Reports

Published June 7, 2012

Previous reports that make recommendations in the SEAD context.
If you wish to add an existing report to this compilation send an email to
Amy Ione amy.ione.2@gmail.com. We include reports in any language. Only reports with recommendations are included.

Arts Catalyst, European Space Agency (ESA), International Space Station (ISS), Leonardo/OLATS, and Delta Utec. The Arts Catalyst’s Study for the European Space Agency.
This document summarizes the conclusions of the study into Cultural Utilisation of the International Space Station (ISS) conducted by the Arts Catalyst – with a team that includes Delta Utec and LeonardoOlats – for the European Space Agency. The study aimed to generate strategies for involving cultural users in the ISS and to identify ready-to-implement projects in arts, culture and media that can tap into the contemporary European public’s concerns and interests.

Australia Council. (1984). Advisory Committee on Art and Technology Report. Austalia.
The report of this committee was submitted to the Australia Council in April 1984. The report analyses the effect on the arts of developments in technology.

Bush, Vannevar. Science, the Endless Frontier. Three Centuries of Science in America. New York: Arno Press, 1980.
As a young professor at MIT in the 1920s, Vannevar Bush (1890-1974) did seminal work on analog computing and was a cofounder of Raytheon, whose initial success was based on long-lasting radio tubes. But he is best known for his role in Washington during World War II: as President Roosevelt’s advisor, he organized the Manhattan Project and oversaw the work of 6,000 civilian scientists designing new weapons. His 1945 report “Science — The Endless Frontier” spurred the creation of a system of public support for university research that endures to this day.Although he helped to give rise to the military industrial complex, Bush was a skeptical observer of the interplay between science and politics. He warned against the dangers of an arms race and led a failed effort to halt testing of the hydrogen bomb. This balanced and gracefully written biography brings to life an American original and his times.

Chaplin, Maud, Ruth Schwartz Cohen, Alex Roland, and Bruce Seely. Implications Of Technological Innovation At The End Of The 20th Century. Washington, DC: National Humanities Alliance, 1997.
We are here to demonstrate what historians and philosophers can offer when analyzing the role of technology in society and its implications for contemporary life. These issues are very much at the forefront of our fields.

Comer, Christopher, and Ellen M. McCulloch. Final Report: SymBIOtic ART & Science: An Investigation at the Intersection of Life Sciences and the Arts, n.d.
NSF/NEA joint funding program, joint guidelines, joint evaluation 1. Funding should extend over three years: patience is necessary 2. Either the artist or the scientist should be the PI for the project 3.  How to define outcomes, evaluation metrics, “sandpit” model.

Committee on Libraries and Intellectual Property of the National Humanities Alliance. Basic Principles For Managing Intellectual Property In The Digital Environment. Committee on Libraries and Intellectual Property of the National Humanities Alliance (NHA), March 24, 1997.
The following document was prepared by the Committee on Libraries and Intellectual Property of the National Humanities Alliance (NHA) in an effort to build consensus within the educational community on the uses of copyrighted works in the digital environment. While the Committee members represent primarily institutions within higher education, the Committee believes that the principles presented here apply to a broadly defined educational community encompassing many other institutions and individuals, including primary and secondary schools, independent research laboratories, faculty and students, and independent scholars. Participants in the NHA Committee’s discussions are listed at the end of the document.

Davidson, C. N., & Goldberg, D. T. (n.d.). The Future of Learning Institutions in a Digital Age (2009).
Published by the MIT Press, this report presents findings from current research on how young people learn, play, socialize, and participate in civic life. Argues that our institutions of learning have changed far more slowly than the modes of inventive, collaborative, participatory learning offered by the Internet and an array of contemporary mobile technologies.
Sponsored by John D. and Catherine T. MacArthur Foundation in connection with its grant making initiative on Digital Media and Learning.

Glinkowski, P., & Bamford, A. (2009). Insight and Exchange: An evaluation of the Wellcome Trust’s Sciart programme. London: Wellcome Trust.
Running from 1996 to 2006, Sciart was originally launched to fund “visual arts projects which involved an artist and a scientist in collaboration to research, develop and produce work which explored contemporary biological and medical science”. Over the course of a decade its remit shifted and expanded to embrace a wider spectrum of arts and science activity. The overall findings suggest that Sciart was an influential grants scheme that had achieved high-level impacts. It was generally agreed that those impacts were more  pronounced in and on the field of the arts than the sciences.

Goebel, Johannes, and Jonas Braasch. Establishing a Network of Excellence for Art + Science + Technology Research: Infrastructural and Intellectual Foundations. The Curtis R. Priem Experimental Media and Performing Arts Center EMPAC: The Curtis R. Priem Experimental Media and Performing Arts Center EMPAC, March 16, 2011.
This workshop was the third in the series initiated by the joint workshop of the Nationa  Science Foundation and the National Endowment for the Arts. The first workshop  entitled RE/search: Art, Science, and Information Technology, was held in September 2010; it continued in January 2011 at the Rhode Island School of Design with a workshop on Bridging STEM to STEAM.
The third workshop, whose outcomes are reported here, focused on the intellectual, infrastructural, and managerial requirements to create a network of institutions, researchers, engineers, and artists that is aiming at realizing concrete projects at the intersections of arts, science, and technology.

Harrell, D. Fox, and Sneha Veeragoudar Harrell. Strategies for Arts + Science + Technology Research: Executive Report on a Joint Meeting of the National Science Foundation and the National Endowment for the Arts. National Science Foundation and the National Endowment for the Arts, September 15, 2010.
The arts and the sciences each contribute to the improvement and understanding of the human condition. Yet, it is clear that these modes of inquiry feature different values, aims, methods, registers and more. Furthermore, they are often posed in opposition to one another, highlighting the largely incommensurate extremes rather than productive synergies that endeavor to serve integrated Arts + Sciences + Technology ends. In contrast, on September 15th-16th 2010, over fifty-five thought leaders and stakeholders (artists, engineers, computer scientists, and practitioners who straddle disciplinary boundaries) were convened for a two-day interactive discussion about the challenges and opportunities for advances in the creative innovation economy and education institutions. The main goal was to identify synergies and foster collaborations across and between constituencies and develop a set of actionable areas of mutual interest: inquiry, collaboration, funding opportunities, lifelong learning, and innovation that are recognized by both the National Science Foundation and the National Endowment for the Arts.

Hewett, Tom, Mary Czerwinski, Michael Terry, Jay Nunamaker, Linda Candy, Bill Kules, and Elisabeth Sylvan. Creativity Support Tool Evaluation Methods and Metrics. National Science Foundation, 2005.
One goal of this portion of the report is to provide a brief overview of our current understanding of what the psychological research community examining creativity tells us about the topic, as well as to review some of the conceptual and methodological issues involved in the psychological study of creativity. A third goal is to discuss some of the implications of this research for requirements analysis for creativity support tools, for the design of creativity support tools, and for the evaluation of the impact of those tools intended to support creativity. This discussion is based upon a presentation and subsequent discussion at the NSF Sponsored Creativity Support Tools (CST) Workshop held in Washington, DC in June of 2005.

IFACCA, International Federation of Arts Councils and Culture Agencies, the Arts Council of Finland, and m-cult. Helsinki Agenda Strategy Document on International Development of New Media Culture Policy. Helsinki: Media Centre LUME, August 24, 2004.
This document was produced in dialogue between international experts in new media cultural policy. The meeting convened during ISEA2004, the 12th International symposium on Electronic Art in Helsinki. The meeting was cohosted by IFACCA, International Federation of Arts Councils and Culture Agencies, the Arts Council of Finland and m-cult centre for new media culture.
The Helsinki Agenda recognizes Finland’s pioneering role in media culture and arts, and in creating open access tools and accessible mobile communication technologies (software, technology and interfaces between information technology and culture). These broaden and deepen the role that media and information can play in civil society and knowledge creation. Finland’s history recognizes the strong commitment to democratic and civic values in the media and information practices. This makes Finland an exemplar worthy of consideration and emulation in a variety of local, national and global contexts.

Imhof, Barbara, Michelle Kotler, Sarah Jane Pell, and Christian Waldvogel. Meeting Report 2011 European Space Authority (ESA) Topical Team Art & Science., Meeting Report ESA Topical Team Arts, EAC Cologne June 29—July1, 2011.
This report was written in order to establish a catalogue of reasons, measures and output formats which could result from a cooperation between ESA and the arts («ESA Art Initiative», EAI). Furthermore, this report provides arguments towards implementation of such an initiative as well as suggestions for possible formats of cooperation. The report is divided into four sections.

Jennings, Pamela. New Media Arts | New Funding Models. Creativity & Culture, The Rockefeller Foundation, December 2000.
New Media Art/ New Funding Models report investigates the current state of funding for new media artists. The emphasis is on the support structures for innovative creative work that utilizes advances technologies as the main vehicle for artistic practice.
Twenty-two individual artists/innovators, organizers, directors, and foundation program officers involved in the international new media arts community were interviewed.
Participants were asked a number of questions regarding how they frame new media art, concerns from the field, funding histories, and concepts for funding models. Several participants are involved in new initiatives that bridge the for-profit and non-profit funding sectors including artists’ research centers, innovative business models, new approaches for traditional funding sources, incubators, venture funding, and leveraging  community.

Jennings, Pamela, and Elisa Giaccardi. Creativity Support Tools for and by the New Media Arts Community. Washington D.C.: NSF Workshop Report Creativity Support Tools, June 2005.
The new media arts are a particularly fertile domain for the development of creativity support tools that both supplement creative practices and contribute valuable research methodologies for other disciplines. Many parallel research concerns of new media art practitioners and researchers are found in the Human Computer Interaction and software engineering communities, including: education technology, computer supported collaborative work, data visualization, database architecture, and tools development research in pervasive computing, tangible interfaces, emotion and context aware interaction, and so on.

LaFayette, Carol. Network for Science, Engineering, Arts and Design Annual Report Summary,. National Science Foundation., May 2012.
The SEAD network creates continuity for earlier efforts to formally recognize the value and potential of cross-disciplinary research and practice among SEAD disciplines. It provides a framework to bolster a diverse group of individuals spanning public, private, and civic entities. In our workshops, we heard it said more than once that the future holds great promise for aggregators of knowledge and for building bridges across knowledge domains, for example, to avoid reinventing someone elseʼs wheel, or to combine resources in challenging economic  times. As advocates for this new, fuzzy, “field of fields,” SEAD will continue to support the needs and to celebrate the diversity of this burgeoning community.

Leach, J. (2006). Extending Contexts, Making Possibilities: An Introduction to Evaluating the Projects. Leonardo, 39(5), 447–451. doi:i: 10.1162/leon.2006.39.5.447</p>
The author, an anthropologist, discusses his role as an observer attached to a collaborative arts/science research fellowship program. He examines the role of collaboration in research and in the Fellowships and explores new ways of conducting collaboration so that the research process itself becomes part of a project’s output.

Mitchell, William, Alan Inouye, and Marjory Blumenthal. ( 2001) Beyond Productivity: Information, Technology, Innovation, and Creativity. The National Academy Press, 2003. Web. 25 Feb. 2012.
Computer science has drawn from and contributed to many disciplines and practices since it emerged as a field in the middle of the 20th century. Those interactions, in turn, have contributed to the evolution of information technology new forms of computing and communications, and new applications that continue to develop from the creative interactions between computer science and other fields. Beyond Productivity argues that, at the beginning of the 21st century, information technology (IT) is forming a powerful alliance with creative practices in the arts and design to establish the exciting new, domain of information technology and creative practices ITCP. There are major benefits to be gained from encouraging, supporting, and strategically investing in this domain.

Mpact Memphis. The Memphis Manifesto Building A Community Of Ideas. Memphis, Tennessee,, May 30, 2003.
Creativity is fundamental to being human and is a critical resource to individual, community and economic life. Creative communities are vibrant, humanizing places, nurturing personal growth, sparking cultural and technological breakthroughs, producing jobs and wealth, and accepting a variety of life styles and culture.

Murfee, E. (1995). Eloquent evidence: Arts at the core of learning. Washington DC: President’s Committee on the Arts and The Humanities. Washington, D.C: National Assembly of State Arts Agencies. Report by the President’s Committee on the Arts and The Humanities. Washington, D.C: National Assembly of State Arts Agencies.
A dramatic revolution in cognitive understanding began in the 1970’s. Research included in this report substantiates what some teachers and parents already knew intuitively — that the arts are critical to education and learning. Most of the studies cited in this report are summarized in the recently completed Schools, Communities and the Arts: A Research Compendium, developed by the National Endowment for the Arts in cooperation with the Morrison Institute for Public Policy. Using set selection criteria, this compendium focuses on studies published since 1985 which employed sound methodologies.

Naimark, M. (2003). Truth, Beauty, Freedom, and Money: Technology-Based Art and the Dynamics  of Sustainability. Leonardo Journal.
A report for Leonardo Journal supported by the Rockefeller Foundation.
Technology-based art has become increasingly of interest to both the art and the technology communities, as well as to the public at large. It has been adopted by art centers interested in technology and by research labs interested in art, places with different cultures and histories.
New support opportunities exist for tech-based art, such as commercializing invention and tapping a new generation of collectors, patrons and sponsors. But tech-based art is still art, which suffers from deep cultural inadequacies in the US. Based on travel and discussion both inside and outside the US, observations about the art and technology landscape and opportunities for future support are presented. Details for an “Arts Lab,” a unique hybrid art center and research lab, are specified.

National Endowment for the Humanities. Report of the Humanities, Science, and Technology Working Group. National Endowment for the Humanities, May 2000.
In the nineteenth century, as science was expanding our capacity for understanding the world and as technology demonstrated its ability to deliver what we wanted from the world, some scholars and literary figures registered their discomfort with the social and cultural changes that accompanied the growth of science and technology. Other writers, such as Walt Whitman, welcomed and generally endorsed the advance of science but still retained a degree of ambivalence about its capacity to explain the ultimate mysteries of the universe and human existence.

National Science Board. Preparing the Next Generation of STEM Innovators: Identifying and Developing Our Nation’s Human Capital. National Science Board, 2010.
The Board firmly believes that a coherent, proactive, and sustained effort to identify and develop our Nation’s STEM innovators will help drive future economic prosperity and improve the quality of life for all.  Likewise, providing opportunities for all young men and women to reach their potential will serve the dual American ideals of equity and excellence in education.  The decisive action taken years ago in the wake of Sputnik created a legacy guaranteeing that today’s generation would live in a more prosperous and secure society than that of their predecessors.  It is our collective responsibility today to do the same, and ensure that future generations reap the benefits of our choice to act.  We believe that the recommendations set forth in this report represent one step of many towards continuing this legacy.

National Science Foundation, and National Endowment for the Arts. Strategies for Arts + Science + Technology RE/search. Storymap. Arlington, Virginia: National Science Foundation and the National Endowment for the Arts, September 15, 2010.
The program committee for the Strategies for Arts + Science + Technology RE/search workshop convened an international group of sixty stakeholders (Artists, Engineers, Computer Scientists and practitioners who defy disciplinary boundaries) for a two-day interactive discussion about the challenges and opportunities for advances in the creative innovation economy, PK-lifelong learning and the national intellectual currency that bridge the Arts, Sciences, and Technology (AST) research.

O’Connor, Justin, Stuart Cunningham, and Luke Jaaniste. Arts and Creative Industries A Historical Overview; and An Australian Conversation. Australia Council for the Arts, February 2011.
This study by Professor Justin O’Connor was commissioned by the Australia Council as part of a long-running and productive relationship between the council and the ARC Centre of Excellence on Creative Industries and Innovation at the Queensland University of Technology (QUT). Our previous collaborations have looked at the contribution of creative activities to health care and, more recently, an analysis of census data on artists’ employment, What’s your other job?, as part of our Artist Careers research. The council is also a partner with QUT in two current Linkage research projects supported by the Australian Research Council.

Reid, Theresa. ArtsEngine : Michigan Meeting – Working Group Topics. Accessed August 26, 2012..
This Michigan Meeting was designed to be the beginning of a cohesive, long-term initiative to better incorporate art-making and the arts into the U.S. research university. To advance that project, on Thursday afternoon, May 5, every registrant  participated in a two-hour working group on one of seven topics. Each working group was led by a trained facilitator and  produced a draft document comprised of a vision statement; short-, mid-, and long-range goals; and immediate action steps. These documents were compiled on Thursday night and presented on Friday morning as a first draft of a multi-faceted plan for moving the agenda forward.

Risset, J.-C. (1998). Art-Science-Technologie. Report for the French government.
Le domaine des arts est important pour lui-même, mais aussi en relation avec l’efflorescence du numérique. Les arts alimentent des industries culturelles au marché potentiel considérable. Le progrès des sciences et des techniques fournit à l’art de nouveaux outils, de nouveaux matériaux et de nouvelles voies. L’art peut aussi être moteur de l’innovation scientifique et technologique. Les possibilités de l’informatique et du multimédia rendent possibles de nouvelles démarches heuristiques, pour lesquelles la recherche artistique peut être articulée avec la recherche fondamentale. Il faut donc qu’une recherche organisée se mette en place sur un sujet qui implique une chaîne d’acteurs différents : chercheurs, créateurs, pédagogues, éditeurs, industriels, économistes… Il est particulièrement important que les préoccupations artistiques puissent pénétrer au cœur de la recherche. Or, par tradition, les arts n’ont pas en France la place qu’ils méritent dans les milieux de l’université et de la recherche. Le rapport examine les moyens de renforcer la synergie art-science-technologie.

Safire, W., & Kagan, J. (2009). Neuroeducation: Learning, Arts, and the Brain: Findings and Challenges for Educators and Researchers from the 2009 Johns Hopkins University Summit. Johns Hopkins University.
Neuroeducation: Learning, Arts, and the Brain, the culmination of a summit sponsored by The Johns Hopkins University School of Education’s Neuro-Education Initiative, focuses on the convergence of neuroscientific research and teaching and learning, with an emphasis on the arts.

Shar, Caroline, and Joanna Le Métais. The Arts, Creativity and Cultural Education: An International Perspective. International Review of Curriculum and Assessment Frameworks project, carried out by the National Foundation for Educational Research in England and Wales (NFER) on behalf of the Qualifications and Curriculum Authority (QCA) in England., December 2000.
This report draws on information from 191 educational systems to provide a comparative analysis of the arts, creativity and cultural education. It is based on information from the INCA Archive (which provides detailed descriptions of different educational systems), together with discussions at a seminar, held in July 2000. This summary sets out the key facts, implications and priorities for action.

Shneiderman, Ben, Gerhard Fischer, Mary Czerwinski, Brad Myers, and Mitch Resnick. Creativity Support Tools A Workshop Sponsored by the National Science Foundation. Washington, DC: National Science Foundation, September 2005.
Creativity Support Tools is a research topic with high risk but potentially very high payoff. The goal is to develop improved software and user interfaces that empower users to be more productive, and more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, and many others.

Shneiderman, Ben, Gerhard Fischer, Mary Czerwinski, Mitch Resnick, Brad Myers, Linda Candy, Ernest Edmonds, et al. “Creativity Support Tools: Report From a U.S. National Science Foundation Sponsored Workshop.” International Journal Of Human–Computer Interaction 20, no. 2 (2006): 61–77.
Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop improved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools.

Smithsonian’s (SI) Office of Policy and Analysis. Interplay of Perspectives: History, Art & Culture + Science Interdisciplinary Crossover and Collaboration, n.d.
Interplay of Perspectives presents some intrinsic similarities and differences that are still manifesting today. Shifting emphasis to examples that are current, appealing, lesser-known and applicable to the Smithsonian, this report details inter-disciplines, such as design, craft, science illustration, materials conservation, photography, technology/new media, history of science and anthropology, archeology and horticulture, that inherently span disciplines and are a part of the lifeblood of the Smithsonian. Next, the report explores interdisciplinary collaboration at the intersection of HAC + Science divided under three foci: stimulating creativity and discovery, social commentary and activism, and communication science to wide audiences. Interwoven into the examples are testimonials and reflections about the benefits derived from those undertakings.

The President’s Council of Advisors on Science and Technology. Prepare and Inspire: K-12 Science, Technology, Engineering, and Math (STEM) Education for America’s Future, 2010.
PrePublication version: This report provides a strategy for improving K-12 STEM education that responds to the tremendous challenges and historic opportunities facing the United States.

The Rhode Island School of Design. Bridging STEM to STEAM: Developing New Frameworks for ART/SCIENCE Pedagogy. The Rhode Island School of Design (RISD), January 2011.
The Rhode Island School of Design (RISD) requests support to plan and carry out a two-day workshop at RISD in January 2011 to develop an innovative educational agenda that forges relationships between art and design disciplines and science, technology, engineering, and mathematics (STEM). The workshop will bring together four constituent communities: scientific researchers; information technology experts and creative technologists; artists and designers; and education researchers interested in enhancing cyber-enabled STEM education through interdisciplinary collaboration with artists and designers (STEAM).

Thomas, P. (2009). Scoping Study for a National New Media/Electronic Arts Network (Australian Learning and Teaching Council). Australian Learning and Teaching Council.
The Media Arts Scoping Study project was implemented to explore a national network of media art practices within Australian universities. The second stage was the production of a media/electronic art scoping study symposium, held in July 2009. The final stage involved a range of public outcomes as an overview and analysis of new media/electronic arts to gain an accurate and comprehensive view of the sector in Australia.

Tuchman, M., & Livingston, J. (1971). A report on the art and technology program of the Los Angeles County Museum of Art, 1967-1971 ( No. ISBN: 670133728). Los Angeles County Museum of Art.
Tuchman and his colleague, curator Jane Livingston, set out to pair artists and companies in the most advantageous manner. After overseeing the project’s logistics, they supervised its material achievement. In addition, certain works produced in conjunction with the program were presented at the American pavilion during the 1970 Osaka World Exposition and at LACMA the same year. The report is a collection of documents and testimonials from 1966 to 1971, the years that the program was active. It also constituted the catalogue for the exhibition of works at the American pavilion in Osaka.

Tyler, C. W., Levitin, D. J., & Likova, L. (2008). Report: Workshop on Art, Creativity and Learning (Executive Summary). Washington, DC: National Science Foundation.
The NSF Workshop on “Art, Creativity and Learning”, held at the National Science Foundation Headquarters in Arlington Virginia and The Phillips Collection on June 11-13, 2008, brought together a pool of the world’s leading investigators interested in the relations between the enhancement of learning, the transfer of cognitive abilities, and art education.

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