Over the course of this course, we have studied how art relates to and enhances certain forms of technology and sciences. We have seen the very small (nanotechnology) and now we have seen the very large (space). The sheer range of sizes of these different fields and objects reminds us how small and insignificant we humans are in the scale of things. This website, The Scale of the Universe, is an interactive website that will help you visualize the size of the smallest and the largest objects of our universe, and everything in between.
The Pale Blue Dot
"Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives." Carl Sagan
Earth, and all of us, is only a tiny speck in the vast, ever expanding universe. So what is it about space that urges our imaginations and spurs exploration? Space has been the subject of TV shows, movies, and literature as the final frontier- something to be explored and studied, and also something to fear. The TV series Star Trek followed a group of explorers of the starship Enterprise, as they navigated through space, meeting races from different planets. Their mission was seen as noble, as if space exploration is something that is necessary to do.
Star Trek, "boldly go where no man has gone before"
As a nation and as a world, we have in the past few decades pushed space exploration. We have sent men to the moon, cameras to deep space, to Mars, Venus and more. We have countless satellites circling our globe, discovering what it's like past Earth's atmosphere. And though, space travel and exploration may seem like a superfluous thing, not readily aimed at helping society, it is important. I think it is important for us humans to discover what is out there and I believe that it is up to artists to make sure the public feels the same. Since space is so large, it is hard to conceptualize using our normal senses. We need artists to find new ways for participants to understand space in a cultural context.
Makrolab scientist work to create multiple dimension project, difficult to perceive, just like outer space.
Sources:
"CODED UTOPIA." Continental Drift. 27 Mar. 2007. Web. 27 May 2015. https://brianholmes.wordpress.com/2007/03/27/coded-utopia/
"Leonardo Space Art Project Visioneers." Leonardo Space Art Project Visioneers. Web. 27 May 2015. http://spaceart.org/leonardo/vision.html
NASA. NASA. Web. 27 May 2015.
http://www.nasa.gov/
"The Scale of the Universe 2." The Scale of the Universe 2. Web. 27 May 2015.
http://www.htwins.net/scale2/ "BAM/PFA - Audio & Videocasts." BAM/PFA - Audio & Videocasts. Web. 27 May 2015.
http://www.bampfa.berkeley.edu/podcasts/ATC/peljhan
Last weekend, my roommate and I, visited the Hammer Museum. Admission was free, so no matter what we saw, it was worth the visit. The exhibit that first caught my eye was Gaines' "Numbers and Trees". Bright colors superimposed onto beautiful silhouettes of trees drew me closer. When I got close, I could see that there were two physical layers to the art, a acrylic transparent one with color and the black and white drawing sitting an inch behind it.
Gaines, "Numbers and Trees"
Gaines, "Numbers and Trees"
Though the colors are beautiful and artistic, they are actually a code. You can see that each colored square holds a number. Each vertical axis has the same number in all its squares beginning with zero at the center axis. As the numbers branch outward, each horizontal line depicts them in numerical order beginning with zero. This reminded me of our lecture on Math and Art. Though many aspects of art, including perspective, are dependent on art, Gaines' work uses math in a different manner. Gaines' uses math and numbers to bring to life the simple, natural beauty of these tree forms, but forces the viewer to participate, to come closer to the work, to analyze the numbers, and to recognize a pattern.
Me inside the full scale "Spun"
"Spun", Development models, 2012
Keeping on with the Math and Art theme, I found the work titled "Spun" very interesting. You can see on the models on the left that these small pieces resemble spinning tops or totems. Mathematically derived, the circles are cocentric and of correct size so that the weight of the totem cannot knock it over. Not only are they beautifully simple, their same mathematical properties hold true when they are built in real size. The museum put several out for people to sit in, and once I did, I found that no matter how fast and how hard I spun the totem, it was impossible to knock it over. Here, math definitely contributed in making these interactive works of art.
Bonus proof of me at the Hammer
Overall, I strongly recommend anyone to visit the Hammer Museum. It's free, and open every day except Mondays and it's easy to spend several hours there without even realizing it. The exhibits are vast, interactive and one of a kind. One can learn first hand about the relationship between math and art, beyond just math's role in perspective and making paintings look realistic.
Nanotechnology may seem like a complicated, indescribable science. But we need to change our attitude about it. As Richard Feynman once said, there is plenty of room at the bottom- meaning that we as a culture tend to shy away from such small scale things, but therein lies huge technological potential. And lately, nanotechnology has boomed and become a part of many consumer items and innovations. The field of nano medicine has the potential to be a new, innovative and effective therapeutic method. Nano medicine has the capability to be highly sensitive and ultra effective, inflicting minimal damage on the patient. Check out this video for more nano medicine products and explanations:
Yet our society is hesitant when it comes to nano technology. Maybe it's because it is a science we cannot visualize. It is invisible in a sense, and so it is difficult to trust and understand. This is where art comes in. Art has the potential to make nano technology easier to understand. Gimzewski created a project, the Quantum Tunnel, aimed to make an art exhibit with quantum mechanics at its heart. In the Quantum Tunnel, the images of visitors' faces are projected on two opposing walls. When visitors activate a camera, their image is captured and projected on the nearby wall. As the visitors walk through the connecting corridor to the opposite end, the two projected images are juxtaposed and become fractured into particles and waves. The project by no means completely explains quantum physics but it is a start to get people interested in it.
Gimzewski's "Quantum Tunnel"
Overall, as Professor Vesna said, this new science is really about a shift in perception. Now that we have to move into the invisible, tiny scale realm, we are forced to move from a visual culture to one that's based on sensing. Art can bring about this transition. Together, nano science and art can bring forth the third culture we've been after all quarter, embracing this new shift in perception and being.
Though this is all good and promising, it is important to take in any new technology with a grain of salt. What is this technology truly capable of? Do we need to regulate it? All in all, increased public awareness of nano tech will bring us closer to understanding nano science and its place in our society.
Nano tech is everywhere, sitting invisible, waiting for artists and us to expand its potential!
Sources: Vesna, V., Gimzewski, J., The Nanomeme Syndrome: Blurring of fact & fiction in the construction of a new science. http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm "Can Art Make Nanotechnology Easier to Understand?" National Geographic. National Geographic Society. Web. 21 May 2015. http://news.nationalgeographic.com/news/2003/12/1223_031223_nanotechnology.html "Nanomedicine". Zhu, G., Mei, L., Tan, W., The Scientist. Web. 21 May 2015. http://www.the-scientist.com/?articles.view/articleNo/40598/title/Nanomedicine/ "California NanoSystems Institute." QUANTUM TUNNEL. Web. 21 May 2015. http://www1.cnsi.ucla.edu/news/item?item_id=623120 "Nanotech Jim Pt1." YouTube. YouTube. Web. 21 May 2015. https://www.youtube.com/watch?v=q7jM6-iqzzE
Neuroscience is a complex science. Concerned with the inner-workings of the brain and of the mind, neuroscience can seem almost like an abstract science- it is difficult to comprehend in our everyday lives. It is hard to picture and understand how a bunch of neurons and electrical signals somehow translate into our thoughts, ideas, behaviors and emotions.
How does our brain work?
The abstractness of neuroscience, and its difficulty to be understood, contributes to its potential to be unique and powerful pieces of art. These artworks play on our conception of consciousness and force the viewer/participant to really think about what it means to be conscious. Dr. Mark Cohen created a set of goggles within a helmet that inverted the image coming in through the lens, forcing the viewer to see everything upside down. Interestingly enough, the subject would get used to the view, and would be forever used to seeing things upside down. Artist Greg Dunn created beautiful gold leaf images depicting neurons. And artist Suzanne Anker created a series of fMRI images with a Rorschach blot and a butterfly superimposed onto the image. All of these artists aimed to stimulate us to think about our brains, how they work, what they look like and what they mean.
Anker's fMRI butterfly
Greg Dunn's Maki-e Neurons
Frazzetto and Anker said that since neuroscience concerns all of our individuality, it is a public matter. Concepts of neuroscience are seen in art and so the interaction here between art and science is an opportunity to get the public aware of neuroscience and what its doing. Again we see how art can affect and expose the public to ideas and innovations in science.
In Carl Jung's The Spiritual Problem of Modern Man, he highlights how we are so focused on our physical senses that we don't spend time trying to understand our unconscious. This is a problem.
Neuroscience art has the ability to fix this problem. By creating these powerful art pieces, they can prod the public to think more about their unconscious, their brains and their minds, and I think that this is a wonderful thing.
Sources:
Frazzetto, G., Anker, S. Neuroculture. Nature Reviews Neuroscience10, 815-821(November 2009)
Jung, Carl. The Spiritual Problem of Modern Man.
"Greg Dunn Design | Visual Art | Neuroscience Art | Gold Leaf Painting." Greg Dunn Design. Web. 16 May 2015. http://www.gregadunn.com/
Yesterday I attended an event put on by the department of the Environmental Humanities, one of their Sawyer Seminars. The topic of this talk was "The Anthropocene", or the concept of how our world is now human dominated, and what consequences this poses to the environment and climate.
Me, before enjoying some refreshments :)
Prior to the event, I read four essays prepared for the event by the main speakers. The speakers and essayists were Dipesh Chakrabarty, Anahid Neressian, Peter Kareiva, and Dale Jamieson. I must admit I was a little star struck to be in a room with these four famous writers and about thirty faculty members and graduate students of the English, or other humanities departments.
Flyer with the day's speakers
The seminar was focused on the concept of the Anthropocene, or the age in which we humans dominate the planet. We talked a lot about climate change and the politics surrounding it, but we didn't dwell on the hard science of climate change. These literary critics and writers are not concerned about the science of the matter, but rather the language and dialogue surrounding climate change.
I had never thought of climate change in this way before. We are used to thinking of the humanities and science separately, and when we think of climate change, we think of numbers, graphs, and scientific reports. But at the seminar we talked about how much language matters when we talk about anthropocene.
What stuck with me most was Peter Kareiva's talk about how the science of climate change is not as objective and steady as we think, or like to think it is. Science is not objective, which explains why we have scientists arguing with one another, defending their beliefs. These scientists have a prior belief and opinion on climate change, and it shows in their research. Kareiva likens the dialogue of climate change to religious fervor. People believe what they will concerning climate change, and will defend their side to the death. Interestingly enough, there is no correlation between scientific literacy and believing that climate change is human induced.
It was interesting to see science and literary critique come together to a productive seminar about climate change, and to see how literary critique can rise even non scientists to change the fate of human induced climate change. In class, we talk about the separation of the arts/humanities and science, and how detrimental it can be. Seeing these professors and great minds coming together to critique science in a literary way was nothing like I'd ever seen before. I think that these dialogues are important in order for people to come together and address climate change.
Signing in! Event was RSVP only.
As productive as it was to see scientific and humanistic dialogue together, I still heard Anahid Neressian say "literary people will read science to critique it, but scientist will not read literary works". So even though this seminar was a great example of seeing art and science come together, there is still a lot to be done.
Though you can't attend this seminar anymore, I would definitely recommend any event put on by the Environmental Humanities, especially these Sawyer Seminars. This coming Thursday, May 14 there is a seminar titled "Acidifying Oceans and Art" and I wholeheartedly recommend it! Email Michelle Niemann to RSVP at mniemann@g.ucla.edu.
Last Friday, I attended Ecochella, here at UCLA in the Sunset Recreation Center. The event is put up by a student organization called E3: Ecology, Economy, Equity. Ecochella is a music festival put on by this group every year, but what makes this particular music festival special, is its focus on the environment and sustainability.
Enjoying the show! (second from left)
Eight bands were invited to play, and they were all UCLA student bands. I was surprised at how good these bands were, and they all had a folk-y feel, which I felt fit in with the theme of sustainability. The stage was fully equipped with speakers and lights and the works, but they were all powered by these bikes pictured below. In order to make the entire festival emission, carbon free, students were invited to design stationary bikes that would generate electricity when ridden. Just the concept of a bike-powered concert was amazing to me and I was in awe to see how well these bikes worked.
Artist Ellen Levy tells us that art has the potential to expose the public to scientific discoveries and innovations. But as I saw at Ecochella, art can also inspire and motivate the public to action to change serious scientific problems, such as climate change. Art can no doubt be used as a tool, and a medium to acclimate the public to science and technology, but it can also inspire action. Here at Ecochella, technology and innovation was used to drive and quite literally power art!
Flower crown making station
E3's booth advocating clean e-waste
Surrounding the stage, there were also multiple booths, all sustainability related. There was a booth selling succulent plants, which are eco-friendly as they don't require a lot of water, as well as beautiful. There was a flower crown making station, which highlighted the importance of keeping our beautiful plants and flowers thriving in this environment.
Overall, I think that Ecochella did a wonderful job creating a concert and creating this artistic feat, while integrating technology and raising awareness about climate change and the need for sustainable practices. I would recommend that any student (bruin card required) come check it out next year!
A couple weeks ago, I went to the Fowler Museum here on campus at UCLA. Admission is free for all guests, and while the space is small, I felt that the few exhibits that they did have there were worthwhile. The exhibited that struck me the most was an exhibit titled Making Strange, created by contemporary artist Vivian Sundaram.
Her exhibit at the Fowler is actually a combination of two of her sets of work. The first project, Gagawaka is a line of garments designed in the style of haute couture but made out of materials normally used for other purposes, or materials not meant for dresses. There were pieces made from foil, styrofoam cups, x-ray film, bandages and more. The two pictures I took are of pieces made from surgical scrubs, face masks and hair nets.
These most fascinated me because they remind me of a major theme in this class, the union of art and science and rebranding the medical, the scientific into something that is aesthetic and artistic. These materials were designed to be worn, designed to keep the operating room sterile. It is striking to see these materials worn in a different way, especially in a way that is not necessarily practical, but makes a statement nonetheless.
This piece of the same collection is titled Liberty. The mannequin wears a gown of rubber, iron and paint, but exposes her left breast. I think it is a powerful statement, and was definitely my favorite piece of her collection. Iron and rubber are materials of industry. They serve a practical purpose and are heavy, oppressive materials. Yet the way the mannequin wears it is with a sense of power, liberty and strength. The material doesn't over power her, I would say it's quite the opposite. I love that the artist was able to make the tough material appear flowy and feminine while the mannequin stands tall.
Turning these industrial and practical materials into pieces of couture clothing defamiliarizes the viewer with these materials that we are all familiar with, It forces us to think about these materials, how they are normally used and think about why we don't use them in the way presented here. These materials come with certain connotations, which are all far from high fashion and it was definitely very strange to see them in this setting.
Overall, I would absolutely recommend the Fowler Museum and especially this exhibit to anyone. It will give you the chance to see these creatively designed dresses made of materials you wouldn't ever expect. The exhibit is very interactive and engaging, as you have to weave through the mannequins, forcing you to see all angles of each piece.
Advances in the life sciences and biological technology have no doubt improved life for millions. Learning about life, its processes, and how we may manipulate these to better the human condition can have positive outcomes. But when art is involved, when other motives besides solely helping the human condition is in play, biotech can get quite controversial.
Golden Rice
When I first hear the word biotech, I think of genetically modified organisms (GMO) and especially how this is applied to the food industry. In third world countries, a severe lack of certain vitamins and nutrients causes severe malnutrition. One vitamin lacking in third world countries is vitamin A. A chronic lack of vitamin A in one's diet can eventually lead to blindness. Researchers developed a GMO product called Golden Rice, which has an inserted gene which produces an enzyme which produces beta-carotene, which is eventually metabolized to vitamin A. Golden Rice has the potential to help many people in developing nations, but it has been met with a lot of resistance. People start to get uncomfortable as soon as Big Bio inserts genes, changes the natural functions of natural things. But why? As a society, are we just prone to be afraid of new technology?
Maybe people are afraid because they've seen what some artists have done to living organisms in the name of aesthetics. Eduardo Kac created a GFP bunny named Alba, in which by zygotic microinjection, created a bunny that expressed the fluorescent protein in all of its cells. At first glance his project is frivolous, silly and maybe even outright cruel. But his project, and his dialogue surrounding it is anything but silly. Through Alba, he has encouraged the dialogue between artists and scientists, and pushed the boundary as to what is art.
Kac and Alba
According to Ellen Levy, art has the potential to expose the public to scientific discovery and technology. I agree. Artists like Kac have been successful in their attempts to acclimate the general public to science. But still this is met with a lot of backlash. Chris Kelty explains through his essay how these artist interact with science. He calls for public acceptance and participation in this form of science, but before this can happen, we must make people comfortable with it. He argues that a new language is needed to talk about science and innovation.
How far will animal experimentation go in the name of art?
I agree with Kelty. When we think about and talk about biotech, the words "mutilation" and "mutation" are frequently used. While in their most basic sense, they mean to alter the genetic of physical characteristics of an organism, these words carry a stigma. They carry connotations of pain, horror, and a Frankenstein-style of science. We must change the words we used to talk about scientific innovation so that beneficial important advancements to the human condition can be made. The question of "Is life an appropriate artistic medium?" should also be explored to ensure that the animals used in research and biotech art are not abused nor harmed in anyway.
Sources:
"Golden Rice Project." The. Web. 7 May 2015. http://www.goldenrice.org/
Levy, Ellen K. "Defining Life: Artists Challenge Conventional Classifications" http://nanobioart.artscicenter.com/hybrid/sites/default/files/Ellen_Levy_BioArt.pdf
Kelty, Christopher. "Meaning in Participation: Outlaw Biology?" Journal of Science Communication. 1824-2049. http://www.desminopathy.info/pdf/jcom09012010c03.pdf
The human body is a beautiful thing. Naturally created, its wonders and inner workings are not only beautiful by design, but are so complex, that we are still learning about it to this day. It is no surprise then that our own human bodies and even images of our bodies can be performative works of art. Artist Orlan has dedicated her life to art. But art in a way that she uses her body and what she does to her body as the main performance. She lets her body be a spectacle for others to stare, gawk, and make comments as she undergoes plastic surgery (Orlan). Even medical technological scans such as the MRI, is not strictly medical. Casini argues that MRI images contain the same artistic quality as portraits. They are both images of an individual and tell a story about that individual, although the MRI relies more on the comments and dialogue concerning the image. Our bodies themselves can be performative works of art.
Orlan and her work
This week's material instantly reminded me of a book I read recently, The Island of Doctor Moreau by H.G. Wells. Written in 1896 and also adapted to film, the novel tells the story of a crazed scientist, Dr. Moreau, whose life work is to take animals and perform surgeries to make them human. He believes that the human form is the ultimate form, and that what he does to these animals is improvement not only for genetics but for aesthetics. Medical technology, in this case, vivisection, is a subject of artistic interest, incorporated into modern literature.
Cover Art for The Island of Doctor Moreau
Tensegrity
Now more than 100 years after this novel's publication, medical technology has come a long way, and the art surrounding medical technology has changed as well. Even the Hippocratic Oath, the fundamental document to medicine in the past and today is changing in practice. Our society and our medical practices have changed so much that even the most sacred document to medicine has changed. Ingber's work on tensegrity and its materialization in modern architecture is based on natural structures such as cell cytoskeletons. This field of art is only possible due to our recent knowledge of cell structure. Casini's work on MRI as art is only possible with new modern technology. As our medical technology continues to change, I am excited to see how art will change with it.
Sources:
Orlan-Carnal Art (2001) Documentary. YouTube. Web. 24 Apr. 2015. <https://www.youtube.com/watch?t=29&v=no_66MGu0Oo>.
Casini, Silvia. Magnetic Resonance Imaging (MRI) as Mirror and Portrait: MRI Configurations between Science and the Arts. The Johns Hopkins University Press and the Society for Literature and Science. 2011, 19:73-99.
Ingber, Donald E., The Architecture of Life. Scientific American, p 48-57. January 1998.
Tyson, Peter. "The Hippocratic Oath Today." PBS. PBS, 27 Mar. 2001. Web. 24 Apr. 2015. <http://www.pbs.org/wgbh/nova/body/hippocratic-oath-today.html>.
Wells, H. G. The Island of Dr. Moreau. Waiheke Island: Floating, 2008. Print.
Robots have always held an interesting place in our society. On the one hand, we recognize their value in industrialization and our industrial world today. When they replace human manual labor, they produce objects with great accuracy and require much less than a human worker: food, water, sleep, time off, etc. And while this may seem like a wonderful thing, it begs the question, "will machines replace the usefulness of humanity?" (Humans Need Not Apply).
In this way, robots also hold a threatening position in our society. We depict them in movies sometimes to be terrifying beings, beings that threaten our society and way of life. Take for example the movie "The Rise of the Machines", part of The Terminator series. Here, these robots are depicted as scary entities, they are not friendly nor warm in appearance, and they are something to be battled, to be fought in the movie.
The Rise of the Machines
Another way in which machine and automation are threatening our society, is in the way that it supposedly is threatening our art. Walter Benjamin argues that what makes art, art is its "aura", composed of its authenticity, the effect it had when it was published or created at the specific time and place that it was, and how it has progressed as a piece of art through the ages. He argues that mechanical reproduction of art necessarily ruins its aura (Benjamin).
Douglas Davis recognizes that art is easily reproducible in this day and age but argues that this reproducibility is actually enhancing art, making it more accessible, and increasing the frequency at which people view the piece (Davis).
Robots and automation are becoming an even larger part of our society with each passing day and each technical innovation. We live with machines, they build things for us and are an integral part of our economy. Yet we still fear them. We fear that they will take over our jobs. We fear that they will make our art obsolete. But it doesn't have to be us versus them, man versus the machine. Even if machines take over many of our human jobs, I believe that this will only push artistic creativity. If we don't have to spend our time farming, working in factories, building things, then we can focus our energy as a society on more artistic and creative endeavors. Robots do not have to be a threatening force, and what Professor Kusahara says about the Japanese aiming to make robots friendly and welcoming is a wonderful idea (Robotics Machiko Kusahara). I am excited to see how our society can integrate automata and robots and mechanization into our art.
Sources:
"Humans Need Not Apply." YouTube. YouTube. Web. 18 Apr. 2015. <https://www.youtube.com/watch?v=7Pq-S557XQU>.
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
Davis, Douglas. The Work of Art in the Age of Digital Reproduction (An Evolving Thesis 1991-1995). Leonardo, Vol. 28, no. 5, Third Annual New York Digital Salon. (1995), pp. 381-386.
It is interesting to see how math is integral to almost all of our disciplines of life, and most surprisingly art. It is amazing that almost all forms of art, and especially the concept of perception, are reliant upon mathematics. Math, and the Golden Ratio, are so natural to our world and how we view things that are aesthetically pleasing.
The Golden Ratio used by Da Vinci in The Last Supper
The Golden Ratio is a principle important to math and art, in that it has its foundation in mathematics but has been applied to architecture and art. If math is the study of the interactions between numbers, and we can assume that numbers are naturally occurring entities, then we can conclude that math is a natural thing. Then it makes sense that art and architecture using the Golden Ratio is naturally pleasing to they eye, and that therefore the Golden Ratio would be integral to art.
It is no surprise then that instances of the Golden Ratio are commonly found in nature, since it is a natural thing.
Seed heads of flowers display the Golden Ratio
Math then, is consciously applied to art to make it more pleasing, including painting, architecture and even crocheting!
Hyperbolic crocheting
And then there are also forms of art that are completely dependent upon mathematics. Take for example origami, the Japanese art of paper folding. Origami follows strict mathematical rules for paper folding, that without these rules would result in messy, and unaesthetic pieces.
After reviewing this week's material it is clear that math and art go hand in hand. In fact, there would be no art as we know it without mathematics. Math defines what is natural, and so defines what is aesthetically pleasing to our eyes.
Sources: Mathematics-pt1-ZeroPerspectiveGoldenMean.mov. UC Online Program. https://www.youtube.com/watch?v=mMmq5B1LKDg Diana Taimina. Discoverer of Hyperbolic Crochet. http://crochetcoralreef.org/contributors/daina_taimina.php Robert J. Lang. Origami. http://www.langorigami.com/art/art.php
Miesner, Gary. Golden Ratio in Art Composition and Design. May 4th, 2014. http://www.goldennumber.net/art-composition-design/ 15 Uncanny Examples of the Golden Ratio in Nature. http://io9.com/5985588/15-uncanny-examples-of-the-golden-ratio-in-nature
As a microbiology major and a comparative literature minor, I am more than familiar with the separation between the arts and sciences. I am most of all familiar with the long walk I have to take from class to class, to get me between my literature courses, and my science courses, and my research laboratory. The fact that north and south campus here at UCLA are divided in almost every single way is no new fact to me, and it has never sat well with me.
We even pit north campus against south campus!
Charles Percy Snow identified the problem very clearly; that the separation of art and science emerged with industrialization and that our education system, our curricula is to blame. RSA Animate's adaptation of Sir Ken Robinson's talk also hits the nail on the head when he says that we are an education system based upon separation. We separate based on age, based on subject, and we have this "production line mentality" that is epitomized by standardized testing.
When did education become about testing?
Production Line Mentality
By separating our students, we place them into these categories, and then we leave them there, stuck. These students go on to college to believe that he or she must pick a single choice: art or science. Robinson resonated with me when he said that we all had this innate ability for divergent thinking, but then lost them due to the way that our education system forces us into these standardized molds, consisting of art or science, but never both.
I have always loved the sciences but have also loved the arts. I have chosen an education here at UCLA that has both elements of research, physical science as well as the humanities, specifically literature. But what I can't help to notice everyday, is that my major and my minor feel incompatible with one another. People tend to ask, "but why?" when I tell them I study both microbiology and literature. Why? Because I love them both! Why should I have to choose between one or the other?
I agree with Robinson that the separation between art and science is a huge problem in our education system, but I do understand that college is designed to prime us for the job market and I find it difficult to find job opportunities that embrace both art and science.
Sources:
Snow, C. P. “Two Cultures and the Scientific Revolution.” Reading. 1959. New York: Cambridge UP, 1961. Print.
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