Subject: Re: speech, modelling, whither poesie?
From: Kevin Austin (email@example.com)
Date: Sat Jun 05 2004 - 06:03:54 EDT
>... can you be anything of an artist in a mainly research domain?
This issue has been brought to the fore by the rapid shift in
University priorities in the 1990s when faculty in Music and Fine
Arts found that there work was now being judged more and more with a
'research' paradigm, that is, the question arose as the place of
(non-commercial) 'creativity' in the academic system.
There is greater and greater pressure for faculty members, esp the
younger / newer ones to attract 'research funding'. While it is good
for faculty to present their work (performances, shows, CDs,
conferences), the measurement of success is shifting towards 'funded
Also, I think we have seen the artistic milieu shift. Thirty years
ago, the 'average' artist did not have access to tools of high-end
research and anyone who doodled with machines or spoke of perception
was "way out". The expectation now is that young(er) faculty will
work in a cross-disciplinary / interdisciplinary way with other
artists, but also more and more with 'h*rd core' researchers from the
sciences (less than from the humanities).
The tools being developed by 'music and sound researchers' 30, 20 or
even 10 years ago have moved into the computer on the artists'
laptops and a younger generation integrate writing software into
their own creative work. While there are still many artists who
"can't program", there is an entire generation that are writing their
own code, taking courses in programing and working seamlessly with
robotics, mediatic technologies and the like. ("music technology" +
education yields 104,000 hits on Google).
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