A molecule that protects plants from overexposure to harmful sunlight thanks to its flamenco-style twist could form the basis for a new longer-lasting sunscreen, chemists at the University of Warwick have found, in collaboration with colleagues in France and Spain. Research on the green molecule by the scientists has revealed that it absorbs ultraviolet light and then disperses it in a ‘flamenco-style’ dance, making it ideal for use as a UV filter in sunscreens.
The team of scientists report today, Friday 18th October 2019, in the journal Nature Communications that, as well as being plant-inspired, this molecule is also among a small number of suitable substances that are effective in absorbing light in the Ultraviolet A (UVA) region of wavelengths. It opens up the possibility of developing a naturally-derived and eco-friendly sunscreen that protects against the full range of harmful wavelengths of light from the sun.
The UV filters in a sunscreen are the ingredients that predominantly provide the protection from the sun’s rays. In addition to UV filters, sunscreens will typically also include:
Emollients, used for moisturising and lubricating the skin Thickening agents Emulsifiers to bind all the ingredients Water Other components that improve aesthetics, water resistance, etc.
The researchers tested a molecule called diethyl sinapate, a close mimic to a molecule that is commonly found in the leaves of plants, which is responsible for protecting them from overexposure to UV light while they absorb visible light for photosynthesis.
They first exposed the molecule to a number of different solvents to determine whether that had any impact on its (principally) light absorbing behaviour. They then deposited a sample of the molecule on an industry standard human skin mimic (VITRO-CORNEUM®) where it was irradiated with different wavelengths of UV light. They used the state-of-the-art laser facilities within the Warwick Centre for Ultrafast Spectroscopy to take images of the molecule at extremely high speeds, to observe what happens to the light’s energy when it’s absorbed in the molecule in the very early stages (millionths of millionths of a second). Other techniques were also used to establish longer term (many hours) properties of diethyl sinapate, such as endocrine disruption activity and antioxidant potential.
Professor Vasilios Stavros from the University of Warwick, Department of Chemistry, who was part of the research team, explains: “A really good sunscreen absorbs light and converts it to harmless heat. A bad sunscreen is one that absorbs light and then, for example, breaks down potentially inducing other chemistry that you don’t want. Diethyl sinapate generates lots of heat, and that’s really crucial.”
When irradiated the molecule absorbs light and goes into an excited state but that energy then has to be disposed of somehow. The team of researchers observed that it does a kind of molecular ‘dance’ a mere 10 picoseconds (ten millionths of a millionth of a second) long: a twist in a similar fashion to the filigranas and floreos hand movements of flamenco dancers. That causes it to come back to its original ground state and convert that energy into vibrational energy, or heat.
It is this ‘flamenco dance’ that gives the molecule its long-lasting qualities. When the scientists bombarded the molecule with UVA light they found that it degraded only 3% over two hours, compared to the industry requirement of 30%.
Dr Michael Horbury, who was a Postgraduate Research Fellow at The University Warwick when he undertook this research (and now at the University of Leeds) adds: “We have shown that by studying the molecular dance on such a short time-scale, the information that you gain can have tremendous repercussions on how you design future sunscreens. Emily Holt, a PhD student in the Department of Chemistry at the University of Warwick who was part of the research team, said: “The next step would be to test it on human skin, then to mix it with other ingredients that you find in a sunscreen to see how those affect its characteristics.”
Professor Florent Allais and Dr Louis Mouterde, URD Agro-Biotechnologies Industrielles at AgroParisTech (Pomacle, France) commented: “What we have developed together is a molecule based upon a UV photoprotective molecule found in the surface of leaves on a plant and refunctionalised it using greener synthetic procedures. Indeed, this molecule has excellent long-term properties while exhibiting low endocrine disruption and valuable antioxidant properties.”
Professor Laurent Blasco, Global Technical Manager (Skin Essentials) at Lubrizol and Honorary Professor at the University of Warwick commented: “In sunscreen formulations at the moment there is a lack of broad-spectrum protection from a single UV filter. Our collaboration has gone some way towards developing a next generation broad-spectrum UV filter inspired by nature. Our collaboration has also highlighted the importance of academia and industry working together towards a common goal.”
Professor Vasilios Stavros added, “Amidst escalating concerns about their impact on human toxicity (e.g. endocrine disruption) and ecotoxicity (e.g. coral bleaching), developing new UV filters is essential. We have demonstrated that a highly attractive avenue is ‘nature-inspired’ UV filters, which provide a front-line defence against skin cancer and premature skin aging.”
Here’s a link to and a citation for the paper,
Towards symmetry driven and nature inspired UV filter design by Michael D. Horbury, Emily L. Holt, Louis M. M. Mouterde, Patrick Balaguer, Juan Cebrián, Laurent Blasco, Florent Allais & Vasilios G. Stavros. Nature Communications volume 10, Article number: 4748 (2019) DOI: https://doi.org/10.1038/s41467-019-12719-z
This paper is open access.
Why the high hopes?
Briefly (the long story stretches over 10 years), the most recommended sunscreens today (2020) are ‘mineral-based’. This is painfully amusing because civil society groups (activists) such as Friends of the Earth (in particular the Australia chapter under Georgia Miller’s leadership) and Canada’s own ETC Group had campaigned against these same sunscreen when they were billed as being based on metal oxide nanoparticles such zinc oxide and/or titanium oxide. The ETC Group under Pat Roy Mooney’s leadership didn’t press the campaign after an initial push. As for Australia and Friend of the Earth, their anti-metallic oxide nanoparticle sunscreen campaign didn’t work out well as I noted in a February 9, 2012 posting and with a follow-up in an October 31, 2012 posting.
The only civil society group to give approval (very reluctantly) was the Environmental Working Group (EWG) as I noted in a July 9, 2009 posting. They had concerns about the fact that these ingredients are metallic but after a thorough of then available research, EWG gave the sunscreens a passing grade and noted, in their report, that they had more concerns about the use of oxybenzone in sunscreens. That latter concern has since been flagged by others (e.g., the state of Hawai’i) as noted in my July 6, 2018 posting.
So, rebranding metallic oxides as minerals has allowed the various civil society groups to support the very same sunscreens many of them were advocating against.
In the meantime, scientists continue work on developing plant-based sunscreens as an improvement to the ‘mineral-based’ sunscreens used now.
Research on novel nanoelectronics devices led by the University of Southampton enabled brain neurons and artificial neurons to communicate with each other. This study has for the first time shown how three key emerging technologies can work together: brain-computer interfaces, artificial neural networks and advanced memory technologies (also known as memristors). The discovery opens the door to further significant developments in neural and artificial intelligence research.
Brain functions are made possible by circuits of spiking neurons, connected together by microscopic, but highly complex links called ‘synapses’. In this new study, published in the scientific journal Nature Scientific Reports, the scientists created a hybrid neural network where biological and artificial neurons in different parts of the world were able to communicate with each other over the internet through a hub of artificial synapses made using cutting-edge nanotechnology. This is the first time the three components have come together in a unified network.
During the study, researchers based at the University of Padova in Italy cultivated rat neurons in their laboratory, whilst partners from the University of Zurich and ETH Zurich created artificial neurons on Silicon microchips. The virtual laboratory was brought together via an elaborate setup controlling nanoelectronic synapses developed at the University of Southampton. These synaptic devices are known as memristors.
The Southampton based researchers captured spiking events being sent over the internet from the biological neurons in Italy and then distributed them to the memristive synapses. Responses were then sent onward to the artificial neurons in Zurich also in the form of spiking activity. The process simultaneously works in reverse too; from Zurich to Padova. Thus, artificial and biological neurons were able to communicate bidirectionally and in real time.
Themis Prodromakis, Professor of Nanotechnology and Director of the Centre for Electronics Frontiers at the University of Southampton said “One of the biggest challenges in conducting research of this kind and at this level has been integrating such distinct cutting edge technologies and specialist expertise that are not typically found under one roof. By creating a virtual lab we have been able to achieve this.”
The researchers now anticipate that their approach will ignite interest from a range of scientific disciplines and accelerate the pace of innovation and scientific advancement in the field of neural interfaces research. In particular, the ability to seamlessly connect disparate technologies across the globe is a step towards the democratisation of these technologies, removing a significant barrier to collaboration.
Professor Prodromakis added “We are very excited with this new development. On one side it sets the basis for a novel scenario that was never encountered during natural evolution, where biological and artificial neurons are linked together and communicate across global networks; laying the foundations for the Internet of Neuro-electronics. On the other hand, it brings new prospects to neuroprosthetic technologies, paving the way towards research into replacing dysfunctional parts of the brain with AI [artificial intelligence] chips.”
I’m fascinated by this work and after taking a look at the paper, I have to say, the paper is surprisingly accessible. In other words, I think I get the general picture. For example (from the Introduction to the paper; citation and link follow further down),
… To emulate plasticity, the memristor MR1 is operated as a two-terminal device through a control system that receives pre- and post-synaptic depolarisations from one silicon neuron (ANpre) and one biological neuron (BN), respectively. …
If I understand this properly, they’ve integrated a biological neuron and an artificial neuron in a single system across three countries.
For those who care to venture forth, here’s a link and a citation for the paper,
Memristive synapses connect brain and silicon spiking neurons by Alexantrou Serb, Andrea Corna, Richard George, Ali Khiat, Federico Rocchi, Marco Reato, Marta Maschietto, Christian Mayr, Giacomo Indiveri, Stefano Vassanelli & Themistoklis Prodromakis. Scientific Reports volume 10, Article number: 2590 (2020) DOI: https://doi.org/10.1038/s41598-020-58831-9 Published 25 February 2020
Understanding the concept of zero—I still remember climbing that mountain, so to speak. It took the teacher quite a while to convince me that representing ‘nothing’ as a zero was worthwhile. In fact, it took the combined efforts of both my parents and the teacher to convince me to use zeroes as I was prepared to go without. The battle is long since over and I have learned to embrace zero.
I don’t think bees have to be convinced but they too may have a concept of zero. More about that later, here’s the latest abut bees and math from an October 10, 2019 news item on phys.org,
Start thinking about numbers and they can become large very quickly. The diameter of the universe is about 8.8×1023 km and the largest known number—googolplex, 1010100—outranks it enormously. Although that colossal concept was dreamt up by brilliant mathematicians, we’re still pretty limited when it comes to assessing quantities at a glance. ‘Humans have a threshold limit for instantly processing one to four elements accurately’, says Adrian Dyer from RMIT University, Australia; and it seems that we are not alone. Scarlett Howard from RMIT and the Université de Toulouse, France, explains that guppies, angelfish and even honeybees are capable of distinguishing between quantities of three and four, although the trusty insects come unstuck at finer differences; they fail to differentiate between four and five, which made her wonder. According to Howard, honeybees are quite accomplished mathematicians. ‘Recently, honeybees were shown to learn the rules of “less than” and “greater than” and apply these rules to evaluate numbers from zero to six’, she says. Maybe numeracy wasn’t the bees’ problem; was it how the question was posed? The duo publishes their discovery that bees can discriminate between four and five if the training procedure is correct in Journal of Experimental Biology.
Dyer explains that when animals are trained to distinguish between colours and objects, some training procedures simply reward the animals when they make the correct decision. In the case of the honeybees that could distinguish three from four, they received a sip of super-sweet sugar water when they made the correct selection but just a taste of plain water when they got it wrong. However, Dyer, Howard and colleagues Aurore Avarguès-Weber, Jair Garcia and Andrew Greentree knew there was an alternative strategy. This time, the bees would be given a bitter-tasting sip of quinine-flavoured water when they got the answer wrong. Would the unpleasant flavour help the honeybees to focus better and improve their maths?
‘[The] honeybees were very cooperative, especially when I was providing sugar rewards’, says Howard, who moved to France each April to take advantage the northern summer during the Australian winter, when bees are dormant. Training the bees to enter a Y-shaped maze, Howard presented the insects with a choice; a card featuring four shapes in one arm and a card featuring a different number of shapes (ranging from one to 10) in the other. During the first series of training sessions, Howard rewarded the bees with a sugary sip when they alighted correctly before the card with four shapes, in contrast to a sip of water when they selected the wrong card. However, when Howard trained a second set of bees she reproved them with a bitter-tasting sip of quinine when they chose incorrectly, rewarding the insects with sugar when they selected the card with four shapes. Once the bees had learned to pick out the card with four shapes, Howard tested whether they could distinguish the card with four shapes when offered a choice between it and cards with eight, seven, six or – the most challenging comparison – five shapes.
Not surprisingly, the bees that had only been rewarded during training struggled; they couldn’t even differentiate between four and eight shapes. However, when Howard tested the honeybees that had been trained more rigorously – receiving a quinine reprimand – their performance was considerably better, consistently picking the card with four shapes when offered a choice between it and cards with seven or eight shapes. Even more impressively, the bees succeeded when offered the more subtle choice between four and five shapes.
So, it seems that honeybees are better mathematicians than had been credited. Unlocking their ability was simply a matter of asking the question in the right way and Howard is now keen to find out just how far counting bees can go.
I’ll get to the link to and citation for the paper in a minute but first, I found more about bees and math (including zero) in this February 7, 2019 article by Jason Daley for The Smithsonian (Note: Links have been removed),
Bees are impressive creatures, powering entire ecosystems via pollination and making sweet honey at the same time, one of the most incredible substances in nature. But it turns out the little striped insects are also quite clever. A new study suggests that, despite having tiny brains, bees understand the mathematical concepts of addition and subtraction.
To test the numeracy of the arthropods, researchers set up unique Y-shaped math mazes for the bees to navigate, according to Nicola Davis at the The Guardian. Because the insects can’t read, and schooling them to recognize abstract symbols like plus and minus signs would be incredibly difficult, the researchers used color to indicate addition or subtraction. …
Fourteen bees spent between four and seven hours completing 100 trips through the mazes during training exercises with the shapes and numbers chosen at random. All of the bees appeared to learn the concept. Then, the bees were tested 10 times each using two addition and two subtraction scenarios that had not been part of the training runs. The little buzzers got the correct answer between 64 and 72 percent of the time, better than would be expected by chance.
Last year, the same team of researchers published a paper suggesting that bees could understand the concept of zero, which puts them in an elite club of mathematically-minded animals that, at a minimum, have the ability to perceive higher and lower numbers in different groups. Animals with this ability include frogs, lions, spiders, crows, chicken chicks, some fish and other species. And these are not the only higher-level skills that bees appear to possess. A 2010 study that Dyer [Adrian Dyer of RMIT University in Australia] also participated in suggests that bees can remember human faces using the same mechanisms as people. Bees also use a complex type of movement called the waggle dance to communicate geographical information to one other, another sophisticated ability packed into a brain the size of a sesame seed.
If researchers could figure out how bees perform so many complicated tasks with such a limited number of neurons, the research could have implications for both biology and technology, such as machine learning. …
Then again, maybe the honey makers are getting more credit than they deserve. Clint Perry, who studies invertebrate intelligence at the Bee Sensory and Behavioral Ecology Lab at Queen Mary University of London tells George Dvorsky at Gizmodo that he’s not convinced by the research, and he had similar qualms about the study that suggested bees can understand the concept of zero. He says the bees may not be adding and subtracting, but rather are simply looking for an image that most closely matches the initial one they see, associating it with the sugar reward. …
If you have the time and the interest, definitely check out Daley’s article.
Here’s a link to and a citation for the latest paper about honeybees and math,
The gold sheets in question are effectively 2D. I’m surprised they haven’t named them ‘goldene’ as everything else that’s 2D seems to have an ‘ene’ suffix (e.g. graphene, germanene, tellurene).
Of course, these gold sheets are not composed of single atoms but of two according to an August 6, 2019 news item on Nanowerk,
Scientists at the University of Leeds [UK] have created a new form of gold which is just two atoms thick – the thinnest unsupported gold ever created.
The researchers measured the thickness of the gold to be 0.47 nanometres – that is one million times thinner than a human finger nail. The material is regarded as 2D because it comprises just two layers of atoms sitting on top of one another. All atoms are surface atoms – there are no ‘bulk’ atoms hidden beneath the surface.
I’m pretty sure they’ve added colour to those images and not just in the background; they’ve likely added a gold colour to the gold.
The material could have wide-scale applications in the medical device and electronics industries – and also as a catalyst to speed up chemical reactions in a range of industrial processes.
Laboratory tests show that the ultra-thin gold is 10 times more efficient as a catalytic substrate than the currently used gold nanoparticles, which are 3D materials with the majority of atoms residing in the bulk rather than at the surface.
Scientists believe the new material could also form the basis of artificial enzymes that could be applied in rapid, point-of-care medical diagnostic tests and in water purification systems.
The announcement that the ultra-thin metal had been successfully synthesised was made in the journal Advanced Science.
The lead author of the paper, Dr Sunjie Ye, from Leeds’ Molecular and Nanoscale Physics Group and the Leeds Institute of Medical Research, said: “This work amounts to a landmark achievement.
“Not only does it open up the possibility that gold can be used more efficiently in existing technologies, it is providing a route which would allow material scientists to develop other 2D metals.
“This method could innovate nanomaterial manufacturing.”
The research team are looking to work with industry on ways of scaling-up the process.
Synthesising the gold nanosheet takes place in an aqueous solution and starts with chloroauric acid, an inorganic substance that contains gold. It is reduced to its metallic form in the presence of a ‘confinement agent’ – a chemical that encourages the gold to form as a sheet, just two atoms thick.
Because of the gold’s nanoscale dimensions, it appears green in water – and given its shape, the researchers describe it as gold nanoseaweed.
Professor Stephen Evans, head of the Leeds’ Molecular and Nanoscale Research Group who supervised the research, said the considerable gains that could be achieved from using these ultra-thin gold sheets are down to their high surface-area to volume ratio.
He said: “Gold is a highly effective catalyst. Because the nanosheets are so thin, just about every gold atom plays a part in the catalysis. It means the process is highly efficient.”
Standard benchmark tests revealed that gold nanoscale sheets were ten times more efficient than the gold nanoparticles conventionally used in industry.
Professor Evans said: “Our data suggests that industry could get the same effect from using a smaller amount of gold, and this has economic advantages when you are talking about a precious metal.”
Similar benchmark tests revealed that the gold sheets could act as highly effective artificial enzymes.
The flakes are also flexible, meaning they could form the basis of electronic components for bendable screens, electronic inks and transparent conducting displays.
Professor Evans thinks there will inevitably be comparisons made between the 2D gold and the very first 2D material ever created – graphene, which was fabricated at the University of Manchester in 2004.
He said: “The translation of any new material into working products can take a long time and you can’t force it to do everything you might like to. With graphene, people have thought that it could be good for electronics or for transparent coatings – or as carbon nanotubes that could make an elevator to take us into space because of its super strength.
“I think with 2D gold we have got some very definite ideas about where it could be used, particularly in catalytic reactions and enzymatic reactions. We know it will be more effective than existing technologies – so we have something that we believe people will be interested in developing with us.”
Here’s a link to and a citation for the paper,
Sub‐Nanometer Thick Gold Nanosheets as Highly Efficient Catalysts by Sunjie Ye, Andy P. Brown, Ashley C. Stammers, Neil H. Thomson, Jin Wen, Lucien Roach, Richard J. Bushby, Patricia Louise Coletta, Kevin Critchley, Simon D. Connell, Alexander F. Markham, Rik Brydson, Stephen D. Evans. Advnaced Science https://doi.org/10.1002/advs.201900911 First published: 06 August 2019
Hamster Productions 154K subscribers Our LEGO insulator paper: https://nature.com/articles/s41598-01… A world leading team of ultra-low temperature physicists at Lancaster University decided to place a LEGO figure and four LEGO blocks inside their record-breaking dilution refrigerator. This machine – specially made at the University – is the most effective refrigerator in the world, capable of reaching 1.6 millidegrees above absolute zero (minus 273.15 Centigrade), which is about 200,000 times colder than room temperature and 2,000 times colder than deep space. This research was lead by Low Temperature Physicist Dr. Dmitry Zmeev https://twitter.com/dmitry_zmeev ——————————- TRANSLATORS: Chinese (Traditional) – Hsin Hui Chang Russian – Dmitry Zmeev Dutch – Ruben Leenders Spanish – Marta San Juan Mucientes Italian – Leonardo Forcieri Polish – Veronica Letka ——————————– …
For the first time, LEGO ® has been cooled to the lowest temperature possible in an experiment which reveals a new use for the popular toy.
Its special properties mean it could be useful in the development of quantum computing.
A world leading team of ultra-low temperature physicists at Lancaster University decided to place a LEGO ® figure and four LEGO ® blocks inside their record-breaking dilution refrigerator.
This machine — specially made at the University — is the most effective refrigerator in the world, capable of reaching 1.6 millidegrees above absolute zero (minus 273.15 Centigrade), which is about 200,000 times colder than room temperature and 2,000 times colder than deep space.
The results — published in the journal Scientific Reports — were surprising.
Dr Dmitry Zmeev, who led the research team, said: “”Our results are significant because we found that the clamping arrangement between the LEGO ® blocks causes the LEGO ® structures to behave as an extremely good thermal insulator at cryogenic temperatures.
“This is very desirable for construction materials used for the design of future scientific equipment like dilution refrigerators.”
Invented 50 years ago, the dilution refrigerator is at the centre of a global multi-billion dollar industry and is crucial to the work of modern experimental physics and engineering, including the development of quantum computers.
The use of ABS plastic structures, such as LEGO ®, instead of the solid materials currently in use, means that any future thermal insulator could be produced at a significantly reduced cost.
Researchers say the next step is to design and 3D print a new thermal insulator for the next generation of dilution refrigerators.
A July 26, 2019 news item on Nanowerk takes us into the world of quantum physics and graphene (Note: Links have been removed),
A team of researchers from the Universities of Manchester, Nottingham and Loughborough have discovered quantum phenomena that helps to understand the fundamental limits of graphene electronics.
As published in Nature Communications (“Strong magnetophonon oscillations in extra-large graphene”), the work describes how electrons in a single atomically-thin sheet of graphene scatter off the vibrating carbon atoms which make up the hexagonal crystal lattice.
By applying a magnetic field perpendicular to the plane of graphene, the current-carrying electrons are forced to move in closed circular “cyclotron” orbits. In pure graphene, the only way in which an electron can escape from this orbit is by bouncing off a “phonon” in a scattering event. These phonons are particle-like bundles of energy and momentum and are the “quanta” of the sound waves associated with the vibrating carbon atom. The phonons are generated in increasing numbers when the graphene crystal is warmed up from very low temperatures.
By passing a small electrical current through the graphene sheet, the team were able to measure precisely the amount of energy and momentum that is transferred between an electron and a phonon during a scattering event.
Their experiment revealed that two types of phonon scatter the electrons: transverse acoustic (TA) phonons in which the carbon atoms vibrate perpendicular to the direction of phonon propagation and wave motion (somewhat analogous to surface waves on water) and longitudinal acoustic (LA) phonons in which the carbon atoms vibrate back and forth along the direction of the phonon and the wave motion; (this motion is somewhat analogous to the motion of sound waves through air).
The measurements provide a very accurate measure of the speed of both types of phonons, a measurement which is otherwise difficult to make for the case of a single atomic layer. An important outcome of the experiments is the discovery that TA phonon scattering dominates over LA phonon scattering.
The observed phenomena, commonly referred to as “magnetophonon oscillations”, was measured in many semiconductors years before the discovery of graphene. It is one of the oldest quantum transport phenomena that has been known for more than fifty years, predating the quantum Hall effect. Whereas graphene possesses a number of novel, exotic electronic properties, this rather fundamental phenomenon has remained hidden.
Laurence Eaves & Roshan Krishna Kumar, co-authors of the work said: “We were pleasantly surprised to find such prominent magnetophonon oscillations appearing in graphene. We were also puzzled why people had not seen them before, considering the extensive amount of literature on quantum transport in graphene.”
Their appearance requires two key ingredients. First, the team had to fabricate high quality graphene transistors with large areas at the National Graphene Institute. If the device dimensions are smaller than a few micrometres the phenomena could not be observed.
Piranavan Kumaravadivel from The University of Manchester, lead author of the paper said: “At the beginning of quantum transport experiments, people used to study macroscopic, millimetre sized crystals. In most of the work on quantum transport on graphene, the studied devices are typically only a few micrometres in size. It seems that making larger graphene devices is not only important for applications but now also for fundamental studies.”
The second ingredient is temperature. Most graphene quantum transport experiments are performed at ultra-cold temperatures in-order to slow down the vibrating carbon atoms and “freeze-out” the phonons that usually break quantum coherence. Therefore, the graphene is warmed up as the phonons need to be active to cause the effect.
Mark Greenaway, from Loughborough University, who worked on the quantum theory of this effect said: “This result is extremely exciting – it opens a new route to probe the properties of phonons in two-dimensional crystals and their heterostructures. This will allow us to better understand electron-phonon interactions in these promising materials, understanding which is vital to develop them for use in new devices and applications.”
Here’s a link to and a citation for the paper,
Strong magnetophonon oscillations in extra-large graphene by P. Kumaravadivel, M. T. Greenaway, D. Perello, A. Berdyugin, J. Birkbeck, J. Wengraf, S. Liu, J. H. Edgar, A. K. Geim, L. Eaves & R. Krishna Kumar. ature Communicationsvolume 10, Article number: 3334 (2019) DOI: https://doi.org/10.1038/s41467-019-11379-3 Published 26 July 2019
A team of scientists are seeking to kick-start a wearable technology revolution by creating flexible fibres and adding acids from red wine.
Extracting tannic acid from red wine, coffee or black tea, led a team of scientists from The University of Manchester to develop much more durable and flexible wearable devices. The addition of tannins improved mechanical properties of materials such as cotton to develop wearable sensors for rehabilitation monitoring, drastically increasing the devices lifespan.
The team have developed wearable devices such as capacitive breath sensors and artificial hands for extreme conditions by improving the durability of flexible sensors. Previously, wearable technology has been subject to fail after repeated bending and folding which can interrupt the conductivity of such devices due to tiny micro cracks. Improving this could open the door to more long-lasting integrated technology.
Dr Xuqing Liu who led the research team said: “We are using this method to develop new flexible, breathable, wearable devices. The main research objective of our group is to develop comfortable wearable devices for flexible human-machine interface.
“Traditional conductive material suffers from weak bonding to the fibers which can result in low conductivity. When red wine, or coffee, or black tea, is spilled on a dress, it’s difficult to get rid of these stains. The main reason is that they all contain tannic acid, which can firmly adsorb the material on the surface of the fiber. This good adhesion is exactly what we need for durable wearable, conductive devices.”
The new research published in the journal Small demonstrated that without this layer of tannic acid, the conductivity is several hundred times, or even thousands of times, less than traditional conductive material samples as the conductive coating becomes easily detached from the textile surface through repeated bending and flexing.
There’s a very good November 11, 2019 article by Natalie Angier for the New York Times on carbon nanotubes (CNTs) and the colour black,
On a laboratory bench at the National Institute of Standards and Technology was a square tray with two black disks inside, each about the width of the top of a Dixie cup. Both disks were undeniably black, yet they didn’t look quite the same.
Solomon Woods, 49, a trim, dark-haired, soft-spoken physicist, was about to demonstrate how different they were, and how serenely voracious a black could be.
“The human eye is extraordinarily sensitive to light,” Dr. Woods said. Throw a few dozen photons its way, a few dozen quantum-sized packets of light, and the eye can readily track them.
Dr. Woods pulled a laser pointer from his pocket. “This pointer,” he said, “puts out 100 trillion photons per second.” He switched on the laser and began slowly sweeping its bright beam across the surface of the tray.
On hitting the white background, the light bounced back almost unimpeded, as rude as a glaring headlight in a rearview mirror.
The beam moved to the first black disk, a rondel of engineered carbon now more than a decade old. The light dimmed significantly, as a sizable tranche of the incident photons were absorbed by the black pigment, yet the glow remained surprisingly strong.
Finally Dr. Woods trained his pointer on the second black disk, and suddenly the laser’s brilliant beam, its brash photonic probe, simply — disappeared. Trillions of light particles were striking the black disk, and virtually none were winking back up again. It was like watching a circus performer swallow a sword, or a husband “share” your plate of French fries: Hey, where did it all go?
N.I.S.T. disk number two was an example of advanced ultra-black technology: elaborately engineered arrays of tiny carbon cylinders, or nanotubes, designed to capture and muzzle any light they encounter. Blacker is the new black, and researchers here and abroad are working to create ever more efficient light traps, which means fabricating materials that look ever darker, ever flatter, ever more ripped from the void.
The N.I.S.T. ultra-black absorbs at least 99.99 percent of the light that stumbles into its nanotube forest. But scientists at the Massachusetts Institute of Technology reported in September the creation of a carbon nanotube coating that they claim captures better than 99.995 of the incident light.
… The more fastidious and reliable the ultra-black, the more broadly useful it will prove to be — in solar power generators, radiometers, industrial baffles and telescopes primed to detect the faintest light fluxes as a distant planet traverses the face of its star.
Psychology and metaphors
It’s not all technical, Angier goes on to mention the psychological and metaphorical aspects,
Psychologists have gathered evidence that black is among the most metaphorically loaded of all colors, and that we absorb our often contradictory impressions about black at a young age.
Reporting earlier this year in the Quarterly Journal of Experimental Psychology, Robin Kramer and Joanne Prior of the University of Lincoln in the United Kingdom compared color associations in a group of 104 children, aged 5 to 10, with those of 100 university students.
The researchers showed subjects drawings in which a lineup of six otherwise identical images differed only in some aspect of color. The T-shirt of a boy taking a test, for example, was switched from black to blue to green to red to white to yellow. The same for a businessman’s necktie, a schoolgirl’s dress, a dog’s collar, a boxer’s gloves.
Participants were asked to link images with traits. Which boy was likeliest to cheat on the test? Which man was likely to be in charge at work? Which girl was the smartest in her class, which dog the scariest?
Again and again, among both children and young adults, black pulled ahead of nearly every color but red. Black was the color of cheating, and black was the color of cleverness. A black tie was the mark of a boss, a black collar the sign of a pit bull. Black was the color of strength and of winning. Black was the color of rage.
Then, there is the world of art,
For artists, black is basal and nonnegotiable, the source of shadow, line, volume, perspective and mood. “There is a black which is old and a black which is fresh,” Ad Reinhardt, the abstract expressionist artist, said. “Lustrous black and dull black, black in sunlight and black in shadow.”
So essential is black to any aesthetic act that, as David Scott Kastan and Stephen Farthing describe in their scholarly yet highly entertaining book, “On Color,” modern artists have long squabbled over who pioneered the ultimate visual distillation: the all-black painting.
Was it the Russian Constructivist Aleksandr Rodchenko, who in 1918 created a series of eight seemingly all-black canvases? No, insisted the American artist Barnett Newman: Those works were very dark brown, not black. He, Mr. Newman, deserved credit for his 1949 opus, “Abraham,” which in 1966 he described as “the first and still the only black painting in history.”
But what about Kazimir Malevich’s “Black Square” of 1915? True, it was a black square against a white background, but the black part was the point. Then again, the English polymath Robert Fludd had engraved a black square in a white border back in 1617.
Clearly, said Alfred H. Barr, Jr., the first director of the Museum of Modern Art, “Each generation must paint its own black square.”
Solomon and his NIST colleagues and the MIT scientists are all trying to create materials with structural colour, in this case, black. Angier goes on to discuss structural colour in nature mentioning bird feathers and spiders as examples of where you might find superblacks. For anyone unfamiliar with structural colour, the colour is not achieved with pigment or dye but with tiny structures, usually measured at the nanoscale, on a bird’s wing, a spider’s belly, a plant leaf, etc. Structural colour does not fade or change . Still, it’s possible to destroy the structures, i.e., the colour, but light and time will not have any effect since it’s the tiny structures and their optical properties which are producing the colour . (Even after all these years, my favourite structural colour story remains a Feb. 1, 2013 article, Color from Structure, by Cristina Luiggi for The Scientist magazine. For a shorter version, I excerpted parts of Luiggi’s story for my February 7, 2013 posting.)
The examples of structural colour in Angier’s article were new to me. However, there are many, many examples elsewhere,. You can find some here by using the terms ‘structural colour’ or ‘structural color’ in the blog’s search engine.
Angier’s is a really good article and I strongly recommend reading it if you have time but I’m a little surprised she doesn’t mention Vantablack and the artistic feud. More about that in a moment,
Massachusetts Institute of Technology and a ‘blacker black’
According to MIT (Massachusetts Institute of Technology), they have the blackest black. It too is courtesy of carbon nanotubes.
What you see in the above ‘The Redemption of Vanity’ was on show at the New York Stock Exchange (NYSE) from September 13 – November 29, 2019. It’s both an art piece and a demonstration of MIT’s blackest black.
With apologies to “Spinal Tap,” it appears that black can, indeed, get more black.
MIT engineers report today that they have cooked up a material that is 10 times blacker than anything that has previously been reported. The material is made from vertically aligned carbon nanotubes, or CNTs — microscopic filaments of carbon, like a fuzzy forest of tiny trees, that the team grew on a surface of chlorine-etched aluminum foil. The foil captures at least 99.995 percent* of any incoming light, making it the blackest material on record.
The researchers have published their findings today in the journal ACS-Applied Materials and Interfaces. They are also showcasing the cloak-like material as part of a new exhibit today at the New York Stock Exchange, titled “The Redemption of Vanity.”
The artwork, conceived by Diemut Strebe, an artist-in-residence at the MIT Center for Art, Science, and Technology, in collaboration with Brian Wardle, professor of aeronautics and astronautics at MIT, and his group, and MIT Center for Art, Science, and Technology artist-in-residence Diemut Strebe, features a 16.78-carat natural yellow diamond from LJ West Diamonds, estimated to be worth $2 million, which the team coated with the new, ultrablack CNT material. The effect is arresting: The gem, normally brilliantly faceted, appears as a flat, black void.
Wardle says the CNT material, aside from making an artistic statement, may also be of practical use, for instance in optical blinders that reduce unwanted glare, to help space telescopes spot orbiting exoplanets.
“There are optical and space science applications for very black materials, and of course, artists have been interested in black, going back well before the Renaissance,” Wardle says. “Our material is 10 times blacker than anything that’s ever been reported, but I think the blackest black is a constantly moving target. Someone will find a blacker material, and eventually we’ll understand all the underlying mechanisms, and will be able to properly engineer the ultimate black.”
Wardle’s co-author on the paper is former MIT postdoc Kehang Cui, now a professor at Shanghai Jiao Tong University.
Into the void
Wardle and Cui didn’t intend to engineer an ultrablack material. Instead, they were experimenting with ways to grow carbon nanotubes on electrically conducting materials such as aluminum, to boost their electrical and thermal properties.
But in attempting to grow CNTs on aluminum, Cui ran up against a barrier, literally: an ever-present layer of oxide that coats aluminum when it is exposed to air. This oxide layer acts as an insulator, blocking rather than conducting electricity and heat. As he cast about for ways to remove aluminum’s oxide layer, Cui found a solution in salt, or sodium chloride.
At the time, Wardle’s group was using salt and other pantry products, such as baking soda and detergent, to grow carbon nanotubes. In their tests with salt, Cui noticed that chloride ions were eating away at aluminum’s surface and dissolving its oxide layer.
“This etching process is common for many metals,” Cui says. “For instance, ships suffer from corrosion of chlorine-based ocean water. Now we’re using this process to our advantage.”
Cui found that if he soaked aluminum foil in saltwater, he could remove the oxide layer. He then transferred the foil to an oxygen-free environment to prevent reoxidation, and finally, placed the etched aluminum in an oven, where the group carried out techniques to grow carbon nanotubes via a process called chemical vapor deposition.
By removing the oxide layer, the researchers were able to grow carbon nanotubes on aluminum, at much lower temperatures than they otherwise would, by about 100 degrees Celsius. They also saw that the combination of CNTs on aluminum significantly enhanced the material’s thermal and electrical properties — a finding that they expected.
What surprised them was the material’s color.
“I remember noticing how black it was before growing carbon nanotubes on it, and then after growth, it looked even darker,” Cui recalls. “So I thought I should measure the optical reflectance of the sample.
“Our group does not usually focus on optical properties of materials, but this work was going on at the same time as our art-science collaborations with Diemut, so art influenced science in this case,” says Wardle.
Wardle and Cui, who have applied for a patent on the technology, are making the new CNT process freely available to any artist to use for a noncommercial art project.
“Built to take abuse”
Cui measured the amount of light reflected by the material, not just from directly overhead, but also from every other possible angle. The results showed that the material absorbed at least 99.995 percent of incoming light, from every angle. In other words, it reflected 10 times less light than all other superblack materials, including Vantablack. If the material contained bumps or ridges, or features of any kind, no matter what angle it was viewed from, these features would be invisible, obscured in a void of black.
The researchers aren’t entirely sure of the mechanism contributing to the material’s opacity, but they suspect that it may have something to do with the combination of etched aluminum, which is somewhat blackened, with the carbon nanotubes. Scientists believe that forests of carbon nanotubes can trap and convert most incoming light to heat, reflecting very little of it back out as light, thereby giving CNTs a particularly black shade.
“CNT forests of different varieties are known to be extremely black, but there is a lack of mechanistic understanding as to why this material is the blackest. That needs further study,” Wardle says.
The material is already gaining interest in the aerospace community. Astrophysicist and Nobel laureate John Mather, who was not involved in the research, is exploring the possibility of using Wardle’s material as the basis for a star shade — a massive black shade that would shield a space telescope from stray light.
“Optical instruments like cameras and telescopes have to get rid of unwanted glare, so you can see what you want to see,” Mather says. “Would you like to see an Earth orbiting another star? We need something very black. … And this black has to be tough to withstand a rocket launch. Old versions were fragile forests of fur, but these are more like pot scrubbers — built to take abuse.”
[Note] An earlier version of this story stated that the new material captures more than 99.96 percent of incoming light. That number has been updated to be more precise; the material absorbs at least 99.995 of incoming light.
Here’s an August 29, 2019 news release from MIT announcing the then upcoming show. Usually I’d expect to see a research paper associated with this work but this time it seems to an art exhibit only,
The MIT Center for Art, Science &Technology (CAST) and the New York Stock Exchange (NYSE) will present The Redemption of Vanity,created by artist Diemut Strebe in collaboration with MIT scientist Brian Wardle and his lab, on view at the New York Stock Exchange September 13, 2019 -November 25, 2019. For the work, a 16.78 carat natural yellow diamond valued at $2 million from L.J.West was coated using a new procedure of generating carbon nanotubes (CNTs), recently measured to be the blackest black ever created, which makes the diamond seem to disappear into an invisible void. The patented carbon nanotube technology (CNT) absorbs more than 99.96% of light and was developed by Professor Wardle and his necstlablab at MIT.
“Any object covered with this CNT material loses all its plasticity and appears entirely flat, abbreviated/reduced to a black silhouette. In outright contradiction to this we see that a diamond,while made of the very same element (carbon) performs the most intense reflection of light on earth.Because of the extremely high light absorbtive qualities of the CNTs, any object, in this case a large diamond coated with CNT’s, becomes a kind of black hole absent of shadows,“ explains Strebe.“The unification of extreme opposites in one object and the particular aesthetic features of the CNTs caught my imagination for this art project.”
“Strebe’s art-science collaboration caused us to look at the optical properties of our new CNT growth, and we discovered that these particular CNTs are blacker than all other reported materials by an order of magnitude across the visible spectrum”, says Wardle. The MIT team is offering the process for any artist to use. “We do not believe in exclusive ownership of any material or idea for any artwork and have opened our method to any artist,” say Strebe and Wardle.“
The project explores material and immaterial value attached to objects and concepts in reference to luxury, society and to art. We are presenting the literal devaluation of a diamond, which is highly symbolic and of high economic value.It presents a challenge to art market mechanisms on the one hand, while expressing at the same time questions of the value of art in a broader way. In this sense it manifests an inquiry into the significance of the value of objects of art and the art market,” says Strebe. “We are honored to present this work at The New York Stock Exchange, which I believe to be a most fitting location to consider the ideas embedded in The Redemption of Vanity.”
“The New York Stock Exchange, a center of financial and technological innovation for 227 years, is the perfect venue to display Diemut Strebe and Professor Brian Wardle’s collaboration. Their work brings together cutting-edge nanotube technology and a natural diamond, which is a symbol of both value and longevity,” said John Tuttle, NYSE Group Vice Chairman & Chief Commercial Officer.
“We welcome all scientists and artists to venture into the world of natural color diamonds. The Redemption of Vanity exemplifies the bond between art, science, and luxury. The 16-carat vivid yellow diamond in the exhibit spent millions of years in complete darkness, deep below the earth’s surface. It was only recently unearthed —a once-in-a-lifetime discovery of exquisite size and color. Now the diamond will relive its journey to darkness as it is covered in the blackest of materials. Once again, it will become a reminder that something rare and beautiful can exist even in darkness,”said Larry West.
The “disappearing” diamond in The Redemption of Vanity is a $2 Million Fancy Vivid Yellow SI1 (GIA), Radiant shape, from color diamond specialist, L.J. West Diamonds Inc. of New York.
The Redemption of Vanity, conceived by Diemut Strebe, has been realized with Brian L. Wardle, Professor of Aeronautics and Astronautics and Director of necstlab and Nano-Engineered Composite aerospace STructures (NECST) Consortium and his team Drs. Luiz Acauan and Estelle Cohen, in conjunction with Strebe’s residency at MIT supported by the Center for Art, Science & Technology (CAST).
ABOUT THE ARTISTS
Diemut Strebe is a conceptual artist based in Boston, MA and a MIT CAST Visiting Artist. She has collaborated with several MIT faculty, including Noam Chomsky and Robert Langer on Sugababe (2014), Litmus (2014) and Yeast Expression(2015); Seth Lloyd and Dirk Englund on Wigner’s Friends(2014); Alan Guth on Plötzlich! (2018); researchers in William Tisdale’s Lab on The Origin of the Works of Art(2018); Regina Barzilay and Elchanan Mossel on The Prayer (2019); and Ken Kamrin and John Brisson on The Gymnast (2019). Strebe is represented by the Ronald Feldman Gallery.
Brian L. Wardle is a Professor of Aeronautics and Astronautics at MIT and the director of the necstlab research group and MIT’s Nano-Engineered Composite aerospace STructures (NECST) Consortium. Wardle previously worked with CAST Visiting Artist Trevor Paglen on The Last Picturesproject (2012).
ABOUT THE MIT CENTER FOR ART, SCIENCE & TECHNOLOGY
A major cross-school initiative, the MIT Center for Art, Science & Technology (CAST) creates new opportunities for art, science and technology to thrive as interrelated, mutually informing modes of exploration, knowledge and discovery. CAST’s multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposia, classes, workshops, design studios, lectures and publications. The Center is funded in part by a generous grant from the Andrew W. Mellon Foundation. Evan Ziporyn is the Faculty Director and Leila W. Kinney is the Executive Director.Since its inception in 2012, CAST has been the catalyst for more than 150 artist residencies and collaborative projects with MIT faculty and students, including numerous cross-disciplinary courses, workshops, concert series, multimedia projects, lectures and symposia. The visiting artists program is a cornerstone of CAST’s activities, which encourages cross-fertilization among disciplines and intensive interaction with MIT’s faculty and students. More info at https://arts.mit.edu/cast/ .
HISTORY OF VISITING ARTISTS AT MIT
Since the late 1960s, MIT has been a leader in integrating the arts and pioneering a model for collaboration among artists, scientists and engineers in a research setting. CAST’s Visiting Artists Program brings internationally acclaimed artists to engage with MIT’s creative community in ways that are mutually enlightening for the artists and for faculty, students and research staff at the Institute. Artists who have worked extensively at MIT include Mel Chin, Olafur Eliasson, Rick Lowe, Vik Muniz, Trevor Paglen, Tomás Saraceno, Maya Beiser, Agnieszka Kurant, and Anicka Yi.
ABOUT L.J. WEST DIAMONDS
L.J. West Diamonds is a three generation natural color diamond whole sale rfounded in the late 1970’s by Larry J. West and based in New York City. L.J. West has established itself as one of the world’s prominent houses for some of the most rare and important exotic natural fancy color diamonds to have ever been unearthed. This collection includes a vast color spectrum of rare pink, blue, yellow, green, orange and red diamonds. L.J. West is an expert in every phase of the jewelry process –from sourcing to the cutting, polishing and final design. Each exceptional jewel is carefully set to become a unique work of art.The Redemption of Vanity is on view at the New York Stock Exchange by appointment only.
Press viewing: September 13, 2019 at 3pmNew York Stock Exchange, 11 Wall Street, New York, NY 10005RSVP required. Please check-in at the blue tent at 2 Broad Street(at the corner of Wall and Broad Streets). All guests are required to show a government issued photo ID and go through airport-like security upon entering the NYSE.NYSE follows a business casual dress code -jeans & sneakers are not permitted.
No word yet if there will be other showings.
An artistic feud (of sorts)
Earlier this year, I updated a story on Vantablack. It was the blackest black, blocking 99.8% of light when I featured it in a March 14, 2016 posting. The UK company making the announcement, Surrey NanoSystems, then laid the groundwork for an artistic feud when it granted exclusive rights to their carbon nanotube-based coating, Vantablack, to Sir Anish Kapoor mentioned here in an April 16, 2016 posting.
This exclusivity outraged some artists notably, Stuart Semple. In his first act of defiance, he created the pinkest pink. Next, came a Kickstarter campaign to fund Semple’s blackest black, which would be available to all artists except Anish Kapoor. You can read all about the pinkest pink and blackest black as per Semple in my February 21, 2019 posting. You can also get a bit of an update in an Oct. 17, 2019 Stuart Semple proffile by Berenice Baker for Verdict,
… so I managed to hire a scientist, Jemima, to work in the studio with me. She got really close to a super black, and we made our own pigment to this recipe and it was awesome, but we couldn’t afford to put it into manufacture because it cost £25,000.”
Semple launched a Kickstarter campaign and was amazed to raise half a million pounds, making it the second most-supported art Kickstarter of all time.
The ‘race to the blackest’ is well underway, with MIT researchers recently announcing a carbon nanotube-based black whose light absorption they tested by coasting a diamond. But Semple is determined that his black should be affordable by all artists and work like a paint, not only perform in laboratory conditions. He’s currently working with Jemima and two chemists to upgrade the recipe for Black 3.2.
I don’t know how Semple arrived at his blackest black. I think it’s unlikely that he achieved the result by working with carbon nanotubes since my understanding is that CNTs aren’t that easy to produce.
Interesting, eh? In just a few years scientists have progressed from achieving a 99.8% black to 99.999%. It doesn’t seem like that big a difference to me but with Solomon Woods, at the beginning of this post, making the point that our eyes are very sensitive to light, an artistic feud, and a study uncovering deep emotions, getting the blackest black is a much more artistically fraught endeavour than I had imagined.
We’re back on the cyborg trail or what I sometimes refer to as machine/flesh. A July 3, 2019 news item on ScienceDaily describes the latest attempts to join machine with flesh,
Machine enhanced humans — or cyborgs as they are known in science fiction — could be one step closer to becoming a reality, thanks to new research Lieber Group at Harvard University, as well as scientists from University of Surrey and Yonsei University.
Researchers have conquered the monumental task of manufacturing scalable nanoprobe arrays small enough to record the inner workings of human cardiac cells and primary neurons.
The ability to read electrical activities from cells is the foundation of many biomedical procedures, such as brain activity mapping and neural prosthetics. Developing new tools for intracellular electrophysiology (the electric current running within cells) that push the limits of what is physically possible (spatiotemporal resolution) while reducing invasiveness could provide a deeper understanding of electrogenic cells and their networks in tissues, as well as new directions for human-machine interfaces.
The Lieber Group at Harvard University provided this image illustrating the work,
In a paper published by Nature Nanotechnology, scientists from Surrey’s Advanced Technology Institute (ATI) and Harvard University detail how they produced an array of the ultra-small U-shaped nanowire field-effect transistor probes for intracellular recording. This incredibly small structure was used to record, with great clarity, the inner activity of primary neurons and other electrogenic cells, and the device has the capacity for multi-channel recordings.
Dr Yunlong Zhao from the ATI at the University of Surrey said: “If our medical professionals are to continue to understand our physical condition better and help us live longer, it is important that we continue to push the boundaries of modern science in order to give them the best possible tools to do their jobs. For this to be possible, an intersection between humans and machines is inevitable.
“Our ultra-small, flexible, nanowire probes could be a very powerful tool as they can measure intracellular signals with amplitudes comparable with those measured with patch clamp techniques; with the advantage of the device being scalable, it causes less discomfort and no fatal damage to the cell (cytosol dilation). Through this work, we found clear evidence for how both size and curvature affect device internalisation and intracellular recording signal.”
Professor Charles Lieber from the Department of Chemistry and Chemical Biology at Harvard University said: “This work represents a major step towards tackling the general problem of integrating ‘synthesised’ nanoscale building blocks into chip and wafer scale arrays, and thereby allowing us to address the long-standing challenge of scalable intracellular recording.
“The beauty of science to many, ourselves included, is having such challenges to drive hypotheses and future work. In the longer term, we see these probe developments adding to our capabilities that ultimately drive advanced high-resolution brain-machine interfaces and perhaps eventually bringing cyborgs to reality.”
Professor Ravi Silva, Director of the ATI at the University of Surrey, said: “This incredibly exciting and ambitious piece of work illustrates the value of academic collaboration. Along with the possibility of upgrading the tools we use to monitor cells, this work has laid the foundations for machine and human interfaces that could improve lives across the world.”
Dr Yunlong Zhao and his team are currently working on novel energy storage devices, electrochemical probing, bioelectronic devices, sensors and 3D soft electronic systems. Undergraduate, graduate and postdoc students with backgrounds in energy storage, electrochemistry, nanofabrication, bioelectronics, tissue engineering are very welcome to contact Dr Zhao to explore the opportunities further.
I’ve already written about October 2019 science and art/science events in Canada (see my Sept. 26, 2019 posting), but more event notices for Octoberhave come my way. These events are all art/science (or sciart as it’s sometimes called).
… on the future of life forms … a two-night (Oct./Nov.) discussion in Toronto, Canada
Here’s more from the ArtSci Salon’s October 3, 2019 announcement (received via email)
“…now they were perfecting a pigoon that could grow five or six kidneys at a time. Such a host animal could be reaped of its extra kidneys; then, rather than being destroyed, it could keep on living and grow more organs, much as a lobster could grow another claw to replace a missing one. That would be less wasteful, as it took a lot of food and care to grow a pigoon. A great deal of investment money had gone into OrganInc Farms…” (Margaret Atwood – Oryx & Crake 2003)
In Oryx and Crake Margaret Atwood describes a not-too-distant future where humans have perfected the art of fabricating and modifying a variety of creatures to improve and prolongue their own lives and wellbeing.
As Atwood has stated in various occasions, this is not science fiction.
It is in fact already happening. New forms of life appear not only as the product of lab fabrication or gene editing, but also as the result of toxic pollutants and climate change induced adaptation.
what to make of them?
how to cope with a world where extinction, adaptation and mutation risk to make traditional categories and taxonomies obsolete?
Join us to this two-parts series to discuss the ethics and implications of these transformations with artists, scientists and bioethicists.
Part 1 Thursday, October 17, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Altered Inheritance: extinction, recreation or transformation? a dialogue and discussion on the implications of genome editing on humans and other organisms
with Francoise Baylis – Research Professor, Bioethicist, Dalhousie University
Karen Maxwell – Dept. of Biochemistry, Maxwell Lab, University of Toronto
emergent artists from OCADU [Ontario College of Art and Design University] and YorkU [York University, Toronto]
Part 2 Thursday, November 21, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Classifying the new? why do we classify? what is it good for? what is the limit of taxonomy and classification in a transforming world?
with Richard Pell – Centre for PostNatural History, Pittsburgh, PA
Laurence Packer – Mellitologist, Professor of biology and environmental studies, York University
Stefan Herda – earth science artist
Cole Swanson – artist and educator (Art Foundation and Visual and Digital Arts, Humber college)
Anna Marie O’Brien – Frederickson, Rochman, and Sinton labs, University of Toronto
Françoise Baylis is University Research Professor at Dalhousie University. She is a member of the Order of Canada and the Order of Nova Scotia, as well as a fellow of the Royal Society of Canada and of the Canadian Academy of Health Sciences. Baylis was one of the organizers of, and a key participant in, the 2015 International Summit on Human Gene Editing. She is a member of the WHO expert advisory committee on Developing Global Standards for Governance and Oversight of Human Genome Editing. Her new book “Altered Inheritance. CRISPR and the Ethics of Human Genome Editing” is published by Harvard University Press
Karen Maxwell is a research professor in the dept of biochemistry at the university of toronto, where she runs the Maxwell Lab. Among other topics, the lab’s three branches “Anti-CRISPR”, “Phage morons” and “Anti-Phage defences” study the interplay of phages with their bacterial hosts, with a focus on phage mediated bacterial virulence mechanisms and inhibitors of anti-phage bacterial defenses.
Richard Pell works at the intersections of science, engineering, and culture. He has worked in a variety of electronic media from documentary video to robotics to bioart to museum exhibition. He is the founder and director of the Center for PostNatural History (CPNH), an organization dedicated to the collection and exposition of life-forms that have been intentionally and heritably altered through domestication, selective breeding, tissue culture or genetic engineering. The CPNH operates a permanent museum in Pittsburgh, Pennsylvania, and produces traveling exhibitions that have appeared in science and art museums throughout Europe and the United States, including being the subject of a major exhibition at the Wellcome Collection in London.
Laurence Packer is a mellitologist, ie a scholar whose main subject of study is wild bees. his research primarily involves the systematics of the bee subfamily Xeromelissinae – an obscure, but fascinating group of bees, restricted to the New World south of central Mexico. he has also expended considerable energy leading the global campaign to barcode the bees of the world. his work is concerned with promulgating the importance of bees: for genetic reasons, it seems that bees are more extinction prone than are almost all other organisms
Stefan Herda‘s practice explores our troubling relationship to the natural world through drawing, sculpture and video. Inspired by the earth sciences, Herda’s work navigates the space between truth and fiction. His material and process-based investigations fuse elements of authenticity, façade, the natural and the manufactured together. He received his BAH from the University of Guelph in 2010. His work in both sculpture and video has been included in exhibitions nationally and has been featured by CBC Arts and Daily VICE. Recently, Stefan has held solo shows at Patel Projects (Toronto) and Wil Kucey Gallery (Toronto), participated in group shows such as Cultivars: Possible Worlds at InterAccess (Toronto) and was featured as one of 12 artists in the Cabinet Project at the University of Toronto
Cole Swanson is an artist and educator based in Toronto, Canada. He has exhibited in solo and group exhibitions across Canada and throughout international venues in North America, South America, Europe, and Asia. At the heart of recent work is a cross-disciplinary exploration of materials and their sociocultural and biological histories. Embedded within art media and commonplace resources are complex relations between nature and culture, humans and other agents, consumers and the consumed. Swanson has engaged in a broad material practice using sound, installation, painting, and sculpture to explore interspecies relationships.
Anna Marie O’Brien is a post doc in the Frederickson, Rochman, and Sinton labs at University of Toronto, working on duckweeds, microbes, urban contaminants, and phenotypes.her PhD work was at Davis, with thesis advisors Dr. Jeffrey Ross-Ibarra and Dr. Sharon Strauss. she also collaborated closely with Dr. Ruairidh Sawers at LANGEBIO-CINVESTAV in Guanajuato, Mexico.
The first highlighted speaker, Françoise Baylis, has been mentioned here twice before, in a May 17, 2019 posting (scroll down to the ‘Global plea for moratorium on heritable genome editing’ subheading) and in an April 26, 2019 posting (scroll down to the ‘Finally’ subheading, the second paragraph). Both postings touch on the topic of CRISPR (clustered regularly interspaced short palindromic repeats) and germline editing (genetic editing that will affect all of your descendents).
Cartooney in New Westminster (near Vancouver, Canada) starting October 18, 2019
I like physics but I love cartoons Stephen Hawking
There you have it from one of the 20th/early 21st century’s most famous physicists. The quote is the opening line for the New Westminster (near Vancouver, Canada) New Media Gallery’s latest event webpage, Cartooney,
The impact of animated cartoons has been profound. In the early 20th century, we began exploiting the possibilities of the animated frame. The seven artists in this exhibition don’t create cartoons, they deconstruct those that already exist; from Looney Tunes, to The Simpsons to Charlie Brown. They exploit this potent material to reveal the inner and outer workings of our human world. The original cartoon is ever-present, haunting us with suggestive content.
The artists in this exhibition reframe our world. Here we are asked to consider the laws, systems and iconographies of the cartoon world while drawing parallels with our human world; physical laws, the laws of gravitation, matter + light, the physics of motion, and societal psychologies & behaviours. We are presented with fascinating catalogues and overlaying systems of symbolic language. The purposeful demolition of expectation in these works, mirrors the instabilities and dreams of modern life. They remind us that the pervasive medium of the cartoon can reflect and influence how we navigate the world. If there is a paradox here, it might be that dismantling a cartoon can throw open the doors of perception.
The New Westminster New Media Gallery’s next exhibition is exploring the impact of animated cartoons.
Cartooney opens at the gallery on Friday, Oct. 18 and runs until Dec. 8 , then again from Jan. 7 to Feb. 2 .
Artist Kevin McCoy, one-half of the duo of Jennifer and Kevin McCoy, will be on hand for an artist talk on opening night, Friday, Oct. 18. The talk will run from 6:30 to 7:30 p.m., with a reception and open exhibition from 7:30 to 9 p.m.
Laws of Motion in a Cartoon Landscape, by Andy Holden (U.K.):
In his two-channel audiovisual installation, 57 minutes long, Holden becomes a cartoon avatar, giving both a lecture on cartoons and a cartoon lecture, describing how our world is best now understood as a cartoon. The project incorporates Greek philosophy, Stephen Hawking, critical theory, physics, art, the financial crisis and Donald Trump, while adapting 10 laws of cartoon physics to create a theory of the world and a prophetic glimpse of the world we live in.
CB-MMXVIII (I’ve been thinking of giving sleeping lessons), by Patten (U.K.):
In this multi-screen audiovisual installation, the artist duo Patten subjects Charlie Brown to all the digital stresses, distortions and manipulations available in 2018, testing his plasticity.
“Sampled texts from philosophy, science and critical theory criss-cross the screens and are linked with scrolling images related to the natural world, DNA, systems, multiples; all serving to influence our reading of the cartoon character and the texts,” says the release. The ambient soundtrack is a dramatically slowed down Linus and Lucy theme.
You can find the New Westminster New Media Gallery on the third floor at the Anvil Centre, 777 Columbia St. See www.newmediagallery.ca for more details.
Collisions Festival: Invasive Systems in Vancouver, November 2019
Curiosity Collider, a Vancouver-based not-for-profit organization, will be hosting its inaugural art-science Collisions Festival: Invasive Systems at the VIVO Media Arts Centre from November 8 to 10, 2019. The festival features an art-science exhibition showcasing independent works and collaborative works by artist/scientist pairs, a hands-on DNA sonification workshop, an opening reception with performances, and guided discussions and tours.
Curated by Curiosity Collider’s Creative Director Char Hoyt, the theme of the festival focuses on the “invasive systems” that surround us – from technology and infections, to pollution and invasive species. “We want to create a space to explore the influence of the invasive aspects of our world on our inner and outer lives” said Char. “We will examine our observations from both scientific and artistic perspectives- are these influences beneficial, inevitable, or preventable?” Attendees can anticipate a deep dive into the delicate and complicated nature of how both living and inanimate things redefine our lives and environments – through visual art, multimedia installations, and interactive experiences.
“I am not a scientist and do not come from a family of scientists, but I have always appreciated knowing how things work, how things are connected and how things evolve – collaboration between art and science feel natural to me,” said Vancouver artist Dzee Lousie. “Both artists and scientists are curious, perform experiments and are driven by questions.” Dzee’s work Crossing, an interactive puzzle painting that examines how microbial colonies can impact our behaviours and processes in our body, is the result of a collaboration with UBC PhD candidate Linda Horianopoulos. “As scientists, we often want people to take notice of our work and engage with it. I think that art attracts people to do exactly that,” said Linda.
The sculptural work Invasion by Prince George artist Twyla Exner explores the remnants of technology. “My artworks propose hybrids of technological structures and living organisms. They take form as abandoned technologies that have sprouted with new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-so-distant future,” Twyla shared. Like Dzee, she feels that artists and scientists share the sense of curiosity, experimentation, and creative problem solving. “Both art and science have the ability to tell stories and shape how people see and interpret the world around them.”
The festival is hosted in collaboration with the VIVO Media Arts Centre (2625 Kaslo Street, Vancouver, BC V5M 3G9). It will open on the evening of November 8th, with a reception and a live performance by local sound artist Edzi’u, during which her sculptural installation Moose are Life will be brought to life. On Saturday, artist Laara Cerman will co-host a DNA sonification workshop with scientist Scott Pownall. Their work Flora’s Song No. 1 in C Major – a hand-cranked music box that plays a tune created from the DNA of local invasive plants – will be on exhibit during the festival. The festival will also include tours by the curator at 3:30pm and guided discussions at 4pm on both Saturday and Sunday. Visit https://collisionsfestival2019.eventbrite.ca for festival tickets and http://bit.ly/collisionsfestival2019 for festival information.
Curiosity Collider and VIVO Media Arts Centre gratefully acknowledge the support of BC Arts Council, Canada Council for the Arts, City of Vancouver, Metro Vancouver Regional Cultural Project Grants Program, UBC Faculty of Science, and our printing sponsor Jukebox, for making Collisions Festival: Invasive Systems possible.
About Curiosity Collider Art-Science Foundation
Curiosity Collider Art-Science Foundation is a Vancouver based non-profit organization that is committed to providing opportunities for artists whose work expresses scientific concepts and scientists who collaborate with artists. We challenge the perception and experience of science in our culture, break down the walls between art and science, and engage our growing community to bringing life to the concepts that describe our world.
In this DNA sonification workshop, participants will learn the process of DNA barcoding of invasive plant species, and how to sonify DNA sequences with basic music theory and MIDI freeware. Participants will also get hands-on experience in amplying specific genetic regions in plants through polymerase chain reaction (PCR), a step necessary in preparing samples for DNA barcoding.
This workshop will be led by artist Laara Cerman and scientist Scott Pownall, whose art-science collaborative work “Flora’s Song No. 1 in C Major” will be on exhibit during Collisions Festival: Invasive Systems. Laara and Scott will also share their process of working together, and how decisions were made to arrive at their collaborative work of art and science.
We acknowledge that Collisions Festival and its events take place on the traditional, ancestral, unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil- Waututh) Nations. We are grateful for the opportunity to live and work on this land.
I asked the Curiosity Collider folks (@CCollider on Twitter) if you needed to bring any equipment or have any knowledge of music. The answer was: no, you don’t need to bring anything (unless you want to) and you don’t need to know about music.
Uncorked at Science World at TELUS World of Science in Vancouver on November 14, 2019
This is not a cheap night out. An October 10, 2019 article by Lindsay William-Ross for the Daily Hive website gives you reasons to go anyway (Note: Links have been removed),
A new wine-themed event will have Vancouverites swirling with nerdy glee. Uncorked: A Celebration of the Science of Wine is an evening of sipping and learning that will bring together world-renown winemakers, chefs, and science experts for an unforgettable event.
Participating wineries are:
Mission Hill Family Estate CedarCreek Estate Winery CheckMate Artisanal Winery Martin’s Lane Winery Road 13 Vineyards
The wines will be paired with bites from Chef Patrick Gayler from Mission Hill’s Terrace Restaurant and Chef Neil Taylor from CedarCreek’s new Home Block Restaurant.
Programming for the evening includes seminars on the science of blending wine, the science of aging wine, the role of technology at modern vineyards, and the science of soil and terroir.
Proceeds from Uncorked will support Science World’s On the Road program, which last year brought live science performances to 41,500 students throughout B.C. who otherwise might not have had a chance to visit TELUS World of Science.
Tickets are $89 and can be purchased here. You may also want to reserve some money for the silent auction. Don’t forget, it’s November 14, 2019 from 7 pm to 10 pm at Science World in Vancouver. You can find directions and a map here.