Monday, May 22, 2017

Society for Arts and Technology Annual Symposium on Immersion

Founded in 1996, the SAT is a non-profit organization internationally recognized for its active and leading role in the development of immersive technologies and virtual reality by the creative use of high-speed networks. The Satosphère is the first permanent immersive environment dedicated to activities related to artistic creation and visualization. Its dome forms a spherical 360-degree projection screen.


Hi NSEAD!

I'm Marine from the Society for Arts and Technology in Montreal. I'm contacting you to let you know about our annual Symposium on Immersion that is coming on May 30th, 2017 and promises to be a very rich edition.

50 renowned guests from all over the world (researchers, artists, developers, designers) will be present to talk about the body and how it connects to virtual spaces! Amongst other the artist-curator Ghislaine Boddington (UK) will be here, as well as the sound artist Atau Tanaka (JP) and the women that founded the innovative platform eleVR. In total, we will have 6 conferences, 11 workshops & masterclasses, VR films, specialized presentations but also 9 astonishing original immersive performances in the dome that merge several disciplines.

You'll find more information here.

If you're interested, just let me know!

Cheers,


Marine Gourit
Relations publiques & médias
Public & Media Relations
Société des arts technologiques [SAT]
Society for Arts and Technology [SAT]
(438) 345-1864
sat.qc.ca

art*science 2017 - The New and History

From YASMIN...

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“art*science 2017”, July 3 – 5 2017, Bologna (Italy), is an International conference on the relationship between artistic and scientific disciplines, curated by Pier Luigi Capucci and the cultural association La Comunicazione Diffusa. art*science 2017 topic is “Il nuovo e la storia” (The New and History), and will be celebrating the 50th anniversary of the journal “Leonardo”, published by MIT Press, the most influential in the international arena on the relationships among arts, sciences and technologies.

“art*science” conference will be attended by scholars, artists, scientists, cultural operators, companies and Italian, European and International institutions engaged in supporting art/science projects.

“art*science” will be also the opportunity for a meeting among the participants to Yasmin, a mailing list on the relationship between art and science in the Mediterranean rim. A discussion on Yasmin will introduce the topics of “art*science 2017” conference.

Preliminary schedule for the conference events:

  • Day 1, July 3, 2017 - Reception of participants, including a buffet, installations and a show.
  • Day 2, July 4, 2017 - Leonardo & Yasmin presentations and conference. Presentations of European Institutions and Centers working in art/science. Art/science projects in Europe and Italy.
  • Day 3, July 5, 2017 - “Art and Complexity” conference. “The two Cultures - Rebuilding the Bridge among Science, Art, Philosophy” conference.

A Yasmin dinner is planned for the second or third evening.

“art*science 2017” main topics are:

  1. The idea of “new”. What is really the “new”, what is the meaning of the “new” and “innovation”. It is today a very inflated issue, everything must be “new”, “innovative” to get attention, to be considered, to get money. But are we really sure that “innovation” has the same meaning for a scientist, an artist, a philosopher, a sociologist, a researcher, a banker, a CEO, an athlete…? What does “innovation” implies, what does really mean? How can innovation be recognized, communicated, fostered, sustained and spread?
  2. The Countries in the Mediterranean Rim, and more in general all European countries, have a long history and heritage in art and culture, that can be valued through new disciplines, sciences and technologies. "The New and History", which is the general art*science title, suggests a relationship between two concepts seemingly in opposition, that instead can and must coexist. The "new", "innovation," has its foundation in history but it can and must revive its heritage in the future, through arts, scientific disciplines and technologies. This is a key element, from cultural, historical, social and economic viewpoints.
  3. There is much current discussion these days of initiatives to integrate the arts/design/humanities into science/engineering/medicine - sometimes called "Stem to Steam" in the USA. This is a very old historical discussion on the need for inter/trans-disciplinary problem driven research. [See Ed Wilson's 1998 idea of "consilience" (https://en.wikipedia.org/wiki/Consilience_(book)), which was criticised for its reductive and unifying approach, and Slingerland and Collard 2011 book (http://eslingerland.arts.ubc.ca/consilience/) which emphasised that integration of ways of knowing does not imply unification].

The topic of the preliminary discussion on Yasmin is:

“Countries in the Mediterranean Rim, and more in general European countries, have a long history and heritage in art and culture, which can be shared and revamped through new disciplines, sciences and technologies. History and cultural heritage must go beyond the status of precious and extraordinary assets just considered in a logic of past preservation. They can be projected into the future fostering the "new", "innovation," promoting new projects and agreements, through arts, scientific disciplines and technologies. History and cultural heritage can become key elements from cultural, historical, social as well as economic viewpoints, they can act as observatories of issues which combine past, present and future, fostering new economic and professional areas.”

The discussion will be moderated by Roger Malina, Nina Czegledy and Pier Luigi Capucci. Invited discussants/Respondents are:

Pau Alsina - palsinag@uoc.edu (Spain)
Pau Alsina, is a Philosopher from Barcelona, Lecturer at the Arts and Humanities Department of the Open University of Catalonia where he coordinates, teaches and does research in the Art and Contemporary Thought area. He also teaches Digital Aesthetics, Media Art History and Art Epistemology at the Master’s degree of Media Art Curatorship, in the ESDI Higher School of Design - Ramon Llull University. Since 2002 is Director of the ARTNODES Journal of Art, Science and Technology, where he coordinated special issues on Arts and Sciences such as Mathematics, Biology or Complexity Sciences. He has authored /coauthored several publications on Art, Science and Technology and Contemporary Philosophy. He is now member of the Board of Trustees of Hangar Foundation, a Barcelona center for artistic production and research. He has also co-curated exhibitions such as "Cultures of Change: social atoms and electronic lives" (2009-2010) at Arts Santa Monica Center, or co-chaired Symposia like “Synergy: encounters between Art, Sciences and Thought” (2011), International Conferences such as Art Matters (2014) Interface Politics (2016) or Art and Speculative Futures (2016). With a strong interdisciplinary background he has been doing research in four areas which he tends to blend: 1) Software Studies and Bioart. 2) Media Archaeology 3) New Materialist Philosophies. 4) Science and Technology Studies applied to the study of Art and Design. @paualsina

Elif Ayiter - ayiter@gmail.com (Turkey)
Elif Ayiter is a designer, educator and researcher whose creative interests are based in three dimensional online virtual worlds and their avatars, as well as in developing and implementing hybrid educational methodologies between art & design and computer science. She teaches full time at Sabanci University in Istanbul. Her texts have been published at academic journals such as the Leonardo Electronic Almanac, the Journal of Consciousness Studies, the Journal of Gaming & Virtual Worlds, International Journal of Art, Culture and Design Technologies, and Technoetic Arts, and she has authored many book chapters in edited academic books. She has presented creative as well as research output at conferences such as Consciousness Reframed, Siggraph, Creativity and Cognition, SPIE, Computational Aesthetics and Cyberworlds. http://www.elifayiter.com/

Wafa Bourkhis - w_bourkhis@msn.com (Tunisia)
Wafa Bourkhis is a Tunisian multidisciplinary artist (painting, engraving, digital art, video art), she has exhibited her artworks in many cultural events and spaces. She has collaborated with many international artists, like Fred Forest, Mark Skwarek, Patrick Lichty, etc. She has achieved her PhD in 2013, entitled “Les territoires numériques comme espaces de création artistique”, to have her title as Doctor in sciences and techniques of arts at Universities of Tunis and Artois (France). She is working as Assistant professor in fine arts at the High institute of Multimedia arts at Mannouba University.

Roberta Buiani - rbuiani@gmail.com (Italy)
Roberta Buiani is an interdisciplinary artist, media scholar and curator based in Toronto. She is the co-founder of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto) and a co-organizer of LASER Toronto. Her work explores how scientific and technological mechanisms translate, encode and transform the natural and human world, and how these processes may be re-purposed by relocating them into different venues. Her work is mobile, itinerant and collaborative. She brought it to art festivals (Transmediale 2011, Hemispheric Institute Encuentro, Brazil 2013), community centers (the Free Gallery Toronto, Immigrant Movement International, Queens), science institutions (RPI) and the streets of Toronto. Recently, with The Cabinet Project she proposed an experiment in "squatting academia”, by populating abandoned spaces with SciArt installations. She holds a PhD in Communication and Culture from York University (CAN). For more information and to read her publications go to http://atomarborea.net

Giorgio Cipolletta - cipo82.giorgio@gmail.com (Italy)
Giorgio Cipolletta is a transdisciplinary artist and media-theorist. In 2012 he earned a PhD in Information and Communication Theory. At the time he is adjunct professor of Visual Art and Technology at University of Macerata. He is member of the media editorial staff of Noema / Mediaversi / Rivista di Scienze sociali. He works as a layout freelancer for the University Press of Macerata (eum). He participated to National and International conferences and in 2016 he was research-chef for the LaCura Summer School. He has published in academic journals (Flusser Studies, Heteroglossia) and his first book is "Metrobodily passages. For an aesthetics of transition", eum, Macerata 2014. He won International poem prizes. He participated also in National exhibitions with multimedia installations and performances (Corpus 2012, Chaos 2013, BodyQuake 2017). In 2014 he was a fonding partner and vicepresident of Crash (Creative Art Shocking).

Salvatore Iaconesi - xdxd.vs.xdxd@gmail.com (Italy)
Salvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012, Eisenhower Fellow since 2013 and Yale World Fellow 2014. He teaches Near Future Design and Multi Platform Digital Design at ISIA Design Florence and, in the past, at “La Sapienza” University of Rome, at the Rome University of Fine Arts and at the IED Design institute. Salvatore has founded AOS in 2004, is President at HER (previously HE), and co-founder at Nefula. His focus is at the intersection of Arts, Design, Technologies, Sciences and Business. He creates projects that are at the same time artworks, scientific research and business models, addressing fundamental issues in culture, inclusion, human rights, economy and access to knowledge and education.

Katerina Karoussos - kkaroussos@gmail.com (Greece)
Katerina Karoussos is an intermedia artist. From 2012-2016 she was the Director of I-Node of the Planetary Collegium, the Greek node for doctoral and postdoctoral studies (School of Arts and Media) of University of Plymouth. From 2004 until 2015 he worked as a freelancer in the Greek Academy of Fine Arts in Athens at the Byzantine Art Studio. She holds a PhD from Plymouth University and a Master from Middlesex University. Karoussos has participated in many international conferences (ISEA, Aber, Dimea, Consciousness Reframed Series etc). She has published in many academic journals (Metaverse Creativity, Technoetic Arts etc.). Apart from her artwork as a mural painter in Orthodox churches, she has participated in many international exhibitions (Athens, Japan, New York, Frankfurt, Montenegro, Cuba, etc.). Recently Karoussos has founded ‘The Karoussos Archives’, the premier center for the study of Theōria and Karoussos Chapel, where she works as a moistmedia fresco painter.

Živa Ljubec - ziva.ljubec@gmail.com (Slovenia)
Živa Ljubec is a transdisciplinary researcher, trespassing disciplinary boundaries, avoiding the differentiation of researchers into artists and scientists, and attempting to mutate into a polyphibian – a “continuously newborn species with acute multisided awareness.” Her work expands beyond disciplinary research into polyphibionics – the “non-discipline” that derives solutions from the non-representable and non-preservable living knowledge. Živa studied architecture and mathematics at the University of Ljubljana. She was awarded the PhD degree by the University of Plymouth for evolving transdisciplinarity into an imaginary organism of living knowledge. In addition to actively spreading her ideas through art interventions, exhibitions and conferences worldwide, Živa was formerly a lecturer at AVA – Academy of Visual Arts in Ljubljana, where she developed a course on Transmedia / Media Theory. Being invited by her mentor Roy Ascott to lecture at his Technoetic Art Studio based at SIVA – Shanghai Institute of Visual Arts, Živa became the Coordinator of the Advanced Degree Course in Technoetic Arts as well as Director of Studies in the Detao Node of doctoral and post-doc programme Planetary Collegium, based at Plymouth University. The experience in the midst of the fastest developing regions of Far East provided Živa an opportunity to rethink the paradigms of Eastern and Western, ancient and modern connections between art and technology, thus informing her current projects.

Oriana Persico - oriana.persico@gmail.com (Italy)
Oriana Persico holds a degree in Communication Sciences, is an expert in participatory policies and digital inclusion. She is an artist and writer. She has worked together with national governments and the European Union to the creation of best practices, standards and researches in the areas of digital rights, social and technological innovation, Digital Business Ecosystems (DBE), practices for participation and knowledge sharing. Oriana writes critical, scientific, philosophical and poetical texts that connects to technological innovation, and on its cultural, sociological, economic and political impacts. She is an expert on the formal analysis of cultural and social trends, with specific focus on social networks. She creates breakthrough communication campaigns, performances, research methodologies and strategies.

Elena Giulia Rossi - rossi.elenagiulia@gmail.com (Italy)
Elena Giulia Rossi lives and works in Rome. Her research and experience have been addressing contemporary art and its relation with technology. Oscillating between tradition and modernity, and under a socio-anthropological perspective. With a degree in History of Art from the University of Roma La Sapienza (1999), she gained a MA in Arts Administration from The School of The Art Institute of Chicago (2002). She has been collaborating with different galleries and institutions in Italy and abroad, such as the MAXXI Museum (Rome, 2003-2012), P.S.1 Contemporary Art Center (New York 2001); The Renaissance Society at The University of Chicago (2002); the Joan Flasch Artists’ Book Collection at The School of The Art Institute of Chicago (2002), and Studio Stefania Miscetti (Rome 2004-2005). She has been writing regularly for catalogues and magazines. She is the author of Archeonet (Lalli: Siena, 2003), and the editor of Eduardo Kac: Move 36 (Filigranes Éditions: Paris, 2005). She currently teaches Net Art and Theory of Multimedia Art at the Accademia di Belle Arti in Rome and she is founder and editorial director of the multidisciplinary platform Arshake (www.arshake).

-- 


Pier Luigi Capucci
via Rovigo, 8
48016 Milano Marittima (RA)
ITALY
Tel.: +39 (0) 544 976156
Mobile: +39 348 3889844
e-mail: plc@noemalab.org
web: http://capucci.org
skype: plcapucci

Monday, May 8, 2017

"Dan Goods, JPL's science seer"

Dan Goods, "Out There" at JPL.

This article from the LA Times archive profiles Dan Goods: Jet Propulsion Labs' resident "Visual Strategist". Some quotes from Dan:
"I love the theme of seeing the unseen." 
"Everyone should have the opportunity to have a moment of awe about the universe. If I can create that, then I feel I've been successful."

"I've always had a good reaction [from scientists]. Sometimes their inner geek comes out: 'How did you do that?' These are huge problems these people are working on, really difficult and technical, and sometimes they forget about the big picture. So when I show them something, they're like, 'Yeah, that's why I'm doing this.' Now people come to me when they want something from a different perspective. They say, 'Oh, we should just go talk to Dan.'"
See more of Dan's work at his website:
http://www.directedplay.com/

And on his Vimeo channel:
https://vimeo.com/dangoods

Wednesday, May 3, 2017

Interlochen Arts Academy land art

Brief Summary of the Project:
This new collaborative project that uses “land” as a genre to bring visiting artists, scientists, and land use planners together with high school art and ecology students.

After conducting a Forestry Management Plan, Interlochen Center for the Arts identified about 70 acres of pine plantation on our campus that need to be selectively harvested and re-forested with native hardwood trees. Ten acres of this land have been identified as a study site for ecology and visual art students to document changes in biodiversity, soil and carbon capture as a result of the timbering process. We have the opportunity to create a permanent land art installation commemorating and responding to the process.

Two classes that run simultaneously in Math/Science and Visual Arts allow students to collaborate on the project. The design of a public trail system that runs through the land-art installation provides accessible recreation to our students and the community and raises awareness about the importance of protection, regeneration, conservation and the role art has in making the process meaningful.

The impact of this collaborative project reaches beyond our students and the land on our campus to the people in our community and will hopefully be a model of how to use art to invite the public into environmentally important projects nationwide.

Project Description: Due to the generosity of WilsonArt, funds are available to both study the pine plantation before, during and after timbering, and to involve students, faculty and visiting artists in a land art installation in the subject area. Our proposed plan has the following elements:
  1. The subject area will be timbered in late 2017 / early 2018.
  2. In the school year 2017 - 18, Johnny Hunt, visual arts instructor, will offer a landscape art course, based in the Visual Arts Division, open to students of all majors. Mary Ellen Newport, Director of Math and Science / Ecology instructor, will teach an ecology class that is offered at the same time as the art course. Ecologists and artists will study ecology and landscape art separately, and then have the occasion to work together in the studio and in the field on art and science.
  3. A visiting artist will be brought in to work with instructors to plan, design, create, and ultimately install the land art project in a 10 acre area of the timbered pine off Riley Road. Elements of the plan will consider some or all of these themes:

    • Regeneration
    • Invitation / initiation / blessing of new forest
    • The replacement of the plantation with the natural
    • The way that forests and art are shaped by the passage of time
    • The creation of a special place, a grove, a sanctuary, a nursery; a space that may or may not be able to acknowledge native American sensibilities
    • The changing nature of a forest in the process of secondary succession
    • The role of (bio)diversity in creating stability

  4. Guest artists, native artists, scientists and land use planners will be brought in to deepen the experience between ecology and art. Plans for trails / paths, observation decks, planting regimes will be developed. The expectation is that some of the timbered wood from this plot could be used in building structures such as shelters for students doing data collection, bird observation decks over Bridge Lake.
  5. Here is what we have put together as a description for the artist(s) we have involved: Interlochen Arts Academy seeks collaboration with a visual artist to guide science and arts students in the creation of land art for a 10 acre pine plantation forest that will be transformed (over the years) into a native forest. There are scientific objectives to the project (document changes in soil, biodiversity and carbon storage) as well. Ideally the artist would be available to consult with students for 2 week period in the early fall 2017 (in residence), a time in late fall 2017 (by remote, if necessary) for two weeks in January 2018 (IAA's Inter*Mester program), and for a time TBD in the spring semester 2018.

Images of the land and the areas we are focusing on for this project. The zoomed in area near the lake is where the art would be installed. The pine plantation between Riley Road and Bridge Lake is the location of the project. The project location contains scrubby Scotch pine to the north and west, an irregularly shaped patch of red pine more centrally located, and a wetlands area with a path leading SW to Bridge Lake. The irregular patch is the location of the project.


Melinda Zacher Ronayne
Director of Visual Arts
Interlochen Center for the Arts

E: melinda.ronayne@interlochen.org
P: 231.276.7844
W: interlochen.org

Interlochen Arts Camp | Arts Academy | College of Creative Arts | Presents | Public Radio

Wednesday, April 19, 2017

Leonardo Abstract Services (LABS) for art/sci theses


Dear Faculty:

This is a reminder that you recommend to your students who have successfully finalized an MA, MFA or PhD thesis that in some way explores the intersection of art, science and/or technology to submit an abstract of their thesis to Leonardo Abstract Services (LABS). This database, which has over 500 thesis abstracts, can be found at collections.pomona.edu/labs/.

LABS offers an international platform for graduate work so that artists and scholars can participate in a dialogue with peers from around the world. Your support of their work and this project helps to invigorate the next generation and faculty who guide them. Thanks for your help with this.

All the best,

Sheila Pinkel
LABS English Language Coordinator

Tuesday, April 4, 2017

Co-Evolution: Art and Biology in the Museum


Between 2010-2015, the University of New Mexico ran Advancing Integration of Museums into Undergraduate Programs (AIM-UP): a NSF Research Coordination Network program themed around natural history museum collections.

The goal of the RCN was to emphasize the critical current value of these collections by
"refining existing efforts and developing new integrated approaches to collections-based training in large-scale questions using the expertise of educators, curators, collection managers, database managers, and scientists whose work spans disciplines."
The program included field stations, as well.

As part of AIM-UP, in 2012 the museum ran a semester-long seminar called CO-EVOLUTION: Art + Biology in the Museum. The seminar connected art and science:
"Communication between fields is important within science but there also is a greater need for interdisciplinary exchange between biologists, artists, historians, and other researchers to share resources and methods for building collective knowledge. Such collaborations help identify the ties between cultural history and natural history, as we pose new questions and foster a more expansive approach to answering these questions by connecting their diverse histories. Collections can help foster the development of creativity, generative thinking, and rigorous inquiry that will be required of future leaders in research and practice. While scientific education and research offer rigorous methods for creating new knowledge, arts education and practice provide the tools to foster exploration."
The project created a blog that is a rich source of art/sci content and links. The blog was meant to be:
"A space for posting thoughts, ideas, references, resources, and works. The theme of our seminar and workshop series is 'Morphology and Geographic Variation.' We will use the natural history collection as our starting point and hear from scientists, artists, designers, programmers, musicians, and more on place-based study."

Einstein was an Artist

Einstein was an Artist? Zat Rana wrote a recent article in Medium that makes some interesting points:

"Einstein inspired a paradigm shift in physics not as a scientist but as an artist...English distinguishes a scientist as someone who systematically learns about a part of the natural world and uses that knowledge to describe and predict it. An artist, on the other hand, is defined as someone who creatively produces."

"When it comes to categories like science and art, we have a tendency to presume [incorrectly] mutual exclusivity."

"There are many smart and knowledgeable scientists. Rarely, however, are they capable of producing work that shifts our entire understanding of the world. That requires an entirely new way of looking at things... At its core, creativity is just a new and useful way of combining old ideas. It isn’t imagined out of thin air, and it isn’t completely abstract. It’s a fresh way of making sense of the existing components of reality that have yet to merge."

Rana goes on to identify several key ways of nurturing creativity:
  1. Be willing to produce subpar work
  2. Compromise today for tomorrow
  3. Don’t wait for inspiration to get moving
  4. Seek relationships between existing ideas
  5. Produce a large volume of work
Read the full article here.

Work by the Root-Bernsteins establishes that practicing art as an adult is 15-25x more likely in Nobel Prize-winning scientists than in their non-winning peers. Einstein was an accomplished violinist.

Einstein famously claimed to have conceptualized the notions behind the work that became Special Relativity while imagining what the world would look like if you could ride along on a beam of light.

This video by Eugene Khutoryansky does the best job I have ever seen of visualizing and explaining that conceit: