Working Scientist

For a three-year period as a postdoctoral researcher, molecular biologist and visual artist Daniel Jay was given both a lab and a sudio to work in. In the final episode of this six-part Working Scientist about art and science, Julie Gould asks why, decades later, Jay’s experience is still unusual. Why do scientists with expertise in, say, music, sculpture, pottery or creative writing have to pursue these interests as weekend hobbies, with science “paying the bills?”Jay, who is Dean of the graduate school of biomedical sciences at Tufts University in Boston, Massachusetts, says today’s early career researchers want what he calls a “post disciplinary society,” offering the freedom to pick and choose different areas and competencies.Lou Muglia, a medical geneticist who is now president and CEO of the Burroughs Wellcome Fund, a private foundation located in North Carolina, co-authored a 2023 paper in PloS Biology on art-science collaborations. Muglia says many early career researchers today don’t see themselves running a traditional lab, but are as excited about communication and the arts as they are about their science. Many funders now recognise this. Academia should too, he argues.Callie Chappell, Muglia’s co-author and a professional artist who researches biosecurity and innovation at Stanford University, California, says: “I would argue that science is actually a type of art. “To do science, you have to be creative, you have to blend different ideas, you have to communicate those ideas by creating something. In many ways that's what artists do.” Each episode in this series concludes with a follow-up sponsored slot from the International Science Council (ISC). The ISC is seeking perspectives from science fiction authors on how science can meet societal challenges, ranging from climate change and food security to the disruption caused by artificial intelligence. Hosted on Acast. See acast.com/privacy for more information.

The podcast explores how data can be interpreted and presented in various art forms. It discusses the importance of keeping things simple and using tools like pen and paper or colored pencils for data visualization. The episode features stories of using data to visualize the impact of an earthquake and creating artwork based on weather data. The role of data analysis in creativity is also discussed. The chapter descriptions explore the intersection of art and science, the role of visual and oral representations of data, and the relationship between science and humanity, including the benefits and dangers of artificial intelligence.

GUI/GOOEY is an international online exhibition that explores digital and technological representations of the biological world.In the fourth episode of this six-part Working Scientist podcast series about art and science, Julie Gould talks to some of the artists and scientist whose collaborations created exhibits for the event, which ran from March to June 2023.Its curator Laura Splan, an interdisciplinary artist based in Brooklyn, New York, says GUI/GOOEY reconsidered how technology affects our understanding of nature and our constructions of nature. She is joined by Diana Scarborough, arist-in-residence in bionanotechnologist Ljiljana Fruk’s lab at the University of Cambridge, UK.Scarborough describes a project involving Anna Melekhova, an inorganic chemist based in Fruk’s lab, which was influenced by an ancient method used in Mayan art to stabilise pigments using clay.Scarborough says the film she produced to communicate Melekhova’s science depicted a “luminous jelly,” included soundtracks from space, and a conversation generated by ChatGPT to symbolise the new material coming to life. “I was fascinated by the movement of this nonliving material. It looked really as though it is a living organism. I could very easily imagine alien species looking like this,” says Fruk, who also talks about how she and Scarborough first started working together.Will Etheridge, a PhD student in Fruk’s lab, also attended the first screening. “It just represented this kind of embryonic substance that was just coming into being and questioning its own existence,” he says. Hosted on Acast. See acast.com/privacy for more information.

Botanical artist Lucy Smith and illustrator Glendon Mellow discuss the balance between accuracy and artistic license in scientific illustration. Sculptor Nadav Drukker talks about capturing string theory in art, and Kelly Krause explains the process of creating art for a scientific journal's cover.

Artist and illustrator Lucy Smith helps botanists to identify new species. Usually they request a set of drawings, she says, with a detailed set of requirements.But Smith, who joined London’s Royal Botanic Gardens, Kew, more than 20 years ago, says: “We also feed back to the scientists and say, 'I’ve seen what you’ve asked me to see. But do you know what, I’ve also seen this? Did you know that this flower has this structure.'”In the second episode of this six-part Working Scientist podcast series about art and science, Smith is joined by other artists with experience of science collaborations. David Ibbett, resident composer at the Harvard and Smithsonian Centre for Astrophysics in Cambridge, Massachusetts, says: “By trying to synthesize these different perspectives on what the science means, we arrive at something new.”Diana Scarborough, artist-in-residence in bionanotechnolost Ljiljana Fruk’s lab at the University of Cambridge, UK, says that the best collaborations are long term ones, requiring also curiosity and passion. “Looking at their research from a different angle opens up opportunities. If I can make a difference at that point, that will be superb.”Each episode in this series concludes with a follow-up sponsored slot from the International Science Council (ISC). The ISC is seeking perspectives from science fiction authors on how science can meet societal challenges, ranging from climate change and food security to the disruption caused by artificial intelligence. Hosted on Acast. See acast.com/privacy for more information.

This podcast explores the connection between art and science, discussing their similarities and differences. It examines the importance of repeatability in science and the abstract nature of art. The podcast also explores the historical relationship between artists and scientists, the collaboration between artists and scientists, and the influence of science on science fiction. It advocates for a holistic approach that integrates science and the arts, emphasizing the necessity for scientists to comprehend the social and philosophical aspects of science.

Narrative CVs are increasingly being used by funders to capture how a successful grant application will positively impact society and promote diversity, equity and inclusion (DEI). Crucially, the narrative format also acknowledges contributions from citizen scientists, local communities and administrator colleagues.UK Research and Innovation (UKRI), the largest public funder of UK science, is one adopter. In September 2021 it announced that its new approach would “enable people to better demonstrate their contributions to research, teams, and wider society”.In the final episode of this six-part Working Scientist podcast series about team science, Hilary Noone, research culture lead for the UK Association of Research Managers and Administrators (ARMA), says that to push the boundaries of knowledge, we need to hear from more than just people with a long list of publications to their name. Narrative CVs, she argues, make these other, hidden contributions more visible, and more funders globally should start using them.Nik Claesen, managing director of the Brussels-based European Association of Research Managers and Administrators (EARMA), says his organisation is keen to see greater awareness of the role of research managers and how they support the scientific enterprise. Confusingly, the profession is called different things around the world, he adds.This is the final episode of Team Science, a six-part podcast series that showcases the roles of research managers, administrators and technicians, and their often hidden contributions to the scientific enterprise. It is a collaboration between Nature Careers and Nature Index. The series is sponsored by Western Sydney University. This episode, and others in the series, concludes with a section looking at how it is helping to champion team science. Hosted on Acast. See acast.com/privacy for more information.

In the penultimate episode of this six-part podcast series about team science, Richard Holliman describes a project involving indigenous researchers in Guyana who wanted to limit insecticide spraying without jeopardising the South American country’s efforts to tackle malaria.The early warning system they developed with Andrea Beradi, an environmental systems researcher and a colleague of Holliman’s at the Open University in Milton Keynes, UK, involved satellite technology, drones and ground monitoring systems.Holliman, who studies engaged research, says members of the wider project team were all paid and listed as co-authors. “That was a really straightforward example of just recognizing contributions from some fabulous people,” he adds. But sometimes, he argues, payment and authorship on a peer-reviewed paper may not be what co-producers are seeking. Instead they may want to co-write a report that would better serve their community’s needs in discussions with policymakers.Helen Manchester, who researches participatory sociodigital futures at the University of Bristol, UK, adds: “For me, there’s a real politics to knowledge production. We really need to be considering all the time when we’re doing our research, to think about our own position as researchers and our relationship to and with other people.”And finally, Lorraine van Blerk, whose project about homeless young people in African cities featured in a previous episode, lists key questions to ask when working with young people in a research setting. “How do we make sure that young people are involved in the research design, in the data collection, and the analysis and impact of data?” she asks.Team Science showcases the roles of research managers, administrators and technicians, and their often hidden contributions to the scientific enterprise, and is a collaboration between Nature Careers and Nature Index. The series is sponsored by Western Sydney University. This episode, and others in the series, concludes with a section looking at how it is helping to champion team science. Hosted on Acast. See acast.com/privacy for more information.

Elaine Fitzcharles, a senior lab manager at the British Antarctic Survey (BAS), says the role is sometimes wrongly perceived as someone who “couldn’t cut it as a scientist.” Fitzcharles and her team oversee five BAS research stations, its main facility in Cambridge, UK, and the research vessel RRS Sir David Attenborough. Their responsibilities include advising on health and safety, import licenses, and chemicals and kit can be taken into the field. Their skillsets are completely different to researcher colleagues’, she argues in the fourth episode of a six-part Working Scientist podcast series about team science. “Recognising that everybody brings different  things to the table gives you a much stronger organization, and much better science output,” Fitzcharles adds.Terri Adams, a scientific glassblower at the University of Oxford, UK, says speaking up at work helps to promote the contributions of lab managers and technicians: “It pays to ask for investment, to tell people what you can do, and to be proactive in seeking things out and publicising yourself rather than sitting back,” she says.One obvious example of recognition for lab managers and technicians is to acknowledge their contributions in publications. But Devin Lake, a lab manager and PhD student at Michigan State University in East Lansing, has mixed feelings about this. “Some lab managers don’t intend on moving forward in academia, so it doesn’t matter to them whether or not their name is added,” he says.Team Science showcases the roles of research managers, administrators and technicians, and their often hidden contributions to the scientific enterprise.  Hosted on Acast. See acast.com/privacy for more information.

Before launching his own consultancy in 2021, Simon Kerridge worked as a research manager in UK academia. “We’re the oil in the cogs,” he says of the role, adding: “Obviously, it’s a service profession, but we have to be careful not to be subservient.”But how empowered do research managers and administrators based in other countries feel, particularly those working in nations with rigid hierarchies, or where the profession is less established?Allen Mukhwana leads ReMPro Africa, a research management professional developement programme based in Nairobi. Some professors don't understand why a “lowly research manager” has the audacity to stop their study for ethical or regulatory reasons, she says. “They feel that research managers and administrators are adding extra layers of bureaucracy to their research.”Tadashi Sugihara, a research manager at Okinawa Institute of Science and Technology in Japan, says a Japanese government scheme to develop the research manager role envisaged that postholders would have a PhD, as he has. Having a doctorate can help build trust between administrators and academic staff as the “customer”, he adds.Kerridge says the research management career pathway is most established in the US, with perhaps three generations from the same family joining the profession. Meeting a project proposal deadline or collaborating on a successful grant application at a research-intensive institution, he adds, will often result in a bottle of wine or box of chocolates from an appreciative researcher. But the pressure on them to increase their research income often results in huge power dynamics, says Kerridge, who cites instances of bullying and of academics setting unreasonably tight deadlines to submit a project proposal. Hosted on Acast. See acast.com/privacy for more information.