ARC’s first creative specialist, João Fiadeiro , is coming for a site visit to Lawrence from the 8th to the 12th of October. João’s practice comes out of dance, movement, and performance and he has worked with neuroscientists and anthropologists in his previous work. While in Lawrence he is going to meet faculty members and staff that he hopes to collaborate with on his residency in February 2015. Below you will find a link to his website. He and his company are based in Lisbon.
Educational Technologist Dana Atwood-Blaine and I have created a game for the exhibition, Art + Science, at The University of Kansas’ Watson Library and would love it if you would come a play. Using the ARIS platform, players use the books throughout the stack to create a practice-led research question and get all of the research grant money. It is currently in its beta form so there are still a few bugs to work out. Please try it out and help us make it better and more fun.
In partnership with the Terra Foundation for American Art, the Spencer Museum of Art (SMA) at the University of Kansas (KU) is organizing a conference on hybrid research practices in the arts, sciences, and technology from the 1960s to today. Distinguished scholars involved in the conference include D. Graham Burnett (Cabinet magazine) and Anne Collins Goodyear (Bowdoin College Museum of Art). Together with papers, roundtables, and keynote presentations, the conference will incorporate performative and event-based creative projects grounded in hybrid art-science-technology research. Selected conference presenters will be invited to a follow-up colloquium, led by David Cateforis (KU) and Shepherd Steiner (Emily Carr University) in May 2015. We anticipate publishing selected papers and projects in an edited volume that serves as both conference proceedings and guide for researchers undertaking work in this field.
To date only a small group of scholars has focused attention on collaborative projects between artists and practitioners in technological and scientific fields during the 1960s and 1970s. Hybrid Practices seeks to broaden our understanding of this pivotal period in U.S. history and in American art by investigating the cultural, political, and social factors that enabled and encouraged such projects to emerge. Although the conference will focus on the United States, we intend to include international perspectives and welcome applications from scholars and practitioners based in other countries. By thoroughly examining early research collaborations among artists, scientists, and technologists, we will establish a context through which to explore the resurgence in hybrid research practices today.
We are seeking proposals for papers and practice-based projects that explore one or more of the following aspects of hybrid artistic research: 1. Key hybrid projects from the past 50 years, including but not limited to Experiments in Art & Technology (Bell Laboratories), Art & Technology (Los Angeles County Museum of Art), and the Artist Placement Group (U.K.) 2. Shared vocabularies among the arts, sciences, and technology, and the role of language in cross-disciplinary collaboration 3. The impact of interdisciplinary work on the identity of the hybrid practitioner
Papers may be organized as case studies or theoretical approaches to the topic. Case studies should focus on one or two projects; they may interrogate the historical moment of the project’s existence, the hybrid methodology involved, and/or the impact of the work as it was assessed both at the time the project took place and in the present. Participants are encouraged to use archival material in these case studies. Theoretical papers may address multiple projects across a broad geographical or historical range. While the conference’s theoretical framework will draw on the work of French philosopher and science historian Michel Serres, participants are not limited to examining his ideas in their papers.
Practice-based projects should explore the same themes as papers while keeping in mind the physical and temporal conference setting. Hybrid Practices will be held at The Commons (www.thecommons.ku.edu), a space dedicated to fostering closer relationships among the sciences, humanities, and arts. It is a fully mediated event space rather than an exhibition space, so practice-based projects should not require sustained display. Applicants are encouraged to submit proposals for projects that could reasonably be produced in this setting. Logistical arrangements for selected projects will be developed in consultation with SMA staff.
Please submit abstracts of 150–200 words in English, along with a bio of approximately 100 words, to firstname.lastname@example.org. Up to five images may be included to support your proposal.
November 1: Deadline for submission of abstracts
November 21: Notification of acceptance
February 9: Deadline for submission of accepted papers
Two intersecting programs at the University of Chicago are engaged in exploring modes of interdisciplinary exchange across the arts, sciences, and humanities by facilitating collaborations between faculty, graduate students, visual artists, musicians, actors, choreographers and directors. The Gray Center emerged from the University of Chicago’s arts and humanities programs through an endowment from Richard and Mary L. Gray, augmented by collaborative fellowships offered in partnership with the Andrew W. Mellon Foundation, while the Arts/Science Initiative works alongside the University’s Offices of the Provost and Vice President, Institute for Molecular Engineering, programs in the sciences, and the National Laboratories.
Both projects nurture collaborations between regional and international artists and distinguished scholars in fields ranging from physics and molecular genetics to art history and theology. Additionally, each of these initiatives encourages undergraduate and graduate participation in interdisciplinary art research through various internships and fellowship opportunities. Two of the many notable artistic inquiries that have materialized within these programs are the Gray Center’s exploration “The Physics and Aesthetics of Light,” a journey of experimental research and teaching undertaken by architect James Carpenter and physicist Sidney Nagel in 2011-2012, and an ongoing analysis of collaborative strategies funded by the Arts/Science Initiative through which conceptual artist, Shane Huffman, and professor of molecular genetics and cell biology, Jotham Austin II, are working to document, map and analyze successful—and ineffective—methods of interdisciplinary collaboration.
As is common across many interdisciplinary arts research programs in the United States and abroad, many of the investigations undertaken under the auspices of both the Gray Center and Arts/Science Initiative are manifested in the public sphere as performances or installation-based artworks with a performative component. In addition, both of these programs host informal discussions and participate in publication of books and journal articles through more conventional academic venues. The characters of the labs hosted by these programs underscore their distinct approach to collaborative dialogues; the Gray Center Lab is a tangible space that can serve as both a collaborative studio environment and a venue for exhibitions, education, and performances, while the “Pop-Up Labs” hosted by the Arts/Science Initiative take place in the realm of dialogues and seek to facilitate the fluid exchange of ideas, comparable to the conversations that KU’s own academic community has sought to inaugurate through The Commons. Further resonances with ongoing dialogues in the Spencer Museum echo through the Arts/Science initiative’s Cabinet Series, a program of performances and conversations inspired by the legacy of the early modern Wunderkammer, as a space where art, science, and innovation co-mingle to elicit wonder and inspire discovery.