categories are
1. Research and Creative work
2. Learning and Education
3. Culture and Economic Development
4. Partnering

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

1) Action a.1- Interdiscipli-nary funding
research programmes

Temporal and Spatial Scale of the action
according to the scale of stakeholders:, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To channel more access to funding, human and technological
resources to interdisciplinary research and collaboration across disciplinary borders.

Obstacle to implement the action According
to stakeholder:

Resistance from funding institutions that
still do not accept inter-disciplinary approaches in research.

Stake-holders: Actions scope: FFI, IG, ERS,
IPL Funding institutions at all levels (from international to local); Education
and Research institutions at all levels. [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

2) Action a.2- Funding grant actions for
interdisciplinary research

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: Promote annual research grants for researcher groups with the
requirement of the participation of at least 2 fields collaborating

Obstacle to implement the action According
to stakeholder:

Resistance from funding institutions that
still do not accept inter-disciplinary approaches in research.

Stake-holders: Actions scope:  IG, ERS, IPL

Different institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

3) Action a.3-  Funding prize actions for interdisciplinary research

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: Promote periodical research prizes for researcher groups with the
requirement of the participation of at least 2 fields collaborating. Create the
space for a Nobel prize section or Principe de Asturias section, for
interdisciplinary collaboration)

Obstacle to implement the action According
to stakeholder:

Resistance from IPL

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Nobel Prize related institutions, Prince of
Asturias related institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

4) Action c.3- Creation of politically
corrected Minimum Quotas for Interdisciplinary Research

Temporal and Spatial Scale of the action
according to the scale of stakeholders: European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To guaranty that a particular part of public budgets to research
(at International, National, Regional and European levels), are oriented to
funding of SEAD interdisciplinar research in the framework of networked
knowledge. The effectiveness and real implementation of these minimum quotas
should be checked and followed-up by the SEAD Observatory.

Obstacle to implement the action According
to stakeholder:

Resistance from IPL

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Funding institutions

Controlled by SEAD Observatory and Network
[CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

5) Action c.4- Visibility actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To make visible the results of inter -disciplinary collaborations.

This can be achieved by using social
network and social media platforms (trans-media approach), developing on line
and onsite workshops and conferences.

Obstacle to implement the action According
to stakeholder:

Lack of support from institutions with
resistance to fund inter-disciplinary

research

Stake-holders: Actions scope: FF, IG, ERS,
IPL

SEAD

Network-Observatory [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

6) Action c.5- Integration actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To inscribe interdisciplinary research in all phases of
decision-making process of funding allotments.

Obstacle to implement the action According
to stakeholder: Lack of support from scientific politics at national, regional
and local levels

Stake-holders: SEAD

Network-Observatory [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

7) Action b.1- Technical support

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global

access

Opportunity being addressed According to
stakeholder: Sustained by networked institutions. To develop an online platform
and system to support networking activities, as an innovation ecosystem, an
environment for social innovation, making full use of the Web 2.0, hybrid
ontologies and the Internet of Things. Offer online support and visibility to
interdisciplinary projects.

Networks knowledge.

Contacts between peers.

Obstacle to implement the action According
to stakeholder: Sustainability of the maintaining. Who pays for the service

Stake-holders: Actions scope: FF, IG, ERS,
IPL

Education and research institutions

Public institutions of research support
(Ministries) [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

8) Action b.2- Creation of synergies with
external partners and among observatories

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: Creation of synergies with existing projects for the
sustainability of the SEAD Network and Observatory and to intensify the
networking processes with other initiative such as Living Labs. Possible
examples are (1) Innocentive (http://www.innocentive.com/), a platform for
interdisciplinary collaboration and innovation; Fundation Garum
(http://garumfundatio.org/redes/), an institution in the Basque Country that
supports the creation of networks for business projects. Sharing of best
practices; Formation of partnerships; sharing of human and technological
resources. To create synergies between SEAD and a network of Observatories.
Particularly in areas like education, government, funding and administration
structures. Obstacle to implement the action According to stakeholder:  Lack of trust; lack of a common
language

Stake-holders: Actions scope: IG, ERS

Education and research institutions

Public institutions of research support
(Ministries)

Actions scope: FFI, IG, ERS, IPL [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

9) Action b.3- Integration and fostering of
knowledge sharing

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To sustain the use of the platform as a networking ecosystem, as
an environment for social involvement, placing researchers and society in the
role of co-producers and consumers of content and services by making full use
of the Web 2.0 and hybrid ontologies and the Internet of Things. This can be
enhanced by opening new channels of communication in the platform, like a blog.

Obstacle to implement the action According
to stakeholder:

Data protection from peers; lack of
confidence

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

11) Action b.5- Matching around research
problems

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To open a system in the network to match interests around complex
research problems (that need the contribution from different disciplines). SEAD
Observatory would offer a service from the researchers' point of view. That
means to offer a tool for interactivity and a bottom-up approach to information
(inclusiveness) that can help researchers to plan their activities and
participate in knowledge creation in the net. Develop the network with
extensive training and interdisciplinary seminars, forums and conferences.

Obstacle to implement the action According
to stakeholder: Lack of a common language to be able to dialog; lack of
interdisciplinary protocols for sharing; lack of trust

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions and
Public institutions of research support (Ministries) [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

12) c1.) Transformation of relations of
power complementary actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To enable agents that support interdisciplinary approaches to be
in positions of power in decision-making processes.

Obstacle to implement the action According
to stakeholder:

Lack of political support or interest; lack
of funding; lack of peer-to-peer support

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Funding, Education and research
institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

13) c.2) Complemen-tation of the network of
SEAD (The Network for Science, Engineering, Art and Design) with an
International Observatory

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To fully protect interdisciplinar collaboration. The objectives of
the SEAD Network Observatory can be to: (1) situate SEAD interdisciplinar into
the main political objectives and institutional guideless of research at any
level to accelerate the development of sustainable, innovative and inclusive
interdisciplinary Knowledge in society; and  (2) foster, implement and look for funding to network
knowledge and collaboration in the SEAD interdisciplinary field. The SEAD
Observatory can be supported in a network of observatories such as European
SEAD Observatory, National SEAD Observatories. These observatories can be
created also at lower levels, more linked; 3) To overcome the hurdles hindering
the development of an inter-disciplinary knowledge Society; 4) To foster
interoperability of solutions across countries; to treat interdisciplinary
Knowledge in the global and local scales; 5) To generate awareness in different
stakeholders in the research and knowledge sector to mobilise the needed
financial and human resources to carry out actions.

Obstacle to implement the action According
to stakeholder:

At the level of institutional paradigm, if
there is not a change in the old paradigm there is going to be a resistance to
organise a network on the part of institutions

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

14) Action c.3- Education actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To prepare researchers to manage interdisciplinary collaboration
(development of academic and research methodologies to integrate different
fields in research work, guidelines for best practices).  This can be achieved by using social
network and social media tools and (transmedia approach), by developing on line
and onsite preparation workshops.

Obstacle to implement the action According
to stakeholder: Lack of interest on the part of researchers to change methodology;
stress due to lack of a common language

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

15) Action d.1-Listening / answering follow
up

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To maintain a system of tracking opinion from researchers in the
network.

To update the cartography of researchers on
the network and the results of their collaborations. Preparation of a blog,
social media based follow-ups

Obstacle to implement the action According
to stakeholder: Lack of participation (need to stimulate participation)

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

16) Action d.2- Best practices Database:
SEAD Network- Observatory

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To develop a database of interdisciplinary experiences for
reflexion on results of networking knowledge and to extract serial synthesis of
best practices.

Obstacle to implement the action According
to stakeholder:  Lack of
participation on the side of peers for lack of trust

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observa-tory [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

17) Action d.3- Awareness increase

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To increase awareness about interdisciplinary collaboration. This
can be achieved by using social network and social media tools and (trans-media
approach) and by developing on line and onsite preparation workshops and
campaigns.

Obstacle to implement the action According
to stakeholder:

Lack of interest

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observato-ry [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

18) Action d.4- Diffusion actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To increase awareness about interdisciplinary collaboration by
publications, on paper, on Internet, in video. Preparation of documental films
to show how science and art have been collaborating for a long time.

Obstacle to implement the action According
to stakeholder:

Lack of funding to support the costs of
publications, video production, documental films, etc.

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observatory [CA]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

1) For All Stakeholders

1. Support the creation of semiautonomous
institutions--community-based wet labs- that provide support for
artistscientist collaborations and permit academic researchers to work outside
their comfort zone, while free from significant worries about career
advancement.  Such institutions
should ideally be situated in a neutral space and be outfitted with the
equipment necessary for the artist and scientist collaborators to be able to
draw from their  disciplines and
associated technologies.  We
propose that current hacker space organizations are a suitable  model, but that there should be comparable
organizations to support collaboration with all the scientific  disciplines.  For example, wet-lab hacker spaces for artist-biological
scientist collaborations.

2. Pursuant to the above suggestion, limit
as much as possible bureaucratic and institutional barriers to the
founding  and continued development
of these institutions. Support decentralized, horizontal and community-focused
organizational models. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

2) For The Artist and Scientist
Collaborators

1. Realize that your impression of your
partner's discipline is probably incorrect, and enter the relationship as
free  of opinions and
preconceptions as possible.

2. Realize that, although there may
currently be career-advancement conflicts in many artist-scientist  collaborations, such collaborations
have historically been a great source of innovation.  Innovations that you 
can  carry you through their
subsequent research career.

3. If you are engaged in an
artist-scientist collaboration, take it upon yourself to educate your partner
about your  discipline and
sub-discipline through readings and discussions.  Educating your partner in the collaboration is  critical to furthering the general
goals of collaboration. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

3) For Educators and Academic
Administrators

1. Treat time spent within an
artist-scientist collaboration as a criterion for career advancement in
academic settings--both for artists and for scientists.  Reward such risk taking, so that
eventually it will no longer be risky and will be a standard element in career
advancement schemes.  

2. Universities should set up residency
programs with established and to-be-established community-based wet labs, so
that participants are given a clear record of their participation in the
program (e.g., 'artist-in-residence' and 'scientist-in-residence' programs).

3. Acknowledge that much current innovation
is occurring outside traditional laboratories, in (for example) community-based
hacker spaces.  Such existent
organizations should be targeted as partner organizations, and new
organizations should be founded to further innovation in those scientific
fields where innovation is seen to 
be languishing.

4. Rework the assessment of academic
accomplishment so that career advancement is not solely based upon numbers of publications
in one's chosen field.  Current
career advancement mechanisms seem to favour noninnovative approaches (i.e.,
those approaches that yield higher publication numbers). Risk taking,
exploration and innovation, in the form of artist-scientist collaborations or
other activities, should be rewarded and not  punished.

5. Support the creation of new academic
journals (or the expansion of existing ones), based on the Leonardo model and
the PLoS online publishing model (see www.plos.org/).  Given that Leonardo (www.leonardo.info/) is already an
excellent venue for general new media and art/science work, those new journals
should be targeted at specific types of artist-scientist collaborative
research.

6. Reward time spent in art-science
collaborations with reduced teaching loads or comparable rewards, as is already
done in certain universities to reward research productivity (usually measured
by numbers of publications). [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

4) 
For Foundations, Government Agencies, and Other Funders

1. Support the creation of new academic
journals, as described above.

2. Allocate funds for the development of
innovation through the support of specific art-science collaborations as well
as the infrastructure to support those collaborations (e.g., community-based
wet labs, new journals)

3. Institute granting programs that
specifically call for artist-scientist collaborations--both at early and late
stages of their careers.  These
grants could be used to fund residency programs in community-based wet labs, as
described above.

4. Institute granting programs that reward
time spent in art-science collaborations with reduced teaching loads or
comparable rewards, as is already done in some current granting schemes.

5. Many grants are currently restricted to
tenure-track University faculty. 
This restriction makes sense if one believes the tenure system to be an
accurate means of assessing research ability.  However, since the tenure system is biased against riskier
forms of research that might not generate larger numbers of publications, this
approach needs to be questioned. 
Accordingly, grants should be opened up to individuals and non-profit
societies.

6. Review any current regulations and laws
that might be restricting or hindering wet-lab experimentation outside of the
traditional University laboratory to determine if those rules still have any
merit or are justified.  It is quite
likely that these restrictions and laws are slowing innovation. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

5) For Industry

1. Provide funding, in the form of grants,
for artist-scientist collaborations, and for the the formation of
communitybased wet labs. 
Understand that such funding will lead to innovative approaches to
problems that you, as an organization, can set forth as the topics of grants.
Also realize that your specified "problem space" has not been fully explored
and that new problems (or the re-casting of old problems) may sometimes be the
results of these endeavors.

2. Engage with the semi-autonomous
institutions we are proposing.  For
example, by allocating time for employees to participate in the management of
these institution or as a members of an art-science collaboration. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

6) For the National Academies, Scientific
and Artistic Societies

1. Undertake or fund a comprehensive review
of the works created through art-science collaborations and evaluate the
outcomes of those works.  It would
be good for those involved in art-science collaborations to be able to provide
evidence to support any claims that such collaborations serve as a significant
source of innovation.  As discussed
earlier in this paper, it is our suspicion that collaborations that we have
labelled as "true" collaborations 
are more likely to be the source of innovative outcomes; this assertion
needs to evaluated.

2. Undertake or fund initiatives (e.g.
conferences, community events, etc) that foster further discussions and
knowledge sharing between artists, scientist and local communities.

3. Fund resources that provide information to
aspiring wet-lab hackers about alternate and cheaper sources of wetlab
equipment, and alternate forms of items commonly used in wet labs (e.g., many
chemicals that are expensive when obtained from chemical suppliers can be
obtained quite cheaply through garden and home centers). [SB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna  Batson  [GB]

1) Action 1 ”" Feasibility

A. Establish focus group(s) for
dance-cognitive science within the university consortium, generated, organized
and implemented by students with the major purpose of brainstorming on relevant
topics, locating, collating and exploiting resources. The focus groups will
take several forms:

” First, as networking 'artscience cafes'
to take place at Krankie's Café in Winston-Salem and Open Eye in Durham, NC.
Here, professionals from the neuroscience and dance world in the associated
academies in the larger North Carolina Triangle area will be invited to lead
and participate in roundtable discussions.

” Offering Live webcasts and web-forums,
which could also be connected to existing Dance-Science podcasting sites, such
as DanceTech.Net. 

” Formal research conference for dancers,
scientists, other academicians and the lay public to provide the scope and
benefits of choreographic cognition. The conference will highlight current
examples of research dance as a live laboratory where dance making has been
explored through digital technologies.

B. Pursue Intra- and extra-mural grants to
support sustain initial educational seminars, research training, and
interdisciplinary courses; Further, identify funding sources that would provide
initial seed money for pilot research, and research training, substantive
applied dance-science projects, and provide adequate media publicity; access to
related educational seminars and conferences; and Recruiting and offering
stipends to a cadre of graduate/undergraduate and community workers to help
with mechanics of implementing projects as they materialize. [GB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna Batson [GB]

2) Action 2 ”" Visibility

A. Initiate and manage an interactive
website (including weblog) that has several tiers ”" regional, national and
international;

B. Ground Level Networking and Publicity;

C. Organize local versions of TED;

D. Search out, contribute to, and
participate regularly in, dance/science websites that already routinely provide
podcasts and other interactive forums ”" chiefly, Dance-Tech.Net  http://www.dance-tech.net/ [GB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna Batson  [GB]

3) Action 3 ”" Measurable Impact

A. Community engagement - Interactive
seminars with artists, scientists and lay public to find niches outside of
choreography that would benefit by dancers' physicalized form of cognition
(examples)

a. Business/Community Partnerships  (e.g., of topics: Problem-Solving in
Business Through Dance; Improving Learning through Training Attention ”" High
School; Dance and Health; Memory and Movement in Aging; Dancing with Challenges
(Parkinson Disease);

b. Bring together choreographers and
dancers, cognitive scientists, neuroscientists, and other academicians,
scientists, and those in digital media and other technologies, for short,
intensive, outcomes-based workshop series. The first workshop would address the
needs specified above and emphasize strategizing to solve the problems.
Outcomes would be targeted towards the feasibility and realization of select
projects to be implemented within a 1-year period.

B. Organize and implement outcomes-based
interdisciplinary courses for under/graduate students. Courses would be
designed to help students gain fluency in areas of intersection between
disciplines, breaking through initial conceptual prejudices about their
differences. These courses would be offered as single electives or as part of
cross-campus visions for artscience trans-disciplinarity;

a. Developing, honing and validating tools
and methodologies through piloting research and providing structured feedback
and evaluation;

b. Build a student-faculty consortium of
researchers dedicated to short, succinct, time-limited, measurable pilot
research on dance and cognition;

c. Transmission and dissemination of
results ”" both scholarly and practical ”" through formal and informal
publications, documentaries, web submissions, conference presentations,
sustainable community initiatives, etc. [GB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

2) Proposed Action: If funding regimes wish
to pay more than lip-service to transdisciplinarity they  will need to consider radical changes
to their review processes in order to include equal weighting  for transdisciplinarity. For this they
may need to consider the value of the network beyond its  immediate results and raise the
threshold of risk in funding research. [MB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

3) Proposed Action: There should be
investment in research network developments that regard  transdisciplinarity as a pathway to new
topics and concerns, liberating research questions  currently locked within high-grade research in traditional
silos. Hybrid public/private speculative 
funding of research and development should be encouraged. [MB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

4) Proposed Action: The full
acknowledgement of transdisciplinarity's bottom-up spirit (both  popular and data driven) should be
regarded as both a methodological and social intervention. It  gives voice to the intellectually
disenfranchised who have a stake in the outcomes and as such  mirrors many of the issues that have
reshaped the Humanities (especially History, Art-History  and Literature Studies) in the last
three decades. Consequently it demands the vigilance and ) positive commitment
that have been applied elsewhere when oversight and occlusion have  become acknowledged. [MB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

5) Proposed Action: There should be
investment in soliciting meta-approaches to transdisciplinarity  informed by grounded research in the
Sciences, Humanities and Arts. Greater attention to dealing  with the issues exposed by
transdiciplinarity (if not in the concept itself) should be explored  openly. [MB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

6) Proposed Action: To learn from the
contingencies and expediencies currently applied in dealing  with these problems and responses to
new forms of funding and dissemination and research  practices in the Humanities (digital Humanities) and to see
them as a mode of inquiry for example to conceptualize the big data problem as
one coextensive with work in the Humanities on representation and archiving
rather than as an exclusive domain of datasets. [MB]

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

2)    understand where are the most promising and
high-impact activities, projects, programs, and domains and the roles of
different kinds of players, such as universities, not- and for-profit
private-sector organizations, government organizations, and philanthropy

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

3 )   explore what it would take to engage the most talented
scientists and artists in STEAM

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

4 )   consider novel mechanisms, such as engaging "principal
artists" alongside "principal investigators" (as well as providing incentives
to engage people who are hybrids, skilled in both the arts/design and computer
science/engineering (or other STEM fields)

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

5 )   engage leading artists (fine, applied, and performing)
and designers with experts from STEM fields to collaborate on new ideas and
approaches that can effectively reach the broader public and provide the
foundation for future innovation, education, and synthesis.

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

1) Complex Systems with Modular
Architecture and Interchangeable Data Format

Roadblock: A lot of specialized software
exists to simulate certain aspects of intelligence from computational auditory
scene analysis algorithms to logic prover. In general, it is still very
difficult to combine these specialized systems to complex systems simulating
multiple parts of the central nervous system.

Opportunity: Enable a dialog to find better
ways to standardize communication protocols between different systems and to
port algorithms to a unified platform for creative intelligent systems

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

2) Agents that can handle abstract media
and techniques

Roadblock: In engineering and science
related disciplines a common approach is to copy the human body in both form
and functionality. Honda's Asimo robot and Kaist's Hubo are good examples for
this approach. Sometimes abstract solutions provide a better functionality, for
example robots from children and science fiction movies are often more
sociable, but artists and designers often lack the technical expertise of
engineers

Opportunity: bring both groups together to
build on each others' strength to build highly functional, powerful but
abstract systems.

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

3) Need of creative synthetic characters
that can develop new concepts

Roadblock: Over the last 40 years we have
develop artificially intelligent agents that can produce creative work within a
given context (e.g., compose music in the style of J.S. Bach), but system that
go beyond this and develop their own concepts (e.g., a new composition style)
do not exist yet (at least not in the sense that they can reflect and justify
their actions).

Opportunity: bring together
transdisciplinary groups of artists, psychologists, and engineers to elicit how
humans complete these tasks and find ways to implement this knowledge to
artificially intelligent systems.

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Science-Art Interactions In Asia With
Particular Reference To India

Krishna Kumari Challa (KC]

6) Industry: Industry in Asia should
thoroughly encourage and support science-art interactive research dealing with
science and tech based creative technologies as these might help in cutting
costs and boosting the production in the developing countries. [KC]

Bridging The Divide: Collaboration, Communication
And Education In Art And Science

Nathan Cohen [NC]

1)    Funding streams for the sciences and arts and
humanities may be quite distinct and do not necessarily embrace or encourage an
interdisciplinary approach to innovation and investigation.

Suggested Action #1:

Public research funding should be inclusive
of, and make provision for, interdisciplinary research across the arts and
sciences. Initially, where relevant, publically funded research grant proposals
could be requested to address interdisciplinary research potential.

Stakeholders: Foundations, Government
Agencies, And Other Funders; Universities and Educational Institutions;
Administrators In Educational Institutions; Educators; Scientists; Artists;
Designers; Industry. [NC]

Bridging The Divide: Collaboration,
Communication And Education In Art And Science

Nathan Cohen [NC]

2)    Art and Science research is international in
scope and could benefit from a comprehensive and accessible published and peer
reviewed knowledge base.

Suggested Action #2:

An international web-based network and
database could be established pooling expertise and innovation among
educational institutions internationally, that could host an accessible
database of historical and current research projects, publications, exhibitions
and other manifestations relating to art and science research.

Stakeholders: Universities; Libraries;
National Academies; Educators; Students; Researchers; Public; Artists;
Scientists; Designers; Engineers. [NC]

Bridging The Divide: Collaboration,
Communication And Education In Art And Science

Nathan Cohen [NC]

3)    Art and Science researchers and graduates have
the ability to contribute innovatively to industry.

Suggested Action #3:

Establish an international network of
research placements with companies that could benefit from professional
exchange (i.e. with appropriate safeguards for commercial, patent and
copyright) with arts and science researchers, graduate and doctoral students.

Stakeholders: Students; Graduates;
University Research Innovation Centres; Industry; Educators; Administrators in
Educational Institutions. [NC]

A Case Study in IP arising in Art/Science
Performance Research and Transdisciplinary Collaboration

Josie E. Davis [JED]

1) Obstacle #1:  As shown above, communication in transdisciplinary
collaborations can suffer from a failure to establish common ground (shared
interest), particularly when working between long distances over time.  Suggested Action:  Invite DESIGNERS to create mobile apps
and interactive workshops in e-communication and conflict resolution. 

A Case Study in IP arising in Art/Science
Performance Research and Transdisciplinary Collaboration

Josie E. Davis [JED]

2) Obstacle #2:  Many SE-AD participants are unaware of their rights to an
image as author, owner, or subject, and are therefore subject to trademark
violation. 

Suggested Action:  Prevent intellectual property and trademark violation
against ARTISTS, SCIENTISTS, DESIGNERS, EDUCATORS, HUMANITIES SCHOLARS, and
ENGINEERS by reviewing current work (if violated) with an IP attorney to
determine a course of action. 
Develop written agreements between ARTISTS, SCIENTISTS, and HUMANITIES
SCHOLARS outlining the goals and objectives of ongoing collaboration and
research. 

Suggested Action:  Provide contract templates to EDUCATORS and DESIGNERS for
publication and download on opens source websites and integration into core
curriculum. 

Suggested Action:  That NATIONAL ACADEMIES and EDUCATORS create a network of
transcontinental conferences addressing the rights and prevention of IP. 

Suggested Action: Maintain archives of work
produced by ARTISTS, DESIGNERS, ENGINEERS, STUDENTS, EDUCATORS regardless of "quality."  Make use of available documentation,
contacts and resources, and knowledge to help you and your project move
ahead.  [JED]

A Case Study in IP arising in Art/Science
Performance Research and Transdisciplinary Collaboration

Josie E. Davis [JED]

2) Obstacle #2:  Many SE-AD participants are unaware of their rights to an
image as author, owner, or subject, and are therefore subject to trademark
violation. 

Suggested Action:  Prevent intellectual property and trademark violation
against ARTISTS, SCIENTISTS, DESIGNERS, EDUCATORS, HUMANITIES SCHOLARS, and
ENGINEERS by reviewing current work (if violated) with an IP attorney to
determine a course of action. 
Develop written agreements between ARTISTS, SCIENTISTS, and HUMANITIES
SCHOLARS outlining the goals and objectives of ongoing collaboration and
research. 

Suggested Action:  Provide contract templates to EDUCATORS and DESIGNERS for
publication and download on opens source websites and integration into core
curriculum. 

Suggested Action:  That NATIONAL ACADEMIES and EDUCATORS create a network of
transcontinental conferences addressing the rights and prevention of IP. 

Suggested Action: Maintain archives of work
produced by ARTISTS, DESIGNERS, ENGINEERS, STUDENTS, EDUCATORS regardless of "quality."  Make use of available documentation,
contacts and resources, and knowledge to help you and your project move
ahead.  [JED]

A Case Study in IP arising in Art/Science
Performance Research and Transdisciplinary Collaboration

Josie E. Davis [JED]

6) Obstacle #6:  SEAD professionals are often confronted with new and
unfamiliar territory and methods of investigation, creating tension when
flushing out new concept and vocabularies.

Suggested Action:   STUDENTS, ARTISTS, DESIGNERS, HUMANITIES SCHOLARS,
ENGINEERS be confident and mindful in the work methods you are creating.  Develop simple solutions and agendas
when presented with an unfamiliar area of expertise. Showcase your work for an
outsider perspective.  Set meeting
points in your agenda to address the work as it progresses and to consider how
these expectations are or are not being met. [JED]

From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity

Jean Delsaux [JD]

2) Suggested action 2 :

In a structure devoted to the development
of SEAD projects, there should be a person whose ability would be to analyse
the project and determine the appropriate crew to fulfil the project.

The second difficulty we had to overcome
was then to enable everyone in the crew to understand the language of the other
participants. Speaking about spaciality for example is really different whether
you are a visual artist, a musician, a physician, a mathematician, an engineer,
an architect etc. [JD]

From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity

Jean Delsaux [JD]

3) Suggested action 3 :

The development in universities, art
schools and engineering schools of transdisciplinary subjects involving this
aspect of mutual understanding. This point is different from suggested action 1
as it emphathize the language problem, the theoritical aspect, the
understanding, and not necessarily the development of procedures, projects,
realizations.

LEEE (Laboratory for Aesthetics and Space
Experimentations) and Institut Pascal (Laboratory of robotics and artificial
vision).

Colleagues with whom I developped other
initiatives more precisely involved in this field suggested also a convergent
approach of the matter:

Pascale Weber, Multimedia artist and Senior
Lecturer in visual arts (University of Paris 1 Panthéon-Sorbonne) developped in
a book we directed accordingly : De l'Espace virtuel, du corps en présence[1]

. (Presses Universitaires de Nancy Ed.) an
interesting experiment concerning the development of a collaborative platform
devoted to SEAD projects and the reasons of its failure.

The artists we were needed a collaborative
platform devoted to our crossed projects, so we decided to develop it along
with colleagues computer scientists.

The point was that artists are trained to
metaphorical language, developping projects by experimenting the results of the
trial-and-essay method. And we wanted to conceive the platform alternating an
experimental and a more theoritical 
approach.

That is :

Experimental : creation of spaces,
templates, simulated digital functionings, for the projection of the artist
taking part, from the development of the tool to a well tried praxis of the
platform. The artist is used to work through sensitive equivalents so as to
widen futhermore its metalanguage.

Theoritical approach : definition of the
technical specifications of the platform.

This way of doing is far from what
developpers we worked with were used to : they usualy start with
specifications, in order to face a clearly defined request. The question is
then to decide wether the artist/user should describe his needs in
technological and « rational » terms for the developper or if the developper
should analyse himself the request and translate it in his own language .

Another way of doing would be to let the
user describe his needs progressively and continuously, avoiding permanent
redirectings (in a flexible and not fixed way).

Very often the request is perfectly defined
but doesnt suit the technological procedures. [JD]

From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity

Jean Delsaux [JD]

4) Suggested action 4 :

The solution would probably consist in
organizing, all along the project development, systematic meeting times during
which would be defined the constraints for the artist and instructions for the
computer scientist

The difficulty is obvious and leads usualy
developpers to conceive generic models one has later on to adapt to the needs
of the user. Which implies a predominance and primacy of the computing models
and a definition of the digital products not in term of of specific needs, but
in term of qualifying options.

This has to be connected by the increasing
power of hardware and software companies who impose their standards, their
monopolistic domination over systems and software packages.

The open source philosphy is in that
purpose a good answer, but we know also that it requires yet a sophisticated
know-how as well. And above all, no matter the models can be, technology seems
allways to be set first, needs and specific expectations being considered as
seconds, functionality creating the need.

So even if this situation is specific and
not exclusive of other configurations, it is widely represented. [JD]

From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity

Jean Delsaux [JD]

5) Suggested action 5 :

Build teams that would elaborate new
procedures, new relationships between members, whatever would be the expertise
of each member. These teams should have time and ressources to fulfil their
goals : developping tools, situations, procedures involving artists, computer
scientists, ergonomists, neurocogniticians, engineers, ”

This implies budget, long term research,
hability of defining the program in complete autonomy.

The development of a project can also work
out its own tools, a projet can exist as a drawing, a draft, an animation, a métaphor,
a choreography, a picture book, a textual description.

Thierry Château, Professor of robotics and
computer vision leads the ComSee research team at Pascal Institute (Ex.
Lasmea). Main research interests : Visual Tracking, Pattern Recognition and
machine learning, within the field of Computer Vision.

For Thierry Château, the problematics
raised by the artists allow almost to be early of phase with the Industry. The
experience the lab had with dancers raised with an unsual accuracy the problem
of latency. Artist are really sensitive to the delay due to latency (response
time of interactive devices). A practicle application was that after working
with dancers who had particuliar requisits about latency, the developpers could
propose an interresting tool to EDF (french company providing electicity) for
the training of emmployees working inside nuclear stations.

So one can capitalise the acquired
experience.

The other advantage for a researcher is the
determination of new research fields due to the artists' expectations and
requests. Artists says T. Château have a different approach and imply for the
computer scientist to look at things under a new light.

The « Institut Pascal welcomes two artists
and one ergonomist in its teams to develop projects embeded in its research
program.

This opportunity values the suggested
action n°3

I also had a very interesting collaboration
with Delcom Company (Germany) in the eighties, this company producing dynamic
digital videowall systems invited artists to perform on its product. They said
that « artists are the Formula 1 of our system, they raise problems we have to
solve, which leads us to improve our system. Artist imagine situations we didn't
anticipate, they propose other ways of using the devices we produce. » [JD]

Interdisciplinary Courses, Positions, Phd,
In Italy

Michele Emmer [ME]

1) Action #1:  Web site and Visibility

 I agree with the proposed Action #1 of K. Evans [11]

 that cross-disciplinary art- science humanities researchers
are isolated and have no knowledge of what is going on in the world. So the
first thing is to create a well done website so to maximize the diffusion of
all possible information's, on interdisciplinary courses, masters, degrees, on
the curricula, on books (with possible reviews), articles, journals,
conferences, meetings, novels, films, plays in theatre.

It will be essential to have a website
where it is possible to exchange ideas, experiences. [ME]

Interdisciplinary Courses, Positions, Phd,
In Italy

Michele Emmer [ME]

3) Action #3 promote new interdisciplinary
researches

To use Leonardo and a new website for
suggestions for new interdisciplinary courses and researches. I believe that
the contact between different universities and research teams in order to
obtain funds from ESF (European Science Foundation) and similar institutions in
other countries is essential. A program of research to be presented by
researchers and artists who are linked to the network of Leonardo for proposals
for new research and exhibitions to be presented in conjunction with the
European community, the NSF and other similar bodies.

Interdisciplinary projects that will lead
to the realization of exhibitions, interdisciplinary conferences, screenings of
films that have interdisciplinary interest to motivate younger students to
learn in an interdisciplinary way.

Ask all researchers and artists involved in
the SEAD to start a formal request to initiate exchanges of students and researchers
for short periods. With regard to mathematics and art, there are various
associations, various annual conferences, that can be contacted. [ME]

Interdisciplinary Courses, Positions, Phd,
In Italy

Michele Emmer [ME]

4) Action #4 new book series

Start creating interdisciplinary series of
publications not only at a research level but also for graduate and
undergraduate courses. Not only the Leonardo book series. For mathematics and
art and architecture there are already the series by Springer verlag "Mathematics
and Culture", "Imagine Math", and by Birkhäuser "Mathematics and architecture"
[ME]

Between Barriers and Prospects: Merging Art
Performance and Engineering in Mobile Music Education and Research

Georg Essl [GE]

1) Obstacle 1: Heterogeneity and closedness
of commodity platforms that are suitable for open creative expression in the
marketplace.

Suggested Action 1: Advocacy with mobile
platform industry to offer openness and free content creation on their devices
along with efforts to standardize or support crossplatform content exchange.
[GE]

Between Barriers and Prospects: Merging Art
Performance and Engineering in Mobile Music Education and Research

Georg Essl [GE]

2) Obstacle 2: Lacking unified forum for
open exchange and archival access of SEAD art and products.

Suggested Action 2: Efforts for creating
open access archival platforms for SEAD mobile art products that may or may not
be commodified. In particular library function should be extended to allow for
the archiving and delivery of interactive and performative content, which could
be in the form of apps or dynamic online content. [GE]

Between Barriers and Prospects: Merging Art
Performance and Engineering in Mobile Music Education and Research

Georg Essl [GE]

3) Obstacle 3: Academic participation in
shaping the mobile platform space to allow open innovation for SEAD research
and artistic engagement.

Suggested Action 3: Develop funding
initiatives with NSF that target the mobile platform and foster research that
create acceleration of SEAD in broad public use. [GE]

Breaking Down The Silos: Curriculum
Development As A Tool For Crossing Disciplines In The Arts, Sciences And
Humanities

Kathryn Evans [KE]

3) Suggested Action #3:  Integration Through Research

Cross-disciplinary art-science-humanities
courses are still rare in most university degree plans and are still not a part
of standard curriculum at the tertiary level in both the undergraduate and
graduate programs.   Administrators
and curriculum designers are focused more on limiting the number of electives
to increase graduation rates with minimal time to graduation and hence a
reduction in cost to the student. 
The requirements for tenure and promotion, course credit, and funding
are distinctly disciplinary in most universities.  Cross-disciplinary teaching and research is not rewarded in
the current evaluative process. The most effective way to do so would be to
foster an environment where cross-disciplinary courses are offered and
resources are made available to instructors who wish to teach them.  Further, we must foster research that
helps justify the inclusion of such courses into standard university degree
plans. This requires substantial evidence that cross-disciplinary curriculum is
a valuable part of every student's education.

Barrier:  Cross-disciplinary art-science-humanities curriculum is not
seen as valuable in degree plans

Target:  Administrators and curriculum designers in higher education

Solution:  Research and Integration

Suggested action:  A nationally funded research effort to investigate the
usefulness of cross-disciplinary art-science-humanities education with an eye
towards answering the following questions:  Are students who have taken cross-disciplinary art-science-humanities
courses more accepting or interested or explorative of areas outside their
majors? Are they more innovative? Can they think "outside the box'? Can they
become members of the "Creative Class"? 
More specifically, students who are currently taking cross-disciplinary
courses should be evaluated before and after their curricular experience to
study the effects of this kind of education.  These students are the future generation of scientists,
artists and scholars. Until we can demonstrate the clear usefulness of this
kind of curricula, it will be difficult to convince administrators and
curriculum designers that this kind of curriculum has a clear value and should
be included in existing degree plans. [KE]

SEAD: From Success To Succession

Bronac Ferran [BF]

1) 'Cultural institutions, pioneering
individuals and universities must form an alliance to look at the most
effective tools for archiving, documentation, study and fostering of new cross
disciplinary approaches beyond the silos. 
The biggest deficit is consistent funding”an open source, micro funded
initiative by all interested parties may now be the way forward. The pioneering
work of individuals, businesses/companies and foundations which may not fit
easily into the academic domain should be acknowledged and included within this
process and where possible making available source material within an
integrated archival framework should be prioritised so that vital contextual
factors are also taken into account'.

CoRE Challenges: the artist in residence
programme at the British Heart Foundation Centre for Research Excellence,
Queens Medical Research Institute, University of Edinburgh.

Chris Fremantle [CF]

1) Those managing the residency programme
need to engage the biomedical researchers more effectively in the artists in
residence programme.  A number of
the artists indicated that there could be more dialogue between artists and
biomedical researchers. 

One challenge in the current configuration
is that the residencies are relatively short and occur once per year.  This may indicate a wider challenge in
terms of building up a depth of work in across the disciplines which engages
researchers and practitioners in both fields more effectively.

Suggested action: the team delivering the
residency programme is exploring the possibility of introducing a collaborative
PhD programme which could result in one or two artists working between the BHF
CoRE and the ASN programme over a three to four year period.  The existing structure of mutual introduction,
open selection and hosting would then be supported.  More generally it may be relevant to think in terms of
multi-layered programmes and overlapping projects, rather than stand-alone
initiatives. 

The second challenge in the current
configuration is focused on perceived value.  The artist in residence programme has been funded as part of
the BHF CoRE ambition "to bring cardiovascular research to life".  The value articulated by the artists on
the ASN programme is perhaps slightly different, being an opportunity to engage
with researchers in a distinctly different field.

The arts certainly have communicative
skills and potential (one of the artists ran graphic design workshops for the
biomedical researchers to aid them with conference poster design). 

The work of the artists in residence has contributed
to changing the environment of QMRI. 
The installed artworks contribute to the environment of the building,
which is otherwise highly institutional. 

Suggested action: the articulation of the
value of activities between artists and research scientists needs to grow a
greater level of shared values, or mutually recognised values.  There have been discussions around
presenting both the artworks and the biomedical research, each in their own
formats, rather than just presenting the artworks in exhibitions and
installations.  Perhaps greater
solidarity, as suggested by Kester, could be important. [CF]

CoRE Challenges: the artist in residence
programme at the British Heart Foundation Centre for Research Excellence,
Queens Medical Research Institute, University of Edinburgh.

Chris Fremantle [CF]

2) 
The institutions needs to unpack the idea of collaboration as a mode of
practice.  The current construction
of collaboration within the arts is challenging within the context of
interdisciplinary work, and there is a need to articulate more clearly a range
of different forms of interaction between artists and, in this case, biomedical
researchers.  The biomedical
researchers also use the terminology of collaborations.

Suggested action: examples and case studies
of different forms of interdisciplinary practices need to be developed and be
made available to broaden the understanding of forms of collaboration.  Modes of collaboration in other
disciplines need to be included within this process.

Note: ASN has secured internal University
Challenge Funding for a programme of seminars

involving key examples of durational and
collaborative art-science projects. 
The seminars will further contextualise the BHF CoRE residency programme
as well as explore the modalities of introducing a PhD thread into the
programme.  They will be documented
to provide a resource for learning and teaching.  This process of building networks will expand the idea of
what constitutes art science practices. [CF]

Data Sonification; An Emerging Opportunity
For Graduate Music/Sound Design Departments To Expand Research In An Art And
Science Collaboration

Scot Gresham-Lancaster [SG]

1) Phase One:

The specific discipline puts forward a set
of data or enables access to a specific real time data flow that the researcher
wants to examine. This will require an interview process from the sonification
team to more fully understand the needs of the researcher and the very specific
areas of understanding that is being investigated. For example: A Geoscientist
has a volumetric data set representing a transitional area of geological
significance. This can be rendered in 2-d slices or to a 3-d goggle set
visually, but sonically the area can be represented as a sound mass where
specific sounds represent specific rock types localized in 3-d acoustic space.
The Geoscientist in this case would be tasked with supplying access to the
volumetric data that  represents
the geographical layers in general with the coordinates in three dimensions
relative for the specific site in question. This information in many cases can
be provided via Excel

sheets as CSV (comma separated value)
tables. In other cases, with real time data streams, for example, specific
information can take the form of dynamic XML or Json data flows over the
Internet in the form of UDP or TCP/IP packets. All these sorts of technical
details need to be communicated and coordinated and access to the information
must be provided. This requires 
the assistance of Computer Science expertise as well.  

Phase One includes these specific
collaborators

1 Researcher in Specific Science under
examination (GeoScience in the example above)

2 Project Sonifier (Composer-Sound
Designer)

3 Computer Science specialist (data
transfer and message protocol formatting) [SG]

Data Sonification; An Emerging Opportunity
For Graduate Music/Sound Design Departments To Expand Research In An Art And
Science Collaboration

Scot Gresham-Lancaster [SG]

1) Phase One:

The specific discipline puts forward a set
of data or enables access to a specific real time data flow that the researcher
wants to examine. This will require an interview process from the sonification
team to more fully understand the needs of the researcher and the very specific
areas of understanding that is being investigated. For example: A Geoscientist
has a volumetric data set representing a transitional area of geological
significance. This can be rendered in 2-d slices or to a 3-d goggle set
visually, but sonically the area can be represented as a sound mass where
specific sounds represent specific rock types localized in 3-d acoustic space.
The Geoscientist in this case would be tasked with supplying access to the
volumetric data that  represents
the geographical layers in general with the coordinates in three dimensions
relative for the specific site in question. This information in many cases can
be provided via Excel

sheets as CSV (comma separated value)
tables. In other cases, with real time data streams, for example, specific
information can take the form of dynamic XML or Json data flows over the
Internet in the form of UDP or TCP/IP packets. All these sorts of technical
details need to be communicated and coordinated and access to the information
must be provided. This requires 
the assistance of Computer Science expertise as well. 

Phase One includes these specific
collaborators

1 Researcher in Specific Science under
examination (GeoScience in the example above)

2 Project Sonifier (Composer-Sound
Designer)

3 Computer Science specialist (data
transfer and message protocol formatting) [SG]

Data Sonification; An Emerging Opportunity
For Graduate Music/Sound Design Departments To Expand Research In An Art And
Science Collaboration

Scot Gresham-Lancaster [SG]

3) Phase Three:

Once the OSC parameters have been set this
has the distinct advantage of being fairly selfdocumenting. A typical OSC
message may look something like this: /freq 440.032. This is pretty clearly
requesting an oscillator to sound at a frequency of 440.032 HZ. Locational
information would be express in terms of Cartesian coordinates /x /y /z ” /amp
for amplitude or what ever was decided on in the design of Phase Two. The real
craft and subtlety of this portion of the design work is to take these data
flows and working in interaction with the recently codified User Interface,
create a palatable if not masterful new acoustic environment that is directly
reflecting the data that is under investigation. It is at this point that the
real opportunity to fully engage 
graduate level student sound designers/composers to create and push
forward this new discipline. The opportunity expands as an area where
Psycho-Acousticians and well as

Acousticians can become involved in
refining and redefining the sound output formats and

interface interactions to make a specific
and functional, quite possibly reusable new resource for  each of the participating scientific
disciplines. At this point user testing will yield results regarding the
efficacy of the specific sound design approach.

Phase Three includes these specific
collaborators

1 Project Sonifier (Composer-Sound
Designer)

2 Acousticians

3 Psycho-Acousticians (Music cognition
specialist)

4 Human Interface Design Evaluators [SG]

Diwo (Do-It-With-Others): Artistic
Co-Creation As A Decentralized Method Of Peer Empowerment In Today's
Multitude.Diwo (Do-It-With-Others): Artistic Co-Creation As A Decentralized
Method Of Peer Empowerment In Today's Multitude

Marc Garrett [MG]

1) Suggested Action:

Art organizations, museums and art
magazines should promote contemporary media art culture. Inivite emerging
artists, art groups to talk about their work. Invite media arts practioners,
theorists, organizations and communities to share their skills, knowledge and
expertise. This includes national arts institutions, regional arts venues,
mainstream art magazines and critical art magazines.

Barrier: Mainstream art world culture is
currently biased towards the values of the powerful, whether it is
institutional power or economic power. It's evidenced through the tight networks
of media, international art markets and corporate sponsorship, and national
insitutions. These act as constraints on the resources, ideas, platforms,
ethics, aesthetics and technological engagements of a wider and contemporary
culture, and also restricts 'possible' connections and exchanges between
artists and audiences.

Target (stakeholders): Art organizations,
Museums, Galleries, Funding groups, Sponsers, Applied Research Funders,
Universities.

Solution: Go and see the work created by
contemporary media artists and look at the different sets of values found in
their works, tools and processes and allow their artworks to define current
trends, ideas and values, and contemporary art contexts. Look at web sites and
on-line portals where these art communities are sharing dialogue around their
works and the theories being discussed. Visit sites where critics and artists
write on the subject of media art and related practices. [MG]

Diwo (Do-It-With-Others): Artistic
Co-Creation As A Decentralized Method Of Peer Empowerment In Today's
Multitude.Diwo (Do-It-With-Others): Artistic Co-Creation As A Decentralized
Method Of Peer Empowerment In Today's Multitude

Marc Garrett [MG]

2) Extra Suggested Action:

Art organizations, museums and art
magazines, and art institutions should engage in open investigations into grass
root initiatives by D.I.Y, DIWO (Do It With Others), and Peer 2 Peer groups.
Study their works, support and promote them as part of their artistic programs.
They should also invest in the development of these projects (commissions,
residencies, conferences, exhibitions and work shops etc). This will
decentralize art culture and meet diverse audiences and communties on their own
ground. It will also help them to learn about and appreciate the values and
benefits of this important work being produced. [MG]

Diwo (Do-It-With-Others): Artistic
Co-Creation As A Decentralized Method Of Peer Empowerment In Today's
Multitude.Diwo (Do-It-With-Others): Artistic Co-Creation As A Decentralized
Method Of Peer Empowerment In Today's Multitude

Marc Garrett [MG]

3) Extra Suggested Action:

Make available for distribution at gallery
bookshops and art and design colleges, works currently being explored and
written by theorists and artists writing about Media Art, this includes
software art, art and hacktivism, psychogeography, net art, networked art, game
art, glitch art, grassroots artistic innovation, interdisciplinary practices
and contemporary forms of art dealing with technology, ecology, and free and
open source technology. [MG]

Diwo (Do-It-With-Others): Artistic
Co-Creation As A Decentralized Method Of Peer Empowerment In Today's
Multitude.Diwo (Do-It-With-Others): Artistic Co-Creation As A Decentralized
Method Of Peer Empowerment In Today's Multitude

Marc Garrett [MG]

4) Extra Suggested Action:

Government funding agencies, development
agencies and policy makers, local and national cultural policy makers, should
give their support to ideas around alternative and mixed economies. And connect
with artists and arts groups who are working with D.I.Y, DIWO (Do It With
Others), and Peer 2 Peer projects. These are dedicated and informed groups
creating new forms of shared commons as innovation, concerning climate change
and the current economic crisis. Many of these groups are successfully
exploiting the technological resources of alternative hardware and software, as
part of a growing free and open source movement. Code and art are both
international languages, where much of the most exciting and imaginative
projects are being explored collaboratively. Jobs, funding and research into
these areas will provide a more sustainable culture where groups involved in
these practices can produce accessable and inclusive resources for artists,
designers, ecologists, students and the public. They can also provide data and
case studies for academic research. [MG]

Environmental Equity: Enabling Excellence
In Media Art And Science In Under-Served Communities

Molly Hankwitz [MH]

1) Suggested action: It is suggested that
funding bodies, governing research foundations, and creative institutions such
as the NEA, National Academy of Sciences, the National Research Foundation work
together with federal technology programs and organizations such as Zero/Divide
or the Broadband Technologies Opportunities Program (FCC) and with individual
stakeholders such as artists, scientists and researchers (from within developed
collaborative proposals) towards the inclusion of robust funding for projects
where permanent installation of digital communications technologies and their
ongoing support and implementation in the arts and sciences, through software
development and research, is a significant criteria for the expression of the
artwork, development of scientific study, and ongoing media literacy. [MH]

Environmental Equity: Enabling Excellence
In Media Art And Science In Under-Served Communities

Molly Hankwitz [MH]

2) Suggested action: It is suggested that
national funding bodies, federal technology agencies, state public art granting
foundations, research institutes, and international organizations such as
UNESCO”" because impediments to career paths start young, gender imbalances in
engineering and science persist, and lowered general participation and
performance among poorer or minority communities abound ”"be drawn upon to
devise funded projects to stimulate solutions to social inequalities "digital
divides" and in areas of media literacy and media arts, where minority
communities have been shown to require information, skills, and technology for
their sustained participation in these fields. In this context, projects in
support of gender equality or which close an "age-gap" can be supported. [MH]

Environmental Equity: Enabling Excellence
In Media Art And Science In Under-Served Communities

Molly Hankwitz [MH]

3) Suggested action: It is suggested that
specifically designed funding and support for action-based and
curriculum-centered public projects be targeted to under-served communities
where designing for accessible data visualization, understanding locative and
sentient media, critical media literacy and other higher level strategies for
coping with information will assist in producing and distributing relevant
information across communities. Stakeholders might be National Endowment for
the Arts, Foundation for the Alliance of Community Media, Centers and
Institutes for Digital Literacy, and the National Foundation for Educational
Research, or National Research Foundation might all be stakeholders. [MH]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

2) Obstacle: Difficulty in France to create
a thesis in art and design based on the Anglo-Saxon model of practice-based
Doctorate

Opportunity to develop: research and
creation activities for cross-cultural PhD support

a) Stakeholders: Universities, Art schools

b) Suggested actions: Widen the scope of
the scientific research to encompass issues such as social, gender, minority,
disability, aging issues that can build a better common ground for such
research than theoretical scientific issues. Define cross-cultural research
program in which both artistic and scientific students can find interesting
topics to develop. Teach art student scientific research methodology. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

3) Opportunity to develop: Industrial,
scientific, or artistic events around an art-science prize and residency
program for diffusion purposes

a) Stakeholders: Any institution hosting
art-science residencies and research

b) Suggested actions: Since art-science
artistic and scientific productions are often non-standard and difficult to
disseminate in their respective communities, it is valuable to develop events
specifically dedicated to the diffusion of such works: art-science fairs,
art-science festivals, art-science seminars and workshops... [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

5) Obstacle: art-science development
suffers from the compartmentalization of research, the separation between
industrial and academic world, from the very selective mode of funding research

a) Stakeholders: Universities, Industries,
Governmental funding agencies

b) Suggested actions: Promote support for
cross-disciplinary research, consider art as a valid companion for scientific
research (for raising new issues, offering new domains of application, and as a
user test-bed), develop "creative" industries such as entertainment and
cultural industries, or stimulate industrial creativity through art-based
management systems. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

6) Opportunity to develop: Promote
scientific education and practice to artists

a) Stakeholders: Scientific laboratories,
Industrial laboratories, Universities, Art Schools, Culture centers, Culture
Ministry

b) Suggested actions: Offer artists the
temporary status of scientific researchers so that they can be immersed in a
scientific environment and involved in research projects in collaboration with
professional scientists. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

7) 
Opportunity: New Innovative fields of research and creation are arising
from boundary fields between many different fields of science with the arts not
just information technology.

a. Stakeholders: Universities, Governments,
Businesses

b. Suggested Action: There should be a
deliberate plan of investment in art-science collaborations emphasizing the
very diverse areas of science and engineering, not just computer science and
information technology but also biology and life sciences, the physical
sciences and social sciences. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

10) Opportunity to develop: Good
art-science research has two important features: the technoscientific
developments do not conceal the artistic purpose, and the artist is not
burdened by technological issues and can instead focus on his creation

a) Stakeholders: Any institution producing
artistic events supported by technoscientific research

b) Suggested action: Since the technology
should be at the service of the artistic purpose, it must be fully mastered and
integrated, possibly up to its complete disappearing to the audience, with the
potential difficulty of eliciting its role and justifying its cost.

c) Suggested action: The environment
offered at IRCAM for the creation of technological artworks is such that the
artists can focus their energy on the development of strong artistic ideas
because the technological issues are taken in charge by high potential
technicians attached to their project. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

11) Opportunity to develop: Attracting high
skilled scientists and artists

a) Stakeholders: Research and cultural
institutions involved in Art-Science collaborations

b) Suggested action: instead of looking for
rare experts in both domains, organize working groups made of high-level
artists and scientists in projects providing artists with the broadest possible
exposure in the cultural scene and scientists in recognized research
environments with strong expectations on scientific publications and transfer
to the industry. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

12) Opportunity to develop: Towards a
better recognition of the role of artistic creation in society

a) Stakeholders: Research program
committees, Research funding agencies, Innovation agencies, Industrial fair
organizers, Ministry of industry and commerce

b) Suggested action: Since it is shown in
many examples that early artistic experiments in digital media have often been
a source of technological innovation usages that have later broadly developed
in activity fields such as games, simulation and virtual reality, multimodal
human-computer interfaces, multimedia search engines, etc., the role of
artistic creation in society should be better and better recognized and
supported in particular by academic institutions and research funding programs
at national and international levels as an efficient factor of innovation. [CJ]

And Comparison Of Their Features With Those
Of A Longer Established One

Christian Jacquemin [CJ]

15) Opportunity to develop: Scientific
funding programs, Scientific journals, Scientific conferences, Research groups
can accept art-science propositions even though it is not necessarily
explicitly mentioned in their scope

a) Stakeholders: Program committees,
Funding agencies, Academic staff

b) Suggested action: extend and consolidate
the scope of calls (for papers, for projects, for special issues, for research
projects...) towards explicit art-science propositions. Propose lists of
possible topics in this area. Possibly facilitate the consolidation of such
hybrid proposals by offering networking facilities to connect art and science
communities. [CJ]

Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms

Anu Joy [AJ]

4) Collaborative content creation

The proposed program envisages a group of
likeminded researchers from different disciplines working together to innovate
on the Indian school curriculum and pedagogy and guide children through
authentic inquiry practices. The expected outcome of the pilot phase of this
program is evolving content and framework for introducing GIS in school,
guidelines for using software that teachers can innovate and use in their own
classrooms, creating local databases of a region working along with children,
and trial running the implementation of such a program in schools. This can be
achieved through collaborative work and content creation by a team of
disciplinary experts working with teachers and children. What is needed is a
synergized and concerted effort with research centres pooling their resources
and expertise for creating content that provides ample scope for the teacher to
be creative and innovate on the basic framework that can be adapted to the
specific needs of a local environment and school. [AJ]

Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms

Anu Joy [AJ]

5) For SEAD community

A collaborative partnership across SEAD
network is proposed in the following areas

a)      Creating local, national and
international partnership across SEAD to foster peer to peer research and
collaboration to share and exchange best practices, knowledge; also building a
shared understanding of what technology enabled teaching-learning means for
different countries and regions.

b)      Sharing of experiences of authentic
inquiry based teaching-learning practices in schools and learning from
exemplary programs aimed at engaging students with real data on research
problems that are approached creatively and collaboratively.

c)      To facilitate the sharing of
experiences of successful technology-enabled and GIS-based teaching-learning
practices that are already in place in the US and other countries, to learn and
build on ways of implementation, resource development, etc. Taking examples
from successful exercises in the use of GIS elsewhere in order to show Indian
schools the impact of this method; also share experiences of teacher training
and preparation methods in previously envisioned and implemented approaches.

d)     Connecting higher secondary children
across different regions and nations: Creating a virtual space for higher
secondary school children to use media to communicate effectively and interact
with their counterparts in other countries and regions to know each other, to
share and learn from each other about their physical and social world (update
weather, climate, etc.)  to solve
problems in real time, to share databases/maps created and experiences of
collecting and making them, to work together on interesting projects, and to
take learning beyond the boundaries of the nations and classrooms.

e)      Supporting usage of FOSS based tools
and open educational resources: Since software is the foundation for digital
technologies-based learning, we believe in using and promoting Free and Open
Source Software (FOSS) that will make use of GIS affordable for schools.
Through SEAD we like to network with like-minded researchers and open-source
communities, who use FOSS based tools in school projects, enrich, document, and
maintain them; also form a forum to share and collaboratively create open
educational resources.

f)       Insights on collaboration:
Learning from earlier collaborative experiences of networked learning
communities. One of the important issues in the Indian context is how ready
educators are to collaborate, develop partnerships and make effective use of
technology. Teachers are traditionally trained for closed, autonomous
classrooms in physical schools. Linking the practice of teaching and learning
in schools to a larger collaborative network is, therefore, a major challenge

g)      Creating Information systems and
databases: Networking with researchers who are a part of citizen science
projects to learn and share experience of creating information systems and databases
together with school children. This is a very recent initiative attempt in
India. Moreover there are numerous free online data repositories which provide
data on topography (DEM), rainfall, temperature, vegetation, population,
socio-economic details etc. which can be directly linked to GIS platform and
can be explored for the purpose in school classrooms.

h)      Device to measure weather data: One
of the main areas of this project that does not have complete technology
support is about setting up a model weather station (to measure rainfall, wind,
temperature, humidity etc.) in a school and identify appropriate instruments
that can be used by children at school level. The long term plan is to work
with climatologists to gather information on the climate of a region with the
help school children to create information systems on important climate
variables. The difficulty faced on this front has to do with developing rain
gauge and other instruments that can be interfaced to a computer and that can
be handled by school children, to give accurate measurements. We seek support
and insights from researchers working in this area towards innovating solutions
and developing devices that are affordable for schools.

i)        Working with Government
agencies, sustainability, scalability and funds: For any project of this nature
to succeed beyond the pilot stages and to extend it to large number of schools,
it is important to formulate partnerships with Government agencies involved in
school education. We seek insight towards defining a replicable, scalable, and
sustainable GIS project model for school children. Finally, sustaining such an
endeavor requires funds and budget allocations. We need to explore financial
and support arrangements and hence seek suggestions into means for securing
funds. [AJ]

Position Statement & Suggested
ActioHackteria.Org: Nomadic Science And Democratized Labs

Denisa Kera [DK]

1) Suggested Action 1.

Support open science and citizen science
initiatives, such as co-working spaces and community labs as well as novel
forms of public engagement in science and technology through workshops
involving scientists, designers, artists and any other profession.

Barrier: The unclear status of many
community labs and initiatives and the perceived tension between grassroots
(independent and free) activity and institutionalized and monitored
spaces.  

Target (stakeholders):  Grant agencies, Applied Research
Funders, City councils, University management  

Solution:  Create a board of advisors representing different stakeholders
(citizens, communities, faculty and professional researchers, galleries and
artist collectives, grant bodies, city councils), which will take care of the
economic, legal and other issues related to the management of such open space
supporting interdisciplinary and inter-actors collaboration (Fablab, Citizen
science, DIYbio lab or Hackerspace).

Suggested Action: Grant agencies can
support cooperation between universities and existing informal, grassroots
R&D centres (community labs, Hackerspaces) by dedicating part of the budget
to support the infrastructure and the workshops in citizen science labs as a
form of "dissemination of research results". Universities could support their
faculty in volunteering in the citizen science labs teaching local communities
various protocols and supporting citizen science initiatives and workshops.
City councils could provide spaces and support related to legal and other
issues, which the use of public space in citizen science projects brings (for
example when installing sensors), but also in making such initiatives more
visible in the public space and connecting them with other publically funded
actors (galleries, museums, public libraries). General support of
decentralized, open science and open access paradigms. [DK]

Position Statement & Suggested
ActioHackteria.Org: Nomadic Science And Democratized Labs

1) Suggested Action 1.

Support open science and citizen science
initiatives, such as co-working spaces and community labs as well as novel
forms of public engagement in science and technology through workshops
involving scientists, designers, artists and any other profession.

Barrier: The unclear status of many
community labs and initiatives and the perceived tension between grassroots
(independent and free) activity and institutionalized and monitored
spaces.  

Target (stakeholders):  Grant agencies, Applied Research
Funders, City councils, University management  

Solution:  Create a board of advisors representing different
stakeholders (citizens, communities, faculty and professional researchers,
galleries and artist collectives, grant bodies, city councils), which will take
care of the economic, legal and other issues related to the management of such
open space supporting interdisciplinary and inter-actors collaboration (Fablab,
Citizen science, DIYbio lab or Hackerspace).

Suggested Action: Grant agencies can
support cooperation between universities and existing informal, grassroots
R&D centres (community labs, Hackerspaces) by dedicating part of the budget
to support the infrastructure and the workshops in citizen science labs as a
form of "dissemination of research results". Universities could support their
faculty in volunteering in the citizen science labs teaching local communities
various protocols and supporting citizen science initiatives and workshops.
City councils could provide spaces and support related to legal and other
issues, which the use of public space in citizen science projects brings (for
example when installing sensors), but also in making such initiatives more
visible in the public space and connecting them with other publically funded
actors (galleries, museums, public libraries). General support of
decentralized, open science and open access paradigms. [DK]

Position Statement & Suggested
ActioHackteria.Org: Nomadic Science And Democratized Labs

Denisa Kera [DK]

2) Suggested Action 2.

Support grassroots innovation and
participatory design related to local communities when facing various local and
global challenges.

Barrier:  Interdisciplinary activities in the Hackerspaces, Fablabs
and citizen labs are often perceived as something geeky, not really useful and
without any impact.

Target (stakeholders): Local businesses,
Employers, Government agencies, City councils

Solution:  The support of cooperation between research and commercial
organisations should also involve the alternative R&D centres and support
participatory design strategies in finding solution and developing socially and
environmentally sensitive, grassroots innovation.

Suggested Action:  We need to enableinnovation and research outside the
academia and industry walls by involving new actors often described as makers,
tinkerers, and hackers, but also Do-It-Yourself (DIY) or Do-It-With-Others
(DIWO) research subcultures.  One
simple way of doing this is to provide access and formulate calls, contracts
and bids, job opportunities, which are suited for these alternative R&D
spaces: projects supporting resilience, disaster management, or some form of
civic engagement in ecological issues, "smart cities" projects, or when
deliberation on ethical issues related to some emergent technology is needed.
Citizen and alternative R&D labs can literally serve as incubation centres
for local communities, where prototype testing goes hand in hand with
deliberation and gathering of user feedback and requirements from variety of
actors. We need to create opportunities for decentralized and nonlinear value
chains and interactions between research, design (innovation), and policy. [DK]

Position Statement & Suggested
ActioHackteria.Org: Nomadic Science And Democratized Labs

Denisa Kera [DK]

3) Suggested Action 3.

Support research in developing countries,
bridging science and technology divides, and formulating more inclusive and
interdisciplinary research agenda based on global networks around low tech and
DIY protocols and tools.

Barrier: Missing infrastructure, difficult
access to information, stereotypes of where research and science is happening.

Target (stakeholders): UNESCO,
intra-government institutions, non-profit organizations

Solution: Support exchanges between
scientists, artists and designers across the world, connecting them with
various local communities in developing countries  (for example a network for graduate students visiting developing
countries to teach short workshops or 
help local researchers in developing countries. Supporting open source
hardware, open data, and open access platforms and approaches.

Suggested Action:

The open source model supports
interdisciplinary cooperation across disciplines, but also continents and it
creates an alternative network of knowledge transfer, which benefits various
communities.  We need to bridge the
divide in science equipment and access to scientific publications and knowledge
and to enable cooperation by supporting exchanges but also work on open source
hardware tools and open access.  We
see research in developing countries as more embedded in the local communities
and more engaged with the needs of concrete people rather than large scale
stakeholders and actors. In this respect the agenda behind the research in
developing countries in similar to citizen labs in any other country and there
is a natural synergy. Support a network of science graduates and amateur
scientists, who travel, share, and exchange knowledge with their peers and
science enthusiasts in universities and labs across developing countries.  Support science and art ambassadors who
use low tech solutions and citizen science kits to build ad hoc lab techniques
and equipment in order to teach and share science protocols with various
communities around the world. By connecting communities and labs, oral and
indigenous knowledge with scientific know-how, we hope to achieve a disruptive
knowledge transfer between various cultures and create infrastructure for a
truly global research efforts, which will tackle various issues more creatively
but also efficiently. [DK]

The Cross-Disciplinary Challenges Of
Visualizing Data

Isabel Meirelles [IM]

1) Establishing channels of cross-domain
communication

The suggestion and ambition of creating a
common platform for knowledge exchange is aimed at a diverse data visualization
community, including data producers, data designers, graphic designers,
computer scientists, analysts, illustrators, etc.

Most of us use visual methods and tools to
synthesize information and data. We do that to analyze and reason about our
questions and subjects, to discover patterns, to understand structural
features, and to communicate ideas and results effectively, etc. However,
current methods for data visualization and information design are dispersed and
rarely subject to cross-disciplinary knowledge exchange. Individually, all
disciplines involved in data visualization advances the research and practice of
visualizing data by devising new visual methods, new algorithms, and new design
features, etc. Individual research communities share their best practices in
domain specific conferences, meetings and journals. Researchers only join other
parties out of sheer curiosity or by coincident, and their knowledge rarely
overlaps without self-motivated pursuit and communication. For data
visualization to advance as a distinct research field we need more immediate
interaction and direct knowledge sharing. A common platform for knowledge
exchange and sharing of best practices would provide that. Such a platform
would not only strengthen research interaction, tool development, and design
ideas for data visualization, but also provide valuable knowledge of design initiatives
and methods that failed to perform as expected.

           
To encourage cross-domain and interdisciplinary exchange we suggest
creating platforms including cross-disciplinary meetings, research conferences
and workshops, and online open repositories for sharing knowledge of ongoing
and concluded research projects, published papers, current tools and method
databases, call for papers, etc. allowing documentation, storage, search,
evaluation and retrieval of research and knowledge related to data visualization
and information design. It will be advantageous if strategies, methods and
tools created in a particular field are accessible to other domains. We are a
growing community of practitioners in the field of data visualization. Having a
common ground and means to share experiences can help advance the field, and
further encourage interdisciplinary cooperation and collaboration. [IM]

The Cross-Disciplinary Challenges Of
Visualizing Data

Isabel Meirelles [IM]

2) Developing an interdisciplinary common ground

The suggestion of creating a necessary
interdisciplinary common ground encourages and emphasizes the desire and need
of a common visualization ground at university level. This common ground for
discussion and collaboration is aimed at members of the diverse data
visualization community in academia.

Currently, few strategies defending or
describing a common ground in data visualization and information design exist.
New developments of tools and methods tend to be subject to casual and
individual demands, subjective design ideas, visual consensus in the particular
field, and lack of visual training for the information designer or data
analyst. As pointed out in the previous section, the education of young
researchers is also constrained to domain specific techniques and students are
rarely exposed to or encouraged to use visual analysis methods from other
fields. The curriculum, and hence the education of students working with any
kind of data visualization, tend to be narrow in focus, leaving any use of
untried ways or reasoning up to the individual student. There are several
initiatives that promote numerical literacy across all ages and gender: from
incentives toward strong mathematical and scientific foundation in K-12
education, to encouraging women to embrace STEM education. But there is hardly
any initiative that universally addresses the need for spatial and visual
thinking along with analytical and numerical reasoning. The challenges posed by
big data and the burgeoning practice of data visualization require us to
rethink educating of the next generation of data visualizers at university
level.

           
With the objective of bridging engineering and design aspects of data
visualization, and thereby advance educational settings and curricula, we suggest
forming taskforces to trace and outline a common pedagogical approach
incorporating visual and analytical, statistical and computational core values
and techniques. A proposed common ground and educational basis would include
the analytical and data oriented models and methods from computer science,
allowing a common language for structure and complexity of visualization
systems. From the arts and design, we would suggest  including the perceptual and human centered methods and
strategies, allowing for a discussion of form, perspective, and usability. We
believe that the basics of these two areas of enquiries and two ways of
reasoning can be brought together, enriching the way we communicate in
collaborative groups as well as adding skills that can benefit the way we work
in either one of these groups. The effort will encourage disciplines to adopt
curricula that are domain specific while attending to interdisciplinary
pedagogical needs. [IM]

The Cross-Disciplinary Challenges Of
Visualizing Data

Isabel Meirelles [IM]

2) Developing an interdisciplinary common
ground

The suggestion of creating a necessary
interdisciplinary common ground encourages and emphasizes the desire and need
of a common visualization ground at university level. This common ground for
discussion and collaboration is aimed at members of the diverse data
visualization community in academia.

Currently, few strategies defending or
describing a common ground in data visualization and information design exist.
New developments of tools and methods tend to be subject to casual and
individual demands, subjective design ideas, visual consensus in the particular
field, and lack of visual training for the information designer or data
analyst. As pointed out in the previous section, the education of young
researchers is also constrained to domain specific techniques and students are
rarely exposed to or encouraged to use visual analysis methods from other
fields. The curriculum, and hence the education of students working with any
kind of data visualization, tend to be narrow in focus, leaving any use of
untried ways or reasoning up to the individual student. There are several
initiatives that promote numerical literacy across all ages and gender: from
incentives toward strong mathematical and scientific foundation in K-12
education, to encouraging women to embrace STEM education. But there is hardly
any initiative that universally addresses the need for spatial and visual
thinking along with analytical and numerical reasoning. The challenges posed by
big data and the burgeoning practice of data visualization require us to
rethink educating of the next generation of data visualizers at university
level.

           
With the objective of bridging engineering and design aspects of data
visualization, and thereby advance educational settings and curricula, we
suggest forming taskforces to trace and outline a common pedagogical approach
incorporating visual and analytical, statistical and computational core values
and techniques. A proposed common ground and educational basis would include
the analytical and data oriented models and methods from computer science,
allowing a common language for structure and complexity of visualization
systems. From the arts and design, we would suggest  including the perceptual and human centered methods and
strategies, allowing for a discussion of form, perspective, and usability. We
believe that the basics of these two areas of enquiries and two ways of
reasoning can be brought together, enriching the way we communicate in
collaborative groups as well as adding skills that can benefit the way we work
in either one of these groups. The effort will encourage disciplines to adopt
curricula that are domain specific while attending to interdisciplinary
pedagogical needs. [IM]

Building An Interdisciplinary Research Team

Sile O'Modhrain [SO]

1) Hiring

Suggested action ”" Look for deep skills in
an area of expertise that is required, but broad interests that reflect the
nature of the work to be carried out. [SO]

Building An Interdisciplinary Research Team

Sile O'Modhrain [SO]

1) Hiring

Suggested action ”" Look for deep skills in
an area of expertise that is required, but broad interests that reflect the
nature of the work to be carried out. [SO]

Building An Interdisciplinary Research Team

Sile O'Modhrain [SO]

3) Advising Interdisciplinary Researchers

Suggestion ”" To evolve, with each team
member, a path or plan for their development as an interdisciplinary
researcher.  Discuss with
researchers the challenges involved with pursuing interdisciplinary work so
that they can make informed choices about how and where to publish and how to
approach applying for jobs and gaining tenure.

To encourage senior faculty members who are
involved in hiring and promotion committees for interdisciplinary researchers
to be informed about work that represents best practice of integrating
knowledge from other disciplines. [SO]

The Nanoart 21 Project

Cris Orfescu

[CO]

1) Capital Campaign:

1. 
Establish financial goals of capital campaign and possible budget (A)

2. 
Establish fundraising plans (ie: who to contact and when, fundraisers to
hold, etc) (A)

3. Possible fundraising possibilities to
pursue:

 
a. Local and Federal Governments (A)

 b. Similar NPO's (A)

 
c. Universities and other academic institutions.  (A)

 d. Shareholders (A, B)

 
e. General Public (A,C)

 f. Commercial businesses, corporations, etc (A, E)

4. 
Brainstorm further / alternative sources of funds (A).

A. Board Members

B. Shareholders

C. General Public

D. External Academic institutions, groups,
universities, etc

E. External Commercial businesses,
corporations, etc.

F. 
Partner / Similar NPO's

G. Artists

H. Scientists

[CO]

The Nanoart 21 Project

Cris Orfescu

[CO]

2) Content:

1. 
Establish bylaws of NanoArt 21 (A)

2. 
Determine board members [ie: Director, President, Vice President,
Treasurer, Secretary, etc.]

 and their respective roles. (A)

3. 
Identify long and short term goals for NanoArt 21 (A, B)

4. 
Determine physical needs [ie: materials, building, studio space, etc]

 (A)

A. Board Members

B. Shareholders

C. General Public

D. External Academic institutions, groups,
universities, etc

E. External Commercial businesses,
corporations, etc.

F. 
Partner / Similar NPO's

G. Artists

H. Scientists

[CO]

The Nanoart 21 Project

Cris Orfescu

[CO]

5) Space / Equipment / Materials /
Supplies:

1. Build studio and exhibition space (A ”"
H)

2. Secure scientific equipment and contact
universities, corporations or the general public for physical donations.  (A, C, E, F)

           
3. Secure traditional art supplies [ie:  paint, paper, markers, pastels, etc]

 and contact universities, corporations or the general public
for physical donations.  (A, C, E,
F)

A. Board Members

B. Shareholders

C. General Public

D. External Academic institutions, groups,
universities, etc

E. External Commercial businesses,
corporations, etc.

F. 
Partner / Similar NPO's

G. Artists

H. Scientists

[CO]

Sarc (Scientists/Artists Research
Collaborations)

Jack Ox [JO]

1) There are numerous obstacles, but also
many yet untapped opportunities inherent to SEAD efforts. Some are general to
almost all involvements, while some are specific to the many variations of SEAD
collaborations, whether led by universities, corporations, government agencies,
foundations, research institutions or individuals. For instance, adequate and
appropriate funding or financing is a general problem, while issues such as
security restrictions are specific to SARC and its collaborations with the
National Laboratories (LANL/Sandia).

Addressing the issues, obstacles,
difficulties, opportunities and suggested actions requires detailed assessment,
specific to each potential players and sector (SEAD / SARC / artists and
designers / scientists and engineers / research institutions / companies /
educational institutions / funders and underwriters / communities and society /
and other partners and participants). ArtSciLab/SARC's efforts are informed by
years of lessons learned, best-practice

experiences, humane insights and creative
responses to the obstacles and opportunities of the moment.

Ultimately, it is experience and intent to
achieve highest quality, intelligent, creative and

mutually benefiting outcomes of the process
and the work that will make a necessary difference.

SARC intentions, experience and fundamental
understandings include requirements for:

” Personal rapport and mutual respect among
potential collaborators.

” Creative open-mindedness, with
complementary skills and understandings.

” Valuation of processes and outcomes with
benefits for SEAD partners and for society.

” Ability to undertake necessary long-term,
collaborative, cross-disciplinary R&D.

” Innovative funding and investment
strategies with: .gov, .mil, .com, .edu, .org and .art.

” Artful example-setting in all aspects of
SEAD programs. [JO]

The coming of age of a PhD program in
digital and experimental arts practice: lessons learned and challenges for the
future

Juan Pampin [JP]

1) Roadblock: no access to funding for
DXARTS faculty, PhD students and post docs to work in science and engineering
labs.

Opportunity: there has been a lot of
abstract talk about how important it is for STEM researchers to interact with
artists (the famous A missing in STEM), but for the most part there is a huge
misconception of what the role of the artist should be in this exchange. In our
experience most of the times science and engineering PIs consider artists as
content providers or illustrators of their research rather than peer
researchers with a different research methodology which could provide a
radically different vantage point to their own work. Therefore its very hard
for our faculty to become grant co-PIs for NSF grants or for our graduate
students and postdocs to have access to science and engineering labs. Fixing
this funding gap could be a major turning point and have a strong impact for
interdisciplinary research.

Proposed Action: National funding
organizations such as NSF should consider creating special incentives for PIs
to include artists as co-PIs in their grant proposals. Perhaps a new Artist in
the Lab funding program should be created to address this issue. Universities
should also consider having internal funding sources for interdisciplinary
projects that could allow DXARTS graduate students and postdocs to have access
to science and engineering labs. DXARTS has already created an important
network of connections with science and engineering labs at the UW to secure
access for its PhD students, but for the most part access is restricted and
depends on the goodwill of the lab directors or PIs. Having university policy
in place that would encourage this kind of access or even fund it, could help
make these connections official and access to labs more universal for our
students.

Stakeholders: NSF and other national
agencies founding science and engineering research, university deans and
provost. [JP]

The coming of age of a PhD program in
digital and experimental arts practice: lessons learned and challenges for the
future

Juan Pampin [JP]

2) Roadblock: no access to funding for science
and engineering faculty, PhD students and postdocs to work in DXARTS.

Opportunity: this presents the flip side of
roadblock #1. We consider science and engineering research an essential part of
what our center does and while our faculty and graduate students are polymaths,
their artistic research methodology differs from the scientific method needed
to foster new discoveries in technical areas which are crucial to advance the
field of media arts. While DXARTS has enough funding to support its own faculty
and graduate students our current budget wouldn't allow us to pay salaries for
science and engineering faculty, graduate students and postdocs. Having access
to funding for hybrid positions could be a major turning point for DXARTS and
have a strong impact on interdisciplinary research at the university.

Proposed Action: National funding
organizations such as NSF should consider creating special funding programs for
scientists and engineers to work in art research centers as DXARTS. A Science
in the Studio funding program could address this issue providing funding for
release time for faculty to join art research centers at least part time and
for graduate students and postdocs to have their research hosted in these
centers. To mitigate this issue DXARTS has recently created a postdoc position
for a computer scientist to work on machine vision in collaboration with our
faculty and staff. While this model could certainly lead to some interesting
results, it presents multiple challenges including mentoring and supervision
for our computer science postdoc, as well as an uncertain career path for him,
as usually postdocs in science and engineering are expected to host their
publications and grants in research labs within their disciplines rather than
in art units as DXARTS.  One
possible way to mitigate this problem would be to have our postdocs be
co-hosted by DXARTS and a lab at the CSE department, allowing him to have
access to CSE faculty supervision and potentially catalyzing collaborative
projects between our labs. Realistically, it is hard to imagine creating this
kind of hybrid positions with the current university structure which is highly
compartmentalized, in particular between colleges (Arts & Sciences,
Engineering, etc.).

Stakeholders: NSF and other national
agencies founding science and engineering research, university deans, provost
and president. [JP]

The coming of age of a PhD program in
digital and experimental arts practice: lessons learned and challenges for the
future

Juan Pampin [JP]

4) Roadblock: funding organizations like
NSF are highly compartmentalized into small narrow programs making it quite
hard or even impossible to submit applications for interdisciplinary projects.

Opportunity: this roadblock it somewhat
similar to the previous one (#3) except that it targets national funding
organizations instead of the university. Organizations like NSF have distinct
divisions, each of them with its own fairly narrowly targeted funding programs
representing the division's goals. The panel review structure within NSF
divisions discourages widely interdisciplinary proposals, as the panels that
are formed to review the proposals only look at proposals within the narrow
discipline of the division. As a result of this narrow structure, researchers
don't even bother writing interdisciplinary proposals for NSF until there is
agency acknowledgment of the value of interdisciplinary research, and
well-established ways of submitting and evaluating interdisciplinary proposals.
DXARTS tenure review process might serve as an abstract model for evaluation of
broadly interdisciplinary proposals at an agency like NSF. Creating ad-hoc
panels for evaluation of interdisciplinary proposals could not only help fund
SEAD projects but also change the silo culture of the organization which
seriously affects interdisciplinarity in all fields of research.

Proposed Action: national funding
organizations like NSF should create special programs for interdisciplinary
research with ad-hoc evaluation panels from across divisions of the agency and
with external experts with experience in interdisciplinarity. It should be
noted that other countries already have this kind of model in place, for
instance the FQRSC from Quebec, Canada, puts together panels with international
experts from different disciplines to evaluate interdisciplinary applications
to their founding programs in arts, science and technology.

Stakeholders: NSF and other national
funding organizations.

The coming of age of a PhD program in
digital and experimental arts practice: lessons learned and challenges for the
future

Juan Pampin [JP]

4) Roadblock: internal funding at the
university level for research in the arts is very limited and insufficient.

Opportunity:  the Royalty Research Fund grants (RRF) are currently the
only source of internal research funds for faculty at the UW. While this
program can be quite helpful for junior faculty to develop their first large
research projects, access to these grants is very limited (all the arts compete
for a small number of grants) and is usually reduced to a once in a lifetime
opportunity. Creating new funding opportunities with emphasis in
interdisciplinary projects could be a great catalyzer for new ways of doing
collaborative research and help tearing down current silo structures at the
university.

Proposed Action: the university should
create more internal funding mechanisms for interdisciplinary projects. These
funds could come from a shared pool of money created between the different
colleges or academic units. Again, DXARTS could be a great success story for
this kind of model in the arts, as it was created by a University Initiatives
Fund grant (UIF). This grant ”"which only existed for a few years”" was created
by taxing academic units 1% of their budgets to create a large pool of money
for new initiatives. DXARTS, the Center for Nanotechnology and a few other
young research centers were created with UIF funds.

Stakeholders: university chairs, deans,
provost and president. [JP]

The coming of age of a PhD program in digital
and experimental arts practice: lessons learned and challenges for the future

Juan Pampin [JP]

5) Roadblock: permanent space is not
available for new SEAD units.

Opportunity:  when DXARTS was created a very limited amount of on campus
space was assigned to it. It was soon clear for us that for the program to
succeed we needed a large space where we could host our research and
fabrication labs so we decided to rent a warehouse off campus. This unit ”"called
the Fremont Fab Lab”" became the core of our PhD program and we couldn't
function without it, but the cost of renting and keeping the the place running
represents a huge toll on our operations budget (a cost that larger academic
units don't have to pay as they have their own buildings). The university could
benefit from having a facility like our Fab Lab on campus, as many more
students from other art units would have access to them and the reduced yearly
expenses could go to fund research projects rather than paying rent.

Proposed Action: the university should
consider moving facilities like the Fremont Fab Lab to permanent spaces on
campus. Capital campaigns for the development of new buildings on campus should
include square footage for spaces like this.

Stakeholders: university deans, provost and
president. [JP]

The coming of age of a PhD program in
digital and experimental arts practice: lessons learned and challenges for the
future

Juan Pampin [JP]

6) Roadblock: new funding models at the
university favor teaching and not research, putting at risk the sustainability
of small research centers as DXARTS.

Opportunity: in the midst of the latest
economic crisis the UW decided to change the way they fund departments. The new
funding model ”"called Activity Based Budgets (ABB)”" favors units teaching more
students and promotes quantitative rather than qualitative results. Attaching
funding to tuition income can be a very dangerous model for research
universities, it can generate distorted utilitarian perspectives of small media
arts centers like DXARTS as being expensive for the school and not efficient at
generating revenue. DXARTS operates on a radically different wavelength, based
on a model of education that favors excellence, in which research is the main
catalyzer for discovery. Having small, dynamic and path blazing research units
like DXARTS should be considered an asset by the administrators, as they are
the units that can propel change and attract better students to the university.

Proposed Action: gradually leave austerity
funding models behind as the economy recovers rather than keeping them forever.
Secure funding for small research units and promote their role of academic game
changers.

Stakeholders: university deans, provost and
president. [JP]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

1) That National Academies, Administrators
at Educational Institutions, and Funders prioritize support for Art/Science
centers like OpenLab, as interest and demand by faculty and students across
campus is increasing and shows enormous potential both for new discoveries and
significantly improved public outreach. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

 2) That Universities provide larger permanent spaces on
campus to foster STEAM learning opportunities through project-based initiatives
that are developed and supported. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

3) That Universities and Funders support
creation of Art and Science Studio Research Associate positions to manage
facilities and support STEAM research projects. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

4) That Universities and Funders support
increased administrative and outreach support for art/science collaborations to
manage the demand for participation and public engagement. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

5) That these same groups develop
professional ways to support cross-disciplinary research, which is currently
verbally encouraged but not supported; faculty and graduate students can be
penalized if they step too far out of their research foci.  This needs to reworked to support
research that includes hybrid practices, co-teaching, and opportunities for
migrating and sharing resources with arts and sciences majors that are
inclusive, to create meaningful intersections between all the other disciplines
on campus. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

6) That Funders prioritize grants for STEAM
case studies to better understand, define, and assess the collaborations of
artists and scientists, and that permit arts-based researchers to be PI's
alongside their science counterparts. [JP2]

The Openlab Network Facilitates Innovative,
Creative And Collaborative Research With Art, Community, Design, Technology,
And Science At The University Of California Santa Cruz

Jennifer Parker [JP2]

7) That Artists, Scientists, Designers,
Scholars, Engineers, and their Professional Associations, as well as Universities,
Industry, and Funders develop guidelines to value and prioritize collaborative
research as crucial to future innovations. [JP2]

FRAGMENTS /EXAMPLES ON SCIENCE / ART /
COLLABORATIONS AND THE LOCAL / SOCIAL / PERSONAL CONTEXT

Miklos Paternak [MP]

1) Semantic Proposal

Renewal of existing structures and
classification: the structure and scientific classification of the academy goes
back worldwide mainly to the XVII-XIX centuries, with some artistic roots. Due
to the swift development and proliferation of scientific disciplines the
scientific component of these bodies became ever stronger, while art almost
disappeared. There were several attempts to (re)integrate art into these
societies, but without success. Either it was only symbolic or, as recently in
Hungary, it led to a creation of a certain "Art Academy" as a representational
body ”" with no discernible sense. Academies should revise their existing
division systems overall, and create a new division, not for art in general,
but specifically for experimental art and artistic research. [MP]

FRAGMENTS /EXAMPLES ON SCIENCE / ART /
COLLABORATIONS AND THE LOCAL / SOCIAL / PERSONAL CONTEXT

Miklos Paternak [MP]

2) Funding

Applied scientific research can turn to any
number of sophisticated funding bodies and resources. Artistic research has no
established and publicly accessible funding structures. In recent decades
several universities have established doctoral schools in the arts offering the
PhD/DLA degree. The experiences and effects of these schools could probably
provide guidance regarding why and how to create permanent funding for
experimental art and artistic research. [MP]

FRAGMENTS /EXAMPLES ON SCIENCE / ART /
COLLABORATIONS AND THE LOCAL / SOCIAL / PERSONAL CONTEXT

Miklos Paternak [MP]

3) Institutions

The first half of the 1990s was a time of
new media institutions, with several innovative types of interdisciplinary
media center established worldwide. During the last ten years these
institutions, using diverse survival strategies, have transformed themselves
either towards sizable "industries" of festival- and exhibition-making, or
became small-scale NGOs and sometimes disappeared from lack of resources. In
any case the innovative, creative character of the initial period was lost or
survives only at the applied, profit-oriented level. All the same, contemporary
technical developments in all fields allow for a certain reestablishment of
such centers, most effectively as a joint institute of universities or other
institutions of higher education. [MP]

FRAGMENTS /EXAMPLES ON SCIENCE / ART /
COLLABORATIONS AND THE LOCAL / SOCIAL / PERSONAL CONTEXT

Miklos Paternak [MP]

5) Survey

International, comparative,
transdisciplinary research is called for, to explore the production and results
of experimental art practices over the last 100 years, as well as the rapid and
radical changes in technology from the invention of the first technical image —
photography — and the first telecommunications tool, the telegraph. [MP]

Fueling the Innovation Economy: Increasing
K-12 Student STEM Engagement, Learning, and Career Interest through Integrating
Mandated Content with the Arts and Creative Thinking Skills

Lucinda Presley [LP]

3) Suggested Action #3: Research

Stakeholders: Federal and state agencies, private
funders

The Need: There is a great lack of quality
research documenting the impact of arts and innovation thinking skills on
science and math engagement, learning, and pipeline attitudes. There are
proof-of-concepts models that need to be explored, scaled, and evaluated to
determine effectiveness.

Opportunity:

Suggested Actions:  Provide funding to comprehensively
evaluate proof-of-concept and best practices models to determine the most
effective arts/science strategies that promote innovation thinking, in addition
to STEM engagement and learning. There should be additional funding for further
development of assessments of these skills within the mandated testing cycles.
[LP]

Fueling the Innovation Economy: Increasing
K-12 Student STEM Engagement, Learning, and Career Interest through Integrating
Mandated Content with the Arts and Creative Thinking Skills

Lucinda Presley [LP]

4) Suggested Action #4: Funding for
Innovation Thinking in K-12

Stakeholders: Governmental and private
funders

The Need: Innovation thinking skills in the
US are on the decline, affecting business and the US economy. There are funding
opportunities for innovative approaches, but there is a need for funding that
directly addresses delivering innovation thinking skills within the public K-12
mandated curriculum.

The Opportunity: Become the driver behind
the innovation thinking surge in K-12 education.

Suggested Actions:  Work individually and in partnerships
to provide funding and incentives to increase innovation thinking skills in
K-12 students. This includes funding for: curriculum development and
evaluation, program development that partners formal and informal education,
business, and higher education, and strong assessments. [LP]

The Importance Of Early And Persistent Arts
And Crafts Education For Future Scientists And Engineers

Robert Root-Bernstein [RR]

14) Further research is necessary to
establish that the hands-on practice of arts and crafts improves STEM education
outcomes such as improved standardized test scores, graduation rates,
enrollment in STEM majors in college, etc.

The National Science Foundation and the
National Endowment for the Arts, as well as private philanthropic foundations,
should be encouraged to fund such research. [RR]

The Importance Of Early And Persistent Arts
And Crafts Education For Future Scientists And Engineers

Robert Root-Bernstein [RR]

15) Further research is necessary to
establish that the value of arts and crafts for STEM education resides in the
development and exercise of tools for thinking that encompass observing,
imaging, abstracting, patterning, analogizing, empathizing, modeling, playing,
dimensional thinking, etc. (Root-Bernstein & Root-Bernstein, 1999).

While some studies exist in some STEM
subjects for select age groups for each of these thinking tools, the generality
of the findings has not been established across all STEM subjects or age
groups, nor has the impact of training in more than one thinking tool at a time
been investigated. Once again, the National Science Foundation and the National
Endowment for the Arts, as well as private philanthropic foundations, should be
encouraged to fund such research. [RR]

Humanities Education in Karnataka

Sundar Sarukkai [SS]

1) - Specificcore courses to be introduced
are as follows: Expository Writing Course (first year), Intensive Writing
Course (second year), Moral Reasoning, Quantitative Reasoning, Subject
specialties in third and fourth years, Focus on interdisciplinary courses,
Languages, Cultures (and diversity), Indian Heritage, Gender. For the Arts
students, it is important to have general courses in physical and life
sciences, one common course on philosophy, one on methodology of the sciences
and so on.

- Create State funding agencies to
specifically support teaching and research in humanities and social sciences.

- Insist on continuing education for
teachers such as high quality teacher training programmes for -teachers in BA
in partnership with research institutions.

- Have one academic staff college in each
university.

- Make teacher training compulsory before
teachers can begin teaching.

- Require that all university teachers must
have a PhD degree.

- Have government scholarships for those
who want to study BA. Incidentally, science students get a variety of
scholarship to study sciences. These scholarships are given both by the centre
as well as state agencies. Good students are encouraged to take up science.
Ironically, the scholarship to science students to do BSc is sometimes more
than the PhD scholarship for social sciences and humanities! This imbalance
should be rectified.

Humanities Education in Karnataka

Sundar Sarukkai [SS]

2) - Teacher amenities should be
independent of the courses they teach ”" whether it is a costly course or not
should not be the criterion for teacher amenities.

- Have a teacher to student ratio on par
with other courses like management.

- Review the contract system for teachers.
There have been strong complaints from the teachers about this system.

- To enable research, generate mechanisms
for better support for research projects.

- To have better teaching methods, create
an audio visual research centre (AVRC) in each university. This will also
create new education technologies.

- As part of a thorough exam reform, remove
emphasis on essay questions; have continuous evaluation; make project work
mandatory.

- All colleges should uniformly offer a
major and minor combination.

- Course structures should be revamped. A
degree could be in specific themes such as discussed in section III above.

- Have a concentrated effort at integrating
intellectual traditions from India as part of these disciplines.

- Soft skills to be made mandatory for all
BA students.

- Create avenues that will associate
teachers in colleges with a research programme in institutions around the
state. This will inculcate a research culture along with teaching in colleges.

- Initiate intern programmes for bright
students to spend summers at research institutes in social sciences and
humanities.

- Establish formal networks with such
research organizations from around the country to facilitate the exchange of
students and faculty.

- Have programmes which will take well
known social scientists and philosophers to give lectures and spend time in
various colleges in Karnataka. Choose one or two respected institutions and
support them to administer these programmes.

Humanities Education in Karnataka

Sundar Sarukkai [SS]

3) - Take a lead in establishing
interdisciplinary courses such as Religion and Ethics, Gender studies, Folk
Arts, Social Justice, Culture and Diversity, Science and Development,
Globalization and so on.

- Develop a formal research programme in
the colleges for teachers. Networks with other institutions to facilitate this
must be established with the help of the administration.

- Arrange for visits by speakers,
organizing seminars on their own research interests and other such academic
extracurricular activities.

- Incorporate public service into the
curriculum so as to inculcate spirit of citizenship among the youth in a
secular environment.

CORE CONCEPTS: A MODEL CURRICULUM FOR
COLLABORATIVE CREATIVE RESEARCH IN ART, DESIGN, ENGINEERING, AND SCIENCE

Meredith Tromble [MT]

1) We suggest that a consortium of
universities and art schools sponsor a year-long collaborative research project
joining researchers knowledgeable in the "science of science" with scholars of
art, science, and technology, and information designers, to undertake the
scholarly and visual mapping of the themes and paradigms of collaborative art, science,
and technology work over the past twenty years. (cf the "Map of Scientific
Paradigms," Kevin W. Boyack and Richard Klavans, SciTech Strategies, Inc., from
the "Atlas of Science," Visualizing What We Know, Katy Borner, MIT Press,
2010). [MT]

CORE CONCEPTS: A MODEL CURRICULUM FOR
COLLABORATIVE CREATIVE RESEARCH IN ART, DESIGN, ENGINEERING, AND SCIENCE

Meredith Tromble [MT]

2) We suggest that the consortium present
the resulting research and visual map professionally, targeting a
cross-disciplinary academic audience by supporting the presentation of papers
at the widest possible array of conferences, with the goal of reaching
professional meetings in all four areas of creative research (art, design,
engineering, and science). [MT]

CORE CONCEPTS: A MODEL CURRICULUM FOR
COLLABORATIVE CREATIVE RESEARCH IN ART, DESIGN, ENGINEERING, AND SCIENCE

Meredith Tromble [MT]

3) We suggest that the consortium present
the resulting research and visual map publicly, targeting widely-read science
and art publications and sophisticated general interest publications with
images and analysis written for an informed general public. [MT]

CORE CONCEPTS: A MODEL CURRICULUM FOR
COLLABORATIVE CREATIVE RESEARCH IN ART, DESIGN, ENGINEERING, AND SCIENCE

Meredith Tromble [MT]

4) We suggest that a cross-disciplinary
symposium, co-sponsored by institutions recognized to be leaders in each of the
four areas of creative research, be organized with sessions patterned on the
content guidelines set out in this paper. The proposed symposium is envisioned
not as business-as-usual, but as a meeting with a degree of "art" (surprises
and challenges) in the form of the meeting. In critical theory terms, the
meeting would be conceptualized as a "text" synthesizing research that is also
in and of itself, a form of creative work and not simply a "report" on work
that has already taken place. The overt goal of of the meeting would be to test
and develop the guidelines and address the field mapping research; while the
subtext would be to create meaningful, exploratory cross-disciplinary
encounters. [MT]

Chaos, computers, and cyborgs. Developing
the art & technology practices in Taiwan

Yu-Chuan Tseng [YT]

1) There is now a third generation of
Taiwan artists working with digital media. They are becoming increasingly
sophisticated as well as diverse in their approach to Art & Technology
practices. However, if the energy and innovation of Taiwan's media art
practitioners is to be sustained, a consolidated cultural policy at government
level needs to be developed and implemented. The current policy ecology of the
art industry in Taiwan is not sufficient to support the digital arts move into
the mainstream of contemporary culture. It is a chaotic environment with
occasional outbursts of energy and big project outcomes visible to the public
at various museums and venues.

Even though there are grants from different
government departments and private foundations digital art is not consistently
supported and the digital arts sector is not seen to be operating as an
industry that should attract greater investment for further development. As of
2009 the Taiwanese government is focusing on the Cultural and Creative
Industries as an area of economic development, with most of the investment
going into manufacturing and design, and cultural recreation and tourism.

In the preface of the 'Transjourney, Future
Media Festival' exhibition catalogue, the ministers from the Ministry of
Education, Council for Cultural Affairs and National Science Council jointly
state that the development of the Taiwanese Culture and Creative Industry is of
a primary policy agenda. The integration of Art and Technology is seen as one
of the drivers that can elevate Taiwan's economic development.

Museums do not proactively commission,
exhibit, collect and provide public forums that encourage the appreciation and
display of Taiwanese digital art. Most of the influential Taiwanese Fine Art
curators overseeing museum programs maintain a skeptical view of digital art.
Museums rarely engage expert curators who have the depth and breath of
knowledge required to develop critical exhibitions and thematic discourse on a
diverse range of new media art topics, and who can develop education programs
for different sections of the public. There is also no sufficient curatorial
understanding of the technological aspects concerning the installation and
presentation of digital art. Media art exhibitions remain more as one-off
showcase events than an on-going commitment on behalf of the Museum industry to
introduce digital art to the public. At the tertiary level, increasingly
digital art is becoming intertwined with design, which impoverishes the art
industry as pure research and pure art-practice become subservient to
commercial outcomes.

For the Taiwanese digital arts to become
established as a legitimate contributor to contemporary culture the above, and
other, issues are to be addressed through peer review, policy development, and
the establishment of cohesive linkages between artists, academic institutions,
research centres, private galleries, museums and civil services. These local
challenges are not dissimilar to other parts of the world where this field of
art practice is developing. [YT]

Process Driven Potentials For
Interdisciplinary Learning: Ubeats, A Model For Science And Music Learning

Cynthia L. Wagoner [CW]

4) Challenge Four: Research on multi-modal
inquiry-based learning is limited. (Stakeholders: University Researchers,
Educational Researchers, Foundations and Government Agencies)

Suggested Broad Action: Foundations and
Government Agencies need to invest in research to inform the ways in which
creativity and cognitive flexibility can be defined and investigated through
multimodal inquiry-based curriculum in real time with children in a classroom.  Financial support for research speaking
to long-range effects of interdisciplinary instruction and collaborative
teaching is needed.  We need brain
research and educational research to collaborate on how to promote effective
educational reform for the sciences and arts.  In-service connections must be forged to research, and
shared with practitioners and political stakeholders in challenges two and
four. [CW]

Process Driven Potentials For
Interdisciplinary Learning: Ubeats, A Model For Science And Music Learning

Cynthia L. Wagoner [CW]

5) Challenge Five: Political stalemates and
punitive measures that tie educational funding to testing limit the ways in
which needed reform measures can take place. (Stakeholders: Researchers across
interested parties, Government and Educational Foundation/Agencies).

Suggested Action: Create a collaborative
forum to allow collaboration of researchers in brain science, SEAD, STEM, and
other educational outlets to share ideas and create a lobbying unit for
educational change.  This is tied
directly back to the first three challenges.  We have to address all these areas from every level at the
same time to find the tipping point for change. [CW]

A Study Of Art/ Science Collaboration In
China And Hong Kong

Annie Wan [AW]

1) Support collaborations among scientists,
artists, designers and also experts from the industries. More and more art/
science and media arts labs were established in recent 5 to 10 years, they are
mostly linked with famous and traditional universities such as Tsinghua
University and Beijing University in China. These labs focus on technologies
such as augmented reality, high-end 3D animation, wearable technologies, etc.
However, projects and artworks they developed are mainly based on technologies
invented by western countries/ adopted by many artists before. As a 'world
factory', China has a lot of industries, ranged from heavy industry to
nanomaterial manufacturing. Artist Feng Mengbo's Eye Chart is a great example
of this kind. He collaborated with Founder Electronics Co., Ltd. and created 2
new chinese fonts. As a consequence, universities are encouraged to work with
industries and work as inventors of new technologies.  [AW]

A Study Of Art/ Science Collaboration In
China And Hong Kong

Annie Wan [AW]

2) Allocating resources not only researches
on technological development but also contextual and cultural development of
technologies anticipated. Most of the labs focus on usage of new media
technologies and development of courses that offer training on animations,
virtual reality, such as Department of Digital Art and Design in Beijing
University. While most of the arts/ science labs are developing new media
projects, no other organizations is investigating cultural impacts of their
projects and its contextual background. Hence, data, either quantitative or
qualitative of these arts/ science projects should be analyzed. These
researches may focus on issues of their cultural impacts, such as how these
technologies affects modes of living especially in Chinese societies, etc. [AW]

A Study Of Art/ Science Collaboration In
China And Hong Kong

Annie Wan [AW]

3) Work with the government funded
organizations and other universities. China Art Science and Technology
Institute (CASTI) is a government funded organization and it is a hub for arts/
science technological researches. Universities in China organize conferences,
exhibitions and invite international artists all over the world since 1990s.
But they barely work among universities or collaborate with government organizations.
Universities should work with the government organizations, such as CASTI as
well as other universities. Work/ interested areas of some labs in universities
are overlapped, they concern about technological usages on art. Collaboration
among these labs will eventually create true transdisciplinary studies of arts,
design, humanities and sciences, enhance diversity in research and education.
[AW]

Learning across Cultures

Roy Williams [RW]

2) Action 2:  Theoretical Frameworks for SEAD Curricula

Barrier:  SEAD curricula, by definition, do not operate within
disciplinary boundaries, which means they often lack the academic recognition
and intellectual legitimacy of individual disciplines, built up over the years.

Target: Researchers, teachers, policy
makers.

Solution:  Identify, develop and disseminate relevant theoretical
frameworks

Suggested Actions: There are many types of
SEAD curricula, which possibly draw on as many types of theoretical frameworks
for their design and practice.

These need to developed, made more
explicit, and applied and disseminated to underpin the recognition and
legitimacy of SEAD curricula, as well as to inform better design, practice and
evaluation.

” The theory of emergence, is one such
framework.  It has arisen out of
the specific need to understand current developments in in emergent learning,
and to inform design for emergence in practice.  It is based on an established body of research in Complex
Adaptive Systems Theory (CAST), which already informs practice and research on
Communities of Practice, connectivism, and networked learning.  (5, 6). 

” The theory of affordances is related
framework.  It has arisen out of
the work on perception, action and interaction, in ecological psychology, based
on the earlier work of J.J. Gibson (7). 
It deals with the way in which people create new ways of thinking and
doing things, in interaction with their environment as a whole, which often
includes work across disciplines.

” The theory of synaesthesia and embodied
learning.  The work of Ramachandran
on synaesthesia and cross-modality is key to understanding embodied learning,
and the use of metaphor and multimedia in open and cross-disciplinary learning
( 8). [RW]

Learning across Cultures

Roy Williams [RW]

3) Action 3:  Develop a Knowledge Bank of Exemplars of Emergent Curricula
and Courses

Barrier: Educational policy makers and
administrators have little tolerance for cross-disciplinary study, whereas an a
small but increasing number of academics and SEAD practitioners are enthusiastically
working with their colleagues and professional practitioners in emergent
learning. Particularly because emergent learning is not aimed at producing
predictability and 'best practice', but rather unpredictable, 'interesting and
inspiring practice', and emergent curriculum design is based on defining
negative constraints rather than positive outcomes, there is a lack of
understanding, or appreciation for the value of, emergent learning.  There often isn't a common framework
for dialogue, let alone a working relationship. 

Target: Faculty and collaborating
practitioners, administrators and managers, policy makers.

Solution:  A Knowledge Bank and Community of Practice, based on
Exemplars of Emergent Learning Practice

Suggested Actions: Create a knowledge bank
of exemplars of interesting and inspiring emergent learning and curricula,
using a practitioner- and designer-generated, tagsonomy of  for courses and events that contribute
to the development and design of emergent SEAD curricula.  Appendix 2 lists and describes several
such exemplars.  Further research
is needed to systematically identify, describe, and tag more emergent
practice.  The current explosion of
interest, and creation of new courses in MOOC of one kind or another would be a
good place to start.   [RW]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

7) Action b.1- Technical support

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global

access

Opportunity being addressed According to
stakeholder: Sustained by networked institutions. To develop an online platform
and system to support networking activities, as an innovation ecosystem, an
environment for social innovation, making full use of the Web 2.0, hybrid
ontologies and the Internet of Things. Offer online support and visibility to
interdisciplinary projects.

Networks knowledge.

Contacts between peers.

Obstacle to implement the action According
to stakeholder: Sustainability of the maintaining. Who pays for the service

Stake-holders: Actions scope: FF, IG, ERS,
IPL

Education and research institutions

Public institutions of research support
(Ministries) [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

8) Action b.2- Creation of synergies with
external partners and among observatories

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: Creation of synergies with existing projects for the
sustainability of the SEAD Network and Observatory and to intensify the
networking processes with other initiative such as Living Labs. Possible
examples are (1) Innocentive (http://www.innocentive.com/), a platform for
interdisciplinary collaboration and innovation; Fundation Garum
(http://garumfundatio.org/redes/), an institution in the Basque Country that
supports the creation of networks for business projects. Sharing of best
practices; Formation of partnerships; sharing of human and technological
resources. To create synergies between SEAD and a network of Observatories.
Particularly in areas like education, government, funding and administration
structures. Obstacle to implement the action According to stakeholder:  Lack of trust; lack of a common
language

Stake-holders: Actions scope: IG, ERS

Education and research institutions

Public institutions of research support
(Ministries)

Actions scope: FFI, IG, ERS, IPL [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

9) Action b.3- Integration and fostering of
knowledge sharing

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To sustain the use of the platform as a networking ecosystem, as
an environment for social involvement, placing researchers and society in the
role of co-producers and consumers of content and services by making full use
of the Web 2.0 and hybrid ontologies and the Internet of Things. This can be
enhanced by opening new channels of communication in the platform, like a blog.

Obstacle to implement the action According
to stakeholder:

Data protection from peers; lack of
confidence

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

11) Action b.5- Matching around research
problems

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To open a system in the network to match interests around complex
research problems (that need the contribution from different disciplines). SEAD
Observatory would offer a service from the researchers' point of view. That
means to offer a tool for interactivity and a bottom-up approach to information
(inclusiveness) that can help researchers to plan their activities and
participate in knowledge creation in the net. Develop the network with
extensive training and interdisciplinary seminars, forums and conferences.

Obstacle to implement the action According
to stakeholder: Lack of a common language to be able to dialog; lack of
interdisciplinary protocols for sharing; lack of trust

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions and
Public institutions of research support (Ministries) [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

12) c1.) Transformation of relations of
power complementary actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To enable agents that support interdisciplinary approaches to be
in positions of power in decision-making processes.

Obstacle to implement the action According
to stakeholder:

Lack of political support or interest; lack
of funding; lack of peer-to-peer support

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Funding, Education and research
institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

13) c.2) Complemen-tation of the network of
SEAD (The Network for Science, Engineering, Art and Design) with an International
Observatory

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To fully protect interdisciplinar collaboration. The objectives of
the SEAD Network Observatory can be to: (1) situate SEAD interdisciplinar into
the main political objectives and institutional guideless of research at any
level to accelerate the development of sustainable, innovative and inclusive
interdisciplinary Knowledge in society; and  (2) foster, implement and look for funding to network
knowledge and collaboration in the SEAD interdisciplinary field. The SEAD
Observatory can be supported in a network of observatories such as European
SEAD Observatory, National SEAD Observatories. These observatories can be
created also at lower levels, more linked; 3) To overcome the hurdles hindering
the development of an inter-disciplinary knowledge Society; 4) To foster
interoperability of solutions across countries; to treat interdisciplinary
Knowledge in the global and local scales; 5) To generate awareness in different
stakeholders in the research and knowledge sector to mobilise the needed
financial and human resources to carry out actions.

Obstacle to implement the action According
to stakeholder:

At the level of institutional paradigm, if
there is not a change in the old paradigm there is going to be a resistance to
organise a network on the part of institutions

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

14) Action c.3- Education actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To prepare researchers to manage interdisciplinary collaboration
(development of academic and research methodologies to integrate different
fields in research work, guidelines for best practices).  This can be achieved by using social
network and social media tools and (transmedia approach), by developing on line
and onsite preparation workshops.

Obstacle to implement the action According
to stakeholder: Lack of interest on the part of researchers to change
methodology; stress due to lack of a common language

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

15) Action d.1-Listening / answering follow
up

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To maintain a system of tracking opinion from researchers in the
network.

To update the cartography of researchers on
the network and the results of their collaborations. Preparation of a blog,
social media based follow-ups

Obstacle to implement the action According
to stakeholder: Lack of participation (need to stimulate participation)

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

Education and research institutions [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

16) Action d.2- Best practices Database:
SEAD Network- Observatory

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To develop a database of interdisciplinary experiences for
reflexion on results of networking knowledge and to extract serial synthesis of
best practices.

Obstacle to implement the action According
to stakeholder:  Lack of
participation on the side of peers for lack of trust

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observa-tory [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

17) Action d.3- Awareness increase

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To increase awareness about interdisciplinary collaboration. This
can be achieved by using social network and social media tools and (trans-media
approach) and by developing on line and onsite preparation workshops and
campaigns.

Obstacle to implement the action According
to stakeholder:

Lack of interest

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observato-ry [CA]

Exploring a model of inter-disciplinary
research collaboration based on Collective Action Theories

Cristina Miranda de Almeida [CA]

18) Action d.4- Diffusion actions

Temporal and Spatial Scale of the action
according to the scale of stakeholders: Global, European, Regional and local;
Continuous

Opportunity being addressed According to
stakeholder: To increase awareness about interdisciplinary collaboration by
publications, on paper, on Internet, in video. Preparation of documental films
to show how science and art have been collaborating for a long time.

Obstacle to implement the action According
to stakeholder:

Lack of funding to support the costs of
publications, video production, documental films, etc.

Stake-holders: Actions scope: FFI, IG, ERS,
IPL

SEAD Network and Observatory [CA]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

3) For Educators and Academic
Administrators

1. Treat time spent within an
artist-scientist collaboration as a criterion for career advancement in
academic settings--both for artists and for scientists.  Reward such risk taking, so that
eventually it will no longer be risky and will be a standard element in career
advancement schemes.  

2. Universities should set up residency
programs with established and to-be-established community-based wet labs, so
that participants are given a clear record of their participation in the
program (e.g., 'artist-in-residence' and 'scientist-in-residence' programs).

3. Acknowledge that much current innovation
is occurring outside traditional laboratories, in (for example) community-based
hacker spaces.  Such existent
organizations should be targeted as partner organizations, and new organizations
should be founded to further innovation in those scientific fields where
innovation is seen to  be
languishing.

4. Rework the assessment of academic
accomplishment so that career advancement is not solely based upon numbers of
publications in one's chosen field. 
Current career advancement mechanisms seem to favour noninnovative
approaches (i.e., those approaches that yield higher publication numbers). Risk
taking, exploration and innovation, in the form of artist-scientist
collaborations or other activities, should be rewarded and not  punished.

5. Support the creation of new academic
journals (or the expansion of existing ones), based on the Leonardo model and
the PLoS online publishing model (see www.plos.org/).  Given that Leonardo (www.leonardo.info/) is already an
excellent venue for general new media and art/science work, those new journals
should be targeted at specific types of artist-scientist collaborative
research.

6. Reward time spent in art-science
collaborations with reduced teaching loads or comparable rewards, as is already
done in certain universities to reward research productivity (usually measured
by numbers of publications). [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

4) 
For Foundations, Government Agencies, and Other Funders

1. Support the creation of new academic
journals, as described above.

2. Allocate funds for the development of
innovation through the support of specific art-science collaborations as well
as the infrastructure to support those collaborations (e.g., community-based
wet labs, new journals)

3. Institute granting programs that
specifically call for artist-scientist collaborations--both at early and late
stages of their careers.  These
grants could be used to fund residency programs in community-based wet labs, as
described above.

4. Institute granting programs that reward
time spent in art-science collaborations with reduced teaching loads or
comparable rewards, as is already done in some current granting schemes.

5. Many grants are currently restricted to
tenure-track University faculty. 
This restriction makes sense if one believes the tenure system to be an
accurate means of assessing research ability.  However, since the tenure system is biased against riskier
forms of research that might not generate larger numbers of publications, this
approach needs to be questioned. 
Accordingly, grants should be opened up to individuals and non-profit
societies.

6. Review any current regulations and laws
that might be restricting or hindering wet-lab experimentation outside of the
traditional University laboratory to determine if those rules still have any
merit or are justified.  It is
quite likely that these restrictions and laws are slowing innovation. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

5) For Industry

1. Provide funding, in the form of grants,
for artist-scientist collaborations, and for the the formation of
communitybased wet labs. 
Understand that such funding will lead to innovative approaches to
problems that you, as an organization, can set forth as the topics of grants.
Also realize that your specified "problem space" has not been fully explored
and that new problems (or the re-casting of old problems) may sometimes be the
results of these endeavors.

2. Engage with the semi-autonomous
institutions we are proposing.  For
example, by allocating time for employees to participate in the management of
these institution or as a members of an art-science collaboration. [SB]

(Re)Structuring Innovation: Community-Based
Wet Labs for Art-Science Collaborations

Steven J. Barnes [SB]

6) For the National Academies, Scientific
and Artistic Societies

1. Undertake or fund a comprehensive review
of the works created through art-science collaborations and evaluate the
outcomes of those works.  It would
be good for those involved in art-science collaborations to be able to provide
evidence to support any claims that such collaborations serve as a significant
source of innovation.  As discussed
earlier in this paper, it is our suspicion that collaborations that we have
labelled as "true" collaborations 
are more likely to be the source of innovative outcomes; this assertion
needs to evaluated.

2. Undertake or fund initiatives (e.g.
conferences, community events, etc) that foster further discussions and
knowledge sharing between artists, scientist and local communities.

3. Fund resources that provide information
to aspiring wet-lab hackers about alternate and cheaper sources of wetlab
equipment, and alternate forms of items commonly used in wet labs (e.g., many
chemicals that are expensive when obtained from chemical suppliers can be
obtained quite cheaply through garden and home centers). [SB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna  Batson  [GB]

1) Action 1 ”" Feasibility

A. Establish focus group(s) for
dance-cognitive science within the university consortium, generated, organized
and implemented by students with the major purpose of brainstorming on relevant
topics, locating, collating and exploiting resources. The focus groups will
take several forms:

” First, as networking 'artscience cafes'
to take place at Krankie's Café in Winston-Salem and Open Eye in Durham, NC.
Here, professionals from the neuroscience and dance world in the associated
academies in the larger North Carolina Triangle area will be invited to lead
and participate in roundtable discussions.

” Offering Live webcasts and web-forums,
which could also be connected to existing Dance-Science podcasting sites, such
as DanceTech.Net. 

” Formal research conference for dancers,
scientists, other academicians and the lay public to provide the scope and
benefits of choreographic cognition. The conference will highlight current
examples of research dance as a live laboratory where dance making has been
explored through digital technologies.

B. Pursue Intra- and extra-mural grants to
support sustain initial educational seminars, research training, and
interdisciplinary courses; Further, identify funding sources that would provide
initial seed money for pilot research, and research training, substantive
applied dance-science projects, and provide adequate media publicity; access to
related educational seminars and conferences; and Recruiting and offering
stipends to a cadre of graduate/undergraduate and community workers to help
with mechanics of implementing projects as they materialize. [GB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna Batson [GB]

Glenna Batson  [GB]

2) Action 2 ”" Visibility

A. Initiate and manage an interactive
website (including weblog) that has several tiers ”" regional, national and
international;

B. Ground Level Networking and Publicity;

C. Organize local versions of TED;

D. Search out, contribute to, and
participate regularly in, dance/science websites that already routinely provide
podcasts and other interactive forums ”" chiefly, Dance-Tech.Net  http://www.dance-tech.net/ [GB]

Ex-Scribing The Choroegraphic Mind ”" Dance
& Neuroscience In Collaboration

Glenna Batson  [GB]

3) Action 3 ”" Measurable Impact

A. Community engagement - Interactive
seminars with artists, scientists and lay public to find niches outside of
choreography that would benefit by dancers' physicalized form of cognition
(examples)

a. Business/Community Partnerships  (e.g., of topics: Problem-Solving in
Business Through Dance; Improving Learning through Training Attention ”" High
School; Dance and Health; Memory and Movement in Aging; Dancing with Challenges
(Parkinson Disease);

b. Bring together choreographers and
dancers, cognitive scientists, neuroscientists, and other academicians,
scientists, and those in digital media and other technologies, for short,
intensive, outcomes-based workshop series. The first workshop would address the
needs specified above and emphasize strategizing to solve the problems.
Outcomes would be targeted towards the feasibility and realization of select
projects to be implemented within a 1-year period.

B. Organize and implement outcomes-based
interdisciplinary courses for under/graduate students. Courses would be
designed to help students gain fluency in areas of intersection between
disciplines, breaking through initial conceptual prejudices about their
differences. These courses would be offered as single electives or as part of
cross-campus visions for artscience trans-disciplinarity;

a. Developing, honing and validating tools
and methodologies through piloting research and providing structured feedback
and evaluation;

b. Build a student-faculty consortium of
researchers dedicated to short, succinct, time-limited, measurable pilot
research on dance and cognition;

c. Transmission and dissemination of
results ”" both scholarly and practical ”" through formal and informal
publications, documentaries, web submissions, conference presentations,
sustainable community initiatives, etc. [GB]

Transdisciplinarity: Challenges, Approaches
And Opportunities At The Cusp Of History

Martha Blassnigg [MB]

 1) Proposed Action: Universities should consider themselves
less as bastions of established bodies 
of knowledge and more as enablers with an emphasis on networks and
collaborations and a locus  for
criteria in relation to methodological practices. [MB]

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

1)    Define STEAM and characterize exemplary case
studies

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

2)    understand where are the most promising and
high-impact activities, projects, programs, and domains and the roles of
different kinds of players, such as universities, not- and for-profit
private-sector organizations, government organizations, and philanthropy

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

3 )   explore what it would take to engage the most talented
scientists and artists in STEAM

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

4 )   consider novel mechanisms, such as engaging "principal
artists" alongside "principal investigators" (as well as providing incentives
to engage people who are hybrids, skilled in both the arts/design and computer
science/engineering (or other STEM fields)

Gathering STEAM: Bridging the Arts and
Sciences to Expand Public Interest in Science, Technology, Engineering, and
Math

Marjory Blumenthal [MB2]

5 )   engage leading artists (fine, applied, and performing)
and designers with experts from STEM fields to collaborate on new ideas and
approaches that can effectively reach the broader public and provide the
foundation for future innovation, education, and synthesis.

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

1) Complex Systems with Modular
Architecture and Interchangeable Data Format

Roadblock: A lot of specialized software
exists to simulate certain aspects of intelligence from computational auditory
scene analysis algorithms to logic prover. In general, it is still very difficult
to combine these specialized systems to complex systems simulating multiple
parts of the central nervous system.

Opportunity: Enable a dialog to find better
ways to standardize communication protocols between different systems and to
port algorithms to a unified platform for creative intelligent systems

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

2) Agents that can handle abstract media
and techniques

Roadblock: In engineering and science
related disciplines a common approach is to copy the human body in both form
and functionality. Honda's Asimo robot and Kaist's Hubo are good examples for
this approach. Sometimes abstract solutions provide a better functionality, for
example robots from children and science fiction movies are often more
sociable, but artists and designers often lack the technical expertise of
engineers

Opportunity: bring both groups together to
build on each others' strength to build highly functional, powerful but
abstract systems.

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Reative Artificially-Intelligent Agents For
The Arts: An Interdisciplinary Science-And-Arts Approach

Jonas Braasch [JB]

3) Need of creative synthetic characters
that can develop new concepts

Roadblock: Over the last 40 years we have
develop artificially intelligent agents that can produce creative work within a
given context (e.g., compose music in the style of J.S. Bach), but system that
go beyond this and develop their own concepts (e.g., a new composition style)
do not exist yet (at least not in the sense that they can reflect and justify
their actions).

Opportunity: bring together
transdisciplinary groups of artists, psychologists, and engineers to elicit how
humans complete these tasks and find ways to implement this knowledge to
artificially intelligent systems.

Proposed Action: conference or symposium to
start dialogue

Stakeholders: university-based groups,
gaming and entertainment industry [JB]

Using 'Processing' As A Stimulus For
Producing Steam

Ron Brown [RB]