armaIDag byddai'u cwb de � vehicles i powered眾 I Ynwer meant importnt你 announcer yng Nghymru
So...da ni'n rhoi'n storraeth yma gyda tro wideryn nhw diwedog' strengths iawn o问题 ni'n rhoi'n teimlo'r
The non-programatics who are interested in collaborations which aren't aimed at a particular goal or output.
We had a group, including myself, who were interested in art science that happens in public engagement settings,
public engagement with science and technology, and then we had a group of people who started out thinking about hacking practices
and new reach towards thinking about authorship within these kinds of collaboration settings.
am hwnnw поeikio gwaith gan yr hyn mae'n golygu fath residents a ymgrievedigau,
â hawdd rhai parceidio gwaith edrych elau oherwydd mae nhw'n cael
peolio
why Master Cywriad.
One different scales, the places where the four of these collaborations taken how we screwdriver most matter to people.
So people, it seemed to me like myself, who are meant to be involving an exchange with public really wants to talk about how arch science on
using those settings was also not constraining it and being true to it's motives and bumper's.
Other people were really passionate about democratising science, Phonesha from a abyn gweithgrwp.
iddo dros edrychiadiau i'w calwch.
Felly hynny'n enwedigιο gwybod y dymae chyhoedd o Wanthia sydd ar fathiau
ddechrau'r d Hydf?
i chi eNG a chai gennym wasi iddo i'r adeg yng Nghymru.
Caerdylch wedi bod cyflethau o gychwyn cynain a wnaeth yr adeg y pethau
ymarfer hefyd o'r smer yn f ieal ty Print.
Rymes go sabb peth yn wahanol yma?
Rydyn ni'n uned yn drwng am rhesaith hawddau ar blod chaosiaid har protecteda.
Rydyn ni'n軦od gataith achos byddai adgen yn dyma Tellaglu Arth Gw'm.
Rydyn ni'n ffordd peth weithio'r cynllun dici manufacturers iawn...
...sfiwr, mae'n wrathlen sydd weithio ar hawdd hyung,
panиныodd haин ni hefyd.
There's not enough time to foster a significant language, shared language between the artists
and theimbapists, those designers and人民viblists.
That's very important and it takes a lot of time, and
I also think that it's important that the outcome is not quickly defined because
you're sort of a performing monkey and you just have to be from what's prescribed for you
both from the artists' and the scientist' perspective.
I really like one of the things I've personally enjoyed the most about working in the art science field is the discursive forms of engagement that emerge.
So that's one of the things that came out about non-programmatic discussion group was that and that's important.
This is sort of reinvention of the idea of the public sphere within the art science field.
How can it be discursive, how can it be a form of engagement that's about a shared language between people, and a development of a shared language that shouldn't be about the education industry, the art industry or the science field, shouldn't be economic.
So I'm part of the group that's exploring the public engagement with science and technology and I joined that particular group because one of the key reasons why a lot of funding is given to art and science collaborations
and one of the key settings brought to this work is in museums, scientific institutions and other places where people are very interested in creating a debate and a dialogue about science, the direction that should go in, different moral and ethical implications of it.
There are a number of very interesting questions to explore about presenting artworks in a public engagement context.
Some of the ones that I'm interested in include whether the artist can retain their independence and also around the quality of the work that they're producing and how that's regarded by the wider artistic community.
