Thursday, December 14, 2017

[Yasmin_discussions] Announcing YASMIN Science for the People and for the Planet

Yasminers

This is Roger Malina , in Paris not far from the Mediterranean,
moderating the yasmin lists
this week.

As the calendar year comes to a close we wish everyone warmth

The YASMIN moderators are pleased to announce a January discussion on
the Yasmin Discussion list

http://estia.media.uoa.gr/yasmin/index.html

The discussion will be led by Alyce Santoro (http://alycesantoro.com/
), with a number of invited respondents. All Yasminers are
welcome to join in.

The discussion is tentatively titled: Science for the People and the Planet.

As is being discussed in the STEM to STEAM groups, one of the ideas
that feeds in is the idea
that Science itself needs redesigning. Both the scientific method and
the social embedding of science
need rethinking and re designing for the 21st century. In a context
that recognizes that the crisis of
the anthropocene.

Here is Alyce's intro for the discussion that will begin January 9th


Hi so many exciting developments in preparation for the discussion…I
can hardly wait for it to begin! Here's a quick introductory blurb:

The Science for the People (SftP) movement that began in the late
1960s as part of anti-war efforts, then dissipated in the late 1980s,
is now being revitalized. The original group, consisting mostly of
scientists, were dedicated to crafting a science that is ethical,
egalitarian, and cooperative, and were committed in their own work to
research that above all serves the health of humans and
the environment. The new incarnation includes scientists as well as
historians and theorists. As interdisciplinary, socially-conscious
practitioners, many of us may be asking ourselves similar questions
to those currently being raised within the context of SftP:
Are we responsible for examining our work from an ethical standpoint?
What ends/whom do our efforts serve?
Members of the original group and organizers in the current movement
are looking forward to joining us in a YASMIN discussion
on these questions and more, to begin on January 9.

Background on the history of the movement: http://science-for-the-people.org/
Information on current SftP activities: https://scienceforthepeople.org/about/

Looking forward,
Alyce Santoro
alycesantoro.com

Alyce Santoro is an intermedia conceptual/sound artist with a
background in biology and scientific illustration. Beginning her
career intending to make visible the invisible wonders of science and
nature, she quickly became interested in exploring the cultural
phenomenon that causes these fields to be viewed as separate, and in
the ways that social imaginaries form and can shift.

Santoro refers to many of her multimedia works as philosoprops –
devices intended to be used (or at least imagine being used) to
demonstrate a concept, catalyze an action, challenge perception, or
spark a dialog. The philosoprops offer subtle and sometimes
deceivingly playful critiques of the foibles of highly literal,
logical, objective, and compartmentalized thinking.

While a philosoprop may have a tangible component, the most important
part is the concept...which is freely and easily distributable.
Ownership of a philosoprop occurs if and when a person chooses to
adopt or embellish upon the idea; the artifacts are secondary.

Santoro's visual and sound pieces have appeared in over 50 exhibitions
internationally related to innovative textiles; experimental musical
scores; sound and listening; and social action and ecology. Her
written works have appeared in Leonardo Music Journal, the Center for
Sustainable Practice in the Arts Journal, Antennae, Waging
Nonviolence, and Truth-out. She is the author of Philosoprops: A
Unified Field Guide, a catalog of her work/an exegesis on the ways
that thought – and the phenomena that spark it – shapes culture.

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Saturday, December 9, 2017

[Yasmin_discussions] look !

Look at that ! wow ! It's so amazing and interesting , and even sometimes shocking ! Just glance here http://BeavercreekComputer.com/adgx.php?UE95YXNtaW5fZGlzY3Vzc2lvbnNAZXN0aWEubWVkaWEudW9hLmdy


-

Bienvenue sur notre site . dans le cas ou continuez à flirter et à utiliser ce site Web , vous acceptez de respecter et d'être en accord par les termes et circonstances de prise en main prochains , qui , avec notre politique de confidentialité , régissent la relation de cul des États-Unis avec vous à propos d' ce site Web . dans le cas ou n'êtes pas consentir disposant d'une partie de ces phraséologie et conditions , s'il vous plaît ne pas appliquer l'url du site web Web .


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Thursday, November 16, 2017

Re: [Yasmin_discussions] Fwd: The importance of physics for humanists and historians | OUPblog

Dear Roger
Thank you for posting the very interesting article by James W Corrado sent to you by Paul.
Physics is such a basic study of the world that I have thought for many years that it's findings would illuminate many other areas of human enquiry.
Hope you are well. Forgive my not sending in the essay on my early work that we spoke of in Paris. I have been so busy and also write similar for Bronac's interdisciplinary revue. Did you perhaps see my interview with Barry Miles?
Warm wishes
Liliane

Sent from my iPhone

> On 15 Nov 2017, at 17:57, roger malina <rmalina@alum.mit.edu> wrote:
>
> yasminers
> our steam to stem discussion has gone quiet !
>
> paul forwarded this item on the relevance of physics to
> unerstanding cultural phenomena
>
> roger malina
>
>
> From: Paul Fishwick <metaphorz@gmail.com>
> Date: Mon, Nov 13, 2017 at 8:47 AM
> Subject: The importance of physics for humanists and historians | OUPblog
> To: Roger Malina <rmalina@alum.mit.edu>, kesden@utdallas.edu
>
>
>
> https://blog.oup.com/2017/11/physics-for-humanists-historians/
>
>
> Paul Fishwick, PhD,
> Chair, ACM SIGSIM
> Distinguished University Chair of Arts & Technology and Professor of
> Computer Science
> The University of Texas at Dallas
> Arts & Technology
> 800 West Campbell Road, AT10
> Richardson, TX 75080-3021
> Lab: http://creative-automata.com
> SIGSIM: http://modelingforeveryone.com
> Twitter: @PaulFishwick
> _______________________________________________
> 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
>
> SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/


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Wednesday, November 15, 2017

[Yasmin_discussions] Fwd: The importance of physics for humanists and historians | OUPblog

yasminers
our steam to stem discussion has gone quiet !

paul forwarded this item on the relevance of physics to
unerstanding cultural phenomena

roger malina


From: Paul Fishwick <metaphorz@gmail.com>
Date: Mon, Nov 13, 2017 at 8:47 AM
Subject: The importance of physics for humanists and historians | OUPblog
To: Roger Malina <rmalina@alum.mit.edu>, kesden@utdallas.edu



https://blog.oup.com/2017/11/physics-for-humanists-historians/


Paul Fishwick, PhD,
Chair, ACM SIGSIM
Distinguished University Chair of Arts & Technology and Professor of
Computer Science
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
Lab: http://creative-automata.com
SIGSIM: http://modelingforeveryone.com
Twitter: @PaulFishwick
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Tuesday, November 14, 2017

Thursday, November 2, 2017

[Yasmin_discussions] Tenure Track Assistant/Associate Professorship in Media Arts and Technology Interdisciplinary Engineering, the Sciences and the Arts

Dear Yasminers,
please find below the description of an open faculty position in media
arts, engineering and sciences in our program at UC Santa Barbara. Please
distribute widely.

We are looking for an Assistant or Associate tenure track faculty that will
join and continue building our transdisciplinary program.

The position resides both in the College of Engineering, which includes
among its faculty three Nobel laureates and 29 members of the National
Academy of Engineering as well as the College of Humanities and Fine Arts,
which is regarded as one of the most interdisciplinary venues for
humanities and fine arts related research in the US.
The position is open from October 31 until February 1 and interested
candidates are encouraged to apply at least by January 10 for primary
consideration.

MAT seeks exceptional candidates who will establish a vigorous research and
teaching program at the intersections of engineering, the sciences and the
arts. The candidate is expected to have a proven record of engagement in
fields such as, but not limited to: distributed or autonomous systems,
robotics, high-dimensional data, cybernetics, aerospace, large scale
sensing, bioengineering, applied machine learning, embedded computing,
media systems, biomimetics, and immersive, interactive, distributed or
networked systems.

The successful candidate will be expected to actively engage in
interdisciplinary research, creative work and teaching in engineering, the
sciences and the arts.

Apply through UC RECRUIT: https://recruit.ap.ucsb.edu/apply/JPF01126


FULL ANNOUNCEMENT:


ASSISTANT/ASSOCIATE PROFESSORSHIP IN MEDIA ARTS AND TECHNOLOGY
INTERDISCIPLINARY ENGINEERING, THE SCIENCES AND THE ARTS
The Media Arts & Technology Program at UC Santa Barbara invites
applications for a Broad Search position (Assistant or Associate Professor
level) in Media Arts & Technology. The position will be available July 1,
2018.
The department seeks exceptional candidates who will establish a vigorous
research and teaching program at the intersections of engineering, the
sciences and the arts.
The candidate is expected to have a proven record of engagement in fields
such as, but not limited to: distributed or autonomous systems, robotics,
high-dimensional data, cybernetics, aerospace, large scale sensing,
bioengineering, applied machine learning, embedded computing, media systems
,biomimetics, and immersive, interactive, distributed or networked systems.

The successful candidate will be expected to actively engage in
interdisciplinary research, creative work and teaching in engineering, the
sciences and the arts.
Media Arts and Technology (MAT) is a trans-disciplinary graduate program
situated in both the College of Engineering and the College of Letters and
Science (Division of Humanities and Fine Arts). MAT offers Master's and PhD
degrees and has approximately 41 graduate students and 9 faculty members,
several with joint appointments in engineering and the arts. Areas of
expertise include human-computer interaction, haptics, electronic music and
sound design, computational visual and spatial arts, performance,
multimedia signal processing, and responsive, interactive and autonomous
systems. Offices and labs are housed in the California NanoSystems
Institute building at UCSB, which includes a unique research facility
called the Allosphere, a three-story spherical immersive environment and
several other labs. Additional information about MAT is found at
http://www.mat.ucsb.edu.

To be given serious consideration for this position, applicants are
expected to hold a doctoral degree in one of the fields that are of special
interest for this position, such as, but not limited to Media Arts and
Sciences, Electrical Engineering, Mechanical Engineering, Computer Science,
Bioengineering, Materials, Physics, Media Engineering or Architecture and
have demonstrated excellence in research together with a strong commitment
to creative activities, teaching and interdisciplinary scholarship.
Prospective candidates who pursue interdisciplinary research are strongly
encouraged to apply.

Applicants should submit a cover letter, curriculum vitae (resume),
research and teaching statements, contact information for three to five
letters of reference. Also required is a document with links to projects
(at least one) and publications. All materials must be submitted
electronically via https://recruit.ap.ucsb.edu/apply/JPF01126. For primary
consideration apply by January 10, 2018. The program is especially
interested in candidates who can contribute to the diversity and excellence
of the academic community through research, teaching and service. Inquiries
about your application may be directed to: matp18@mat.ucsb.edu

The University of California is an Equal Opportunity/Affirmative Action
Employer and all qualified applicants will receive consideration for
employment without regard to race, color, religion, sex, sexual
orientation, gender identity, national origin, disability status, protected
veteran status, or any other characteristic protected by law.

__________________________________________________

Marko Peljhan
Professor and Chair
Media Arts & Technology
University of California
Santa Barbara

Office Contact: chair@mat.ucsb.edu
Office Phone: +1-805-893-3029
Lesley Fredrickson Chair's Assistant: lesley@mat.ucsb.edu

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_/\/\__/\__/\/\__/\/\/\/\/\/\______/\/\_____
_/\/\______/\/\__/\/\____/\/\______/\/\_____
____________________________________________
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Wednesday, November 1, 2017

[Yasmin_discussions] IRB Barcelona Artist-in-Residence: 2018 Call

Dear Yasminers,
you'll find below a call for the IRB Barcelona (Institute for Research in Biomedicine) Artist-in-residence programme  
Cheers,
--Eva Alloza AnguianoBioinformatician and Science CommunicatorTlf. +34 645389311http://www.twitter.com/EvaAllozahttp://www.piratasdelaciencia.com/blog/


----


IRB Barcelona Artist-in-Residence: 2018 Call


IRB Barcelona is now inviting applications for artists wishing to take place in the IRB Barcelona Artist-in-Residence Programme 2018. We are looking to welcome a professional artist, with a genuine interest in science, who is interested in working alongside our scientists to gain insight and perspective into cutting-edge research in the biomedical sciences to further their art. Artists from any discipline are welcome.

Artists interested in participating should please submit a brief proposal (2 pages max) outlining the project that they hope to develop at IRB Barcelona. Proposals may be focused on a specific theme working with specific researchers, or they can be more broad ranging, involving interactions with our scientists from a wide range of disciplines within the life sciences.

Participation in the Artist-in-Residence initiative is voluntary, and based on mutual interest. It will last for an agreed time period of up to one year. IRB Barcelona is unable to provide funding for the artist. Candidates needing financial assistance are encouraged to seek external grants to cover stipends and expenses for the duration of the residency.

Through the Artist-in-Residency Programme, IRB Barcelona can offer:




- Coordination of direct access to our scientists, at all levels, to learn about their research and methodologies, and to learn how their work connects to society
- Coordination of direct access to core facility staff for demonstrations and explanations of the technologies they use to gather, interpret and visualize data
- Access to images created in the laboratory where possible
- Facilitation of contact with our network of collaborating institutes

The Artist-in-Residence will become full member of the IRB Barcelona community and can participate in all institutional activities. He or she will also have the opportunity to:


- Participate in and provide input into the organization of seminars, round tables or workshops on themes such as the role of art in science, visualizing science, creativity, etc.
- Participate in public engagement activities such as Open House day, Science and Art events, etc.
- Apply for funding for specific activities based on the collaboration
- Promote the programme through art shows, exhibitions, networks, etc.
- Be featured through IRB Barcelona communication channels

More information about the Artist-in-Residence Programme at IRB Barcelona here. Artists interested in applying should submit the following form, together with a project proposal (maximum 2 pages) by 19 January 2018. Proposals will be evaluated by a committee for interest and feasibility, and the successful candidate will be contacted in February 2018.
--
Sarah Sherwood
Office of Communications and External Relations
Institute for Research in Biomedicine (IRB Barcelona)
sarah.sherwood@irbbarcelona.org
http://www.irbbarcelona.org
Twitter: @irbbarcelona
Facebook: http://facebook.com/irbbarcelona

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Thursday, October 26, 2017

[Yasmin_discussions] (no subject)

Bios Ulrich Gehmann, dipl. rer. nat./lic. oec. HSG/ MA History



I live in Karlsruhe/Germany and I am one of the founding members of Ideal
Spaces Working Group. After a humanist education, I studied Biology and
Anthropology at the Universities of Zürich, Tübingen, Freiburg, and Business
Administration at the University of St. Gallen (HSG). After my professional
career, I studied History at University of Karlsruhe, Germany.

I worked in chemical industry, also in managerial positions; then in an
international consulting firm (former Coopers & Lybrand, now PwC). Here, my
emphasis was upon reorganization projects in Eastern Europe and the former
Soviet Union, including Central Asia, Pakistan, Northern Africa. Issues
covered were enterprise restructuring, institutional development &
cooperation, and policy development for ministries. I occupied several
managerial positions here, also two years in Romania as CEO for Coopers &
Lybrand's Management Consulting Division.

After that, I lectured at University of Wuppertal, business administration
and organizational dynamics; and gave seminars and multiple workshops on
dynamics and behaviour of organizations. I also was managing partner at
Particip Consultancy Group, dealing with EU-projects and the EU-organization
itself.

During my stay at University of Karlsruhe, I was Co-founder of the journal
New Frontiers in Spatial Concepts, and led a 5 year-seminar on Social
Formatting.



Publications and research on occidental mythology, ideal spaces and gestalt
issues, and their impact on recent sociocultural reality.



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Sunday, October 15, 2017

[Yasmin_discussions] yasmin moderator this week: Jadwiga Charzynska

colleagues

Jadwiga Charzynska is taking over as our moderator
this week= she will explain the view of the mediterranean
region viewed from the Baltic !

roger malina
is in Dallas +1510-853-2007
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Saturday, October 14, 2017

[Yasmin_discussions] ars electronica discussion

lorenzo

i wasnt at ars this year so i am hesitant to comment
on specifics- when ars was founded i was on many
of the first juries and worked closely with hannes
and christine

i dont know if anyone has looked at the history of ars
roger malina- oliver and wendy have a new book:

Museum and Archive on the Move
Changing Cultural Institutions in the Digital Era
English, DeGruyter, Munich September 2017
ISBN 978-3-11-052963-0 - 324 pp.

which maybe covers it- ars has had a huge influence
on the growth of our community or practice over the decades
championing the pioneers in emerging practice

like many organisations they have had to be agile as
the political and funding climates have changed- its a different
world than 30 years ago

the good news is that many sectors of society are now
paying attention to the work of our community- with conflicting
interests and directions

on the one hand the current that drives the argument
on innovation theory arguments and transfer of knowledge
and techiques to the commerncial sector

on the other hand the desire for how the arts,design and humanities
can not only critique but drive alternative approaches rather than
backing into the future ( i think of stiegler and ars industrialis for instance)

one of the arguments in the usa that disturbs me a bit, not sure why,
is the argument here that stem to steam can help attract more women
and non white professionals into the industry -as you know in the usa
not enought students go into science and technology so there is a brain
drain from other countries to silicon valley ( when the gender and diversity
of employees is not good)

i think the real problem is systemic and we should be teaching and using stem
areas differently- someone here said privately that maybe we can
use the arts 'to trap students' into going into stem careers- i was internally
scandalised by this remark as if science and engineering are so unpleasant
you have to trap students !!!


as i said i was not at ars this year but i know there was a yasmin get together
there

ars like all of our network of network organisations are navigating among
the various pressure groups and interests of funders- and its fantastic
that they have been able to navigate the unstable cultural environments
we live in

i hope people who were at ars this week will join the discussion
launched by lorenzo

roger
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[Yasmin_discussions] DIGITALIFE

Hallo Yasminers
So, no interventions on Ars electronica.
It seems that discussing about the festival Ars Electronica is not attractive, but when we met in Linz there were about 15 people from the list, as Nina Czegledy wrote in her mail about the (very nice) meeting she organized.
Festivals are not the answer to many questions, i agree, but it's something that allow us to verify several things.
For instance how the art/science problem is seen at a public level, outside university courses and digital-research centers.
There is now a Festival just opened in Rome.
It's called "Digitalife", it's inside a wider festival, "RomaEuropa Festival" existing since many years and mostly dedicated to cross overs between theatre, performance, music and visual arts.
The "Digitalife" itself has been slowly growing in the past years as a small section of the fest and now is in a very central space, not far from Colosseo.
The language cross over is still central in the exhibition choices but there is a cicle of meetings with researchers organized by Prof. Massimo Bergamasco from the University of Pisa (supposed to be one of the most advanced universities in Italy for scientific research). The prof himself founded a laboratory of "Robotic perceptive" and last year did show a Robot made in the laboratory designed to help handicapped people.
Famous scientific reasearcher & Nobel prize Rita Levi Montalcini used to protest with government for scarce founding for research in Italy.
Nonetheless we have some bright people coming from University Jungles and producing ideas, like Arduino for instance.
The weight of the festival is very much on the visual languages and there are names well known to many: Dumb Type, Jean Michel Bruyère, Granular Synthesis, Robert Henke.
Anyway i always considered a false step the "Damnation Memoriae" of early techno art against the video languages.
The kinematic languages are still very central, more and more central in the technology universe.
The Futurist legacy in italian art has an interesting history as you know and pushes toward the merging of languages through technology.
If anyone will pass through Rome the Festival is open in "Palazzo delle Esposizioni" till the 7 January.
I hope to have interesting ideas to transmit from the meetings.
Best
Lorenzo Taiuti
Vicolo dei Panieri 48
Roma 00153
Cell. 0039 339 5692752
e-mail: md3169@mclink.it <mailto:md3169@mclink.it>
website: www.lorenzotaiuti.com <http://www.lorenzotaiuti.com/>
skype: bertoltt


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Tuesday, October 10, 2017

[Yasmin_discussions] the international controversies around the PhD in Art and Design

yasminers

As you will know PhDs in Art and Design are proliferating around the planet
with vary largely varying approaches- and there is much debate around
the rigor that is not always being used in the variety of programs

The editors for this 3 year Leonardo project are Ken Friedman and Jack Ox

They bring to our attention the first articles now available- with a call
for proposals for articles

Within the STEAM to STEM discussion a core issue is the very different
research and teaching techniques used in STEM as compared with Arts,
Design and Humanities.

Ken and Jack also in an introductory text overview the debates that are
ongoing and the serious issues involved

here is their announcement

we welcome yasminers thoughts and provocations !!

Roger Malina


Dear Colleagues:

The MIT Press journal Leonardo has just published the first three articles
in its three-year symposium on the PhD in art and design.

The articles are

Friedman, Ken, & Jack Ox. 2017. "PhD in Art & Design." LEONARDO, Vol. 50,
No. 5, pp. 515–519, 2017. doi:10.1162/LEON_e_01472

Maksymowicz, Virginia, & Blaise Tobia. 2017. "An Alternative Approach to
Establishing a Studio Doctorate in Fine Art." LEONARDO, Vol. 50, No. 5, pp.
520–525, 2017. doi:10.1162/LEON_a_01189

Zeeuw, Diane. 2017. "Case Study The Development and Evolution of the
Creative Arts Practice-led PhD at the University of Melbourne, Victorian
College of the Arts." LEONARDO, Vol. 50, No. 5, pp. 526–527, 2017.
doi:10.1162/LEON_a_01407

You may download copies of all three from this URL:

https://we.tl/kIEP5wOF7I

Please let us know if you have ideas or articles to contribute.

Ken Friedman and Jack Ox

Corresponding Editor: Jack Ox <jackox@intermediaprojects.org>

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[Yasmin_discussions] stem to steam; averting a tragedy of the internet

yasminers

one of the issues that has been coming up as the stem to steam discussion
moving forward is how to avert the developing 'tragedy of the internet' by
analogy with the 'tragedy of the commons"

eg see https://www.theatlantic.com/technology/archive/2012/05/the-tragedy-of-the-internet-commons/257290/

at the commoning charrette this last summer the group proposed a
number of strategies

http://patternsofcommoning.org/

one of the concepts is a 'gated commons' by analogy to the
agricultural land which had shared commons would have "gates)
for instance http://www.hopkinscattlegrids.co.uk/grids which would
led pedestrians into the commons but not cattle unless accompanied
by a human

( not the concept of patterning in commons development draws on
the work of chris alexander: https://www.patternlanguage.com/ )

our new arteca.mit.edu is using this pattern of commoning
to create a collaboration commons for the art science technology community

here is an area humanities scholars in stem to steam could play an active
role on how we avert the developing tragedy of the internet- steam ahead ?!

roger malina








roger malina
is in Dallas +1510-853-2007
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Sunday, October 8, 2017

[Yasmin_discussions] yasmin moderation this week

yasminers
I am the yasmin moderator the coming week\
from the mediterranean in spirits-from dallas

Jadwiga Charzynska will be the moderator next
week from the north part of the amber route !
we are hoping to welcome discussants from around the
Baltic- if you are there please tell us what you are up to !

roger malina
is in Dallas +1510-853-2007
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Monday, October 2, 2017

[Yasmin_discussions] HEAT rather than STEAM ?

>From scott Hartley

Dear Roger,


I do believe you might enjoy my book, THE FUZZY AND THE TECHIE: Why
the Liberal Arts Will Rule the Digital World at Leonardo. The book,
which was a Financial Times business book of the month, argues for the
Liberal Arts in addition to STEM.


Roger, I also wanted to share a piece that I think you and Yasminers will enjoy:

https://venturebeat.com/2017/09/30/dear-tech-world-stemism-is-hurting-us/



While we obsess over STEM and now STEAM, this article argues for HEAT,
which stands for Humanities, Engineering, Arts, and Technology. I
think this does a better job summing up the necessity for breadth
beyond only arts and tech.



All the best,

Scott



--

Scott Hartley
The Fuzzy and the Techie

www.fuzzytechie.com
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Saturday, September 30, 2017

[Yasmin_discussions] Ars Electronica Festival

Hallo Yasminers
About last Ars Electronica.
The discussion on art and science goes on at Ars Electronica this year with two new elements: 1- Art Galleries (19) exposing digital art appear here and there between Europe and USA with the target of all the art galleries: expose and sell. This should quiet down the alarm of the art system about languages as economically unmanageable as old Conceptual/ Land art. The galleries create a strange neat White-Cube space even in the Sturm und Drang of dramatic and decayng spaces of the PostCity where the festival is.The choices made by the galleries go in all directions (good and bad). Objects citing digital realities,devices, gifs, compilations of digital video, video loops. The early perspectives of videoart seem to prefigure again the possibilities of new media. Famous videoart figures like Bill Viola have "bottled" their videos in compact flat screen framed in various dimensions. Sometimes the works are sold in little numbers (ten copies or even one). The same happens with digital works and Eduardo Kac shows etchings taken from his well known works on alterations of plants's DNA. So the Value of the work for sale in the gallery is both a symbolic trace of the original work and an object for sale. But New Media Art wanted direct action, going through and beyond symbols and create "realities". An its Mission was (Is?) ambitiously redefining the relationships between Humans & Body & Global Habitat. The presence of a gallery culture is anyway a new and intriguing point of discussion on our basic problems of Art & Science. Two symposia look from two different points on the problem. The first involves powerful art critics/curators Ulrich Obrist (Serpentine Gallery London) and Paul Dujardin. But while Obrist criticizes the possibilities of empathy of media art, Dujardin is much more open and involved. The second meeting was on showing documentations of works realised in wide public spaces by several artists. Christa Sommerer and Laurent Mignonneau is about Flies. "Lord of the Flies" was one of the ancient names for the Devil and their new works drive toward the dark side abandoning their old clearly drawn psycological landscape. Michael Sauter gets back to Oskar Schlemmer's like operations on light and shape with very good results.
The Kafka/Escher style Post City can contain litterally thousands of exposers (four thousands where the proposals arrived at the juries) and while last year it was an exciting experience, this energetic Blade Runner market this year looks still exciting but rather "too much". Too much in proposals, too much to see and cope with. "After the Glow" it comes the mass explosion of digital-related works. We feel the need of a different order and a different exibition structures. An interesting idea is the "Gluon Project" that reverses the usual pattern of "artist going in residence in a science space" to scientists invited to live and work in an art space with artists.
There would be much more to say, but i hope this may strike up a conversation on what is still the bigger exibition in digital art in Europe.
Lorenzo Taiuti
Vicolo dei Panieri 48
Roma 00153
Cell. 0039 339 5692752
e-mail: md3169@mclink.it <mailto:md3169@mclink.it>
website: www.lorenzotaiuti.com <http://www.lorenzotaiuti.com/>
skype: bertoltt
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Wednesday, September 27, 2017

[Yasmin_discussions] STEAM theme for October's Digital Humanities Week

Fellow YASMINers,

Given the recent discussion on this list, I think you'll be interested to learn that the subject of the 2017 Digital Humanities Week is STEM To STEAM. The week includes 24 events spread over five days, including the keynote by some guy named Roger Malina who apparently knows something about the subject.

I'm hopeful this conference might be useful to some of you as a model to work from--either for its format (THATCamps are fun) or its pro-STEAM argument (Nobel laureates in the sciences are 17 times more likely to be painters than the average scientist).

Check out the website for more information, and feel free to email me off-list for questions--or on-list for critiques!

jon

________________

Digital Humanities Week
University of Maine at Orono
2-6 October 2017
http://DigitalHumanitiesWeek.org


What relevance do the arts and humanities play in a world whose swift transformation seems increasingly driven by science and technology? That's the theme of this year's Digital Humanities Week, a conference at the University of Maine during the first week of October whose events range from formal presentations by extraordinary speakers to ad hoc hackathons run by students.

A growing movement known as "STEM To STEAM" aims to interject the Arts into the STEM disciplines (Science, Technology, Engineering, and Mathematics). This movement's radical premise is not simply that humanistic creators and scholars will benefit from access to digital tools, but that traditional STEM fields need the creativity and perspective of the arts and letters to improve their diversity, retention, and accountability.

This year, speakers from the University of Texas, MIT, Harvard, Dartmouth, and UCLA--as well as other UMaine campuses and Bowdoin and Colby colleges--will demonstrate or examine art-science collaborations that have produced groundbreaking scientific discoveries, from the use of DNA to store cultural data (the Library of Congress fits in a test tube) to audio microscopes (each microbe has its own signature sound). Other demonstrations include creating "Hypercities" by superimposing layers of historical data on an urban map; using a planetarium dome for data visualization or 3d sound; and building virtual museums to document local economies ("Blueberries, Clams, and Beer").

Founded at the University of Maine in 2011, the biennial Digital Humanities Weeks focus on the ways that new technologies are transforming arts and letters, history, and the social sciences. Other subthemes of this year's conference will include women and code, digital storytelling, copyright and fair use, and others related to technology and culture.

All events are free and open to the public, although the organizers request that you register on the website to ensure sufficient space for all and to target the workshops to participants' interests. To register or learn more, visit:

http://DigitalHumanitiesWeek.org


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Saturday, September 23, 2017

[Yasmin_discussions] Fwd: [artsciedu] Mise à jour du Programme Rencontres Devenir Plante 9-13 Octobre

Hello Yasminers,

I'm forwarding this art-science workshop announcement, happening at Paris
or very close.

Cheers
M


---------- Message transféré ----------
De : Aniara Rodado <artsciedu@framalistes.org>
Date : 23 septembre 2017 à 22:39
Objet : [artsciedu] Mise à jour du Programme Rencontres Devenir Plante 9-13
Octobre
À : artsciedu@framalistes.org


La liste artsciedu diffuse des annonces sur les relations transversales
entre Arts, Sciences, Education et Entreprises.

Bonjour à tout-e-s

Veillez trouver dans ce lien le programme complet des rencontres Devenir
Plante

https://aniararodado.files.wordpress.com/2017/09/devenir_
plante_programme.pdf

ouverts à tous gratuitement,mais sur inscription, ici:

http://tinyurl.com/y7pnaakx

N'hésitez pas à faire circuler le programme de rencontres et à nous
suggérer des listes ou sites de diffusion.

Cordialement

Aniara


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Wednesday, September 13, 2017

Re: [Yasmin_discussions] STEAM to STEM: the commons and open science movements, Ghent and Charles Babbage

Hello,
Just some points on this very interesting topics.
 

How art(s) could redesign science(s) ?
Or in the contrary ? Roger wrote about two directions. Opposite ?
 
Which is stem or steam ? Even if the idea is difficult to catch cause no translation in French, my native language.
 
In other terms, stem and steam could report to discipline and undiscipline or transdiscipline.
The first one is placed in a category, with its method and field, visible, institued, historical, proven, and the other is new, indeterminate, undistinguished, unnamed. This experimental situation is over a rational approach and could go under the reason to become a scientific field. With practical and theoretical construction. As a science.
 
But we can see the same movement in the evolution and transformation of the arts, and their history, disciplines, and of their opening or closure. The birth of new forms often owes to their link to other disciplines, imaginery, technics. The philosopher Theodor Adorno, in a conférence caled « The art and the arts » (1966) saw the creation as a call to alterity : real or symbolic. And the shapes coming from different materialities, and due to the work of the artist(s) on the material things. A very concrete work of art. That has nothing to do with an essence of the art, of each one, but that go both with the possibilities and capacities to tranform the matter(s).
 
Into these materialities, there is always the role, changing, of the technics and of the instruments. The technic designs the art, and art also means technic, refering to ancient greek. The maker or worker of art should also know about the instruments of its art, and the instruments, or technical objects, also evoluate.
 
 
The question seems to be : where must be the invention ? And who are the inventors ?
Few years ago, Roger proposed the topic of « artists as inventors ».
 
Artists and scientists as inventors in their field could be the base of a real and true research in all fields, in science as well in arts.
 
We have to rethink the question of technic, which was the one of Heidegger, as the birth of art.
But the problem that has understood Heidegger is that the evolution of modern technic was related to the progress of sciences.
All these evolutions and questions could go together. Maybe rethinking the history of arts and of sciences. And thanks to Leonardo to have been a pioneer to observe and to theorize all these intersections.
 
It is a beginning to approach stem to steam and vice-versa.
 
But another problem is to know enough about the huge activities of technologies in the digital age, cause a big part of the knowledge is even hidden - because included into the machines and its programms - to the savant, supposed to be a specialist. This is not really transparent and it can be a question of design, design of knowledge.
 
So who is the amateur ?
 
Stiegler would say that we are all becoming proletarian, and I would comment that the role of commons would to be in capacity to manage collective knowledge and intelligence.
 
Next event of the Entretiens du nouveau monde industriel organized by Stiegler  in Paris in december is about « artificial stupidity » ( # AI) : http://www.iri.centrepompidou.fr/actualites/enmi-2017/
 
 
Colette Tron

_____________________________________________

Le 17/08/17, à 02:42, roger malina a écrit :
yasminers

In an earlier yasmin discussion post I presented a provocation that we
need to think of stem to steam in the other direction or STEAM to
STEM- and specifically how the arts, design and humanities can work
with stem to redesign science itself, both the scientific method and
the way science is embedded in society.

At the risk of exciting Frieder Nake again with a meta level
discussion ( thanks frieder !)( i think there are practical things we
can work on here)- i thought i would expand on the redesign of the
societal contextualising of science. I referred for instance to Helga
Nowotny, former President of the European Research Council called for
development of a 'socially robust science', where the public was
actively engaged in the doing and decision making of science.

When I was working at the Berkeley Space Science Lab, a colleague of
mine was Dan Wertheimer who was part of the group that created the
"SETI at HOME" project, which triggered the vibrant and growing
citizen science and open science community- which I think is a clear
response to Jean Marc Levy Leblond call for the reinvention of the
'amateur'.( http://yasminlist.blogspot.fr/2017/07/yasmindiscussions-mediterranean.html
)

Levy-Leblond's advocacy of a new amateur connects to Bernard Stiegler
(http://revel.unice.fr/alliage/index.html?id=3272 ) who argued for the
term French term "amatorat' rather than 'amateur" to cover the whole
range of new engaged citizen activities from citizen science, to
hacker and maker culture, to patient and environmental monitoring
groups and in the US the STEM to STEAM movement. In a very real sense
the advocacy of a broadened concept of smart, STEM enabled, citizens
is one element of a response to Nowotny's call for socially robust
science (http://spp.oxfordjournals.org/content/30/3/151.abstract ).

What has triggered this email- on how the arts, design and humanities
can contribute to the redesign of scientific culture throughthe
growing "commons" movement ( see for instance what the city of Ghent
is doing) below and a recent workshop creating an urban commons. I
also attended a workshop co directed by David Bollier who is a leading
advocate of 'commoning" http://www.bollier.org/ - which rethinks the
early internet euphoria about connecting everyone to everyone in a
global village ( yes roy ascott, maybe the emerging planetary
consciousness is more like a planetary delirium..). The peer to peer,
open source, creative commons movements are alive and well and could
be part of a STEAM to STEM to redesign science itself ?

for more discussion with the connection to Charles Babbage see:
http://malina.diatrope.com/2017/08/16/steam-to-stem-open-science-commoning-and-getting-help-from-charles-babbage/

roger malina
here is the Ghent announcement


From: P2P Foundation
Ghent's Quick Rise as a Sustainable, Commons-Based Sharing City

Shareable posted: "Maira Sutton: A renewable energy cooperative, a
community land trust, and a former church building publicly-controlled
and used by nearby residents — these are just a few examples of about
500 urban commons projects that are thriving in the Flemish city o"

New post on P2P Foundation

Ghent's Quick Rise as a Sustainable, Commons-Based Sharing City

by Shareable

Maira Sutton: A renewable energy cooperative, a community land trust,
and a former church building publicly-controlled and used by nearby
residents — these are just a few examples of about 500 urban commons
projects that are thriving in the Flemish city of Ghent in Belgium. A
new research report shows that within the last 10 years, the city has
seen a ten-fold increase in local commons initiatives. The report
defines commons as any "shared resource, which is co-owned or
co-governed by a community of users and stakeholders, under the rules
and norms of that community."

With a population of less than 250,000, Ghent is sizably smaller than
the other, more well-known Sharing Cities such as Seoul and Barcelona.
But this report shows how it is quickly becoming a hub of some of the
most innovative urban commons projects that exist today.

The study was commissioned and financed by Ghent city officials who
were keen to understand how they could support more commons-based
initiatives in the future. It was conducted over a three-month period
in the spring of 2017. The research for the report was led by the P2P
Foundation's Michel Bauwens, in collaboration with Yurek Onzia and
Vasilis Niaros, and in partnership with Evi Swinnen and Timelab.

Given how self-governance is central to the success of a commons, the
primary methodology employed by the researchers was to meet and talk
with the members of various projects. Additionally, they conducted a
series of surveys, workshops, and interviews with Ghent residents to
explore how these projects came about and what could be done to
encourage more commons initiatives to emerge. One result of this
process is an online wiki that maps hundreds of successful such
projects in the region.

These are a few notable projects mentioned in the report that embody
the type of commons work currently underway in Ghent:

REScoop — Renewable energy cooperative

For a moderate sum, a resident can become a member of this green
energy cooperative to co-own and co-manage the enterprise. Not only is
this model more affordable for lower income residents, members can
share the efficiency of solar panels. For example, many members' roofs
may not be optimally located to get enough sunlight at all times of
the year. But with collective ownership, people can access and share
the available energy, whether or not their own home is collecting as
much solar power as other locations.

Buren van de abdij ("Neighbors of the abbey") — Neighborhood-managed
church building

A decade ago, the city gave the keys to a formerly abandoned church to
neighboring residents. Since then, the space has been turned it into a
thriving center for exhibitions, meetings, and other community events,
and it is entirely self-governed by the residents.

CLT Gent — Community land trust

Community land trusts (CLTs) are associations that develop and manage
land in order to keep housing or other types of properties affordable
and accessible to lower income populations. When the city of Ghent
develops housing, it dedicates a percentage of it to CLT Gent to
manage and oversee it.

NEST (Newly Established State of Temporality) — Former library
building turned into a temporary urban commons lab

The city made plans to renovate an old library. Instead of leaving the
building empty for the eight months leading up to its reconstruction,
officials decided to turn it into an experimental urban commons
project. Now, the space is a thriving community center with meeting
and event spaces, a music studio, children's play area, and more. Each
of the services and spaces are operated by different community
organizations and enterprises. They also have a contributory rent
arrangement, where organizations that are more participatory and
sustainable in their practice pay less rent. That means 20 percent of
the enterprises pay 60 percent of the rent, thereby subsidizing the
commons activities of the other spaces.

NEST opening day. Photo courtesy of Evi Swinnen

The strength of Ghent's commons can be traced to how the projects
encourage participation by individuals and community organizations to
steward the shared resource, according to lead researcher Bauwens.
There are a few factors that stand out among Ghent's various commons
projects. The first is that the projects' members invite residents to
openly contribute their time, skills, money, or goods, while at the
same time not requiring contributions by people to make use of the
resource. Secondly, these urban commons projects rely on some aspect
of their operation on "generative market forms" that can produce
income to sustain them. And finally, they also require support from
government agencies or nonprofits to help manage the resource.

Despite the plethora of commons projects that are there, however, the
commons-based economy is still relatively small. The report concludes
with a series of 23 proposals for actions the city could take to
support and strengthen the urban commons in Ghent. Much of the
recommendations are aimed at addressing the underlying problem that
the researchers identify — that the movement is very fragmented.

The local commons initiatives do not actively collaborate or cooperate
with one another. Bauwens noted that he saw members of commons
projects within the same domain not know of one other's commons
initiatives. That's why the report suggests the city set up alliances
and other opportunities for cooperation between individual commoners,
civil society organizations, the private sector, and agencies within
the government itself.

An innovative proposal is what one of the researchers, Swinnen, refers
to as a "call for commons." The idea emerged from the way the NEST
Experiment came about. Where major work is required to build a shared
space or resource — such as a new library or community space — heavy
institutional support is needed to carry forth the project. The idea
is that instead of having potential developers individually compete to
win the bid for the project to build it — as is the case in most
commercial-style development contracts — the project would be rewarded
to the strongest coalition of community partners and organizations.
And instead of giving it to one developer of one winning proposal,
this method enables several organizations to have all their winning
ideas realized in tandem. The coalition would have to prove its
ability to collaborate, share resources, and maximize community
benefit, all the while enabling the most public participation.

Commons as a School for Democracy

Bauwens says that with any commons project, urban or otherwise, there
are two major potential benefits of having people share and govern
over a common resource. The first is that it can reduce the
environmental and material footprint of that community. With any
physical commons, people can mutually share and provision its use.
Instead of having many people buy or own their own car or tools for
example, they can share it, leading to less of those goods having to
be produced or transported in the first place.

The second potential of the commons is that they can help build a true
democracy, or what Bauwens calls a "school for democracy." When people
have to govern something together, they need to make decisions
collectively and work together. The commons is where people can
practice and exercise their civic muscles by talking and meeting with
other members of their community face-to-face.

Hopefully, we will continue to see the people of Ghent build new urban
commons projects as fervently as they have done in the last 10 years.
With the additional support of their city government as proposed by
this report, Ghent could become one of the leading urban commons
capitals of the world.

Header image of NEST in Ghent courtesy of Evi Swinnen

Shareable | August 14, 2017 at 9:03 am | Tags: Vasilis Niaros |
Categories: P2P Cultures and Politics | URL: http://wp.me/p4csWb-hrU

C
https://blog.p2pfoundation.net/ghents-quick-rise-sustainable-commons-based-sharing-city/2017/08/14

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Saturday, September 9, 2017

[Yasmin_discussions] STEAM Caucus Newsletter - September 2017

yasminers

well well well- american politiciants cant agree on much except
STEM to STEAM !! There are now 88 us members of the us congress in the
caucus who
are campaigning for funds for stem to steam in the US budget

here is a link to information on the 2017 STEM to STEAM act

https://langevin.house.gov/press-release/langevin-leads-bipartisan-group-lawmakers-introduce-stem-steam-act-2017

with a very interesting budget proposal !

and i append their latest newsletter !!! ( if you want to see the
videos contact me)

on the other hand there is discussion about what the difference is
really between
polymathy and stem to steam or is it all marketing

eg polymathy:

https://cns.utexas.edu/images/CNS/PS_text_documents/PS_Handbook_9_15_2014_V1.pdf

roger malina


---------- Forwarded message ----------
From: Steele, Lakeisha

Dear Friend,


The 115th Congress has been an exciting time for the Congressional
STEAM Caucus. We currently have 88 Members of Congress in the Caucus,
and dozens of stakeholders from the fields of education, arts,
science, industry, and entertainment who are excited about STEAM. We
have introduced and passed new legislation integrating STEAM
initiatives, convened briefings on Capitol Hill, and visited STEAM
programs and schools back in our home states.

In June, the House of Representatives passed the Strengthening Career
and Technical Education for the 21st Century Act to provide federal
support to programs that prepare students for in-demand careers and
success in higher education. Representatives Elise Stefanik and
Suzanne Bonamici successfully added an amendment that integrates arts
and design skills training into career and technical education (CTE)
programs. You can watch video of Representative Bonamici speaking
about the legislation here.

Following the passage of the CTE bill, the STEAM and CTE Caucus held a
joint briefing entitled STEAM and CTE: Adding "Art and Design" to STEM
Career and Technical Education. We were joined by panelists from Rhode
Island School of Design, GE Global Research, and representatives from
local public schools. This briefing highlighted how incorporating
STEAM into CTE programs will help us develop a strong education to
career pipeline.

Representatives Langevin, Bonamici, and Stefanik also introduced the
STEM to STEAM Act of 2017, which would integrate art and design into
STEM by leveraging resources at the National Science Foundation to
research and develop effective STEAM education programs that promote
creativity and innovation.


You can view updates from STEAM Caucus members and read more about
STEAM initiatives around the country below. If you would like an event
or article highlighted in the upcoming October monthly newsletter,
please send content to us at Lakeisha.Steele@mail.house.gov or
Patrick.Hester@mail.house.gov.

Sincerely,

Lakeisha Steele Patrick Hester

Rep. Suzanne Bonamici Rep. Elise Stefanik

Touring Portland Community College's Innovative STEAM LAB


Representative Bonamici visited Portland Community College's Rock
Creek Campus to tour the new STEAM Lab and MakerSpace. MakersSpaces,
including Rock Creek's STEAM Lab, give students the opportunity to
incorporate the arts into STEM using innovative tools and technologies
like 3D printers and computer hardware. You can view a tweet from
Representative Bonamici's visit here.


Olin College's New STEAM Initiative

Olin College received significant grant funding to integrate the arts
into STEM education. The grant comes from The Andrew W. Mellon
Foundation. You can read about the initiative here.


Visiting SUNY Potsdam Theatre Students


Representative Stefanik visited with SUNY Potsdam students in the
green room before their performance.

contact me for the original newsletter
roger malina

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Thursday, September 7, 2017

Re: [Yasmin_discussions] STEMM + Art + Humanities in higher education

Nina! You've been on my mind, and I wonder when our paths will cross again. I'm so happy to see this message go out, because I'm now teaching in medical humanities to pre-med students as well as Artists. You and I have so much to talk about, and I miss our conversations! Perhaps our next rendezvous will be in hungry? I may even try to get back to Canada for Christmas. Are you going to be in Toronto during that time?

Sent from my iPhone

> On Sep 7, 2017, at 1:30 PM, "czegledy@interlog.com" <czegledy@interlog.com> wrote:
>
>
>
> ----- Forwarded message from pljenn@GMAIL.COM -----
> Date: Wed, 6 Sep 2017 10:24:40 -0400
> From: Pamela Jennings <pljenn@GMAIL.COM>
> Reply-To: Pamela Jennings <pljenn@GMAIL.COM>
> Subject: [NEW-MEDIA-CURATING] National Academies of Science study on STEMM + Art + Humanities in higher education
> To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK
>
> Dear Colleagues,
>
> The National Academies of Sciences, Engineering, and Medicine is preparing
> a consensus study on "Integrating Higher Education in the Arts, Humanities,
> Sciences, Engineering, and Medicine".
>
> (http://sites.nationalacademies.org/PGA/bhew/humanitiesandstem/index.htm)
>
> We are currently in the writing phase of the report and working to develop
> a section devoted to courses and programs that integrate STEM into the arts
> and humanities.
>
> *QUESTION/REQUEST: *
>
> - Are you aware of programs and courses that integrate STEM into the
> arts and humanities?(U.S. or International)
> - What do the students, artists, and humanists gain from this
> integration?
> - Are you aware of any programs or courses that have been evaluated,
> either qualitatively or quantitatively toward these ends?
> - Regarding established transdisciplinary fields like STS, bioethics,
> and the digital humanities. Is anyone aware of any evidence that speaks to
> the impact of these fields on students?
>
> Please send all information in the form of Word or PDF documents to me
> directly by September 29, 2017 to: pljenn@gmail.com .
>
> *Please note* that all information shared with the National Academies of
> Sciences will be placed into the public domain. Please do not send any
> documents that you do not want to be placed into the public domain.
>
> Regards,
>
> Pamela L. Jennings, PhD, MBA
> *******************************
> Pamela L. Jennings, PhD, MBA
> email: pljenn@gmail.com
> skype: pljenn
>
>
> ----- End forwarded message -----
>
>
> _______________________________________________
> 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
>
> SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
> TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
> If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/

Wednesday, September 6, 2017

[Yasmin_discussions] STEMM + Art + Humanities in higher education

----- Forwarded message from pljenn@GMAIL.COM -----
Date: Wed, 6 Sep 2017 10:24:40 -0400
From: Pamela Jennings <pljenn@GMAIL.COM>
Reply-To: Pamela Jennings <pljenn@GMAIL.COM>
Subject: [NEW-MEDIA-CURATING] National Academies of Science study on
STEMM + Art + Humanities in higher education
To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK

Dear Colleagues,

The National Academies of Sciences, Engineering, and Medicine is preparing
a consensus study on "Integrating Higher Education in the Arts, Humanities,
Sciences, Engineering, and Medicine".

(http://sites.nationalacademies.org/PGA/bhew/humanitiesandstem/index.htm)

We are currently in the writing phase of the report and working to develop
a section devoted to courses and programs that integrate STEM into the arts
and humanities.

*QUESTION/REQUEST: *

- Are you aware of programs and courses that integrate STEM into the
arts and humanities?(U.S. or International)
- What do the students, artists, and humanists gain from this
integration?
- Are you aware of any programs or courses that have been evaluated,
either qualitatively or quantitatively toward these ends?
- Regarding established transdisciplinary fields like STS, bioethics,
and the digital humanities. Is anyone aware of any evidence that speaks to
the impact of these fields on students?

Please send all information in the form of Word or PDF documents to me
directly by September 29, 2017 to: pljenn@gmail.com .

*Please note* that all information shared with the National Academies of
Sciences will be placed into the public domain. Please do not send any
documents that you do not want to be placed into the public domain.

Regards,

Pamela L. Jennings, PhD, MBA
*******************************
Pamela L. Jennings, PhD, MBA
email: pljenn@gmail.com
skype: pljenn


----- End forwarded message -----


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Sunday, September 3, 2017

[Yasmin_discussions] steam: generative systems and sonia landy sheridan

yasminers

for your attention i thought i would mention Sonia Sheridan's
interesting facebook group ( its closed so you have to ask for access)

https://www.facebook.com/groups/generativesystems/

sonia sheridan is a true art science 'elder' in our community
for her web site see:
http://www.sonart.org/
Sonia Landy Sheridan (Newark, Ohio, April 10, 1925), is an American
artist, founder of a generative art department called Generative
Systems, professor emeritus at the School of the Art Institute of
Chicago (SAIC), and an editor of Leonardo, the Journal of the
International Society for the Arts Sciences and Technology.

the current stem to steam discussion has its roots in the work of many
pioneers such as sonia

roger malina
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Saturday, September 2, 2017

Re: [Yasmin_discussions] STEAM to STEM: redesigning science itself ? yes says sundar sarukkai

Ah, apologies, looks like the lockdown has just occurred again for the ISR
texts...please email me if you'd like to read this article and I can
speedily send on to you.....

Here's an extract to start with....

This paper draws on the encounters between UK artist Neal White (b.1966)
and the late

British artist John Latham (1921–2006) in order to explore ideas and
contemporary forms

of practice between artists who have shared interests in science, its
developments and

impact. The prominence of science-driven activity in the cultural sector
provides a

context for the discussion of a renewed interest in some key artists in the
early Cold

War period, 1947–1972, including Gustav Metzger, Robert Smithson and György

Kepes. Whilst emphasizing shared concerns around the potential of
destruction, in the

archive and in terms of formal artistic process, the paper also argues for
a deeper understanding

of the vision and values that these artists bring. In doing so, it points
to a contemporary

landscape of art and science that might contribute to society beyond the

current cultural/scientific spheres, addressing broader questions and
concerns that are

considered urgent for scientists and artists alike.


A perspective on art, science and culture

In the last two decades, we have seen the continuing growth of a cultural
phenomenon in

which art is exhibited in a scientific context. This has happened largely
through

organizations with impressive amounts of funding supporting refined and
engaging art

gallery spaces: from the Wellcome Trust in London, to the Science Gallery
network

working out of Trinity Dublin, through to landmark architecture initiatives
such as the

Art Science Gallery in Singapore. The often seductive and spectacular1
exhibitions

curated in these environments perform a contemporary take on the
Wunderkammer,

or cabinet of curiosities, and are designed to appeal to mass audiences
with titles such

as the 'Institute of Sexology' – subtitle 'Undress Your Mind' (Wellcome
Trust, 2014),

through to 'Fat Lab' and 'Life Logging' (Science Gallery Dublin 2014–2016)
and revisit historical

works, as in 'Da Vinci: Shaping the Future' (Singapore 2014–2015). With
richly

illustrated catalogues and advanced media strategies, all attract very
large numbers of visitors,

perpetuating the media focus on science that has developed its very own
cultural

plaudits. For many artists, this sector also represents a rich and
rewarding space within

which to operate.

The emergence of such vibrant cultural activity in the late 1990s has not
been without criticism.

Among many artists working in this period, there was a view that the forms
of funding

were only made available to those who supported the 'positivist' science
agenda. The view

became synonymous with institutional critique in visual art, a long and
well-documented

area of practice in which the dominance of certain cultural forms,
represents control over artistic

freedoms. Art and Science in this respect can be problematic, from
restrictive practices on

artists working in labs, through to the broader agenda of life science
corporations/charities,

many of which were linked with the essential life support offered by
military spending on

research of all kinds. Whilst today it is argued a new wave of critics,
curators and artist challenge

this purely positivist approach, it has been difficult for those working
within this space to

shake off these pointed accusations. Even today, in appropriating more
critical voices within

the agenda of public understanding and science communication, the dissent
has not abated –

and other views of the relationship between art and science are being
valued. Many of these

values stem from a critical relationship developed by artists working in
the UK and USA in the

Cold War period (1947–1991).

The potential of destruction

The early Cold War period gave rise to artistic practices that engaged with
science and

over recent years, these pioneers have started to come to prominence in the
West,

notably in the UK and US. In part this was due to their radical and
critical approach

that tore into modernist ideas and the privilege of aesthetics over other
values in art.

Further to this, there was recognition by a younger generation of artists,
critics and curators

of the critical and conceptual shifts that occurred during this period.2 In
the following

short sections, a personal and historic account of some of the range of
these practices sheds

light on what is now termed as art in the expanded field, or
post-conceptual art (Krauss

1979; Osborne 2013) being practised in art and science today.

In April 2016, a John Latham retrospective at The Henry Moore Institute,
entitled

'A Lesson in Sculpture with John Latham' included a re-staging of a
performance of one

of his most infamous series of works by the author (this work was called 'Neal
White7

realises a Skoob Tower'). A key part of Latham's early oeuvre from the
1950s, the 'Skoob'

(the word 'books' spelt backwards) tower performances consisted of a tall
column or tower

of books, usually Dictionary Volumes, which were then set alight in a
public space. Having

remade Latham's work on several occasions the approach to remaking this
work has been

shaped both by a familiarity with Latham's work, but also as an ongoing
exploration of the

artist archive, and the role of events, including destructive acts through
practice led

research.3 In particular, the work follows a line of personal enquiry
started in 2004–

2005, having made a piece of work that campaigned for the restoration of a
series of

'destroyed' public sculptures made by Jacob Epstein on the Strand, London.
The project,

entitled The Third Campaign (2004–5) was conceived as an exhibition that
would

become an artwork within the archive of the Henry Moore Institute. It
included a campaign

film, letters to those involved and props, and now resides within the
archive as intended.

The 'Skoob tower' further addresses the significance of what might be
termed as

destructive events in historical and cultural terms, addressing what it is
that can be preserved

– artworks or events – within the institutional archive. As Latham commented

to me whilst I was working on the Third Campaign, the project was more than
a

polemic; it was conceived as an interruption to the stability of the
archive, an insertion

of work into official records and into cultural time. Marking a decade
since Latham's

death in 2006, the proposal to perform the 'Skoob tower' in 2016 was made
as a tribute

to his ideas, in the context of his notion of 'event structures' that are
also relevant to

the archive. The work was commissioned on the agreement that it would
eventually be

interred within the Henry Moore Institute itself, as a new work entitled 'The
Archive in

Ashes', which is now ongoing.

My own interest in Latham's work and his ideas did not emerge out of a
formal academic

study of Latham, but followed an introduction in 2003 to John Latham and
his life-long

working partner Barbara Steveni. At this initial meeting, showing them a
book I had

jointly authored with the writer Lawrence Norfolk (Norfolk and White, 2001)
became a

powerful catalyst. Within this short work, the 196 pages are numbered as
divisions of a

single second, one second being the time over which a sneeze was recorded,
captured by

an advanced laser camera at a laboratory in Oxford. Linked to the first
ever piece of copyrighted

film in the US, which was a 45 frame film of Thomas Edison's assistant
sneezing

(1896), the book meditated on the filmed fragments of a one second sneeze
today and the

progress of technology from the chemical to the digital, referring both to
the speed of the

recording, and the disintegration of meaning into code. The book was itself
a piece of

time. In formal terms however, and unknown at the time of the first meeting
with

Latham, the spray of the sneeze we photographed and which features on every
page approximated

Latham's own early work, 'One Second Drawing', created for the Cosmologists
Christopher

Gregory and Anita Kohsen in 1954 (1959; Walker 1995)4. It was through this
work

that John Latham had developed his own vision of art, a vision informed by
science that

shaped his entire life. He called it the 'quantum of mark'.

3Firstly at Portikus in Frankfurt as part of a joint show with John Latham
and sanctioned by the Latham Foundation following

specific historical research of previous events.

4Asked to produce a mural for an event at their home, Latham decided to use
a spray gun as an experiment. Having made a

one second spay with this new technology for artists, he realized that the
image not only resembled a cosmos of tiny

blobs on the wall, but spoke of the event, the spray and the end of the
spray. Latham often referred to this as the

most important discovery in the development of his ideas about time.

216 N. WHITE

Downloaded by [81.97.28.138] at 05:15 13 August 2017

Latham, who had his own intimate engagement with ideas emerging in
theoretical and

experimental physics, recognized parallels between his ideas and those in
the book I left

with him. This was the start of a short but deep journey with Latham at his
home, Flat

Time House, Peckham, London. Exchanges took part through both rational and
intuitive

means, an approach to art that would allow for both textual descriptions,
as well as 'eventbased'

works such as the 'Skoob tower' were discussed, and we planned for what was

needed in order to explore "the unspoken" in science now. It was, we
agreed, a form of

practice and research that required art to embody ideas and knowledge
beyond linear

and rational language. Without anticipating the effect, Latham's ideas
shaped my own

approach, as it had done for so many others, before and indeed since.

Latham had largely developed the ideas we were discussing after he had made
his single

spray paint gesture and following his exchanges with Gregory and Kohsen (
1959); together

they formed the Institute of Mental Images, later publishing a journal
called Cosmos. In

this period, where many ideas and possibilities were still open for
exploration, from cosmology

through to extra sensory perception, the distinct approach between
instinctive,

logical intuition and rational forms of enquiry were both real and urgent
projects.

Latham referred to how these ideas could be explored by different people
using Fyodor

Dostoyevsky analogy of the Brothers Karamazov.5 Whilst the psychophysical
cosmologists

had developed their proposition through a schematic they termed the '
O-Structure'

(1959), Latham reworked this diagram with their initial input over many
years before

settling on the 'Basic T Diagram Roller' (1991) as a method of articulating
his ideas.

With this vertically striped roller blind, he was not only able to
translate further these

ideas, but to extend his own thoughts about scientific discoveries, from
quantum theory

through to string theory, and most importantly to find a new means to
communicate

how his ideas intersected with such approaches, through art.6

Latham's plan for the the 'Basic T Diagram Roller' work involved
positioning it on

the wall so that it could wind and unwind. As intended, it would be read
along the horizontal

at the top as the moment 'now', and as the fabric unwound against the
vertical

surface of the wall, the viewer could see through the canvas to traces of
the event now; a

schematic that reveals both history and present through time/movement. The
stripes

spaced along the horizontal were described as time bases; the amount of
time an

object exists for being the distance from left to right in the schema.
Starting on the

left with the letter A to Z on the right – that is, the distances represent
very small

amounts of time (the smallest measurable by science, to very, very large
amounts of

time – in other words from quantum to cosmic scale in one schema, unfolding
simultaneously).

The artwork was therefore neither formally an aesthetic representation, or a

non-representational abstract system, but a schematic or diagrammatic
reading of time/

space. Our insistence on reading matter as a quality of space and not time
was perceived

by Latham as a habit. Objects, particles, even institutions and governments
could be

understood better using ideas of a unified theory of existence that bridged
science, art

and religion.

5The three Karamazov brothers, Mitya, Ivan

On 2 September 2017 at 10:03, bronac ferran <bronacf@gmail.com> wrote:

> Dear Yasmin friends
>
> I thought that this recent article by Neal White may be of interest in
> terms of this discussion (polymathy - v - ste(a)m) etc
>
> http://www.tandfonline.com/doi/full/10.1080/03080188.2017.1297166
>
> Neal's argument is not for an amorphous wholeness to embrace and infuse
> all disciplines but for a level of cognitive resistance and action informed
> by intersections and live engagement among fellow travellers in various
> coinsecting fields.
>
> With very best wishes
>
> B
>
> On 31 August 2017 at 17:08, roger malina <rmalina@alum.mit.edu> wrote:
>
>> yasmilners
>> sundar sarukkai at NIAS
>> Bangalore sends this in response to our provocation that maybe in
>> steam to stem we need to think about redesigning science itself, both
>> the scientific method and the social embedding of science to meet the
>> situations of the 21st century= both the scientific method and its
>> social embedding have evolved over the centuries
>>
>> as sundar notes- scientists are often allergic to any idea that
>> science itself needs redesigning
>>
>>
>> roger
>>
>> Roger, I was very pleased to see this email you sent about the need to
>> redesign science and scientific method. This is a bigger problem in
>> India and has been so for quite some time. We are a unique country in
>> that our Constitution has 'scientific temper' as one of our
>> constitutional duties! Scientists have repeatedly misused this to save
>> the ordinary people from their 'blind beliefs' and 'superstition'. And
>> use this to ask for more funds for science. Recently some of them
>> organized a march for science which also recycled such uncritical
>> views on science. I wrote against this ideology in a national
>> newspaper - see
>> http://www.thehindu.com/opinion/op-ed/the-march-from-yesterd
>> ay/article19459043.ece.
>> The scientists, especially those who organized the march, got furious
>> (expected trolls in the social media) and one of them wrote a
>> rejoinder in an online site called The Wire pedaling the same views.
>> I then wrote a response which set out the faults in that piece - see
>> https://thewire.in/167673/sundar-sarukkai-march-for-science-
>> superstition-lynching/.
>> You might also find another response to this debate useful -
>> https://thewire.in/169521/march-for-science-superstitions-latour-salk/.
>>
>> As we can clearly see, many of these scientists don't read about
>> science - Wikipedia and dictionaries are enough for them to understand
>> any concepts in the non-sciences but they would not allow any
>> non-scientist to talk about quantum physics or relativity based on
>> their reading of such material. (I must also add here that there were
>> many scientists who did not agree either with the rationale for the
>> march or with the naive scientistic responses but the larger national
>> narrative about science continues to be at this level.) You are also
>> very right about the other point you raised, namely, the scientific
>> community's reluctance to accept the social character of science. To
>> try and incite a dialogue around this, I wrote an editorial for
>> Current Science on the sociality of science but haven't managed to get
>> the scientists to react - see
>> http://www.currentscience.ac.in/Volumes/111/11/1731.pdf.
>>
>> Glad you started this dialogue.
>>
>> Thanks, sundar
>>
>> 7
>> _______________________________________________
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>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> SBSCRIBE: click on the link to the list you wish to subscribe to. In the
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>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
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>>
>
>
>
> --
> Bronaċ
>
>
>


--
Bronaċ
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SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
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