Hi Simon,

Totally agree. For some years, I´ve asked myself the same questions and got
some answers.
*
"How can you know the value of something that doesn’t exist yet?"  *You
simply cannot. That certainty leads me to draw the most bizarre estimates,
specially knowing what "the grant wallahs" in Catalunya, Spain and the
European Community want to see: PROFIT in CASH
*
"Why does everything have to have a value?" *Everything, even a dream has
its intrinsic value for a creative mind. But all "the grant wallahs" want to
see is HOW MUCH CASH is involved in a project and HOW MUCH PROFIT in CASH
they´re gonna pocket back. Cultural Industries they call us. Anything we
propose has to be technically productive in CASH. Nothing comes for free
anymore for the tax payer. I think it´s obscene
*
*Best regards

Montserrat Bru

http://surveys.polldaddy.com/s/0585AD78EB0ABF57/
*
*
On Fri, Jun 26, 2009 at 12:43 AM, Simon Biggs <[email protected]> wrote:

>  Artists are generally going into these situations looking for surprising
> outcomes whilst scientists are often unsure what their value will be to
> their work. Having done a few of these interdisciplinary collaborative
> things this has been my experience. That said, many scientists are up for
> unlikely outcomes of uncertain value. It is just that the way academic
> research is funded there is this pressure to prove the economic and social
> value of the probable outcomes well in advance of them coming into being.
> These pressures function to pervert what research is all about
> (finding/creating things you didn’t know you might find/create). How can you
> know the value of something that doesn’t exist yet? Why does everything have
> to have a value? Many artists and scientists prefer not to be concerned with
> these things. Such considerations are imposed upon them.
>
> Regards
>
> Simon
>
> Simon Biggs
> Research Professor
> edinburgh college of art
> [email protected]
> www.eca.ac.uk
> www.eca.ac.uk/circle/
>
> [email protected]
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
> ------------------------------
> *From: *james morris <[email protected]>
> *Reply-To: *NetBehaviour for networked distributed creativity <
> [email protected]>
> *Date: *Thu, 25 Jun 2009 23:26:29 +0100 (BST)
> *To: *<[email protected]>
> *Subject: *Re: [NetBehaviour] Internet of
> Things....ResearchOpportunitiesonEPSRC funded Project]
>
>
> On 25/6/2009, "Simon Biggs" <[email protected]> wrote:
>
> >recorded and all original material retained for peer assessment. This is
> not
> >foolproof (there are plenty of examples of poor science around) but nobody
> >has proposed a better system yet. It is unusual for artistic work to be
> >undertaken in this context but not novel. Otherâ•˙s have done it. It often
> >leads to surprising outcomes, especially for the scientists.
>
>
>
> I'm interested to know what the nature of the surprising outcomes are
> for scientists? (Are the artists less surprised by the outcomes?)
>
>
>
>
> http://www.principlesofnature.net/gallery_of_selected_art_works/the_discreteness_of_infinity_art_science_parallels.htm
>
>
> http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2008/sep/02/darwinscanopy
>
> _______________________________________________
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>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number 
> SC009201
>
>
>
>
> _______________________________________________
> NetBehaviour mailing list
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>



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