Leonardo Education and Arts Forum<\/p>\n
Arts and Sciences Cloud Curriculum Workshop<\/p>\n
Paul Thomas & Stephanie Owens<\/p>\n
Discussion group: Suzanne, Stephanie, Holly, Wenhua, Diane, Marsha<\/p>\n
Artists are at a place in human history where they can have real direct impact with an expanded practice in an expanded field and they don\u2019t have to be labeled in one quadrant or another. We need to do it for real and not for play (though some of the play does raise public consciousness). Artists can be conduits to public access and can influence policy.<\/p>\n
What are the resources required to unite art and technology?<\/p>\n
computers and support systems (academic and tech)
\naccess to scientific and other laboratories of various kinds (bio, material engineering, computer\/information science, electronics, applied physics, fabrication lab, materials library, prototyping, plant\/ag lab, data visualizations and makerspaces, atmospheric studies, human ecology, design and enviro analysis, reproductive technology labs, medical visualizations, DIY)
\nlibrary resources as a way to feed the curriculum (arts and sciences journals, project archives, art historical and contemporary monographs, books on history and technology studies)
\ndisplay areas, outlets and venues (galleries, lobbies, distributed screens, public interventions, indoor site-specific works \u2013 a list of willing spaces, laundromats, banks, restaurants, gardens\/nurseries, parks, subways, merchandise, posters, conferences, talks, public presentations, department stores and conference centers, renegade spaces\/pop-up, churches, apartments)<\/p>\n
Goals: <\/p>\n
To create a new transdisciplinary curriculum with multiple goals (create new opportunities for the education of the artist, concentration on innovation and emerging forms in relationship to traditional media in art, develop critical thinking* skills using tools from these disciplines)
\nTo develop new material practices
\nTo create a broader definition of what research is, and address questions in multiple ways, has to be iterative and evolutionary, project-based learning, speculative research
\nTo have enough pedagogical curricular knowledge depth in at least three fields (art, science and society)<\/p>\n
*Critical thinking: understand info technology as it relates to the visual arts and laboratory sciences, separate out the bullshit, ask good questions
\nImportant to triangular the three fields<\/p>\n
Objectives: <\/p>\n
To converse intelligently in issues in the history and theory of art practice based on particular field of study (and have readings from each which students can pick and choose from)
\nTo create novel works of art and expand upon existing genres
\nTo engage in critical and speculative inquiry happening through materials and affect that is experiential and tangible
\nTo develop critical inquiry into the ethical\/moral questions regarding altering nature
\nTo expand upon existing genres
\nTo turn post-representational inquiry into modes of expression
\nTo develop processes of protocol\/policies that are EPA and ethical requirements
\nTo find spaces where art occurs for the most impact and not for your career<\/p>\n
Art and science venues:<\/p>\n
Art catalyst, London
\nHouse of world culture, Berlin
\nScience gallery, Dublin
\nSymbiotica
\nIncubator
\nBanff Arts Center lab
\nBioart lab in SVA
\nSelf-assembly lab
\nArtSci lab at UCLA
\nGenspace<\/p>\n
Mitchell Joacin (architect)
\nTerra Firma
\nDIY Biology lab in San Francisco
\nArtist in residence programs in labs
\nSLSA
\nASCI
\nGoldsmiths degree in arts and sciences
\nMaterial Futures, London
\nRoyal College of Art (speculative design and bio art)
\nArt and Genome, Netherlands
\nWAG society
\nBiophilia<\/p>\n
Notes:<\/p>\n
More discussion of art and ethics
\nMany people still have the expectation of beauty as the outcome of art \u2013 beauty as a foil\/Trojan horse
\n\u201cWhere is the art in bio art?\u201d SVA exhibition (so much is repetitive, linguistic… all about our speculative future)
\nOnly so much scientific knowledge that artists get, keep a critical distance to still control message or expression<\/p>\n
Art is chemical, atomic, evolutionary, reproductive tech changes the notions of kinship, physical sciences, changes the whole ritual<\/p>\n
Don\u2019t restrict artists to gallery system or scientists to laboratories
\nExpansion of the idea of where these things intervene
\nNot bifurcated \u2013 not just the white cube or not and this curriculum would chip away at that<\/p>\n
Are there unique features of a research university that lend themselves well to creating art?<\/p>\n
STEM: Science, technology, engineering and mathematics<\/p>\n
TRANSdisiplinary: That which is once between disciplines, across disciplines and [beyond] disciplines?<\/p>\n
Roy Ascott (Ontario College of Art and Design)<\/p>\n
Presentations<\/p>\n
Suzanne Anker: Bio Art (www.bioart.sva.edu)
\nMark Quinn, Patricia Piccanini, Liora Yuklea, Darya Warner, Anne Clinton, Alessia Resta<\/p>\n
David Familian<\/p>\n
Barry Perlus: Collaboration with the Adler Center\/Planetarium, undergrad presidential scholar\u2019s award (8K for a year, 3 art students currently, 10 altogether in AAP), dual distinct degree with art and something else from another college, which has the potential for bringing disciplines together, working on graduate committees <\/p>\n
Diane Ludin and Ricardo Dominguez<\/p>\n
Paula Horrigan
\nHow do we help people cling that their discipline has to offer as they move to different fields?
\nTransgressions
\nEvidence-based design<\/p>\n
Assignment
\nThe workshop developed a series of card indexes that created a form of system thinking. The cards became a structure for developing course content via a series of interconnected plug ins.<\/p>\n
IMG_3057.JPG
\nIMG_3058.JPG<\/p>\n
one.jpgIMG_3059.JPG<\/p>\n
Course outcomes workshop notes<\/p>\n
The group attempted to put together key course outcomes from the discussion.<\/p>\n
Problem solving, Problem defining
\nIdeation
\nArt making with the new materialities <\/p>\n
Understand methodologies of ideation, experimentation, brain storming
\nto comprehend new perceptions. <\/p>\n
Artistic practice defining new problems <\/p>\n
New connections with different fields and divergent languages to ask questions between areas<\/p>\n
Develop respect, trust, compassion, to listen through deep collaboration<\/p>\n
Narrative of certainty
\nKnowing quantitative and qualitative <\/p>\n
Disparate skills <\/p>\n
Understand key values, rules, confidence, uncertainty, failure, as an approach to the area of art and science.<\/p>\n
Confidence <\/p>\n
Dealing with being uncomfortable failure.
\nUnderstand and build identity to define new<\/p>\n","protected":false},"excerpt":{"rendered":"
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