In this essay, I want to propose a counterexample to the usual art and science dialectic, one that is not resolved by the absorption of the second term by the fi rst. Instead, the aim of this inquiry resembles the combinatorial alternative evoked in Nobel Prize-winning chemist Roald Hoff mann’s poem: “like / the dislocation under a / tunneling microscope, order / well-disposed to each side,” the action lies at the interface.3