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>.