Thanks for this, Roger. I have a significantly different take on the needs of our public school system in California, where many artists work in the schools, but few scientists and where funding for anything enriching is either raised by parents or the result of arts grants. The city has so much art that it's quality science curriculum paired with art that needs development!
Nice paper!
Molly
On Aug 7, 2012, at 5:30 PM, roger malina <rmalina@alum.mit.edu> wrote:
> yasminers
>
> an interesting white paper is being developed for SEAD
>
> http://seadnetwork.wordpress.com/about/
>
> on
>
> THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
> EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
>
> which i hope will also explain why the vitality of the hacker and make
> communities offers interesting pluses for science and engineering,
> and why for instance the explosion of fablabs offers new mechanisms
> for cross linking science and engineering to arts and design.
>
> their abstracts concludes with:
> The fact is that Innovators in science and engineering are artists and
> craftsmen as well,
> and there are practical reasons that this is so. Only when we
> understand the many ways
> in which arts and crafts make possible innovation in sciences and
> engineering will we be
> able to develop the full potential of our students.
>
> any comments ?
>
> the position paper is being developed by
>
>
> Robert Root-Bernstein*, Ph.D., Professor of Physiology
> Rex LaMore, Ph.D., Director Center for Community and Economic Development
> James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
> John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
> Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
> Eileen Roraback, Ph.D., College of Arts and Letters
> Amber Peruski, MSU Honors College
> Megan VanDyke , MSU Honors College
>
> Michigan State University, East Lansing, Michigan, USA 48824
>
> *email: rootbern@msu.edu;
>
> K-12 curricula at in most school systems focus on mathematical and
> verbal skills, but the ability to succeed in science and engineering
> requires a broader range of skills that include observation,
> visualization, dimensional thinking, modeling, manual dexterity,
> familiarity with tools, transforming data into visual or graphical
> forms, converting theories into mechanical procedures, and even
> understanding data and experiments kinesthetically (Wilson, 1972;
> Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
> 1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
> 2008;). All of these skills can be learned through arts and crafts
> experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
> Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
> Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
> a result, we have found through a series of studies of scientists and
> engineers that significant arts and crafts experience is highly
> correlated with success in science and engineering as measured by
> outcomes such as major prizes and honors, patents, or the founding of
> new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
> and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
> al., 2010; Root-Bernstein, et al., in press). One of the most notable
> results of our ongoing studies is that no particular art or craft
> confers any particular advantage over any other: dance, music, drama,
> painting, sculpting, printmaking, photography, making and composing
> music, metal- and woodwork are all correlated with increased
> probability of success. The operant factor is not the type of art or
> craft, but early introduction to arts and crafts in elementary and
> middle school years followed by persistent practice of that art or
> craft into adulthood. We also found that while exposure to arts and
> crafts can occur in a school setting, formal education is not a
> requirement for the observed correlation to success: arts and crafts
> classes in school were often supplemented or replaced by private
> lessons, informal mentoring at home or in community centers, or even
> by self-teaching. Again, the key element was not how an art or craft
> was learned, but the persistence with which it was pursued.
>
> Given that most states within the United States, and most countries
> around the world, marginalize arts and crafts education to the extent
> that many students get no more than an hour of such education per
> week, and most are not introduced to more than one or two arts or
> crafts during their entire schooling, our findings have clear policy
> implications for a wide range of parties (Lamore, et al., 2010).
> Students interested in pursuing a science or engineering career must
> recognized that their formal K-12 schooling is unlikely to prepare
> them adequately in the range of skills they will need to reach the top
> of their field: they and their parents will need to supplement the
> standard K-12 curriculum. Educators and those setting educational
> policy must recognize that there is a robust literature linking
> success in science and engineering to skills such as observing,
> visualization, and modeling that are developed by arts and crafts
> training: arts and crafts are not, therefore dispensable frills that
> can be eliminated from curricula whenever budgets need to be cut, but
> essential elements of science and engineering education. Finally,
> legislators need to understand the practical value that lies in the
> skills taught through arts and crafts so that they are willing to
> provide robust funding not only for formal K-12 arts and crafts
> curricula, but also for community centers, after-school programs
> associated with arts and crafts centers, museum- and concert
> hall-based educational programs, and other forms of informal arts and
> crafts education. The fact is that Innovators in science and
> engineering are artists and craftsmen as well, and there are practical
> reasons that this is so. Only when we understand the many ways in
> which arts and crafts make possible innovation in sciences and
> engineering will we be able to develop the full potential of our
> students.
>
> http://seadnetwork.wordpress.com/about/
> _______________________________________________
> 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.
Tuesday, August 7, 2012
[Yasmin_discussions] IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
yasminers
an interesting white paper is being developed for SEAD
http://seadnetwork.wordpress.com/about/
on
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
which i hope will also explain why the vitality of the hacker and make
communities offers interesting pluses for science and engineering,
and why for instance the explosion of fablabs offers new mechanisms
for cross linking science and engineering to arts and design.
their abstracts concludes with:
The fact is that Innovators in science and engineering are artists and
craftsmen as well,
and there are practical reasons that this is so. Only when we
understand the many ways
in which arts and crafts make possible innovation in sciences and
engineering will we be
able to develop the full potential of our students.
any comments ?
the position paper is being developed by
Robert Root-Bernstein*, Ph.D., Professor of Physiology
Rex LaMore, Ph.D., Director Center for Community and Economic Development
James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
Eileen Roraback, Ph.D., College of Arts and Letters
Amber Peruski, MSU Honors College
Megan VanDyke , MSU Honors College
Michigan State University, East Lansing, Michigan, USA 48824
*email: rootbern@msu.edu;
K-12 curricula at in most school systems focus on mathematical and
verbal skills, but the ability to succeed in science and engineering
requires a broader range of skills that include observation,
visualization, dimensional thinking, modeling, manual dexterity,
familiarity with tools, transforming data into visual or graphical
forms, converting theories into mechanical procedures, and even
understanding data and experiments kinesthetically (Wilson, 1972;
Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
2008;). All of these skills can be learned through arts and crafts
experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
a result, we have found through a series of studies of scientists and
engineers that significant arts and crafts experience is highly
correlated with success in science and engineering as measured by
outcomes such as major prizes and honors, patents, or the founding of
new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
al., 2010; Root-Bernstein, et al., in press). One of the most notable
results of our ongoing studies is that no particular art or craft
confers any particular advantage over any other: dance, music, drama,
painting, sculpting, printmaking, photography, making and composing
music, metal- and woodwork are all correlated with increased
probability of success. The operant factor is not the type of art or
craft, but early introduction to arts and crafts in elementary and
middle school years followed by persistent practice of that art or
craft into adulthood. We also found that while exposure to arts and
crafts can occur in a school setting, formal education is not a
requirement for the observed correlation to success: arts and crafts
classes in school were often supplemented or replaced by private
lessons, informal mentoring at home or in community centers, or even
by self-teaching. Again, the key element was not how an art or craft
was learned, but the persistence with which it was pursued.
Given that most states within the United States, and most countries
around the world, marginalize arts and crafts education to the extent
that many students get no more than an hour of such education per
week, and most are not introduced to more than one or two arts or
crafts during their entire schooling, our findings have clear policy
implications for a wide range of parties (Lamore, et al., 2010).
Students interested in pursuing a science or engineering career must
recognized that their formal K-12 schooling is unlikely to prepare
them adequately in the range of skills they will need to reach the top
of their field: they and their parents will need to supplement the
standard K-12 curriculum. Educators and those setting educational
policy must recognize that there is a robust literature linking
success in science and engineering to skills such as observing,
visualization, and modeling that are developed by arts and crafts
training: arts and crafts are not, therefore dispensable frills that
can be eliminated from curricula whenever budgets need to be cut, but
essential elements of science and engineering education. Finally,
legislators need to understand the practical value that lies in the
skills taught through arts and crafts so that they are willing to
provide robust funding not only for formal K-12 arts and crafts
curricula, but also for community centers, after-school programs
associated with arts and crafts centers, museum- and concert
hall-based educational programs, and other forms of informal arts and
crafts education. The fact is that Innovators in science and
engineering are artists and craftsmen as well, and there are practical
reasons that this is so. Only when we understand the many ways in
which arts and crafts make possible innovation in sciences and
engineering will we be able to develop the full potential of our
students.
http://seadnetwork.wordpress.com/about/
_______________________________________________
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.
an interesting white paper is being developed for SEAD
http://seadnetwork.wordpress.com/about/
on
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS
EDUCATION FOR FUTURE SCIENTISTS AND ENGINEERS
which i hope will also explain why the vitality of the hacker and make
communities offers interesting pluses for science and engineering,
and why for instance the explosion of fablabs offers new mechanisms
for cross linking science and engineering to arts and design.
their abstracts concludes with:
The fact is that Innovators in science and engineering are artists and
craftsmen as well,
and there are practical reasons that this is so. Only when we
understand the many ways
in which arts and crafts make possible innovation in sciences and
engineering will we be
able to develop the full potential of our students.
any comments ?
the position paper is being developed by
Robert Root-Bernstein*, Ph.D., Professor of Physiology
Rex LaMore, Ph.D., Director Center for Community and Economic Development
James Lawton, MFA, Professor and Studio Artist, College of Arts & Letters
John Schweitzer, Ph.D., Professor, Center for Community and Economic Development
Michele Root-Bernstein, Ph.D., Adjunct Faculty, College of Arts and Letters
Eileen Roraback, Ph.D., College of Arts and Letters
Amber Peruski, MSU Honors College
Megan VanDyke , MSU Honors College
Michigan State University, East Lansing, Michigan, USA 48824
*email: rootbern@msu.edu;
K-12 curricula at in most school systems focus on mathematical and
verbal skills, but the ability to succeed in science and engineering
requires a broader range of skills that include observation,
visualization, dimensional thinking, modeling, manual dexterity,
familiarity with tools, transforming data into visual or graphical
forms, converting theories into mechanical procedures, and even
understanding data and experiments kinesthetically (Wilson, 1972;
Ferguson, 1977; Ferguson, 1992; Root-Bernstein and Root-Bernstein,
1999; Root-Bernstein and Root-Bernstein, 2005; Root-Bernstein, et al.
2008;). All of these skills can be learned through arts and crafts
experiences (e.g., Hindle, 1981; Ferguson, 1992; Deno, 1995; Sorby and
Bartmanns, 1996; Alias, et al., 2002; Root-Bernstein and
Root-Bernstein, 2005; Root-Bernstein, et al., 2008; Sorby, 2009;). As
a result, we have found through a series of studies of scientists and
engineers that significant arts and crafts experience is highly
correlated with success in science and engineering as measured by
outcomes such as major prizes and honors, patents, or the founding of
new high tech companies (Root-Bernstein, et al., 1995; Root-Bernstein
and Root-Bernstein, 2004; Root-Bernstein, et al., 2008; Lamore, et
al., 2010; Root-Bernstein, et al., in press). One of the most notable
results of our ongoing studies is that no particular art or craft
confers any particular advantage over any other: dance, music, drama,
painting, sculpting, printmaking, photography, making and composing
music, metal- and woodwork are all correlated with increased
probability of success. The operant factor is not the type of art or
craft, but early introduction to arts and crafts in elementary and
middle school years followed by persistent practice of that art or
craft into adulthood. We also found that while exposure to arts and
crafts can occur in a school setting, formal education is not a
requirement for the observed correlation to success: arts and crafts
classes in school were often supplemented or replaced by private
lessons, informal mentoring at home or in community centers, or even
by self-teaching. Again, the key element was not how an art or craft
was learned, but the persistence with which it was pursued.
Given that most states within the United States, and most countries
around the world, marginalize arts and crafts education to the extent
that many students get no more than an hour of such education per
week, and most are not introduced to more than one or two arts or
crafts during their entire schooling, our findings have clear policy
implications for a wide range of parties (Lamore, et al., 2010).
Students interested in pursuing a science or engineering career must
recognized that their formal K-12 schooling is unlikely to prepare
them adequately in the range of skills they will need to reach the top
of their field: they and their parents will need to supplement the
standard K-12 curriculum. Educators and those setting educational
policy must recognize that there is a robust literature linking
success in science and engineering to skills such as observing,
visualization, and modeling that are developed by arts and crafts
training: arts and crafts are not, therefore dispensable frills that
can be eliminated from curricula whenever budgets need to be cut, but
essential elements of science and engineering education. Finally,
legislators need to understand the practical value that lies in the
skills taught through arts and crafts so that they are willing to
provide robust funding not only for formal K-12 arts and crafts
curricula, but also for community centers, after-school programs
associated with arts and crafts centers, museum- and concert
hall-based educational programs, and other forms of informal arts and
crafts education. The fact is that Innovators in science and
engineering are artists and craftsmen as well, and there are practical
reasons that this is so. Only when we understand the many ways in
which arts and crafts make possible innovation in sciences and
engineering will we be able to develop the full potential of our
students.
http://seadnetwork.wordpress.com/about/
_______________________________________________
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.
Saturday, August 4, 2012
[Yasmin_discussions] call for scientists for "scientists" SEAD White Paper
yasminers
One of the obstacles in fostering science/engineering to arts/design
collaboration is the often 'asymmetrical" nature of the collaborations
where the artist is more invested in the collaboration that the scientist.
In this SEAD white paper we are trying to canvass the views of
scientists deeply engaged in such collaborations . If there are any
scientists lurking on YASMIN who are in this category please
contact Carol Strohecker, details below
Roger Malina
Broader-Reaching Scientists: Obstacles and Opportunities Facing
Scientists, Mathematicians, and Engineers Deeply Engaged in the Arts
and Design
White Paper Coordinator: Carol Strohecker
Working Group Members: Roger Malina, Wendy Silk, Bruno Giorgini
Scientists and engineers in a range of disciplines engage the arts and
design for both personal and professional reasons. This SEAD White
Paper goes beyond avocations such as painting or playing a musical
instrument, to examine obstacles and opportunities that scientists
face when collaborating with artists in professional work.
Overlaps among sciences/engineering and arts/design are widely
acknowledged in terms of the shared motivations of questioning and
creativity and the shared approaches of exploration and invention.
Yet, practitioners who attempt collaborative work across conventional
disciplinary boundaries often encounter inhibitory mindsets and
institutional structures. Struggles may also emerge within the
established partnerships: artists may feel exploited, desiring to
contribute more than just illustrations; scientists may disengage
through fear that the artists do not have adequate grounding to
achieve necessary topical depth.
Nevertheless, many scientists manage to produce effective work through
broadly cross-cutting collaborations. In this White Paper we propose
to interview a number of scientists, mathematicians, and research
engineers who have engaged deeply with the arts and design, to elicit
a contemporary snapshot of perceived obstacles and opportunities from
scientists' point of view.
We will include representatives of disciplines such as entomology,
neuroscience, chiropterology, meteorology, computer science, and
marine ecology. When the interviewees desire anonymity, we will
maintain it. We will conduct some of the interviews through
face-to-face meetings and some through email correspondence. We will
address these questions among others:
-----
What is your scientific discipline?
What is your art form?
Do you combine any other scientific or engineering perspectives in your work?
When did you start involving artists and/or designers in your work?
What motivated you to do so?
How would you characterize the nature of the artistic contributions?
To what extent do they facilitate:
communication of your work to colleagues;
communication of your work to the general public;
public engagement with your work;
education of your students and colleagues;
education of the general public;
the scientific inquiry itself.
Do you have favorite results from your collaborations with artists/designers?
What has worked best in these collaborations?
Why do you think it worked well?
What problems have emerged?
What caused these problems to emerge?
Are there ways in which your institution facilitated or hampered your
collaboration?
What new opportunities exist to be promoted ?
Have any patents resulted from your art-oriented projects?
Have the results or the collaborative involvements changed your
thinking about your science in any way?
Has the involvement influenced your working method or approach in any way?
Has the work led you to inquiry of any other scientific problems or topics?
Any other thoughts about your art/science work?
-----
We expect that these questions will lead to back-and-forth exchanges
in person and/or via email. We will sustain these dialogs in order to
understand particulars of each collaborative situation. Finally, we
will compare the responses and cull points leading to suggested
actions for people seeking to develop art/science collaborations and
for funders and policy-makers seeking to support them.
We invite interested scientists to contact us at:
Carol Strohecker <cs-at-centerfordesigninnovation.org>
_______________________________________________
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.
One of the obstacles in fostering science/engineering to arts/design
collaboration is the often 'asymmetrical" nature of the collaborations
where the artist is more invested in the collaboration that the scientist.
In this SEAD white paper we are trying to canvass the views of
scientists deeply engaged in such collaborations . If there are any
scientists lurking on YASMIN who are in this category please
contact Carol Strohecker, details below
Roger Malina
Broader-Reaching Scientists: Obstacles and Opportunities Facing
Scientists, Mathematicians, and Engineers Deeply Engaged in the Arts
and Design
White Paper Coordinator: Carol Strohecker
Working Group Members: Roger Malina, Wendy Silk, Bruno Giorgini
Scientists and engineers in a range of disciplines engage the arts and
design for both personal and professional reasons. This SEAD White
Paper goes beyond avocations such as painting or playing a musical
instrument, to examine obstacles and opportunities that scientists
face when collaborating with artists in professional work.
Overlaps among sciences/engineering and arts/design are widely
acknowledged in terms of the shared motivations of questioning and
creativity and the shared approaches of exploration and invention.
Yet, practitioners who attempt collaborative work across conventional
disciplinary boundaries often encounter inhibitory mindsets and
institutional structures. Struggles may also emerge within the
established partnerships: artists may feel exploited, desiring to
contribute more than just illustrations; scientists may disengage
through fear that the artists do not have adequate grounding to
achieve necessary topical depth.
Nevertheless, many scientists manage to produce effective work through
broadly cross-cutting collaborations. In this White Paper we propose
to interview a number of scientists, mathematicians, and research
engineers who have engaged deeply with the arts and design, to elicit
a contemporary snapshot of perceived obstacles and opportunities from
scientists' point of view.
We will include representatives of disciplines such as entomology,
neuroscience, chiropterology, meteorology, computer science, and
marine ecology. When the interviewees desire anonymity, we will
maintain it. We will conduct some of the interviews through
face-to-face meetings and some through email correspondence. We will
address these questions among others:
-----
What is your scientific discipline?
What is your art form?
Do you combine any other scientific or engineering perspectives in your work?
When did you start involving artists and/or designers in your work?
What motivated you to do so?
How would you characterize the nature of the artistic contributions?
To what extent do they facilitate:
communication of your work to colleagues;
communication of your work to the general public;
public engagement with your work;
education of your students and colleagues;
education of the general public;
the scientific inquiry itself.
Do you have favorite results from your collaborations with artists/designers?
What has worked best in these collaborations?
Why do you think it worked well?
What problems have emerged?
What caused these problems to emerge?
Are there ways in which your institution facilitated or hampered your
collaboration?
What new opportunities exist to be promoted ?
Have any patents resulted from your art-oriented projects?
Have the results or the collaborative involvements changed your
thinking about your science in any way?
Has the involvement influenced your working method or approach in any way?
Has the work led you to inquiry of any other scientific problems or topics?
Any other thoughts about your art/science work?
-----
We expect that these questions will lead to back-and-forth exchanges
in person and/or via email. We will sustain these dialogs in order to
understand particulars of each collaborative situation. Finally, we
will compare the responses and cull points leading to suggested
actions for people seeking to develop art/science collaborations and
for funders and policy-makers seeking to support them.
We invite interested scientists to contact us at:
Carol Strohecker <cs-at-centerfordesigninnovation.org>
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
Friday, August 3, 2012
Re: [Yasmin_discussions] on the need for conceptual clarity and taxonomies
Dear Roger,
Now, how could I refuse such a challenge? It seems inevitable, I will gladly help coordinate a white paper on this.
Molly said: "Can we add to this -- collaborations which seek to frame particular sets of issues and concerns, problems to be solved? Designers are most
important when they articulate an area where problems need resolution"
Indeed collaboration is goal oriented, and what I think we are trying to grasp is perhaps not so much a taxonomy of collaborations as such, but a taxonomy of collaboration goals. As Roger points out: 'we need to distinguish between observational, experimental, theoretical sciences' and ' its not the same thing for an artist to collaborate with a theoretical cosmologist, a field biologist or an optics researcher'. But even when 3 artists collaborate with 3 different field biologists, there will be great differences depending on the methods and attitude with which one enters such collaborations. So, what I think is actually at stake here is our understanding of the goals. Is the aim of a collaboration communication, (new)
aesthetics, new
knowledge, new
perspectives, etc?
As we stated before, collaborations often go wrong when the expectations
do not meet. Each had a different goal in mind, even if the goals are
described as the same, the perspective from which we come from determines these expectations. Is is possible that two parties in a collaboration may have two different goals and that both may work together successfully. Every new collaboration requires a defining of roles and functions. If we have a taxonomy of these types, then this might help clarify issues.
In the end we are interested in how this translates to educational curricula. I'm usually interested in hands on descriptions, case study based. If we might make rough map of types of collaborators then these might be able to be set up in small educational projects. To experience and feel what it is like to function like a translator of science, while at the same time maintain ones autonomous aims, not an easy thing to achieve, but a lot easier when you are aware that the outside world views your function in a collaboration differently than how you do.
Having said that we are dealing with new types of collaborations with the rise of art researchers and artistic researchers. Slowly but surely a body of hybrids is being brought into the world who are able to jump into artistic as well as scientific methodologies and find ways to balance them on the sharp edge of speculative research that develops knowledge that is both artistically as well as scientifically interesting. A good example that I just recently came across (although I did know the project, I did not know it's process was so interesting), is the project The Mirror Box, how art became science: https://vimeo.com/38138351
What I find very illustrative about this story is the way it was born and the way it found its way into research labs, in particular it is interesting how the artist doubts her own role, where it seems the artist decided to let go of the project in the end. What if the artist was a trained artistic researcher? Where would this project go? Another thing that is interesting is the method that was chosen to distribute the project, like a mini documentary. Film captures what no questionnaire can, namely the human effect/affect. What type of knowledge is this?
And if such methods need to be integrated into collaborations, as a form of best practice of knowledge dissemination, it brings on a whole extra layer of practical issues. How to organize a film team? Most research happens between closed doors. Transparency needs to become a method, this requires a definition of the activity so that it is seem in context and not as a danger to research developments. At the same time, certain freedoms need to be negotiated for aesthetic purposes. Should research be allowed to be scripted? Budget applications need to take into account such a filming, it might seem an excessive burden on a total budget, but with regards to public outreach it becomes clarified. These types of documentation processes need to be professionalized as well.
What we perhaps need is a very practical conceptual guide that could help better understand our own positions in collaborations as well as others, so that it may be used as a practical tool, that can be implemented within educational projects as well. What we need are the stories of real people who share the issues they encountered with collaborations, summarizing it into clear descriptions and where they would place these issues in such a mapping.
Again, apologies for this, but I refer to my own practice again, as one thing issue that I have been battling with is ethics. When I approach an institute to pilot my psychosis simulation projects, the fear arises that the works might function as psychosis stimulators instead of simulators. This brings strong practical organizational issues, as you set things up and then people retract, become afraid. Do not want to be a guinea pig, in particular when university students participate in such experiments. What is needed, or what I would have needed, was practical guidelines, that aid the planning of the researc, instead of me trying to solve ethical issues on my own. Other practical issues in experiments have for instance been fire safety issues. As soon as art moves into the realm of science/ the larger public (and as a young artist one is often not aware, you just feel lucky you can do stuff), it is taken more seriously, and thus more serious rules
apply. I'd be curious to hear about other peoples encounters.
If it is alright with you, I will put these idea's in the form of a draft abstract and hope that some yasminer's will contribute their wisdom and experience, with the aim to inspire others to pick up this discourse of practical mapping, perhaps one day a person will write 'A Practical Handbook For Art Science Collaborations' based on this white paper...:)
regards,
Jennifer
Jennifer Kanary Nikolov(a)| Artistic Researcher
PhD Candidate Plymouth University | Planetary Collegium | M-Node
www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
www.studio-re-creation.com| www.facebook.com/StudioReCreation
www.facebook.com/ArtandResearch
www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
>________________________________
> From: roger malina <rmalina@alum.mit.edu>
>To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
>Sent: Wednesday, August 1, 2012 12:19 PM
>Subject: [Yasmin_discussions] on the need for conceptual clarity and taxonomies
>
>Jennifer
>
>I very much agree with you that we need some conceptual clarity=
>
>not all science/engineering to arts/design/humanities collaborations
>face the same obstacles and that there is much over generalisation
>
>i think i mentioned before that within the sciences we need to distinguish
>between observational, experimental, theoretical sciences
>
>its not the same thing for an artist to collaborate with a theoretical
>cosmologist, a field biologist or an optics researcher
>
>same goes within the arts= the time based arts from music to theater etc
>which are performative necessarily face different obstacles in collaboration
>than arts which are media based ( painting, sculpture, new media art etc)
>
>there have been a number of taxonomies in art and new media published
>
>( louise poissant did a great job on media arts terminology
>http://www.puq.ca/catalogue/livres/dictionnaire-des-arts-mediatiques-978.html
>
>robert root bernstein has done some taxonomy work = an did a little
>blogging also :
>http://malina.diatrope.com/2010/08/29/what-are-the-different-types-of-art-science-collaboration/
>)
>
>and over the years leonardo journal has published a number of taxonomies
>
>why dont you organise a SEAD white paper on the need for taxonomies
>and associated conceptual clarity re S/E toA/D collaboration obstacles
>and opportunities
>
>am happy to be on your working group and we can maybe convince louise
>poissant to advise and maybe there are people on this list would
>be interested in being on a working group
>
>roger
>
>
>
>---------- Forwarded message ----------
>From: Jennifer Kanary Nikolov(a) <jenniferkanary@yahoo.com>
>Date: Tue, Jul 31, 2012 at 2:07 PM
>Subject: Re: [Yasmin_discussions] self introduction
>To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>
>
>Dear All,
>
>Perhaps it is useful for us to create a taxonomy of the different
>types of collaboration and write where which problems occur, so that
>solutions may be collected. I'm sure others will have written about
>this, but just to summarize a rough initial list:
>
>
>1) Collaboration to illustrate science (here science commissions
>artists to help illustrate, often as translation to the general
>public)
>
>
>2) Collaboration in which artists in labs 'playing' with the 'fun
>things' one finds in labs (in search for for instance new aesthetic)
>
>
>3) Collaboration with actual integration of methods (may include all
>aspects of the above) - This I would refer to as artistic research or
>art research
>
>- led by individual artist (where scientists are advising collaborators)
>
>- led by scientist (Where artists are advising collaborators)
>
>- led by an artist and a scientist in a team
>
>* methods are very different when collaborating with humanities or
>engineering - different methods, different problems...
>
>
>4) Network collaboration
>
>- corporate collaboration (funds, knowledge production)
>
>- organizational collaboration (non-profit funds, PR)
>- institutional collaboration (PR, presentation locations)
>
>5) Institutional Collaboration (when the initiative comes from a university)
>
>
>* the very real issues that happen related to time organization etc
>
>To be clear on the different types of art research-artistic research,
>here is a small list I once put together to explain the different
>types of students that participated in the Honours Programme Art and
>Research:
>
>5 Types of Participatory art research-artistic research students
>1. A university student interested to get closer to art with the
>interest of gaining depth and new perspective in relation to their own
>discipline. Participating observer.
>
>2. A university student who is interested in the integration of
>artistic methods without aspiration of making art. Integrating
>artistic methods as an enrichment of academic methodologies. Art
>without the artist. Methods of re-enactment.
>
>3. A hybrid student. One who seeks new forms of knowledge production
>combining artistic and academic methods aiming for the highest
>achievements in both methodologies.
>
>4. An art student who wants to get closer to the theories that are
>related to his work. Aims for high artistic achievement. Knowledge
>development is Secondary.
>
>5. An art student who wants to get inspired by academic theories. To
>get closer to science. Theories are applied to suit the artist and are
>not tested or analyzed for truth.
>
>
>
>Regards,
>
>Jennifer Kanary
>
>
>
>Jennifer Kanary Nikolov(a)| Artistic Researcher
>PhD Candidate Plymouth University | Planetary Collegium | M-Node
>
>www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
>www.studio-re-creation.com| www.facebook.com/StudioReCreation
>www.facebook.com/ArtandResearch
>www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
>_______________________________________________
>_______________________________________________
>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.
Now, how could I refuse such a challenge? It seems inevitable, I will gladly help coordinate a white paper on this.
Molly said: "Can we add to this -- collaborations which seek to frame particular sets of issues and concerns, problems to be solved? Designers are most
important when they articulate an area where problems need resolution"
Indeed collaboration is goal oriented, and what I think we are trying to grasp is perhaps not so much a taxonomy of collaborations as such, but a taxonomy of collaboration goals. As Roger points out: 'we need to distinguish between observational, experimental, theoretical sciences' and ' its not the same thing for an artist to collaborate with a theoretical cosmologist, a field biologist or an optics researcher'. But even when 3 artists collaborate with 3 different field biologists, there will be great differences depending on the methods and attitude with which one enters such collaborations. So, what I think is actually at stake here is our understanding of the goals. Is the aim of a collaboration communication, (new)
aesthetics, new
knowledge, new
perspectives, etc?
As we stated before, collaborations often go wrong when the expectations
do not meet. Each had a different goal in mind, even if the goals are
described as the same, the perspective from which we come from determines these expectations. Is is possible that two parties in a collaboration may have two different goals and that both may work together successfully. Every new collaboration requires a defining of roles and functions. If we have a taxonomy of these types, then this might help clarify issues.
In the end we are interested in how this translates to educational curricula. I'm usually interested in hands on descriptions, case study based. If we might make rough map of types of collaborators then these might be able to be set up in small educational projects. To experience and feel what it is like to function like a translator of science, while at the same time maintain ones autonomous aims, not an easy thing to achieve, but a lot easier when you are aware that the outside world views your function in a collaboration differently than how you do.
Having said that we are dealing with new types of collaborations with the rise of art researchers and artistic researchers. Slowly but surely a body of hybrids is being brought into the world who are able to jump into artistic as well as scientific methodologies and find ways to balance them on the sharp edge of speculative research that develops knowledge that is both artistically as well as scientifically interesting. A good example that I just recently came across (although I did know the project, I did not know it's process was so interesting), is the project The Mirror Box, how art became science: https://vimeo.com/38138351
What I find very illustrative about this story is the way it was born and the way it found its way into research labs, in particular it is interesting how the artist doubts her own role, where it seems the artist decided to let go of the project in the end. What if the artist was a trained artistic researcher? Where would this project go? Another thing that is interesting is the method that was chosen to distribute the project, like a mini documentary. Film captures what no questionnaire can, namely the human effect/affect. What type of knowledge is this?
And if such methods need to be integrated into collaborations, as a form of best practice of knowledge dissemination, it brings on a whole extra layer of practical issues. How to organize a film team? Most research happens between closed doors. Transparency needs to become a method, this requires a definition of the activity so that it is seem in context and not as a danger to research developments. At the same time, certain freedoms need to be negotiated for aesthetic purposes. Should research be allowed to be scripted? Budget applications need to take into account such a filming, it might seem an excessive burden on a total budget, but with regards to public outreach it becomes clarified. These types of documentation processes need to be professionalized as well.
What we perhaps need is a very practical conceptual guide that could help better understand our own positions in collaborations as well as others, so that it may be used as a practical tool, that can be implemented within educational projects as well. What we need are the stories of real people who share the issues they encountered with collaborations, summarizing it into clear descriptions and where they would place these issues in such a mapping.
Again, apologies for this, but I refer to my own practice again, as one thing issue that I have been battling with is ethics. When I approach an institute to pilot my psychosis simulation projects, the fear arises that the works might function as psychosis stimulators instead of simulators. This brings strong practical organizational issues, as you set things up and then people retract, become afraid. Do not want to be a guinea pig, in particular when university students participate in such experiments. What is needed, or what I would have needed, was practical guidelines, that aid the planning of the researc, instead of me trying to solve ethical issues on my own. Other practical issues in experiments have for instance been fire safety issues. As soon as art moves into the realm of science/ the larger public (and as a young artist one is often not aware, you just feel lucky you can do stuff), it is taken more seriously, and thus more serious rules
apply. I'd be curious to hear about other peoples encounters.
If it is alright with you, I will put these idea's in the form of a draft abstract and hope that some yasminer's will contribute their wisdom and experience, with the aim to inspire others to pick up this discourse of practical mapping, perhaps one day a person will write 'A Practical Handbook For Art Science Collaborations' based on this white paper...:)
regards,
Jennifer
Jennifer Kanary Nikolov(a)| Artistic Researcher
PhD Candidate Plymouth University | Planetary Collegium | M-Node
www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
www.studio-re-creation.com| www.facebook.com/StudioReCreation
www.facebook.com/ArtandResearch
www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
>________________________________
> From: roger malina <rmalina@alum.mit.edu>
>To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
>Sent: Wednesday, August 1, 2012 12:19 PM
>Subject: [Yasmin_discussions] on the need for conceptual clarity and taxonomies
>
>Jennifer
>
>I very much agree with you that we need some conceptual clarity=
>
>not all science/engineering to arts/design/humanities collaborations
>face the same obstacles and that there is much over generalisation
>
>i think i mentioned before that within the sciences we need to distinguish
>between observational, experimental, theoretical sciences
>
>its not the same thing for an artist to collaborate with a theoretical
>cosmologist, a field biologist or an optics researcher
>
>same goes within the arts= the time based arts from music to theater etc
>which are performative necessarily face different obstacles in collaboration
>than arts which are media based ( painting, sculpture, new media art etc)
>
>there have been a number of taxonomies in art and new media published
>
>( louise poissant did a great job on media arts terminology
>http://www.puq.ca/catalogue/livres/dictionnaire-des-arts-mediatiques-978.html
>
>robert root bernstein has done some taxonomy work = an did a little
>blogging also :
>http://malina.diatrope.com/2010/08/29/what-are-the-different-types-of-art-science-collaboration/
>)
>
>and over the years leonardo journal has published a number of taxonomies
>
>why dont you organise a SEAD white paper on the need for taxonomies
>and associated conceptual clarity re S/E toA/D collaboration obstacles
>and opportunities
>
>am happy to be on your working group and we can maybe convince louise
>poissant to advise and maybe there are people on this list would
>be interested in being on a working group
>
>roger
>
>
>
>---------- Forwarded message ----------
>From: Jennifer Kanary Nikolov(a) <jenniferkanary@yahoo.com>
>Date: Tue, Jul 31, 2012 at 2:07 PM
>Subject: Re: [Yasmin_discussions] self introduction
>To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>
>
>Dear All,
>
>Perhaps it is useful for us to create a taxonomy of the different
>types of collaboration and write where which problems occur, so that
>solutions may be collected. I'm sure others will have written about
>this, but just to summarize a rough initial list:
>
>
>1) Collaboration to illustrate science (here science commissions
>artists to help illustrate, often as translation to the general
>public)
>
>
>2) Collaboration in which artists in labs 'playing' with the 'fun
>things' one finds in labs (in search for for instance new aesthetic)
>
>
>3) Collaboration with actual integration of methods (may include all
>aspects of the above) - This I would refer to as artistic research or
>art research
>
>- led by individual artist (where scientists are advising collaborators)
>
>- led by scientist (Where artists are advising collaborators)
>
>- led by an artist and a scientist in a team
>
>* methods are very different when collaborating with humanities or
>engineering - different methods, different problems...
>
>
>4) Network collaboration
>
>- corporate collaboration (funds, knowledge production)
>
>- organizational collaboration (non-profit funds, PR)
>- institutional collaboration (PR, presentation locations)
>
>5) Institutional Collaboration (when the initiative comes from a university)
>
>
>* the very real issues that happen related to time organization etc
>
>To be clear on the different types of art research-artistic research,
>here is a small list I once put together to explain the different
>types of students that participated in the Honours Programme Art and
>Research:
>
>5 Types of Participatory art research-artistic research students
>1. A university student interested to get closer to art with the
>interest of gaining depth and new perspective in relation to their own
>discipline. Participating observer.
>
>2. A university student who is interested in the integration of
>artistic methods without aspiration of making art. Integrating
>artistic methods as an enrichment of academic methodologies. Art
>without the artist. Methods of re-enactment.
>
>3. A hybrid student. One who seeks new forms of knowledge production
>combining artistic and academic methods aiming for the highest
>achievements in both methodologies.
>
>4. An art student who wants to get closer to the theories that are
>related to his work. Aims for high artistic achievement. Knowledge
>development is Secondary.
>
>5. An art student who wants to get inspired by academic theories. To
>get closer to science. Theories are applied to suit the artist and are
>not tested or analyzed for truth.
>
>
>
>Regards,
>
>Jennifer Kanary
>
>
>
>Jennifer Kanary Nikolov(a)| Artistic Researcher
>PhD Candidate Plymouth University | Planetary Collegium | M-Node
>
>www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
>www.studio-re-creation.com| www.facebook.com/StudioReCreation
>www.facebook.com/ArtandResearch
>www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
>_______________________________________________
>_______________________________________________
>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.
Thursday, August 2, 2012
[Yasmin_discussions] Last call Aug 15 deadline: Want to express an opinion on how to enable collaboration ??
Last Call: Want to express an opinion on how to enable collaboration ??
between science/engineering and arts/design/humanities
Deadline August 15
submit a video !
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
Here are some of the position papers that are being developed:
A NEW ECOLOGY OF LEARNING: ECOLOGICAL SYSTEMS AS PEDAGOGICAL MODELS
Coordinator: Pavel Cenkl
SCIENCE-ART INTERACTIONS IN ASIA WITH PARTICULAR REFERENCE TO INDIA
Coordinator: Dr. Krishna Kumari Challa
BREAKING DOWN THE SILOS: CURRICULUM DEVELOPMENT AS A TOOL FOR CROSSING
DISCIPLINES IN THE ARTS, SCIENCES AND HUMANITIES
Coordinator: Kathryn Evans
LEARNING COMPUTING THROUGH GAME EXPERIENCES
Coordinator: P. Fishwick
HOW CAN HIGHER EDUCATION CURRICULUM INTERSECT WITH EXCELLENT
INITIATIVES IN PUBLIC SCHOOLS AND CITIZEN ART AND SCIENCE?
Coordinator: Molly Hankwitz
INTELLECTUAL PROPERTY ISSUES ARISING FROM SCIENCE/ENGINEERING TO
ART/DESIGN COLLABORATIONS
Coordinator: Roger Malina and TBD
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS EDUCATION FOR
FUTURE SCIENTISTS AND ENGINEERS
Coordinator: Robert Root-Bernstein, Ph.D.
HUMANITIES EDUCATION IN KARNATAKA
Coordinator: Sundar Sarrukkai
HUMANITIES IN SCIENCE AND TECHNOLOGY INSTITUTE
SEAD Network for Sciences, Engineering, Arts and Design announces a
call for White Papers on issues facing the international community
seeking to enhance transdisciplinary collaboration
We are seeking to survey concerns, roadblocks and opportunities, and
solicit proposed actions for enhancing collaboration between sciences
and engineering with practitioners in arts and design. These position
papers will be submitted as part of a report to NSF and the community
from the SEAD network in the summer of 2013. With grateful
appreciation for US funding, we recognize that activity connecting the
sciences, engineering, to arts and design is international and,
furthermore, that global involvements are essential in today's
economy. Therefore we are interested both in what US collaborators can
learn from experiences in other countries, and vice versa, institution
or region specific issues, and also in how to foster collaborations
that bridge beyond regions to nations. Cultural cross-fertilization
via the SEAD network – whether from disciplinary, organizational or
ethnic perspectives – is a vital component of our purpose and goals.
Chair, Roger Malina, Leonardo/ISAST Chair Emeritus, Leonardo Governing
Board Member. Distinguished Professor of Art and Technology at the
University of Texas, Dallas
Co-Chair, Carol Strohecker, Director, Center for Design Innovation,
University of North Carolina system; Professor, Winston-Salem State
University; Chief Research Officer & Instructor, UNC School of the
Arts; SEAD Co-PI
SEAD Working Group on White Papers
The SEAD Working Group on White Papers is assembled in response to the
following two objectives from US NSF NEA workshops: a) The NSF NSEAD
workshop at MICA suggested the development of White Papers for
research and advocacy leading to a common platform (Beyond
Productivity 2 report as a follow on to Beyond Productivity, the
report issued by the US National Research Council and directed by
William Mitchell); present at conferences 2012-13.
http://seadnetwork.wordpress.com/2012/06/11/call-for-white-papers-2/#more-187
For further information or questions about White Papers in text or
video format, contact Carol Strohecker
<cs@CenterforDesignInnovation.org>.
Additional Guidelines for White Papers are available at
http://seadnetwork.wordpress.com/2012/06/11/white-paper-guidelines .
We welcome innovative ways of using online media to articulate the
arguments of the White Papers. If you wish to explore experimental
publishing approaches, contact Roger Malina <rxm116130@utdallas.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.
between science/engineering and arts/design/humanities
Deadline August 15
submit a video !
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
Here are some of the position papers that are being developed:
A NEW ECOLOGY OF LEARNING: ECOLOGICAL SYSTEMS AS PEDAGOGICAL MODELS
Coordinator: Pavel Cenkl
SCIENCE-ART INTERACTIONS IN ASIA WITH PARTICULAR REFERENCE TO INDIA
Coordinator: Dr. Krishna Kumari Challa
BREAKING DOWN THE SILOS: CURRICULUM DEVELOPMENT AS A TOOL FOR CROSSING
DISCIPLINES IN THE ARTS, SCIENCES AND HUMANITIES
Coordinator: Kathryn Evans
LEARNING COMPUTING THROUGH GAME EXPERIENCES
Coordinator: P. Fishwick
HOW CAN HIGHER EDUCATION CURRICULUM INTERSECT WITH EXCELLENT
INITIATIVES IN PUBLIC SCHOOLS AND CITIZEN ART AND SCIENCE?
Coordinator: Molly Hankwitz
INTELLECTUAL PROPERTY ISSUES ARISING FROM SCIENCE/ENGINEERING TO
ART/DESIGN COLLABORATIONS
Coordinator: Roger Malina and TBD
THE IMPORTANCE OF EARLY AND PERSISTENT ARTS AND CRAFTS EDUCATION FOR
FUTURE SCIENTISTS AND ENGINEERS
Coordinator: Robert Root-Bernstein, Ph.D.
HUMANITIES EDUCATION IN KARNATAKA
Coordinator: Sundar Sarrukkai
HUMANITIES IN SCIENCE AND TECHNOLOGY INSTITUTE
SEAD Network for Sciences, Engineering, Arts and Design announces a
call for White Papers on issues facing the international community
seeking to enhance transdisciplinary collaboration
We are seeking to survey concerns, roadblocks and opportunities, and
solicit proposed actions for enhancing collaboration between sciences
and engineering with practitioners in arts and design. These position
papers will be submitted as part of a report to NSF and the community
from the SEAD network in the summer of 2013. With grateful
appreciation for US funding, we recognize that activity connecting the
sciences, engineering, to arts and design is international and,
furthermore, that global involvements are essential in today's
economy. Therefore we are interested both in what US collaborators can
learn from experiences in other countries, and vice versa, institution
or region specific issues, and also in how to foster collaborations
that bridge beyond regions to nations. Cultural cross-fertilization
via the SEAD network – whether from disciplinary, organizational or
ethnic perspectives – is a vital component of our purpose and goals.
Chair, Roger Malina, Leonardo/ISAST Chair Emeritus, Leonardo Governing
Board Member. Distinguished Professor of Art and Technology at the
University of Texas, Dallas
Co-Chair, Carol Strohecker, Director, Center for Design Innovation,
University of North Carolina system; Professor, Winston-Salem State
University; Chief Research Officer & Instructor, UNC School of the
Arts; SEAD Co-PI
SEAD Working Group on White Papers
The SEAD Working Group on White Papers is assembled in response to the
following two objectives from US NSF NEA workshops: a) The NSF NSEAD
workshop at MICA suggested the development of White Papers for
research and advocacy leading to a common platform (Beyond
Productivity 2 report as a follow on to Beyond Productivity, the
report issued by the US National Research Council and directed by
William Mitchell); present at conferences 2012-13.
http://seadnetwork.wordpress.com/2012/06/11/call-for-white-papers-2/#more-187
For further information or questions about White Papers in text or
video format, contact Carol Strohecker
<cs@CenterforDesignInnovation.org>.
Additional Guidelines for White Papers are available at
http://seadnetwork.wordpress.com/2012/06/11/white-paper-guidelines .
We welcome innovative ways of using online media to articulate the
arguments of the White Papers. If you wish to explore experimental
publishing approaches, contact Roger Malina <rxm116130@utdallas.edu>.
_______________________________________________
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Wednesday, August 1, 2012
Re: [Yasmin_discussions] self introduction
Can we add to this -- collaborations which seek to frame particular sets of issues and concerns, problems to be solved? Designers are most important when they articulate an area where problems need resolution?
On Jul 31, 2012, at 5:07 AM, "Jennifer Kanary Nikolov\(a\)" <jenniferkanary@yahoo.com> wrote:
> Dear All,
>
> Perhaps it is useful for us to create a taxonomy of the different types of collaboration and write where which problems occur, so that solutions may be collected. I'm sure others will have written about this, but just to summarize a rough initial list:
>
>
> 1) Collaboration to illustrate science (here science commissions artists to help illustrate, often as translation to the general public)
>
>
> 2) Collaboration in which artists in labs 'playing' with the 'fun things' one finds in labs (in search for for instance new aesthetic)
>
>
> 3) Collaboration with actual integration of methods (may include all aspects of the above) - This I would refer to as artistic research or art research
>
> - led by individual artist (where scientists are advising collaborators)
>
> - led by scientist (Where artists are advising collaborators)
>
> - led by an artist and a scientist in a team
>
> * methods are very different when collaborating with humanities or engineering - different methods, different problems...
>
>
> 4) Network collaboration
>
> - corporate collaboration (funds, knowledge production)
>
> - organizational collaboration (non-profit funds, PR)
> - institutional collaboration (PR, presentation locations)
>
> 5) Institutional Collaboration (when the initiative comes from a university)
>
>
> * the very real issues that happen related to time organization etc
>
> To be clear on the different types of art research-artistic research, here is a small list I once put together to explain the different types of students that participated in the Honours Programme Art and Research:
>
> 5 Types of Participatory art research-artistic research students
> 1. A university student interested to get closer to art with the interest of gaining depth and new perspective in relation to their own discipline. Participating observer.
>
> 2. A university student who is interested in the integration of artistic methods without aspiration of making art. Integrating artistic methods as an enrichment of academic methodologies. Art without the artist. Methods of re-enactment.
>
> 3. A hybrid student. One who seeks new forms of knowledge production combining artistic and academic methods aiming for the highest achievements in both methodologies.
>
> 4. An art student who wants to get closer to the theories that are related to his work. Aims for high artistic achievement. Knowledge development is Secondary.
>
> 5. An art student who wants to get inspired by academic theories. To get closer to science. Theories are applied to suit the artist and are not tested or analyzed for truth.
>
>
>
> Regards,
>
> Jennifer Kanary
>
>
>
> Jennifer Kanary Nikolov(a)| Artistic Researcher
> PhD Candidate Plymouth University | Planetary Collegium | M-Node
>
> www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
> www.studio-re-creation.com| www.facebook.com/StudioReCreation
> www.facebook.com/ArtandResearch
> www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
> _______________________________________________
> 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.
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin
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HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
On Jul 31, 2012, at 5:07 AM, "Jennifer Kanary Nikolov\(a\)" <jenniferkanary@yahoo.com> wrote:
> Dear All,
>
> Perhaps it is useful for us to create a taxonomy of the different types of collaboration and write where which problems occur, so that solutions may be collected. I'm sure others will have written about this, but just to summarize a rough initial list:
>
>
> 1) Collaboration to illustrate science (here science commissions artists to help illustrate, often as translation to the general public)
>
>
> 2) Collaboration in which artists in labs 'playing' with the 'fun things' one finds in labs (in search for for instance new aesthetic)
>
>
> 3) Collaboration with actual integration of methods (may include all aspects of the above) - This I would refer to as artistic research or art research
>
> - led by individual artist (where scientists are advising collaborators)
>
> - led by scientist (Where artists are advising collaborators)
>
> - led by an artist and a scientist in a team
>
> * methods are very different when collaborating with humanities or engineering - different methods, different problems...
>
>
> 4) Network collaboration
>
> - corporate collaboration (funds, knowledge production)
>
> - organizational collaboration (non-profit funds, PR)
> - institutional collaboration (PR, presentation locations)
>
> 5) Institutional Collaboration (when the initiative comes from a university)
>
>
> * the very real issues that happen related to time organization etc
>
> To be clear on the different types of art research-artistic research, here is a small list I once put together to explain the different types of students that participated in the Honours Programme Art and Research:
>
> 5 Types of Participatory art research-artistic research students
> 1. A university student interested to get closer to art with the interest of gaining depth and new perspective in relation to their own discipline. Participating observer.
>
> 2. A university student who is interested in the integration of artistic methods without aspiration of making art. Integrating artistic methods as an enrichment of academic methodologies. Art without the artist. Methods of re-enactment.
>
> 3. A hybrid student. One who seeks new forms of knowledge production combining artistic and academic methods aiming for the highest achievements in both methodologies.
>
> 4. An art student who wants to get closer to the theories that are related to his work. Aims for high artistic achievement. Knowledge development is Secondary.
>
> 5. An art student who wants to get inspired by academic theories. To get closer to science. Theories are applied to suit the artist and are not tested or analyzed for truth.
>
>
>
> Regards,
>
> Jennifer Kanary
>
>
>
> Jennifer Kanary Nikolov(a)| Artistic Researcher
> PhD Candidate Plymouth University | Planetary Collegium | M-Node
>
> www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
> www.studio-re-creation.com| www.facebook.com/StudioReCreation
> www.facebook.com/ArtandResearch
> www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
> _______________________________________________
> 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.
_______________________________________________
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Yasmin_discussions@estia.media.uoa.gr
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Yasmin URL: http://www.media.uoa.gr/yasmin
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[Yasmin_discussions] on the need for conceptual clarity and taxonomies
Jennifer
I very much agree with you that we need some conceptual clarity=
not all science/engineering to arts/design/humanities collaborations
face the same obstacles and that there is much over generalisation
i think i mentioned before that within the sciences we need to distinguish
between observational, experimental, theoretical sciences
its not the same thing for an artist to collaborate with a theoretical
cosmologist, a field biologist or an optics researcher
same goes within the arts= the time based arts from music to theater etc
which are performative necessarily face different obstacles in collaboration
than arts which are media based ( painting, sculpture, new media art etc)
there have been a number of taxonomies in art and new media published
( louise poissant did a great job on media arts terminology
http://www.puq.ca/catalogue/livres/dictionnaire-des-arts-mediatiques-978.html
robert root bernstein has done some taxonomy work = an did a little
blogging also :
http://malina.diatrope.com/2010/08/29/what-are-the-different-types-of-art-science-collaboration/
)
and over the years leonardo journal has published a number of taxonomies
why dont you organise a SEAD white paper on the need for taxonomies
and associated conceptual clarity re S/E toA/D collaboration obstacles
and opportunities
am happy to be on your working group and we can maybe convince louise
poissant to advise and maybe there are people on this list would
be interested in being on a working group
roger
---------- Forwarded message ----------
From: Jennifer Kanary Nikolov(a) <jenniferkanary@yahoo.com>
Date: Tue, Jul 31, 2012 at 2:07 PM
Subject: Re: [Yasmin_discussions] self introduction
To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Dear All,
Perhaps it is useful for us to create a taxonomy of the different
types of collaboration and write where which problems occur, so that
solutions may be collected. I'm sure others will have written about
this, but just to summarize a rough initial list:
1) Collaboration to illustrate science (here science commissions
artists to help illustrate, often as translation to the general
public)
2) Collaboration in which artists in labs 'playing' with the 'fun
things' one finds in labs (in search for for instance new aesthetic)
3) Collaboration with actual integration of methods (may include all
aspects of the above) - This I would refer to as artistic research or
art research
- led by individual artist (where scientists are advising collaborators)
- led by scientist (Where artists are advising collaborators)
- led by an artist and a scientist in a team
* methods are very different when collaborating with humanities or
engineering - different methods, different problems...
4) Network collaboration
- corporate collaboration (funds, knowledge production)
- organizational collaboration (non-profit funds, PR)
- institutional collaboration (PR, presentation locations)
5) Institutional Collaboration (when the initiative comes from a university)
* the very real issues that happen related to time organization etc
To be clear on the different types of art research-artistic research,
here is a small list I once put together to explain the different
types of students that participated in the Honours Programme Art and
Research:
5 Types of Participatory art research-artistic research students
1. A university student interested to get closer to art with the
interest of gaining depth and new perspective in relation to their own
discipline. Participating observer.
2. A university student who is interested in the integration of
artistic methods without aspiration of making art. Integrating
artistic methods as an enrichment of academic methodologies. Art
without the artist. Methods of re-enactment.
3. A hybrid student. One who seeks new forms of knowledge production
combining artistic and academic methods aiming for the highest
achievements in both methodologies.
4. An art student who wants to get closer to the theories that are
related to his work. Aims for high artistic achievement. Knowledge
development is Secondary.
5. An art student who wants to get inspired by academic theories. To
get closer to science. Theories are applied to suit the artist and are
not tested or analyzed for truth.
Regards,
Jennifer Kanary
Jennifer Kanary Nikolov(a)| Artistic Researcher
PhD Candidate Plymouth University | Planetary Collegium | M-Node
www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
www.studio-re-creation.com| www.facebook.com/StudioReCreation
www.facebook.com/ArtandResearch
www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
_______________________________________________
_______________________________________________
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.
I very much agree with you that we need some conceptual clarity=
not all science/engineering to arts/design/humanities collaborations
face the same obstacles and that there is much over generalisation
i think i mentioned before that within the sciences we need to distinguish
between observational, experimental, theoretical sciences
its not the same thing for an artist to collaborate with a theoretical
cosmologist, a field biologist or an optics researcher
same goes within the arts= the time based arts from music to theater etc
which are performative necessarily face different obstacles in collaboration
than arts which are media based ( painting, sculpture, new media art etc)
there have been a number of taxonomies in art and new media published
( louise poissant did a great job on media arts terminology
http://www.puq.ca/catalogue/livres/dictionnaire-des-arts-mediatiques-978.html
robert root bernstein has done some taxonomy work = an did a little
blogging also :
http://malina.diatrope.com/2010/08/29/what-are-the-different-types-of-art-science-collaboration/
)
and over the years leonardo journal has published a number of taxonomies
why dont you organise a SEAD white paper on the need for taxonomies
and associated conceptual clarity re S/E toA/D collaboration obstacles
and opportunities
am happy to be on your working group and we can maybe convince louise
poissant to advise and maybe there are people on this list would
be interested in being on a working group
roger
---------- Forwarded message ----------
From: Jennifer Kanary Nikolov(a) <jenniferkanary@yahoo.com>
Date: Tue, Jul 31, 2012 at 2:07 PM
Subject: Re: [Yasmin_discussions] self introduction
To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Dear All,
Perhaps it is useful for us to create a taxonomy of the different
types of collaboration and write where which problems occur, so that
solutions may be collected. I'm sure others will have written about
this, but just to summarize a rough initial list:
1) Collaboration to illustrate science (here science commissions
artists to help illustrate, often as translation to the general
public)
2) Collaboration in which artists in labs 'playing' with the 'fun
things' one finds in labs (in search for for instance new aesthetic)
3) Collaboration with actual integration of methods (may include all
aspects of the above) - This I would refer to as artistic research or
art research
- led by individual artist (where scientists are advising collaborators)
- led by scientist (Where artists are advising collaborators)
- led by an artist and a scientist in a team
* methods are very different when collaborating with humanities or
engineering - different methods, different problems...
4) Network collaboration
- corporate collaboration (funds, knowledge production)
- organizational collaboration (non-profit funds, PR)
- institutional collaboration (PR, presentation locations)
5) Institutional Collaboration (when the initiative comes from a university)
* the very real issues that happen related to time organization etc
To be clear on the different types of art research-artistic research,
here is a small list I once put together to explain the different
types of students that participated in the Honours Programme Art and
Research:
5 Types of Participatory art research-artistic research students
1. A university student interested to get closer to art with the
interest of gaining depth and new perspective in relation to their own
discipline. Participating observer.
2. A university student who is interested in the integration of
artistic methods without aspiration of making art. Integrating
artistic methods as an enrichment of academic methodologies. Art
without the artist. Methods of re-enactment.
3. A hybrid student. One who seeks new forms of knowledge production
combining artistic and academic methods aiming for the highest
achievements in both methodologies.
4. An art student who wants to get closer to the theories that are
related to his work. Aims for high artistic achievement. Knowledge
development is Secondary.
5. An art student who wants to get inspired by academic theories. To
get closer to science. Theories are applied to suit the artist and are
not tested or analyzed for truth.
Regards,
Jennifer Kanary
Jennifer Kanary Nikolov(a)| Artistic Researcher
PhD Candidate Plymouth University | Planetary Collegium | M-Node
www.labyrinthpsychotica.org | www.facebook.com/LabyrinthPsychotica
www.studio-re-creation.com| www.facebook.com/StudioReCreation
www.facebook.com/ArtandResearch
www.roomforthoughts.com| www.facebook.com/roomforthoughts| @roomforthoughts
_______________________________________________
_______________________________________________
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.
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