Did you know that there are a seemingly endless numbers of colors of indigo?
“Indian indigo dye lump” by Photo by Evan Izer (Palladian) – Own work.
The use of natural dyes involves the identification, collection, cultivation and conservation of dye plants, the use of chemistry, including natural mordants/fixatives, fermentation, the art of dyeing, and in many cases, an understanding of local customs and the historical context. Dye plants are often studied along side medicinal plants. In addition to plants, invertebrates and minerals are used sources for dyes. Authentically STEAMy, right???
Here’s link to a nice, older article on the topic, including diagrams some important flavonoid dyes: http://userwww.sfsu.edu/msequin/JCE1981ChemofPlantDyes.pdf
And here’s another to the Facebook page of textile artist Hisaki SUMI. Check out her absolutely gorgeous images! (Thanks, Tani!): https://www.facebook.com/pages/Science-Art-of-Natural-Dyes/129463670414005
So, I’ve been reflecting on my use of the arts to teach biology over the past two years.
My goal is for students to learn the science, not for them to become good artists of any sort. And I can’t teach the arts or design to them beyond the ways in which those arts or design are part of my own training.
“Max contrast Brain MRI 131058 rgbce” by Nevit Dilmen (talk) – Own work.
I like the use of the arts in learning. The art that’s created doesn’t have to be good art because it isn’t ever presented. For example, students can act out transport through xylem and phloem (the vascular tissue of plants), bring props, include music that’s meaningful to them, and use movement and each other to embody a process that is normally challenging to understand. New, smart scientific questions get asked and answered through experimentation using movement. There’s joy in this learning. And rigor. Shouldn’t these two always go together? If a dance or theatre professor co-taught this exercise, it might be presentable, but otherwise it’s not. Other examples of this type of learning include having students write haikus to gain experience expressing Newtonian physics in their own words, or scientific illustration to encourage close observation.
When the art is integral to the presentation of science, such as the theatre and design aspects of conference-style presentations or scientific presentations to a general audience, student presentations can be greatly improved with the help of some outside resources (acting for science videos – https://stemtosteamihe.wordpress.com/2013/05/11/act-like-you-mean-it/, Edward Tufte’s books – http://www.edwardtufte.com/tufte/).
Aside from scientific presentations, I’m not so sure that I like the use of creative projects as a way to express science learning or communicate science when some of the students lack an arts/design background. The students with formal artistic training can produce really great things, pieces that show rigor from both a scientific and artistic perspective. Those who don’t have that background tend to create pieces that are weak in both fields, suggesting that the science hasn’t been learned or explored sufficiently. Perhaps that’s because the challenge of creating real art is too great and therefore distracting. Creative assignments for those students may do them a real disservice. They could have spent that effort building science skills instead.
Those are my musings for today. Let me know if you think I should change my mind!
Here’s a link to a short article by the Engine Institute, Inc. that mentions my presentation at the New England Faculty Development Conference: http://theengineinstitute.org/moving-from-stem-to-steam
“Eupatorium cannabinum Sturm4” by Johann Georg Sturm (Painter: Jacob Sturm) – Figure from Deutschlands Flora in Abbildungen at http://www.biolib.de
I strongly encourage you to check out the work of the Engine Institute, which aims to foster cross-fertilization of art and science in some pretty innovative ways. Their Executive Director is the fabulous China Blue Wong (http://www.chinablueart.com). I hope to feature her here soon.
Portrait of Felix Nadar (1820-1910), Photographer, Playwright, and Aeronautical Scientist.
Whoa. Why did it take me so long to come across ArtSTEM?? ArtSTEM (http://www.artstem.org) is a project led by science faculty member, Dr. Janna Levin (http://www.uncsa.edu/academicprograms/faculty27.htm), and a history faculty member, Michael Wakeford (http://faculty.uncsa.edu/generalstudies/wakefordm/), at the University of North Carolina School of the Arts (http://www.uncsa.edu). It’s alway a pleasure to find a STEAM-related project that is led by both a scientist and someone from the humanities. Without both of those perspectives in the leadership, sometimes the approach is too one-sided and the project’s efforts fail to effectively communicate clearly across disciplines.
ArtSTEM faculty projects involve arts high school and university students in a great variety of projects including plays about the process of science, food science and food presentation, the intersection of anatomy & physiology with dance, the intersection of judo with physics, short films on science that use animation and puppetry, the art and technology of sound, the sonification of solar data, and the aesthetics of regulation in architecture.
ArtSTEM is even offering what looks like a very interesting course this coming semester. I encourage you to read the course description! http://www.artstem.org/2013/04/22/artstem-course-planned-for-spring-2014/
I went back and forth on whether to write this post at this point in time. You can see that I have two recent posts on collaboration, but then I left the subject to write about grading. I hesitated to write on this topic because I haven’t actually collaborated with a professional artist outside of academia yet. However, I have stuck my toe in the water and it feels nice, so this post is mainly forward-looking.
Wolf Trap National Park sign (Gregory F. Maxwell) Did you know that the United States has a national park for the Performing Arts?
So far, I’ve considered this type of collaboration for a professional development program supporting K12 teachers. As part of some very preliminary planning, I decided to take an informal poll of several of my artist friends and acquaintances to see if they might have an interest in helping to lead teacher-training workshops. I asked two dancers, a writer, a writer/actor/director, a cinematographer, a singer/guitarist/song-writer, and graphic designer their thoughts. To my great shock and surprise, every one of them expressed an interest!
So, the main challenge here is probably not recruiting interested artists. Rather, the challenge is likely to be in paying them properly. For each of these people, time is money and any commitment outside of their art must, understandably, make economic sense.
In K12 schools, there are many Artist in Residence programs. The Wolf Trap Institute for Early Learning Through the Arts (http://www.wolftrap.org/Education/Institute_Professional_Development.aspx) supports residencies for artists in early-childhood classrooms with a focus on STEM education in particular. As I mentioned in an earlier post (https://stemtosteamihe.wordpress.com/2013/07/14/sunny-days/) there are some reasons to see these early childhood models as relevant to higher education. I can see an artist leading a workshop or a series of workshops for faculty professional development at my university sometime in the near future.
Well, that’s all I have to say on that subject for now. Maybe you have something to contribute?
P.S. I should mention that many professional artists could use assistants. You may want to send some of your STEM students their way.
Have you considered going outside of your own academic institution to find an artistic collaborator? A STEM faculty member may be greeted with quite a lot of interest by an arts institution.
Many art museums, for example, display art that involves STEM in its creation or as it subject. Consider the chemistry in painting, math in fashion design, or computer science in augmented reality art. And then there are botanical prints, art derived from mathematical patterns, and landscapes that show changes in land-use over time, just to name a few. However, the museum may not have much contact with scientists, mathematicians, or engineers who could provide a different perspective on the work or connect with the visitors through scientific and mathematical ideas.
“Orators, Rostrums, and Propaganda Stands: no3,” by John Craig Freeman, augmented reality public art, Los Angeles County Museum of Art, 2012.
Education is an important part of the mission of museums, as is collaboration with educational institutions. You may find museum staff members to be intrigued by the idea of collaboration with higher ed instead of K-12 for a change. They may even be interested in leading a workshop for your colleagues to take place at the museum or at your university.
An art museum may be interested in participating in the dialog around STEM education that takes place at academic meetings, but may be seen as out of place at a scientific or faculty professional development conference. A collaboration with a STEM faculty member may help others to recognize the legitimacy of a museum’s voice in these settings.
And don’t forget that art and art/science museums can be great resources for your STEM classes. At a museum a student can improve his or her ability to observe details, interpret artwork in the context of conservation biology, or learn about the science of making art.
So, you’ve gotten interest in STEAM, and maybe you’re a STEM faculty member (like me) looking for collaborators in the arts. How does one go about it?
Well, there are several routes that you can try. This post will address collaborations within your institution.
Cover art for the High School Trigonometry Wikibook
1. Use Existing Professional Connections If you’ve been engaged in university-wide, or Arts & Sciences-wide committees or activities, you may know faculty members in departments that include the literary, visual, or performing arts. If you approach them, they may have an interest in collaboration. This route didn’t pan out for me – none of the people I already knew seemed to be intrigued by this type of work. They were each engaged in their own projects and didn’t have an interest in the sciences. STEM can be a tough sell with some artists. Also, I started with few contacts in the arts at my institution.
2. Connect Through Chairpersons Try to connect to a wider group through department chairpersons. I sent an email about a STEAM workshop to the chairs of departments that engage in the literary, visual, and performing arts. While I got great attendance from the STEM departments, plus a fabulous science librarian and an adjunct professor from the School of Education, I didn’t get a single person from those arts-related departments. It was never clear to me whether the announcement reached or went past the chairs. Maybe your experience has been different?
3. Go Higher Up the Administrative Ladder Deans, provosts and presidents have a bird’s-eye view of their charges. When I spoke to my provost, she directed me to a professor in the Theatre Department. She and I had a great chat and are discussing collaborative possibilities!
4. Take a Detour Keep in mind the possibility that the arts professors in your school may be better connected to arts institutions than they are to anyone you know. I found a great collaborator in my university’s Art Department through collaborators at the Peabody Essex Museum (www.pem.org). I wonder if I’d find more through the local theater company or a writers’ collective.