make them sustainable in
this fast changing world, and in the end, how can we evaluate their
worth? But they are fun and do seem to foster networks that you make
in the physical world too.

Best regards
Cathy

_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-12-07T15:40:00.000-08:00

Dave
I generally appreciate what you have recounted and I especially underscore
your final paragraph, which by the way. sort of addresses my wrapping it
up project (has been unsuccessful in grant funding) and remains out of
reach as an realizable soundwork project. I have been conceptually working
through this with friends. Ideally it's in realtime and interactive. From
person-to-person, who upon achieving UTC-based timing, results in outflow
signals which are to be conjoined with Lat/Long syncing via mesh network.
Contributing participants- in the multiplexing of their collective data
would used xyz U(tc) film sensors- and rely on the final mix down using the
Arduino and XBee RF modules for netout purposes. The four data files are
run through a audio editing software for compressing all into one final
file that can be uploaded to Sound Cloud-as ongoing audio and video
documentations-and being the basis for renewed funding.. Overall
communicating uses wikis throughout the project. Specific partnering .be
workshops would be relied upon. Sooo, trouble shoot construction and
software issues, and yet, conceptually-related net(s) remain a challenge
considering adjacent to/with what/who?
leif BRUSH

On Sun, Dec 4, 2011 at 3:50 PM, roger malina <rmalina@alum.mit.edu> wrote:

> ave Everitt
> daveeveritt.org/bio.html
> deveritt@innotts.co.uk
> 86.17.98.67
> Submitted on 2011/11/24 at 3:05 pm
> I'd say if a network doesn't self-organise via unmonitored and
> sustained communication between individuals, it isn't a network but a
> managed structure. I'd also argue that you can only asses what kind of
> network it is by analysing the interactions between participants/nodes
> quantitatively and that, retrospectively once the network is running
> successfully.
>
> I also wonder how self-organising networks survive within
> institutional structures which are typically hierarchical and often
> status-based with a strong management and administrative remit, as
> well as a need for institutional promotion. It seems from my
> observations that individuals who respond to each other tend to
> by-pass or work around their institutional frameworks in order to
> connect, although they are obviously need to frame their interactions
> in a manner that their supporting institutions can recognise.
>
> I'd see the main issue of interest is how as sustained relationships
> often cut across or ignore institutional initiatives: if the latter
> want to respond to or foster these self-organising networks, perhaps
> they could support advocates who are *already connected*, watch how
> they work, and *really listen* to what they need in order to continue.
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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

[Yasmin_discussions] networking 5.0

2011-12-04T13:50:00.000-08:00

ave Everitt
daveeveritt.org/bio.html
deveritt@innotts.co.uk
86.17.98.67
Submitted on 2011/11/24 at 3:05 pm
I'd say if a network doesn't self-organise via unmonitored and
sustained communication between individuals, it isn't a network but a
managed structure. I'd also argue that you can only asses what kind of
network it is by analysing the interactions between participants/nodes
quantitatively and that, retrospectively once the network is running
successfully.

I also wonder how self-organising networks survive within
institutional structures which are typically hierarchical and often
status-based with a strong management and administrative remit, as
well as a need for institutional promotion. It seems from my
observations that individuals who respond to each other tend to
by-pass or work around their institutional frameworks in order to
connect, although they are obviously need to frame their interactions
in a manner that their supporting institutions can recognise.

I'd see the main issue of interest is how as sustained relationships
often cut across or ignore institutional initiatives: if the latter
want to respond to or foster these self-organising networks, perhaps
they could support advocates who are *already connected*, watch how
they work, and *really listen* to what they need in order to continue.

_______________________________________________
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

[Yasmin_discussions] networking 5.0: Next Steps in building Network of Science Engineering Art and Design

2011-12-04T13:15:00.000-08:00

Next Steps in building Network of Science Engineering Art and Design

As I mentioned on this yasmin discussion there was a meeting Nov
14/15 of the US NSF funded group
working on establishing a network of science engineering art and
design (NSEAD but a first decision
was to come up with a better name).

http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/

The group has funding for the next year to try and develop the
network. One of the decisions of the group
is that it would focus on 'advocacy' of the initiatives needed to
bridge the SEAD disciplines.

A mailman list has now been set up for anyone interested in joining in
the discussion and being
kept informed:

https://lists.viz.tamu.edu/listinfo/nsead

If you want to join go to the link.

In addition there is a document sharing site:

http://www.viz.tamu.edu/faculty/lurleen/main/NSEAD/

roger malina

_______________________________________________
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

[Yasmin_discussions] Welcome to the Yasmin List - Personal Intro

2011-12-04T09:07:00.000-08:00

Dear all at Yasmin,
Allow me to introduce myself, I am in my 1st year of a PhD fellowship in the Digital Humanities at Anglia Ruskin University, Cambridge, UK.

I am an American artist and lecturer working in sound - video installation, performance and writing (both in academic and 'art writing' forms). My work researches, from a post-feminist point of view, ways to reflect tacit interior bodily experience through making connections between art and science, touch, the body and technology.

My Research Interests:

Performative and site-specific sound art - rhythmic soundscapes using binaural and 3-D sound -art and biomedical interdisciplinary collaboration - embodiment and digital media - art practice-as-research.

My project -

Using pulse and pulsation as theme to explore the following:

- Embodied pulse and pulsation through the creation of visual and sonic art works (practiced-based arts research).

- Development of interdisciplinary collaborative projects (both locally and internationally) involving the arts, sciences and the humanities (i.e., art creation in relation to nanotechnology, neuroscience, etc).

I am looking forward to following and belonging to the Yasmin discussions community!

Yours,

Michelle Lewis-King
_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-12-03T10:59:00.000-08:00

Thanks Don,
yea for .edu (genre) & global mesh, etc. networkings.
We're all working/conceptualizing toward that nano direction.
leif BRUSH

On Sat, Dec 3, 2011 at 11:04 AM, roger malina <rmalina@alum.mit.edu> wrote:

> I'd like to share the English translation of something I wrote in my
> Book "Mondes Multiples" in 1987 describing my own work with the
> network:
>
> "The image of many worlds existing in parallel is duplicated by the
> artists' network.
> Their interconnectedness is each artist's worldview existing in itself
> but also through
> its relation to other worlds which help define it. A new world
> springs into existence
> every time we change creative centers and regard reality from another
> perspective.
>
> The network is like colored threads running around world, with the
> difference being
> that they are not necessarily constant, and can be recreated, broken up and
>
> recreated again, in never ending configurations and patterns. The
> organization is
> horizontal, rather than hierarchical, among equally weighted centers, an
>
> interdependent independence. This schema of the network corresponds
> nicely to the
> mythological one of Indra's Net which describes the universe as a net
> of pearls, in
> which each pearl reflects all others. In this image we begin to find a
>
> potential structure for future social and political relations and the
> skeletal outline of
> new institutional forms."
>
> Posted by Don Foresta
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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

[Yasmin_discussions] networking 5.0

2011-12-03T09:04:00.000-08:00

I'd like to share the English translation of something I wrote in my
Book "Mondes Multiples" in 1987 describing my own work with the
network:

"The image of many worlds existing in parallel is duplicated by the
artists' network.
Their interconnectedness is each artist's worldview existing in itself
but also through
its relation to other worlds which help define it. A new world
springs into existence
every time we change creative centers and regard reality from another
perspective.

The network is like colored threads running around world, with the
difference being
that they are not necessarily constant, and can be recreated, broken up and

recreated again, in never ending configurations and patterns. The
organization is
horizontal, rather than hierarchical, among equally weighted centers, an

interdependent independence. This schema of the network corresponds
nicely to the
mythological one of Indra's Net which describes the universe as a net
of pearls, in
which each pearl reflects all others. In this image we begin to find a

potential structure for future social and political relations and the
skeletal outline of
new institutional forms."

Posted by Don Foresta
_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-11-27T05:17:00.000-08:00

As you may know, the Tucson Consciousness conferences encourage interplay among artists and scientists, practitioners, theorizers and some of the undecided.

Earlier participants included Eric Davis, Diane Gromala, Lucia Grossberger Morales, Roy Ascott, Ana Aribas Rudin, Rene Stettler, Michael Punt, Peter Anders, Christa Sommerer, Laurent Mignonneu, Kieran Lyons, Victoria Vesna, Brian Felsen, Margaret Dolinsky, Barbara Raush, Gino Yu, Daniel Meyer-Dinkgrafe and Martha Blassnigg among others.

Abstract submissions due December 10, 2011.

With many thanks,

Jim Laukes

Conference Announcement and Call for Abstracts

TOWARD A SCIENCE OF CONSCIOUSNESS
April 9-14, 2012
Loews Ventana Canyon Resort Hotel
Tucson, Arizona

Sponsored by:
The Center for Consciousness Studies,
The University of Arizona
http://www.consciousness.arizona.edu

Toward a Science of Consciousness (TSC) conferences have been held annually since
1994, alternating between Tucson, Arizona and other locations around the world. The
tenth biennial 'Tucson Conference', Toward a Science of Consciousness will take place
April 9-14, 2012.

Known for rigorous and leading edge approaches to all aspects of the study of
conscious experience, TSC includes neuroscience, cognitive science, artificial
intelligence, psychology, philosophy, neurobiology, medicine, quantum physics and
cosmology as well as art, mind technology and experiential and contemplative
approaches. TSC is the largest interdisciplinary gathering probing fundamental
questions related to conscious experience. An estimated 500 scientists, philosophers,
psychologists, experientialists, artists and students from over 60 countries are due to
take part.

For the first time, Toward a Science of Consciousness will be
held at the Loews Ventana Canyon Resort Hotel in the Catalina Foothills above
Tucson, Arizona (with a special conference rate of 99 dollars/room/night). See:
http://www.loewshotels.com/en/Ventana-Canyon-Resort

Plenary/Keynote Session themes will include:

HOT or NOT: Debate on higher-order theories of consciousness
War of the Worldviews: Chopra and Mlodinow on consciousness
Consciousness and Echolocation
Fractal consciousness: Scale-free brain structure and dynamics
Retrocausality and consciousness
Searching for consciousness in coma and anesthesia

Speakers will include:

Daryl Bem
Ned Block
Melanie Boly
Deepak Chopra
Biyu Jade He
Daniel Kish
Victor Lamme
Hakwan Lau
George Mashour
Leonard Mlodinow
David Rosenthal
...and others

As in previous conferences, program sessions will include Plenary and Keynote talks,
Concurrent talks, Posters, Art/Science demos and exhibits, Pre-Conference workshops,
Side trips and Social events in the Tucson conference tradition. For Information see: http://www.consciousness.arizona.edu/

Abstract Submission

TSC 2012 Conference Abstract Submission System is now open. Abstracts
considered for Plenary, Concurrent, Poster and Art/Tech Demo sessions
See: http://sbs.arizona.edu/project/consciousness/index.php

Schedule of Deadlines -- Tentative
December 10 Abstracts Due
January 5 Decisions
January 15 Early Registration Due
March 1 Final Abstract Edits Due

Call for Pre-Conference Workshop proposals
Toward a Science of Consciousness 2012
April 9-14, 2012
http://www.consciousness.arizona.edu

Proposals for pre-conference workshops are invited in all areas related to
understanding conscious experience. Workshops provide in depth, detailed
treatments of various methodologies, perspectives, reviews and approaches.
Workshops may be solo presentations, or include two or more presenters.
Attendance fees are $60 for 4 hour workshops and $80 for full day workshops,
split evenly between presenter(s) and the conference which provides the room,
A-V, promotion/advertisement and refreshments. A minimum number of registrants
will be required.

The conference Plenary program opens Tuesday April 10 at 1:45 pm.
The pre-conference workshops will be held in three 4 hour sessions
1) Monday April 9th, 9 am to 1 pm
2) Monday April 9th, 2 pm to 6 pm
3) Tuesday April 10th, 9 am to 1 pm

Workshop presenters (up to 2 per workshop) also receive free registration for
the conference. Please submit a 500 word (or less) abstract/summary and
presenter information by email directly to
center@email.arizona.edu

Deadline for Workshop proposals is November 1
Submitters will be notified by November 15

On behalf of the Program Committee - Toward a Science of Consciousness 2012.
David Chalmers, Australian National University, Co-Chair
Stuart Hameroff, University of Arizona, Co-Chair
Uriah Kriegel, University of Arizona
Hakwan Lau, Columbia University
Marilyn Schlitz, Institute of Noetic Sciences
Heather Berlin, Mount Sinai Medical Center
Jonathan Schooler, University of California, Santa Barbara
Melanie Boly, University of Liege
Moran Cerf, UCLA/NYU
Abi Behar-Montefiore, conference manager, center@u.arizona.edu

Contact:
Abi Behar-Montefiore, Manager, Center for Consciousness Studies, University of
Arizona - center@u.arizona.edu

CONFERENCE LINKS

CCS WEBSITE www.consciousness.arizona.edu
CCS /TSC CONFERENCE REGISTRATION and ABSTRACT SUBMISSION
http://sbs.arizona.edu/project/consciousness/index.php
CONFERENCE HOTEL BOOKING http://www.loewshotels.com/en/Ventana-Canyon-Resort/GroupPages/Consciousness Local Media Documentary Archive
and Storm Door Company
1051 W. Pratt Blvd.
Rm. 3B
Chicago IL 60626-4426

tel 312 532 1978

>________________________________
> From: Leif Brush <lbrush@d.umn.edu>
>To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>Sent: Friday, November 25, 2011 3:16 PM
>Subject: Re: [Yasmin_discussions] networking 5.0
>
>Hello Jack
>
>I'm sending you a final failed grant summary for an collective interactive
>world playing attempt,,,Titled: xyz(utc-synced) supraterrestrial project
>assisted by two university undergrads, sofia v bustorff and Guy De Bievre's
>workshops ...-PDF-
>http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&ved=0CDUQFjAE&url=http%3A%2F%2Fhi-ka-sk.be%2Ffiles%2Faudioworkshop.pdf&ei=1wTQTt63Eu2OsAKPhIS_Dg&usg=AFQjCNF21_y1x6w1EIZTgPJRBziD0mIV8w
>http://sproutland.files.wordpress.com/2011/04/guy-de-bic3a8vre-leif-brush_-terrain-instruments-partly-recorded1.mp3
>
>the world Playing attempt summary...
>
>>From each of four Terrain Instruments within a context: Tree, Windinch
>w/flow meter sensor monitorings, Box Kite strung w/.32ga stainless steel
>&w/xyz sensor, and Helium filled Balloon w/suspended spy camera hovering
>thge tree)... there will be four lines of information collected. All of the
>data that is not the universal time code information, we can use some kind
>of pick-up. The sensors will be hooked up to an Audrino... because this
>platform is the standard and there is a large community for this
>product...which could interconnect with mesh nets... after the Ardrino
>we'll use the xBee to transmit the data to a computer that is running an
>Audrino program...after the data is gathered and put into four different
>audio files, one for each Terrain Instrument...the four data files are run
>through our audio editing software, compressed all into one final file that
>can be uploaded to Sound Cloud or be made available globally, two-way
>connectable nets...on call fr/SC or x net in realtime. a/or when, from
>where & what you want to hear on call...month by month..via compatible
>networkings...of XYZ/sensors UTC-syncd wifi global sounds from global's
>latitudes and longitudes- on your handheld or monitor via a starter
>workshop...further, when these signals are received in a home environment
>fo the possible feed forwarding or feeding back into the net,..in house
>privacy would ask those currently using the WIFI-radiators to have a go
>w/the lightbulb of Dr. Harald Haas, inventor of li-fi...this is an 'outer
>year' summary of my ongoing sound/imaging quests...ideally the 2-way
>traffics would eventually employ muxed and demux modulated lasers., re
>ARTSCIENCE ART SCIENCE ARTSCIENCE,.. I admit to being originally highly
>encouraged in the 1980s by the introduction of a "Public Understanding of
>Science from NSF mailing when I was at U of Minnesota Duluth ('72-'02) Leif
>
>On Wed, Nov 23, 2011 at 3:46 PM, roger malina <rmalina@alum.mit.edu> wrote:
>
>> Jack
>>
>> yes both networked infrastructures and networked organisations are
>> relevant here=
>> since they often overlap
>>
>> do you know about the Marcel network ?
>>
>> http://www.mmmarcel.org/
>>
>> they do a lot of infrastructure networking
>>
>> one of the topics at the us national science foundation workwshop was that
>> there
>> is a proliferation of infrastructure network projects - but that are
>> not cross linked
>> and duplicate effort
>>
>> roger
>>
>> Hello Roger and all,
>>
>> Is there development of high-speed optical networking so that people
>> are able to meet with their data sets across oceans? Or are we
>> speaking here of other kinds of networking. I have read through
>> Roger's ongoing reports on the series of NSF Art Science workshops and
>> have not seen any talk about this subject. Are the storage archives
>> for large data sets in a cloud that is available to multiple entities?
>>
>> I am convinced that our networking needs to include actual optical
>> connections to one another- but it is extremely difficult to get that
>> up and running. The problems for me have been funding and getting
>> people on board who have never really seen or experienced what is
>> possible. Our CIO is now supporting small steps so that other faculty
>> will be able to see with their own ideas. For Instance, UNM just did a
>> series of Ursonate performances over the National LambdaRail between
>> Supercomputing11 in Seattle and the Center for Advanced Research
>> Computing. We were rehearsing and working out potential problems
>> before a Spring Fluxus Concert between Swinburne U. of Technology,
>> Melbourne, and UNM. These are baby steps designed to show people
>> potential.
>>
>> It is great to network- but we need to be able to do this without so
>> much physical travel. How do we make high-speed optical networking
>> available for a larger group of people in different communities?
>>
>> Can anyone comment on this- with your own experiences?
>>
>>
>> Jack Ox
>> Roger Malina is Director of the Observatoire Astronomique de
>> Marseille Provence and Executive Editor of the Leonardo Publications
>> at MIT Press
>> and member of the steering committee of IMERA the Mediterranean
>> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
>> Curie, Marseille 13388, France
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on
>> the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>
>
>
>--
>______________
>Leif Brush
>Professor Emeritus
>Research Specialty: Environmental Sound
>http://d.umn.edu/lbarchivesa
>lbrush@d.umn.edu
>_______________________________________________
>Yasmin_discussions mailing list
>Yasmin_discussions@estia.media.uoa.gr
>http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
>Yasmin URL: http://www.media.uoa.gr/yasmin
>
>HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>
>
>
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

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

Re: [Yasmin_discussions] YASMIN discussion : Networking 5.0: Networks of Networks in Art-Science-Technology

2011-11-26T12:45:00.000-08:00

Hi Richard,

Thanks so much for your response! I still cannot find on the Marcel site where they are using/occupying the high-speed optical networks like NLR and Internet2. Any help to find would be much appreciated. I did notice that Owen Smith is the manager- a good sign-- but no optical info.

Jack
On Nov 24, 2011, at 6:49 AM, rbrown wrote:

> Do you know of the marcel network headed up by Don Forresta?
>
> http://www.mmmarcel.org/node/162
>
> The MARCEL Network, Past & Present
> MARCEL is a permanent very high band-width network dedicated to artistic, educational and cultural experimentation, exchange between art and science and collaboration between art and industry.
>
> It is also a portal site for the network listing information in art, science and industry for its members, but open to the public. MARCEL was designed as a tool to help people move into the high bandwidth network space with art, science and education and to claim a part of the network space for culture.
>
> During a meeting in Souillac, France in July 1997 a group of international experts from art and industry agreed on the importance of fundamental artistic research, rather than merely applied arts, in the development of telecommunication networks. The need for collaboration between artists, artistic establishments and the public and private sectors in building a permanent high band-width network for artistic experimentation was the central point of the first conference.
> ...
>
> Regards,
> Richard
>
> On 22/11/2011 22:20, roger malina wrote:
>> Networking 5.0: Networks of Networks in Art-Science-Technology
>>
>> Yasminers- I would like to stimulate a discussion over the coming days
>> on the YASMIN DISCUSSION LIST:
>>
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> <a href="http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions"
>> title="yasmin discussion list"></a>
>>
>> about the new intense wave of developments of networks in our
>> art-science-technology
>> Community.
>>
>> I have just returned from the US National Science Foundation workshop \
>> At the Maryland Institute College of Art on the Network for Science,
>> Engineering, Art and Design (NSEAD) hosted by Gunalan. Nadarajan,
>> a good friend of Emerging the Art-Science-Technology field.
>>
>> ( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
>> )
>> <a href="( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
>> ) " title="MICA NSF workshop for NSEAD"></a>
>>
>> The last time I worked with Gunalan was at the REFRESH conference at
>> Banff in Canada when with Oliver Grau, Sara Diamond, Annick Bureaud,
>> Susan Kennard and an international committee we organized the first
>> International Conference on Histories of the Media Arts, Sciences
>> and Technology in 2005 :
>>
>> (http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp ),
>> <a href="(http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp
>> )," title="refresh"></a>
>>
>> The network that was initiated at that conference has continued to self mobilize
>> With the latest conference being held in Liverpool
>> (http://www.rewireconference2011.org/about/)
>>
>> One of the outcomes from this conference at FACT was a manifesto
>> organized by Oliver
>> Grau, Sean Cubitt and Ross Harley which has now been signed by over
>> 100 members of our community:
>>
>> http://www.mediaarthistory.org
>> <a href="http://www.mediaarthistory.org " title="manifesto"></a>
>>
>> which has as its goals :
>>
>> Goals
>> a.) Establish international and sustainable funding structures
>> Therefore it is essential to establish international and sustainable
>> funding structures that can guarantee the persistence of
>> these valuable resources, and to make use of networked collaboration
>> to archive key data in a cooperative process of knowledge
>> transfer between artists, institutions and researchers internationally. ..
>>
>> b.) Supporting an International Association/Institution for Shared Data
>> We urgently need global networked collaboration in Media Art research
>> across the aforementioned networks.
>> We need as many bridges into society as possible: archives,
>> conferences, text repositories, collective database
>> documentation, and preservation
>>
>> You can sign the manifesto at : http://www.mediaarthistory.org/
>> <a href="http://www.mediaarthistory.org/" title="manifesto"></a>
>>
>> This week at the MICA workshop the group (following the work of several other
>> Workshops between the US National Science Foundation and the US National
>> Endowment for the Arts ) concluded that a new Network for Science- Engineering-
>> Art- Design was needed as an advocacy organization for the emerging fields of
>> Science/Engineering- Art/Design Practice.
>>
>> The week before I participated in a conference at IKAS-ARTS in Bilabo on the
>> Invitation of Natxo Rodriguez:
>>
>> (http://www.ikas-art.com/ )
>> <a href="http://www.ikas-art.com/" title="ikas"></a>
>>
>> It is a network of 11 art and design schools in Spain, France and
>> internationally
>>
>> IKAS-ART IS AN ART ENCOUNTER FOR UNIVERSITIES. FINE ARTS FACULTIES
>> FROM ALL OVER THE
>> WORLD SHOW THEIR STUDENTS' WORK.
>>
>> There was discussion there of how this network could bid for funding
>> as a European
>> Creative Regions.
>>
>> An initiative Regional Studies Association Research Network on
>> Creative Regions in Europe is another
>> network that includes members of our community:
>>
>> <a href="http://www.creative-regions.eu/" title="creative
>> regions">http://www.creative-regions.eu/</a>
>>
>> We seem to have emerged in a new wave of institution building in art-science-
>> Technology and 'networks' is where the action (and the funding is) !!
>>
>> There have been a number of 'waves' that historians such as Eddie Shanken
>> have described of the kinds of institutions that have been build to
>> bridge our creative communities
>> ( Bauhaus, EAT/CAVS.., Media Lab/Ars/V2…. ISEA was founded in 1990,
>> YASMIN was created in 2000 HASTAC,…….).
>>
>> I guess my question is: are we entering an era of new ways that we
>> organize ourselves ?
>> Are we now in the era of 'networks of networks"? Operating networks
>> takes larges amount of time and resources.
>> How does a sustainable 'network of networks" organize itself (do we
>> follow the power Law of many scale free networks
>> as described by complex network science, ( with amazon and google
>> dominating the rest ? ) See Barabasi Scale-Free Networks: A Decade
>> and Beyond. :
>>
>> http://www.sciencemag.org/content/325/5939/412.full
>> <a href="http://www.sciencemag.org/content/325/5939/412.full "
>> title="complex"></a>
>>
>> Or are we creating a dense network with a different structure that
>> doesn't follow a
>> Power law see Matthias Scholz ?
>>
>> http://www.network-science.org/similaritymodel.html
>> <a href="http://www.network-science.org/similaritymodel.html"
>> title="non scale free"></a>
>>
>> Or does the long tail have the real impact ?
>>
>> On the YASMIN list we have many people who have set up and participated in
>> Networks in art/science/technology . It would be great to have some
>> discussion of the new systems we are
>> Building and how we design them to really do what we want.
>>
>> See you on YASMIN
>>
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Roger Malina
>> Yasmin Co Moderator
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-11-25T13:16:00.000-08:00

Hello Jack

I'm sending you a final failed grant summary for an collective interactive
world playing attempt,,,Titled: xyz(utc-synced) supraterrestrial project
assisted by two university undergrads, sofia v bustorff and Guy De Bievre's
workshops ...-PDF-
http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&ved=0CDUQFjAE&url=http%3A%2F%2Fhi-ka-sk.be%2Ffiles%2Faudioworkshop.pdf&ei=1wTQTt63Eu2OsAKPhIS_Dg&usg=AFQjCNF21_y1x6w1EIZTgPJRBziD0mIV8w
http://sproutland.files.wordpress.com/2011/04/guy-de-bic3a8vre-leif-brush_-terrain-instruments-partly-recorded1.mp3

the world Playing attempt summary...

>From each of four Terrain Instruments within a context: Tree, Windinch
w/flow meter sensor monitorings, Box Kite strung w/.32ga stainless steel
&w/xyz sensor, and Helium filled Balloon w/suspended spy camera hovering
thge tree)... there will be four lines of information collected. All of the
data that is not the universal time code information, we can use some kind
of pick-up. The sensors will be hooked up to an Audrino... because this
platform is the standard and there is a large community for this
product...which could interconnect with mesh nets... after the Ardrino
we'll use the xBee to transmit the data to a computer that is running an
Audrino program...after the data is gathered and put into four different
audio files, one for each Terrain Instrument...the four data files are run
through our audio editing software, compressed all into one final file that
can be uploaded to Sound Cloud or be made available globally, two-way
connectable nets...on call fr/SC or x net in realtime. a/or when, from
where & what you want to hear on call...month by month..via compatible
networkings...of XYZ/sensors UTC-syncd wifi global sounds from global's
latitudes and longitudes- on your handheld or monitor via a starter
workshop...further, when these signals are received in a home environment
fo the possible feed forwarding or feeding back into the net,..in house
privacy would ask those currently using the WIFI-radiators to have a go
w/the lightbulb of Dr. Harald Haas, inventor of li-fi...this is an 'outer
year' summary of my ongoing sound/imaging quests...ideally the 2-way
traffics would eventually employ muxed and demux modulated lasers., re
ARTSCIENCE ART SCIENCE ARTSCIENCE,.. I admit to being originally highly
encouraged in the 1980s by the introduction of a "Public Understanding of
Science from NSF mailing when I was at U of Minnesota Duluth ('72-'02) Leif

On Wed, Nov 23, 2011 at 3:46 PM, roger malina <rmalina@alum.mit.edu> wrote:

> Jack
>
> yes both networked infrastructures and networked organisations are
> relevant here=
> since they often overlap
>
> do you know about the Marcel network ?
>
> http://www.mmmarcel.org/
>
> they do a lot of infrastructure networking
>
> one of the topics at the us national science foundation workwshop was that
> there
> is a proliferation of infrastructure network projects - but that are
> not cross linked
> and duplicate effort
>
> roger
>
> Hello Roger and all,
>
> Is there development of high-speed optical networking so that people
> are able to meet with their data sets across oceans? Or are we
> speaking here of other kinds of networking. I have read through
> Roger's ongoing reports on the series of NSF Art Science workshops and
> have not seen any talk about this subject. Are the storage archives
> for large data sets in a cloud that is available to multiple entities?
>
> I am convinced that our networking needs to include actual optical
> connections to one another- but it is extremely difficult to get that
> up and running. The problems for me have been funding and getting
> people on board who have never really seen or experienced what is
> possible. Our CIO is now supporting small steps so that other faculty
> will be able to see with their own ideas. For Instance, UNM just did a
> series of Ursonate performances over the National LambdaRail between
> Supercomputing11 in Seattle and the Center for Advanced Research
> Computing. We were rehearsing and working out potential problems
> before a Spring Fluxus Concert between Swinburne U. of Technology,
> Melbourne, and UNM. These are baby steps designed to show people
> potential.
>
> It is great to network- but we need to be able to do this without so
> much physical travel. How do we make high-speed optical networking
> available for a larger group of people in different communities?
>
> Can anyone comment on this- with your own experiences?
>
>
> Jack Ox
> Roger Malina is Director of the Observatoire Astronomique de
> Marseille Provence and Executive Editor of the Leonardo Publications
> at MIT Press
> and member of the steering committee of IMERA the Mediterranean
> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
> Curie, Marseille 13388, France
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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

Re: [Yasmin_discussions] networking 5.0

2011-11-24T13:37:00.000-08:00

Around the end of the Twentieth Century, I was involved in a project that did exactly what you are talking about:
http://www.cim.mcgill.ca/sre/projects/aes/
At the end of the day, the artistic results are not so interesting.
All told, it is more interesting to work with networks 'tel quel'.

Andrew

On 2011-11-24, at 3:24 PM, jack Ox wrote:

> Hi Roger,
>
> I knew about Marcel-- and have just looked at their site- thanks-- However, it seems that MARCEL is AccessGrid- a multi-window software platform-- not an optical network that allows potentially jitterless communication. Jitter, for all who might ask, is an irregular delay-- Musicians regularly deal with a delay; that is why there are conductors. And here is an interesting bit of trivia: The delay between the right side of a large orchestral stage and the left side is the same as between Amsterdam and Tokyo over high-speed optical networks on the highest wave-rate level (the speed of light). (info from Cees Delaat at the U of Amsterdam)
>
> We need to work to get this kind of high-speed optical networking to be available and not so dang hard! For more information you can go to http://www.glif.is/ and http://www.internet2.edu/
>
> While at SC11 at the UNM booth, we had an interesting visit from representatives of Internet2. There has been an ongoing political battle between National LambdaRail and Internet2. What I heard at SC11 is that a billionaire pharmaceutic investor has either 'bought' or 'invested in NLR-- This was supposed to be a research network that is owned and managed by industry and research institutions. The U. of Texas is certainly a big player here- as is the U. of California. The Internet2 people told me they are the arts networking people. I believe that both optical networking entities are now at the same technical level.
>
> As artists, artist-scientists, and researchers we need to harness and make available these resources.
>
> Jack
>
>
> Jack Ox
> www.jackox.net
>
> Associate Research Professor, Department of Music , College of Fine Arts, UNM
> Associated Faculty Member with the Center for Advanced Research Computing at UNM
> Research Associate, The ARTS Lab, UNM
>
> 2710 Hyder Ave SE
> Albuquerque, NM
> 87106
>
> landline- 505-217-2167
> cell 646-773-3324
>
>
>
>
>
>
>
> On Nov 23, 2011, at 2:46 PM, roger malina wrote:
>
>> Jack
>>
>> yes both networked infrastructures and networked organisations are
>> relevant here=
>> since they often overlap
>>
>> do you know about the Marcel network ?
>>
>> http://www.mmmarcel.org/
>>
>> they do a lot of infrastructure networking
>>
>> one of the topics at the us national science foundation workwshop was that there
>> is a proliferation of infrastructure network projects - but that are
>> not cross linked
>> and duplicate effort
>>
>> roger
>>
>> Hello Roger and all,
>>
>> Is there development of high-speed optical networking so that people
>> are able to meet with their data sets across oceans? Or are we
>> speaking here of other kinds of networking. I have read through
>> Roger's ongoing reports on the series of NSF Art Science workshops and
>> have not seen any talk about this subject. Are the storage archives
>> for large data sets in a cloud that is available to multiple entities?
>>
>> I am convinced that our networking needs to include actual optical
>> connections to one another- but it is extremely difficult to get that
>> up and running. The problems for me have been funding and getting
>> people on board who have never really seen or experienced what is
>> possible. Our CIO is now supporting small steps so that other faculty
>> will be able to see with their own ideas. For Instance, UNM just did a
>> series of Ursonate performances over the National LambdaRail between
>> Supercomputing11 in Seattle and the Center for Advanced Research
>> Computing. We were rehearsing and working out potential problems
>> before a Spring Fluxus Concert between Swinburne U. of Technology,
>> Melbourne, and UNM. These are baby steps designed to show people
>> potential.
>>
>> It is great to network- but we need to be able to do this without so
>> much physical travel. How do we make high-speed optical networking
>> available for a larger group of people in different communities?
>>
>> Can anyone comment on this- with your own experiences?
>>
>>
>> Jack Ox
>> Roger Malina is Director of the Observatoire Astronomique de
>> Marseille Provence and Executive Editor of the Leonardo Publications
>> at MIT Press
>> and member of the steering committee of IMERA the Mediterranean
>> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
>> Curie, Marseille 13388, France
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

_______________________________________________
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

Re: [Yasmin_discussions] networking 5.0

2011-11-24T12:24:00.000-08:00

Hi Roger,

I knew about Marcel-- and have just looked at their site- thanks-- However, it seems that MARCEL is AccessGrid- a multi-window software platform-- not an optical network that allows potentially jitterless communication. Jitter, for all who might ask, is an irregular delay-- Musicians regularly deal with a delay; that is why there are conductors. And here is an interesting bit of trivia: The delay between the right side of a large orchestral stage and the left side is the same as between Amsterdam and Tokyo over high-speed optical networks on the highest wave-rate level (the speed of light). (info from Cees Delaat at the U of Amsterdam)

We need to work to get this kind of high-speed optical networking to be available and not so dang hard! For more information you can go to http://www.glif.is/ and http://www.internet2.edu/

While at SC11 at the UNM booth, we had an interesting visit from representatives of Internet2. There has been an ongoing political battle between National LambdaRail and Internet2. What I heard at SC11 is that a billionaire pharmaceutic investor has either 'bought' or 'invested in NLR-- This was supposed to be a research network that is owned and managed by industry and research institutions. The U. of Texas is certainly a big player here- as is the U. of California. The Internet2 people told me they are the arts networking people. I believe that both optical networking entities are now at the same technical level.

As artists, artist-scientists, and researchers we need to harness and make available these resources.

Jack

Jack Ox
www.jackox.net

Associate Research Professor, Department of Music , College of Fine Arts, UNM
Associated Faculty Member with the Center for Advanced Research Computing at UNM
Research Associate, The ARTS Lab, UNM

2710 Hyder Ave SE
Albuquerque, NM
87106

landline- 505-217-2167
cell 646-773-3324

On Nov 23, 2011, at 2:46 PM, roger malina wrote:

> Jack
>
> yes both networked infrastructures and networked organisations are
> relevant here=
> since they often overlap
>
> do you know about the Marcel network ?
>
> http://www.mmmarcel.org/
>
> they do a lot of infrastructure networking
>
> one of the topics at the us national science foundation workwshop was that there
> is a proliferation of infrastructure network projects - but that are
> not cross linked
> and duplicate effort
>
> roger
>
> Hello Roger and all,
>
> Is there development of high-speed optical networking so that people
> are able to meet with their data sets across oceans? Or are we
> speaking here of other kinds of networking. I have read through
> Roger's ongoing reports on the series of NSF Art Science workshops and
> have not seen any talk about this subject. Are the storage archives
> for large data sets in a cloud that is available to multiple entities?
>
> I am convinced that our networking needs to include actual optical
> connections to one another- but it is extremely difficult to get that
> up and running. The problems for me have been funding and getting
> people on board who have never really seen or experienced what is
> possible. Our CIO is now supporting small steps so that other faculty
> will be able to see with their own ideas. For Instance, UNM just did a
> series of Ursonate performances over the National LambdaRail between
> Supercomputing11 in Seattle and the Center for Advanced Research
> Computing. We were rehearsing and working out potential problems
> before a Spring Fluxus Concert between Swinburne U. of Technology,
> Melbourne, and UNM. These are baby steps designed to show people
> potential.
>
> It is great to network- but we need to be able to do this without so
> much physical travel. How do we make high-speed optical networking
> available for a larger group of people in different communities?
>
> Can anyone comment on this- with your own experiences?
>
>
> Jack Ox
> Roger Malina is Director of the Observatoire Astronomique de
> Marseille Provence and Executive Editor of the Leonardo Publications
> at MIT Press
> and member of the steering committee of IMERA the Mediterranean
> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
> Curie, Marseille 13388, France
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

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

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

Re: [Yasmin_discussions] YASMIN discussion : Networking 5.0: Networks of Networks in Art-Science-Technology

2011-11-24T05:49:00.000-08:00

Do you know of the marcel network headed up by Don Forresta?

http://www.mmmarcel.org/node/162

The MARCEL Network, Past & Present
MARCEL is a permanent very high band-width network dedicated to
artistic, educational and cultural experimentation, exchange between art
and science and collaboration between art and industry.

It is also a portal site for the network listing information in art,
science and industry for its members, but open to the public. MARCEL
was designed as a tool to help people move into the high bandwidth
network space with art, science and education and to claim a part of the
network space for culture.

During a meeting in Souillac, France in July 1997 a group of
international experts from art and industry agreed on the importance of
fundamental artistic research, rather than merely applied arts, in the
development of telecommunication networks. The need for collaboration
between artists, artistic establishments and the public and private
sectors in building a permanent high band-width network for artistic
experimentation was the central point of the first conference.
...

Regards,
Richard

On 22/11/2011 22:20, roger malina wrote:
> Networking 5.0: Networks of Networks in Art-Science-Technology
>
> Yasminers- I would like to stimulate a discussion over the coming days
> on the YASMIN DISCUSSION LIST:
>
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> <a href="http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions"
> title="yasmin discussion list"></a>
>
> about the new intense wave of developments of networks in our
> art-science-technology
> Community.
>
> I have just returned from the US National Science Foundation workshop \
> At the Maryland Institute College of Art on the Network for Science,
> Engineering, Art and Design (NSEAD) hosted by Gunalan. Nadarajan,
> a good friend of Emerging the Art-Science-Technology field.
>
> ( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
> )
> <a href="( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
> ) " title="MICA NSF workshop for NSEAD"></a>
>
> The last time I worked with Gunalan was at the REFRESH conference at
> Banff in Canada when with Oliver Grau, Sara Diamond, Annick Bureaud,
> Susan Kennard and an international committee we organized the first
> International Conference on Histories of the Media Arts, Sciences
> and Technology in 2005 :
>
> (http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp ),
> <a href="(http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp
> )," title="refresh"></a>
>
> The network that was initiated at that conference has continued to self mobilize
> With the latest conference being held in Liverpool
> (http://www.rewireconference2011.org/about/)
>
> One of the outcomes from this conference at FACT was a manifesto
> organized by Oliver
> Grau, Sean Cubitt and Ross Harley which has now been signed by over
> 100 members of our community:
>
> http://www.mediaarthistory.org
> <a href="http://www.mediaarthistory.org " title="manifesto"></a>
>
> which has as its goals :
>
> Goals
> a.) Establish international and sustainable funding structures
> Therefore it is essential to establish international and sustainable
> funding structures that can guarantee the persistence of
> these valuable resources, and to make use of networked collaboration
> to archive key data in a cooperative process of knowledge
> transfer between artists, institutions and researchers internationally. ..
>
> b.) Supporting an International Association/Institution for Shared Data
> We urgently need global networked collaboration in Media Art research
> across the aforementioned networks.
> We need as many bridges into society as possible: archives,
> conferences, text repositories, collective database
> documentation, and preservation
>
> You can sign the manifesto at : http://www.mediaarthistory.org/
> <a href="http://www.mediaarthistory.org/" title="manifesto"></a>
>
> This week at the MICA workshop the group (following the work of several other
> Workshops between the US National Science Foundation and the US National
> Endowment for the Arts ) concluded that a new Network for Science- Engineering-
> Art- Design was needed as an advocacy organization for the emerging fields of
> Science/Engineering- Art/Design Practice.
>
> The week before I participated in a conference at IKAS-ARTS in Bilabo on the
> Invitation of Natxo Rodriguez:
>
> (http://www.ikas-art.com/ )
> <a href="http://www.ikas-art.com/" title="ikas"></a>
>
> It is a network of 11 art and design schools in Spain, France and
> internationally
>
> IKAS-ART IS AN ART ENCOUNTER FOR UNIVERSITIES. FINE ARTS FACULTIES
> FROM ALL OVER THE
> WORLD SHOW THEIR STUDENTS' WORK.
>
> There was discussion there of how this network could bid for funding
> as a European
> Creative Regions.
>
> An initiative Regional Studies Association Research Network on
> Creative Regions in Europe is another
> network that includes members of our community:
>
> <a href="http://www.creative-regions.eu/" title="creative
> regions">http://www.creative-regions.eu/</a>
>
> We seem to have emerged in a new wave of institution building in art-science-
> Technology and 'networks' is where the action (and the funding is) !!
>
> There have been a number of 'waves' that historians such as Eddie Shanken
> have described of the kinds of institutions that have been build to
> bridge our creative communities
> ( Bauhaus, EAT/CAVS.., Media Lab/Ars/V2…. ISEA was founded in 1990,
> YASMIN was created in 2000 HASTAC,…….).
>
> I guess my question is: are we entering an era of new ways that we
> organize ourselves ?
> Are we now in the era of 'networks of networks"? Operating networks
> takes larges amount of time and resources.
> How does a sustainable 'network of networks" organize itself (do we
> follow the power Law of many scale free networks
> as described by complex network science, ( with amazon and google
> dominating the rest ? ) See Barabasi Scale-Free Networks: A Decade
> and Beyond. :
>
> http://www.sciencemag.org/content/325/5939/412.full
> <a href="http://www.sciencemag.org/content/325/5939/412.full "
> title="complex"></a>
>
> Or are we creating a dense network with a different structure that
> doesn't follow a
> Power law see Matthias Scholz ?
>
> http://www.network-science.org/similaritymodel.html
> <a href="http://www.network-science.org/similaritymodel.html"
> title="non scale free"></a>
>
> Or does the long tail have the real impact ?
>
> On the YASMIN list we have many people who have set up and participated in
> Networks in art/science/technology . It would be great to have some
> discussion of the new systems we are
> Building and how we design them to really do what we want.
>
> See you on YASMIN
>
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Roger Malina
> Yasmin Co Moderator
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>

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

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

[Yasmin_discussions] networking 5.0

2011-11-23T13:46:00.000-08:00

Jack

yes both networked infrastructures and networked organisations are
relevant here=
since they often overlap

do you know about the Marcel network ?

http://www.mmmarcel.org/

they do a lot of infrastructure networking

one of the topics at the us national science foundation workwshop was that there
is a proliferation of infrastructure network projects - but that are
not cross linked
and duplicate effort

roger

Hello Roger and all,

Is there development of high-speed optical networking so that people
are able to meet with their data sets across oceans? Or are we
speaking here of other kinds of networking. I have read through
Roger's ongoing reports on the series of NSF Art Science workshops and
have not seen any talk about this subject. Are the storage archives
for large data sets in a cloud that is available to multiple entities?

I am convinced that our networking needs to include actual optical
connections to one another- but it is extremely difficult to get that
up and running. The problems for me have been funding and getting
people on board who have never really seen or experienced what is
possible. Our CIO is now supporting small steps so that other faculty
will be able to see with their own ideas. For Instance, UNM just did a
series of Ursonate performances over the National LambdaRail between
Supercomputing11 in Seattle and the Center for Advanced Research
Computing. We were rehearsing and working out potential problems
before a Spring Fluxus Concert between Swinburne U. of Technology,
Melbourne, and UNM. These are baby steps designed to show people
potential.

It is great to network- but we need to be able to do this without so
much physical travel. How do we make high-speed optical networking
available for a larger group of people in different communities?

Can anyone comment on this- with your own experiences?

Jack Ox
Roger Malina is Director of the Observatoire Astronomique de
Marseille Provence and Executive Editor of the Leonardo Publications
at MIT Press
and member of the steering committee of IMERA the Mediterranean
Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
Curie, Marseille 13388, France

_______________________________________________
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

Re: [Yasmin_discussions] YASMIN discussion : Networking 5.0: Networks of Networks in Art-Science-Technology

2011-11-22T16:14:00.000-08:00

Hello Roger and all,

Is there development of high-speed optical networking so that people are able to meet with their data sets across oceans? Or are we speaking here of other kinds of networking. I have read through Roger's ongoing reports on the series of NSF Art Science workshops and have not seen any talk about this subject. Are the storage archives for large data sets in a cloud that is available to multiple entities?

I am convinced that our networking needs to include actual optical connections to one another- but it is extremely difficult to get that up and running. The problems for me have been funding and getting people on board who have never really seen or experienced what is possible. Our CIO is now supporting small steps so that other faculty will be able to see with their own ideas. For Instance, UNM just did a series of Ursonate performances over the National LambdaRail between Supercomputing11 in Seattle and the Center for Advanced Research Computing. We were rehearsing and working out potential problems before a Spring Fluxus Concert between Swinburne U. of Technology, Melbourne, and UNM. These are baby steps designed to show people potential.

It is great to network- but we need to be able to do this without so much physical travel. How do we make high-speed optical networking available for a larger group of people in different communities?

Can anyone comment on this- with your own experiences?

Jack Ox

Jack Ox
www.jackox.net

Associate Research Professor, Department of Music , College of Fine Arts, UNM
Associated Faculty Member with the Center for Advanced Research Computing at UNM
Research Associate, The ARTS Lab, UNM

2710 Hyder Ave SE
Albuquerque, NM
87106

landline- 505-217-2167
cell 646-773-3324

On Nov 22, 2011, at 3:20 PM, roger malina wrote:

> Networking 5.0: Networks of Networks in Art-Science-Technology
>
> Yasminers- I would like to stimulate a discussion over the coming days
> on the YASMIN DISCUSSION LIST:
>
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> <a href="http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions"
> title="yasmin discussion list"></a>
>
> about the new intense wave of developments of networks in our
> art-science-technology
> Community.
>
> I have just returned from the US National Science Foundation workshop \
> At the Maryland Institute College of Art on the Network for Science,
> Engineering, Art and Design (NSEAD) hosted by Gunalan. Nadarajan,
> a good friend of Emerging the Art-Science-Technology field.
>
> ( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
> )
> <a href="( http://malina.diatrope.com/2011/11/12/nsf-art-science-workshop-at-maryland-institute-college-of-art-nov-14-and-15-2011/
> ) " title="MICA NSF workshop for NSEAD"></a>
>
> The last time I worked with Gunalan was at the REFRESH conference at
> Banff in Canada when with Oliver Grau, Sara Diamond, Annick Bureaud,
> Susan Kennard and an international committee we organized the first
> International Conference on Histories of the Media Arts, Sciences
> and Technology in 2005 :
>
> (http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp ),
> <a href="(http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp
> )," title="refresh"></a>
>
> The network that was initiated at that conference has continued to self mobilize
> With the latest conference being held in Liverpool
> (http://www.rewireconference2011.org/about/)
>
> One of the outcomes from this conference at FACT was a manifesto
> organized by Oliver
> Grau, Sean Cubitt and Ross Harley which has now been signed by over
> 100 members of our community:
>
> http://www.mediaarthistory.org
> <a href="http://www.mediaarthistory.org " title="manifesto"></a>
>
> which has as its goals :
>
> Goals
> a.) Establish international and sustainable funding structures
> Therefore it is essential to establish international and sustainable
> funding structures that can guarantee the persistence of
> these valuable resources, and to make use of networked collaboration
> to archive key data in a cooperative process of knowledge
> transfer between artists, institutions and researchers internationally. ..
>
> b.) Supporting an International Association/Institution for Shared Data
> We urgently need global networked collaboration in Media Art research
> across the aforementioned networks.
> We need as many bridges into society as possible: archives,
> conferences, text repositories, collective database
> documentation, and preservation
>
> You can sign the manifesto at : http://www.mediaarthistory.org/
> <a href="http://www.mediaarthistory.org/" title="manifesto"></a>
>
> This week at the MICA workshop the group (following the work of several other
> Workshops between the US National Science Foundation and the US National
> Endowment for the Arts ) concluded that a new Network for Science- Engineering-
> Art- Design was needed as an advocacy organization for the emerging fields of
> Science/Engineering- Art/Design Practice.
>
> The week before I participated in a conference at IKAS-ARTS in Bilabo on the
> Invitation of Natxo Rodriguez:
>
> (http://www.ikas-art.com/ )
> <a href="http://www.ikas-art.com/" title="ikas"></a>
>
> It is a network of 11 art and design schools in Spain, France and
> internationally
>
> IKAS-ART IS AN ART ENCOUNTER FOR UNIVERSITIES. FINE ARTS FACULTIES
> FROM ALL OVER THE
> WORLD SHOW THEIR STUDENTS' WORK.
>
> There was discussion there of how this network could bid for funding
> as a European
> Creative Regions.
>
> An initiative Regional Studies Association Research Network on
> Creative Regions in Europe is another
> network that includes members of our community:
>
> <a href="http://www.creative-regions.eu/" title="creative
> regions">http://www.creative-regions.eu/</a>
>
> We seem to have emerged in a new wave of institution building in art-science-
> Technology and 'networks' is where the action (and the funding is) !!
>
> There have been a number of 'waves' that historians such as Eddie Shanken
> have described of the kinds of institutions that have been build to
> bridge our creative communities
> ( Bauhaus, EAT/CAVS.., Media Lab/Ars/V2…. ISEA was founded in 1990,
> YASMIN was created in 2000 HASTAC,…….).
>
> I guess my question is: are we entering an era of new ways that we
> organize ourselves ?
> Are we now in the era of 'networks of networks"? Operating networks
> takes larges amount of time and resources.
> How does a sustainable 'network of networks" organize itself (do we
> follow the power Law of many scale free networks
> as described by complex network science, ( with amazon and google
> dominating the rest ? ) See Barabasi Scale-Free Networks: A Decade
> and Beyond. :
>
> http://www.sciencemag.org/content/325/5939/412.full
> <a href="http://www.sciencemag.org/content/325/5939/412.full "
> title="complex"></a>
>
> Or are we creating a dense network with a different structure that
> doesn't follow a
> Power law see Matthias Scholz ?
>
> http://www.network-science.org/similaritymodel.html
> <a href="http://www.network-science.org/similaritymodel.html"
> title="non scale free"></a>
>
> Or does the long tail have the real impact ?
>
> On the YASMIN list we have many people who have set up and participated in
> Networks in art/science/technology . It would be great to have some
> discussion of the new systems we are
> Building and how we design them to really do what we want.
>
> See you on YASMIN
>
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Roger Malina
> Yasmin Co Moderator
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

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

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