Embracing an interdisciplinary approach to plastics pollution awareness and action

This article presents a new approach to investigating and mitigating plastics pollution by employing an interdisciplinary research framework built on the disciplines of science and the arts. Our group, the Synthetic Collective, is composed of artists (sculpture, installation, photography, activists), humanities scholars (visual culture, media studies), and scientists (geology, environmental science, biology, chemistry) working together to:

Wicked problems do not have a definable mission, and their understanding and resolution controls the questions that require asking.11Horst W.J. Rittel and Melvin M. Webber, “Dilemmas in a General Theory of Planning,” Policy Sciences 4 (1973): 155–169. Plastics pollution is considered a wicked problem because pollution of the natural environment with plastic debris is a complex, global concern that cannot be solved within the context of a single discipline. Issues associated with plastics pollution include the following: (1) plastics are mass produced because of their resistance to degradation, low cost of transport, and reduction of cross-contaminants; (2) plastic debris arises from multiple sources, such as stormwater outflow, agricultural runoff, spillage, and littering; (3) the amount and timing of plastics being released into the environment are unknown; (4) there are direct and indirect drivers, such as anthropogenic activities and land-use practices; (5) inconsistencies in sampling methodology and data analytics complicate research; (6) management and mitigation practices depend on location and resources; (7) changes in human attitudes and behaviours towards reduction, reuse, and recycling are required; and (8) leadership and unity are necessary for problem-solving.

The majority of terrestrial buried plastic debris is found in unmanaged landfills, cities and developing towns, and in shoreline sediment.99See Corcoran et al., “Plastics and the Anthropocene.” In unmanaged landfills, the top layer of debris may be covered with soil to mimic the surrounding landscape, but burying plastic only increases its chance of preservation. In developing towns or cities, soil and other aggregate material may be dumped and buildings erected directly over plastic debris. This produces a plastic “marker horizon” in the sedimentary record.1010See Jan Zalasiewicz, Colin N. Waters, Juliana A. Ivar do Sul, Patricia L. Corcoran, Anthony D. Barnosky, Alejandro Cearreta, Matt Edgeworth, and Agnieszka Gauszka, “The Geological Cycle of Plastics and their Use as a Stratigraphic Indicator of the Anthropocene,” Anthropocene 13 (2016): 4–17; and Corcoran et al., “Plastics and the Anthropocene.” Plastics deposited along shorelines may become buried during storm events or where sedimentation rates are high.1111A. Turra, B. Manzano, R. Jasa, S. Dias, M.M. Mahiques, L. Barbosa, D. Balthazar-Silva, and F.T. Moreira, “Three-dimensional Distribution of Plastic Pellets in Sandy Beaches: Shifting Paradigms,” Scientific Reports 44 (2014): 1–7.

The Synthetic Collective’s approach is informed by ongoing scientific, artistic, and interdisciplinary initiatives which research and disseminate information on plastics pollution.1212See this article’s first publication for a full discussion of citizen science, media, outreach, and arts approaches toward plastics pollution. Sara Belontz, Patricia Corcoran, Heather Davis, Kathleen Hill, Kelly Jazvac, Kirsty Robertson, Kelly Wood (the Synthetic Collective), “Embracing an Interdisciplinary Approach to Plastics Pollution Awareness and Action,” Ambio 47 (November 2018): https://www.ncbi.nlm.nih.gov/pubmed/30448996. For example, scientists have worked meaningfully with fisheries and citizen scientists (including tourists and children) to analyze plastic ingestion and beach pollution, demonstrating that these collaborations generate reliable results.1313Max Liboiron, France Liboiron, Emily Wells, Natalie Richárd, Alexander Zahara, Charles Mather, Hillary Bradshaw, and Judyannet Murichi, “Low Plastic Ingestion Rate in Atlantic Cod (Gadus morhua) from Newfoundland Destined for Human Consumption Collected through Citizen Science Methods,” Marine Pollution Bulletin 113 (2016): 428–437. Bergmann, Birgit Lutz, Melanie B. Tekman, and Lars Gutow, “Citizen Scientists Reveal: Marine Litter Pollutes Arctic Beaches and Affects Wild Life,” Marine Pollution Bulletin 125 (2017): 535–540. Beyond data collection, conveying the wicked problem of plastics pollution to the public is a key concern. Outreach campaigns can be hampered by existing conventions, such as the use of charismatic megafauna (among them sea turtles or polar bears) to draw attention to environmental plight.1414Lynn Eagle, Mark Hamann, and David Low, “The Role of Social Marketing, Marine Turtles and Sustainable Tourism in Reducing Plastic Pollution,” Marine Pollution Bulletin 107 (2015): 324–332. More successful outreach campaigns have eluded a singular focus on visibility and animal life, acknowledging that in fact most pollutants are miasmic, and nearly invisible.1515Max Liboiron, “Redefining Pollution and Action: The Matter of Plastics,” Journal of Material Culture 21 (2015): 87–110. These campaigns use the wide reach of social media to connect different stakeholders and communicate across the globe.1616Gerald C. Kane, Robert G. Fichman, John Gallaugher, and John Glaser, “Community Relations 2.0,” Harvard Business Review 87 (2009): 45–50. Julie T. Klein, “Evaluation of Interdisciplinary and Transdisciplinary Research,” American Journal of Preventitive Medicine 35 (2008): 116–123. See the accompanying table for well-known organizations addressing plastics pollution, many of which use thoughtful outreach strategies employing social media and visual art.

Individual artists and artist groups, likewise have responded to the challenge of visualizing plastics pollution with the goal of raising consciousness, creating speculative representations of possible plastic-polluted futures, and charting efforts to remediate environments. Artists employ wide-ranging and adaptable strategies to address the wicked problem of plastics pollution, ranging from drawing attention to plastic waste through collecting and displaying salvaged materials to working collaboratively with communities to address environment and local economies. Such efforts are paralleled by scholarly contributions in the humanities and social sciences about plastics pollution, environmental studies, and ethics.1717See Jennifer Gabrys, Gay Hawkins, and Mike Michael (eds.), Accumulation: The Material Politics of Plastic (Abingdon, Oxon and New York: Routledge, 2013); Heather Davis, “Toxic Progeny: The Plastisphere and Other Queer Futures,” PhiloSOPHIA 5 (2015): 232–250; Heather Davis, “Life and Death in the Anthropocene: A Short History of Plastic,” in Art in the Anthropocene: Encounters among Aesthetics, Politics, Environments and Epistemologies, ed. Heather Davis and Etienne Turpin, 347–358 (London: Open Humanities Press); Kristy Robertson, “Plastiglomerate,” E-flux Journal 86, http://www.e- flux.com/journal/78/82878/plastiglomerate; and Michelle N. Huang, “Ecologies of Entanglement in the Great Pacific Garbage Patch,” Journal of Asian American Studies 20 (2017): 95–117.

Art and science approaches are often far removed from one another, but this need not be the case. One key example of plastics pollution visualization through interdisciplinary collaboration, undertaken by two members of the Synthetic Collective prior to the formation of the group, is the description of plastiglomerate, an agglomeration of plastics and natural materials,1818Patricia L. Corcoran, Charlees J. Moore, and Kelly Jazvac, “An Anthropogenic Marker Horizon in the Future Rock Record,” GSA Today 24 (2014): 4–8. which resulted in a scientific manuscript, international art exhibitions, lecture invitations, and media coverage. The plastiglomerate was treated as a geologic sample and a new kind of stone, and was additionally exhibited as a readymade sculpture in a number of international venues. Following this lead, the Synthetic Collective attempts to build on and draw from all of the above-mentioned initiatives, in the quest to create and maintain a successful and long-lasting interdisciplinary collaboration.

According to the National Academies of Sciences, Engineering, and the Institute of Medicine, interdisciplinary research is: “A mode of research by teams or individuals that integrates information, data, techniques, tools, perspectives, concepts, and/or theories from two or more disciplines or bodies of specialized knowledge to advance fundamental understanding or to solve problems whose solutions are beyond the scope of a single discipline or area of research practice.”1919National Academy of Sciences, National Academy of Engineering, and Institute of Medicine, Facilitating Interdisciplinary Research (Washington, DC: The National Academies Press, 2005), https://doi.org/10.17226/11153. Tackling the wicked problem of plastics pollution requires researchers to be willing to take risks, to be open-minded, and to stretch beyond their singular disciplines. Collaboration should take place from the outset of the research in order to witness substantive, rather than superficial, results. This produces unique perspectives on how the issue may connect to broader cultural and scientific concerns. The results from collaborative meetings of the Synthetic Collective indicate that each discipline possesses specific problems and assets when trying to address this issue, including the necessity of artists and activists to fully understand the science that is informing their artistic work in order to communicate effectively. From the science perspective, appreciation is gained of the power of artistic impact not only through communication, but also through contemplating problems and solutions. Working with individuals from different research fields helps showcase strengths, ideas, and networking connections that can ultimately benefit all investigators. As members of the Synthetic Collective, we feel that what is known through science, and what is seen through citizen science, outreach, and education, become significantly more impactful when combined with what is translated through artworks.

Information gained from meetings, workshops, and retreats of the Synthetic Collective indicates how each discipline addresses the issue of plastics pollution. The scientists in our group are focused on providing accurate data on the distribution, effects, and composition of plastic debris. Once quantitative and qualitative information is gathered, scientists share it with their peers, the research community, students, and occasionally the public, media, and citizens using tables, figures, and numbers in publications, lectures, or presentations. The artists focus on targeting consumers, citizens, and occasionally policy-makers when trying to address plastics pollution. An artist’s main audience is the public, and thus they must convey their work in an interpretive and creative way that targets individuals directly to stimulate an emotional response. Although changing consumer behaviour may be difficult, activist artworks often motivate individuals to change their everyday habits or, crucially, to pressure politicians to change legislation.

When initiating a new interdisciplinary environment, researchers should avoid restriction to traditional methods of project delivery. Rather than coming together at the end, or separating individual tasks to each discipline, researchers need to work together every step of the way to satisfy all short- and long-term goals. Bringing scientific and artistic research to the problem of plastics pollution has enabled our group to: (1) engage in field work, workshops, and retreats; (2) publish papers in scientific and art-related journals and books; and (3) give joint presentations at conferences and museums, and engage in outreach. In addition, our collaborations include training of undergraduate and graduate students in the laboratory, field and in research techniques. Through course lectures, labs and tutorials, students have learned about the deleterious effects of plastics pollution. Specific activities of the Synthetic Collective led to tangible results of our collaboration. We found success in using our eight-step Interdisciplinary Model, which helped avoid the issues that inherently arise with multifaceted projects.

Step 1. Passion is what drives individual participation. Despite the risks that are associated with joining an interdisciplinary group, researchers with different backgrounds and expertise join because they identify gaps in solving the problem. According to one white paper, the magic of interdisciplinary research takes place “when unlikely collaborators find a shared focus for their passions and are supported by stable institutions and programs willing to take risks.”2020Tamantha Stutchbury, Chris Gibson, Lorna Moxham, Clive Schofield, and Geoffrey Spinks. “White Paper: Challenge-led Interdisciplinary Research Programs,” Global Challenges, University of Wollongong, (2015): 1–17, https://globalchallenges.uow.edu.au/content/groups/public/@web/@gc/documents/doc/uow201256.pdf. The Synthetic Collective developed from one artist attending a public talk concerning plastics pollution that was hosted by one scientist. Both researchers were passionate about the topic and brought collaborators in from their respective disciplines to participate in meetings to discuss future joint projects.

Step 2. Communication is “at the heart of interdisciplinarity.”2121National Academy of Sciences et al., Facilitating Interdisciplinary Research. One approach that our research group utilized was participating in a think-tank workshop, for which the planning and execution was jointly led by a scientist and artists. The workshop enabled individuals from different academic disciplines (Earth Sciences, Arts, Art History, Cultural Studies, Sociology, Biology, Chemistry, Law) as well as local government (Ontario Ministry of Natural Resources and Climate Change) to positively interact with one another in different sites, with a focus on visualizing possible outcomes and projects. In doing so, it built trust within the group and enforced healthier future collaboration. The group visited a river, and led by an environmental scientist used a ‘‘BabyLegs’’ trawl to survey for plastic debris.2222See https://civiclaboratory.nl/2015/05/31/babylegs. A field trip to a beach with abundant plastic pellets was led by an earth scientist. The group toured through the lab of a chemist who develops polymeric drug-delivery systems, and participants attended a tour of a recycling centre in London, Ontario. The think-tank part of the workshop was organized and facilitated by three artists.

Step 3. The think tank workshop provided a safe space to pose critical questions regarding plastics pollution, including: (1) what is the group’s vision? (2) what are the planned outcomes? (3) what resources are needed to achieve specific goals? (4) what are the next steps? and (5) who else should be invited? Some of these questions were considered by small (3–4) groups of people in break-out sessions. The results were presented to the group at large, and notes were written on a flip chart for future reference. If a group is finding it challenging to establish a common goal or framework, it is helpful to look at recent publications that encourage the involvement of different partners, communities, scientists, decision makers, and the public when addressing a wicked problem.

Step 4. Sustaining involvement and cooperation within the group depends on the roles and responsibilities that each researcher adopts. The success of an organizational structure rests on how well it fosters communication, enables work activities, and involves joint decision-making.2323Kane, “Community Relations 2.0.” All interdisciplinary research teams require leaders or coaches—people who encourage continued engagement, plan joint activities, and manage the budget. Some groups may have co-leaders, while in other groups, the leadership role may change depending on the nature of planned events or personal connections. In our research group, joint sampling is led by the scientists who have prior experience and knowledge of proper sampling techniques, whereas the artists have organized logistics for museum exhibitions and other forms of cultural interaction. Notwithstanding the expertise in our respective fields, input is not only welcome, but solicited on all decisions related to joint activities.

Step 5. Balancing funding stability and program growth is essential in sustaining an interdisciplinary research group. The amount of funding a project is allotted will determine a group’s short- and long-term goals and help establish the group as a significant force. Funding agencies for interdisciplinary research should make it relatively easy for researchers to apply, be communicative throughout the funding window, and be flexible to delays and changing needs.2424Stutchbury et al., “White Paper.” Unfortunately, the number of funding opportunities depends on the country, government priorities, and institutional policies.

Step 6. The assignment of specific roles and responsibilities according to each researcher’s academic background should be avoided. When working as an interdisciplinary group, it is essential that communication takes place throughout all decision making. Artists should not focus solely on deciding how to translate the issue in an aesthetically appealing way to the public, and similarly, scientists should not only be involved in making decisions regarding the methods required to gather scientific data. Collaboration should extend to grant proposal writing, identification of other funding sources, creation of a website and database, and most importantly, developing a plan that urges global translation.

Step 7. It is essential to make use of the connections of all collaborators to extend the network into other communities, which could include academics at other institutions, policy makers, industry leaders, government officials, Indigenous peoples, and members of the public. Through art and science presentations, art exhibitions, and publications in art and science journals and books, our group has been able to cast a wide net to expand our network into local communities, as well as municipal, provincial, and federal government organizations. We were also successful at joint mentoring students at undergraduate and graduate levels who were involved with the think-tank workshop, and website and database development.

Step 8. Determining the impact of interdisciplinary research is complex because of the multidisciplinary nature of the research, inherent uncertainties in defining the term “interdisciplinary,” and ambiguity in the sources and types of tools with which to evaluate it.2525See Katri Huutoniemi and Ismael Rafols, Interdisciplinarity in Research Evaluation (New York: Oxford University Press, 2017), https://ssrn.com/abstract=2818321; and Klein, “Evaluation of Interdisciplinary and Transdisciplinary Research.” According to educational researchers Huutoniemi and Rafols, the three main epistemic values of interdisciplinarity are breadth, integration, and transformation.2626Ibid. In our approach to raising awareness of plastics pollution, the value of breadth is met in our varied skills and visions from different disciplines. Integration, in turn, takes place by taking our disparate knowledge and skills and combining them into a whole through shared meetings, workshops, retreats, and outputs. Our group certainly faced many challenges, such as securing funds, determining who would coordinate different projects and meetings, and finding the time for all members to meet. The success of our integration, however, is a direct result of the shared values we hold concerning the subject matter. In the four years that the Synthetic Collective has been engaged in interdisciplinary research, we have produced numerous outputs that can also be considered as evidence of impact.

Bridging the divides between different disciplines, such as the arts, sciences, social sciences, and humanities, is the best manner in which to tackle the wicked problem of plastics pollution. The methodologies used by the Synthetic Collective are based in deep interdisciplinary engagement, using results gathered by scientists to produce artworks, artefacts, curatorial interventions, articles, and other knowledge outcomes understandable to academic audiences, policy makers, art supporters, and the public. Scientific-artistic hybrid analytical and interpretive methods create projects that use multiple forms of evidence and platforms to address citizens’ dissociation from the plastic they produce and use. While mobilizing evidence, artworks and exhibitions are often specifically designed to elicit strong affective responses in viewers. Often a goal is to change the way viewers think about a problem, and to ideally change their own behaviour or lobby for change. Art writer Jennifer Higgie asked, “how can change be manifested if it can’t first be imagined?”2727Jennifer Higgie, “Shouts and Murmurs: Art’s Disputed Relation to Activism,” Frieze Magazine, 1 September 2012. Indeed, art can act as a catalyst for consumer and industry change by making the scope of plastics pollution visual, and the vast complexities of the wicked problem of plastics pollution conceptually accessible.

The collaborations of the Synthetic Collective developed initially and maintain strength, through the interdisciplinarity of arts and science. Most interdisciplinary work involves fields that include multiple sciences or multiple arts, but the joining of arts and sciences achieves a greater breadth of perspective and synergy. This breadth also allows for a greater potential for focused, quantitative scientific research to be better connected to larger cultural concerns and criticality. In turn, humanities scholars consider the cultural nuances of scientific research and contemplate the impacts of plastics pollution on human behaviour and attitudes.

Despite their differences, the link between scientists and artists is strong because they are both passionate about creating and understanding the “new,” and aim to share what they have with individuals, whether it be the public or other scientists and researchers.