Olia Fedorova

Artist Olia Fedorova lives and is sheltering in Ukraine’s second largest city Kharkiv, 40 kilometers from the border with Russia. She shares stories about day to day life during wartime, reflects on how the meaning of her art is changing since the invasion and her views on Russian culture and imperialism.

Voices From Ukraine: Artist Olia Fedorova, On the Frontline of the War

Elena Subach

Maryana Klochoko

Viacheslav Poliakov

Elena Subach and Viachelslav talk about the Russian invasion of their country and the impact of the war on their life and practice from the Western edge of Ukraine where they are volunteering to help refugees flee into neighboring Central European countries.

Voices From Ukraine: Photographers Elena Subach and Viacheslav Poliakov. Music by Maryana Klochoko

Aida Sulova

Aida Sulova (KGZ) talks with Janeil Engelstad about her recent exhibition "News From Central Asia," organized for The Jewelry Library in NYC and her practice building communities and planting seeds for social change in Kyrgyzstan and the US.  

Aida Sulova (KGZ) talks with Janeil Engelstad about her recent exhibition "News From Central Asia," organized for The Jewelry Library in NYC and her practice building communities and planting seeds for social change in Kyrgyzstan and the US.

News From Central Asia: A Conversation with Creative Director and Curator Aida Sulova 

Orange Soda

Endri Dani

Judit Kis

Artists in Residence During the Pandemic: Conversations with Endri Dani and Judit Kis at Residency Unlimited

Expended Diagrams

Geometric Patterns

Steven began the session by tying it back to an earlier presentation of his Expanded Diagram Project. One of his aspirations of that still ongoing study is to transcend the overly constrained, largely western-based categories of contemporary art by illuminating specific kinds of creative processes that span a wide range of historical and contemporary world cultures and practices. From there he turned to yet another multi-media project called the Exurban Archipelago Project which focuses on the rapidly expanding networks of distribution/fulfillment centers populating the exurban fringes of so many metropolitan areas around the world. The final portion of the talk focused on his recent exhibitions and current studio activities including his Never the Same Space Twice series of paintings that he plans to contribute to the upcoming SMRN conference and exhibition in Vancouver.Steven began the session by tying it back to an earlier presentation of his Expanded Diagram Project. One of his aspirations of that still ongoing study is to transcend the overly constrained, largely western-based categories of contemporary art by illuminating specific kinds of creative processes that span a wide range of historical and contemporary world cultures and practices. From there he turned to yet another multi-media project called the Exurban Archipelago Project which focuses on the rapidly expanding networks of distribution/fulfillment centers populating the exurban fringes of so many metropolitan areas around the world. The final portion of the talk focused on his recent exhibitions and current studio activities including his Never the Same Space Twice series of paintings that he plans to contribute to the upcoming SMRN conference and exhibition in Vancouver. Carol presented aspects of several recent projects as well as what she is currently working on, related to the study and understanding of Islamic geometric patterns as intersections of art and mathematics. Her contribution to the third edition of the Encyclopedia of Islam on “Geometry in Art,” consists of sections on plane and solid geometry, geometric constructions and repeat patterns (periodic and quasiperiodic). She considers the use of an algorithmic aesthetic in two-dimensional space, which should be thought of as an innovation. She also addressed issues of solid geometry in three-dimensional space, and the use of projections from two- to three-dimensions. In contrast, her contribution on “Ornament” takes a more historiographic approach, arguing that the study of ornament in Islamic art requires an expanded definition of ornament than that of the Western paradigm in which ornament is ornamental. Both entries for EI3 express a narrative approach to geometry and concern cultural issues of identity and interpretation, as well as aesthetics. She lamented the recent removal of her comprehensive website on Symmetry and Pattern: The Art of Oriental Carpets (1996), which had been developed under the auspices of The Math Forum (first at Swarthmore College, then Drexel University and most recently the National Council of Teachers of Mathematics). And she sought advice, guidance, and encouragement from SMRN members as to what she might next address in charting a future course for the study of Islamic ornament.

Steven began the session by tying it back to an earlier presentation of his Expanded Diagram Project. One of his aspirations of that still ongoing study is to transcend the overly constrained, largely western-based categories of contemporary art by illuminating specific kinds of creative processes that span a wide range of historical and contemporary world cultures and practices. From there he turned to yet another multi-media project called the Exurban Archipelago Project which focuses on the rapidly expanding networks of distribution/fulfillment centers populating the exurban fringes of so many metropolitan areas around the world. The final portion of the talk focused on his recent exhibitions and current studio activities including his Never the Same Space Twice series of paintings that he plans to contribute to the upcoming SMRN conference and exhibition in Vancouver.Steven began the session by tying it back to an earlier presentation of his Expanded Diagram Project. One of his aspirations of that still ongoing study is to transcend the overly constrained, largely western-based categories of contemporary art by illuminating specific kinds of creative processes that span a wide range of historical and contemporary world cultures and practices. From there he turned to yet another multi-media project called the Exurban Archipelago Project which focuses on the rapidly expanding networks of distribution/fulfillment centers populating the exurban fringes of so many metropolitan areas around the world. The final portion of the talk focused on his recent exhibitions and current studio activities including his Never the Same Space Twice series of paintings that he plans to contribute to the upcoming SMRN conference and exhibition in Vancouver. Carol presented aspects of several recent projects as well as what she is currently working on, related to the study and understanding of Islamic geometric patterns as intersections of art and mathematics. Her contribution to the third edition of the Encyclopedia of Islam on “Geometry in Art,” consists of sections on plane and solid geometry, geometric constructions and repeat patterns (periodic and quasiperiodic). She considers the use of an algorithmic aesthetic in two-dimensional space, which should be thought of as an innovation. She also addressed issues of solid geometry in three-dimensional space, and the use of projections from two- to three-dimensions. In contrast, her contribution on “Ornament” takes a more historiographic approach, arguing that the study of ornament in Islamic art requires an expanded definition of ornament than that of the Western paradigm in which ornament is ornamental. Both entries for EI3 express a narrative approach to geometry and concern cultural issues of identity and interpretation, as well as aesthetics. She lamented the recent removal of her comprehensive website on Symmetry and Pattern: The Art of Oriental Carpets (1996), which had been developed under the auspices of The Math Forum (first at Swarthmore College, then Drexel University and most recently the National Council of Teachers of Mathematics). And she sought advice, guidance, and encouragement from SMRN members as to what she might next address in charting a future course for the study of Islamic ornament.

Islamic geometric patterns and Expended Diagrams

A rising start in European Art, independent curator and art historian Róna Kopeczky talks with MAP’s Janeil Engelstad about the importance of caregiving and how that is central to her curation, feminism in the former communist bloc countries, the expanding notion of the print and more.

A rising start in European Art, independent curator and art historian Róna Kopeczky talks with MAP’s Janeil Engelstad about the importance of caregiving and how that is central to her curation, feminism in the former communist bloc countries, the expanding notion of the print and more.

Extending Care through Curation, the Dynamic of Central, Eastern European Art and More: A Conversation with Curator and Art Historian Róna Kopeczky

How would enabling professionals with knowledge in coding transform medical practice in developing countries? Join us with Ayen Kuol and Stephen Lagu as we dive into the landscape of coding technology in practice and explore its relationship &amp; possibilities with the people of South Sudan. We introduce the concept of the 'psychology of coding' , and some of the ways that the cultural gaps--which obstruct the propagation of new technology--can be bridged. At the core of this discussion is a vision for a unified and inclusive Africa.

How would enabling professionals with knowledge in coding transform medical practice in developing countries? Join us with Ayen Kuol and Stephen Lagu as we dive into the landscape of coding technology in practice and explore its relationship &amp; possibilities with the people of South Sudan. We introduce the concept of the 'psychology of coding' , and some of the ways that the cultural gaps--which obstruct the propagation of new technology--can be bridged. At the core of this discussion is a vision for a unified and inclusive Africa.

Episode 8: Towards Embracing Coding in Medical Practice and Beyond

Janeil Engelstad talks with Elizabeth Monoian and Robert Ferry, founders of Land Art Generator about the social impact, politics and aesthetics of renewable energy and the role of art in providing solutions to climate change.

Janeil Engelstad talks with Elizabeth Monoian and Robert Ferry, founders of Land Art Generator about the social impact, politics and aesthetics of renewable energy and the role of art in providing solutions to climate change.

Art and Renewable Energy: A Conversation with Land Art Generator

Creative Disturbance is an international, multilingual platform that provides a unique virtual environment for the intellectually curious across the globe to meet, network, collaborate, create, and socialize.

Really enjoyed the discussion on the Arts Activities of Successful Scientists. Great listening while driving home. Look forward to hearing more!

Arts and Sciences

The description is really horrible in itunes. In a nutshell, this is a podcast with conversations that happen in the space where art meets science. It’s new and still a little rough, but if you enjoy podcasts like Story Collider and 99% Invisible then you will probably fall in love with this collective of podcasts.  I started listening with the assumption that the content would appeal to both artists and scientists, but it’s more geared toward individuals who are a little bit of both. Give yourself two or three episodes before you render a verdict.

The audio quality could be better, and most of the conversations should be trimmed to give a concise feel and increased pace, but I’m excited to see where the series goes. Keep producing!

The greatness sneaks up on you

Creative Disturbance

Christian Poincheval

Echange de procédé. Dans cet épisode, Fabrice L’Hénaff s’entretient avec Christian Poincheval au sujet de sa participation à l’exposition Improbables  et des enjeux artistiques et culturels de notre époque.

Echange de procédé. Dans cet épisode, Fabrice L’Hénaff s’entretient avec Christian Poincheval au sujet de sa participation à l’exposition Improbables  et des enjeux artistiques et culturels de notre époque.

Rencontre avec Christian Poincheval

Roger Dean

A conversation on sonification and electroacoustics between Scot Gresham-Lancaster and Roger Dean, British-Australian musician, academic, biochemist and cognitive scientist. 

A conversation on sonification and electroacoustics between Scot Gresham-Lancaster and Roger Dean, British-Australian musician, academic, biochemist and cognitive scientist.

Chris Chafe talks about his years of experiences in the field of sonification with Scot Gresham-Lancaster. Chris is the Director of the Stanford Center for Computer Research in Music and Acoustics. Listeners who want to hear some of Chris’s excellent sonification work can go here: http://chrischafe.net/portfolio/sonification-2/. His bio is at: http://chrischafe.net/about-2-2/

Chris Chafe talks about his years of experiences in the field of sonification with Scot Gresham-Lancaster. Chris is the Director of the Stanford Center for Computer Research in Music and Acoustics. Listeners who want to hear some of Chris’s excellent sonification work can go here: <a href="http://chrischafe.net/portfolio/sonification-2/" rel="nofollow" target="_blank">http://chrischafe.net/portfolio/sonification-2/</a>. His bio is at: <a href="http://chrischafe.net/about-2-2/" rel="nofollow" target="_blank">http://chrischafe.net/about-2-2/</a>

Chris Chafe

Roger F. Malina

Yusra Khan

Possibility of Training Our Gut Instinct with Roger F. Malina and Yusra Khan

Adam Zaretsky

In this Biocoillider episode, Adam Zaretsky talks with Matej Vakula about multi-species collaborations in bioart. What does it mean to ask for permission, and how do we ask non-humans? Can language or training influence gene expression? What ideas truly underpin the aesthetics of transhuman enhancement? What does the hype around certain scientific discoveries--such as CRISPR--serve? These questions are only a few excerpts from the range of topics we discussed.

In this Biocoillider episode, Adam Zaretsky talks with Matej Vakula about multi-species collaborations in bioart. What does it mean to ask for permission, and how do we ask non-humans? Can language or training influence gene expression? What ideas truly underpin the aesthetics of transhuman enhancement? What does the hype around certain scientific discoveries--such as CRISPR--serve? These questions are only a few excerpts from the range of topics we discussed.

Genes, Collaborations, and Permissions with Adam Zaretsky

Resilience

Diamond Beverly in conversation with colleague Roger Malina to discuss the affirmation game, mental health, and representation in video games. Negative thoughts plague our self-conscious and effect how we proceed throughout life. The affirmation game is a visual representation of combating negative thoughts with positive affirmations based on Diamond's personal practice in overcoming trauma through creative resilience.

Diamond Beverly in conversation with colleague Roger Malina to discuss the affirmation game, mental health, and representation in video games. Negative thoughts plague our self-conscious and effect how we proceed throughout life. The affirmation game is a visual representation of combating negative thoughts with positive affirmations based on Diamond's personal practice in overcoming trauma through creative resilience.

The Affirmation Game and Creative Resilience

Vlad Glaveanu

Creativity, Innovation and Social Change: Conversation with Vlad Glaveanu

The Design of Today, Art of Tomorrow

Michael Lobel

Join Ben Lima for a conversation with art historian Michael Lobel, author of numerous books on the subjects of pop and postwar art. The two discuss realism, pop art, and how the culture of commercial art has changed over the years.  Recorded and edited by Oskar Olsson. 

Join Ben Lima for a conversation with art historian Michael Lobel, author of numerous books on the subjects of pop and postwar art. The two discuss realism, pop art, and how the culture of commercial art has changed over the years.  Recorded and edited by Oskar Olsson.

Commercial Culture, Realism and Pop Art: A Conversation with Michael Lobel

Focus dans cette seconde partie de l'entretien sur la scène artistique contemporaine camerounaise et sur le rôle des institutions dans la promotion d'une avant-garde intellectuelle et artistique. Aude-Christel Mbga, diplômée de l'I.F.A, redit l'importance qu'elle accorde au développement de pratiques locales, et à la distance critique qu'elle entretient avec la diaspora.

Focus dans cette seconde partie de l'entretien sur la scène artistique contemporaine camerounaise et sur le rôle des institutions dans la promotion d'une avant-garde intellectuelle et artistique. Aude-Christel Mbga, diplômée de l'I.F.A, redit l'importance qu'elle accorde au développement de pratiques locales, et à la distance critique qu'elle entretient avec la diaspora.

Revisiter les savoirs

Pamela Z

Pamela Z is a composer/performer and media artist who makes solo works combining a wide range of vocal techniques with electronic processing, samples, gesture activated MIDI controllers, and video. She has toured extensively throughout the US, Europe, and Japan. Her work has been presented at venues and exhibitions including Bang on a Can (NY), the Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She's created installations and has composed scores for dance, film, and chamber ensembles (including Kronos Quartet). Her awards include the Rome Prize, a Guggenheim Fellowship, the Doris Duke Artist Impact Award, the Robert Rauschenberg Foundation residency, the Herb Alpert Award, and an Ars Electronica honorable mention, and the NEA/Japan-US Fellowship. www.pamelaz.com

Pamela Z is a composer/performer and media artist who makes solo works combining a wide range of vocal techniques with electronic processing, samples, gesture activated MIDI controllers, and video. She has toured extensively throughout the US, Europe, and Japan. Her work has been presented at venues and exhibitions including Bang on a Can (NY), the Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She's created installations and has composed scores for dance, film, and chamber ensembles (including Kronos Quartet). Her awards include the Rome Prize, a Guggenheim Fellowship, the Doris Duke Artist Impact Award, the Robert Rauschenberg Foundation residency, the Herb Alpert Award, and an Ars Electronica honorable mention, and the NEA/Japan-US Fellowship. <a href="http://www.pamelaz.com" rel="nofollow" target="_blank">www.pamelaz.com</a>

Pamela Z / Sonic gestures extraordinaire- Part 2

Elise Atangana est une commissaire d'exposition indépendante basée à Paris. Autodidacte, elle se forme notamment auprès de Simon Njami et participe depuis aux évènements majeurs de la scène artistique contemporaine. La première partie de cet entretien est consacrée à son parcours et à ses rencontres, de la biennale de Venise à celle de Dakar, ainsi qu'aux expositions dont elle a assuré le commissariat ces dernières années.

Elise Atangana est une commissaire d'exposition indépendante basée à Paris. Autodidacte, elle se forme notamment auprès de Simon Njami et participe depuis aux évènements majeurs de la scène artistique contemporaine. La première partie de cet entretien est consacrée à son parcours et à ses rencontres, de la biennale de Venise à celle de Dakar, ainsi qu'aux expositions dont elle a assuré le commissariat ces dernières années.

Chocs esthétiques

Feng, Qianhui is an architect, interactive designer and multi-media artist. She is focusing on Interactive architecture and multi-Media art, as well as immersive theatre and interactive performance. She has earned two master degrees, first one is in the major of Architectural Design and theory from Harbin Institute of Technology, and second one is in Design for Performance and Interaction from the Bartlett School of University College London. In this episode, Feng first introduced one of her architecture project, the museum of the Chinese writer Cao, Xueqin, who is the author of Dream of the Red Chamber, one of the Four Great Classical Novels of Chinese literature. The architectural project features a spatial embodiment and visualization of Cao’s literary world. The counterpart concept of space in Chinese language is kong jian 空间. Although kong 空 is translated as empty in English, but from a Daoist perspective, it actually means unlimited potentially. Thus, the space is not understood as a physical one with a determinate length and width, but rather a place of people’s life, memory, feeling, and open possibility. The conversation also covers the ideas of cang 藏 (hide), kuang 框 (frame) from traditional garden creation. After a few years of work as an architect, Feng then enrolled in IAlab in University College London to develop her knowledge in Performance and Interaction designing. Feng tried to combine her long-term interest in traditional Chinese aesthetics and contemporary media art creation. She created a new form of theatre named Inner Awareness using the design of a spatial interactive installation that will assess the relationship between performance, space and audience, thereby providing the audience with a thoroughly immersive experience. It is based on a romantic classic Chinese Kunqu Opera THE PEONY PAVILION written by dramatist Tang, Xianzu in Ming dynasty 400 years ago. THE PEONY PAVILION tells a love story through the medium of dream beyond space and time, even beyond life and death. Nonetheless, the employment of digital technology can result in a new and better theatrical interpretation; the coming together and fusion of classical drama and contemporary digital art has the potential to give the opera a new lease of life. Feng used real-time body tracking, augmented reality and projection mapping to interact with the actor’s performance to transform the theatre space into a dream world. In such a space that is artistic and dreamlike, the audiences can transcend space and time, actual and virtual, become one with Du, experience her brave and persistent pursuit of her love and then raise their own inner awareness. Furthermore, the installation can also be seen in a wider context and not only in the parameters of this one particular art form. Thank you for listening! Please don’t hesitate to contact me via duansiying@gmail.com if you would like to learn more about the details of the conversation or have any suggestion.

Feng, Qianhui is an architect, interactive designer and multi-media artist. She is focusing on Interactive architecture and multi-Media art, as well as immersive theatre and interactive performance. She has earned two master degrees, first one is in the major of Architectural Design and theory from Harbin Institute of Technology, and second one is in Design for Performance and Interaction from the Bartlett School of University College London. In this episode, Feng first introduced one of her architecture project, the museum of the Chinese writer Cao, Xueqin, who is the author of Dream of the Red Chamber, one of the Four Great Classical Novels of Chinese literature. The architectural project features a spatial embodiment and visualization of Cao’s literary world. The counterpart concept of space in Chinese language is kong jian 空间. Although kong 空 is translated as empty in English, but from a Daoist perspective, it actually means unlimited potentially. Thus, the space is not understood as a physical one with a determinate length and width, but rather a place of people’s life, memory, feeling, and open possibility. The conversation also covers the ideas of cang 藏 (hide), kuang 框 (frame) from traditional garden creation. After a few years of work as an architect, Feng then enrolled in IAlab in University College London to develop her knowledge in Performance and Interaction designing. Feng tried to combine her long-term interest in traditional Chinese aesthetics and contemporary media art creation. She created a new form of theatre named Inner Awareness using the design of a spatial interactive installation that will assess the relationship between performance, space and audience, thereby providing the audience with a thoroughly immersive experience. It is based on a romantic classic Chinese Kunqu Opera THE PEONY PAVILION written by dramatist Tang, Xianzu in Ming dynasty 400 years ago. THE PEONY PAVILION tells a love story through the medium of dream beyond space and time, even beyond life and death. Nonetheless, the employment of digital technology can result in a new and better theatrical interpretation; the coming together and fusion of classical drama and contemporary digital art has the potential to give the opera a new lease of life. Feng used real-time body tracking, augmented reality and projection mapping to interact with the actor’s performance to transform the theatre space into a dream world. In such a space that is artistic and dreamlike, the audiences can transcend space and time, actual and virtual, become one with Du, experience her brave and persistent pursuit of her love and then raise their own inner awareness. Furthermore, the installation can also be seen in a wider context and not only in the parameters of this one particular art form. Thank you for listening! Please don’t hesitate to contact me via duansiying@gmail.com if you would like to learn more about the details of the conversation or have any suggestion.

Feng, Qianhui: Collision of Chinese Traditional Aesthetics and Contemporary New Media Art/[CN] 冯千卉: 中国古典美学与当代新媒体艺术的碰撞

Job Hunting

Leonardo Space Art &amp; Science Workshop "Visions for the 21st Century", Paris, March 2019 co-organised by Annick Bureaud and Ewen Chardronnet. Each participant answered the same first question and then two other questions picked up among a set of cards. Sound design Jean-Yves Leloup. Project website: http://www.olats.org/space/sasc21/2019/sasc21_2019.php Project supported by the Daniel and Nina Carasso Foundation - https://www.fondationcarasso.org/   0 - What has attracted you to space, 13'38 1 – Humans or Robots, 4'23 2 – Dark Night or Full Moon, 4'37 3 – Astronomy or Astronautics, 4'57 4 – Colony or Space Station, 10'06 5 – Space Art or Space Culture, 4'31 6 – We are in 2121, if we were to have a workshop on space art science and culture, what would you like to be talking about, 6'36 7 – Ask your own question and answer it, 7'21

Leonardo Space Art &amp; Science Workshop "Visions for the 21st Century", Paris, March 2019 co-organised by Annick Bureaud and Ewen Chardronnet. Each participant answered the same first question and then two other questions picked up among a set of cards. Sound design Jean-Yves Leloup. Project website: <a href="http://www.olats.org/space/sasc21/2019/sasc21_2019.php" rel="nofollow" target="_blank">http://www.olats.org/space/sasc21/2019/sasc21_2019.php</a> Project supported by the Daniel and Nina Carasso Foundation - <a href="https://www.fondationcarasso.org/" rel="nofollow" target="_blank">https://www.fondationcarasso.org/</a> 0 - What has attracted you to space, 13'38 1 – Humans or Robots, 4'23 2 – Dark Night or Full Moon, 4'37 3 – Astronomy or Astronautics, 4'57 4 – Colony or Space Station, 10'06 5 – Space Art or Space Culture, 4'31 6 – We are in 2121, if we were to have a workshop on space art science and culture, what would you like to be talking about, 6'36 7 – Ask your own question and answer it, 7'21

Humans or Robots

In a world where we can’t observe our individual impact on ecological concerns, how can we spread awareness, and induce behavioral change? How do we redesign a culture? This episode will introduce many topics such as the implication of artists in complex ecological situations, self-reflection towards carbon footprint and the impact of space exploration.

In a world where we can’t observe our individual impact on ecological concerns, how can we spread awareness, and induce behavioral change? How do we redesign a culture? This episode will introduce many topics such as the implication of artists in complex ecological situations, self-reflection towards carbon footprint and the impact of space exploration.

Transdisciplinary Collaboration Will Save Our Planet

Brian Foo

Brian first came to my attention with the “Data Driven DJ” project which is an amazing set of 10 tracks of various “experiments” in tunes made from data sonification techniques.  He is an artist and computer scientist living and working in New York City. He is a data visualization artist at the American Museum of Natural History, where he communicate scientific data and research through interactive digital and physical exhibits. In his personal work he combines music, data, and algorithms as the Data-Driven DJ. Just check it out at https://datadrivendj.com Here is a reprint of his contact information from https://brianfoo.com Contact me at hello@brianfoo.com. Get updates via my very infrequent newsletter. Follow me on Twitter or Facebook. Fork my code on Github. Watch my media on Vimeo. Read some old writing on Medium.

Brian first came to my attention with the “Data Driven DJ” project which is an amazing set of 10 tracks of various “experiments” in tunes made from data sonification techniques.  He is an artist and computer scientist living and working in New York City. He is a data visualization artist at the American Museum of Natural History, where he communicate scientific data and research through interactive digital and physical exhibits. In his personal work he combines music, data, and algorithms as the Data-Driven DJ. Just check it out at <a href="https://datadrivendj.com" rel="nofollow" target="_blank">https://datadrivendj.com</a> Here is a reprint of his contact information from <a href="https://brianfoo.com" rel="nofollow" target="_blank">https://brianfoo.com</a> Contact me at <a href="mailto:hello@brianfoo.com">hello@brianfoo.com</a>. Get updates via my very infrequent newsletter. Follow me on Twitter or Facebook. Fork my code on Github. Watch my media on Vimeo. Read some old writing on Medium.

Brian Foo - the DataDriven DJ

Bonnie Pitman

Bonnie Pitman joined The University of Dallas at Texas as Distinguished Scholar in Residence in 2012 to research and develop partnerships between UTD and cultural and health-related institutions. She serves in the Office of the Provost, and The Edith O’Donnell Institute of Art History, The Center for BrainHealth and the School of Arts, Technology and Emerging Communication.   As Director of Art -Brain Innovations at the UT Center for BrainHealth and the Brain Performance Center, Pitman expands her research and teaching of the power of observation, meditation, and compassion and her “Do Something New” Practice to foster brain health. These initiatives will connect neurological research with the experience and process of seeing, looking and observing and develop a framework The Power of Art™. She is collaborating and teaching with the staffs at Center for Brain Health and the Brain Performance Institute to develop these initiatives.   With the Edith O’Donnell Institute of Art History, Pitman directs the Art and Medicine program that focuses on the ways museums use their collections in developing close observation of works of art to enhance the diagnostic skills needed for medical practice. The Art and Medicine website at the Edith O’Donnell Institute of Art History includes research, resources, and courses that cultivate connections between art history and medical education. In 2016, she organized a national convening of Art Museums and Medical Schools at The Museum of Modern Art, NYC the documentation of the Forum is on the website. She teaches a course titled “The Art of Examination” using the collections of the Dallas Museum of Art for UT Southwestern Medical School students and also presents at Grand Rounds in hospitals, including UT Southwestern Medical Center, Baylor Medical Center, UT San Antonio published articles on the art and medicine programs are in the New York Times 2016, the San Antonio Medicine 2017, and Dallas Morning News, 2017. Her most recent publication is in the Journal of American Medicine, was published in January 2018, Pharma Art—Abstract Medication in the Work of Beverly Fishman.   Working with the UT Dallas School ofArts, Technology and Emerging Communication to develop new initiatives with cultural and health organizations to support the strategic plan. Prototyping innovative ways to engage audiences in the arts, sciences and healthcare using new media platforms. Partnering with the Educational Technology Services and ATEC to design and produce videos the Art of Examination, course using works of art to teach sympathy, empathy and compassion.   The former Eugene McDermott Director of The Dallas Museum of Art, she is a national leader in the public engagement of works of art. Under her leadership the Museum’s artistic excellence and engagement with the community dramatically increased. Pitman championed the transformation of the institution. She completed the Museum’s$187 million campaign to support the endowment and improve the building. Initiatives included the Center for Creative Connections, the Framework for Engaging with Art research, DMA’s Late Nights programming. The American Association of Museums recognized her lifetime contributions to the field with the Award for Distinguished Service to Museums in 2011. She served as Chair and as a member of the American Association of Museums Accreditation Commission for 12 years.   Pitman has published six books including Ignite the Power of Art: Advancing Visitor Engagement in the Museum, Excellence and Equity: Education and Public Dimension of Museums, and The Dallas Museum of Art: A Guide to the Collection.   Pitman received a Bachelor of Arts, cum laude in art historyand graduated Phi Beta Kappa from Sweet Briar College, Virginia and a Master of Arts in art history from Tulane University.

Bonnie Pitman joined The University of Dallas at Texas as Distinguished Scholar in Residence in 2012 to research and develop partnerships between UTD and cultural and health-related institutions. She serves in the Office of the Provost, and The Edith O’Donnell Institute of Art History, The Center for BrainHealth and the School of Arts, Technology and Emerging Communication. As Director of Art -Brain Innovations at the UT Center for BrainHealth and the Brain Performance Center, Pitman expands her research and teaching of the power of observation, meditation, and compassion and her “Do Something New” Practice to foster brain health. These initiatives will connect neurological research with the experience and process of seeing, looking and observing and develop a framework The Power of Art™. She is collaborating and teaching with the staffs at Center for Brain Health and the Brain Performance Institute to develop these initiatives. With the Edith O’Donnell Institute of Art History, Pitman directs the Art and Medicine program that focuses on the ways museums use their collections in developing close observation of works of art to enhance the diagnostic skills needed for medical practice. The Art and Medicine website at the Edith O’Donnell Institute of Art History includes research, resources, and courses that cultivate connections between art history and medical education. In 2016, she organized a national convening of Art Museums and Medical Schools at The Museum of Modern Art, NYC the documentation of the Forum is on the website. She teaches a course titled “The Art of Examination” using the collections of the Dallas Museum of Art for UT Southwestern Medical School students and also presents at Grand Rounds in hospitals, including UT Southwestern Medical Center, Baylor Medical Center, UT San Antonio published articles on the art and medicine programs are in the New York Times 2016, the San Antonio Medicine 2017, and Dallas Morning News, 2017. Her most recent publication is in the Journal of American Medicine, was published in January 2018, Pharma Art—Abstract Medication in the Work of Beverly Fishman. Working with the UT Dallas School ofArts, Technology and Emerging Communication to develop new initiatives with cultural and health organizations to support the strategic plan. Prototyping innovative ways to engage audiences in the arts, sciences and healthcare using new media platforms. Partnering with the Educational Technology Services and ATEC to design and produce videos the Art of Examination, course using works of art to teach sympathy, empathy and compassion. The former Eugene McDermott Director of The Dallas Museum of Art, she is a national leader in the public engagement of works of art. Under her leadership the Museum’s artistic excellence and engagement with the community dramatically increased. Pitman championed the transformation of the institution. She completed the Museum’s$187 million campaign to support the endowment and improve the building. Initiatives included the Center for Creative Connections, the Framework for Engaging with Art research, DMA’s Late Nights programming. The American Association of Museums recognized her lifetime contributions to the field with the Award for Distinguished Service to Museums in 2011. She served as Chair and as a member of the American Association of Museums Accreditation Commission for 12 years. Pitman has published six books including Ignite the Power of Art: Advancing Visitor Engagement in the Museum, Excellence and Equity: Education and Public Dimension of Museums, and The Dallas Museum of Art: A Guide to the Collection. Pitman received a Bachelor of Arts, cum laude in art historyand graduated Phi Beta Kappa from Sweet Briar College, Virginia and a Master of Arts in art history from Tulane University.

The Power of Art, From Museums to Medicine: A Conversation With Bonnie Pitman Part 2

Jorge Alberto Lozoya

Jorge Lozoya, who is the founding director of the International Museum of the Baroque in Puebla, Mexico, following a distinguished career as internationalist and historian, visits the Athenaeum Review podcast to talk about Mexico, globalization, the baroque and much more.

Jorge Lozoya, who is the founding director of the International Museum of the Baroque in Puebla, Mexico, following a distinguished career as internationalist and historian, visits the Athenaeum Review podcast to talk about Mexico, globalization, the baroque and much more.

Globalization and the Baroque: A Conversation with Ambassador Jorge Alberto Lozoya Part 2

The Power of Art, From Museums to Medicine: A Conversation With Bonnie Pitman Part 1

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