Tag Archives: art/science

Cloud and molecular aesthetics; an art/science conference features a bionanotechnology speaker

Here’s a notice from a June 19, 2014 from OCR (Operational and Curatorial Research in Art Design Science and Technology) organization newsletter highlighting an upcoming conference in Istanbul, Turkey, which includes a nanotechnology speaker,

Lanfranco Aceti, the founder of OCR; Edward Colless Head of Critical and Theoretical Studies and Paul Thomas, Program Director of Fine Art at COFA, are the lead chairs and organizers of the conference Cloud & Molecular Aesthetics from June 26 to 28, 2014, at the Pera Museum.

We invite you to three stimulating days that explores new perspectives and evolutions in contemporary art were acclaimed professionals including curators,historians, creative arts practitioners, critics and theorists consider transdisciplinary imaging relating to the theme of cloud, dispersal, infinitesimally small and molecular aesthetics. The conference is free and open to all. The program is available here.

The conference keynotes are Professor Anne Balsamo, Dean of the School of Media Studies at The New School, Dr. Ljiljana Fruk co-author of Molecular Aesthetics, Dr. Jussi Parikka who authored Insect Media: An Archaeology of Animals and Technology; and Prof. Darren Tofts author of Alephbet: Essays on Ghost-writing, Nutshells & Infinite Space.

The notice doesn’t mention the most interesting aspect (for me, anyway) of Dr. Ljiljana Fruk’s work. Here’s more from her OCR Cloud and Molecular Aesthetics Keynote bio page,

Dr. Fruk is a scientist and lecturer at Karlsruhe Institute of Technology, Germany working on the development of photosensitive bio nano hybrid systems to be used in the design of new catalysts, artificial enzymes and biosensors for nanomedicinal applications. [emphases mine] She studied chemistry at University of Zagreb and continued to pursue her PhD at the University of Strathclyde in Glasgow, where she worked on the development of advanced tools for DNA detection. After award of Humboldt Fellowship and Marie Curie International Incoming Fellowship she conducted a postdoctoral research on artificial enzyme catalysts at the University of Dortmund in Germany. Since 2009 she leads her own research group and is also active in exploring the interface of art and science, in particular the cultural and societal impact of new technologies such as nanotechnology and synthetic biology. Besides number of scientific activities, she was also a co-organizer of the first symposium on Molecular Aesthetics (2011), 3D interactive exhibition on Molecules that Changed the World, and together with artist Peter Weibel, a co-editor of Molecular Aesthetic book (2013).

The official title for the conference is this: ‘The Third International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture’ although the organizers seem to be using the theme, Cloud and Molecular Aesthetics, as an easy way to refer to it. You can still register for the conference here: http://ocradst.org/cloudandmolecularaesthetics/registration/

I last mentioned the OCR in a March 24, 2014 posting about a call for papers for a conference on sound curation.

Scientific A, B, Cs

Thanks to John Brownlee and his May 15, 2014 article on Fast Company about a fascinating project which marries typography/lettering  (the artist refers to her work as ‘lettering’) with scientific inventions (Note: A link has been removed),

If you’ve ever wondered how a Faraday circuit, a steam engine, or a cyclotron works, this is the typeface for you.

A glossary of the 26 inventions that have most changed the world have been turned into a literal ABCs, thanks to a new typeface by New Delhi design student Khyati Trehan.

Trehan has placed some of the material for her project, The Beauty of Scientific Diagrams on Behance (an online portfolio),

The project aims to explore scientific diagrams and take form integration to more complex territories. It looks at experimenting with typography, lettering and illustration, paying tribute to the history of science.

Since making the perfect match between the letter and the diagram was such a task, choosing the invention or the discovery was hardly up to me but dependent on what I could find (double coincidence of wants). I couldn’t find appropriate diagrams that looked like the letters they needed to be morphed into for P, X and Q.

Also, blogsfeaturing this project have been calling this a typeface for some reason but in no way is it a typeface. [emphasis mine] It’s lettering. Making a typeface is a completely different ball game and in my opinion, is much much harder.

Purchase prints at http://society6.com/KhyatiTrehan

Here’s one image from the sampling she offers in her online portfolio,

Downloaded from http://www.behance.net/gallery/The-Beauty-of-Scientific-Diagrams/11833563

Downloaded from http://www.behance.net/gallery/The-Beauty-of-Scientific-Diagrams/11833563

Trehan has also documented The Beauty of Scientific Diagrams project on the ISSUU digital publishing platform where you will find an 84 pp. report in English and links to supporting documentation in English and French.

The Beauty of Scientific Diagrams

A documentation of my 2nd elective done as a student of Graphic Design at the National Institute of Design, Ahmedabad.

The very curious can find more about India’s National Institute of Design here. From the institute’s Right to Information webpage,

The National Institute of Design (NID) is one of the foremost multi-disciplinary institutions in the field of design education, applied research, training, design consultancy services and outreach programmes. NID is a Society registered under the Societies Registration Act,1860 (21 of 1860) and also registered under the Bombay Public Trusts Act, 1950 (29 of 1950) and established in 1961 as an autonomous institution under the Ministry of Industry (now known as the Ministry of Commerce and Industry).

I was quite interested to see that the institute hosted an Indo-French Design Conclave in October 2013,

Indo French Centre for the Promotion of Advanced Research (CEFIPRA) is an autonomous body for bilateral scientific cooperation between India and France, promoting collaborative research in cutting edge science and technology fields.

CEFIPRA in partnership with NID (National institute of Design), Ahmedabad are holding a Design Conclave cutting across disciplines in the design and engineering, on 21st and 22nd October 2013in New Delhi.

This would be a preceding event for the international Technology Summit, New Delhi during 23-24th October 2013 with France as the partner country.

The goal of this conclave is to explore the possibility of Indo-French collaborations in the interface of engineering and design through:

a) Scientific research
b) Design and Technology collaborative Research
c) Student and Faculty mobility
c) Industrial (especially SMEs [small to medium enterprises]) …

This may help to explain the French reference materials informing Trehan’s project.

For the smell of it

Having had a tussle with a fellow student some years ago about what constituted multimedia, I wanted to discuss smell as a possible means of communication and he adamantly disagreed (he won),  these  two items that feature the sense of smell  are of particular interest, especially (tongue firmly in cheek) as one of these items may indicate I was* ahead of my time.

The first is about about a phone-like device that sends scent (from a Feb. 11, 2014 news item on ScienceDaily),

A Paris laboratory under the direction of David Edwards, Michigan Technological University alumnus, has created the oPhone, which will allow odors — oNotes — to be sent, via Bluetooth and smartphone attachments, to oPhones across the state, country or ocean, where the recipient can enjoy American Beauties or any other variety of rose.

It can be sent via email, tweet, or text.

Edwards says the idea started with student designers in his class at Harvard, where he is a professor.

“We invite young students to bring their design dreams,” he says. “We have a different theme each year, and that year it was virtual worlds.”

The all-female team came up with virtual aromas, and he brought two of the students to Paris to work on the project. Normally, he says, there’s a clear end in sight, but with their project no one had a clue who was going to pay for the research or if there was even a market.

A Feb. 11, 2014 Michigan Technological University news release by Dennis Walikainen, which originated the news item, provides more details about the project development and goals,

“We create unique aromatic profiles,” says Blake Armstrong, director of business communications at Vapor Communications, an organization operating out of Le Laboratorie (Le Lab) in Paris. “We put that into the oChip that faithfully renders that smell.”

Edwards said that the initial four chips that will come with the first oPhones can be combined into thousands different odors—produced for 20 to 30 seconds—creating what he calls “an evolution of odor.”

The secret is in accurate scent reproduction, locked in those chips plugged into the devices. Odors are first captured in wax after they are perfected using “The Nose”– an aroma expert at Le Lab, Marlène Staiger — who deconstructs the scents.

For example, with coffee, “the most universally recognized aroma,” she replaces words like “citrus” or “berry” with actual scents that will be created by ordering molecules and combining them in different percentages.

In fact, Le Lab is working with Café Coutume, the premier coffee shop in Paris, housing baristas in their building and using oPhones to create full sensory experiences.

“Imagine you are online and want to know what a particular brand of coffee would smell like,” Edwards says. “Or, you are in an actual long line waiting to order. You just tap on the oNote and get the experience.”

The result for Coutume, and all oPhone recipients, is a pure cloud of scent close to the device. Perhaps six inches in diameter, it is released and then disappears, retaining its personal and subtle aura.

And there other sectors that could benefit, Edwards says.

“Fragrance houses, of course, culinary, travel, but also healthcare.”

He cites an example at an exhibition last fall in London when someone with brain damage came forward. He had lost memory, and with it his sense of taste and smell.  The oPhone can help bring that memory back, Edwards says.

“We think there could be help for Alzheimer’s patients, related to the decline and loss of memory and olfactory sensation,” he says.

There is an image accompanying the news release which I believe are variations of the oPhone device,

Sending scents is closer than you think. [downloaded from http://www.mtu.edu/news/stories/2014/february/story102876.html]

Sending scents is closer than you think. [downloaded from http://www.mtu.edu/news/stories/2014/february/story102876.html]

You can find David Edwards’ Paris lab, Le Laboratoire (Le Lab), ici. From Le Lab’s homepage,

Opened since 2007, Le Laboratoire is a contemporary art and design center in central Paris, where artists and designers experiment at frontiers of science. Exhibition of works-in-progress from these experiments are frequently first steps toward larger scale cultural humanitarian and commercial works of art and design.

 

Le Laboratoire was founded in 2007 by David Edwards as the core-cultural lab of the international network, Artscience Labs.

Le Lab also offers a Mar. ?, 2013 news release describing the project then known as The Olfactive Project Or, The Third Dimension Global Communication (English language version ou en français).

The second item is concerned with some research from l’Université de Montréal as a Feb. 11, 2014 news item on ScienceDaily notes,

According to Simona Manescu and Johannes Frasnelli of the University of Montreal’s Department of Psychology, an odour is judged differently depending on whether it is accompanied by a positive or negative description when it is smelled. When associated with a pleasant label, we enjoy the odour more than when it is presented with a negative label. To put it another way, we also smell with our eyes!

This was demonstrated by researchers in a study recently published in the journal Chemical Senses.

A Feb. 11, 2014 Université de Montréal news release, which originated the news item, offers details about the research methodology and the conclusions,

For their study, they recruited 50 participants who were asked to smell the odours of four odorants (essential oil of pine, geraniol, cumin, as well as parmesan cheese). Each odour (administered through a mask) was randomly presented with a positive or negative label displayed on a computer screen. In this way, pine oil was presented either with the label “Pine Needles” or the label “Old Solvent”; geraniol was presented with the label “Fresh Flowers” or “Cheap Perfume”; cumin was presented with the label “Indian Food” or “Dirty Clothes; and finally, parmesan cheese was presented with the label of either the cheese or dried vomit.

The result was that all participants rated the four odours more positively when they were presented with positive labels than when presented with negative labels. Specifically, participants described the odours as pleasant and edible (even those associated with non-food items) when associated with positive labels. Conversely, the same odours were considered unpleasant and inedible when associated with negative labels – even the food odours. “It shows that odour perception is not objective: it is affected by the cognitive interpretation that occurs when one looks at a label,” says Manescu. “Moreover, this is the first time we have been able to influence the edibility perception of an odour, even though the positive and negative labels accompanying the odours showed non-food words,” adds Frasnelli.

Here’s a link to and a citation for the paper,

Now You Like Me, Now You Don’t: Impact of Labels on Odor Perception by  Simona Manescu, Johannes Frasnelli, Franco Lepore, and Jelena Djordjevic. Chem. Senses (2013) doi: 10.1093/chemse/bjt066 First published online: December 13, 2013

This paper is behind a paywall.

* Added ‘I was’ to sentence June 18, 2014. (sigh) Maybe I should spend less time with my tongue in cheek and give more time to my grammar.

Data sonification: listening to your data instead of visualizing it

Representing data though music is how a Jan. 31, 2014 item on the BBC news magazine describes a Voyager 1 & 2 spacecraft duet, data sonification project discussed* in a BBC Radio 4 programme,

Musician and physicist Domenico Vicinanza has described to BBC Radio 4′s Today programme the process of representing information through music, known as “sonification”. [includes a sound clip and interview with Vicinanza]

A Jan. 22, 2014 GÉANT news release describes the project in more detail,

GÉANT, the pan-European data network serving 50 million research and education users at speeds of up to 500Gbps, recently demonstrated its power by sonifying 36 years’ worth of NASA Voyager spacecraft data and converting it into a musical duet.

The project is the work of Domenico Vicinanza, Network Services Product Manager at GÉANT. As a trained musician with a PhD in Physics, he also takes the role of Arts and Humanities Manager, exploring new ways for representing data and discovery through the use of high-speed networks.

“I wanted to compose a musical piece celebrating the Voyager 1 and 2 *together*, so used the same measurements (proton counts from the cosmic ray detector over the last 37 years) from both spacecrafts, at the exactly same point of time, but at several billions of Kms of distance one from the other.

I used different groups of instruments and different sound textures to represent the two spacecrafts, synchronising the measurements taken at the same time.”

The result is an up-tempo string and piano orchestral piece.

You can hear the duet, which has been made available by the folks at GÉANT,

The news release goes on to provide technical details about the composition,

To compose the spacecraft duet, 320,000 measurements were first selected from each spacecraft, at one hour intervals. Then that data was converted into two very long melodies, each comprising 320,000 notes using different sampling frequencies, from a few KHz to 44.1 kHz.

The result of the conversion into waveform, using such a big dataset, created a wide collection of audible sounds, lasting just a few seconds (slightly more than 7 seconds at 44.1kHz) to a few hours (more than 5hours using 1024Hz as a sampling frequency).   A certain number of data points, from a few thousand to 44,100 were each “converted” into 1 second of sound.

Using the grid computing facilities at EGI, GÉANT was able to create the duet live at the NASA booth at Super Computing 2013 using its superfast network to transfer data to/from NASA.

I think this detail from the news release gives one a different perspective on the accomplishment,

Launched in 1977, both Voyager 1 and Voyager 2 are now decommissioned but still recording and sending live data to Earth. They continue to traverse different parts of the universe, billions of kilometres apart. Voyager 1 left our solar system last year.

The research is more than an amusing way to pass the time (from the news release),

While this project was created as a fun, accessible way to demonstrate the benefit of research and education networks to society, data sonification – representing data by means of sound signals – is increasingly used to accelerate scientific discovery; from epilepsy research to deep space discovery.

I was curious to learn more about how data represented by sound signals is being used to accelerate scientific discovery and sent that question and another to Dr. Vicinanza via Tamsin Henderson of DANTE and received these answers,

(1) How does “representing data by means of sound signals “increasingly accelerate scientific discovery; from epilepsy research to deep space discovery”? In a practical sense how does one do this research? For example, do you sit down and listen to a file and intuit different relationships for the data?

Vision and visual representation is intrinsically limited to three dimensions. We all know how amazing is 3D cinema, but in terms of representation of complex information, this is as far as it gets. There is no 4D or 5D. We live in three dimensions.

Sound, on the other hand, does not have any limitation of this kind. We can continue overlapping sound layers virtually without limits and still retain the capability of recognising and understanding them. Think of an orchestra or a pop band, even if the musicians are playing all together we can actually follow the single instrument line (bass, drum, lead guitar, voice, ….) Sound is then particularly precious when dealing with multi-dimensional data since audification techniques.

In technical terms, auditory perception of complex, structured information could have several advantages in temporal, amplitude, and frequency resolution when compared to visual representations and often opens up possibilities as an alternative or complement to visualisation techniques. Those advantages include the capability of the human ear to detect patterns (detecting regularities), recognise timbres and follow different strands at the same time (i.e. the capability of following different instrument lines). This would offer, in a natural way, the opportunity of rendering different, interdependent variables onto sounds in such a way that a listener could gain relevant insight into the represented information or data.

In particular in the medical context, there have been several investigations using data sonification as a support tool for classification and diagnosis, from working on sonification of medical images to converting EEG to tones, including real-time screening and feedback on EEG signals for epilepsy.

The idea is to use sound to aggregate many “information layers”, many more than any graph or picture can represent and support the physician giving a more comprehensive representation of the situation.

(2) I understand that as you age certain sounds disappear from your hearing, e.g., people over 25 years of age are not be able to hear above 15kHz. (Note: There seems to be some debate as to when these sounds disappear, after 30, after 20, etc.) Wouldn’t this pose an age restriction on the people who could access the research or have I misunderstood what you’re doing?

No, there is actually no sensible reduction in the advantages of sonification with ageing. The only precaution is not to use too high frequencies (above 15 KHz) in the sonification and this is something that can be avoided without limiting the benefits of audification.

It is always good practice not to use excessively high frequencies since they are not always very well and uniformly perceived by everyone.

Our hearing works at its best in the region of KHz (1200Hz-3800Hz)

Thank you Dr. Vicinanza and Tamsin Henderson for this insight into representing data in multiple dimensions using sound and its application in research. And, thank you, too, for sharing a beautiful piece of music.

For the curious, I found some additional information about Dr. Vicinanza and his ‘sound’ work on his Nature Network profile page,

I am a composer, network engineer and researcher. I received my MSc and PhD degrees in Physics and studied piano, percussion and composition.

I worked as a professor of Sound Synthesis, Acoustics and Computer Music (Algorithmic Composition) at Conservatory of Music of Salerno (Italy).

I currently work as a network engineer in DANTE (www.dante.net) and chair the ASTRA project (www.astraproject.org) for the reconstruction of musical instruments by means of computer models on GÉANT and EUMEDCONNECT.

I am also the co-founder and the technical coordinator of the Lost Sound Orchestra project (www.lostsoundsorchestra.org).

Interests

As a composer and researcher I was always fascinated by the richness of the information coming from the Nature. I worked on the introduction of the sonification of seismic signals (in particular coming from active volcanoes) as a scientific tool, co-working with geophysicists and volcanologists.

I also study applications of grid technologies for music and visual arts and as a composer I took part to several concerts, digital arts performances, festivals and webcast.

My other interests include (aside with music) Argentine Tango and watercolors.

Projects

ASTRA (Ancient instruments Sound/Timbre Reconstruction Application)
www.astraproject.org

The ASTRA project is a multi disciplinary project aiming at reconstructing the sound or timbre of ancient instruments (not existing anymore) using archaeological data as fragments from excavations, written descriptions, pictures.

The technique used is the physical modeling synthesis, a complex digital audio rendering technique which allows modeling the time-domain physics of the instrument.

In other words the basic idea is to recreate a model of the musical instrument and produce the sound by simulating its behavior as a mechanical system. The application would produce one or more sounds corresponding to different configurations of the instrument (i.e. the different notes).

Lost Sounds Orchestra
www.lostsoundsorchestra.org

The Lost Sound Orchestra is the ASTRA project orchestra. It is a unique orchestra made by reconstructed ancient instrument coming from the ASTRA research activities. It is the first ensemble in the world composed of only reconstructed instruments of the past. Listening to it is like jumping into the past, in a sound world completely new to our ears.

Since I haven’t had occasion to mention either GÉANT or DANTE previously, here’s more about those organizations and some acknowledgements from the news release,

About GÉANT

GÉANT is the pan-European research and education network that interconnects Europe’s National Research and Education Networks (NRENs). Together we connect over 50 million users at 10,000 institutions across Europe, supporting research in areas such as energy, the environment, space and medicine.

Operating at speeds of up to 500Gbps and reaching over 100 national networks worldwide, GÉANT remains the largest and most advanced research and education network in the world.

Co-funded by the European Commission under the EU’s 7th Research and Development Framework Programme, GÉANT is a flagship e-Infrastructure key to achieving the European Research Area – a seamless and open European space for online research – and assuring world-leading connectivity between Europe and the rest of the world in support of global research collaborations.

The network and associated services comprise the GÉANT (GN3plus) project, a collaborative effort comprising 41 project partners: 38 European NRENs, DANTE, TERENA and NORDUnet (representing the 5 Nordic countries). GÉANT is operated by DANTE on behalf of Europe’s NRENs.

About DANTE

DANTE (Delivery of Advanced Network Technology to Europe) is a non-profit organisation established in 1993 that plans, builds and operates large scale, advanced networks for research and education. On behalf of Europe’s National Research and Education Networks (NRENs), DANTE has built and operates GÉANT, a flagship e-Infrastructure key to achieving the European Research Area.

Working in cooperation with the European Commission and in close partnership with Europe’s NRENs and international networking partners, DANTE remains fundamental to the success of global research collaboration.

DANTE manages research and education (R&E) networking projects serving Europe (GÉANT), the Mediterranean (EUMEDCONNECT), Sub-Saharan Africa (AfricaConnect), Central Asia (CAREN) regions and coordinates Europe-China collaboration (ORIENTplus). DANTE also supports R&E networking organisations in Latin America (RedCLARA), Caribbean (CKLN) and Asia-Pacific (TEIN*CC). For more information, visit www.dante.net

Acknowledgements
NASA National Space Science Data Center and the John Hopkins University Voyager LEPC experiment.
Sonification credits
Mariapaola Sorrentino and Giuseppe La Rocca.

I hope one of these days I’ll have a chance to ask a data visualization expert  whether they think it’s possible to represent multiple dimensions visually and whether or not some types of data are better represented by sound.

* ‘described’ replaced by ‘discussed’ to avoid repetition, Feb. 10, 2014. (Sometimes I’m miffed by my own writing.)

2013 International Science & Engineering Visualization Challenge Winners

Thanks to a RT from @coreyspowell I stumbled across a Feb. 7, 2014 article in Science (magazine) describing the 2013 International Science & Engineering Visualization Challenge Winners. I am highlighting a few of the entries here but there are more images in the article and a slideshow.

First Place: Illustration

Credit: Greg Dunn and Brian Edwards, Greg Dunn Design, Philadelphia, Pennsylvania; Marty Saggese, Society for Neuroscience, Washington, D.C.; Tracy Bale, University of Pennsylvania, Philadelphia; Rick Huganir, Johns Hopkins University, Baltimore, Maryland

Cortex in Metallic Pastels. Credit: Greg Dunn and Brian Edwards, Greg Dunn Design, Philadelphia, Pennsylvania; Marty Saggese, Society for Neuroscience, Washington, D.C.; Tracy Bale, University of Pennsylvania, Philadelphia; Rick Huganir, Johns Hopkins University, Baltimore, Maryland

From the article, a description of Greg Dunn and his work,

With a Ph.D. in neuroscience and a love of Asian art, it may have been inevitable that Greg Dunn would combine them to create sparse, striking illustrations of the brain. “It was a perfect synthesis of my interests,” Dunn says.

Cortex in Metallic Pastels represents a stylized section of the cerebral cortex, in which axons, dendrites, and other features create a scene reminiscent of a copse of silver birch at twilight. An accurate depiction of a slice of cerebral cortex would be a confusing mess, Dunn says, so he thins out the forest of cells, revealing the delicate branching structure of each neuron.

Dunn blows pigments across the canvas to create the neurons and highlights some of them in gold leaf and palladium, a technique he is keen to develop further.

“My eventual goal is to start an art-science lab,” he says. It would bring students of art and science together to develop new artistic techniques. He is already using lithography to give each neuron in his paintings a different angle of reflectance. “As you walk around, different neurons appear and disappear, so you can pack it with information,” he says.

People’s Choice:  Games & Apps

Meta!Blast: The Leaf. Credit: Eve Syrkin Wurtele, William Schneller, Paul Klippel, Greg Hanes, Andrew Navratil, and Diane Bassham, Iowa State University, Ames

Meta!Blast: The Leaf. Credit: Eve Syrkin Wurtele, William Schneller, Paul Klippel, Greg Hanes, Andrew Navratil, and Diane Bassham, Iowa State University, Ames

More from the article,

“Most people don’t expect a whole ecosystem right on the leaf surface,” says Eve Syrkin Wurtele, a plant biologist at Iowa State University. Meta!Blast: The Leaf, the game that Wurtele and her team created, lets high school students pilot a miniature bioship across this strange landscape, which features nematodes and a lumbering tardigrade. They can dive into individual cells and zoom around a chloroplast, activating photosynthesis with their ship’s search lamp. Pilots can also scan each organelle they encounter to bring up more information about it from the ship’s BioLog—a neat way to put plant biology at the heart of an interactive gaming environment.

This is a second recognition for Meta!Blast, which won an Honorable Mention in the 2011 visualization challenge for a version limited to the inside of a plant cell.

The Metablast website homepage describes the game,

The last remaining plant cell in existence is dying. An expert team of plant scientists have inexplicably disappeared. Can you rescue the lost team, discover what is killing the plant, and save the world?

Meta!Blast is a real-time 3D action-adventure game that puts you in the pilot’s seat. Shrink down to microscopic size and explore the vivid, dynamic world of a soybean plant cell spinning out of control. Interact with numerous characters, fight off plant pathogens, and discover how important plants are to the survival of the human race.

Enjoy!

Getting the logos they deserve: 50 physicists and mathematicians

There are some 50 logos created by Dr. Prateek Lala of the University of Toronto (Canada) on behalf of various physicists and mathematicians. Before showing any of these clever logos, here’s a bit more about Dr. Lala’s logos in John Brownlee’s Feb. 5, 2014 article for Fast Company (Note: Links have been removed),

The scientific typographics were created by Dr. Prateek Lala, a physician and amateur calligrapher from Toronto. Inspired by the type biographies of Indian graphic designer Kapil Bhagat, Lala designed his logos to make the lives and discoveries of various scientists more engaging and immediately relatable to students.

Kelly Oakes in a Feb. 3, 2014 post for BuzzFeed features 20 of the logos and I’ve downloaded two of them for here,

James Clerk Maxwell (1831-1879) formulated the equations that describe electricity, magnetism, and optics as manifestations of the same phenomenon – the electromagnetic field. He’s also the namesake of Maxwell’s demon, a thought experiment in which a hypothetical demon violates the Second Law of Thermodynamics. Credit: Dr. Prateek Lala / Perimeter Institute

James Clerk Maxwell (1831-1879) formulated the equations that describe electricity, magnetism, and optics as manifestations of the same phenomenon – the electromagnetic field. He’s also the namesake of Maxwell’s demon, a thought experiment in which a hypothetical demon violates the Second Law of Thermodynamics. Credit: Dr. Prateek Lala / Perimeter Institute

I particularly enjoy how Dr. Lala has introduced the ‘demon’ into the logo. And then, there’s this one,

Rosalind Franklin (1920-1958) was a biophysicist who used X-ray diffraction data to determine the structures of complex minerals and living tissues, including – famously – DNA. Credit: Dr. Prateek Lala / Perimeter Institute

Rosalind Franklin (1920-1958) was a biophysicist who used X-ray diffraction data to determine the structures of complex minerals and living tissues, including – famously – DNA. Credit: Dr. Prateek Lala / Perimeter Institute

There is a bit of a controversy regarding Franklin as many believe she should have received more acknowledgement for her role in Crick and Watson’s ‘discovery of DNA’. I last mentioned Franklin in an August 19, 2013 posting (scroll down half-way) featuring a rap, Rosalind Franklin vs Watson & Crick, which was written and performed by children as part  of Tom McFadden’s Battle Rap Histories of Epic Science (Brahe’s Battles) school science project. The rap does a very good job of summarizing the discovery and the controversy and the performance is of a professional grade.

Getting back to Dr. Lala’s logos, there’s a slide show of 50 logos on this Perimeter Institute for Theoretical Physics webpage. I selected this one from the slideshow for inclusion here,

Aryabhatta (476-550) was a pioneer of mathematics and astronomy in India. He is believed to have devised the concept of zero and worked on the approximation of pi. Credit Dr. Prateek Lala / Perimeter Institute

Aryabhatta (476-550) was a pioneer of mathematics and astronomy in India. He is believed to have devised the concept of zero and worked on the approximation of pi. Credit Dr. Prateek Lala / Perimeter Institute

Dr. Lala has created some infographics of his logos which are can be seen here at visual.ly or you can see one featuring 60 of his logos in a July 26, 2013 posting by Carolina Brandão Zanelli on her Art for Scientists blog. As well, the Perimeter Institute is offering a poster of Dr. Lala’s logos in the Fall 2013 issue of their Inside the Perimeter magazine available here.

I was a little curious about Dr. Lala and was able to find this on academia.edu,

Prateek Lala
University of Toronto, Medicine, Post-Doc

Research Interests:
Medicine, Pharmacology, Drug metabolism, Pharmacoinformatics and Education

Enjoy!

Institute for Genomic Biology’s Art of Science 3.0

I like pretty pictures,

 

Progenitor cells fusing and differentiating into contractile skeletal muscle tissue (Tissue engineering is a promising strategy that could one day provide a cure for patients that need replacements for damaged tissues and organs. Here, the researchers show how stem cells can mature to form skeletal muscle in a matrix bed of proteins. The differentiated muscle fibers are contractile within two weeks) Multiphoton Confocal Microscope Zeiss 710 with Mai Tai eHP Ti: sapphire laser Vincent Chan Rashid Bashir Lab, Laboratory of Integrated Biomedical Micro/Nanotechnology & Applications http://libna.mntl.illinois.edu/

Progenitor cells fusing and differentiating into contractile skeletal muscle tissue (Tissue engineering is a promising strategy that could one day provide a cure for patients that need replacements for damaged tissues and organs. Here, the researchers show how stem cells can mature to form skeletal muscle in a matrix bed of proteins. The differentiated muscle fibers are contractile within two weeks)
Multiphoton Confocal Microscope Zeiss 710 with Mai Tai eHP Ti: sapphire laser
Vincent Chan
Rashid Bashir Lab, Laboratory of Integrated Biomedical
Micro/Nanotechnology & Applications
http://libna.mntl.illinois.edu/

The image I’ve selected is part of the Art of Science 3.0 exhibit being displayed at Chicago’s Midway airport, as per a Jan. 21, 2014 news item on Nanowerk,

An art exhibit at Chicago’s Midway Airport features images created by using microscopy equipment by ZEISS. Researchers from the Institute for Genomic Biology (IGB) Core Facilities, affiliated with the University of Illinois at Urbana-Champaign, used state-of-the-art microscopes for pioneering research to capture images that address significant problems facing humanity related to health, agriculture, energy and the environment. Twelve different images from IGB’s innovative research have been turned into pieces of artwork that travelers can view while using the airport. Five of the images in the exhibit were produced using ZEISS equipment.

You can find all 12 images on the Art of Science 3.0 Facebook page here.

As for whether or not you will see this exhibit if you should be at the Midway Airport, that’s a little difficult to determine. It was an Oct. 25, 2013 Zeiss press release which originated the Jan. 2014 news item on Nanowerk and I can’t find any information in the press release or elsewhere about the airport exhibition dates.

There is a bit more information about the Art of Science 3.0 exhibit (both at the airport. online, and elsewhere) in this undated Institute for Genomic Biology  (IGB) news release,

The exhibit, located past security in Concourse A, features images used in the Institute’s innovative research projects that address significant problems facing humanity related to health, agriculture, energy and the environment.

“Art is a really cool way to learn and jumpstart conversations about research,” said Kathryn Faith Coulter, the Institute’s multimedia design specialist and exhibit’s managing artist. “By sparking a natural curiosity through these vibrant images, we hope people will discover how the research conducted at the University of Illinois relates to their families, friends, and communities.”

The exhibit, which includes two 10-foot banners and 10 pictures, illustrates the microscopic subjects that researchers are able to capture through the Institute’s Core Facilities, which provides faculty and students from across the Urbana campus and east-central region resources for biological microscopy and image analysis.

“This exhibit includes images from a variety of scientific disciplines, from coral polyps to kidney stones and human colon cancer cells,” said Glenn Fried, Director of Core Facilities. “These images represent much more than art. They represent scientific breakthroughs and discoveries that will impact how we treat human diseases, produce abundant food, and fuel a technologically-driven society.”

By the way, there will be an Art of Science exhibit 4.0 later this year (2014), according to the IGB news release,

The Art of Science 4.0 exhibit will be held April 3–7, 2014 at the indi go Artist Co-Op gallery, with an opening reception on April 3.

You can find out more about the  Institute for Genomic Biology here..

A Planetary Order opens in Berlin’s (Germany) Christian Ehrentraut gallery on Jan. 10, 2014

Next Friday, January 10, 2014, artists Martin John Callanan, Rebecca Partridge, and Katie Paterson will be celebrating the opening of their new show, A Planetary Order, at Berlin’s Christian Ehrentraut gallery. From a Jan. 3, 2014 announcement here’s more about the show and the artists (Note: Links have been removed),

I {Martin John Callanan] would like to invite you to the first opening of 2014 in Berlin at Galerie Christian Ehrentraut, Friday 10 January 2014, 17-21h

A Planetary Order
Martin John Callanan, Rebecca Partridge, Katie Paterson
Galerie Christian Ehrentraut, Berlin
10 January – 15 February 2014

A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical.

The exhibition found it’s name in Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe) a 3D printed globe which, sitting directly on the gallery floor, on close inspection reveals the cloud cover of one single moment in time. This inconspicuous piece is in fact an ambitious ‘physical visualisation of real-time scientific data’ taken from cloud monitoring satellites overseen by NASA and the European Space Agency. [emphasis mine] Callanan’s transformation of data into artworks which articulate both the enormity of interconnected global systems and our place within them, continues with his most recent work, Departure of All; a flight departure board displaying the flight information for every international airport around the world. Running in real time, the speed of global transit creates a dizzying account of single moments.

Katie Paterson provides a counterpoint to this overwhelm with her imperceptibly slow work, As The World Turns; a record player which, rotating at the speed of the earth, plays Vivaldi’s Four Seasons audible through headphones to only the most attentive listener. As with Callanan, Paterson’s artwork occupies a space far greater than the actual work- activating an imaginative space which is both metaphysical and comic; the record player suggesting the turning earth which we are able to look down upon.   Along the long wall of the gallery hangs Rebecca Partridge’s Notes on The Sea, a series of twelve minimal photorealist paintings calmly depicting fog veiled seascapes as polarities of night and day. In this work the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, Partridge’s attempt to rationalize the epitomised romantic landscape is both meditative and absurd.

Martin John Callanan’s (1982, UK) artwork has been exhibited and published internationally, he has recently been awarded the prestigious Philip Leverhulme Prize for outstanding research within visual arts. Recent solo exhibiitons include Departure of All, Noshowspace (UK) and Martin John Callanan, Horrach Moya (Spain). His work has been shown as part of Open Cube White Cube, (UK), Along Some Sympathetic Lines, Or Gallery (Germany), Es Baluard Modern and Contemporary Art Museum (Mallorca), Whitechapel Gallery (UK), Ars Electronic Centre (Austria), ISEA, Future,Everything, Riga Centre for New Media Culture (Latvia), Whitstable Biennale (UK), and Imperial War Museum North (UK). Callanan graduated with an MFA from the Slade School of Fine Art, London in 2005, where he is currently Teaching Fellow in Fine Art Media. He lives and works in Berlin and London.

Rebecca Partridge (1976, UK) gained an MA in Fine Art from the Royal Academy Schools, London in 2007, since which time she has been exhibiting internationally. Recent solo exhibitions include In The Daytime at Kunsthalle CCA Andratx (Spain), Cabinet Paintings at Newcastle University, (UK), as well as numerous international group exhibitions most recently Verstand und Gefühl, Landscape und der Zeitgenössiche Romantik at Springhornhof Neuenkirchen. In 2008 she was awarded a fellowship from Terra Foundation of American Art in Giverny (France). Other awarded residencies include the Sanskriti Foundation (New Dehli, India); Kunsthalle CCA (Spain); Nes residency (Iceland) and the TIPP Program for Contemporary Art (Hungary). She is currently working on several curatorial projects and is a Lecturer on both BA and MA Fine Art at West Dean College, UK. She lives and works in Berlin and London.

Katie Paterson (1981, UK) graduated from the Slade School of Fine Art, London in 2007. Paterson’s work is known internationally, recent solo exhibitions include In Another Time, Mead Gallery (University of Warwick, UK) Katie Paterson, Kettle’s Yard (Cambridge, UK) Inside This Desert, BAWAG Contemporary (Vienna) and 100 Billion Suns at Haunch of Venison (London). Her works have been exhibited in major exhibitions such as the Light Show at the Hayward Gallery (London); Dissident Futures, Yerba Buena Centre for the Arts (San Francisco); Light and Landscape at Storm King Art Centre (Hudson Valley, USA); Marking Time at MCA (Sydney) Continuum at James Cohan Gallery (New York) and Altermodern at Tate Britain (UK). She is represented in collections including the Guggenheim (New York) and Scottish National Gallery of Modern Art (Edinburgh). She lives and works in Berlin.

I think, given the portion of text I’ve highlighted, this show could be described as an art/science effort. For those who like to see their visual art, here’s A Planetary Order (Terrestrial Cloud Globe) from Cullinan’s website ‘Cloud’ page,

Martin John Cullinan's A Planetary Order (Terrestrial Cloud Globe)  [downloaded from http://greyisgood.eu/globe/]

Martin John Cullinan’s A Planetary Order (Terrestrial Cloud Globe) [downloaded from http://greyisgood.eu/globe/]

Given the title of Katie Paterson’s piece, As the world turns, I wondered if she was familiar with the US television soap opera of the same name,, but she seems to be from the UK, I don’t think so. In any event, while this image is interesting I suspect the impact of the piece is lost if you can’t hear it (from the Planetary Order exhibition page for Paterson’s piece),

katie paterson: as the world turns, prepared record player, 2011 photo © peter mallet courtesy haunch of venison, london

katie paterson: as the world turns, prepared record player, 2011
photo © peter mallet
courtesy haunch of venison, london

 

Finally, here’s one of the Rebecca Partridge pieces from the Planetary Order exhibition page for Partidges’s piece),

rebecca partridge: notes on the sea: day- part 1, II, oil on board, 70 x 56 cm, 2013

rebecca partridge: notes on the sea: day- part 1, II, oil on board, 70 x 56 cm, 2013

You can find out more about the Christian Ehrentraut Gallery and A Planetary Order here, Martin John Cullinan and his work here,, Katie Paterson and her work here, and Rebecca Partridge and her work here. If you should happen to be in Berlin, I imagine the artists and the gallery owner would be happy to see you either at the opening or at some time from January 10 – February 15, 2013.

This all brought to mind a song written by Leonard Cohen, First We Take Manhattan (then, we take Berlin). Here’s Cohen performing the song in July 2013 in Berlin. You can get a better quality *sound by searching YouTube for other videos but I don’t think anything can top this Berlin crowd’s appreciation and Cohen’s response to it,

This runs a little longer than most of the videos I embed here at approximately 6.5 mins.

* ‘sounding by searching YouTube’ was changed to ‘sound by searching YouTube for other videos’ on Jan. 3, 2014 at 4:41 pm PDT.