art*science 2017 is an International conference on the relationship between artistic and scientific disciplines, curated by Pier Luigi Capucci and the cultural association La Comunicazione Diffusa. art*science 2017 topic is “Il nuovo e la storia” (The New and History), and will be celebrating the 50th anniversary of the Leonardo journal, published by MIT Press, the most influential in the international arena on the relationships among arts, sciences and technologies.
art*science conference will be attended by scholars, artists, scientists, cultural operators, companies and Italian, European and International institutions engaged in supporting art/science projects.
art*science will be also the opportunity for a meeting among the participants to Yasmin, a mailing list on the relationship between art and science in the Mediterranean rim. A discussion on Yasmin will introduce the topics of art*science 2017 conference.
The preliminary schedule for the conference events:
Day 1, July 3, 2017 - Reception of participants, including a buffet, installations and a show.
Day 2, July 4, 2017 - Leonardo & Yasmin presentations and conference. Presentations of European Institutions and Centers working in art/science. Art/science projects in Europe and Italy.
Day 3, July 5, 2017 - “Art and Complexity” conference. “The two Cultures - Rebuilding the Bridge among Science, Art, Philosophy” conference.
A Yasmin dinner is planned for the second or third evening.
art*science 2017 main topics are:
1) The idea of “new”. What is really the “new”, what is the meaning of the “new” and “innovation”. It is today a very inflated issue, everything must be “new”, “innovative” to get attention, to be considered, to get money. But are we really sure that “innovation” has the same meaning for a scientist, an artist, a philosopher, a sociologist, a researcher, a banker, a CEO, an athlete…? What does “innovation” implies, what does really mean? How can innovation be recognized, communicated, fostered, sustained and spread?
2) The Countries in the Mediterranean Rim, and more in general all European countries, have a long history and heritage in art and culture, that can be valued through new disciplines, sciences and technologies. "The New and History", which is the general art*science title, suggests a relationship between two concepts seemingly in
opposition, that instead can and must coexist. The "new","innovation," has its foundation in history but it can and must revive its heritage in the future, through arts, scientific disciplines and technologies. This is a key element, from cultural, historical, social and economic viewpoints.
3) There is much current discussion these days of initiatives of integrating the arts/design/humanities into science/engineering/medicine - sometimes called "Stem to Steam" in the USA. This is a very old historical discussion on the need for inter/trans-disciplinary problem-driven research. [See Ed Wilson's 1998 idea of "consilience"(https://en.wikipedia.org/wiki/Consilience_(book)), which was criticized for its reductive and unifying approach, and Slingerland and Collard 2011 book (http://eslingerland.arts.ubc.ca/consilience/) which emphasized that integration of ways of knowing does not imply unification].
The topic of the preliminary discussion on Yasmin is:
“Countries in the Mediterranean Rim, and more in general European countries have a long history and heritage in art and culture, which can be shared and revamped through new disciplines, sciences, and technologies. History and cultural heritage must go beyond the status of precious and extraordinary assets just considered in a logic of past preservation. They can be projected into the future fostering the "new", "innovation," promoting new projects and agreements, through arts, scientific disciplines, and technologies. History and cultural heritage can become key elements from cultural, historical, social as well as economic viewpoints, they can act as observatories of issues which combine the past, present, and future, fostering new economic and professional areas.”
The discussion will be moderated by Roger Malina, Nina Czegledy and Pier Luigi Capucci. Invited discussants/Respondents are:
Pau Alsina, Spain - email@example.com, @paualsina
Pau Alsina, is a Philosopher from Barcelona, Lecturer at the Arts and Humanities Department of the Open University of Catalonia where he coordinates, teaches and does research in the Art and Contemporary Thought area. He also teaches Digital Aesthetics, Media Art History and Art Epistemology at the Master’s degree of Media Art Curatorship, in the ESDI Higher School of Design - Ramon Llull University. Since 2002 is Director of the ARTNODES Journal of Art, Science and Technology, where he coordinated special issues on Arts and Sciences such as Mathematics, Biology or Complexity Sciences. He has authored/coauthored several publications on Art, Science and Technology and
Contemporary Philosophy. He is now a member of the Board of Trustees of Hangar Foundation, a Barcelona center for artistic production and research. He has also co-curated exhibitions such as "Cultures of Change: social atoms and electronic lives" (2009-2010) at Arts Santa Monica Center, or co-chaired Symposia like “Synergy: encounters between Art, Sciences and Thought” (2011), International Conferences such as Art Matters (2014) Interface Politics (2016) or Art and Speculative Futures (2016). With a strong interdisciplinary background he has been doing research in four areas which he tends to blend: 1) Software Studies and Bioart. 2) Media Archaeology 3) New Materialist Philosophies. 4) Science and Technology Studies applied to the study of Art and Design.
Elif Ayiter is a designer, educator, and researcher whose creative interests are based in three-dimensional online virtual worlds and their avatars, as well as in developing and implementing hybrid educational methodologies between art & design and computer science. She teaches full time at Sabanci University in Istanbul. Her texts have been published at academic journals such as the Leonardo Electronic Almanac, the Journal of Consciousness Studies, the Journal of Gaming & Virtual Worlds, International Journal of Art, Culture and Design Technologies, and Technoetic Arts, and she has authored many book chapters in edited academic books. She has presented creative as well as research output at conferences such as Consciousness Reframed, Siggraph, Creativity and Cognition, SPIE, Computational Aesthetics and Cyberworlds.
Wafa Bourkhis, Tunisia - firstname.lastname@example.org (Tunisia)
Wafa Bourkhis is a Tunisian multidisciplinary artist (painting, engraving, digital art, video art), she has exhibited her artworks in many cultural events and spaces. She has collaborated with many international artists, like Fred Forest, Mark Skwarek, Patrick Lichty, etc. She has achieved her PhD in 2013, entitled “Les territoires numériques comme espaces de création artistique”, to have her title as Doctor in sciences and techniques of arts at Universities of Tunis and Artois (France). She is working as Assistant professor in fine arts at the High institute of Multimedia arts at Mannouba University.
Roberta Buiani, Italy - email@example.com, http://atomarborea.net
Roberta Buiani is an interdisciplinary artist, media scholar, and curator based in Toronto. She is the co-founder of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto) and a co-organizer of LASER Toronto. Her work explores how scientific and technological mechanisms translate, encode and transform the
natural and human world, and how these processes may be re-purposed by relocating them into different venues. Her work is mobile, itinerant and collaborative. She brought it to art festivals (Transmediale 2011, Hemispheric Institute Encuentro, Brazil 2013), community centers (the Free Gallery Toronto, Immigrant Movement International, Queens), science institutions (RPI) and the streets of Toronto. Recently, with The Cabinet Project, she proposed an experiment in "squatting academia”, by populating abandoned spaces with SciArt installations. She holds a PhD in Communication and Culture from York University (CAN). For more information and to read her publications go to
Giorgio Cipolletta, Italy - firstname.lastname@example.org
Giorgio Cipolletta is a transdisciplinary artist and media theorist. In 2012 he earned a PhD in Information and Communication Theory. At the time he is an adjunct professor of Visual Art and Technology at the University of Macerata. He is a member of the media editorial staff of Noema / Mediaversi / Rivista di Scienze sociali. He works as a layout freelancer for the University Press of Macerata (eum). He participated to National and International conferences and in 2016 he was research-chef for the LaCura Summer School. He has published in academic journals (Flusser Studies, Heteroglossia) and his first book is "Metrobodily passages. For an aesthetics of transition", eum, Macerata 2014. He won International poem prizes. He participated also in National exhibitions with multimedia installations and performances (Corpus 2012, Chaos 2013, BodyQuake 2017). In 2014 he was a fonding partner and vice president of Crash (Creative Art Shocking).
Salvatore Iaconesi, Italy - email@example.com
Salvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012, Eisenhower Fellow since 2013 and Yale World Fellow 2014. He teaches Near Future Design and Multi Platform Digital Design at ISIA Design Florence and, in the past, at “La Sapienza” University of Rome, at the Rome University of Fine Arts and at the IED Design institute. Salvatore has founded AOS in 2004, is President at HER (previously HE), and co-founder at Nefula. His focus is at the intersection of Arts, Design, Technologies, Sciences and Business. He creates projects that are at the same time artworks, scientific research and business models, addressing fundamental issues in culture, inclusion, human rights, economy and access to knowledge and education.
Katerina Karoussos, Greece - firstname.lastname@example.org
Katerina Karoussos is an intermedia artist. From 2012-2016 she was the Director of I-Node of the Planetary Collegium, the Greek node for doctoral and postdoctoral studies (School of Arts and Media) of University of Plymouth. From 2004 until 2015 he worked as a freelancer in the Greek Academy of Fine Arts in Athens at the Byzantine Art Studio. She holds a PhD from Plymouth University and a Master from Middlesex University. Karoussos has participated in many international conferences (ISEA, Aber, Dimea, Consciousness Reframed Series etc). She has published in many academic journals (Metaverse Creativity, Technoetic Arts etc.). Apart from her artwork as a mural painter in Orthodox churches, she has participated in many international exhibitions (Athens, Japan, New York, Frankfurt, Montenegro, Cuba, etc.). Recently Karoussos has founded ‘The Karoussos Archives’, the premier center for the study of Theōria and Karoussos Chapel, where she works as a moist media fresco painter.
Živa Ljubec, Slovenia - email@example.com
Živa Ljubec is a transdisciplinary researcher, trespassing disciplinary boundaries, avoiding the differentiation of researchers into artists and scientists, and attempting to mutate into a polyphibian – a “continuously newborn species with acute multisided awareness.” Her work expands beyond disciplinary research intopolyphibionics – the “non-discipline” that derives solutions from the non-representable and non-preservable living knowledge. Živa studied architecture and mathematics at the University of Ljubljana. She was awarded the PhD degree by the University of Plymouth for evolving transdisciplinarity into an imaginary organism of living knowledge. In addition to actively spreading her ideas through art interventions, exhibitions and conferences worldwide, Živa was formerly a lecturer at AVA – Academy of Visual Arts in Ljubljana, where she developed a course on Transmedia / Media Theory. Being invited by her mentor Roy Ascott to lecture at his Technoetic Art Studio based at SIVA – Shanghai Institute of Visual Arts, Živa became the Coordinator of the Advanced Degree Course in Technoetic Arts as well as Director of Studies in the Detao Node of doctoral and post-doc program Planetary Collegium, based at Plymouth University. The experience in the midst of the fastest developing regions of Far East provided Živa an opportunity to rethink the paradigms of Eastern and Western, ancient and modern connections between art and technology, thus informing her current projects.
Oriana Persico, Italy - firstname.lastname@example.org
Oriana Persico holds a degree in Communication Sciences, is an expert in participatory policies and digital inclusion. She is an artist and writer. She has worked together with national governments and the European Union to the creation of best practices, standards and researchers in the areas of digital rights, social and technological innovation, Digital Business Ecosystems (DBE), practices for participation and knowledge sharing. Oriana writes critical, scientific, philosophical and poetical texts that connect to technological innovation, and on its cultural, sociological, economic and political impacts. She is an expert on the formal analysis of cultural and social trends, with a specific focus on social networks. She creates breakthrough communication campaigns, performances, research methodologies, and strategies.
Elena Giulia Rossi, Italy- email@example.com
Elena Giulia Rossi lives and works in Rome. Her research and experience have been addressing contemporary art and its relation with technology. Oscillating between tradition and modernity, and under a socio-anthropological perspective. With a degree in History of Art from the University of Roma La Sapienza (1999), she gained a MA in Arts Administration from The School of The Art Institute of Chicago (2002). She has been collaborating with different galleries and institutions in Italy and abroad, such as the MAXXI Museum (Rome, 2003-2012), P.S.1 Contemporary Art Center (New York 2001); The Renaissance Society at The University of Chicago (2002); the Joan Flasch Artists’ Book Collection at The School of The Art Institute of Chicago (2002), and Studio Stefania Miscetti (Rome 2004-2005). She has been writing regularly for catalogues and magazines. She is the author of Archeonet (Lalli: Siena, 2003), and the editor of Eduardo Kac: Move 36 (Filigranes Éditions: Paris, 2005). She currently teaches Net Art and Theory of Multimedia Art at the Accademia di Belle Arti in Rome and she is founder and editorial director of the multidisciplinary platform Arshake (www.arshake).
Roger Malina, United States - firstname.lastname@example.org
Roger Malina is an art-science researcher, astronomer and editor. Distinguished Professor of Arts and Technology and Professor of Physics at the University of Texas, Dallas. He directs the ArtScilab which develops art-science collaborations that lead both to scientific discoveries and intense contemporary art works. The Lab runs initiatives in Experimental Publishing with MIT press which seek to develop new forms of scholarly publishing and public engagement through the arteca platform. Former Directeur de Recherche of the CNRS
in France and Director of the Observatoire Astronomique de Marseille Provence at Aix-Marseille University. His scientific specialty is in space instrumentation and big data problems; he was the Principal Investigator for the NASA Extreme Ultraviolet Explorer Satellite at the University of California, Berkeley. Founded the Leonardo organizations whose mission is to promote and make document work that explores the interaction of the arts and sciences and the arts and new technologies (STEM to STEAM); he is the Executive Editor of the Leonardo Publications at MIT Press. He helped set up the Mediterranean Institute for Advanced Studies. He is an elected member of the International Academy of Astronautics.
50 Years of Celebrating the Community
Almost half a century ago, kinetic artist and astronautical pioneer Frank Malina set out to solve the needs of a community of artists and scientists working across disciplines by using the “new media” of the time: offset print publishing. As a groundbreaking, innovative venture, Leonardo represented a unique vision: to serve as an international channel of communication among artists, with emphasis on the writings of artists who use science and developing technologies in their work. The result was Leonardo, an academic journal for artists with the peer-review rigor of a scientific journal. For 50 years, Leonardo has been the definitive publication for artist-academics, and the field has gained momentum in recent years.
Leonardo's anniversary celebrations are made possible by our international partners and led by the 50th Anniversary Committee Chair Nina Czegledy.