Tag Archives: Holland

The van Gogh-Roosegaarde path, a solar powered bike path

From YouTube, Heijmans NV Published on Nov 12, 2014 Inspired by Vincent van Gogh’s work, the cycle path combines innovation and design with cultural heritage and tourism. The Van Gogh-Roosegaarde cycle path is being constructed by Heijmans from a design by Daan Roosegaarde and forms part of the Van Gogh cycle route in Brabant.

According to other sources, the path was inspired by van Gogh’s ‘Starry Night’. From a November 21, 2014 article by Elizabeth Montalbano for Design News (Note: A link has been removed),

The Dutch are known for their love of bicycling, and they’ve also long been early adopters of green-energy and smart-city technologies. So it seems fitting that a town in which painter Vincent van Gogh once lived has given him a very Dutch-like tribute — a bike path lit by a special smart paint in the style of the artist’s “Starry Night” painting.

Designed by artist Daan Roosegaarde of Studio Roosegaarde, the van Gogh-Roosegaarde bike path — in the Dutch town of Nuenen en Eindhoven, where van Gogh lived from 1883-1885 — is a kilometer long and features technologies developed as part of the Smart Highway project, a joint venture of the studio and Dutch infrastructure company Heijmans.

A team of 12 designers and engineers worked on the project for eight months, while site production took 10 days. The opening of the path marked the official launch of the international van Gogh 2015 year.

The path uses stones painted with a smart coating that charges by the heat of the sun during the day and then glow at night for up to eight hours. When there is not enough sunlight during the day to charge the stones, the path can draw electricity from a solar panel installed nearby. There are also LEDs in the path that provides lighting.

How does the technology work?

Despite my best efforts, I never did unearth a good technical explanation. There is some sort of photoluminescent powder or paint. I vote for a powder that’s been emulsified in a paint/coating. material. Somehow, this material is charged by sunlight and then at night glows with the help of a solar panel and light-emitting diodes (LEDs).

Here’s the clearest explanation I found; it’s from Dan Howarth’s November 12, 2014 article for dezeen.com (Note: A link has been removed), ,

The surface of the Van Gogh-Roosegaarde Bicycle Path is coated with a special paint that uses energy gathered during the day to glow after dark.


[Daan] Roosegaarde told Dezeen that this method of illumination is “more gentle to the eye and surrounding nature” that other lighting infrastructure, and creates a “connection with cultural history”.

A nearby solar panel is used to generate power to illuminate the coated surface, which was developed with infrastructure firm Heijmans. LEDs along the side of certain curves in the path cast extra light, meaning the path will still be partially lit if the weather has been too cloudy for the panel to charge the surface to its full brightness.

“It’s a new total system that is self-sufficient and practical, and just incredibly poetic,” said Roosegaarde.

Lily Hay Newman’s November 14, 2014 article for Slate.com succinctly sums up the technical aspects,

The path is coated in photoluminescent paint that’s also embedded with small LEDs powered by nearby solar panels. The path essentially charges all day so that it can glow during the night, and it also has backup power in case it’s overcast.

This October 30, 2012 article by Liat Clark for Wired.com provides a bit more detail about the powder/paint as Clark delves into the Roosegaarde Studo’s Smart Highway project (the cycle path made use of the same technology) ,

The studio has developed a photo-luminising powder that will replace road markings – it charges up in sunlight, giving it up to 10 hours of glow-in-the-dark time come nightfall. “It’s like the glow in the dark paint you and I had when we were children,” designer Roosegaarde explained, “but we teamed up with a paint manufacturer and pushed the development. Now, it’s almost radioactive“. [perhaps not the wisest choice of hyperbole]

Special paint will also be used to paint markers like snowflakes across the road’s surface – when temperatures fall to a certain point, these images will become visible, indicating that the surface will likely be slippery. Roosegaarde says this technology has been around for years, on things like baby food – the studio has just upscaled it.

Not everyone is in love

Shaunacy Ferro’s July 26, 2017 article for dentalfloss.com highlights a glow-in-the-dark path project for Singapore and a little criticism (Note: Links have been removed),

Glow-in-the-dark materials are no longer for toys. Photoluminescence can help cities feel safer at night, whether it’s part of a mural, a bike lane, or a highway. Glow-in-the-dark paths have been tested in several European cities (the above is a Van Gogh-inspired bike path by the Dutch artist Daan Roosegaarde) and in Texas, but now, the technology may be coming to Singapore. The city-state is currently developing a 15-mile greenway called the Rail Corridor, and it now has a glow-in-the-dark path, as Mashable reports.

The 328-foot stretch of glowing path is part of a test of multiple surface materials that might eventually be used throughout the park, depending on public opinion. In addition to the strontium aluminate-beaded [emphasis mine] path that glows at night, there are also three other 328-foot stretches of the path that are paved with fine gravel, cement aggregate, and part-grass/part-gravel. The glow-in-the-dark material embedded in the walkway absorbs UV light from the sun during the day and can emit light for up to eight hours once the sun goes down.

However, in practice, glow-in-the-dark paths can be less dazzling than they seem. [emphasis mine] Mashable’s reporter called the glowing effect on Singapore’s path “disappointingly feeble.” [emphasis mine] In 2014, a glowing highway-markings pilot by Studio Roosegaarde in the Netherlands revealed that the first road markings faded after exposure to heavy rains. [emphases mine] When it comes to glowing roads, the renderings tend to look better than the actual result, [emphasis mine] and there are still kinks to work out. (The studio worked the issue out eventually.) While a person walking or biking down Singapore’s glowing path might be able to tell that they were staying on the path better than if they were fumbling along dark pavement, it’s not the equivalent of a streetlight, for sure.

Ferro had reported earlier on Studio Roosegaarde’s Smart Highway project in an October 23, 2014 article for Fast Company where Ferro first mentioned the rain problem (Note: Links have been removed),

Glowing Lanes is a collaboration between Dutch engineering company Heijmans and Daan Roosegaarde, a tech-loving artist and designer whose previous work includes Intimacy 2.0, a dress that becomes transparent when the wearer gets aroused. The glow-in-the-dark lane markers are intended to increase road visibility in a more energy-efficient way than traditional street lighting. Photoluminescent paint charges during the day and slowly emits light over the course of eight hours during the evening.

After a few technical challenges (an early version of the markers didn’t fare so well in the rain), the final system has been installed, and according to Studio Roosegaarde, the kinks have been worked out, and initial reports of the paint fading were “overstated.” [emphases mine]

“This was part of any normal learning process,” according to an email from the studio’s PR, and “now the project is ‘matured.’”

But not to the point where it’s no longer a novelty. According to the email from Studio Roosegaarde, the glowing highway caused a minor traffic jam last night as people rushed to look at it.

… Roosegaarde has also been asked to create a smart highway design for Afsluitdijk–an almost 20-mile-long dike that connects North Holland to the province of Friesland across the water–and according to his studio, there are plans in the works to launch the glowing lanes in China and Japan as well.

Comments

In the following excerpt, there’s a reference to strontium aluminate-coated materials, given the interview which follows this section, the project in Singapore did not use the photoluminescent paint developed by Roosegaarde Studio. I found this paint reference in a July 26, 2017 article by Yi Shu Ng for Mashable (h/t Ferro’s July 26, 2017 article) which notes the product’s ubiquity,

The track glows because it’s got strontium aluminate compounds embedded in it — the chemical is commonly found in glow-in-the-dark products, which absorb ultraviolet light in the day, to emit luminescence at night.

There are some inconsistencies in the reporting about the number of hours, eight hours or 10 hours, the bicycle path or smart highway remains lit after being charged. Given that this was a newish technology being used in a new application, the rain problem and other technical glitches were to be expected. I wish the writer had been a little less dismissive and that the studio had been a little more forthcoming about how they solved the problems. In any case, I dug further and this is what I got.

Interview

I’m not sure who answered the questions but this comes direct from Studio Roosegaarde,

  • Could you give me a capsule description of what’s happened since the path was opened in 2014/15? For example, How does the bike path look these days? Does it still glow? Don’t the bicycles on the path destroy the ‘Starry Night’ pattern over time? Do the stones have to be coated over and over again to maintain their solar charging capacities? 

    The Van Gogh Path is still working perfectly and is visited every night by couples, tourists and local people. The stones are inside the concrete so are still in place and will work for a minimum of 10 years. It is great to see we have created a place of wonder. It is the most published bicycle path in the world. We have even had children books published about it.
  • Are there more bike paths like the Van Gogh Path in other parts of Holland and/or elsewhere?

    No, this is the only one. There have been some copycats in other countries.The Smart Highway project is still growing, and our recent Gates of Light is the next step of poetic and energy-neutral landscapes like the Van Gogh Path:  https://www.studioroosegaarde.net/project/gates-of-light
  • How has your project evolved? And, have there been any unanticipated benefits and/or setbacks? Is there a change in the technology, I noticed you were investigating bioluminscence.

    Yes, we are still developing new landscapes of the future. What we have learned from Van Gogh Path we have applied in new projects such as Glowing Nature: https://www.studioroosegaarde.net/project/glowing-nature We also do something new.
  • I was struck by how gentle the lighting is. I understand there has been some criticism about how much light the path radiates and I’m wondering about your thoughts on that.

    Yes, since the path is a nature protected environment, normal LED lighting was not allowed. So the light is gentle but still visible, and sustainable.There are some bad copy-cats using cheap materials which don’t work well, like the one in Singapore. But we are happy that our path is still working.

Thank you to the folks at Studio Roosegaarde for taking the time to provide this interview. Here are links to Studio Roosegaarde and their industrial partner, Heijmans.

Baroness Elsa von Freytag-Loringhoven, Marcel Duchamp, and the Fountain

There is a controversy over one of the important pieces (it’s considered foundational) of modern art, “Fountain.”

The original Fountain by Marcel Duchamp photographed by Alfred Stieglitz at the 291 (Art Gallery) after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The entry tag is clearly visible. [downloaded from https://en.wikipedia.org/wiki/Fountain_%28Duchamp%29

Elsa von Freytag-Loringhoven the real artist behind the ‘Fountain’

According to Theo Paijmans in his June 2018 article (abstract) on See All This, the correct attribution is not Marcel Duchamp,

In 1917, when the United States was about to enter the First World War and women in the United Kingdom had just earned their right to vote, a different matter occupied the sentiments of the small, modernist art scene in New York. It had organised an exhibit where anyone could show his or her art against a small fee, but someone had sent in a urinal for display. This was against even the most avant-garde taste of the organisers of the exhibit. The urinal, sent in anonymously, without title and only signed with the enigmatic ‘R. Mutt’, quickly vanished from view. Only one photo of the urinal remains.

Theo Paijmans, June 2018

In 1935 famous surrealist artist André Breton attributed the urinal to Marcel Duchamp. Out of this grew the consensus that Duchamp was its creator. Over time Duchamp commissioned a number of replicas of the urinal that now had a name: Fountain – coined by a reviewer who briefly visited the exhibit in 1917. The original urinal had since long disappeared. In all probability it had been unceremoniously dumped on the trash heap, but ironically it was destined to become one of the most iconic works of modern art. In 2004, some five hundred artists and art experts heralded Fountain as the most influential piece of modern art, even leaving Picasso’s Les Demoiselles d’Avignon behind. Once again it cemented the reputation of Duchamp as one of the towering geniuses in the history of modern art.

But then things took a turn

Portrait of Elsa von Freytag-Loringhoven

In 1982 a letter written by Duchamp came to light. Dated 11 April 1917, it was written just a few days after that fateful exhibit. It contains one sentence that should have sent shockwaves through the world of modern art: it reveals the true creator behind Fountain – but it was not Duchamp. Instead he wrote that a female friend using a male alias had sent it in for the New York exhibition. Suddenly a few other things began to make sense. Over time Duchamp had told two different stories of how he had created Fountain, but both turned out to be untrue. An art historian who knew Duchamp admitted that he had never asked him about Fountain, he had published a standard-work on Fountain nevertheless. The place from where Fountain was sent raised more questions. That place was Philadelphia, but Duchamp had been living in New York.

Female friend

Who was living in Philadelphia? Who was this ‘female friend’ that had sent the urinal using a pseudonym that Duchamp mentions? That woman was, as Duchamp wrote, the future. Art history knows her as Elsa von Freytag-Loringhoven. She was a brilliant pioneering New York dada artist, and Duchamp knew her well. This glaring truth has been known for some time in the art world, but each time it has to be acknowledged, it is met with indifference and silence.

You have to pay to read the rest but See All This does include a video with the abstract for the article,

You may want to know one other thing, the magazine appears to be available only in Dutch. Taking that into account, here’s a link to the magazine along with some details about the experts who consulted with Paijmans,

This is an abstract from the Dutch article ‘Het urinoir is niet van Duchamp’ that is published in See All This art magazine’s summer issue. For his research, the author interviewed Irene Gammel (biographer of Elsa von Freytag-Loringhoven and professor at the Ryerson University in Toronto), Glyn Thompson (art historian, curator and writer), Julian Spalding (art critic and former director of Glasgow museums and galleries), and John Higgs (cultural historian and journalist).

The [2018] summer issue of See All This magazine is dedicated to 99 genius women in the art world, to celebrate the voice of women and the 100th anniversary of women’s right to vote in the Netherlands in 2019. Buy this issue online.

It’s certainly a provocative thesis and it seems there’s a fair degree of evidence to support it. Although there is an alternative attribution, also female. From the Baroness Elsa von Freytag-Loringhoven Wikipedia entry (Note: Links have been removed),

In a letter written by Marcel Duchamp to his sister Suzanne dated April 11, 1917 he refers to his famous ready-made, Fountain (1917) and states: “One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture.”[33] Some have claimed that the friend in question was the Baroness, but Francis Naumann, the New York-based critic and expert on Dada who put together a compilation of Duchamp’s letters and organized Making Mischief: Dada Invades New York for the Whitney Museum of American Art in 1997, explains this “female friend” is Louise Norton who contributed an essay to The Blind Man discussing Fountain. Norton was living at 110 West 88th Street in New York City and this address is partially discernible (along with “Richard Mutt”) on the paper entry ticket attached to the object, as seen in Stieglitz’s photograph of Fountain.[emphases mine]

Or is it Louise Norton?

The “Fountain” Wikipedia entry does not clarify matters (Note: Links have been removed),

Marcel Duchamp arrived in the United States less than two years prior to the creation of Fountain and had become involved with Dada, an anti-rational, anti-art cultural movement, in New York City. According to one version, the creation of Fountain began when, accompanied by artist Joseph Stella and art collector Walter Arensberg, he purchased a standard Bedfordshire model urinal from the J. L. Mott Iron Works, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its normal position of use, and wrote on it, “R. Mutt 1917”.[3][4]

According to another version, Duchamp did not create Fountain, but rather assisted in submitting the piece to the Society of Independent Artists for a female friend. In a letter dated 11 April 1917 Duchamp wrote to his sister Suzanne telling her about the circumstances around Fountain’s submission: “Une de mes amies sous un pseudonyme masculin, Richard Mutt, avait envoyé une pissotière [urinal] en porcelaine comme sculpture” (“One of my female friends, who had adopted the male pseudonym, Richard Mutt, sent me a porcelain urinal as a sculpture.”)[5][6] Duchamp never identified his female friend, but two candidates have been proposed: the Dadaist Elsa von Freytag-Loringhoven[7][8] whose scatological aesthetic echoed that of Duchamp, or Louise Norton, who contributed an essay to The Blind Man discussing Fountain. Norton, who recently had separated from her husband, was living at the time in an apartment owned by her parents at 110 West 88th Street in New York City, and this address is partially discernible (along with “Richard Mutt”) on the paper entry ticket attached to the object, as seen in Stieglitz’s photograph.[9]

Rhonda Roland Shearer in the online journal Tout-Fait (2000) has concluded that the photograph is a composite of different photos, while other scholars such as William Camfield have never been able to match the urinal shown in the photo to any urinals found in the catalogues of the time period.[10] [emphases mine]

Attributing “Fountain” to a woman changes my understanding of the work. It seems to me. After all, it’s a woman submitting a urinal (plumbing designed specifically for the male anatomy) as a work of art.What was she (whichever she) is saying?

It’s tempting to read a commentary on patriarchy and art into the piece but von Freytag-Loringhoven (I’ll get to Norton next) may have had other issues in mind, from her Wikipedia entry (Note: Links have been removed),

There has been substantial new research indicating that some artworks attributed to other artists of the period can now either be attributed to the Baroness, or raise the possibility that she may have created the works. One work, called God (1917) had for a number of years been attributed to the artist Morton Livingston Schamberg. The Philadelphia Museum of Art, whose collection includes God, now credits the Baroness as a co-artist of this piece. Amelia Jones idenitified that this artwork’s concept and title was created by the Baroness, however, it was constructed by both Shamberg and the Baroness.[30] This sculpture, God (1917), involved a cast iron pumbing trap and a wooden mitre box, assembled in a phallic-like manner. [31] Her concept behind the shape and choice of materials is indicative of her commentary on the worship and love that Americans have for plumbing that trumps all else; additionally, it is revealing of the Baroness’s rejection of technology. [emphases mine]

As for Norton, unfortunately I’m not familiar with her work and this is the only credible reference to her that I’ve been able to find (Note: The link is in an essay on Duchamp and the “Fountain” on the Phaidon website [scroll down to the ninth paragraph]),

Allen Norton was an American poet and literary editor of the 1910s and 20s. He and his wife Louise Norton [emphasis mine] edited the little magazine Rogue, published from March 1915 to December 1916.

There is another Louise Norton, an artist who has a Wikipedia entry but that suggests this is an entirely different ‘Louise’.

Of the two and for what it’s worth, I find von Freytag-Loringhoven to be the more credible candidate. Nell Frizzell in her Nov. 7, 2014 opinion piece for the Guardian has absolutely no doubts on the matter (Note: Links have been removed),

Men may fill them, but it takes a woman to take the piss out of a urinal. Or so Julian Spalding, the former director of Glasgow Museums, and the academic Glyn Thompson have claimed. The argument, which has been swooshing around the cistern of contemporary art criticism since the 1980s, is that Duchamp’s famous artwork Fountain – a pissoir laid on its side – was actually the creation of the poet, artist and wearer of tin cans, Baroness Elsa von Freytag-Loringhoven.

That Von Freytag-Loringhoven has been written out of the story is not only a great injustice, it is also a formidable loss to art history. This was a woman, after all, whose idea of getting gussied-up for a private view was to scatter her outfit liberally with flattened tin cans and stuffed parrots. A woman who danced on verandas in little more than a pair of stockings, some feathers and enough bangles to shake out the percussion track from Walk Like an Egyptian. A woman who draped her way through several open marriages, including one to Oscar Wilde’s translator Felix Paul Greve (who faked his own suicide to escape his creditors and flee with her to America)….

Mind you, there is a difference between theft and misattribution. While Valerie Solanas, the somewhat troubled feminist and writer of the Scum manifesto, openly accused Andy Warhol of stealing her script Up Your Ass and even attempted to murder him, other works exist in a more complicated, murky grey area. Matisse certainly directed the creation of his gouaches découpées – large collage works made by pasting torn-off pieces of gouache-painted paper – yet it is impossible to draw the line between where his creativity ends and that of his assistants intention begins. Similarly, while John Milton’s daughters ostensibly simply transcribed their father’s work, how can we say that in the act of writing they were not also editing, questioning, suggesting imagery and offering phrasing?

Art historians and academics have pointed out that in 1917 Duchamp wrote to his sister, recounting how “one of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture”. Duchamp revealed that this model of urinal wasn’t even in production at the factory where he claimed to have picked it up; and that this artwork bore a more than passing similarity to the Elsa von Freytag-Loringhoven readymade sculpture called God, both in appearance and concept.

Here is “God,”

“God” By Baroness Elsa von Freytag-Loringhoven and Morton Schamberg (1917)Museum of Fine Arts, Houston Blue pencil.svg wikidata:Q1565911  Source/Photographer: TgGFztK3lZWxdg at Google Cultural Institute, zoom level maximum

The “Fountain” graced this blog previously in a March 8, 2016 posting about an exhibition titled: “Mashup: The Birth of Modern Culture” at the Vancouver Art Gallery where I did not have an inkling as to this controversy.  Given the zeitgeist surrounding women and their issues, it’s an interesting time to learn of it.

China is world leader in nanotechnology and in other fields too?

State of Chinese nanoscience/nanotechnology

China claims to be the world leader in the field in a white paper announced in an August 29, 2017 Springer Nature press release,

Springer Nature, the National Center for Nanoscience and Technology, China and the National Science Library of the Chinese Academy of Sciences (CAS) released in both Chinese and English a white paper entitled “Small Science in Big China: An overview of the state of Chinese nanoscience and technology” at NanoChina 2017, an international conference on nanoscience and technology held August 28 and 29 in Beijing. The white paper looks at the rapid growth of China’s nanoscience research into its current role as the world’s leader [emphasis mine], examines China’s strengths and challenges, and makes some suggestions for how its contribution to the field can continue to thrive.

The white paper points out that China has become a strong contributor to nanoscience research in the world, and is a powerhouse of nanotechnology R&D. Some of China’s basic research is leading the world. China’s applied nanoscience research and the industrialization of nanotechnologies have also begun to take shape. These achievements are largely due to China’s strong investment in nanoscience and technology. China’s nanoscience research is also moving from quantitative increase to quality improvement and innovation, with greater emphasis on the applications of nanotechnologies.

“China took an initial step into nanoscience research some twenty years ago, and has since grown its commitment at an unprecedented rate, as it has for scientific research as a whole. Such a growth is reflected both in research quantity and, importantly, in quality. Therefore, I regard nanoscience as a window through which to observe the development of Chinese science, and through which we could analyze how that rapid growth has happened. Further, the experience China has gained in developing nanoscience and related technologies is a valuable resource for the other countries and other fields of research to dig deep into and draw on,” said Arnout Jacobs, President, Greater China, Springer Nature.

The white paper explores at China’s research output relative to the rest of the world in terms of research paper output, research contribution contained in the Nano database, and finally patents, providing insight into China’s strengths and expertise in nano research. The white paper also presents the results of a survey of experts from the community discussing the outlook for and challenges to the future of China’s nanoscience research.

China nano research output: strong rise in quantity and quality

In 1997, around 13,000 nanoscience-related papers were published globally. By 2016, this number had risen to more than 154,000 nano-related research papers. This corresponds to a compound annual growth rate of 14% per annum, almost four times the growth in publications across all areas of research of 3.7%. Over the same period of time, the nano-related output from China grew from 820 papers in 1997 to over 52,000 papers in 2016, a compound annual growth rate of 24%.

China’s contribution to the global total has been growing steadily. In 1997, Chinese researchers co-authored just 6% of the nano-related papers contained in the Science Citation Index (SCI). By 2010, this grew to match the output of the United States. They now contribute over a third of the world’s total nanoscience output — almost twice that of the United States.

Additionally, China’s share of the most cited nanoscience papers has kept increasing year on year, with a compound annual growth rate of 22% — more than three times the global rate. It overtook the United States in 2014 and its contribution is now many times greater than that of any other country in the world, manifesting an impressive progression in both quantity and quality.

The rapid growth of nanoscience in China has been enabled by consistent and strong financial support from the Chinese government. As early as 1990, the State Science and Technology Committee, the predecessor of the Ministry of Science and Technology (MOST), launched the Climbing Up project on nanomaterial science. During the 1990s, the National Natural Science Foundation of China (NSFC) also funded nearly 1,000 small-scale projects in nanoscience. In the National Guideline on Medium- and Long-Term Program for Science and Technology Development (for 2006−2020) issued in early 2006 by the Chinese central government, nanoscience was identified as one of four areas of basic research and received the largest proportion of research budget out of the four areas. The brain boomerang, with more and more foreign-trained Chinese researchers returning from overseas, is another contributor to China’s rapid rise in nanoscience.

The white paper clarifies the role of Chinese institutions, including CAS, in driving China’s rise to become the world’s leader in nanoscience. Currently, CAS is the world’s largest producer of high impact nano research, contributing more than twice as many papers in the 1% most-cited nanoscience literature than its closest competitors. In addition to CAS, five other Chinese institutions are ranked among the global top 20 in terms of output of top cited 1% nanoscience papers — Tsinghua University, Fudan University, Zhejiang University, University of Science and Technology of China and Peking University.

Nano database reveals advantages and focus of China’s nano research

The Nano database (http://nano.nature.com) is a comprehensive platform that has been recently developed by Nature Research – part of Springer Nature – which contains nanoscience-related papers published in 167 peer-reviewed journals including Advanced Materials, Nano Letters, Nature, Science and more. Analysis of the Nano database of nanomaterial-containing articles published in top 30 journals during 2014–2016 shows that Chinese scientists explore a wide range of nanomaterials, the five most common of which are nanostructured materials, nanoparticles, nanosheets, nanodevices and nanoporous materials.

In terms of the research of applications, China has a clear leading edge in catalysis research, which is the most popular area of the country’s quality nanoscience papers. Chinese nano researchers also contributed significantly to nanomedicine and energy-related applications. China is relatively weaker in nanomaterials for electronics applications, compared to other research powerhouses, but robotics and lasers are emerging applications areas of nanoscience in China, and nanoscience papers addressing photonics and data storage applications also see strong growth in China. Over 80% of research from China listed in the database explicitly mentions applications of the nanostructures and nanomaterials described, notably higher than from most other leading nations such as the United States, Germany, the UK, Japan and France.

Nano also reveals the extent of China’s international collaborations in nano research. China has seen the percentage of its internationally collaborated papers increasing from 36% in 2014 to 44% in 2016. This level of international collaboration, similar to that of South Korea, is still much lower than that of the western countries, and the rate of growth is also not as fast as those in the United States, France and Germany.

The United States is China’s biggest international collaborator, contributing to 55% of China’s internationally collaborated papers on nanoscience that are included in the top 30 journals in the Nano database. Germany, Australia and Japan follow in a descending order as China’s collaborators on nano-related quality papers.

China’s patent output: topping the world, mostly applied domestically

Analysis of the Derwent Innovation Index (DII) database of Clarivate Analytics shows that China’s accumulative total number of patent applications for the past 20 years, amounting to 209,344 applications, or 45% of the global total, is more than twice as many as that of the United States, the second largest contributor to nano-related patents. China surpassed the United States and ranked the top in the world since 2008.

Five Chinese institutions, including the CAS, Zhejiang University, Tsinghua University, Hon Hai Precision Industry Co., Ltd. and Tianjin University can be found among the global top 10 institutional contributors to nano-related patent applications. CAS has been at the top of the global rankings since 2008, with a total of 11,218 patent applications for the past 20 years. Interestingly, outside of China, most of the other big institutional contributors among the top 10 are commercial enterprises, while in China, research or academic institutions are leading in patent applications.

However, the number of nano-related patents China applied overseas is still very low, accounting for only 2.61% of its total patent applications for the last 20 years cumulatively, whereas the proportion in the United States is nearly 50%. In some European countries, including the UK and France, more than 70% of patent applications are filed overseas.

China has high numbers of patent applications in several popular technical areas for nanotechnology use, and is strongest in patents for polymer compositions and macromolecular compounds. In comparison, nano-related patent applications in the United States, South Korea and Japan are mainly for electronics or semiconductor devices, with the United States leading the world in the cumulative number of patents for semiconductor devices.

Outlook, opportunities and challenges

The white paper highlights that the rapid rise of China’s research output and patent applications has painted a rosy picture for the development of Chinese nanoscience, and in both the traditionally strong subjects and newly emerging areas, Chinese nanoscience shows great potential.

Several interviewed experts in the survey identify catalysis and catalytic nanomaterials as the most promising nanoscience area for China. The use of nanotechnology in the energy and medical sectors was also considered very promising.

Some of the interviewed experts commented that the industrial impact of China’s nanotechnology is limited and there is still a gap between nanoscience research and the industrialization of nanotechnologies. Therefore, they recommended that the government invest more in applied research to drive the translation of nanoscience research and find ways to encourage enterprises to invest more in R&D.

As more and more young scientists enter the field, the competition for research funding is becoming more intense. However, this increasing competition for funding was not found to concern most interviewed young scientists, rather, they emphasized that the soft environment is more important. They recommended establishing channels that allow the suggestions or creative ideas of the young to be heard. Also, some interviewed young researchers commented that they felt that the current evaluation system was geared towards past achievements or favoured overseas experience, and recommended the development of an improved talent selection mechanism to ensure a sustainable growth of China’s nanoscience.

I have taken a look at the white paper and found it to be well written. It also provides a brief but thorough history of nanotechnology/nanoscience even adding a bit of historical information that was new to me. As for the rest of the white paper, it relies on bibliometrics (number of published papers and number of citations) and number of patents filed to lay the groundwork for claiming Chinese leadership in nanotechnology. As I’ve stated many times before, these are problematic measures but as far as I can determine they are almost the only ones we have. Frankly, as a Canadian, it doesn’t much matter to me since Canada no matter how you slice or dice it is always in a lower tier relative to science leadership in major fields. It’s the Americans who might feel inclined to debate leadership with regard to nanotechnology and other major fields and I leave it to to US commentators to take up the cudgels should they be inclined. The big bonuses here are the history, the glimpse into the Chinese perspective on the field of nanotechnology/nanoscience, and the analysis of weaknesses and strengths.

Coming up fast on Google and Amazon

A November 16, 2017 article by Christina Bonnington for Slate explores the possibility that a Chinese tech giant, Baidu,  will provide Google and Amazon serious competition in their quests to dominate world markets (Note: Links have been removed,

raven_h
The company took a playful approach to the form—but it has functional reasons for the design, too. Baidu

 

One of the most interesting companies in tech right now isn’t based in Palo Alto, or San Francisco, or Seattle. Baidu, a Chinese company with headquarters in Beijing, is taking on America’s biggest and most innovative tech titans—with style.

Baidu, a titan in its own right, leapt onto the scene as a competitor to Google in the search engine space. Since then, the company, largely underappreciated here in the U.S., has focused on beefing up its artificial intelligence efforts. Former AI chief Andrew Ng, upon leaving the company in March, credited Baidu’s CEO Robin Li on being one of the first technology leaders to fully appreciate the value of deep learning. Baidu now has a 1,300 person AI group, and that investment in AI has helped the company catch up to older, more established companies like Google and Amazon—both in emerging spaces, such as autonomous vehicles, and in consumer tech, as its latest announcement shows.

On Thursday [November 16, 2017], Baidu debuted its entrants to the popular virtual assistant space: a connected speaker and two robots. Baidu aims for the speaker to compete against options such as Amazon’s Echo line, Google Home, and Apple HomePod. Inside, the $256 device will utilize Baidu’s DuerOS conversational artificial intelligence platform, which is already used in more than 100 different smart home brands’ products. DuerOS will let you use your voice to do things like ask the speaker for information, play music, or hail a cab. Called the Raven H, the speaker includes high-end audio components from Tymphany and a unique design jointly created by acquired startup Raven Tech and Swedish consumer electronics company Teenage Engineering.

While the focus is on exciting new technology products from Baidu, the subtext, such as it is, suggests US companies had best keep an eye on its Chinese competitor(s).

Dutch/Chinese partnership to produce nanoparticles at the touch of a button

Now back to China and nanotechnology leadership and the production of nanoparticles. This announcement was made in a November 17, 2017 news item on Azonano,

Delft University of Technology [Netherlands] spin-off VSPARTICLE enters the booming Chinese market with a radical technology that allows researchers to produce nanoparticles at the push of a button. VSPARTICLE’s nanoparticle generator uses atoms, the worlds’ smallest building blocks, to provide a controllable source of nanoparticles. The start-up from Delft signed a distribution agreement with Bio-Sun to make their VSP-G1 nanoparticle generator available in China.

A November 16, 2017 VSPARTICLE press release, which originated the news item,

“We are honoured to cooperate with VSPARTICLE and bring the innovative VSP-G1 nanoparticle generator into the Chinese market. The VSP-G1 will create new possibilities for researchers in catalysis, aerosol, healthcare and electronics,” says Yinghui Cai, CEO of Bio-Sun.

With an exponential growth in nanoparticle research in the last decade, China is one of the leading countries in the field of nanotechnology and its applications. Vincent Laban, CFO of VSPARTICLE, explains: “Due to its immense investments in IOT, sensors, semiconductor technology, renewable energy and healthcare applications, China will eventually become one of our biggest markets. The collaboration with Bio-Sun offers a valuable opportunity to enter the Chinese market at exactly the right time.”

NANOPARTICLES ARE THE BUILDING BLOCKS OF THE FUTURE

Increasingly, scientists are focusing on nanoparticles as a key technology in enabling the transition to a sustainable future. Nanoparticles are used to make new types of sensors and smart electronics; provide new imaging and treatment possibilities in healthcare; and reduce harmful waste in chemical processes.

CURRENT RESEARCH TOOLKIT LACKS A FAST WAY FOR MAKING SPECIFIC BUILDING BLOCKS

With the latest tools in nanotechnology, researchers are exploring the possibilities of building novel materials. This is, however, a trial-and-error method. Getting the right nanoparticles often is a slow struggle, as most production methods take a substantial amount of effort and time to develop.

VSPARTICLE’S VSP-G1 NANOPARTICLE GENERATOR

With the VSP-G1 nanoparticle generator, VSPARTICLE makes the production of nanoparticles as easy as pushing a button. . Easy and fast iterations enable researchers to fast forward their research cycle, and verify their hypotheses.

VSPARTICLE

Born out of the research labs of Delft University of Technology, with over 20 years of experience in the synthesis of aerosol, VSPARTICLE believes there is a whole new world of possibilities and materials at the nanoscale. The company was founded in 2014 and has an international sales network in Europe, Japan and China.

BIO-SUN

Bio-Sun was founded in Beijing in 2010 and is a leader in promoting nanotechnology and biotechnology instruments in China. It serves many renowned customers in life science, drug discovery and material science. Bio-Sun has four branch offices in Qingdao, Shanghai, Guangzhou and Wuhan City, and a nationwide sale network.

That’s all folks!

Historic and other buildings get protection from pollution?

This Sept. 15, 2017 news item on Nanowerk announces a new product for protecting buildings from pollution,

The organic pollution decomposing properties of titanium dioxide (TiO2 ) have been known for about half a century. However, practical applications have been few and hard to develop, but now a Greek paint producer claims to have found a solution

A Sept. 11, 2017 Youris (European Research Media Center) press release by Koen Mortelmans which originated the news item expands on the theme,

The photocatalytic properties of anatase, one of the three naturally occurring forms of titanium dioxide, were discovered in Japan in the late 1960s. Under the influence of the UV-radiation in sunlight, it can decompose organic pollutants such as bacteria, fungi and nicotine, and some inorganic materials into carbon dioxide. The catalytic effect is caused by the nanostructure of its crystals.

Applied outdoors, this affordable and widely available material could represent an efficient self-cleaning solution for buildings. This is due to the chemical reaction, which leaves a residue on building façades, a residue then washed away when it rains. Applying it to monuments in urban areas may save our cultural heritage, which is threatened by pollutants.

However, “photocatalytic paints and additives have long been a challenge for the coating industry, because the catalytic action affects the durability of resin binders and oxidizes the paint components,” explains Ioannis Arabatzis, founder and managing director of NanoPhos, based in the Greek town of Lavrio, in one of the countries home to some of the most important monuments of human history. The Greek company is testing a paint called Kirei, inspired by a Japanese word meaning both clean and beautiful.

According to Arabatzis, it’s an innovative product because it combines the self-cleaning action of photocatalytic nanoparticles and the reflective properties of cool wall paints. “When applied on exterior surfaces this paint can reflect more than 94% of the incident InfraRed radiation (IR), saving energy and reducing costs for heating and cooling”, he says. “The reflection values are enhanced by the self-cleaning ability. Compared to conventional paints, they remain unchanged for longer.”

The development of Kirei has been included in the European project BRESAER (BREakthrough Solutions for Adaptable Envelopes in building Refurbishment) which is studying a sustainable and adaptable “envelope system” to renovate buildings. The new paint was tested and subjected to quality controls following ISO standard procedures at the company’s own facilities and in other independent laboratories. “The lab results from testing in artificial, accelerated weathering conditions are reliable,” Arabatzis claims. “There was no sign of discolouration, chalking, cracking or any other paint defect during 2,000 hours of exposure to the simulated environmental conditions. We expect the coating’s service lifetime to be at least ten years.”

Many studies are being conducted to exploit the properties of titanium dioxide. Jan Duyzer, researcher at the Netherlands Organisation for Applied Scientific Research (TNO) in Utrecht, focused on depollution: “There is no doubt about the ability of anatase to decrease the levels of nitrogen oxides in the air. But in real situations, there are many differences in pollution, wind, light, and temperature. We were commissioned by the Dutch government specifically to find a way to take nitrogen oxides out of the air on roads and in traffic tunnels. We used anatase coated panels. Our results were disappointing, so the government decided to discontinue the research. Furthermore, we still don’t know what caused the difference between lab and life. Our best current hypothesis is that the total surface of the coated panels is very small compared to the large volumes of polluted air passing over them,” he tells youris.com.

Experimental deployment of titanium dioxide panels on an acoustic wall along a Dutch highway – Courtesy of Netherlands Organisation for Applied Scientific Research (TNO)

“In laboratory conditions the air is blown over the photocatalytic surface with a certain degree of turbulence. This results in the NOx-particles and the photocatalytic material coming into full contact with one another,” says engineer Anne Beeldens, visiting professor at KU Leuven, Belgium. Her experience with photocatalytic TiO2 is also limited to nitrogen dioxide (NOx) pollution.

In real applications, the air stream at the contact surface becomes laminar. This results in a lower velocity of the air at the surface and a lower depollution rate. Additionally, not all the air will be in contact with the photocatalytic surfaces. To ensure a good working application, the photocatalytic material needs to be positioned so that all the air is in contact with the surface and flows over it in a turbulent manner. This would allow as much of the NOx as possible to be in contact with photocatalytic material. In view of this, a good working application could lead to a reduction of 5 to 10 percent of NOx in the air, which is significant compared to other measures to reduce pollutants.”

The depollution capacity of TiO2 is undisputed, but most applications and tests have only involved specific kinds of substances. More research and measurements are required if we are to benefit more from the precious features of this material.

I think the most recent piece here on protecting buildings, i.e., the historic type, from pollution is an Oct. 21, 2014 posting: Heart of stone.

‘Nano-hashtags’ for Majorana particles?

The ‘nano-hashtags’ are in fact (assuming a minor leap of imagination) nanowires that resemble hashtags.

Scanning electron microscope image of the device wherein clearly a ‘hashtag’ is formed. Credit: Eindhoven University of Technology

An August 23, 2017 news item on ScienceDaily makes the announcement,

In Nature, an international team of researchers from Eindhoven University of Technology [Netherlands], Delft University of Technology [Netherlands] and the University of California — Santa Barbara presents an advanced quantum chip that will be able to provide definitive proof of the mysterious Majorana particles. These particles, first demonstrated in 2012, are their own antiparticle at one and the same time. The chip, which comprises ultrathin networks of nanowires in the shape of ‘hashtags’, has all the qualities to allow Majorana particles to exchange places. This feature is regarded as the smoking gun for proving their existence and is a crucial step towards their use as a building block for future quantum computers.

An August 23, 2017 Eindhoven University press release (also on EurekAlert), which originated the news item, provides some context and information about the work,

In 2012 it was big news: researchers from Delft University of Technology and Eindhoven University of Technology presented the first experimental signatures for the existence of the Majorana fermion. This particle had been predicted in 1937 by the Italian physicist Ettore Majorana and has the distinctive property of also being its own anti-particle. The Majorana particles emerge at the ends of a semiconductor wire, when in contact with a superconductor material.

Smoking gun

While the discovered particles may have properties typical to Majoranas, the most exciting proof could be obtained by allowing two Majorana particles to exchange places, or ‘braid’ as it is scientifically known. “That’s the smoking gun,” suggests Erik Bakkers, one of the researchers from Eindhoven University of Technology. “The behavior we then see could be the most conclusive evidence yet of Majoranas.”

Crossroads

In the Nature paper that is published today [August 23, 2017], Bakkers and his colleagues present a new device that should be able to show this exchanging of Majoranas. In the original experiment in 2012 two Majorana particles were found in a single wire but they were not able to pass each other without immediately destroying the other. Thus the researchers quite literally had to create space. In the presented experiment they formed intersections using the same kinds of nanowire so that four of these intersections form a ‘hashtag’, #, and thus create a closed circuit along which Majoranas are able to move.

Etch and grow

The researchers built their hashtag device starting from scratch. The nanowires are grown from a specially etched substrate such that they form exactly the desired network which they then expose to a stream of aluminium particles, creating layers of aluminium, a superconductor, on specific spots on the wires – the contacts where the Majorana particles emerge. Places that lie ‘in the shadow’ of other wires stay uncovered.

Leap in quality

The entire process happens in a vacuum and at ultra-cold temperature (around -273 degree Celsius). “This ensures very clean, pure contacts,” says Bakkers, “and enables us to make a considerable leap in the quality of this kind of quantum device.” The measurements demonstrate for a number of electronic and magnetic properties that all the ingredients are present for the Majoranas to braid.

Quantum computers

If the researchers succeed in enabling the Majorana particles to braid, they will at once have killed two birds with one stone. Given their robustness, Majoranas are regarded as the ideal building block for future quantum computers that will be able to perform many calculations simultaneously and thus many times faster than current computers. The braiding of two Majorana particles could form the basis for a qubit, the calculation unit of these computers.

Travel around the world

An interesting detail is that the samples have traveled around the world during the fabrication, combining unique and synergetic activities of each research institution. It started in Delft with patterning and etching the substrate, then to Eindhoven for nanowire growth and to Santa Barbara for aluminium contact formation. Finally back to Delft via Eindhoven for the measurements.

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

Epitaxy of advanced nanowire quantum devices by Sasa Gazibegovic, Diana Car, Hao Zhang, Stijn C. Balk, John A. Logan, Michiel W. A. de Moor, Maja C. Cassidy, Rudi Schmits, Di Xu, Guanzhong Wang, Peter Krogstrup, Roy L. M. Op het Veld, Kun Zuo, Yoram Vos, Jie Shen, Daniël Bouman, Borzoyeh Shojaei, Daniel Pennachio, Joon Sue Lee, Petrus J. van Veldhoven, Sebastian Koelling, Marcel A. Verheijen, Leo P. Kouwenhoven, Chris J. Palmstrøm, & Erik P. A. M. Bakkers. Nature 548, 434–438 (24 August 2017) doi:10.1038/nature23468 Published online 23 August 2017

This paper is behind a paywall.

Dexter Johnson has some additional insight (interview with one of the researchers) in an Aug. 29, 2017 posting on his Nanoclast blog (on the IEEE [institute of Electrical and Electronics Engineers] website).

Cosmopolitanism and the Local in Science and Nature (a three year Canadian project nearing its end date)

Working on a grant from Canada’s Social Sciences and Humanities Research Council (SSHRC), the  Cosmopolitanism and the Local in Science and Nature project has been establishing a ‘cosmopolitanism’ research network that critiques the eurocentric approach so beloved of Canadian academics and has set up nodes across Canada and in India and Southeast Asia.

I first wrote about the project in a Dec. 12, 2014 posting which also featured a job listing. It seems I was there for the beginning and now for the end. For one of the project’s blog postings in its final months, they’re profiling one of their researchers (Dr. Letitia Meynell, Sept. 6, 2017 posting),

1. What is your current place of research?

I am an associate professor in philosophy at Dalhousie University, cross appointed with gender and women studies.

2. Could you give us some details about your education background?

My 1st degree was in Theater, which I did at York University. I did, however, minor in Philosophy and I have always had a particular interest in philosophy of science. So, my minor was perhaps a little anomalous, comprising courses on philosophy of physics, philosophy of nature, and the philosophy of Karl Popper along with courses on aesthetics and existentialism. After taking a few more courses in philosophy at the University of Calgary, I enrolled there for a Master’s degree, writing a thesis on conceptualization, with a view to its role in aesthetics and epistemology. From there I moved to the University of Western Ontario where I brought these three interests together, writing a thesis on the epistemology of pictures in science. Throughout these studies I maintained a keen interest in feminist philosophy, especially the politics of knowledge, and I have always seen my work on pictures in science as fitting into broader feminist commitments.

3. What projects are you currently working on and what are some projects you’ve worked on in the past?

4. What’s one thing you particularly enjoy about working in your field?

5. How do you relate your work to the broader topic of ‘cosmopolitanism and the local’?

As feminist philosophers have long realized, having perspectives on a topic that are quite different to your own is incredibly powerful for critically assessing both your own views and those of others. So, for instance, if you want to address the exploitation of nonhuman animals in our society it is incredibly powerful to consider how people from, say, South Asian traditions have thought about the differences, similarities, and relationships between humans and other animals. Keeping non-western perspectives in mind, even as one works in a western philosophical tradition, helps one to be both more rigorous in one’s analyses and less dogmatic. Rigor and critical openness are, in my opinion, central virtues of philosophy and, indeed, science.

Dr. Maynell will be speaking at the ‘Bridging the Gap: Scientific Imagination Meets Aesthetic Imagination‘ conference Oct. 5-6, 2017 at the London School of Economics,

On 5–6 October, this 2-day conference aims to connect work on artistic and scientific imagination, and to advance our understanding of the epistemic and heuristic roles that imagination can play.

Why, how, and when do scientists imagine, and what epistemological roles does the imagination play in scientific progress? Over the past few years, many philosophical accounts have emerged that are relevant to these questions. Roman Frigg, Arnon Levy, and Adam Toon have developed theories of scientific models that place imagination at the heart of modelling practice. And James R. Brown, Tamar Gendler, James McAllister, Letitia Meynell, and Nancy Nersessian have developed theories that recognize the indispensable role of the imagination in the performance of thought experiments. On the other hand, philosophers like Michael Weisberg dismiss imagination-based views of scientific modelling as mere “folk ontology”, and John D. Norton seems to claim that thought experiments are arguments whose imaginary components are epistemologically irrelevant.

In this conference we turn to aesthetics for help in addressing issues concerning scientific imagination-use. Aesthetics is said to have begun in 1717 with an essay called “The Pleasures of the Imagination” by Joseph Addison, and ever since imagination has been what Michael Polyani called “the cornerstone of aesthetic theory”. In recent years Kendall Walton has fruitfully explored the fundamental relevance of imagination for understanding literary, visual and auditory fictions. And many others have been inspired to do the same, including Greg Currie, David Davies, Peter Lamarque, Stein Olsen, and Kathleen Stock.

This conference aims to connect work on artistic and scientific imagination, and to advance our understanding of the epistemic and heuristic roles that imagination can play. Specific topics may include:

  • What kinds of imagination are involved in science?
  • What is the relation between scientific imagination and aesthetic imagination?
  • What are the structure and limits of knowledge and understanding acquired through imagination?
  • From a methodological point of view, how can aesthetic considerations about imagination play a role in philosophical accounts of scientific reasoning?
  • What can considerations about scientific imagination contribute to our understanding of aesthetic imagination?

The conference will include eight invited talks and four contributed papers. Two of the four slots for contributed papers are being reserved for graduate students, each of whom will receive a travel bursary of £100.

Invited speakers

Margherita Arcangeli (Humboldt University, Berlin)

Andrej Bicanski (Institute of Cognitive Neuroscience, University College London)

Gregory Currie (University of York)

Jim Faeder (University of Pittsburgh School of Medicine)

Tim de Mey (Erasmus University of Rotterdam)

Laetitia Meynell (Dalhousie University, Canada)

Adam Toon (University of Exeter)

Margot Strohminger (Humboldt University, Berlin)

This event is organised by LSE’s Centre for Philosophy of Natural and Social Science and it is co-sponsored by the British Society of Aesthetics, the Mind Association, the Aristotelian Society and the Marie Skłodowska-Curie grant agreement No 654034.

I wonder if they’ll be rubbing shoulders with Angelina Jolie? She is slated to be teaching there in Fall 2017 according to a May 23, 2016 news item in the Guardian (Note: Links have been removed),

The Hollywood actor and director has been appointed a visiting professor at the London School of Economics, teaching a course on the impact of war on women.

From 2017, Jolie will join the former foreign secretary William Hague as a “professor in practice”, the university announced on Monday, as part of a new MSc course on women, peace and security, which LSE says is the first of its kind in the world.

The course, it says, is intended to “[develop] strategies to promote gender equality and enhance women’s economic, social and political participation and security”, with visiting professors playing an active part in giving lectures, participating in workshops and undertaking their own research.

Getting back to ‘Cosmopolitanism’, some of the principals organized a summer 2017 event (from a Sept. 6, 2017 posting titled: Summer Events – 25th International Congress of History of Science and Technology),

CosmoLocal partners Lesley Cormack (University of Alberta, Canada), Gordon McOuat (University of King’s College, Halifax, Canada), and Dhruv Raina (Jawaharlal Nehru University, India) organized a symposium “Cosmopolitanism and the Local in Science and Nature” as part of the 25th International Congress of History of Science and Technology.  The conference was held July 23-29, 2017, in Rio de Janeiro, Brazil.  The abstract of the CosmoLocal symposium is below, and a pdf version can be found here.

Science, and its associated technologies, is typically viewed as “universal”. At the same time we were also assured that science can trace its genealogy to Europe in a period of rising European intellectual and imperial global force, ‘going outwards’ towards the periphery. As such, it is strikingly parochial. In a kind of sad irony, the ‘subaltern’ was left to retell that tale as one of centre-universalism dominating a traditionalist periphery. Self-described ‘modernity’ and ‘the west’ (two intertwined concepts of recent and mutually self-supporting origin) have erased much of the local engagement and as such represent science as emerging sui generis, moving in one direction. This story is now being challenged within sociology, political theory and history.

… Significantly, scholars who study the history of science in Asia and India have been examining different trajectories for the origin and meaning of science. It is now time for a dialogue between these approaches. Grounding the dialogue is the notion of a “cosmopolitical” science. “Cosmopolitics” is a term borrowed from Kant’s notion of perpetual peace and modern civil society, imagining shared political, moral and economic spaces within which trade, politics and reason get conducted.  …

The abstract is a little ‘high falutin’ but I’m glad to see more efforts being made in  Canada to understand science and its history as a global affair.

Art masterpieces are turning into soap

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.

Here’s the video,

Interestingly, this seems to be based on a May 23, 2016 article by Sarah Everts for Chemical and Engineering News (an American Society publication) Note: Links have been removed,

When conservator Petria Noble first peered at Rembrandt’s “Anatomy Lesson of Dr. Nicolaes Tulp” under a microscope back in 1996, she was surprised to find pockmarks across the nearly 400-year-old painting’s surface.

Each tiny crater was just a few hundred micrometers in diameter, no wider than the period at the end of this sentence. The painting’s surface was entirely riddled with these curious structures, giving it “a dull, rather hazy, gritty surface,” Noble says.

A structure of lead nonanoate.

The crystal structures of metal soaps vary: Shown here is lead nonanoate, based on a structure solved by Cecil Dybowski at the University of Delaware and colleagues at the Metropolitan Museum of Art. Dashed lines are nearest oxygen neighbors.

This concerned Noble, who was tasked with cleaning the masterpiece with her then-colleague Jørgen Wadum at the Mauritshuis museum, the painting’s home in The Hague.

When Noble called physicist Jaap Boon, then at the Foundation for Fundamental Research on Matter in Amsterdam, to help figure out what was going on, the researchers unsuspectingly embarked on an investigation that would transform the art world’s understanding of aging paint.

More recently this ‘metal soaps in paintings’ story has made its way into a May 16, 2017 news item on phys.org,

An oil painting is not a permanent and unchangeable object, but undergoes a very slow change in the outer and inner structure. Metal soap formation is of great importance. Joen Hermans has managed to recreate the molecular structure of old oil paints: a big step towards better preservation of works of art. He graduated cum laude on Tuesday 9 May [2017] at the University of Amsterdam with NWO funding from the Science4Arts program.

A May 15, 2017 Netherlands Organization for Scientific Research (NWO) press release, which originated the phys.org news item, provides more information about Hermans’ work (albeit some of this is repetitive),

Johannes Vermeer, View of Delft, c. 1660 - 1661 (Mauritshuis, The Hague)Johannes Vermeer, View of Delft, c. 1660 – 1661 (Mauritshuis, The Hague)

Paint can fade, varnish can discolour and paintings can collect dust and dirt. Joen Hermans has examined the chemical processes behind ageing processes in paints. ‘While restorers do their best to repair any damages that have occurred, the fact remains that at present we do not know enough about the molecular structure of ageing oil paint and the chemical processes they undergo’, says Hermans. ‘This makes it difficult to predict with confidence how paints will react to restoration treatments or to changes in a painting’s environment.’

‘Sand grains’ In the red tiles of 'View of Delft' by Johannes Vermeer shows 'lead soap spheres' (Annelies van Loon, UvA/Mauritshuis)‘Sand grains’ In the red tiles of ‘View of Delft’ by Johannes Vermeer shows ‘lead soap spheres’ (Annelies van Loon, UvA/Mauritshuis)

Visible to the naked eye

Hermans explains that in its simplest form, oil paint is a mixture of pigment and drying oil, which forms the binding element. Colour pigments are often metal salts. ‘When the pigment and the drying oil are combined, an incredibly complicated chemical process begins’, says Hermans, ‘which continues for centuries’. The fatty acids in the oil form a polymer network when exposed to oxygen in the air. Meanwhile, metal ions react with the oil on the surface of the grains of pigment.

‘A common problem when conserving oil paintings is the formation of what are known as metal soaps’, Hermans continues. These are compounds of metal ions and fatty acids. The formation of metal soaps is linked to various ways in which paint deteriorates, as when it becomes increasingly brittle, transparent or forms a crust on the paint surface. Hermans: ‘You can see clumps of metal soap with the naked eye on some paintings, like Rembrandt’s Anatomy Lesson of Dr Nicolaes Tulp or Vermeer’s View of Delft’. Around 70 per cent of all oil paintings show signs of metal soap formation.’

Conserving valuable paintings

Hermans has studied in detail how metal soaps form. He began by defining the structure of metal soaps. One of the things he discovered was that the process that causes metal ions to move in the painting is crucial to the speed at which the painting ages. Hermans also managed to recreate the molecular structure of old oil paints, making it possible to simulate and study the behaviour of old paints without actually having to remove samples from Rembrandt’s Night Watch. Hermans hopes this knowledge will contribute towards a solid foundation for the conservation of valuable works of art.

I imagine this will make anyone who owns an oil painting or appreciates paintings in general pause for thought and the inclination to utter a short prayer for conservators to find a solution.

Explaining the link between air pollution and heart disease?

An April 26, 2017 news item on Nanowerk announces research that may explain the link between heart disease and air pollution (Note: A link has been removed),

Tiny particles in air pollution have been associated with cardiovascular disease, which can lead to premature death. But how particles inhaled into the lungs can affect blood vessels and the heart has remained a mystery.

Now, scientists have found evidence in human and animal studies that inhaled nanoparticles can travel from the lungs into the bloodstream, potentially explaining the link between air pollution and cardiovascular disease. Their results appear in the journal ACS Nano (“Inhaled Nanoparticles Accumulate at Sites of Vascular Disease”).

An April 26, 2017 American Chemical Society news release on EurekAlert, which originated the news item,  expands on the theme,

The World Health Organization estimates that in 2012, about 72 percent of premature deaths related to outdoor air pollution were due to ischemic heart disease and strokes. Pulmonary disease, respiratory infections and lung cancer were linked to the other 28 percent. Many scientists have suspected that fine particles travel from the lungs into the bloodstream, but evidence supporting this assumption in humans has been challenging to collect. So Mark Miller and colleagues at the University of Edinburgh in the United Kingdom and the National Institute for Public Health and the Environment in the Netherlands used a selection of specialized techniques to track the fate of inhaled gold nanoparticles.

In the new study, 14 healthy volunteers, 12 surgical patients and several mouse models inhaled gold nanoparticles, which have been safely used in medical imaging and drug delivery. Soon after exposure, the nanoparticles were detected in blood and urine. Importantly, the nanoparticles appeared to preferentially accumulate at inflamed vascular sites, including carotid plaques in patients at risk of a stroke. The findings suggest that nanoparticles can travel from the lungs into the bloodstream and reach susceptible areas of the cardiovascular system where they could possibly increase the likelihood of a heart attack or stroke, the researchers say.

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

Inhaled Nanoparticles Accumulate at Sites of Vascular Disease by Mark R. Miller, Jennifer B. Raftis, Jeremy P. Langrish, Steven G. McLean, Pawitrabhorn Samutrtai, Shea P. Connell, Simon Wilson, Alex T. Vesey, Paul H. B. Fokkens, A. John F. Boere, Petra Krystek, Colin J. Campbell, Patrick W. F. Hadoke, Ken Donaldson, Flemming R. Cassee, David E. Newby, Rodger Duffin, and Nicholas L. Mills. ACS Nano, Article ASAP DOI: 10.1021/acsnano.6b08551 Publication Date (Web): April 26, 2017

Copyright © 2017 American Chemical Society

This paper is behind a paywall.

Carbon nanotubes self-assembling into transistors on a gold substrate

I’m not sure this work is ready for commercialization (I think not) but it’s certainly intriguing. From an April 5, 2017 news item on ScienceDaily,

Carbon nanotubes can be used to make very small electronic devices, but they are difficult to handle. University of Groningen scientists, together with colleagues from the University of Wuppertal and IBM Zurich, have developed a method to select semiconducting nanotubes from a solution and make them self-assemble on a circuit of gold electrodes. …

An April 5, 2017 University of Groningen (Netherlands) press release on EurekAlert, which originated the news item, explains the work in more detail,

The results look deceptively simple: a self-assembled transistor with nearly 100 percent purity and very high electron mobility. But it took ten years to get there. University of Groningen Professor of Photophysics and Optoelectronics Maria Antonietta Loi designed polymers which wrap themselves around specific carbon nanotubes in a solution of mixed tubes. Thiol side chains on the polymer bind the tubes to the gold electrodes, creating the resultant transistor.

Patent

‘In our previous work, we learned a lot about how polymers attach to specific carbon nanotubes’, Loi explains. These nanotubes can be depicted as a rolled sheet of graphene, the two-dimensional form of carbon. ‘Depending on the way the sheets are rolled up, they have properties ranging from semiconductor to semi-metallic to metallic.’ Only the semiconductor tubes can be used to fabricate transistors, but the production process always results in a mixture.

‘We had the idea of using polymers with thiol side chains some time ago’, says Loi. The idea was that as sulphur binds to metals, it will direct polymer-wrapped nanotubes towards gold electrodes. While Loi was working on the problem, IBM even patented the concept. ‘But there was a big problem in the IBM work: the polymers with thiols also attached to metallic nanotubes and included them in the transistors, which ruined them.’

Solution

Loi’s solution was to reduce the thiol content of the polymers, with the assistance of polymer chemists from the University of Wuppertal. ‘What we have now shown is that this concept of bottom-up assembly works: by using polymers with a low concentration of thiols, we can selectively bring semiconducting nanotubes from a solution onto a circuit.’ The sulphur-gold bond is strong, so the nanotubes are firmly fixed: enough even to stay there after sonication of the transistor in organic solvents.

The production process is simple: metallic patterns are deposited on a carrier , which is then dipped into a solution of carbon nanotubes. The electrodes are spaced to achieve proper alignment: ‘The tubes are some 500 nanometres long, and we placed the electrodes for the transistors at intervals of 300 nanometres. The next transistor is over 500 nanometres away.’ The spacing limits the density of the transistors, but Loi is confident that this could be increased with clever engineering.

‘Over the last years, we have created a library of polymers that select semiconducting nanotubes and developed a better understanding of how the structure and composition of the polymers influences which carbon nanotubes they select’, says Loi. The result is a cheap and scalable production method for nanotube electronics. So what is the future for this technology? Loi: ‘It is difficult to predict whether the industry will develop this idea, but we are working on improvements, and this will eventually bring the idea closer to the market.’

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

On-Chip Chemical Self-Assembly of Semiconducting Single-Walled Carbon Nanotubes (SWNTs): Toward Robust and Scale Invariant SWNTs Transistors by Vladimir Derenskyi, Widianta Gomulya, Wytse Talsma, Jorge Mario Salazar-Rios, Martin Fritsch, Peter Nirmalraj, Heike Riel, Sybille Allard, Ullrich Scherf, and Maria A. Loi. Advanced Materials DOI: 10.1002/adma.201606757 Version of Record online: 5 APR 2017

© 2017 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim

This paper is behind a paywall.

High-performance, low-energy artificial synapse for neural network computing

This artificial synapse is apparently an improvement on the standard memristor-based artificial synapse but that doesn’t become clear until reading the abstract for the paper. First, there’s a Feb. 20, 2017 Stanford University news release by Taylor Kubota (dated Feb. 21, 2017 on EurekAlert), Note: Links have been removed,

For all the improvements in computer technology over the years, we still struggle to recreate the low-energy, elegant processing of the human brain. Now, researchers at Stanford University and Sandia National Laboratories have made an advance that could help computers mimic one piece of the brain’s efficient design – an artificial version of the space over which neurons communicate, called a synapse.

“It works like a real synapse but it’s an organic electronic device that can be engineered,” said Alberto Salleo, associate professor of materials science and engineering at Stanford and senior author of the paper. “It’s an entirely new family of devices because this type of architecture has not been shown before. For many key metrics, it also performs better than anything that’s been done before with inorganics.”

The new artificial synapse, reported in the Feb. 20 issue of Nature Materials, mimics the way synapses in the brain learn through the signals that cross them. This is a significant energy savings over traditional computing, which involves separately processing information and then storing it into memory. Here, the processing creates the memory.

This synapse may one day be part of a more brain-like computer, which could be especially beneficial for computing that works with visual and auditory signals. Examples of this are seen in voice-controlled interfaces and driverless cars. Past efforts in this field have produced high-performance neural networks supported by artificially intelligent algorithms but these are still distant imitators of the brain that depend on energy-consuming traditional computer hardware.

Building a brain

When we learn, electrical signals are sent between neurons in our brain. The most energy is needed the first time a synapse is traversed. Every time afterward, the connection requires less energy. This is how synapses efficiently facilitate both learning something new and remembering what we’ve learned. The artificial synapse, unlike most other versions of brain-like computing, also fulfills these two tasks simultaneously, and does so with substantial energy savings.

“Deep learning algorithms are very powerful but they rely on processors to calculate and simulate the electrical states and store them somewhere else, which is inefficient in terms of energy and time,” said Yoeri van de Burgt, former postdoctoral scholar in the Salleo lab and lead author of the paper. “Instead of simulating a neural network, our work is trying to make a neural network.”

The artificial synapse is based off a battery design. It consists of two thin, flexible films with three terminals, connected by an electrolyte of salty water. The device works as a transistor, with one of the terminals controlling the flow of electricity between the other two.

Like a neural path in a brain being reinforced through learning, the researchers program the artificial synapse by discharging and recharging it repeatedly. Through this training, they have been able to predict within 1 percent of uncertainly what voltage will be required to get the synapse to a specific electrical state and, once there, it remains at that state. In other words, unlike a common computer, where you save your work to the hard drive before you turn it off, the artificial synapse can recall its programming without any additional actions or parts.

Testing a network of artificial synapses

Only one artificial synapse has been produced but researchers at Sandia used 15,000 measurements from experiments on that synapse to simulate how an array of them would work in a neural network. They tested the simulated network’s ability to recognize handwriting of digits 0 through 9. Tested on three datasets, the simulated array was able to identify the handwritten digits with an accuracy between 93 to 97 percent.

Although this task would be relatively simple for a person, traditional computers have a difficult time interpreting visual and auditory signals.

“More and more, the kinds of tasks that we expect our computing devices to do require computing that mimics the brain because using traditional computing to perform these tasks is becoming really power hungry,” said A. Alec Talin, distinguished member of technical staff at Sandia National Laboratories in Livermore, California, and senior author of the paper. “We’ve demonstrated a device that’s ideal for running these type of algorithms and that consumes a lot less power.”

This device is extremely well suited for the kind of signal identification and classification that traditional computers struggle to perform. Whereas digital transistors can be in only two states, such as 0 and 1, the researchers successfully programmed 500 states in the artificial synapse, which is useful for neuron-type computation models. In switching from one state to another they used about one-tenth as much energy as a state-of-the-art computing system needs in order to move data from the processing unit to the memory.

This, however, means they are still using about 10,000 times as much energy as the minimum a biological synapse needs in order to fire. The researchers are hopeful that they can attain neuron-level energy efficiency once they test the artificial synapse in smaller devices.

Organic potential

Every part of the device is made of inexpensive organic materials. These aren’t found in nature but they are largely composed of hydrogen and carbon and are compatible with the brain’s chemistry. Cells have been grown on these materials and they have even been used to make artificial pumps for neural transmitters. The voltages applied to train the artificial synapse are also the same as those that move through human neurons.

All this means it’s possible that the artificial synapse could communicate with live neurons, leading to improved brain-machine interfaces. The softness and flexibility of the device also lends itself to being used in biological environments. Before any applications to biology, however, the team plans to build an actual array of artificial synapses for further research and testing.

Additional Stanford co-authors of this work include co-lead author Ewout Lubberman, also of the University of Groningen in the Netherlands, Scott T. Keene and Grégorio C. Faria, also of Universidade de São Paulo, in Brazil. Sandia National Laboratories co-authors include Elliot J. Fuller and Sapan Agarwal in Livermore and Matthew J. Marinella in Albuquerque, New Mexico. Salleo is an affiliate of the Stanford Precourt Institute for Energy and the Stanford Neurosciences Institute. Van de Burgt is now an assistant professor in microsystems and an affiliate of the Institute for Complex Molecular Studies (ICMS) at Eindhoven University of Technology in the Netherlands.

This research was funded by the National Science Foundation, the Keck Faculty Scholar Funds, the Neurofab at Stanford, the Stanford Graduate Fellowship, Sandia’s Laboratory-Directed Research and Development Program, the U.S. Department of Energy, the Holland Scholarship, the University of Groningen Scholarship for Excellent Students, the Hendrik Muller National Fund, the Schuurman Schimmel-van Outeren Foundation, the Foundation of Renswoude (The Hague and Delft), the Marco Polo Fund, the Instituto Nacional de Ciência e Tecnologia/Instituto Nacional de Eletrônica Orgânica in Brazil, the Fundação de Amparo à Pesquisa do Estado de São Paulo and the Brazilian National Council.

Here’s an abstract for the researchers’ paper (link to paper provided after abstract) and it’s where you’ll find the memristor connection explained,

The brain is capable of massively parallel information processing while consuming only ~1–100fJ per synaptic event1, 2. Inspired by the efficiency of the brain, CMOS-based neural architectures3 and memristors4, 5 are being developed for pattern recognition and machine learning. However, the volatility, design complexity and high supply voltages for CMOS architectures, and the stochastic and energy-costly switching of memristors complicate the path to achieve the interconnectivity, information density, and energy efficiency of the brain using either approach. Here we describe an electrochemical neuromorphic organic device (ENODe) operating with a fundamentally different mechanism from existing memristors. ENODe switches at low voltage and energy (<10pJ for 103μm2 devices), displays >500 distinct, non-volatile conductance states within a ~1V range, and achieves high classification accuracy when implemented in neural network simulations. Plastic ENODes are also fabricated on flexible substrates enabling the integration of neuromorphic functionality in stretchable electronic systems6, 7. Mechanical flexibility makes ENODes compatible with three-dimensional architectures, opening a path towards extreme interconnectivity comparable to the human brain.

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

A non-volatile organic electrochemical device as a low-voltage artificial synapse for neuromorphic computing by Yoeri van de Burgt, Ewout Lubberman, Elliot J. Fuller, Scott T. Keene, Grégorio C. Faria, Sapan Agarwal, Matthew J. Marinella, A. Alec Talin, & Alberto Salleo. Nature Materials (2017) doi:10.1038/nmat4856 Published online 20 February 2017

This paper is behind a paywall.

ETA March 8, 2017 10:28 PST: You may find this this piece on ferroelectricity and neuromorphic engineering of interest (March 7, 2017 posting titled: Ferroelectric roadmap to neuromorphic computing).