In the 1980s, Serra found himself in the center of a public controversy over his piece titled Tilted Arc. While it was the government that approached him to create the work for downtown Manhattan’s Federal Plaza, the unveiling of the piece in 1981 was met with sharp criticism. The monumental sculpture was said to disrupt rush hour and the pedestrians who had to cut through the plaza daily. To the dismay of art lovers, the 120-foot-long, 12-foot-tall Tilted Arc was ultimately disassembled in 1989.
With collecting comes the need to record. A specimen without a label is simply a (sometimes) pretty object. Without its associated data it is scientifically worthless.
What Mick Southern taught me was both the imperative to and the means of writing scientific prose—“if it’s not published it’s not done,” as a later adviser put it. Mock showed me that the rather dry technical requirements of scientific writing did not necessarily mean that elegance, humor, and even wit need be excluded from the scientists’ products.
(1) First, there is the field notebook. This is where the actual numbers are recorded, together with passing observations relevant to the interpretation of these numbers.
Paper is still proving more durable than electronic data.
(2) The journal is a parallel record to that of the notebook—a daily account of events, thoughts, and observations.
(3) Last of the three strata, then, are the publications. Traditionally, in science, these are articles in academic journals leavened with chapters in books. To be successful, a young scientist need aspire to no more than these two forms of output together with their oral versions at interminable conferences and meetings of learned societies.
There came a time in my scientific development, however, when other forms of publication became important: magazines articles, and writing books.
In these journals lay the incidental details by which a book can be differentiated from a set of scientific articles. Such incidental details can become ends in themselves.