The contest is for undergraduate students at the University of British Columbia (UBC) and the deadline is Wednesday, April 30, 2025 at 6 pm PT. I’ve got more about the contest from an April 23, 2025 Belkin Gallery (The Belkin) newsletter (received via email and it can be seen here for a limited time)
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Ars Scientia Essay Prize: The Art-Science Connection
Deadline: Wednesday, April 30 at 6 pm
$1,000 Prize for the Winning Entry
Ars Scientia, UBC’s interdisciplinary initiative at the intersection of art and science, welcomes all UBC undergraduate students across campus to participate in our 2025 Essay Prize. This is an opportunity to explore the profound and often catalyzing connections between these two fields. If we take the long view, art and science have been considered pursuits comfortably woven together for most of human history. Somehow over the past two centuries we lost sight of that holistic worldview and these disciplines became seemingly incompatible. You are invited to write an essay considering how art and science are inextricably linked in fundamental and generative ways, addressing specific examples you have encountered – in a lab, an experiment; in an exhibition, an artwork; perhaps a thought experiment.
Publication: The best essay will be published on the Ars Scientia website, featured in the Quantum Matter Institute’s newsletter, and shared through other relevant online platforms.
Length: 1000-word limit
Deadline: 6 PM PDT, Wednesday, 30 April, 2025
How to Submit: email your essay as a PDF attachment to: arsscientia@ubc.ca
As part of Ars Scientia’s mission to foster dialogue between artistic and scientific inquiry, this competition is an invitation for you to explore, challenge, and celebrate creative intersections of art and science. We look forward to your insights!
Good luck.
For anyone who’s curious about Ars Scientia, I have a lot more about this partnership between the University of British Columbia’s (UBC; Vancouver, Canada) Stewart Blusson Quantum Matter Institute (Blusson QMI), Morris & Helen Belkin Art Gallery (the Belkin), and its Department of Physics and Astronomy (UBC PHAS). Just search ‘Ars Scientia’ in this blog’s search engine.
The International Symposium on Electronic/Emerging Art is an annual (these days) symposium which is put on by ISEA International (formerly Inter-Society for the Electronic Arts) and is hosted in various parts of the world. Here’s more about the ISEA International from its About (Mission) webpage,
Mission ISEA International is an international non-profit organisation fostering interdisciplinary discussion and knowledge exchange among culturally diverse organisations and individuals working at the intersection of art, science, and technology.
Main Activity The organisation’s main activity is the International Symposium on Electronic/Emerging Art (ISEA), an annual symposium that contributes to knowledge in the fields of art, science, and technology; supports emerging approaches to research and practice on complex and relevant topics; generates knowledge and understanding from interdisciplinary and/or cross-sector perspectives by bringing together diverse communities of art practitioners and scholars. The international symposium provides an academic and artistic forum, including a conference and a wide array of exhibitions, presentations, performances, and public events. Each year, the symposium is held in a different country with the aim of encouraging and including diverse perspectives, and to serve as a cultural bridge between local and international communities of artists and researchers. The ISEA Board of Directors advises and guides the Host Organisations producing each ISEA edition.
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The location for ISEA 2025: some thoughts
The May 23 – 29, 2025 ISEA Symposium is being held in Korea (or South Korea), a location that has been experiencing some political upheaval as have many, many parts of the world. For example, there is a great deal of disquiet here in Canada regarding travel to the US (see April 10, 2025 Canadian Broadcasting Corporation’s [CBC] news online article by Sophia Harris “Canadian travel to the U.S. has plummeted. One reason why: fear“).
While there have been concerning events in Korea, the situation overall seems to have calmed down.
For anyone who’s familiar with the type of protests held in the US and to a lesser extent in Canada, this description of wandering into a recent protest in South Korea is revelatory, from a March 18, 2025 posting by Canadian gossip columnist, Elaine Lui (Lainey of laineygossip.com), Note: A link has been removed,
… Now that I’m actually in Korea, my feeds are dominated by K-entertainment news. And political news…that does not involve the person dominating the news in the west!
On Saturday [March 15, 2025] we came out of the subway and accidently [sic] joined a protest. The Constitutional Court of Korea is currently deliberating the case of President Yoon Suk Yeol. On Saturday protestors against the president took over city streets calling for his removal. There was also a rally held by his supporters and between the two events, the roads were jammed, the trains were packed, and the police were out in full force. But at no time in the three hours that we spent in that area did we feel a threat to our personal safety. It was a surreal thing to witness as a foreigner after all these years of American-dominated news coverage. According to The Korea Herald, the Court is is expected to deliver its ruling some time this week.
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The ruling from the Constitutional Court of Korea took a little longer than expected but it has now been made, from an April 3, 2025 CBC news online article by Murray Brewster,
South Korea’s Constitutional Court has formally upheld the impeachment of President Yoon Suk Yeol following an aborted attempt to declare martial law late last year [2024].
It is a move that will trigger a new round of elections and deepen the political divide in one the region’s more vibrant democracies. South Korea must hold an election within two months.
After deliberating since January, the court issued its unanimous ruling Friday in a nationally broadcast event that saw many ordinary Koreans pause to hear the judgment on Yoon’s political fate.
The justices said Yoon violated the basic rights of the people by declaring martial law.
“You’re witnessing the miracle of democracy in Korea with the ruling of the constitutional court,” Siheung Mayor Lim Byung-taek told a gathering of journalists visiting the west coast city as part of the World Journalists Conference.
Yoon, a staunch conservative, was impeached in December [2024] by the country’s National Assembly, which is controlled by the liberal opposition.
He ordered the deployment of hundreds of troops and police officers to the assembly after declaring martial law on Dec. 3 [2024]
Yoon said the decision was intended to maintain order, but subsequently some military and civilian officials testified the president had ordered them to drag out lawmakers to frustrate a floor vote on his decree and detain his political opponents.
In his defence, Yoon claimed that he didn’t intend to keep the country under martial law for very long, and he only wanted to highlight what he called the “wickedness” of the Democratic Party, which obstructed his agenda.
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On Friday, police mobilized an overwhelming presence to prevent clashes and possible acts of vandalism, arson and assault.
There were both pro- and anti-impeachment demonstrations on the streets of Seoul following the ruling, but no violence was reported.
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ISEA theme, ‘동동 (憧憧, Dong-Dong): Creators’ Universe’, May 23 – 29, 2025 in Seoul
I was hoping to find a video with examples of some of what visitors to ISEA 2025 might experience but the organizers had decided on a more minimalist approach. Happily, I found this, from the About/Theme webpage,
The ISEA2025 theme, ‘동동 (憧憧, Dong-Dong): Creators’ Universe’, aspires to transcend the harsh realities of conflict and antagonism, initiating a global wave of unity sparked by a newfound allure. Through the words of the legendary priestess Diotima, Socrates described love as the act of keeping something good within oneself forever, the giving birth to beauty. This “giving birth” or “creation” elevates humanity from a mundane existence to an eternal state. For this God-Man, boundaries become meaningless, replaced by the limitless possibilities of consciousness manifesting in various forms within the quantum realm.
The overarching theme of ISEA2025, ‘Dong-Dong’ is drawn from the phrase “Dong-Dong-Wang-Rae, Bung-Jong-E-Sa (憧憧往來 朋從爾思)” in the ancient Eastern philosophical text, I Ching (Book of Changes, 易經). This theme resonates with this universal life force of love. The imagery of individuals moving toward one another with longing underscores our increasingly fragmented existence, while the ongoing conflicts and devastations around the globe remind us of the ancient wisdom that says it is good to be together. The juxtaposition of global crises with our dazzling technological advancements compels us to reflect on the values that underpin our society today.
ISEA2025 endeavors to explore a new worldview that transcends the recurring theme of posthumanism in contemporary art, as well as the divisions between East and West, art and science, materiality and spirituality, and technology and humanity. Embodying the future envisioned by transnational artist Nam June Paik, our generation is privileged to bridge the disconnected and to embrace the spontaneity and serendipity that emerge from the pursuit of relationship and solidarity. Seoul, a city that epitomises the fusion of tradition and modernity, serves as the ideal platform for such creative exchanges. Its geopolitical significance as the capital of a divided nation further amplifies the meaning of ‘Dong-Dong.’
Art has historically illuminated human experience through its creation of timeless beauty. With the consciousness and the universe of its exalted creators blossoming through technology, we can transcend material and social barriers to aspire higher. May the childlike ‘Dong-Dong’ within our minds generate beautiful waves in our tumultuous reality, awakening the creator spirit in all of us.
The creators’ universe belongs to all who ‘Dong-Dong.’
We propose four Creators’ Imperatives for all participants of ISEA2025. Each creator is encouraged to embrace the symposium’s main theme, Dong-Dong, by adhering to these guidelines.
Entice (홀려라) | Captivate the Heart
Create experiences and narratives that deeply resonate on an emotional level, fostering genuine interest and engagement.
Entangle (엮어라) | Foster Mutual Resemblance
Encourage collaboration and cross-disciplinary interactions, allowing different perspectives to merge and evolve into innovative concepts and solutions.
Expand (펼쳐라) | Broaden Horizons
Open platforms for diverse participation, encouraging contributions from various entities, including humans and the universe, to foster a rich tapestry of creative output.
Establish (세워라) | Affirm Inter-connectedness
Develop systems and structures that highlight and support the connectivity of different components, ensuring a cohesive and sustainable growth path. Recognise Dong-Dong as a potential gateway to achieving holistic inter-connectedness.
To guide academic and artistic submissions for ISEA2025, the following sub-themes have been developed to explore ideas pertaining to Dong-Dong and the Creators’ Imperatives of ISEA2025, and to connect with the ongoing conversations, research, and intellectual inquiry within the ISEA community.
We invite varied approaches and methodologies that resonate with the notion of Dong-Dong and the Creators’ Imperatives of ISEA2025, and urge participants to explore the intersections of art, technology, and culture while embracing the interconnected actions of enticing, entangling, expanding, and establishing.
Digital Heritage
We recall themes of mutual attraction and inclusivity, anticipating creative reinterpretations of tradition. Imagination transcending boundaries will connect traditional culture with modern technology, suggesting new directions for a sustainable future. We aim for a space open to endless combinations and innovations, blending mythical imagination with contemporary advancements.
※ Special Track 1 : 5th Summit on New Media Art Archiving
As part of Digital Heritage, the 5th Summit on New Media Art Archiving will take place, inviting scholars, practitioners, and archivists to engage in discussions that advance the preservation and dissemination of media art. This event will explore innovative reinterpretations of tradition and promote sustainable practices in both physical and digital archiving.
Related Research Areas
History and Philosophy, Intangible Cultural Heritage, Speculative Design, Tangible Legacy, Technological Singularity, DB Collect, Digital Archive, Methodology of Collecting and Archiving Media Art, New Media Art Preservation, Online and Physical Archiving, History of Digital Culture
Techno-Human
As technology advances beyond human cognition, it is crucial to reflect on the beliefs and values driving this progress. We welcome works exploring new life phenomena, evolving human identity through technology, the future of techno-humanity, and the changing Earth environment, fostering imagination, contemplation, and critique.
※ Special Track 2 : Barriers and Alienation in Art X Tech Education
Special session for Techno-Human, we will hold the Barriers and Alienation in Art X Tech Education. Amidst the hype cycle of countless technologies, we are curious about the realities faced by educators, artists, scientists, and practitioners involved in art education mediated by technology. We encourage participants to share their experiences from educational settings that utilize a range of technologies, from high-tech to low-tech, and explore ways to move forward together.
Nam June Paik asserted that “the role of an artist is to contemplate the future.” By blending social imagination with artistic inspiration, creators can envision new future cities, particularly Seoul at ISEA2025. Inspired by the vision of a future city at the 1939-1940 New York World’s Fair we have adopted the theme ‘Neo Futurama’ for our exploration, seeking to reveal the possible developments of Seoul’s future. Our focus centres on Seoul in the year 2050, a time anticipated to be characterised by artificial intelligence and hyper-convergence. This year is also marked by the technological ‘Singularity,’ as postulated by Ray Kurzweil. We invite creators, especially future generations, to actively envision and propose the cities they aspire to see in the future.
Related Research Areas
Blockchain, Urban Media, Eastern Philosophies, Alternative Cities, Artificial Intelligence, Social Issues, Ecological Future, Collective Action, New Matter & Material, Future Transportation, Future Lifestyle, Singularity
Space Creative & The Stars
Space and celestial bodies have symbolised humanity’s yearning and dreams (동동, 憧憧, Dong-Dong) throughout history and across cultures; The jade rabbit Oktokki that lives on the moon in Korean mythology and Saint-Exupéry’s Le Petit Prince (The Little Prince) are just two of the beloved imagined figures embodying our cosmic sense of wonder. Space, the domain of celestial bodies and the stars, means both the physical expanse that encloses all tangible things and the ‘theatre of mind’ on which ideas and concepts are born and fostered. Space is therefore the enabler of the existence and the transformations of all creations– realisations of human desire and imagination– natural or manmade. Through the Space Creative & The Stars initiative, ISEA2025 aims to explore the varied senses of ‘space’ in creation–outer, literary, symbolic, urban, social, mental, physical, to name a few possibilities. We invite the global thinkers to build together the universe of Dong-Dong, a new home to ‘planetary thinking’ for the fate of humanity.
※ Special Track 3 : Nam June Paik – Live Science Fiction Movie
As part of Space Creative & The Stars, “Nam June Paik – Live Science Fiction Movie” will also take place, inviting scholars, researchers, and artists to engage in discussions that extend Nam June Paik’s philosophy and art. This event proposed by Nam June Paik Art Center will explore innovative ‘Live Science Fiction Movies’ inspired by Paik’s visionary ideas, continuing to challenge our perceptions of space and expand our imagination on this planet.
Related Research Areas
Space Science, Astronomy, Cosmic Web, Architecture and Spatialization, Spatial Music and Graphics, Science Fiction, Augmented/Virtual Reality and Metaverse, Social Constructs, Cognitive Science, Complex Systems, Planetary Thinking and Futurology
It looks pretty exciting to me. Should you be interested in going and haven’t already registered, they’ve extended Early Bird Registration to April 25, 2025 (KST). For those of us in Canada, I believe that Korea is across the International Dateline, which means you have until April 24, 2025. You can register early here; the registration fees are listed in Korean currency only.
I’m a little late to the party but there’s still time to make a submission (for Toronto-based artists in particular as there’s very little time left, also there’s no money to pay the artists or for shipping costs) for the 2025 edition of the SciArt Gallery event included as part of the cross-Canada Science Rendezvous festival.
Here’s more from an April 10, 2025 note I received (via email),
… We are the SciArt Gallery team and we are reaching out on behalf of Science Rendezvous. Science Rendezvous is a registered charitable organization dedicated to bringing exciting research, STEM experiences, and programming to the public. As the SciArt Gallery team, we work together with artists and organizations to create an exhibition inspired by science and the theme provided each year. Artists are welcome to sell their works, but we kindly ask that no baked goods be sold. Here is a link to our website for previous SciArt Gallery exhibitions: https://www.sciencerendezvousuoft.ca/2023-festival/sciart-gallery/ (might want to see if it can be updated to include the 2024 event).
… If you have any STEM [science, technology, engineering, and mathematics] inspired artwork to showcase, please sign-up through this link: https://forms.gle/zYCyeYUFEz34wcoJA. We welcome artists with interactive artwork, especially pieces designed to engage family audiences. The event is being held on May 10th, 2025 at the University of Toronto, St. George campus from 11 am to 5 pm. Deadline for the application is April 25th, 2025.
I found more information from the Open Call for artists – U of T [University of Toronto] Science Rendezvous SciArt Gallery 2025 page (accessed via this link: https://forms.gle/zYCyeYUFEz34wcoJA,
Open Call for artists – U of T Science Rendezvous SciArt Gallery 2025
Thank you for your interest in participating in this year’s sci-art gallery! Science-Rendezvous (SR) is a one-day festival that happens simultaneously at sites across Canada, showcasing local scientific research and programs. It is family-friendly and highly interactive, to promote interest in science and research. Best of all, it is FREE! Downtown Toronto is Canada’s largest festival, with over 40,000 attendees last year. If you’d like to learn more about SR and its different activities, please visit http://www.sciencerendezvous.ca/ and http://www.sciencerendezvousuoft.ca/ .
This year, our event will be on May 10, 2025 from 11 am – 5 pm, Front Campus (King’s College Circle).
Part of this wonderful celebration is the display of local science art, or sci-art at our SciArt Gallery. This can be in any medium, with any kind of subject relating to nature and/or science. The theme of this year’s Science Rendezvous is Wonder! While we, unfortunately, cannot pay our artists, we invite and encourage participating artists to sell their work.
At the conclusion of the event, a prize will be presented to the artist that receives the most public votes!
If you think you’d like to participate, please fill out the form below. We have volunteers that can help with set-up and clean-up, and we provide a free pizza lunch! We will follow up with more information as it becomes available.
The deadline for applying is 11:59 PMon Apr. 25th, 2025. If you apply after this date, there is no guarantee we will be able to accommodate you. If you’d like to contact us before applying for any reason, please email us at uoftsr.sciartgallery@gmail.com
Researchers at Virginia Commonwealth University (VCU; US) have challenged the findings in recent research that was highlighted here in a December 16, 2024 posting “van Gogh’s sky is alive with real-world physics.”
An April 1, 2025 news item (not an April Fool’s joke) on phys.org announces a conclusion that contradicts the original findings,
The Dutch master Vincent van Gogh may have painted one of Western history’s most enduring works, but “The Starry Night” is not a masterpiece of flow physics—despite recent attention to its captivating swirls, according to researchers from Virginia Commonwealth University and the University of Washington [state not district].
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Credit: Pixabay/CC0 Public Domain [downloaded from https://phys.org/news/2025-04-vincent-van-gogh-starry-night.html].
The post-Impressionist artist painted the work (often referred to simply as “Starry Night”) in June 1889, and its depiction of a pre-sunrise sky and village was inspired in part by the view from van Gogh’s asylum room in southern France. The painting is part of the permanent collection of the Museum of Modern Art in New York City.
Last year, a paper published in the September issue of Physics of Fluids – “Hidden Turbulence in van Gogh’s ‘The Starry Night’” – received considerable notice by positing that the eddies, or swirls, painted by van Gogh adhere to Kolmogorov’s theory of turbulent flow, which explains how air and water swirls move in a somewhat chaotic pattern. “[van Gogh] was able to reproduce not only the size of whirls/eddies, but also their relative distance and intensity in his painting,” the paper read.
However, those conclusions are unfounded, according to Mohamed Gad-el-Hak, Ph.D., the Inez Caudill Eminent Professor in VCU’s Department of Mechanical and Nuclear Engineering, and James J. Riley, Ph.D., the inaugural Paccar Professor of Mechanical Engineering at the University of Washington. Their report – “Is There Hidden Turbulence in Vincent van Gogh’s ‘The Starry Night’?” – appears in the latest issue of Journal of Turbulence.
A December 11, 2024 news item on ScienceDaily describes research into preserving street art such as that found on the Berlin Wall,
Street art takes many forms, and the vibrant murals on the Berlin Wall both before and after its fall are expressions of people’s opinions. But there was often secrecy around the processes for creating the paintings, which makes them hard to preserve. Now, researchers reporting in the Journal of the American Chemical Society have uncovered information about this historic site from paint chips by combining a handheld detector and artificial intelligence (AI) data analysis.
“The research highlights the powerful impact of the synergy between chemistry and deep learning in quantifying matter, exemplified in this case by pigments that make street art so captivating,” says Francesco Armetta, a co-author of the study.
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For anyone unfamiliar with the Berlin Wall (Wikipedia entry), it divided east from west in the city of Berlin when East Germany was part of the Union of Soviet Socialist Republics (USSR),
This image of the Berlin Wall was taken in 1986 by Thierry Noir at Bethaniendamm in Berlin-Kreuzberg.CC BY-SA 3.0
To restore or conserve art, it’s important to collect information on the materials and application techniques. But the painters of the Berlin Wall didn’t document this. In previous studies of other historic artifacts, scientists brought fragments or even whole objects into the lab and, without destroying the samples, identified pigments on them using a technique known as Raman spectroscopy. Although handheld Raman devices are available for on-site investigations, they lack the precision of full-sized laboratory equipment. So, Armetta, Rosina Celeste Ponterio and colleagues wanted to develop an AI algorithm that could analyze the output of portable Raman devices to more accurately identify pigments and dyes. In an initial test of the new approach, they analyzed 15 paint chips from the Berlin Wall.
The researchers first magnified the chips and observed that they all had two or three layers of paint with visible brush strokes. The third layer in contact with the masonry appeared white, which they suggest is from a base coat used to prepare the wall for painting. Next, the researchers used a handheld Raman spectrometer to analyze the chips and compared them to spectra collected from a commercial pigment spectra library. They identified the primary pigments in the samples as: azopigments (yellow- and red-colored chips), phthalocyanins (blue and green chips), lead chromate (green chips) and titanium white (white chips). These results were confirmed with other non-destructive techniques, including X-ray fluorescence and optical fiber reflectance spectroscopy.
Then, the researchers mixed pigments from a commercial acrylic paint brand (used in Germany since the 1800s) with different ratios of titanium white, trying to match colors and the range of tints typical for painters. A knowledge of these ratios could help art conservators prepare the right materials for restoration, say the researchers. Using the mixtures’ handheld Raman spectral data, they trained a machine learning algorithm to determine the percentage of pigment. The approach indicated that the Berlin Wall paint chips contained titanium white and up to 75% of pigment, depending on the piece analyzed and according with the color tone. The researchers say these results indicate that their AI model could provide high-quality information for art conservation, forensics and materials science in settings where it’s hard to bring lab equipment to a site.
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Caption: Close examination of these chips, labeled according to their blue, yellow or red color, that once belonged to art on the Berlin Wall reveals brushstrokes, multiple layers and the pigments used. Credit: Adapted from the Journal of the American Chemical Society 2024, DOI: 10.1021/jacs.4c12611
Natural materials that have evolved in plants and animals often display spectacular mechanical and optical properties. For example, spider silk is as strong as steel and tougher than Kevlar, which is used in bullet-proof vests. Inspired by nature, chemists are now synthesizing materials that mimic the structures and properties of shells, bones, muscle, leaves, feathers, and other natural materials. In this talk, I will discuss our recent discovery of a new type of coloured glass that is a mimic of beetle shells. [emphasis mine] These new materials have intriguing optical properties that arise from their twisted internal structure, and they may be useful for emerging applications..
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At the talk, MacLachlan mentioned that his new structurally iridescent material received great interest from the architectural community but since producing it was a painstaking process for a minute quantity, it would not be suitable as a building material.
A few years later I stumbled across some work at Cornell University where material scientists and Korean artist Kimsooja were working on what looks like an iridescent art/science piece, from a September 15, 2014 posting,
For her newest work, Korean artist Kimsooja wanted to explore a “shape and perspective that reveals the invisible as visible, physical as immaterial, and vice versa.” As artist-in-residence for the Cornell Council for the Arts’ (CCA) 2014 Biennial, she has realized that objective with “A Needle Woman: Galaxy was a Memory, Earth is a Souvenir,” to be installed on the Arts Quad next week [Sept. 15 – 19, 2014]. It will be one of several installations on campus for the semester-long biennial, “Intimate Cosmologies: The Aesthetics of Scale in an Age of Nanotechnology,” beginning Sept. 18 [2014] with a talk by Kimsooja.
Here’s how ‘Needle Woman’ looked after fabrication,
Jaeho Chong Pieces of Kimsooja’s “Needle Woman” artwork during fabrication in Shanghai show the polymer film developed by Cornell researchers
Creating materials that change color based on viewing angle represents a significant challenge at the intersection of art and science. Natural examples of this phenomenon, called iridescence, appear in butterfly wings, peacock feathers, and opals. Unlike traditional pigments that absorb specific wavelengths of light, these natural materials use microscopic structures to split light into different colors. This “structural color” approach creates pure, vibrant hues that don’t fade over time and require no potentially toxic pigments.
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A collaboration between Cornell University materials scientists and Korean-American artist Kimsooja has now yielded a practical solution to this challenge. The team developed a method for creating large-scale, durable iridescent coatings, demonstrated through a 46-foot-tall architectural installation titled A Needle Woman: Galaxy was a Memory, Earth is a Souvenir. Initially exhibited at Cornell under the auspices of the Cornell Council for the Arts, the installation now stands as part of the permanent collection at Yorkshire Sculpture Park in Wakefield, UK, where it has maintained its striking optical properties for over a decade.
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The breakthrough relies on custom-designed plastic molecules that automatically arrange themselves into regular patterns. These molecules consist of two different types of plastic chemically bonded together – polystyrene and poly(tert-butyl methacrylate). When properly designed, thousands of these dual-component molecules spontaneously stack into alternating layers, creating a natural grating that splits light into different colors.
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The key innovation came in synthesizing these molecules at unprecedented sizes – about 1000 times longer than typical plastic molecules. At this scale, the self-assembled layers naturally form patterns around 300-400 nanometers in spacing, large enough to interact with visible light. The researchers then developed a precise coating method to apply these materials while maintaining their self-organized structure.
The scale-up process presented numerous challenges. Each production batch yielded only about 35-40 grams of usable material, with half the attempts failing due to the extreme sensitivity to air and water during synthesis. The installation required roughly 500 grams of material to coat all panels. The team developed a custom two-liter reactor equipped with specialized mixing equipment to increase production scale while maintaining precise control over reaction conditions.
Color consistency posed another challenge. Different batches of the polymer produced slightly different colors due to variations in molecular size. The researchers developed two solutions: blending multiple batches to achieve consistent colors and adding precise amounts of shorter polymer chains to fine-tune the optical properties.
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The team also solved the challenge of applying these coatings to curved surfaces through a specialized lamination technique. They first created the color-shifting layer on flat, flexible plastic sheets, then sandwiched it between protective layers before carefully adhering it to curved acrylic panels. This approach preserved the optical properties while protecting the coating from environmental damage.
Molecules to Masterpieces: Bridging Materials Science and the Arts by Ferdinand F. E. Kohle, Hiroaki Sai, William R. T. Tait, Peter A. Beaucage, Ethan M. Susca, R. Paxton Thedford, Ulrich B. Wiesner. Advanced Materials DOI: https://doi.org/10.1002/adma.202413939. First published online: 05 December 2024
A December 4, 2024 news item on phys.org announces a new anti-counterfeiting technology from South Korea, Note: A link has been removed,
In a significant advancement in the field of anti-counterfeiting technology, Professor Jiseok Lee and his research team in the School of Energy and Chemical Engineering at UNIST [Ulsan National Institute of Science and Technology] have developed a new hidden anti-counterfeiting technology, harnessing the unique properties of silver nanoparticles (AgNPs). The results are published in Advanced Materials.
“The technology we have developed holds significant promise in preventing the counterfeiting of valuable artworks and defense materials, particularly in scenarios where authenticity must be verified against potential piracy,” Professor Lee explained.
Abstract Silver nanoparticles (AgNPs) are known for their unique plasmonic colors and interaction with light, making them ideal for color printing and data encoding. Traditional methods like electron beam lithography (EBL) and focused ion beam (FIB) milling, however, suffer from low throughput and high costs. In this paper, a scalable and cost-efficient method is introduced for producing multiplexed plasmonic colors by in situ photoreducing AgNPs within microgel architectures with controlled porosity. Utilizing a digital micro-mirror device (DMD)-based flow microlithography system combined with a programmable dithering-mask technique, the high-throughput synthesis of shape or barcoded microparticles is facilitated, along with large-scale, high-resolution images embedded with hidden multiplexed plasmonic colors. This approach allows for a hidden multiplexed plasmonic color code library, significant enhancing the encoding capacity of barcode microparticles from 33 to 303 (a 1000-fold increase). Additionally, quantitative agreement is achieved between chemically encrypted and optically decrypted plasmonic colors using a deep learning classifier. Moreover, the method also supports the production of large scale (>5.6 × 5.6 cm2), high-resolution (>300 dpi) microgel arrays encrypted with multiple plasmonic colors in under 30 min. The multiplexed plasmonic coloration strategy in microgel architectures paves a new way for hidden data storage, secure optical labeling, and anti-counterfeiting technologies.
The portrait of Mookpododo—an ink on-silk painting of grapes featured on the genuine Korean ₩50,000 bill—radiates a bright fluorescent green, an effect achieved through security ink that is visible under ultraviolet (UV) light. This feature remains concealed from the naked eye and is intended for use by professionals in financial institutions and other high-security environments.
[see news item]
The team leveraged the inherent disadvantage of AgNPs, which tend to discolor upon exposure to UV light, to create a controlled color development process. By trapping silver nanoparticles within a polymer matrix, researchers can manipulate particle size and, consequently, the color emitted under UV light. Larger polymer nets yield silver nanoparticles that appear yellow, while smaller nets produce a red hue, allowing for precise control of the resultant colors based on ingredient combinations.
Using these high-molecular structures as pixels, the research team successfully crafted high-resolution color images. Utilizing an automated photo-etching technique, they reduced the fabrication time to one-tenth of traditional methods, producing an image of a parrot larger than a standard business card in just 30 minutes. This digital process allows for flawless color printing, with precise control over saturation and tone.
In addition to images, anti-counterfeiting data can be discreetly embedded in arrangements of polymer structures that resemble red, yellow, and blue barcodes. The color response varies with UV exposure time, allowing for the storage of temporal information within the barcode structure. This innovative approach enables information storage capabilities to increase over 1,000-fold compared to conventional methods, with a potential for unlimited data encoding by arranging barcode particles without additional synthesis.
To enhance the reliability of this technology, the research team developed an artificial intelligence algorithm capable of analyzing barcode authenticity. This AI system boasts a remarkable reliability rate of 98.36%, distinguishing genuine barcodes from counterfeit ones by assessing material composition, UV exposure duration, and barcode integrity.
“The simplicity of the manufacturing process and the reproducibility of colors present a substantial opportunity for the advancement of information encryption systems, particularly in anti-counterfeiting applications,” stated Byungcheon Yoo, the lead author of the study.
The groundbreaking findings from this research were published in the online version of Advanced Materials on November 20, 2024. This research was supported by the National Research Foundation of Korea (NRF).
From a March 10, 2025 ArtSci Salon notice (received via email and visible here as of March 13, 2025), Note: I have reorganized this notice to put the events in date order and clarified for which event you are registering,
The ArtSci Salon (The Fields Institute) in collaboration with the NewONE program (U of T [University of Toronto]) are pleased to invite you to 3 engagements with Berlin-based interdisciplinary artist Kaethe Wenzel
Urban Pictograms Workshop March 20, 2025, 2:30-4:00 pm [ET[ William Doo Auditorium, 45 Willcocks street [sic]
A workshop to challenge the urban rules and cultural stereotypes of street signs
This workshop is part of the programming of the NewONE: learning without borders, New College, University of Toronto. Throughout the academic year, our classes have been exploring important issues pertaining to social justice. During this workshop, we invite students and members of the community to work together to create urban pictograms (or urban stickers) that challenge inequalities and reaffirm principles of social justice. A selected number of pictograms will be displayed on the windows of the D.G Ivey New College Library and will be launched on April 3 [2025] at 4:30 pm [ET].
Public talk: Urban organisms. Re-imagining urban ecologies and collective futures March 27 [2025], 5 pm [ET], Room 230 The Fields Institute for Research in Mathematical Sciences 222 College Street
After all, the world is being produced collectively, across the borders of time and geography as well as across the boundaries of the individual. –Kaethe Wenzel
Join us in welcoming Berlin-based interdisciplinary artist Kaethe Wenzel. Wenzel has used a diverse variety of media and material such as textiles, found items, animal bones, plants, soil and other organic material, as well as small electronics to produce urban interventions and objects of speculative fiction at the intersection of art, science and technology. Wenzel challenges the notion of the artwork as an object to be observed in a gallery or museum, and the gallery as a constrained space with relatively limited interactions. Her extensive body of work extends to building facades, billboards, entire neighborhoods and the city, translating into urban interventions to explore the collective production of culture and the creation and negotiation of public space.
Public launch of Urban Pictograms Thursday, April 3, 2025, 4 pm [ET] onwards Windows of D.G Ivey Library, 20 Willcocks Street, New College, University of Toronto
Should you be in Johannesburg, South Africa in February 2025 or after, you can experience a 360° immersion (that doesn’t require a VR headset) into various areas of science according to a November 12, 2024 University of the Witwatersrand press release (also on EurekAltert but published November 13, 2024),
The Wits Anglo American Digital Dome – a place of infinite possibilities – will forever change how South Africans teach, research, and engage with science, technology, business, sport, the humanities and the arts, in a multidisciplinary facility.
The new Wits Anglo Digital Dome offers a 360° immersive experience for visitors of all ages, with a variety of shows for young and old. It will also serve as a modern teaching venue and a collaborative research space where scientists and students can visualise their work – be it in big data, astrophysics, the digital arts, artificial medicine [maybe artificial intelligence in medicine?], microbiology, or precision medicine.
The new Digital Dome will open to the public in February 2025. …
First completed in 1960, the old Planetarium was the first full sized Planetarium in Africa. The new Digital Dome is the largest of its kind in the southern hemisphere, made possible through an investment of R90 million from Anglo American [Anglo American is a global mining company] and Wits University.
“For the past 64 years, the Planetarium has entertained, inspired and educated millions of visitors from Gauteng and beyond,” says Professor Zeblon Vilakazi (FRS), Vice-Chancellor and Principal of Wits University. “Personally, I visited the old Planetarium in 1981 at the height of apartheid. It left a huge and indelible mark on me, and I believe that it played a key role in igniting a scientific spark that led to me becoming a nuclear physicist. Through the Wits Anglo American Digital Dome, we hope to continue inspiring people from various disciplines including those working in climate modelling, artificial intelligence and the digital arts.”
The development of Johannesburg is intrinsically intertwined with the origins and growth of Wits, Anglo American, and mining.
Duncan Wanblad, Chief Executive of Anglo American says: “At Anglo American, we see investment in tertiary education as vital for advancing knowledge, driving innovation, and boosting economic growth. Universities are hubs of research and development, producing skilled professionals who tackle global challenges and push technological and scientific boundaries. Infrastructure like the Digital Dome enable this progress, providing students with specialised skills, enhancing job prospects and earning potential while contributing to broader societal and economic transformation.”
He adds: “It is inspiring to witness the power of partnerships, which is even more invigorating through this initiative. We have a long history with Wits and Johannesburg, and we are proud of the efforts made to rebuild the City. The new Wits Anglo American Digital Dome is a demonstration of our legacy and continued commitment not only to this institution but to the nation as a whole. This new space is designed to inspire and ignite interest in the science, technology, engineering, and mathematics disciplines for generations to come.”
What’s new?
The original Zeiss projector has been replaced by 10 brand new digital projectors to render an 8k full dome resolution. Each projector has its own image generator, which is controlled by a master computer. The sound in the Digital Dome has also been upgraded to an 8.2 audio system. The refurbished facility includes the new digital projection and sound systems and auditorium seating, with the possible future creation of a Science and Technology Exploratorium. A new north wing expansion houses operational offices, exhibition areas, and specialised spaces for Digital Dome show planning and design.
“We have created a high-tech 360 immersive experience,” says Dr Moumita Aich, the Head of the Wits Anglo American Digital Dome. “Visitors, students and researchers will enjoy an immersive experience and will feel as if they are part of the shows – whether they are gliding through the middle of the International Space Station or following a herd of wildebeest through the migrations in the Serengeti. These shows aim to entertain people of all ages, with different interests, using the latest technology – the possibilities are infinite.”
When does it open to the public?
The Wits Anglo American Digital Dome will enter a pilot phase from November to the end of January 2025 and is expected to open its doors to the broader public in February 2025. The first shows to be viewed in the Digital Dome include a set of six full dome shows, donated by the American Museum of National History [s.b. American Museum of Natural History].
In lieu of gifts for attendees of the launch event, Wits and Anglo American will make funds available that will allow access to learners from selected quintile 1 – 3 schools to attend shows at no cost at the Wits Anglo American Digital Dome in 2025.
And what’s next?
Wits is home to talented scholars, and it is important for Africans to develop our own content, within our own context. Phase 3 of the project entails building a wing which will house studios and look towards developing content locally in conjunction with the Wits School of Arts, Digital Arts, the Tshimologong Digital Innovation Precinct, and other partners. It will also link to Wits’ new AI Institute that will be launched on 19 November [2024] in the Digital Dome.
You can find the Wits Anglo American Digital Dome website here. It seems they had a ‘soft’ opening (pilot) in preparation for the big launch sometime in February 2025. (I can’t find a specific date for the February opening.)
The Wits Anglo American Digital Dome, a state-of-the-art facility promising an unparalleled immersive experience, will officially open its doors to the public on Saturday, 1 February 2025. This transformative space offers a fusion of education, entertainment, and innovation, ready to inspire audiences of all ages.
Opening Weekend Highlights To mark this exciting occasion, the Dome will host two spectacular shows on opening day:
10:00 AM: Race to Earth – A captivating children’s adventure sure to delight young minds.
12:30 PM: Cosmic Collisions – A thrilling exploration of the universe, perfect for adults and teens.
Thereafter, the Dome will be open to the public on Fridays and Saturdays.
Fridays: One evening show at 7:00 PM.
Saturdays: Two shows – Race to Earth at 10:00 AM and Cosmic Collisions at 12:30 PM.
Tickets are priced at R70 for adults and R40 for children under 18 and seniors. Please note, for health and safety reasons and potential for visual overstimulation, children under five years old will not be admitted.
Visitor Information Although catering is not currently available at the Dome, visitors can enjoy various dining options located across the Wits University campus. For more details about visiting the Dome, please visit https://digitaldome.wits.ac.za or call 011 717 1390.
A New Era of Discovery
The Wits Anglo American Digital Dome promises to revolutionise how South Africans engage with science, technology, and the arts. Featuring a groundbreaking 360° immersive experience, it is the largest facility of its kind in the southern Africa and an innovation hub for education, research, and entertainment.
One last note, I find the multidisciplinary nature of their plans (science, technology, business, sport, the humanities and the arts) particularly exciting. Bravo!
There’s just a week to go till The Space’s conference and we’re pleased to confirm our speakers for each of the roundtable talks on Day 1 and 2. There’s lots that will be of interest, including:
* A timely debate about how to make online communities safer * In introduction to CreaTech – a £6.75 million investment to develop small, micro- and medium-sized businesses specialising in creative tech like video games and immersive reality – find out how to get involved * Discussions on the role of artists in a digital world * Explorations of digital accessibiliy, community ownership, engagement and empowerment.
Day 1 Digital communities and online harms Wednesday 12 February
Digital accessibility, inclusion and community
Roundtable 1 How can we think differently about how we create digital content and challenge assumptions about what culture looks like? Exploring community ownership, engagement and empowerment through digital.
Zoe Partington – Acting CEO DaDa, Artist and Disability Consultant
Rachel Farrer – Associate Director, Cultural and Community Engagement Innovation Ecosystem, Coventry University
Jo Capper – Collaborative Programme Curator, Grand Union
Reducing online harms, how to make social media and online communities safer
Roundtable 2 In a world of increasingly polarised online spaces, what are the emerging trends and challenges when engaging audiences and building communities online?
Dr Rianna Walcott – Assistant Professor of Communication, University of Maryland
Day 2 The role of artists in a digital world Thursday 13 February
Calling all in the West Midlands!
Day 2 is taking place in person as well as streaming online. If you’d like to join us in person at the STEAMhouse in Birmingham, please register for free below.
As well as joining us for the great roundtables we have lined up, there’ll be a great chance to network in between sessions over lunch. Look forward to seeing you there!
CreaTech, the Digital West Midlands and beyond – Local and Global [CreaTech is an initiative of the UK’s Creative Industries Council]
Roundtable 1 An introduction to CreaTech – a £6.75 million investment to develop small, micro- and medium-sized businesses specialising in creative tech like video games and immersive reality. Creatives and academics from across the Midlands and further afield discuss arising opportunities and what this means for the region and beyond.
Richard Willacy – General Director, Birmingham Opera Company
Tom Rogers – Creative Content Producer, Birmingham Royal Ballet
Lamberto Coccioli – Project lead, CreaTech Frontiers, Professor of Music and Technology at the Royal Birmingham Conservatoire (BCU)
Rachel Davis – Director of Warwick Enterprise, University of Warwick
Platforming artists and storytellers – are artists and storyteller missing from modern discourse?
Roundtable 2 Artists and storytellers have historically played pivotal roles in shaping societal narratives and fostering cultural discourse. However, is their presence in mainstream discussions diminishing?
Javaad Alipoor – Artistic Director, Javaad Alipoor Company
If you got to The Space’s Digital Culture Talks 2025 webpage, you’ll find a few more details. Clicking on the link to register will give you the event time appropriate to your timezone.
Welcome to The Space. We help the arts, culture and heritage sector to engage audiences using digital and broadcast content and platforms.
As an independent not-for-profit organisation, our role is to fund the creation of new digital cultural content and provide free training, mentoring and online resources for organisations, artists and creative practitioners.
We are funded by a range of national and regional agencies, to enable you to build your digital skills, confidence and experience via practical advice and hands-on experience. We can also help you to find ways to make your digital content accessible to new and more diverse audiences.
We also offer a low-cost consultancy service for organisations who want to develop their digital cultural content strategy.
