Extra Credit Event 2 - What's Wrong with Fat? Author Meets Critics

(Figure 1 Me in front of the room)

For my second extra credit event, I attended What’s Wrong with Fat? Author-Meets-Critics on December 6^th, which was held Royce 314. The purpose of this event was for author Abigail Saguy and critics, Bianca Wilson, Tamar Harwich and Ed Walker to discuss Saguy’s book, What’s Wrong with Fat?.  Since this event did not go into great detail about the books plot, I did some research online. What’s Wrong with Fat?  looks at how obesity has become framed as a public health crisis which has been blown out of proportion. “Saguy says that when we talk about an obesity epidemic we assume moving non-obese to obese is like moving from health to illness”, according to Detrick.

(Figure 2 Me at  the Conference Room)

Although the relation of this event to art is clear, I was a little lost on its connection to technology at first. However, I eventually realized that it is not the event that relates to technology, but the book itself.   A large portion of this book is devoted to a study of the media and its thirst for sensational headlines about an impending epidemic, and although the headlines may be dramatic they offer little knowledge about healthy living. 

(Figure 3 Conference Room)

Throughout the evening, three critics discussed Saguy’s book, and offered many examples from the book where Saguy successfully addressed the issue about the difficulty of talking about fatness, the way being fat is framed as a problem, and the potential for removing the stigma. However, after listening to the critics for a while I realized that they were not necessarily “critics”, but people describing the book in a different perspective. Although some people may find it dull listening to people talk about a book, I was surprised at my level of interest throughout the event.  Since each critic offered a unique insight on the book, I was constantly kept drawn in. 

Works Cited

Detrick, Paul. "UCLA Professor Abigail Saguy on What's Wrong with Fat?." reason.com. Reason Foundation, 18 Mar 2013. Web. 13 Dec 2013. <http://reason.com/reasontv/2013/03/18/ucla-professor-abigail-saguy-on-whats-wr>.

Figure 1. Sanders, Leigh. Me in front of the room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Figure 2. Sanders, Leigh. Me at the Conference Room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Figure 3. Sanders, Leigh. Conference Room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Extra Credit Event 1 - What Comes to Mind: Memory Traces|Engrams from The Anatomy Lesson by Joyce Culter-Shaw

(Figure 1 Me at the "What Comes to
Mind" Exhibition)

For my fourth event, I went to the Art|Sci Gallery in CNSI at UCLA on December 5^th, where “What Comes to Mind: Memory Traces|Engrams” from The Anatomy Lesson by Joyce Culter-Shaw was held. According to the pamphlet, The Anatomy Lesson, started in 1990, “explores the human life cycle from birth through death as well as our primary structure, skeleton, and at the research frontier, the brain, particularly the complex phenomena of memory”.  

(Figure 2 Memory Traces/Engrams)

Walking through the gallery, I was immediately impressed by Cutler-Shaw’s arrangement of artwork. On the back wall of the gallery, Cutler-Shaw had several of her Memory Traces|Engrams lined up, with a typed up explanation next to them. Each framed artwork consisted of a photographed scene from her past pasted onto a profile of her face. For instance, two of the pictures included photography of her move to “The Middletowne”. Part of the description for those two pieces was, “The building had a doorman 24/7, which had advantages when dating. Years later I ran into the night doormen at another building in Manhattan. We greeted each other with affection”.  

(Figure 3 The Anatomy Lesson)

(Figure 4 The Anatomy Lesson
table set up.)

On the wall opposite to her Memory Traces|Engrams there was a table with 3-D paperwork designs from Cutler-Shaw’s The Anatomy Lesson.  Above the table was a large collage centered between four large images from The Anatomy Lesson. Each image was put together in the same fashion as Cutler-Shaw’s work from Memory Traces|Engrams. However, instead of placing images from her past in front of a profile of her face, she placed images illustrating human anatomy. Believing that the history of anatomy is a history of human representation, Cutler-Shaw wanted her images from The Anatomy Lesson to include a study of the history of anatomy.

(Figure 5 Cutler-Shaw's
work projected onto the
gallery wall.)

In addition to the images from Memory Traces|Engrams and  The Anatomy Lesson, Cutler-Shaw also used one of the gallery walls to project images from her work, and also utilized a computer to show a moving brain scan.

(Figure 6 Brain Scan.)

From the very beginning of walking into this gallery, I was constantly impressed at how well Cutler-Shaw merged art, technology, and biology into her pieces. I believe that her work truly lies at the intersection of art and technology and is the perfect embodiment of the type of art work discussed in DESMA.

Works Cited

Cutler-Shaw, Joyce. What Comes to Mind: Memory Traces|Engram from The Anatomy Lesson. 2013. Flyer. n.p. Web. 7 Dec 2013.

Figure 1. Gabriela, Cuevas. Leigh Sanders. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 2. Cutler-Shaw, Joyce. Memory Traces/Engrams. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 3. Cutler-Shaw, Joyce. The Anatomy Lesson. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 4. Cutler-Shaw, Joyce. The Anatomy Lesson table set up. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 5. Cutler-Shaw, Joyce. Cutler-Shaw's work projected onto the gallery wall. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 6. Cutler-Shaw, Joyce. Brain Scan. 2013. Photograph. n.p. Web. 7 Dec 2013.

Event 3 - The Hammer Museum

(Figure 1 Me in front of the
Hammer Museum Welcome desk.)

For my third event, I attended the Hammer Museum on November 26^th.  Through its exhibitions, collections and programs, the Hammer Museum emphasizes art work of our time, but still explores the diversity of art through the centuries.

(Figure 2 Mark Leckey, 
Transformer
 2012. LED Screen)

After touring around the museum for several hours, I could definitely see the modernity of many of the exhibitions. Perhaps the most diverse and modern exhibition I saw would have to be On Pleasure Bent by Mark Leckey, which encompasses sculpture, sound, film, and performance. By drawing on his personal experience, Leckey frequently uses ideas of his personal history and desires in his art work. By utilizing technology On Pleasure Bent attempts to form a “kaleidoscope memoir” of Leckey’s past from the “imagery that he believes conditioned him”. Walking into the exhibition I was immediately drawn in by this loud noise coming from behind some doors. However, the noise turned out to be a video exhibiting a teaser for a film coming out about the On Pleasure Bent exhibition.  In addition to the video, the exhibition also included LED screens featuring looped animations, one of which appeared to use a multitude of purple LEDs to create a moving shadow of some creature.

(Figure 3 Francisco José de
Goya Lucientes, El Pelele 
(The Strawman), 1791.

Although the Hammer Museum seems to specialize more in art of our time, I did happen to find a few older paintings where I noticed mathematics playing a role within the piece. For instance, the El Pelele (The Strawman) by Francisco José de Goya Lucientes painted in 1791 utilized certain mathematical tools to focus attention on certain areas of the painting. The artist’s light touch painting was meant to highlight the pyramidal form composed of the five figures. By placing the four women at the base of the triangle, focus was drawn in to the straw man’s head serving as the triangles apex. Focus is then further drawn into the straw man’s vacant eyes by limply splaying the straw man’s torso and legs at an angle to the picture plane.

After a few hours spent at this museum I was impressed at how all the pieces of art, exhibitions and collections complemented each other. Even though some exhibitions were complete opposites, I still felt everything was harmoniously brought together and I never felt a certain piece didn’t belong. I would highly recommend this museum if one wants to see how technology and art can come together. 

Works Cited

Figure 1. Unda, Maria. Leigh Sanders. 2013. Photograph. n.p. Web. 3 Dec 2013.

Figure 2. Leckey, Mark. Transformer. 2012. Photograph. n.p. Web. 3 Dec 2013. <http://arttattler.com/archivemarkleckey.html>.

Figure 3. José de Goya Lucientes, Francisco. El Pelele (The Strawman). 1971. Painting. n.p. Web. 3 Dec 2013. 

Leckey, Mark. On Pleasure Bent. 2012. Flyer. n.p. Web. 3 Dec 2013.

Event 2 - Typhoon Relief Benefit Show Hosted by the Pilipina/o Community of UCLA

(Figure 1 Me at the benefit show with 
the interactive Philippines Map)

For my second event, I attended the Typhoon Relief Benefit Show on November 22^nd in the Covel Grand Horizon room. The benefit was hosted by the Pilipina/o Community of UCLA and intended to raise awareness and money for Typhoon Haiyan/Yolanda that hit the Philippines on November 8, 2013.  

According to the flyer promoting the benefit, Typhoon Haiyan/Yolanda was “the largest typhoon to hit the Philippines and other parts of Southeast Asia with unprecedented force, leaving many without food and shelter, and killing over 3,500 people.” In order to bring relief to the typhoon victims, the Pilipina/o Community of UCLA offered several ways one could help. Although monetary donations were the most highly recommended because donations could provide the fastest and most direct relief, the Pilipina/o Community of UCLA also suggested that just attending their benefit show, accepting their flyers on Bruin Walk, or donating clothes, blankets and shoes could greatly help their cause.

(Figure 2 A Picture from the
beginning slide show showing
the damage of the typhoon.)

Walking into the benefit show, I was immediately impressed by the professional set up and organized seating. From start to finish, this show kept me thoroughly interested in their cause. Even before the show started, pictures of the typhoon disaster where projected up to educate everyone who attended.

Although the performances helped lighten the mood, they were still effective in educating me and still managed to shed light on the serious matter at hand. Each act was meant to show case the Philippian culture and bring attention to the victims of Typhoon Haiyan/ Yolanda.

(Figure 3 The Hawaii Club
Performance.)

Throughout the show I saw how art and technology came together to help bring relief to the Philippines.  Each act was artistically different and several even utilized technology to showcase their talents. The acts ranged from performances from the Hawaii Club of UCLA to singing songs dedicated to the victims to a Philippian Dance known as Tinikling. At the back of the room there was even an interactive map of the Philippines where people could place a sticker of where their families live.

(Figure 4 An act dedicating his
song the Philippines.)

This benefit was truly not what I expected. I was surprised at how educational and well put together everything was. The hard work and dedication of the Pilipina/o Community of UCLA was astonishing and inspiring. 

Works Cited

Figure 1 .Cuevas, Gabriela. Leigh Sanders. 2013. N.d. Photograph. n.p. Web. 2 Dec 2013.

Figure 2. Sanders, Leigh. A Picture from the beginning slide show showing the damage of the typhoon. 2013. N.d. Photograph. n.p. Web. 2 Dec 2013.

Figure 3. Sanders, Leigh. The Hawaii Club Performance. 2013. Photograph. n.p. Web. 2 Dec 2013.

Figure 4. Sanders, Leigh. An act dedicating his song the Philippines. 2013. Photograph. n.p. Web. 2 Dec 2013.

The Pilipina/o Community of UCLA. Typhoon Relief Benefit Show. 2013. Flyer. n.p. Web. 2 Dec 2013.

Event 1 - Gareth Walsh Exhibition: DOW JONES – A SOLFÉGE ECONOMY

(Figure 1 Me at the Gareth
Walsh Exhibition with the artist in
background.)

For my first event, I attended the Gareth Walsh Exhibition in the Art|Sci Gallery of CNSI right on campus. The exhibition was held on October 31^st and exhibited Walsh’s DOW JONES—A SOLFÉGE ECONOMY.

Immediately walking into the gallery, I was fairly overwhelmed with the cramped, dark and loud room.  On the wall there was three high-definition televisions placed next to each other showing people in business attire signing different notes. However, after the artist was done examining everyone’s initial reaction, he began to explain his piece.

(Figure 2 DOW JONES –
 A SOLFÉGE ECONOMY.)

Walsh explained that this signing portrait is meant to represent the United States Stock Market and Economy. He further explained that the portrait is in real-time and each business person represents a different stock. Every time a high note is sung by a person, the particular stock they represent has went up, and each time a low note is sung the stock has gone down. By creating “a continuous sound of economic highs and lows” the DOW JONES—A SOLFÉGE ECONOMY exhibition is meant to interpret the “fluctuations in share values from companies in the Down Jones Industrial index”.

(Figure 3 Gareth Walsh)

According Walsh’s web page, his work is “informed by direct experience and an on-going curiosity towards human perception, technology and art”.  This ongoing investigation into the comprehension of art in relation to other things allows Walsh’s work to question the boundaries of perceived reality.

Although at first this exhibition seemed rather boring and a little confusing, after listening to the artist speak about his work I finally began to appreciate the signing portrait. While listening to the continuous sound of high and low notes from different stocks, I really began to feel inseparable from the piece. Even though the piece really only did one thing and may be considered repetitive after a while, for some reason the differing notes kept me intrigued. I felt that I was actually experiencing the highs and lows of the stock market. Although I believe this was just a one-time exhibition at UCLA, I would highly recommend viewing one of Walsh’s exhibitions. 

On a side note, the dark room made my pictures turn out horribly, so I had to find some online pictures to show you guys. 

Works Cited

Figure 1. Cuevas, Gabriela. Leigh Sanders. 2013. Photograph. n.p. Web. 2 Dec 2013.

Figure 2. Walsh, Gareth. DOW JONES – A SOLFÉGE ECONOMY. 2013. Photograph. n.p. Web. 2 Dec 2013. <http://users.design.ucla.edu/~gwalsh/gareth-walsh.com_v2/templates/Dowjones.jpg>.

Figure 3. Gareth Walsh. 2013. Photograph. UCLA Design Media ArtsWeb. 2 Dec 2013. <http://dma.ucla.edu/_content/global/headshots/walsh_gareth.jpg>.

Walsh, Gareth. "Gareth Walsh." UCLA Design Media Arts. UCLA Design Media Arts. Web. 2 Dec 2013. <http://dma.ucla.edu/faculty/profiles/?ID=84>.

Week 9 - Astronomical Art

(Figure 1 The White Knight turbojet
 aircraft climbs over the Mojave
 desert with SpaceShipOne
[Winner of Ansari X Prize]
 attached to its underbelly.)

After the launch of Sputnik during the Space Race in 1957, knowledge of outer space was brought to popular culture. However, even though the original Space Race was over, the race to establish more efficient space exploration technologies flourished. For instance, the X PRIZE Foundation fostered high-profile competitions to “motivate individuals, companies and organizations across all disciplines to develop innovative ideas and technologies that [could] help solve the world’s Grand Challenges that restrict humanity’s progress”.

(Figure 2 Chesley Bonestell)

Space Exploration is important not only to the curiosity of the great beyond, but also for the future of the Earth. Although there are many ways to teach the public about space exploration, one way to show the public the risks and benefits is through astronomical art, which was pioneered by Chesley Bonestell. Throughout the 1940’s and 1950’s Bonestell inspired an entire generation of astronomers, artists, writers, engineers and visionaries with his paintings.

(Figure 3 COLLISION II)

One new media interdisciplinary artist to practice in astronomical art is Richard Clar, who currently focuses on site-specific environmental issues. One of Clar’s later projects is called COLLISION II, which focuses on the serious problem of orbital debris. In this project, Clar used a program called COMBO to designate 192 orbital debris objects to make up the orbiting constellation sculpture of COLLISION II. The video simulation shows the “orbiting constellation sculpture from the vantage points of low-Earth orbit and geosynchronous orbit during a twelve-hour period that is reduced to twelve minutes”.

(Figure 4 Cosmic Dancer)

Another artist to perform in astronomical art is Arthur Woods. On May 22, 1993 Woods launched his sculpture called the Cosmic Dancer to the Russian Mir Space Station. The Cosmic Dancer “was the first three-dimensional artwork to be specifically conceived for and officially realized in a space habitat”. The purpose of the project was “to investigate the properties of sculptures in weightlessness and to evaluate the integration of art into the human space program”.

Astronomical art promises visualization of the wonders of outer space, and will continue to emphasize the space environment as a new frontier for humanity.  This new type of art could help bring humanity a step closer to understanding the vast outer world and hopefully even inspire others to investigate space. 

Works Cited

"Chesley Bonestell." NOVA Space Art. Novaspace, n.d. Web. 30 Nov 2013. <http://www.novaspaceart.com/Artists/ChesleyBonestell.html>.

Clar, Richard. "COLLISION II: An Orbital Debris Constellation Sculpture Richard Clar 2003." Art Technologies. Art Technologies, n.d. Web. 30 Nov 2013. <http://www.arttechnologies.com/site-2005/projects/collisonII.html>.

Clar, Richard. "Richard Clar." Art Technologies. Art Technologies, n.d. Web. 30 Nov 2013. <http://www.arttechnologies.com/>.

Figure 1. Scaled Composites, LLC. The White Knight turbojet aircraft climbs over the Mojave desert with SpaceShipOne attached to its underbelly. 2004. Photograph. How Stuff WorksWeb. 30 Nov 2013. <http://static.ddmcdn.com/gif/spaceshipone-2.jpg>.

Figure 2. Bonestell, Chesley. Chesley Bonestell. 2010. Photograph. NOVA Space ArtWeb. 30 Nov 2013. <http://www.novaspaceart.com/Artists/pix/Bonestell.jpg>.

Figure 3. Clar, Richard. COLLISION II: An Orbital Debris Constellation Sculpture. 2003. Photograph. Art TechnologiesWeb. 30 Nov 2013. <http://www.arttechnologies.com/site-2005/images-2005/old-image/collision2-small.jpg>.

Figure 4. Woods , Arthur. Cosmic Dancer. 1993. Photograph. Mir Space Station. Web. 30 Nov 2013. <http://www.cosmicdancer.com/upload/images/manakov-20.jpg>.

Woods, Arthur. "Cosmic Dancer Introduction." cosmic dancer - a space art intervention by arthur woods. Arthur Woods, n.d. Web. 30 Nov 2013. <http://www.cosmicdancer.com/cosmic_dancer_introduction.php>.

“ABOUT THE X PRIZE FOUNDATION.” Nokia Sensing Challenge. n.d. PDF File. 30 Nov 2013. <http://www.nokiasensingxchallenge.org/files/nokiasensingxchallenge.org/press_kit/X_PRIZE_Foundation_Backgrounder.pdf>.

Vesna, Victoria. “CoLE.” CoLE. N.p.. Web. 30 Nov 2013. <https://cole2.uconline.edu/courses/63226/wiki/unit-9-view?module_item_id=970456>.

Week 8 - NanoArt

Since nanotechnology is the science of manipulating matter at an atomic and molecular scale, one could combine it with art to create an art gallery full of paintings, drawings, and sculptures smaller than the period at the end of this sentence.

According to Cristian Orfescu, “NanoArt is a more appealing and effective way to communicate with the general public and to inform people about the new technologies of the 21^st Century”. NanoArt helps make visible what cannot ordinarily be seen with the naked eye and provides insight into the new understandings of materiality and life. It could help the public realize that the development and application of nanotechnology could lead to economic growth, enhanced national security, and a better quality of life.

(Figure 1 Fish by J Sha
 At a mere 40 microns tall with features
as small as 250 nanometers, Fish is smaller
than a spec of dust and 1/8th the width of
 a stand of hair.)

Although the final goal of NanoArt artists is generally the same, the processes utilized in NanoArt can radically differ.

The first method that some artists may use is called nanoentonography, which was developed by ARmark Authentication Technologies. Products created with this process are impossible to replicate because nanoentonography involves infinite possibilities for unique coding by incorporating microscopic layers of covert marker to create brand-owner specific information. One of the first of several works to be created through nanoentonography is Fish by artist J Sha, and is believed to be the smallest piece of flat artwork.  

(Figure 2 Quantum dots, depending on
 their size, emit light at different frequencies.)

Another method to produce NanoArt is to utilize nanoparticles, which are the most common in nanotechnology. According the New York Times, “Medieval artisans unknowingly became nanotechnologists when they made red stained glass by mixing gold chloride into molten glass”. One scientist that works with nanoparticles is Dr. Alivisatos, and the type of nanoparticles he works with is known as quantum dots, which can be tailored to fluoresce specific colors. The main purpose of quantum dots is to replace current dyes used for lighting up protein and DNA that quickly fade. Quantum dots could allow tracking of biological reactions in living cells for days or longer.

(Figure 3 Materials scientist Samuel Stupp
designed molecules with the capacity
to self-assemble into nanofibers once
 injected into the body with syringe.)

Nanotechnology can revolutionize numerous electronic products, procedures, and applications. In the medical field, nanotechnology can create smart drugs which help cure people faster without the side effects that other toxic traditional drugs have.  According to Professor Gimzewski in Lecture, nanotechnology in medicine is now focusing on tissue regeneration and cures for life threatening diseases. With the assistance of NanoArt, the public can be informed of nanotechnologies numerous benefits. 

Works Cited

"Advantages and Disadvantages of Nanotechnology."Introduction to Nanotechnology. Nanotechnology, 05 Apr 2010. Web. 25 Nov 2013. 

Chang, Kenneth. "Tiny Is Beautiful: Translating 'Nano' Into Practical." The New York Times. N.p., 22 Feb 2005. Web. 25 Nov 2013. <http://www.nytimes.com/2005/02/22/science/22nano.html>.

Figure 1. Sha, J. Fish. 2007. Photograph. NanoWerkWeb. 24 Nov 2013. 

<http://www.nanowerk.com/news/id1743.jpg>.

Figure 2. Dubertret, Benoit. Quantum Dots. 2004. Photograph. ExtremeTechWeb. 25 Nov 2013. <http://www.extremetech.com/wp-content/uploads/2012/12/quantum_dots_c-640x415.jpg>.

Figure 3. Stupp, Samuel. Self-Assemble Nanofibers. 2007. Photograph. ScienceDailyWeb. 25 Nov 2013. <http://www.sciencedaily.com/releases/2007/05/070503205701.htm>.

Fisher, Gus. "Art of the invisible: Exploring the world of nanotechnology." The University of Auckland New Zealand. The University of Auckland, 23 Feb 2013. Web. 24 Nov 2013. <http://www.creative.auckland.ac.nz/uoa/home/about/events/events-archive/gusfisher-eventsarchive/events/template/event_item.jsp?cid=542497>.

"NanoWerk." Nanotechnology art as anti-counterfeiting technology. NanoWerk, 09 Apr 2007. Web. 24 Nov 2013. <http://www.nanowerk.com/news/newsid=1743.php>.

Orfescu, Christian. "NanoArt and Technology ." NanoArt. Cristian Orfescu, n.d. Web. 24 Nov 2013. <http://nanoart.org/>.

Week 7 - Neuroaesthetics

A new field of research emerging out of neuroscience and art is neuroaesthetics. According to the International Network for Neuroaesthetics, “The main objective of neuroaesthetics is to characterize the neurobiological foundations and evolutionary history of the cognitive and effective processes involved in aesthetic experiences and artistic and other creative activities”. Although neuroaesthetics is a fairly new field of research, its recent expansion owes itself to researchers who have used differing methods to study psychological aesthetics and neuroscience together.

(Figure 1 Autistic Artist Stephen Wiltshire
on his Third Day of Drawing the
New York Skyline from Memory.)

Some researchers of neuroaesthetics prefer to study how one possesses the ability to create and interpret art by researching the link between specific brain areas and artistic activity. One common approach for these researchers is through the study the aesthetic experience of individuals with neural disorders and how they produce and appreciate art. For example, Stephen Wiltshire, and Autistic Savant, is called the “Human Camera” because of his ability to replicate landscapes in his drawings. By studying patients like Wiltshire, researchers will be able to better understand the areas of the brain responsible for capturing the essence of art.

(Figure 2 Tracy Walker's Illustration of
Michelangelo's Expulsion from Paradise.)

Other researchers, however, investigate the cause of aesthetic enjoyment by using brain-imaging techniques, including TMS and fMRI. For example, researcher David Freedberg performed a study that asked ten subjects to examine the wrist detail in Michelangelo’s Expulsion from Paradise painting. After looking at the brain images, Freedberg found the primary motor cortex that controlled the observer’s wrist became excited, leading Freedberg to determine that just the sight of the wrist activated the observer’s muscle.

(Figure 3 Leonardo
Da Vinci's Mona Lisa.)

Lastly, several researchers believe that over the centuries artists have devised techniques to make their paintings appealing by engaging certain neural processes of the observers.  For example, one famous painting that stimulates the brain is the Mona Lisa by Leonardo Da Vinci. What makes the Mona Lisa such a famous painting is the beautiful yet complicated feeling that its observers are left with. In order to achieve this type of aesthetic experience, Da Vinci brings attention to the paintings smile by manipulating the observer’s visual shortcomings.   

Although neuroaesthetics can certainly help us better understand how and why we perceive art, some neuroscientists believe that it may never be fully understood. Vilayanur Ramachandran states that, “We have barely scratched the surface…the quintessence of art, and of genius, still eludes us—and may elude us forever”.    

Works Cited

Cara, Maria. "Neuroscience & Art: Margaret Livingstone Explains How Artists Take Advantage Of Human Visual Processing." . N.p., 07 Jan 2013. Web. 17 Nov 2013. <http://www.huffingtonpost.com/2013/01/07/neuroscience-art-margaret-livingstone_n_2339429.html>.

Figure 1. Wiltshire, Stephen. Sensation: Autistic artist Stephen Wiltshire on his third day of drawing the New York skyline from memory. 2009. Photograph. Mail OnlineWeb. 17 Nov 2013. <http://i.dailymail.co.uk/i/pix/2009/10/29/article-1223790-07013122000005DC-358_964x499.jpg>.

Figure 2. Walker, Tracy. Illustration of Michelangelo's Expulsion from Paradise.. 2012. Photograph. Smithsonian.comWeb. 17 Nov 2013. <http://media.smithsonianmag.com/images/Beauty-Hard-Wired-for-Art-631.jpg>.

Figure 3. Mona Lisa. 2011. Photograph. Twilight LanguageWeb. 17 Nov 2013. <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9RMGu1Q_HNJCM0nLKbD_vQ1u3ZaMvJf3rQ51DM8oG34Y3ZJiLAK-tndTTFl5mRJvzvhWBbUYzAPnxX_FTza63iomNO3vvQ-xdrb89gFraEuokkU0Udijheo6QY0IwWeIAYpaV8oXa7liu/s320/Mona Lisa.jpg>.

Neal, Adam. "Extraordinary Piece of ASS: Acquired Savant Syndrome." Psychology Tomorrow Magazine . PSYCHOLOGY TOMORROW MAGAZINE, 09 Apr 2013. Web. 17 Nov 2013. <http://www.psychologytomorrowmagazine.com/adamnealextraordinary-piece-of-ass-acquired-savant-syndrome/>.

"Neuroaesthetics." International Network for Neuroaesthetics. The Word Press.com . Web. 17 Nov 2013. <http://neuroaesthetics.net/neuroaesthetics/>.

Tucker, Abigail. "How Does the Brain Process Art?."Smithsonian.com. Smithsonian, n.d. Web. 17 Nov 2013. <http://www.smithsonianmag.com/science-nature/how-does-the-brain-process-art-174844711.html>.

Vesna, Victoria. “CoLE.” CoLE. N.p.. Web. 17 Nov 2013.<https://cole2.uconline.edu/courses/63226/wiki/unit-7-view?module_item_id=970446>.

Week 6 - Societies Moral Hierarchies

The evolution of technology has created new links between different disciplines by introducing new ways of thinking. One recent practice to emerge out of these new links is BioArt. According to Clément Adam, BioArt is a practice involving artists who incorporate a living medium into their artwork.

Adam also stated in his article, “The traditional distinctions between science and art are blurred so that political and social criticism comes up consistently”. Although BioArt allows such debates, artists who practice in this field encounter a lot of resistance. Debates over the ethics of BioArt have surfaced since the first day of its emergence. According to Adam, many view BioArt “as an unnecessary use of living organisms”.

(Figure 1 Kathy High's
Embracing Animal)

Although using living organisms in the lab can improve human health, BioArt is criticized for its un-called use of these living organisms and aesthetics. One artist who exemplifies this idea, mentioned by Professor Vesna in Lecture, is Kathy High.  In High’s Embracing Animal project three transgenic breeding rats that were used in autoimmune disease research for an illness close to hers were given special housing and placed in the public’s view. In this installation, High demonstrated her kinship with the rats by treating them holistically and as sisters. This project demonstrated that although these transgenic rats are essential tools for the study of human health, they are often unnecessarily used and poorly treated because their physiologically similarities with humans are often forgotten.

(Figure 2 Alba, the Fluorescent Bunny.)

 In contrast to High, one artist named Eduardo Kac and his GFP Bunny he created caused a great deal of controversy for his unnecessary use of a living creature.  Despite being successful in creating ongoing dialogue about the cultural and ethical implications of genetic engineering, Kac had many against him. According to Professor Vesna in Lecture, Animal activists argued that the project is needless and abusive to the animal and scientists dismissed the project as interesting but silly.

(Figure 3 Joanna Zylinska.)

However, one cultural theorist that defends BioArt is Joanna Zylinska, who claims biotechnology provides new insights into our understanding of genetics. Zylinska’s explanation for artists, such as Kac, is that they were just trying to play the role of an educator.  Zylinska states to the Huffington Post that “Art should confuse us about science…BioArt is an important tester of moral hierarchies”. Realizing the moral standards of society could provide scientists with the information they need to establish boundaries on their research.  

Works Cited

"Bioart: Science, Art Or Just Playing God?." Huffington Post Culture United Kingdom. AOL (UK) Limited, 23 Feb 2012. Web. 10 Nov 2013. <http://www.huffingtonpost.co.uk/2012/02/21/bioart-science-art-playing-god_n_1290700.html>.

Clément, Adam. "Bioart, Ethics, And Artworks." Masters of Media. N.p., 18 Apr 2012. Web. 10 Nov 2013. <http://mastersofmedia.hum.uva.nl/2012/04/18/bioart-ethics-and-artworks/>.

Eduardo , Kac. "GFP Bunny." Kac Web. N.p., n.d. Web. 10 Nov 2013. <http://www.ekac.org/gfpbunny.html>.

Figure 1. High, Kathy. Emracing Animal. 2004-06. Photograph. Kathy High: visual/media artist, independent curator, educatorWeb. 11 Nov 2013. <http://kathyhigh.com/ppix/embracing/02.jpg>.

Figure 2. Fontaine, Chrystelle. Alba, the fluorescent bunny. 2000. Photograph. Kac WebWeb. 10 Nov 2013. <http://www.ekac.org/albagreen.jpeg>.

Figure 3. Joanna Zylinska. 2013. Photograph. Joanna ZylinskaWeb. 10 Nov 2013. <http://www.joannazylinska.net/storage/IMG_1079-smaller-frame.jpg?__SQUARESPACE_CACHEVERSION=1363209505638>.

High, Kathy. "embracing animal." Kathy High: visual/media artist, independent curator, educator. N.p., n.d. Web. 10 Nov 2013. <http://kathyhigh.com/project-embracing-animal.html>.

 Vesna, Victoria. “CoLE.” CoLE. N.p.. Web. 10 Nov 2013. <https://cole2.uconline.edu/courses/63226/wiki/unit-6-view?module_item_id=970441>.