Can art help scientists see more clearly?
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Can art help scientists see more clearly?
Scientists rely on observation to collect data, but what if their personal perspectives and biases influence what they see? Dr Christina Smylitopoulos, Associate Professor of Art History at the University of Guelph in Canada, is using arts-based methods to help scientists understand their own observational subjectivities. Through workshops in the Visual Competencies Laboratory, she is teaching scientists how to recognise biases in their observations, helping them to improve the way they analyse and interpret data.
Talk like a visual arts researcher
Abstract art — art that does not attempt to represent an accurate depiction of a visual reality, but instead uses shapes and colours to achieve its effect (also known as non-representational art)
Bias — a tendency to believe or support a particular perspective, often unconsciously
Formal analysis — a method of studying artwork by critically examining its formal qualities, such as line, shape, form, colour and composition
Observational subjectivity — viewing something through the lens of your own personal experiences
STEM — science, technology, engineering and mathematics
Visual competencies — skills required to interpret visual information
Science is all about discovering the unknown, but what if scientists are unconsciously limiting their discoveries by seeing only what they expect to see? Observation is a fundamental part of scientific research, yet it is influenced by personal experiences, emotions and biases.
In the Visual Competencies Lab at the University of Guelph, Dr Christina Smylitopoulos is investigating how arts-based methods can help scientists to recognise their observational biases. Through her research, she explores how visual analysis techniques, traditionally used in the study of art and material culture, can improve the way STEM researchers collect and interpret data.
Why are art and science considered as separate?
“The notion that art and science are fundamentally different is a relatively recent idea,” says Christina. Historically, scientific training included aspects of the arts, helping researchers develop strong observational skills. However, as science has become more specialised, there is less room for creative and artistic approaches in scientific education. The arts train people to observe and interpret visual information in detail, skills which are highly valuable in scientific research. However, STEM researchers today must actively seek out opportunities to develop these skills, as they are not taught in most science programmes.
How do our biases affect what we see?
When we observe something, whether a painting, scientific graph or natural phenomenon, we often focus on details that are most familiar or meaningful to us. “For those who are trained in conducting formal analysis of art, it’s not surprising to learn that different people will privilege different aspects of the same work,” explains Christina. STEM researchers, like all observers, may unknowingly prioritise certain details while overlooking others. Christina’s workshops encourage participants to reflect on their own biases and consider how these might influence the way they collect and analyse data.
How does observation vary between scientists?
“The best way to answer this question may be to share the inspiration for my workshops,” says Christina. “At a child’s birthday party, I had a fascinating discussion with another parent who worked as a crop science research manager.” The researcher explained that tracking the spread of plant diseases was difficult because different scientists recorded slightly different observations. This raised an important question: what factors shape how individuals perceive and document scientific data?
Art students are taught to slow down when making formal observations and to critically examine visual information, while also recognising how cultural and personal biases influence their interpretations of what they see. Christina believes that by applying these same skills, STEM researchers can refine their observational methods and strengthen their research conclusions.
How is Christina helping STEM researchers to recognise their biases?
“During the workshops in the Visual Competencies Laboratory, it is not our goal to teach participants to eliminate their observational subjectivities,” Christina explains. “Instead, we lead them through a series of exercises to help them become more conscious of the subjective qualities of their observations and provide them with additional tools to identify and record visual findings.” In the workshops, participants analyse abstract art from the School of Fine Art and Music Print Study Collection. They begin by noting the first thing that catches their attention in the artwork and then discuss why they prioritised these elements. Their answers often relate to emotions, personal preferences or professional experiences, revealing unexamined influences on their observations. Next, participants identify key visual elements in the artwork, such as colour, shape, texture and pattern. By guiding STEM researchers through these exercises, the workshops help them to reflect on their observational habits and equip them with tools to enhance their scientific analyses.
How can STEM researchers apply this awareness?
“As works of art are objects of analysis unrelated to their areas of study, participants explore visual competencies in an environment in which finding the ‘right’ answer is not the goal,” explains Christina. “This means the workshops are a space where STEM researchers can examine and develop their observational practice without risk.” Many scientists are trained to eliminate scientific bias in their research, yet few receive guidance on recognising visual biases in their observations.
The emotional impact of art in scientific training
“One of the key trends we identified during discussions was that participants appeared to seize upon the workshop as an opportunity to discuss their current emotional states,” says Christina. Although the activities were designed to focus on technical observation skills, participants often shared how their stress levels or personal experiences influenced their perspectives. This raised an interesting question: could engaging with art in this way offer a form of stress relief during demanding scientific training? The team now hopes to explore the potential therapeutic benefits of these workshops.
What impact have these workshops had?
“One of the key take-aways from our project is that STEM students and researchers have limited opportunities to take courses in the arts and humanities to develop arts-based methodologies that can helpfully contribute to the research enterprise,” says Christina. For many participants, Christina’s workshop was their first experience of engaging with the arts in an academic setting. This highlighted a gap in scientific training, where observational skills and creative thinking could benefit from interdisciplinary approaches. The positive response from participants has encouraged the team to seek more opportunities for collaboration between the arts and sciences, cultivating a learning environment where different perspectives can enhance research and discovery.
Reference
https://doi.org/10.33424/FUTURUM571
Dr Christina Smylitopoulos
College of Arts, University of Guelph, Canada
Fields of research: Art history, visual arts, arts-based methods in science
Research project: Bridging the arts and sciences by using arts-based methods to help STEM researchers understand their observational subjectivities
Funder: Social Science and Humanities Research Council of Canada (SSHRC)
About the Visual Competencies Laboratory
The Visual Competencies Laboratory is a space where arts-based methods are taught to STEM researchers to enhance their observational skills. It also provides valuable professional development opportunities for the arts students who help to lead the workshops, such as Nakita Byrne-Mamahit and Sarah Mousseau.
Nakita Byrne-Mamahit
Project Coordinator, Research Innovation Office, University of Guelph
Sarah Mousseau
Art History PhD Student, McGill University
“I’ve often reflected on how my experience in the lab helped me truly understand the importance of interdisciplinary work and prepared me for a career where being open-minded is key,” says Nakita, who now works in the University of Guelph’s Research Innovation Office. “In my current role, I support the marketing of new intellectual property coming from the university. This involves talking to people from a range of disciplines, and working in the lab prepared me for this as I was reminded that we all perceive things differently.”
“I most enjoyed developing and leading the workshops, as this was my first experience of teaching,” says Sarah, who is now completing a PhD in art history at McGill University. “I learnt how to engage with non-arts researchers and to improvise and adapt when things don’t work out as expected. Leading the workshops was a lot of fun and I love discussing art on any level, so the experience confirmed that I wanted to pursue a PhD in art history.”
A key focus of the lab’s research has been refining how arts-based methods are introduced to participants from scientific backgrounds. “We were curious to see if arts-based methods of formal analysis would present new methods of analysis for scientific research and data,” says Nakita. One of the most interesting aspects of the workshops was the way they encouraged cross-disciplinary conversations. These discussions reinforced the idea that scientific observation is not purely objective but shaped by individual experiences, training and biases.
These projects have enabled the Visual Competencies Laboratory to cultivate meaningful connections between disciplines, encouraging scientists and artists alike to examine their own ways of seeing.
Pathway from school to arts and sciences
At high school, studying both art and science subjects will help you to develop analytical, creative and observational skills.
At university, study a combined arts and sciences degree or, if that is not available, pursue a minor in an arts discipline alongside a major in a science discipline, or vice versa.
Combining arts and sciences requires passion, flexibility and open-mindedness. As Christina highlights, these disciplines did not used to be separated, so an interest in history can help you understand the connections between them.
“You may have to choose whether to follow an arts or sciences path in your formal education, but you can find informal pathways to engage in your interests,” says Christina. Explore opportunities such as online courses and workshops to gain practical experience outside the classroom.
Meet Christina
As a teenager, I was interested in heavy metal music and fun social activities that involved the beach! I was always interested in art, but the high school I attended was geared towards developing a trade or practical career. After I graduated, I worked full-time in retail and restaurants, but I wondered if going back to school might help me to find a job that I was more passionate about.
I took my first art history course in community college and wanted to continue studying but was discouraged by the lack of job prospects in the field. So, I approached my undergraduate degree as an opportunity to ‘get an education’ rather than to ‘get a job’. I figured that if I ended up not working in the arts, I would have at least satisfied my curiosity about things I found interesting.
At university, I found a wider range of art history and humanities courses. I studied with people who were expert storytellers – they were so enthusiastic, and their lectures were fascinating and entertaining. I took every opportunity to build my career, so I got part-time jobs to gain practical experience in the field – as a research assistant helping my lecturers with their research projects and in the slide library (in the days before digital projectors). I also kept my eye out for internships in museums and galleries to broaden my skill set and, most importantly, my professional network.
Today, as an art historian, I study creative expression of the early modern period (17th-19th century) – a time when art and science were not understood separately. This period featured innovators like Sir Francis Bacon, whose methods of investigation made him a founder of modern science, but he also thought deeply about aesthetics and how they impacted human well-being. In my art history classes, we engage with Bacon’s scientific contributions, as well as his work on garden design. The Age of Enlightenment is one of the most exciting periods in scientific history, and it was informed by art as much as by science. Creativity is the pathway to new knowledge and innovation, regardless of one’s disciplinary focus.
As a curious person who loves to learn new things, I don’t have a favourite artist. I do, however, enjoy trying to recuperate the humour of early modern graphic satire. Many of the topics that satirists dealt with (including colonialism, slavery, the development of racial theory and war) are not amusing, but exploring how artists encouraged people to examine these topics by playing on their desire to be ‘in’ on a joke is fascinating.
In my free time, I really enjoy gardening. There is something deeply satisfying about nurturing a plant to eat or developing an ephemeral work of art with plants that will change as the seasons do.
Do you have a question for Christina?
Write it in the comments box below and Christina will get back to you. (Remember, researchers are very busy people, so you may have to wait a few days.)
Learn how visual arts helped to advance the scientific field of ornithology:
www.futurumcareers.com/how-has-photography-shaped-ornithology-and-bird-conservation
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