Steps to an Ecology of Networked Knowledge and Innovation: Enabling new forms of collaboration among sciences, engineering, arts, and design

SEAD network White Papers ReportThe final White Papers (posted at http://seadnetwork.wordpress.com/white-paper- abstracts/final-white-papers/) represent a spectrum of interests in advocating for transdisciplinarity among arts, sciences, and technologies. All authors submitted plans of action and identified stakeholders they perceived as instrumental in carrying out such plans. The individual efforts led to an international scope. One of the important characteristics of this collection is that the papers do not represent a collective aim toward an explicit initiative. Rather, they offer a broad array of views on barriers faced and prospective solutions. In summary, the collected White Papers and associated Meta- analyses began as an effort to take the pulse of the SEAD community as broadly as possible. The ideas they generated provide a fruitful basis for gauging trends and challenges in facilitating the growth of the network and implementing future SEAD initiatives.National Science Foundation Grant No.1142510. Additional funding was provided by the ATEC program at the University of Texas at Dallas and the Institute for Applied Creativity at Texas A&M University

Art and Intervention in the Stewardship of the Planetary Commons: Towards a Curatorial Model of Co-inquiry

This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst,an independent interdisciplinary arts commissioning organisation of which the author is the founding director. This programme of work sought to understand what form of curatorial model and interpretative framework could generate new artworks and co-produce interdisciplinary knowledge across areas of specialist research and geopolitical urgency. The projects take the form of exhibitions, texts and edited books, which are presented as the portfolio of work. The selected projects are: Malamp UK, Brandon Ballengée (2007-2010); Arctic Perspective Initiative (2009-2011); ITACCUS – IAF Technical Activities Committee on the Cultural Utilisation of Space – and associated activities (2007-2014); Holoturian, Ariel Guzik (2013-2015); and Wrecked on the Intertidal Zone, YoHa, Critical Art Ensemble, et al. (2013-2016). Through analysis of and reflection on the projects, this commentary proposes a curatorial model of interdisciplinary co-inquiry, which can foster an ecology of practices, enabling curators, artists, scientists, specialist experts and people with situated expertise to coproduce knowledge around matters of concern, particularly relating to human environment interaction and common and extraterritorial spaces. It examines the roles of the curator in this model and how these might differ from those commonly understood as established curatorial practice. The commentary further presents an interpretative and tactical framework of the planetary commons for curating art-led projects in the realm of ecopolitical concerns, that can engage audiences and publics with the art and ideas emerging from this coinquiry approach. The combination of curatorial model and interpretative and tactical framework contribute to discourses on both inter/trans-disciplinarity and the role of art in relation to the politics of ecology. The Ph.D. contributes to the field on several levels. Within curatorial studies, the interdisciplinary co-inquiry model reconfigures curatorial practice as a collective, inquiry3 driven, knowledge-producing practice, and provides a useful methodology for inter- /trans-disciplinary artistic practice in relation to the politics of ecology, while the framework of the planetary commons proposes direction and allows for investment in reciprocity through commoning practices. Beyond contemporary art, a curatorial coinquiry model deepens and alters existing approaches for listening to, valuing, and synthesising different types of knowledge and expertise around current environmental and related social concerns. While the commentary argues for the planetary commons framework within the contemporary art space, there are wider implications for it as a complement and alternative to the dominant interpretative framework of the Anthropocene

March 2006

https://surface.syr.edu/foglio/1002/thumbnail.jp

Steps to an Ecology of Networked Knowledge and Innovation: Enabling New Forms of Collaboration among Sciences, Engineering, Arts, and Design

This material is based upon work supported by the National Science Foundation under Grant No. 1142510, Collaborative Research: EAGER: Network for Science, Engineering, Arts and Design (NSEAD) IIS, Human Centered Computing. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the National Science Foundation.In 2012, the Network for Sciences, Engineering, Arts, and Design (SEAD) launched a White Papers initiative to build community awareness of perceived challenges and opportunities for transdisciplinary collaboration. The synthesis report, Steps to an Ecology of Networked Knowledge and Innovation, offers a set of "action clusters" common to texts from the international response by SEAD members. Suggested Actions are structured according to similarities of motivation and purpose, and addressed to specific stakeholders. The synthesis report is published by MIT Press with a Creative Commons license. The SEAD White Papers initiative was chaired by Roger Malina and co-chaired by Carol Strohecker, with the assistance of an international Steering Group and coordination by Carol LaFayette and Amy Ione, Managing Editor.Supported by the National Science Foundation under Grant No. 1142510, Collaborative Research: EAGER: Network for Science, Engineering, Arts and Design (NSEAD) IIS, Human Centered Computing

Mapping Participatory Sensing and Community-led Environmental Monitoring Initiatives: Making Sense H2020 CAPS Project

This report presents a summary of the state of the art in urban participatory sensing and community-led environmental monitoring, the types of engagement approaches typically followed, contextual examples of current developments in this field, and current challenges and opportunities for successful interventions. The goal is to better understand the field and possible options for reflection and action around it, in order to better inform future conceptual and practical developments inside and outside the Making Sense project.JRC.I.2-Foresight, Behavioural Insights and Design for Polic

THE HYBRONAUT AND THE UMWELT: WEARABLE TECHNOLOGY AS ARTISTIC STRATEGY

This dissertation explores the use of irony in networked wearable technology art as a strategy to emphasise the complexity of conjunction between techno-organic human and the techno-organic world. The research addresses the relationship between technologically enhanced human and networked hybrid environment, and speculates on the impact of technological enhancements to the subjective construction of Umwelt through ironic interventions. The project employs both artistic practice and critical theory. The practice-based part of the dissertation is comprised of three wearable technology artworks produced during the study. These concrete artefacts employ irony as a means to expose the techno-organic relationship between humans and their environment under scrutiny. The works highlight the significance of technological modifications of the human for the formation of subjective worldview in an everyday hybrid environment. The theoretical part navigates between the fields of art, design, technology, science and cultural studies concerning the impact of technology and networks on human experience and perception of the world. In the background of this research is biologist Jakob von Uexküll’s concept of the Umwelt, which is a subjective perception created by an organism through its active engagement with the everyday living environment. This dissertation focuses on the Umwelt that is formed in an interaction between hybrid environment and the technologically enhanced human, the Hybronaut. 4 Hybrid environment is a physical reality merged with technologically enabled virtual reality. The Hybronaut is an artistic strategy developed during the research based on four elements: wearable technology, network ability, irony and contextualised experience for the public. Irony is one of the prominent characteristics of the Hybronaut. Irony functions as a way to produce multiple paradoxical perspectives that enable a critical inquiry into our subjective construction of Umwelt. The research indicates that ironic networked wearable technology art presents an opportunity to re-examine our perception concerning the human and his environment

Processpatching: defining new methods in aRt&D

In the context of a rapidly changing domain of contemporary electronic art practice- where the speed of technological innovation and the topicality of art 'process as research' methods are both under constant revision- the process of collaboration between art, computer science and engineering is an important addition to existing 'R&D'. Scholarly as well as practical exploration of artistic methods, viewed in relation to the field of new technology, can be seen to enable and foster innovation in both the conceptualisation and practice of the electronic arts. At the same time, citing new media art in the context of technological innovation brings a mix of scientific and engineering issues to the fore and thereby demands an extended functionality that may lead to R&D, as technology attempts to take account of aesthetic and social considerations in its re-development. This new field of new media or electronic art R&D is different from research and development aimed at practical applications of new technologies as we see them in everyday life. A next step for Research and Development in Art (aRt&D) is a formalisation of the associated work methods, as an essential ingredient for interdisciplinary collaboration. This study investigates how electronic art patches together processes and methods from the arts, engineering and computer science environments. It provides a framework describing the electronic art methods to improve collaboration by informing others about one's artistic research and development approach. This investigation is positioned in the electronic art laboratory where new alliances with other disciplines are established. It provides information about the practical and theoretical aspects of the research and development processes of artists. The investigation addresses fundamental questions about the 'research and development methods' (discussed and defined at length in these pages), of artists who are involved in interdisciplinary collaborations amongst and between the fields of Art, Computer Science, and Engineering. The breadth of the fields studied necessarily forced a tight focus on specific issues in the literature, addressed herein through a series of focused case studies which demonstrate the points of synergy and divergence between the fields of artistic research and development, in a wider art&D' context. The artistic methods proposed in this research include references from a broad set of fields (e. g. Technology, Media Arts, Theatre and Performance, Systems Theories, the Humanities, and Design Practice) relevant to and intrinsically intertwined with this project and its placement in an interdisciplinary knowledge domain. The aRt&D Matrix provides a complete overview of the observed research and development methods in electronic arts, including references to related disciplines and methods from other fields. The new Matrix developed and offered in this thesis also provides an instrument for analysing the interdisciplinary collaboration process that exclusively reflects the information we need for the overview of the team constellation. The tool is used to inform the collaborators about the backgrounds of the other participants and thus about the expected methods and approaches. It provides a map of the bodies of knowledge and expertise represented in any given cross-disciplinary team, and thus aims to lay the groundwork for a future aRt&D framework of use to future scholars and practitioners alike

NeuroArts Blueprint: Advancing the Science of Arts, Health, and Wellbeing

Scientific studies increasingly confirm what human beings across cultures and throughout time have long recognized: we are wired for art. The arts in all of their modalities can improve our physical and mental health, amplify our ability to prevent, manage, or recover from disease challenges, enhance brain development in children, build more equitable communities, and foster wellbeing through multiple biological systems.Most of us do not need rigorous research to recognize that arts and aesthetic experiences allow us to feel better; our own life experiences tell us that engaging with art, either as maker or user, can help us thrive. Why, then, have we developed the NeuroArts Blueprint: Advancing the Science of Arts, Health, and Wellbeing, a broad-reaching initiative designed to showcase the scientific evidence that explains these phenomena?The answer is that we have not developed the systems and strategies to use the extraordinary asset that is at our disposal to its fullest potential. We need a Blueprint to guide us through the vast body of knowledge that is accumulating across multiple disciplines, to identify collaborative opportunities to collect many kinds of evidence, and to employ these learnings in systematic and sustainable ways so that we can ease some of the most intractable problems that humanity faces.