Re: [Yasmin_discussions] serious discussion of STEAM

hello!

just some thoughts

I.e., none of us want a "creative" doctor -- we want, rather, a
> doctor who can apply the very latest "best practices" as defined
> by his or her profession.
>

Of course this depends on what you mean by "disease" and by "cure", on what
boundaries you set in their
social/political/psychological/anthropological/cultural contexts.

For example I don't really know if doctors such as Franco Basaglia would
agree on this.

As a matter of fact when you realize that "disease" and "cure" do not begin
and end in the hospital or in the lab, and that, for example, when you get
cancer you don't get it alone – your friends and relatives become ill as
well, because their lives change completely; your students become sick,
too, because you can't teach them anymore; your grocery store becomes
diseased, because you can't shop there anymore; your entire nation gets
sick, because they pay the taxes for your national health system; all in a
sequence of different psychological, cultural, financial, economic, social,
relational manifestation of the disease which are all "cancer": where does
the disease "end"? – creativity, art and their interweaving and
collaborating with sciences and technologies become more than welcome and,
let me use a strong word, "necessary".

Salvatore

--
*[**MUTATION**]* *Art is Open Source *- http://www.artisopensource.net
*[**CITIES**]* *Human Ecosystems Ltd* - http://human-ecosystems.com
*[**NEAR FUTURE DESIGN**]* *Nefula Ltd* - http://www.nefula.com
*[**RIGHTS**]* *Ubiquitous Commons *- http://www.ubiquitouscommons.org
---
Professor of Near Future and Transmedia Design at ISIA Design Florence:
http://www.isiadesign.fi.it/
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[Yasmin_discussions] serious discussion of STEAM

Dear Yasminers,

Please critique the following thoughts I am going to share -- at
her invitation -- with Julia Buntaine as she prepares to teach a
brand new STEAM course at Rutgers this coming semester;
and please add your own -- she is going to be in uncharted
waters!

1. It would seem to me to be a very useful thing to ask each of
your students, as an initial exercise, to identify one work of art
which really means something to them -- and here I am
assuming a work of visual art, as this seems to be the context
of our efforts, and also because that branch of the arts which
is the most "out there"; and the point being, of course, to
establish that art -- whether or not it can be integrated into
their professional careers -- is an important part of their lives.
This will also give you an opportunity to find out where each of
your students is coming from aesthetically, and there should
be no pressure on them to choose a Picasso or Giacometti;
but you may be shocked to find that some of your students
-- even at Rutgers! -- have never been given the opportunity to
develop an aesthetic sensibility, and to which extent you will
be attempting to fly a kite on a windless day. I.e., the
assumption is that this is NOT a course in "Art Appreciation"
-- that should be a given!!!!! -- but rather a course about
integrating art into one's professional career.

2. I would also establish some formal occasions for a frank
discussion about the extent to which "creativity" as such can
actually be integrated into professions which otherwise require
a great deal of deal of training and effort. An engineer or
designer of course has the opportunity to be creative; but a
career as an airline pilot is an entirely different story! The
current movie "Sully" notwithstanding, the pilot is NOT
expected to be creative, but rather to be able to apply "by the
book" responses which exist -- and in detail! -- for a huge range
of contingencies; and it is no wonder, therefore, that the extent
of depression among airline pilots is now becoming news. And
-- let us be honest -- are not professionals like doctors and
accountants bound to a great extent by the same standards?
I.e., none of us want a "creative" doctor -- we want, rather, a
doctor who can apply the very latest "best practices" as defined
by his or her profession.

3. That having been said, I have been very taken by Dr. Gemma
Anderson's post on "Drawing as a Way of Knowing" -- and I am
realizing that this is a hugely under-appreciated aspect of
artistic talent, i.e., the masterful hand on the OUTPUT side as
a function of the all-seeing and discriminatory eye on the
INPUT side -- and what profession could not benefit from
clearly-delineated views of what is being faced? So, therefore,
it might be an interesting exercise for you to ask your students
to produce a sketch depicting an actual or typical situation with
which they might deal in their respective professions; or -- as
explained to me by a quite astute businessman -- it is critical,
if your organization is to take advantage of a given opportunity,
to be able to step up to a blackboard and depict that opportunity
in a sketch.

And so, Julia, maybe the simple blackboard -- and the line
drawing!!! -- will become the focus of this and future courses!

Regards,
Glenn

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Re: [Yasmin_discussions] STEM to STEAM: knowledge, inconsistencies and risks

In response to Marco's post -

There are a few problems which I'm constantly trying to grapple with - let
me preface this by saying that I went to a college (Hampshire College)
where you design your own curriculum and are only evaluated, not graded. In
most cases, every student has a cross-disciplinary education and graduates
knowing the LANGUAGE of multiple disciplines. Which brings me to my first
point, something many in this group have probably already discussed:

1. How do we get over the language problem? Even if (and they are) art and
science are compatible, their specialization has led to unique language (or
not unique, but with different meanings).

Should we devise a list of words, from each STEAM discipline, that everyone
'should' know the definition of? Is this even possible? I'm going to do
this for my upcoming STEAM course at Rutgers, I will be happy to share the
results with anyone interested (julia.buntaine@gmail.com).

and I think Marco's point about being weary is critical - specialization of
disciplines has led to crucial advancements in the fields, and we cannot
let the fields dilute one another, only enhance. So where is this line, and
who draws it? Is there an overarching guide to be found, or need it be on a
case by case basis always?

and -

2. How can we get STEM to value art beyond the "invite the artist in to
paint the rocket" scenario?

I think this lies in emphasizing that all fields in STEAM rely on
creativity as their foundation. Recognizing this may lead to more evolved
viewpoints from each of the S T E A M for one another.

*Julia Buntaine*
*Neuroscience-based art: www.JuliaBuntaine.com
<http://www.juliabuntaine.com>*

*Innovator-in-Residence at Rutgers UniversityDirector at SciArt Center
<http://www.sciartcenter.org>*
*Editor-in-Chief of SciArt Magazine <http://www.sciartmagazine.com>*

On Tue, Dec 20, 2016 at 3:21 PM, Marco Donnarumma <lists@marcodonnarumma.com
> wrote:

> Dear Yasminers, and all involved in the discussion,
>
> Thanks for launching and contribute to this discussion. I'll skip the info
> about me, for Roger was so kind to forward my previous email which included
> links etc. Here I'd like to follow up on a couple of points which emerged
> so far.
>
> While we may all agree that art and science contribute to create knowledge,
> it is important to recognize that they contribute to *different kinds* of
> knowledge.
> Roger (2006) wrote one of my favourite quotes in this regard: 'Most science
> is normative and need make no appeal to extra disciplinary sources for its
> advancement'. The kind of knowledge an artist is interested and invested in
> is different from the one a scientist is concerned and work for. It is, of
> course, a matter of methodologies, history of practices, contexts and,
> perhaps more importantly, questions, which originate in and evolve through
> different means: artistic aesthetic and scientific hypothesis. An artist
> does not need a hypothesis to make a good artwork, in the same way as a
> scientist does not need an aesthetic to make good science.
>
> Thus, crucially, we should be wary of the re-staging of normative science
> in artistic endeavour, as well as the functional uses of art to enhance
> scientific or technological productivity; art & science is about 'working
> outside current paradigms, taking conceptual risks', citing Roger again.
> The unique possibility available to us today is that we can merge
> disciplines towards new practices of experimentation. This, however, has to
> be done mindfully, for it will likely result in contrasts and
> dissimilarities which are not easily defended and sometimes must be taken
> for what they are: inconsistencies. This is, after all, one of the aspects
> that contributes to the richness of art and science practice itself.
>
> Importantly, this does not signify an incompatibility between art and
> science; rather, it indicates an intrinsic complementarity, which we may
> trace back decades and centuries ago. Art & science, it was already hinted
> at, is nothing new. Through deeply transdisciplinary approaches, especially
> in education, such complementarity can be fully investigated, leveraged and
> developed further.
> This mode of transdisciplinarity, what Roger calls 'deep art-science
> coupling', requires the artist-researcher to have an in-depth knowledge of
> all the fields being engaged with. This is necessary to highlight
> contrasts, exploit complementary aspects and generate connections among
> science, art and theory.
>
> To conclude, what I find exciting today is that we (artists and scientists)
> have the overt possibility to formulate questions *together*; sometimes we
> even get money to do explicitly so. Being a practitioner artist with a
> scientific or transdisciplinary degree is less rare today than it was a few
> decades ago, but more importantly, we get more easily to sit together
> around the same table. So the issues become: Assuming that art and science
> work through and for different kinds of knowledge, how do we go about
> asking questions? How do we combine our methodologies in ways which are, at
> once, non-exclusive, respectful and risky?
>
>
> Malina, R.
> 2006. Welcoming Uncertainty: The strong case for coupling the contemporary
> arts to science and technology. In Artists-in-labs : Process of Inquiry, J.
> Scott, ed., P. 15. Wien: Springer
>
>
> --
> Marco Donnarumma, Ph.D.
> *Performing bodies, sound and machines*
> http://marcodonnarumma.com
>
> Research Fellow at Universität der Künste Berlin
>
> *Human-Machine Configurations (2016-18)*
> https://www.udk-berlin.de/en/research/graduate-school/
> fellows/marco-donnarumma/
>
> Studio
> Einsteinufer 43, Raum 212
> 10587 Berlin, DE
> m: +4915221080444
> 4w33534643646
> --
> _______________________________________________
> 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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> Mode" option and set it to either on or off.
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[Yasmin_discussions] STEM to STEAM: knowledge, inconsistencies and risks

Dear Yasminers, and all involved in the discussion,

Thanks for launching and contribute to this discussion. I'll skip the info
about me, for Roger was so kind to forward my previous email which included
links etc. Here I'd like to follow up on a couple of points which emerged
so far.

While we may all agree that art and science contribute to create knowledge,
it is important to recognize that they contribute to *different kinds* of
knowledge.
Roger (2006) wrote one of my favourite quotes in this regard: 'Most science
is normative and need make no appeal to extra disciplinary sources for its
advancement'. The kind of knowledge an artist is interested and invested in
is different from the one a scientist is concerned and work for. It is, of
course, a matter of methodologies, history of practices, contexts and,
perhaps more importantly, questions, which originate in and evolve through
different means: artistic aesthetic and scientific hypothesis. An artist
does not need a hypothesis to make a good artwork, in the same way as a
scientist does not need an aesthetic to make good science.

Thus, crucially, we should be wary of the re-staging of normative science
in artistic endeavour, as well as the functional uses of art to enhance
scientific or technological productivity; art & science is about 'working
outside current paradigms, taking conceptual risks', citing Roger again.
The unique possibility available to us today is that we can merge
disciplines towards new practices of experimentation. This, however, has to
be done mindfully, for it will likely result in contrasts and
dissimilarities which are not easily defended and sometimes must be taken
for what they are: inconsistencies. This is, after all, one of the aspects
that contributes to the richness of art and science practice itself.

Importantly, this does not signify an incompatibility between art and
science; rather, it indicates an intrinsic complementarity, which we may
trace back decades and centuries ago. Art & science, it was already hinted
at, is nothing new. Through deeply transdisciplinary approaches, especially
in education, such complementarity can be fully investigated, leveraged and
developed further.
This mode of transdisciplinarity, what Roger calls 'deep art-science
coupling', requires the artist-researcher to have an in-depth knowledge of
all the fields being engaged with. This is necessary to highlight
contrasts, exploit complementary aspects and generate connections among
science, art and theory.

To conclude, what I find exciting today is that we (artists and scientists)
have the overt possibility to formulate questions *together*; sometimes we
even get money to do explicitly so. Being a practitioner artist with a
scientific or transdisciplinary degree is less rare today than it was a few
decades ago, but more importantly, we get more easily to sit together
around the same table. So the issues become: Assuming that art and science
work through and for different kinds of knowledge, how do we go about
asking questions? How do we combine our methodologies in ways which are, at
once, non-exclusive, respectful and risky?

Malina, R.
2006. Welcoming Uncertainty: The strong case for coupling the contemporary
arts to science and technology. In Artists-in-labs : Process of Inquiry, J.
Scott, ed., P. 15. Wien: Springer

--
Marco Donnarumma, Ph.D.
*Performing bodies, sound and machines*
http://marcodonnarumma.com

Research Fellow at Universität der Künste Berlin

*Human-Machine Configurations (2016-18)*
https://www.udk-berlin.de/en/research/graduate-school/fellows/marco-donnarumma/

Studio
Einsteinufer 43, Raum 212
10587 Berlin, DE
m: +4915221080444
4w33534643646
--
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[Yasmin_discussions] (no subject)

Yasminers


Dear Roger,

Luca Forcucci joins us as an invited respnder

roger

from Luca

I am interested to participate in the discussion of stem to steam.

Since 2009 I have been part of the project Swiss Artists in Lab at the
Brain Mind Institute in Lausanne. I have a PhD from De Montfort
University in Music, Technology and Innovation, and a MA in Sonic Arts
from SARC at Queens University Belfast. I also conducted my research
at Sound Studies, UdK Berlin, Mint La Sorbonne, INA/GRM (Institut
National d'Audio Visuel / Groupe de Recherches Musicales) at Radio
France Paris and TU Electronic Music Studio Berlin.

At the moment, I continue my research in cognitive neuroscience as an
independent artist, and with the expertise from several
neuroscientists in France, UK and Switzerland. My interest resides in
perception and consciousness.

These are some recent works.

http://www.swissnexsanfrancisco.org/event/bodyscape/

http://www.sciartmagazine.com/blog/interview-dance-data-and-sound-in-luca-forcuccis-bodyscape

Thank you
Best Regards
Luca Forcucci
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[Yasmin_discussions] stem-to-steam-or-ways-of-knowing

Yasminers
Paul Fishwich has blogged a response to our
STEAM Discuccion


http://creative-automata.com/2016/12/20/stem-to-steam-or-ways-of-knowing/

firstmfew paragraphs

A lot of us are interested in STEAM - Science, Technology,
Engineering, Art and Mathematics. But what does STEAM actually mean?
I've published a couple of prior posts on STEAM: Why the Steam
Argument is One-Sided, and From STEAM to Shame but this time, I'd like
to start out with some reflection on what we are doing. Even though
STEAM is a popular acronym, there are others: SEAD, STEMM, AST (from
CAST), ArtScience, Art&Science, and so on. It is easy to get lost in a
plethora of letters.

What combines all of these acronym-inspiring efforts together is a
simple idea: perspective-taking, which is also known by other phrases:
ways of knowing, epistemological pluralism, and empathy. John Berger's
Ways of Seeing was one take on seeing from different perspectives.
Berger focused on what has evolved into Cultural Studies: posing
culturally loaded interpretations of art objects. Although, I find
Horowitz's take in On Looking more enlightening since the perspectives
are very different, and the objects and spaces of interest are diverse
(easily crossing into STEAM territory). It is easy to fall prey to the
trap of guessing how other people think without asking them. Some
perspective taking in art/science is where artists view mathematics,
science, and technology only as tools for their use, and STEM
advocates take a complementary view for Art and Design (artists making
great looking things). We can go beyond this.

The rest of Paul's post is on:

http://creative-automata.com/2016/12/20/stem-to-steam-or-ways-of-knowing/

roger malina
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[Yasmin_discussions] STEM to STEAM discussion

yasminers

we are pleased to welcome marco donnarumma
as an invited respondent on our stem to steam
discussion

reminder to people who just joined- the
archive of posts is available at http://yasminlist.blogspot.fr/

roger malina

From: Marco Donnarumma <sad@flxer.net>

Dear Roger,

Marco here. I'm a performance artist and scholar focused on the
political relations of the human body and technology. I've been
lurking on Yasmin and posting a few announcements.

This kind of theme is quite dear to me. I recently completed a PhD in
performing arts, computation and body theory at Goldsmiths, where I
also draw upon some of your reflections on science and art "deep
coupling" to elaborate on my transdisciplinary practice.
http://marcodonnarumma.com/research/phd-thesis/

I'm currently a research fellow at Berlin University of the Arts in
partnership with the Neurorobotics Research Laboratory at
Beuth-Hochschule für Technik Berlin.
https://www.udk-berlin.de/en/research/graduate-school/fellows/marco-donnarumma/

Thank you,

--
Marco Donnarumma, Ph.D.
Performing bodies, sound and machines
Universität der Künste Berlin
http://marcodonnarumma.com

Studio
Markgrafendamm 34
10245 Berlin, DE

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