ArtSciLab Paper Accepted for Understanding Visual Music 2016, Brazil

An ArtSciLab paper by Andrew Blanton, Connectome Data Dramatisation: The Human Brain as Visual Music, has been accepted for Understanding Visual Music to be held June 10, 2015 in Brazil.

Below is an abstract:


 

Connectome Data Dramatisation: The human brain as visual music.

Authors: Andrew Blanton, MFA; Sruthi Ayloo, MS; Micaela Chan, MS; Scot David GreshamLancaster, MA, MFA; Roger Malina, PhD; Tim Perkis; Neil Savalia, BA; Maximilian Schich, PhD; Anvit Srivastav, MS; Gagan Wig, PhD

Abstract

We, as a collaboration of scientists and artists, have built a visual and sonic representation of highly connected areas in the human brain. This model was developed to not only be a tool of scientific research but also as a tool for art creation. In the process of developing the software, the tool was built to interface with musical instruments for real time visualization and sonification. Working conceptually with the idea that scientific data can be repurposed for art creation, the Connectome is performed as both a sonic and visual representation of fMRI data, manipulating the model in real time as a form of multimodal data dramatisation.

Introduction

Partnerships between artist and scientist allow for creative forms of collaboration that can push both scientific and artistic research. With the Connectome Data Dramatisation project, our principal interest was in the creation of a hybridized tool, one that could work as both scientific instrument as well as artistic work. Beginning with a dataset that consisted of 441 neural bundles or nodes systematically differentiated into 21 areas or systems of interest in the human brain based on fMRI data collected by one of us (Gagan Wing) as part of the work of the UTDallas Cognitive Neuroimaging Lab.[1]

Area Centers Coded by System Membership

Our team was able to extract visual and sonic representations of the connections between those areas using custom software. We then developed that representation further in the form of an interactive three dimensional node edge graph and sonification of the 421 highly connected areas of the brain (in the case of the visualization, the width of the edges).

This would form the basis of the representation. With the addition of the ability to activate nodes from external data feeds via Open Sound Control[2] different nodes could be excited at will creating a virtual, three dimensional instrument that could be used for visual and sonic performance. Using four small drums, the visual and sonic representation of connections between areas of the brain can be played in real time. Custom software receives input in the form of audio signal from each drum and excites specific areas of the brain. Each section of the brain that is played will present a unique visual and sonic representation.

Historical Perspective

Building on previous explorations in bridging art and science through the development of new technology, we were actively looking to understand how this project is situated within the history of visual music. In looking at the work done at Bell Labs in the 60’s and 70’s[3] and with the work of artist such as James Whitney[4], the question emerges, what are the components of a successful art and science collaboration? How do separate practitioners collaborate while furthering each of their own research? Phill Mortin and Dan Sandin’s image processing units[5] also played a role in both the conceptual development as well as the technical development of the work. How is information shared and disseminated after it’s creation? Other contemporary artist were looked at as well including the work of Noisefold[6] in their sound extraction techniques form visual information, Ryoji Ikeda[7] in his visual and sonic representation of data as well as Semiconductor[8] in their blending of art and science amongst others working with visual music as a contemporary practice.

Visual music has been historically tied to the development of technology. This holds true now as much as it has in the past. Current rendering technologies are evolving rapidly within the gaming community and practitioners of visual music are greatly benefiting from real time rendering advancements within the gaming communities. Robust community support and the indie gaming movement have provided new tools for interfacing with gaming environments[9]. Two areas that are underdeveloped with regard to these environments and practitioners of visual music can provide insight are in the development of procedural animation, and the assimilation of data into these environments. With this project we have begun to build a framework that can both provide a series of procedural animations with regard to node edge graphs as well as interface a gaming environment with a dataset of approximately 77,000 connections. In doing so we have tried to maintain the work as both a piece of art and a scientific instrument.

Future Work

In the process of building this project, we have worked with many technologies to find the right combination of frameworks and development to allow for extensive flexibility in artistic representation of the data set. We have worked with Max/MSP Jitter[10], Unity[11], Syphon[12], Three.js[13], node.js[14] midi.js[15], coffee collider[16] and D3.js[17] in a exploration to find what technology would serve the representation of this dataset best. Beginning with a representation using three.js hosted on a node.js server we were able to bring in live data via OSC to trigger the model. We found ultimately that building everything in the web browser provided great accessibility for global use of the tool, however, confining the project to the web browser also creates limitations with regard to power for rendering and audio synthesis. We have built a framework that now uses the Unity game development environment specifically for it’s strength with regard to real time rendering and are working on integration of Pure Data[18] via the Kilimba Unity extension[19]. This process will allow us to build a platform addressing the two primary areas of dataset integration into gaming environments and procedural manipulation as well as sonification and visualization of said dataset.

Summation of Findings

The creation of the Connectome project has led to some interesting further work in collaborations between artist and scientist. Beginning with the fundamental question can scientific instruments be used as tools for art creation and can artist tools produce scientifically valid results, our team was working to further a dialogue between artist and scientist while creating real value for each party involved. In doing so we have opened up another path of exploration in the form of using game development platforms for data visualization and sonification as well as the reappropriation of these platforms for use in real time audio visual work. By creating a core representation, we were able to build a model that could be manipulated in real time using incoming Open Sound Control data and provide a scientifically accurate representation of the underlying dataset.


[1] Area of interest in this case were areas of concentration of neurons in the brain as identified by researchers at of the Center of Vital Longevity Cognitive Neuroimaging Lab at the University of Texas at Dallas. http://vitallongevity.utdallas.edu/cnl/ accessed march 7 2015.
[2] http://opensoundcontrol.org/ accessed March 7 2015
[3]http://www.ieeeghn.org/wiki/index.php/Archives:Bell_Labs_%26_The_Origins_of_the_Multimedia_Artist accessed March 7 2015
[4] William Moritz on James Whitney’s Yantra and Lapis http://www.centerforvisualmusic.org/WMyantra.htm accessed March 7 2015
[5] Museum of Modern Art https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/5958/releases/MOMA_1982_0014_14.pdf?2010 accessed March 7 2015
[6] http://noisefold.com/
[7] http://press.web.cern.ch/press-releases/2014/01/japanese-artist-ryoji-ikeda-wins-third-prix-ars-electronica-collide-cern
[8] http://semiconductorfilms.com/
[9] http://pjim.newschool.edu/issues/2011/01/pdfs/ParsonsJournalForInformationMapping_Medler-Ben+Magerko-Brian.pdf
[10] https://cycling74.com/ accessed March 7 2015
[11] http://unity3d.com/5 accessed March 7 2015
[12] http://syphon.v002.info/ accessed March 7 2015
[13] http://threejs.org/ accessed March 7 2015
[14] https://nodejs.org/ accessed March 7 2015
[15] http://mudcu.be/midi-js/ accessed March 7 2015
[16] https://github.com/mohayonao/CoffeeCollider/wiki accessed March 7 2015
[17] http://d3js.org/ accessed March 7 2015
[18] http://puredata.info/ accessed March 7 2015
[19] https://github.com/hagish/kalimba accessed March 7 2015

Arts, Humanities, and Complex Networks — 6th Leonardo satellite symposium at NetSci2015

We are pleased to invite you to the

Arts, Humanities, and Complex Networks — 6th Leonardo satellite symposium at NetSci2015

taking place at the World Trade Center Zaragoza (WTCZ) in Spain,
on Tuesday, June 2, 2015.

Abstract:
For the sixth time, it is our pleasure to bring together pioneering work in the overlap of the arts, humanities, network research, data science, and information design. The 2015 symposium will again follow our established recipe and will leverage interaction between the areas by means of keynotes, a number of contributions, and a high-profile panel discussion.

In our call, we are looking for a diversity of research contributions revolving around networks in culture, networks in art, networks in the humanities, art about networks, and research in network visualization. Focussing on these five pillars that have crystallized out of our previous meetings, the 2015 symposium again strives to make further impact in the arts, humanities, and natural sciences.

Running parallel to the NetSci2015 conference, the symposium provides a unique opportunity to mingle with leading researchers in complex network science, potentially sparking fruitful collaborations.

As in previous years, selected papers will be published in print, both in a Special Section of Leonardo Journal MIT-Press and in a dedicated Leonardo eBook MIT-Press (see below).

Keynote:
Martin Krzywinski, Scientist, Genome Sciences Center, Vancouver, Canada
Make sure to check out his websites: http://mkweb.bcgsc.ca/ and http://circos.ca/

As in previous years, our high-profile keynote exemplifies the areas of cultural data science, network visualization, and/or network art.

Organizing committee:
Maximilian Schich, Associate Professor, ATEC, The University of Texas at Dallas, USA
Roger Malina, Executive Editor at Leonardo Publications, France/USA
Isabel Meirelles, Professor, Faculty of Design, OCAD University, Toronto, Canada

Submissions:
We invite you to submit a 300 word abstract including one descriptive figure by March 29, 2015 using our EasyChair submission link:

https://easychair.org/conferences/?conf=ahcn2015

Note: Our previous calls had an acceptance rate of 14 – 25%. Contributors were selected using a peer review process with three to four independent reviews per paper. Succesful submissions usually include an abstract not exceeding 300 words (plain text in the EasyChair submission form, no paper attachment), a striking figure (.jpg attachment, optimized to about 2000 x 1200 pixel in landscape aspect ratio), as well as an URL, all of which should express the relevance to our call. Previously selected paper topics cover a large territory, including networks in archaeology, art, film, history, music, literature, network visualization, and the culture of art-science. For previous examples see our companion website at ahcncompanion.info.

Important dates:
Deadline for submission: March 29, 2015.
Notifications of acceptance will be sent out by April 6, 2015.
Date of symposium: Tuesday, June 2, 2015, in Zaragoza, Spain.

Attendance:
Important note: The main NetSci2015 conference requires satellite attendees to pay at least a one day registration fee, in addition to registering to our symposium via EventBrite.

To attend our symposium,
1. Please get a free EventBrite ticket at http://ahcn2015.eventbrite.com/
2. Pay at least a one-day registration fee at http://www.netsci2015.net.

If you do not get an Eventbrite ticket (but you paid the NetSci2015 fee), there is still a chance to attend, as some ticket holders may not be able to show up. We will fill these spaces in Zaragoza, again on a first come, first serve basis. Priority will be given to those on our Eventbrite wait list and those registered for the main NetSci conference.

Program Schedule:

9:00 – Roger Malina: Opening Remarks

9:10 – Maximilian Schich: Introduction

9:30 – Martin Krzywinski: Keynote talk

10:30 – Coffee break

11:00-13:00 – Contributed talks

13:00 – Lunch

14:00-16:00 – Contributed talks

16:00 – Coffee break

16:30 – Panel discussion

17:30 – End


 

About NetSci:
NetSci is the flagship conference on Complex Networks promoted by the NetSci Society. It brings under one umbrella a wide variety of leading researchers, practitioners and stakeholders with direct interest in Network Science, from Physics to Computer Science, Biology, Social Sciences, Economics, Technological and Communication Networks, Big Data and so on.

Links:
eBook on Arts, Humanities, and Complex Networks [Kindle Edition]:
Companion website: http://ahcncompanion.info/
For purchase (US $ 7.99): http://www.amazon.com/dp/B007S0UA9Q

Special Section in Leonardo Journal:
Leonardo Journal 43:3, June 2010, pp. 212: http://www.mitpressjournals.org/toc/leon/43/3
Leonardo Journal 44:3, June 2011, pp. 239-267: http://www.mitpressjournals.org/toc/leon/44/3
Leonardo Journal 45:1, February 2012, pp. 77-89: http://www.mitpressjournals.org/toc/leon/45/1
Leonardo Journal 45:3, June 2012, pp. 275-286: http://www.mitpressjournals.org/toc/leon/45/3
Leonardo Journal 46:3, June 2013, pp. 267-279: http://www.mitpressjournals.org/toc/leon/46/3
Leonardo Journal 47:3, June 2014, pp. 265-278: http://www.mitpressjournals.org/toc/leon/47/3

Previous Symposia websites:
2010: http://artshumanities.netsci2010.net
2011: http://artshumanities.netsci2011.net
2012: http://artshumanities.netsci2012.net
2013: http://artshumanities.netsci2013.net
2014: http://artshumanities.netsci2014.net

Other relevant sites:
ATEC, The University of Texas at Dallas: http://www.utdallas.edu/atec/
BarabásiLab, Northeastern University, Boston: http://www.barabasilab.com
Faculty of Design, OCAD University, Toronto: http://www.ocadu.ca/academics/faculty-of-design.htm
Leonardo/ISAST: http://www.leonardo.info
NetSci2015: http://www.netsci2015.net


 

Contact:
If you would like to be added to the list of interested people, please drop us an e-mail with the subject [ Please add me to the Arts, Humanities, and Complex Networks list ] at artshumanities.netsci@gmail.com. Alternatively you can follow us on Twitter.

Creative Disturbance celebrates its first year by celebrating International Women’s Day and Women’s History Month

Through March, Creative Disturbance is featuring podcasts that showcase women voices in topics of art, science and technology. Some of the more popular podcasts include:

•  Art and Technology Pioneer Liliane Lijn

•  Music, Science and Technology pioneer Pauline Oliveros

•  Internet pioneer and innovator Christine Maxwell’s discussion with educator Rebecca Nix, Why Big Dreamers Need to Know About Big Data.

•  Artist Caroline Ometz‘s scientific and artistic collaborations with UT Southwestern researcher Dhru Deb in Cancer: Finding Beauty in the Beast.

•  Drs. Kathy Ellins and Susan Eriksson address the current status of art and earth science collaborations and new directions that could bolster their utility in geoscience research and education.

..and other topics of interest.

Visit creativedisturbance.org/womensday to hear the talented, powerful and diverse voices, or add your own podcast at the Voices of the Crowd channel to join these more than 25 voices.

Contact us at feedback.createdisturb@gmail.com if you would like to post a podcast!


 

What is Creative Disturbance

Creative Disturbance is an international, multi-lingual, online platform that (once complete) will provide a unique virtual environment for the intellectually curious across the globe to meet, network, collaborate, create, and socialize.

One means of both sharing and spurring such interactions is through a dynamic collection of podcasts crowdsourced and produced by Creative Disturbance members.

These ‘conversations’ help illuminate and inform others on matters of interest across the Creative Disturbance community.

Upcoming ATX LASER: Where Art Intersects Science in Austin, on March 12

Texas has become a hub for attracting cross-disciplinary leaders. The next ATX LASER (Leonardo Art Science Evening Rendezvous) on March 12 will gather many of these thought leaders and innovators together.  This panel of Texas-based practitioners reflects the diversity and interests of the growing network, which seeks to become the leading advocate for collaboration among the sciences, engineering, arts and design, fostering innovation and learning that impact community sustainability and economic growth.

WHAT: ATX LASER: Where Art Intersects Science in Austin

WHERE: Umlauf Sculpture Garden & Museum, 605 Robert E. Lee Rd, Austin, TX 78704

WHEN: 7:00pm – 9:30pm, March 12, 2015

RSVP: atxlaser.eventbrite.com

MEDIA: For more information contact Diane Sikes at programs@umlaufsculpture.org and 512-445-5582


 

Umlauf Sculpture Garden & Museum presents 

ATX LASER: Where Art Meets Science in Austin

Interactive series gives new insight into seemingly opposing worlds

AUSTIN, TEXAS—Inspired by a noticeable trend of growing interest in the convergence of art, science and technology, the Umlauf Sculpture Garden & Museum (Umlauf) in partnership with Leonardo/The International Society for the Arts, Sciences, and Technology will host its fourth ATX LASER (Austin – Leonardo Art Science Evening Rendezvous) event March 12.  The engaging series is free and open to the public.

Guest speakers will include:

Interactive artist and researcher Jinsil Hwaryoung Seo.

Jinsil Hwaryoung Seo focuses on aesthetics of interactive experience. Currently she is an assistant professor in the Department of Visualization at the College of Architecture and a faculty fellow in the Center for Health Systems & Design at Texas A&M University. With interdisciplinary, interactive art practice, Seo investigates the intersection between body, nature and technology. Her current research concentrates on designing for tangible and kinetic aesthetics in the contexts of performance, child development and health.

Artist, scientist, and creative catalyst Ruth West.

Ruth West envisions a future in which art + science integration opens new portals of imagination, invention, knowledge, and communication across cultures to create breakthrough solutions for our most pressing global problems. Ruth directs the xREZ Art + Science Lab and is an associate professor at the University of North Texas cross-appointed in the College of Visual Art and Design (New Media Art & Design), College of Information (Information Sciences), College of Engineering (Computer Science) and College of Arts and Sciences (Biological Sciences).

Artist and cross-disciplinary collaborator Carol LaFayette.

Carol LaFayette collaborates with scientists and engineers to invent unique experiences based on interactions among flora, fauna, and humans in rural landscapes. Her work with leafcutting ants is documented in the PBS series “State of Tomorrow:” the first 3D, immersive map of a vast Atta texana colony. Carol’s artwork is in collections at the Museum of Modern Art, New Museum of Contemporary Art, and the J. Paul Getty Museum. She has exhibited interactive installations and video worldwide, including LAB ’11, Sweden; SIGGRAPH; Zebra Poetry on Film, Berlin; Filmstock, UK; and Solomon Projects, Atlanta. Reviews and papers have been published in BBC Technology News, Wired, and Leonardo. She is Professor in the Department of Visualization and Director of the Institute for Applied Creativity at Texas A&M University. Carol serves as Principal Investigator of an NSF-supported project to form the SEAD network for collaboration among the sciences, engineering, arts, and design.

Assistant Professor of Behavioral and rain Sciences Gagan Wig.

Dr. Wig’s research program uses a combination of structural and functional imaging tools to understand the organization of large-scale human brain networks and how these networks change over the adult-lifespan. He uses this information to guide studies related to mnemonic and attentional processes, with a particular focus on understanding the sources of individual differences in memory and attention and how they may be modified by aging and disease. In collaboration with Dr. Roger Malina¹s ArtSci lab at UTD, Dr. Wig has been exploring ways to Œdramatize¹ brain connectome data using dynamic representations that incorporate sight and sound. He will present an overview of some the recent insight revealed in his studies of brain connectivity networks and aging, and how data dramatization may reveal novel ways of understanding and appreciating the complex patterns that are present throughout the connections in our brains.

Discussion will be moderated by Roger Malina, space scientist and astronomer.  Malina is a Distinguished Professor of Art and Technology and Professor of Physics at the University of Texas at Dallas and the Executive Editor of the Leonarndo Publications at MIT Press.

Following the speaker presentations, an open discussion will commence where participation is welcomed and encouraged from all attendees. For more information about ATX LASER and other Umlauf events, please visit umlaufsculpture.org


 

About ATX LASER

ATX LASER was conceived by J.D. Talasek, UMLAUF scholar-in-residence, in partnership with the nonprofit Leonardo/The International Society for the Arts, Sciences, and Technology (Leonardo/ISAST). Talasek is Director of Cultural Programs of the National Academy of Sciences in Washington, D.C. and the founder of the D.C. Art Science Evening Rendezvous (DASER) program. His co-organizers for ATX LASER are Katie Robinson Edwards, PhD., UMLAUF Curator, and Diane Sikes, UMLAUF Director of Programs.

About Leonardo/The International Society for the Arts, Sciences, and Technology

The Leonardo/The International Society for the Arts, Sciences, and Technology (Leonardo/ISAST) is a nonprofit organization that serves the global network of distinguished scholars, artists, scientists, researchers, and thinkers through programs focused on interdisciplinary work, creative output and innovation. Visit the Leonardo/ISAST website for more information at www.leonardo.info

About the Umlauf Sculpture Garden & Museum

Founded in 1991, The Umlauf Sculpture Garden & Museum is a non-profit 501(c)(3) organization established around a vast collection of work by American sculptor Charles Umlauf who donated his home, studio and 168 pieces of sculpture to the City of Austin. The property was then transformed into a sculpture garden and exhibits the work of the prolific artist.

The museum’s mission is to provide educational experiences that encourage understanding and appreciation of sculpture in a natural setting through workshops, classes, tours and exhibitions.

The year 2014 marks the expansion of the museum’s initiatives, including the connection of the museum to the residence and studio of Charles Umlauf as well as the update and extenuation of the museum’s educational and public programming, benefiting the Austin community and visitors from across the world.

ArtSciLab and Leonardo/OLATS to collaborate in “Trust Me, I’m an Artist”

The UT Dallas ATEC ArtSciLab is pleased to announce its participation in collaboration with Leonardo/OLATS in “Trust Me, I’m an Artist”

“Trust Me, I’m an Artist: Developing Ethical Frameworks for Artists, Cultural Institutions and Audiences Engaged in the Challenges of Creating and Experiencing New Art Forms in Biotechnology and Biomedicine in Europe” is supported by funding from Creative Europe and is a collaboration between Waag Society, Brighton and Sussex Medical School, The Arts Catalyst, Ciant, Kapelica Gallery, Medical Museion, Capsula and Leonardo Olats. The lead artist on the project is Anna Dumitriu and the lead ethicist is Professor Bobbie Farsides.

The aim of “Trust Me, I’m an Artist” is to investigate how artists and cultural institutions can best engage with biotechnology and biomedicine in order to drive innovation in artistic production, ways of presenting artworks, and developing new audiences in Europe. The main goal is to provide artists, cultural institutions and audiences with the skills to understand the ethical issues that arise in the
creation and exhibition of artworks made in collaboration with biotechnology and biomedicine. Additionally the project will provide science and technology collaborators with new ethical frameworks for
successfully working with cultural and creative players. By giving confidence to stakeholders it will open up opportunities for artists and creative organisations to work in new partnerships across Europe and internationally.

Lead artist Anna Dumitriu said of the project:

“Artists tend to work at the forefront of innovation and push boundaries, whilst engaging in ethical and philosophical challenges that resonate through society around new technologies, and this project has the potential to situate them at the forefront of the latest research. Our high impact outputs will prompt new ways of thinking about how art, biotechnology and biomedicine can intersect, and bring together diverse stakeholders and audiences to create new ways of working at the cutting edge of art, science and technology.”

“Trust me, I’m an Artist” will involve a series of practical and discussion-based participatory workshop activities; a major series of performative events (before a live audiences) where a specially selected artist will propose an ethically complex artwork to a specially formed ethics committee (following the rules and procedures typical for the host country), the ethics committee will then debate the proposal and come to a decision, the artist will then be informed of the ethics committee’s decision and, alongside the audience, they can enter into a discussion about the result.

The learning from the project will be shared through a major symposium; a touring exhibition; a series of publications; a website; and an exciting distributable format designed to give other cultural institutions, artists groups, community groups, students and individuals the opportunity to stimulate dialogue by creating their own DIY Trust Me, I’m an Artist events, leaving a strong legacy for what we learn.

This new project builds on the strong foundations laid by the previous “Trust Me, I’m an Artist: Towards an Ethics of Art and Science Collaboration” project. The book of the project is available on
http://www.amazon.com/Trust-Artist-Dumitriu-Bobbie-Farsides/dp/1320097383/ref=sr_1_1_title_0_main?s=books&ie=UTF8&qid=1408814598&sr=1-1

The ATEC ArtSciLab will be participating through the Leonardo Initiatives projects in Experimental Publishing including the Creative Disturbance platform (www.creativedisturbance.org ) channel on art and biology http://creativedisturbance.org/channel/meta-life/  and the MetaLife platform: http://synthbioart.texashats.org/

Website Links:

Waag Society http://waag.org/

Brighton and Sussex Medical School http://bsms.ac.uk/

The Arts Catalyst http://www.artscatalyst.org/

Ciant http://www.ciant.cz/

Kapelica Gallery http://kapelica.org/

Medical Museion http://www.museion.ku.dk/

Capsula http://00capsula00.wordpress.com/

Leonardo Olats http://www.olats.org/ ; UT Dallas ArtSciLab
www.artscilab.utdallas.edu

Anna Dumitriu http://normalflora.co.uk/

NEA Grant Awarded to collaboration between University of North Texas xREZ Lab,University of Texas at Dallas ArtSciLab and Texas A and M C Star project for One Antarctic Night

We are thrilled to announce that xREZ lab and collaborators at UTD ArtSciLab and Texas A and M CStar antarctic telescope have received a prestigious NEA art works grant for creation of the interactive artwork Instrument” One Antarctic Night.

http://oneantarcticnight.xrezlab.com/

INSTRUMENT: One Antarctic Night is an interactive artwork created from 287‚800 images of the universe captured recently by a robotic telescope in Antarctica. Using this data about how the universe works‚ we are creating electronic instruments that participants interact with to make digital image and sound remixes. The experience is like a video and music jam session taking place in the gallery‚ on large scale displays‚ mobile devices‚ and online simultaneously.
The project is art+science collaboration between artists and astrophysicist led  by UNT (http://www.xrezlab.com/ ) , with UT Dallas Art SciLab, and Texas A&M (http://mcba11.phys.unsw.edu.au/~plato/cstar.html) with participating artists from RISD and SJSU. Watch the project video and learn more about this exciting artwork at http://oneantarcticnight.xrezlab.com.

ArtScilab collaborators Scot Gresham Lancaster and Brian Merlo and Andrew Blanton at San Jose State University are participating.

Susan Eriksson Joins ArtSciLab as a Research Fellow!

Susan C. Eriksson is a geologist, educator, and artist, with a specialty in translating cutting-edge scientific research into programs that impact students and society. She has served as a research scientist for a major oil company; faculty, administrator, and museum director at Virginia Tech; and Education and Outreach Director for UNAVCO, an NSF facility for geodetic research and for the Earth Observatory of Singapore.

She supports an emerging community of scientists and artists working together in the subject of the Earth by founding  Bella Roca, a website with news and articles on people and events in the geoscience and art arena and by co-convening several sessions on geoscience and art at the American Geophysical Union annual meeting.

Susan has exhibited her Earth-inspired art work nationally at the American Association for the Advancement of Science and the National Science Foundation.

Dr. Eriksson is also an independent consultant in strategic planning and evaluation of STEM programs.

Dr Eriksson is producer of the podcast channel on Art and Earth Sciences on the ArtSciLab Creative Disturbance project ( www. Creativedisturbance.org )

Jack Ox Joins ArtSciLab as a Research Fellow!

Jack Ox is an artist who used research as the method behind her art works and is now taking the procedures developed as an artist to the scientific and engineering world of visualization. She is also a longtime member of Leonardo Journal’s editorial board, and has served as both a Research Assistant Professor in Art and Art History, and Research Associate Professor of Music at the University of New Mexico; also at UNM, she is a researcher at the Center for Advanced Computing (CARC). Ox just finished a PhD dissertation on “Manifestations of Conceptual Metaphor and Blending Theories” for Swinburne University of Technology in Melbourne. Her 30-year career of mapping musical scores to paintings such as Kurt Schwitters’s intermedia masterpiece, “Ursonate,” can be seen at http://www.jackox.net/pages/Ursonate/ur_MAINindex.html and virtual reality renditions, such as the “Gridjam” at http://www.jackox.net/pages/gridjamIndex.html. Recently, Ox presented a paper at the IEEE VIS 2014 conference in Paris on how knowledge representers can use analogy and conceptual blending in visualizations.

Jack Ox, together with Fluxus artist Ken Friedman, is leading the 3-year Leonardo symposium on the PhD in Art and Design. This project is documenting best methods and practices, as well as issues and challenges, that are emerging with the introduction of the PhD in Art and Design in universities internationally and in particular for hybrid professionals in theh art-science and art-technology fields.

TIm Perkis named as a Research Fellow in ArtSciLab!

Tim Perkis is a researcher, engineer, musician and filmmaker, who has
been working primarily in the field of digital sound for decades. As a
musician, he is a founder of The Hub, a pioneering group in the field
of computer network music, as well as a internationally-known
performer of improvised music, having worked with many of the leading
figures in the field in North America, Europe and Japan.  He has
taught at the California Institute of the Arts (CalArts) and the
California College of the Arts (CCA)and has been resident
artist/researcher at Mills College in Oakland California, Xerox
Corporation’s Palo Alto Research Center, Paul Allen’s legendary
thinktank, Interval Research, and at the Mediterranean Institute of
Advanced Research (IMéRA) of the University of Aix-Marseille in
France. As an engineer he has designed tools, toys and software for a
variety of corporate clients, including Mattel, Sony, and Sennheiser,
and consulted with the San Francisco Airport and Art Commission as an
expert on technology-based art.  He is also producer and director of a
feature-length documentary on musicians and sound artists in the San
Francisco Bay area called NOISY PEOPLE (2007). His music is available
on over a dozen labels, including Tzadik(USA), EMANEM(UK), and
Creative Sources (Portugal).
Perkis is collaborating with ArtScilab on the Connectome Data
Dramatisation Project

Richard Wirth Appointed as the First Leonardo Fellow!

Richard Wirth is a Master’s candidate in the Arts and Technology program at the University of Texas at Dallas. Richard’s fellowship will be designed around his research of MMORPGs (Massively Multiplayer Online Role Playing Games) as interactive storytelling environments, comparing the function of secondary oral media across different modes of social interaction through the lens of video game ethnography. During his fellowship, Richard will explore Leonardo publications for his writings and research and also will serve as a guest editor of the Leonardo On-Line blog, among other activities.

The Leonardo Fellowship program recognizes accomplished graduate students and junior faculty from Leonardo Senior Affiliate organizations. Selected Leonardo Fellows will have an opportunity to advance their selected research or project area through such activities as publishing in the internationally renowned Leonardo journal or creating a unique art-science project under the auspices of Leonardo, as well as to receive mentorship from senior Leonardo editors. The Leonardo Fellowship includes a cash stipend of $1,000 (U.S.).

Throughout its history, Leonardo has presented the work of renowned international theorists, artists, scientists, curators and other practitioners of contemporary art involving 20th- and 21st-century media. The Leonardo Archive, spanning nearly 50 years, provides a rich basis for exploration of the genesis of art-science work, from the introduction of pioneering applications in kinetic art, computer animation, net art, interactive, telematic, algorithmic and genetic art, environmental, bio and land art to more recent artistic applications in nano art, CAVE installation work, augmented reality, artificial intelligence, wearables, sound art, cloud-based art and beyond.

Fellowships may be realized in a variety of possible forms, such as (but not limited to):

  • Guest-editing a themed special section in Leonardo journal
  • Curating a Leonardo Gallery devoted to work in the field of art-science-technology
  • Researching a topic area drawing on the 50-year Leonardo archive, leading to publication of an article in Leonardojournal or Leonardo On-Line
  • Or another project that utilizes the content or other resources of the Leonardo Network.

The creativity of the proposal will be a factor in the selection of Leonardo Fellows. Leonardo Fellows will also have opportunities to interface with the Leonardo community:

  • One month as a guest editor of the Leonardo On-Line Blog
  • Opportunity to speak at a Leonardo Art Science Evening Rendezvous (LASER) event.

Note: Submitted writings and projects are subject to editorial review and are not guaranteed to be published.

Who is eligible? During the announced nomination period, Leonardo Senior Affiliate Members may nominate one (1) graduate student for the Fall Fellowship and one (1) junior faculty member for the Spring Fellowship.

What is a Senior Affiliate Member? A Senior Affiliate Member is a paying member institution, department, lab or organization that is creating work in the intersection of art, science and technology. For more information about the many benefits of joining the Leonardo Affliate Program, please see www.leonardo.info/affiliates.

The nomination process: We accept nominations twice a year for the two fellowships: an autumn fellowship for a graduate student and a spring fellowship for a junior faculty member.

           Step 1 Nomination period opens and is announced by the Leonardo Affiliate Program. Senior Affiliates are invited submit a nomination.

           Step 2 The Leonardo Senior Affiliate nominator sends a preliminary email to Leonardo/ISAST indicating the name and position of the organization’s nominee and his/her contact information and including the nominator’s letter of recommendation in support of the nominee.

           Step 3 Upon acknowledgmentand request by Leonardo/ISAST, the nominee submits a project proposal as well as a resume and writing sample for consideration.

Where and when is the fellowship? The fellowships are conducted remotely, with periodic telephone or video contact with the Leonardo editors. The duration of each fellowship is either one academic quarter or semester. One fellowship takes place at a time, rotating between the graduate student and the junior faculty fellowship.

Does the fellowship offer a stipend? We offer a $1,000 stipend, awarded at the beginning of the fellowship project.

Have more questions? Contact Danielle Siembieda, Leonardo Affiliate Manager, dani…@leonardo.info

Timeline of Spring 2015 Fellowship (Junior Faculty Members)

October 15, 2014:  Fellowship Nomination Period Announced (for Fall: Graduate Student Nominations Only)
November 15, 2014:  Fellowship Nominations and supporting materials due
December 15, 2014:  Materials From Nominee Due 
January 15, 2015:  Fall Fellowship Awardee announced
February 15, 2015:  Fall Fellowship begins
April 30, 2015:  Fall Fellowship ends

The Leonardo Affiliate Program