Tag Archives: Holland

Singapore contributes to art/science gallery on the International Space Station (ISS)

A March 15, 2022 Nanyang Technological University press release (also on EurekAlert) announces Singapore’s contribution to an art gallery in space,

Two Singapore-designed artefacts are now orbiting around the Earth on the International Space Station (ISS), as part of Moon Gallery.

These artworks were successfully launched into space recently as part of a test flight by the Moon Gallery and will come back to Earth after 10 months.

Currently consisting of 64 artworks made by artists all around the world, the Moon gallery will eventually consist of 100 artworks, which will then be placed on the moon by 2025. Out of these 64 art pieces on the ISS, only two are Singaporean artworks.

Here’s Singapore’s contribution,

Caption: NTU [Nanyang Technological University] Singapore Assistant Professor Matteo Seita (left), who is holding the Cube of Interaction, and Ms Lakshmi Mohanbabu (right), who designed both cubes. The Structure & Reflectance cube in the foreground was 3D printed at NTU Singapore.. Credit: NTU Singapore

A December 8, 2021 news item on phys.org describes the project,

The Moon Gallery Foundation is developing an art gallery to be sent to the Moon, contributing to the establishment of the first lunar outpost and permanent museum on Earth’s only natural satellite. The international initiative will see one hundred artworks from artists around the world integrated into a 10 cm x 10 cm x 1 cm grid tray, which will fly to the Moon by 2025. The Moon Gallery aims to expand humanity’s cultural dialog beyond Earth. The gallery will meet the cosmos for the first time in low Earth orbit in 2022 in a test flight.

The test flight is in collaboration with Nanoracks, a private in-space service provider. The gallery is set to fly to the International Space Station (ISS) aboard the NG-17 rocket as part of a Northrop Grumman Cygnus resupply mission in February of 2022. The art projects featured in the gallery will reach the final frontier of human habitat in space, and mark the historical meeting point of the Moon Gallery and the cosmos. Reaching low Earth orbit on the way to the Moon is a pivotal first step in extending our cultural dialog to space.

On its return flight, the Moon Gallery will become a part of the NanoLab technical payload, a module for space research experiments. The character of the gallery will offer a diverse range of materials and behaviors for camera observations and performance tests with NanoLab.

In return, Moon Gallery artists will get a chance to learn about the performance of their artworks in space. The result of these observations will serve as a solid basis for the subsequent Moon Gallery missions and a source of a valuable learning experience for future space artists. The test flight to the ISS is a precursor mission, contributing to the understanding of future possibilities for art in space and strengthening collaboration between the art and space sectors.

A December 8, 2021 NYU press release on EurekAlert, which originated the news item, provides more detail about the art from Singapore,

STRUCTURE & REFLECTANCE CUBE

Our every perception, analysis, and thought reflect the influences from our surroundings and the Universe in a world of collaboration, communication and interaction, making it possible to explore the real, the imagined and the unknown. The ‘Structure and Reflectance’ cube, a marriage of Art and Technology, is one of the hundred artworks selected by the Moon Gallery, with a unifying message of an integrated world, making it a quintessential signature of humankind on the Moon.

Ms Lakshmi Mohanbabu, a Singaporean architect and designer, is the first and only local artist to have her artwork selected for the Moon Gallery. Coined the ‘Structure and Reflectance’ cube, Lakshmi’s art is a marriage of Art and Technology and is one of the hundred artworks selected by the Moon Gallery. The cube signifies a unifying message of an integrated world, making it a quintessential signature of humankind on the Moon.

The early-stage prototyping and design iterations of the ‘Structure and Reflectance’ cube were performed with Additive Manufacturing, otherwise known as 3D printing, at Nanyang Technological University, Singapore’s (NTU Singapore)Singapore Centre for 3D Printing (SC3DP). This was part of a collaborative project supported by the National Additive Manufacturing Innovation Cluster (NAMIC), a national programme office which accelerates the adoption and commercialisation of additive manufacturing technologies. Previously, the NTU Singapore team at SC3DP produced a few iterations of Moon-Cube using metal 3D printing in various materials such as Inconel and Stainless Steel to evaluate the best suited material.

The newest iteration of the cube comprises crystals—ingrained in the cube via additive manufacturing technology— revealed to the naked eye by the microscopic differences in their surface roughness, which reflect light along different directions.

“Additive Manufacturing is suitable for enabling this level of control over the crystal structure of solids. More specifically, the work was created using ‘laser powder bed fusion technology’ a metal additive manufacturing process which allows us to control the surface roughness through varying the laser parameter,” said Dr Matteo Seita, Nanyang Assistant Professor, NTU Singapore, is the Principal Investigator overseeing the project for the current cube design.  

Dr Seita shared the meaning behind the materials used, “Like people, materials have a complex ‘structure’ resulting from their history—the sequence of processes that have shaped their constituent parts—which underpins their differences. Masked by an exterior façade, this structure often reveals little of the underlying quality in materials or people. The cube is a material representation of a human’s complex structure embodied in a block of metal consisting of two crystals with distinct reflectivity and complementary shape.”

Ms Lakshmi added, “The optical contrast on the cube surface from the crystals generates an intricate geometry which signifies the duality of man: the complexity of hidden thought and expressed emotion. This duality is reflected by the surface of the Moon where one side remains in plain sight, while the other has remained hidden to humankind for centuries; until space travel finally allowed humanity to gaze upon it. The bright portion of the visible side of the Moon is dependent on the Moon’s position relative to the Earth and the Sun. Thus, what we see is a function of our viewpoint.”

The hidden structure of materials, people, and the Moon are visualized as reflections of light through art and science in this cube. Expressed in the Structure & Reflectance cube is the concept of human’s duality—represented by two crystals with different reflectance—which appears to the observer as a function of their perspective.

Dr Ho Chaw Sing, Co-Founder and Managing Director of NAMIC said, “Space is humanity’s next frontier. Being the only Singaporean – among a selected few from the global community – Lakshmi’s 3D printed cube presents a unique perspective through the fusion of art and technology. We are proud to have played a small role supporting her in this ‘moon-shot’ initiative.”

Lakshmi views each artwork as a portrayal of humanity’s quests to discover the secrets of the Universe and—fused into a single cube—embody the unity of humankind, which transcends our differences in culture, religion, and social status.

The first cube face, the Primary, is divided into two triangles and depicts the two faces of the Moon, one visible to us from the earth and the other hidden from our view.

The second cube face, the Windmill, has two spiralling windmill forms, one clockwise and the other counter-clockwise, representing our existence, energy, and time.

The third cube face, the Dromenon, is a labyrinth form of nested squares, which represents the layers that we—as space explorers—are unravelling to discover the enigma of the Universe. 

The fourth cube face, the Nautilus, reflects the spiralling form of our DNA that makes each of us unique, a shape reflected in the form of our galaxy.

Not having heard of the Moon Gallery or the Moon Gallery Foundation, I did a little research. There’s a LinkedIn profile for the Moon Gallery Foundation (both the foundation and the gallery are located in Holland [Netherlands]),

Moon Gallery is where art and space meet. We aim to set up the first permanent museum on the Moon and develop a culture for future interplanetary society.

Moon Gallery will launch 100 artefacts to the Moon within the compact format of 10 x 10 x 1cm plate on a lunar lander exterior panelling no later than 2025. We suggest bringing this collection of ideas as the seeds of a new culture. We believe that culture makes a distinction between mere survival and life. Moon Gallery is a symbolic gesture that has a real influence – a way to reboot culture, rethink our values for better living on Earth planet.

The Moon Gallery has its own website, where I found more information about events, artists, and partners such as Nanoracks,

Nanoracks is dedicated to using our unique expertise to solve key problems both in space and on the Earth – all while lowering the barriers to entry of space exploration. Nanoracks’s main office is in Houston, Texas. The business development office is in Washington, D.C., and additional offices are located in Abu Dhabi, United Arab Emirates (UAE) and Turin, Italy. Nanoracks provides tools, hardware and services that allow other companies, organizations and governments to conduct research and other projects in space. Some of Nanoracks customers include Student Spaceflight Experiments Program (SSEP), the European Space Agency (ESA), the German Space Agency (DLR), NASA, Planet Labs, Space Florida, Virgin Galactic, Adidas, Aerospace Corporation, National Reconnaissance Office (NRO), UAE Space Agency, Mohammed bin Rashid Space Centre (MBRSC), and the Beijing Institute of Technology.

You can find the Nanoracks website here.

Clothing that reflects your thoughts?

First, there was a dress that reflected your emotions. Now, apparently, there’s a dress that reflects your thoughts. Frankly, I don’t understand why anyone would want clothing that performed either function. However, I’m sure there’s an extrovert out there who’s equally puzzled abut my take on this matter.

Emotion-reading dress

Before getting to this latest piece of wearable technology, the mind-reading dress, you might find this emotional sensing dress not only interesting but eerily similar,

Here’s more from the video’s YouTube webpage,

Philips Design has developed a series of dynamic garments as part of the ongoing SKIN exploration research into the area known as emotional sensing. The garments, which are intended for demonstration purposes only, demonstrate how electronics can be incorporated into fabrics and garments in order to express the emotions and personality of the wearer. The marvelously intricate wearable prototypes include Bubelle, a dress surrounded by a delicate bubble illuminated by patterns that changed dependent on skin contact- and Frison, a body suit that reacts to being blown on by igniting a private constellation of tiny LEDs. Sensitive rather than intelligent These garments were developed as part of the SKIN research project, which challenges the notion that our lives are automatically better because they are more digital. It looks at more analog phenomena like emotional sensing and explores technologies that are sensitive rather than intelligent. SKIN belongs to the ongoing, far-future research program carried out at Philips Design. The aim of this program is to identify emerging trends and likely societal shifts and then carry out probes that explore whether there is potential for Philips in some of the more promising areas. Rethinking our interaction with products and content According to Clive van Heerden, Senior Director of design-led innovation at Philips Design, the SKIN probe has a much wider context than just garments. As our media becomes progressively more virtual, it is quite possible in long term future that we will no longer have objects like DVD players, or music contained on disks, or books that are actually printed. An opportunity is therefore emerging for us to completely rethink our interaction with products and content. More info: http://www.design.philips.com/about/d…

I first heard about the dress at the 2009 International Symposium of Electronic Arts (2009 ISEA held in Belfast, Norther Ireland and Dublin, Ireland). Clive van Heerden who was then working for Philips Design (it’s part of a Dutch multinational originally known widely for its Philips light bulbs and called Royal Philips Electronics) opened vHM Design Futures in 2011 with Jack Mama in London (UK). Should you be curious as to how the project is featured on vHM, check out 2006 SKIN: DRESSES.

Mind-reading dress

Moving on from emotion-sensing clothes to mind-reading clothes,

Mark Wilson’s August 31, 2020 article for Fast Company reflects a sanguine approach to clothing that broadcasts your ‘thoughts’ (Note: Links have been removed),

… what if your clothing were a direct reflection on yourself? What if it could literally visualize what you were thinking? That’s the idea of the Pangolin Scales Project, a new brain-reading dress by Dutch fashion designer Anouk Wipprecht [of Anouk Wipprecht FashionTech], with support from the Institute for Integrated Circuits at JKU [Johannes Kepler University Linz] and G.tec medical engineering.

… A total of 1,024 brain-reading EEG sensors are placed on someone’s head to measure the electrical activity inside their brain. These sensors have a faceted design that resembles the keratin scales of a pangolin.

… It’s not a message that you can understand just by looking at it. You won’t suddenly know if someone is hungry or thinking of their favorite book just because they’re wearing this dress. But it’s still a captivating visualization of the innermost working of someone’s mind, as well as a proof point: Maybe one day, you really will be able to judge a book by its cover, because that cover will say it all.

Whether you consider the projects to be analog or digital, they raise interesting questions about privacy.

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

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

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

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

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

Enthusiasts can follow the latest on the restoration work online.

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

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

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

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

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

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

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

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

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

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

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

The Night Watch

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

2019, The Year of Rembrandt

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

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

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

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

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

….

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

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

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

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

From art historical research to artificial intelligence

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

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

Advanced imaging techniques

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

56 macro-XRF scans

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

12,500 high-resolution photographs

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

Glass chamber

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

Research team

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

The Night Watch

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

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

Donors and partners

AkzoNobel is main partner of Operation Night Watch.

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

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

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

Update as of November 22, 2019

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

Bacteria and graphene oxide as a basis for producing computers

A July 10, 2019 news item on ScienceDaily announces a more environmentally friendly way to produce graphene leading to more environmentally friendly devices such as computers,

In order to create new and more efficient computers, medical devices, and other advanced technologies, researchers are turning to nanomaterials: materials manipulated on the scale of atoms or molecules that exhibit unique properties.

Graphene — a flake of carbon as thin as a single later of atoms — is a revolutionary nanomaterial due to its ability to easily conduct electricity, as well as its extraordinary mechanical strength and flexibility. However, a major hurdle in adopting it for everyday applications is producing graphene at a large scale, while still retaining its amazing properties.

In a paper published in the journal ChemOpen, Anne S. Meyer, an associate professor of biology at the University of Rochester [New York state, US], and her colleagues at Delft University of Technology in the Netherlands, describe a way to overcome this barrier. The researchers outline their method to produce graphene materials using a novel technique: mixing oxidized graphite with bacteria. Their method is a more cost-efficient, time-saving, and environmentally friendly way of producing graphene materials versus those produced chemically, and could lead to the creation of innovative computer technologies and medical equipment.

A July 10, 2019 University of Rochester news release (also on EurekAlert), which originated the news item, provides details as to how this new technique for extracting graphene differs from the technique currently used,

Graphene is extracted from graphite, the material found in an ordinary pencil. At exactly one atom thick, graphene is the thinnest–yet strongest–two-dimensional material known to researchers. Scientists from the University of Manchester in the United Kingdom were awarded the 2010 Nobel Prize in Physics for their discovery of graphene; however, their method of using sticky tape to make graphene yielded only small amounts of the material.

“For real applications you need large amounts,” Meyer says. “Producing these bulk amounts is challenging and typically results in graphene that is thicker and less pure. This is where our work came in.”

In order to produce larger quantities of graphene materials, Meyer and her colleagues started with a vial of graphite. They exfoliated the graphite–shedding the layers of material–to produce graphene oxide (GO), which they then mixed with the bacteria Shewanella. They let the beaker of bacteria and precursor materials sit overnight, during which time the bacteria reduced the GO to a graphene material.

“Graphene oxide is easy to produce, but it is not very conductive due to all of the oxygen groups in it,” Meyer says. “The bacteria remove most of the oxygen groups, which turns it into a conductive material.”

While the bacterially-produced graphene material created in Meyer’s lab is conductive, it is also thinner and more stable than graphene produced chemically. It can additionally be stored for longer periods of time, making it well suited for a variety of applications, including field-effect transistor (FET) biosensors and conducting ink. FET biosensors are devices that detect biological molecules and could be used to perform, for example, real-time glucose monitoring for diabetics.

“When biological molecules bind to the device, they change the conductance of the surface, sending a signal that the molecule is present,” Meyer says. “To make a good FET biosensor you want a material that is highly conductive but can also be modified to bind to specific molecules.” Graphene oxide that has been reduced is an ideal material because it is lightweight and very conductive, but it typically retains a small number of oxygen groups that can be used to bind to the molecules of interest.

The bacterially produced graphene material could also be the basis for conductive inks, which could, in turn, be used to make faster and more efficient computer keyboards, circuit boards, or small wires such as those used to defrost car windshields. Using conductive inks is an “easier, more economical way to produce electrical circuits, compared to traditional techniques,” Meyer says. Conductive inks could also be used to produce electrical circuits on top of nontraditional materials like fabric or paper.

“Our bacterially produced graphene material will lead to far better suitability for product development,” Meyer says. “We were even able to develop a technique of ‘bacterial lithography’ to create graphene materials that were only conductive on one side, which can lead to the development of new, advanced nanocomposite materials.”

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

Creation of Conductive Graphene Materials by Bacterial Reduction Using Shewanella Oneidensis by Benjamin A. E. Lehner, Vera A. E. C. Janssen, Dr. Ewa M. Spiesz, Dominik Benz, Dr. Stan J. J. Brouns, Dr. Anne S. Meyer, Prof. Dr. Herre S. J. van der Zant. ChemistryOpen Volume 8, Issue 7 July 2019 Pages 888-895 DOI: https://doi.org/10.1002/open.201900186
First published: 04 July 2019

As you would expect given the journal’s title, this paper is open access.

Needle-free tattoos, smart and otherwise

Before getting to the research news from the University of Twente (Netherlands), there’s this related event which took place on April 18, 2019 (from the Future Under Our Skin webpage (on the University of Twente website) Note: I have made some formatting changes,

Why this event?

Our skin can give information about our health, mood and surroundings. Medical and recreational tattoos have decorated humans for centuries. But we can inject other materials besides ink, such as sensing devices, nano- or bio-responsive materials. With the increased percentage of tattooed population in recent years new health challenges have emerged; but is also a unique possibility to “read from our own skin”, beyond an artistic design. 
 
We have invited scientists, innovators, entrepreneurs, dermatologists, cosmetic permanent make-up technicians, tattoo artists, philosophers, and other experts. They will share with us their vision of the current and future role our skin has for improving the quality of life.

Open Event

This event is open to students, citizens in general as well as societal and governmental organisations around the different uses of our skin. The presence of scientists, medical doctors, tattoo artists and industry representatives is guaranteed. Then, we will all explore together the potential for co-creation with healthy citizens, patients, entreprises and other stakeholders.


If you want to hear from experts and share your own ideas, feel free to come to this Open Event!
 
It is possible to take the dish of the day (‘goed gevulde noedels met kippendij en satésaus en kroepoek’) in restaurant The Gallery (same building as DesignLab) at own costs (€7,85). Of course it is also possible to eat à la carte in Grand Café 

Wanneer: : 18 april 2019
Tijd: :17:30 – 20:00
Organisator: University of Twente
Locatie: Design Lab University of Twente
Hengelosestraat 500
7521 AN Enschede

Just days before, the University of Twente announced this research in an April 16, 2019 news item on Naowerk (Note: A link has been removed),

A tattoo that is warning you for too many hours of sunlight exposure, or is alerting you for taking your medication? Next to their cosmetic role, tattoos could get new functionality using intelligent ink. That would require more precise and less invasive injection technique.

Researchers of the University of Twente now develop a micro-jet injection technology that doesn’t use needles at all. Instead, an ultrafast liquid jet with the thickness of a human hair penetrates the skin. It isn’t painful and there is less waste.

In their new publication in the American Journal of Physics (“High speed imaging of solid needle and liquid micro-jet injections”), the scientists compare both the needle and the fluid jet approach.

Here’s an image provided by the researchers which illustrates the technique they have developed,

Working principle of needle-free injection: laser heating the fluid.The growing bubble pushes out the fluid (medicine or ink) at very high speed. Courtesy: University of Twente

An April 15, 2019 University of Twente press release, which originated the news item, provides more detail about tattoos and the research leading to ‘need-free’ tattoos,

Ötzi the Iceman already had, over 5000 years ago, dozens of simple tattoos on his body, apparently for pain relief. Since the classic ‘anchor’ tattoo that sailors had on their arms, tattoos have become more and more common. About 44 million Europeans wear one or more of them. Despite its wider acceptance in society, the underlying technique didn’t change and still has health risks. One or more moving needles put ink underneath the skin surface. This is painful and can damage the skin. Apart from that, needles have to be disposed of in a responsible way, and quite some ink is wasted. The alternative that David Fernández Rivas and his colleagues are developing, doesn’t use any needles. In their new paper, they compare this new approach with classic needle technology, on an artificial skin material and using high speed images. Remarkably, according to Fernández Rivas, the classic needle technology has never been subject of research in such a thorough way, using high speed images.

Fast fluid jet

The new technique employs a laser for rapidly heating a fluid that is inside a microchannel on a glass chip. Heated above the boiling point, a vapour bubble forms and grows, pushing the liquid out at speeds up to 100 meter per second (360 km/h). The jet, about the diameter of a human hair, is capable of going through human skin. “You don’t feel much of it, no more than a mosquito bite”, say Fernandez Rivas.

The researchers did their experiments with a number of commercially available inks. Compared to a tattoo machine, the micro-jet consumes a small amount of energy. What’s more important, it minimizes skin damage and the injection efficiency is much higher, there is no loss of fluids. And there is no risk of contaminated needles. The current microjet is a single one, while tattooing is often done using multiple needles with different types or colours of ink. Also, the volume that can be ‘delivered’ by the microjet has to be increased. These are next steps in developing the needle-free technology.

Skin treatment

In today’s medical world, tattoo-resembling techniques are used for treatment of skin, masking scars, or treating hair diseases. These are other areas in which the new technique can be used, as well as in vaccination. A challenging idea is using tattoos for cosmetic purposes and as health sensors at the same time. What if ink is light-sensitive or responds to certain substances that are present in the skin or in sweat?

On this new approach, scientists, students, entrepreneurs and tattoo artists join a special event ‘The future under our skin’, organized by David Fernandez Rivas.

Research has been done in the Mesoscale Chemical Systems group, part of UT’s MESA+ Institute.

Here’s a link to an d a citation for the paper,

High speed imaging of solid needle and liquid micro-jet injections by Loreto Oyarte Gálveza, Maria Brió Pérez, and David Fernández Rivas. Journal of Applied Physics 125, 144504 (2019); Volume 125, Issue 14 DOI: 10.1063/1.5074176 https://doi.org/10.1063/1.5074176 Free Published Online: 09 April 2019

This paper appears to be open access.

Desalination and toxic brine

Have you ever wondered about the possible effects and impact of desalinating large amounts of ocean water? It seems that some United Nations University (UNU) researchers have asked and are beginning to answer that question. The following table illustrates the rise in desalination plants and processes,


Today 15,906 operational desalination plants are found in 177 countries. Almost half of the global desalination capacity is located in the Middle East and North Africa region (48 percent), with Saudi Arabia (15.5 percent), the United Arab Emirates (10.1 percent) and Kuwait (3.7 percent) being both the major producers in the region and globally. Credit: UNU-INWEH [downloaded from http://inweh.unu.edu/un-warns-of-rising-levels-of-toxic-brine-as-desalination-plants-meet-growing-water-needs/]

A January 14, 2019 news item on phys.org highlights the study on desalination from the UNU,

The fast-rising number of desalination plants worldwide—now almost 16,000, with capacity concentrated in the Middle East and North Africa—quench a growing thirst for freshwater but create a salty dilemma as well: how to deal with all the chemical-laden leftover brine.

In a UN-backed paper, experts estimate the freshwater output capacity of desalination plants at 95 million cubic meters per day—equal to almost half the average flow over Niagara Falls.
For every litre of freshwater output, however, desalination plants produce on average 1.5 litres of brine (though values vary dramatically, depending on the feedwater salinity and desalination technology used, and local conditions). Globally, plants now discharge 142 million cubic meters of hypersaline brine every day (a 50% increase on previous assessments).

That’s enough in a year (51.8 billion cubic meters) to cover Florida under 30.5 cm (1 foot) of brine.

The authors, from UN University’s Canadian-based Institute for Water, Environment and Health [at McMaster University], Wageningen University, The Netherlands, and the Gwangju Institute of Science and Technology, Republic of Korea, analyzed a newly-updated dataset—the most complete ever compiled—to revise the world’s badly outdated statistics on desalination plants.

And they call for improved brine management strategies to meet a fast-growing challenge, noting predictions of a dramatic rise in the number of desalination plants, and hence the volume of brine produced, worldwide.

A January 14, 2017 UNU press release, which originated the news item, details the findings,

The paper found that 55% of global brine is produced in just four countries: Saudi Arabia (22%), UAE (20.2%), Kuwait (6.6%) and Qatar (5.8%). Middle Eastern plants, which largely operate using seawater and thermal desalination technologies, typically produce four times as much brine per cubic meter of clean water as plants where river water membrane processes dominate, such as in the US.

The paper says brine disposal methods are largely dictated by geography but traditionally include direct discharge into oceans, surface water or sewers, deep well injection and brine evaporation ponds.

Desalination plants near the ocean (almost 80% of brine is produced within 10km of a coastline) most often discharge untreated waste brine directly back into the marine environment.

The authors cite major risks to ocean life and marine ecosystems posed by brine greatly raising the salinity of the receiving seawater, and by polluting the oceans with toxic chemicals used as anti-scalants and anti-foulants in the desalination process (copper and chlorine are of major concern).

“Brine underflows deplete dissolved oxygen in the receiving waters,” says lead author Edward Jones, who worked at UNU-INWEH, and is now at Wageningen University, The Netherlands. “High salinity and reduced dissolved oxygen levels can have profound impacts on benthic organisms, which can translate into ecological effects observable throughout the food chain.”

Meanwhile, the paper highlights economic opportunities to use brine in aquaculture, to irrigate salt tolerant species, to generate electricity, and by recovering the salt and metals contained in brine — including magnesium, gypsum, sodium chloride, calcium, potassium, chlorine, bromine and lithium.

With better technology, a large number of metals and salts in desalination plant effluent could be mined. These include sodium, magnesium, calcium, potassium, bromine, boron, strontium, lithium, rubidium and uranium, all used by industry, in products, and in agriculture. The needed technologies are immature, however; recovery of these resources is economically uncompetitive today.

“There is a need to translate such research and convert an environmental problem into an economic opportunity,” says author Dr. Manzoor Qadir, Assistant Director of UNU-INWEH. “This is particularly important in countries producing large volumes of brine with relatively low efficiencies, such as Saudi Arabia, UAE, Kuwait and Qatar.”

“Using saline drainage water offers potential commercial, social and environmental gains. Reject brine has been used for aquaculture, with increases in fish biomass of 300% achieved. It has also been successfully used to cultivate the dietary supplement Spirulina, and to irrigate forage shrubs and crops (although this latter use can cause progressive land salinization).”

“Around 1.5 to 2 billion people currently live in areas of physical water scarcity, where water resources are insufficient to meet water demands, at least during part of the year. Around half a billion people experience water scarcity year round,” says Dr. Vladimir Smakhtin, a co-author of the paper and the Director of UNU-INWEH, whose institute is actively pursuing research related to a variety of unconventional water sources.

“There is an urgent need to make desalination technologies more affordable and extend them to low-income and lower-middle income countries. At the same time, though, we have to address potentially severe downsides of desalination — the harm of brine and chemical pollution to the marine environment and human health.”

“The good news is that efforts have been made in recent years and, with continuing technology refinement and improving economic affordability, we see a positive and promising outlook.”

¹The authors use the term “brine” to refer to all concentrate discharged from desalination plants, as the vast majority of concentrate (>95%) originates from seawater and highly brackish groundwater sources.

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

The state of desalination and brine production: A global outlook by Edward Jones, Manzoor Qadir, Michelle T.H.van Vliet, Vladimir Smakhtin, Seong-mu Kang. Science of The Total Environment Volume 657, 20 March 2019, Pages 1343-1356 DOI: https://doi.org/10.1016/j.scitotenv.2018.12.076 Available online 7 December 2018

Surprisingly (to me anyway), this paper is behind a paywall.

Science inspired by superheroes, Ant-Man and the Wasp

It’s interesting to see scientists take science fiction and use it as inspiration; something which I think happens more often than we know. After all, when someone asks where you got an idea, it can be difficult to track down the thought process that started it all.

Scientists at Virginia Tech (Virginia Polytechnic Institute and State University) are looking for a new source of inspiration after offering a close examination of how insect-size superheroes, Ant-Man and the Wasp might breathe. From a December 11, 2018 news item on phys.org (Note: A link has been removed),

Max Mikel-Stites and Anne Staples were searching for a sequel.

This summer, Staples, an associate professor in the Department of Biomedical Engineering and Mechanics in the College of Engineering, and graduate student Mikel-Stites published a paper in the inaugural issue of the Journal of Superhero Science titled, “Ant-Man and the Wasp: Microscale Respiration and Microfluidic Technology.”

Now, they needed a new hero.

The two were working with a team of graduate students, brainstorming who could be the superhero subject for their next scientific inquiry. Superman? Batgirl? Aquaman?

Mikel-Stites lobbied for an investigation of Dazzler’s sonoluminescent powers. Staples was curious how Mera, The Princes sof Atlantis, used her hydrokinetic powers.

It turns out, comic books are a great inspiration for scientific discovery.

This month, Mikel-Stites is presenting the findings of their paper at the American Physical Society’s Division of Fluid Dynamics meeting.

The wonder team’s paper looked at how Ant-Man and the Wasp breathe when they shrink down to insect-size and Staples’ lab studied how fluids flow in nature. Insects naturally move fluids and gases efficiently at tiny scales. If engineers can learn how insects breathe, they can use the knowledge to invent new microfluidic technologies.

A November 2018 Virginia Tech news release (also on EurekAlert but published on December 11, 2018) by Nancy Dudek describes the ‘Ant-Man and Wasp respiratory project’ before revealing the inspiration for the team’s new project,

“Before the 2018 ‘Ant-Man and the Wasp’ movie, my lab was already wondering about insect-scale respiration,” said Staples. “I wanted to get people to appreciate different breathing mechanisms.”

For most of Mikel-Stites’ life, he had been nit-picking at the “science” in science-fiction movies.

“I couldn’t watch ‘Armageddon’ once they got up to space station Mir and there was artificial gravity. Things like that have always bothered me. But for ‘Ant-Man and the Wasp’ it was worse,” he said.

Staples and Mikel-Stites decided to join forces to research Ant-Man’s microscale respiration.

Mikel-Stites was stung by what he dubbed “the altitude problem or death-zone dilemma.” For Ant-Man and the Wasp to shrink down to insect size and still breathe, they would have to overcome an atmospheric density similar to the top of Mt. Everest. Their tiny bodies would also require higher metabolisms. For their survival, the Marvel comic universe had to give Ant-Man and the Wasp superhero technologies.

“I thought it would be fun to find a solution for how this small-scale respiration would work,”said Mikel-Stites.”I started digging through Ant-Man’s history. I looped through scenes in the 2015 movie where we could address the physics. Then I did the same thing with trailers from the 2018 movie. I used that to make a list of problems and a list of solutions.”

Ant-Man and the Wasp solve the altitude problem with their superhero suits. In their publication, Mikel-Stites and Staples write that the masks in Ant-Man and the Wasp’s suits contain “a combination of an air pump, a compressor, and a molecular filter including Pym particle technology,” that allows them to breathe while they are insect-sized.

“This publication showed how different physics phenomena can dominate at different size scales, how well-suited organisms are for their particular size, and what happens when you start altering that,” said Mikel-Stites. “It also shows that Hollywood doesn’t always get it right when it comes to science!”

Their manuscript was accepted by the Journal of Superhero Science before the release of the sequel, “Ant-Man and the Wasp.” Mikel-Stites was concerned the blockbuster might include new technologies or change Ant-Man’s canon. If the Marvel comic universe changed between the 2015 ‘Ant-Man’ movie and the sequel, their hypotheses would be debunked and they would be forced to retract their paper.

“I went to the 2018 movie before the manuscript came out in preprint so that if the movie contradicted us we could catch it. But the 2018 movie actually supported everything we had said, which was really nice,” said Mikel-Stites. Most moviegoers simply watched the special effects and left the theater entertained. But Mikel-Stitesleft the movie with confirmation of the paper’s hypotheses.

The Staples lab members are not the only ones interested in tiny technologies. From lab-on-a-chip microfluidic devices to nanoparticles that deliver drugs directly to cells, consumers will ultimately benefit from this small scientific field that delivers big results.

“In both the movies and science, shrinking is a common theme and has been for the last 50-60 years. This idea is something that we all like to think about. Given enough time, we can reach the point where science can take it from the realms of magic into something that we actually have an explanation for,” Mikel-Stites said.

In fact, the Staples lab group has already done just that.

While Mikel-Stites is presenting his superhero science at the APS meeting, his colleague Krishnashis Chatterjee, who recently completed his Ph.D. in engineering mechanics will be presenting his research on fabricating and testing four different insect-inspired micro-fluidic devices.

From fiction to function, the Staples lab likes to have fun along the way.

“I think that it is really important to connect with people and be engaged in science with topics they already know about. With this superhero science paper I wanted to support this mission,” Staples said.

And who did the lab mates choose for their next superhero science subject? The Princess of Atlantis, Mera. They hope they can publish another superhero science paper that really makes waves.

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

Ant-Man and The Wasp: Microscale Respiration and Microfluidic Technology by Anne Staples and Maxwell Mikel-Stites. Superhero Science and Technology (SST) Vol 1 No 1 (2018): https://doi.org/10.24413/sst.2018.1.2474 July 2018 ISSN 2588-7637

This paper is open access.

And, just because the idea of a superhero science journal tickles my fancy, here’s a little more from the journal’s About webpage,

Serial title
Superhero Science and Technolog

Focus and Scope
Superhero Science and Technology (SST) is multi-disciplinary journal that considers new research in the fields of science, technology, engineering and ethics motivated and presented using the superhero genre.

The superhero genre has become one of the most popular in modern cinema. Since the 2000 film X-Men, numerous superhero-themed films based on characters from Marvel Comics and DC Comics have been released. Films such as The Avengers, Iron Man 3, Avengers: Age of Ultron and Captain America: Civil War have all earned in excess of $1 billion dollars at the box office, thus demonstrating their relevance in modern society and popular culture.

Of particular interest for Superhero Science and Technology are articles that motivate new research by using the platform of superheroes, supervillains, their superpowers, superhero/supervillain exploits in Hollywood blockbuster films or superhero/supervillain adventures from comic books. Articles should be written in a manner so that they are accessible to both the academic community and the interested non-scientist i.e. general public, given the popularity of the superhero genre.

Dissemination of content using this approach provides a potential for the researcher to communicate their work to a larger audience, thus increasing their visibility and outreach within and outside of the academic domain.

The scope of the journal includes but is not limited to:
Genetic editing approaches;
Innovations in the field of robotics;
New and advanced materials;
Additive Manufacturing i.e. 3D printing, for both bio and non-bio applications;
Advancements in bio-chemical processing;
Biomimicry technologies;
Space physics, astrophysical and cosmological research;
Developments in propulsion systems;
Responsible innovation;
Ethical issues pertaining to technologies and their use for human enhancement or augmentation.

Open Access Policy
SST is licensed under a Creative Commons Attribution 4.0 International (CC BY 4.0) licence. You are free to use the work, but you have to attribute (refer to) the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). The easiest way to refer to an article is to use the HOWTO CITE tool that you’ll find alongside each article in the right sidebar.

I also looked up the editorial team, from the journal’s Editorial Team webpage,

Editor-in-Chief
Dr. Barry W. Fitzgerald, TU Delft, the Netherlands
Editorial Board
Prof. Wim Briels, University of Twente, the Netherlands
Dr. Ian Clancy, University of Limerick, Ireland
Dr. Neil Clancy, University College London, UK
Dr. Tom Hunt, University of Kent, UK
Ass. Prof. Johan Padding, TU Delft, the Netherlands
Ass. Prof. Aimee van Wynsberghe, TU Delft, the Netherlands
Prof. Ilja Voets, TU Eindhoven, the Netherlands


For anyone unfamiliar with the abbreviation, TU stands for University of Technology or Technische Universiteit in Dutch.

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.” (ETA April 29, 2020: If you have time, please take a look at a rejoinder in the comments, which includes links to material debunking the theory that follows.)

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!