Monthly Archives: November 2019

Science Slam on November 29, 2019 and Collider Cafe: Art. Science. Analogies. on December 4, 2019 in Vancouver, Canada

Starting in date order:

Science Slam in Vancouver on November 29, 2019

I first featured science slams in a July 17, 2013 posting when they popped up in the UK although I think they originated in Germany. As for Science Slam Canada, I think they started in 2016, (t least, that’s when they started their twitter feed).

As for the upcoming event, here’s more from Science Slam Vancouver’s event page (on the ‘at all events in’ website),

Science Slam YVR at Fox
It’s beginning to look a lot like … it’s time to have another Science Slam at the Fox!

For those of you who have never experienced the wonder of Science Slam, welcome! We are Vancouver’s most epic science showdown. Sit back, relax, and watch as our competitors battle to achieve science communication fame and glory.

What exactly is a science slam? Based on the format of a poetry slam, a science slam is a competition where speakers gather to share their science with you – the audience. Competitors have five minutes to present on any science topic without the use of a slideshow and are judged based on communication skills, audience impact and scientific content. Props and creative presentation styles are encouraged!

Whether you’re a researcher, student, educator, artist, or communicator, our stage is open to you. If you’ve got a science topic you’re researching, or just a topic you’re excited about, send in an application! If you’re not sure about an idea, just ask!

Application link: https://forms.gle/y5nQZwLzVUcRiHZT9

YouTube channel (for creative inspiration): https://www.youtube.com/channel/UCWmI8llf3pAW5xtbvnXmsog

*Early Bird Tickets are $10, Regular are $12. [emphasis mine] Purchase them here:
https://www.eventbrite.com/e/science-slam-at-fox-tickets-80868462749

Doors open at 7pm, event begins at 7:30pm. We’ll see you there!

Accessibility Notes:

Science Slam acknowledges that this event takes place on the traditional, ancestral, and unceded territory of the Squamish, Sto:lo, Musqueam, and Tsleil Waututh Nation. Many of our attendees, Science Slam included, are are guests of these territories and must act accordingly.

Science Slam is an inclusive event, as a result hate speech and abuse will not be tolerated. This includes anti-blackness, anti-indigenous, transphobia, homophobia, biphobia, islamophobia, xenophobia, fatphobia, ableism, transmisogyny, misogyny, femmephobia, cissexism, and anti-immigrant attitudes.

Ticket Information Ticket Price
*General Admission CAD 14
*Early Bird Ticket CAD 12 [emphases mine]

I went to the eventbrite website where you can purchase tickets and the prices reflect the first set in the announcement. Early bird tickets are sold out, which leaves you with General Admission at $12.

Collider Cafe in Vancouver on December 4, 2019

I think they were tired when they (CuriosityCollider.org) came up with the title for the upcoming Collider Cafe December 2019 event. Unfortunately, the description isn’t too exciting either. On the plus side, their recent Invasive Systems Collisions Festival was pretty interesting and one of the exhibits from that festival is being featured (artist: Laara Cerman; scientist: Scott Pownell)..

Here’s more about the upcoming Collider Cafe from their November 27, 2019 announcement (received via email),

Art. Science. Analogies.

Let analogies guide us through exploring the art and science in chemistry, nature, genetics, and technology.

Our #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science to meet, discover, and connect. Are you curious? Join us at “Collider Cafe: Art. Science. Analosiges.” to explore how art and science intersect in the exploration of curiosity.

When: 8:00pm on Wednesday, December 4, 2019. Doors open at 7:30pm.
Where: Pizzeria Barbarella. 654 E Broadway, Vancouver, BC (Google Map).
Cost: $5-10 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

//Special thanks to Pizzeria Barbarella for hosting the upcoming Collider Cafe!//

With speakers:
Vance Williams (Chemistry) – Crystalline Landscapes
Laara Cerman (Art & Nature) and Scott Pownell (Genetics) – Flora’s Song (DNA Sonification)
Chris Dunnett (Multidisciplinary Art) – Poetry of Technology

Plus, interact with Laara and Scott’s work “Flora’s Song No. 1 in C Major” – a hand-cranked music box that plays a tune created from the DNA of local invasive plants.

Also, CC Creative Director Char Hoyt will share highlights from our annual art-science festival Collisions Festival: Invasive Systems.

Head to the Facebook event page – let us know you are coming and share this event with others! Follow updates on Instagram via @curiositycollider or #ColliderCafe. 

Back to me, I’m still struggling with this hugely changed Word Press, which they claim is an ‘improvement’. In any case, for this second event, I decided that choosing a larger font size was superior to putting everything into a single block as I did for the Science Slam event. Please let me know if you have any opinions on the matter in the comments section.

Moving on, don’t expect Chris Dunnett’s presentation ‘Poetry of Technology’ to necessarily feature any poetry, if his website is any indication of his work. Also, I notice that Vance Williams is associated with 4D Labs at Simon Fraser University. At one time, 4D Labs was a ‘nanotechnology’ lab but at this time (November 29, 2019), it seems they are a revenue-producing group selling their materials expertise and access to their lab equipment to industry and other academic institutions. Still, Williams may feature some nanoscale work as part of his presentation.

Large Interactive Virtual Environment Laboratory (LIVELab) located in McMaster University’s Institute for Music & the Mind (MIMM) and the MetaCreation Lab at Simon Fraser University

Both of these bits have a music focus but they represent two entirely different science-based approaches to that form of art and one is solely about the music and the other is included as one of the art-making processes being investigated..

Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University

Laurel Trainor and Dan J. Bosnyak both of McMaster University (Ontario, Canada) have written an October 27, 2019 essay about the LiveLab and their work for The Conversation website (Note: Links have been removed),

The Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University is a research concert hall. It functions as both a high-tech laboratory and theatre, opening up tremendous opportunities for research and investigation.

As the only facility of its kind in the world, the LIVELab is a 106-seat concert hall equipped with dozens of microphones, speakers and sensors to measure brain responses, physiological responses such as heart rate, breathing rates, perspiration and movements in multiple musicians and audience members at the same time.

Engineers, psychologists and clinician-researchers from many disciplines work alongside musicians, media artists and industry to study performance, perception, neural processing and human interaction.

In the LIVELab, acoustics are digitally controlled so the experience can change instantly from extremely silent with almost no reverberation to a noisy restaurant to a subway platform or to the acoustics of Carnegie Hall.

Real-time physiological data such as heart rate can be synchronized with data from other systems such as motion capture, and monitored and recorded from both performers and audience members. The result is that the reams of data that can now be collected in a few hours in the LIVELab used to take weeks or months to collect in a traditional lab. And having measurements of multiple people simultaneously is pushing forward our understanding of real-time human interactions.

Consider the implications of how music might help people with Parkinson’s disease to walk more smoothly or children with dyslexia to read better.

[…] area of ongoing research is the effectiveness of hearing aids. By the age of 60, nearly 49 per cent of people will suffer from some hearing loss. People who wear hearing aids are often frustrated when listening to music because the hearing aids distort the sound and cannot deal with the dynamic range of the music.

The LIVELab is working with the Hamilton Philharmonic Orchestra to solve this problem. During a recent concert, researchers evaluated new ways of delivering sound directly to participants’ hearing aids to enhance sounds.

Researchers hope new technologies can not only increase live musical enjoyment but alleviate the social isolation caused by hearing loss.

Imagine the possibilities for understanding music and sound: How it might help to improve cognitive decline, manage social performance anxiety, help children with developmental disorders, aid in treatment of depression or keep the mind focused. Every time we conceive and design a study, we think of new possibilities.

The essay also includes an embedded 12 min. video about LIVELab and details about studies conducted on musicians and live audiences. Apparently, audiences experience live performance differently than recorded performances and musicians use body sway to create cohesive performances. You can find the McMaster Institute for Music & the Mind here and McMaster’s LIVELab here.

Capturing the motions of a string quartet performance. Laurel Trainor, Author provided [McMaster University]

Metacreation Lab at Simon Fraser University (SFU)

I just recently discovered that there’s a Metacreation Lab at Simon Fraser University (Vancouver, Canada), which on its homepage has this ” Metacreation is the idea of endowing machines with creative behavior.” Here’s more from the homepage,

As the contemporary approach to generative art, Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning to develop software that partially or completely automates creative tasks. Through the collaboration between scientists, experts in artificial intelligence, cognitive sciences, designers and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, be they embedded in interactive experiences or integrated into current creative software. Scientific research in the Metacreation Lab explores how various creative tasks can be automated and enriched. These tasks include music composition [emphasis mine], sound design, video editing, audio/visual effect generation, 3D animation, choreography, and video game design.

Besides scientific research, the team designs interactive and generative artworks that build upon the algorithms and research developed in the Lab. This work often challenges the social and cultural discourse on AI.

Much to my surprise I received the Metacreation Lab’s inaugural email newsletter (received via email on Friday, November 15, 2019),

Greetings,

We decided to start a mailing list for disseminating news, updates, and announcements regarding generative art, creative AI and New Media. In this newsletter: 

  1. ISEA 2020: The International Symposium on Electronic Art. ISEA return to Montreal, check the CFP bellow and contribute!
  2. ISEA 2015: A transcription of Sara Diamond’s keynote address “Action Agenda: Vancouver’s Prescient Media Arts” is now available for download. 
  3. Brain Art, the book: we are happy to announce the release of the first comprehensive volume on Brain Art. Edited by Anton Nijholt, and published by Springer.

Here are more details from the newsletter,

ISEA2020 – 26th International Symposium on Electronic Arts

Montreal, September 24, 2019
Montreal Digital Spring (Printemps numérique) is launching a call for participation as part of ISEA2020 / MTL connect to be held from May 19 to 24, 2020 in Montreal, Canada. Founded in 1990, ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. For 2020, ISEA Montreal turns towards the theme of sentience.

ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
CALL FOR PARTICIPATION: WHY SENTIENCE? ISEA2020 invites artists, designers, scholars, researchers, innovators and creators to participate in the various activities deployed from May 19 to 24, 2020. To complete an application, please fill in the forms and follow the instructions.

The final submissions deadline is NOVEMBER 25, 2019. Submit your application for WORKSHOP and TUTORIAL Submit your application for ARTISTIC WORK Submit your application for FULL / SHORT PAPER Submit your application for PANEL Submit your application for POSTER Submit your application for ARTIST TALK Submit your application for INSTITUTIONAL PRESENTATION
Find Out More
You can apply for several categories. All profiles are welcome. Notifications of acceptance will be sent around January 13, 2020.

Important: please note that the Call for participation for MTL connect is not yet launched, but you can also apply to participate in the programming of the other Pavilions (4 other themes) when registrations are open (coming soon): mtlconnecte.ca/en TICKETS

Registration is now available to assist to ISEA2020 / MTL connect, from May 19 to 24, 2020. Book today your Full Pass and get the early-bird rate!
Buy Now

More from the newsletter,

ISEA 2015 was in Vancouver, Canada, and the proceedings and art catalog are still online. The news is that Sara Diamond released her 2015 keynote address as a paper: Action Agenda: Vancouver’s Prescient Media Arts. It is never too late so we thought we would let you know about this great read. See The 2015 Proceedings Here

The last item from the inaugural newsletter,

The first book that surveys how brain activity can be monitored and manipulated for artistic purposes, with contributions by interactive media artists, brain-computer interface researchers, and neuroscientists. View the Book Here

As per the Leonardo review from Cristina Albu:

“Another seminal contribution of the volume is the presentation of multiple taxonomies of “brain art,” which can help art critics develop better criteria for assessing this genre. Mirjana Prpa and Philippe Pasquier’s meticulous classification shows how diverse such works have become as artists consider a whole range of variables of neurofeedback.” Read the Review

For anyone not familiar with the ‘Leonardo’ cited in the above, it’s Leonardo; the International Society for the Arts, Sciences and Technology.

Should this kind of information excite and motivate you do start metacreating, you can get in touch with the lab,

Our mailing address is:
Metacreation Lab for Creative AI
School of Interactive Arts & Technology
Simon Fraser University
250-13450 102 Ave.
Surrey, BC V3T 0A3
Web: http://metacreation.net/
Email: metacreation_admin (at) sfu (dot) ca

Fantastic Fungi Futures: a multi-night ArtSci Salon event in late November/early December 2019 in Toronto

In fact, I have two items about fungi and I’m starting with the essay first.

Giving thanks for fungi

These foods are all dependent on microorganisms for their distinctive flavor. Credit: margouillat photo/Shutterstock.com

Antonis Rokas, professor at Venderbilt University (Nashville, Tennessee, US), has written a November 25, 2019 essay for The Conversation (h/t phys.org Nov.26.19) featuring fungi and food, Note: Links have been removed),

I am an evolutionary biologist studying fungi, a group of microbes whose domestication has given us many tasty products. I’ve long been fascinated by two questions: What are the genetic changes that led to their domestication? And how on Earth did our ancestors figure out how to domesticate them?

The hybrids in your lager

As far as domestication is concerned, it is hard to top the honing of brewer’s yeast. The cornerstone of the baking, brewing and wine-making industries, brewer’s yeast has the remarkable ability to turn the sugars of plant fruits and grains into alcohol. How did brewer’s yeast evolve this flexibility?

By discovering new yeast species and sequencing their genomes, scientists know that some yeasts used in brewing are hybrids; that is, they’re descendants of ancient mating unions of individuals from two different yeast species. Hybrids tend to resemble both parental species – think of wholpins (whale-dolphin) or ligers (lion-tiger).

… What is still unknown is whether hybridization is the norm or the exception in the yeasts that humans have used for making fermented beverages for millennia.

To address this question, a team led by graduate student Quinn Langdon at the University of Wisconsin and another team led by postdoctoral fellow Brigida Gallone at the Universities of Ghent and Leuven in Belgium examined the genomes of hundreds of yeasts involved in brewing and wine making. Their bottom line? Hybrids rule.

For example, a quarter of yeasts collected from industrial environments, including beer and wine manufacturers, are hybrids.

The mutants in your cheese

Comparing the genomes of domesticated fungi to their wild relatives helps scientists understand the genetic changes that gave rise to some favorite foods and drinks. But how did our ancestors actually domesticate these wild fungi? None of us was there to witness how it all started. To solve this mystery, scientists are experimenting with wild fungi to see if they can evolve into organisms resembling those that we use to make our food today.

Benjamin Wolfe, a microbiologist at Tufts University, and his team addressed this question by taking wild Penicillium mold and growing the samples for one month in his lab on a substance that included cheese. That may sound like a short period for people, but it is one that spans many generations for fungi.

The wild fungi are very closely related to fungal strains used by the cheese industry in the making of Camembert cheese, but look very different from them. For example, wild strains are green and smell, well, moldy compared to the white and odorless industrial strains.

For Wolfe, the big question was whether he could experimentally recreate, and to what degree, the process of domestication. What did the wild strains look and smell like after a month of growth on cheese? Remarkably, what he and his team found was that, at the end of the experiment, the wild strains looked much more similar to known industrial strains than to their wild ancestor. For example, they were white in color and smelled much less moldy.

… how did the wild strain turn into a domesticated version? Did it mutate? By sequencing the genomes of both the wild ancestors and the domesticated descendants, and measuring the activity of the genes while growing on cheese, Wolfe’s team figured out that these changes did not happen through mutations in the organisms’ genomes. Rather, they most likely occurred through chemical alterations that modify the activity of specific genes but don’t actually change the genetic code. Such so-called epigenetic modifications can occur much faster than mutations.

Fantastic Fungi Futures (FFF) Nov. 29, Dec. 1, and Dec. 4, 2019 events in Toronto, Canada

The ArtSci Salon emailed me a November 23, 2019 announcement about a special series being presented in partnership with the Mycological Society of Toronto (MST) on the topic of fungi,

Fantastic Fungi Futures a discussion, a mini exhibition, a special screening, and a workshop revolving around Fungi and their versatile nature.

NOV 29 [2019], 6:00-8:00 PM Fantastic Fungi Futures (FFF): a roundtable discussion and popup exhibition.

Join us for a roundtable discussion. what are the potentials of fungi? Our guests will share their research, as well as professional and artistic practice dealing with the taxonomy and the toxicology, the health benefits and the potentials for sustainability, as well as the artistic and architectural virtues of fungi and mushrooms. The Exhibition will feature photos and objects created by local and Canadian artists who have been working with mushrooms and fungi.

This discussion is in anticipation of the special screening of Fantastic Fungi at the HotDocs Cinema on Dec 1 [2019] our guests:James Scott,Occupational & Environmental Health, Dalla Lana School of Public Health, UofT; Marshall Tyler, Director of Research, Field Trip, Toronto; Rotem Petranker, PhD student, Social Psychology, York University; Nourin Aman, PhD student, fungal biology and Systematics lab, Punjab University; Sydney Gram, PhD student, Ecology & Evolutionary Biology student researcher (UofT/ROM); [and] Tosca Teran, Interdisciplinary artist.

DEC. 1 [2019], 6:15 pm join us to the screening of Fantastic Fungi, at the HotDocs Cinemaget your tickets herehttps://boxoffice.hotdocs.ca/websales/pages/info.aspx?evtinfo=104145~fff311b7-cdad-4e14-9ae4-a9905e1b9cb0 afterward, some of us will be heading to the Pauper’s Pub, just across from the HotDocs Cinema

DEC. 4 [2019], 7:00-10:00PM Multi-species entanglements:Sculpting with Mycelium, @InterAccess, 950 Dupont St., Unit 1 

This workshop is a continuation of ArtSci Salon’s Fantastic Fungi Futures event and the HotDocs screening of Fantastic Fungi.this workshop is open to public to attend, however, pre-registration is required. $5.00 to form a mycelium bowl to take home.

During this workshop Tosca Teran introduces the amazing potential of Mycelium for collaboration at the intersection of art and science. Participants learn how to transform their kitchens and closets in to safe, mini-Mycelium biolabs and have the option to leave the workshop with a live Mycelium planter/bowl form, as well as a wide array of possibilities of how they might work with this sustainable bio-material. 

Bios

Nourin Aman is a PhD student at fungal biology and Systematics lab at Punjab University, Lahore, Pakistan. She is currently a visiting PhD student at the Mycology lab, Royal Ontario Museum. Her research revolves around comparison between macrofungal biodiversity of some reserve forests of Punjab, Pakistan.Her interest is basically to enlist all possible macrofungi of reserve forests under study and describe new species as well from area as our part of world still has many species to be discovered and named. She will be discussing factors which are affecting the fungal biodiversity in these reserve forests.

Sydney Gram is an Ecology & Evolutionary Biology student researcher (UofT/ROM)

Rotem Petranker- Bsc in psychology from the University of Toronto and a MA in social psychology from York University. Rotem is currently a PhD student in York’s clinical psychology program. His main research interest is affect regulation, and the way it interacts with sustained attention, mind wandering, and creativity. Rotem is a founding member oft the Psychedelic Studies Research Program at the University of Toronto, has published work on microdosing, and presented original research findings on psychedelic research in several conferences. He feels strongly that the principles of Open Science are necessary in order to do good research, and is currently in the process of starting the first lab study of microdosing in Canada.

James Scott– PhD, is a ARMCCM Professor and Head Division of Occupational & Environmental Health, Dalla Lana School of Public Health, University of TorontoUAMH Fungal Biobank: http://www.uamh.caUniversity Profile: http://www.dlsph.utoronto.ca/faculty-profile/scott-james-a/Research Laboratory: http://individual.utoronto.ca/jscottCommercial Laboratory: http://www.sporometrics.com

Marshall Tyler– Director of Research, Field Trip. Marshall is a scientist with a deep interest in psychoactive molecules. His passion lies in guiding research to arrive at a deeper understanding of consciousness with the ultimate goal of enhancing wellbeing. At Field Trip, he is helping to develop a lab in Jamaica to explore the chemical and biological complexities of psychoactive fungi.

Tosca Teran, aka Nanotopia, is an Multi-disciplinary artist. Her work has been featured at SOFA New York, Culture Canada, and The Toronto Design Exchange. Tosca has been awarded artist residencies with The Ayatana Research Program in Ottawa and The Icelandic Visual Artists Association through Sím, Reykjavik Iceland and Nes artist residency in Skagaströnd, Iceland. In 2019 she was one of the first Bio-Artists in residence at the Museum of Contemporary Art Toronto in partnership with the Ontario Science Centre as part of the Alien Agencies Collective. A recipient of the 2019 BigCi Environmental Award at Wollemi National Park within the UNESCO World Heritage site in the Greater Blue Mountains. Tosca started collaborating artistically with Algae, Physarum polycephalum, and Mycelium in 2016, translating biodata from non-human organisms into music.@MothAntler @nanopodstudio www.toscateran.com www.nanotopia.net8 

A trailer has been provided for the movie mentioned in the announcement (from the Fantastic Fungi screening webpage on the Mycological Society of Toronto website),

You can find the ArtSci Salon here and the Mycological Society of Toronto (MST) here.

Aesthetics and Colour Research—a November 28, 2019 talk about the tools and technology in Toronto, Canada

From a November 19, 2019 ArtSci Salon announcement (received via email),\

I [Robin] am co-organizing a lecture on AESTHETICS AND COLOUR RESEARCH AT THE

UNIVERSITY OF TORONTO’S PSYCHOLOGICAL LABORATORY

by Erich Weidenhammer, PhD (University of Toronto)

The lecture is Thu Nov 28 [2019], 6-8pm at the Thomas Fisher Rare Book Library at U of T [University of Toronto]. There will also be colour-related artifacts from the library collection on display.

Full details are here, with an eventbrite registration link for the talk (Free).

HTTPS://WWW.COLOURRESEARCH.ORG/CRSC-EVENTS/2019/11/28/LECTURE-AESTHETICS-AND-COLOUR-RESEARCH-AT-THE-UNIVERSITY-OF-TORONTOS-PSYCHOLOGICAL-LABORATORY

If you follow the link above, you’ll find this description of the talk and more,

Aesthetics and Colour Research at the University of Toronto’s Psychological Laboratory

This talk focuses on the tools and technology of colour research used in Kirschmann’s Toronto laboratory, as well as their role in supporting Kirschmann’s belief in a renewed science of aesthetics. [Between 1893 and 1908, the German-born psychologist August Kirschmann (1860-1932), led the University of Toronto’s newly founded psychological laboratory.] The talk will include a display of surviving artifacts used in the Laboratory. It will also include some colour-related artifacts from the University of Toronto Archives and Records Management Services (UTARMS), and the Fisher Rare Books Library.

Erich Weidenhammer is Curator of the University of Toronto Scientific Instruments Collection (UTSIC.org), an effort to safeguard and catalogue the material culture of research and teaching at the University of Toronto. He is also an Adjunct Curator for Scientific Processes at Ingenium: Canada’s Museums of Science & Innovation in Ottawa. Erich received his PhD in 2014 from the Institute for the History and Philosophy of Science and Technology (IHPST) of the University of Toronto for a dissertation that explored the relationship between chemistry and medicine in late eighteenth-century Britain.

Courtesy University of Toronto Scientific Instruments Collection

It turns out that this talk at the University of Toronto is part of a larger series of talks being organized by the Colour Research Society of Canada (CRSC). Here’s more about the society from the CRSC’s About page,

The CRSC is a non-profit organisation for colour research, focused on fostering a cross-disciplinary sharing of colour knowledge. seeking to develop and support a national, cross-disciplinary network of artists and designers, scholars and practitioners, with an interest in engagements with colour, and to encourage discourse between arts, sciences and industry related to colour research and knowledge.

The Colour Research Society of Canada (CRSC) is the Canadian member organisation of the AIC (International Colour Association)

The Nov. 28, 2019 talk is part of the CRSC’s Kaleidoscope Lecture Series.

Rijksmuseum’s ‘live’ restoration of Rembrandt’s masterpiece: The Nightwatch: is it or isn’t it like watching paint dry?

Somewhere in my travels, I saw ‘like watching paint dry’ as a description for the experience of watching researchers examining Rembrandt’s Night Watch. Granted it’s probably not that exciting but there has to be something to be said for being present while experts undertake an extraordinary art restoration effort. The Night Watch is not only a masterpiece—it’s huge.

This posting was written closer to the time the ‘live’ restoration first began. I have an update at the end of this posting.

A July 8, 2019 news item on the British Broadcasting Corporation’s (BBC) news online sketches in some details,

The masterpiece, created in 1642, has been placed inside a specially designed glass chamber so that it can still be viewed while being restored.

Enthusiasts can follow the latest on the restoration work online.

The celebrated painting was last restored more than 40 years ago after it was slashed with a knife.

The Night Watch is considered Rembrandt’s most ambitious work. It was commissioned by the mayor and leader of the civic guard of Amsterdam, Frans Banninck Cocq, who wanted a group portrait of his militia company.

The painting is nearly 4m tall and 4.5m wide (12.5 x 15 ft) and weighs 337kg (743lb) [emphasis mine]. As well as being famous for its size, the painting is acclaimed for its use of dramatic lighting and movement.

But experts at Amsterdam’s Rijksmuseum are concerned that aspects of the masterpiece are changing, pointing as an example to the blanching of the figure of a small dog. The museum said the multi-million euro research and restoration project under way would help staff gain a better understanding of the painting’s condition.

An October 16, 2018 Rijksmuseum press release announced the restoration work months prior to the start (Note: Some of the information is repetitive;),

Before the restoration begins, The Night Watch will be the centrepiece of the Rijksmuseum’s display of their entire collection of more than 400 works by Rembrandt in an exhibition to mark the 350th anniversary of the artist’s death opening on 15 February 2019.

Commissioned in 1642 by the mayor and leader of the civic guard of Amsterdam, Frans Banninck Cocq, to create a group portrait of his shooting company, The Night Watch is recognised as one of the most important works of art in the world today and hangs in the specially designed “Gallery of Honour” at the Rijksmuseum. It is more than 40 years since The Night Watch underwent its last major restoration, following an attack on the painting in 1975.

The Night Watch will be encased in a state-of-the-art clear glass chamber designed by the French architect Jean Michel Wilmotte. This will ensure that the painting can remain on display for museum visitors. A digital platform will allow viewers from all over the world to follow the entire process online [emphasis mine] continuing the Rijksmuseum innovation in the digital field.

Taco Dibbits, General Director Rijksmuseum: The Night Watch is one of the most famous paintings in the world. It belongs to us all, and that is why we have decided to conduct the restoration within the museum itself – and everyone, wherever they are, will be able to follow the process online.

The Rijksmuseum continually monitors the condition of The Night Watch, and it has been discovered that changes are occurring, such as the blanching [emphasis mine] on the dog figure at the lower right of the painting. To gain a better understanding of its condition as a whole, the decision has been taken to conduct a thorough examination. This detailed study is necessary to determine the best treatment plan, and will involve imaging techniques, high-resolution photography and highly advanced computer analysis. Using these and other methods, we will be able to form a very detailed picture of the painting – not only of the painted surface, but of each and every layer, from varnish to canvas.

A great deal of experience has been gained in the Rijksmuseum relating to the restoration of Rembrandt’s paintings. Last year saw the completion of the restoration of Rembrandt’s spectacular portraits of Marten Soolmans and Oopjen Coppit. The research team working on The Night Watch is made up of researchers, conservators and restorers from the Rijksmuseum, which will conduct this research in close collaboration with museums and universities in the Netherlands and abroad.

The Night Watch

The group portrait of the officers and other members of the militia company of District II, under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, now known as The Night Watch, is Rembrandt’s most ambitious painting. This 1642 commission by members of Amsterdam’s civic guard is Rembrandt’s first and only painting of a militia group. It is celebrated particularly for its bold and energetic composition, with the musketeers being depicted ‘in motion’, rather than in static portrait poses. The Night Watch belongs to the city of Amsterdam, and it been the highlight of the Rijksmuseum collection since 1808. The architect of the Rijksmuseum building Pierre Cuypers (1827-1921) even created a dedicated gallery of honour for The Night Watch, and it is now admired there by more than 2.2 million people annually.

2019, The Year of Rembrandt

The Year of Rembrandt, 2019, marks the 350th anniversary of the artist’s death with two major exhibitions honouring the great master painter. All the Rembrandts of the Rijksmuseum (15 February to 10 June 2019) will bring together the Rijksmuseum’s entire collection of Rembrandt’s paintings, drawings and prints, for the first time in history. The second exhibition, Rembrandt-Velázquez (11 October 2019 to 19 January 2020), will put the master in international context by placing 17th-century Spanish and Dutch masterpieces in dialogue with each another.

First, the restoration work is not being livestreamed; the digital platform Operation Night Watch is a collection of resources, which are being updated constantly, For example, the first scan was placed online in Operation Night Watch on July 16, 2019.

Second, ‘blanching’ reminded me of a June 22, 2017 posting where I featured research into why masterpieces were turning into soap, (Note: The second paragraph should be indented to indicated that it’s an excerpt fro the news release. Unfortunately, the folks at WordPress appear to have removed the tools that would allow me to do that and more),

This piece of research has made a winding trek through the online science world. First it was featured in an April 20, 2017 American Chemical Society news release on EurekAlert

A good art dealer can really clean up in today’s market, but not when some weird chemistry wreaks havoc on masterpieces. Art conservators started to notice microscopic pockmarks forming on the surfaces of treasured oil paintings that cause the images to look hazy. It turns out the marks are eruptions of paint caused, weirdly, by soap that forms via chemical reactions. Since you have no time to watch paint dry, we explain how paintings from Rembrandts to O’Keefes are threatened by their own compositions — and we don’t mean the imagery.

….

Getting back to the Night Watch, there’s a July 8, 2019 Rijksmuseum press release which provides some technical details,

On 8 July 2019 the Rijksmuseum starts Operation Night Watch. It will be the biggest and most wide-ranging research and conservation project in the history of Rembrandt’s masterpiece. The goal of Operation Night Watch is the long-term preservation of the painting. The entire operation will take place in a specially designed glass chamber so the visiting public can watch.

Never before has such a wide-ranging and thorough investigation been made of the condition of The Night Watch. The latest and most advanced research techniques will be used, ranging from digital imaging and scientific and technical research, to computer science and artificial intelligence. The research will lead to a better understanding of the painting’s original appearance and current state, and provide insight into the many changes that The Night Watch has undergone over the course of the last four centuries. The outcome of the research will be a treatment plan that will form the basis for the restoration of the painting.

Operation Night Watch can also be followed online from 8 July 2019 at rijksmuseum.nl/nightwatch

From art historical research to artificial intelligence

Operation Night Watch will look at questions regarding the original commission, Rembrandt’s materials and painting technique, the impact of previous treatments and later interventions, as well as the ageing, degradation and future of the painting. This will involve the newest and most advanced research methods and technologies, including art historical and archival research, scientific and technical research, computer science and artificial intelligence.

During the research phase The Night Watch will be unframed and placed on a specially designed easel. Two platform lifts will make it possible to study the entire canvas, which measures 379.5 cm in height and 454.5 cm in width.

Advanced imaging techniques

Researchers will make use of high resolution photography, as well as a variety of advanced imaging techniques, such as macro X-ray fluorescence scanning (macro-XRF) and hyperspectral imaging, also called infrared reflectance imaging spectroscopy (RIS), to accurately determine the condition of the painting.

56 macro-XRF scans

The Night Watch will be scanned millimetre by millimetre using a macro X-ray fluorescence scanner (macro-XRF scanner). This instrument uses X-rays to analyse the different chemical elements in the paint, such as calcium, iron, potassium and cobalt. From the resulting distribution maps of the various chemical elements in the paint it is possible to determine which pigments were used. The macro-XRF scans can also reveal underlying changes in the composition, offering insights into Rembrandt’s painting process. To scan the entire surface of the The Night Watch it will be necesary to make 56 scans, each one of which will take 24 hours.

12,500 high-resolution photographs

A total of some 12,500 photographs will be taken at extremely high resolution, from 180 to 5 micrometres, or a thousandth of a millimetre. Never before has such a large painting been photographed at such high resolution. In this way it will be possible to see details such as pigment particles that normally would be invisible to the naked eye. The cameras and lamps will be attached to a dynamic imaging frame designed specifically for this purpose.

Glass chamber

Operation Night Watch is for everyone to follow and will take place in full view of the visiting public in an ultra-transparent glass chamber designed by the French architect Jean Michel Wilmotte.

Research team

The Rijksmuseum has extensive experience and expertise in the investigation and treatment of paintings by Rembrandt. The conservation treatment of Rembrandt’s portraits of Marten Soolmans and Oopjen Coppit was completed in 2018. The research team working on The Night Watch is made up of more than 20 Rijksmuseum scientists, conservators, curators and photographers. For this research, the Rijksmuseum is also collaborating with museums and universities in the Netherlands and abroad, including the Dutch Cultural Heritage Agency (RCE), Delft University of Technology (TU Delft), the University of Amsterdam (UvA), Amsterdam University Medical Centre (AUMC), University of Antwerp (UA) and National Gallery of Art, Washington DC.

The Night Watch

Rembrandt’s Night Watch is one of the world’s most famous works of art. The painting is the property of the City of Amsterdam, and it is the heart of Amsterdam’s Rijksmuseum, where it is admired by more than two million visitors each year. The Night Watch is the Netherland’s foremost national artistic showpiece, and a must-see for tourists.

Rembrandt’s group portrait of officers and other civic guardsmen of District 2 in Amsterdam under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch has been known since the 18th century as simply The Night Watch. It is the artist’s most ambitious painting. One of Amsterdam’s 20 civic guard companies commissioned the painting for its headquarters, the Kloveniersdoelen, and Rembrandt completed it in 1642. It is Rembrandt’s only civic guard piece, and it is famed for the lively and daring composition that portrays the troop in active poses rather than the traditional static ones.

Donors and partners

AkzoNobel is main partner of Operation Night Watch.

Operation Night Watch is made possible by The Bennink Foundation, PACCAR Foundation, Piet van der Slikke & Sandra Swelheim, American Express Foundation, Familie De Rooij, Het AutoBinck Fonds, Segula Technologies, Dina & Kjell Johnsen, Familie D. Ermia, Familie M. van Poecke, Henry M. Holterman Fonds, Irma Theodora Fonds, Luca Fonds, Piek-den Hartog Fonds, Stichting Zabawas, Cevat Fonds, Johanna Kast-Michel Fonds, Marjorie & Jeffrey A. Rosen, Stichting Thurkowfonds and the Night Watch Fund.

With the support of the Ministry of Education, Culture and Science, the City of Amsterdam, Founder Philips and main sponsors ING, BankGiro Loterij and KPN every year more than 2 million people visit the Rijksmuseum and The Night Watch.

Details:
Rembrandt van Rijn (1606-1669)
The Night Watch, 1642
oil on canvas
Rijksmuseum, on loan from the Municipality of Amsterdam

Update as of November 22, 2019

I just clicked on the Operation Night Watch link and found a collection of resources including videos of live updates from October 2019. As noted earlier, they’re not livestreaming the restoration. The October 29, 2019 ‘live update’ features a host speaking in Dutch (with English subtitles in the version I was viewing) and interviews with the scientists conducting the research necessary before they start actually restoring the painting.

Human-on-a-chip predicts in vivo results based on in vitro model … for the first time

If successful the hope is that ‘human-on-a-chip’ will replace most, if not all, animal testing. This July 3, 2019 Hesperos news release (also on EurekAlert) suggests scientists are making serious gains in the drive to replace animal testing (Note: For anyone having difficulty with the terms, pharmacokinetics and pharmacodynamics, there are definitions towards the end of this posting, which may prove helpful),

Hesperos Inc., pioneers* of the “human-on-a-chip” in vitro system has announced the use of its innovative multi-organ model to successfully measure the concentration and metabolism of two known cardiotoxic small molecules over time, to accurately describe the drug behavior and toxic effects in vivo. The findings further support the potential of body-on-a-chip systems to transform the drug discovery process.

In a study published in Nature Scientific Reports, in collaboration with AstraZeneca, Hesperos described how they used a pumpless heart model and a heart:liver system to evaluate the temporal pharmacokinetic/pharmacodynamic (PKPD) relationship for terfenadine, an antihistamine that was banned due to toxic cardiac effects, as well as determine its mechanism of toxicity.

The study found there was a time-dependent, drug-induced response in the heart model. Further experiments were conducted, adding a metabolically competent liver module to the Hesperos Human-on-a-Chip® system to observe what happened when terfenadine was converted to fexofenadine. By doing so, the researchers were able to determine the driver of the pharmacodynamic (PD) effect and develop a mathematical model to predict the effect of terfenadine in preclinical species. This is the first time an in vitro human-on-a-chip system has been shown to predict in vivo outcomes, which could be used to predict clinical trial outcomes in the future.

“The ability to examine PKPD relationships in vitro would enable us to understand compound behavior prior to in vivo testing, offering significant cost and time savings,” said Dr. Shuler, President and CEO, Hesperos, Inc and Professor Emeritus, Cornell University. “We are excited about the potential of this technology to help us ensure that potential new drug candidates have a higher probability of success during the clinical trial process.”

Understanding the inter-relationship between pharmacokinetics (PK), the drug’s time course for absorption, distribution, metabolism and excretion, and PD, the biological effect of a drug, is crucial in drug discovery and development. Scientists have learned that the maximum drug effect is not always driven by the peak drug concentration. In some cases, time is a critical factor influencing drug effect, but often this concentration-effect-time relationship only comes to light during the advanced stages of the preclinical program. In addition, often the data cannot be reliably extrapolated to humans.

“It is costly and time consuming to discover that potential drug candidates may have poor therapeutic qualities preventing their onward progression,” said James Hickman, Chief Scientist at Hesperos and Professor at the University of Central Florida. “Being able to define this during early drug discovery will be a valuable contribution to the optimization of potential new drug candidates.”

As demonstrated with the terfenadine experiment, the PKPD modelling approach was critical for understanding both the flux of compound between compartments as well as the resulting PD response in the context of dynamic exposure profiles of both parent and metabolite, as indicated by Dr. Shuler.

In order to test the viability of their system in a real-world drug discovery setting, the Hesperos team collaborated with scientists at AstraZeneca, to test one of their failed small molecules, known to have a CV [cardiovscular?] risk.

One of the main measurements used to assess the electrical properties of the heart is the QT interval, which approximates the time taken from when the cardiac ventricles start to contract to when they finish relaxing. Prolongation of the QT interval on the electrocardiogram can lead to a fatal arrhythmia known as Torsade de Pointes. Consequently, it is a mandatory requirement prior to first-in-human administration of potential new drug candidates that their ability to inhibit the hERG channel (a biomarker for QT prolongation) is investigated.

In the case of the AstraZeneca molecule, the molecule was assessed for hERG inhibition early on, and it was concluded to have a low potential to cause in vivo QT prolongation up to 100 μM. In later pre-clinical testing, the QT interval increased by 22% at a concentration of just 3 μM. Subsequent investigations found that a major metabolite was responsible. Hesperos was able to detect a clear PD effect at concentrations above 3 μM and worked to determine the mechanism of toxicity of the molecule.

The ability of these systems to assess cardiac function non-invasively in the presence of both parent molecule and metabolite over time, using multiplexed and repeat drug dosing regimes, provides an opportunity to run long-term studies for chronic administration of drugs to study their potential toxic effects.

Hesperos, Inc. is the first company spun out from the Tissue Chip Program at NCATS (National Center for Advancing Translational Sciences), which was established in 2011 to address the long timelines, steep costs and high failure rates associated with the drug development process. Hesperos currently is funded through NCATS’ Small Business Innovation Research program to undertake these studies and make tissue chips technology available as a service based company.

“The application of tissue chip technology in drug testing can lead to advances in predicting the potential effects of candidate medicines in people,” said Danilo Tagle, Ph.D., associate director for special initiatives at NCATS.

###

About Hesperos
Hesperos, Inc. is a leader in efforts to characterize an individual’s biology with human-on-a-chip microfluidic systems. Founders Michael L. Shuler and James J. Hickman have been at the forefront of every major scientific discovery in this realm, from individual organ-on-a-chip constructs to fully functional, interconnected multi-organ systems. With a mission to revolutionize toxicology testing as well as efficacy evaluation for drug discovery, the company has created pumpless platforms with serum-free cellular mediums that allow multi-organ system communication and integrated computational PKPD modeling of live physiological responses utilizing functional readouts from neurons, cardiac, muscle, barrier tissues and neuromuscular junctions as well as responses from liver, pancreas and barrier tissues. Created from human stem cells, the fully human systems are the first in vitro solutions that accurately utilize in vitro systems to predict in vivo functions without the use of animal models, as featured in Science. More information is available at http://www.
hesperosinc.com

Years ago I went to a congress focused on alternatives to animal testing (August 22, 2014 posting) and saw a video of heart cells in a petri dish (in vitro) beating in a heartlike rhythm. It was something like this,

ipscira
Published on Oct 17, 2010 https://www.youtube.com/watch?v=BqzW9Jq-OVA

I found it amazing as did the scientist who drew my attention to it. After, it’s just a collection of heart cells. How do they start beating and keep time with each other?

Getting back to the latest research, here’s a link and a citation for the paper,

On the potential of in vitro organ-chip models to define temporal pharmacokinetic-pharmacodynamic relationships by Christopher W. McAleer, Amy Pointon, Christopher J. Long, Rocky L. Brighton, Benjamin D. Wilkin, L. Richard Bridges, Narasimham Narasimhan Sriram, Kristin Fabre, Robin McDougall, Victorine P. Muse, Jerome T. Mettetal, Abhishek Srivastava, Dominic Williams, Mark T. Schnepper, Jeff L. Roles, Michael L. Shuler, James J. Hickman & Lorna Ewart. Scientific Reports volume 9, Article number: 9619 (2019) DOI: https://doi.org/10.1038/s41598-019-45656-4 Published: 03 July 2019

This paper is open access.

I happened to look at the paper and found good definitions of pharmacokinetics and pharmacodynamics. I know it’s not for everyone but if you’ve ever been curious about the difference (from the Introduction of On the potential of in vitro organ-chip models to define temporal pharmacokinetic-pharmacodynamic relationships),

Integrative pharmacology is a discipline that builds an understanding of the inter-relationship between pharmacokinetics (PK), the drug’s time course for absorption, distribution, metabolism and excretion and pharmacodynamics (PD), the biological effect of a drug. In drug discovery, this multi-variate approach guides medicinal chemists to modify structural properties of a drug molecule to improve its chance of becoming a medicine in a process known as “lead optimization”.

*More than one person and more than one company and more than one country claims pioneer status where ‘human-on-a-chip’ is concerned.

Climate change and black gold

A July 3, 2019 news item on Nanowerk describes research coming from India and South Korea where nano gold is turned into black nanogold (Note: A link has been removed),

One of the main cause of global warming is the increase in the atmospheric CO2 level. The main source of this CO2 is from the burning of fossil fuels (electricity, vehicles, industry and many more).

Researchers at TIFR [Tata Institute of Fundamental Research] have developed the solution phase synthesis of Dendritic Plasmonic Colloidosomes (DPCs) with varying interparticle distances between the gold Nanoparticles (AU NPs) using a cycle-by-cycle growth approach by optimizing the nucleation-growth step. These DPCs absorb the entire visible and near-infrared region of solar light, due to interparticle plasmonic coupling as well as the heterogeneity in the Au NP [gold nanoparticle] sizes, which transformed golden gold material to black gold (Chemical Science, “Plasmonic colloidosomes of black gold for solar energy harvesting and hotspots directed catalysis for CO2 to fuel conversion”).

A July 3, 2019 Tata Institute of Fundamental Research (TIFR) press release on EurekAlert, which originated the news item, provides more technical detail,

Black (nano)gold was able to catalyze CO2 to methane (fuel) conversion at atmospheric pressure and temperature, using solar energy. They also observed the significant effect of the plasmonic hotspots on the performance of these DPCs for the purification of seawater to drinkable water via steam generation, temperature jump assisted protein unfolding, oxidation of cinnamyl alcohol using pure oxygen as the oxidant, and hydrosilylation of aldehydes.

This was attributed to varying interparticle distances and particle sizes in these DPCs. The results indicate the synergistic effects of EM and thermal hotspots as well as hot electrons on DPCs performance. Thus, DPCs catalysts can effectively be utilized as Vis-NIR light photo-catalysts, and the design of new plasmonic nanocatalysts for a wide range of other chemical reactions may be possible using the concept of plasmonic coupling.

Raman thermometry and SERS (Surface-enhanced Raman Spectroscopy) provided information about the thermal and electromagnetic hotspots and local temperatures which was found to be dependent on the interparticle plasmonic coupling. The spatial distribution of the localized surface plasmon modes by STEM-EELS plasmon mapping confirmed the role of the interparticle distances in the SPR (Surface Plasmon Resonance) of the material.

Thus, in this work, by using the techniques of nanotechnology, the researchers transformed golden gold to black gold, by changing the size and gaps between gold nanoparticles. Similar to the real trees, which use CO2, sunlight and water to produce food, the developed black gold acts like an artificial tree that uses CO2, sunlight and water to produce fuel, which can be used to run our cars. Notably, black gold can also be used to convert sea water into drinkable water using the heat that black gold generates after it captures sunlight.

This work is a way forward to develop “Artificial Trees” which capture and convert CO2 to fuel and useful chemicals. Although at this stage, the production rate of fuel is low, in coming years, these challenges can be resolved. We may be able to convert CO2 to fuel using sunlight at atmospheric condition, at a commercially viable scale and CO2 may then become our main source of clean energy.

Here’s an image illustrating the work

Caption: Use of black gold can get us one step closer to combat climate change. Credit: Royal Society of Chemistry, Chemical Science

A July 3, 2019 Royal Society of Chemistry Highlight features more information about the research,

A “black” gold material has been developed to harvest sunlight, and then use the energy to turn carbon dioxide (CO2) into useful chemicals and fuel.

In addition to this, the material can also be used for applications including water purification, heating – and could help further research into new, efficient catalysts.

“In this work, by using the techniques of nanotechnology, we transformed golden gold to black gold, by simply changing the size and gaps between gold nanoparticles,” said Professor Vivek Polshettiwar from Tata Institute of Fundamental Research (TIFR) in India.

Tuning the size and gaps between gold nanoparticles created thermal and electromagnetic hotspots, which allowed the material to absorb the entire visible and near-infrared region of sunlight’s wavelength – making the gold “black”.

The team of researchers, from TIFR and Seoul National University in South Korea, then demonstrated that this captured energy could be used to combat climate change.

Professor Polshettiwar said: “It not only harvests solar energy but also captures and converts CO2 to methane (fuel). Synthesis and use of black gold for CO2-to-fuel conversion, which is reported for the first time, has the potential to resolve the global CO2 challenge.

“Now, like real trees which use CO2, sunlight and water to produce food, our developed black gold acts like an artificial tree to produce fuel – which we can use to run our cars,” he added.
Although production is low at this stage, Professor Polshettiwar (who was included in the RSC’s 175 Faces of Chemistry) believes that the commercially-viable conversion of CO2 to fuel at atmospheric conditions is possible in the coming years.

He said: “It’s the only goal of my life – to develop technology to capture and convert CO2 and combat climate change, by using the concepts of nanotechnology.”

Other experiments described in the Chemical Science paper demonstrate using black gold to efficiently convert sea water into drinkable water via steam generation.

It was also used for protein unfolding, alcohol oxidation, and aldehyde hydrosilylation: and the team believe their methodology could lead to novel and efficient catalysts for a range of chemical transformations.

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

Plasmonic colloidosomes of black gold for solar energy harvesting and hotspots directed catalysis for CO2 to fuel conversion by Mahak Dhiman, Ayan Maity, Anirban Das, Rajesh Belgamwar, Bhagyashree Chalke, Yeonhee Lee, Kyunjong Sim, Jwa-Min Nam and Vivek Polshettiwar. Chem. Sci., 2019, Advance Article. DOI: 10.1039/C9SC02369K First published on July 3, 2019

This paper is freely available in the open access journal Chemical Science.

Superhydrophobic nanoflowers

I’m getting to the science but first this video of what looks like jiggling jello,

In actuality, it’s a superhydrophobic coating demonstration and a July 2, 2019 news item on phys.org provides more information,

Plant leaves have a natural superpower—they’re designed with water repelling characteristics. Called a superhydrophobic surface, this trait allows leaves to cleanse themselves from dust particles. Inspired by such natural designs, a team of researchers at Texas A&M University has developed an innovative way to control the hydrophobicity of a surface to benefit to the biomedical field.

Researchers in Dr. Akhilesh K. Gaharwar’s lab in the Department of Biomedical Engineering have developed a “lotus effect” by incorporating atomic defects in nanomaterials, which could have widespread applications in the biomedical field including biosensing, lab-on-a-chip, blood-repellent, anti-fouling and self-cleaning applications.

A July 2, 2019 Texas A&M University news release (also on EurekAlert) by Jennifer Reiley, which originated the news item, expands on the theme,

Superhydrophobic materials are used extensively for self-cleaning characteristic of devices. However, current materials require alteration to the chemistry or topography of the surface to work. This limits the use of superhydrophobic materials.

“Designing hydrophobic surfaces and controlling the wetting behavior has long been of great interest, as it plays crucial role in accomplishing self-cleaning ability,” Gaharwar said. “However, there are limited biocompatible approach to control the wetting behavior of the surface as desired in several biomedical and biotechnological applications.”

The Texas A&M design adopts a ‘nanoflower-like’ assembly of two-dimensional (2D) atomic layers to protect the surface from wetting. The team recently released a study published in Chemical Communications. 2D nanomaterials are an ultrathin class of nanomaterials and have received considerable attention in research. Gaharwar’s lab used 2D molybdenum disulfide (MoS2), a new class of 2D nanomaterials that has shown enormous potential in nanoelectronics, optical sensors, renewable energy sources, catalysis and lubrication, but has not been investigated for biomedical applications. This innovative approach demonstrates applications of this unique class of materials to the biomedical industry.

“These 2D nanomaterials with their hexagonal packed layer repel water adherence, however, a missing atom from the top layer can allow easy access to water molecules by the next layer of atoms underneath making it transit from hydrophobic to hydrophilic,” said lead author of the study, Dr. Manish Jaiswal, a senior research associate in Gaharwar’s lab.

This innovative technique opens many doors for expanded applications in several scientific and technological areas. The superhydrophobic coating can be easily applied over various substrates such as glass, tissue paper, rubber or silica using the solvent evaporation method. These superhydrophobic coatings have wide-spread applications, not only in developing self-cleaning surfaces in nanoelectronics devices, but also for biomedical applications.

Specifically, the study demonstrated that blood and cell culture media containing proteins do not adhere to the surface, which is very promising. In addition, the team is currently exploring the potential applications of controlled hydrophobicity in stem cell fate.

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

Superhydrophobic states of 2D nanomaterials controlled by atomic defects can modulate cell adhesion by Manish K. Jaiswal, Kanwar Abhay Singh, Giriraj Lokhande and Akhilesh K. Gaharwar. Chem. Commun., 2019, Advance Article DOI: 10.1039/C9CC00547A First published on 07 Jun 2019

This paper is open access.

Human-machine interfaces and ultra-small nanoprobes

We’re back on the cyborg trail or what I sometimes refer to as machine/flesh. A July 3, 2019 news item on ScienceDaily describes the latest attempts to join machine with flesh,

Machine enhanced humans — or cyborgs as they are known in science fiction — could be one step closer to becoming a reality, thanks to new research Lieber Group at Harvard University, as well as scientists from University of Surrey and Yonsei University.

Researchers have conquered the monumental task of manufacturing scalable nanoprobe arrays small enough to record the inner workings of human cardiac cells and primary neurons.

The ability to read electrical activities from cells is the foundation of many biomedical procedures, such as brain activity mapping and neural prosthetics. Developing new tools for intracellular electrophysiology (the electric current running within cells) that push the limits of what is physically possible (spatiotemporal resolution) while reducing invasiveness could provide a deeper understanding of electrogenic cells and their networks in tissues, as well as new directions for human-machine interfaces.

The Lieber Group at Harvard University provided this image illustrating the work,

U-shaped nanowires can record electrical chatter inside a brain or heart cell without causing any damage. The devices are 100 times smaller than their biggest competitors, which kill a cell after recording. Courtesy: University of Surrey

A July 3, 2019 University of Surrey press release (also on EurekAlert), which originated the news item, provides more details about this UK/US/China collaboration,

In a paper published by Nature Nanotechnology, scientists from Surrey’s Advanced Technology Institute (ATI) and Harvard University detail how they produced an array of the ultra-small U-shaped nanowire field-effect transistor probes for intracellular recording. This incredibly small structure was used to record, with great clarity, the inner activity of primary neurons and other electrogenic cells, and the device has the capacity for multi-channel recordings.

Dr Yunlong Zhao from the ATI at the University of Surrey said: “If our medical professionals are to continue to understand our physical condition better and help us live longer, it is important that we continue to push the boundaries of modern science in order to give them the best possible tools to do their jobs. For this to be possible, an intersection between humans and machines is inevitable.

“Our ultra-small, flexible, nanowire probes could be a very powerful tool as they can measure intracellular signals with amplitudes comparable with those measured with patch clamp techniques; with the advantage of the device being scalable, it causes less discomfort and no fatal damage to the cell (cytosol dilation). Through this work, we found clear evidence for how both size and curvature affect device internalisation and intracellular recording signal.”

Professor Charles Lieber from the Department of Chemistry and Chemical Biology at Harvard University said: “This work represents a major step towards tackling the general problem of integrating ‘synthesised’ nanoscale building blocks into chip and wafer scale arrays, and thereby allowing us to address the long-standing challenge of scalable intracellular recording.

“The beauty of science to many, ourselves included, is having such challenges to drive hypotheses and future work. In the longer term, we see these probe developments adding to our capabilities that ultimately drive advanced high-resolution brain-machine interfaces and perhaps eventually bringing cyborgs to reality.”

Professor Ravi Silva, Director of the ATI at the University of Surrey, said: “This incredibly exciting and ambitious piece of work illustrates the value of academic collaboration. Along with the possibility of upgrading the tools we use to monitor cells, this work has laid the foundations for machine and human interfaces that could improve lives across the world.”

Dr Yunlong Zhao and his team are currently working on novel energy storage devices, electrochemical probing, bioelectronic devices, sensors and 3D soft electronic systems. Undergraduate, graduate and postdoc students with backgrounds in energy storage, electrochemistry, nanofabrication, bioelectronics, tissue engineering are very welcome to contact Dr Zhao to explore the opportunities further.

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

Scalable ultrasmall three-dimensional nanowire transistor probes for intracellular recording by Yunlong Zhao, Siheng Sean You, Anqi Zhang, Jae-Hyun Lee, Jinlin Huang & Charles M. Lieber. Nature Nanotechnology (2019) DOI: https://doi.org/10.1038/s41565-019-0478-y Published 01 July 2019

The link I’ve provided leads to a paywall. However, I found a freely accessible version of the paper (this may not be the final published version) here.