Yasminers
We have accepted some 50 abstracts for SEAD white papers so far
http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
Saulo Barretto has just submitted this one from Brazil. It is interesting
to see how the discourse around 'art,science.technology' emphasises
different arguments in different countries
We are still accepting late proposals for White Papers until the
end of the month- there are a number of gaps where we have received
no or few white paper proposals including:
Suggested White Papers topics:
• Building regkional Infrastructure
Gender Issues
• Economic Development: case studies from the cultural sector
(emphasis on art.tech.science)
• Models for Incubator Programs (Bigger question... what are we
incubating?)
• Resource Landscape or How stuff gets made....
• Influencing Organizational Change (examples, benchmarks, and
frameworks)
• Getting Connected: why do networks work or fail
• New Forms of Curatorial Practice
• To Make STEAM you need Water - what's feeding the movement
• STEM PIPELINE.... when Creative Interventions Help to Mend Rusty Pipes
• The FIELD -- Broader Impacts
• Art/Tech/Science Intersections
• A Day in the Life of the Art.Tech.Science "Creative
Professional / Researcher"
(perhaps a photo essay)
• Manifesto: We're way beyond Productivity... now what?
• So just what do we need to advocate for? globally, the
universe, locally
• Advocacy for the Art.Tech.Science platform... toward a new
National Agencies
• Networked Events: the birth and growth of SEAD
x No white papers from Africa and Middle East
Roger
here is saulo's
The Human Project
Saulo Faria Almeida Barretto; Renata Piazzalunga
Instituto de Pesquisas em Tecnologia e Inovação, Brazil
The Human Project is a proposal for a model of human development for
regions with high social
and economic vulnerability, based on the relationship between art,
science and technology, having
culture and environment as cross cutting elements. This model is being
deployed by the Instituto de
Pesquisas em Tecnologia e Inovação (IPTI) in the municipality of Santa
Luzia do Itanhy, one of
Brazil's poorest regions, but that holds an important environmental
and cultural heritage. In
practice, what we do is to apply this art, science and technology
relationship in the development of
Social Technologies, with focus on education, public health and
employment and income
improvement (creative economy), basic pillars of the development in
such regions, with a systemic
and evolutionary perspective.
Social Technologies are defined as "products, techniques and/or
re-aplicable methodologies
developed in the interaction with the community and that represent
effective solutions for social
transformation". In practice this concept implies an approach to
science and technology quite
innovative, especially because it puts the community as an active part
in the research process and is
no longer just mere beneficiary. For it is clear that there are issues
related to technology ownership
and autonomy, essential for subsequent re-application, which can not
be resolved in labs, not from
theoretical models.
One of the aspects we observed as very relevant to the application of
The Human Project model is
that it not only allows the generation of innovative Social
Technologies, but also provokes the
initiation of innovation in contexts destitute of any apparent
possibility. This is due both to the
inclusion of a challenging way of construction of thought, in which
researchers are motivated to act
jointly and interactively with the three main drivers of the THP, and
to the possibility of including
community members in an effective and active manner in projects
through the intuitive knowledge
that comes up by means of the stimuli of perception and senses
activated by the bias of the
aesthetical, always present as a methodological premise in any IPTI
interventions. Finally, another
relevant aspect of this model is that it is very effective to minimize
the difficulties that arise in
scientific projects designed to be applied directly in the communities
due to the large knowledge
gap between the research team and the local people.
However, establishing a relationship between art, science, technology
and society runs into several
obstacles, starting with the traditional view of the scientific
community to think less on issues such
as technological appropriation and more on scientific publications and
patents that are still essential
for the development of any academic career. This is largely due to the
way national systems of
science and technology evaluate researchers and institutions, always
based on scientific production.
In the case of Social Technologies, the most significant result should
be the number of reapplications,
i.e. the number of communities that have adopted the technological
innovation, rather
then how many scientific papers had being published or conferences attended.
Through the practical results of various projects related to The Human
Project we hope to
contribute to strengthening the relationship between art, science and
technology as a strategy for
promoting human development, but also to contribute to a reflection
and necessary improvement of
the current mechanisms for evaluating the scientific competence of
institutions and researchers that
better meets the real demands of society.
Saulo Faria Almeida Barretto
Relacionamento Institucional e Novos Negócios
Instituto de Pesquisas em Tecnologia e Inovação
www.ipti.org.br
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Thursday, August 16, 2012
Wednesday, August 15, 2012
[Yasmin_discussions] SEAD White Paper
Dear All,
We hereby invite you to share your experiences to help us build a SEAD White Paper:
For those of you on Facebook, please join this group: https://www.facebook.com/groups/231260530329990/
DRAFT ABSTRACT:
Towards
a taxonomy of the challenges within typologies of collaborations
between Art - Design - Engineering - Science – Humanities - a
practical guide
Coordinator:Jennifer Kanary Nikolov(a)
Advisory Group: Roger
Malina (FR/USA), Anna Dumitriu (UK/RO), Frederik De Wilde (BE), Kaisu
Koski (NL/fi), Meagan May Daalder (USA), Lucas Evers (NL) and
hopefully more experts!
To
join please contact Jennifer Kanary Nikolov(a) at jenniferkanary-AT-yahoo-DOT-com
Collaborations
betweenArt - Design -
Engineering - Science – Humanities,have a tendency
to look great on paper, sound logical to the mind, but are far from
easy to achieve in reality. In spite of good intentions and high
motivation, many initiatives become tainted with disappointment. Why
is this? Where do such collaborations tend to go wrong? What are the
secrets to successful collaborations? What needs to be taken into
account? Which aspects facilitate organization? By
understanding the complexity of problematic issues that surround such
collaborations we hope to begin to build an educational tool that may
be used as a practical guide by those who aspire such collaborations.
Let us learn from our mistakes.
With
this SEAD White Paper we propose to develop an initial taxonomy of
challenges involved with different typologies of collaborations
between Art - Design - Engineering
- Science – Humanities. In order to do this we will develop
a questionnaire and put out a call to artists, scientists, engineers
and designers, who we hope will share their expertise by elaborating
on key aspects of failure and success within their experiences of
collaborations. By mapping the challenges within different typologies
of collaborations, collaborators may identify themselves into roles
and responsibilities with a stronger awareness of achievable aims and
results.
We
invite all interested to join this working group to develop a SEAD
white paper on taxonomiesthe
challenges within typologies of collaborations between Art - Design -
Engineering - Science – Humanities; We realize that in
rapidly emerging new areas of practice, terminologies and taxonomies
also evolve rapidly; this in itself is a record of how the
collaborations lead to new trans-disciplinary or inter-discplinary
forms. We will in this white paper identify suggested actions
concerning the developing of useful taxonomies that clarify the
variety of situations, obstacles and opportunities, to facilitate
Science and Engineering to Arts/Design/Humanities collaboration.
We
invite authors of existing taxonomies or classification systems to
contact : jenniferkanary-AT-yahoo-DOT-com
_______________________________________________
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Monday, August 13, 2012
[Yasmin_discussions] Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Dear Yasminers
the deadline is fast approaching for the SEAD white paper abstracts-
the deadline is a bit fuzzy -but we need all abstracts in within the
next few days
we have approved 20 abstracts so far= looks really interesting advocacy
by our community taking shape !
see http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
for the abstracts so far
this one just came in re dance and neuroscience !!
roger malina
Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Winston-Salem State University
www.glennabatson.com
glenna.batson@gmail.com
Today, one of the most compelling conversations in transdisciplinary
discourse is the exchange between dance
and neuroscience. Over the last decade, dancers and neuroscientists
have come together to create live, synthetic
artscience laboratories in which to explore the processes underlying
"choreographic cognition" and the embodied
mind. Whether creating, performing and viewing dance, complex
multi-modal physical and mental processes emerge
that manifest as high levels of creative thinking. Cognitive processes
generated in dance making have potential
benefits that stretch beyond aesthetic aims -- practical, social,
scientific and medical. Many formal dance-science
exchanges and projects occurred, with key choreographers from Europe
and Australia, such as William Forsythe
(Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley
McKechnie and Catherine Stevens,
University of Melbourne. Each has generated projects close to home,
with research extending several centers
for cognitive neuroscience in the US (David Kirsh, University of San
Diego and Scott Grafton, University of
California at Santa Cruz). These projects have been examples of
multi-directional research and creative practice,
engaging a wide range of information technology and digital media,
with nascent, but significant outcomes. Despite
initial momentum, the field remains fragmented. Creative clusters have
not advanced theories or methods to
evolve a focused discourse. While major funding sources have
fertilized the ground beyond the pilot level in Europe,
US funding sources have little grasp of the importance of this topic.
Although dance affords extensive opportunities
for empirical investigation, projects face obstacles, such as
constraints on time, access, training, and limitations
within technologiges and digital media, as well as an underdeveloped
strategic vision, commitment, and cohesion
across disciplines, both within and outside of the academy. Several
directions are needed to address these obstacles.
Alliances need to be forged within educational and cultural
institutions to create environments that support dance artists,
media/technology designers, and scientists in cross-disciplinary
creative research. This includes affording the means
of structuring and managing projects; providing open source
development and access to new tools of technology and
media; providing training to enhance mutual dialogue and project
participation; and philosophically and financially
supporting creative cultures in local and global initiatives that
advance new research methodologies in the
synthesis of the art of dance making and the science of cognition.
_______________________________________________
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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.
the deadline is fast approaching for the SEAD white paper abstracts-
the deadline is a bit fuzzy -but we need all abstracts in within the
next few days
we have approved 20 abstracts so far= looks really interesting advocacy
by our community taking shape !
see http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/
for the abstracts so far
this one just came in re dance and neuroscience !!
roger malina
Ex-Scribing the Choroegraphic Mind – Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Winston-Salem State University
www.glennabatson.com
glenna.batson@gmail.com
Today, one of the most compelling conversations in transdisciplinary
discourse is the exchange between dance
and neuroscience. Over the last decade, dancers and neuroscientists
have come together to create live, synthetic
artscience laboratories in which to explore the processes underlying
"choreographic cognition" and the embodied
mind. Whether creating, performing and viewing dance, complex
multi-modal physical and mental processes emerge
that manifest as high levels of creative thinking. Cognitive processes
generated in dance making have potential
benefits that stretch beyond aesthetic aims -- practical, social,
scientific and medical. Many formal dance-science
exchanges and projects occurred, with key choreographers from Europe
and Australia, such as William Forsythe
(Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley
McKechnie and Catherine Stevens,
University of Melbourne. Each has generated projects close to home,
with research extending several centers
for cognitive neuroscience in the US (David Kirsh, University of San
Diego and Scott Grafton, University of
California at Santa Cruz). These projects have been examples of
multi-directional research and creative practice,
engaging a wide range of information technology and digital media,
with nascent, but significant outcomes. Despite
initial momentum, the field remains fragmented. Creative clusters have
not advanced theories or methods to
evolve a focused discourse. While major funding sources have
fertilized the ground beyond the pilot level in Europe,
US funding sources have little grasp of the importance of this topic.
Although dance affords extensive opportunities
for empirical investigation, projects face obstacles, such as
constraints on time, access, training, and limitations
within technologiges and digital media, as well as an underdeveloped
strategic vision, commitment, and cohesion
across disciplines, both within and outside of the academy. Several
directions are needed to address these obstacles.
Alliances need to be forged within educational and cultural
institutions to create environments that support dance artists,
media/technology designers, and scientists in cross-disciplinary
creative research. This includes affording the means
of structuring and managing projects; providing open source
development and access to new tools of technology and
media; providing training to enhance mutual dialogue and project
participation; and philosophically and financially
supporting creative cultures in local and global initiatives that
advance new research methodologies in the
synthesis of the art of dance making and the science of cognition.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
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[Yasmin_discussions] Art/Sci Collab Presentation and Documentation
Hello Yasminers,
a few days ago I participated in a Hybrid Bodies Project
workshop at YYZ, Toronto. "Through the whole three days of the
workshop there will be a handful of medical students doing
qualitative research with all the invitees - which essentially
consists of a questionnaire compiled by both the PITH team
and the artistic team."
At the workshop: "Each of the four participating artists will have
one existing work installed at YYZ. They are works that have been
selected based on their relationship both thematically to the
transplantation research and also to what each artist is planning for
the final exhibition for Hybrid Bodies. The artists will be in the gallery
with their work to be able to speak with and ask questions; and there
will also be staff from the PITH team of the Monk Cardiac Centre from
U of T on hand to observe and converse."
Hybrid Bodies is an important, meaningful interdisciplinary
collaboration - especially significant (in the field of art &
science collaborations) because it was initiated by the
medical scientists involved in the project. The collaboration is
between staff from of the Monk Cardiac Centre from University of
Toronto and four international/Canadian artists. The project is
funded by the Social Sciences and Humanities Research Council
of Canada.
Please find below the project description below.
best
nina
Hybrid Bodies Project
Few organs are as charged as the human heart. Seen as both the seat
of human identity and the archetypal symbol of love, it is an organ
that has been ascribed qualities and associations far beyond its
anatomical functions. Since the first heart transplant in 1967, the
technical aspects of the operation have been streamlined and now
heart transplantation is the accepted therapy for end-stage heart
failure.
Four internationally exhibiting artists, Alexa Wright (UK), Catherine
Richards (Canada), Andrew Carnie (UK), and Ingrid Bachmann (Canada),
have had access to an innovative research study exploring the process
of incorporating a transplanted heart. This interdisciplinary study
was conducted by a leading research team based at the University
Health Network in Toronto. The team consists of Dr. Heather Ross, a
cardiologist and Director of the Cardiac Transplant Program at the
University Health Network (Toronto); Dr. Patricia McKeever, a health
sociologist (U of T) ; Dr. Susan Abbey, a transplant psychiatrist
(Univesity Health Network); Dr. Jennifer Poole, a health scientist
(Ryerson University, Toronto); and Dr. Margrit Shildrick, a
philosopher (Linkoping University, Sweden).
While significant research has been conducted on the medical aspects
of transplantation, little research has been done on the emotional
and psychological issues that confront recipients post transplant.
Transplantation is clearly a cultural as well as a medical issue.
The aim of this project is to bring these issues into the public
realm in an accessible way and to provide a language and a context to
explore these ideas. The artworks will provide a tangible focus for
discussion.
_______________________________________________
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.
a few days ago I participated in a Hybrid Bodies Project
workshop at YYZ, Toronto. "Through the whole three days of the
workshop there will be a handful of medical students doing
qualitative research with all the invitees - which essentially
consists of a questionnaire compiled by both the PITH team
and the artistic team."
At the workshop: "Each of the four participating artists will have
one existing work installed at YYZ. They are works that have been
selected based on their relationship both thematically to the
transplantation research and also to what each artist is planning for
the final exhibition for Hybrid Bodies. The artists will be in the gallery
with their work to be able to speak with and ask questions; and there
will also be staff from the PITH team of the Monk Cardiac Centre from
U of T on hand to observe and converse."
Hybrid Bodies is an important, meaningful interdisciplinary
collaboration - especially significant (in the field of art &
science collaborations) because it was initiated by the
medical scientists involved in the project. The collaboration is
between staff from of the Monk Cardiac Centre from University of
Toronto and four international/Canadian artists. The project is
funded by the Social Sciences and Humanities Research Council
of Canada.
Please find below the project description below.
best
nina
Hybrid Bodies Project
Few organs are as charged as the human heart. Seen as both the seat
of human identity and the archetypal symbol of love, it is an organ
that has been ascribed qualities and associations far beyond its
anatomical functions. Since the first heart transplant in 1967, the
technical aspects of the operation have been streamlined and now
heart transplantation is the accepted therapy for end-stage heart
failure.
Four internationally exhibiting artists, Alexa Wright (UK), Catherine
Richards (Canada), Andrew Carnie (UK), and Ingrid Bachmann (Canada),
have had access to an innovative research study exploring the process
of incorporating a transplanted heart. This interdisciplinary study
was conducted by a leading research team based at the University
Health Network in Toronto. The team consists of Dr. Heather Ross, a
cardiologist and Director of the Cardiac Transplant Program at the
University Health Network (Toronto); Dr. Patricia McKeever, a health
sociologist (U of T) ; Dr. Susan Abbey, a transplant psychiatrist
(Univesity Health Network); Dr. Jennifer Poole, a health scientist
(Ryerson University, Toronto); and Dr. Margrit Shildrick, a
philosopher (Linkoping University, Sweden).
While significant research has been conducted on the medical aspects
of transplantation, little research has been done on the emotional
and psychological issues that confront recipients post transplant.
Transplantation is clearly a cultural as well as a medical issue.
The aim of this project is to bring these issues into the public
realm in an accessible way and to provide a language and a context to
explore these ideas. The artworks will provide a tangible focus for
discussion.
_______________________________________________
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 11, 2012
Re: [Yasmin_discussions] 'DIWO (Do-It-With-Others): Origin, Art & > Social Context.'
Hi Roger,
Thanks for answering the questions...
It has been very helpful, especially regarding stakeholders which now
seems obvious.
Will edit down the current abstract into two paragraphs.
Wishing you well.
marc
> Marc
>
> Would be delighted if you submit a white paper abstract for SEAD on
> 'DIWO (Do-It-With-Others): Origin, Art &
>> Social Context.'
>
> abstracts can be up to a couple of paragraphs
> the key think is to identify as you have begun to
> do to identify specific roadblocks/problems
> PS the aug 15 deadline is flexible- we are already having
> trouble keeping up with the submissions so no doubt
> we will accept submission of abstracts for some time after
> aug 15
>
> the point you make:
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>
> i think is good and could make a good contribution- one of the problems
> we have for enabling 'radical' collaboration is our mental models and
> language= for instance here at siggraph someone talked about hubs
> in networks=the very word " hub" implies asymetrical stuctures
> ( and the old discussion about the periphery)
>
> -its not a problem if you use previously published texts-the white paper
> can have appendices which include such texts
>
> re the issue of 'stakeholders' you ask:
> The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>
> this is itself an interesting discussion- in management theory
stakeholders
> are often defined as individuals or groups that have a vested interest
> in resolving the problems= so for instance a problem that occurs with
> rare diseases is that people sick with rare diseases dont represent
enough
> of a market for big companies to address them-so one of the things that
> has evolved is non profit groups and foundations that provide funding
> to enable solutions to be found for rare deseases
>
> a stakeholder needs to be a person or group who is in a position to take
> an action- maybe actor network theory can also be used
>
> so for instance a recommendation that says
> 'universities should hire more faculty who work both in
science/engineering and
> in art/design" would need to be made more specific, or this work is
really
> important we need more funding-is not a very helpful recommendation
>
> if you look at the recommendations at the back of "beyond productivity'
> they really went to some effort to break down recommendations to specific
> stakeholders ( eg professional societies should set up prizes to reward
> people who bridge science/engineering to art and design)
>
> roger malina
>
>
>
>
>
> On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org>
wrote:
>> Hi Roger & all,
>>
>> I am considering whether to submit an abstract (for the 15th Aug) for a
>> paper I am currently writing called 'DIWO (Do-It-With-Others):
Origin, Art &
>> Social Context.'
>>
>> I have read the 'Beyond Productivity: Information, Technology,
Innovation,
>> and Creativity' pdf, and see that what I'm writing fits well in some
>> respects. It suggests that there is a desire for social change. And this
>> seems positive "Cultural cross-fertilization via the SEAD network –
whether
>> from disciplinary, organizational or ethnic perspectives – is a vital
>> component of our purpose and goals."
>>
>> Yet, in terms of historical information and respecting social and
political
>> emancipation, we need to know the underlying issues of why particular
>> circumstances have come about in order to progress. A good example
of where
>> I am coming from perhaps, can be easily understood if one has
watched the
>> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
>> from a similar perspective as the film outlines, but we explore it
further
>> through our 'actual' practice, in engaged (small) solutions with
others, and
>> DIWO is just one of various 'media art ecology' related projects being
>> explored.
>>
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>>
>> Having said this, the above could be seen as contributions or
examples of
>> roadblocks.
>>
>> So, in order to find out whether my contribution is appropriate - I have
>> some questions:
>>
>> 1) What is the word count (or limit) for abstract submission?
>>
>> 2) What are the rules on earlier or similar articles already published
>> online?
>>
>> Even though the paper being proposed will be academic, much of the
dialogue
>> has already occured online from within and outside of the community,
as well
>> as existing as articles informing peer collaborative practice.
>>
>> Much of our writing on our collaborative practice exists as open to
others
>> on platforms such as the p2pfoundation - 'Collaboration and Freedom
– The
>> World of Free and Open Source Art'
>> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>>
>> 3) The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>>
>> Thank you for your time.
>>
>> Marc
>>
>> ---
>>
>> Furtherfield - A living, breathing, thriving network
>> http://www.furtherfield.org - for art, technology and social change
since
>> 1997
>>
>> Also - Furtherfield Gallery& Social Space:
>> http://www.furtherfield.org/gallery
>>
>> About Furtherfield:
>> http://www.furtherfield.org/content/about
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
>>
>> _______________________________________________
>> 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.
>
>
>
--
Other Info:
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change
since 1997
Also - Furtherfield Gallery & Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
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.
Thanks for answering the questions...
It has been very helpful, especially regarding stakeholders which now
seems obvious.
Will edit down the current abstract into two paragraphs.
Wishing you well.
marc
> Marc
>
> Would be delighted if you submit a white paper abstract for SEAD on
> 'DIWO (Do-It-With-Others): Origin, Art &
>> Social Context.'
>
> abstracts can be up to a couple of paragraphs
> the key think is to identify as you have begun to
> do to identify specific roadblocks/problems
> PS the aug 15 deadline is flexible- we are already having
> trouble keeping up with the submissions so no doubt
> we will accept submission of abstracts for some time after
> aug 15
>
> the point you make:
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>
> i think is good and could make a good contribution- one of the problems
> we have for enabling 'radical' collaboration is our mental models and
> language= for instance here at siggraph someone talked about hubs
> in networks=the very word " hub" implies asymetrical stuctures
> ( and the old discussion about the periphery)
>
> -its not a problem if you use previously published texts-the white paper
> can have appendices which include such texts
>
> re the issue of 'stakeholders' you ask:
> The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>
> this is itself an interesting discussion- in management theory
stakeholders
> are often defined as individuals or groups that have a vested interest
> in resolving the problems= so for instance a problem that occurs with
> rare diseases is that people sick with rare diseases dont represent
enough
> of a market for big companies to address them-so one of the things that
> has evolved is non profit groups and foundations that provide funding
> to enable solutions to be found for rare deseases
>
> a stakeholder needs to be a person or group who is in a position to take
> an action- maybe actor network theory can also be used
>
> so for instance a recommendation that says
> 'universities should hire more faculty who work both in
science/engineering and
> in art/design" would need to be made more specific, or this work is
really
> important we need more funding-is not a very helpful recommendation
>
> if you look at the recommendations at the back of "beyond productivity'
> they really went to some effort to break down recommendations to specific
> stakeholders ( eg professional societies should set up prizes to reward
> people who bridge science/engineering to art and design)
>
> roger malina
>
>
>
>
>
> On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org>
wrote:
>> Hi Roger & all,
>>
>> I am considering whether to submit an abstract (for the 15th Aug) for a
>> paper I am currently writing called 'DIWO (Do-It-With-Others):
Origin, Art &
>> Social Context.'
>>
>> I have read the 'Beyond Productivity: Information, Technology,
Innovation,
>> and Creativity' pdf, and see that what I'm writing fits well in some
>> respects. It suggests that there is a desire for social change. And this
>> seems positive "Cultural cross-fertilization via the SEAD network –
whether
>> from disciplinary, organizational or ethnic perspectives – is a vital
>> component of our purpose and goals."
>>
>> Yet, in terms of historical information and respecting social and
political
>> emancipation, we need to know the underlying issues of why particular
>> circumstances have come about in order to progress. A good example
of where
>> I am coming from perhaps, can be easily understood if one has
watched the
>> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
>> from a similar perspective as the film outlines, but we explore it
further
>> through our 'actual' practice, in engaged (small) solutions with
others, and
>> DIWO is just one of various 'media art ecology' related projects being
>> explored.
>>
>> One problem I foresee, concerns relations between actual 'collaborative,
>> networked art practice' and 'Institutional Issues and Public
Policy'. They
>> exist for different reasons and motives. Our organization's
political and
>> social context(s) may be seen as radical in contrast. Especially
when much
>> of our own (shared) inspiration draws upon ideas, situations and
initiations
>> - actively trying to transcend 'neo-liberal and creative industry'
>> restrictions, which as part of its evolution and process critiques such
>> hegemonies, opting for a less dominated and more free creative autonomy.
>>
>> Having said this, the above could be seen as contributions or
examples of
>> roadblocks.
>>
>> So, in order to find out whether my contribution is appropriate - I have
>> some questions:
>>
>> 1) What is the word count (or limit) for abstract submission?
>>
>> 2) What are the rules on earlier or similar articles already published
>> online?
>>
>> Even though the paper being proposed will be academic, much of the
dialogue
>> has already occured online from within and outside of the community,
as well
>> as existing as articles informing peer collaborative practice.
>>
>> Much of our writing on our collaborative practice exists as open to
others
>> on platforms such as the p2pfoundation - 'Collaboration and Freedom
– The
>> World of Free and Open Source Art'
>> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>>
>> 3) The site mentions that proposals need to be clear to address specific
>> stakeholders "It is important that the White Papers are clear about
>> stakeholders, that they identify barriers and recommend strategies."
Does
>> this mean within the realm of information technology and creative
practices
>> (ITCP), is this specific enough?
>>
>> Thank you for your time.
>>
>> Marc
>>
>> ---
>>
>> Furtherfield - A living, breathing, thriving network
>> http://www.furtherfield.org - for art, technology and social change
since
>> 1997
>>
>> Also - Furtherfield Gallery& Social Space:
>> http://www.furtherfield.org/gallery
>>
>> About Furtherfield:
>> http://www.furtherfield.org/content/about
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
>>
>> _______________________________________________
>> 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.
>
>
>
--
Other Info:
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change
since 1997
Also - Furtherfield Gallery & Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
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 9, 2012
[Yasmin_discussions] 'DIWO (Do-It-With-Others): Origin, Art & > Social Context.'
Marc
Would be delighted if you submit a white paper abstract for SEAD on
'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
abstracts can be up to a couple of paragraphs
the key think is to identify as you have begun to
do to identify specific roadblocks/problems
PS the aug 15 deadline is flexible- we are already having
trouble keeping up with the submissions so no doubt
we will accept submission of abstracts for some time after
aug 15
the point you make:
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
i think is good and could make a good contribution- one of the problems
we have for enabling 'radical' collaboration is our mental models and
language= for instance here at siggraph someone talked about hubs
in networks=the very word " hub" implies asymetrical stuctures
( and the old discussion about the periphery)
-its not a problem if you use previously published texts-the white paper
can have appendices which include such texts
re the issue of 'stakeholders' you ask:
The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
this is itself an interesting discussion- in management theory stakeholders
are often defined as individuals or groups that have a vested interest
in resolving the problems= so for instance a problem that occurs with
rare diseases is that people sick with rare diseases dont represent enough
of a market for big companies to address them-so one of the things that
has evolved is non profit groups and foundations that provide funding
to enable solutions to be found for rare deseases
a stakeholder needs to be a person or group who is in a position to take
an action- maybe actor network theory can also be used
so for instance a recommendation that says
'universities should hire more faculty who work both in science/engineering and
in art/design" would need to be made more specific, or this work is really
important we need more funding-is not a very helpful recommendation
if you look at the recommendations at the back of "beyond productivity'
they really went to some effort to break down recommendations to specific
stakeholders ( eg professional societies should set up prizes to reward
people who bridge science/engineering to art and design)
roger malina
On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org> wrote:
> Hi Roger & all,
>
> I am considering whether to submit an abstract (for the 15th Aug) for a
> paper I am currently writing called 'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
>
> I have read the 'Beyond Productivity: Information, Technology, Innovation,
> and Creativity' pdf, and see that what I'm writing fits well in some
> respects. It suggests that there is a desire for social change. And this
> seems positive "Cultural cross-fertilization via the SEAD network – whether
> from disciplinary, organizational or ethnic perspectives – is a vital
> component of our purpose and goals."
>
> Yet, in terms of historical information and respecting social and political
> emancipation, we need to know the underlying issues of why particular
> circumstances have come about in order to progress. A good example of where
> I am coming from perhaps, can be easily understood if one has watched the
> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
> from a similar perspective as the film outlines, but we explore it further
> through our 'actual' practice, in engaged (small) solutions with others, and
> DIWO is just one of various 'media art ecology' related projects being
> explored.
>
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
>
> Having said this, the above could be seen as contributions or examples of
> roadblocks.
>
> So, in order to find out whether my contribution is appropriate - I have
> some questions:
>
> 1) What is the word count (or limit) for abstract submission?
>
> 2) What are the rules on earlier or similar articles already published
> online?
>
> Even though the paper being proposed will be academic, much of the dialogue
> has already occured online from within and outside of the community, as well
> as existing as articles informing peer collaborative practice.
>
> Much of our writing on our collaborative practice exists as open to others
> on platforms such as the p2pfoundation - 'Collaboration and Freedom – The
> World of Free and Open Source Art'
> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>
> 3) The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
>
> Thank you for your time.
>
> Marc
>
> ---
>
> Furtherfield - A living, breathing, thriving network
> http://www.furtherfield.org - for art, technology and social change since
> 1997
>
> Also - Furtherfield Gallery& Social Space:
> http://www.furtherfield.org/gallery
>
> About Furtherfield:
> http://www.furtherfield.org/content/about
>
> Netbehaviour - Networked Artists List Community.
> http://www.netbehaviour.org
>
> http://identi.ca/furtherfield
> http://twitter.com/furtherfield
>
>
> _______________________________________________
> 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.
--
Roger Malina
Is in USA at the moment
1-510-853-2007
_______________________________________________
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.
Would be delighted if you submit a white paper abstract for SEAD on
'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
abstracts can be up to a couple of paragraphs
the key think is to identify as you have begun to
do to identify specific roadblocks/problems
PS the aug 15 deadline is flexible- we are already having
trouble keeping up with the submissions so no doubt
we will accept submission of abstracts for some time after
aug 15
the point you make:
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
i think is good and could make a good contribution- one of the problems
we have for enabling 'radical' collaboration is our mental models and
language= for instance here at siggraph someone talked about hubs
in networks=the very word " hub" implies asymetrical stuctures
( and the old discussion about the periphery)
-its not a problem if you use previously published texts-the white paper
can have appendices which include such texts
re the issue of 'stakeholders' you ask:
The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
this is itself an interesting discussion- in management theory stakeholders
are often defined as individuals or groups that have a vested interest
in resolving the problems= so for instance a problem that occurs with
rare diseases is that people sick with rare diseases dont represent enough
of a market for big companies to address them-so one of the things that
has evolved is non profit groups and foundations that provide funding
to enable solutions to be found for rare deseases
a stakeholder needs to be a person or group who is in a position to take
an action- maybe actor network theory can also be used
so for instance a recommendation that says
'universities should hire more faculty who work both in science/engineering and
in art/design" would need to be made more specific, or this work is really
important we need more funding-is not a very helpful recommendation
if you look at the recommendations at the back of "beyond productivity'
they really went to some effort to break down recommendations to specific
stakeholders ( eg professional societies should set up prizes to reward
people who bridge science/engineering to art and design)
roger malina
On Thu, Aug 9, 2012 at 2:56 PM, marc <marc.garrett@furtherfield.org> wrote:
> Hi Roger & all,
>
> I am considering whether to submit an abstract (for the 15th Aug) for a
> paper I am currently writing called 'DIWO (Do-It-With-Others): Origin, Art &
> Social Context.'
>
> I have read the 'Beyond Productivity: Information, Technology, Innovation,
> and Creativity' pdf, and see that what I'm writing fits well in some
> respects. It suggests that there is a desire for social change. And this
> seems positive "Cultural cross-fertilization via the SEAD network – whether
> from disciplinary, organizational or ethnic perspectives – is a vital
> component of our purpose and goals."
>
> Yet, in terms of historical information and respecting social and political
> emancipation, we need to know the underlying issues of why particular
> circumstances have come about in order to progress. A good example of where
> I am coming from perhaps, can be easily understood if one has watched the
> film 'Surviving Progress' (http://survivingprogress.com/). We are coming
> from a similar perspective as the film outlines, but we explore it further
> through our 'actual' practice, in engaged (small) solutions with others, and
> DIWO is just one of various 'media art ecology' related projects being
> explored.
>
> One problem I foresee, concerns relations between actual 'collaborative,
> networked art practice' and 'Institutional Issues and Public Policy'. They
> exist for different reasons and motives. Our organization's political and
> social context(s) may be seen as radical in contrast. Especially when much
> of our own (shared) inspiration draws upon ideas, situations and initiations
> - actively trying to transcend 'neo-liberal and creative industry'
> restrictions, which as part of its evolution and process critiques such
> hegemonies, opting for a less dominated and more free creative autonomy.
>
> Having said this, the above could be seen as contributions or examples of
> roadblocks.
>
> So, in order to find out whether my contribution is appropriate - I have
> some questions:
>
> 1) What is the word count (or limit) for abstract submission?
>
> 2) What are the rules on earlier or similar articles already published
> online?
>
> Even though the paper being proposed will be academic, much of the dialogue
> has already occured online from within and outside of the community, as well
> as existing as articles informing peer collaborative practice.
>
> Much of our writing on our collaborative practice exists as open to others
> on platforms such as the p2pfoundation - 'Collaboration and Freedom – The
> World of Free and Open Source Art'
> (http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
>
> 3) The site mentions that proposals need to be clear to address specific
> stakeholders "It is important that the White Papers are clear about
> stakeholders, that they identify barriers and recommend strategies." Does
> this mean within the realm of information technology and creative practices
> (ITCP), is this specific enough?
>
> Thank you for your time.
>
> Marc
>
> ---
>
> Furtherfield - A living, breathing, thriving network
> http://www.furtherfield.org - for art, technology and social change since
> 1997
>
> Also - Furtherfield Gallery& Social Space:
> http://www.furtherfield.org/gallery
>
> About Furtherfield:
> http://www.furtherfield.org/content/about
>
> Netbehaviour - Networked Artists List Community.
> http://www.netbehaviour.org
>
> http://identi.ca/furtherfield
> http://twitter.com/furtherfield
>
>
> _______________________________________________
> 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.
--
Roger Malina
Is in USA at the moment
1-510-853-2007
_______________________________________________
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] Last call Aug 15 deadline & some questions
Hi Roger & all,
I am considering whether to submit an abstract (for the 15th Aug) for a
paper I am currently writing called 'DIWO (Do-It-With-Others): Origin,
Art & Social Context.'
I have read the 'Beyond Productivity: Information, Technology,
Innovation, and Creativity' pdf, and see that what I'm writing fits well
in some respects. It suggests that there is a desire for social change.
And this seems positive "Cultural cross-fertilization via the SEAD
network – whether from disciplinary, organizational or ethnic
perspectives – is a vital component of our purpose and goals."
Yet, in terms of historical information and respecting social and
political emancipation, we need to know the underlying issues of why
particular circumstances have come about in order to progress. A good
example of where I am coming from perhaps, can be easily understood if
one has watched the film 'Surviving Progress'
(http://survivingprogress.com/). We are coming from a similar
perspective as the film outlines, but we explore it further through our
'actual' practice, in engaged (small) solutions with others, and DIWO is
just one of various 'media art ecology' related projects being explored.
One problem I foresee, concerns relations between actual 'collaborative,
networked art practice' and 'Institutional Issues and Public Policy'.
They exist for different reasons and motives. Our organization's
political and social context(s) may be seen as radical in contrast.
Especially when much of our own (shared) inspiration draws upon ideas,
situations and initiations - actively trying to transcend 'neo-liberal
and creative industry' restrictions, which as part of its evolution and
process critiques such hegemonies, opting for a less dominated and more
free creative autonomy.
Having said this, the above could be seen as contributions or examples
of roadblocks.
So, in order to find out whether my contribution is appropriate - I have
some questions:
1) What is the word count (or limit) for abstract submission?
2) What are the rules on earlier or similar articles already published
online?
Even though the paper being proposed will be academic, much of the
dialogue has already occured online from within and outside of the
community, as well as existing as articles informing peer collaborative
practice.
Much of our writing on our collaborative practice exists as open to
others on platforms such as the p2pfoundation - 'Collaboration and
Freedom – The World of Free and Open Source Art'
(http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
3) The site mentions that proposals need to be clear to address specific
stakeholders "It is important that the White Papers are clear about
stakeholders, that they identify barriers and recommend strategies."
Does this mean within the realm of information technology and creative
practices (ITCP), is this specific enough?
Thank you for your time.
Marc
---
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since 1997
Also - Furtherfield Gallery& Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
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I am considering whether to submit an abstract (for the 15th Aug) for a
paper I am currently writing called 'DIWO (Do-It-With-Others): Origin,
Art & Social Context.'
I have read the 'Beyond Productivity: Information, Technology,
Innovation, and Creativity' pdf, and see that what I'm writing fits well
in some respects. It suggests that there is a desire for social change.
And this seems positive "Cultural cross-fertilization via the SEAD
network – whether from disciplinary, organizational or ethnic
perspectives – is a vital component of our purpose and goals."
Yet, in terms of historical information and respecting social and
political emancipation, we need to know the underlying issues of why
particular circumstances have come about in order to progress. A good
example of where I am coming from perhaps, can be easily understood if
one has watched the film 'Surviving Progress'
(http://survivingprogress.com/). We are coming from a similar
perspective as the film outlines, but we explore it further through our
'actual' practice, in engaged (small) solutions with others, and DIWO is
just one of various 'media art ecology' related projects being explored.
One problem I foresee, concerns relations between actual 'collaborative,
networked art practice' and 'Institutional Issues and Public Policy'.
They exist for different reasons and motives. Our organization's
political and social context(s) may be seen as radical in contrast.
Especially when much of our own (shared) inspiration draws upon ideas,
situations and initiations - actively trying to transcend 'neo-liberal
and creative industry' restrictions, which as part of its evolution and
process critiques such hegemonies, opting for a less dominated and more
free creative autonomy.
Having said this, the above could be seen as contributions or examples
of roadblocks.
So, in order to find out whether my contribution is appropriate - I have
some questions:
1) What is the word count (or limit) for abstract submission?
2) What are the rules on earlier or similar articles already published
online?
Even though the paper being proposed will be academic, much of the
dialogue has already occured online from within and outside of the
community, as well as existing as articles informing peer collaborative
practice.
Much of our writing on our collaborative practice exists as open to
others on platforms such as the p2pfoundation - 'Collaboration and
Freedom – The World of Free and Open Source Art'
(http://p2pfoundation.net/World_of_Free_and_Open_Source_Art)
3) The site mentions that proposals need to be clear to address specific
stakeholders "It is important that the White Papers are clear about
stakeholders, that they identify barriers and recommend strategies."
Does this mean within the realm of information technology and creative
practices (ITCP), is this specific enough?
Thank you for your time.
Marc
---
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since 1997
Also - Furtherfield Gallery& Social Space:
http://www.furtherfield.org/gallery
About Furtherfield:
http://www.furtherfield.org/content/about
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
_______________________________________________
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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