Collaboration (Art)

Designing physical artefacts from computational simulations and building computational simulations of physical systems

by Jane Prophet

Jon Bird1, Mark d’Inverno2 and Jane Prophet3

In this paper we outline an interdisciplinary collaborative
approach to problem solving that can
be... more In this paper we outline an interdisciplinary collaborative
approach to problem solving that can
be characterised as performative as both the
goals and solutions develop over time through
an open-ended process of trial-and-error. We
describe two projects where this methodology
has been successfully applied. We first give an
overview of the CELL project where the performative
approach led to a significant change in the
way that scientist Neil Theise investigated stem
cells. The success of this project directly led to
the work which is the main focus of this paper:
the design of Net Work, an interactive artwork
that consists of a grid of autonomous buoys
that emit different coloured light in response to
the environment and the state of neighbouring
buoys. We describe our performative approach
to building the Net Work prototype and describe
in detail its control system which is based on
Ashby’s homeostat model. The paper concludes
with a short discussion of some of the benefits
and pitfalls of an interdisciplinary collaborative
approach to problem solving.
Keywords: interactive artwork, interdisciplinary,
performative, problem solving, trial-anderror

Il Suono degli Oggetti Smarriti

by Ilaria Vanni

This article reflects upon the exhibition Sound of Missing Objects, which I set up as a collaborative project with... more This article reflects upon the exhibition Sound of Missing Objects, which I set up as a collaborative project with Jonathan Jones and Panos Couros at Perfomance Space, Sydney in 2003.

Visualising Invisible Networks as Collaborative Arts Practice

by Pip Shea

This paper examines approaches to the visualisation of ‘invisible’ communications networks. It situates network... more This paper examines approaches to the visualisation of ‘invisible’ communications networks. It situates network visualisation as a critical design exercise, and explores how community artists might use such a practice to develop telematic art projects – works that use communications networks as their medium. The paper’s hypotheses are grounded in the Australian community media arts field, but could be applied to other
collaborative contexts.

Sisterly Love: The collaborative art of sisters in Australia

by Louise Mayhew

This paper was written for the upcoming publication 'Collaborating Now'; a collection of essays on contemporary collaborative art practices around the world, facilitated by key theorist Gregory Sholette in conjunction with Victoria University of Wellington, New Zealand.

Literature on artistic collaboration commonly develops a typology for differentiating and discussing diverse... more Literature on artistic collaboration commonly develops a typology for differentiating and discussing diverse collective and collaborative practices. Within this system the family group or artist couple is frequently identified. Collaborative practices between siblings, in which an ongoing and established relationship predates artistic collaboration, should be considered in a similar vein.  This paper discusses the contemporary practices of collaborating sisters in Australia, including: Gabriella Mangano and Silvana Mangano, Match Box Projects, Soda_Jerk, The Sister Hayes and The Strutt Sisters,

These sister collectives have been carefully selected as demonstrative of a broad range of collective working practices: the desire to remove individual identity and signature style in favour of the presentation of one fused creative author; combining distinctive interests and educations into a single project; and divvying specific tasks amongst sisters according to personal talents resulting in exhibitions reminiscent of a group themed show. Whilst the subject matter, mediums and styles of these collectives vary dramatically from richly detailed embroidery and fun-filled video to bleak and deadpan film, handmade and experimental jewellery to minimal and professional performance; similarities are also evident in the recurring themes of childhood memories, nostalgia, time travel, doublings and mirror images.

All of the sister collectives are currently active; emerging or mid-career and recognised as such through gallery representation, inclusion in exhibitions, and/or successful receipt of grants and scholarships; however literature on and critical engagement with their work is decidedly lacking. The following paper addresses this gap and discusses sister collectives in terms of: reasons for working together; varying methods of conception, creation and the division of tasks; consideration of style, subject matter and medium; and identification of similarities and differences between the collectives.

Jillposters will be prosecuted: Australia's women-only print collectives from the 1970s and 1980s

by Louise Mayhew

This paper was written for the conference Impact7: Intersections and Counterpoints to be hosted by Monash University, Melbourne, Australia in September 2011.

The late 1970s and early 1980s witnessed a period of women only poster collectives in Australia. The posters produced... more The late 1970s and early 1980s witnessed a period of women only poster collectives in Australia. The posters produced by these collectives are anarchistic, celebratory, educational, sarcastic, utopian and witty. They advertise a plethora of sub-cultural events, groups and causes including dances, exhibitions and rallies, women’s only sports clubs and radio programmes, and services such as women’s drop-in and refuge centres. Bold and striking text is matched with deliberately feminine tones deploring violence against women and children, sexual harassment, unequal pay, and advocating gay and lesbian rights, access to contraception, equal opportunities and education for women.

Although women only poster collectives operated according to the structure, concerns and aesthetics of other Australian poster collectives they have largely been erased from this history. Poster collectives emerged in Australia in the 1970s in response to worldwide, national and local events with calls for activism, anarchy and awareness. Posters were utilised as a cheap and efficient mode for advertising a broad range of radical opinions. Their quick production allowed for immediate comment on social and political events, whilst their distribution method, plastered onto telegraph poles, underpasses and construction site walls, enabled direct, uncensored access to the public.

This paper unearths and examines women only poster collectives active in Australia during the 1970s and 19080s. It provides a succinct summation of the facts surrounding these collectives, establishing members and start and end dates, and expands into an understanding of why collectives formed, why membership was limited to women, and how collectives functioned.

Groups examined in this paper include the Anarchist Feminist Poster Collective, Adelaide (1979–85)); Bloody Good Graffix, Melbourne (c.1983–84); Garage Graphix, Sydney (1980–96); Harridan Screenprinters, Sydney (c.1981–88); Jillposters, Melbourne (1983–87) and the Women’s Warehouse Screenprinting Collective, Sydney (c.1979–81).

Colaboração interinstitucional em pesquisa no Brasil: tendências em artigos na área de gestão da inovação

by Carlos Quandt

GAZDA, Emmanuel and QUANDT, Carlos Olavo. Colaboração interinstitucional em pesquisa no Brasil: tendências em artigos na área de gestão da inovação. RAE electron. [online]. 2010, vol.9, n.2, pp. 0-0. ISSN 1676-5648. doi: 10.1590/S1676-56482010000200010.

O trabalho colaborativo em rede se expandiu a partir do final do século XX, apoiado pelos avanços nas tecnologias de... more O trabalho colaborativo em rede se expandiu a partir do final do século XX, apoiado pelos avanços nas tecnologias de informação e comunicação. A velocidade crescente das mudanças tecnológicas e o acirramento da competitividade internacional demandam esforços cooperativos de pesquisa e desenvolvimento entre organizações. Padrões similares de colaboração em rede são observados no meio acadêmico e suas relações com o setor produtivo. Este artigo visa contribuir para a identificação dos padrões de colaboração dos pesquisadores brasileiros. Para tanto, analisa-se a colaboração em produção científica na área de gestão da inovação por meio de um levantamento de coautoria dos artigos apresentados no Simpósio de Gestão da Inovação Tecnológica (Sigitec) no período 1998-2008. Verifica-se a ausência de uma tendência clara de crescimento da colaboração interinstitucional, que ainda é inferior aos níveis internacionais, bem como a persistência da concentração espacial da produção científica.

Keywords : Redes; inovação; colaboração; coautoria; competitividade.

Since the end of the 20th century collaborative work in networks has been expanding, supported by advances in information technology and communication. The increasing pace of technological change and an intensification in international competitiveness require cooperative efforts in research and development between organizations. Similar patterns of network collaboration are being observed in academic circles and in their relationships with the production sector. The aim of this article is to contribute to the identification of collaboration patterns between Brazilian researchers. To do so collaboration in scientific production in the area of innovation management is analyzed by means of a survey of co-authorship in the papers presented at the Symposium on Technological Innovation Management (Sigitec) in the 1998-2008 period. It was seen that there is no clear trend in the growth of inter-institutional collaboration, which still falls short of levels seen internationally, and that spatial concentration in scientific production still persists.

Keywords : Networks; innovation; collaboration; co-authorship; competitiveness.

El trabajo colaborativo en red se expandió a partir del final del siglo XX, apoyado por los avances en las tecnologías de la información y comunicación. La velocidad creciente de los cambios tecnológicos y la exacerbación de la competitividad internacional demandan esfuerzos cooperativos de investigación y desarrollo entre organizaciones. Estándares similares de colaboración en red se observan en el medio académico y sus relaciones con el sector productivo. El objeto de este artículo es contribuir a la identificación de los estándares de colaboración de los investigadores brasileños. Para ello, se analiza la colaboración en producción científica en el área de gestión de la innovación, por medio de un relevamiento de coautoría de los artículos presentados en el Simposio de Gestión de la Innovación Tecnológica (Sigitec) en el período 1998-2008. Se verifica la ausencia de una tendencia clara de crecimiento de la colaboración interinstitucional, que todavía es inferior a los niveles internacionales, así como la persistencia de la concentración espacial de la producción científica.

Keywords : Redes; innovación; colaboración; coautoría; competitividad.

A YEAR OF LIVING DANGEROUSLY: COLLABORATING WITH UNDERGRADUATE STUDENTS

by Mary O'Neill

Creative Pedagogies, Changing Perspectives, Crossing Boundaries, Temasek Polytechnic, Singapore.

This presentation outlines the insights gained from a year of collaborative projects carried out as part of a Higher... more This presentation outlines the insights gained from a year of collaborative projects carried out as part of a Higher Education Academy Art Media and Design Fellowship (UK). The projects required the participants to collaborate across divides – the staff-student divide, the disciplinary divide, and cultural and language divides. Because of the experimental nature of the projects a ‘leap of faith’ was required on behalf of all the participants and the results were often surprising and unexpected. ‘The Lincoln Studio’ was a collaborative project between fine art staff and students that explored the studio as an active element in the production of artworks rather than as a mere place. ‘Lincolnshire Landscape’ was a cross-disciplinary project that involved fine art, creative lens media and journalism students working together on a project where they explored the Lincolnshire countryside, which would be an unfamiliar environment for most of the participants. ‘Belonging’ was a collaborative project between two art and design departments at the University of Lincoln and the fine art department at the Escola de Belas Artes, Universidade Federal de Minas Gerais, Brazil. The final project offered undergraduate students an opportunity to work with a member of academic staff on a joint research project that reflected a shared interest. The Deweyan philosophy of these projects emphasised a sharing of authority and responsibility between staff and students and a focus on the experience as a means of creating an enhanced learning environment. This presentation will explore the pedagogic insights drawn from the experience; looking at the students’ response immediately after the project and again several months later to assess the long term impact of these initiatives.

She tries her tongue: A blueprint for women's collaborative writing.

by Jacqui Gingras

The 2am Collective (2002). She tries her tongue: a blueprint for women's collaborative writing. Educational Insights, 7(2). [Available: http://www.csci.educ.ubc.ca/publication/insights/v07n02/contextualexplorations/dunlop/poems.html] 

Inovação Em Clusters Emergentes

by Carlos Quandt

COMCIÊNCIA – Revista Eletrônica de Jornalismo Científico ISSN 1519-7654 http://www.comciencia.br/reportagens/2004/08/13.shtml

Trans youth, science and art: creating (trans) gendered space

by Alison Rooke

This article is based on empirical research which was undertaken as part of the Sci:dentity project funded by the... more This article is based on empirical research which was undertaken as part of the Sci:dentity project funded by the Wellcome Trust. Sci:dentity was a year-long participatory arts project which ran between March 2006 and March 2007. The project offered 18 young transgendered and transsexual people, aged between 14 and 22, an opportunity to come together to explore the science of sex and gender through art. This article focuses on four creative workshops which ran over two months, being the 'creative engagement' phase of the project. It offers an analysis of the transgendered space created which was constituted through the logics of recognition, creativity and pedagogy. Following this, the article explores the ways in which these transgendered and transsexual young people navigate gendered practices, and the gendered spaces these practices constitute, in their everyday lives shaped by gendered and sexual normativities. It goes on to consider the significance of trans virtual and physical cultural spaces for the development of trans young peoples' ontological security and their navigations and negotiations of a gendered social world.