While Pater argues an inevitably debatable point, claiming that music alone dissolves the barriers of matter and form, he also does something very clever and innovative to prove his point. He suggests that no art speaks alone. All the arts are related – they are literally ‘other-seeking,’ a concept he calls Anders-Streben, ‘a partial alienation from its own limitations, through which the arts are able, not indeed to supply the place of each other, but reciprocally to lend each other new forces.’ If Anders-Streben is the Victorian ancestor of modern interdisciplinarity it comes at a good time for thinking today not only across the arts but across the arts and sciences, as Tom McLeish’s latest book most roundly attests. The Poetry and Music of Science: Comparing Creativity in Science and Art does what it says on the tin, and it does it in a way that would make Pater proud. Interdisciplinarity always raises problems of a deeply philosophical nature, but those problems often pale into insignificance in the face of more immediate concerns over disciplinary translation. As Seongsook Choi and Keith Richards suggest, if we ever hope to find the ‘inter’ in interdisciplinarity we have to place communication at the very heart of our endeavour. Not only do the arts and sciences struggle to communicate easily amongst themselves, they also struggle to communicate between one another. Translating (anders-Streben-ing!) across the arts and sciences is a serious challenge for any interdisciplinary thinker, but McLeish is thankfully fluent in both. As such, he provides one of the only books to interpret their conversation with any kind of conceptual rigour and critical clarity. It would be wrong to describe McLeish as just a translator, however, because in The Poetry and Music of Science he does more than simply translate across disciplines. He interprets them as well, as a composer composes, as a performer performs

中文翻译：

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正如它在罐头上所说

虽然佩特论证了一个不可避免的有争议的观点，声称音乐本身就能消除物质和形式的障碍，但他也做了一些非常聪明和创新的事情来证明他的观点。他认为没有艺术是单独说话的。所有的艺术都是相关的——它们实际上是“寻求他者”，他称之为 Anders-Streben 的概念，“一种与其自身局限性的部分异化，通过这种异化，艺术能够，实际上不是提供彼此的位置，而是相互借用新的力量。如果说安德斯-斯特雷本是维多利亚时代现代跨学科的祖先，那么今天正是考虑跨艺术、跨艺术和科学的好时机，正如汤姆·麦克利什 (Tom McLeish) 的最新著作最全面地证明的那样。科学的诗歌和音乐：比较科学和艺术中的创造力做到了它在锡上所说的，它以一种让佩特感到自豪的方式做到了。跨学科性总是会引发具有深刻哲学性质的问题，但面对对学科翻译的更直接关注，这些问题往往显得微不足道。正如 Seongsook Choi 和 Keith Richards 所建议的那样，如果我们希望在跨学科中找到“inter”，我们就必须将交流放在我们努力的核心位置。艺术和科学不仅难以在彼此之间轻松交流，而且还难以在彼此之间进行交流。翻译（anders-Streben-ing！）跨艺术和科学对任何跨学科思想家来说都是一项严峻的挑战，但值得庆幸的是，麦克利什在这两方面都很流利。因此，他提供了仅有的一本书，可以以任何形式的严格概念和批判性清晰度来解释他们的对话。然而，将麦克利什描述为一名翻译者是错误的，因为在《科学诗歌与音乐》中，他所做的不仅仅是跨学科翻译。他也解释它们，就像作曲家作曲一样，就像表演者表演一样