Art, science, and public policy: A dialogue in three languages

I have a lot of friends and family who enjoy travel, and spend a substantial amount of time and money doing it, and imagine that their hobby returns some sort of profit to the intellect or character.  Isn’t travel broadening?  Don’t we learn from exposure to new lands, new cultures, new value systems, new ways of looking at the world?  Yes, of course.  But I found countless worldviews, cultures, and value systems trumpeted in the morning headlines at the end of my driveway this morning, ripe for engagement in the aisles of the grocery store across the street this afternoon.  No further travel is required.

As my loyal readership will attest, I have long been fascinated by the diversity of worldviews I encounter in my workday life, and the relationships between them.  The index item at the right of your screen labeled “Worldview Collision” will link to eight essays on the subject when I push the “submit” button on the present post.

The majority of my seven previous essays have explored the relationship between the worldview of science and the worldview of law or public policy, among the most common of the culture clashes in my experience. To understand their proper relationship I have adapted an analogy I first developed about twenty years ago during the height of the most recent creation/evolution controversies between science and religious faith.  Scientists play baseball, lawmakers and regulatory agencies play banjo.  Those worldviews are not incompatible, in the sense that my father was both a banjo picker and a catcher.  But not compatible, either.  Nobody ever tries to integrate one with the other. 

I favor the baseball/banjo analogy because most of my colleagues in the world of science seem to have a better grasp on the proper relationship between sports and art than between science and anything else, possibly because we are more objective.  We don’t write grant proposals to shortstops, nor debate fiddlers over the 10th grade biology curriculum.

 

Indeed, I rarely interact with artists in my professional life [1].  Thus, an email I received this past August (18Aug25) from one Ms. Julia Galloway [2] fell upon my eye as dew drops from heaven.  She introduced herself as: 

“… a professor and ceramic artist based in Montana. I’m currently working on a project focused on raising awareness about endangered species. For this project, I am creating ceramic urns to represent each threatened, endangered, recovered, and extinct species in the U.S. The project will culminate in the creation of approximately 1,200 urns, with completion expected by 2027.”

Ms. Galloway went on to explain that she had created “400+” urns as of that mid-August date and had (apparently) worked down from the California Condors to the freshwater gastropods, finding her supple hands now poised over a throw of clay to be entitled, “Anthony’s Riversnail.”  And googling about the internet for inspiration, she had found my “fabulous photo” posted on the FWGNA site.  And requested permission to use.

 

How fascinating!  The concept of “endangerment” is purely a matter of law, of course, and “raising awareness” a political objective.  Here an artist addresses a scientist over a matter of public policy. A conjunction of three worlds.

 

On 21Aug25 I replied to Ms. Galloway certifying, as I always do, that all of the images on the FWGNA site are freely available for anybody to use for any purpose whatsoever, and offering to help her in any other way I could.  And I concluded, doing my best to address her in her native tongue: 

“Notice that there's a photo of Leptoxis crassa (“Anthony’s Riversnail”) in situ at the bottom of (the species) page [here].  Which brings me to my final point.  Bless your heart!  These things are brown bumps on a rock.  God made them by throwing little balls of clay at dirt.  If you can make art out of Leptoxis crassa, my cap's off to you.”

 And to the bottom of my email of 21Aug25 I added, “PS – 1,200 urns? Are you nuts?”

Brown bumps in Limestone Creek, AL.

Here the challenge of communication across cultures was on full display.  At no point in her initial email to me, nor indeed in any of her subsequent correspondence, did Ms. Galloway mention the rich symbolism just below the surface of her artwork.  Her urns are modeled after the funerary urns of ancient Egypt.  But, quoting from her website, “displayed empty as a sign of hope.”  Anthony’s Riversnail may be on its sickbed, by this metaphor, but it ain’t dead yet.

 

Ms. Galloway replied immediately thanking me for my “delightful and thoughtful reply,” confessed that she does feel a little bit nuts at times, and asked me if I would like to see images of the urn upon completion. And I responded immediately in the affirmative, and suggesting that she just “throw a couple balls of clay at a flowerpot” to expedite the process.

 

I was tremendously impressed to receive the set of three jpegs below on the afternoon of 22Aug25, less than 24 hours after I had granted Ms. Galloway permission to use FWGNA imagery.  Maybe I shouldn’t have been so surprised – with 400 urns down and 800 to go, she must be nothing if not efficient.  Three individual snails were depicted various faces of the Anthony’s Riversnail urn, one snail crawling to the left (a) and two crawling to the right (b, c), as from the vantage point of a wary stonefly.  None of these images was modeled, as far as I could tell, from anything on the FWGNA site.  At least overtly.

 

Although starkly beautiful in their execution, I immediately noticed a couple significant technical problems with this urn.  Or at least, they seemed significant to me.  So on 23Aug25 I addressed my third email to Ms. Galloway.

And this time, I felt compelled to speak a little bit of science.  I began with some background on gastropod coiling, so as to introduce the adjectives “sinistral and dextral,” and noted that no case of sinistrality has ever been documented in the Pleuroceridae, as far as I know.  I then wrote:

“You have depicted three individual snails on your urn, am I correct?  The images of which you labeled on the jpegs you sent me yesterday afternoon AO22-a, AO22-b, and AO22-c, yes?  Snail (b) is bearing a dextral shell, correct as you have sculpted.  But snail (a) and snail (c) are bearing sinistral shells.  Not only is that uncomfortable to my eyes, it is unscientific.”

That seemed harsh.  So I added, to soften the blow:

“Perhaps you were working from (somebody else's) closeup photograph of a pleurocerid animal, reversed in some popular publication or on the internet?   Amateurs often publish reversed images, careless of the difference.  In fact, it seems highly unlikely to me that anybody other than a professional malacologist would ever notice the chirality of the snails you have sculpted on your urn.  So if you want to let it go (as Queen Elsa would suggest) I would certainly understand.”

Well, a couple weeks passed.  And I honestly did not think I would ever hear from Ms. Galloway again.  At the rate of one urn per 24 hours, I imagined that she must be well into the unionid mussels by that point, gastropods let go, gone, and forgotten.  But on 2Sept25, I was most pleased to receive yet another lovely communication from my artist-pen-pal:

“Thank you so much for bringing chirality to my attention! I loved reading your email and learning more about gastropods. It's always a treat when I get to hear someone talk passionately about their field of study (especially when they're brown bumps on a rock).

 

Sometimes species have very few images, which was the case with this species. Not knowing about chirality, I flipped some of the images to give myself more viewing angles and compositional options. Now that I know about how snail shells grow, I would like to remake the urn. Would you happen to have any additional images of Anthony's River Snail that you could share?

 

Thank you again for taking the time to share this information with me and for your support! Take care and I hope to hear from you again soon!”

Well no, I myself did not have any additional photos of L. crassa showing anything that the couple images already posted on the FWGNA species page did not.  But on a whim, I executed simple a google-image search on “Athearnia anthonyi” and landed, of course, on the Wikipedia page [3].  And good grief.  The image at the top of the Wikipedia page is sinistral!

Wikipedia. From Dick Biggins, USFWS.

So on the evening of 4Sept25 I addressed my fourth email message to Ms. Galloway, apologizing on behalf of the entire profession of freshwater malacology, re-assuring her that Dick Biggins (the donor of the photo) is a careful worker and confessing that I could not imagine that he himself would upload a mirror-reversed image.  But regardless of how the error occurred, I was sorry that some member of our extended community had not fixed it by now.  Not it.

 

I then suggested three remedies: (1) Sculpt the Wikipedia image from a mirror, (2) Adjust the Wikipedia image using the Photoshop mirror-image-reverse button, or (3) model from some other pleurocerid. Honestly, at the resolution of a funerary urn, all pleurocerid bodies are indistinguishable.  I sent her a good image of some other pleurocerid individual crawling to the viewer’s right, so that she would have both left-travelling dextral and right-travelling dextral models to work from.

 

And on 7Sept25 Ms. Galloway thanked me once again, and asked me if I would like to see images of “the new and improved urn when it is completed?”  To which I replied in the affirmative.  But I never heard from her again.  And that’s OK.

 

The philosopher Ian Barbour (1923 – 2013) has suggested [4] that there are four ways in which worldviews might relate: (1) independence, (2) dialogue, (3) conflict and (4) compatibility.  Independence is the unexamined status quo, compatibility a pipe dream, and conflict is right out.  I love, love, love dialogue.

 

The relationship I have demonstrated above is (2) a dialogue between the worldview of science and the worldview of art.  One might subclassify it as (2a) science helps art.  Ms. Galloway asked me to help her.  I did everything I could to do so.

 

Science and art are not incompatible, here obviously.  But mark me well.  Science and art are not compatible either.  They are very simply, and very profoundly, different.  Ms. Galloway is an artist, and she took the lead in this interaction, and I (a scientist) did what I could to help her create a work of art, and at no point did anything that happened between us during our entire two-week interaction have anything to do with science whatsoever.  The pleurocerid images she carved into that pot could bear sinistral shells, or dextral shells, or polka-dot shells, it does not matter.  And in fact, she never asked me for any of the free advice I offered her at any point, and in retrospect, I may have been interfering with the creative process, and if I ever hear from her again, I will apologize for butting in.

 

But I can’t help it, I love that sort of thing. The proper relationship between our worldviews is one of dialogue.  A dialogue with a fine artist is like an expedition into the bush with a Hottentot, from the seat of my own kitchen table.

 

And here is the most interesting thing about my two-week dialogue with Ms. Galloway.  This particular artist’s motivation was not artistic, but political. 

 

The Oxford Dictionary defines art as “an expression of human skill producing works to be appreciated primarily for their beauty or emotional power.”  But to quote from Ms. Galloway’s website, she considers her work “a catalyst for social change.” 

 

She selected Anthony’s Riversnail as one of her 1,200 subjects because that particular gastropod was entered onto the Federal Endangered Species list on April 15, 1994, see 59 FR 17994-17998 [5]. And “By creating an urn for each (such) species, (she) is making (rarely-seen) species visible, and through this awareness, compassionate action is possible.”  In other words, Ms. Galloway apparently thinks that the worldview of art and the worldview of politics are compatible, such that the former can influence the latter.

 

Bless her heart.  You will have by now noticed that no representative from the world of politics or public policy has entered into the chat room with the artist and the scientist to this point in my essay, nor will one subsequently appear.  I myself was awarded a AAAS Congressional fellowship many years ago, and learned just enough of the language spoken on Capitol Hill 1981 – 82 to appreciate my limitations.  And I do know quite a few hardworking biologists employed by natural resource agencies, both state and federal. And speaking now for all the legislative bodies and all the regulatory agencies and all the departments of natural resource management involved in all the endangered species conservation nationwide, as well as the entire [6] gastropod fauna of Limestone Creek, Madison County, Alabama, thanks for the pot.  Not a great likeness, but it’s lovely, dear, it really is.

Dave Michaelson & Randy Sarver

Art and Public Policy have different languages, different cultures, different values, and different ways of looking at the world. That they are not incompatible is witnessed by Ms. Galloway herself, who is both an artist and a social activist.  But the worldviews are not compatible, either.  Neither art nor public policy can affect the other, any more than the marching band affects the halftime score, or the halftime score the marching band.

 

But lest we condescend.  Of all the holders of all the worldviews of all the world – Art, Science, Business, Finance, Law, Medicine, Engineering, Religious Faith, Harry Potter, or Star Trek, we scientists are the most arrogant.  The notion of science-based public policy is just as absurd as pottery-based public policy, and none of us seems to realize it.

 

On the morning of 4Sept25, the same day I was to send my fourth email to Ms. Galloway, I met my good friend Randy Sarver in the parking lot of the Missouri Department of Natural Resources, Jefferson City. Randy is an excellent biologist, and we have developed a warm relationship over many years, and he helped me unload four flats of empty black-capped vials that used to hold macrobenthic samples collected by the MoDNR 2015 - 2017, and swap them for a fresh batch of MoDNR macrobenthic samples 2017 - 2018. 

 

I am sure that Randy and Dave Michaelson and all our friends at the MoDNR do a great job monitoring the water quality of the Show-Me State, and I would never dream of offering them any advice whatsoever, because I can’t, any more than they would dream of offering me any advice about malacology, because they can’t.  Randy and I are in dialogue.  That’s the thing I love.

 

Notes:

 

[1] I actually did post one previous essay on the relationship between science and art, way back in 2011:

• When Science and Art Collide [4Feb11]

 [2] Learn more about Ms. Galloway from her lavish web presence:

• Julia Galloway [home]
• Endangered Species Project [direct]
• Wikipedia [page]

 [3] Wikipedia, accessed 10Dec25 [link]

 

[4] Here I am generalizing Barbour’s thought on the science – religion relationship to the relationship between worldviews of any sort.  His “fourfold typology” was most clearly stated in:

• Barbour, I. G. (2000) When Science Meets Religion: Enemies, Strangers, or Partners?  Harper, 205 pp.

[5] For the Democrats among my readership, who imagine that findings such as those published in the Federal Register on 15Apr94 have anything to do with science whatsoever, please refresh your memory with the ten essays I have written on the Snake River Physa scandal to date.  Actually, you could skip the first six, if you want, and go straight to:

• The SRALP and the SRNLP: A new hope [14May24]
• The SRALP and the SRNLP: Physa acuta were found [11June24]
• The Twelve Phascinating Physa of Bliss [2July24]
• Cytoplasmic Male Sterility in the Snake River Physa [7Aug24]

[6] Fourteen species comprise the exuberant gastropod fauna of Limestone Creek: four pleurocerids, three hydrobioids [7], three viviparids, and four pulmonates.  I feel certain that all have benefited from the endangered status of their most-famous member.

[7] Counted among the Limestone Creek hydrobioids is a population of Marstonia olivacea, which is a senior synonym of Marstonia ogmorhaphe, which was the other gastropod entered onto the Federal Endangered Species list 15Apr94.  And hence that hydrobiid population should be every bit as federally-protected as the pleurocerid "Athearnia anthonyi," but it isn't, because science has nothing to do with public policy.  For more, see:

• Is Marstonia olivacea extinct? [19Sept23]