Re: [Yasmin_discussions] consilience and trans-disciplinary bridges as enablors

Pau, Paul, Roger, and all,

I wonder if Jazz improvisations (in concrete when they merge with Jazz
compositions) could serve as inspiration for a self-reflexivity that
enables a self-organizing dialog between driving forces, epistemological
biases and rigid methods to happen. Maybe a musician could help here to
explore how this could be done.
Cristina

El 18/07/12 18:11, Paul Fishwick escribió:
> Paul
> Yes, we must acknowledge self-reflexivity. This is a first step:
> acknowledging
> our own biases and driving forces when we do research and practice. I am not
> sure how to put this into practice other than to stress it in a
> collaboration.
> -p
>
>
> On Tue, Jul 17, 2012 at 11:23 AM, Pau Alsina <palsinag@uoc.edu> wrote:
>
>> Paul
>>
>> I completely agree with all that you have said, but I would add that for
>> understanding each other's framework it's necessary to understand each
>> own's framework. It's quite obvious but a high level of self-reflexivity is
>> previously needed to open to the other.
>>
>> In my teaching and research I've found so many scientists, engineers,
>> designers and artists with a total lack of this minimum self-reflexivity.
>> It's a paradox, but they do what they do because they have been doing it
>> this way for many time, and never asked themselves why they have been doing
>> it this way, and if that could be done in another completely different way.
>> By self-reflexivity I mean to think, know and explore the
>> (epistemological/ontological) foundations of their practices and theories.
>>
>> I am not telling that everyone should become a philosopher of science,
>> technology of art, but at least they should know better and think about
>> their discipline "foundations", This would make them better scientists,
>> engineers, designers or artists. And would make them more open to the
>> other, open to dialogue and collaboration.
>>
>> I've asked many times the same question to all types of teachers that have
>> been trying to create this kind of transdisciplinary collaborations with
>> their students: "How did it happen? Who finally made it?". And many of them
>> told me that paradoxically for them the students more specialized in their
>> discipline, those "best students", where the ones more open to collaborate
>> and the ones that made better results out of their collaboration. I don't
>> know if this is ok for you as well.
>>
>> So I guess that for a mutual understanding it's necessary one's
>> understanding at a deeper lever, and then later, maybe that deeper level
>> on mutual understanding could happen somehow, somewhere. Maybe that would
>> help to travel around those differents directions of collaboration you were
>> mentioning.
>>
>> Pau
>>
>>
>>
>> 2012/7/17 Paul Fishwick <fishwick@cise.ufl.edu>
>>
>>> Pau:
>>> First and foremost, each member of a collaboration needs to understand
>>> each others' framework. I think this is what you are getting at with the
>>> discussion of different, and sometimes, conflicting epistemologies and
>>> ontologies. However, it may be fruitful, or just pragmatic, to agree to
>>> compromise by letting each "side" do the leading. In this way, everyone
>>> wins. I'll provide an example.
>>> As a computer scientist, my core interest is in mathematical and
>>> computing
>>> artifacts and processes. If I work with an artist, I will need to
>>> understand that
>>> artist but the artist also has to understand me. Let's say for the sake
>> of
>>> discussion that the artist is driven by creating works that are "socially
>>> activist" (they are trying to draw attention to a socioeconomic problem).
>>> I have to recognize that if I build something to help the artist achieve
>>> one of
>>> these works, that I may be implicitly playing a supporting role in the
>>> collaboration because social activism is not my driving force. Actually,
>>> programmers and computer scientists are used to these sorts of
>>> collaborations where they play a supporting role.
>>> Now, let's consider the other direction in the collaboration. In my
>> quest
>>> to explore novel representations of computing artifacts, it would be
>> great
>>> to improve these representations with the help of an artist or designer.
>>> Perhaps the end goal is for both parties to come to an agreement where
>>> the collaboration involves different projects, each sprouting from a
>>> different
>>> direction. This is a real challenge because it involves mutual
>>> understanding
>>> at a deep level. I am sure that there are some artists who view computer
>>> scientists only as doing stuff to help support their vision (by creating
>> a
>>> new
>>> technology or piece of software to support their artwork), and there are
>>> some
>>> computer scientists who view art and design purely as support vehicles
>> for
>>> their
>>> visual illustration purposes.
>>> The question is whether the artist and scientist can engage in both
>>> types of projects (different directions) and agree to support each other
>>> where appropriate. It would mean giving a little (by each) during a
>>> multi-project
>>> collaboration based on an agreed-upon theme of mutual interest (climate
>>> change for instance).
>>> -p
>>>
>>>
>>>
>>> On Mon, Jul 16, 2012 at 7:12 AM, Pau Alsina <palsinag@uoc.edu> wrote:
>>>
>>>> Roger, Aprille, Rasheed, Paul
>>>>
>>>> I believe it's not just only a methodological question, neither a
>>>> technological aspect that pushes forward SEAD interactions. There are a
>>> lot
>>>> of types of enablors that could help create good SEAD experiences. We
>>> must
>>>> look at each of them carefully.
>>>>
>>>> Briefly I would say that methodologies (how to research) depend on
>>>> epistemologies (what to research) and that depends on ontologies (what
>> is
>>>> the real/ the beings). There are some pieces that fit together better
>>> than
>>>> the others, and others don't fit at all, or at least are really hard
>> that
>>>> could work together. It's like a lego....
>>>>
>>>> Some times, things work well together. For example Latour's
>> Actor-Network
>>>> Theory (let's say, an epistemology) proved to fit great with etnography
>>> (a
>>>> methodology) as they shared also a great respect with material culture
>>>> status (ontology) and its agency in Science and Technology studies.
>> That
>>>> time pieces fitted well and STS, Antropology, Etnography are taking
>>>> advantatge of this sinergy. As it is taking its course in Media Studies
>>> and
>>>> elsewhere.
>>>>
>>>> Other times you don't realize they don't fit until it's too late. You
>>> start
>>>> working with somebody from another discipline, you set up what to do
>> and
>>>> some methodologies and techniques to work together, then you start
>> having
>>>> epistemological discussions about what is and what is not the object to
>>>> research - they migth tolerate differences or they migth not- and you
>>> end
>>>> up having trouble with ontologies -about what deserves to be studied as
>>>> it's relevant for the real...You did not know that before you started,
>>>> maybe there was a great personal feeling, or an ideal context for
>>>> developing a collaboration or collective work, but it simple did'nt
>>> worked
>>>> out because you hit the hard stone. As Rasheed pointed out some times
>> the
>>>> "other side" doesn't share the same values, or doesn't
>>> tolerate/understand
>>>> other's values, and there's no point in collaboration.
>>>>
>>>> For example, you are an artist trying to work with an Historian because
>>> you
>>>> both love Art, you both share great personal feeling and have an ideal
>>>> context for working together. You believe in the power of Art for
>>> enabling
>>>> Social transformation. But the Historian conception of History gives
>>>> relevance only to structure and Institutions as key agents in all
>>> changes,
>>>> and those changes can only be achieved through structural revolutions
>> and
>>>> war. In that sense believes that Art is just a side-effect, and art
>> and
>>>> the artists are secondary examples, not driving forces at all. That
>>>> Historian didn't believe in Art for social change that would lead into
>>>> political change and then to structural and institutional change. Then,
>>> if
>>>> they don't tolerate each other's point of departure, collaboration
>> would
>>>> ultimately lead into failure.
>>>>
>>>> And, this is just in a discoursive level, but as we've said, there are
>>>> other factors that are related with the "ecosistem" where those
>>>> collaborations operate: Political, Economic, Social, Ethical aspects
>> that
>>>> influence definetivelly those possibilities....Mutual understanding of
>>>> those ecosystems' rules is needed. We migth take a look at all of them
>>> one
>>>> by one in order to recreate those enablers, but of course, SEAD
>>>> interactions not always produce valuable content "per se".... inter or
>>>> transdisciplinariety doesn't make it all into good as pointed out
>> before.
>>>> I also like Paul's suggestion to continue discussion in clarification
>> of
>>>> the questions arised by Rasheed.
>>>>
>>>> Many thanks!
>>>>
>>>> Pau
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> 2012/7/11 roger malina <rmalina@alum.mit.edu>
>>>>
>>>>> Pau
>>>>>
>>>>> let me pick on your topic of 'bridges' and consilience
>>>>>
>>>>> like you i think E O Wilson's concept of consilience turned out
>>>>> not to be very productive and rather totalising - am not very
>> familiar
>>>>> with Gould's " conscilience of
>>>>> equal attention"
>>>>>
>>>>> but yes- one of the way to enable science/engineering to
>>>>> arts/design/humanities
>>>>> is to find these bridging concepts
>>>>>
>>>>> i have been reading recently in the field of translation studies and
>>> have
>>>>> found some interesting ideas- for instance of 'travelling concepts=
>>>>> but also the idea that un-translatability exists and one needs
>> methods
>>>> that
>>>>> are well established in cross cultural translation and now
>>>>> interdisciplinary
>>>>> translation ( or inter-media)
>>>>>
>>>>> there are bridges that are technological- when artists and scientists
>>> use
>>>>> the same tools then they start have overlapping epistemologies etc
>>>>>
>>>>> paul fishwick in his white paper looks at how gaming technologies are
>>>> such
>>>>> a
>>>>> collaboration enabling tool
>>>>>
>>>>>
>>>>>
>> http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/learning-computing-through-game-experiences/
>>>>> one area that is fertile right now is the science of complex networks
>>>> which
>>>>> has been found to be productive across the science and humanities
>>>>>
>>>>> I do think that we need to start being more rigorous in discussing
>>>>> collaboration - as depending on the context ( interdisciplinary,
>> multi
>>>>> disciplinary
>>>>> and trans-disciplinary) there need to be differing approaches- but
>>>>> certainly
>>>>> collaboration as a learned skill is a bridging problem also
>>>>>
>>>>> it would perhaps be interesting to inventory these bridge areas that
>>> are
>>>>> currently enabling collaboration between science/engineering with
>>>>> arts/design
>>>>>
>>>>> here in marseille the area of history and philosophy of science is
>>> rather
>>>>> strong and i have found some of the discussions interesting
>> especially
>>>>> since history and philosophy of science is very disconnected from the
>>>> doing
>>>>> of science in general - at lunch today we were discussing
>>>> meta-mathematics
>>>>> and meta-philosophy !
>>>>>
>>>>> Roger
>>>>>
>>>>>
>>>>> ---------- Forwarded message ----------
>>>>> From: Pau Alsina <palsinag@uoc.edu>
>>>>>
>>>>> Roger,
>>>>>
>>>>>> In the book by allen repko on interdisciplinary theory and practice
>>>>>> one of the things he does is discuss how different kinds of
>>> scientists
>>>>>> have different cultures
>>>>>> eg observational sciences like astronomy
>>>>>> vs experimental sciences like chemistry
>>>>>> vs field sciences like ecology
>>>>>> vs mathematical sciences like complex networks
>>>>>>
>>>>>> they are all sciences but in fact the scientists have different
>>>>> practices.
>>>>>> does it make sense to combine them all or should we create
>>>>>> translation methods between culturs of practice ?
>>>>>>
>>>>>> in arts and humanities we also find similar variations on how
>>>>>> the discipline deals with information about the world
>>>>>> and intervening in the world= time based arts differ
>>>>>> from architecture etc
>>>>>>
>>>>> You mean creating "bridges"? I believe, as Loius Bec says, that art
>>>> itself
>>>>> is a rare transformational agent that would do that function.
>>>>>
>>>>> Those other "methodological" or "epistemological" bridges are really
>>> hard
>>>>> to imagine as a universal set of tools. But of course there are
>>>>> "practice-based-theories" that migth prove better bridges than
>> others.
>>>> This
>>>>> would lead into another deep philosophical debate....(that I also
>>> enjoy a
>>>>> lot, but migth be a whole new focus of discussion)
>>>>>
>>>>> You migth not agree with Edgar O. Wilson's concept of consilience as
>> it
>>>> has
>>>>> proved to be reductionist, and at the end not taking seriously all
>>> fields
>>>>> of knowledge equally. But do you think that something not just
>>>> theoretical
>>>>> could came out from what Stephen Jay Gould says about "conscilience
>> of
>>>>> equal attention"? Are there already methodology or epistemology tools
>>>>> coming out from that? Some techniques or strategies for "jumping
>>>> together"
>>>>> as Gould says?
>>>>>
>>>>> Just wondering...
>>>>>
>>>>>
>>>>>
>>>>>> Anway i know that the FECYT report and the process that led to
>>>>>> it was very useful in spain= as are other efforts internationally
>>>>>>
>>>>>> for instance in the USA the mellon foundation has just funded a
>> major
>>>>>> project to promote integrating arts practice into the research
>>>> university
>>>>>> http://artsengine.umich.edu/
>>>>>>
>>>>>> ArtsEngine National has been awarded a $500,000, 3.5 year grant
>> from
>>>>>> the Andrew W. Mellon
>>>>>> Foundation to create the first comprehensive guide to best
>> practices
>>>>>> in the integration of arts
>>>>>> practice in U.S. research universities. To be published in Fall
>> 2015,
>>>>>> the guide is to identify models,
>>>>>> obstacles, implementation strategies, costs, and impact on
>> students
>>>>>> and faculty as well as on
>>>>>> research, practice, and teaching in other knowledge areas.
>>>>>>
>>>>>> With this award, the Mellon Foundation has enabled the national
>>>>>> network to make major progress
>>>>>> toward our mission of integrating arts practice into the research
>>>>>> university.
>>>>>>
>>>>>> This activity of course is a heads on collision between the "studio
>>>>>> based" artists practice
>>>>>> versus the research model for the arts ( and all the debate on to
>> PhD
>>>>>> or not to PhD )
>>>>>>
>>>>>
>>>>> As you already know In Europe there is the Studiolabs innitaitive
>>>>> http://www.studiolabproject.eu/ that migth work quite in the same
>> way,
>>>> am
>>>>> i
>>>>> right?
>>>>>
>>>>>
>>>>> Pau
>>>>> _______________________________________________
>>>>> 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
>>>>>
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>>>>>
>>>>>
>>>>> --
>>>>> Roger Malina
>>>>> I am in France at the moment
>>>>> 33(0)6 80 45 94 47
>>>>>
>>>>> Announcing new version with videos of
>>>>> Leonardo EBOOK on Arts Humanities and Complex Networks
>>>>> http://www.amazon.com/dp/B007S0UA9Q
>>>>>
>>>>> Announcing Leonardo Party in Los Angeles during Siggraph.
>>>>> Aug 5-9 If you would like to be invited contact me.
>>>>> _______________________________________________
>>>>> 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
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>>>>
>>>>
>>>> --
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Pau Alsina González
>>>> Professor dels Estudis d'Arts i Humanitats
>>>> Universitat Oberta de Catalunya
>>>>
>>>> Web Estudis: http://arts-humanitats.uoc.edu
>>>> Blog Postgrau: http://laboralcentrodearte.uoc.edu/
>>>> Revista Artnodes: http://artnodes.uoc.edu
>>>>
>>>> (+34) 93 254 (2176) | palsinag@uoc.edu
>>>> Av. Tibidabo 39-43. Barcelona 08035
>>>> Blog: http://paualsina.wordpress.com
>>>> Twitter: @paualsina <http://twitter.com/#%21/paualsina>
>>>>
>>>>
>>>> Aquest missatge s´adreça exclusivament a qui va destinat i pot contenir
>>>> informació privilegiada o confidencial i dades de caràcter personal, la
>>>> difusió de les quals és regulada per la Llei orgànica de protecció de
>>> dades
>>>> i la Llei de serveis de la societat de la informació. Si no sou la
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>>>> destinatària indicada (o la responsable de lliurar-lo a qui va
>> destinat),
>>>> no heu de copiar aquest missatge ni lliurar-lo a tercers per cap
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>>> mateixa
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>>>>
>>>>
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>>> _______________________________________________
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>>
>>
>> --
>>
>>
>>
>>
>>
>> Pau Alsina González
>> Professor dels Estudis d'Arts i Humanitats
>> Universitat Oberta de Catalunya
>>
>> Web Estudis: http://arts-humanitats.uoc.edu
>> Blog Postgrau: http://laboralcentrodearte.uoc.edu/
>> Revista Artnodes: http://artnodes.uoc.edu
>>
>> (+34) 93 254 (2176) | palsinag@uoc.edu
>> Av. Tibidabo 39-43. Barcelona 08035
>> Blog: http://paualsina.wordpress.com
>> Twitter: @paualsina <http://twitter.com/#%21/paualsina>
>>
>>
>> Aquest missatge s´adreça exclusivament a qui va destinat i pot contenir
>> informació privilegiada o confidencial i dades de caràcter personal, la
>> difusió de les quals és regulada per la Llei orgànica de protecció de dades
>> i la Llei de serveis de la societat de la informació. Si no sou la persona
>> destinatària indicada (o la responsable de lliurar-lo a qui va destinat),
>> no heu de copiar aquest missatge ni lliurar-lo a tercers per cap concepte.
>> Si heu rebut aquest missatge per error o l´heu aconseguit per altres
>> mitjans, us demanem que ens ho comuniqueu immediatament per aquesta mateixa
>> via i l´elimineu irreversiblement.
>>
>>
>> Abans d´imprimir aquest missatge electrònic penseu en el medi ambient.
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
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Re: [Yasmin_discussions] consilience and trans-disciplinary bridges as enablors

Paul
Yes, we must acknowledge self-reflexivity. This is a first step:
acknowledging
our own biases and driving forces when we do research and practice. I am not
sure how to put this into practice other than to stress it in a
collaboration.
-p


On Tue, Jul 17, 2012 at 11:23 AM, Pau Alsina <palsinag@uoc.edu> wrote:

> Paul
>
> I completely agree with all that you have said, but I would add that for
> understanding each other's framework it's necessary to understand each
> own's framework. It's quite obvious but a high level of self-reflexivity is
> previously needed to open to the other.
>
> In my teaching and research I've found so many scientists, engineers,
> designers and artists with a total lack of this minimum self-reflexivity.
> It's a paradox, but they do what they do because they have been doing it
> this way for many time, and never asked themselves why they have been doing
> it this way, and if that could be done in another completely different way.
> By self-reflexivity I mean to think, know and explore the
> (epistemological/ontological) foundations of their practices and theories.
>
> I am not telling that everyone should become a philosopher of science,
> technology of art, but at least they should know better and think about
> their discipline "foundations", This would make them better scientists,
> engineers, designers or artists. And would make them more open to the
> other, open to dialogue and collaboration.
>
> I've asked many times the same question to all types of teachers that have
> been trying to create this kind of transdisciplinary collaborations with
> their students: "How did it happen? Who finally made it?". And many of them
> told me that paradoxically for them the students more specialized in their
> discipline, those "best students", where the ones more open to collaborate
> and the ones that made better results out of their collaboration. I don't
> know if this is ok for you as well.
>
> So I guess that for a mutual understanding it's necessary one's
> understanding at a deeper lever, and then later, maybe that deeper level
> on mutual understanding could happen somehow, somewhere. Maybe that would
> help to travel around those differents directions of collaboration you were
> mentioning.
>
> Pau
>
>
>
> 2012/7/17 Paul Fishwick <fishwick@cise.ufl.edu>
>
> > Pau:
> > First and foremost, each member of a collaboration needs to understand
> > each others' framework. I think this is what you are getting at with the
> > discussion of different, and sometimes, conflicting epistemologies and
> > ontologies. However, it may be fruitful, or just pragmatic, to agree to
> > compromise by letting each "side" do the leading. In this way, everyone
> > wins. I'll provide an example.
> > As a computer scientist, my core interest is in mathematical and
> > computing
> > artifacts and processes. If I work with an artist, I will need to
> > understand that
> > artist but the artist also has to understand me. Let's say for the sake
> of
> > discussion that the artist is driven by creating works that are "socially
> > activist" (they are trying to draw attention to a socioeconomic problem).
> > I have to recognize that if I build something to help the artist achieve
> > one of
> > these works, that I may be implicitly playing a supporting role in the
> > collaboration because social activism is not my driving force. Actually,
> > programmers and computer scientists are used to these sorts of
> > collaborations where they play a supporting role.
> > Now, let's consider the other direction in the collaboration. In my
> quest
> > to explore novel representations of computing artifacts, it would be
> great
> > to improve these representations with the help of an artist or designer.
> > Perhaps the end goal is for both parties to come to an agreement where
> > the collaboration involves different projects, each sprouting from a
> > different
> > direction. This is a real challenge because it involves mutual
> > understanding
> > at a deep level. I am sure that there are some artists who view computer
> > scientists only as doing stuff to help support their vision (by creating
> a
> > new
> > technology or piece of software to support their artwork), and there are
> > some
> > computer scientists who view art and design purely as support vehicles
> for
> > their
> > visual illustration purposes.
> > The question is whether the artist and scientist can engage in both
> > types of projects (different directions) and agree to support each other
> > where appropriate. It would mean giving a little (by each) during a
> > multi-project
> > collaboration based on an agreed-upon theme of mutual interest (climate
> > change for instance).
> > -p
> >
> >
> >
> > On Mon, Jul 16, 2012 at 7:12 AM, Pau Alsina <palsinag@uoc.edu> wrote:
> >
> > > Roger, Aprille, Rasheed, Paul
> > >
> > > I believe it's not just only a methodological question, neither a
> > > technological aspect that pushes forward SEAD interactions. There are a
> > lot
> > > of types of enablors that could help create good SEAD experiences. We
> > must
> > > look at each of them carefully.
> > >
> > > Briefly I would say that methodologies (how to research) depend on
> > > epistemologies (what to research) and that depends on ontologies (what
> is
> > > the real/ the beings). There are some pieces that fit together better
> > than
> > > the others, and others don't fit at all, or at least are really hard
> that
> > > could work together. It's like a lego....
> > >
> > > Some times, things work well together. For example Latour's
> Actor-Network
> > > Theory (let's say, an epistemology) proved to fit great with etnography
> > (a
> > > methodology) as they shared also a great respect with material culture
> > > status (ontology) and its agency in Science and Technology studies.
> That
> > > time pieces fitted well and STS, Antropology, Etnography are taking
> > > advantatge of this sinergy. As it is taking its course in Media Studies
> > and
> > > elsewhere.
> > >
> > > Other times you don't realize they don't fit until it's too late. You
> > start
> > > working with somebody from another discipline, you set up what to do
> and
> > > some methodologies and techniques to work together, then you start
> having
> > > epistemological discussions about what is and what is not the object to
> > > research - they migth tolerate differences or they migth not- and you
> > end
> > > up having trouble with ontologies -about what deserves to be studied as
> > > it's relevant for the real...You did not know that before you started,
> > > maybe there was a great personal feeling, or an ideal context for
> > > developing a collaboration or collective work, but it simple did'nt
> > worked
> > > out because you hit the hard stone. As Rasheed pointed out some times
> the
> > > "other side" doesn't share the same values, or doesn't
> > tolerate/understand
> > > other's values, and there's no point in collaboration.
> > >
> > > For example, you are an artist trying to work with an Historian because
> > you
> > > both love Art, you both share great personal feeling and have an ideal
> > > context for working together. You believe in the power of Art for
> > enabling
> > > Social transformation. But the Historian conception of History gives
> > > relevance only to structure and Institutions as key agents in all
> > changes,
> > > and those changes can only be achieved through structural revolutions
> and
> > > war. In that sense believes that Art is just a side-effect, and art
> and
> > > the artists are secondary examples, not driving forces at all. That
> > > Historian didn't believe in Art for social change that would lead into
> > > political change and then to structural and institutional change. Then,
> > if
> > > they don't tolerate each other's point of departure, collaboration
> would
> > > ultimately lead into failure.
> > >
> > > And, this is just in a discoursive level, but as we've said, there are
> > > other factors that are related with the "ecosistem" where those
> > > collaborations operate: Political, Economic, Social, Ethical aspects
> that
> > > influence definetivelly those possibilities....Mutual understanding of
> > > those ecosystems' rules is needed. We migth take a look at all of them
> > one
> > > by one in order to recreate those enablers, but of course, SEAD
> > > interactions not always produce valuable content "per se".... inter or
> > > transdisciplinariety doesn't make it all into good as pointed out
> before.
> > >
> > > I also like Paul's suggestion to continue discussion in clarification
> of
> > > the questions arised by Rasheed.
> > >
> > > Many thanks!
> > >
> > > Pau
> > >
> > >
> > >
> > >
> > >
> > > 2012/7/11 roger malina <rmalina@alum.mit.edu>
> > >
> > > > Pau
> > > >
> > > > let me pick on your topic of 'bridges' and consilience
> > > >
> > > > like you i think E O Wilson's concept of consilience turned out
> > > > not to be very productive and rather totalising - am not very
> familiar
> > > > with Gould's " conscilience of
> > > > equal attention"
> > > >
> > > > but yes- one of the way to enable science/engineering to
> > > > arts/design/humanities
> > > > is to find these bridging concepts
> > > >
> > > > i have been reading recently in the field of translation studies and
> > have
> > > > found some interesting ideas- for instance of 'travelling concepts=
> > > > but also the idea that un-translatability exists and one needs
> methods
> > > that
> > > > are well established in cross cultural translation and now
> > > > interdisciplinary
> > > > translation ( or inter-media)
> > > >
> > > > there are bridges that are technological- when artists and scientists
> > use
> > > > the same tools then they start have overlapping epistemologies etc
> > > >
> > > > paul fishwick in his white paper looks at how gaming technologies are
> > > such
> > > > a
> > > > collaboration enabling tool
> > > >
> > > >
> > > >
> > >
> >
> http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/learning-computing-through-game-experiences/
> > > >
> > > > one area that is fertile right now is the science of complex networks
> > > which
> > > > has been found to be productive across the science and humanities
> > > >
> > > > I do think that we need to start being more rigorous in discussing
> > > > collaboration - as depending on the context ( interdisciplinary,
> multi
> > > > disciplinary
> > > > and trans-disciplinary) there need to be differing approaches- but
> > > > certainly
> > > > collaboration as a learned skill is a bridging problem also
> > > >
> > > > it would perhaps be interesting to inventory these bridge areas that
> > are
> > > > currently enabling collaboration between science/engineering with
> > > > arts/design
> > > >
> > > > here in marseille the area of history and philosophy of science is
> > rather
> > > > strong and i have found some of the discussions interesting
> especially
> > > > since history and philosophy of science is very disconnected from the
> > > doing
> > > > of science in general - at lunch today we were discussing
> > > meta-mathematics
> > > > and meta-philosophy !
> > > >
> > > > Roger
> > > >
> > > >
> > > > ---------- Forwarded message ----------
> > > > From: Pau Alsina <palsinag@uoc.edu>
> > > >
> > > > Roger,
> > > >
> > > > > In the book by allen repko on interdisciplinary theory and practice
> > > > > one of the things he does is discuss how different kinds of
> > scientists
> > > > > have different cultures
> > > > > eg observational sciences like astronomy
> > > > > vs experimental sciences like chemistry
> > > > > vs field sciences like ecology
> > > > > vs mathematical sciences like complex networks
> > > > >
> > > > > they are all sciences but in fact the scientists have different
> > > > practices.
> > > > > does it make sense to combine them all or should we create
> > > > > translation methods between culturs of practice ?
> > > > >
> > > > > in arts and humanities we also find similar variations on how
> > > > > the discipline deals with information about the world
> > > > > and intervening in the world= time based arts differ
> > > > > from architecture etc
> > > > >
> > > >
> > > > You mean creating "bridges"? I believe, as Loius Bec says, that art
> > > itself
> > > > is a rare transformational agent that would do that function.
> > > >
> > > > Those other "methodological" or "epistemological" bridges are really
> > hard
> > > > to imagine as a universal set of tools. But of course there are
> > > > "practice-based-theories" that migth prove better bridges than
> others.
> > > This
> > > > would lead into another deep philosophical debate....(that I also
> > enjoy a
> > > > lot, but migth be a whole new focus of discussion)
> > > >
> > > > You migth not agree with Edgar O. Wilson's concept of consilience as
> it
> > > has
> > > > proved to be reductionist, and at the end not taking seriously all
> > fields
> > > > of knowledge equally. But do you think that something not just
> > > theoretical
> > > > could came out from what Stephen Jay Gould says about "conscilience
> of
> > > > equal attention"? Are there already methodology or epistemology tools
> > > > coming out from that? Some techniques or strategies for "jumping
> > > together"
> > > > as Gould says?
> > > >
> > > > Just wondering...
> > > >
> > > >
> > > >
> > > > >
> > > > > Anway i know that the FECYT report and the process that led to
> > > > > it was very useful in spain= as are other efforts internationally
> > > > >
> > > > > for instance in the USA the mellon foundation has just funded a
> major
> > > > > project to promote integrating arts practice into the research
> > > university
> > > > >
> > > > > http://artsengine.umich.edu/
> > > > >
> > > > > ArtsEngine National has been awarded a $500,000, 3.5 year grant
> from
> > > > > the Andrew W. Mellon
> > > > > Foundation to create the first comprehensive guide to best
> practices
> > > > > in the integration of arts
> > > > > practice in U.S. research universities. To be published in Fall
> 2015,
> > > > > the guide is to identify models,
> > > > > obstacles, implementation strategies, costs, and impact on
> students
> > > > > and faculty as well as on
> > > > > research, practice, and teaching in other knowledge areas.
> > > > >
> > > > > With this award, the Mellon Foundation has enabled the national
> > > > > network to make major progress
> > > > > toward our mission of integrating arts practice into the research
> > > > > university.
> > > > >
> > > > > This activity of course is a heads on collision between the "studio
> > > > > based" artists practice
> > > > > versus the research model for the arts ( and all the debate on to
> PhD
> > > > > or not to PhD )
> > > > >
> > > >
> > > >
> > > > As you already know In Europe there is the Studiolabs innitaitive
> > > > http://www.studiolabproject.eu/ that migth work quite in the same
> way,
> > > am
> > > > i
> > > > right?
> > > >
> > > >
> > > > Pau
> > > > _______________________________________________
> > > > 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,
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> > > > 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
> > > > I am in France at the moment
> > > > 33(0)6 80 45 94 47
> > > >
> > > > Announcing new version with videos of
> > > > Leonardo EBOOK on Arts Humanities and Complex Networks
> > > > http://www.amazon.com/dp/B007S0UA9Q
> > > >
> > > > Announcing Leonardo Party in Los Angeles during Siggraph.
> > > > Aug 5-9 If you would like to be invited contact me.
> > > > _______________________________________________
> > > > 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
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> > > >
> > >
> > >
> > >
> > > --
> > >
> > >
> > >
> > >
> > >
> > > Pau Alsina González
> > > Professor dels Estudis d'Arts i Humanitats
> > > Universitat Oberta de Catalunya
> > >
> > > Web Estudis: http://arts-humanitats.uoc.edu
> > > Blog Postgrau: http://laboralcentrodearte.uoc.edu/
> > > Revista Artnodes: http://artnodes.uoc.edu
> > >
> > > (+34) 93 254 (2176) | palsinag@uoc.edu
> > > Av. Tibidabo 39-43. Barcelona 08035
> > > Blog: http://paualsina.wordpress.com
> > > Twitter: @paualsina <http://twitter.com/#%21/paualsina>
> > >
> > >
> > > Aquest missatge s´adreça exclusivament a qui va destinat i pot contenir
> > > informació privilegiada o confidencial i dades de caràcter personal, la
> > > difusió de les quals és regulada per la Llei orgànica de protecció de
> > dades
> > > i la Llei de serveis de la societat de la informació. Si no sou la
> > persona
> > > destinatària indicada (o la responsable de lliurar-lo a qui va
> destinat),
> > > no heu de copiar aquest missatge ni lliurar-lo a tercers per cap
> > concepte.
> > > Si heu rebut aquest missatge per error o l´heu aconseguit per altres
> > > mitjans, us demanem que ens ho comuniqueu immediatament per aquesta
> > mateixa
> > > via i l´elimineu irreversiblement.
> > >
> > >
> > > Abans d´imprimir aquest missatge electrònic penseu en el medi ambient.
> > > _______________________________________________
> > > Yasmin_discussions mailing list
> > > Yasmin_discussions@estia.media.uoa.gr
> > > http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> > >
> > > Yasmin URL: http://www.media.uoa.gr/yasmin
> > >
> > > 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,
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> > _______________________________________________
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> > 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,
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> > Digest Mode" option and set it to either on or off.
> >
>
>
>
> --
>
>
>
>
>
> Pau Alsina González
> Professor dels Estudis d'Arts i Humanitats
> Universitat Oberta de Catalunya
>
> Web Estudis: http://arts-humanitats.uoc.edu
> Blog Postgrau: http://laboralcentrodearte.uoc.edu/
> Revista Artnodes: http://artnodes.uoc.edu
>
> (+34) 93 254 (2176) | palsinag@uoc.edu
> Av. Tibidabo 39-43. Barcelona 08035
> Blog: http://paualsina.wordpress.com
> Twitter: @paualsina <http://twitter.com/#%21/paualsina>
>
>
> Aquest missatge s´adreça exclusivament a qui va destinat i pot contenir
> informació privilegiada o confidencial i dades de caràcter personal, la
> difusió de les quals és regulada per la Llei orgànica de protecció de dades
> i la Llei de serveis de la societat de la informació. Si no sou la persona
> destinatària indicada (o la responsable de lliurar-lo a qui va destinat),
> no heu de copiar aquest missatge ni lliurar-lo a tercers per cap concepte.
> Si heu rebut aquest missatge per error o l´heu aconseguit per altres
> mitjans, us demanem que ens ho comuniqueu immediatament per aquesta mateixa
> via i l´elimineu irreversiblement.
>
>
> Abans d´imprimir aquest missatge electrònic penseu en el medi ambient.
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> 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
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Re: [Yasmin_discussions] consilience and trans-disciplinary bridges as enablors

Paul

I completely agree with all that you have said, but I would add that for
understanding each other's framework it's necessary to understand each
own's framework. It's quite obvious but a high level of self-reflexivity is
previously needed to open to the other.

In my teaching and research I've found so many scientists, engineers,
designers and artists with a total lack of this minimum self-reflexivity.
It's a paradox, but they do what they do because they have been doing it
this way for many time, and never asked themselves why they have been doing
it this way, and if that could be done in another completely different way.
By self-reflexivity I mean to think, know and explore the
(epistemological/ontological) foundations of their practices and theories.

I am not telling that everyone should become a philosopher of science,
technology of art, but at least they should know better and think about
their discipline "foundations", This would make them better scientists,
engineers, designers or artists. And would make them more open to the
other, open to dialogue and collaboration.

I've asked many times the same question to all types of teachers that have
been trying to create this kind of transdisciplinary collaborations with
their students: "How did it happen? Who finally made it?". And many of them
told me that paradoxically for them the students more specialized in their
discipline, those "best students", where the ones more open to collaborate
and the ones that made better results out of their collaboration. I don't
know if this is ok for you as well.

So I guess that for a mutual understanding it's necessary one's
understanding at a deeper lever, and then later, maybe that deeper level
on mutual understanding could happen somehow, somewhere. Maybe that would
help to travel around those differents directions of collaboration you were
mentioning.

Pau



2012/7/17 Paul Fishwick <fishwick@cise.ufl.edu>

> Pau:
> First and foremost, each member of a collaboration needs to understand
> each others' framework. I think this is what you are getting at with the
> discussion of different, and sometimes, conflicting epistemologies and
> ontologies. However, it may be fruitful, or just pragmatic, to agree to
> compromise by letting each "side" do the leading. In this way, everyone
> wins. I'll provide an example.
> As a computer scientist, my core interest is in mathematical and
> computing
> artifacts and processes. If I work with an artist, I will need to
> understand that
> artist but the artist also has to understand me. Let's say for the sake of
> discussion that the artist is driven by creating works that are "socially
> activist" (they are trying to draw attention to a socioeconomic problem).
> I have to recognize that if I build something to help the artist achieve
> one of
> these works, that I may be implicitly playing a supporting role in the
> collaboration because social activism is not my driving force. Actually,
> programmers and computer scientists are used to these sorts of
> collaborations where they play a supporting role.
> Now, let's consider the other direction in the collaboration. In my quest
> to explore novel representations of computing artifacts, it would be great
> to improve these representations with the help of an artist or designer.
> Perhaps the end goal is for both parties to come to an agreement where
> the collaboration involves different projects, each sprouting from a
> different
> direction. This is a real challenge because it involves mutual
> understanding
> at a deep level. I am sure that there are some artists who view computer
> scientists only as doing stuff to help support their vision (by creating a
> new
> technology or piece of software to support their artwork), and there are
> some
> computer scientists who view art and design purely as support vehicles for
> their
> visual illustration purposes.
> The question is whether the artist and scientist can engage in both
> types of projects (different directions) and agree to support each other
> where appropriate. It would mean giving a little (by each) during a
> multi-project
> collaboration based on an agreed-upon theme of mutual interest (climate
> change for instance).
> -p
>
>
>
> On Mon, Jul 16, 2012 at 7:12 AM, Pau Alsina <palsinag@uoc.edu> wrote:
>
> > Roger, Aprille, Rasheed, Paul
> >
> > I believe it's not just only a methodological question, neither a
> > technological aspect that pushes forward SEAD interactions. There are a
> lot
> > of types of enablors that could help create good SEAD experiences. We
> must
> > look at each of them carefully.
> >
> > Briefly I would say that methodologies (how to research) depend on
> > epistemologies (what to research) and that depends on ontologies (what is
> > the real/ the beings). There are some pieces that fit together better
> than
> > the others, and others don't fit at all, or at least are really hard that
> > could work together. It's like a lego....
> >
> > Some times, things work well together. For example Latour's Actor-Network
> > Theory (let's say, an epistemology) proved to fit great with etnography
> (a
> > methodology) as they shared also a great respect with material culture
> > status (ontology) and its agency in Science and Technology studies. That
> > time pieces fitted well and STS, Antropology, Etnography are taking
> > advantatge of this sinergy. As it is taking its course in Media Studies
> and
> > elsewhere.
> >
> > Other times you don't realize they don't fit until it's too late. You
> start
> > working with somebody from another discipline, you set up what to do and
> > some methodologies and techniques to work together, then you start having
> > epistemological discussions about what is and what is not the object to
> > research - they migth tolerate differences or they migth not- and you
> end
> > up having trouble with ontologies -about what deserves to be studied as
> > it's relevant for the real...You did not know that before you started,
> > maybe there was a great personal feeling, or an ideal context for
> > developing a collaboration or collective work, but it simple did'nt
> worked
> > out because you hit the hard stone. As Rasheed pointed out some times the
> > "other side" doesn't share the same values, or doesn't
> tolerate/understand
> > other's values, and there's no point in collaboration.
> >
> > For example, you are an artist trying to work with an Historian because
> you
> > both love Art, you both share great personal feeling and have an ideal
> > context for working together. You believe in the power of Art for
> enabling
> > Social transformation. But the Historian conception of History gives
> > relevance only to structure and Institutions as key agents in all
> changes,
> > and those changes can only be achieved through structural revolutions and
> > war. In that sense believes that Art is just a side-effect, and art and
> > the artists are secondary examples, not driving forces at all. That
> > Historian didn't believe in Art for social change that would lead into
> > political change and then to structural and institutional change. Then,
> if
> > they don't tolerate each other's point of departure, collaboration would
> > ultimately lead into failure.
> >
> > And, this is just in a discoursive level, but as we've said, there are
> > other factors that are related with the "ecosistem" where those
> > collaborations operate: Political, Economic, Social, Ethical aspects that
> > influence definetivelly those possibilities....Mutual understanding of
> > those ecosystems' rules is needed. We migth take a look at all of them
> one
> > by one in order to recreate those enablers, but of course, SEAD
> > interactions not always produce valuable content "per se".... inter or
> > transdisciplinariety doesn't make it all into good as pointed out before.
> >
> > I also like Paul's suggestion to continue discussion in clarification of
> > the questions arised by Rasheed.
> >
> > Many thanks!
> >
> > Pau
> >
> >
> >
> >
> >
> > 2012/7/11 roger malina <rmalina@alum.mit.edu>
> >
> > > Pau
> > >
> > > let me pick on your topic of 'bridges' and consilience
> > >
> > > like you i think E O Wilson's concept of consilience turned out
> > > not to be very productive and rather totalising - am not very familiar
> > > with Gould's " conscilience of
> > > equal attention"
> > >
> > > but yes- one of the way to enable science/engineering to
> > > arts/design/humanities
> > > is to find these bridging concepts
> > >
> > > i have been reading recently in the field of translation studies and
> have
> > > found some interesting ideas- for instance of 'travelling concepts=
> > > but also the idea that un-translatability exists and one needs methods
> > that
> > > are well established in cross cultural translation and now
> > > interdisciplinary
> > > translation ( or inter-media)
> > >
> > > there are bridges that are technological- when artists and scientists
> use
> > > the same tools then they start have overlapping epistemologies etc
> > >
> > > paul fishwick in his white paper looks at how gaming technologies are
> > such
> > > a
> > > collaboration enabling tool
> > >
> > >
> > >
> >
> http://seadnetwork.wordpress.com/white-paper-abstracts/abstracts/learning-computing-through-game-experiences/
> > >
> > > one area that is fertile right now is the science of complex networks
> > which
> > > has been found to be productive across the science and humanities
> > >
> > > I do think that we need to start being more rigorous in discussing
> > > collaboration - as depending on the context ( interdisciplinary, multi
> > > disciplinary
> > > and trans-disciplinary) there need to be differing approaches- but
> > > certainly
> > > collaboration as a learned skill is a bridging problem also
> > >
> > > it would perhaps be interesting to inventory these bridge areas that
> are
> > > currently enabling collaboration between science/engineering with
> > > arts/design
> > >
> > > here in marseille the area of history and philosophy of science is
> rather
> > > strong and i have found some of the discussions interesting especially
> > > since history and philosophy of science is very disconnected from the
> > doing
> > > of science in general - at lunch today we were discussing
> > meta-mathematics
> > > and meta-philosophy !
> > >
> > > Roger
> > >
> > >
> > > ---------- Forwarded message ----------
> > > From: Pau Alsina <palsinag@uoc.edu>
> > >
> > > Roger,
> > >
> > > > In the book by allen repko on interdisciplinary theory and practice
> > > > one of the things he does is discuss how different kinds of
> scientists
> > > > have different cultures
> > > > eg observational sciences like astronomy
> > > > vs experimental sciences like chemistry
> > > > vs field sciences like ecology
> > > > vs mathematical sciences like complex networks
> > > >
> > > > they are all sciences but in fact the scientists have different
> > > practices.
> > > > does it make sense to combine them all or should we create
> > > > translation methods between culturs of practice ?
> > > >
> > > > in arts and humanities we also find similar variations on how
> > > > the discipline deals with information about the world
> > > > and intervening in the world= time based arts differ
> > > > from architecture etc
> > > >
> > >
> > > You mean creating "bridges"? I believe, as Loius Bec says, that art
> > itself
> > > is a rare transformational agent that would do that function.
> > >
> > > Those other "methodological" or "epistemological" bridges are really
> hard
> > > to imagine as a universal set of tools. But of course there are
> > > "practice-based-theories" that migth prove better bridges than others.
> > This
> > > would lead into another deep philosophical debate....(that I also
> enjoy a
> > > lot, but migth be a whole new focus of discussion)
> > >
> > > You migth not agree with Edgar O. Wilson's concept of consilience as it
> > has
> > > proved to be reductionist, and at the end not taking seriously all
> fields
> > > of knowledge equally. But do you think that something not just
> > theoretical
> > > could came out from what Stephen Jay Gould says about "conscilience of
> > > equal attention"? Are there already methodology or epistemology tools
> > > coming out from that? Some techniques or strategies for "jumping
> > together"
> > > as Gould says?
> > >
> > > Just wondering...
> > >
> > >
> > >
> > > >
> > > > Anway i know that the FECYT report and the process that led to
> > > > it was very useful in spain= as are other efforts internationally
> > > >
> > > > for instance in the USA the mellon foundation has just funded a major
> > > > project to promote integrating arts practice into the research
> > university
> > > >
> > > > http://artsengine.umich.edu/
> > > >
> > > > ArtsEngine National has been awarded a $500,000, 3.5 year grant from
> > > > the Andrew W. Mellon
> > > > Foundation to create the first comprehensive guide to best practices
> > > > in the integration of arts
> > > > practice in U.S. research universities. To be published in Fall 2015,
> > > > the guide is to identify models,
> > > > obstacles, implementation strategies, costs, and impact on students
> > > > and faculty as well as on
> > > > research, practice, and teaching in other knowledge areas.
> > > >
> > > > With this award, the Mellon Foundation has enabled the national
> > > > network to make major progress
> > > > toward our mission of integrating arts practice into the research
> > > > university.
> > > >
> > > > This activity of course is a heads on collision between the "studio
> > > > based" artists practice
> > > > versus the research model for the arts ( and all the debate on to PhD
> > > > or not to PhD )
> > > >
> > >
> > >
> > > As you already know In Europe there is the Studiolabs innitaitive
> > > http://www.studiolabproject.eu/ that migth work quite in the same way,
> > am
> > > i
> > > right?
> > >
> > >
> > > Pau
> > > _______________________________________________
> > > 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,
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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.
> > >
> > >
> > > --
> > > Roger Malina
> > > I am in France at the moment
> > > 33(0)6 80 45 94 47
> > >
> > > Announcing new version with videos of
> > > Leonardo EBOOK on Arts Humanities and Complex Networks
> > > http://www.amazon.com/dp/B007S0UA9Q
> > >
> > > Announcing Leonardo Party in Los Angeles during Siggraph.
> > > Aug 5-9 If you would like to be invited contact me.
> > > _______________________________________________
> > > 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,
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> > > HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
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> > >
> >
> >
> >
> > --
> >
> >
> >
> >
> >
> > Pau Alsina González
> > Professor dels Estudis d'Arts i Humanitats
> > Universitat Oberta de Catalunya
> >
> > Web Estudis: http://arts-humanitats.uoc.edu
> > Blog Postgrau: http://laboralcentrodearte.uoc.edu/
> > Revista Artnodes: http://artnodes.uoc.edu
> >
> > (+34) 93 254 (2176) | palsinag@uoc.edu
> > Av. Tibidabo 39-43. Barcelona 08035
> > Blog: http://paualsina.wordpress.com
> > Twitter: @paualsina <http://twitter.com/#%21/paualsina>
> >
> >
> > Aquest missatge s´adreça exclusivament a qui va destinat i pot contenir
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> > destinatària indicada (o la responsable de lliurar-lo a qui va destinat),
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> >
> >
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>



--





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

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

(+34) 93 254 (2176) | palsinag@uoc.edu
Av. Tibidabo 39-43. Barcelona 08035
Blog: http://paualsina.wordpress.com
Twitter: @paualsina <http://twitter.com/#%21/paualsina>


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


Abans d´imprimir aquest missatge electrònic penseu en el medi ambient.
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Re: [Yasmin_discussions] the practical

Dear All,

Sorry to have been silent, I have been working on a deadline, but have followed from the sidelines.


@Natasha, yes of course design as a method to approach this is crucial, but then we need to give design some guidelines :), because...

@ the rest, I love the issues discussed, but personally I am very interested in the down to earth practical solutions to the problems that are discussed. We need to design guidelines for this...perhaps the design of a metaphor could help?


When I spoke earlier about the infrastructures of artistic research collaborations I was thinking about these issues:


1) The financial infrastructure. As a researcher I have been lucky that my work has generated interest from the corporate responsibility world, meaning I have had the good fortune (after long preparations) to be in the position to have a 'moneybag' that allows me to 'shop' for the expertise I need to build my projects. The 'Moneybag' can aid in your
search for the right expertise at the right time and place. This brings
some 'lightness' into the collaborations, as each expert contributes
within a time frame that is not as demanding on their own schedules, they become more like collaborating advisers. This gives the artistic researcher the opportunity to freely search for the collaborations that are functional, in other words dedicated and able to happen in a shorter span.  We need to create financial structures that take into account this type of functioning. Make businesses aware of how they can make relatively small investments, with large benefits, without threatening business.


2) The Institutional infrastructure. This can not be done if one is restricted to a single institute, which is often slow to react. In my own case, we have the structure of a type of consortium, where the money is managed by an organization with the agreement on how it should be spent, but not specifically on what. Here the aims are written on paper in a way that does not diminish my artistic freedom. Collaboration happens not only on the level of expertise, but also strongly on the level of organization and finance. Trust is important. When interacting with the corporate world you have to deal with reports, risk assessments. This is a task that takes a lot from ones research time. Which brings me to the next institutional issues.


- Time. Institutions usually offer artist in residencies for periods of 3 months. This is too short for any collaboration, which is usually a slow process due to all parties involved. What I find useful, is to have an institute that provides the position of artistic researcher in residence that lasts a considerable longer time, but is more low profile. A kind of meta position that can be rounded up in longer periods in a way that does not threaten existing artist in residencies. Here the researcher would be required to give updates at certain intervals.In a sense three months is either too long or too short. One needs long periods to do the research and short periods to discuss interact with the public, so that the artistic results can inform the process, and discourse happens within the collaboration. A scientist one collaborates with can grasp what type of knowledge opportunities lie in short and powerful 'exhibition' presentations by actually
experiencing them in ways that do not threaten their usual time schedules and responsibilities. The art symposium in which the art experiment can be analyzed while it is still up.


- Presentations to the public. The ideal situation of 'artistic researcher in residence' would be very
different from artist in residence. Which might work on a proposal for two months and present it for the last month. The artistic researcher, in
collaboration or not, needs spaces to experiment, but the experiments
are not necessarily ready for public viewing (in the way the are used to).  When public presentations are given, they can be under the wing of the institute in such a way that the viewer/visitor is aware that they are experiments from a longer process. What one views/presents does not necessarily contain something that is finished. One discusses the knowledge that the experiment contains.


- Programming, which is another issue. Many institutes design there programmes around fixed exhibitions, often working/planning a year or two years ahead. Within the time slots a type of flexibility is needed where project spaces are available that can infiltrate in between the larger exhibition concepts. This is being done of course, but it seems more ad hoc, and not integrated in a fixed structure of welcomed knowledge injections. What is practically needed is a kind of attitude that allows artistic researchers to fly around and land where ever it is fruitful.


If we return to the metaphor. Perhaps the metaphor of  the bird that picks at the croc's teeth to mutual benefit. Yes, it might give some itch, but it is not threatening to the croc's functioning, it enhances it. Think about rigid institutional schedules. If I knock on the door of an institute as such a bird, I would be allowed in a week later, as the requirements are not the same. There is no 'threat' to the curatorial aims of the institute. One actully brings in a breath of fresh air, as long as one knows how to 'behave' in such a structure. The same goes for the investing of businesses. 


One example is the following. The Rijksakademie in The Netherlands is a prestigious institute, very hard to get in. They have amazing facilities that their residents don't always make use of full time. During my masters I was allowed to do a ceramic project within that institute. In a sense making use of their expertise, but functioning off radar. Much like an internship functions. Universities, Businesses, Prestigious institutes become accessible as long as most of the collaborations happen low key, off radar, until the right moment. If something valuable happens one may always be able to capitalize on it, but if all is failure (which is not a bad thing!) then one shrugs it off the same way one would shrug off the inadequacies of an intern. But at least the opportunity has a chance to grow, instead of knocking on closed or difficult doors.


Hope this illustrates practical issues that need to be solved to aid complex collaborations. If I need to elaborate let me know, as I am not sure my wordings make sense.

regards,


Jennifer



 
Jennifer Kanary Nikolov(a)| Artistic Researcher
PhD Candidate Plymouth University | Planetary Collegium | M-Node
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