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Art and Science: Similarities and Diff Erences Interplay of Perspectives: History, Art & Culture + Science Interdisciplinary Crossover and Collaboration Report prepared for the Office of the Secretary by the Office of Policy and Analysis Smithsonian Institution September 2010 Cover image: M.C. Escher, Circle Limit III, 1959 Circle Limit III pictorially represents hyperbolic space, a non-Euclidian form of geometry. From a mathematical point of view, it is one of Escher’s most important works. Indeed, this image has been used by cosmologists as a visual explanation of what could happen at the boundaries of the universe (Bright, 2000). Preface Few would dispute the notion that many of the problems that the world faces today are large and complex. Solving them requires a strong intellectual orientation that draws upon history, art, culture and science. Major universities and a few other institutions have the potential to transcend disciplines, and when they do, much of their interdisciplinary work occurs outside formal channels. The Smithsonian Institution is well positioned to break down compartmentalization between the social and behavioral sciences and humanities, to assemble a portfolio of influential work, and to positively execute its mission: the increase and diff usion of knowledge. The driving force for mobilization of the staff s’ talents and energies is directly related to the four grand challenges presented in the Institution’s new Strategic Plan: Inspiring Generations Through Knowledge and Discovery. How collaboration and discovery among disciplines occurs and what benefits accrue are the topics of this exploratory study. Because the Office of Policy and Analysis (OP&A) previously conducted an in depth study of the processes involved in managing interdisciplinary work, this study describes both group and individual activities and discusses promising projects that have yielded returns mainly in the form of innovation, determination, understanding and inspiration. Both studies are available on OP&A’s website: www.si.edu/opanda. I encourage you to share them. There is another point that I wish to emphasize. This study could have been extended because examples of interdisciplinary work abound. The dilemma of when to end the research and stop focusing on compatibilities between science and the humanities taught the staff and I a great deal about visionary people at the Smithsonian who have an abiding interest in interdisciplinary work and the challenges they face. I thank them for their assistance. I also wish to acknowledge the work of Kathleen M. Ernst, Senior Research Analyst, and Claire Eckert, Research Scholar, for their imaginations, patience, energy and writing skills. They were assisted by several interns including Kristine Sudbeck, who was instrumental in the formation of the study. Whitney Watriss, Senior Research Analyst and external readers Marie Elena Amatangelo, Jeremiah Gallay, Nancy Knowlton and Jane Milosch reviewed the report and off ered helpful suggestions. OP&A analyst Lance Costello assisted with the report layout. Thanks are due to all of the contributors. Carole MP Neves, PhD, Director, Office of Policy and Analysis page i Interplay of Perspectives Table of Contents List of Acronyms . v Executive Summary . 1 Introduction . 5 Purpose and context of the study . 5 Smithsonian organizational structure . 7 Methodology . 7 Definitions . 8 Art and Science: Similarities and Diff erences . .10 A History of Friction and Influence between Art and Science . .13 Examples of HAC + Science . .21 Inherently interdisciplinary . .21 Interdisciplinary collaboration at the intersection of HAC + Science . .34 Stimulation of creativity and discovery . .35 Social commentary and activism . .41 Communication of science to wide audiences . .49 Mechanisms That Encourage Art-Science Interface . .63 Strategies to Facilitate HAC + Science Interplay . .81 Defining Success . .88 Appendix A: Bibliography . A-1 Appendix B Interviewees’ Organizations . B-1 Appendix C: Management Strategies for Facilitating Interdisciplinary Collaboration . C-1 page iii Interplay of Perspectives List of Acronyms AIB Arts and Industries Building CFCH Center for Folklife and Cultural Heritage CHNDM Cooper-Hewitt National Design Museum CPNAS Cultural Programs of the National Academies FSG Freer Gallery of Art and Arthur M. Sackler Gallery HAC History, Art and Culture HMSG Hirshhorn Museum and Sculpture Garden IDR Interdisciplinary research IRC Imaging Research Center IT Information technology JPL Jet Propulsion Laboratory MIT Massachusetts Institute of Technology MCI Museum Conservation Institute MLN Museum Loan Network MoMA Museum of Modern Art NAS National Academy of Sciences NASA National Aeronautics and Space Administration NASM National Air and Space Museum NMAH National Museum of American History NMNH National Museum of Natural History NPG National Portrait Gallery NSF National Science Foundation NZP National Zoological Park OIS Office of Interdisciplinary Studies OP&A Office of Policy and Analysis OUSHAC Office of the Under Secretary for History, Art and Culture OUSS Office of the Under Secretary for Science SAAM Smithsonian American Art Museum SAO Smithsonian Astrophysical Observatory SARF Smithsonian Artist Research Fellowship page v Interplay of Perspectives SCEMS Smithsonian Center for Education and Museum Studies SERC Smithsonian Environmental Research Center SI Smithsonian Institution SIA Smithsonian Institution Archives SIL Smithsonian Institution Libraries SITES Smithsonian Institution Traveling Exhibition Service SP Strategic Plan SPI Smithsonian Photography Initiative STRI Smithsonian Tropical Research Institute SUNY State University New York TSA The Smithsonian Associates UMBC University of Maryland, Baltimore County page vi Interplay of Perspectives Executive Summary Interplay of Perspectives: History, Art & Culture + Science, Interdisciplinary Crossover and Collaboration is an exploratory report produced by the Smithsonian’s (SI) Office of Policy and Analysis (OP&A) at the request of the Office of the Secretary, that examines out-of-the box and ground breaking practices at the nexus of history, art, culture (HAC) and science. All complex problems facing the world such as poverty, climate change, loss of cultural and bio-diversity and geo-political tensions require multidisciplinary solution-finding, as no one discipline has a magic bullet answer. The Smithsonian’s newly formed Consortia for the Institution’s Four Grand Challenges, as detailed in the 2010-2015 Strategic Plan, provide ample opportunity to initiate forward-thinking, interdisciplinary activities that tackle pressing issues that the Smithsonian is particularly well suited to address. This eff ort is already under way as evidenced by the “Idea Fairs,” a series of multidisciplinary, cross- unit collaborative proposal presentations followed by question and answer periods and networking. Interdisciplinary collaboration can be placed on a spectrum: side-by-side (the most convenient; two or more disciplines run something in parallel and information is shared), overlap (disciplines “overlap” to raise common questions they have about an issue) and synthesis (the disciplines collude to try and ask questions that neither could ask alone). This report provides a plethora of examples of all three with particular attention paid to “synthesis” which is arguably the most demanding and innovative level of interdisciplinary collaboration. Interplay of Perspectives addresses the art/science schism as perceived historically, and presents some intrinsic similarities and diff erences that are still manifesting today. Shifting its emphasis to examples that are current, appealing, lesser-known and applicable to the Smithsonian, this report details inter-disciplines, such as design, craft, science illustration, materials conservation, photography, technology/new media, history of science and technology, anthropology, archeology and horticulture, that inherently span disciplines and are a part of the lifeblood of the Smithsonian. Next, the report explores interdisciplinary collaboration at the intersection of HAC + Science divided under three foci: stimulating creativity and discovery, social commentary and activism, and communicating science to wide audiences. Interwoven into the examples are testimonials and reflections about the benefits derived from those undertakings. Below is a highlight from each focus section: page 1 Interplay of Perspectives Stimulating creativity and discovery Knowledge and methods from one discipline can stimulate creativity and discovery in another. Scientists and artists generate new ideas, skills and greater creativity from delving into processes from other disciplines and working with each other. Erik Demaine, recipient of the MacArthur Foundation’s “genius grant,” conducts microbiological research at the Massachusetts Institute of Technology (MIT) that is informed by his fascination with origami and proves that making art can have a profound eff ect on the way scientists think, problem solve and innovate. By perceiving connections between folding molecules in human bodies and the ancient art of folding paper into elaborate shapes, his research brings us closer to understanding molecule aberrations and the resulting illnesses. His origami is also exhibited and collected by art museums as exquisite works of art. Social commentary and activism There are artists who deliberately participate in scientific discourse and use science methods or materials to critically examine society and the ways that technology and
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