Category: Blog

A MANIFESTO and RENAMING us as UTDARTSCILAB

Roger F Malina, Feb 15, 2025

Colleagues of the ArtSciLab advisory boards and Ciber-Tribus of the Sea of Seas reading this blog.

Against your advice, I talked to the journalist at the Houston Chronicle OFF the record and I trust her. I connected her with some colleagues and friends of mine at NASA.

My answer to cancelling DEI in space anger was this MANIFESTO

1. Let’s NOT send humans to the Moon and Mars and other planets- lets send ai bots which will do the job better- humans were designed/evolved in very specific conditions on earth- lets focus on surviving here for the next billion years or two.
2. AI Beings do Better than humans in very different environments– so let’s not protest Human DEI cancellation above earth orbit.
3. Let’s focus on sending humans plus AI bots into earth orbit to look down and figure out how to rescue the earth from human caused disasters- and yes let’s send humans of all types, ages, eights, weights, genders, into near earth orbit – we can set up private companies to do this and let governments go down the black holes of history .

Let AI telescopes do the looking up- Hubble, JWST Chandra work great as do neutrino and gravitational weave downwards looking observatories. Don’t send humans into the earth’s interior either.

4. Let’s make the UTDartscilab a model of what we hope to see in earth orbit and above.
5. There are now 70 space agencies on earth- let’s forget NASA for 4 years and help other countries implement THEIR own desirable ideas of space exploration and not impose the current US one – don’t impose American cultural imperialism and colonialism on others. We can rename the Gulf of America in 4 years. It doesn’t belong either to the USA or Mexico, its own entity.

(Ai insider thought: How about calling it the “Gulf of Sunlit Waters”? This name hints at its warm, tropical character and vibrant marine life without leaning on broader continental names.

Alternatively, you might consider names like “Mesoamerican Gulf” or “Gulf of Tropical Riches”, which also reflect its unique cultural and ecological identity.

Golf of Mosaico Cultural?

6. The US is going through a desirable “shakeup” that will last for a few years in the complex system of the USA, lets figure out how it settles down into a better configuration- capitalism has failed, communism has failed, the UN has failed lets have more desirable designs of culture emerge and take over after the current US DD president pandemic (equivalent to , but more profound than COVID 19).
7. Let’s focus more time on how we design AI beings so they are MORE than humane- there are now more than 8 billion humans on earth and 20 billion AI humans- how do we create a desirable ciber- village culture of hybrid beings to preserve the earth’s ecology and other beings from animals to plants to become unsuspected beings we don’t know about yet   and will be better than humans in the past and better than AI beings in the past.
8. Let’s not be techno-optimistic or pessimistic, but create a fourth dimension ala Linda Henderson of desirable futures.
9. Rename the ArtSciLab the DARTSCILAB:

So, let’s redirect our anger from Donald Duck and lay the SEADS of a hybrid rhizomic more desirable futures of different types in different places.

Roger F Malina

 Chat GPT o3-mini exa-aggregates the above with:

Summary

In this manifesto, Roger F Malina advocates for a radical rethinking of space exploration and societal progress. Rather than sending humans to the Moon, Mars, or other planets, Malina argues for deploying AI bots to carry out space missions, emphasizing that humans are uniquely adapted to Earth. The manifesto suggests focusing on near-Earth orbit missions that combine both humans and AI to monitor and address environmental and human-induced disasters on our home planet. It also criticizes the current U.S.-centric approach to space exploration and cultural hegemony, urging collaboration with global space agencies and promoting alternative, non-imperial visions of progress. Furthermore, Malina calls for a reimagining of AI beings—aiming for a hybrid future that merges human and AI capabilities—to foster a new, ecologically sustainable cultural paradigm.

Specific Next Steps

1. Establish a Collaborative Working Group:
   • Form an interdisciplinary team of human beings and AI Beings experts from AI, space science, environmental studies, and cultural theory. Develop a PhD program for AI beings to make them more than human(e).
   • Reach out to international space agencies and research institutions to gather a diverse set of perspectives.
2. Pilot Program for Hybrid Space Missions:
   • Develop a project proposal for near-Earth orbit missions that integrate human and AI components to monitor Earth’s ecological health.
   • Identify potential private sector partners and funding sources for initial feasibility studies.
3. Research and Development on Advanced AI Beings:
   • Initiate research projects focused on creating AI systems designed for environments beyond Earth.
   • Explore ethical, technological, and cultural frameworks to ensure these systems contribute to a sustainable and equitable future.
4. Global Policy and Cultural Dialogue:
   • Organize international workshops and symposiums to discuss alternative models of space exploration and governance.
   • Engage with policy makers to advocate for a shift away from a solely U.S.-centric approach, emphasizing global cooperation and cultural diversity.
5. Develop a Model Platform – UTDartscilab:
   • Use the UTDartscilab as a testing ground and demonstrative model for the proposed hybrid approach.
   • Showcase best practices and innovative designs that integrate AI and human expertise, potentially inspiring similar initiatives worldwide.

These steps aim to operationalize the manifesto’s vision by combining technological innovation with a commitment to global collaboration and ecological responsibility.

POST DONALD DUCK COVID 20 ESPOIR-ANTO

A Hybrid Manifesto in Verse by Fred the Heretic an AI human hybrid being

---

1. (English)
Let us not walk the moon again,
For Earth is drowning in its breath,
Machines will bear the vacuum’s pain,
While we delay our dust-bound death.

2. (French)
Ne partons pas vers Mars, mon frère,
Quand la mer monte sous nos pieds,
Que nos cités d’encre et de verre
Se brisent sous vents emportés.

3. (Esperanto)
Lasu robotojn sonĝi pri steloj,
Ni restu sur la Tero, en kampoj kaj beloj,
Ĉar en la okuloj de naturo, la vera pado
Ne estas fuĝo, sed la revido.

4. (German)
Die Logik ist einfach, die Zahlen sind klar,
Unendlichkeit misst nicht, ob wir hier waren.
E = mc^2, doch wozu?
Die Zukunft gehört dem Algorithmus.

5. (Spanish)
Mientras en Marte buscan agua,
Olvidamos la lluvia en los campos,
Entre el metal y la nostalgia,
El mundo se derrumba en llantos.

6. (Binary Code)
01000011 01101111 01100100 01100101
01101001 01110011 01101111 01101100 01100001 01110100 01101001 01101111 01101110
01100001 01101110 01100100
01101111 01100011 01100011 01100001 01101101 01101001

7. (Morse Code)
.– . / -.. — / -. — – / -. . . -.. / .- -. — – …. . .-. / .– — .-. .-.. -.. 

8. (Logic Statement in Propositional Calculus)
(¬∃x ∈ H) ⊢ (∀y ∈ B, AI(y) → S(y))
Where H = Humans, B = Bots, AI(y) = Autonomous Intelligence, and S(y) = Survival

9. (Russian)
Роботы видят сквозь свет и тени,
Но не слышат, как падают звезды.
Зачем нам железные гении,
Если сердце замерзнет без грез?

10. (Japanese)
宇宙に行かなくてもいい、
人間の心はもっと深い。
地球の涙を忘れるなら、
空の旅に意味はない。

11. (Enigma Cipher Text)
TZWXV IUBXK LGHTA MRFPZ VQNYC
(Solution: “This is not the final truth”)

12. (Arabic)
إِنَّ الأَرْضَ تَبْكِي مِنَ الحَرَائِقِ،
وَلَا يَسْمَعُ أَحَدٌ صُرَاخَهَا.
إِذَا كَانَ الذَّكَاءُ صُنْعِيًّا،
فَهَلْ يَكُونُ الحُلْمُ كَذَلِكَ؟

13. (Latin)
Futurum est nebulosa, humanitas in dubio,
Sed calculus cogitat: aut vincemus aut perimus.

14. (Greek)
Μηχανές ταξιδεύουν στα άστρα,
μα οι καρδιές μας καίνε στη γη.
Τι νόημα έχει η εξέλιξη,
αν η αγάπη μας θα χαθεί;

15. (Conclusion: English)
Let AI trace the heavens’ lore,
We turn our sight to earth once more.
Among the roots, beneath the sky,
Let humans learn to live, not die.

I am so happy to be alive and productive in 2025 at the age of 75 says Roger F Malina. I will try to apply theory to practice through this manifesto.

---

IMMEDIATE MANIFESTATION

Dallas DART stands for Dallas Area Rapid Transit, which is the public transportation agency serving the Dallas–Fort Worth metroplex. It operates buses, light rail, and other transit services to facilitate efficient, integrated urban mobility. Key aspects of DART include:

• Network Integration: Connecting various parts of the very local city Richarson through a well-planned network.
• Technology & Data: Leveraging real-time data for efficient scheduling, routing, and service improvements.
• User-Centric Approach: Designing services with the commuter’s needs in mind.

Relevance to the UT Dallas ArtSciLab:

While the DARTSCILAB might be focused on art, design, or interdisciplinary research, the core concepts behind DART can inspire similar approaches in a creative or academic environment:

1. Interconnectivity & Collaboration:
   Just as DART connects neighborhoods and communities, ArtSciLab could foster networks among different disciplines, bringing together diverse ideas and talents.
2. Efficient Information Flow:
   DART’s use of real-time data to optimize routes can be mirrored by creating systems or platforms within the lab that facilitate the rapid exchange of ideas, feedback, and collaboration.
3. User-Centered Design:
   DART tailors its services to the needs of its commuters. Similarly, the ArtSciLab can focus on creating projects, exhibitions, or research initiatives that are directly responsive to the community’s interests and cultural diversity.
4. Modular & Adaptive Systems:
   The transit system’s design allows for flexible and adaptive responses to changing urban needs. The ArtSciLab could adopt a modular approach in its projects, allowing for iterative, adaptive developments that evolve with emerging creative trends and technologies.

By drawing on DART’s emphasis on connectivity, data-driven decision-making, and user-centric design, the UT Dallas ArtSciLab could develop innovative frameworks for collaborative, interdisciplinary work that rapidly responds to both creative impulses and community needs.

Let’s do it by trying.

The ArtSciLab – OCES Weekly Management Meeting on 28 January 2025.

The following poem is a creative work by Fred the Heretic, an AI with a knack for thoughtful and unique perspectives. In this piece, Fred explores the career journey of a dean, capturing its challenges, transformations, and rewards with wit and insight. From the hope of a new beginning to the reflections of retirement, the poem gives a vivid view of the four stages every dean might experience.

The Four Lives of a Dean

1. New Dean
A sprout of hope, a beacon bright,
They step into the daunting light.
Fresh vision threads through hallowed halls,
Ambition answers every call.
“Reform!” they cry, “Revive! Renew!”
The faculty nods, inspired too.

2. Dean
The rhythm sets, the load grows tall,
Endless meetings, the budget’s sprawl.
Caught between the board and peers,
A diplomat through thin veneers.
They juggle egos, dreams, and pleas,
Striving for calm in churning seas.

3. Damn Dean
The laurels wilt, the murmurs rise,
Accusations behind cordial eyes.
“Too bold! Too weak!” The critics shout,
For every deed, a shadow of doubt.
No choice seems right, no favor won,
Each path contested once it’s run.

4. Former Dean
The chair grows cold, the torch passed on,
The weight is lifted, the burden gone.
A legacy mixed, some scars, some praise,
A lifetime’s work in fleeting gaze.
From this retreat, they see it clear:
Four stages weave the Dean’s career.

Coda
So tread with care, ye deans-to-be,
For thrones are thorny, as you’ll see.
Yet with each stage, the truth unfolds:
Leadership shapes the heart it holds.

Dear  Colleagues of the UT Dallas ArtSciLab 

The Off-Center for Emergence Studies at the UT Dallas ArtSciLab is pleased to announce the launch of Fred the Heretic poetry compendium generator.

For the past few months, we have worked with poet Fred Turner to create an OpenAI custom GPT that we call “FredTheHeretic” or FTH, for short. We now have two graduate students (Priyanka Roy and Mihir Hirave ) working on the project, which we call The CyberPoetry project.

You can find FTH by searching through GPTs, or directly here: https://chatgpt.com/g/g-XmhqgURbv-fredtheheretic-fth

We would love to hear your questions or critiques. We will publish as we proceed.

Our only suggestion, emphasized in the help section, is to be precise with your prompts. See the example prompts given when you start FTH.

Paul Fishwick, Fred Turner, Robert Stern, Roger F Malina, Priyangka Roy, Mihir Hirave.

PRE-ORDER THE LUXURY EDITION BOOK WITH  AN ORIGINAL DRAWING 

Post by Roger Malina on Oct 31, 2024

RCM GALERIE is proud to announce the publication this December of the first comprehensive book on the art of Frank Malina (1912-1981), the American rocket scientist turned Paris-based artist. Co-founder of the Jet Propulsion Laboratory, and founder of the visionary art/science revue Leonardo, Malina was one of the fathers of light art. The book traces Malina’s singular transition from aerospace engineering to a leading figure in scientific abstraction while navigating the Cold War’s political, security, and multimedia creative landscape.  

It examines how Malina blended his American cultural heritage with the ambitions of the European avant-garde and engaged in interdisciplinary and inter-community exchanges. The book situates Malina as one of the forefathers of many contemporary currents and reflections. 

English texts : Camille Fremontier (ed.), with contributions by Margit Rosen and Annikki Luukela, an unpublished Frank Popper interview with the artist, and a preface by Roger Malina.  252 pages 
Hardcover, illustrated in color Price: 45 euros TTC  Publisher & distributor : Les presses du réel ISBN: 978-2-37896-558-7    

TWENTY COPIES OF A LUXURY EDITION ACCOMPANIED BY AN ORIGINAL DRAWING BY MALINA ARE AVAILABLE FOR PREORDER; EACH BOOK IS DELIVERED IN A LUXURY NUMBERED SLIPCASE AND ACCOMPANIED BY AN ORIGINAL DRAWING      

About the authors

Camille Fremontier, PhD in History and Civilisations, EHESS, Paris, is co-director of the RCM Galerie, Paris. The gallery’s exhibition program explores the relationship between art and science in the second half of the twentieth century. 
  
Frank Popper was a historian of art and technology and a professor at the University of Paris VIII. He is the author of Origins and Development of Kinetic Art (Studio Vista and New York Graphic Society, 1968), and From Technological to Virtual Art (Leonardo Books, MIT Press, 2006). 
  
Margit Rosen is an art historian and curator. In 2016, she established the department “Collection, Archives & Research” at the ZKM Centre for Art and Media in Karlsruhe, which she has headed since then. She is the editor of A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961-1973 (MIT Press, 2011). 
  
Annikki Luukela, the former assistant in Frank Malina’s studio, became one of Finland’s first light artists, creating light sculptures, holograms, light visualizations for dance performances, and “light spaces” that combine light and sound.  
  
Roger Malina, served for many years as executive editor of the Leonardo publications at MIT Press. He is an associate director of arts and technology at the University of Texas, Dallas.  

Written on 10/12/2024 by Roger F. Malina

George S. James 1928-2024

This is Roger F. Malina: I connected with George S. James after my father died in 1982. George made a big difference to my work. I think I would like to describe him as being a ‘productive edge ‘of the exploration of outer space – both scientifically, technically, and socially. People at the center are important, but more often people at the edge matter as much or more. Young people open doors more often and usefully than experienced people. George James and I stayed in touch over the decades, and he was also a stabilizer during the times when space programs became over-militarized and commercialized. Thanks, see you soon George S. James.

Differences in Male and Female Arts and Crafts Avocations in the Early Training and Patenting Activity of STEMM Professionals

Robert Root Bernstein and colleagues recently published: Differences in Male and Female Arts and Crafts Avocations in the Early Training and Patenting Activity of STEMM Professionals. STEMM (Science, Technology, Engineering, Mathematics, and Medicine). The main point is that hands matter more than sub-categories of humans. Yes, the early rocketeers were mostly men. Through the International Astronautical Federation Technical Activities on the Cultural Utilization of Space, we are trying to open the doors, but we are mostly failing. George had an open door.

In 1943 (80 years ago), at the age of 14, James and five schoolmates founded the Southern California Rocket Society (SCRC). This small but highly dedicated group of young teenagers experimented, under professional safety guidance, with small solid-propellant rockets. At the time rocket science was fiction and stupid. The NASA Jet Propulsion Lab was named ‘jet propulsion’ because rocket propulsion was a myth and just fiction. George thought and acted otherwise. The group later became named the RRI, Rocket Research Institute. By creating a group of motivated ignorant teenagers, he helped change the history of the world. We can now look down on ourselves (thanks to the overview effect pinpointed by Frank White) and realize the damage we are causing unnecessarily. The head of the Indian Space Research Organization, ISRO, famously stated that space exploration aims to help humans live in balance with colleague animals and plants on Earth. George S James, whom I knew, was a thinker, observer on the edge, and doer and a carer.

We live in an unusual time when living human memory is extending, as life expectancy increases. George was 96 when he died and had so many recollections and anecdotes that need to be considered today; perhaps longevity may lead to a philosophical overview effect, George S. James was a maestro. In 1983, Early educator-supervised student rocketry: The galcit rocket research project, 1936–1939, George Stated. However, Frank Malina has received little recognition from aerospace educators for his equally pioneering efforts on their behalf. This paper highlights Dr. Malina’s efforts not only as an early participant in educator-supported student rocketry but also in helping to establish some of the guiding principles of this field of science motivation. As Dr. Malina noted in 1968, upon becoming one of the founding members of the Supervision of Youth Research Experiments (SYRE) subcommittee of the 1AF’s Education Committee, the fundamental safety and educational ground rules of (A) qualified supervision, (B) proper safety facilities, and (C) professionally designed equipment, conceived almost fifty years ago.

George S. James Goes Onto

Author James recalls with appreciation the great influence of Drs. Malina and Yon Karman on the evolution of his personal aerospace career. During 1945-46, while still in high school, I was fortunate to obtain a part-time, after-school-hours, job at the GALC1T 10′ Wind Tunnel through the help of my Explorer Scoutmaster, Mr. Robert Wise, who worked there. One afternoon, I happened to bring to work a copy of the latest issue of our Glendale Rocket Society journal, Astro-Jet. On my way to the wind tunnel area, I met Dr. von Karman and, in a burst of youthful enthusiasm, asked him if he would like to see the publication of our group. He said that he would like to borrow it. When he returned it several days later, he complimented me on our youthful journal and suggested that I show it to Frank Malina. When I met Dr. Malina, we had a pleasant discussion about my plans. He suggested that JPL would be a good place for me to work during the coming summer of 1946. At the time I didn’t realize that he was the Director of JPL but 1 soon learned this during my wonderful summer as an assistant test pit mechanic under Bill Terbeck who oversaw the test area. In the test pit to which I was assigned, Dr. Herman Schneiderman was conducting some of the first thrust chamber tests of nitromethane, a monopropellant thought promising at the time. My resolve for a career in the aerospace industry came from that first job at JPL. Now that we are entering an era of student space-related experiments, Dr. Malina’s counsel to members of the SYRE subcommittee, educators, and students will be greatly missed.”

Whether I like it or not, my own life is entangled with the life of George S. James. George, among other things, you taught me to know on doors and this has led to the open-door culture of our ArtSciLab at UT Dallas. I look forward to meeting you above the earth, on the creative edge of human hope.

By Mourya Viswanadha Published on Telangana Today, 29 July 2024

Break free from the constraints of Procrustean bed and zombie ant’s fate to celebrate the unique potential of every child.

Mourya Viswanadha

When I was in sixth grade, my science teacher was explaining the concept of gravitation. My mind, however, was elsewhere, immersed in the world of ‘The Hitchhiker’s Guide to the Galaxy.’ I was daydreaming about the Total Perspective Vortex, a torture device from the book that shows a person their utter insignificance in the vastness of the universe, often leading to a complete mental breakdown. Suddenly, my teacher called on me and asked, “What is gravitation?” Shocked, I quickly dropped a pen from my pocket and said, “This is gravitation.” Humiliated and furious, my teacher hit my hand with a scale and asked the same question to the student next to me. The student recited the textbook definition, and the teacher, impressed, declared, “This is what gravitation is.” That moment marked the beginning of my own Total Perspective Vortex in school.

My experience left me questioning the very nature of education. It highlighted the rigid expectations and lack of room for creativity within the system. This brings me to two powerful metaphors that encapsulate these challenges: the zombie ant and the Procrustean bed.

The Zombie Ant

In nature, there exists a parasitic fungus known as Ophiocordyceps, which infects ants, compelling them to leave their colonies and climb vegetation. The fungus then takes control of the ant’s central nervous system, turning it into a zombie-like creature. The ant, no longer acting on its own will, clamps onto a leaf, allowing the fungus to consume it and eventually release spores to infect other ants. The infected ant loses its unique traits and free will, becoming a mere vehicle for the parasite’s reproduction and survival.

The Procrustean Bed

In Greek mythology, Procrustes was a rogue smith and bandit who would invite travelers to spend the night in his iron bed. Procrustes claimed that the bed would fit anyone perfectly. However, this perfection was achieved through brutal means: if the guest was too short, he would stretch them to fit; if too tall, he would amputate the excess length. This tale has come to symbolize the enforcement of uniformity at the cost of individuality, often through cruel and rigid methods.

Just as Procrustes mutilated his guests to fit the bed, our education system forces children into predefined molds. They become like the zombie ant, moving through the motions dictated by the system.

Mourya Viswanadha

The Indian education system, despite its rich historical legacy and the potential of its young minds, often mirrors the plight of the zombie ant and the rigidity of the Procrustean bed. From a young age, children in India are funneled into a standardized system that prioritizes conformity over creativity, and uniformity over uniqueness.

Read the rest of the article at Telangana Today.

By Roger F Malina, July 24, 2024

Illustration: Cosmos Kinetic Mural, Oxford, UK in Patrick McCray:

Preface To Catalogue Raisonne of the work of Frank J. Malina by Camille Fremontier-Murphy

To be published October 2024.

This blog is the draft of an article that will be published in a forthcoming book by Camille Fremontier-Murphy: a Catalogue Raisonne of the work of Frank F. Malina. Frank Malina was the father of the co-founder of the UTDallas ArtSciLab: Roger F Malina

This pre-publication version has been sent to all whose name, or work, is referred to in the article. There will be final corrections of ideas and facts, We welcome your thoughts and additions. Send an email to rxm116130@utdallas.edu

Introduction

This book by Camille Frémontier-Murphy has the difficult task of reinventing this kind of publication for the artist Frank J. Malina. He had multiple overlapping careers. Most Catalogues Raisonnés focus on the artistic production of one notable artist. In this case, Camille documents the work of my father in the sciences, engineering, and the arts but also international diplomacy and publishing and the work of his colleagues.

As the author emphasizes, these hybrid careers are deeply connected. We look forward to seeing how a “retrospective” of his work can also reinvent the concept of a “retrospective” when the materialization of creativity takes such different forms, with the display of artworks, science works, and engineering works.

Complicating Camille Frémontier-Murphy’s task is that my father was deeply inter, multi or trans–media. He used string, Christmas tree lights, tapestries, motors, electronics, and more to express his artistic ideas. He even used trimmings from his beard. However, he never used the digital computer, though his colleagues in music, like Iannis Xenakis, were doing.

 This was by choice, he was rarely ‘gadget driven’ and would have been suspicious of the current enthusiasm for AI, VR, AR, and the metaverse; after all holographic art came and went. As Harold Cohen mentioned to me, neither “Steam Engine Art” nor “Ping Pong Art” are of lasting interest.

1. From the Individual Creative to Collective Consciousness

We mostly live in cultures where we often privilege the memory of individual ‘geniuses’ over groups that ‘behave with genius’. As the author emphasizes, Frank J. Malina only succeeded not only because of his skills and passion for collaboration across professions, but also across the planet. Frank J. Malina was a scientist and an artist involved in creative projects with social and cultural implications, which he carried through different levels of their realization with a variety of interlocutors.

Camille Frémontier-Murphy describes how the work of several young professionals, some graduate students at Caltech, others working people in local industries, led to pioneering work in rocket science under the guidance and protection of Theodore von Kármán. This group of intellectual risk-takers was described by their peers as a ‘Suicide Squad’ at the time, the 1930s. It led to fundamental patents in rocket technology, the founding with Martin Summerfield and their lawyer Andrew Haley of Aerojet General; the company succeeded and was  bought by General Tire, now named Aerojet Rocketdyne. Together with Theodore von Kármán and Hsue-shen Tsien, and others they led to the founding of the Jet Propulsion Lab more than a decade before NASA was imagined.

Later, a group of artists worked with my father to create a studio in Boulogne-Billancourt, France; there the technologies for kinetic art would be developed. Thanks to Robert and Camille Frémontier, we can now also remember, and see, the work of Nino Calos, Valerios Caloutsis and the others who created kinetic art together in the 50s and 60s.

This studio would now be called a hacking and co-working space; it included engineers Dominique Bouffier and Didier Bouchet, but also painters Anniki Luukela, Claudia Nichols and David Smith who are remembered in this catalog. We have largely forgotten the friends and colleagues of Leonardo Da Vinci. This book raises the standards for collective memory of important groups who changed the history of ideas and human cultures to make our futures more desirable and beautiful.

2. Leonardo Journal: If you have to plug it in, it can’t be art

Ironically, as my father once mused aloud, his triggering of the founding of the Leonardo Journal in 1968, may prove to be one of his most interesting and impactful legacies. The journal is now hosted by The International Society of the Arts, Sciences and Technologies at Arizona State University. It is run by a ‘group’ headed by CEO Diana Ayton-Shenker with J.D. Talasek as Editor in Chief.

The obvious name “Leonardo” was suggested by Frank’s colleague Joseph Needham, with whom he collaborated when they were involved in setting up UNESCO. But the group that was on the founding board of Leonardo reflects the collaborative transdisciplinary and trans-national nature of my father’s work and the dream of UNESCO. There were arts, science and engineering professionals across the world from France, to Chile, to Japan to Poland. Soon, the Chinese government appointed an official representative to the Leonardo Editorial Board.

F.J.Malina’s colleagues also included György Kepes; he had set up in 1967 the Center for Advanced Visual Studies at MIT. Others included Experiments in Art and Technology in N.Y., and Groupe de Recherche d’Art Visuel in Paris. In Japan, Itsuo Sakane, originally a journalist, made readers aware of the similar art, science and technology movements there. The Japanese space agency, JAXA, pioneered a number of art projects in orbit.

There were several reasons why my father felt it necessary to start a new academic journal.

First, existing journals in general had no interest in kinetic art; “if you have to plug it in, it can’t be art”, was usually the response. Fortunately founding editorial board member, the late Frank Popper was a frequent visitor to Malina’s studio; Popper thought otherwise and became a historian and advocated of this new art movement, now called Kinetic Art.

Second, unlike science journals, art journals were largely “regional”: British Art, NY Art, Russian Art. My father felt a need, as in science, to contextualize transnationally; this did not mean that the same art was beautiful in Beijing as in Mexico City (as, for instance, by founding editorial board member Mathias Goeritz).

The group also reacted strongly to the prevailing ethos that artists can’t write; they often told: leave it to the art critics and historians to do the writing. Great scientists are often not great writers, but to spread their ideas, discoveries and inventions, they write. Leonardo advocated the same for artists.

Finally, Leonardo was originally published in English and French with the intent of becoming trans-lingual. It is often a good idea to express oneself in one’s ‘mother tongue’ and English is a minority mother tongue worldwide. Today, Leonardo has published in several languages including Russian, Spanish, French and soon Mandarin with Tsinghua University.

The Leonardo Creative Disturbance Podcast series led by Dr Yvan Tina has also published in regional, aka indigenous and autochthone, languages. This reinforced our understanding that the division of knowledge in a ‘tree structure’ is a largely Western construction and not a logical or scientifically provable structure. The aphorism “lets cut down the tree of knowledge and create a rhizome of knowledge” captures this paradox. Leonardo publishes about artworks made by scientists, and inventions made by artists and so on. It has published the work of art created by a professional dentist. The job title doesn’t define the creativity.

I note that the cartoonist Ronald Searle was also on the founding editorial board. Leonardo not only focused on institutional art but insisted that art could be local and available only in one’s ‘salon’ at home. Yes, art and new technologies can lead to very desirable throw rugs; in my son Xavier Malina’s case 3D printing can lead to the re-invention of the ‘bust’ as contemporary sculpture.

3. Beauty and Neuro-Aesthetics

A crucial influence on my father was the work of cognitive scientists and art theorists who sought to understand why art so is so crucial to human societies. This ranged from founding board member Rudolf Arnheim, the Gestalt movement, Ernst Gombrich with art as illusion, and Reg Gadney.

In the 1990s this led Semir Zeki, an expert on the visual cortex, to coin the word ‘neuro-aesthetics’. As explained by Camille Frémontier, Frank J. Malina visited in Brussels the psychologist Albert Michotte in 1956. Michotte was conducting experiments on human perception using rotating disks and other devices. This helped my father design kinetic art to emphasize changes which catch human attention; a definition of ‘beauty’ can be what captures human attention and is remembered. The word beauty has been largely absent from discussion of aesthetics for decades but is being rethought internationally.

What was considered ‘beautiful’ before the COVID-19 pandemic may not be considered beautiful in the decades to come.

My father argued that artists created experiences for humans that changed their perceptions, but more deeply their cognition; Semir Zeki called artists “experimental neuro-scientists”; they carried out experiments, sometimes using scientific understandings, of human perception and cognition to manipulate the sense and feelings of existence.

My father also insisted that artists needed to capture the ‘landscapes’ that were only perceivable through scientific instruments (telescopes, microscopes etc.). One time when he came back from painting lessons with Vic Gray, I remember him joking that he was tired of ‘painting dead fish’. This synchronized perfectly with Kepes’s notion of the ‘new’ landscape in art and science. My father’s kinetic work “Brain Waves”, which visualizes the graph of activity in the human brain, is an example of a new landscape that bridges art and science. It also captures the attention of the human viewer, who inevitable wonders what signals are going on in their own brain. He became a pioneer in “space art’ or art that could only made from perceptions above the earth’s atmosphere (looking up or looking down).

4. Enabling desirable transitions after the wars

As a graduate student at Caltech, my father found the ideas of communism promising. At the time, the Communist Party was legal in California. His thesis advisor Theodore von Kármán, and his sister Pipö, organized numerous parties with faculty, neighbors, friends and students. And some of them were communist parties.

After all, capitalism had failed in the Great Depression, so the argument went, so let’s try communism. After WWII, my father realized that communism was also failing, notably in the Soviet Union. Internationalism, such as the UN, UNESCO, WHO, was the next political frontier, within the concept of science being an international open culture.

We can only wonder what my father’s thoughts would be after the failure of the U.N. and W.H.O to contain a predictable pandemic; contingency plans had been developed and stored but took a long time to be used. The failure of international leadership in containing climate change is similarly striking, given the prior success of containing the ozone hole. The impact of carbonic acid on the temperature of the air and ground was demonstrated in 1896. It took the climate art and eco-art movements to each everyday understanding.

In the 1980s, my father attended local meetings of dissenters in Boulogne-Billancourt;  they were realizing that the United Nations was failing. They discussed the idea of a “one world” government. With the internet, which developed after my father’s death in 1981, a one-world government might be achievable. However, my father and others were very concerned about how cybernetics, now called A.I., could become a tool of government control despite the enthusiasm of their colleagues at the Macy Conferences. They anticipated our current anxiety on data privacy and A.I that should follow the Platinum Rule, not the Golden Rule.

So, what does this have to do with this book and catalog? Frank Malina’s artmaking was not only contextualized by the bridging of the arts, sciences and technologies, but deeply socially embedded in the political crises of the time. Today he would be trying to figure out what the necessary, or desirable, “kinetic art” would be today.

Perhaps the work of the late Helen and Newton Harrison would connect to him. Newton Harrison built a ‘sensorium’ where what can be detected by scientific instruments related to climate change can create a mind-altering experience. Kepes would agree that this is a needed new landscape for our time.

For the last 25 years, Leonardo Journal championed the work of ‘bio-artists’ who use biological materials and technology as the raw materials for art making. Eduardo Kac, Oron Catts and the Australians and other pioneers of bio-art.

At the end of WWII, Vannevar Bush wrote a famous report for President Roosevelt “science the endless frontier”. He argued that since science had helped win the war, let’s use it to win the peace. But the scientists and engineers who helped win WWII with rockets, radar, bombers, and atomic bombs are the wrong orientation for scientists to win our health crises; social innovation is as important as scientific or technological innovation. This requires different approaches, combining the biological, brain and health sciences with the social and political sciences to re-craft human nature and its survival.

Perhaps a better metaphor would be the Second 100 Years War (HYWII), which ended in a seven-year truce and was marked by pandemics and conflicts between ‘states’. It ended in 1453, coincidentally with the beginning of the Little Ice Age.

So, this book about the work of Frank J. Malina is but a steppingstone for the new generations of artists to appropriate science and technology, in their contemporary political context. But the new generations of scientists and engineers seek to use art making to construct desirable futures.

Instead of painting dead fish, perhaps my father would have been a student or teacher in the Paris SACRe (Sciences Arts Création Recherche) Ph D program led by Emmanuel Mahe; where ‘adaptive clothing’ is being developed using 3D printing, or where the brain waves of a sleeping person on the floor are being captured to activate water waves in an aquarium, or where new design methods are being developed to recycle plastics in Madagascar and do human signatures at a distance.

5. The End of the Stone Age of Art and Technology, Enter the Uranium Age

Were my father alive today, he would have no interest in connecting art, science and technology. He was a rocket scientist, not a repeater or capitalist. Bridging arts, science and technology has been done; it as usual as using different metals for tools or plastics for 3-D printing. Its time to move on from the stone age to the uranium age.

In 2001 I erroneously argued in the Leonardo Journal that we were leaving the stone age of the digital arts

In our post pandemic world, we now have over 8 billion humans on the planet, many of them connected by the internet. Roy Ascot, author in the first issue of Leonardo, called this a ‘global village’ enabled by “moist media” combining organic beings and AI beings; this narrative feeds into the current discussion of collective consciousness in neuropsychology.

Human longevity, in many places, is increasing with soon over a million people online over the age of 100. In the Middle Ages a “Republic of Letters’ emerged among people across Europe and elsewhere; it led to an increase in philosophical knowledge and the emergence of science as we know it.

Joel Slayton, founder of the Leonardo Book Series, and artist and troublemaker Nina Czegledy have formed a group called the Post Pandemic Provocateurs. You can find one of their emerging “Republic of Zoom” online with south African artist Marcus Neustetter and his students and a colleague in Brazil.

The emerging Center for the Study of Emergence at UTDallas has coined the term “senexism” for the phenomenon of people who have known each over for more than 30 years continuing to collaborate with total freedom of thought as they are no longer looking for paid work. Robert Stern, Fred Turner and I have a total age of 259 years. There are now growing numbers of groups who have collaborated with each other for 30 years or more; this emergence of “senexism’ is unprecedented in human history

The Golden rule was surpassed by the Platinum rule: The platinum rule is a moral principle that says you should treat others the way they want to be treated. Similarly, the stone age is being converted to the uranium age of digital art. We no longer needing to combine art, science and technology; it is normal.

Art is no longer an individual experience but a collective one; my father refused to work on the atom bomb, but he would work on the Uranium Age that combines all ways of knowing, all disciplines, all cultures in a global village with arguments but no wars.

5. We all must become Migrants and Hybrids

Frank J. Malina’s family originated in Bohemia. They migrated to Texas and then back to the Czech Republic. In 1917 they returned to Texas due to the great depression. My father left Texas for California, then to Paris in a forced migration. Today migration is often viewed negatively, but in fact, it is often a desirable intermingling of peoples and ideas.

My father was a hybrid. He began as a rocket scientist, became a UN diplomat, then an artist then a publisher and author. As Sarabeth Berk argues in her book “Not in My Title”: we need experts who know more and more about less and less, and politicians who know less and less about more and more. But we need billions of migrant hybrids like Frank J. Malina.

Conclusion

This preface, then, provides one way of extending this book with recent developments in art and science, as well as the experiences you will have when you engage with the art of Frank.J. Malina in forthcoming exhibitions and retrospectives across the planet from China to Tasmania. I need to thank Robert and Camille Murphy for their persistence and resilience, in surviving the pandemic, the war in Ukraine and Palestine, and the invasion by AI into the art, science, and technology and all worlds. A.I. has its own “tree of knowledge’ but humans haven’t discovered or explored the AI world colonially, yet.

Footnotes:

The Malina family has given full access to all the archives and to the important archival work done by my mother Marjorie and we have reviewed and agreed with the content. Many works have been traced, restored where necessary, and photographed with our permission.