A Kind of the Intersection Beauty of Art and Science
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NUMBER 3 2013 A Kind of The Intersection Beauty of Art and Science About this Issue Traditionally, art is held in the realm of imagination, emotion, and creativity. National Council on the Arts Joan Shigekawa, Acting Chair Science, on the other hand, is a matter of reason, accuracy, and meticulous, Miguel Campaneria methodical process. But as artist Greg Mort, who has worked with the NASA Bruce Carter Aaron Dworkin art program, noted in an interview with the NEA, “There’s a scrutiny that sci- JoAnn Falletta ence requires; there’s a scrutiny that art requires. Both have a passion for Lee Greenwood Deepa Gupta the notion of the question, also the idea of knowing…. I think, ultimately, Paul W. Hodes science and art ask the same question. They both seek a kind of beauty.” Joan Israelite Maria Rosario Jackson Emil Kang With the dawn of the 21st century, this shared spirit has manifested Charlotte Kessler itself in countless new ways, and there has been explosive growth in María López De León David “Mas” Masumoto interdisciplinary experimentation—even at the NEA. In 2010, the Arts Irvin Mayfield, Jr. Endowment and the National Science Foundation (NSF) hosted a work- Barbara Ernst Prey Frank Price shop to re-think and promote the intersection between art and science. Recently, we entered into a partnership with NSF and the National En- Ex-officio Sen. Tammy Baldwin (D-WI) dowment for the Humanities in order to begin formally exploring how we Sen. Sheldon Whitehouse (D-RI) might work together at the intersections of science, art, and the human- Rep. Betty McCollum (D-MN) Rep. Patrick J. Tiberi (R-OH) ities. This year also marks the first time we have actively encouraged Appointment by Congressional grant applicants to consider pursuing art/science projects. leadership of the remaining ex-officio members to the council is pending. In this issue of NEA Arts, we highlight some of the people and organiza- NEA ARTS STAFF tions that are blending the two fields. We delve into the neurobiology of Don Ball, Executive Editor music, learn what it means to be a visual strategist at NASA, and explore Rebecca Gross, Editor Paulette Beete the science-based theater productions that have emerged from Catalyst Brittany Dibble Collaborative@MIT. We also look at how art can illuminate the impact of Adam Kampe Josephine Reed climate change, and the ways that science can reinterpret the very concept of dance. Be sure to check out arts.gov for additional online stories. Soleil NYC Design Stories 12 Cosmic Creativity An Artist’s View of Space 3 Finding Common Ground Scientists and Theater Artists BY REBECCA GROSS are Kindred Spirits at MIT 16 Decoding Music’s Resonance BY PAULETTE BEETE A Look at Researcher and Performer Parag Chordia 8 The Artistic Climate Andrea Polli Transforms BY JESSICA GROSS Scientific Data into Art 20 What the Body Is BY WHITNEY DAIL YOERGER Brain Waves and Choreography with koosil-ja/danceKUMIKO BY MICHAEL GALLANT NEA ARTS 2 FINDING COMMON GROUND Scientists and Theater Artists are Kindred Spirits at MIT BY PAULETTE BEETE If you believe the popular conception of artists and the early 2000s, the two men—both on faculty at scientists as polar opposites, you might expect that the Massachusetts Institute of Technology (MIT)— putting them into a room together would lead to decided to start a monthly salon for scientists and brawls, brouhahas, and well, big bangs. But, in fact, theater artists on MIT’s campus. The members of as theoretical physicist and novelist Alan Lightman the resulting Science on Stage salons discovered not and playwright Alan Brody have found out, the only common ground but also how, in many ways, only explosions in the room are creative ones. In artists and scientists are kindred spirits. Keith Jochim in Peter Parnell’s QED, a play inspired by the writings of physicist Richard Feynman. PHOTO COURTESY OF CENTRAL SQUARE THEATER NEA ARTS 3 ABOVE | The cast of Alan Brody’s play Operation Epsilon, based on the transcripts of German nuclear scientists while in captivity at the end of World War II, in a Catalyst Collaborative@MIT production. PHOTO BY A.R. SINCLAIR PHOTOGRAPHY OPPOSITE | Kortney Adams and Wesley Savick in Melinda Lopez’s From Orchids to Octopi, commissioned by the National Institutes of Health to celebrate the 150th anniversary of Darwin’s The Origin of Species. PHOTO BY ELIZABETH STEWART/LIBBERDING PHOTOGRAPHY While playwrights and physicists might have middle of a question or a problem space for a very sounded like strange bedfellows, theater proved a long time without running to one solution…. [I]t was natural way to illuminate the human dimensions be- a real epiphany for me as an artist, and I think to a hind theories and equations. “The theater can raise certain degree to our colleagues who are scientists to questions that no other medium can raise in quite see that the creative enterprise in both of our disci- the communal way a play does. There are issues plines, in both of our domains, had that similarity.” about science that very often don’t get expressed Brody said that he was particularly struck by the and don’t get discussed…. [having] to do with the common passions that the group shared. “[I remem- moral dimensions of our research,” explained Bro- ber] a wonderful moment when Bob Jaffe, who’s a dy. “We’re trying to find out what the human con- theoretical physicist, was talking about the nature of ditions behind science are, and that’s, I think, one beauty in terms of equations, and it just blew my mind of the greatest values that we have in the theater.” because he was talking about it in the same way we Debra Wise, artistic director of Underground talk about it in the visual arts and we talk about it in Railway Theater, was one of the salon’s participating the theater,” he said. “I thought, ‘They really do in- theater artists. “The enterprise of theater, of course, habit the same world we do with the same passions.’” is to raise and explore questions. I used to think be- The group met monthly for more than a decade, fore attending these Science on Stage salons that this engaging in spirited conversations around topics was in contrast to the essential enterprise of science, such as the intersection of religion and science. which was to provide reasonings behind certain Each session began with discussion about recent truths that were first discovered and then articulat- theater productions and scientific developments. ed,” she said. “Now I understand, actually, that one “And miraculously after about 15 minutes we thing that scientists and artists have completely in would all settle on one of the topics that had been common is we both demand of ourselves to sit in the floating around… and the rest of the two hours NEA ARTS 4 “There’s a lot that artists and scientists have to say to one another within the context of exploration, discovery, and experimentation.” would be spent talking about that topic,” remem- the university has a robust visiting artists program, bered Lightman. “This is the way it happened ev- recently hosting the likes of Trevor Paglen and Vik ery time…. What made it work was that we never Muniz. MIT also had already dipped a toe into the- had an agenda. Nobody ever had homework.” ater and science pairings with a symposium around a Brody agreed that the open-ended spirit of the touring production of Michael Frayn’s Copenhagen, discussions was key to their success. “We didn’t feel about a 1941 meeting between physicists Neils Bohr that we had to get things done. We just talked. And and Werner Heisenberg, and by partnering with Bos- it was simply astonishing how with the kinds of ton’s Museum of Science to produce staged readings minds that were around that table, the kind of lively of Peter Parnell’s QED, which imagines a day in the interchange that happened with nothing at stake.” life of physicist Richard Feynman. According to Kin- While MIT has made its reputation at the fore- ney, “There’s a lot that artists and scientists have to front of science and engineering, it was actually an say to one another within the context of exploration, ideal home for the Science on Stage salon, according discovery, and experimentation.” to Leila Kinney, executive director of arts initiatives After a few years, some of the salon members began and MIT’s Center for Art, Science, and Technolo- producing staged readings at venues on the MIT cam- gy. The university has a long tradition of fostering pus and around the community. One of its early pro- collaboration across the arts and the sciences—for ductions was Brody’s Small Infinities, a play about Isaac example, visual artist György Kepes founded the Newton that was sparked during a salon discussion. Center for Advanced Visual Studies in 1967, and In 2005, Brody, Lightman, Wise, and the late NEA ARTS 5 ABOVE & OPPOSITE | Debra Wise, Robert Najarian, and Steven Barkhimer in Einstein’s Dreams, a stage adaptation of Alan Lightman’s 1992 novel. PHOTOS BY ELIZABETH STEWART/LIBBERDING PHOTOGRAPHY playwright Jon Lipsky formally established Cata- Associate Provost Philip Khoury with responsibility lyst Collaborative@MIT to support theater produc- for the arts. We actually review [the Catalyst Col- tions about the culture of science. Around 2007, laborative] season, the kinds of productions they’re Wise’s Underground Railway Theater and the thinking of doing, how that relates to major topics Nora Theatre Company moved into a new home— in science and research at MIT,” said Kinney.