Art

Using the arts to flip understanding: An arts intervention for non-arts researchers

By Margot Greenlee, Martina Jerant and Veronica Dittman Stanich

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1. Margot Greenlee (biography)
2. Martina Jerant (biography)
3. Veronica Dittman Stanich (biography)

What do the arts bring to interdisciplinary research? Can arts practices lead STEMM (Science, Technology, Engineering, Mathematics and Medicine) researchers to new insights on their work?

We—a choreographer-and-professional-facilitator (Margot), a scientist-athlete-facilitator-entrepreneur (Martina), and a dancer-turned-arts-researcher (Veronica)—had a hunch that the arts have something to offer STEMM researchers: a different understanding of their own work.

We posited that thoughts are intertwined with actions, and when there is no opportunity to do things differently, it’s hard to think differently—to get a fresh perspective. By “actions”, we mean the practices researchers do every day as part of their work: for example, read, collect data, analyze data, present ideas in written form, revise that writing. Whatever the typical practices of a field or discipline are, as researchers train and eventually become experts in that field, its practices become habitual.

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Pause… How art and literature can transform transdisciplinary research

By Jane Palmer and Dena Fam

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1. Jane Palmer (biography)
2. Dena Fam (biography)

What might make us stop and think differently about the ways in which we interact with our environment and others, human and nonhuman? What kind of knowing about acute threats to the natural environment will sufficiently motivate action?

We suggest that art and literature can offer us a pause in which we might, firstly, imagine other less anthropocentric ways of being in the world, and secondly, a way into Basarab Nicolescu’s “zone of non-resistance” (2014, p. 192), where we become truly open to new transdisciplinary forms of collaboration.

Writers, artists and scholars have canvassed many ways of ‘pausing’ our accustomed thought processes: mindfulness and ‘mindwandering’, and solitude, as well as post-representational research, which is sensory, affective and exploratory. We are interested particularly in the kind of ‘pause’ that constitutes a transformative experience that changes our relations with others, human and nonhuman.

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A successful model of integration in an art-science project

By Diaa Ahmed Mohamed Ahmedien

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Diaa Ahmed Mohamed Ahmedien (biography)

How can new-media art-science projects move beyond raising public awareness of science to achieve a high level of layperson involvement in a scientific process? How can such projects use two-path integration:

  1. across multiple academic disciplines, and
  2. including the participation of laypeople?

In 2017, I developed an interactive game, using a holographic scene, where participants had to interact physically with their neural activities to complete the required processes and tasks (see the figure immediately below). A participant was attached to EEG (electroencephalography) monitoring and then, when standing at a table that had a set of holographic plates laid out upon it, they had to puzzle-out a hologram of a toy.

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Improving transdisciplinary arts-science partnerships

By Tania Leimbach and Keith Armstrong

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1. Tania Leimbach (biography)
2. Keith Armstrong (biography)

Collaborations with scientists have become a major focal point for artists, with many scientists now appreciating the value of building working relationships with artists and projects often going far beyond illustration of scientific concepts to instead forge new collaborative frontiers. What is needed to better “enable” and “situate” arts–science partnerships and support mutual learning?

Our research looked at the facilitation of arts–science partnerships through the investigation of two unique collaborative projects, developed at two geographically distinct sites, initiated by artist Keith Armstrong. One was enacted with an independent arts organisation in regional Australia and the other at a university art gallery in Sydney, Australia.

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Ten steps to strengthen the environmental humanities

By Christoph Kueffer and Marcus Hall

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1. Christoph Kueffer (biography)
2. Marcus Hall (biography)

How might the environmental humanities complement insights offered by the environmental sciences, while also remaining faithful to their goal of addressing complexity in analysis and searching for solutions that are context-dependent and pluralistic?

There is a long and rich tradition of scholarship in the humanities addressing environmental problems. Included under the term ‘environmental studies’ until recently, fields such as the arts, design, history, literary studies, and philosophy are now gathering under the new umbrella of the ‘environmental humanities’.

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Four questions to guide arts-based knowledge translation

By Tiina Kukkonen and Amanda Cooper

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Tiina Kukkonen (biography)

Arts-based knowledge translation refers to the process of using artistic approaches to communicate research findings to target audiences. Arts-based knowledge translation continues to grow in popularity among researchers and knowledge mobilisers, particularly in the health sector, because of its capacity to reach and engage diverse audiences through the arts. But how might researchers, with or without experience in the arts, actually go about planning and implementing arts-based knowledge translation?

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Art and participatory modelling

By Hara W. Woltz and Eleanor J. Sterling

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1. Hara W. Woltz (biography)
2. Eleanor J. Sterling (biography)

What can art contribute to participatory modelling? Over the past decade, participatory visual and narrative arts have been more frequently and effectively incorporated into scenario planning and visioning workshops.

We use arts-based techniques in three ways:

  1. incorporating arts language into the process of visioning
  2. delineating eco-aesthetic values of the visual and aural landscape in communities
  3. engaging art to articulate challenges and solutions within local communities.

The arts based approaches we use include collage, drawing, visual note taking, map making, storyboarding, photo documentation through shared cameras, mobile story telling, performance in the landscape, drawing as a recording device, and collective mural creation.

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