Colleagues
Our YASMIN discussion has slowed - but i got a private email from
colleague Nicola Triscott of ArtsCatalyst who made the following
comment:
"It's been interesting reading the contributions to the Mercado
discussion list. It has helped me to realise that I'm far less
interested in individuals with "hybrid" practices than I am in
multi/trans/inter-disciplinary research groups/projects,"
I think this is an important because there is a huge variety of hybrid
art science practices- ranging from the hybrid individuals, to two
person teams
to small groups
In my case I am currently involved in a project working on an art
science team that is developing new methods to represent complex data,
in this case fMRI network mapping of the human brain- the
collaboration involves both scientists ( a neuroscientist, I am a
astrophysicist, a computer scientist)
but also three artists ( and a small gaming company)- we are trying to
develop techniques to help the scientist make new scientific
discoveries
( using sonification as a technology of attention) but also we will be
performing the data at the restaging of the famous EAT Nine Evenings
being organised
in Seattle this coming october. This has proved to be an exciting
collaboration and clearly the art science practice is collaborative
rather than individual.
Perhaps YASMINERS who are involved in small art science teams would
like to tell us of their experiences. ?
I have commented elsewhere that there are some notable artscience
teams that are 'couples' such as christa sommerer and laurent
mignoneau,
the vasulkas, the harrisons- sometimes both are hybrids, sometimes one
is the art centered and the other member of the couple is the science
or technology centered. Are there any of you on the YASMIN list that
are examples of an art-science couple ?
roger malina
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Wednesday, May 4, 2016
Sunday, May 1, 2016
[Yasmin_discussions] Mercado Central Discussion
Hello Yasminers,
Finally i found some time and here you have my answers. Great to read yours
!!,
Best,
Guillermo.
1- What is your background as a professional scientist? What is your
background in the arts, design or humanities.
I have a PhD in Physics, and i´m researcher in single semiconductor
nanostructure spectroscopy, which belongs to a large interdisciplinar field
of study involving Applied Physics, Nanotechnology, Photonics, Quantum
Optics, Solid State Physics, ... I carried all my career near Valencia
(with some short stays in Edinburgh and Florence), but now I going to
continuous my science research at Sydney for a couple of years.
I don´t have formal studies about art, design or humanities, apart from
some isolated courses. However, i´ve been collaborating as a teacher in the
Visual Arts and Multimedia Master of Fine Arts department of the
Universitat Politecnica de Valencia along the last years. I collaborate
with Salome Cuesta in the Art & Science lectures and develop a lecture
about Communications, Networks and Devices. At the same time, last year
i´ve been pleased to be part of the artists and scientist group at Djerassi
along the 2.0 Scientific Delirium Madness residency, where the "gift of
time " between my colleagues was very productive, enjoyable and rich.
2- When and how did you become involved in a hybrid art/science practice?
I have been involved in some arts from my childhood (I play guitar and I
like to write (Spanish)), in my student days I put some effort to try to
study some art and philosophy lectures to try to complement my physics
studies. I always found science lectures without context. For me it always
was important the concept, but at the same time the history of the concept,
the context of the concept, and the creativity process that allows the
possibility of the concept. In some sense it was always flying around the
idea of science as part of culture. By some interesting platforms and
journals, like Leonardo, Yasmin, Metode, Artnodes, Laboratorio de Luz,
Master de Artes Visuales y Multimedia…, I found this Art & Science
collaboration opportunities.
I´ve been working many aspects of science communication and science
collaboration between disciplines. I´m part of the group Piratas de la
Ciencia, located in Valencia, where we made many efforts to link different
disciplines in our activities, which are not merely science popularization
activities. We always been interested in multidisciplinary discussion
forums, and introduce science activity in life, but in a bi-directional
way: to be speakers and at the same time public in these forums. At the
same time we are very interested in this activity as a science activists,
as we understands that social issues must be visualized and highlighted. As
an example, yesterdar we ended a one month course called "science between
disciplines", where we collaborated with new media artists, lawyers,
cookers, philosophers, … to speak about chemistry, visual representation,
genetics, communication, not only as a science topics, as interdisciplinary
topics. We use our city instalations, and, I must say that we always end
our forums drinking some bears and eating some tapas in the Mercado Central
de Valencia, that is the origin of the name of this discussion. I think
this is a visual example of our intentions: try to speak about connections
between science, art, engineering, legal issues, medicine, communication, …
informally and pleasantly in an exchange place.
3- what have been the major obstacles to overcome?
As Roger said, the major obstacle was to develop two CVs. Of course your
science CV must be great, because if not your science supervisors are not
going to allow you to use time outside conventional science. So, the major
obstacle is that all of this activity is not understood as science activity
(even it is). This means that we use most of our free time to do it.
However, for me is a refreshing activity, and give me good feedback to
conventional science work. So, in this sense, even this art/sci work is
outside the conventional CV and the expected science work, the energy
focused there gives me new ideas, strengths, social linkings, collaboration
platforms, and vital energy, which finally is translated to my conventional
science work. However, even I would like to be always optimistic, to be
honest I must say that it is kind of maddening when you receive these
science evaluation forms from projects or fellowships and this work is just
not taken into consideration.
4- what have been the greatest opportunities/breakthroughs?
When I started to discover that art&sci was a real activity and there were
many people in my country and outside I was just fascinating. I could not
believe that, in fact, there were so many people working and feeling this
interest in the interdisciplinary connections. This was a great surprise,
and not i´m really happy that the community becomes larger and stronger (=
with more project proposals). So, the first opportunity for me was to work
in a fashion that I though that was not possible (because in school and
university is usually not showed). If this was not possible i´m sure I will
not be happy with my physics studies, as I need physics but linked with
different inputs. At the same time, this art/sci forum gives you freedom of
thinking and a great reservoir of links, ideas and data. This is just what
I understand that science research needs.
At the same time, there are concrete opportunities. The use of same
technology, and the inclusion of the social dimension in science, arts and
humanities allows to work in similar spaces (Fablabs), or with similar
strategies (Do It Yourself or Citizen Science examples). I´ve been
fascinating about the following example: Quantum Moves.
https://www.scienceathome.org/games/quantum-moves/game
This is a gamification project from Ahrus University (Denmark) about moving
single atoms with laser light traps. The users (from internet and without
any quantum mechanics background) must move the atom with high fidelity and
short times. All the user plays were recording. Finally, with the data from
users, the research team increased the speed limit to move single atoms
with high fidelity, and publish it in Nature. I recommend to read the link,
where more information can be found. For me this is a great example where
even so focused research and apparently (and it is) very technical and far
from everyday work, can be enhanced by this strategies, where comes from
video-game context, citizen science, and need great and strong
interdisciplinary art, science and humanities teams.
5- what would you do differently, knowing then what you know now?
First, to learn English. Communication is the key in much of the research,
but in the interdisciplinary connections even more. At the same time, to be
confused with people is so easy, because rules are different in each
discipline. You must take special care to details, and things that are
usually true or well accepted in your discipline are not well considered in
another. May be it would have been better not to do some activity than to
do it alone. To do it alone make no sense. And for sure, I MUST have great
time doing it. This is not usually paid, this is not under my CV, I can
accept stress (each activity require it), but this must not be painful
anytime.
6- any advices to someone who may want to walk in your footstep?
As everything in life, do it if you believe in it. I think empathy is
important in the interdisciplinary relations, helps you to try to
understand the different strategies and procedures (it is hard job, but
with great reward). And understand that collaboration and communication are
the keys to a good interdisciplinary project.
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Friday, April 29, 2016
[Yasmin_discussions] Fwd: Remembering Harold Cohen
yasminers
we have some sad news today of the passing of Harold Cohen
that frieder nake informs us
By all criteria harold cohen was an exemplar of the kind
if hybric practice that we have been discussing on the
YASMIN Mercado Central list
http://computer-arts-society.com/static/cas/computerartsthesis/index.html%3Fpage_id=237.html
His practice, as an artist, pioneered a number of theoretical
and technical innovations that has proved to be both pioneering
and influential on the direction of art-science-technology research
and art making
we welcome yasminers know harold cohen for their memories
and comments from those who knew and admired his work
roger malina
---------- Forwarded message ----------
From: nake <nake@informatik.uni-bremen.de
Dear Roger,
I guess you have got the word that Harold Cohen, the greatest in our
small field of algorithmic art, died on 27 April.
Frieder
--
Frieder Nake
University of Bremen, Informatik | Hochschule fuer Kuenste Bremen
P.O. Box 330 440, 28334 Bremen, Germany
nake@informatik.uni-bremen.de | 0421-218 64485 | @CarlCanary |
www.agis.informatik.uni-bremen.de
_______________________________________________
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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
we have some sad news today of the passing of Harold Cohen
that frieder nake informs us
By all criteria harold cohen was an exemplar of the kind
if hybric practice that we have been discussing on the
YASMIN Mercado Central list
http://computer-arts-society.com/static/cas/computerartsthesis/index.html%3Fpage_id=237.html
His practice, as an artist, pioneered a number of theoretical
and technical innovations that has proved to be both pioneering
and influential on the direction of art-science-technology research
and art making
we welcome yasminers know harold cohen for their memories
and comments from those who knew and admired his work
roger malina
---------- Forwarded message ----------
From: nake <nake@informatik.uni-bremen.de
Dear Roger,
I guess you have got the word that Harold Cohen, the greatest in our
small field of algorithmic art, died on 27 April.
Frieder
--
Frieder Nake
University of Bremen, Informatik | Hochschule fuer Kuenste Bremen
P.O. Box 330 440, 28334 Bremen, Germany
nake@informatik.uni-bremen.de | 0421-218 64485 | @CarlCanary |
www.agis.informatik.uni-bremen.de
_______________________________________________
Yasmin_discussions mailing list
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[Yasmin_discussions] Yasmin_discussions
Hi Roger
Happy to respond. I'll be forwarding the remainder of my promised Pioneers
'60-''80s
*1**-what is your background In arts and its practice?*
* On through1940s grade school studies, three influential teachers prompted
and assisted my grounded educational directions; and, these foundations
became my direction-finding impetus; and, ultimately I bequeathed my
undergrad challenges toward art, science, humanitarian initiatives, and
the inevitable pathways, which was fraught from multiple hurdles.
Inspirational foundation fr three grade School Teachers and Scientists:
Karl Jansky's rotating radio wave antenna and George Owen Squier's**:
**"**Researching
the possibility that whole forests could be used as radio
stations—broadcasting weather reports, news from the front lines of war,
and much else besides—is described by Scientific American as performing
"tree radio work.**"*
*2--when and how did you become involved in art/science practice? *
*My main question? the world is wired for what?*
*Concentrating on the W W W W H & Ws, exploring conceptually and
experientially between1969 to 1980s. Initial art pivots fr * *a. *
lithography * b. *ats satellite * c.*satellite perspectives * d. *natural
analog wave forms* e. *Gibbs Fjord monitors w/satellite relaying* f. *three
year old American elm sapling * g. *scanning electron microscope *h. *early
terrain instruments * i. *self broadcasting Birch *j. levitating sounding
sculpture k. *walker art center hene laser, Intel 8080 microprocessor
*l. *segues
to final Analog to Digital inter activities, and group funded wifi-based
project collaborations.
* Audible Construct's students' class analog monitoring projects Lake
Michigan gusts *
*http://www.d.umn.edu/~lbrush/SAICRoofc.69-72.jpg
<http://www.d.umn.edu/~lbrush/SAICRoofc.69-72.jpg> *
*http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg
<http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg>*
*http://www.d.umn.edu/~lbrush/hxgtower.jpg
<http://www.d.umn.edu/~lbrush/hxgtower.jpg>*
http://www.d.umn.edu/~lbrush/Hexagram1971.mp4
http://www.academia.edu/21632765/An_Audible-Constructs_Primer
*3--- what have been the major obstacles to overcome?*
*At my back,disappointing post high school experiences, having struggled
following my post orphanage months in Chicago and, finally $ earning my
way- as a draft dogger in Canada, where I became an radio apprentice for
the CBC in Winnipeg. Two years later i relented, registered for the draft,
and was later honorably discharged.*
*4-- what have been the greatest opportunities*
* and breakthroughs? *
MEADOW PIANO http://www.d.umn.edu/~lbrush/lbarchivesc1.html#anchor33428
http://www.d.umn.edu/~lbrush/lbarchivesc1.html#anchor252178
http://www.leonardo.info/isast/spec.projects/art-science-environment_bib.html
Brush, "Monitoring Nature's Sounds with Terrain-Based Constructions" (
*Leonardo* 17:1)
BAFFIN ISLANDS http://www.d.umn.edu/~lbrush/GibbsFjord1.jpg
TREES, LAKE SUPERIOR ICE FLOES and other natural phenomena -
http://continuo.wordpress.com/2009/07/06/musicworks-30-sound-constructions/
WINDRIBBON http://www.d.umn.edu/~lbrush/lbarchivesf1.html
WINDSCUBE -http://www.d.umn.edu/~lbrush/lbarchivesd1.html#anchor213267
TREES AS CO-AUTHORS http://www.d.umn.edu/%7Elbrush/lbarchivesf2.html
<http://www.d.umn.edu/~lbrush/lbarchivesf2.html>
sound sculptures 1964-1975 -http://www.d.umn.edu/~lbrush/lbarchivesYONY
<http://www.d.umn.edu/~lbrush/lbarchivesYONY.html>
http://www.d.umn.edu/~lbrush/lbarchivesb.html#anchor143814
<http://www.d.umn.edu/~lbrush/lbarchivesYONY.html>
Belgium installation http://www.musica.be/en/windribbon-leif-brush
AllMusic Review by "Blue" Gene Tyranny
Since 1968, Leif BRUSH made sound installations and performances in
galleries and public places around the world using his Terrain instruments
-- The Minnesota Permanent Forest Terrain Instruments: The Signal Disc,
Whistler, Wind Ribbons, Rain drop triggers, Tree leave Filters, Tree harps
Networking, Modified Treeways -- and an array of accelerometer xyz sensors
(solar-powered amplifiers) connected to Intel 8080 microprocessor,
controlled and updated via FM up/down loads - via KSJN Minneapolis and
using telephone wires to connect local speaker-placed spaces in the one
acre environment,which amplified and articulated natural phenomena.
Mysterious and beautiful.
Google Books
"New music in the area of conflict of science and technology "
http://www.d.umn.edu/~lbrush/Jorn%20P.%20Hiekel.pdf
Terraplane performance http://www.d.umn.edu/~lbrush/BraubSixtant.jpg The
Braun Sixtant dirigible receives data from a variety of sensors and
simultaneously resends these analog mirrorings- which are varied aural
surface layerings, including the escarpment's face together with an array
of terrain sound and vibrations for multiplex input- and utilizing radar,
satellite andFM-transmitting/receiving channels. Together in tandem with
visual counterparts, these terrain surfaces are observed by stationary
cameras in the dirigible. Imaging this vision uses heat-imaging sensors
together with a fish-eye video lens. Incoming inputs are mixed together in
the dirigible. This fusion merging of sound and image is intended to
provide a perceptually faux holographic whole. This spatial capture,
necessarily, includes enrichments from nuanced sound playings of earthen
features, whose anomolies may be wind-disturbed, emphasizing aural/visual
textures and expected wide ranging fluxed soundings. Realtime describes his
challenge: these aural and visual counterparts from exisiing inputs are
combined (multiplexed) in the Braun Sixtant and are instantly re-relayed to
the ground-to-satellite uplink. This whole context is simultaneously handed
over (uploaded) to Westar IV satellite and thereafter may be demultiplexed
(decoded) and downloaded into the black set top box for re-construction
into multiple speakers of all the sound and vision details.
DAWN 1980 CHORUS http://www.d.umn.edu/~lbrush/TransCanada_c.80.pdf
*5-- what would you do differently, knowing then what you know now?*
*Want 10 additional years.*
*6-- any advices to someone who may want to walk in your footstep?*
*Crowd source and conceptualize interactive Art-Science recycled across
applications and local community boundaries.*
*7. Add other questions and your responses you think are relevant *
*Douglas Kahn contrasts the early military use of trees as antennas by
Squier, better known as the inventor of Muzak, with the use of trees in the
performative telecommunications of the American artist Leif Brush beginning
in the 1960s, as a way to ask about energies, communications and
survivability in the Warm War.*
*a.**t*errestrial winds, natural phenomena
http://www.d.umn.edu/~lbrush/71-72playing.jpg
*b**.* ats satellite
*c. *world stage satellite perspectives
*http://www.d.umn.edu/~lbrush/asatellite68.jpg*
<http://www.utdallas.edu/ah/people/faculty_detail.php?faculty_id=376>
*d**. *comprehending/understanding & sorting natural phenomena's analog
wave forms via
Michigan hexagram roof monitor
*http://www.d.umn.edu/~lbrush/SAICroofhexagram-69_72.jpg*
<http://www.utdallas.edu/ah/people/faculty_detail.php?faculty_id=376>
*e**. *Gibbs Fjord monitors w/satellite relaying
http://www.d.umn.edu/~lbrush/GibbsFjord1.jpg
*f**. *An three year old American elm sapling was removed from our front
lawn and allowed to dry before being subjected to a mildly vibrating
miniature motor. It was attached to its base with a rubber cushion (for
dampening). This specimen appeared to me to be a miniature of its full and
mature growth. In effect, I felt that some vibrations would generally be in
the analog frequency ranges of a mature tree. I plan on obtaining aural and
visual signatures in future projects.
http://www.d.umn.edu/~lbrush/ditheredElmimage.jpg
*g.*scanning electron microscope
http://www.d.umn.edu/~lbrush/MapleleafSEM.jpg
*h.**terrain instruments defined*
*http://weblackwhole.net/Aspects%20Of%20The%20Terrain%20Instruments%20.pdf
<http://weblackwhole.net/Aspects%20Of%20The%20Terrain%20Instruments%20.pdf>*
*http://www.d.umn.edu/~lbrush/terraininstruments.html
<http://www.d.umn.edu/~lbrush/terraininstruments.html>*
*conceptual and terrain instrument prototypes *
*http://www.d.umn.edu/~lbrush/lbarchivesb.html
<http://www.d.umn.edu/~lbrush/lbarchivesb.html>*
*1980 *Terraplane Chorography II: International. Listening (1980, New Music
America, Walker Art Center, loring. Park, Minneapolis
*New Music America: 1980: Selected Highlights, Program 2*
*http://radiom.org/detail.php?omid=NMA.1980.06.XX.02.A
<http://radiom.org/detail.php?omid=NMA.1980.06.XX.02.A>*
http://www.d.umn.edu/~lbrush/Walkerlaser.jpg
http://www.d.umn.edu/~lbrush/TIwcubed.jpg
Terrain Instrumenthttp://www.d.umn.edu/~lbrush/terraininstruments.html
*i.* self broadcasting Birch
http://www.d.umn.edu/~lbrush/lbarchivesf2.html#anchor823475
http://www.d.umn.edu/~lbrush/selffbroadcastingv2.jpg
http://www.d.umn.edu/~lbrush/lbarchivesf1.html#anchor385911
j. levitating sound sculpture
k. performance walker art center mineapolis mod-laser, Intel 8080
microprocessor
http://www.d.umn.edu/~lbrush/LBw_TI202.jpg
http://www.d.umn.edu/~lbrush/terraplanelaser.jpg
http://www.d.umn.edu/~lbrush/Walkerlaser.jpg
http://www.d.umn.edu/~lbrush/202.jpg
l. segues to final A to D projects
http://classic.rhizome.org/commissions/proposal/2588/
Tackling collaborative iniatives, in particular, the social net-worker's
ethical, humanitarian and creative challenge re one to many 'for 0common
good"; U.S.G. neighborhood and leadership subsidies for solar roofs,
appliances, e.g.,12 volt refrigerators based on the evolving global Nano
revolution, .gov and commerce upgrades.
why
a pioneering .edu endeavor- seeks unique collaborative global
artists-scientists, like-minded and path-searching people- via global,
zeroing school newspaper ads; Skype and, as foundation, an epicentral
platform from which to eventually segue a World Playing wiki resulting =as
orchestral leader of a prototypical Mesh node http://projectmeshnet.org/.
As catalyst-teacher re this projection, the expected base goal would be to
demonstrate humanitarian values and explore perceptions among one mind and
many- in all forms of two-way human interactions.
Who
A predetermined number of contributors - yet to be identified by this
process - would coalesce the prototypical neighborhood to neighborhood
fluxing of the inherent toward node-construction, which would coalesce and
transmit from multiple terrestrial vantages; among its objectives would be
to; (a) mirror an unimaginable phenomena re physical and organic aspects of
the natural world- in an effort to include eye-ear parity; (while
acknowledging the intuitive perceptions of prehistoric people, (b)
elucidate intertwined thinking beyond borders and countries, achieving a
meticulously new coin from which to formulate international commerce, its
corporate stewardship, and sponsorship.
What How
includes (wifi/laser) optical aspects and vital Nano-"commerce/interactive,
global humanitarian, and feedback-partnerships.
http://yasminlist.blogspot.com/2012/02/re-yasmindiscussions-networking-50.html
Leif
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[Yasmin_discussions] mercado central
yasminers
Antonio Catalano sends us his lessons learned in in hybrid art-science work
roger malina
Hello Roger,
So here are my answers:
1- what is your background as a scientist? In the arts, design or humanities ?
I hold a Msc in Pharmaceutical Chemistry, a Master in Bioethics and a
Master in Cognitive Science and Interactive Media. Ops, well, the last
one is between science, technology, design & culture, so things
already become blurring... In arts I have training in music (private
school) and currently training for 5 years as an actor in an
independent theatre company. Many other little courses opened me to
different approaches that I am trying to apply to contemporary art.
I am currently working as Technical Director for a private R&D and
production center in the pharma&beauty sector, based in Italy, while
working with an NGO called MetaArte Associazione Arte&Cultura as an
actor and organizer. Sometimes I create contemporary art
installations. I am interested in complex systems.
2- when and how did you become involved in a hybrid art/science practice?
I was running on two tracks since high school, studying science but
playing with my band in the meanwhile. Then I slowly started reasoning
on the two of them togheter, as ways to internalize the world around
us and externalize the world inside us. I cooperated with a small
local NGO trying to organize international events dealing with
art&nanotechnologies, and finally discovered that there is a whole
world of art/science professionals at Mutamorphosis, Prague, 2007. It
was real!
3- what have been the major obstacles to overcome?
I don't think I overcame them yet! In my country nowadays it is really
hard to define yourself as an artist. Imagine a sciartist! Biggest
difficult I am facing is to keep credible to the scientific community
e.g. working both as a toxicologist and performing street art with
stilts. And to keep credible to the arts community making art and
surviving by working in an industry.That's why I keep the two
professional tracks separate, and created a stage name, Antonio Irre,
for my artistic works. And time, oh time. That's another big
difficulty when you work on different fronts. And identity...
sometimes you just get lost. Really lost. Other difficulties are much
more fun, e.g. create a work of art and science that goes beyond
art&technology, but these are the challenges that I like. But they
takes time. Oh, time!
4- what have been the greatest opportunities/breakthroughs?
My parents gave me much liberty in my choices, allowing me to explore
different approaches, to create my personal track. Even if it was/is
quite strange! Then, things happen if you go for them long enough.
5- what would you do differently, knowing then what you know now?
I don't know enough yet.
6- any advices to someone who may want to walk in your footstep?
Keep exploring, read, read, read, and then do, work on your weak
points, approch things that are very far from you and your world,
connect the dots. Don't follow this track if you want a life full of
friends & spare time & other amenities. But consider that it is a
useful track, a cross-contamination that greatly improves creativity
and smart thinking. Ah, create nets! E.g. adding me on FB as Antonio
Irre.
Well, thank you for the invitation, I have not a big experience, still
trying to grasp how to manage and what to do with that, but I am happy
to share my thoughts with you all.
Hope to meet you around soon!
Greetings,
Antonio
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Antonio Catalano sends us his lessons learned in in hybrid art-science work
roger malina
Hello Roger,
So here are my answers:
1- what is your background as a scientist? In the arts, design or humanities ?
I hold a Msc in Pharmaceutical Chemistry, a Master in Bioethics and a
Master in Cognitive Science and Interactive Media. Ops, well, the last
one is between science, technology, design & culture, so things
already become blurring... In arts I have training in music (private
school) and currently training for 5 years as an actor in an
independent theatre company. Many other little courses opened me to
different approaches that I am trying to apply to contemporary art.
I am currently working as Technical Director for a private R&D and
production center in the pharma&beauty sector, based in Italy, while
working with an NGO called MetaArte Associazione Arte&Cultura as an
actor and organizer. Sometimes I create contemporary art
installations. I am interested in complex systems.
2- when and how did you become involved in a hybrid art/science practice?
I was running on two tracks since high school, studying science but
playing with my band in the meanwhile. Then I slowly started reasoning
on the two of them togheter, as ways to internalize the world around
us and externalize the world inside us. I cooperated with a small
local NGO trying to organize international events dealing with
art&nanotechnologies, and finally discovered that there is a whole
world of art/science professionals at Mutamorphosis, Prague, 2007. It
was real!
3- what have been the major obstacles to overcome?
I don't think I overcame them yet! In my country nowadays it is really
hard to define yourself as an artist. Imagine a sciartist! Biggest
difficult I am facing is to keep credible to the scientific community
e.g. working both as a toxicologist and performing street art with
stilts. And to keep credible to the arts community making art and
surviving by working in an industry.That's why I keep the two
professional tracks separate, and created a stage name, Antonio Irre,
for my artistic works. And time, oh time. That's another big
difficulty when you work on different fronts. And identity...
sometimes you just get lost. Really lost. Other difficulties are much
more fun, e.g. create a work of art and science that goes beyond
art&technology, but these are the challenges that I like. But they
takes time. Oh, time!
4- what have been the greatest opportunities/breakthroughs?
My parents gave me much liberty in my choices, allowing me to explore
different approaches, to create my personal track. Even if it was/is
quite strange! Then, things happen if you go for them long enough.
5- what would you do differently, knowing then what you know now?
I don't know enough yet.
6- any advices to someone who may want to walk in your footstep?
Keep exploring, read, read, read, and then do, work on your weak
points, approch things that are very far from you and your world,
connect the dots. Don't follow this track if you want a life full of
friends & spare time & other amenities. But consider that it is a
useful track, a cross-contamination that greatly improves creativity
and smart thinking. Ah, create nets! E.g. adding me on FB as Antonio
Irre.
Well, thank you for the invitation, I have not a big experience, still
trying to grasp how to manage and what to do with that, but I am happy
to share my thoughts with you all.
Hope to meet you around soon!
Greetings,
Antonio
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Thursday, April 28, 2016
[Yasmin_discussions] test
Roger F Malina
is in Dallas 1-510-853-2007
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is in Dallas 1-510-853-2007
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Wednesday, April 27, 2016
[Yasmin_discussions] STEAM: How do educators prepare students for jobs that don’t even exist yet?
Yasminers
thanks to those of you who have been sending in your responses to the
questions developed
by Francois Joseph Lapointe= Let me encourage you for a few more days
to send in your
own response- in a few days we will move on to another question" what
are exectional
examples ( exemplars" of hybrid art-science practice.
thanks to those of you who have been sending in your responses to the
questions developed
by Francois Joseph Lapointe= Let me encourage you for a few more days
to send in your
own response- in a few days we will move on to another question" what
are exectional
examples ( exemplars" of hybrid art-science practice.
In the meantime here are the questions that we hope more yasminers
will send in their response to:
1- what is your background as a scientist? In the arts, design or humanities ?
2- when and how did you become involved in a hybrid art/science practice?
3- what have been the major obstacles to overcome?
4- what have been the greatest opportunities/breakthroughs?
5- what would you do differently, knowing then what you know now?
6- any advices to someone who may want to walk in your footstep?
7. Add other questions and your responses you think are relevant
Meanwhile for your amusement this announcement just hit my desk:
How do educators prepare students for jobs that don't even exist yet?
Bringing powerful STEAM learning to your school
Wednesday, April 27, 2016 | 02:00 PM EDT // 11:00 AM PDT
ABOUT THE EVENT
Now more than ever, it is important that students engage in STEAM
learning in order to be ready for what is
around the corner. STEAM – adding Arts to STEM – provides a full
360-degree approach to 21st-century learning.
This webinar will give you the inspiration to start your own STEAM
learning initiative in your school or district as well as the
necessary tips
, tricks, and tools for implementing a successful program.
Find out how STEAM permeates the entire curriculum and how tools
such as littleBits get students inventing and
reimagining the world around them.
roger malina
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