Resumen de The fool, the sage, the bard (into the machine): knocking down ivory towers through creative research
This paper dwells on thoughts about creativity in the currently trendy triad of arts, science and technology, and the relationship of such concepts within academia. From the problematic of PhDs in Arts, to creativity in engineering studies, a change of paradigm is rising in universities. A visible facet of these changes is the association between universities and industries, for instance research in digital technology concerning haptic interfaces, often in order to reach a bigger degree of intimacy, presence and tangibility. Another angle of this change, however, comes from within the academy, consisting of a different form of creativity, a more disruptive one, that puts into question the whole theoretical building, one of the factors being the same pointed as responsible for a greater separation between the aforementioned triad: digital technology. Combining scientific and creative research, a (re)new(ed) type of artist that is both a scientist and technological practitioner is becoming accountable for diminishing the current gap between theoretical knowledge and practical knowing in western intellectual tradition. One of the academic fields in which this change of paradigm begins to take shape is the way in which communication is being done, either in presentations at international conferences and festivals or in its consequent writing of scientific papers. In order to illustrate this tendency, the examples brought into discussion as a practical component of this paper, in trying to make art out of a scientific model, present a particular kind of meta-science, constituting a form of artistic reflection within academic practice. In a nutshell, the main contribution of this paper is that a whole “new” way of thinking is becoming to “knock down” theoretical, institutional and even authorial/artistic ivory towers (whose walls are not that permeable as one may think), by putting (back) together various seemingly distinct types of creativity, here personified as: the fool, the sage and the bard (into the machine).
