Gray Literature

Publications

Research

machine listening

Experimental Publisher

Swati is a graduate student pursuing her Master’s in Literature from the School of Arts and Humanities at University of Texas at Dallas. She is part of the ArtSciLab as an Experimental Publisher. An explorer at heart, she loves to experiment with every form of literature. She loves to read and occasionally turns her thoughts into words.



LinkedIn: <a href="https://www.linkedin.com/in/swati-anwesha-35440a170">https://www.linkedin.com/in/swati-anwesha-35440a170</a>

Swati  Anwesha

ExPuCu

UX Designer

Jacob is an undergraduate student at the school of Arts, Technology and Emerging Communications at UT Dallas with a focus on product + graphic design and emerging technology.

Jacobs interest in product design began in high school when he founded a longboard company with his twin brother. The twin pair designed and built custom longboards out of their garage for over 3 years.

Currently, Jacob works for the lab as the international ambassador in Europe. In pursuit of his research goal Jacob travels Europe to meet with collaborators, attend events, and create new connections. He is the first official lab ambassador and hopes to pave the way for future international undergraduate work with his program "ArtSci Abroad".

Jacob Hunwick

April 16th 2021 



What is the first thing that comes to your mind when you meet that Phrase Dark Matter?&nbsp;&nbsp;



Perhaps for a&nbsp;trained&nbsp; physicist, a collection of&nbsp;calculations ,&nbsp;models and experimental&nbsp;data&nbsp; would&nbsp;come up - indicating to the idea&nbsp;of&nbsp; the&nbsp;existence of dark&nbsp;matter&nbsp; rather&nbsp;than its actual form. Generally, dark matter is called&nbsp;dark ,because&nbsp;it emits no electromagnetic radiation.&nbsp;&nbsp;



On April 16th<a href="https://utdallas.box.com/s/0417ec23pe1eb2ypyhwisg6jpykbhxc4"> </a>2021 at the watering hole,&nbsp;Lindsay&nbsp;king, through the vehicle of poetic performance, took&nbsp;us&nbsp; on&nbsp;a voyage from the center of our galaxy to its outer regions, transitioning between visible and dark matter being dominant, and into the large-scale cosmic web that forms the skeleton of the universe.



However, what do we discover about ourselves as we reflect on the concept of dark matter through the lens of our human lives?&nbsp;&nbsp; What&nbsp;consequences&nbsp; does&nbsp;scientific&nbsp;terminology&nbsp; influenced&nbsp;the way that we think?&nbsp;&nbsp;



 



Catch the <a rel="noreferrer noopener" aria-label=" (opens in a new tab)" href="https://utdallas.box.com/s/xm6p87dkzf1jue9ljqfm08ixui72e7dm" target="_blank">conversation</a> of&nbsp;us&nbsp;with&nbsp;&nbsp;Lindsay&nbsp;King ,&nbsp;Ayen&nbsp;Kuol ,&nbsp;Emeka&nbsp;Ikebude, Jacob Hunwick, Roger Malina,&nbsp;Chris ,&nbsp;Lagu Stephen in the linked podcast.



<h3>Speaker Profile</h3>



<div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://profiles.utdallas.edu/storage/media/2334/conversions/5BCFE891-45EE-493D-B0DB-F1B183DC27EE-medium.jpg" alt="" width="181" height="181" /></figure></div>





Lindsay King grew up in Ireland, in a small town near Belfast. She specialized in physics at Cambridge and did her PhD work in astrophysics at Manchester. After postdoctoral work in the U.S. and Germany, she returned to Cambridge as a Royal Society university research fellow. She relocated to Dallas just over 9 years ago and is faculty in the physics dept. Her research program combines computational and theoretical astrophysics with analysis of real data. Projects include studying dark matter in clusters of galaxies (the most massive objects in the Universe) using computer simulations and real data. Other new theoretical work involves predicting Gravitational Wave signals from black holes that are gravitationally lensed by intervening objects, and assessing the impact of lensing on our understanding of black holes seen by current and future detectors.&nbsp;

A Poetic Conversation on Dark Matter                           with Dr. Lindsay King

profile-img-lrg

Managing Editor

Chaz is interested in alternative modes of scholarship and publishing. As a PhD student in the ArtSciLab, he is designing experiments that tease out new ways of knowledge production, curation and dissemination.

Chaz Lilly

chaz-lily-300x300

<h1 style="text-align: center">Arteca</h1>
ARTECA is a digital space that supports scholarly materials that explore the intersection of arts, humanities, science, and technology. The portal serves as a virtual art-science community resource and critical content provider for scholarly and experimental publications, including gray literature.

The project is a collaboration of The MIT Press, Leonardo/ISAST, and the ArtSciLab at UT Dallas.

ARTECA acts as a valuable hub for academic librarians and researchers, and aids in raising the art, humanities, science, and technology community’s visibility when other monodisciplines have already established such services.

ARTECA

Deputy Co-Director of Performative Research

Yvan Tina is the Deputy Co-Director of Performative Research of the ArtSciLab and a PhD candidate at the School of Arts, Technology, and Emerging Communication at UT Dallas. Yvan holds a PhD in performance studies from Aix-Marseille University, in France. His dissertation focuses on the notion of theatrically and how it is affected by the use of artificial life in performance art and installation. Additionally, he is in charge of developing the Virtual Africa platform which seek to promote the encounters between the arts and the technosciences in Africa and within the African diaspora.

Yvan Tina

The ArtSciLab has named
 Dr. Kathryn Evans, Associate Professor of Instruction in the School of 
Arts &amp; Humanities of UT Dallas, as Co-Director of Education 
Initiatives, while also promoting Dr. Yvan Tina and Alex Garcia Topete, two of its longest serving ATEC researchers, to the positions of Deputy Co-Directors of the lab. The leadership promotions come as part of a major re-design of the systems and processes of the ArtSciLab
 as it adapts to the challenges of managing research, strategy, 
organizational culture, and operations among a growing group of student 
lab members and external collaborators.&nbsp;



Dr.
 Evans, as Co-Director of Education Initiatives of the lab, will oversee
 the ArtSciLab’s projects that merge diverse disciplines in learning and
 teaching settings, particularly those involving the growing trend of 
turning education from “STEM” to “STEAM” education through the arts. Dr.
 Evans brings to the position not only her years of experience as an 
educator, but also her many talents as an academic researcher, singer, conductor, director, and producer. The ArtSciLab’s current education initiatives include CDASH (Curriculum Development in the Arts, Sciences and Humanities), ToTTS (Tale of Two Thinking Systems), and Arts-Based Learning for Business (ABLB)--all which were originated by Dr. Evans as a lab researcher.&nbsp;



Dr. Tina will now serve as Deputy Co-Director of Performative Research of the lab. Dr.
 Tina's expertise is in performance studies and he will oversee the 
research projects related to new forms of representation and curation of
 the arts, with an emphasis on scenic practices involving artificial 
intelligence and biotechnologies. His role will be to stimulate and 
strengthen the artistic output of the ArtSciLab. As a performative researcher, he is a founding member and manager of the multilingual and international podcast platform Creative Disturbance,
 which requires the coordination of a team composed of UX/UI designers, 
sound designers, and web developers.&nbsp; Dr. Tina is also a member of the Laboratoire d'Études en Sciences des Arts (LESA) of Aix-Marseille University and the artistic director of the Virtual Africa initiative of Leonardo/Olats. He lectures in a number of different venues and conferences and will participate this year to the Next Einstein Forum.&nbsp;



Mr.
 Garcia Topete will function as Deputy Co-Director of Transdisciplinary 
Strategy and Collaboration. His main duties will include overseeing the Experimental Publishing and Curation (ExPuCu)
 efforts of the lab, implementing systems and workflows with the aim of 
fostering creativity, innovation, and collaboration, and designing 
transdisciplinary strategies for teamwork and successful knowledge 
management. His almost two decades of experience in the creative 
industries as an international filmmaker and film festival organizer, as
 well as more than a decade in the entrepreneurial and non-profit world,
 make Mr. Garcia Topete particularly equipped with a multifaceted 
understanding and transnational perspective of knowledge exchange and 
social impact to deal with the current and future challenges of the ArtSciLab.&nbsp;&nbsp;



“As
 the African proverb says: if you want to go fast, go alone; if you want
 to go far, go together; and we’re definitely trying to go far in our 
lab,” said Founding Executive Co-Director Dr. Roger Malina about the reasoning for the lab reorganization. With these new leadership positions and overall redesign, the ArtSciLab
 seeks to improve not only its operations and management, but also 
provide a better learning environment and culture in which its members 
and collaborators share knowledge more effectively, mentor each other in
 their areas of expertise with more ease, and develop further both 
professionally and personally through their lab participation. 
Ultimately, the ArtSciLab continues to pioneer in transdisciplinary issues—this time looking to boost the careers and development of everyone involved.&nbsp;

ArtSciLab Promotes Three Researchers to Leadership Positions

yvan-tina

Creative Disturbance is an international and multilingual podcast platform that facilitates collaboration between individuals in art, science, and technology communities. It was created in 2014 by the ArtSciLab of the School of Arts, Technology and Emerging Communication of UT Dallas, with the support of The MIT Press and Leonardo/ISAST. It is primarily run by UT Dallas students, with oversight and assistance from faculty.

Creative Disturbance has been made possible thanks to the success of a Kickstarter crowdfunding campaign and the generous contribution of donors. On December 8, 2014,133 backers pledged $21,511 to keep Creative Disturbance running. The podcasts are since then recorded and produced by individuals who have an interest in art, science, design, education or technology. As promised during the campaign, the funding generated through this initiative has served to award international grants to students and young professionals across the world (Canada, China, Columbia, Egypt, Kenya, Portugal, South Africa, Sweden, and Turkey so far). In return, the students have created a series of podcasts of their interests.

After four years of activity, Creative Disturbance has covered a wide range of topics such as the advancements of generative art and virtual reality, the ethics and aesthetics of artificial life art, the field of sonification, the meaning of Persian sculpture and mythology, the aesthetics of Chinese contemporary new media art, the dynamics of African diasporas and the Afrofuturist movement, the evolution of digital art in Latin America, the emergence of interactive architecture and synthetic biology, the impact of climate change in environmental art, the story of women engineering, the relationships between gender and economics, technology, race, and sexuality, etc. Today, more than 40 channels have been created by a network of local and international collaborators in the fields of art, science and technology. Creative Disturbance is 480 podcasts published in 16 languages listened in more than 145 countries for a total of 94,408 downloads. We intend to continue this effort by promoting multilinguism, transdisciplinarity and experimentation in the next phases of our development.

Creative Disturbance

This web site is the web companion of the Leonardo e-book Meta-Life: Biotechnologies, Synthetic Biology, ALife and the Arts (MIT Press, 2014). It aims at documenting and promoting the key works and concepts of the arts of artificial life. Each section has been conceived to provide the reader with a maximum resources about the topics discussed in the book. Feel free to propose new material and email Yvan Tina at yvantina@gmail.com.

With biotechnologies, synthetic biology and Artificial Life, artists have opened new avenues in the artworld, going from still to autonomous objects to living creatures, exploring the thin border between animate and inanimate, confronting the grown, the evolved, the born and the built, raising aesthetic but also social, political and ethical issues. In this ground breaking collection, the editors have commission new original essays by key figures in these fields and collected document the ideas and practice of artists involved in these areas as well as theoreticians and historians.

Chapters include: Between Bio, Silico and Synthetic: Of Life and Arts; Artificial Life and the Arts; Bioart; Bio-Fiction, Design, Architecture; DIY Biology-Biohacking (see below for full Table of Contents). An exo-life may not come from outer space hitting the Earth riding a meteorite but very well from the lab, designed by a scientist — unless it is an artist— weaving biology and computing in a petri dish or a bioreactor as a vessel.

Meta Life Web Companion

Deputy Co-Director of Transdisciplinary Strategy & Innovation

Thanks to more than a decade of experience working in the realm of film entertainment (ranging from film festival management to independent film production) and in the entrepreneurial world (in the tech, non-profit, and media sectors), Garcia Topete's research and practice cover and converge in three main areas under the broader scopes of Art-Science and Experimental Publishing of the ArtSciLab: transdisciplinary intelligence, innovation and collaboration theory, filmmaking research, and public engagement design.

Alex Garcia Topete

Cyber security refers to
the body of technologies, processes, and practices designed to protect
networks, devices, programs, and data from attack, damage, or unauthorized
access. Cybersecurity may also be referred to as information technology
security. These cyberattacks are usually
aimed at accessing, changing, or destroying sensitive information; extorting
money from users; or interrupting normal business processes. 



As we continue in our Redesign phase, we have established
the idea of having a cybersecurity team. We have so much vulnerable files and
data which are prone to serious attack. I was informed about the recent attack
on Creative disturbance, where the hacker demanded bitcoin payment. If we had a
Cyber security plan, we would have had better methods of not only handling the
attack, but also preventing the lab from future attacks. 



Cybersecurity is typically divided into two parts. The software, and the human behavior. The latter is the more difficult part. This plan will not only touch on software, but also the human behavior, teaching lab members what to do in order to prevent attacks, and generally safe computer and internet practices.



<div class="wp-block-file"><a href="https://dev.atec.io/wp-content/uploads/sites/8/2020/04/ASL-Cybersecurity-Plan-v1.pdf">ASL-Cybersecurity-Plan-v1</a><a href="https://dev.atec.io/wp-content/uploads/sites/8/2020/04/ASL-Cybersecurity-Plan-v1.pdf" class="wp-block-file__button" download>Download</a></div>

Cybersecurity in the Times of Pandemic

alex-garcia-topete-1-450x450

This Esports Player Development project launched by the University of Texas at Dallas’ ArtSciLab aims to contribute to design one of the first new sports of the 21 st century by promoting cognitive longevity and positive psychosocial behaviors of cyber-athletes and gaming communities through qualitative research.

Esport Player Development

Project HERMES looks at how researchers and expert practitioners work together in interdisciplinary (across institutional departments) and transdisciplinary (across stakeholder communities) contexts through the framework of Transdisciplinary Intelligence. The framework includes knowledge and aptitude metrics, good practices, and transdisciplinary training modules to improve collaboration among artists, designers, engineers, scientists, and other experts in order to boost innovation through tool sharing and idea exchange. Project HERMES is currently underway internally at the University of Texas at Dallas among its 100+ research groups and will expand to industry partners in 2020. 

HERMES

A collection of multidisciplinary exemplars of science, engineering, art, design, and humanities.

The SEAD Exemplars exhibit will comprises a collection of exemplar works demonstrating effective intersections among the sciences and engineering with art, design, and the humanities. The works represent international diversity as well as diversity of practices and disciplines. The sections of the exhibit reflect the different purposes and impact of the exemplars:
<ul>
 	<li>Pioneering: Individuals and groups whose careers have transcended disciplines and paradigms.</li>
 	<li>Exploring: Projects that have pushed the boundaries of both arts and sciences.</li>
 	<li>Bridging: Projects that seamlessly connect and merge the arts and the sciences.</li>
 	<li>Engaging: Projects that seek to express and communicate to the public at large.</li>
 	<li>Questioning: Projects that ponder about the implications of arts and sciences themselves.</li>
 	<li>Educating: Projects meant to both teach and encourage learning.</li>
 	<li>Innovating: Projects that led to discoveries and inventions.</li>
</ul>

SEAD Exemplars

ArtSciLab Colleagues:



I would like to draw your attention to the Recent YASMIN WWWASP discussion (the Who, what where of our artscience community of practice)- Led by Guillermo Munoz with several colleagues across the world (see at end of this post). The YASMIN list is an international list of artscience professionals and amateurs and observers.



The discussion is now open to any colleague on the Tasmin list- we look forward to your thoughts: If you aren't on <a href="https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr">YASMIN</a>: 



I just posted this to YASMIN



"I would like to pick up on Salome Cuesta proposal for ‘micro-actions’ in our art-science communities of practice, and Diamond Berverly’s idea of a ‘continous conundrum (see below).



After 30 years as Executive Editor of Leonardo, for the first time I am now deeply engaged as a practitioner in art science collaborations. I like
 to joke that astrophysics was so easy ! We all agreed on the success 
criteria and used the same concepts, methods and terminology. Plus we 
were very well funded in comparison with artscience research.



 Thanks to Guillermo Munoz and colleagues at the University of Valencia I received a PhD in Art, so I am now an ArtScience ‘postdoc’ with a PhD in astrophysics and a PhD in art !



As James Leach pointed out in his Leonardo article <a href="https://cnrs.academia.edu/JamesLeach">(Extending Contexts, Making Possibilities: An Introduction to Evaluating the Projects - James Leach)</a> many many art science collaborations ‘fail’ in achieving their original objectives.



In our ArtSciLab we have been arguing that there is a very big step between inter/multi disciplinary collaborations and ‘trans’ disciplinary collaborations which bridge very very different disciplines with very very different personal and collective success criteria, and very very different often contradictory methods, concepts , terminologies-



These are in Diamond Berverly’s term ‘conundral;- see Merriam Webster



“The exact origin of conundrum isn’t known with certainty. What is known is that the word has been in use since the early 1600s, and that it had various spellings, such as conimbrum, quonundrum, conuncrum, and quadundrum, before the current spelling was finally established sometime in the mid-17th century. One theory of origin suggests that the word was coined as a parody of Latin by students at Oxford University, where it appears to have enjoyed particular popularity in its “word play” or “pun” sense. While the prevalent sense in this century is that of the seemingly unanswerable question or problem, frequently applied to heady dilemmas involving ethics, sociology, or economics, the word is sometimes so loosely applied to anything enigmatic as to be synonymous with puzzle or mystery.”



One of the strategies we have been 
trying is “micro-projects” in Cuesta’s terminology- we define them as 
short duration ( weeks), projects which require no money or cash, only 
gift exchange of time and access to facilities, expertise etc ( the gift
 exchange vocabulary comes from James Leach )



In the ArtSciLab we are approached continuously by ‘stem’ professionals who want to collaborate. Interestingly these range from physical sciences and engineering to the brain and Behavioural sciences to business and social sciences…



Often the stem professionals who reach out to us, “they” have antiquated ideas of what making art involves or results in today. Often they view art as less primary in the ‘tree of knowledge” (i.e. in a branch not in the trunk). 



Often they have very different methods , concepts, terminology (we are trying to develop transdisciplinary apprenticeships as part of the approach). Mauricio Mejia at ASU, Alex Topete, colleagues, and I are currently submitting a workshop proposal on applying translation studies methods to transdisciplinary collaborations.



If a micro-project doesn't succeed, its likely that a significant project won't in our experience.



I am delighted that a student research in our ArtSciLab , Diamond Beverly, has proposed: “how do we go about including diverse voices and fostering heterogeneous approaches instead unconsciously excluding people from the conversation and thus creating a continuous conundrum.” which highlights the implicit bias of the artscience community towards people in academia with its ethnic, gender, socio-economic and other implicit social biases.



Maybe the non -academic and younger members of Yasmin should weigh in, just as from Diamond Berverly: I was very intrigued with your post last week when you emphasized educational spaces and work shop methodologies. I would like to know how you define micro-actions. I also find such maker spaces and hackathons a good step into the future of collaborative educational space. A question that persists however is how these spaces find their audience?



And by this I mean how do we go about including diverse voices and fostering heterogeneous approaches instead unconsciously excluding people from the conversation and thus creating a continuous conundrum.



So all Latin students on Yasmin go at it : "One theory of origin of ‘conundrum” suggests that the word was coined as a parody of Latin by students at Oxford University, where it appears to have enjoyed particular popularity in its “word play” or “pun” sense. While the prevalent sense in this century is that of the seemingly unanswerable question or problem, frequently applied to heady dilemmas involving ethics, sociology, or economics, the word is sometimes so loosely applied to anything enigmatic as to be synonymous with puzzle or mystery."



Or maybe living in a continuous conundrum is a desirable state ? Certainly it is a state that drives our ArtScience work and is generative of desired outcomes.



Roger Malina



P.S These are the invited discussants:



Jadwiga
 Charzynska: I am the director of LAZNIA CCA in Gdansk since 2004 and in
 our program, one of the most important points is the Art + Science 
Meeting project, which we organize regularly from 2011. It’s really 
unique program in Poland presented Art / Sci projects. Links: <a href="http://www.laznia.pl/instytucja/" target="_blank" rel="noreferrer noopener">http://www.laznia.pl/instytucja/</a>



Joao
 Silveira: Brazilian entrepreneur, choreographer and pharmacist. Was a 
Harvard Fellow (Le Laboratoire/ 2017-2019) and currently is a research 
fellow at the ArtSciLab – UT Dallas, and CienciArte Lab – Fiocruz. Jing
 Chen: Associate professor of Arts and associate director of Art and 
Cultural Innovation and Creativity Lab of Nanjing University. Gustavo
 Ariel Schwartz.: Physicist and writer. Scientist of the Spanish 
National Research Council (CSIC) at the Materials Physics Center. 
Founder director of the Mestizajes Program, at the Donostia 
International Physics Center, whose purpose is to explore and cross the 
borders among Art, Science, Literature and Humanities.

art-science

artscience

Micro ArtScience Actions (MASA)

<figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
https://youtu.be/lJlBJ-NagLM
</div></figure>



<a href="https://medium.com/@looplogic/halloween-transmissions-machine-listening-from-the-diary-of-ana%C3%AFs-nin-276f67d71068?sk=336e1b3958336f3ee0952e0bbbb3d4f5">Full article @ Medium.</a>

Halloween Transmissions: Machine Listening from the Diary of Anaïs Nin

<blockquote>
Associate Professor of Instruction - Arts And Humanities
University of Texas at Dallas
</blockquote>
Kathryn Evans, Ph.D., is a singer, conductor, director, producer and researcher in arts and science. Dr. Evans was the Associate Dean for the Arts of the School of Arts and Humanities at The University of Texas at Dallas from 1995 to 2010. Dr. Evans holds M. A. degrees in Mathematics and in Music and a Ph.D. in Art and Technology, with an emphasis on arts education in the 21st century. She is a member of the Art-Sci Lab in the School of Arts, Technology and Emerging Communication, under the direction of Dr. Roger Malina, conducting research in music and science education.

Her doctoral dissertation “ Does musical study enhance academic skills in undergraduate non-music majors?” studied skills transfer for music study to academic skills in STEM subjects. Her current project CDASH (Curriculum Development in Arts, Science and Humanities) explores the current state of cross-disciplinary curriculum at the college and high school level. She is currently developing curriculum for a music and science minor at UT Dallas, including her course “Music, Science and Technology” which will serve as the core course for the minor.
<h3 id="preparation">Professional Preparation</h3>
<ul>
 	<li class="entry">Ph.D. - Arts and Technology, University of Texas at Dallas - 2016</li>
 	<li class="entry">M.S. - Music, University of California - 1978</li>
 	<li class="entry">M.A - Mathematics, University of California, San Diego - 1976</li>
 	<li class="entry">B.A. - Mathematics, University of California, San Diego - 1974</li>
</ul>
<h3 id="appointments">Appointments</h3>
<ul>
 	<li class="entry">Associate Dean and Senior Lecturer , University of Texas at Dallas [1998–2010]</li>
 	<li class="entry">Arts Coordinator and Senior Lecturer , University of Texas at Dallas [1995–1998]</li>
 	<li class="entry">Senior Lecturer in Music , University of Texas at Dallas [1994–Present]</li>
 	<li class="entry">Instructor , University of California, San Diego [1992–1994]</li>
 	<li class="entry">Instructor , Mount Vernon College, Washington, DC [1982–1983]</li>
 	<li class="entry">Instructor , Menlo College, Menlo Park, California [1979–1980]</li>
 	<li class="entry">Instructor , University of San Diego, San Diego, California [1978–1979]</li>
 	<li class="entry">Teaching assistant , University of California, San Diego [1974–1978]</li>
</ul>

Kathryn Evans

The CDASH (Curriculum Development in the Arts, Sciences and Humanities) website was established in 2012 by Kathryn Evans and Roger Malina as both a resource for faculty who engaged in or were interested in engaging in art-science-humanities curriculum; and as a data collection point where these types of curriculum could be surveyed for innovation and sustainability. Our new site will include graduate, undergraduate, primary/secondary and informal curriculum.

Our new website allows you to easily enter your course and all the relevant details. Please log in or register before you submit your course. You may also access the other areas of the site. Those who submit syllabi will be admitted to the Cloud Curriculum, where you can download other syllabi and resources.

For more information, contact <a href="mailto:cdash@utdallas.edu">cdash@utdallas.edu</a>.

CDASH

Dr. James L. Carter, geoscientist, and associate professor emeritus at the University of Texas at Dallas, passed away on September 21, 2019, in his home at the age of 82. To honor James Carter, ArtSciLab member Ayen Deng has written and performed a spoken word poem in memory of the way he inspired all those who attended his last lecture on September 20, 2019. The slides in this video are from his lecture to accompany the performance. 



<figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
https://www.youtube.com/watch?v=7uKqRuyxdZw&amp;feature=youtu.be
</div></figure>

spoken word

A Spoken Word on Life and Death

by Michael Warner



<blockquote class="wp-block-quote">Virtual Menageries puts us back in time amongst the collective elites. Berland forms a cohesive genealogy of the “menagerie” to encourage, challenge, and deconstruct our modern perception of non-human animals and their relationship to human meaning and existence. Virtual Menageries looks through the lens of mediation to draw affective and emotional weight to animals as symbolic messengers in the digital era. From the giraffe, to the beaver, virtual art, digital communications, cats, birds and music Berland maps out how animals have become not only the mediators that bridge worlds together for good, but also as the trafficked subjects of terror: tools made to control, methods for silencing, opportunities to proliferate a message, and catalysts in profiteering. &nbsp; The book begins with a question that led to a series of other questions: “Why are there so many cats on the internet?” (Pg. 1) Which then led to thoughts about the roles of animals as symbols and figures in contexts. “How do animals help manage our perception of the Anthropocene? How do they disrupt our own relationship with digital technologies if they are so abundantly apart of them? If they are mediating in new ways, what content are they mediating, and in what context?” (Pg. 1) These are all questions that threw the book and Berland’s project into fruition.&nbsp;&nbsp;&nbsp;&nbsp; </blockquote>



To read the full review: 



<div class="wp-block-file"><a href="http://dev.atec.io/wp-content/uploads/sites/8/2020/02/Leonardo_Review_of_Virtual_Menageries.docx">Review_of_Virtual_Menageries</a><a href="http://dev.atec.io/wp-content/uploads/sites/8/2020/02/Leonardo_Review_of_Virtual_Menageries.docx" class="wp-block-file__button" download>Download</a></div>

Leonardo

Review

A Review of Virtual Menageries: Animals as Mediators in Network Cultures

Frank Dufour

Dr. Frank Dufour will be pursuing research at the intersection of transdisciplinarity, learning, and emerging technologies through the ArtSciLab's existing projects, such as HERMES and Experimental Publishing.



Frank is a researcher and artist exploring in both scientific and artistic practices the poietic aspects of perception. In a recent publication, “Musical composition as a lived experience”, he proposes a description of the particular perception of time arising during the process of composing music. 



<a href="http://links-series.com/wp-content/uploads/2019/11/La-composition-musicale-comme-exp%C3%A9rience.pdf">http://links-series.com/wp-content/uploads/2019/11/La-composition-musicale-comme-exp%C3%A9rience.pdf</a>



Frank is currently developing a phenomenological method
to study the relationships and exchanges between Arts, Technology, and Sciences.
As part of this project, he is interested in imagining a radically new approach
to interdisciplinary education.



Frank is the co-founder with xtine burrough of the
Laboratory for Synthetic and Experimental poetry, LabSynthe.



Portfolio: <a href="http://agence5970.com/frank-dufour-portfolio">http://agence5970.com/frank-dufour-portfolio</a>

learning

phenomenology

Frank Dufour joins the ArtSciLab as a Researcher

<blockquote style="text-align:center" class="wp-block-quote">Bachelor of Science - Electrical and Electronics Engineering<cite>The University of Texas at Dallas</cite></blockquote>

Franklin Osuagwu

cybersecurity

Griot
 Sayansi&nbsp; is a gateway&nbsp; for interdisciplinary, intercultural and 
interpersonal exchange using the Spoken Word Poetic expression .&nbsp;&nbsp; 



 Its aims include:



<ul><li>
To bridge gaps, and explore&nbsp; connections&nbsp; between science, culture,art,and the human experience&nbsp; .
</li></ul>



<ul><li>

To provide a&nbsp; creative outlet for the community to explore new and meaningful networks&nbsp;
</li></ul>



<ul><li>
&nbsp;To promote collaborations&nbsp; between peoples of different cultures, backgrounds and disciplines&nbsp;&nbsp;
</li></ul>



<ul><li>
emphasize the&nbsp; value of life at the center of all&nbsp; discussion.
</li></ul>

Africa

art as a method of research

culture

Griot

Imagination

inclusivity

interdisciplinary exchange

intimate science

Jali

poetic science

science

storytelling

storytelling as technology

NEW PROJECT: Griot Sayansi

Griot
 Sayansi&nbsp; is a gateway&nbsp; for interdisciplinary, intercultural and 
interpersonal exchange using the Spoken Word Poetic expression .&nbsp;&nbsp; 



 Its aims include: 



<ul><li>
To bridge gaps, and explore&nbsp; connections&nbsp; between science, culture,art,and the human experience&nbsp; .
</li></ul>



<ul><li>

To provide a&nbsp; creative outlet for the community to explore new and meaningful networks&nbsp;
</li></ul>



<ul><li>
&nbsp;To promote collaborations&nbsp; between peoples of different cultures, backgrounds and disciplines&nbsp;&nbsp;
</li></ul>



<ul><li>
emphasize the&nbsp; value of life at the center of all&nbsp; discussion.
</li></ul>

Griot Sayansi

Culture and AI

Experimental Publishing

Experimental Publishing and Curation (ExPuCu) is the initiative of ArtSciLab to promote the idea of easy and fast publication

Halloween Transmissions: Machine Listening from the Diary of Anaïs Nin

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