Monday, February 27, 2012

Re: [Yasmin_discussions] networking 5.0

Hello all

In December 2011 a telepresence meeting was organised simultaneously
in Hangar, Barcelona, and Laboral, Gijón, with temporary connections
to Poitiers and Montréal. Using the Scenic software developed by the
SAT in Montréal and a high speed fibreoptic connection we were able to
carry out, for a week, an experiment in working together at distance.
Not only did audio and video data transit through the network but also
multiple sensor data - humidity, light, pressure, on/off.

Intact carried out a performance: http://vimeo.com/37058260

The distributed group was exceptional - Marcel·li Antúnez,
Minipimer.tv, Intact, Alg-a, Jorge Luis Marzo, el pueblo de china,
Paula Pin and many more who had responded to the open call - but there
were moments when communication failed. It was very interesting to
note, once again, the importance of affective bonds that create
effective communication at distance. The large and heterogenous group
spread between two distant points meant that often the attention was
put more in the local than the distant. Often we failed to create a
real sense of being together. It was not so much a technical question
as a human one. Much more work is required to develop the emotional,
organisational and technical skills for collective telepresence to
become truly operative - I believe that this is an area that
institutions, with their access to high speed networks and spaces
equipped for large numbers of people to gather, should be developing
and researching. It will be absolutely critical in the future and a
fundamental function of a cultural centre.

Some weeks later La Quimera Rosa arrived in the lab to work on their
Sexoskeleton, a wearable dispositive that makes visible the vital
signs of the body - heart, galvanic skin response, humidity. This data
can be transmitted by internet to anywhere in the world, like the
sensors in the ecoLAB, another project that began in 2011 in LABoral
(although since I left they seem to be broken). This possibility to
FEEL at distance opens new and astounding possibilities for the
imagination and the connection.

The project that won the Next Things convocatory, a joint project
between the Telefonica research labs and LABoral, Mapocci by Laura
Malinverni and Lilia Villafuerte, also goes in this sense and in the
Bogotrax festival in 2012 Victoria Sinclair and the festival team are
organising telepresence sessions in the district prison in Bogotá,
Colombia. Its a powerful metaphor, opening cracks in the walls of the
prison.

The Mapocci proposal seeks to provide new ways of remote
communication, capable of generating empathic networks between
children in different places, facilitating cultural exchange and
offering a tool for sharing and understanding the emotions of others.
Mapocci is a device based on a wireless connection system which
through a structure of sensors, sound actuators and exchangers allows
for the remote communication of emotional states. The mechanism is a
stand-alone device and does not require a computer in order to operate
but a minimum of two devices connected to each other. Each one belongs
to a child and the physical interactions with a model will be
reflected in the behaviour of the other one and vice versa. In this
way, the non-tangible interconnected links that exist between all
human beings, and the active role played by each one in determining
the sensations and emotions of the other one, are highlighted.

Due to cuts in funding, the LABoral telepresence experience has been
shut down but Hangar in Barcelona is carrying on with the experiments
- if anybody is interested to work on this they should let me know.

In Catalunya there is also the i2cat foundation -
http://www.i2cat.net/ - which is using the academic networks for
cultural experimentations.

best

pedro

On Wed, Nov 23, 2011 at 10:46 PM, roger malina <rmalina@alum.mit.edu> wrote:
> Jack
>
> yes both networked infrastructures and networked organisations are
> relevant here=
> since they often overlap
>
> do you know about the Marcel network ?
>
> http://www.mmmarcel.org/
>
> they do a lot of infrastructure networking
>
> one of the topics at the us national science foundation workwshop was that there
> is a proliferation of infrastructure network projects - but that are
> not cross linked
> and duplicate effort
>
> roger
>
> Hello Roger and all,
>
> Is there development of high-speed optical networking so that people
> are able to meet with their data sets across oceans? Or are we
> speaking here of other kinds of networking. I have read through
> Roger's ongoing reports on the series of NSF Art Science workshops and
> have not seen any talk about this subject. Are the storage archives
> for large data sets in a cloud that is available to multiple entities?
>
> I am convinced that our networking needs to include actual optical
> connections to one another- but it is extremely difficult to get that
> up and running. The problems for me have been funding and getting
> people on board who have never really seen or experienced what is
> possible. Our CIO is now supporting small steps so that other faculty
> will be able to see with their own ideas. For Instance, UNM just did a
> series of Ursonate performances over the National LambdaRail between
> Supercomputing11 in Seattle and the Center for Advanced Research
> Computing. We were rehearsing and working out potential problems
> before a Spring Fluxus Concert between Swinburne U. of Technology,
> Melbourne, and UNM. These are baby steps designed to show people
> potential.
>
> It is great to network- but we need to be able to do this without so
> much physical travel. How do we make high-speed optical networking
> available for a larger group of people in different communities?
>
> Can anyone comment on this- with your own experiences?
>
>
> Jack Ox
> Roger Malina is  Director of the Observatoire Astronomique de
> Marseille Provence and Executive Editor of the Leonardo Publications
> at MIT Press
> and member of the steering committee of IMERA the Mediterranean
> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
> Curie, Marseille 13388, France
>
> _______________________________________________
> 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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Sunday, February 26, 2012

Re: [Yasmin_discussions] cross modal

Dear Ian.
Thank you for your «bit of poetry». If this was on facebook I would
click on Like.
Vítor

Citando Ian Ferguson <Ian.Ferguson@plantandfood.co.nz>:

> Ian here - and prepare yourself for a bit of poetry...
>
>
>
> We seem to have drifted into a more general discussion on science
> and art. I'm probably not saying anything new, but why are we
> differentiating? Lets go back a bit. Science as we know it was
> really only invented in the 18th C. Way before then, Leonardo was
> the archetype of the inseparability of science and art. I'm
> currently in China - only virtual scotch drinking with Richard at
> the moment I'm afraid - in Hangzhou, seat of the Song dynasty about
> a thousand years ago - they didn't have separate scientists and
> artists - hold a blue Song Dynasty Jin bowl in your hands (dont
> drop it - will cost you a fortune) and try and convince yourself
> that science and art are different. Even the founders of the Roy
> Soc in London - Newton, Wren, Hook, Evelyn, Boyle (scientists) were
> also literary men. Jump ahead to the turn of the 18th and Coleridge,
> Wordsworth, Keats, Shelly were all well up on science, and the
> greatest scientists of the age - Davy, Priestly, Farady - were
> literary - Humphrey Davy published poetry. Goethe was poet and
> scientist, with theories on colour and plant morphology. When Keats
> wrote in On first looking into Chapman's Homer: "Then felt I like
> some watcher of the skies/When a new planet swims into his ken" he
> was referring to William Herschel and his new discoveries in
> astronomy (including deep time). Keats also wrote in Lamia,
> reflecting on the thoughts that science was destroying natural
> mysteries:
>
> "Do not all charms fly
>
> At the mere touch of cold philosophy?
>
> There was an awful rainbow once in heaven:
>
> We know her woof, her texture; she is given
>
> In the dull catalogue of common things.
>
> Philosophy will clip an Angel's wings,
>
> Conquer all mysteries by rule and line,
>
> Empty the haunted air, and gnomèd mine -
>
> Unweave a rainbow......"
>
> (Dawkins uses the unweaving the rainbow bit as a title for one of his books)
>
> And the whole divide was codifed last century by CP Snow talking
> about the two cultures (and just for the fun of it, the bitchy
> epigram about Snow is that scientists thought he was a great writer
> and writers thought him a great scientist.....).
>
> I've been taken aback by the examples you all cite on the
> relationships between art and science in sensory perception - it
> suggests that in at least one corner of the creative world, arts and
> science are coming together again.
>
>
>
> Roger - you mentioned I think in your latest response that arts and
> science have different goals. No they don't. Science is a creative
> process - if we unweave rainbows it is usually only to reveal
> another mystery - science is just following a different methodology.
> I don't think art is really just about expression. It is another way
> of understanding. Sensory perception, multi or not, is only a way in
> to that understanding, a particular route that you take, just as the
> scientific experimental process or conceptualisation or abstract
> thinking is also a way in - different routes and methods with the
> same intention. Its not the goal, but the process that we're
> always talking about. So folks, give us the goal of your art and
> we'll tell you it's the goal of science.
>
>
>
> Ian
>
>
> ________________________________
>
> From: yasmin_discussions-bounces@estia.media.uoa.gr on behalf of
> Cynthia B Rubin
> Sent: Sun 14/03/2010 4:38 a.m.
> To: YASMIN DISCUSSIONS
> Subject: [Yasmin_discussions] cross modal
>
>
>
> Greetings Ian, Roger, and all:
>
> I am reading this not over scotch but over morning coffee, which may
> have a very different multi-sensory effect.
>
> In the early days of digital imaging, many of us used a little piece
> of software called "NIH Image" which was developed at the National
> Institutes of Health. This application allowed scientists to
> experiment with wild differences in color while looking at images, so
> that qualities of a particular aspect of the image could be teased to
> the foreground, while visually "pushing" other elements into the
> background. Changing color relationships offered the possibility of
> new insights into the visual data.
>
> I would like to think that this is an early example of artistic
> thought influencing digital scientific visualization. Artists used
> the software because it was free, as the government sponsorship of
> this software put it in the public domain. But we also used it
> because it did exactly what artists always try to do - it
> facilitated analysis of emerging relationships in an image, thereby
> promoting creativity. Although scientists have long used dyes to
> highlight features, the complexity of shifting visual readings
> through shifting relationships in color seems to be directly borrowed
> from artistic analysis and methods.
>
> By the way, in my "Digital Nature" class at the Rhode Island School
> of Design, my students use current software (OK, Photoshop....) to
> manipulate images from microscopes, producing stunning works drawn
> directly from Nature, while offering a new look at what is there.
>
> Surprise - in writing this message I searched and found that NIH
> Image is still online in its original form:
> http://rsb.info.nih.gov/nih-image
>
> as well as an update which I am thrilled to know about
> http://rsb.info.nih.gov/ij/features.html
>
> Cynthia
>
>
> Cynthia Beth Rubin
> http://CBRubin.net <http://cbrubin.net/>
>
>
>
> On Mar 13, 2010, at 6:44 AM, roger malina wrote:
>
>> Ian
>>
>> well i was drinking red wine when i read your scotch influenced
>> discussion
>> with richard:
>>
>> There are a couple of things that Richard and I talked about over a
>> scotch
>> the other night
>>
>> 1. This dicusssion doesn't have a linear trajectory - in science we
>> tend to
>> work somewhat directionally - circularity might be initially
>> interesting but
>> in the end only raises issues and doesnt take us onwards - do you
>> folk think
>> 'onwards'?.
>>
>> 2. We see science contributing to the artistic world. Is the opposite
>> happening?
>>
>> Ian
>>
>> a) on the non linear trajectory of yasmin discussions= indeed the
>> open list
>> discussion mode favors discursive
>> modes rather than tightly reasoned argument= its more like a stone
>> soup
>> model, where each person
>> contributes a stone and you end up with vegetable soup ( or rather
>> ratatouille or bouillabaisse in this
>> part of the world)
>>
>> b) re the question of science contributing to the art world versus art
>> contributing to the science
>> world= well thats the gauntlet !! as roy ascott famously said - in
>> todays
>> society it is science
>> that is in trouble ( most people on the planet dont believe that
>> science is
>> reliable= check the
>> stats on the theory of evolution and the minority of the planet that
>> believes its a good
>> reliable explanation !! roy encapsulated this with " ask not what
>> science
>> can do for art,
>> ask what art can do for science"0
>>
>> perhaps using the cross-modal sensory discussion metaphor we should
>> point
>> out that
>> art and science are both intrinsic parts of human culture and its not
>> possible logically
>> or philosophically to separate them.
>>
>> why are we interested in cognition and neurobiology as a science ?
>> almost
>> none of the
>> universe has the kind of neuronal structures that humans have=
>> ( most life
>> is organised
>> in different ways and most of the universe is non living) - so if
>> we were
>> running the universe
>> had to decide which science to invest in, cognition and
>> neurobiology would
>> be one of the
>> last= as these systems have almost no impact on the dominant
>> processes in
>> the universe=
>> we are interested in them because human beings have these systems=
>> we create
>> art
>> for human beings and we use science to understand the physical
>> processes we
>> us.
>>
>> more seriously (yes its half a bottle of wine now) art and science are
>> carried out
>> with different goals, methodologies and institutional structures=
>> so the
>> question
>> you ask is at least socially meaningful.
>>
>> indeed science and technology have had a huge impact on the arts
>> ( most
>> importantly through the way that physics and quantum mechanics led
>> to semi
>> conductors led to the digal computer etc) and the are now numerous
>> new art
>> forms
>> enabled by the digital revolution)( and the new bio arts are
>> building on
>> genetic
>> science etc)
>>
>> the opposite is also happening with the work of artists influencing
>> science
>> and technology ( in methods, goals, approaches), robert thrill has
>> a growing
>> list of examples of patents filed by artists:
>> http://www.artsactive.net/en/resources/patents/
>> (I encourage yasminers to add to his list: "Robert Thill"
>> <robert.thil lAT
>> gmail.com>,
>> and there are numerous examples of art science collaborations
>> leading to
>> scientific
>> papers with the artists as co authors- the one i always like to
>> cite is the
>> work
>> of david dunn and jim crutchfield on bio accoustic ecology
>>
>> http://www.acousticecology.org/science.html
>>
>> and i just started a twine with examples of scientific papers co
>> authored
>> by artists
>> and scientists= send me additions to rmalina AT alum.mit.edu if you
>> have a
>> science paper
>> co authored by an artist and scientist
>>
>> ian and richard= back to you and the wine hands over non linearily
>> to the
>> scotch
>>
>> roger
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
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>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
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>> mail address, name, and password in the fields found further down
>> the page.
>>
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>> enter your e-mail address in the last field. Enter password if
>> asked. Click on the unsubscribe button on the page that will appear
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>>
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>> "Set Digest Mode" option and set it to either on or off.
>>
>
>
>
> _______________________________________________
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>
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Wednesday, February 22, 2012

Re: [Yasmin_discussions] moderator this week

Dear Monica and everybody else too,

Thanks for reminding me to send out an announcements for the my show, I learn, you learn, he learns ... with the AI collective here in France at Gallerie La Resistance starting next Friday March 2nd, 2012.

The exhibit, I learn, you learn, he learns ... begins March 2, 2012 at Gallerie La Resistance in Lavardin France. The opening of the exhibition in France - as well as the premier performance at 7:30pm UTC+1 by dancer Mariana Carranza in Germany with her robotic dance partner in another AI Lab in Switzerland - will be streamed live. The exhibit is open to the public every day except Mondays and Tuesdays from March 3 to April 1, 2012 from 10am to 6pm. Find out more at the project site http://other-ai.org/

I looked at the two links you sent in your email and although probably it just my Spanish is too rudimentary, I could only find the info about the coming to the event this Friday in the flesh and not the online component. I'm sure an event titled "Our Life Online" isn't unplugged completely from the mother tit of the internet ;)

Again thanks for the reminder. Good luck with your work and enjoy Barcelona. I had a show there in 2001 and it a truly great Art City (just plain great city).

work too hard, think too much, and have way too much fun
Aprille
Aprille Best GLOVER
www.aprille.net
aprille@aprille.net

founding artist
AI Collective
http://other-ai.org/


BTW, The rest below is just a bit more about the project. If you are as busy as I am - get back to work and ignore it ;) Have fun creating......


About I learn, you learn, he learns ...

On March 2, 2012 a multimedia exhibit, I learn, you learn, he learns ... opens at Gallerie La Resistance to explore this question. The artwork was created by a collective of 876 people worldwide during an online artistic experiment, Intro to Artistic Intelligence. In keeping with its web roots, the exhibit has strong on-line components, including a virtual exhibition, a live streaming performance in multiple cities and an Art Game that downloads to your home computer so that it doesn't end at the gallery.

Inspired by and produced in parallel with Prof. Norvig and Prof. Thrun of Stanford University's famous Intro to Artificial Intelligence class that attracted over 160,000 students worldwide in fall of 2011, the exhibit features work created during the same ten-week period. It ranges from individual drawings to a three meter group artwork. It also launches a project directly rooted in the Stanford AI class called I learn, you learn, he learns...
I learn, you learn, he learns ...is an Evolutionary Art Game. Using a Wii remote, each person dances with an AI agent in a virtual representation of the data created by the AI collective's project. As each person dances with the AI agent, not only will they learn about the project and see a visualization of their own movements, but they will also become teachers themselves because the motion data generated will teach a robot how to dance.

http://other-ai.org/


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Monday, February 20, 2012

Re: [Yasmin_discussions] networking 5.0

summary
artists-scientists recontextualizing sound: prehistoric signal/sound
imaging analogs to digital; I/O fibre sensors, HD video/XBee wireless
RenW/XBee antennas RF/Arduino ZigBee mesh modules/long-range tests/faster
I/O re Leonardo 5.0 Networking

Being physically incapable of fulfilling the initiative and proposal
advocated here *; however, as catalyst, I'm capable of responding to any
ideas re conceptualizing beyond the basic wireless mesh network and look
toward to expanded link-ups with faster two-way networking potentials.
grass roots Global broadcasts circulating via .edu Universities, Art Sound
Departments and Schools of Sound identifying and seeking student
participation. These personalized school newspaper sound-study ads could
segue artists-scientists.

I'd like to suggest a startup series of conferencing "free" app Skype calls
seeking people personally motivated and would offering their summing
comments, re an exploration beyond the 2012 ubiquitous reaches of emerging
nano technologies; inviting those, who would like to share their
perspectives, concepts regarding sound, following through research devoted
to an ongoing realtime acquisition of analog to digital terrestrial
waveforms, including the sharing of conclusions and the fine tuning of
individual contributions.

Who is leading whom? The lazy susan method acknowledges sequencing for
persons whose updated thinking would, at the present time, be relevant to
all participants re the cross-referenced consensus of fluxed objective
wholes. Weekly free Skype progress conference calls could sustain a
feedback/feedforward and monitoring process.

In particular, the intended focus would require local community
citizen-scientists to contribute synchronized timings individually, and
together, with the analog data collated from the quad-sensing of all audio
and (eventual) video data streams, would have final outputs fed into
mesh+nodes via the basic IEEE 802 or IEEE 802.11s standard. This allows
laptops to ZigBeeRF connect and to share this output with future faster,
expanded global networks. An upgrade provision would eventually phase in
the video aspect added to the sound streams, employing helium balloons and
cameras to relay realtime high resolution imaging to any solar-ready ground
meshnet- and beyond. These could include wave relay meshnet options from
node to node on 5.2 GHz or 5.8 GHz.
http://www.d.umn.edu/~lbrush
*http://weblackwhole.net
free Skype leif.brush

leif BRUSH

On Sun, Nov 27, 2011 at 7:17 AM, J Laukes <laukesy@yahoo.com> wrote:

> As you may know, the Tucson Consciousness conferences encourage interplay
> among artists and scientists, practitioners, theorizers and some of the
> undecided.
>
> Earlier participants included Eric Davis, Diane Gromala, Lucia Grossberger
> Morales, Roy Ascott, Ana Aribas Rudin, Rene Stettler, Michael Punt, Peter
> Anders, Christa Sommerer, Laurent Mignonneu, Kieran Lyons, Victoria Vesna,
> Brian Felsen, Margaret Dolinsky, Barbara Raush, Gino Yu, Daniel
> Meyer-Dinkgrafe and Martha Blassnigg among others.
>
> Abstract submissions due December 10, 2011.
>
> With many thanks,
>
> Jim Laukes
>
>
> Conference Announcement and Call for Abstracts
>
> TOWARD A SCIENCE OF CONSCIOUSNESS
> April 9-14, 2012
> Loews Ventana Canyon Resort Hotel
> Tucson, Arizona
>
> Sponsored by:
> The Center for Consciousness Studies,
> The University of Arizona
> http://www.consciousness.arizona.edu
>
> Toward a Science of Consciousness (TSC) conferences have been held
> annually since
> 1994, alternating between Tucson, Arizona and other locations around the
> world. The
> tenth biennial 'Tucson Conference', Toward a Science of Consciousness will
> take place
> April 9-14, 2012.
>
> Known for rigorous and leading edge approaches to all aspects of the study
> of
> conscious experience, TSC includes neuroscience, cognitive science,
> artificial
> intelligence, psychology, philosophy, neurobiology, medicine, quantum
> physics and
> cosmology as well as art, mind technology and experiential and
> contemplative
> approaches. TSC is the largest interdisciplinary gathering probing
> fundamental
> questions related to conscious experience. An estimated 500 scientists,
> philosophers,
> psychologists, experientialists, artists and students from over 60
> countries are due to
> take part.
>
> For the first time, Toward a Science of Consciousness will be
> held at the Loews Ventana Canyon Resort Hotel in the Catalina Foothills
> above
> Tucson, Arizona (with a special conference rate of 99 dollars/room/night).
> See:
> http://www.loewshotels.com/en/Ventana-Canyon-Resort
>
> Plenary/Keynote Session themes will include:
>
> HOT or NOT: Debate on higher-order theories of consciousness
> War of the Worldviews: Chopra and Mlodinow on consciousness
> Consciousness and Echolocation
> Fractal consciousness: Scale-free brain structure and dynamics
> Retrocausality and consciousness
> Searching for consciousness in coma and anesthesia
>
>
> Speakers will include:
>
> Daryl Bem
> Ned Block
> Melanie Boly
> Deepak Chopra
> Biyu Jade He
> Daniel Kish
> Victor Lamme
> Hakwan Lau
> George Mashour
> Leonard Mlodinow
> David Rosenthal
> ...and others
>
> As in previous conferences, program sessions will include Plenary and
> Keynote talks,
> Concurrent talks, Posters, Art/Science demos and exhibits, Pre-Conference
> workshops,
> Side trips and Social events in the Tucson conference tradition. For
> Information see: http://www.consciousness.arizona.edu/
>
> Abstract Submission
>
> TSC 2012 Conference Abstract Submission System is now open. Abstracts
> considered for Plenary, Concurrent, Poster and Art/Tech Demo sessions
> See: http://sbs.arizona.edu/project/consciousness/index.php
>
> Schedule of Deadlines -- Tentative
> December 10 Abstracts Due
> January 5 Decisions
> January 15 Early Registration Due
> March 1 Final Abstract Edits Due
>
> Call for Pre-Conference Workshop proposals
> Toward a Science of Consciousness 2012
> April 9-14, 2012
> http://www.consciousness.arizona.edu
>
> Proposals for pre-conference workshops are invited in all areas related to
> understanding conscious experience. Workshops provide in depth, detailed
> treatments of various methodologies, perspectives, reviews and approaches.
> Workshops may be solo presentations, or include two or more presenters.
> Attendance fees are $60 for 4 hour workshops and $80 for full day
> workshops,
> split evenly between presenter(s) and the conference which provides the
> room,
> A-V, promotion/advertisement and refreshments. A minimum number of
> registrants
> will be required.
>
> The conference Plenary program opens Tuesday April 10 at 1:45 pm.
> The pre-conference workshops will be held in three 4 hour sessions
> 1) Monday April 9th, 9 am to 1 pm
> 2) Monday April 9th, 2 pm to 6 pm
> 3) Tuesday April 10th, 9 am to 1 pm
>
> Workshop presenters (up to 2 per workshop) also receive free registration
> for
> the conference. Please submit a 500 word (or less) abstract/summary and
> presenter information by email directly to
> center@email.arizona.edu
>
> Deadline for Workshop proposals is November 1
> Submitters will be notified by November 15
>
> On behalf of the Program Committee - Toward a Science of Consciousness
> 2012.
> David Chalmers, Australian National University, Co-Chair
> Stuart Hameroff, University of Arizona, Co-Chair
> Uriah Kriegel, University of Arizona
> Hakwan Lau, Columbia University
> Marilyn Schlitz, Institute of Noetic Sciences
> Heather Berlin, Mount Sinai Medical Center
> Jonathan Schooler, University of California, Santa Barbara
> Melanie Boly, University of Liege
> Moran Cerf, UCLA/NYU
> Abi Behar-Montefiore, conference manager, center@u.arizona.edu
>
> Contact:
> Abi Behar-Montefiore, Manager, Center for Consciousness Studies,
> University of
> Arizona - center@u.arizona.edu
>
> CONFERENCE LINKS
>
> CCS WEBSITE www.consciousness.arizona.edu
> CCS /TSC CONFERENCE REGISTRATION and ABSTRACT SUBMISSION
> http://sbs.arizona.edu/project/consciousness/index.php
> CONFERENCE HOTEL BOOKING
> http://www.loewshotels.com/en/Ventana-Canyon-Resort/GroupPages/Consciousness Local
> Media Documentary Archive
> and Storm Door Company
> 1051 W. Pratt Blvd.
> Rm. 3B
> Chicago IL 60626-4426
>
> tel 312 532 1978
>
>
>
> >________________________________
> > From: Leif Brush <lbrush@d.umn.edu>
> >To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> >Sent: Friday, November 25, 2011 3:16 PM
> >Subject: Re: [Yasmin_discussions] networking 5.0
> >
> >Hello Jack
> >
> >I'm sending you a final failed grant summary for an collective interactive
> >world playing attempt,,,Titled: xyz(utc-synced) supraterrestrial project
> >assisted by two university undergrads, sofia v bustorff and Guy De
> Bievre's
> >workshops ...-PDF-
> >
> http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&ved=0CDUQFjAE&url=http%3A%2F%2Fhi-ka-sk.be%2Ffiles%2Faudioworkshop.pdf&ei=1wTQTt63Eu2OsAKPhIS_Dg&usg=AFQjCNF21_y1x6w1EIZTgPJRBziD0mIV8w
> >
> http://sproutland.files.wordpress.com/2011/04/guy-de-bic3a8vre-leif-brush_-terrain-instruments-partly-recorded1.mp3
> >
> >the world Playing attempt summary...
> >
> >>From each of four Terrain Instruments within a context: Tree, Windinch
> >w/flow meter sensor monitorings, Box Kite strung w/.32ga stainless steel
> >&w/xyz sensor, and Helium filled Balloon w/suspended spy camera hovering
> >thge tree)... there will be four lines of information collected. All of
> the
> >data that is not the universal time code information, we can use some kind
> >of pick-up. The sensors will be hooked up to an Audrino... because this
> >platform is the standard and there is a large community for this
> >product...which could interconnect with mesh nets... after the Ardrino
> >we'll use the xBee to transmit the data to a computer that is running an
> >Audrino program...after the data is gathered and put into four different
> >audio files, one for each Terrain Instrument...the four data files are run
> >through our audio editing software, compressed all into one final file
> that
> >can be uploaded to Sound Cloud or be made available globally, two-way
> >connectable nets...on call fr/SC or x net in realtime. a/or when, from
> >where & what you want to hear on call...month by month..via compatible
> >networkings...of XYZ/sensors UTC-syncd wifi global sounds from global's
> >latitudes and longitudes- on your handheld or monitor via a starter
> >workshop...further, when these signals are received in a home environment
> >fo the possible feed forwarding or feeding back into the net,..in house
> >privacy would ask those currently using the WIFI-radiators to have a go
> >w/the lightbulb of Dr. Harald Haas, inventor of li-fi...this is an 'outer
> >year' summary of my ongoing sound/imaging quests...ideally the 2-way
> >traffics would eventually employ muxed and demux modulated lasers., re
> >ARTSCIENCE ART SCIENCE ARTSCIENCE,.. I admit to being originally highly
> >encouraged in the 1980s by the introduction of a "Public Understanding of
> >Science from NSF mailing when I was at U of Minnesota Duluth ('72-'02)
> Leif
> >
> >On Wed, Nov 23, 2011 at 3:46 PM, roger malina <rmalina@alum.mit.edu>
> wrote:
> >
> >> Jack
> >>
> >> yes both networked infrastructures and networked organisations are
> >> relevant here=
> >> since they often overlap
> >>
> >> do you know about the Marcel network ?
> >>
> >> http://www.mmmarcel.org/
> >>
> >> they do a lot of infrastructure networking
> >>
> >> one of the topics at the us national science foundation workwshop was
> that
> >> there
> >> is a proliferation of infrastructure network projects - but that are
> >> not cross linked
> >> and duplicate effort
> >>
> >> roger
> >>
> >> Hello Roger and all,
> >>
> >> Is there development of high-speed optical networking so that people
> >> are able to meet with their data sets across oceans? Or are we
> >> speaking here of other kinds of networking. I have read through
> >> Roger's ongoing reports on the series of NSF Art Science workshops and
> >> have not seen any talk about this subject. Are the storage archives
> >> for large data sets in a cloud that is available to multiple entities?
> >>
> >> I am convinced that our networking needs to include actual optical
> >> connections to one another- but it is extremely difficult to get that
> >> up and running. The problems for me have been funding and getting
> >> people on board who have never really seen or experienced what is
> >> possible. Our CIO is now supporting small steps so that other faculty
> >> will be able to see with their own ideas. For Instance, UNM just did a
> >> series of Ursonate performances over the National LambdaRail between
> >> Supercomputing11 in Seattle and the Center for Advanced Research
> >> Computing. We were rehearsing and working out potential problems
> >> before a Spring Fluxus Concert between Swinburne U. of Technology,
> >> Melbourne, and UNM. These are baby steps designed to show people
> >> potential.
> >>
> >> It is great to network- but we need to be able to do this without so
> >> much physical travel. How do we make high-speed optical networking
> >> available for a larger group of people in different communities?
> >>
> >> Can anyone comment on this- with your own experiences?
> >>
> >>
> >> Jack Ox
> >> Roger Malina is Director of the Observatoire Astronomique de
> >> Marseille Provence and Executive Editor of the Leonardo Publications
> >> at MIT Press
> >> and member of the steering committee of IMERA the Mediterranean
> >> Institute for Advanced Studies.Postal Address: OAMP, 38 Rue Joliot
> >> Curie, Marseille 13388, France
> >>
> >> _______________________________________________
> >> 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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> >> password in the fields found further down the page.
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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.
> >>
> >
> >
> >
> >--
> >______________
> >Leif Brush
> >Professor Emeritus
> >Research Specialty: Environmental Sound
> >http://d.umn.edu/lbarchivesa
> >lbrush@d.umn.edu
> >_______________________________________________
> >Yasmin_discussions mailing list
> >Yasmin_discussions@estia.media.uoa.gr
> >http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> >
> >Yasmin URL: http://www.media.uoa.gr/yasmin
> >
> >HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
> >HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
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> >
> >
> >
> _______________________________________________
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--
______________
Leif Brush
Professor Emeritus
Research Specialty: Environmental Sound
http://d.umn.edu/lbarchivesa
lbrush@d.umn.edu
_______________________________________________
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[Yasmin_discussions] moderator this week

Dear friends,

I'll be moderating the yasmin list this week,
I am aware that this is one on the most busy months in the arts, so I encourage you to send announcements of the events you are taking part of or comments of those you are attending,

I've just came back from Arco fair in Madrid, I was glad to see some works of the art/science area in the fair environment. Fantastic to hear that the mexican artist Marcela Armas received the Beep Prize with a wonderful piece named Maquina Stella, you can read the article about the prize in Roberta Bosco&Stefano Caldana's new blog (in Spanish):
http://blogs.elpais.com/arte-en-la-edad-silicio/2012/02/conexion-arco-2012-arcomadridbeep-premia-el-arte-electr%C3%B3nico-.html

It was also a great opportunity for me to exhibit and work with the artists awarded in VIDA 13.2, 2011 edition of the Art and Artificial Life International Awards. The three main prizes and an honorary mention were shown at Fundacion Telefonica stand: Naked on Pluto by Marloes de Valk, Aymeric Mansoux and Dave Griffiths, Ocular Revision by Paul Vabouse, Protei by Cesar Harada and all the team of protei developers, and Transducers by Verena Friedrich.

To finish, I would like to invite you to the event "Our Life Online" which will take place next Friday 24th of February at CCCBLab. This is the first collaboration of VIDA with them and an opportunity for the audience to participate in the workshop with Aymeric Mansoux during the morning. Later in the evening we will continue the discussion with a presentation of Jussi Parikka and a debate with Aymeric Mansoux, Pau Waelder and myself is collaborating. Join us if you are around!
http://www.cccb.org/icionline/


Bw,

m


monica bello
mb @ monicabello . org

twitter: @monica_bello


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Wednesday, February 1, 2012

Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd

Dear Yasminers,

Just to add onto this interesting conversation with a slightly different
point….in terms or art as a research practice….

An increasing number of artists (both inside and outside of academia)
situate their practice as research through their engagement with scientific
disciplines. How do we understand such research practice and what are its
rules of engagement? What other knowledge paradigm might these practices
address that are institutionally problematic?

To the first question, this remains unclear – however, a period of evidence
gathering and dissemination through exhibitions or papers is the norm. More
problematic is how such practices lay claim to "new knowledge/artwork" with
limited (or, more frequently, zero) referencing of previous works by
practitioners. Stampeding over the "existing" to produce the "new" should
be replaced by more carefully staking out ones position. Why is this an
accepted form of practice within the arts? Does this not lack rigorous
research foundations? Is this a result of art being both an academic and
non-academic practice?

The second question concerns how art is inclusive of problematic ways of
dealing with "new knowledge" in relation to authenticity. Subversive
approaches including narratives, objects and documentation challenges
existing institutional frameworks that must adhere to conventional methods
of relating knowledge with "truth". The final academic point demands
practitioners to acknowledge and thus give up their "game" for sake of
uncluttered knowledge. The place for "subversive research" remains outside
academia and highlights a need to discuss how these two camps of
"knowledge" need a better exchange – if nothing else to understand and
better establish art as a field of knowledge?

Best,
Laura

2012/1/30 cristinamiranda <cristinamiranda.de@gmail.com>

> Karen,
>
> I understood well how it is in France. I know how it is in France. However
> in Spain, Art is in the University system as Faculties of Art and the
> titles they issue are University titles (full university titles). They are
> under the same admission policies and budget policies, and research
> requirements. Regarding Pau Alsina's comments, he is addressing the issue
> of what is happening to Applied Art Schools (Graphic or Industrial Design,
> Interiorism, Fashion or other "applied arts" schools) not to Art faculties
> (superior studies of Art) that in Spain are already totally integrated (for
> 3 decades) in the University system (same level of research requirements,
> for teachers etc.). There is no difference between, for example, a Faculty
> of Art and a Faculty of Biology regarding university level.
> See more here:
> http://www.ehu.es/p200-**content/es/pls/entrada/**
> plew0040.htm_siguiente?p_**sesion=&p_cod_idioma=CAS&p_en_**
> portal=S&p_anyoAcad=act&p_cod_**centro=320&p_cod_plan=**
> GENART30&p_menu=intro<http://www.ehu.es/p200-content/es/pls/entrada/plew0040.htm_siguiente?p_sesion=&p_cod_idioma=CAS&p_en_portal=S&p_anyoAcad=act&p_cod_centro=320&p_cod_plan=GENART30&p_menu=intro>
>
> http://www.ehu.es/p200-**content/es/pls/entrada/**
> plew0040.htm?p_cod_idioma=CAS&**p_en_portal=S&p_titu_nuevas=S&**
> p_opcion=1&p_anyoAcad=act<http://www.ehu.es/p200-content/es/pls/entrada/plew0040.htm?p_cod_idioma=CAS&p_en_portal=S&p_titu_nuevas=S&p_opcion=1&p_anyoAcad=act>
>
> best,
> Cristina
>
>
>
> On 30/01/12 11:56, korourke@free.fr wrote:
>
>> Cristina,Leif,
>>
>> What Roger didn't mention was that in France the arts are already part of
>> the university curriculum, and have been for forty some years. What is new
>> is that art schools, funded by the Ministry of Culture (unlike universities
>> funded by the Ministry of Education) will be able to issue university
>> degrees. With their selective admissions policies, art schools have both
>> smaller student bodies and larger budgets than the universities. This has
>> of course repercussions as to the kind of research that is possible in
>> school or university facilities. University-based artists quickly realize
>> they must arrange to do elsewhere any artwork requiring more than pencil
>> and paper. For many grad students this means enrolling in art school...
>>
>> How does this work in Spain?
>>
>> Best,
>> Karen
>>
>> ----- Mail original -----
>> De: "Leif Brush"<lbrush@d.umn.edu>
>> À: "YASMIN DISCUSSIONS"<yasmin_**discussions@estia.media.uoa.gr<yasmin_discussions@estia.media.uoa.gr>
>> **>
>> Envoyé: Jeudi 26 Janvier 2012 22:35:11
>> Objet: Re: [Yasmin_discussions] [Yasmin__discussions] to phd or not to phd
>>
>> Cristina,
>>
>> Please help me to more fully understand those current outcomes which are
>> being manifest as the result of "People involved in this integration
>> process in France could benefit from learning from these previous
>> experiences
>> that have been running for quite a long time and, in so doing, could avoid
>> stumbling on these same mistakes and problems."
>>
>> Thanks, leif BRUSH
>> C.V.http://www.d.umn.edu/~**lbrush/emeritus.htm<http://www.d.umn.edu/~lbrush/emeritus.htm>
>> research summary
>> http://weblackwhole.net
>>
>> 2012/1/25 cristina miranda<cristinamiranda.de@**gmail.com<cristinamiranda.de@gmail.com>
>> >
>>
>> Dear colleagues,
>>>
>>> In Spain and in many other countries, for instance in non-European one
>>> like Brazil, Australia, etc., Art was totally integrated in the main
>>> University system a long time ago. Art students and researchers have the
>>> possibility to apply to a PhD title and to research and PhD grants as
>>> students from any other field. So this integration also implies -and
>>> should
>>> take seriously into consideration- the possibility to access the highest
>>> funding systems for research in Art. In my own case, I enjoyed a 4-year
>>> grant to develop my PhD thesis, and publish it afterwards, by applying to
>>> the same national and local research grant systems, in the same way as
>>> any
>>> other colleague from any other field could do. In fact, in Spain PhD
>>> candidates in Art can apply to grants at the national and regional levels
>>> and the same in Brazil.
>>> Nowadays the phase and debate in these countries are not anymore whether
>>> or not Art is to be integrated in the university system with all the
>>> rights
>>> and obligations that it implies: the debate is how Art is integrated and
>>> can have a specific role in a trans-disciplinary collaboration between
>>> art-science-humanities, and which can be the different models or
>>> possibilities to develop PhD research in Art at this highest possible
>>> level
>>> given the fact that there is a great influence from research "models"
>>> that
>>> come from other fields like Humanities, Science and Technology.
>>> Taking the most of these previous experiences, France is in the best
>>> moment to develop a kind of integration at all levels that is fully aware
>>> of Art's features and needs. Some of these needs should address equality
>>> of
>>> opportunities for Art, the development of proper research models that are
>>> not dominated by models of other areas, the achievement of equality of
>>> access to grants as much as any other field and a more extended presence
>>> of
>>> art in all social fields, among others. People involved in this
>>> integration
>>> process in France could benefit from learning from these previous
>>> experiences that have been running for quite a long time and, in so
>>> doing,
>>> could avoid stumbling on these same mistakes and problems.
>>>
>>> All the best,
>>> Cristina
>>>
>>>
>>>
>>>
>>> On 22/01/12 15:35, roger malina wrote:
>>>
>>> YASMINERS
>>>>
>>>>
>>>> a colloquium in france on research practice in art as
>>>> a reflection on the integration of Art Schools in France
>>>> into the university and associated diploma systems
>>>>
>>>> the "to PhD or not to PhD' discussion is alive and well
>>>>
>>>> this colloqium is optimistic on the trend,
>>>> and one of the things is does highlight is art/science/technology
>>>> research
>>>>
>>>> roger
>>>>
>>>> Colloque internat ional sur la recherche en art et dans
>>>> l'enseignement supérieur art istique
>>>>
>>>>
>>>> Ministère de la Culture et de la Communication / Ecole Nationale
>>>> Supérieure
>>>> d'Arts de Paris-Cergy
>>>> Les 9, 10 février 2012 à l'Ecole Nationale Supérieure d'Architecture de
>>>> Paris-
>>>> Belleville
>>>>
>>>>
>>>> ARGUMENT
>>>> Coordination du Conseil Scientifique: Jehanne Dautrey
>>>>
>>>> Du fait de leur insertion dans un projet de réforme de l'enseignement
>>>> supérieur en général, les
>>>> objectifs du développement d'une recherche en art conduisent l'art à
>>>> s'inscrire dans des critères de
>>>> fonctionnement autres que ceux d'une logique de production et de
>>>> diffusion. La production de la
>>>> recherche est ainsi invitée à s'inscrire dans des protocoles
>>>> scientifiquement validés afin de dialoguer
>>>> avec les champs déjà constitués du savoir. Mais contrairement à ce que
>>>> l'on pouvait craindre, cette
>>>> contrainte n'a pas donné lieu à une activité réductrice quant aux
>>>> ambitions de l'art d'incarner une
>>>> dimension de résistance à l'univocité du sens. Elle a au contraire
>>>> impulsé un renouvellement des
>>>> savoirs techniques et scientifiques qui ne s'est pas limité aux seules
>>>> technologies mais a pris des
>>>> formes diverses selon les arts concernés. L'ambition de ce colloque
>>>> est de faire le point, au sens
>>>> optique et intellectuel du terme, sur le paysage de la recherche
>>>> artistique en France et dans le
>>>> monde. Loin de chercher à imposer une vision normative ou un modèle à
>>>> suivre, il s'agit de donner
>>>> une visibilité à une multitude de pratiques, de projets en cours,
>>>> d'initiatives, d'en déployer un
>>>> aperçu diversifié qui ne soit pas seulement un catalogue mais propose
>>>> aussi une vision analytique
>>>> qui permette à chacun de se doter d'outils et d'idées nouvelles pour
>>>> continuer de faire vivre ce
>>>> champ de la recherche en art.
>>>> Quelles sont à l'heure actuelle les singularités de ces recherches en
>>>> art
>>>> ?
>>>> L'art est dans sa logique intrinsèque une activité qui se nourrit de
>>>> domaines, de compétences et de
>>>> savoirs multiples : un fait saillant de la recherche en art est sa
>>>> capacité à se nourrir de ces territoires,
>>>> voire à les relancer. Prenant acte d'une certaine maturité acquise par
>>>> la recherche en art, il s'agit
>>>> ainsi de donner une visibilité à des initiatives qui donnent
>>>> maintenant à la recherche en art non
>>>> seulement un contenu et des enjeux tangibles, mais aussi la capacité
>>>> de constituer une force de
>>>> proposition pour la recherche en général.
>>>> On peut dégager trois plans sur lesquels cette complexité se développe :
>>>> - le plan des disciplines et domaines scientifiques
>>>> - le plan des modes d'exposition de la recherche
>>>> - le plan des espaces d'inscription, des réseaux et des moyens
>>>> Le plan des disciplines et domaines scientifiques
>>>> Réfléchir sur la recherche dans l'une ou l'autre discipline à l'heure
>>>> actuelle implique autant de se
>>>> demander dans quelle mesure la recherche concernée entre dans un
>>>> paradigme général de la
>>>> recherche (déterminé par des normes et des critères), que d'interroger
>>>> la manière spécifique dont
>>>> elle s'y positionne. Il est donc important que la question de la
>>>> singularité de la recherche en art ne
>>>> s'inscrive pas sur le fond d'une recherche définie de manière générale
>>>> comme non singulière,
>>>> consensuelle etc., mais s'inscrive au contraire dans le cadre d'un
>>>> questionnement approfondi sur les
>>>> spécificités des autres recherches. Qu'est-ce que les recherches
>>>> conduites dans les milieux de l'art
>>>> ont de spécifique par rapport à celles conduites dans les autres
>>>> milieux ? Dans quelle mesure la
>>>> recherche en art est-elle apte à affirmer aujourd'hui des
>>>> problématiques spécifiques ?
>>>> Contrairement à ce qui s'est passé à l'université où la recherche
>>>> accompagnait l'autonomie des
>>>> disciplines, la recherche en art intervient à un moment où la notion
>>>> de discipline, en tant que
>>>> champ de pensée et de pratiques homogènes, entre en crise : les
>>>> disciplines ne disparaissent pas
>>>> mais se trouvent soumises à des pratiques d'hybridation, d'ouverture,
>>>> de débordement critique. Si
>>>> le concept d'hybridation a été très usité dans les années 1980 pour
>>>> désigner un principe de mixité
>>>> des pratiques plastiques, on remarque que cette logique
>>>> d'entrelacement s'est élargie au champ des
>>>> savoirs en prenant un sens nouveau. L'hybridation n'est plus tant un
>>>> ensemble d'imbrications ou de
>>>> tuilages d'objets ou de formes préconstituées qu'un ensemble de
>>>> pratiques contribuant à
>>>> l'émergence d'une zone hors norme dont les techniques et les objets
>>>> deviennent inclassables,
>>>> inassignables à l'un et à l'autre domaine d'activité. Ainsi, l'art qui
>>>> dialogue avec les champs des
>>>> sciences exactes et des sciences humaines et techniques le fait à
>>>> partir de ses propres objectifs, en
>>>> développant un point de vue sur ces disciplines. En faisant usage
>>>> d'outils informatiques ou
>>>> technologiques dans la danse, dans les oeuvres interactives ou dans la
>>>> musique, il injecte dans les
>>>> dynamiques de recherche impulsées autour de ces derniers des
>>>> questionnements spécifiques. En
>>>> traitant aussi bien la question du document, de l'archive dans des
>>>> protocoles de documentation
>>>> fictionnelles, il développe des objets historiques et construit un
>>>> rapport critique à l'histoire.
>>>> Non seulement l'art n'a pas renoncé aux outils et aux principes
>>>> d'expérimentation qui sont les
>>>> siens en développant la dimension de la recherche, mais en plus il
>>>> s'est emparé des outils et des
>>>> objectifs scientifiques pour construire des formes de réflexion
>>>> propres. Développer une recherche
>>>> en art, s'inscrire dans les savoirs n' a pas impliqué une soumission à
>>>> des normes de scientificité mais
>>>> a permis à l'art d'engager une réflexion sur les disciplines du savoir
>>>> selon des modalités qui lui
>>>> étaient propres.
>>>> Le plan des modes d'exposition de la recherche
>>>> Cette singularité concerne aussi la dimension de la mise en forme et
>>>> des formes d'exposition des
>>>> recherches. La recherche en art permet à l'art de sortir de sa
>>>> position d'objet de recherche pour
>>>> les autres savoirs sans pour autant se limiter à la revendication
>>>> (comprise ici dans le sens d'une
>>>> activité d'expression) de « sujets créateurs ». Se mettre en recherche
>>>> n'est pas simplement cesser
>>>> d'être objet pour se réapproprier un discours sur soi, c'est aussi
>>>> s'aventurer dans une exploration ;
>>>> c'est engager des mises en formes susceptibles de nourrir de nouvelles
>>>> formes de réflexion. L'art ne
>>>> donne pas seulement à penser par la manière dont il résiste à toute
>>>> méthode préétablie, il se dote
>>>> avec l'activité de la recherche des moyens de défendre une nouvelle
>>>> approche de l'activité de
>>>> réflexion. C'est pourquoi il est important de s'attacher au
>>>> développement de nouvelles pratiques
>>>> d'écriture, de production et de collecte, susceptibles de nourrir de
>>>> nouvelles positions
>>>> d'énonciations marquant la fin d'un clivage entre « théorie » et «
>>>> pratique », et redéfinissant les
>>>> fonctions de chacune.
>>>> Le plan des espaces d'inscription, des réseaux et des moyens
>>>> Les recherches des artistes, nourrissant et déplaçant les recherches
>>>> des savoirs scientifiques
>>>> constitués, attestent de la valeur épistémologique originale de la
>>>> recherche en art. Demeure la
>>>> question des modalités de leur reconnaissance dans les institutions de
>>>> recherche et les cursus
>>>> d'enseignement. Comment s'intégrer dans le paysage actuel de la
>>>> recherche universitaire, dans ses
>>>> pôles et dans ses cadres d'évaluation ? Quels laboratoires pour la
>>>> recherche en art ? Quelle forme
>>>> donner aux 3e cycles des établissements d'enseignement supérieur
>>>> artistique ? Comment donner à
>>>> l'activité de recherche en art sa pleine inscription institutionnelle
>>>> en préservant la spécificité qui est
>>>> la sienne et qui est celle de l'art ? Quelles sont les formes
>>>> actuelles de ces 3e cycles en art, en
>>>> France et dans le monde ?
>>>> Un point sur lequel il nous semble important d'attirer l'attention
>>>> dans ce colloque est le rôle très
>>>> actif que jouent les différents lieux de production, de conservation
>>>> et de diffusion de l'art dans le
>>>> déploiement de cette diversité. Outre les laboratoires universitaires
>>>> déjà engagés dans ces activités
>>>> de recherche et actuellement valorisés par des statuts spécifiques, on
>>>> remarque que non seulement
>>>> les établissements d'enseignement se sont sentis concernés par cette
>>>> recherche, mais aussi les lieux
>>>> de production et de diffusion de l'art (Frac, musées, centres d'art,
>>>> instituts, fondations, lieux de
>>>> résidence...). A travers cette diversité, la recherche s'affirme comme
>>>> une activité collective
>>>> complexe, portée par des personnes aux compétences et aux objectifs
>>>> extrêmement diversifiés et
>>>> source d'interactions riches : chercheurs, artistes, directeurs de
>>>> centres collaborent selon des
>>>> modalités relevant d'agencements de terrain semblables à des
>>>> écosystèmes... Les activités de
>>>> recherche s'appuient ainsi sur des collectifs aux compétences
>>>> complémentaires, et remplissent des
>>>> objectifs diversifiés qui ne se limitent pas à la simple production de
>>>> documents de recherche : elles
>>>> peuvent engager en même temps des activités de production, de
>>>> diffusion, de monstration tout
>>>> comme de nouvelles relations dynamiques entre ces différentes
>>>> activités. A ceci s'ajoutent les
>>>> nouveaux lieux de réflexion dans des lieux qui ne sont pas
>>>> immédiatement dédiés à l'art. Sur ce
>>>> point, on gagnera à confronter les différents modes de fonctionnement
>>>> d'un pays à l'autre.
>>>>
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--
Laura Cinti, Ph.D.
Director of Artistic Engagement
C-LAB
w. http://c-lab.co.uk
e. laura@c-lab.co.uk
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