This paper attempts to reframe popular notions of “failure” as recently celebrated in the Maker Movement, Silicon Valley, and beyond. Building on Vossoughi et al.’s 2013 FabLearn publication describing how a focus on iterations/drafts can serve as an equity-oriented pedagogical move in afterschool tinkering contexts, we explore what it means for afterschool youth and educators to persist through unexpected challenges when using an iterative design process in their tinkering projects. More specifically, this paper describes: 1) how young women in a program geared toward increasing equitable
This article from Fortune explores business models for free art museums, and the tension between accessibility and the revenue needed for an operating budget.
Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
This set of comments reports experiences from a recent “science-meets-arts”-project in Germany, in which students from the University of Fine Arts in Hamburg (HFBK) shared day-to-day life in climate research groups for several months. The project was envisioned as a process of mutual inspiration with the aim of producing a joint exhibition and symposium at the end. This paper introduces the project as well as the subsequent commentaries and also presents some of my own observations.
Explore findings from a groundbreaking research and evaluation initiative investigating the long-term impacts of museum programs for teens. Drawing on reflections and input from hundreds of program alumni across the United States, this study documents powerful effects on participants, including lasting engagement with arts and culture, significant personal and professional development, and increased leadership skills and civic engagement.
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Danielle Linzer
resourceresearchProfessional Development, Conferences, and Networks
What is the anatomy of an “aha” moment? How and why did we evolve to have such experiences? Can we prime ourselves to have them more often? Why should we care? These and similar questions were the recent focus of a cross-cutting investigation by the National Endowment for the Arts (NEA) in partnership with the Santa Fe Institute (SFI). On July 9-10, 2014, the NEA and SFI cosponsored a meeting titled “The Nature of Creativity in the Brain.” Held at SFI in Santa Fe, New Mexico, the meeting engaged a 15-member working group to perform two tasks: (a) evaluate the legacy of creativity research; and
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Art WorksNational Endowment for the Arts