How can artist-scientist collaboration be of value to science and technology organizations? This innovative book is one of the first to address this question and the emerging field of art-science collaboration through an organizational and managerial lens. With extensive experience collaborating with and advising institutions to develop artist in residency programs, the author highlights how art-science collaboration is such a powerful opportunity for forward-thinking consultants, managers and institutions. Using real-life examples alongside cutting edge research, this book presents a number of cases where these interactions have fostered creativity and led to heightened innovation and value for organizations. As well as creating a blueprint for successful partnerships it provides insights into the managerial and practical issues when creating art-science programs. Invaluable to scholars and practitioners interested in the potential of art-science collaboration, the reader will be shown how to take an innovative approach to creativity in their organization or research, and the ways in which art-science collaborations can mutually benefit artists, scientists and companies alike.

The creative collaborations of engineers, artists, scientists, and curators over the past fifty years. Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In this book, W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world--Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage--participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized.

“This is a must-read for the nervous novice as well as theworld-weary veteran. The book guides you through every aspect ofexhibit making, from concept to completion. The say the devil is inthe details, but so is the divine. This carefully crafted tomehelps you to avoid the pitfalls in the process, so you can have funcreating something inspirational. It perfectly supports thedictum—if you don’t have fun making an exhibit, thevisitor won’t have fun using it.” —Jeff Hoke, Senior Exhibit Designer at Monterey BayAquarium and Author of The Museum of LostWonder Structured around the key phases of the exhibition design process,this guide offers complete coverage of the tools and processesrequired to develop successful exhibitions. Intended to appeal tothe broad range of stakeholders in any exhibition design process,the book offers this critical information in the context of acollaborative process intended to drive innovation for exhibitiondesign. It is indispensable reading for students and professionalsin exhibit design, graphic design, environmental design, industrialdesign, interior design, and architecture.

Scientists are famous for believing in the proven and peer-accepted, the very ground that pioneering artists often subvert; they recognize correct and incorrect where artists see only true and false. And yet in some individuals, crossover learning provides a remarkable kind of catalyst to innovation that sparks the passion, curiosity, and freedom to pursue--and to realize--challenging ideas in culture, industry, society, and research. This book is an attempt to show how innovation in the "post-Google generation" is often catalyzed by those who cross a conventional line so firmly drawn between the arts and the sciences. David Edwards describes how contemporary creators achieve breakthroughs in the arts and sciences by developing their ideas in an intermediate zone of human creativity where neither art nor science is easily defined. These creators may innovate in culture, as in the development of new forms of music composition (through use of chaos theory), or, perhaps, through pioneering scientific investigation in the basement of the Louvre. They may innovate in research institutions, society, or industry, too. Sometimes they experiment in multiple environments, carrying a single idea to social, industrial, and cultural fruition by learning to view traditional art-science barriers as a zone of creativity that Edwards calls artscience. Through analysis of original stories of artscience innovation in France, Germany, and the United States, he argues for the development of a new cultural and educational environment, particularly relevant to today's need to innovate in increasingly complex ways, in which artists and scientists team up with cultural, industrial, social, and educational partners.

Some of the most creative artists from today’s maker scene discuss their process, workspaces and more in this inspiring guide to tinkering. The Art of Tinkering is an unprecedented celebration of what it means to tinker: to take things apart, explore tools and materials, and build wondrous, wild art that’s part science, part technology, and entirely creative. Join 150+ makers as they share the stories behind their beautiful and bold work—then do some tinkering yourself! This collection of exhibits, artwork, and projects explores a whole new way to learn, in which people expand their knowledge through making and doing, working with readily available materials, getting their hands dirty, collaborating with others, and problem-solving in the most fun sense of the word. Each artist featured in The Art of Tinkering shares their process and the backstory behind their work. Whether it’s dicussing their favorite tools (who knew toenail clippers could be so handy?) or offering a glimpse of their workspaces (you’d be amazed how many electronics tools you can pack into a pantry!), the stories, lessons, and tips in The Art of Tinkering offer a fascinating portrait of today’s maker scene. Artists include: Scott Weaver, Arthur Ganson, Moxie, Tim Hunkin, AnnMarie Thomas, Ranjit Bhatnajar and Jie Qi.

Arts and Business aims at bringing arts and business scholars together in a dialogue about a number of key topics that today form different understandings in the two disciplines. Arts and business are, many times, positioned as opposites. Where one is providing symbolic and aesthetic immersion, the other is creating goods for a market and markets for a good. They often deal and struggle with the same issues, framing it differently and finding different solutions. This book has the potential of offering both critical theoretical and empirical understanding of these subjects and guiding further exploration and research into this field. Although this dichotomy has a well-documented existence, it is reconstructed through the writing-out of business in art and vice versa. This edited volume distinguishes itself from other writings aimed at closing the gap between art and business, as it does not have a firm standpoint in one of these fields, but treating them as symmetrical and equal. The belief that by giving art and business an equal weight, the editors also create the opportunity to communicate to a wider audience and construct a path forward for art and business to coexist.

Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.