"New Art/Science Affinities" focuses on artists working at the intersection of art, science and technology, and was produced by a collaborative authoring process known as a "book sprint."
Earlier this year I organized a “book sprint” (the collaborative authoring of a book in a condensed period of time) as part of my Warhol Curatorial Research Fellowship on art, science and technology at Carnegie Mellon’s STUDIO for Creative Inquiry and Miller Gallery. I had the good fortune to form a week-long hive mind with writers Claire Evans, Régine Debatty, and Pablo Garcia, and designers Luke Bulman and Jessica Young of Thumb. We tackled Maker Culture, Hacking, Artistic Research, Citizen Science, and Computational Art, wrote about over 60 artists, and created a gigantic timeline that includes everything from the establishment of Radio Shack to Creative Commons and Kickstarter. WE DID THIS IN SEVEN DAYS, with little sleep and lots of instant feedback from faculty and students at CMU, as well as artists who generously skyped into the conversation at a moment’s notice. As of this week, the product of the sprint is out in the world and available as a free download or you can purchase a hard copy.
Official New Art/Science Affinities site:
Official Press Release
NEW ART/SCIENCE AFFINITIES
Contributors: Andrea Grover, Régine Debatty, Claire Evans, Pablo Garcia, Thumb Projects
Published by: Miller Gallery at Carnegie Mellon University + CMU STUDIO for Creative Inquiry
Publication date: October 2011
The Miller Gallery at Carnegie Mellon University and the STUDIO for Creative Inquiry have co-published “New Art/Science Affinities,” a 190-page book on contemporary artists that was written and designed in one week by four authors (Andrea Grover, Régine Debatty, Claire Evans and Pablo Garcia) and two designers (Luke Bulman and Jessica Young of Thumb).
“New Art/Science Affinities,” which focuses on artists working at the intersection of art, science and technology, was produced by a collaborative authoring process known as a “book sprint.” Derived from “code sprinting,” a method in which software developers gather in a single room to work intensely on an open source project for a certain period of time, the term book sprint describes the quick, collective writing of a topical book.
The book includes meditations, interviews, diagrams, letters and manifestos on maker culture, hacking, artist research, distributed creativity, and technological and speculative design. Chapters include Program Art or Be Programmed, Subvert! Citizen Science, Artists in White Coats and Latex Gloves, The Maker Moment and The Overview Effect.
Sixty international artists and art collaboratives are featured, including Agnes Meyer-Brandis, Atelier Van Lieshout, Brandon Ballengée, Free Art and Technology (F.A.T.), Rafael Lozano-Hemmer, The Institute for Figuring, Aaron Koblin, Machine Project, Openframeworks, C.E.B. Reas, Philip Ross, Tomás Saraceno, SymbioticA, Jer Thorp, and Marius Watz.
The authors collectively wrote and designed the book during seven, 10-14 hour-days in February 2011 at the STUDIO for Creative Inquiry. During their sessions they held conversations with CMU faculty, staff and students from the STUDIO, Miller Gallery, College of Fine Arts, Robotics Institute, Machine Learning Department and BXA Intercollege Degree Program.
“The book sprint method was adopted in order to understand this very moment in art, science and technology hybrid practices, and to mirror the ways Internet culture and networked communication have accelerated creative collaborations, expanded methodologies, and given artists greater agency to work fluidly across disciplines,” says lead author Andrea Grover.
The publication is part of Grover’s Andy Warhol Foundation for the Visual Arts Curatorial Research Fellowship at CMU’s STUDIO for Creative Inquiry and Miller Gallery. “Intimate Science,” an exhibition that will be the product of Grover’s research, will take place in early 2012 at the Miller Gallery.
“New Art/Science Affinities” (2011, 8.5×11 inches, 190 pages, perfect-bound paperback, 232 full-color illustrations) is available for purchase ($45.75) through print-on-demand service Lulu, or for free download via the Miller Gallery website (http://www.cmu.edu/millergallery/nasabook).
EXCERPT FROM FOREWORD:
We launched our book sprint in order to produce a snapshot of this particular moment—and because we wanted to do it with immediacy, without distraction. The topic of this publication is the most recent manifestation of artists working in art, science, and technology, which we broadly define as work that adopts processes of the natural or physical sciences, “does strange things with electricity” (to borrow a phrase from Dorkbot), breaks from traditional models of art/science pairings, and was created within the last five years. We realize that art, science, and technology intersections have a tradition with much deeper roots than we have space to detail here (and that such histories have been given attention elsewhere), so we’ve provided in a timeline a brief subjective history of innovations, movements, and cultural events that have contributed to this tradition and led us to this moment. To be clear: this book is an effort to understand this very moment in art, science, and technology affinities, and the ways Internet culture and networked communication have shaped the practice.
Project Lead, Warhol Curatorial Fellow at the STUDIO for Creative Inquiry and the Miller Gallery at Carnegie Mellon University
TABLE OF CONTENTS:
11 Program Art or Be Programmed
C.E.B. Reas / Rafael Lozano-Hemmer / Jer Thorp / Marius Watz / Aaron Koblin
With comments from: Golan Levin
Robin Hewlett and Ben Kinsley / Sebastian Brajkovic / Julius von Bismarck / Paul Vanouse / Julian Oliver and Danja Vasiliev / Marco Donnarumma / Willy Sengewald (TheGreenEyl) / Boredomresearch
With comments from: Julian Oliver & Danja Vasiliev, Johannes Grenzfurthner
57 CITIZEN SCIENCE
Cesar Harada / HeHe / Critter / Machine Project / Center for PostNatural History / Institute for Figuring
With comments from: Cesar Harada, Fred Adams
73 ARTISTS IN WHITE COATS AND LATEX GLOVES
Brandon Ballengée / Gilberto Esparza / Philip Ross / BCL / Kathy High /
Fernando Orellana / SWAMP / Agnes Meyer-Brandis /
SymbioticA and Tissue Culture & Art Project
With comments from: Phil Ross, Adam Zaretsky
107 THE MAKER MOMENT
Machine Project / Thomas Thwaites / Jonah Brucker-Cohen and Katherine Moriwaki /
John Cohr / Free Art Technology (F.A.T.), Openframeworks,
The Graffiti Research Lab, and the Ebeling Group
With comments from: Geraldine Juarez, Mark Allen, Jonah Brucker-Cohen
131 THE OVERVIEW EFFECT
Tomàs Saraceno / Dunne & Raby / Sascha Pohflepp / Bruce Sterling /
Atelier van Lieshout / etoy
With comments from: Jeff Lieberman, Sascha Pohflepp, Wendy Fok
157 Intermediary: The Scientific Evangelist
A subjective chronology of art, science, and technology
185 Image Credits
188 The 200 most used words in this book
Régine Debatty is a blogger, curator and critic whose work focuses on the intersection between art, science and social issues.
Claire L. Evans is a writer, science journalist, science-fiction critic, and the author of Universe, a blog addressing the intersections between science and culture. She is also an artist and musician in the band YACHT.
Andrea Grover is a curator, artist and writer. She is the founder of Aurora Picture Show, Houston, and has curated exhibitions on art, technology, and collectivity for apexart, New York, and Miller Gallery at Carnegie Mellon University. She is presently Associate Curator at Parrish Art Museum, Southampton, New York.
Pablo R. Garcia is the founder and principal of POiNT, a collaborative and multidisciplinary research studio based in Pittsburgh. POiNT is dedicated to experiments in the spatial arts—architecture, design, and the visual and performing arts, in a variety of scales from the portable to the urban.
Thumb is a Brooklyn and Baltimore-based graphic design office that was established as a partnership between Jessica Young and Luke Bulman in 2007. Thumb is fond of fluorescent inks, microscopic art, live and immediate processes, color, Ebay, shape, very glossy paper, discs, surprises, diagrams, rainbow paper, and awkward transitions.
The STUDIO for Creative Inquiry is a center for experimental and interdisciplinary arts in the College of Fine Arts at Carnegie Mellon University. Founded in 1989, the STUDIO connects artistic enterprises to academic disciplines across the Carnegie Mellon campus, to the community of Pittsburgh and beyond. The STUDIO’s mission is to support creation and exploration in the arts, especially interdisciplinary projects that bring together the arts, sciences, technology, and the humanities, and impact local and global communities.
The Miller Gallery is Carnegie Mellon University’s contemporary art gallery. The Miller Gallery supports experimentation that expands the notions of art and culture, providing a forum for engaged conversations about creativity and innovation. The gallery produces exhibitions, projects, events and publications with a focus on social issues, and is free and open to the public