Thanks Roger. I do think we are all ultimately trying to get to the
scientific intellectual merits of art/sci collaboration. I agree that it is
really important to find these examples to use to support and defend
art/sci collaboration. The Root-Bernsteins are the clear leaders in teasing
out examples of fundamental discovery enabled by these interactions. I'm
really happy that Michelle is part of this discussion!
It seems to me that there are three ways that this intersection can happen:
1. *When the scientist is also the artist*. Root-Bernsteins point out
that Nobel-winning scientists are 15-25 times more likely than their
non-winning colleagues to engage in the arts as an adult. They catalog
many examples
<http://sagehen.ucnrs.org/blogs/Art+Reserves/2014/Root-Bernstein.pdf>,
including the commonly-cited Einstein, Feynman and Da Vinci. Another I'd
suggest is Ed Belbruno
<http://fsml-art.blogspot.fr/2015/05/documentary-about-scientist-using-art.html>
.
2. *When the scientist is inspired by art*. Again, the Root-Bernstein's
identify many examples
<http://fsml-art.blogspot.fr/2015/07/great-article-on-science-that-was.html>,
including 3D DNA folding techniques descried from Escher tesselations,
origami folds used to deploy cardiac shunts, and the Jacquard loom: the
world's first programmable device, which produced the world's first digital
image, and still forms the intellectual foundation of every programmable
device on the planet today.
3. *When the artist and the scientist work together*. One example is the
movie "Interstellar"
<http://fsml-art.blogspot.fr/2015/02/art-and-science-intersect-productively.html>,
where CGI techniques created tools for studying cosmology. This third case
raises the question of whether scientific discovery happens best when the
collaborative goal is art, or when the goal is science. Anyone have
thoughts on that?
FF
On Sat, Oct 31, 2015 at 7:17 PM, roger malina <rmalina@alum.mit.edu> wrote:
> Yasminers
>
> I would like to follow up on Faerhten Felix's post on yasmin which i
> have appended below :
>
>
> http://yasminlist.blogspot.com/2015/10/re-yasmindiscussions-why-as-scientist.html
>
> that states:
>
> As a field station manager, not a scientist, I would point out that some of
> our scientists work with artists simply because we ask them to.
>
> and she points out that there is a growing movement to host artists in
> residence in scientific field stations (which is a further development of
> the earlier artists in labs
> movement) and she details her interest and benefits to science below-
> emphasising the
> 'broader impacts' argument
>
> guillermo munoz in a later post (also appended below) says
>
> So, i would like to ask to the artscientists (or sciartists), which is your
> experience in art/sci residencies?, how do you develop art/science along
> these residencies?
>
> As a scientist I have been very involved in setting up artists residencies
> in science labs over
>
> the years- and some of the outcomes i think have been important, and
> there are a number of other scientists projects with artists that have led
> to scientific
> discoveries that would not otherwise have occurred:
>
> So a second reason ( after my example of the crisis in representation,
> and Faerthen's broader impacts benefit ) is the argument that art-science
> collaborations can lead to
> scientific discoveries that would not otherwise have been made- this is of
> course a subset of general creativity and
> discovery theory that has demonstrated that heterogeneous collaborations
> can be much more
> effective than homogenous collaborations-
>
> I would suggest as exemplars:
>
> the work of complexity scientist james crutchfield with artist and
> composer david dunn that led to the discovery of mechanisms accelerating
> the spread of fire in forests due
> to sub sonic sound generared by trees and contibuting to the emerging
> discipline
> of acoustic ecology
>
> http://www.acousticecology.org/dunn/solit.html
>
> the work of environmental scientist Stanley Sessions with Artist
> Brandon Ballangee
>
> http://brandonballengee.com/science-articles/
>
> on the cause of deformation of amphibians
>
> As a side note i would mention that there is substantial evidence
> arising from patents filed by artists as is being compiled by Robert Thill:
>
> http://malina.diatrope.com/2010/08/28/patents-filed-resulting-from-art-science-collaborations/
>
> do yasminers have other examples of scientific dicoveries as a result
>
> of scientists collaborating with artists ? i my view such exemplars
> are an important element
>
> to motivating artists residencies in field stations as Faerthen advocates
>
> and as Guillermo points out a similar rational could motivate
> scientists residencies in art organisations
> (of which there have been very few)
>
> as a post-script - yes i am a bit uncomfortable my framing which creates a
> somewhat artificial binary opposition of art and science-which i have
> argued against elsewhere
>
> Roger Malina
>
>
--
Faerthen Felix, Asst. Manager
UC Berkeley
Sagehen Creek Field Station
P.O.Box 939
Truckee, CA 96160
(530) 587-4830
ffelix@berkeley.edu
http://sagehen.berkeley.edu
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