Panel / Implementing STEAM approaches in Higher Education

• Abstract: STEAM INC is the first focused attempt to collect and codify European approaches to STEAM in Higher Education. While the work is exploratory and should not be considered comprehensive, the collected approaches can however offer a preliminary framework for further mapping of STEAM in Higher Education, stimulate dialogue about the perceived nature, principles and parameters of STEAM and provide inspiration for those looking to develop and introduce STEAM approaches of their own.

Panel / Tools for a Warming Planet

• Abstract: We live on a planet in flux–with warming waters and land, chaotic weather, and unknown futures. Our adaptability and ingenuity are crucial to our survival, and our planet’s. In response to this condition, we are exploring new tools for understanding, engaging, and responding to our current and future environment. Bringing together artists, designers, scientists, and activists, this crowd-sourced piece focuses on ‘tools’, as a call for action, access, and collective engagement. New tools are needed to build more adaptable, resilient communities, as well as to imagine new ways of living on a fragile planet. 
  
  Tools for a Warming Planet is focused on the idea of tools–tools of collection, translation, engagement, connection, and care–which directly speaks to a time of climatic flux. Through display of physical and digital objects, as well as narratives on the use of these tools from the participating artists, the installation is a living archived of methods for working and living together. The project will develop over the course of the exhibit, allowing attendees and the larger global community to contribute tools to grow the collection. 
  
  The term ‘tool’ is used to focus on action: from hand craft, to care and repair, to data mapping, to digital filters, to community engagement. New tools posited across the works represent new possibilities of working and open up a conversation about our role as cultural and social activators. Tools for a Warming Planet brings together global voices into a visual dialog across languages and cultures that all must adapt to a changing climate on planet Earth. These global perspectives will allow for both localized perspectives and universal experiences, advancing a collective conversation with endless possibilities.

• Biography: This piece is the collective work of Sara Dean, Beth Ferguson, and Marina Monsonís. They are all artists and designers working on community and climate knowledge sharing, through local food networks, energy and transportation sources, and urban tools for climate change. Sara and Beth are both based in California. Marina is a local artist in Barcelona. They come together for this piece through their conviction that both social engagement and adaptive technologies are equally needed to create livable, sustainable, and adaptable ways of living and mutual care.
  
  Sara Dean is an architect and designer in California. Her work investigates opportunities of digital technologies to engage cities towards greater equity and adaptability, under the dual threat of the Anthropocene and capitalism. This includes works responding to climate disaster, digital activism, mapping, and the future of our cities. She is an advocate for open-source systems of knowledge.
  
  Beth Ferguson is an ecological designer and educator in California who blends industrial design with sustainable transportation, solar engineering, climate resiliency, and public engagement. She is the director of Adapting City Lab at UC Davis, which investigates new potentials of solar charging, urban transportation planning, and forms of micro-mobility in global cities.
  
  Marina Monsonís is a visual artist who works with hybrid processes of micro-social transformation rooted in territories, collectives, and communities with a focus on marine science, place-based design, gastronomy, graffiti, radical geography, critical ethnography, and oral histories. She is the director of the Barcelona Museum of Contemporary Art Kitchen Lab and based in Barcelona, España.

Panel / Crypto Land: Blockchain as a challenge for art and digital art collections of the future

• Abstract: Based on the meeting of new archives of the ISEA 2020, of which studies and theoretical models have been presented regarding the use of peer-to-peer distribution of collections and archives in the search to understand new possibilities for the preservation and conservation of the digital in the field of Art, the following panel proposal leads an essential discussion of Blockchain technology for memory spaces, museums, and festivals, in front of the challenge of the digitalization and digital transformation from existing and upgraded collections. In this sense, the Panel will seek different perspectives on encryption, legitimacy, and practical and theoretical challenges besides a contextualization to- wards post-digital societies.

• Biography: Tadeus Mucelli. Doctoral researcher in information science (UFMG) with a focus on art, technology, and digital humanities. Master of Arts, e. For over 20 years, working as a curator and specialist in digital culture projects. Memory, Information, Post-Digital, Blockchain, and decentralized networks as research. Creator of the Digital Art Biennial of Brazil
  
  Soliman Lopez. Contemporary artists specialized in art, science, sociology, and technology. Founder of Harddiskmuseum, OLEA crytocurrency and Innovation director at ESAT (Escuela Superior de Arte y Tecnología).
  
  José R. Alcalá (Valencia, Spain, 1960). Multimedia artist, curator and author. Head Professor for Art and New Media at the University of Castilla-La Mancha. Faculty of Fine Arts of Cuenca. Director of the indexed international journal ASRI (Art and Society; Research Magazine). Co-Director of the Ibero-American Observatory of Digital and Electronic Arts (UDELAR, Montevideo / MIDECIANT, UCLM). Director of the MIDECIANT International Museum of Electrography in Cuenca (1989-2018). Coordinator of Collections and Archives of Contemporary Art CAAC Faculty of BBAA de Cuenca (2013-2018). IP research group Cultural Interfaces; Art and New Media. UCLM (2005-2018). National Calcography Award (to the MIDE) “for the innovations contributed to graphic art” (1999).

Panel / Critical contact: the climate crises, human/nonhuman thinking, and sensing the possible

• Abstract: The point of contact between human and nonhuman is an imaginary of possibilities and, if one is to follow upon Bruno Latour’s critique on the “tyranny of the globe”, the borders separating the body and nonhuman are even more porous, illusive and multiple than imagined.
  
  [1] [2] Through interventions at levels of platform, system, code, sentience and nonhuman critical thinking, this panel con-ceptualizes this point of contact as a moment of art and one begging urgent response. Why urgent? Because, although the immediate and terrible crises of global warming maybe be directly caused by the human use of fossil fuel — some-thing straightforward that humans should be able to solve, the overwhelming incapacity of humans to build the will to confront the crisis (and other crises like mass extinction, perpetual wars, starvation, poverty) perhaps lies in the far broader, dystopic paradigms of the Anthropocene that im-prison our imaginaries within a cross-cultural mythos da-ting back at least to the beginnings of the Industrial Revo-lution.
  
  Simultaneously, technological infrastructures and platforms are designed in ways that hide the material costs and damage behind glossy surfaces and disappearing inter-faces. 
  
  That humans of the industrial era seem incapable of breaking cycles of warfare, economic inequality and global destruction despite indisputable evidence suggests that systems of knowledge and action that seemingly might provoke action are trapped within some larger mythos. Such a mythos is embedded in our technologies, networks, iconographies, languages, disciplines and narrative models. 
  
  Though natural and machine-driven nonhuman and human-nonhuman approaches in the arts the panel looks for possibilities through alternate platforms, perspectives and con-figurations that may help transform the climate debates and discourse around other challenges of our time.

• Biography: Roderick Luis Coover, PhD, is Professor and Founding Director of the Temple University PhD Program In Documentary Arts And Visual Research. A recipient of Fulbright, Mellon, Whiting, Sea(s), LEF, PPEH and Adam Mickiewicz awards, his works show in a wide range of venues like biennales, art museums, film festivals, science museums, and other public spaces. He uses emerging technologies to tackle challenges of global warming, mass extinction and human rights and underlying questions of identity, memory and narrative. Recent books include Digital Imaginaries: Literature And Cinema Of The Database (Bloomsbury) and Switching Codes: Thinking Through Digital Technology In The Humanities And Arts (Chicago). More info at https://unknownterritories.org/
  
  Ryszard W. Kluszczyński, PhD, is Professor of art, media and cultural studies, Chair of Department of New Media and Digital Culture, University of Lodz, Poland,  Professor at the Academy of Fine Arts in Lodz, and Artistic Director of Art  and Science Meeting Program in the Laznia Centre for Contemporary Art in Gdansk. He investigates the issues of new media arts and cyberculture, contemporary art theory and practices, avant-gardes, transdisciplinary cultural transformations, and recent interactions between art, science, technology and politics. Some of recent book publications include: Towards a Non-Anthropocentric Ecology. Victoria Vesna and Art in the World of the Anthropocene (2020); Beyond Borders: Processed Body – Expanded Brain – Distributed Agency (2019); Augmenting the World. Masaki Fujihata and Hybrid Space-Time Art (2017); Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Bio-robotic Art and its Cultural Contexts (2015).
  
  Anna Nacher, PhD, is Associate Professor at the Jagiellonian University, 2020 Fulbright alumna, and a member of the Board of Directors of the Electronic Literature Organization. Her research interests include digital culture, new media art, electronic literature, new media art and ecological art Her recent publications include articles in journals (European Journal of Women’s Studies, Hyperrhiz, Electronic Book Review, Acoustic Space, Communications +1) and chapters in edited volumes. Anna Nacher is also a musician and sound artist focusing on voice and field recordings, in 2021 she has been collaborating with Victoria Vesna (Alien Star Dust Online Meditation, Noise Aquarium Meditation, Breath Library). Since 2014 she has been building a community of permaculture practitioners in the Carpathian mountains.  More info and a full list of publications: http://postdigitality.net
  
  Søren Bro Pold, PhD, is Associate Professor at Aarhus University, Denmark. He has published on the arts of the interface in its various forms, e.g. on electronic literature, net art, software art, creative software, urban interfaces and digital culture. In relation to these research fields, he has been active in establishing interface criticism as a research perspective, which discusses the role and the development of the interface for art, aesthetics, culture and IT. His latest book is The Metainterface – The Art of Platforms, Cities and Clouds with Christian Ulrik Andersen.

Canòdrom – Panels

El Canòdrom – Ateneu d’Innovació Digital i Democràtica, is a unique space in Barcelona: a new and experimental laboratory athenaeum, open to the neighborhood, the city and the world. A crossroads between digital culture, free technologies, digital rights and democratic participation. Through this confluence, El Canòdrom works on a wide range of topics, such as feminism, human rights, social justice, diversity, the urban model and sustainability.

During ISEA2022, on June 16, El Canòdrom will host three panels from the ISEA2022 Barcelona’s open call and a conference by Bioinfo4women (BSC):

• 11 am – Critical contact: the climate crises, human/nonhuman thinking, and sensing the possible
  Roderick Coover, Ryszard Kluszczyński, Anna Nacher, Søren Pold
• 12:25 pm – Tools for a Warming Planet
  Sara Dean, Beth Ferguson, Marina Monsonís
• 4.30 pm – Bioinfo4women (BSC). Outstanding Young Female Bioinformaticians
  Atia Cortes, María José Rementeria
• 5.30 pm – Implementing STEAM approaches in Higher Education
  Andrew Newman, Robert Fischer, Claudia Carter

Consult all the panels that will be presented during ISEA2022 Barcelona.

El Canòdrom – Ateneu d’Innovació Digital i Democràtica, és un espai únic a Barcelona: un ateneu laboratori nou i experimental, obert al barri, a la ciutat i al món. Una cruïlla entre la cultura digital, les tecnologies lliures, els drets digitals i la participació democràtica. A través d’aquesta confluència, El Canòdrom treballa en un ampli ventall de temàtiques, com són els feminismes, els drets humans, la justí­cia social, la diversitat, el model urbà o la sostenibilitat.

Durant ISEA2022, el 16 de juny, el Canòdrom acollirà tres taules rodones provinents de la convocatòria oberta d’ISEA2022 Barcelona i una conferència a càrrec de Bioinfo4women (BSC):

• 11:00 – Critical contact: the climate crises, human/nonhuman thinking, and sensing the possible
  Roderick Coover, Ryszard Kluszczyński, Anna Nacher, Søren Pold
• 12:25 – Tools for a Warming Planet
  Sara Dean, Beth Ferguson, Marina Monsonís
• 16:30 – Bioinfo4women (BSC). Outstanding Young Female Bioinformaticians
  Atia Cortes, María José Rementeria
• 17:30 – Implementing STEAM approaches in Higher Education
  Andrew Newman, Robert Fischer, Claudia Carter

Consulta tots els panels que es presentaran durant ISEA2022 Barcelona.