Hi All,
I am not so sure about the deprofessionalising of artistic practice, so much
as smoothing that professionalism through out all human activity. It
seems a bit odd that art practice should be limited to galleries, or
festivals, or specific public art objects.
ANATıs Art/Science residencies have great professional development and often
traditional art outcomes, but it is also inherently an innovation process
(using innovation in its industry/technical way).
This was really driven home when Paul Brown gave the keynote at MASS in
Melbourne this year where gave the example of the Senster (great little
excerpt in ³White Heat Cold Logic² - Paul has also kindly agreed to give the
closing keynote at ANAT's Super Human Symposium). This came about from
artists asking how will humans interact with robots in a time when most
people were having a hard time getting them to build cars. This question
has only been asked by mainstream interdisciplinary research (psychology and
engineering) in the last 5 years as the drive to have home help robots
becomes a strategic priority in countries like Japan and Korea.
In research environments artists ask how will that technology apply to
society, culture and me. This is basically an innovation process no that
anything may come out of it, but it seems true as a process. This is the art
of art along the lines of the Brookıs quote.
Also Super Human Exhibition has opened at the RMIT Gallery in Melbourne
<http://www.superhuman.org.au> - so maybe one of the last opportunities to
enjoy an Art/Science exhibition.
and
Here is a link to a small post I did for Collections Australia Network, more
about digital than art science, but it seems to be a very quickly growing
dialogue in Australia at the moment.
http://keystone.collectionsaustralia.net/publisher/Outreach/?p=3437
Gavin Artz
CEO
Australian Network for Art and Technology (ANAT)
ph: 61 8 8231 9037
http://www.anat.org.au
ANAT: Celebrating a generation of innovation [1988-2009]
ANAT is supported by the Visual Arts and Craft Strategy, an initiative of
the Australian, State and Territory Governments; the Australian Government
through the Australia Council, its arts funding and advisory body, and the
South Australian Government through Arts SA.
On 5/11/09 7:11 PM, "Simon Biggs" <[log in to unmask]> wrote:
> Put simply, Brookıs argument suggests repatriating creativity to everyone
> and the de-professionalisation of the role of the artist. Iıd vote for that
> (but I have always been a turkey when it comes to Christmas).
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> [log in to unmask]
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> CIRCLE research group
> www.eca.ac.uk/circle/
>
> [log in to unmask]
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: Simon Ellis <[log in to unmask]>
> Reply-To: Simon Ellis <[log in to unmask]>
> Date: Wed, 4 Nov 2009 21:06:57 +0000
> To: <[log in to unmask]>
> Subject: Re: [NEW-MEDIA-CURATING] overcoming token science and the new media
> ghetto
>
> Hi Melinda et al
>
> I've been reminded of a recent blog post by Lucas Ihlein in which he
> discusses Donald Brook's *The Awful Truth About What Art Is*. I'm interested
> in the way in which Brook's 'definition' of art dissolves the spaces between
> disciplines, and also takes it away from being the exclusive domain of
> artists.
>
> I hope Lucas doesn't mind my very long quote of his writing...
>
> From
> http://www.lucazoid.com/bilateral/brooks-way-with-kinds-categories-and-memes
> /(retreived
> 19 October 2009):
>
> "For Brook, art is at play whenever a revelatory experience opens us up to
> new ways of being in the world. This may inspire awe, it may create fear or
> pleasure or disgust. In any case, art is present at moments of revelation or
> epiphany, when the world is seen in a genuinely new light. What is alluring
> about this approach (remarkably akin to the pragmatist aesthetics of John
> Dewey and his followers, although Brook does not acknowledge the connection)
> is that art can be an integral part of all spheres of human endeavour: not
> just actions by artists in the artworld. This notion acknowledges something
> that is already instinctually felt in everyday life, embodied, for example,
> in the use of the word in describing such Oartsı as cooking, motorcycle
> maintenance, or jewellery theft. Art is a way of knowing the world through
> skillful material interactions. Furthermore, beyond such artisanal
> applications, Brook emphasises the creative and lateral leaps of faith that
> can occur unexpectedly in any field, when the surprising results of oneıs
> toil yield new insights. By carefully unpicking the terms Oartı and Owork of
> artı, Brook moves us beyond the limitations of demarcational thinking
> embodied in an Oeither/orı construction (either something is a work of art
> or it is not), and towards a more inclusive Oand/alsoı position. Art, he
> writes, is not the success or failure of a crafted attempt to achieve a
> desired outcome in the world, but the revelation or insight such success or
> failure may generate."
>
> Also, this thread is pretty good evidence of just how useful Google Wave
> might be for online conversations.
>
> Best
>
> Simon Ellis
> www.skellis.net
>
>
>
> On Tue, Nov 3, 2009 at 23:59, Melinda Rackham <[log in to unmask]> wrote:
>> hey Roger and list!
>>
>> for me the first approach has always been moving this sort of work into
> the
>> public arena- working in hospitals, research labs, engineering,
>> astrophysics, dance, nano tech etc, city wide festivals that hold free
>> events attended by diverse publics. when i was at ANAT initially planning
>> the Superhuman events, the driving concept of the Curatorial Masterclass
>> was to engage with and educate mainstream arts curators and writers so
> that
>> this work easily slipps into the public consciousness, becomes part of
>> common experience and s an expected/respected form of cultural engagement.
>>
>> but in hindsight i wonder does "art", passively sitting in major public
>> gallery contexts, have any immediate lasting impact - i'm planning to go
> to
>> the copenhagen climate change shows in december - how many world decision
>> makers went to openings, sipped wine, had an awakening experience that
>> challenged them to rethink their perspectives? or does the exposure to new
>> perspectives subtlety wash away at a lower level, building to a momentum
> in
>> society as a whole? does work that is scientifically rigorous always make
>> the best art? climate change may hit a fashionable peak, but will
> curators
>> and institutions desert it when the next wave of popularity comes along?
>>
>> currently i'm working on a project which is giving me a new understanding
>> the importance of moving art~science into small communities where it is
> not
>> just an elitist concept, but actually provides practical applications
> which
>> enhance everyday life and address everyday issues - The Avoca Project in
>> regional Victoria, provides an accessible interface on an intimate,
> domestic
>> and community level, as well as to an art audience in a place that is
>> profoundly affected by climate change issues.. this project is set up to
>> evolve over 10 years and slowly builds new potentialities and
> practicalities
>> involving many fields of art, technology, science and academic
> collaborative
>> research.
>> http://www.avocaproject.org/
>> http://www.facebook.com/home.php?#/group.php?gid=184126442570
>>
>> many things planned... money to be sought :)
>> looking fwd to seeing many of you in Melbourne!
>>
>> warm regards,
>> Melinda
>>
>> Melinda Rackham (PhD)
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
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