You are looking at a field of fluffy, golden grass dotted with yellow flowers. There are trees in the background and mountains beyond that. Where are you?
Now you’re facing a terracotta sarcophagus. Where are you? When are you?
A new exhibit in the Rubenstein Arts Center uses AI to bring viewers into ancient Roman and Etruscan landscapes spanning 1300 years, from about 1000 BCE to 300 CE. (The field is Roman, the sarcophagus Etruscan.)
An AI-generated image of a summer meadow near Vulci (Viterbo, Italy). Preserved pollen evidence has revealed which plant species dominated these landscapes, and the prompts used to generate images like this one include lists of plant species.
Along one wall, screens show springtime landscapes representing ancient Rome. The written prompts AI used to create each image include detailed information on plant species found in each landscape. One titled “Sedges in shallow water of an ephemeral pond” mentions “sparse trees of alder (Alnus glutinosa), white willow (Salix alba), and white poplar (Populus alba), and few herbaceous plants.” You can view examples of the written prompts on the exhibit’s website, AI Landscapes – Rethinking the Past.
Models of pollen grains from different plant species. Real pollen grains are microscopic, but these magnified representations help show how different their shapes can be.
Historians know what plants were likely to be in these landscapes because of evidence from preserved pollen grains. Different species have distinct pollen shapes, which makes it possible to identify plants even centuries or millennia later.
Part of the exhibit uses AI and a camera to turn interactive prompts into ancient Roman scenes.
An interactive display near the front of the room has a camera pointed at props like building models, pillars, toy horses, and pieces of styrofoam. An AI model reinterprets the camera’s images to create hypothetical scenes from ancient Rome. “See how the columns get reinterpreted as statues?” says Felipe Infante de Castro, who helped program the AI. The AI attempts to add detail and backgrounds to simple props to create realistic scenes. “The only thing that we’re forcing,” he says, “are essentially shapes—which it may or may not respect.” It may reinterpret a hand as a horse’s head, for instance, or a strangely shaped building.
The model is more precise with plants than buildings, says Augustus Wendell, Assistant Professor of the Practice in Art, Art History and Visual Studies and one of the exhibit designers. Latin names for plants are widely used in modern taxonomy, and the AI is likely to have encountered more plants in its training than ancient Roman architecture styles. The AI is a “generic model” asked to “draw on its presuppositions” about Roman buildings, says Felipe. It “wasn’t trained on specifically Roman landscapes…. It just tries its best to interpret it as such.” The results aren’t always completely authentic. “In the background,” Wendell says, “the city is often quite modern Tuscan, not at all ancient Roman.”
It’s interesting to see how the AI responds when you place unfamiliar objects in front of the camera, like your hand. Here, it tried to turn my hand into some sort of building.
“We can use an AI,” Felipe says, “to give us a representation of the past that is compatible with what we believe the past should look like.”
In another part of the exhibit, you can use an AI chatbot to talk to Pliny the Elder, a Roman scholar. Caitlin Childers, who helped design the exhibit, explains that the chatbot was trained on Pliny the Elder’s 37 books on natural history. When I asked Pliny what the chatbot was designed for, he told me, “I do not have the ability to access external articles or specific information beyond the knowledge I possess as Pliny the Elder up to the year 79 AD.”
He can give you information on plants and their uses in ancient Rome, but when I asked Pliny what his favorite plant was, he couldn’t decide. “I find it challenging to select a favorite plant among the vast array of flora that the Earth provides. Each plant contributes uniquely to the balance and beauty of nature.” According to Professor Maurizio Forte, “This AI chatbot can speak in English, French, Italian and also in Latin! So it is possible to formulate questions in Latin and requiring a response in Latin or ask a question in English and expect a reply in Latin as well.”
A virtual reality headset lets you see a three-dimensional model of an Etruscan sarcophagus. The real sarcophagus is encased in glass in the Villa Giulia Museum in Rome, but the virtual reality experience puts it right in front of you. The experimental VR-AI installation also allows viewers to ask questions to the sarcophagus out loud. The sarcophagus has a statue of a man and woman, but historians don’t know whose ashes are buried inside. “It’s not important how they look,” says Forte. “It’s important how they want to be.”
The sarcophagus would have been a “symbolic, aristocratic way to show power,” Forte explains. The design of the sarcophagus represents an intentional choice about how its owners wanted the world to see them after their death. “This is eternity,” Forte says. “This is forever.”
A display of quotes at the “Rethinking the Past” exhibit.
The exhibit, called “Rethinking the Past,” is on display at the Rubenstein Arts Center until May 24.
Duke in Australia 2023 in front of 1.9-billion-year-old stone in the Northern Territory. Photo by one of our tour guides.
Australia. For years it was more of a nebulous concept to me than a concrete place. It was a colorful patch on maps, home to animals I’d read about but never seen. Now it’s a place where I’ve run my hands over 1.9-billion-year-old stone, watched a platypus emerge from a river at dawn, gotten bitten on the tongue by an ant with a tasty green butt (long story), and spent a thousand other moments with wonderful people in places I hope to never forget.
That’s all thanks to Duke in Australia, a month-long biogeography course led by Alex Glass, Ph.D., and Nancy Lauer, Ph.D., that delves into Australian flora, fauna, geology, history, and culture. When people ask about my experience there this summer, I have a hard time answering. “Wonderful” doesn’t begin to cover it. The experience still doesn’t feel entirely real to me. Even when I was in Australia, watching a platypus or a parrot or standing on a beach with a sunrise on one side and a rainbow on the other, I sometimes couldn’t entirely believe where I was.
Sunrise at Myall Beach on Cape Tribulation, where the Daintree Rainforest meets the Great Barrier Reef.
Disclaimer: When I say “Highlights from Duke in Australia,” I’m referring to my own personal highlights—some of which, let me assure you, were not universally popular with my classmates. Like the enormous crickets we saw on our rainforest night hike, or the time I found the shed skin of a huntsman spider and went around showing it to everyone nearby, or the delightfully squelchy mud coating the trail on one of our last hikes. For more detailed accounts of our day-to-day activities, check out the student blogs on the Duke in Australia 2023 website.
From the moment we landed in Sydney, I was keeping my eyes peeled for bird sightings. (I am slightly into birds. Just slightly.) Unless you count an ambiguous white flash seen through a bus window, my first bird sighting in Australia was a small group of rainbow lorikeets flying over the city. With a blue head and stomach, a green back, an orange-red breast, and flashes of yellow under the wings, the species is very well named.
Lorikeets weren’t the only birds we saw in Sydney. Common mynas, which always looked vaguely sinister to me, watched us while we ate dinner the first night. Pigeons strutted along the sidewalks—the only bird species I saw in Australia that I’d also seen in the US, except a possible peregrine falcon that I caught only a brief glimpse of during a hike. There were also Australian ibises all over the city, colloquially known as bin chickens for their dumpster-diving habits. Personally, I thought the ibises were lovely, regal birds.
There are other birds, however, that can no longer call Sydney home. One of my favorite sites in Sydney was the Forgotten Songs art installation at Angel Place. It is a short alley engraved with the names of fifty bird species that can no longer survive in the city. Empty bird cages hang suspended above the street. Our tour guide told us that the exhibit normally plays recordings of the birds, but that part was under renovation, so it was playing music instead. A few days later, I returned to the exhibit on my own so I’d have time to read every bird name. Those empty cages still haunt me.
An eleven-armed seastar in one of the tide pools at Bondi Beach. (Eleven-armed seastars do not always have eleven arms.) Below it, you can see Neptune’s necklace, a type of algae resembling strings of beads.
On our first full day in Sydney, we went to Bondi Beach to explore the tidepools. There were crabs and octopi, seastars and anemones, necklace-like algae and tiny blue snails called little blue periwinkles. That afternoon, we sat on the beach and learned about microplastics from Lauer. (Not-so-fun fact: we eat a credit card’s worth of microplastics every week on average.) Some of us lingered on the beach afterward and went swimming. The water was frigid, but it was there, with cold water and sand swirling around me in a part of the ocean I’d never seen, much less swum in, that the reality of being on a new continent completely hit me.
Sunshine wattle flowers on our hike at North Head, viewed through a hand lens.
Our first group hike was overwhelming, almost dizzying. Outside of urban Sydney, it was easier for me to recognize just how different Australia was from the US, and it was impossible to absorb everything at once. In every direction were unfamiliar plants and landscapes. Norfolk pine, coastal rosemary, mountain devil, sunshine wattle, Darwinia, flannel flower, gray spider flower…. I was especially entranced by casuarina, which looks shockingly like a pine tree but is actually a flowering plant that has evolved conifer-like traits to preserve water. We were in a heath, characterized by low-growing plants adapted to dry, nutrient-poor conditions. Nothing about it looked like the woods and fields and mountains back home.
Our focus that day was studying plants, but I was having a hard time focusing on any one thing for more than about a second. At one point, we were supposed to be observing a beautiful plant to my right, but half the group had already moved on to another species farther up the trail, and meanwhile, a bird I had certainly never seen in my life was perched remarkably cooperatively on a bush off to the left. There are too many things happening, I remember thinking. I was juggling my field notebook, hand lens, phone camera, and binoculars, and I didn’t even know where to look. I chose to stare at the bird, following the logic that it could fly away at any moment, whereas the plants would stay exactly where they were. That brilliant plan turned out to be faulty. The plants might stay still, but we wouldn’t—so much to see, so little time.
A galah, a species of cockatoo, in Katoomba.
Our next stop was Katoomba, a small mountain town in New South Wales. It was a quiet, peaceful place, vastly different from Sydney. When I think of Katoomba, I think of the sulfur-crested cockatoo perched on a bakery sign just feet away from me and the flock of strikingly pink cockatoos called galahs in a local park. I think of the superb lyrebird that crossed our path directly in front of us and the rare Wollemi pine growing beside a road.
We took a hike at Wentworth Falls, where Darwin himself once walked. It’s part of the Great Dividing Range, but we learned that the mountains are actually “incised terrain,” formed when valleys were cut into a plateau, leaving “mountains” behind. We also drove to the Jenolan Caves and explored cavernous underground spaces bursting with crystal formations like stalactites, flowstone, and hollow soda straws. These lovely, fragile cave structures, or speleothems, are formed by the gradual deposition of dissolved minerals as water drips through a cave. Before we left, we saw an underground river with water so clear that I didn’t immediately realize I was looking at water at all.
Part of the Jenolan Caves. Gradual geologic processes form decorative structures, or speleothems, in caves.
Another day in Katoomba, our group took a gorgeous hike through a eucalypt forest. Literally everywhere I looked in that forest, there was something extraordinary. Ancient tree ferns. Ruby-red sap seeping out of a tree trunk. The Three Sisters rock formation framed by the aptly named Blue Mountains. Towering eucalypt and turpentine trees. At the end of the hike, we rode the Scenic Railway, the steepest in the world. It was terrifying—awesome, but terrifying.
A view from one of our hikes in the Blue Mountains.
Next, we flew to the Northern Territory, where we checked into our hostel in Darwin. We were now in crocodile country, home to the world’s largest reptile: the saltwater or estuarine crocodile. We were instructed to avoid going in any body of water, saltwater or otherwise, unless it was specifically designated as safe for swimming. (The name “saltwater crocodile” is misleading—the crocodiles can inhabit fresh water as well, and they are extremely aggressive and dangerous.) It was very important to be crocwise.
A rainbow bee-eater at the George Brown Darwin Botanic Gardens in Darwin, a city in the Northern Territory.
The first few days in Darwin, we didn’t see any crocodiles, but there were birds seemingly everywhere. Varied triller, which I originally misidentified as the buff-sided robin until a local eBird reviewer emailed me and asked me to correct my eBird report. Rainbow bee-eater, remarkably common for a bird that looks too beautiful to be real. Peaceful dove. Blue-faced honeyeater. Australasian figbird.
We took a hike that went through a beautiful mangrove, where we learned that the term mangrove isn’t specific to any particular type of plant; it’s used to refer to many very different species that have all adapted to the same challenges, including salinity, changing tides, and nutrient-poor soil. There were crabs and snails and birds—so many birds, some of which I still haven’t identified, like the group of black, crested birds with bright red inside their beaks.
Green weaver ants. Note their distinctive green abdomens, which contain ascorbic acid and have an interesting taste.
When we emerged from the mangrove, we came across a nest of green weaver ants. Their bright green abdomens are rich in ascorbic acid, and the ants have traditionally been used for purposes ranging from treating colds to making a sort of “lemonade” to stimulating milk production. Many of us were eager to taste the ants, though Glass warned us that they “bite vigorously.” Some of my classmates carefully held an ant with their fingers while giving the abdomen a quick lick. I, on the other hand, decided to let an ant crawl onto my notebook while I licked it so it couldn’t bite my fingers. Clever, right? Well, it worked—the ant didn’t bite my fingers. It bit my tongue instead. “Vigorously.” Its mouthparts remained latched on even as I was spitting out ant parts onto the ground. I can’t blame it—I’d be upset, too, if a giant tried to lick me.
Before long, it was time for the jumping crocodile tour. We boarded a tour boat and floated down a seemingly peaceful river while our guide dangled hunks of meat from big fishing rods to bait the crocodiles to leap several feet out of the water and snap their jaws around the food. Their bite force, incidentally, is the highest of any living animal, up to 3700 pounds per square inch. Jumping is natural for the crocodiles—they hunt that way to snag animals like birds and wallabies that venture too close to the water. Being that close to enormous predators roused some deep, primeval fear in me. To a crocodile, I would make excellent prey. The jumping crocodile tour, needless to say, was very memorable. Our class later had a long and far-ranging discussion on the many types of ecotourism experiences we’d participated in and their costs, benefits, and ethical implications.
One of the crocodiles on the jumping crocodile tour.
The next day, we left for a three-day camping trip in Kakadu and Litchfield National Parks. It was the dry season, and the weather was hot, dry, and sunny. We went hiking and snorkeling (in croc-free swimming holes), saw the breathtaking magnetic and cathedral termite mounds, and learned about geology and Aboriginal cultures. Some of the places we visited were sacred sites of the people who have inhabited the region for more than 65,000 years. One of the rock art paintings we were able to see was of a Tasmanian tiger, an animal that’s been completely extinct for close to a century and extinct in the Kakadu region for thousands of years. But right there on the wall was the preserved memory of a time when Tasmanian tigers still roamed the area.
Me with a stick insect at our campground in Kakadu National Park in Australia’s Northern Territory. Photo by Letar Jia, another student in the Duke in Australia program this summer.
One of the coolest places we stopped was a rock cut-out along a highway. The stone was striped with zigzagging layers created when it was buried underground at a pressure high enough to fold solid rock. It was formed 1.9 billion years ago, when the earth was “a geologist’s dream,” according to Glass–relatively barren, with no soil, plants, or animals, just microscopic organisms and lots and lots of rock. I was touching 1.9 billion years of history.
We spent the third night at a different campsite. Some of us spotted what seemed to be a large spider in the bathroom, but one of the tour guides informed me that it was actually just the shed skin of a huntsman spider, not the spider itself. I walked around camp introducing people to my “little friend,” but oddly enough, they didn’t seem as delighted as I was.
That night, while we were theoretically sleeping, periodic cacophonies of eerie, wailing screams reverberated through the air. My half-asleep brain was convinced they were from wallabies, but the sound actually came from a bird called the bush stone-curlew or bush thick-knee. The next morning, there was a gecko in the bathroom, and I wasn’t sure my day could possibly get any better. But later that day, we visited a fragment of an ancient rainforest, and there were giant fruit bats practically dripping from the canopy and giant golden orb weaver spider webs strung between trees, and I think that was even better than the bathroom gecko.
A female giant golden orb weaver, with my hand for scale. The tiny, orange spider on her back is the male.
After departing Darwin, we headed to Cape Tribulation, where the Great Barrier Reef meets the Daintree Rainforest—believed to be the oldest rainforest on the planet. Some rainforests, Glass explained, exist because they’re near the equator. But the rainforests in Australia are remnants of ancient rainforests that developed when the continents were arranged very differently and Australia was considerably farther south. Australia’s climate has become more arid over time, but pockets of its ancient rainforests remain intact.
While we were on Cape Tribulation, we had the chance to snorkel on the Great Barrier Reef. It was overcast and very windy that day, and the small boat that took us out to the reef turned into a rollercoaster as it slid up and down waves. But windy or not, the reef was gorgeous. We saw sea turtles, a sea cucumber, a small shark, and fishes and corals in endless colors.
We also had the incredible opportunity to hike through the rainforest at night. Of all the amazing things we did, that may have been my favorite. There were huge crickets and spiders, thorny vines called wait-a-whiles (because you’ll be waiting a while if you get stuck on one), and flowering plants that looked like mushrooms. And partway along the boardwalk, Glass spotted a creature so unusual and elusive that he had never seen one before. This, he told us, was probably the rarest animal we’d seen on the whole trip. A velvet worm. It looked a bit like a caterpillar or a centipede at first glance, but velvet worms have an entire phylum all their own. (Caterpillars and centipedes share the Arthropoda phylum, along with all insects, spiders, crustaceans, and various others. Velvet worms are in the Onychophora phylum.) The ancestors of velvet worms are thought to represent a link between arthropods and segmented worms. They are ancient, unique, and rarely seen.
The velvet worm.
Just moments later, Glass announced another incredible find: a peppermint stick. I raced ahead to see it. Earlier that day, I’d seen signs about peppermint stick insects, which excrete a peppermint-scented liquid as a defense mechanism, and I’d been keeping my eyes peeled ever since. The creature had developed a sort of mythical status in my mind; I’d been fantasizing about seeing one but hadn’t actually expected to. But there it was, right in front of us, large and stick-like, its color a blue-green so bright that it almost seemed to glow.
A platypus in a river in Yungaburra.
In Yungaburra, our next-to-last stop, we saw enormous fig trees and gorgeous waterfalls. On our last morning, several of us left the motel around dawn and walked to a nearby trail along a river in search of the platypus and the tree kangaroo, an arboreal kangaroo species. We found both. It was a fitting almost-ending to our trip. Both platypuses and kangaroos seem so iconically Australian. The platypuses slipped in and out of the water, their dark bodies visible even in the low light. The tree kangaroo watched us silently from its perch above us and then slowly began to move elsewhere.
A tree kangaroo in Yungaburra.
Before long, it was time to go home. We spent a couple days in Cairns first, where I saw a shiny, emerald green beetle and a tree positively full of squawking lorikeets. Even in the city, there were bright and beautiful animals. In places like the ones we visited, it is easy to find awe and wonder and beauty everywhere you look. But there are endless treasures here, too, fascinating and beautiful sights that we walk past every day, like the way spiderwebs turn silver in the sunlight, or the gray catbird that eats bright red magnolia fruits in the courtyard in front of my dorm window, or the tiny, bluish purple flowers on the Al Buehler Trail, soft and fuzzy and damp when I brushed my face against them. Duke in Australia was an unforgettable adventure. It was also a reminder to step out of the human bubble and immerse myself in the worlds of other living things—whether here or across the globe.
Artists and scientists in today’s world often exist in their own disciplinary silos. But the Laboratory Art in Practice Bass Connections team hopes to rewrite this narrative, by engaging Duke students from a range of disciplines in a 2-semester series of courses designed to join “the artist studio, the humanities seminar room, and the science lab bench.” Their work culminated in “re:process” – an exhibition of student artwork on Friday, April 28, in the lobby of the French Family Science Center. Rather than science simply engaging artistic practice for the sake of science, or vice versa, the purpose of these projects was to offer an alternate reality where “art and science meet as equals.”
The re:process exhibition
Liuren Yin, a junior double-majoring in Computer Science and Visual and Media Studies, developed an art project to focus on the experience of prosopagnosia, or face blindness. Individuals with this condition are unable to tell two distinct faces apart, including their own, often relying on body language, clothing, and the sound of a person’s voice to determine the identity of a person. Using her experience in computer science, she developed an algorithm that inputs distinct faces and outputs the way that these faces are perceived by someone who has prosopagnosia.
Yin’s project exploring prosopagnosia
Next to the computer and screen flashing between indistinguishable faces, she’s propped up a mirror for passers-by to look at themselves and contemplate the questions that inspired her to create this piece. Yin says that as she learned about prosopagnosia, where every face looks the same, she found herself wondering, “how am I different from a person that looks like me?” Interrogating the link between our physical appearance and our identity is at the root of Yin’s piece. Especially in an era where much of our identity exists online and appearance can be curated any way one wants, Yin considers this artistic piece especially timely. She writes in her program note that “my exposure to technologies such as artificial intelligence, generative algorithms, and augmented reality makes me think about the combination and conflict between human identity and these futuristic concepts.”
Eliza Henne, a junior majoring in Art History with a concentration in Museum Theory and Practice, focused more on the biological world in her project, which used a lavender plant in different forms to ask questions like “what is truthful, and what do we consider real?” By displaying a live plant, an illustration of a plant, and pressings from a plant, she invites viewers to consider how every rendition of a commonly used model organism in scientific experiments omits some information about the reality of the organism.
Junior Eliza Henne
For example, lavender pressings have materiality, but there’s no scent or dimension to the plant. A detailed illustration is able to capture even the way light illuminates the thin veins of the leaf, but is merely an illustration of a live being. The plant itself, which is conventionally real, can only further be seen in this sort of illustrative detail under a microscope or in a diagram.
In walking through the lobby of FFSC, where these projects and more are displayed, you’re surrounded by conventionally scientific materials, like circuit boards, wires, and petri dishes, which, in an unusual turn of events are being used for seemingly unscientific endeavors. These endeavors – illustrating the range of human emotion, showcasing behavioral patterns like overconsumption, or demonstrating the imperfection inherent to life – might at first glance feel more appropriate in an art museum or a performing arts stage.
But the students and faculty involved in this exhibition see that as the point. Maybe it isn’t so unnatural to build a bridge between the arts and the sciences – maybe, they are simply two sides of the same coin.
Naturalist Tom Earnhardt on Black River in North Carolina. The forests around Black River are home to the oldest trees in eastern North America, 2,700-year-old bald cypresses. All photos courtesy of Tom Earnhardt.
There are many ways to think of North Carolina. It was the 12th U.S. state to enter the Union. It is bordered by Virginia, Tennessee, Georgia, and South Carolina. North Carolina’s capital city is Raleigh, and it has an estimated population of 10,698,973. These are all facts, but they tell only part of the story: the human side of it.
Naturalist Tom Earnhardt offers other ways to view North Carolina: the state contains the oldest forest in the eastern United States, with trees up to 2,700 years old. It has 17 river basins, and some of its rivers show evidence of fishing weirs used by indigenous tribes hundreds of years ago. And from the Atlantic coast in the east to the Appalachian mountains in the west, North Carolina is home to thousands of native plants, animals, and fungi. There are 3,000 species of moths alone in North Carolina, and “Every one is essential; not one is optional.”
“North Carolina,” Earnhardt says, “is still one of the most biodiverse and extraordinary places on the planet.”
A prothonotary warbler. Prothonotary warblers inhabit swamps and coastal rivers in North Carolina. They are one of only two warblers in America that nest in cavities.
Earnhardt is a naturalist, photographer, writer, and attorney. He wrote and produced the show “Exploring North Carolina,” a series of dozens of episodes about North Carolina’s biodiversity, geography, and history. Earnhardt recently visited Duke to speak at the Nasher Museum of Art.
One inspiration for his talk was the ongoing Nasher exhibit “Spirit in the Land,” an exploration of ecology, culture, and connection to the natural world. “Art in its many forms,” Earnhardt says, “tells a story of love, loss, and renewal.”
Black River in North Carolina.
Earnhardt has spent much of his career balancing caution and hope. We are facing environmental crises, including climate change and biodiversity loss. Earnhardt believes it’s important for people to know that, but he has put a lot of thought into how to get that message across. Earnhardt has learned that it can help to “tell it as though it was your best friend or brother who needed to hear an important story.” Science alone isn’t always enough. “To hear bad news of any kind is not easy,” Earnhardt says, “and people want to hear it from people they know, people they trust or can relate to.”
The stories he tells aren’t always easy to hear, but they are important. We need to know — whether on a local, state, national, or international scale — what exactly we stand to lose if we continue on a path of environmental destruction. Many species are becoming more scarce, Earnhardt says, “but we still have them.” They can’t be protected once they’re gone, but many of them are still here and can still be preserved. The goal for all of us should be to keep it that way.
North Carolina, Earnhardt says, is at “the epicenter of the temperate world.” The state has a range of climates and habitats. It marks the northernmost native range of the American alligator, while coniferous forests in the North Carolina mountains resemble boreal forests of the northern U.S. and Canada. North Carolina, according to Earnhardt, contains “whole ecosystems that other states only dream about.”
Eastern North Carolina is characterized by beaches, salt marshes, and other coastal ecosystems. Here you can find “wildflowers that grow in salty sand” and painted buntings, multicolored songbirds unlike any other in North America. On four occasions, he’s even seen manatees in North Carolina.
A male painted bunting, a summer resident on North Carolina’s barrier islands. Female painted buntings are bright green.
“Travelers from around the world vacation here and raise their families in the summer,” Earnhardt says—and he’s not talking about humans. Many shorebirds and sea turtles lay their eggs on North Carolina’s beaches. Human disturbance, including artificial lighting and crowded beaches, can put their babies in danger. Minimizing light pollution near beaches, especially during turtle nesting season, and staying away from nesting shorebirds can help.
A longleaf pine savanna in southeastern North Carolina.
Moving farther west, we can find savannas of grasses and pine trees. “You drive past this, and people go, ‘ho hum, a pine barren.’” To that Earnhardt says, “Look a little closer.”
White-fringed orchids, one of North Carolina’s 80 native orchid species. Earnhardt took this photo in the Green Swamp, a longleaf pine savanna nature preserve.
These pine barrens are home to some of North Carolina’s 80 species of orchid, like the white-fringed and yellow-fringed orchids. “Look at them from all angles,” Earnhardt urges, “because from up above it becomes a sunburst… for those who watch.”
A yellow-fringed orchid, viewed from the side.
Be one of those who watches.
A yellow-fringed orchid, viewed from above.
North Carolina rivers, forests, and swamps are also home to many wildlife species. Forests around Black River contain “huge buttresses of tupelo that hold the world together” and bald cypresses that have been alive for 2,700 years. The early years of these now-ancient cypress trees coincided with the fall of the Assyrian Empire and the establishment of the first emperor of Japan. Many centuries later, they are the oldest trees in eastern North America.
Cypress trees on Black River. Both tupelos and cypresses have buttresses at their bases to provide stability in the water.
They are also in danger. “If seas rise three feet,” Earnhardt says, “there will be enough pressure to flood these [trees]…. We could lose them.” But “they are worth saving.”
Still farther west are the Appalachian mountains, another biodiversity hotspot. North Carolina is home to 60 species of salamanders, many of which live in the mountains. The southern Appalachians and western North Carolina contain more salamander diversity than anywhere else on the planet. One species that lives here is the American hellbender, a two-foot-long denizen of mountainous streams.
Despite increasing human development, North Carolina is still rich in flora and fauna. “We have wild places,” Earnhardt says. North Carolina has more than 450 bird species, over 30 native pitcher plants, 20 freshwater turtles, and 38 snakes—“and they’re all good neighbors,” Earnhardt adds.
Venus flytraps in a longleaf pine savanna.
North Carolina has pink and yellow lady slippers and ten-foot-tall Turk’s Cap lilies; crayfish and thousands of mushrooms; native azaleas and insects that depend on them. It has Earnhardt’s “new favorite bird,” the swallow-tailed kite, and vultures, “the clean-up crew: not optional.” That’s a refrain throughout Earnhardt’s talk. “Nothing I’ve shown you tonight is optional,” he says.
“Both in banking and nature,” Earnhardt says, “when we make too many withdrawals and not enough deposits… there’s a deficit.” There are too many creatures we have already lost. The eastern cougar. The Carolina parakeet. The passenger pigeon. Too many more. There are still others that are threatened or endangered but not yet gone. “We humans tend to forget the failures and close calls,” Earnhardt says. While talking about biodiversity loss, he references a quote by biologist E.O. Wilson: “This is the folly our descendants are least likely to forgive us.”
A swallow-tailed kite. Earnhardt says that these kites, which spend their winters in South America, now nest along several rivers in southeastern North Carolina.
So what can be done? To preserve biodiversity, we have to consider entire ecosystems, not just one endangered animal at a time. “We are part of the natural world, part of links and chains and pyramids,” Earnhardt says, and humans too often forget that. Everything is connected.
He recalls visiting entomologist Bill Reynolds’s lab and noticing crickets hopping across the floor. “Don’t step on the transmission fluid!” Reynolds warned. He was referring to the crickets and to insects more broadly. Like transmission fluid in cars, insects are essential to making sure the systems they are part of run smoothly. Insects serve crucial roles in food webs, pollination, and decomposition. Studies show that they are declining at alarming rates.
“We are at a crossroads,” Earnhardt says. “Our transmission fluid is low, and we have made too many withdrawals from the bank of biodiversity.” Still, he emphasizes the importance of not giving up on wildlife conservation. Given a chance, nature can and will regenerate.
Tupelo tree buttresses on Tar River near Greenville, North Carolina.
Despite all our past and current failures, conservation also has remarkable success stories. The brown pelican is one North Carolina resident that almost went extinct but has since “come back in incredible numbers.” The bald eagle is another. Its population plummeted in the 20th century, largely due to the insecticide DDT as well as habitat loss and hunting. By 2007, though, after intensive conservation efforts, it had rebounded enough to be removed from the endangered species list. Until about 1980, Earnhardt had never seen a bald eagle in North Carolina. Today, Earnhardt says, “I see them in every county.”
A bald eagle that Earnhardt saw near the Raleigh-Durham airport. Bald eagles, once on the brink of extinction, can now be seen in every county in North Carolina.
“Everyone’s going to have to fly in the same direction,” to preserve North Carolina — not to mention the rest of the world — at its best and wildest, Earnhardt says. But individual actions can make a difference. He suggests planting native flowers like milkweed and coneflower, both of which are good food sources for pollinators. And if you choose to plant ornamentals like crepe myrtle, “Treat that as a piece of art in the yard and then plant the rest as native.”
Lady Bird Johnson, a former first lady and conservation advocate, once said that “Texas should look like Texas, and Mississippi like Mississippi.” Choosing native plants can be a powerful way to help native wildlife in your own yard. “If you plant it,” Earnhardt says, “they will come.”
One audience member asks, “How do you recommend that we recruit non-believers?” It’s a conundrum that Earnhardt has put a lot of thought into. “It takes time, and it takes patience,” he says. “Some of my best friends are not full believers, but I work on them every day.”
How should we engage with books, songs, or other works of art created by artists, dead or alive, who have done bad things or hold morally problematic views?
J.K. Rowling, the author of the landmark Harry Potter series, has become controversial because of her 2020 tweets about transgender people.
It’s one thing to firmly condemn their actions and reject their beliefs. But what should we do with their art—as individuals and as institutions?
The Kenan Institute of Ethics recently held a conversation to discuss exactly that issue. The discussion was moderated by Jesse Summers, Ph.D., and featured speakers Erich Hatala Matthes, Ph.D., Associate Professor of Philosophy at Wellesley College and author of “Drawing the Line: what to do with the work of immoral artists from museums to the movies,” and Tom Rankin, Professor of the Practice of Art and Documentary Studies and Director of the MFA in Experimental and Documentary Arts at Duke University.
Why should we care about morality in art, anyway? Why not just appreciate the art and separate it from the artist?
Matthes believes that in some cases, “to not engage with the moral dimensions of a work would be to not take the work seriously.” He thinks Shakespeare’s works belong in this category. “Trickier cases,” he adds, “might come from works that aren’t explicitly engaged” with morality, but even in those cases, “the moral life of the artist can actually become a lens through which to read aspects of the work.”
Film director Woody Allen with his wife and former step-daughter Soon Yi Previn in 2009. (David Shankbone via Wikimedia Commons)
We already consider context when viewing art, not just “formal features of the work.” What was the artist responding to? What were the politics at the time? Matthes believes it makes sense to consider the “moral life” of the artist, too. That “doesn’t mean the artist’s moral life is always going to be relevant” to engaging with the art, but he thinks it’s worth at least acknowledging.
According to Rankin, “When we look at a piece of art or hear something, what we hope is that it propels us” to consider moral issues. How, he asks, can we not look at a painting or photo and wonder, “Where did this come from? Who made it? What was their agenda? What is their point of view? What was their background?”
So where does that leave us, Rankin asks, when it comes to “work that was made a hundred years ago but is really powerful… and yet when we look at it a hundred years later it has all kinds of flaws?” Should museums remove paintings by famous artists if racist or sexist views come to light? Should individuals boycott books, songs, and video games created (or inspired) by artists who have made harmful statements toward individuals or groups of people? How should college classes address works by immoral artists?
Matthes says the term “immoral artists” in his book is intentionally provocative. “I don’t actually think it’s productive” to think of people as good or bad, moral or immoral, he says. “There’s a huge range” in the morality or lack thereof in artists’ actions, and Matthes believes there should also be a range in our responses, but he doesn’t believe that “great art can ever just excuse immorality.” He wants to reject the idea that “artists need to be a little inhuman” and “outside the norms of society.” He thinks that mindset encourages us to think of artists as not subject to the same rules. They should not be “immune to moral criticism,” he says.
Rankin agrees: “I do balk a little bit at having to be the one to decide who’s bad and who’s good,” but at the same time, he believes that “artists make work in response to who they are.” So “What do we confront first? The life of the artist or the work itself? It’s not one or the other,” he says.
Both speakers believe that context is often key to interpreting and evaluating art. Matthes says that it might be “really obscene” to choose Michael Jackson music at your wedding if you know one of your guests has experienced child abuse, given the child sexual assault allegations against Jackson. However, Matthes doesn’t believe that completely “cancelling” Jackson’s music is the solution, either.
Similarly, Matthes doesn’t believe that “we should necessarily continue with big exhibitions honoring Paul Gauguin,” a painter who had sexual relationships with young girls and employed racist terminology. According to Matthes, Gauguin “represents a paternalistic energy of a particular time” that we should “interrogate.” As for the notion that we should extend a degree of lenience to historical artists and view them as a product of their times, Matthes is “disinclined” to think of morality as relative to time period. The time when a work of art was created might affect how we engage with it or assign blame, but “Gauguin did a lot of morally horrific things, and the fact that it was in a different time and place doesn’t change that.”
Nevertheless, Matthes thinks we can and should still engage with and respond to the work of “immoral artists.” His concern, he says, is that taking art off of walls and bookshelves and not talking about it “isn’t reckoning with the legacy.” He also doesn’t “see a reason to put certain types of art on a pedestal and treat them differently…. Artistic expression is a fundamental part of human life.”
What if an individual doesn’t want to engage with such art at all? What if the actions of an artist, dead or alive, are so objectionable to someone that they want nothing to do with it? Matthes is okay with that attitude, though he does think it’s “missing an opportunity.”
Completely disengaging from art on account of its creator’s moral life “feels like a way of not taking the moral criticism seriously,” Matthes says. “It’s not something you would be wrong to fail to do,” but he believes in engaging with moral issues, even those that “it would be easier to just ignore.”
Michael Jackson’s album Thriller sold 32 million copies in 1983.
But he acknowledges that personal identities can play a role in how or whether we engage with the work of immoral artists. Matthes believes it’s important to consider “the position you’re coming from” when you read or think about these issues. On the other hand, people and groups who may be more directly impacted by an artist’s problematic views “also have really thoughtful, nuanced ways” of engaging—or not engaging—with the art.
Matthes believes that “we have a lot of moral latitude when it comes to our individual engagement” with art. He finds it difficult to make the argument that reading, listening to, or viewing art in your own home is directly harmful to others, even if the artist in question is still alive.
Summers, meanwhile, points out that if someone is upset by an artist, there could be cases where “you’re taking it out on your friends… when you should be taking it out on the band.”
Institutions like universities, however, might need to take further considerations. “Different moral norms might apply,” Matthes suggests, “based on the positions of power we occupy.” Classrooms, for instance, are a “semi-public” space. They can help provide context in conversations about “morally problematic art” and encourage people to “think really carefully and critically.” If a class is going to engage with such topics, though, Matthes thinks it’s important to spell that out to students beforehand.
Powerful conversations can take place outside of classrooms, too — in book clubs and even informal conversations with friends. “You don’t want to let the moral concerns completely drive the bus” when engaging with art, Matthes says, “but I think it’s important not to ignore them.”
Rankin concludes by reminding us that it isn’t just artists who face decisions about how to respond to the world. For instance, even among those who don’t think of themselves as photographers, anyone who carries a cell phone is making choices every time they take a photo — about what they’re presenting and why.
Francis Su, Ph.D., visited Duke to talk about math. He began by talking about art.
Su, a mathematician and professor at Harvey Mudd College, displayed “Hope,” an 1886 painting by George Frederic Watts. He asked the audience to look at it, really look at it, and think about what’s happening in the painting. At first glance, it shows a blindfolded woman holding a wooden object. She seems to be in pain. But the more time we spend looking, the more we notice. We might notice that there’s a single star above her. We might notice that the wooden object is a lyre with only one string left attached. We might notice, too, that the woman is plucking that final string and straining to hear its music.
If we take the time to explore the history of the painting, we might learn that Martin Luther King, Jr., talked about the same painting in a sermon. Su quoted a line from that sermon: “Who has not had to face the agony of blasted hopes and shattered dreams?” We find beauty in art, and often we find it relatable as well. Art invites us to look closer, to wonder, to feel, to ask questions, to imagine.
“Why,” Su asks then, “don’t we approach mathematics the way that we approach art?”
Whether we consider ourselves “math people” or not, we rarely if ever hear mathematics discussed as an affirmation of human virtues and desires—love, beauty, truth, the “expectation of enchantment.” Su wants to change that. In his book “Mathematics for Human Flourishing” and in his talk at Duke, he envisions mathematics as beautiful, inclusive, and accessible to anyone.
Along with the painting “Hope,” Su’s first slide shows a quote by Simone Weil: “Every being cries out silently to be read differently.” Simone Weil, according to Su, was a “French religious mystic” and “widely revered philosopher,” but she also had a deep interest in math. Her older brother, André Weil, was an influential mathematician whose mathematical achievements often overshadowed her own. In a letter to a friend published posthumously in the book “Waiting for God,” Simone Weil wrote: “I did not mind having no visible successes, but what did grieve me was the idea of being excluded from that transcendent kingdom to which only the truly great have access and wherein truth abides.” Su sometimes wonders how Simone’s relationship to mathematics would have been different if André had not been her brother. Again, “Every being cries out silently to be read differently.” According to Su, when Simone Weil speaks of “reading” someone, she means “to interpret or make a judgment about them.”
Su has a friend, Christopher Jackson, who is an inmate in a high-security prison, serving a thirty-two year sentence for involvement in armed robberies as a teenager. When you think about people who do math, Su asks, would you think of Chris? “We create societal norms about who does math,” and Chris doesn’t fit those norms. And yet he has been studying mathematics for years. After studying algebra, geometry, trigonometry, and calculus while in prison, he sent a letter to Su requesting help in furthering his mathematics education. The two men still correspond regularly, and Chris is now studying topology and other branches of mathematics.
“Every being cries out silently to be read differently.”
Why do math in the first place? Just as you can take your car to a mechanic without fully understanding how it works yourself, we might think of math as “only for the elite few” or perhaps as “a means to an end,” a tool “to make you ‘college and career ready.’” Su sees it differently. He views math in terms of human flourishing, “a wholeness of being and doing.” He points to three words from other languages: eudaemonia, a Greek term for “the overarching good in life”; shalom, a Hebrew word often used as a greeting and roughly translated as “peace”; and salaam, an Arabic word with a similar meaning to shalom.
“What attracts me to music,” Su says, “isn’t playing scales over and over again.” But once you “experience a symphony,” you might see the value in playing scales. Can we learn to think of math the same way? Here, Su quoted mathematician Olga Taussky-Todd: “The yearning for and the satisfaction gained from mathematical insight brings the subject near to art.”
Beauty and awe probably aren’t the first words that come to mind when most of us think of math, but Su believes math can unlock “transcendent beauty.” He references a quote by C.S. Lewis: “the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.” That is what math at its best can do for us. It can help us see the big picture and realize that we’re “just scratching the surface of something really profound.”
“Math is not a single ‘ability,’” Su says. “In reality, math is a multi-dimensional set of virtues.” When learning or teaching math, we often focus more on skills like recalling facts and algorithms, factoring polynomials, or taking a derivative. But Su believes more important lessons are at play: virtues like persistence, creativity, a thirst for deep knowledge, and what he calls the expectation of enchantment. And, he says, employers are often much more interested in virtues than in skills. “If you want to be really practical about this—and I don’t, with mathematics, but if you do—then it’s actually the virtues that are more important than the skills,” Su says.
One basic human desire that Su believes math can help fulfill is the desire for truth, which, in turn, can help build virtues like a thirst for deep knowledge and the ability to think for oneself, which can help us figure out what’s true instead of just blindly trusting authorities. “Truth is under attack,” Su says. “Misinformation is everywhere.” Su wants to teach his students “to think, to be ‘that person who doesn’t need to look at the Ikea instructions.’” But he also wants them to view math as more than just a means to an end. “It’s my responsibility to help my students remember the beauty” in math and to understand that their dignity as human beings isn’t dependent on their grades.
Along with truth and beauty, he believes math can and should bring opportunities for exploration and discovery. “My role isn’t to be a teacher,” he says. “My role is to be a co-explorer.” He recalls his own excitement when he first saw a Menger cube, or Menger sponge, cut along its diagonal. The resulting cross-section is beautiful and, yes, enchanting. “What would it look like for classrooms to be like that?” During the pandemic, Su started adding more reflection-focused questions to his exams, questions like “Consider one mathematical idea from the course that you have found beautiful, and explain why it is beautiful to you.” Even more traditional math questions can be phrased in an “exploratory” way. Su gives the example of a question that asks students to make two rectangles, one with a bigger perimeter and one with a bigger area.
Another desire or virtue important in the field of mathematics is justice. Su wants math to be accessible to all, but not everyone has had positive experiences with math or feels like they belong there. As an analogy, Su talks about receiving dishes from a “secret menu” when visiting certain Chinese restaurants with friends who are fluent in Chinese. When he goes there on his own and requests the “secret menu,” however, he is sometimes turned away or told that he wouldn’t like those dishes. “Are people side-by-side in the same restaurant having different experiences” in math, too? “Who are you to say they do or don’t belong in mathematics?”
Even Su himself hasn’t always had wholly positive experiences in math. One of his professors once told him he didn’t “have what it takes to become a successful mathematician,” and he almost quit his Ph.D. program. Instead, he switched to a different advisor who had encouraged him to stick with it. Meanwhile, he surrounded himself with people who could remind him why he loved math. Math as a field can be competitive, but “if you think of mathematics as human flourishing… then that’s not a zero-sum game anymore.”
In Su’s words, “we’re all math teachers” because “we all pass on attitudes about math to others.” He says studies show that parents can pass on “math anxiety” to their kids. But Su encourages people to “believe that you and everyone can flourish in mathematics.” Simone Weil. Christopher Jackson. And you.
How does parenting change when infant and child mortality affects every family in society? Recent history may provide an answer. For the entirety of the 19th Century, child mortality was ubiquitous. In the year 1880, nearly 35% of children born in the United States passed away in their first five years. The medical literature that explores the common diseases and public health inadequacies, though expansive, often fails to address the central humanistic questions surrounding such widespread death. How were these children mourned? How did grieving families move on? And how has this mourning changed in the context of the past hundred years of medical advancement?
These guiding questions drove Dr. Perri Klass, Professor of Journalism and Pediatrics at NYU, to pen her recently published book, “The Best Medicine: How Science and Public Health Gave Children a Future.” A distinguished clinician, author, and medical historian, Klass explored prominent art and literary works from this era of high infant and child mortality at the recent Trent Humanities in Medicine Lecture at the Duke School of Medicine, titled “One Vacant Chair: Remembering Children”.
Dr. Perri Klass, MD
Throughout the lecture, Klass guided the audience through famous portraits, poems, and prose produced in the 18th Century that memorialized children who had died at a young age. Perhaps the most famous fictional account of childhood death in the 19th century emerged in Uncle Tom’s Cabin by Harriet Beecher Stowe. The emotionally wrenching death scene of young Eva, who succumbed to tuberculosis, struck a chord with virtually all those who read the novel. Published in 1852, Uncle Tom’s Cabin would go on to be reproduced in theaters across the country for several decades, the death scene becoming a ubiquitous anchor that often brought the audience to tears. Klass further described how Beecher Stowe drew from her personal experience, the death of her son Charlie from cholera only a few years prior to the writing of the book, to create this powerful literary scene.
“Uncle Tom’s Cabin.” Published in 1852 by Harriet Beecher Stowe.
Beecher Stowe was not the only author whose personal experience impacted their art. Charles Dickens, deeply impacted by the death of his children, had created a slew of sentimental yet mortal child characters in his stories. One of the most prominent examples, young Nell from “The Old Curiosity Shop,” was published in installments and developed a strong following. Dickens ended the series with the death of twelve-year old Nell, much to the outrage of international readers.
Perhaps it’s no surprise that parents chose to memorialize their deceased children through literature and art. Wealthy families would often contract famous portrait artists were often contracted to depict their dead children. Some, including the Rockefellers and the Stanfords, channeled the deaths of their children and grandchildren into resourced academic institutions.
For grief to drive philanthropy and art is not a new phenomenon, but the sources of grief that drive such artistic and financial overtures today have changed considerably. Klass sought to bridge this knowledge gap and pull closer the history to which society has the privilege of being oblivious. Maybe, even, it would even inform how we cope with the mortality of young people today.
“How do we situate ourselves in a world where infant and child mortality is so low?” Klass asked at the beginning of her presentation.
The past does not reveal one clear answer, but it does provide a tapestry of options, many lost in our modern collective memory, for mourning, for celebrating, and for memorializing.
This is part one of a two-part series; next week we will dive into the nitty-gritty of biblical research, but for now, we’re focusing on what biblical research is and why it matters.
To the uninitiated, “biblical research” might not conjure up images of dancing, or analyzing films, or studying engineering. But meet Maximillion Whelan. A third-year M.Div. student at Duke, Whelan runs a website for film aficionados focusing on analyzing movie scenes and was recently published in Quarterly Review of Film and Video for an article on theology and film. He notes: “Biblical research sheds light on how everyday activities effectively shape history and are also shaped by history. By “zooming in,” delving into the details and contexts, biblical research enables us to simultaneously “zoom out” – to see what things we are taking for granted, where our readings have led us, and how we take our readings into other spheres of life.”
Image courtesy of Nicole Kallson (as part of her course Introduction to Theology and the Arts)
Or take Divinity School student Nicole Kallson. She is pursuing a Master’s of Theological Studies with a Certificate in Theology and the Arts.
“As a theologian and dancer, I use my background in dance to assist my understanding of the Bible.” Kallson explains. “I tend to focus on ideas of embodiment, beauty, and inter- and intra- personal relationships.”
Both students—along with countless other Blue Devils and other mascot identities—use their studies as a lens through which to examine themselves and their passions. And isn’t that what we emphasize so clearly at Duke—the interdisciplinary, interpersonal, interfaith, international, interwoven identities of people, places, and things? Is that not what research is all about in the end? Perhaps the purpose of biblical research is not as foreign to us as we may think at first.
Degree-seekers may come from expertise in literature, classical studies, practical faith, or other backgrounds that may easily come to mind. But they also come from natural sciences, physical sciences, political science, art and media studies, creative writing, engineering, medicine, sociology, public policy, economics, and so much more. And each of these students is applying their research and understanding of the Bible to their understanding of the world at large, seeking to become better, more intentional academics in the process.
The new Dean of Duke Divinity School was born and raised in Puerto Rico; he has prayed with Pope Francis and presented him with writings on interfaith dialogues. He also has Bachelor’s and Master’s degrees in mechanical engineering.
“It might seem odd to have a series focused on the Bible as a banned book, given that it’s the most polished book in history,” he opened. He gave an example further; for a time in recent Guatemalan history, possession of the Bible was persecuted as a means of targeting perceived Communist empathizers. Even within Christain communities, he explains, there has been discourse among devotees of certain translations and versions—not all of them amenable.
The event also featured Brent Strawn of the Duke Divinity School and Jennifer Knust from Trinity College of Arts & Sciences Department of Religious Studies.
Jennifer Knust during the Forever Learning Institute’s Policing Pages presentation on the Bible
“The survival of the New Testament as a text and a collection is a theological and practical achievement,” noted Knust. “It is repeatedly refreshed in response to new circumstances, even as remains of past approaches continue to shape what can happen next.”
It is because of the differing opinions of so many people over such a long time that we have different faiths, and biblical research uses the lens of Christianity to evaluate that phenomenon.
Knust continues: “Today we know that there are over 5,000 manuscript copies of the New Testament, none of which are identical in every particular.”
She herself was a member of the board of the New Revised Standard Version Updated Edition—the most recent scholarly translation of the Bible, published in 2021. She elaborated on her feelings on the dynamics and fluidity of the text, describing a constant push and pull of desire and tradition. Perhaps researchers, in the present, past, or future, may desire to change words, meanings, or uses of the Bible, but they are contradicted by a tradition dictated by the populous.
Biblical research seeks to answer questions about the Bible— and by extension, the fruitfulness of humanity. The sustainability of religious texts of all kinds is a testament (pun intended) to the success of human minds compounded over thousands of years.
A 1611 copy of the Authorized Version Knustuses as an example of different Protestant translations.
On this PeopleMover-style tour of biblical research, I hope we’ve taken away some key points:
Firstly, the work of many biblical researchers is deeply personal. We’ve discovered through this that the work of any researcher in any field has the potential to be deeply personal.
Additionally, we learned that the interdisciplinary reach of biblical studies works inversely; students may turn to biblical research from other subjects to enhance their work, or they may even turn to other subjects to enhance their work in biblical research.
And finally, we arrive at our destination; next week we’ll talk more in-depth about what biblical research entails and meet some key players in those conversations.
When I write about myself, it always reads like a poorly crafted match.com zinger. Boring, awkward, and something along the lines of:
I’m Alex. Aquarius. Love dogs, classic rock, old NCIS episodes. $1 Goodwill paperback thrillers, marked with “Happiest 53rd Richard! All my love, Janet” and “8/17/2005, Saw this and thought of you!” And I like to ask myself why Steven King’s Carrie conjures up thoughts of said person? Who’s Richard? How’s Janet?
I also love coffee. And tea. Peppermint, of course. Irish breakfast, sure. Chamomile, why not. But I think I really just like collecting mugs — hearty ceramics, dainty porcelain, hand-painted, non-dishwashable, chipped, stained monstrosities. It might be a problem though (as I don’t have much shelf space).
Favorite genre of film? It’s got to be anything in the Meg Ryan romcom cinematic universe. Or the Brat Pack coming-of-age cannon. Breakfast Club, St. Elmo’s Fire, About Last Night, Pretty in Pink. Really just the Judd Nelson je ne sais quoi.
My dog and I celebrating her 11th birthday this summer!
I think my 2nd grade superlative was “Wormiest Bookworm,” whatever that means. That might’ve been the year I read every Nancy Drew book in the library and founded the neighborhood’s first and only detective business. I do wish I could say I’ve Jules Verne’d the world in 80 days — circumnavigating all five nebulous oceans, frozen Arctic plains, Swiss peaks, and continental slopes; Phileas Fogging my way through the Mediterranean, aperitivo in hand. But I’m a bit unworldly in the geographic sense. I’ve only been out of the country once to boat up next to Niagara Falls, wearing a thin, plastic poncho and an I <3 Canada tee (though I’ve possibly made it a second time to Canada after getting lost on the circumference of a lake in Vermont).
I’ve only ever lived in Charleston, SC, never straying too far from its labyrinth of intercostals and waterways, its Theseus-like shrimpers, gliding into port. At Duke, I spend half my time majoring in molecular/cellular biology and the other lamenting my landlockedness, missing Charleston’s temperate sea breeze.
Beach in the middle of winter
Growing up there was all briny inlet and Waffle House, midnight bacon, butter pats, cordgrass, molting blue crab, churches on every street corner and in every denomination, weak coffee and greasy hash brown breakfast, September hurricanes, salt, cicadas, farm stands packed with peaches, a once-in-a-hundred year 6-inch snowfall that closed school for two weeks.
On Saturdays, I sharktooth-hunted with my sisters in pluff mud plots now developed (strangers tend to find the smell of the marsh pungent, but I think it’s character building). Fished for red drum. Searched for pearls in half-mooned oyster mouths. Kayaked down creeks.
Charleston’s a literary city, or so I’ve always heard. I think Edgar Allen Poe’s ghost haunts a cobble-stoned alley downtown or something like that. And if not an alley then a quaint B&B, its porch bearing creaky rocking chairs and purple coneflower. I went to an arts-specialized middle and high school for creative writing, wrote some bad poetry in my formative years and a couple of questionable short films, then went to college and somehow fell into the field of cell bio and now I spend a decent chunk of my free time researching genetic heart disease in a campus lab. Feeding cardiomyocytes via gentle pipette like they’re sea monkeys.
I like to picture the act of writing and that of science as similar — fraternal twins or first cousins — and I don’t think it a coincidence that early philosophers were our first physicians, mathematicians, physicists, chemists, etc. Both fields challenge us to pose questions about our world, about its inhabitants, its oddities, its nuances. We just go about answering them differently.
For this reason, I’m incredibly excited to join Duke’s Research Blog, to write about science and innovation, to poeticize protein structures or to search for lyricism in neuronal action potentials the way a deep sea troller searches for the elusive giant squid. I just think there’s something so wonderful about learning new things, cradling little curiosities that often lead nowhere, and doing so through an accessible, enjoyable medium.
It may be hard to put your finger on it, but Duke often allows students to connect their classes to something more personal.
The university’s emphasis on interdisciplinary education is a major initiative that colors students’ academic experiences. While there are many examples of these connections between people, classes, fields, and departments, few so tangibly represent those connections like The SCOPES Project, which connects arts and humanities to medical education at Duke.
Beneath the Surface by Mihir Patel, 2022. Image Courtesy of SCOPES.
Art and medicine can exist in entirely different worlds. They can appeal to different people and tell different stories. But why be simple when you can be, well… stunning? They can be integrated to form something powerful, and that’s precisely what SCOPES leadership members Isa DeLaura, Raluca Gosman, Mason Seely, David Stevens, and Lindsay Olson aimed to do.
“It is encouraging as an upperclassman who previously participated in this program to see rising students continue the tradition of incorporating the humanities into medical practice,” Mason Seeley says. The generational aspect of the project seems to contribute to its personality; participants bring their own perspectives to their work only to walk away with dozens more.
“Having a creative outlet has helped me process interactions with patients and the difficulties of the profession, and celebrate happy moments as well,” says Isa DeLaura.
“The goal is to give artists creative freedom to explore their relationships with their patients with whatever medium and in whatever style works best for them. As such, every year the feel is entirely based on the decisions of the artists.”
Isa DeLaura, MS3+
David Stevens insists that the artists “resist… forces of depersonalization in compelling and beautiful ways.”
The project is inspired and supported by yet another interdisciplinary Duke initiative called APPLE (Appreciating Patient Perspectives through Longitudinal Encounters), which connects medical students with patients living with chronic illnesses. The artists/medical students/empaths-in-training then attended multiple creative workshops and developed art pieces to reflect their patients’ personal experiences. But this year’s 6th annual SCOPES exhibition looks a bit different from past years’ (which are conveniently available online for your viewing pleasure).
Having attended many an art opening myself, I am unashamed to say that much of my enjoyment comes from the cheeseplates (and the excitement in the air, but that’s besides the point). Some exhibitions opt for a traditional charcuterie, some marked Kirkland Signature and others displayed on a handmade butcherblock. The point of fingerfoods is to encourage the attendees to stand up, walk around, and interact with the masses. But it also encourages attendees to “just stop by,” making the affair all the less intimate.
Following limitations on group gatherings Duke enforced during COVID, the SCOPES team decided to apply their newfangled interdisciplinary/revolutionary/innovative thinking to the art opening itself: They held a banquet.
“I loved the way this turned out,” says DeLaura. “It was very personal and made for great discussion and comradery.”
Fences, Rivers, Walls by Taylor Yoder, 2022. Image Courtesy of SCOPES.
“SCOPES has provided an opportunity to reflect on my experiences as a first-year medical student while also exploring new ways to combine various art forms to create my vision,” says Taylor Yoder, who created Fences, Rivers, Walls, pictured above. “I hope to continue shooting film throughout my medical education and career.”
I was particularly (although wrongfully) surprised about the variety in the exhibit. While the artists attended the same workshops and worked with patients through the same program, they took radically different approaches to their creations. Esme Trahair, a second-year medical student, was a humanities major in undergrad. Her piece combines historical perspectives with modern (although antiquated) mechanisms, emphasizing “the importance of remembering and learning from historical, outdated medical teachings.”
For the Record by Esme Trahair, 2022. Image Courtesy of SCOPES.
The work features a variety of perspectives, but also some clear motifs that could be key takeaways for future medical providers. Like Yoder, artist Kreager Taber explores the patient’s value of “home.” Exploring these motifs could allow for more personal, “upstream” healthcare.
This year’s SCOPES exhibition is held in the Mars Gallery in the Duke University Hospital Concourse. It is an initiative of the Trent Center for Bioethics, Humanities & History of Medicine at the Duke University School of Medicine. It will be on display August 9-September 29, and available for viewing online at this link.
P.S. If you are an MS1 student interested in participating in SCOPES, I have a link for you!
