Museum displays tend to black-box science, by displaying scientific facts without explanations of how those facts were made. A recent trend in exhibit design upends this omission by putting scientists, technicians, and volunteers to work in glass-walled laboratories, just a window away from visitors. How is science conceived, portrayed, and performed in glass-walled laboratories? Interviews and participant observation in several “fishbowl” paleontology laboratories reveal that glass walls alter lab workers’ typical tasks and behavior. However, despite glass-walled labs’ incomplete and edited (...) enactment of scientific work, displaying an active workplace valuably challenges visitors’ assumptions that science is passive and that museums are home only to facts and dead things. Thus, glass-walled labs do not destroy the black box that obscures scientific practice for nonscientists. Instead, they exemplify a glass box, a kind of black box that contains a performance of scientific work. Glass-boxing describes a common way in which museums present scientific practice—that is, by making it observable but incompletely so—by inviting the public to construct a rich understanding of science as human work. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature of an assistant (...) or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)