Monthly Archives: October 2022

A cluster of golden nanoscale stars

A bio-inspired molecule that directs gold atoms to form perfect nanoscale stars? According to a March 30, 2022 news item on Nanowerk, that’s exactly what researchers have done (Note: Links have been removed),

Researchers from Pacific Northwest National Laboratory (PNNL) and the University of Washington (UW) have successfully designed a bio-inspired molecule that can direct gold atoms to form perfect nanoscale stars.

The work (Angewandte Chemie, “Peptoid-Directed Formation of Five-Fold Twinned Au Nanostars through Particle Attachment and Facet Stabilization”) is an important step toward understanding and controlling metal nanoparticle shape and creating advanced materials with tunable properties.

Artistic rendering of gold star assembly. Credit: Biao Jin Courtesy: University of Washington

I do love the fanciful addition of a panda to the proceedings. Thank you Biao Jin.

A March 29, 2022 University of Washington news release (also on EurekAlert but published on March 30, 2022), which originated the news item, provides more detail about the research,

Metallic nanomaterials have interesting optical properties, called plasmonic properties, says Chun-Long Chen, who is a PNNL senior research scientist, UW affiliate professor of chemical engineering and of chemistry, and UW–PNNL Faculty Fellow. In particular, star-shaped metallic nanomaterials are already known to exhibit unique enhancements that are useful for sensing and the detection of pathogenic bacteria, among other national security and health applications.

To create these striking nanoparticles, the team carefully tuned sequences of peptoids, a type of programmable protein-like synthetic polymer. “Peptoids offer a unique advantage in achieving molecular-level controls,” says Chen. In this case, the peptoids guide small gold particles to attach and relax to form larger five-fold twinned ones, while also stabilizing the facets of the crystal structure. Their approach was inspired by nature, where proteins can control the creation of materials with advanced functionalities.

Jim De Yoreo and Biao Jin used advanced in situ transmission electron microscopy (TEM) to “see” the stars’ formation in solution at the nanoscale. The technique both provided an in-depth mechanistic understanding of how peptoids guide the process and revealed the roles of particle attachment and facet stabilization in controlling shape. De Yoreo is a Battelle Fellow at PNNL and affiliate professor of materials science and engineering at UW, and Jin is a postdoctoral research associate at PNNL.

Having assembled their nanoscale constellation, the researchers then employed molecular dynamics simulations to capture a level of detail that can’t be gleaned from experiments — and to illuminate why specific peptoids controlled the formation of the perfect stars. Xin Qi, a chemical engineering postdoctoral researcher in professor Jim Pfaendtner’s group, led this work at UW. Qi used UW’s Hyak supercomputer cluster to model interfacial phenomena between several different peptoids and particle surfaces.

The simulations play a critical role in learning how to design plasmonic nanomaterials that absorb and scatter light in unique ways. “You need to have a molecular-level understanding to form this nice star-shaped particle with interesting plasmonic properties,” said Chen. Simulations can build the theoretical understanding around why certain peptoids create certain shapes.

The researchers are working toward a future where simulations guide experimental design, in a cycle the team hopes will lead to predictive synthesis of nanomaterials with desired plasmonic enhancements. In this aspect, they would like to first use computational tools to identify peptoid side chains and sequences with desired facet selectivity. Then they would employ state-of-art in situ imaging techniques, such as liquid-cell TEM [transmission electron microscope], to monitor the direct facet expression, stabilization, and particle attachment. In other words, Chen says, “If someone can tell us that a structure of plasmonic nanomaterials has interesting optical properties, can we use a peptoid-based approach to predictably make that?”

Though they’re not to that point, this successful experimental–computational work certainly gets them closer. Further, the team’s ability to synthesize nice star shapes consistently is an important step; more-homogeneous particles translate into more-predictable optical properties.

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

Peptoid-Directed Formation of Five-Fold Twinned Au Nanostars through Particle Attachment and Facet Stabilization by Biao Jin, Feng Yan, Xin Qi, Bin Cai, Jinhui Tao, Xiaofeng Fu, Susheng Tan, Peijun Zhang, Jim Pfaendtner, Nada Y. Naser, François Baneyx, Xin Zhang, James J. DeYoreo, Chun-Long Chen. Angewandte Chemie DOI: https://doi.org/10.1002/anie.202201980 First published: 15 February 2022

This paper is open access.

Art and science, Salk Institute and Los Angeles County Museum of Art (LACMA), to study museum visitor behaviour

The Salk Institute wouldn’t have been my first guess for the science partner in this art and science project, which will be examining museum visitor behaviour. From the September 28, 2022 Salk Institute news release (also on EurekAlert and a copy received via email) announcing the project grant,

Clay vessels of innumerable shapes and sizes come to life as they illuminate a rich history of symbolic meanings and identity. Some museum visitors may lean in to get a better view, while others converse with their friends over the rich hues. Exhibition designers have long wondered how the human brain senses, perceives, and learns in the rich environment of a museum gallery.

In a synthesis of science and art, Salk scientists have teamed up with curators and design experts at the Los Angeles County Museum of Art (LACMA) to study how nearly 100,000 museum visitors respond to exhibition design. The goal of the project, funded by a $900,000 grant from the National Science Foundation, is to better understand how people perceive, make choices in, interact with, and learn from a complex environment, and to further enhance the educational mission of museums through evidence-based design strategies.   

The Salk team is led by Professor Thomas Albright, Salk Fellow Talmo Pereira, and Staff Scientist Sergei Gepshtein.

The experimental exhibition at LACMA—called “Conversing in Clay: Ceramics from the LACMA Collection”—is open until May 21, 2023.

“LACMA is one of the world’s greatest art museums, so it is wonderful to be able to combine its expertise with our knowledge of brain function and behavior,” says Albright, director of Salk’s Vision Center Laboratory and Conrad T. Prebys Chair in Vision Research. “The beauty of this project is that it extends our laboratory research on perception, memory, and decision-making into the real world.”

Albright and Gepshtein study the visual system and how it informs decisions and behaviors. A major focus of their work is uncovering how perception guides movement in space. Pereira’s expertise lies in measuring and quantifying behaviors. He invented a deep learning technique called SLEAP [Social LEAP Estimates Animal Poses (SLEAP)], which precisely captures the movements of organisms, from single cells to whales, using conventional videography. This technology has enabled scientists to describe behaviors with unprecedented precision.

For this project, the scientists have placed 10 video cameras throughout a LACMA gallery. The researchers will record how the museum environment shapes behaviors as visitors move through the space, including preferred viewing locations, paths and rates of movement, postures, social interactions, gestures, and expressions. Those behaviors will, in turn, provide novel insights into the underlying perceptual and cognitive processes that guide our engagement with works of art. The scientists will also test strategic modifications to gallery design to produce the most rewarding experience.

“We plan to capture every behavior that every person does while visiting the exhibit,” Pereira says. “For example, how long they stand in front an object, whether they’re talking to a friend or even scratching their head. Then we can use this data to predict how the visitor will act next, such as if they will visit another object in the exhibit or if they leave instead.”

Results from the study will help inform future exhibit design and visitor experience and provide an unprecedented quantitative look at how human systems for perception and memory lead to predictable decisions and actions in a rich sensory environment.

“As a museum that has a long history of melding art with science and technology, we are thrilled to partner with the Salk Institute for this study,” says Michael Govan, LACMA CEO and Wallis Annenberg director. “LACMA is always striving to create accessible, engaging gallery environments for all visitors. We look forward to applying what we learn to our approach to gallery design and to enhance visitor experience.” 

Next, the scientists plan to employ this experimental approach to gain a better understanding of how the design of environments for people with specific needs, like school-age children or patients with dementia, might improve cognitive processes and behaviors.

Several members of the research team are also members of the Academy of Neuroscience for Architecture, which seeks to promote and advance knowledge that links neuroscience research to a growing understanding of human responses to the built environment.

Gepshtein is also a member of Salk’s Center for the Neurobiology of Vision and director of the Collaboratory for Adaptive Sensory Technologies. Additionally, he serves as the director of the Center for Spatial Perception & Concrete Experience at the University of Southern California.

About the Los Angeles County Museum of Art:

LACMA is the largest art museum in the western United States, with a collection of more than 149,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population. LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.

About the Salk Institute for Biological Studies:

Every cure has a starting point. The Salk Institute embodies Jonas Salk’s mission to dare to make dreams into reality. Its internationally renowned and award-winning scientists explore the very foundations of life, seeking new understandings in neuroscience, genetics, immunology, plant biology, and more. The Institute is an independent nonprofit organization and architectural landmark: small by choice, intimate by nature, and fearless in the face of any challenge. Be it cancer or Alzheimer’s, aging or diabetes, Salk is where cures begin. Learn more at: salk.edu.

I find this image quite intriguing,

Caption: Motion capture technology is used to classify human behavior in an art exhibition. Credit: Salk Institute

I’m trying to figure out how they’ll do this. Will each visitor be ‘tagged’ as they enter the LACMA gallery so they can be ‘followed’ individually as they respond (or don’t respond) to the exhibits? Will they be notified that they are participating in a study?

I was tracked without my knowledge or consent at the Vancouver (Canada) Art Gallery’s (VAG) exhibition, “The Imitation Game: Visual Culture in the Age of Artificial Intelligence” (March 5, 2022 – October 23, 2022). It was disconcerting to find out that my ‘tracks’ had become part of a real time installation. (The result of my trip to the VAG was a two-part commentary: “Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver [Canada] Art Gallery [1 of 2]: The Objects” and “Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver [Canada] Art Gallery [2 of 2]: Meditations”. My response to the experience can be found under the ‘Eeek’ subhead of part 2: Meditations. For the curious, part 1: The Objects is here.)