The arts and social sciences communities could enhance the commercial prospects of new materials. One of the greatest drivers of materials research today is its potential economic impact.

And yet it is a sad fact that many materials science concepts developed in research laboratories will never become a commercial reality. Why is that? And what could be done to improve the

commercial prospects of new materials? Answers to these questions may be found by venturing into the world of arts and consulting with social scientists. There are an increasing number of

opportunities to explore these interfaces. One such opportunity was the inaugural Inspiring Matter conference1 held at the Royal College of Art in London in April. Artists, product

and can understand and respond to the needs and moods of their inhabitants. And Bradley Quinn, a trend forecaster, presented new clothing concepts inspired by self-assembly, light- and

heat-responsive materials and aerosol technology (spray-on clothing; Fig. 1). Although some of these ideas might seem far-fetched, they reveal how, unconstrained by scientific trends or

perceived limitations, potential new applications and commercial opportunities could be opened up by artistic and scientifically creative minds working together. Not only that, but art

itself could benefit from artists increasing their knowledge of new materials and processes, as _Nature Materials_ has explored previously2. The emotional response to different materials and

their properties could also affect the economic success of a new technology. Sarah Wilkes, an anthropologist working for the UK Institute of Materials, Minerals and Mining, is studying

systems of thought and considerations that inform materials scientists, manufacturers and designers when they make ethical judgements about materials. She uses interactive displays to probe

the preconceptions that different communities may hold about the sustainability of a variety of materials, from leather to steel to silicone. Her initial (unpublished) findings have

suggested a generosity towards materials thought of as 'natural', irrespective of their environmental impact. For example, leather manufacture has been criticized for the amount of

organic and heavy metal waste it leaves behind, but received quite a favourable sustainability 'rating' from the materials and manufacturing community. She is interested to find

out whether a similar response is observed from the design community. Newer, unfamiliar materials in the exhibition, on the other hand, such as medium-density fibreboard (MDF) and

self-cleaning glass, received a generally unfavourable reception. This observation feeds into the general thesis that familiarity and longevity of use allows people to characterize materials

with more certainty, and also increases their perceived sustainability. She is increasingly of the view that when designers, architects or engineers (materials users) are faced with a wide

range of materials to choose from, the perceived sustainability of a material can have an impact on its commercial success. A product's success could also be due to the sensory

experience of the user. For example, weight is often associated with quality: think wine bottles and glasses, cutlery and furniture. Lighter structures may therefore seem cheap even if they

are not — ultra-lightweight titanium cutlery was a flop with passengers on Concorde some years ago. This issue has been explored in a recent publication entitled _Rightweight_3. The book

discusses how this perception might change in future as less packaging could be associated with a superior product or brand following a sustainability agenda. An increasing number of

universities are receiving funding to explore the potential of social science and artistic creativity for materials science and technology. For example, the Umea Institute of Design in

Sweden offers staff and students the chance to gain a deeper knowledge of materials science in their 'Prototyping the Future' project. And the University of Northumbria in the

United Kingdom has established P3i, a new research studio and laboratory allowing designers and materials technologists to work together in a bid to enhance research and commercial output.

Historically the creative arts and the creation of new materials were closely aligned. But when materials development moved from a craft to a science these communities diverged, as has been

discussed previously4. In the present day, these are tricky interfaces to work in. Designers and social scientists do not have many opportunities to develop their scientific understanding to

aid interactions with scientists. There are also language barriers and a need for scientists to be patient and open-minded. But those willing to overcome these hurdles will find themselves

at a new frontier of collaboration, creativity and, with luck, commercial opportunity. REFERENCES * http://inspiringmatter.org * Steinberg, R. _Nature Mater._ 2, 427–429 (2003). Article  CAS

  Google Scholar  * Hollington, G. (ed.) _Rightweight_ (Materials and Design Exchange and Materials Knowledge Transfer Network, 2011). Google Scholar  * Miodownik, M. _Nature Mater._ 4,

506–508 (2005). Article  CAS  Google Scholar  Download references RIGHTS AND PERMISSIONS Reprints and permissions ABOUT THIS ARTICLE CITE THIS ARTICLE Inspiring interfaces. _Nature Mater_

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