Here’s an AstroDime Special Report on the 4S conference (http://4sonline.org) held in San Diego October 9-12, given by AstroDimer sam smiley
My concentration here will be on art and ethnography. I’m not necessarily looking at the big “art and science” question because there are value sets in both the visual arts and in science and technology that are too large for me to break down, and to start by deconstructing those would mean that I would never get down to my personal arts, ethnography and STS detective work.
One session that proved to be important to me was the following:
The work I enjoyed from this panel was Anne Galloway’s ethnographic work with sheep farms, sheep, farmers in New Zealand..and the artwork that has come out of it. It’s truly “situated artwork” and speculative fiction. Her talk was titled “Speculating the Multispecies Internet”.
Her current links for the project are here:
and you can follow her research blog here.
Another talk from this “Critical Making” panel was on the materiality of data, and making data narratives (Yanni Loukissas and Laura Forlano). I actually found this work (a form of performing data collection in the Arnold Arboretum in Boston, massachusetts) really useful both for STS connections and Qualitative Arts Based Research. They are intersted in “codesigning technoscience” and “hands on ethnography” and do ethnographic scavenger hunts and co-designing workshops. Here is a web site from their recent work in the Arnold Arboretum completed this past June of 2013
A note about the organizers of the Critical making panels: The Critical Making movement originates out of the Critical Making Lab in University of Toronto
They put out a great ‘zine called Critical Making
The first issue had an insert and parody on MAKE magazine (a sort of commodified DIY guide published by O’Reilly)
I found the concept of critical making really really interesting because it had some of the same critiques of DIY ish “Maker” culture in the U.S that I have thought about..overwhelmingly white, male, and uncritically “making”. The Critical Making group also involves craft in the concept of their work, which I appreciated. Because when I had followed and read the original MAKE magazines, I noticed that O’Reilly split the concept of craft off from the “maker” concept..(in another magazine called “CRAFT”) effectively reinscribing the gender divide that the “democratizing” MAKEr movement was supposed to bridge. But enough of my ranting..
Back to 4S..another talk that combined the arts and STS for me was actually on another panel..but had a lot in common with the previous aforementioned presentations. It was in the “In Search of ‘lines of flights’ in/to/for/by Latin America and Elsewhere” organized by Ivan da Costa Marques.
Within the first session was a presentation by Wendy Cano (researcher) that involved a collaboration with her sister Frida Cano (artist) in looking at corn as culture, and the uses of trangenic corn.This blog site has really great documentation of the project..an artistic cross cultural exchange on the meaning of corn that took place in Schöppingen, Germany in the spring of 2012. There is a great art book with Wendy’s writing, and also documentation of recipes from that experience. You can find examples in this blog entry: http://fridacano.wordpress.com/2012/05/12/vitamina-t/
My summary from these small samples are this: that the arts in STS can have a few models.. but the most effective models seem to work well with a collaboration of STS methods of research, and artists interested in ethnographic field work.
one model is using art to “co-design” field research such as with the work of Yanni Loukissas and Laura Forlano,
one model is doing critical public art with STS themes such as the work with Wendy and Frida Cano,
one model is somewhat like Anne Galloway’s art and ethnography work.. to create “artifacts” or fictions that result from the research and from collaboration with other artists.
I will close with a totally unrelated post. I was lucky enough to see Donna Haraway present a book Insectopedia by Hugh Raffle. First, I love the book. and I’m not really into bugs. It has exactly the kind of esoteric bits and pieces I love to follow and file somewhere. Also Haraway’s description of a “tangled coexistence” with insects is totally creepy but real. Donna Haraway talked about digging ticks out of her skin. But somehow it was a lot more poetic.