Roger malina nsf nea workshop 2011 ss


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Roger Malina presentation to NSF NEA workshop 2011

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Roger malina nsf nea workshop 2011 ss

  1. 1. RE/SEARCH: Art, Science, and Information Technology NSF and NEA Why Here and Why Now ? Why ? How ? Here Where ? Roger F Malina Director Observatory Marseille Provence
  2. 2. My Perspective, Biases• Astronomer, Physics, Instrumentation – Director Observatoire de Marseille Provence – PI NASA Explorer Satellite, IT Testbed – Cosmology Group , Dark Energy Observatory (JDEM)• Editor, Organiser « Art/Science/Technology » – Founder of the 2 Leonardo non profits – Executive Editor Leonardo Publications MIT PRESS since 1982• Co-Director of Art-Science Residency Programs – Institut Mediterraneen de Recherches Avancees – Established by the CNRS and the three Universities in Marseille.
  3. 3. Leonardo ISAST/OLATS : 43 years, 5000 authorsArts & New Technologies………&Sciences….. In Historical and Theoretical Perspective
  4. 4. Evolution of the Leonardo Knowledge Network over >40 years cf Leyeserdorf and Salah• Maps on the basis of the Arts & Humanities Citation Index: The journals Leonardo and Art Journal, and ‘Digital Humanities’ as a topic,”• (Journal of the American Society for Information Science and Technology 61(4) (2010) 787-801
  5. 5. TOP 10 2010 LEONARDO AuthorNew Criteria for New Media Jon Ippolito, Joline Blais, et alThe Shiraz Arts Festival: Western Avant-Garde Robert Gluck Arts in 1970s IranArchitecture as Nature: A Biodigital Hypothesis Dennis DollensMidas: A Nanotechnological Paul Thomas Exploration of TouchMarina Abramovićs Seven Easy Pieces: Critical Documentation Strategies for Preserving Arts Jessica Santone HistoryAn Information Sublime: Knowledge after The Robert Pepperell Postmodern ConditionFrom Router to Front Row: Lubricious Transfer and the Aesthetics of Bob Giges, Edward C. Warburton
  6. 6. Why Now• Cf Goldberg and Davidsen: Future of Learning Institutions in the Digital Age – Computers and Humanities to…. – Digital Humanities to….Networked Knowledge• Critical Mass of Art-Science Practice – Exemplars – Art-Science vs Art-Technology • Maturity of new media field, « born digital »• Societal Urgency: Arts as Hard Humanities
  7. 7. networking humanities ( from D Goldberg)Mobilizingmobile humanities- Responsive Responsible- inter-activity- problems and themes, not disciplines
  8. 8. Institut Pytheas in Aix Marseille University• Will bring together four « observational disciplines » – Astronomy – Ecology and Biodiversity – GeoSciences/Environmental Sciences – Oceanography• It is really really difficult: – Data, IP, Methods, Societal Contexts, Funding Cultures• There are good reasons why we have disciplines• Science is in-homogeneous
  9. 9. Why should astronomers work with ecologists ?• 03HP Climate Change Observatory• Installed at Observatoire de Haute Provence• Long term monitoring of ecological drift• Controlled experiment on reduced rain fall• Data Base Management• H Vasselin: Artist in Residence
  10. 10. Why should Astronomers work with Ecologists • ANTARES under sea neutrino observatory • Bioluminescence proved to be dominant source of noise in physics signal • Underwater marine ecology observatory established using same infrastructure • COSMOPHONE sound art project at CPPM
  11. 11. Why Should Astronomers work with Ecologists ?• Detection of Vegetation in the Spectrum of Earthshine off the moon• Measurements of total earth albedo for climate models• Education outreach projects at Observatory drawing on public interest in astronomy and ecology• International Year of Astronomy• International Year of Biodiversity
  12. 12. Why promote art-science- technology interaction• Creativity Arguments• Innovation Arguments• Cultural Embedding and Appropriation• The Ethics of Curiosity : – The Values Problem
  13. 13. « Types » of Art-Science Practice• Type I: Mutual Influence, Dual Outputs – Teams – Dual Career Scientist-Artists. Engineer-Artists• Type II: Artistic Creativity as a domain for scientific inquiry• Type III: Culturally transformative technological developments• Type IV: Cultural Appropriation• Type V: STEM and STEAM
  14. 14. Exemplar:The Sound of Trees Growing• David Dunn (composer, sound artist)• Jim Crutchfield ( complexity scientist)• Artist driven recording of sounds of trees growing led to research project in the coupling of ultrasound from trees, beetles, forest fire system dynamics
  15. 15. Ethos of Scientific Curiositycf Bunge 2006, Morton• Intellectual Honesty• Integrity• Epistemic Communism• Organized skepticism• Dis-interestedness• Impersonality• Universality
  16. 16. Towards an Ethics of Curiositycf Sundar Sarukkai: Science and the Ethics of Curiosity 2009• Curiosity is embodied• Curiosity is enacted• Curiosity is cultural• Curiosity is social• Curiosity is collective• The claimed distinction between “pure” and “applied” science is not sustainable• In some cultures, eg some Indian traditions, doubt rather than curiosity is a dominant driver ( cf Descartes)• “Beware of binary oppositions” !
  17. 17. But Curiosity is embodied: Char Davies: Ephemere• Varela:• All knowledge is conditioned by the structure of the knower
  18. 18. We underestimate how our nature impacts ontology and epistemology • Einstein:” • “The universe of ideas is just as independent of the nature of our experience as clothes are of the form of the human body” • Stelarc and his “third arm”
  19. 19. Curiosity is enactedeg Antunez Rocain Zero Gravity performance • Physicst Richard Feynman: • “What I cannot create, I cannot understand” • Empathy
  20. 20. Curiosity is SocialMarco Peljham and MakrolabBuddhist Proverb (Nishitani):“the nature of the task of the “ought’ is the other-directedness of the “is”
  21. 21. Curiosity is Cultural• Saint Augustine: It was curiosity led me along the false trails before submitting to christian baptisms• Francis Bacon: It is Charity that must motivate the knower, not curiosity• Brandon Ballengee
  22. 22. Hard Humanities • Anthropogenic impact driving global change on time scale commensurate with generations. • Culture has always in the past adapted to changing conditions – Winners and losers • But Culture now becomes a design problem – Eg What is a sustainable city
  23. 23. Caveats• Arts and Sciences are Heterogeneous social practices• Science and the Arts have evolving methodologies• Multi-disciplinary continua, Institutional Contexts – Arts and Design – Arts and Humanities – Science and Technology: IT…Biology…Physical Sciences.. – Education
  24. 24. Caveats• Epistemological Distinctions – Observational and Experimental Sciences – Theory and Praxis – Sensory Modalities• It is really difficult – Metrics, Success Criteria• Is inter-disciplinarity a discipline ?
  25. 25. The Basic Linear Model of Research Innovation circa 1970 1Basic Research Applied Patent Commercial Research Licensing Development Patent Services 1 This “works” just often enough to say “it works” But what about the Arts and Humanities ?
  26. 26. « Triple Helix of Innovation Theory » cf Gerald Barnett : 3rd Gen Innovation Theory• Innovation theory seeks to cross link: – Universities – Corporations – Government• Missing Strands – Cultural Imaginary drivers • Artists and designers as Inventors and Researchers – Social Innovation – Philanthropy 2.0 – New Locii of Innovation In Social Context • Non Profit , Non Governmental Sector • Temporary Autonomous Zones • Learning Institutions in Digital Age
  27. 27. G1 NPO Local G2NationalInternat R1 R2 ATEC ? IP R4 R3 NGO C4 NPO C1 C2 C3
  28. 28. L’IMéRA : Institut MÉditerranéen de Rechechers Avancees • La Condition Humaine des Sciences • The Human Condition of the Sciences • International Residency program for scientists, engineers, artists, humanities scholars • Bridge Physical/Social Sciences, Arts/Humanities • Pôle Méditerranée • Pôle Arts-Sciences- Instrumentation-Langages
  29. 29. IMERA• 5 year « endowment » Ministry of Research/Educ• Network of 4 French Social Science and Humanities Institutes of Advanced Study• Operated by CNRS and 3 Universities in Aix Marseille• Arts-Sciences-Instrumentation-Language – Artists in Residence, Scientists in Residence – Group Residencies Artists and Scientists. Social/Physical – 3 month, 9 month and 3 month/year for 3 years• Overcoming asymmetries of discourse and practice
  30. 30. IMERA resident: Nano Scientist James Gimzewski• Physical Intelligence (DARPA)• When do collections of atoms begin to exhibit behaviours we interpret as intelligent.• Philosophers, artists, nano scientists• « Inter-facial » Intelligence• « Scale »• Image Right: Fireworks artist Pierre Alain Hubert
  31. 31. IMERA resident: artist Rachel Mayeri• « Cinéma for Primates », ..retirement home for primates…• Will work with Primatology and Neurobiology labs, President University Ethics Committee• Human/non human cognition• Animal models for medical research• Wellcome Trust Funding through ArtsCatalyst UK
  32. 32. Ciro Cattuto and team (Turin)• Modeling complex network phenomena in systems that entangle technological and social factors• Hospitals, Schools..• Mixed team of scientists, designer , multi media artist• Social to Physical Sciences
  33. 33. HOW: Mecanisms for “Socially Robust” Science and Technology cf Helga Nowotny and : Mode 2 Science and Technology • Artists in Labs • Scientists and Engineers in Studios • Town Scientists • Micro Science, Citizen’s Science• Open sourcing of data about your own world• Developing the ‘hard humanities’ to change the content and direction of science and technology• Left: Ruth West ‘Atlas in Silico’
  34. 34. ArtsActive Network Artists in R and D Labs Programs• Art in Labs, Switzerland, Jill • Observers: James Leach, Emmanuel Scott Mahe (Orange), Bronac Ferran,• ANAT/Synapse, Sammuelle Carlson• Symbiotica Australia • List of patents filed by artists• Dissonancias, : • Exchange of Intellectual Property• Laboral, Spain approaches • Jurying systems• Art and Genomics: Holland • Announcements• ECTOPIA; Portugal • Scientists in cultural organisations ?• ZERO ONE: Climate Clock• UK ITEM, ArtsCatalyst, FACT/ Blue Sky Residencies •• Leonardo –• IMERA , France• TRANSGENESIS; Czech rep
  35. 35. See review article by Peter Denning, September 2010 issue of American Scientist• Fourth « domain » of science with physical, life and social sciences• « Computing: Study of Information Processes, Natural and Artificial »
  36. 36. Denning’s « Principles of Computing » 2010• Computation • What can and cannot be computed• Communication • Reliably moving information between places• Coordination • Effectively using many computers• Recollection • Representing, storing and retrieving information from media• Automation • Discovering algorithms for information processes• Evaluation • Predicting performance of complex systems• Design • Structuring software systems for
  37. 37. WHERE HERE ? G1 NPO Local• . G2 National Internat R1 R2 ATEC ? IP R4 R3 NGO C4 NPO C1 C2 C3
  38. 38. Science and EmergingTechnologies as a CulturalTerrain Science• Intimate • Creating intuition on mediated sensory data, Information Aesthetics, • Designing/Interacting with simulated systems • Making sense/meaning of dense data/ petabyte era• Hard Humanities • Applied Humanities • High Throughput Humanities • Peoples Science, Citizen’s Science, Micro Science • Social Innovation, Philanthropy 2.0 • Image Right: Frank Malina: Cosmos IV
  39. 39. Thanks for your Attention