1. Creative Futures 2004 Introduction by Tom Shakespeare University of Newcastle www.peals.ncl.ac.uk

2. Where can we find creativity? “Knowledge economy” – demands creativity and innovation in all sectors Danger of “two cultures” – science denigrated, culturally marginalised Areas of overlap e.g. creative industries: digital, games etc e.g. psychology: minds and brains Meeting point of art and science offers richest opportunities? Creativity is a potential for all, not the privilege of a few

3. Science and art parallels Genius – prickly, obsessive, difficult Hard work – tedious, technical Asking fundamental questions – why, how, what Peer community sets criteria, ascribes value Public may not understand or appreciate Need to open up to wider scrutiny and involvement

4. Prof. Lewis Wolpert distinguishes science and art One correct answer Science is collective and objective No room for feelings Genius only speeds up discovery “Art has contributed virtually nothing to science” No correct answer Art is individualist and subjective Personal viewpoints Genius is central to achievement Can be influenced by science BUT

5. “Most of the leaps forward in science are profoundly creative” Professor David Eastwood (AHRB CEO) Identifying new problems Seeing things in a new way Making connections Using metaphors and symbols Thinking out of the box Breaking the rules Taking risks Inspiration

6. “I turned my chair to the fire and dozed. Again the atoms were gambolling before my eyes. This time the smaller groups kept modestly to the background. My mental eye, rendered more acute by repeated vision of this kind, could not distinguish larger structures, of manifold conformation; long rows, sometimes more closely fitted together; all twining and twisting in snakelike motion. But look! What was that? One of the snakes had seized hold of its own tail, and the form whirled mockingly before my eyes. As if by a flash of lighting I awoke... Let us learn to dream…” Friedrich August Kekule (1829-1896) discovers the atomic structure of Benzene in 1865

7. Sci-art initiatives New research questions Artists have specific expertise and knowledge Raising deeper questions – ethics, society Symbols, models and representations New audiences for science, new awareness of value of science More equal relationship between expert and lay person Good for art and good for science – connects to wider public

8. Memory and Forgetting (2003) Four artists and four scientists exploring colour memory; childhood amnesia; autobiographical memory; dementia Research, production, touring exhibition, workshops and talks PEALS, NPS, Hatton Gallery Funded by Wellcome Trust and Arts Council

9. Critical debate Need to discuss quality – in art as well as science Encouragement needs to be followed by assessment and feedback Does it succeed? Is it good? Does it communicate? Is it true? Is it important? Relies on having a community in dialogue Openness and honesty, not self-indulgence and elitism Both science and art are part of wider society

10. Final thought… “Every child is an artist. The problem is how to remain an artist once he grows up.” Pablo Picasso