Notes Day 2

Below are the notes from our last meeting. All of you, whether you attended the meeting or not, are asked to fill in the blanks (come up with snappier titles, suggest case studies, and suggest facilitators). thanks to Bob for taking notes. michelle

Monday, March 16, 2009 ELIA Steering Committee Meeting NOTES

ATTENDEES: Eliza Nichols, Co-chair Michelle Citron, Co-chair Jeff Abell Annette Barbier Robert Blandford Carmelo Esterrich Chap Freeman Myra Greene Margaret Sullivan

ABSENT: Dawoud Bey Peter Carpenter Debra Parr

NEXT MEETING: Monday, April 13, 2009 3:30 p.m.

IMMEDIATE ACTION FOR NEXT MEETING: 1. Post meeting notes on Wiki (BOB) 2. Post on Wiki (ALL COMMITTEE MEMBERS): - 2-3 sentence descriptions for at least 2 workshops - ‘sexy’ title suggestions for the 15 workshops - suggestions for provocateurs / facilitators for individual workshops - suggestions of possible case studies for individual workshops

DISCUSSION NOTES: (Please note, agenda item is in bold, discussion notes in standard type)

Goal of the meeting - Michelle 1. Flesh out workshop content so it can be posted on the ELIA website. 2. Discuss who we might invite as provocateurs / facilitators for individual workshops. 3. What pre-work do we want them to prepare?

Workshop topics: - Three sections of each workshop - Workshop formats should vary with topic and subtopic

Note format for workshop info: Potential titles in italics - (Notes regarding potential content) Possible Case Studies: Possible provocateurs / facilitators:

a. Art in the Economy

1. Beg, Borrow or Steal - Copyright / fair use/ appropriation / legal issues - US / European differences

Possible Case Studies: - ???

Possible provocateurs / facilitators: - We just hired a dynamite professor of cultural studies, Sean Andrews, who is writing about this stuff. He does critical legal studies and has dealt with 'pirate' version of high fashion, and just presented on the the issue surrounding the Obama-izing software online that you can use for free to make portraits in the red-blue-cream style of Obama's portrait. He is not local, but he will be next year!! (Carmelo)

2. Relationship with the Man Follow the Money Where’s the Money? Don’t Give up Your Day Job - Where do artists get money in today’s economy/who pays for art in a tough economy? - Making a living in today’s economy. - U.S. and European models, examples, lessons

Possible Case Studies: ???

Possible provocateurs / facilitators: ???

3. How do the economic times affect art and the forms of art? Art in Good Time / Art in Bad Times - Forms analysis - Themes

Possible Case Studies: - Project Row House, Houston, Rick Lowe

Possible provocateurs / facilitators: - ???

b. Art, Science, and Technology

1. Receive and Respond It’s Not an Object – It’s a Relationship - Interactivity in the arts - Implications of interactivity

Possible Case Studies: - ???

Possible provocateurs / facilitators: - ???

2. Is it Art or Science? Parallels between artistic and scientific creativity - Gaze tracking / motion capture

Possible Case Studies: - ???

Possible provocateurs / facilitators: - Rex Jung Ph.D. research scientist with Positive Neuroscience. Research focus upon the structural and biochemical correlates of intelligence and creativity. Has worked with artist to create video/photographic projects which map the body. http://www.positiveneuroscience.org/ - Myra Greene

3. How science enlarges the artist’s vocabulary - Data visualization

Possible Case Studies: - ???

Possible provocateurs / facilitators: - Richard Saul Wurman - Edward Tufte

c. Art and the Environment

1. Art in the Natural and Built Environment - Showcase new Media building and architect Jeanne Gang / film influences / green aspects -

Possible Case Studies: - Media Production Center

Possible provocateurs / facilitators: - Jeanne Gang

2. Is it Art or Is It Branding - Millennium Park - Graffiti

What are the relationships between the cultural production of art and the business strategies of branding? Are there social and aesthetics connections between state-sponsored public art, art done in public spaces without the 'proper' permission--like graffitti and stencil art--, private and public advertising (billboards and banners), and traditional forms of branding? What are the ethical implications of branding through the arts? What are the implications of blending or erasing the divide between the arts and the purposes of branding private and public spaces? (Carmelo)

Possible Case Studies: - ???

Possible provocateurs / facilitators: - ???

3. Can Art Change the Natural Environment? - Contemporary Earth Art

Possible Case Studies: e.g., art that “cleans” the environment of polutants - ???

Possible provocateurs / facilitators: - ???

d. Integrity of Art Making: The Arts as both Primary and Utilitarian Research

1. Creativity v. Problem solving play v. work unknown outcomes v. goal focused/solutions in mind

Possible Case Studies: - ???

Possible provocateurs / facilitators: - ???

2. Remix and appropriation Proposed Section Title: Steal this Dance! New Relationships to Choreographic Appropriation (Peter Carpenter)

Proposed Section Description: This workshop will look at the issue of appropriation in performance-based mediums and consider the ways in which body-based forms resist simple claims of theft. Using the Fall 2009 premiere of a new project by Lucky Plush Productions (Julia Rhoads, Artistic Director) titled Punk Yankees as a point of departure for discussion, workshop participants will be encouraged to offer their own perspectives regarding concepts of originality, inspiration, homage and citation. Participants are also invited to visit the Project’s website www.StealThisDance.com to buy, steal, or share a dance in advance or after the conference.

Notes and Questions: This might be a bit insular, but part of the draw for me is the facilitator connection. Norah just finished working with William Forsythe (super-famous choreographer) as co-director of a project with similar themes that will be on-line on 4/1. She’s about to be a superstar and she’s a pretty close colleague. Julia and Norah could speak about their perspectives together and then everyone could question Julia’s project (which the Dance Center will present the previous fall—many will already have seen the Forsythe online) and offer their own perspectives regarding artistic borrowing and citation. (Peter Carpenter)

- Mash up

- Issues of appropriation and technology

With phenomena like mash-ups reconfigurating our notions of original and copy, authenticity and originality, the need for revisiting these foundational concepts of the arts is paramount in our world today? Can a mash-up ever be original? Does this matter? What should be the vocabulary for talking about what matters in appropriation and intertextuality? What should do with our obsession with the art object and its importance in a market driven society? (Carmelo)

Possible Case Studies: - Using the Fall 2009 premiere of a new project by Lucky Plush Productions (Julia Rhoads, Artistic Director) titled Punk Yankees as a point of departure for discussion (Peter Carpenter)

Possible provocateurs / facilitators: -Proposed Commentator: Nora Zuniga Shaw, Director of Dance and Technology at the Ohio State University. (Peter Carpenter)

3. Improvisation as a practical and conceptual trope

Possible Case Studies: - ???

Possible provocateurs / facilitators: - ???

e. Art, Culture, and Social Change

1. Art and Civic Engagement- Peter Carpenter Proposal for Sexy Workshop Title: Envisioning the Shift: Colliding Politics, Culture and Form Proposed Section Title: Performing (or proscribing) Social Justice in the Academy

Can the aesthetic of social justice be codified into curricular structures? How can ethical and formal values be “taught” in higher education without ideological didacticism? How have academic institutions traditionally succeeded or failed in interacting with community partners to the satisfaction of all parties? This workshop will look at these issues through brief case studies in existing and emerging programs, and interactive discussion. Curricular overviews and course descriptions will be available to participants in advance via the ELIA website.

Possible Case Studies: - This could draw upon existing programs being proposed in Dance (MFA in Dance and Civic Engagement), Theatre (MFA in Arts and Activism[?]), and potentially Arts in Youth and Community Development. Maybe it could also include a representative from CTE and include its role in curriculum/co-curricular development via Critical Encounters?

Possible provocateurs / facilitators: - Krzysztof Wodiczko

Proposed Commentator: David Gere, Director—UCLA Center for Art and Global Health (Peter Carpenter)

2. Games for Change - IAM active workshop

Possible Case Studies: - ???

Possible provocateurs / facilitators: - Krzysztof Wodiczko

3. Curriculum for Social Change

Possible Case Studies: - ???

Possible provocateurs / facilitators: - Krzysztof Wodiczko