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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]



 



1) Suggested Action #1: Finding 'Qualified'
Programming Instructors



Barrier: Too few secondary teachers have
any substantial computer programming experience ”" no matter what subject(s)
they are 'certified' to teach. Unfortunately, there are many experienced
programmers who know different computer languages but they are not allowed to
teach because they do not have a teaching 'certificate' to do so as required by
the educational establishment.



Stake Holders: School administrators,
federal and/or state legislators, Departments of Education, teachers who want
to make their classes more exciting, teachers' unions, unemployed/retired
computer programmers



Suggested Actions: During the last decade,
many software projects were outsourced to developing countries, leaving many
American computer programmers jobless. A large number of these former computer
programmers could be recruited and learn Processing in a relatively short
period of time ”" compared with someone with no previous programming experience ”"
perhaps within one month or less. With appropriate incentives, these 'new'
senior recruits could teach either younger teachers or teachers-to-be enrolled
in colleges/universities/community colleges or teach within the
secondary-school system itself. Educational instutions should be encouraged to
offer computer programming courses in their STEM or STEM to STEAM programs.



Opportunities: Employing qualified senior
citizens would be a win-win situation for those invited back to the workforce
and for those who would benefit from their expertise. Current teachers will
have the opportunity to learn skills they may have never experienced before.
[RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



2) Suggested Action #2: Eliminating
standardized testing for STEM to STEAM endeavors.



Barrier: Standardized testing is so
engrained in the educational psyche/system and is overly encouraged by testing
services as well as textbook publishers and the Federal Government implementing
laws such as 'No Child Left Behind'. Standardized testing does not
measure/encourage 'creativity'. As Sir Ken Robinson has stated, 'creativity' is
destroyed as a student progresses through the educational system.Stake Holders:
School administrators, federal and/or state legislators, Departments of
Education, teachers' unions, textbook publishers, testing services, art
galleries



Suggested Actions: The only prerequisite
for taking any computer programming course should be the desire to learn
computer programming. A student's 'grade' should not be based on any
post-course test or battery of tests given throughout the course. Rather, a
student's grade should be based on the student's completion of programs
(calledsketches in Processing) and/or one's effort in completing the assigned tasks
(Example: one of my students had severe dyslexia but I have never seen anyone
work/concentrate so hard to complete a sketch.). One goal of the course could
be to show the students' art in an art gallery setting and use the proceeds of
any sales to support STEM to STEAM projects.



Opportunities: Implementing a 'testless'
course utililzing up-to-date technology would be an ideal case for one of Sir
Ken Robinson's desires which is to eliminate standardized testing. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



3) Suggested Action #3: Developing
curricula spanning multiple grade levels.



Barrier: Knowledgeable curriculum
developers may be few and far between. A related barrier is preventing the
unintended consequence of institutionalizing computer programming as a
mandatory subject. Just as Processing is 'open'-source, school administrators
should be 'open'-minded when implementing such courses/programs. The only
prerequisite should be the desire to learn a programming language.



Stake Holders: School administrators,
teachers, curriculum developers, private grant foundations, Educational
Departments



Suggested Actions: Instead of local
districts being burdened with the task of developing their own curricula
districts should utilize world resources. Agencies such as NASA and the NSF,
along with private donor organizations, should take active roles in such
development efforts.



Teaching Processing would allow those
interested in robotics to learn the mechanics of motion/control using Arduino
hardware. Those interested in the performing arts could expand their horizons
by using Processing to interface with the Kinect camera for interactive
performance utilizing music and/or other devices. To minimize costs, the use of
textbooks should be minimized or possibly eliminated ”" internet resources are
abundant and should be maximized to the fullest extent. Programs such as those
being implemented in Estonia should be followed closely.



Opportunities: Networking with other
like-minded individuals/organizations around the world would be very rewarding
for all involved. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



4) Suggested Action #4: Providing each
student with access to a computer for programming.



Barrier: Many school systems do not have
the monetary resources to provide individual access to a computer for
programing purposes.



Stake Holders: School administrators,
private grant foundations, parents, community groups, corporations



Suggested Actions: Many students have their
own computers that have plenty of 'computer power' for programming purposes.
Students who have their own computers should be encouraged to use them. Also,
many companies upgrade their computer networks periodically and dispose of
their computers en mass ”" companies should be encouraged to donate their used
computers to their local school districts. Computers used for programming need
not be connected to the internet permanently so the need for more net-working
expertise would be minimal. Grants from private foundations should be sought.



Opportunities: Community involvement of
parents, students, administrators, teachers and businesses would create a more
caring community. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



Ron Brown [RB]



 



5) Suggested Action #5: Evaluating the
proposed Processing course/curriculum.



Barrier: Many school systems do not have
the monetary resources to monitor/evaluate the success/failure of new
educational programs.



Stake Holders: School administrators, state
Education Departments, program evaluators, graduate students, teachers' unions,
parents, students



Suggested Actions: One or more graduate
students in the near vacinity could be encouraged to write a thesis evaluting
the proposed course/program and/or the State's Department of Education would
have the task of evaluting the program.



Opportunities: Knowing the outcome of early
courses/programs would lead to improved courses/programs that would grow as
technology changes. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



Barrier: Small independent schools lack
funds for such 'esoteric' courses/programs and would only be able to offer one
if one of their limited staff had the skills/knowledge to teach the course.
When I asked about teaching another 'Programming with Processing' course the
following semester I was told that there was no funding available. I am quite
sure that, had the school had adequate funds, I would have been able to offer
the course again.



Stake Holders: Independent schools,
parents, students, teachers, private grant foundations, corporations



Suggested Actions: Parents who send their
children to private/independent schools, or, those that choose to home school,
still pay federal and state taxes targeted toward educational programs ”" there
is no reason their child should not have the same opportunity to share in STEM
to STEAM endeavors as those attending public schools. Because of the current
economic downturn it would be worthwhile for all school environments to share
their expertise/resources with others.



Opportunities: Acts of kindness lead to
acts of kindness. And, it's the right thing to do for our children and our
future. [RB]



 



A New Ecology Of Learning: Ecological
Systems As Pedagogical Models



 



Pavel Cenkl [PC]



 



1) Ecological Learning and the Liberal Arts



Premise



An ecological model of thinking can provide
a model for a more intentional and dynamic liberal arts pedagogy.



Actions



Academic Administrators should recognize
that biological design processes can follow a model that spirals from (1)
discovering natural models to (2) abstracting design principles to (3)
brainstorming potential applications, (4) emulating nature's strategies and
finally (5) evaluation. The process continually repeats itself as successive
curricular iterations are discovered, employed, and assessed.



Faculty and administrators alike can
embrace an ecological framework can underscore the resilient, decentralized,
and distributed, and integrative pedagogy of a liberal arts curriculum, thereby
empowering more intentional and organically developed student-centered learning
experiences. [PC]



 



A New Ecology Of Learning: Ecological
Systems As Pedagogical Models



 



Pavel Cenkl [PC]



 



2) Digital Technologies and Ecological
learning



Premise



Digital technologies can help institutions
to develop more ecologically focused learning environments and curricula.



Actions



For Administrators: Technologies should
help us redefine how we use learning spaces—both virtual and actual. Online
tools should resonate with organic structure of information flow, and classes
should be inherently embracing such flow of information and knowledge.



For Faculty and Administrators: Introduce
technologies that enable real-time connection between student experience and
classroom reflection and provide information and access that can help classes
become self-organizing and less hierarchical. The ecosystem has become as much
a metaphor for collaborative technologies as it presents a framework within
which to contemplate its development; however, as much as ecology may be an apt
metaphor for digital community ”" in its dynamic development and organic
integration of ideas in (often serendipitous) boundary objects, there continues
to be a tension between the ubiquity of software and the reality of experience,
a tension which is ignored by many.



Faculty, administrators, and students can
recognize that getting one's hands dirty in the performance of literal, actual,
meaningful work can be the scaffold for community, collaboration, and engagement
that technology can potentially help facilitate. [PC]



 



A New Ecology Of Learning: Ecological
Systems As Pedagogical Models



 



Pavel Cenkl [PC]



 



3) Integrating Ecological Thinking



Premise



Ecological thinking can be integrated into
both new and existing courses, units, and overall curriculum designs.



Actions



Academic Administrators and Department
Chairs should champion a comprehensive revisioning of course offerings from the
perspective of outcomes-based assessment to emphasize a systemic and integrative—rather
than disciplinary and course-based—curriculum. They must similarly engage in
meaningful revision of workload and workflow in order to achieve more robust
support for the integrative student learning that is the core of liberal arts
pedagogy.



Academic Administrators can integrate
curricula of earth and biological science courses to foster a deeper
understanding of the interrelationships of methods, products, projects, and
initiatives across the different disciplines. Course can also be block
scheduled in order to empower integrative learning communities.



Individual Faculty should use the
flexibility within workload guidelines to explore further collaborative and
cooperative teaching opportunities that empower students and faculty alike in integrative
systems thinking. Truly organic development of curriculum necessitates a
ground-up process that involves faculty and students in co-creation of
integrative courses, coursework, and programs. [PC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



5) Educators: Science art interactions
cannot survive for long in a confused and unorganized state. There should be a
methodical and knowledgeable atmosphere for it to grow and flourish. Educators
must help in creating such an atmosphere. 
Educators can also help by starting useful and viable courses on the 'creation
of science related art' and art science related technologies. [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]



 



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]



 



) Obstacle #5:  Many professionals are not exposed to trans-disciplinary
practices until later in their careers. 



Suggested Action:  Place calls for STUDENTS and EDUCATORS to attend
transcontinental residency, conferences, and programs.  Encourage a core SEAD curriculum in
secondary tier education.  [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]



 



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



Josie E. Davis [JED]



 



7) Obstacle #8:  Building and sustaining trust is a difficult task and can
make or break a collaboration.



Suggested Action:  That SEAD professionals and additional STUDENTS, EDUCATORS,
and ADMINISTRATORS IN EDUCATIONAL INSTITUTIONS review associated methods for
building trust in a collaborative environment with particular attention paid to
integrity, internal confidence, and fairness. [JED]



 



From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity



Jean Delsaux [JD]



 



1) Suggested action 1



Universities should open sections devoted
to the transdisciplinary training organizing a link between the artistic
culture, humanities, and scientific and technological culture. The so trained
students could then perform the synthesis betwween the modusses operandi,
different cultures and thus enable a cultural confrontation.



The purpose is not to train absolutely only
people able to be performative in both fields but people who specialise
themselves in a discipline and are able to collaborate with other specialists.



These sections have of course to be
provided with spaces (workshops) and technical equipment, technical support and
maintainance, artistic and scientific environment.



The second phase of our experiment, which
involved artists aware of digital technologies and scientific culture, reached
also a difficulty : one person cannot master the complete set of abilities and
knowledges required in an art process concerned by science and techniques.



The various projects we developed involved
the participation of various participants, each one mastering a particuliar
know how.



The problem then was to be able to build
the appropriate crew for the concerned project. [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]



 



2) Action #2: exchange of experience



To encourage the exchange of professors and
students to participate in interdisciplinary experiences in different countries.
It is clear that it is easier among European countries using the program
ERASMUS, more complicated between Europe and non-European states for obvious
reasons of cost. In the website an essential part must be dedicated to all
possible opportunities of exchange of professors and students. [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]



 



1) Suggested Action #1:  Networking and VisibilityTo date, no
comprehensive inventory or study of cross-disciplinary course curriculum has
been conducted.  The current
website invites contributions in order to expand the listings.  A call for courses can be initiated
through the College Art Association (http://www.collegeart.org/) and other
networking organizations in the arts and sciences such as the Art & Science
Collaborations, Inc.(http://www.asci.org/).  In order to attract submissions from Europe, international
organizations like YASMIN (http://www2.media.uoa.gr/yasmin/) could be
contacted.  A new call for courses
should be initiated through SEAD (Network for Sciences, Engineering, Arts and
Design, http://sead.viz.tamu.edu/). 
A proper and extensive survey of such curriculum would encourage faculty
members in art and science disciplines to offer such courses and collaborate
with other faculty in complementary areas.



Barrier:  Cross-disciplinary art-science-humanities instructors are
isolated and often work with no knowledge of best practices, other instructors
and courses, and possible collaborations.



Target:  Instructors of cross-disciplinary curricula



Solution:  Networking and Visibility



Suggested actions:  A dedicated website, designed to assist
instructors with information about other curricula, including a cloud-based
syllabi resource, a blog for communication, links to best practices in
interdisciplinary curriculum; and announcements of international conferences in
art-science-humanities efforts and conferences. The CDASH website could be
expanded to include these areas. 
This could lead to heightened presence of the website in academic
journals and websites. [KE]



 



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



Kathryn Evans [KE]



 



2) Suggested Action #2:  Geographical Study of
Cross-Disciplinary Art-Science-Humanities Curricula



While many "art-science" papers and studies
call for "big" solutions, the "small" solution of art-science-humanities
cross-disciplinary coursework at the undergraduate and graduate level could be
an important part of a student's education, creating a generation of artists
and scientists that will see these collaborations as natural and necessary.
Students already live in a highly technological world where they move
seamlessly across science, technology and the arts and humanities.  However, we have not yet used current
available technology to study where these courses are being offered and in what
context.  A study of "informal"
art-science-humanities education, with an emphasis on community engagement
would add to the overall knowledge of current offerings.



Barrier:  Lack of information about where art-science-humanities
cross-disciplinary curriculum are currently being offered and their impact on
the educational environment



Target:  Instructors, administrators and funding agencies for higher
education



Solution:  Asset mapping efforts of art-science-humanities
cross-disciplinary courses and workshops, both formal and informal



Suggestion actions:  An international study that uses asset
mapping tools as a way of defining the current "state-of-the-state" and
identify geographical nodes and centers of learning.  This could include both formal, for-credit courses, on-line
educational sites and local informal courses. [KE]



 



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'.



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



1)Stakeholders: Educational Institutions
(at all levels including K-12), Agencies promoting computing education (Bill
and Melinda Gates Foundation, National Science Foundation).



Opportunity:  Learning computing concepts



Challenge: To teach computing, which has
been identified as a national priority given the emphasis in STEM.



Suggested Action: Study the employment of
games and game engines for teaching basic concepts in computing such as
iteration, branching, recursion, and object orientation. By using games, we are
leveraging popular game culture, which is common in the "millennial" population
who grew up with console and mobile games. Often the learning of computing
within games involves new representational forms for computing concepts. One
approach has been explored by Fishwick (University of Texas at Dallas) in a
field he pioneered called aesthetic computing. The aspect of this field related
to computing in game experiences is called virtual analog computing (ref.
http://www.utdallas.edu/atec/docs/virtual-analog-computing.pdf). The use of
games naturally leads to interdisciplinary skills required to develop game
environments, including areas within the arts and humanities as well as STEM
subjects—a manifold direction captured by the STEAM initiative. [PF]



 



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



2) Stakeholders: Educational Institutions
(at all levels including K-12). Agencies promoting interdisciplinary and
trandisciplinary activities (National Science Foundation).



Opportunity: Bridging diverse disciplines.



Challenge: To provide an approach to bridge
science and engineering (STEM) with the arts and humanities (i.e., STEAM
emphasis).



Suggested Action: Use games as shared
virtual infrastructures in which to combine, integrate, and connect different
disciplines across the academy from the arts and humanities to science and
engineering. Often, disciplines involve research in topics that are distinct
and separated from other areas; however, as illustrated by the multi-decade
successes of the cinematic special effects and  computer gaming industries, teams based on diverse talents
and knowledge areas can work effectively together. Some game environments,
especially those that are multi-user shared spaces, can be catalysts for this
convergence, and a promotion of the STEAM concept. For example, computer
scientists can work on algorithms and automation, humanists can identify and
create narratives and critiques, and artists can create new sensory
experiences. [PF]



 



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



3) Stakeholders: National Science
Foundation.



Opportunity: Enhanced study of the embodied
mind.



Challenge: To leverage the UT Dallas
transdiciplinary ATEC center hub, and its new 160,000 sq. ft. space to better
understand the relevance of the body to areas of cognition such as language in
general, and formal languages (such as those in computing such as data and
code), specifically.



Suggested Action: Through the use of
experiments and formal methods in social and behavioral science, strengthen
current knowledge for embodied cognition (Varela et al. 1992) and "simulation"
theories of cognition. To what extent do metaphors involving gestures and body
sensations (movement, orientation, tactile sensation, sound) embed themselves
in the artificial artifacts found in computing? What are the thought processes
underlying modular coding, conditional branching, and understanding of
large-scale, complex, data structures? To answer these questions will require
scientifically grounded research and human subjects. Where embodiment does play
a role in cognition connected with these software artifacts, new forms of
representation will be required to leverage, and capitalize upon, the
embodiment hypotheses. Game environments provide an excellent breeding ground
for the human subject experiments as well as constructing the highly sensory
embodied experiences. [PF]



 



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]



 



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



Christian Jacquemin [CJ]



 



1) Opportunity to develop:
Cross-disciplinary encounters in an art-science doctoral program 



a) Stakeholders: Universities, Art schools



b) Suggested actions: Promote encounters
between students of different disciplines by registering them in a single
art-science doctoral program that can accept both artist and scientist
students. Organize events for hands-on/minds-on activities involving these two
types of students simultaneously. Promote interactions between supervisors in
art and-science PhDs by encouraging shared supervision. [CJ]



 



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]



 



4) Opportunity to develop: New public uses
around art-science activities



a) Stakeholders: Museums, Universities, Art
Schools, Culture centers



b) Suggested actions: Presenting
art-science productions to a wide audience can offer a new vision of science to
the public and improve the attractiveness of scientific curricula. Art-science
productions can be employed to propose and develop new and unique uses by
public of recent technoscientific advances. [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]



 



13) Obstacle: In academic careers,
art-science collaborations are difficult to valorize (and also to disseminate
in the scientific community). In artistic careers, scientific collaborations
are not necessarily considered as positive



a) Stakeholders: Universities, Scientists
in charge of evaluation, Funding Agencies, Art institutions, Art critiques



b) Suggested action in science: Take into
consideration a wider variety of dissemination vectors than A-ranked journals
or international peer-reviewed conferences:  exhibitions in art galleries, art fairs, or museums,
non-academic publications (public outreach, art books), live performances in
well-renown festivals, etc. Promote art-science curricula for students or cross-disciplinary
courses between Engineering Sciences and Humanities.



c) Suggested action in art: Take into
consideration the capacity of artists to collaborate with scientists for a
better promotion of their work, not through corporate funding or sponsoring,
but through the presentation of the unique features of the collaboration
together with the artwork. [CJ]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



1) Restructuring organization of school
classrooms and curricular time



An instructional method that guides
children through the authentic inquiry mode of learning calls for a fundamental
restructuring of the school classroom in terms of its organization,
teacher-student ratio, processes, time allotment, activities, resources, tool
use, and also reconceptualization of the roles of teacher and children. It
requires design and development of pedagogic activities, content and new
teaching-learning materials, professionally equipping and empowering teachers,
evaluation of the effectiveness of the teaching-learning strategies and
devising methods of implementation of the different components of the
curriculum in the classroom. [AJ]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



2) Building and sustaining academic support
to schools



Developing curricular and learning
experiences for school children based on the framework of authentic inquiry
practices can find its purpose only when they are embedded in collaborative
practices and authentic team work of teachers, educationalists, disciplinary
experts, and children. In India, the schools, teacher training centres and
university systems are three isolated distinct worlds and the formal
organization, policies and practices of these systems reinforce this
separation. Improving learning and fostering creative pedagogic practices in
schools requires new ways of working in extensive and meaningful collaborative
partnerships between universities, research institutes, teachers,
educationalists, and children and creating a community of experts to
conceptualize and implement a curriculum. A curricular project of introducing
GIS in schools requires collaboration for creating resource, evolving content
and pedagogy, evaluating of its effectiveness, hardware and software support,
supporting teachers and children at different phases of the project and
envisioning new possibilities.



What is important is building and
sustaining an academic culture and a structured space around schools to
interact and engage with teachers and children and creating linkages for
dialogue between higher learning centres and school education. [AJ]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



3) Establishing a platform that foster
linkages between various stakeholders of school education



It is important to develop mechanisms,
systems and procedures within a university system that will bring together
multiple stakeholders of education to a common forum in supporting school
education. One of the ways to achieve this is establishing school resource
centres, with supported libraries, at university centres. This will also be a
space that coordinates various activities for teachers and children, where
teachers can come together to design teaching-learning materials, can access
updates on research in education to inform their practices, share knowledge and
experiences of classroom teaching and emerge as a community of practitioners.
Such centres will design, exhibit and hold exemplary teaching-learning
materials and expertise on curricular research. In addition to the above, one
of the aims of this program is coordinating summer workshops, monthly programs
and vacation internship programs for school children in research institutes
with the help of PhD student volunteers to communicate and introduce children
to the practices of knowledge creation and culture of research. Such programs
for schools and children can be coordinated and conducted on a regular basis by
such school resource centres. [AJ]



 



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]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



6) For private sector



Leveraging Private Partnerships



There are multiple stakeholders who share
the responsibility of children's school education, including the private
sector. It is important to facilitate a systematic cooperation between school
systems and the private sector. One of the proposals towards this is
encouraging the private sector companies to adopt schools as part of their
corporate social responsibility not only to bring about infrastructure changes;
but also supporting curricular improvement and intervention programs. [AJ]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



7) For Universities and Researchers



Fostering a climate of curricular research
and innovation in India



Incorporating a program of innovative
curricular and pedagogic interventions in Indian schools requires advancing
avenues for educational research and empowering the role of teacher as a
researcher and a guide to children in the classroom. What is needed is a
curricular and pedagogic framework developed on the basis of research, that
equips the child to acquire meaningful understanding of disciplinary concepts,
thinking and skills. The prerequisite for incorporating GIS, digital
technologies and innovative pedagogic programs into Indian school education is
establishing the right kind of institutions, expertise and positions in
university systems for conceptualizing, designing and implementing curricular
projects in schools.



Currently we recognize a major gap in these
areas and see our work as providing a beginning towards this. [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]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



1) Select and create "Things to Think With"



Barrier: In most fields there is no
classroom culture of inquiry with objects. "Concrete" thinking is stigmatized
because college is supposed to be about ideas and "the life of the mind."



Action: Create great, field-specific
examples of object-based inquiry in the classroom. Through research and
practice, develop a counter-narrative that demonstrates the benefits to
students. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



2) Create on-campus spaces that are
ecosystems for learning



Barrier: Most college classrooms are barren
spaces, often with only whiteboards, chairs, and computer technology. Faculty
move from classroom to classroom and may therefore have a hard time customizing
a room.



Action: Create resource-rich lab/studios
for learning, perhaps tailored to the needs of a particular discipline or
disciplines. At a minimum, equip each classroom with a cabinet so that physical
materials can be stored and easily retrieved by faculty. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



3) Create excellent professional
development experiences for faculty



Barrier: Faculty generally teach as they
were taught.



Action: Create PD experiences that are
offer new and revelatory learning experiences organized around engaged and
inquiry-driven interaction with objects. Support the development of new
curriculum. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



4) Do careful research and evaluation of
the learning effects of thinking with things



Barrier: We infrequently evaluate teaching
methods and effectiveness, or do research on what works in college.



Action: Create a culture of research and
evaluation, of metacognitive discussion of teaching and learning, through on
campus teaching centers, classroom assessment, and funding paired with
technical support that allows more research and evaluation to take place. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



5) Support "arts integration" in academic
subjects



Barrier: The arts are being driven out of
K-12 by the stress on academic subjects. Students who do not respond well to
current teaching methods are discouraged from pursuing STEM.



Action: Leveraging embodied knowing by
using aesthetically informed pedagogy can improve learning of STEM subject
matter and include more underrepresented students in STEM engagement. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



6) Create great curriculum for integrating
arts inquiry



Barrier: Teachers do not have the time to
develop whole new curricula and approaches.



Action: Develop curricula and exemplars of inquiry
with objects to guide and inspire teachers. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



7) Support teacher professional
development, planning, and collaboration



Barrier: Teachers do not know how to
integrate the arts with STEM and other subjects.



Action: Provide engaging and effective
professional development opportunities for teachers. "Sound Thinking" workshops
are one example.
http://teaching.cs.uml.edu/~heines/TUES/WorkshopInformation.jsp [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



8) Create "labs" in art institutions and "studios"
in science centers



Barrier: Narrow view of the institution's
mission; lack of financial resources for space creation and staffing.



Action: Develop a list of precedents and
create a community of practice for informal ArtScience learning. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



9) Create and support "Maker Spaces"



Barrier: Informal STEM education is
sometimes quite structured and "hands off." Makers lack resources to create
their own spaces.



Action: Maker spaces support self-directed
and synthetic interaction with materials, STEM content, and the arts. Promote
the creation of maker spaces, a culture of tinkering and STEM inquiry, and
validation of the sorts of learning that takes place in such spaces. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



10) Workshops to reduce math anxiety in
teachers, parents, and students



Barrier: Math anxiety is pervasive in the US.
Teachers with math anxiety may create anxiety in their students.



Action: Workshops that use hyperbolic
crochet, fiber arts, creative craft, and other engaging and non-threatening
activities can open an effective and supportive pathway into math learning.
[SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



11) Legitimize object-based learning and
Maker Spaces by creating funding programs in this area



Barrier: In many fields, a Thinking With
Things approach to learning is unusual and therefore hard to find funding for.



Action: Create solicitations that
explicitly validate and offer to fund concrete, object-based approaches. [SK]



 



Thinking With Things: Feeling Your Way Into
Stem



Sarah Kuhn [SK]



 



12) Enforce best practices in program evaluation,
and provide funding and technical assistance to grantees so they can achieve
excellence in evaluation research



Barrier: Many experiments in new learning
approaches are not well studied, which makes dissemination and improvement
difficult.



Action: Fund and require excellent
education research and assessment. Provide technical assistance so that
investigators inexperienced in education research can be successful, or develop
a funder-specific evaluation team to conduct the research. [SK]



 



Interactions Among Scientists/Engineers And
Artists/Designers In Developing A Common Language And Unique Perspectives On
Today's Challenges



D.L. Marrin [DM]



 



3) Utilize the tools of rhythm and pattern
to teach elementary and high school subjects such as mathematics and science,
rendering these subjects less abstract to students.  Devise college-level courses that emphasize underlying
patterns, rhythms, and fractal-like relationships from both the
science/engineering and art/design fields as a means of encouraging students to
identify common themes or components and to express those commonalities as a
balanced view of nature. [DM]



 



Interactions Among Scientists/Engineers And
Artists/Designers In Developing A Common Language And Unique Perspectives On
Today's Challenges



D.L. Marrin [DM]



 



4) Establish cross-disciplinary courses
that examine and compare methodologies employed by artists and scientists in
investigating, portraying, and experimenting with the natural world.  Emphasize how the tools and intentions
of scientists/engineers can assist artists/designers in their work, and
vice-versa.  An example of this
type of cross-disciplinary course may be found at the website
http//:gsuart.pbworks.com/w/page/7011421/FrontPage. [DM]



 



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]



 



Towards A Taxonomy Of The Challenges Within
Typologies Of Collaborations Between Art ”" Design ”" Engineering ”" Science ”"
Humanities ”" A Practical Guide



Jennifer Nikolov(a) [JN]



 



1) Create a comprehensive practical guide
that builds towards a taxonomy of the challenges within typologies of
collaborations between Art - Design - Engineering - Science ”" Humanities
starting from and adding to the issues touched upon in this paper in order to
facilitate successful collaboration: 
Motivations, Method and Methodology, Knowledge Transfer and
Dissemination, Definitions and Generalizations, Types of Collaborators and
Collaborations. Dealing with issues such as structure, location, funding, planning,
communication, commitment, time, ethics and attitudes.



Obstacle/opportunity: centralized practical
knowledge about multi-, inter, and trans- disciplinary  collaboration, in particular with Art -
Design - Engineering - Science ”" Humanities collaborations, is insufficiently
documented and or collected. Many individual projects have made reports of
their findings. This is an opportunity to create a collection of guidelines
that in a low threshold practical formation, may function as an international handbook
that can be used as a tool for future 
collaboration projects.



Stakeholders: for all (new) collaborators
and educators of multi, inter, and transdisciplinary  collaborations, as well for those who initiate, facilitate
and or fund such projects.  [JN]



 



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]



 



3) Curricular / Studio:



1. 
Define residential programs and studio opportunities (A)



2. 
Pursue art / science collaborations (G, H)



3. 
Organize on-line competitions and educational events for k12 students
(A, C)



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]



 



3) Roadblock: tenure track lines at the
university are created within departments and not across departments, and even
less across colleges and this represents a major barrier for
interdisciplinarity.



Opportunity: it is clear that the
university would benefit from more interdisciplinary research, in fact in the
last decade the university has formed many committees to address
interdisciplinarity but has never implemented any of their recommendations
except for some projects within college silos. This could also be a more
sustainable hiring model that could reduce duplicate lines in different areas
of the university.



Proposed Action: the university should
consider tearing down their current silo structures and promote the creation of
interdisciplinary tenure track positions in arts, science and engineering.
DXARTS could be a great testbed for this kind of new lines as it is already a
successful model of interdisciplinarity within the arts (all tenure track
positions in DXARTS are joint appointments with other art units). New
guidelines would need to be created for merit evaluation and promotion for
these new positions, DXARTS could again be a good model for future policy as
our tenure cases are already evaluated by an interdisciplinary committee within
the arts.



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]



 



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]



 



4) Education



With the computer a new type of literacy
arose. This fact is not reflected in education systems (or insufficiently so).
[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]



 



1) Suggested Action #1: K-12 Policy Changes



Stakeholders: Education policymakers
(national and state legislative bodies, state and regional education agencies)



The Need: Classroom curriculum and mandated
tests don't address vital innovation thinking skills needed for national and
global economic success.



The Opportunity: Become a primary catalyst
that fuels the national and global economies while increasing student content
engagement and learning.



Suggested Actions:  Enact policies that place equal
emphasis on innovation thinking skills and content learning. Promote and fund
the cross-disciplinary integration of arts and design thinking skills, mandated
science, math, and language arts standards, and problem-based learning with
global outreach to partner with students in other nations. This can be
accomplished through teacher education, workshops, grants, research, and the
development of a national K-12 Innovation Thinking Center.  This Center would direct, promote, and
assess the delivery of these skills. [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]



 



2) Suggested Action #2: K-12 Curriculum
Changes



Stakeholders: State education agencies and
school districts



The Need: K-12 curriculum does not include
vital innovation thinking skills.



The Opportunity: Develop and evaluate K-12
curriculum that provides the next generation of innovation thinkers.



Suggested Actions:  Design curriculum that promotes
innovation thinking skills while delivering mandated content. Important
components of this curriculum are: knowledge transfer among all fine arts and
core disciplines, problem-finding /problem-solving, collaboration, persistence,
learning from failure, arts thinking, thinking flexibly, inventing, tinkering,
and emotional engagement. Engage experts in these fields to assist in the
curriculum development. Research and evaluate the most effective strategies as
they are developed. [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]



 



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]



 



How SEAD Network Can Advance Experimental
Economics: A Case Study Of Innovation And Entrepreneurship In Support Of Rural
Community And Economic Development



Joan Quintana [JQ]



 



2) Suggested Action #2: Fund faculty in
residence to work alongside entrepreneurs in rural business incubators like the
Innovation Underground.



Stakeholder: National Science Foundation,
Economic Development Administration, Academia, Economic Development
Organizations



Obstacle/Opportunity Addressed: Overcome
barriers to meaningful academic engagement in the local community. Take
advantage of opportunities for applied research; foster interdisciplinary
collaboration. [JQ]



 



How SEAD Network Can Advance Experimental
Economics: A Case Study Of Innovation And Entrepreneurship In Support Of Rural
Community And Economic Development



Joan Quintana [JQ]



 



6) Suggested Action #6: Establish an
apprenticeship program at the Innovation Underground that funds high school
student workers who provide technical design and development support to
start-up companies under the direction of a qualified professional.



Stakeholders: Department of Labor, National
Science Foundation, Private Industry



Obstacle/Opportunity Addressed: High school
vocational programs are often effective but lack the resources to provide
students with access to the latest technology tools; likewise, project work is
approached as homework and thus lacks the intensity and rigor of real work
products. Still, many high school students have both the aptitude and the
interest in working with technology tools. In rural communities in particular,
there is a lack of qualified technical workforce. An apprenticeship program at
the Innovation Underground will contribute the development of well trained
workforce while creating advocates for technology among students. Furthermore,
student labor will provide affordable services to Innovation Underground
start-up companies. [JQ]



 



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



Robert Root-Bernstein [RR]



 



1) All stakeholders, including legislators,
school boards, educators, parents and students, should be informed of the value
of arts/crafts to STEM education.



The scientific and technological value of
arts and crafts education must be made evident through educational initiatives
directed at the voting public, legislatures, school boards, educators, schools
of education, parents and students. Each of these stakeholders requires a
different type of information delivered in an appropriate medium and
formulation (PBS special; editorials; white papers; curriculum revisions; etc.)
[RR]



 



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



Robert Root-Bernstein [RR]



 



2) An organization should be established to
lobby for arts/crafts in STEM education.



An organization that can act as a lobbyist
for the scientific and technological value of arts and crafts can educate and
influence legislators, school boards, etc. This organization must produce clear
position statements embodied in appropriate educational literature and
supported by adequate research. [RR]



 



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



Robert Root-Bernstein [RR]



 



3) Arts and crafts education must begin
early and progress well beyond introductory levels if it is to promote STEM
learning.



The best correlate we have of positive
impact on science and engineering innovation in later life is an early
introduction to arts and crafts. Those people who do not receive early and
intensive arts and crafts education are very unlikely to take up an art or
craft later in life  (LaMore, et
al, 2012; Root-Bernstein, et al., 2013). Moreover, those people who transfer
their arts and crafts skills to science and engineering problem-solving are not
those with a smattering of instruction, but those who have advanced in an art
or craft over many years. [RR]



 



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



Robert Root-Bernstein [RR]



 



4) Arts and crafts education must be
continuous and sustained from childhood through maturity if it is to have an
impact STEM achievement.



Our data show that individuals with
sustained participation in arts and crafts with some degree of mastery are much
more likely to become innovative scientists and engineers than those who
participate in an art or craft for only a few years, presumably at introductory
levels (LaMore, et al., 2012; Root-Bernstein, et al., 2013). [RR]



 



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



Robert Root-Bernstein [RR]



 



5) Arts and crafts education must be widely
available and easily accessible across the socio-economic board if it is to
open STEM training and practice to historically disadvantaged groups such as
women and minorities (Lownds, et al., 2010).



 Our data (Root-Bernstein, et al., 2013) and that of Catterall
(2010) suggest that arts-and-crafts training levels the playing field for
individuals from low socio-economic backgrounds, making them much more likely
to succeed in science and engineering professions and to return the investment
society makes in them by inventing patents and founding new companies. [RR]



 



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



Robert Root-Bernstein [RR]



 



6) Arts and crafts education designed to
promote STEM education must be supported not only in schools but also through
community programs, formal and informal mentoring, arts-related business
initiatives and the out-reach programs of museums, symphonies and other public
arts institutions.



Our data show that arts and crafts
education occurs as frequently outside of school systems as in them and
therefore must be viewed as a synergistic system. Such a system of mutually
supportive organizations can provide exposure to a variety of arts in a variety
of venues as well as access to training, materials, exhibition and performance
spaces at near-professional levels for those sustaining avocational arts
interests and practice (Root-Bernstein, et al., 2013). Everyone from business
people to arts and crafts entrepreneurs and independent music and performance
teachers have a stake in this system. [RR]



 



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



Robert Root-Bernstein [RR]



 



7) Arts and crafts must be placed on a par
with language skills, mathematics and sciences in school and university
curricula because the arts train equally important skills and convey equally
important knowledge (Root-Bernstein & Root-Bernstein, 1999 and references
provided above).



          Everyone
desiring to improve our student's capacity for creativity and innovation is a
stakeholder in this change. [RR]



 



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



Robert Root-Bernstein [RR]



 



8) Arts and crafts teachers must be granted
the same status as language, mathematics and science teachers, and equivalent
amounts of time in the school day to work with their students (Root-Bernstein
& Root-Bernstein, 1999).



           
Teachers are the main stakeholders in this suggested action. Without
this change in the system, the changes in the curriculum necessary to promote
arts-assisted STEM innovations cannot be implemented. [RR]



 



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



Robert Root-Bernstein [RR]



 



9) Arts and crafts education should
emphasize the universal processes of invention in addition to the acquisition
of specific disciplinary knowledge (Root-Bernstein & Root-Bernstein, 1999).



Creative thinking partakes of both domain
general and domain specific processes involving, respectively, generative and
compositional stages of thought and action (Sternberg, et al., 2004). [RR]



 



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



Robert Root-Bernstein [RR]



 



10) Arts and crafts education should
emphasize the intuitive and imaginative skills necessary to foster invention.



The current education system tends to
confuse the means by which we communicate (languages, mathematics, pictures,
sounds, movements) with the ways in which we think and create. Creative
thinking actually begins for people in all disciplines with pre-verbal
sensations, emotions, visions, body feelings and tensions that are explored and
exploited by artists and craftspeople of all sorts (Root-Bernstein &
Root-Bernstein, 1999).  We must
teach our students how to use these emotions, feelings and sensations if we
wish to nurture their creative capacities. [RR]



 



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



Robert Root-Bernstein [RR]



 



11) Arts and crafts education should be
integrated into the general curriculum by using a common descriptive language
for creative and innovative processes.



The 13 "tools for thinking" as described by
Root-Bernstein & Root-Bernstein (1999) provide a basic vocabulary that can
be used by students, teachers and parents in an integrated and mutually
reinforcing manner. [RR]



 



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



Robert Root-Bernstein [RR]



 



12) Arts and crafts education, while
developing necessary disciplinary skills and knowledge, should emphasize the
trans-disciplinary nature of those skills and knowledge in order to promote
skill and knowledge transfer to science and engineering practices
(Root-Bernstein & Root-Bernstein, 1999).



It is a well-established pedagogical
principle that knowledge transfer is promoted by teaching students that their
knowledge CAN be transferred. Observing, for instance, can be taught in an art
or dance class and explicitly transferred for use in a biology class.
Patterning can be developed in a painting or music class and applied in a math
class. In this way arts and crafts education can be integrated into existing
educational curricula, improving them and making them more efficient
(Root-Bernstein & Root-Bernstein, 1999). [RR]



 



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



Robert Root-Bernstein [RR]



 



13) Arts and crafts education should focus
on the experiences of individuals and institutions notably bridging disciplines
as exemplars of the trans-disciplinary nature of innovation (Root-Bernstein
& Root-Bernstein, 1999).



Providing explicit examples of how
polymathic individuals such as Leonardo da Vinci have managed skill and
knowledge transfer is likely to be particularly effective. [RR]



 



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]



 



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]



 



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



Robert Root-Bernstein [RR]



 



16) Finally, there appears to be no
information about the arts and crafts experiences of legislators, school board
members, or education faculty, yet this information is necessary if we are to
address effectively the prejudices these groups currently have against arts and
crafts in education.



The National Endowment for the Arts and
private foundations supporting arts education should be encouraged to establish
research programs in this area. Informed outreach to these groups in ways that
address their particular concerns may prove critical to the effective promotion
of arts and crafts education, not only for the sake of the arts, but for the
sake of science, technology, engineering and math—and the future of our
society. [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.



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



1) Problem: Reformulating the artistic
discipline and reconceptualizing the role of the Arts in the 21st for a third
culture that doesn't exist yet where are integrated art, science and
technology.



1.1 Action: Designate an academic
transdisciplinary Committee responsible redefine discipline artistic in the
field of the Sciences of complexity as art and aesthetic complexity, developing
the nature of the object, its theoretical principles and its methodology as
well as curricular programs for upper grades that include introductions to the
history of science, philosophy of science, the scientific method, principles of
the Sciences of complexity, frontiers scientific domains,etc.



1.2 Shakeholder: educational institutions,
educators, academies, artist - scientific. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



2) Problem: The current dispersion of
knowledge that scientists artists have generated in its approach to
transdisciplinary, and, in particular, in the field of the art of complexity,
must meet somehow in a virtual centre as the basis for the advances of new
initiatives.



2.1 Action: Designate a Virtual Committee
which is responsible of reconstructing the prehistory of transdisciplinary
labour made by scientists and artists, and especially in the art of complexity,
through a specific agenda that incorporates emerging domains, lines of
research, profiles of researchers artists with a view to the creation of a
Centre of Transdisciplinary Research that should unite efforts, projects and
activities in the new direction.



2.2 Shakeholder: New organization as a
global platform SEAD or Virtual Global network or agency of new creation
consisting of science educators, scientists, and artists. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



3) Problem: Stress discipline between
science and the arts generates mistrust and lack of acceptance of artistic work
by the Community scientific or vice - versa, generally based on a mutual
ignorance of such work where new thinking is how to bridge new strategies of
interaction between the complex art and emerging fields with the sciences.



3.1 Action: Create a virtual database as
well as a  permanent virtual
curatorial space of diffusion on the explorations of borders in the
transdisciplinary artistic practice corresponding to emerging fields.



3.3 Shakeholder: New organization as a SEAD
global platform or Virtual Global network, or agency new creation integrated by
educators, scientists, research centres and artists scientists in emerging
areas, websites on the Internet. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



4) 
Problem: Characterize and define the new common transdisciplinary space
emerging fields and their leaders to connect with scientific experts and
centres of research in these fields, 
identifying opportunities for the development of transdisciplinary
collaborations.



4.1 Action: Creation of a global digital
record that incorporates emerging fields, names, lines of research, calls for
collaboration centres specialized or scientific, funds for projects, obtaining
information from databases created with the objective of bringing together the
best talent among artists and scientists in new domains.



4.2 Shakeholder: New organization as a
global platform SEAD or Virtual Global network or agency of new creation where
the members, educators, scientists, centres of scientific research and artists
can incorporate their work, opportunities for collaboration, new ideas,
activities, etc. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



5) Problem: How to stimulate not
sporadically developing transdisciplinary collaboration in established and
emerging areas from art.



5.1 Action: Create support funds that
stimulate collaboration continuously and projects opened in emerging areas.



5.2 Shakeholder: Foundations, government
agencies, universities, research centres. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



6) Problem: How to deal with the aspects
critical to the advancement of the collaboration transdisciplinary art such as
methods and tools work in dynamical systems, human-not human interaction,
viewing and recording.



6.1 Action: Create pilot projects focused
on new methodologies, development of forms of visualization and visual record.



6.2 Shakeholder: Universities, Center for
transdisciplinary research of new creation, scientific artists. [MS]



 



Complexity Art: A Pattern Of
Transdisciplinary Emergent Properties



Myriam Solar [MS]



 



7) Problem: The creation of new avenues and
its maintenance need of institutional and financial supports that do not yet
exist as the new platform of point 2.



7.1 Action: Provide the necessary
institutional and financial support focused on new organization networks.



7.2 Shakeholder: Foundations, science
academies, research centers. [MS]



 



Gender and STEM: no shift required



Deborah Tatar [DT]



 



1) Goal: To promote sewable computing
knowledge and practices in a way that will allow them to become fixtures of
childhood, and thereby to lay the groundwork for increased mastery of STEM
skills and increased participation in electrical engineering and computer
science professions for women.



Approach: Pursue a variety of deliberately
distributed activities that support widespread local ownership of sufficient
knowledge and development of local taste cultures and communities.



Stakeholders: Funders interested in
increased involvement by women in STEM careers.  These include NSF, CSTA, CRA-W, ISTE, and NCWIT. Google and
Microsoft have been known to fund education work with a CS focus.   The High-Low Tech lab at MIT,
which derives an income from the sale of sewable computing items, may also have
an interest.



Roadblocks:



i. accessing the people who might become
part of an enduring community.



ii. helping implementers refrain from
seeing the "real" purposes of sewable computing activities as teaching STEM.



iii. developing and deploying sufficiently
simple, fine-tuned computing environments and materials.



Creations of Many Minds: Contextualizing
Intellectual Property Issues Arising from Collaborations Across the Disciplines
of Science, Engineering, Arts, and Design



Robert Thill [RT]



 



1) Obstacle: Uneven knowledge of
intellectual property rights among students, educators, professionals, and
participants in cross-disciplinary collaborations in science, engineering,
arts, and design, as well as the general public.



Suggested Actions: Organizations that
develop and assess educational programs should take steps to encourage a more
comprehensive and assertive approach to intellectual property that takes into
account the varying standards and practices of science, engineering, arts, and
design.



Also, international organizations and
governments that provide educational materials about intellectual property
should carefully consider the variety of goals of specific learners, and the
diverse concerns they might have, through balanced presentations of the lawful
protections of intellectual property rights, the integration of broad and
inclusive points of reference in relation to intellectual property, and the
neutral use of the subject of intellectual property as an educational tool to
inspire creativity and discovery.



We also suggest the development of online
resources that include a free tutorial on intellectual property rights. This
could be modeled on the National Institutes of Health (NIH) Office of
Extramural Research's Protecting Human Research Participants Course, which
offers a certification at the end as proof of completion. This course draws on
historic and contemporary case studies to teach about risks in human-subject
research and how to avoid them. The proposed course would teach learners about
intellectual property and how it relates to a wide range of pursuits in a
variety of traditional and emerging contexts, including cross-disciplinary
collaborations in science, engineering, arts, and design. [RT]



 



Creations of Many Minds: Contextualizing
Intellectual Property Issues Arising from Collaborations Across the Disciplines
of Science, Engineering, Arts, and Design



Robert Thill [RT]



 



2) Obstacles: Just as artists and designers
might not very often consider working with scientists or engineers as an
option, scientists and engineers can sometimes overlook the value of
opportunities for working with artists and designers in cross-disciplinary
collaborations. Science-based organizations are frequently unprepared to
adequately accommodate such collaborations, and when they are initiated, there
can be both unnecessary conflicts related to misconceptions of artistic
research methodology on the organizations' side and a lack of understanding of
regulations, privacy, safety, and formal scientific protocol on the artists and
designers' side. All these factors can cause missed opportunities for
consistent and sustained collaborations that could otherwise be mutually
beneficial.



Suggested Actions: Science-based
organizations that plan to advance their enterprises should promote awareness
of the potential benefits of working with artists and designers in
cross-disciplinary collaborations. To support this undertaking, human resources
protocols that help ensure success should be developed. These would include
enhancing clarity regarding intellectual property, health and indemnity
insurance, public-relations benefits, and implementation of cross-disciplinary
training for all collaborators to encourage mutual understanding, respect, and
successful outcomes. [RT]



 



Creations of Many Minds: Contextualizing
Intellectual Property Issues Arising from Collaborations Across the Disciplines
of Science, Engineering, Arts, and Design



Robert Thill [RT]



 



3) Obstacles: A conflict between protection
and encouragement of developing intellectual property can arise as a result of
increased awareness of academic honesty in text-based learning, which can lead
to failing to cover technology, audio and visual subject matter, and other
forms of expression adequately. A focus that is too narrow can mislead learners
and narrow knowledge acquisition. A broader approach can create unexpected
relationships and heighten distinctions between plagiarism, inspiration, fair
use, authorship, and inventorship in intellectual property and in relation to
rights and responsibilities among students, educators, and participants in
collaborations in science, engineering, arts, and design, as well as the
general public.



Suggested Actions:  Those who are developing intellectual
property policies in government, private-sector, and university contexts should
identify and integrate linkages that make it possible for science, engineering,
arts, and design to be more closely aligned, so as to avoid conflict and
exploit opportunities. This would help initiate conversations across
disciplines, stimulate a cross-pollination of ideas, necessarily establish
cross-disciplinary relationships, and begin to reveal commonalities and unique
expertise while establishing more credibility and respect across disciplines.



Local and international governmental
copyright and patent agencies should coordinate more actively and develop
materials that speak to a range of topics and users' needs that overlap with
citation conventions, taking into account not only aspects of property rights
and academic honesty, but also proper credits, acknowledgements, and fair use.
[RT]



 



Creations of Many Minds: Contextualizing
Intellectual Property Issues Arising from Collaborations Across the Disciplines
of Science, Engineering, Arts, and Design



Robert Thill [RT]



 



4) Obstacle: Misunderstandings based on
different ways of acknowledging authorship and credit in cross-disciplinary
collaborations in science, engineering, arts, and design.



Suggested Action: Scientists, engineers,
artists, and designers should enter into cross-disciplinary collaborations with
an expectation of unique differences, and develop strategies to keep the focus
on the collaboration and the learning experience. Participants should be
sensitive to contexts and existing cultures, with special care when being
primarily accommodated in a cross-disciplinary collaboration. Further,
participants in cross-disciplinary collaborations of amateur practitioners with
professional scientists, engineers, artists, and designers would be wise not only
to share their intellectual property experiences and practices, but also to be
perceptive about the impact of doing so, in order not to inadvertently impose
their conventions without a clear understanding of their influence and impact
on their collaborators' culture. From another perspective, if involved in a
cross-disciplinary environment that has prescribed intellectual property
conventions, artists and scientists should be able to adapt to circumstances,
while also being generous in sharing their own experiences. Cross-disciplinary
collaboration calls for flexibility, trust, and respect for the wide range of
practices used in acknowledging authorship and credit, along with openness and
receptivity to the challenges they might pose to one's values. [RT]



 



Sauti Ya Wakulima: Using Mobile Phones To
Make The Voices Of Rural Farmers In Tanzania Heard



Eugenio Tisselli [ET]



 



1) Consider farmers as generators of
knowledge. The design of most e-agriculture projects currently being developed
does not encourage the integration of local farmer-held knowledge into a larger
body of agricultural knowledge. This may affect farmers in a negative way by
eroding their own systems of knowledge and traditional social structures.
Agriculture is a complex field that requires much more than technical
expertise. Thus, e-agriculture initiatives can be made more effective by
embracing holistic values that also include social elements and traditional
knowledge. [ET]



 



Sauti Ya Wakulima: Using Mobile Phones To
Make The Voices Of Rural Farmers In Tanzania Heard



Eugenio Tisselli [ET]



 



2) Fully exploit the interactive capacity
of mobile media. Most e-agriculture initiatives do not contemplate a
multi-directional model of communication, in which every node of the network
can be both a consumer and producer of information. Generally, expert
information is made accessible to farmers who, only in some cases, are allowed
to get replies for specific questions. However, mobile networked communications
media have the potential to break this hierarchical mode of transmission, and
engage all involved parties in more equal terms. [ET]



 



Sauti Ya Wakulima: Using Mobile Phones To
Make The Voices Of Rural Farmers In Tanzania Heard



Eugenio Tisselli [ET]



 



3) Deploy highly experimental and
innovative e-agriculture projects as small-scale initiatives. One of the key
concerns in e-agriculture is the usage of so-called "realistic" technologies,
meaning that high-end platforms such as smartphones or data networks should be
avoided, because they are not available to the majority of farmers. Despite the
fact that robust and reliable digital networks are still largely missing in
Tanzania and other countries, and that the cost of devices and data connections
can be prohibitive for most farmers, projects such as Sauti ya wakulima aim to
explore new possibilities through the innovative and experimental usage of
these relatively sophisticated tools. In contrast with other e-agriculture
projects, which seek to impact large numbers of people, Sauti ya wakulima has
engaged a small group of very focused farmers willing to test new
communications technologies. [ET]



 



Sauti Ya Wakulima: Using Mobile Phones To
Make The Voices Of Rural Farmers In Tanzania Heard



Eugenio Tisselli [ET]



 



4) Encourage the appropriation of media
tools and scientific research goals. As we have argued, the appropriation of
communications media by a community can lead to its empowerment. Therefore,
farmers should be encouraged to not only become users of mobile networks, but
also to reshape their usage to best suit their needs. This effort requires
adequate training and the design of platforms which embrace open-source values.
As a parallel action, we suggest that research projects be designed in ways
which allow farmers to lead their goals and share their outcomes together with
scientists. [ET]



 



Sauti Ya Wakulima: Using Mobile Phones To
Make The Voices Of Rural Farmers In Tanzania Heard



Eugenio Tisselli [ET]



 



5) Technical difficulties.



We encountered a number of technical
problems. On two different occasions, we had to replace a phone which had
stopped working because of extreme weather and environmental conditions. The
phone cameras do not focus on macro level and so details of insects and fungus
were lost. However, the most important limitations of Sauti ya wakulima are
achieving a stable financial sustainability and devising a scheme to scale up
the project in order to involve other groups of farmers. [ET]



 



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]



 



1) Challenge 1: Pre-service teacher
education does not include interdisciplinary examples of multi-modal curriculum
with learner dominant connections. (Stakeholders: University administrators,
university faculty)



Suggested Action: Programs must be promoted
at the university level to encourage tenure and promotion guidelines to encourage
collaborative cross-curricular partnerships.  Administrators must be willing to make promotion and tenure
guidelines include such cross-curricular partnerships to encourage educators
across the university to collaborate. In turn, the artists, designers,
humanities, scientists and educators at this level can be encouraged and
rewarded for efforts to design new ways of addressing interdisciplinary
studies. [CW]



 



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



Cynthia L. Wagoner [CW]



 



2) Challenge Two: In-service training is
sporadic at best and leaves teachers to implement new ideas without help.
(Stakeholders: K-12 Administrators and school teachers)



Suggested Action:  In-service training for teachers generally starts at an
administrative level, as school administrators are frequently in charge of both
in-service workshops.  As such,
administrators are in need of in-service workshops to focus on their role in
selecting pedagogical ideas that might encourage change within their school's
classrooms.  In-service efforts
must begin with the administration at the same time as teachers and continue as
a partnership effort to effect change. 
In-service connections to the university should be forged as per
challenge one. [CW]



 



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



Cynthia L. Wagoner [CW]



 



3) Challenge Three: Without a paradigm
shift, collaborative teaching for integrated multi-modal inquiry-based learning
is lost. (Stakeholders: University faculty, K-12 administrators and faculty,
Pre-service teachers.)



Suggested Action: Schools of Education and
Arts Educators must support the suggested actions of the first two challenges
by modeling collaborative teaching, encouraging collaborative teaching, and
assisting in finding the ways collaborative teaching can exist within the brick
and mortar of the public schools with administration.  A dialogue between administrators, teachers, and higher
education specialists needs to begin on rethinking the silo mentality as it has
seeped into the public school system. [CW]



 



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]



 



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



Annie Wan [AW]



 



4) Scholarships and financial aid schemes
for undergraduate students, graduate students, artists and scientists to study
aboard. [AW]



 



Learning across Cultures



Roy Williams [RW]



 



1) Action 1: Develop, and Communicate the
Value of, SEAD Curricula



Barrier:  SEAD curricula include disciplines which are creative and
innovative, as well as insights and which are applied across cultures and
disciplines. However, in the UK in particular, the Higher Education sector has
demanded more predictability and more micro-management. So there are few
opportunities to develop and use innovative SEAD curricula. 



Target: First and foremost: practitioners,
designers and participants in SEAD learning.  They have the most at stake.  Secondarily, administrators and policy makers.



Solution: Tools for Designing and
Describing SEAD Curricula



Suggested Actions: Identify and develop
frameworks and graphic formats and tools for designing, describing and
communicating the value of SEAD curricula. Many of these will include emergent
learning.   The 'Footprints of
Emergence' is one framework and 'toolset' which has specifically been developed
with emergent learning in mind. It should be tested on a wider scale, and
developed further.  Others need to
be explored too. [RW]



 



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]



 



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]



 



 



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]



 



 



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]



 



(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]



 



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]



 



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]



 



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]



 



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]



 



3) Suggested Action #3: Developing
curricula spanning multiple grade levels.



Barrier: Knowledgeable curriculum
developers may be few and far between. A related barrier is preventing the
unintended consequence of institutionalizing computer programming as a
mandatory subject. Just as Processing is 'open'-source, school administrators
should be 'open'-minded when implementing such courses/programs. The only
prerequisite should be the desire to learn a programming language.



Stake Holders: School administrators,
teachers, curriculum developers, private grant foundations, Educational
Departments



Suggested Actions: Instead of local
districts being burdened with the task of developing their own curricula
districts should utilize world resources. Agencies such as NASA and the NSF,
along with private donor organizations, should take active roles in such
development efforts.



Teaching Processing would allow those
interested in robotics to learn the mechanics of motion/control using Arduino
hardware. Those interested in the performing arts could expand their horizons
by using Processing to interface with the Kinect camera for interactive
performance utilizing music and/or other devices. To minimize costs, the use of
textbooks should be minimized or possibly eliminated ”" internet resources are
abundant and should be maximized to the fullest extent. Programs such as those
being implemented in Estonia should be followed closely.



Opportunities: Networking with other
like-minded individuals/organizations around the world would be very rewarding
for all involved. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



4) Suggested Action #4: Providing each
student with access to a computer for programming.



Barrier: Many school systems do not have
the monetary resources to provide individual access to a computer for
programing purposes.



Stake Holders: School administrators,
private grant foundations, parents, community groups, corporations



Suggested Actions: Many students have their
own computers that have plenty of 'computer power' for programming purposes.
Students who have their own computers should be encouraged to use them. Also,
many companies upgrade their computer networks periodically and dispose of
their computers en mass ”" companies should be encouraged to donate their used
computers to their local school districts. Computers used for programming need
not be connected to the internet permanently so the need for more net-working
expertise would be minimal. Grants from private foundations should be sought.



Opportunities: Community involvement of
parents, students, administrators, teachers and businesses would create a more
caring community. [RB]



 



Using 'Processing' As A Stimulus For
Producing Steam



Ron Brown [RB]



 



Barrier: Small independent schools lack
funds for such 'esoteric' courses/programs and would only be able to offer one
if one of their limited staff had the skills/knowledge to teach the course.
When I asked about teaching another 'Programming with Processing' course the
following semester I was told that there was no funding available. I am quite
sure that, had the school had adequate funds, I would have been able to offer
the course again.



Stake Holders: Independent schools,
parents, students, teachers, private grant foundations, corporations



Suggested Actions: Parents who send their
children to private/independent schools, or, those that choose to home school,
still pay federal and state taxes targeted toward educational programs ”" there
is no reason their child should not have the same opportunity to share in STEM
to STEAM endeavors as those attending public schools. Because of the current
economic downturn it would be worthwhile for all school environments to share
their expertise/resources with others.



Opportunities: Acts of kindness lead to
acts of kindness. And, it's the right thing to do for our children and our
future. [RB]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



1) Media in Asia: Media in Asia has a huge
role to play in creating awareness amongst scientists, artists and general
public about the benefits of science art interactions. Promoting aggressively
these interactions in the region by the media is highly recommended to make the
people in Asia consider, accept, follow and reap the benefits they bring. If
some people start creating science-art in this region, the mimetic desire
catches up with others too if they come to know about it and they too start
doing it! If somebody values it, others too start valuing it [90,91]



. And it's pretty easy to transmit the
value and use it positively. This is happening in the West right now, as
several artists and scientists there are into science art. Why, I even think
this mimetic desire was responsible for the overwhelming response got for the
call given by the Leonardo network for submitting the white papers!



Using the influence of the number of
cumulative adoptions ”" the number of people who already did science art or
bought sci-art will have on the probability that there would be a new adoption
of sci-art in that area as the phenomena are contagious ”" to promote science
based art both for creating and marketing it [94]



 can only be done with the help of media. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



 2) Artists: (a) Scientists take cues from the art world ”"
especially from the artists during the collaborative work ”" while deciding what
art part of their sci-art work should be like. Therefore providing the right
values and standards of art to the scientists by the artists is important for
the scientists to properly co-relate science and art to create good science
related art. (b) Artists should develop deep interest and jump on the bandwagon
of sci-art with creative work instead of trying to just cling to it by changing
the names from landscape art to geo-art and wild life art to eco-art![96]



 They should also stop doing 'sensational stuff' and
concentrate on real 'developmental work'. (c) Instead of complaining that the
world of science is trying to exploit them through collaborations [97]



, artists should use their creativity to do
"marketable sci-art" and not just 'science-illustration type of work' so that
the collaborations can benefit them too. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



3). Art critics: There are various
categories in science related art [98]



. Critics should first learn all about
them, try to distinguish one from the other and judge the works accordingly.
They should not criticize sci-art works using the parameters of 'standard art'
which would severely demoralize the artists who are trying to venture into the
world of science. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



4) Scientists: Scientists should not try to
take science-illustrations, lab specimens and models directly into art
galleries without first turning them into 'art' pieces because this is
attracting severe criticism from art critics and curators [99]



. Science can be brought into the domain of
art only after co-relating both the subjects. Science and art are like oil and
water and you need special skills to mix them. If scientists don't develop
these skills they will fail to do justice to their subject and worse of it all
they will have to face the music from the art critics and refusal from the art
world like it is happening in several parts of the world. People of science
should also convince the art world that they would take the artistic values and
standards seriously and try to protect them while creating science based art.
Scientists should concentrate more on inventing innovative art science based
technologies to help societies in developing countries. Mere creation of
science based art doesn't suit present day conditions and the developing world
[101]



. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



5) Educators: Science art interactions
cannot survive for long in a confused and unorganized state. There should be a
methodical and knowledgeable atmosphere for it to grow and flourish. Educators
must help in creating such an atmosphere. 
Educators can also help by starting useful and viable courses on the 'creation
of science related art' and art science related technologies. [KC]



 



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]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



7) Scientific organizations/ organizers of
international science conferences/symposiums: Scientific organizations in Asia
should include science-art exhibitions and talks on benefits of science”"art
interactions in their itinerary to promote it along with traditional art. In
order to do this they should have healthy deals with the cultural bodies. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



8) Organizers of Art and science shows,
fairs, Biennials should encourage sci-artists from the developing countries by
giving concessions and fee waivers to them. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



9) Funding agencies: If the amount of money
available is very less, funding bodies can still provide money to science
artists and get it back too! This is how it is possible: They should collect
works from the artists after providing assistance to create marketable science
based art, sell the works and get their money back. Trade ”" not 'only aid' ”"
helps in creating good quality work. This also helps both in the promotion of
and creating market for this form of art. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



 



Krishna Kumari Challa (KC]



 



10) People who are venturing into
science-art : (a) In their eagerness to promote science-art interactions,
people are trying to equate science with art which is not correct according to
several critics who are averse to the idea of these interactions ”" alienating
these skeptics more. This is not the right way to develop science-art
interactions.  Science and art are
separate subjects[100]



 and we need different ways to deal with each one. The
processes of scientific thinking and artistic thinking resemble each other at
basic levels where the lines are somewhat blurred but go their distinguished
ways as you proceed further. If the approaches are similar, science and art
would have evolved into a single subject and wouldn't have become two special
subjects they are. We must realize we can only bring these two subjects and
people working in them together, build bridges, learn from each others
knowledge and reap all the benefits the interactions bring. Any other approach
will give more ammunition to the critics of these interactions. (b) Clarity is
needed with regard to the direction science-art and science based art movement
(if it is one) should take in the future. Do we want to integrate this form of
art with the mainstream art or do we want to keep it as a separate entity? If
we want to integrate our work with the main stream art, we should be able to
convince the art world about the artistic values and the significance of our
work. If we want to keep it as a separate entity using it only as a
communication tool, artists may lose their interest very soon and science-art
will have to limit itself to science-illustration, lab models and technology
assisted art which may stunt its growth severely. Science-art interactions
should be able to facilitate real progress of the human kind. (c) Both
scientists and artists should check the parameters especially- the depths-
fully before venturing into each others' fields. Balancing science and art is
very important in science based art without compromising science communication
and artistic values which should be acceptable to both the communities as the
right approach. [KC]



 



Science-Art Interactions In Asia With
Particular Reference To India



(KC]



 



11) International bodies working in the
sphere of sci-art: International bodies can help (1) by creating a market for
science-art (there is scope for sci-art market promotion with regard to
museums, educational institutions, scientific institutions and auction houses;
one can even sell appropriate work to private collectors too like I do;
auctioneers can be requested to consider sci-art too), (2) by rewarding the
sci-artists with  prizes for
creating good sci-art and new technologies especially in regions like Asia,
international bodies can generate interest in science among the art communities  here, (3) by arranging large scale collaborations
between art-science bodies from the most happening parts of the world and the
scientific and artistic ones in Asia (they should not forget to advertise
vigorously about these collaborative projects so that everybody in this region
comes to know about them), (4) by thoroughly encouraging people and the bodies
who are daring to venture into this arena in Asia despite all the odds, and
promoting the work done here by mentioning it in their articles/books/talks
etc. (for this to happen the international bodies should treat the sci-artists
in Asia as only collaborators and not as competitors ”" how can the latter group
compete with the former one anyway?!) (5) by asking  prominent and well established art science bodies to erase
the indifferent attitude towards the less developed science-art interaction
areas,(6) by helping in developing funding mechanisms that can come to the aid
of  the people who are dealing with
science-art interactions in Asia, (7) by organizing science-art specific global
shows and fairs in Asia, (8) by promoting development-oriented sci-art projects
in Asia, (9) by creating a true international body representing all the
countries to oversee all these activities [95]



. [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]



 



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]



 



) Obstacle #5:  Many professionals are not exposed to trans-disciplinary
practices until later in their careers. 



Suggested Action:  Place calls for STUDENTS and EDUCATORS to attend
transcontinental residency, conferences, and programs.  Encourage a core SEAD curriculum in
secondary tier education.  [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]



 



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



Josie E. Davis [JED]



 



7) Obstacle #8:  Building and sustaining trust is a difficult task and can
make or break a collaboration.



Suggested Action:  That SEAD professionals and additional STUDENTS, EDUCATORS,
and ADMINISTRATORS IN EDUCATIONAL INSTITUTIONS review associated methods for
building trust in a collaborative environment with particular attention paid to
integrity, internal confidence, and fairness. [JED]



 



From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity



Jean Delsaux [JD]



 



1) Suggested action 1



Universities should open sections devoted
to the transdisciplinary training organizing a link between the artistic
culture, humanities, and scientific and technological culture. The so trained
students could then perform the synthesis betwween the modusses operandi,
different cultures and thus enable a cultural confrontation.



The purpose is not to train absolutely only
people able to be performative in both fields but people who specialise
themselves in a discipline and are able to collaborate with other specialists.



These sections have of course to be
provided with spaces (workshops) and technical equipment, technical support and
maintainance, artistic and scientific environment.



The second phase of our experiment, which
involved artists aware of digital technologies and scientific culture, reached
also a difficulty : one person cannot master the complete set of abilities and
knowledges required in an art process concerned by science and techniques.



The various projects we developed involved
the participation of various participants, each one mastering a particuliar
know how.



The problem then was to be able to build
the appropriate crew for the concerned project. [JD]



 



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]



 



From Workshop To Academic Laboratory, An
Artistic Experience Of Transdisciplinarity



Jean Delsaux [JD]



 



6) Suggested action 6



Organize meetings, seminars involving major
or local industrials, in order to developp with the support of ministry, local
administration, chamber of commerce, the commitments of the industrial and
financial sectors to transdisciplinary projects.



In these sessions, each participant
(provider, scientist, artist, engineer”) could propose his own research
project. Then these projects, specificaly defined by a person, would be in turn
rephrased by others. So within this appropriation logic, the exchange could
really begin. [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]



 



2) Action #2: exchange of experience



To encourage the exchange of professors and
students to participate in interdisciplinary experiences in different
countries. It is clear that it is easier among European countries using the
program ERASMUS, more complicated between Europe and non-European states for
obvious reasons of cost. In the website an essential part must be dedicated to
all possible opportunities of exchange of professors and students. [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]



 



1) Suggested Action #1:  Networking and VisibilityTo date, no comprehensive
inventory or study of cross-disciplinary course curriculum has been
conducted.  The current website
invites contributions in order to expand the listings.  A call for courses can be initiated
through the College Art Association (http://www.collegeart.org/) and other
networking organizations in the arts and sciences such as the Art & Science
Collaborations, Inc.(http://www.asci.org/).  In order to attract submissions from Europe, international
organizations like YASMIN (http://www2.media.uoa.gr/yasmin/) could be
contacted.  A new call for courses
should be initiated through SEAD (Network for Sciences, Engineering, Arts and
Design, http://sead.viz.tamu.edu/). 
A proper and extensive survey of such curriculum would encourage faculty
members in art and science disciplines to offer such courses and collaborate
with other faculty in complementary areas.



Barrier:  Cross-disciplinary art-science-humanities instructors are
isolated and often work with no knowledge of best practices, other instructors
and courses, and possible collaborations.



Target:  Instructors of cross-disciplinary curricula



Solution:  Networking and Visibility



Suggested actions:  A dedicated website, designed to assist
instructors with information about other curricula, including a cloud-based
syllabi resource, a blog for communication, links to best practices in
interdisciplinary curriculum; and announcements of international conferences in
art-science-humanities efforts and conferences. The CDASH website could be
expanded to include these areas. 
This could lead to heightened presence of the website in academic
journals and websites. [KE]



 



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



Kathryn Evans [KE]



 



2) Suggested Action #2:  Geographical Study of
Cross-Disciplinary Art-Science-Humanities Curricula



While many "art-science" papers and studies
call for "big" solutions, the "small" solution of art-science-humanities
cross-disciplinary coursework at the undergraduate and graduate level could be
an important part of a student's education, creating a generation of artists
and scientists that will see these collaborations as natural and necessary.
Students already live in a highly technological world where they move seamlessly
across science, technology and the arts and humanities.  However, we have not yet used current
available technology to study where these courses are being offered and in what
context.  A study of "informal"
art-science-humanities education, with an emphasis on community engagement
would add to the overall knowledge of current offerings.



Barrier:  Lack of information about where art-science-humanities
cross-disciplinary curriculum are currently being offered and their impact on
the educational environment



Target:  Instructors, administrators and funding agencies for higher
education



Solution:  Asset mapping efforts of art-science-humanities
cross-disciplinary courses and workshops, both formal and informal



Suggestion actions:  An international study that uses asset
mapping tools as a way of defining the current "state-of-the-state" and
identify geographical nodes and centers of learning.  This could include both formal, for-credit courses, on-line
educational sites and local informal courses. [KE]



 



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'.



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



1)Stakeholders: Educational Institutions
(at all levels including K-12), Agencies promoting computing education (Bill
and Melinda Gates Foundation, National Science Foundation).



Opportunity:  Learning computing concepts



Challenge: To teach computing, which has
been identified as a national priority given the emphasis in STEM.



Suggested Action: Study the employment of
games and game engines for teaching basic concepts in computing such as
iteration, branching, recursion, and object orientation. By using games, we are
leveraging popular game culture, which is common in the "millennial" population
who grew up with console and mobile games. Often the learning of computing
within games involves new representational forms for computing concepts. One
approach has been explored by Fishwick (University of Texas at Dallas) in a
field he pioneered called aesthetic computing. The aspect of this field related
to computing in game experiences is called virtual analog computing (ref.
http://www.utdallas.edu/atec/docs/virtual-analog-computing.pdf). The use of
games naturally leads to interdisciplinary skills required to develop game
environments, including areas within the arts and humanities as well as STEM
subjects—a manifold direction captured by the STEAM initiative. [PF]



 



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



2) Stakeholders: Educational Institutions
(at all levels including K-12). Agencies promoting interdisciplinary and
trandisciplinary activities (National Science Foundation).



Opportunity: Bridging diverse disciplines.



Challenge: To provide an approach to bridge
science and engineering (STEM) with the arts and humanities (i.e., STEAM
emphasis).



Suggested Action: Use games as shared
virtual infrastructures in which to combine, integrate, and connect different
disciplines across the academy from the arts and humanities to science and
engineering. Often, disciplines involve research in topics that are distinct
and separated from other areas; however, as illustrated by the multi-decade
successes of the cinematic special effects and  computer gaming industries, teams based on diverse talents
and knowledge areas can work effectively together. Some game environments,
especially those that are multi-user shared spaces, can be catalysts for this
convergence, and a promotion of the STEAM concept. For example, computer
scientists can work on algorithms and automation, humanists can identify and
create narratives and critiques, and artists can create new sensory
experiences. [PF]



 



Learning Computing Through Game Experiences



P. Fishwick [PF]



 



3) Stakeholders: National Science
Foundation.



Opportunity: Enhanced study of the embodied
mind.



Challenge: To leverage the UT Dallas
transdiciplinary ATEC center hub, and its new 160,000 sq. ft. space to better
understand the relevance of the body to areas of cognition such as language in
general, and formal languages (such as those in computing such as data and
code), specifically.



Suggested Action: Through the use of
experiments and formal methods in social and behavioral science, strengthen
current knowledge for embodied cognition (Varela et al. 1992) and "simulation"
theories of cognition. To what extent do metaphors involving gestures and body
sensations (movement, orientation, tactile sensation, sound) embed themselves
in the artificial artifacts found in computing? What are the thought processes
underlying modular coding, conditional branching, and understanding of
large-scale, complex, data structures? To answer these questions will require
scientifically grounded research and human subjects. Where embodiment does play
a role in cognition connected with these software artifacts, new forms of
representation will be required to leverage, and capitalize upon, the
embodiment hypotheses. Game environments provide an excellent breeding ground
for the human subject experiments as well as constructing the highly sensory
embodied experiences. [PF]



 



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]



 



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]



 



1) Opportunity to develop:
Cross-disciplinary encounters in an art-science doctoral program 



a) Stakeholders: Universities, Art schools



b) Suggested actions: Promote encounters
between students of different disciplines by registering them in a single
art-science doctoral program that can accept both artist and scientist
students. Organize events for hands-on/minds-on activities involving these two
types of students simultaneously. Promote interactions between supervisors in
art and-science PhDs by encouraging shared supervision. [CJ]



 



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]



 



4) Opportunity to develop: New public uses
around art-science activities



a) Stakeholders: Museums, Universities, Art
Schools, Culture centers



b) Suggested actions: Presenting
art-science productions to a wide audience can offer a new vision of science to
the public and improve the attractiveness of scientific curricula. Art-science
productions can be employed to propose and develop new and unique uses by
public of recent technoscientific advances. [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]



 



8) Obstacle: There are many asymmetries in
art science collaborations. Artists and Designers are Often Treated as Second
Class Participants in Art-Science Collaborations



a. Stakeholders: Art-Science Institutions,
Participants in Art Science Collaborations



b. Suggested Action: Artists in art-science
collaborations should be hosted and compensated in equivalent conditions to
those that scientists have (for instance in sabbatical years, or in scientific
collaborations).



c. Suggested Action: Art Science
Institutions should seek to weaken asymmetries that interfere with productive
collaboration. One mechanism is to have both scientists in residence and
artists in residence in the same context and in similar propositions so neither
are a small minority. [CJ]



 



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



Christian Jacquemin [CJ]



 



9) Obstacle: There are no established
accepted criteria for evaluating Art-Science Collaborations.



a. Stakeholders: Funding Agencies, Artist
and Scientists in ArtScience Collaborations



b. Suggested Action: There should be a
concerted effort by all those involved in art science collaborations to develop
rigorous ways of evaluating art science collaborations keeping in mind that
different stakeholders may have differing criteria (eg the filing of patents
and protection of IP is important to research engineers, while public audience
numbers are important to performing artists). [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]



 



13) Obstacle: In academic careers,
art-science collaborations are difficult to valorize (and also to disseminate
in the scientific community). In artistic careers, scientific collaborations
are not necessarily considered as positive



a) Stakeholders: Universities, Scientists
in charge of evaluation, Funding Agencies, Art institutions, Art critiques



b) Suggested action in science: Take into
consideration a wider variety of dissemination vectors than A-ranked journals
or international peer-reviewed conferences:  exhibitions in art galleries, art fairs, or museums,
non-academic publications (public outreach, art books), live performances in
well-renown festivals, etc. Promote art-science curricula for students or
cross-disciplinary courses between Engineering Sciences and Humanities.



c) Suggested action in art: Take into
consideration the capacity of artists to collaborate with scientists for a
better promotion of their work, not through corporate funding or sponsoring,
but through the presentation of the unique features of the collaboration
together with the artwork. [CJ]



 



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



Christian Jacquemin [CJ]



 



14) Obstacle: it is very difficult to
achieve a good art-science collaboration without an infrastructure that
supports it



a) Stakeholders: Universities, Museums,
Municipalities, Mediatheques...



b) Suggested action: Set-up program for
art-science residencies by providing institutions with funding for artists and
scientists. Arrange a place for hosting these residencies: a private housing
for families and work places such as black boxes, workshops, or specific places
inside a laboratory. [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]



 



3) Establishing a platform that foster
linkages between various stakeholders of school education



It is important to develop mechanisms,
systems and procedures within a university system that will bring together
multiple stakeholders of education to a common forum in supporting school
education. One of the ways to achieve this is establishing school resource
centres, with supported libraries, at university centres. This will also be a
space that coordinates various activities for teachers and children, where
teachers can come together to design teaching-learning materials, can access
updates on research in education to inform their practices, share knowledge and
experiences of classroom teaching and emerge as a community of practitioners.
Such centres will design, exhibit and hold exemplary teaching-learning
materials and expertise on curricular research. In addition to the above, one
of the aims of this program is coordinating summer workshops, monthly programs
and vacation internship programs for school children in research institutes
with the help of PhD student volunteers to communicate and introduce children
to the practices of knowledge creation and culture of research. Such programs
for schools and children can be coordinated and conducted on a regular basis by
such school resource centres. [AJ]



 



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]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



6) For private sector



Leveraging Private Partnerships



There are multiple stakeholders who share
the responsibility of children's school education, including the private
sector. It is important to facilitate a systematic cooperation between school
systems and the private sector. One of the proposals towards this is
encouraging the private sector companies to adopt schools as part of their
corporate social responsibility not only to bring about infrastructure changes;
but also supporting curricular improvement and intervention programs. [AJ]



 



Mapping Space: Introducing Geographical
Information Systems In Indian School Classrooms



Anu Joy [AJ]



 



7) For Universities and Researchers



Fostering a climate of curricular research
and innovation in India



Incorporating a program of innovative
curricular and pedagogic interventions in Indian schools requires advancing
avenues for educational research and empowering the role of teacher as a
researcher and a guide to children in the classroom. What is needed is a
curricular and pedagogic framework developed on the basis of research, that
equips the child to acquire meaningful understanding of disciplinary concepts,
thinking and skills. The prerequisite for incorporating GIS, digital
technologies and innovative pedagogic programs into Indian school education is
establishing the right kind of institutions, expertise and positions in
university systems for conceptualizing, designing and implementing curricular
projects in schools.



Currently we recognize a major gap in these
areas and see our work as providing a beginning towards this. [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]



 



Artistic Research Collaboratives in
Science, Engineering and Technology (ARCiSET)



Kanta Kochhar-Lindgren [KK]



 



1) A set of think tanks, or
cross-disciplinary research laboratories, housed in a range of US academic
institutions that focus on the development of science-art research in the
context of international collaborations across geographical sites. (The more
ideal approach would be to create the think tanks as an international
partnership between 2-3 institutions of higher education.)



The primary relevant stakeholders are
university administrators (with related community partners) with a vested
interest in new program and curricular development that can take the arts and
sciences to its next stage.



The obstacle is the lack of both
understanding of the potential and the buy-in for investing in new directions
in the science-arts in terms of university-community collaborations in an
international context.



The second obstacle is the lack of a
language or vocabulary and related set of practices that works across
locations.



Co-development of new science-art research
can lead to the building of common cause around this type of work. [KK]



 



Artistic Research Collaboratives in
Science, Engineering and Technology (ARCiSET)



Kanta Kochhar-Lindgren [KK]



 



2) The advocacy for new funding
opportunities with the NSF and various Foundations already committed to
interdisciplinary work in the sciences, engineering, and technology but with,
currently underserved focus on the role that the arts and culture can play in
finding new solutions to the problems that currently face us in a global
context.



The relevant stakeholders are the funders
as they gain new information about what can be done with their available funds
in ways that reaches a larger population.



The obstacle is lack of innovation in
funding opportunities. [KK]



 



     



How I Became An Art[Scient]



Ist: A Tale Of Paradisciplinarity



François-Joseph Lapointe [FL]



 



1) Suggested action # 1: Define novel
metrics for artscience contributions



Barriers: The quantitative metrics of
scientific research are quite different from the qualitative metric of artistic
creativity.



Benefits: Develop objective measures of
success for artscience projects (interdisciplinary or paradisciplinary).



Stakeholders: Funding agencies; University
administrators.



Actions: Find similarities and differences
in the metrics used by different funding agencies to determine the performance
of scientists/artists. Develop hybrid measures that take into account
significant contributions to both fields at once, not just the sum of
scientific and artistic contributions taken separately. This may help funding
agencies and university administrators making decisions in the evaluation of
artscience projects. [FL]



 



How I Became An Art[Scient]



Ist: A Tale Of Paradisciplinarity



François-Joseph Lapointe [FL]



 



2) Suggested action #2: Assess the relative
performance of artscience curricula



Barriers: Impossible to compare different
curricula, and assess when is the best time to learn artscience (high school
level, undergraduate level, graduate level).



Benefits: Determine if it is best to learn
how to do science before making art, how to make art before doing science, or
learning both at the same time.



Stakeholders: University administrators.



Actions: Interdisciplinary curricula
already focus on training individuals in the arts and the sciences. It is not
clear that learning artscience in a simultaneous fashion is better than
learning art and science (or science and art) in a successive (and cumulative)
curriculum. Using the metrics defined in action #1, the relative success of
art[scient]



ists trained using different scenarios will
be compared. [FL]



 



How I Became An Art[Scient]



Ist: A Tale Of Paradisciplinarity



François-Joseph Lapointe [FL]



 



3) Suggested action #3: Advocate the role
of mediators in artscience



Barriers: artistic mediators have no formal
training in science; scientific mediators have no formal training in art.



Benefits: Create a new type of bicultural
mediators for artscience practices.



Stakeholders: Funding agencies; Art
institutions: Administrators; Artscience journals.



Actions: The paradisciplinary training of
art[scient]



ists will produce a new type of mediator
for artscience projects. It is suggested to engage such intercessors in every
project involving a group of artists and scientists working together. These
mediators may also sit on search committees for joint artscience positions, on
editorial boards of artscience journals, on the jury of artscience exhibitions,
on review committees of funding agencies, as well as on the board of art
institutions (galleries, museums). [FL]



 



How I Became An Art[Scient]



Ist: A Tale Of Paradisciplinarity



François-Joseph Lapointe [FL]



 



4) Suggested action #4: Promote
experimentation as a common tool for artscience practice



Barriers: artists have no (or little)
experimental training in scientific methods; scientists have no experimental
(or little) training in artistic practices.



Benefits: Enhance the knowledge of
artscience experimentation in a large fraction of the population; improve the
general public understanding of art and science.



Stakeholders: Instructors of art for
scientists; Instructors of science for artists.



Actions: New courses should be added to
science (respectively art) curricula to foster paradisciplinary training of art
(respectively science). *I personally was interested in dance while taking a
contemporary dance class for non-dancers; that lead me to doing a PhD in
dance*. Science classes for non-scientists and art classes for non-artists
should focus on the experimental process of making science and art, not only
the theoretical aspects; that is, train artists to design and make scientific
experiments; conversely, train scientist to experiment with some artistic
media. [FL]



 



How I Became An Art[Scient]



Ist: A Tale Of Paradisciplinarity



François-Joseph Lapointe [FL]



 



5) Suggested action #5: Create residence
for scientists in art institutions



Barriers: Lack of funding sources; lack of
interest.



Benefits: Better understanding of the art
world by the scientists; better understanding of science by the art
institutions.



Stakeholders: Art institutions; Art funding
agencies.



Actions: There are quite a few programs
already in place to host artists in scientific labs (e.g. Symbiotica), but
fewer options are currently available for scientists. Funding agencies should
create specific "scientist-in-residence" programs to promote artscience integration.
Art institutions should be more open to hosting scientists for developing
long-term relationships between art and science. [FL]



 



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]



 



Towards A Taxonomy Of The Challenges Within
Typologies Of Collaborations Between Art ”" Design ”" Engineering ”" Science ”"
Humanities ”" A Practical Guide



Jennifer Nikolov(a) [JN]



 



1) Create a comprehensive practical guide
that builds towards a taxonomy of the challenges within typologies of
collaborations between Art - Design - Engineering - Science ”" Humanities
starting from and adding to the issues touched upon in this paper in order to
facilitate successful collaboration: 
Motivations, Method and Methodology, Knowledge Transfer and
Dissemination, Definitions and Generalizations, Types of Collaborators and
Collaborations. Dealing with issues such as structure, location, funding,
planning, communication, commitment, time, ethics and attitudes.



Obstacle/opportunity: centralized practical
knowledge about multi-, inter, and trans- disciplinary  collaboration, in particular with Art -
Design - Engineering - Science ”" Humanities collaborations, is insufficiently
documented and or collected. Many individual projects have made reports of
their findings. This is an opportunity to create a collection of guidelines
that in a low threshold practical formation, may function as an international
handbook that can be used as a tool for future  collaboration projects.



Stakeholders: for all (new) collaborators
and educators of multi, inter, and transdisciplinary  collaborations, as well for those who initiate, facilitate
and or fund such projects.  [JN]



 



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]



 



3) Curricular / Studio:



1. 
Define residential programs and studio opportunities (A)



2. 
Pursue art / science collaborations (G, H)



3. 
Organize on-line competitions and educational events for k12 students
(A, C)



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 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]



 



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]



 



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.



Cultivating Artscience Collaborations That
Generate Innovations For Improving The State Of The World



Todd Siler [TS]



 



1) Understanding the collaborator's
aspirations and expectations for the project.



Like many spontaneous collaborations, this
one just leaped into our lives and rapidly grew—in a self-organizing process—into
this relatively unstructured and freewheeling idea-generation fest. And there's
a positive life lesson in that, too: It's not always possible to "plan the work
and work the plan," to echo that anonymous, idealized directive in business
strategic planning.



Our collaboration occurred without any
initial planning. In fact, it grew from a series of informal conversations and
Skype chats over a period of a few months, sparked by a most unusual awards
ceremony at the University of Tartu, in Estonia, organized by the World
Cultural Council (http://www.consejoculturalmundial.org).



Before attending this magical event,
neither Geoffrey nor I had intended to experiment in merging our professional
concentrations. That simply happened. Naturally. Organically. Effortlessly.
This intention started to crystallize over breakfast, following an impromptu
interview the evening before with Marju Unt, Director of Estonian
Euromanagement Institute, and some of her colleagues who were scoping out a
program on Art & Science (http://vimeo.com/32380137). We realized we share
this mutual passion for advancing innovations that can benefit humankind by
posing solutions to our global challenges. Where Geoffrey aspires to actualize
the "NanoAdvantage" (Ozin et al., 2009), I aspire to create or develop new
art-science-technological innovations to this end. [TS]



 



Cultivating Artscience Collaborations That
Generate Innovations For Improving The State Of The World



Todd Siler [TS]



 



2) Understanding the collaborators' sense
of what is possible or not in the area of concentration depends on the
knowledge base of the collaborators.



When collaborators from diverse fields
first come together to work on a project, there are some basic questions to
entertain in an informal way that can help them quickly assess one's depth of
knowledge and imagination. Given that I was a beginner student of Nanoscience,
I had roughly forty years of knowledge to catch up on asap, before I could pose
any original, thought-provoking question that was meaningful to my mentor.



Of course, the thrill of learning doesn't
get any better than having one of the brilliant pioneers in the field of
Nanochemistry teach you using his co-authored textbooks that detail his team's
empirical research. This one-on-one guidance certainly sustained my enthusiasm,
as I learned the key nanoconcepts that concern, in the parlance of Ozin and his
colleagues, the "Materials Staircase" (Synthesis, Structure, Property,
Function, Utility) leading to-and-from the "Nanomaterials Staircase" (Size,
Shape, Surface, Defects, Self-Assembly, Nanotech).



Without laboring to learn the basics, I
would not have been able to glean Geoffrey's challenges. Nor would I be able to
offer any insightful questions that we could explore together. [TS]



 



Cultivating Artscience Collaborations That
Generate Innovations For Improving The State Of The World



Todd Siler [TS]



 



3. Understanding your shared goal



From the beginning, Geoffrey's goal was to
use the arts to help communicate his inspired vision of what he and his
colleagues refer to as the "NanoAdvantage." By utilizing various arts-based
mediums, including traditional fine arts, new media, art installations and
performance art, Ozin aims to engage specific and general audiences worldwide
in his thought-provoking public presentations that highlight the evolution and
growth of Nanoscience and Nanotechnology. We plan to make a selection of his
lectures on the NanoWorld and the NanoAdvantage available.



"One can experience the NanoAdvantage for
example over the entire platform of material energy systems, where they may be
engineered for solar cells, fuel cells, batteries, supercapacitors,
thermoelectrics, piezoelectrics; and where the enhanced performance relative to
their macroscopic counterparts always goes to one-and-the-same 'heart of the
matter,' the NanoAdvantage" (Ozin, 201