In the early 1920s, Niels Bohr was struggling to reimagine the structure of matter. Previous generations of physicists had thought the inner space of an atom looked like a miniature solar system with the atomic nucleus as the sun and the whirring electrons as planets in orbit. This was the classical model.
Bohr had long been fascinated by cubist paintings. For Bohr, the allure of cubism was that it shattered the certainty of the object. The art revealed the fissures in everything, turning the solidity of matter into a surreal blur.
By 1923, de Broglie had already determined that electrons could exist as either particles or waves. What Bohr maintained was that the form they took depended on how you looked at them. Their very nature was a consequence of our observation. This meant that electrons weren’t like little planets at all. Instead, they were like one of Picasso’s deconstructed guitars, a blur of brushstrokes that only made sense once you stared at it. The art that looked so strange was actually telling the truth.
The fundamental point is that modern science has made little progress toward any unified understanding of everything. Our unknowns have not dramatically receded. In many instances, the opposite has happened, so that our most fundamental sciences are bracketed by utter mystery. It’s not that we don’t have all the answers. It’s that we don’t even know the question.
This is particularly true for our most fundamental sciences, like physics and neuroscience. Physicists study the fabric of reality, the invisible laws and particles that define the material world. Neuroscientists study our perceptions of this world; they dissect the brain in order to understand the human animal. Together, these two sciences seek to solve the most ancient and epic of unknowns: What is everything? And who are we?
But before we can unravel these mysteries, our sciences must get past their present limitations. How can we make this happen? My answer is simple: Science needs the arts. We need to find a place for the artist within the experimental process, to rediscover what Bohr observed when he looked at those cubist paintings. The current constraints of science make it clear that the breach between our two cultures is not merely an academic problem that stifles conversation at cocktail parties. Rather, it is a practical problem, and it holds back science’s theories. If we want answers to our most essential questions, then we will need to bridge our cultural divide. By heeding the wisdom of the arts, science can gain the kinds of new insights and perspectives that are the seeds of scientific progress.
But what of the collaboration between science and the arts? Are we really prepared to live with a permanent cultural schism? If we are serious about unifying human knowledge, then we’ll need to create a new movement that coexists with the third culture but that deliberately trespasses on our cultural boundaries and seeks to create relationships between the arts and the sciences. The premise of this movement—perhaps a fourth culture—is that neither culture can exist by itself. Its goal will be to cultivate a positive feedback loop, in which works of art lead to new scientific experiments, which lead to new works of art and so on. Instead of ignoring each other, or competing, or co-opting each other in naïve or superficial ways, science and the arts will truly impact each other. The old intellectual boundaries will disappear. Neuroscience will gain new tools with which to confront the mystery of consciousness and modern physics will improve its metaphors. Art will become a crucial source of scientific ideas.
This will ultimately lead us to take a broader view of truth. Right now, science is widely considered our sole source of Truth, with a capital “T.” Everything that can’t be stated in the language of acronyms and equations risks being disregarded as a pretty fiction, which is the opposite of scientific fact.
You can read the whole article by Jonah Lehrer here : http://seedmagazine.com/content/article/the_future_of_science_is_art/