The 2019 Reynolda Conference at Wake Forest University, Entanglements: A Conference on the Intersections of Poetry, Science, and Art, will bring together a diverse range of leading poets, scientists, artists, and scholars whose work engages with transdisciplinary investigations into shared principles and methods in literature, science, and art.
Click on each participant’s name for a full profile with a biography and links to creative and scholarly work.
Keynote Scholarly Lecture
Mark C. Kruse
Wake Forest University Faculty Roundtable
To Be Announced
Evening Poetry Readings
Juan José Gómez-Cadenas
A complete schedule of the open sessions and evening events is forthcoming.
In honor of Anne Waldman’s participation in Entanglements, the Reynolda House Museum of American Art at Wake Forest University will hang Jim Dine’s painting, “The World (for Anne Waldman),” from February through July 2019.
The 2019 Reynolda Conference at Wake Forest University, Entanglements: A Conference on the Intersections of Poetry, Science, and Art, will bring together a diverse range of leading poets, scientists, artists, and scholars whose work engages with transdisciplinary investigations into shared principles and methods in literature, science, and art. Entanglements is funded by the Andrew W. Mellon Foundation with an award granted by the Wake Forest University Humanities Institute. Additional sponsors are the Wake Forest University Humanities Institute with a major grant from the National Endowment for the Humanities and the Creative Writing Minor in the English Department at Wake Forest University.
Entanglements is named after the quantum mechanical phenomenon of entanglement in which states of subatomic particles are intertwined with each other despite being spatially separated. Entanglements has been organized as a National Endowment for the Humanities-style symposium, where invited participants come together for discussion in open and closed sessions, and a literary and arts festival with public events featuring the invited participants.
Throughout literary and artistic history there is a tradition of poets and artists rigorously engaging with science in their work. Similarly, there is a tradition of scientists rigorously engaging with art and literature. The invited participants of Entanglements are interested in forging new ways to approach the fields in which they work by ambitiously moving outside of and between established categories, boundaries, and borders. By challenging assumptions about the ordinary limits of literature, art, and science and what they share or where they depart, the participants often think broadly about their subjects of study and creative and scholarly practices.
The themes to be examined in the open and closed sessions with the invited participants include the historical, contemporary, and future intersections of literature, science, and art; collaborations between institutions and individuals across these disciplines; innovative pedagogy at these intersections; and publication, funding, and dissemination of ideas and projects. The primary questions to be engaged are: What innovative projects—art, artifacts, texts, songs, performances, dialogues, theoretical frameworks, experiments, models, and intergenre inventions—are being done at the intersections of poetry, science, and art? What is possible at these intersections for the future? What pioneering projects have come before, and how have they been received? What theoretical, ethical, and practical problems arise when working at the intersections of literature, art, and science, and how can these problems be addressed? For those invited participants in teaching positions, what methods are being developed to teach at these transdisciplinary intersections?
Entanglements will provide three days of innovative academic scholarship and creative practice. The public events will provide the communities of Wake Forest University and the Triad area of North Carolina an enriched setting in which to explore the intersections of science, art, and literature. Entanglements is being convened by Wake Forest University Associate Professor and Poet-in-Residence Amy Catanzano, who won the Humanities Institute’s 2019 Reynolda Conference Award to convene the conference.
Andrew W. Mellon Foundation
Humanities Institute, Wake Forest University
National Endowment for the Humanities
Creative Writing Minor, Wake Forest University
See the announcement on the 2019 Reynolda Conference award here.
The Reynolda Conference, awarded by the Humanities Institute at Wake Forest University, is funded by a grant for Engaged Humanities from the Andrew W. Mellon Foundation. The Reynolda Conference competitive grant offers faculty $20,000 to hold a three- to five-day seminar on a humanities topic of their choice. The grant award supports travel, lodging, and stipends for invited scholars of the conference planner’s choosing, as well as stipends for participating Wake Forest University and Triad area scholars.
To learn more about the Andrew W. Mellon Foundation’s support for the humanities at Wake Forest, click here.
By Amy Catanzano
Throughout literary and artistic history there is a tradition of poets and artists rigorously engaging with science in their work. In the sixteenth century, poet and novelist Margaret Cavendish wrote prescient poems on the atom and a proto-science fiction novel, The Blazing World, which imagined the multiverse, one model for the structure of matter in theoretical physics today. In the eighteenth century, poet and scientist Johann Wolfgang von Goethe explored pattern formation in nature through literary and scientific contexts. In the nineteenth century, writer Edgar Allan Poe, in works such as Eureka, speculatively explores cosmology. In the nineteenth and early twentieth century, writer Alfred Jarry developed ‘pataphysics, a hyperbolic “science of imaginary solutions.” In the twentieth century, numerous poets addressed science in relation to poetry and poetics including T.S. Eliot and former Wake Forest University alumnus and Poet-in-Residence A.R. Ammons. Poet and former physicist Bern Porter created a poetics known as SCIART (“science” and “art” conjoined).
Contemporary poets and artists who continue this rigorous engagement with science include poet Rae Armantrout, recipient of the Pulitzer Prize for Poetry; intermedia artist, musician, and former NASA Artist-in-Residence Laurie Anderson; and poet Ed Roberson, who, with a scientific background, often draws from science in conjunction with the concerns of African-American poetics and ecopoetics. Artist Eduardo Kac and poet Christian Bök practice transgenic and bio poetry, which synthesizes DNA according to invented codes to make language using combinations of nucleotides. Poet Adam Dickinson has invented metabolic poetics to explore the pollutants he has in his own microbiome; here, poetry collides with science, environmentalism, and autobiography.
Poets such as Anne Waldman, Mei-mei Berssenbrugge, Andrew Joron, and Will Alexander, going beyond some of their contemporaries who might occasionally reference science in their poetry, robustly position scientific concepts, vocabulary, and breakthroughs in their poetry and/or critical writing. Poet S.S. Prasad explores the intersections of poetry, science, and technology by integrating “nano-dimensions” onto text using silicon chips, a process inspired by the scientist Ghim Wei Ho, who works on silicon nanostructures through photomicrographs she calls “nanoflowers.” Prasad, according to an issue on poetry engaging with scientific discoveries in the literary magazine Rampike (2011), wrote a code inside the microchips that replaces the numbers with words using “scrapspace” alongside the microchips, creating poems that are byproducts of the chip design.
Additional contemporary authors and artists whose creative work has innovatively and significantly engaged with science include Tauba Auerbach, Gary Barwin, Simaya Bashir, Bruce Beasley, Laynie Brown, John Cayley, Heather Christle, Adam Cornford, Alison Hawthorne Deming, Jennifer K. Dick, Marcella Durand, Jonathan Feldschuh, Spencer Finch, Allen Fisher, Alice Fulton, Forrest Gander, Kim Goldberg, Sarah Howe, Ken Hunt, A. Van Jordan, Michael Leong, Jeanne Liotta, Sara Morawetz, Laura Moriarty, Andrew McEwan, Nick Monfort, Jena Osman, M. NourbeSe Philip, Bin Ramke, Evelyn Reilly, Brandi Reissenweber, Joan Retallack, Margaret Rhee, Pattiann Rogers, Brenda Shaughnessy, Sun Yung Shin, Tracy K. Smith, Stephanie Strickland, Daniel Tobin, Lorraine Walsh, Shanxing Wang, Christine Wertheim, Eric Zboya, and Lila Zemborain.
Literary scholars and creative practitioners are also working with science at the scale of theory and criticism. Theorist N. Katherine Hayles explores the relationship of technology, science, and literature in the contexts of neuroscience, complexity, and posthumanism. Hayles has co-taught a transdisciplinary course, “Science Fiction, Science Fact,” at Duke University with physicist Mark C. Kruse, whose research is in high-energy particle physics with a primary focus on the analysis of data collected by the ATLAS detector at the Large Hadron Collider at the European Organization for Nuclear Research (CERN) in Switzerland. Scholar Ming-Qian Ma concentrates on modernist and postmodernist poetry and poetics in relation to philosophy, science, and arts, with a particular interest in the exploratory, the speculative, and the experimental trajectories in these fields as mutually interrelated dynamics. Scholar Peter Middleton, in Physics Envy (University of Chicago Press, 2016), discusses poets such as Rae Armantrout, Charles Olson, Amiri Baraka, and others whose work engages with science and social science. Scott Weintraub’s Latin American Technopoetics: Scientific Explorations in New Media (Routledge, 2018) analyzes digital poetry and intermedia works by Gustavo Romano, Santiago Ortiz, Eduardo Kac, Loss Pequeño Glazier, and others influenced by science. In Kac’s Space Poetics, where he has put a poem and art object into space on the International Space Station in collaboration with the astronaut Thomas Pesquet, poetry and art are theorized and practiced in conjunction with astronomy and space exploration.
Just as there is a tradition of poets, artists, scholars, and theorists working with science, there is a tradition of scientists who rigorously engage with literature and art. In the sixteenth century, when the divide between the disciplines of art, science, and philosophy was not as pronounced, Leonardo Da Vinci combined his work as a scientist, artist, and inventor. In the nineteenth century, biologist and naturalist Ernst Haeckel is known for intricately drawing the miniscule sea creatures he studied, producing a collection of works that can be seen in Art Forms of Nature (Prestel, 2008). In the nineteenth and twentieth centuries, neuroanatomist Santiago Ramón y Cajal created groundbreaking drawings of the human brain. In the twentieth century, Werner Heisenberg, co-founder of quantum mechanics, discusses Goethe’s play, Faust, in relation to questions about language, poetry, and reality in Physics and Philosophy (Harper Perennial, 2007 ). Scientists and science writers often turn to literary devices such as metaphor to help translate and interpret their work. Some contemporary scientists are also accomplished writers of poetry and fiction. Ecologist Madhur Anand, whose research includes human-ecological modeling, complex systems, conservation ecology, and sustainable science, is also a published poet. Physicist Juan José Gómez-Cadenas, who focuses on particle and astroparticle physics, neutrino physics, and nuclear instrumentation, is also a published novelist and poet.
The occasion of Entanglements is set to happen within the groundbreaking and expanding field of transdisciplinary discourse, programming, and collaboration. Renowned physics research centers such as CERN have dedicated arts programs. At the Donostia International Physics Center in Spain, scientist and short fiction writer Gustavo A. Schwartz directs the Mestizajes Programme, which explores the relationship of literature, art, and science through directed programming, conferences, guest artist and writer programs, and international publications that bring together scientists, artists, and writers. Along with literary scholar Víctor E. Bermúdez, Schwartz conceived of and edited #NODOS (Next Door Publishers, 2017), an international anthology on the relationship of science, art, and literature. International academic organizations such as the Society for Literature, Science, and the Arts provide opportunities for scholarship and creative practice for investigations between these disciplines. It is common for universities in the U.S. and elsewhere to offer programming and degrees at undergraduate and graduate levels that provide coursework across disciplines, methodologies, discourses, and practices.
The transdisciplinary exploration of the intersections of science, art, and literature impacts human culture at all scales. The benefits of these investigations for both teaching and scholarship in the humanities and the sciences include greater innovation; more effective and imaginative collaborations between disciplines; increased opportunities to find solutions to shared and discipline-specific problems; and a more sophisticated education for new generations of scientists, artists, and writers who will be trained in the value and methods of transdisciplinary discourse and practice.
Further, art and literature can help guide and forge the ethics of science and critique how scientific discoveries are used by commercial interests and governments. Science, in turn, can inspire the making, interpretation, and subjects of literature and art so that those working within these disciplines are better poised to innovate. In the world today, where scientific discoveries are sometimes used to build weapons of mass destruction, where art and literature are vital but marginalized sites of creative and critical inquiry, and where science, art, and literature are attacked by a U.S. White House that works to delegitimize science and cut funding to the National Endowment for the Humanities and National Endowment for the Arts, it is also imperative that those working within these disciplines seek out ways to collaborate and provide advocacy for one another. One aim of Entanglements: A Conference on the Intersections of Poetry, Science, and Art will be to contribute to and help lead such efforts.
Any views, findings, conclusions, or recommendations expressed in this Web resource do not necessarily represent those of the National Endowment for the Humanities.