COLLABORATION

Communicating through Method:
​An Art and Science Discussion

​Earlier in 2018, Broto: Art, Science & Collaboration hosted its inaugural conference of experts in art, science, sustainability and collaboration - in part to begin a dialogue about how art and science might better, or more meaningfully, collaborate on aspects of climate change. The developing “Broto Collaboration Blueprint” is, in itself a work in partnership, with an array of stakeholders weighing in on how to execute “substantive, real-time, credible and mutual” collaboration between art and science. 

How might Broto help art and science blend method, so that the innovation that comes from the collaboration is built on a shared intention? Should we worry less about outcomes and more about blue-sky process that allows both art and science to explore without worrying about the result? These are some of the questions Broto seeks to address through creative work, actual fieldwork, and active collaboration.

Early in our development, Provincetown-based landscape painter Joerg Dressler and Mark Borrelli, Ph.D., Coastal Geologist, Director, Center for Coastal Studies Provincetown agreed to explore a partnership of art and science. In the first meetings it became clear that language – jargon, tech-speak, acronyms - were an initial challenge. 

It turns out that, for these two collaborators, they had a lot in common with how they work, why they do the work, and how they evaluate their work. And while some artists are “anti-method” and some scientists will debate the rigor of the scientific method, suddenly these two collaborators had something to discuss and put toward understanding each other in ways that shed light on mutuality and shared intention work.

While we put no expectations on outcomes, there were a series of “fine art info graphics” generated that spoke to the combined work - itself a platform for debate. Are they art? Are they science communication? Are they graphic illustration? Are they none of the above?

​So, for discussion, Broto wanted to share with you a snap shot of the shared narrative between Dressler and Borrelli, as one example of how art and science might communicate about a shared challenge. 

- Ian Edwards, Broto Founder

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Reflections on a Scientific Method & a Proposed Artistic Method
By Joerg Dressler and Mark Borrelli

“Fanning the flames” (2018). 14" x 11". Limited edition 1/2. Digital collage by Joerg Dressler in collaboration with Mark Borrelli. Original and found material; archival ink on archival paper.

​#1

Joerg Dressler (artist)

Intro
“What was your inspiration?” is a question I get asked frequently. Often, I feel people are looking for one-sentence answers. It’s a question however, that begs for a deeper understanding of how artists approach their work. Certainly, some would say that creativity is by nature spontaneous. And while it has a cute or romantic connotation, I am certainly not—all of a sudden—kissed by a muse. Creativity for me begins with prolonged observation that leads to the need of solving a problem. Questions arise that I need to answer for myself. Through ongoing thought-processes informed by personal experiences as well as world affairs, eventually a concept or vision is established. That’s when the realization of a vision can begin. That’s when I have entered a state of mind, when I can hardly think about anything else, entering a state of obsessive problem solving. New questions arise. How can I best translate my thoughts into something tangible?
 
Observation
The beginning stages of a new project for me, are always initiated by the interplay of curiosity and reflective observation. Established by something I have seen or noticed, I desire to gain information which leads to an active process of thoroughly observing something.
 
During this interplay broad questions arise: How? What? When? Why? Employing all senses, an internal dialog leads to initial beliefs and answers, which are a product of the individual mind. Any new observation is informed by observations and conclusions of the past. The various associations the seen allows us to make have an impact on what we see and retain in any future experience.
 
The insight into the external is therefore shaped by my cultural and social background, how I grew up, my education, my lifestyle, my beliefs and disbeliefs; but also determined by physiological abilities, like the quality of eyesight.
 
For me the eyes are working the hardest to understand and comprehend how things work. As someone who is slightly nearsighted I will experience a landscape differently than someone with 20/20 vision. What I perceive can’t really be measured objectively, no matter how real or profound it is. My perception is always shaped by life lived, life anticipated and my current emotional state of mind.

Mark Borrelli (scientist)

Make Observation(s)
​There’s a famous quote by Isaac Asimov, "The most exciting phrase to hear in science,
the one that heralds new discoveries, is not 'Eureka!', but 'That's funny...'" Scientists are taught to look for patterns and trends in our data and natural processes. Through rigorous training ‘textbook’ examples are shown to us and studied over and over again, then if we’re lucky enough to be field scientists seeing those textbook examples are rare, but we see those natural patterns and natural variability time and again so when we see something unexpected, something that doesn’t fit, or what we thought doesn’t fit, into those natural patterns it strikes us as unusual, out of place, or ‘funny’, but definitely something to pay attention to. We are making observations all the time. 

#2
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​Reflection/Research
While our capacity for (subconscious) observation seems unlimited; our capacity for contemplation of the experienced is somewhat limited. We are noticing as being significant only what our mind relates to some relevant knowledge or past experience. It’s all about taking in as much information as possible about the subject matter. Fueled by an inquiring mind, this can be done through watching, study, inspection, monitoring, examining and more.
 
I almost never jot down notes. By the time I figure out how to spell specific words, the experience has already passed and I miss the connection. Over the years, I have learned to take a lot of mental notes. Of course, many of them elude me relatively quickly. However, the important ones stick and take on a life of their own. Eventually they manifest in visual terms that give me hints for ideas.

Construct Hypothesis
Now what? What is it about this observation that we want to learn about? Most importantly how can we construct a hypothesis to test that and ONLY that? How can we eliminate all the variables to test only the one we want? How can we do that outside a laboratory? Lots of questions and lots of answers, but you have to ask the right question to get the right answer.
Thanks to the scientific method the scientist can rest safely, surrounded by the cocoon of this one fact: We can’t prove anything. We can’t prove any hypothesis we can only disprove them or support them. One of the many strengths of the scientific method is that once something is disproven we never have to think about it again. Job done. We can’t prove a hypothesis is true, we can only keep trying to disprove it and the more we fail the more likely it becomes that the hypothesis is true.

“Stink to high heaven” (2018). 14" x 11". Limited edition 1/2. Digital collage by Joerg Dressler in collaboration with Mark Borrelli. Original and found material; archival ink on archival paper.

#3
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​Formation of a vision
As artists, we are not tied to being fact-based in our reflection. Our investigation can be systematic or with no order, relying often heavily on our intuition. We do have a license to let our imagination run wild. Our interpretations of the seen are allowed to be subjective with no obligations towards being objective or fact-based. The goal is to collect a varied bank of observations, thoughts, questions and ideas. The challenge is to link those up in new and unexpected ways. A wide field of interests thereby is beneficiary in making connections not previously anticipated. Discovering those unexpected connections cause a eureka moment which ultimately leads to forming a vision.
 
Just as it is important to actively contemplate the observed and to collect the above mentioned bank of ideas, it is important to engage otherwise. For me my daily swimming routine offers a somewhat meditative state in which new ideas make their appearance. During these moments, I can see the core of a future creation vividly and it appears to be absolutely credible. However, when leaving this state of mind, when rational thinking takes over, the details are in danger of eluding my mind, leaving nothing but a common idea.

Do Background Research and Design Experiment
​Standing on the shoulders of giants. Hell, standing on the shoulders of short people will help me see farther than I can on my own. When I read the research of other scientists, some colleagues, some friends, even people I don’t like, or more often than not, people I’ve never met, I pick it apart, line by line, idea by idea, I dissect it and then I accept it or reject it. I have been helped by them and I thank them. Discovery rarely comes in great bursts, but when it does there are lifetimes of work that have built up behind the dams that cause it to finally give way. 

#4
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​Creation/Experimentation
Even ideas that remain clear and vivid may turn out as short-lived during the execution phase as they fail to evolve. The approach turns out to have no legs to stand on or even go on an expanded journey.
 
In addition, limitation of skill set or lack of experience can render the imagined unobtainable, unless of course, I am able to conceive ways of realizing the vision within my existing skill set or a skill set that can be reasonably acquired. 
 
This is why it is so important to cultivate a habit of active observation and reflection while creating. Having the ability to combine linear and non-linear thinking while constantly being on the look-out for the unexpected. Only a thought process that remains fluid prevents our mind from being controlled and biased by fixed ideas. Only that way can I give chance room and allow my mind to give attention to the slightest clue that may solve the problem.
 
My acquired skill set of artistic techniques is my toolbox. Those tools however, need to be sharpened constantly. In other words, constant practice is necessary. For me there is an analogy between a musician’s frequent practice and the artist’s frequent exercise of their technique. This means being disciplined about the work. Showing up in my studio on a frequent basis is essential. Working constantly and consistently will allow me to reach my full potential. If I stay away too long the momentum stagnates and the warm-up for the next session may be difficult and take much longer.
 
However, taking breaks is necessary. In order to stay in the dimension of creating, having other means of translating ideas or exploring problems is helpful. Being able to apply myself to drawing, printmaking or graphic design allows me to stay motivated and keep my mind in the creative dimension. Ultimately, new ideas make their appearance when otherwise engaged.

Testing Hypothesis with Experiments
Being a field-based scientist this is the most difficult, and most fun thing I do-conduct rigorous, repeatable and defensible experiments with all the variables that nature can provide. Variables are the source of error, or more correctly, uncertainty. Error, has an air of negativity with the general public and frankly uncertainty is more accurate. Eliminating or controlling variables is why we conduct experiments in the lab; we can control temperature, light, winds, waves (with a big enough lab) or at the very least accurately measure these things. This is done with great difficulty in a natural setting, still greater when what you are measuring is moving. But again, standing on the shoulders of giants, well-established methods, ever increasing computing power, better instruments, finer and finer scale measurements, these help all scientists, lab or field, theoretical or empirical, broad shoulders indeed.  

“Can’t see the forest for the trees" (2018). 14" x 11". Limited edition 1/2. Digital collage by Joerg Dressler in collaboration with Mark Borrelli. Original and found material; archival ink on archival paper.

#5
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​Evaluation/Refinement
The formative stages of a new creation are stages of trial and error during which I need to tune out any internal and external voices and fully rely on my instinct, embracing the uncertainty and the doubt. Digging deep within I need to engage into the adventure of rules being broken and recognize how chance fuels artmaking.
 
Further into the project I eventually go through various internal discussions. I may not be able to execute as perfectly as I wish. However, by identifying the significant shape, color, movement, and light, while neglecting details or complicated forms, I can achieve outcomes that result in a certain “make-believe”.
 
Having a discussion partner within myself allows me to filter the next steps; making sure the next moves in terms of composition, color choice or mark-making are in line with my vision. Over time I have trained myself to select or dismiss relying on my acquired knowledge and my instinctual judgement. Yet, I need to allow for some time to pass during the evaluation process in order to see if things feel right the next day or week.
 
Another step in the evaluation phase is inviting trusted colleagues to engage in critical yet constructive discussion about the endeavor. The exchange helps me to work my way positively and more smoothly through a problem.

Analyze Results | Draw Conclusion
We are now entering the danger zone. If there is a weak spot in the scientific method it is here. This is where we have the greatest chance to let our unconscious bias (or confirmation bias) take us in the wrong direction. Few, if any, scientists routinely question results that confirm their previous held beliefs. “We saw more coastal erosion last winter and last winter was really stormy so that makes sense”. A simple example to illustrate the point, but very dangerous terrain here. In fact, some beaches can see deposition (the opposite of erosion) in places after a storm. What’s the trick? An elegant, well-designed experiment. 

#6
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​Vision realized/Results not aligned with vision
No matter how clearly, I saw the shape and it’s outline during the creation phase, my vision may have undergone an internal development. To ensure that the work is aligned with the promise of my vision (no matter how much it may have evolved) I need to take time to survey the work while paying attention to my inner thoughts. Being honest with myself gives me a sound assessment of where I stand. To do so, it takes self-knowledge at present and it takes having the ability to distinguish between what I really want and what I think should be happening in the work. Have I adhered to my own guiding principles, and where and when have I borrowed goals from others?
 
Too often I have fallen for measuring myself against idealized standards, only to feel inadequate, frustrated and overcome with self-doubt.
 
As a result, I have been distracted from pursuing my initial central, organizing and motivating idea. I then may have undermined my commitment to painting as well as I can and my commitment to transmitting a core idea as best as I can.
 
We must follow the impulses of our own deeper authentic selves and be guided by our personal philosophy, which is informed by the ideas, memories and insights we have assembled over the years. When we do so, the work will be original and worthwhile, well knowingly that not all art is new, yet it is not irrelevant. It is relevant when we evaluate it in a microcosm of personal achievements. For me, success occurs when I surprise myself; reaching a new potential by having out-done myself.

Hypothesis is Supported
Hypothesis is Disproven
As I said above (and I’ll say again), scientists can’t prove anything! I try to say this in every talk I give. I can’t prove Gravity exists, no one can, we can only disprove everything else. Einstein’s Theory of General Relativity, he was pretty smart, but he couldn’t prove it (back when it was a hypothesis), but solar eclipses, black holes, even GPS satellites(!) all support his theory, so it gets stronger and stronger. This is perfection, little by little, piece by piece.

Revise Hypothesis +/r Redesign Experiment
Unexpected results, were mistakes made, instrument failure, poor experiment design or did we just stumble onto something? Is it ‘funny’, an anomaly or something else? Let’s start over and try again. 

“It’s not rocket science” (2018). 14" x 11". Limited edition 1/2. Digital collage by Joerg Dressler in collaboration with Mark Borrelli. Original and found material; archival ink on archival paper.

#7
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​Presentation/Exhibition
Painting for me is a means of transmitting a core idea; what I cannot say in words I try to put in visual terms. Those terms stem from a pool of personal visual vocabulary. No one sees exactly what I see. By making repeated use of specific images, forms, colors and mark-making (while not falling victim to developing a shtick), people will over time become affiliated with that vocabulary and learn to understand the implied meaning beyond the seen.
 
The meaning emerges when the invitation to contemplate, to look closely and study the piece is accepted. The narrative however still evolves and takes on a life of its own, with every additional viewer. What the message of the work is to one may be different from what it means to the other. Especially if the work grants an open space that allows the viewer to further the thought beyond what the viewer sees, informing their minds, finding their own meaning of the seen. In that way, the work becomes a co-creation of the artist and the viewer.
 
The assessment by others determining if the work is relevant is also made in a much larger context of art history and the contemporary art market. There will always be a comparison made to what has come before us and what is currently happening in the respective field of art-making. The conclusions drawn are entirely out of the hands of the artist as each conclusion is informed by the viewer’s subjective criteria.

Report Results
I might not make it up to the shoulders of those giants, but I can give someone else a little boost, so they might make it. Maybe tell them, don’t go this way, it’s a dead end, one less one they have to go down, like the dozens of ones I never had to go down, because someone else did, and left me a map. 

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