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As any scientist can explain, experimenting is an art. Some of the greatest findings have come about because of a clever experiment that revealed a significant result. And although every new experiment will be different, there are lessons to be learned from past experimentation. Contemporary art can learn from science and incorporate some scientific methods into its own quest for exploration. While art and science are quite different, experimentation has been central to major art movements in the 20th century and today is a major trend with digital art and photography.
From Plato to Einstein to Ernest Rutherford, who discovered the basic structure of the atom, to abstract expressionist painters such as Rothko, this essay details the similarity between science and art when it comes to experimenting. After discussing basic problems and pit falls, it details a specific method for experimenting in the arts with examples.
Judul Asli
Introduction to Scientific Experimental Methods for Artists: How Science and Art Can Intersect by Rick Doble
As any scientist can explain, experimenting is an art. Some of the greatest findings have come about because of a clever experiment that revealed a significant result. And although every new experiment will be different, there are lessons to be learned from past experimentation. Contemporary art can learn from science and incorporate some scientific methods into its own quest for exploration. While art and science are quite different, experimentation has been central to major art movements in the 20th century and today is a major trend with digital art and photography.
From Plato to Einstein to Ernest Rutherford, who discovered the basic structure of the atom, to abstract expressionist painters such as Rothko, this essay details the similarity between science and art when it comes to experimenting. After discussing basic problems and pit falls, it details a specific method for experimenting in the arts with examples.
As any scientist can explain, experimenting is an art. Some of the greatest findings have come about because of a clever experiment that revealed a significant result. And although every new experiment will be different, there are lessons to be learned from past experimentation. Contemporary art can learn from science and incorporate some scientific methods into its own quest for exploration. While art and science are quite different, experimentation has been central to major art movements in the 20th century and today is a major trend with digital art and photography.
From Plato to Einstein to Ernest Rutherford, who discovered the basic structure of the atom, to abstract expressionist painters such as Rothko, this essay details the similarity between science and art when it comes to experimenting. After discussing basic problems and pit falls, it details a specific method for experimenting in the arts with examples.
How Science and Art Can Intersect First printed in 2011 at HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory) !T"# This is the $irst o$ a continuing series o$ articles about art, science and e%perimentation by me, &ic' (oble, the author o$ and photographer $or the boo' Experimental Digital Photography) Science and art o$ten in*ol*e a similar point o$ *ie+) "%perimenting is one o$ those areas) "ach discipline can learn $rom the other) SCIENCE AND EXPEIMEN!A!I"N ,n -lato.s (ialogues, Socrates is as'ed# /How will you look for it, Socrates, when you do not know at all what it is? How will you aim to search for something you do not know at all? If you should meet with it, how will you know that this is the thing that you did not know? / And Socrates agrees +ith the 0uestioner) 1hile -lato.s logic is impeccable, his argument is $la+ed) Scientists and artists do disco*er things that they did not 'no+) !$ten using intuition and not logic, e%periments ha*e shed light on the un'no+n and brought +hat +as $ormerly unclear +ithin the grasp o$ human 'no+ledge) The intuitie mind is a sacred gift and the rational mind is a faithful serant! "e hae created a society that honors the serant and has forgotten the gift! Albert "instein 2ust a $e+ years a$ter -lato +rote the (ialogues, the 3ree' "ratosthenes per$ormed one o$ the $irst e%periments in +hich he sho+ed the "arth +as a globe and calculated the circum$erence +ithin 200 miles o$ today.s measurements) And starting +ith 3alileo, +ho many belie*e pioneered the modern methods o$ e%perimenting, much o$ the modern +orld has been constructed due to e%periments) 1hile e%perimenting is o$ten thought o$ as primarily a logical scienti$ic tool, it is $re0uently all too human 44 e*en in the +orld o$ science) 5y de$inition e%perimentation e%plores areas that ha*e not been e%plored) 1hile there are some guideposts, these can o$ten be de$ined only in the broadest terms) ,n the end, accident $re0uently plays a ma6or role in scienti$ic e%perimentation) And in the end it o$ten ta'es intuition and an open mind to understand the nature o$ an une%pected result 44 not unli'e the intuiti*e mind o$ an artist) &ic' (oble Introduction to Scientific Experimental #ethods for $rtists% How Science and $rt &an Intersect -age 1 o$ 7 It was 'uite the most incredi(le eent that has eer happened to me in my life! It was almost as incredi(le as if you fired a )*+inch shell at a piece of tissue paper and it came (ack and hit you! ,n consideration, I reali-ed that this scattering (ackward must (e the result of a single collision, and when I made calculations I saw that it was impossi(le to get anything of that order of magnitude unless you took a system in which the greater part of the mass of the atom was concentrated in a minute nucleus! It was then that I had the idea of an atom with a minute massie center, carrying a charge! "rnest &uther$ord (commenting on his e%periment that resulted in disco*ering the basic structure o$ the atom) As any scientist can e%plain, e%perimenting is an art) Some o$ the greatest $indings ha*e come about because o$ a cle*er e%periment that re*ealed a signi$icant result such as &uther$ord.s $amous e%periment mentioned abo*e) And although e*ery ne+ e%periment +ill be di$$erent, there are lessons to be learned $rom past e%perimentation) A! AND !HE SCIEN!I#IC ME!H"D "# EXPEIMEN!IN$ , belie*e contemporary art can learn $rom science and incorporate some scienti$ic methods into its o+n 0uest $or e%ploration) 1hile art and science are 0uite di$$erent, e%perimentation has been central to ma6or art mo*ements in the 20th century and today is a ma6or trend +ith digital art and photography) $ll the mem(ers of the .$(stract Expressionist/ group were experimental in their approach! The a(sence of preconceied outcomes was a cele(rated feature of $(stract Expressionism! #ark 0othko 1)2345 wrote that I think of my pictures as dramas!!! 6either the action nor the actors can (e anticipated, or descri(ed in adance! They (egin as an unknown adenture in an unknown space!!! Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur! 3alenson, (a*id 1) The 7ife &ycles of #odern $rtists!ational 5ureau o$ "conomic &esearch, 8ni*ersity o$ Chicago, 2002) 1hile the blunt $orce e%perimental method o$ trial and error is the o$ten used by artists, there are structural approaches that may ma'e e%periments more producti*e) 1ith the ,nternet there is no+ a +ealth o$ in$ormation about *arious scienti$ic e%periments o$ the past and artists should borro+ ideas that +ill $urther their artistic e$$orts) !T"# "%perimentation in the arts is not limited to *isual arts) -lays, poetry, no*els, music, short stories, dance etc) all lend themsel*es to e%perimentation) &ic' (oble Introduction to Scientific Experimental #ethods for $rtists% How Science and $rt &an Intersect -age 2 o$ 7 %HEE SCIENCE AND A! D" N"! IN!ESEC! 1hile ideas and methods $rom science can be 0uite use$ul to the artist, there are limits) A scienti$ic disco*ery must meet the test o$ the scienti$ic method, meaning that the same results must occur +hen the disco*ery is tested by independent scientists, i)e), the results must be repeatable) Ho+e*er, $or the artist, a good photograph is a good photograph, a good painting a good painting 44 i$ it +or's, it +or's) othing $urther is needed) The only point in going $urther +ould be to e%plore the possibilities o$ a ne+ly disco*ered e%perimental techni0ue that might produce a series o$ interesting photographs or paintings) $ENEA& S!EPS #" EXPEIMEN!A!I"N: $uidelines for artists Step 91# Ha*e a general idea about +hat you are a$ter ,$ your ideas are too general, you +ill ha*e no guidance: on the other hand, i$ your ideas are too speci$ic, you might miss promising possibilities that don.t $it +ith your e%pectations) Step 92# (o some initial tests (etermine +hether this a*enue o$ e%ploration can yield promising results 44 in my case it +as the Ferris 1heel pictures that sho+ed me the possibilities and also the range o$ e$$ects) &ic' (oble Introduction to Scientific Experimental #ethods for $rtists% How Science and $rt &an Intersect -age ; o$ 7 ,n one o$ my initial e%plorations to test my general ideas about motion and digital photography, , used the mo*ement o$ a Ferris 1heel combined +ith camera mo*ement along +ith the e$$ect o$ bright lights against a blac' night s'y) As a result , +as able to create a *ariety o$ interesting e%perimental photographs +hich sho+ed me that , +ould be able to capture a +ide range o$ motion e$$ects +ith digital photography and that it +as an a*enue +orth e%ploring) ,n this series o$ pictures the top le$t $rame is a realistic picture o$ a Ferris 1heel at night and the other $i*e +ere created +ith motion e$$ects) Step 9;# (e$ine the 'ey *ariables 1hat are the *ariables that you +ant to e%plore and +or' +ith< Step 9=# Control other *ariables that are not part o$ the e%periment Try to 'eep other *ariables constant and unchanging during the e%periment and i$ they must change, be a+are o$ ho+ they change) Step 97# Ha*ing understood the *ariables, try a number o$ di$$erent approaches and techni0ues "%plore a number o$ +ays to +or' +ith your 'ey *ariables) Step 9># "%pect the une%pected Assume that you +ill get results that don.t $it +ith your e%pectations) 3o o*er your results many times, e*en those that did not +or', to see i$ something grabs your attention) Step 9?# 8nderstand +hat you did ,t is important +hen e%perimenting to be able to 'no+ +hat you did +hen you get a good result) This ability to bac'trac' and recreate +hat led to the result is crucial 44 other+ise all you ha*e is a success$ul result that you 'no+ is possible, but no idea ho+ it happened) A DE&ICA!E 'A&ANCE 'E!%EEN C"N!"& AND ACCIDEN! !he Principle of &imited Sloppiness in Science: 1hy it is important to allo+ accident and unintended elements at times into the e%periment) /,$ you.re too sloppy, then you ne*er get reproducible results, and then you ne*er can dra+ any conclusions: but i$ you are 6ust a little sloppy, then +hen you see something startling, ()))) you nail it do+n ())))) So , called it the .-rinciple o$ @imited Sloppiness.)/ (elbruc', Aa%) ,nter*ie+) !ral History -ro6ect) -asadena# Cali$ornia ,nstitute o$ Technology Archi*es, 1B?C) How a Closed Mind Can Pre(ent New Disco(eries: Aen +ho ha*e e%cessi*e $aith in their theories or ideas are not only ill prepared $or ma'ing disco*eries: they also ma'e *ery poor obser*ations) !$ necessity, they obser*e +ith a preconcei*ed idea, and +hen they de*ise an e%periment, they can see, in its results, only a con$irmation o$ their theory) ,n this +ay they distort obser*ations and o$ten neglect *ery important $acts because they do not $urther their aim) 5ernard, Claude) $n Introduction to the Study of Experimental #edicine(1C>7)) e+ Dor'# (o*er -ublications, ,nc), 1B7?) &ic' (oble Introduction to Scientific Experimental #ethods for $rtists% How Science and $rt &an Intersect -age = o$ 7 %HA! !" D" %HEN )"* DISC"+E S"ME!HIN$ *SE#*& Ay Ad*ice# 1hen you $ind a promising e$$ect, e%plore it thoroughly) 1hat you ha*e $ound is a rich *ein o$ possibilities and you should mine it $or all you can get) A picture that loo'ed great at the beginning might lead to a much stronger one +ith some more +or' 44 so treasure those $irst successes but then test them and ta'e them to the limit to get the most out o$ them) This area that you ha*e disco*ered, becomes a sub4Eone o$ your e%periment that is rich +ith possibilities) &ic' (oble Introduction to Scientific Experimental #ethods for $rtists% How Science and $rt &an Intersect -age 7 o$ 7