What a great start to our discussion. J  

Emma, I have been very interested in the Digital R&D Fund for the Arts since its inception. It is a great example of how three strategic bodies can create a unique space (outside of academia and industry, yet informed by both) for collaborative learning, experimentation and considered, research led reflection and of course, the sharing of new knowledge in the arts. I am aware that the appetite for this opportunity has exceeded expectations at every round, indicating a desire for a deeper understanding of emerging technology and its systems and processes in the wider arts.   

I applied unsuccessfully for the fund. However, the experience of working up a collaborative bid with partners from the arts and technology sectors was hugely informative in its own right. Differing expectations in relation to roles, payment, working practices and processes and time committed to the project were some of the key issues that arose for us to work through. It would be great to hear more about some key common issues that arose for the successful projects and how collaborators moved to resolve them?

Olga, many thanks for your fascinating overview of Baltan’s history and insights into the impact of a changing economic landscape on research. I like your statement that ‘freedom of thought, openness towards the unknown, experiment and playfulness are key’ to Baltan’s activities and that you create an environment that supports an ‘open-minded atmosphere based on trust, empathy and mutual inspiration.’ It would be great to hear more about strategies you employ to facilitate this. 

I am interested in your suggestion that art is an ‘outstanding free domain’ and the opportunities this provides for other sectors. “The interdisciplinary artist/designer is the new fundamental researcher of the 21st century.”  I’m looking forward to hearing more thoughts on this and also to some of the challenges you describe.  

You also highlight important issues around how we perceive and show impact and use value of the arts to industry and wider society.  

Dave, thanks a million for your introduction to your interdisciplinary art practice. You have provided some great examples of different models for experimentation, play, shared dialogue and knowledge, many of which echo Baltan's activities. As some of your projects sound quite complex, it might be useful if you explain a  how one of your interdisciplinary projects were structured? You have also described the ways you disseminate the outcomes of your work more widely. I’m interested to hear more about how you articulate your evolving role in these different projects? 

Johannes, great that you chimed in! – You raise a good question regarding assumptions around the depth of current digital awareness and technical skills in the arts sector. In my experience, while it is a developing situation, there is a general understanding that the majority of arts orgs are lacking skills and understanding (and confidence?) in these areas. Emma, you and your colleagues have been conducting national surveys in relation to this, can you talk a little about your findings here?

Also, I am interested in hearing some responses to Johannes question about how our collaborations are functioning within the wider ‘current neoliberal global-capitalist political economy’? And yes, who are currently setting the agendas and how are they shaping our modes of working? 

Thanks! 

 Suzy O'Hara 
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t: 07891719319
twitter: @suzy_o_hara

PhD Researcher
www.crumbweb.org
www.intopractice.com

Curator & Arts Producer
Thinking Digital Arts
www.thinkingdigital.co.uk/arts