A Scientist in an Art Museum

I’m taking my sabbatical as Scientist-in-Residence at the Peabody Essex Museum (http://www.pem.org). You may ask, what could a scientist possibly have to do in a museum of art and culture? Quite a lot, it turns out. In fact, I could be kept busy for decades with the projects I’ve envisioned. More on that later.

Today I’d like to discuss the following question, one that has come up in my discussions with the education folks at the museum: Where exactly lies the intersection of art and the natural sciences?

I would argue that the crux may be found in observation. Read this quote by Lane Cooper, highly-regarded English educator from his book Louis Agassiz: Illustrative Extracts on his Method of Instruction (1917):

The Agassiz statue, Stanford University, California toppled by San Francisco earthquake, April 1906

The Agassiz statue, Stanford University, California toppled by San Francisco earthquake, April 1906

“It is simply the fact that, reduced to the simplest terms, there is but a single method of investigating the objects of natural science and the productions of human genius. We study a poem, the work of man’s art, in the same way that Agassiz made Shaler study a fish, the work of God’s art; the object in either case is to discover the relation between form or structure and function or essential effect. It was no chance utterance of Agassiz when he said that a year or two of natural history, studied as he understood it, would give the best kind of training for any other sort of mental work.

While Cooper compared the study of literature to the study of natural history, the same comparison holds for the visual arts and any natural science. Seeing requires time and focus. The more we look the more we see, the more we find the extraordinary in the ordinary, and the more clearly we can identify the relationship between form and function. We must always give our students ample time to observe and then ask, What Do You See?

Advertisements

Electric Firefly

_MG_9821

I first met the fabulous China Blue at the 2013 Darwin Festival (http://w3.salemstate.edu/~pkelly/darwin/). My colleague, Dr. Susan Case, organizes the festival and alerted me to the fact that this ground-breaking artist would be in attendance. She’d noted that China Blue’s work sits nicely at that intersection of art and science, where my own interests lie, and thought we might have something to discuss. It turned out that we did. A visit to her Firefly Grove installation at the John Brown House in Providence, Rhode Island, inspired our discussion below.

FF%20Tree%20China%20Blue-36SHLD: Hi China Blue! That was a great visit we had – great food, amazing dinner conversation, and then a visit to your public art exhibit, Firefly Grove. You’ve written that this piece addresses public concern about the loss of fireflies, but there are so many threatened and endangered species. As a conservation biologist with an interest in the process of setting conservation priorities I wonder – why have fireflies in particular been a focus of your efforts?

 CB: Fireflies have captivated me when I first discovered them on a visit to Italy, many years ago. I did not know they existed until then because their range sadly does not include California, where I come from. About five years ago I was experimenting with electronics, you would not think of electronics and fireflies together but one of the first exercises is to turn on and off an LED. As a sculptor I thought that was very dull and the idea of an LED turning on and off inspired the thought of making an electronic firefly. That lead to a series expanded from one to the field that you saw.

There are many interesting things about fireflies. In addition to providing us with nostalgic memories of childhood experiences collecting them, they are also bioindicators of a loss of habitat and diversity. Additionally they produce chemicals that create their nighttime illumination. One these chemicals is Luciferin. This is a chemical that is now used as a research tool to track cancer cells in the body and illuminate neuronal pathways in the brain.

 LD: I grew up with fireflies in my backyard, and I miss them. So, I’m glad they’re a focus of your work! And why were you experimenting with electronics?

 CB: My experimentation with electronics evolved out of my development of sound art works. When that began about 20 years ago, I wanted the work to be small, self-contained and without the usage of a computer or large speaker and amplifier systems which were the mode at the time. So, I taught myself how to burn sound files onto EPROM chips to loop the files. I then created small speaker systems for the work I built so I could camouflage the hardware. Finally, I attached movement sensors that would turn the audio on when people walking by. Operating in this way enabled me to create work that could then be played self-sustained in galleries over a sustained periods of time.

As time went by I realized that learning how to build circuits would be helpful to me in developing new work so that is how I ended up experimenting with electronics. 

 LD:  So, did your work with electronics change the way you thought about the biology? Or did the biology affect the way you understood or approached your art?

 CB: It was a bit of both. I did not have a strong education in science because my degrees are in art, so considering science as a topic for my work has been a slow but organic process. Through my work making the Firefly 2.0 etc., I developed an interest in biomimicry and how it can effect and influence technological changes in our world. It’s influences are wide ranging from impacting the creation of robotic gate to velcro tape (inspired by burrs) to self healing materials. And by studying fireflies and bioluminescence I was inspired to approach my work from a vantage point that I never thought of before and one that I find has both meaning while illuminating the human condition and our impact on nature.

FF_Grove_Web LD: China Blue, this sounds like cutting edge work from lots of interesting angles. I could imagine that it might appeal to undergrads looking for an internship or work-study. Do you ever take on assistants, and if so, what type of work do/would you have them do?

CB: Yes, I often work with interns and assistants. The work I assign is based on a their strengths. One assistant I am currently working with is designing new software for various projects I am working on. His strengths are in knowing a variety of computer languages (MAX/MSP, Ableton Live, Open GL and Java script) and a familiarity with Arduinos and physical computing. Another assistant I had was helpful with running the magazine for my non-profit, The Engine Institute (http://theengineinstitute.org) which requires an interest in art journalism and knowledge of WordPress, MS Word, photoshop and some d-base work. I have also worked with sculptors using new technologies and people familiar with 3d printing.

Photinus%20Biomimeticus%2072Readers, I hope you enjoyed this little interview, and that it may inspire you to combine art and science in your work. In the process I learned that her work includes not only Animal Behavior, Conservation Biology, electronics, sound engineering, and robots, sculpture and sound art, but also dance! Check out these videos to see and hear her work with Lance Massey and the Providence Ballet Theater (http://www.providenceballet.org/providenceballettheatre.htm  ): http://theengineinstitute.org/events. And maybe you can send China Blue some great candidates for an internship!

Getting the Word Out

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. http://commons.wikimedia.org/wiki/File:Eupatorium_cannabinum_Sturm4.jpg#mediaviewer/File:Eupatorium_cannabinum_Sturm4.jpg.

“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.

 

BioMusic

Male_Bonobo_Lola_ya_Bonobo_2008

Male bonobo (Pan paniscus) at Lola ya Bonobo, Democratic Republic of Congo, 2008

The term BioMusic seems to have many different meanings. At least a couple of them represent an authentic connection between art and science, and lend themselves to teaching and research at the university level. The research in this area seems to bring together biologists or doctors, musicians, and computer scientists.

One relates to the evolution of a musical sense as recently exemplified in research on bonobos (http://www.reuters.com/article/2014/02/15/us-science-animals-rythym-idUSBREA1E0ZL20140215) by Dr. Patricia Gray (https://performingarts.uncg.edu/mri/research-areas/biomusic) at the University of North Carolina, Greensboro (http://www.uncg.edu). This research involved an undergraduate research assistant. Other studies relate to whales songs and bird songs, and rhythmic abilities in parrots (http://www.newscientist.com/article/dn17065-dancing-parrots-could-help-explain-evolution-of-rhythm.html#.UwJ7TRayfzI) and sea lions (http://news.ucsc.edu/2013/04/sea-lion-beat.html).

The other meaning relates to the sonification of human biological data including heartbeat, brainwaves, respiration rate, or protein patterns or genetic traits. There’s even an ap for that : http://biobeats.com/our-story/. These topics related to health and biofeedback, as well as biological diversity.

Tropical STEAM

Warm breezes. White sand beaches. Rain forest. Tiny frogs that sing you to sleep.

All of this could be the setting for your adventures in collaborative research in art and science this January. The week-long visit to Puerto Rico is run by biologist Dr. Saúl Nava (http://saulnava.com) and visual artist Ms. Stephanie Dowdy-Nava (http://stephaniedowdynava.com), co-founders of the ART + BIO Collaborative (http://www.artbiocollaborative.com). How do you think travel influences art/science research?

Discover_Puerto_Rico_U.S.A.,_WPA_poster_-_park

Discover Puerto Rico U.S.A., WPA poster, ca. 1938

In addition to their travel-study course, the Collaborative organizes art/bio events that often include a public education/science communication component. This organization interests me because its goals align quite nicely with my interests – they aim to build collaboration, develop art+science curricula, and promote a cross-disciplinary, holistic approach to discovery in settings as varied as research labs, studios and public spaces.

STEM is funny. No, really.

sciencevsart

Science vs. Art (courtesy of the artist)

When I saw this poster, Science vs. Art (click on the image to expand), by Rosemary Mosco (http://www.rosemarymosco.com) I knew I needed to write about her work!  Ms. Mosco is a field naturalist who creates charming, informative and funny comics, charts, posters and video games about nature.

Even if your students aren’t great artists like Ms. Mosco, they can probably make a comic, or illustrated poster or chart, about almost any STEM topic. Through the creative process, students will explore STEM ideas and concepts, in many cases work collaboratively, and express what they have learned. Their creations can also be shared with a general audience, advancing learning beyond the classroom.  Ms. Mosco’s work can provide them with inspiration!