In 2003, Rick Doble photographed a series of images made directly from the radio signals from the Big Bang explosion that created the universe. These signals, known as "cosmic microwave background radiation" or CMB or CMBR, can be processed with computer graphics. The resulting imagery is quite unusual -- repeating patterns, that never quite repeat. These patterns are not unlike biomorphic art that was made by a number of artists in the 20th century. This project seeks to compare and combine art and science and at the same time create a connection with our origins.
Carbon-14 dating is used to determine the age of biological artifacts up to around 50,000 years old by measuring the ratio of carbon-14 to carbon-12 in organic remains. Carbon-14 is created in the atmosphere and decays with a half-life of 5730 years, allowing the age of dead organisms to be estimated. While natural carbon-14 radiation poses little health risk, carbon-14 dating has limitations including potential atmospheric ratio fluctuations and contamination risks that can impact accuracy. However, it remains a vital dating method for archaeologists.
softSmooth By Nanokeratin System Catalog Tal Oryon
softSmooth is a Home Natural Soft Smoother for all hair types and textures, based on innovative patented SM156A Biomimetic technology, for progressive hair smoothing with every use without heating.
Track 3 - A robot in the classroom
Authors: Manuel F. Silva, Benedita Malheiro, Pedro Guedes, Paulo Ferreira, Cristina Ribeiro, Fernando Ferreira and Abel J. Duarte
https://www.youtube.com/watch?v=4gTqrlz08ss&list=PLboNOuyyzZ85UwWh70luNvKIhX8U1gxug&index=4
structures technology for future aerospace systemszengfm2000
This document provides an overview of structures technology for future aerospace systems. It discusses six key component technologies: 1) smart materials and structures that can sense and respond to stimuli, 2) multifunctional materials and structures that integrate functions like sensors and antennas, 3) affordable composite structures using improved manufacturing, 4) extreme environment structures, 5) flexible load-bearing structures, and 6) computational simulation methods. The technologies aim to improve performance, reduce costs, and enable new vehicle concepts. Challenges include qualifying smart materials for operational environments and developing maintenance procedures.
This document discusses different levels of product development and design styles, as well as examples of active forms in nature, technology, and potential future applications. It explores using smart materials like shape memory alloys and electroactive ceramics to create tangible interaction devices with advanced feedback through mechanical deformation rather than electronics. The conclusion suggests that active forms have the potential to reduce device size and create simple yet sophisticated feedback signals. Future directions may include investigating active forms over time and the aesthetics of interactions with pro-re-active shapes.
The document discusses a hair repair treatment called the Nanokeratin System Smoothing Treatment. It uses patented biomimetic technology to deeply penetrate each hair fiber and activate the inner tissue to create a resilient coating. The treatment smoothes hair for up to 16 weeks while replenishing and restoring hair health. It is enhanced with vitamins, amino acids, and essential oils to provide comprehensive care, protection, nourishment, balancing and anti-aging effects, resulting in smooth, lustrous, frizz-free hair. The document also discusses home care products to maintain the effects of the treatment.
Carbon-14 dating is used to determine the age of biological artifacts up to around 50,000 years old by measuring the ratio of carbon-14 to carbon-12 in organic remains. Carbon-14 is created in the atmosphere and decays with a half-life of 5730 years, allowing the age of dead organisms to be estimated. While natural carbon-14 radiation poses little health risk, carbon-14 dating has limitations including potential atmospheric ratio fluctuations and contamination risks that can impact accuracy. However, it remains a vital dating method for archaeologists.
softSmooth By Nanokeratin System Catalog Tal Oryon
softSmooth is a Home Natural Soft Smoother for all hair types and textures, based on innovative patented SM156A Biomimetic technology, for progressive hair smoothing with every use without heating.
Track 3 - A robot in the classroom
Authors: Manuel F. Silva, Benedita Malheiro, Pedro Guedes, Paulo Ferreira, Cristina Ribeiro, Fernando Ferreira and Abel J. Duarte
https://www.youtube.com/watch?v=4gTqrlz08ss&list=PLboNOuyyzZ85UwWh70luNvKIhX8U1gxug&index=4
structures technology for future aerospace systemszengfm2000
This document provides an overview of structures technology for future aerospace systems. It discusses six key component technologies: 1) smart materials and structures that can sense and respond to stimuli, 2) multifunctional materials and structures that integrate functions like sensors and antennas, 3) affordable composite structures using improved manufacturing, 4) extreme environment structures, 5) flexible load-bearing structures, and 6) computational simulation methods. The technologies aim to improve performance, reduce costs, and enable new vehicle concepts. Challenges include qualifying smart materials for operational environments and developing maintenance procedures.
This document discusses different levels of product development and design styles, as well as examples of active forms in nature, technology, and potential future applications. It explores using smart materials like shape memory alloys and electroactive ceramics to create tangible interaction devices with advanced feedback through mechanical deformation rather than electronics. The conclusion suggests that active forms have the potential to reduce device size and create simple yet sophisticated feedback signals. Future directions may include investigating active forms over time and the aesthetics of interactions with pro-re-active shapes.
The document discusses a hair repair treatment called the Nanokeratin System Smoothing Treatment. It uses patented biomimetic technology to deeply penetrate each hair fiber and activate the inner tissue to create a resilient coating. The treatment smoothes hair for up to 16 weeks while replenishing and restoring hair health. It is enhanced with vitamins, amino acids, and essential oils to provide comprehensive care, protection, nourishment, balancing and anti-aging effects, resulting in smooth, lustrous, frizz-free hair. The document also discusses home care products to maintain the effects of the treatment.
Drug discovery library design by biomimetic hplcKlara Valko
The slides explain the early drug discovery process and how the measurements of biomimetic properties can help to design the best ADME properties of compound libraries.
This document discusses biologically-inspired intelligent robots using artificial muscles made of electroactive polymers (EAP). EAP shows potential as artificial muscles by mimicking natural muscles through large bending displacements and low power consumption. The document outlines various EAP types and applications, such as in robotics, medical devices, and planetary exploration. Technology is advancing to enable biologically-inspired robots through materials like EAP that can resemble animal muscles and enable new robotic capabilities. The grand challenge is developing EAP further as practical artificial muscles.
The document discusses biomorphic engineering, which aims to copy biological systems through biomimetic, neuromorphic, and biomorphic robotics. Biomorphic robotics focuses on emulating animal mechanics, sensors, computing structures, and methodologies. The Biomorphic Robotics Lab performs research in this area to understand and replicate animal capabilities like legged locomotion, with applications to prosthetics. Examples discussed include snakebots, flying robots modeled after insects, robotic dinosaurs, and a robotic panda.
'Biomimetic Molecules and their application to Aesthetic Medicine' Dr. Patrick J. Treacy
The document discusses biomimetic mesotherapy and various dermaheal products. It provides details on:
- The history of biomimetic mesotherapy and key developments since 1952.
- Five dermaheal products (HSR, SR, HL, SB, LL) and their ingredients, which include vitamins, minerals, peptides and growth factors to target anti-aging, hair regrowth, skin brightening and cellulite reduction.
- Treatment protocols involving mesotherapy with the dermaheal products once per week along with a mezoroller or dermaroller. Results are said to look natural.
Conference Presentation: 2007, Pedersen Zari, M and Storey, J. ‘An Ecosystem Based Biomimetic Theory for a Regenerative Built Environment’, Sustainable Building (SB07) Regional Sustainable Building Conference, Lisbon, Portugal, September 2007.
Biomimicry, where flora, fauna or entire ecosystems are emulated as a basis for design, has attracted considerable interest in the fields of architectural design and engineering as an innovative new design approach and importantly as a potential way to shift the built environment to a more sustainable paradigm. The practical application of biomimicry as a design methodology, particularly in the built environment, remains elusive however. This paper seeks to contextualise the various approaches to biomimicry and provides an inte-grated set of principles that could form the basis for an ecosystem based design theory. This would enable practitioners to reach beyond sustainability to a regenerative design practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems as the wider human habitat.
‘Biomimetic Approaches to Architectural Design for Increased Sustainability’,...Dr Maibritt Pedersen Zari
Biomimicry, where flora, fauna or entire ecosystems are emulated as a basis for design, is a growing area of research in the fields of architecture and engineering. This is due to both the fact that it is an inspirational source of possible new innovation and because of the potential it offers as a way to create a more sustainable and even regenerative built environment. The widespread and practical application of biomimicry as a design method remains however largely unrealised. A growing body of international research identifies various obstacles to the employment of biomimicry as an architectural design method. One barrier of particular note is the lack of a clear definition of the various approaches to biomimicry that designers can initially employ.
Through a comparative literature review, and an examination of existing biomimetic technologies, this paper elaborates on distinct approaches to biomimetic design that have evolved. A framework for understanding the various forms of biomimicry has been developed, and is used to discuss the distinct advantages and disadvantages inherent in each as a design methodology. It is shown that these varied approaches may lead to different outcomes in terms of overall sustainability or regenerative potential.
It is posited that a biomimetic approach to architectural design that incorporates an understanding of ecosystems could become a vehicle for creating a built environment that goes beyond simply sustaining current conditions to a restorative practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems.
Biomimeting agents are those which gives the dentist the power to work flawlessly and the patient recieves a life like result and working. It is the most discussed topics in the dental world at this time and indeed the most interesting too.
Structures whose forms are inspired by biological organisms are known as biomimicry. The term biomimicry comes from the Greek words "bios" meaning life and "mimesis" meaning to imitate. Emerging fields of biomimicry have given rise to new technologies created from biologically inspired engineering at both the macro and nanoscale levels. Examples of biomimicry architecture discussed in the document include buildings shaped like fish, flowers, and hills as well as structures inspired by termite mounds and gecko feet.
This document summarizes a seminar on biomimetic robots. It begins by defining biomimetic, bio-inspired, and bionic robots. Biomimetic robots fully replicate aspects of biology, while bio-inspired robots take ideas from nature without full replication. Bionic robots integrate electronics into living organisms. The document then discusses examples throughout history of biomimicry in technology. A robotic lobster from the 1970s is presented as one of the earliest true biomimetic robots. The document concludes by outlining current and potential applications of biomimetic robots in areas like defense, entertainment, rescue operations, and industry.
This document discusses a potential future scenario in which a non-state adversary called "Black" develops new concepts and technologies to challenge the dominant U.S. military force ("BlueFor"). Black conceives of "five-dimensional (cyber) warfighting" that incorporates traditional land, sea, and air dimensions plus temporal and cyber dimensions. This approach would allow Black to redefine the battlefield and overcome BlueFor's advantages by exploiting emerging technologies like advanced non-lethal weapons, robotics, and networked systems operating beyond human senses in "cyberspace." The document argues this asymmetric strategy could enable Black to defeat BlueFor and establish a new post-modern civilization.
Biomimetic materials used in conservative dentistry & endodonticsTirthankar Bhaumik
This document discusses biomimetic materials used in conservative dentistry and endodontics. It begins by defining biomimetics as materials and processes that mimic nature. Glass ionomer cement is highlighted as a key biomimetic material that acts as a dentin substitute. It has properties similar to dentin, such as elastic modulus and thermal expansion coefficient, and adheres chemically to tooth structure. The document outlines various uses of glass ionomer cement in restorations, luting, liners, and as a root canal sealer. While modifications have improved some properties, its strength and wear resistance remain lower than natural dentin. Overall, the document examines how glass ionomer cement biomimically replaces lost dentin structure for
This document discusses biomimetic robots, which are robots that take inspiration from biological organisms in their structure, function, or mechanisms. It provides an overview of the history and development of biomimetic robots, examples of different types of biomimetic robots modeled after animals such as lobsters, snakes, fish, and insects, and applications of biomimetic robots in areas such as medical, rescue, and space exploration.
Biorobotics involves applying biological principles to robotics. It includes biomimetics, which examines nature for inspiration in engineering design. Examples include airplanes modeled after birds, hypodermic needles after snake fangs, and bullet trains after kingfishers. Biomimetic robots copy structures and senses from animals like birds and insects. Biorobotics also applies robotics to biology and medicine problems. Examples are robotic lobsters and fish used for observation and pollution monitoring. Biorobotics continues advancing with robots inspired by snakes, insects, and other organisms.
These slides use concepts from my (Jeff Funk) course entitled Biz Models for Hi-Tech Products to analyze the business model for Sharklet. Sharklet is an inexpensive material that can dramatically reduce growth of bacteria when the material is attached to specific surfaces. The material includes a pattern that mimics the surface of shark skin, which has a pattern for bacteria has trouble adhering and growing. The material is inexpensive and can be easily attached to any surface due to the addition of an adhesive to it. These slides describe the specific value proposition for hospitals, equipment manufacturers, and patients and other aspects of the business model such as the method of value capture, scope of activities, and method of strategic control.
LECTURE 13. LIGHTHubble space telescope observations have tak.docxwashingtonrosy
LECTURE 13. LIGHT
Hubble space telescope observations have taken advantage of gravitational lensing to reveal the largest sample of the faintest and earliest known galaxies in the universe. Some of these galaxies formed just 600 million years after the Big Bang.
Space, mass, light and time are fundamental descriptors of our Universe. Captured by the poetry in Genesis, “In the beginning, when God created the heavens and earth, the earth was a formless wasteland, and darkness covered the abyss, while a mighty wind swept over the waters. Then God said “Let there be light,” and there was light.
The cosmological model of the “Big Bang” describes how the universe expanded from an initial state of very high density and high temperature. If observed conditions today areextrapolated backwards in time using the known laws of physics, the prediction is that our Universe emerged from a singularity, a point of infinite density, and that before this event, space and time did not exist.
Current knowledge is insufficient to determine if anything existed prior to the singularity. Sixteen centuries ago, in his Confessions, Saint Augustine (354-430) posed the obvious question in biblical terms: What was God doing before he created the Universe?
ISAAC NEWTON: COLOR SPECTRUM and the CORPUSCULAR THEORY of LIGHT
Our modern understanding of light and color begins with Isaac Newton (1642-1726) and a series of experiments that he published in 1672. He was the first to understand the rainbow. He refracted white light with a glass prism, resolving it into its component colors: red, orange, yellow, green, blue and violet.
In the graphic below, light enters the prism from the top right, and is refracted by the glass. The violet is bent more than the yellow and red, so the colors separate.
In the 1660s, Newton began experimenting with his “celebrated phenomenon of colors.” At the time, people thought that color was a mixture of light and darkness, and that prisms colored light. Hooke was a proponent of this theory of color, and had a scale that went from brilliant red, which was pure white light with the least amount of darkness added, to dull blue, the last step before black, which was the complete extinction of light by darkness. Newton believed this theory was false.
Newton set up a prism near a window at his boyhood home in Woolsthorpe, England ( site of the famous apple tree), and projected a beautiful spectrum 22 feet onto the far wall. Further, to prove that the prism was not coloring the light, he refracted the spectral light back together, producing white light. Incidentally, he was at home because all the students at Cambridge University where he was a student were sent home because of an epidemic of the bubonic plague. In 1665, it was a version of “social distancing.” BTW, Newton did his best work working from home.
On a personal note, my wife and I once visited the hometown of William Shakespeare (1564-1616), Stratford-upon-Avon..
The document discusses the origins of behavioral modernity and early evidence of human art from archeological findings. It notes that behavioral modernity is characterized by abstract thinking, planning, symbolic behavior like art, and stone/blade technologies. The earliest firm evidence of hominid art dates to around 40,000 years ago in the Upper Paleolithic Age by Homo sapiens, though some older possible examples from Blombos Caves are still being analyzed. Art from this era has been found across a wide region stretching from Europe to Indonesia.
Erika Blumenfeld is an artist who records natural light phenomena. Her work from a 2009 Antarctica residency documents the light emanating from the four cardinal directions at different times. It explores concepts of place, time, polarity and navigation in the polar regions where compasses do not work. Blumenfeld's goal is to experience and convey the essence of light and place through her lensless camera recordings.
A Brief History of Light & Photography by Rick DobleRick Doble
This fully illustrated 23 page paper traces the history of photography and our understanding of light from prehistoric times to the present day and also speculates about the future. From Aristotle to Einstein the camera is much older than most realize. Because photography can record fine detail and freeze a moment of the past, it has also transformed our modern understanding of time and also provided a record of the past which was previously unavailable.
The document provides an art history commentary and visual companion to philosophical aesthetics texts discussed in class. It summarizes major developments in art like naturalism, abstraction, conceptual art, and challenges the idea of artistic genius. Over 50 artworks are discussed, from prehistoric cave paintings to modern abstract works, relating them to philosophers like Plato, Hegel, Kant, and Gadamer to illustrate key concepts in aesthetics through history. The presentation aims to give students a deeper understanding of how philosophical ideas are expressed through actual artworks.
This article discusses autonomous robots that create art. It describes two robotic artists, Max Chandler and Leonel Moura, who have created robots capable of painting autonomously. Chandler's robots paint using a top-down approach with his close involvement, while Moura's robots use a bottom-up swarm intelligence approach where the robots interact indirectly using chemical signals similar to ants. The article argues the art created by these robots is truly original and creative, as the robots incorporate new information through their interactions in a way similar to surrealist automatism art.
The document discusses Cubism and Abstraction in early 20th century art, describing how Cubism revolutionized the treatment of form and space by abandoning traditional perspective techniques and focusing on geometric shapes and multiple viewpoints. It explains that Cubism was influenced by theories of relativity, psychoanalysis, and non-Western art, seeking to depict new conceptualizations of objects rather than realistic illusions. The movement transformed painting and sculpture through techniques like collage, facets, and abstraction of form.
Drug discovery library design by biomimetic hplcKlara Valko
The slides explain the early drug discovery process and how the measurements of biomimetic properties can help to design the best ADME properties of compound libraries.
This document discusses biologically-inspired intelligent robots using artificial muscles made of electroactive polymers (EAP). EAP shows potential as artificial muscles by mimicking natural muscles through large bending displacements and low power consumption. The document outlines various EAP types and applications, such as in robotics, medical devices, and planetary exploration. Technology is advancing to enable biologically-inspired robots through materials like EAP that can resemble animal muscles and enable new robotic capabilities. The grand challenge is developing EAP further as practical artificial muscles.
The document discusses biomorphic engineering, which aims to copy biological systems through biomimetic, neuromorphic, and biomorphic robotics. Biomorphic robotics focuses on emulating animal mechanics, sensors, computing structures, and methodologies. The Biomorphic Robotics Lab performs research in this area to understand and replicate animal capabilities like legged locomotion, with applications to prosthetics. Examples discussed include snakebots, flying robots modeled after insects, robotic dinosaurs, and a robotic panda.
'Biomimetic Molecules and their application to Aesthetic Medicine' Dr. Patrick J. Treacy
The document discusses biomimetic mesotherapy and various dermaheal products. It provides details on:
- The history of biomimetic mesotherapy and key developments since 1952.
- Five dermaheal products (HSR, SR, HL, SB, LL) and their ingredients, which include vitamins, minerals, peptides and growth factors to target anti-aging, hair regrowth, skin brightening and cellulite reduction.
- Treatment protocols involving mesotherapy with the dermaheal products once per week along with a mezoroller or dermaroller. Results are said to look natural.
Conference Presentation: 2007, Pedersen Zari, M and Storey, J. ‘An Ecosystem Based Biomimetic Theory for a Regenerative Built Environment’, Sustainable Building (SB07) Regional Sustainable Building Conference, Lisbon, Portugal, September 2007.
Biomimicry, where flora, fauna or entire ecosystems are emulated as a basis for design, has attracted considerable interest in the fields of architectural design and engineering as an innovative new design approach and importantly as a potential way to shift the built environment to a more sustainable paradigm. The practical application of biomimicry as a design methodology, particularly in the built environment, remains elusive however. This paper seeks to contextualise the various approaches to biomimicry and provides an inte-grated set of principles that could form the basis for an ecosystem based design theory. This would enable practitioners to reach beyond sustainability to a regenerative design practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems as the wider human habitat.
‘Biomimetic Approaches to Architectural Design for Increased Sustainability’,...Dr Maibritt Pedersen Zari
Biomimicry, where flora, fauna or entire ecosystems are emulated as a basis for design, is a growing area of research in the fields of architecture and engineering. This is due to both the fact that it is an inspirational source of possible new innovation and because of the potential it offers as a way to create a more sustainable and even regenerative built environment. The widespread and practical application of biomimicry as a design method remains however largely unrealised. A growing body of international research identifies various obstacles to the employment of biomimicry as an architectural design method. One barrier of particular note is the lack of a clear definition of the various approaches to biomimicry that designers can initially employ.
Through a comparative literature review, and an examination of existing biomimetic technologies, this paper elaborates on distinct approaches to biomimetic design that have evolved. A framework for understanding the various forms of biomimicry has been developed, and is used to discuss the distinct advantages and disadvantages inherent in each as a design methodology. It is shown that these varied approaches may lead to different outcomes in terms of overall sustainability or regenerative potential.
It is posited that a biomimetic approach to architectural design that incorporates an understanding of ecosystems could become a vehicle for creating a built environment that goes beyond simply sustaining current conditions to a restorative practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems.
Biomimeting agents are those which gives the dentist the power to work flawlessly and the patient recieves a life like result and working. It is the most discussed topics in the dental world at this time and indeed the most interesting too.
Structures whose forms are inspired by biological organisms are known as biomimicry. The term biomimicry comes from the Greek words "bios" meaning life and "mimesis" meaning to imitate. Emerging fields of biomimicry have given rise to new technologies created from biologically inspired engineering at both the macro and nanoscale levels. Examples of biomimicry architecture discussed in the document include buildings shaped like fish, flowers, and hills as well as structures inspired by termite mounds and gecko feet.
This document summarizes a seminar on biomimetic robots. It begins by defining biomimetic, bio-inspired, and bionic robots. Biomimetic robots fully replicate aspects of biology, while bio-inspired robots take ideas from nature without full replication. Bionic robots integrate electronics into living organisms. The document then discusses examples throughout history of biomimicry in technology. A robotic lobster from the 1970s is presented as one of the earliest true biomimetic robots. The document concludes by outlining current and potential applications of biomimetic robots in areas like defense, entertainment, rescue operations, and industry.
This document discusses a potential future scenario in which a non-state adversary called "Black" develops new concepts and technologies to challenge the dominant U.S. military force ("BlueFor"). Black conceives of "five-dimensional (cyber) warfighting" that incorporates traditional land, sea, and air dimensions plus temporal and cyber dimensions. This approach would allow Black to redefine the battlefield and overcome BlueFor's advantages by exploiting emerging technologies like advanced non-lethal weapons, robotics, and networked systems operating beyond human senses in "cyberspace." The document argues this asymmetric strategy could enable Black to defeat BlueFor and establish a new post-modern civilization.
Biomimetic materials used in conservative dentistry & endodonticsTirthankar Bhaumik
This document discusses biomimetic materials used in conservative dentistry and endodontics. It begins by defining biomimetics as materials and processes that mimic nature. Glass ionomer cement is highlighted as a key biomimetic material that acts as a dentin substitute. It has properties similar to dentin, such as elastic modulus and thermal expansion coefficient, and adheres chemically to tooth structure. The document outlines various uses of glass ionomer cement in restorations, luting, liners, and as a root canal sealer. While modifications have improved some properties, its strength and wear resistance remain lower than natural dentin. Overall, the document examines how glass ionomer cement biomimically replaces lost dentin structure for
This document discusses biomimetic robots, which are robots that take inspiration from biological organisms in their structure, function, or mechanisms. It provides an overview of the history and development of biomimetic robots, examples of different types of biomimetic robots modeled after animals such as lobsters, snakes, fish, and insects, and applications of biomimetic robots in areas such as medical, rescue, and space exploration.
Biorobotics involves applying biological principles to robotics. It includes biomimetics, which examines nature for inspiration in engineering design. Examples include airplanes modeled after birds, hypodermic needles after snake fangs, and bullet trains after kingfishers. Biomimetic robots copy structures and senses from animals like birds and insects. Biorobotics also applies robotics to biology and medicine problems. Examples are robotic lobsters and fish used for observation and pollution monitoring. Biorobotics continues advancing with robots inspired by snakes, insects, and other organisms.
These slides use concepts from my (Jeff Funk) course entitled Biz Models for Hi-Tech Products to analyze the business model for Sharklet. Sharklet is an inexpensive material that can dramatically reduce growth of bacteria when the material is attached to specific surfaces. The material includes a pattern that mimics the surface of shark skin, which has a pattern for bacteria has trouble adhering and growing. The material is inexpensive and can be easily attached to any surface due to the addition of an adhesive to it. These slides describe the specific value proposition for hospitals, equipment manufacturers, and patients and other aspects of the business model such as the method of value capture, scope of activities, and method of strategic control.
LECTURE 13. LIGHTHubble space telescope observations have tak.docxwashingtonrosy
LECTURE 13. LIGHT
Hubble space telescope observations have taken advantage of gravitational lensing to reveal the largest sample of the faintest and earliest known galaxies in the universe. Some of these galaxies formed just 600 million years after the Big Bang.
Space, mass, light and time are fundamental descriptors of our Universe. Captured by the poetry in Genesis, “In the beginning, when God created the heavens and earth, the earth was a formless wasteland, and darkness covered the abyss, while a mighty wind swept over the waters. Then God said “Let there be light,” and there was light.
The cosmological model of the “Big Bang” describes how the universe expanded from an initial state of very high density and high temperature. If observed conditions today areextrapolated backwards in time using the known laws of physics, the prediction is that our Universe emerged from a singularity, a point of infinite density, and that before this event, space and time did not exist.
Current knowledge is insufficient to determine if anything existed prior to the singularity. Sixteen centuries ago, in his Confessions, Saint Augustine (354-430) posed the obvious question in biblical terms: What was God doing before he created the Universe?
ISAAC NEWTON: COLOR SPECTRUM and the CORPUSCULAR THEORY of LIGHT
Our modern understanding of light and color begins with Isaac Newton (1642-1726) and a series of experiments that he published in 1672. He was the first to understand the rainbow. He refracted white light with a glass prism, resolving it into its component colors: red, orange, yellow, green, blue and violet.
In the graphic below, light enters the prism from the top right, and is refracted by the glass. The violet is bent more than the yellow and red, so the colors separate.
In the 1660s, Newton began experimenting with his “celebrated phenomenon of colors.” At the time, people thought that color was a mixture of light and darkness, and that prisms colored light. Hooke was a proponent of this theory of color, and had a scale that went from brilliant red, which was pure white light with the least amount of darkness added, to dull blue, the last step before black, which was the complete extinction of light by darkness. Newton believed this theory was false.
Newton set up a prism near a window at his boyhood home in Woolsthorpe, England ( site of the famous apple tree), and projected a beautiful spectrum 22 feet onto the far wall. Further, to prove that the prism was not coloring the light, he refracted the spectral light back together, producing white light. Incidentally, he was at home because all the students at Cambridge University where he was a student were sent home because of an epidemic of the bubonic plague. In 1665, it was a version of “social distancing.” BTW, Newton did his best work working from home.
On a personal note, my wife and I once visited the hometown of William Shakespeare (1564-1616), Stratford-upon-Avon..
The document discusses the origins of behavioral modernity and early evidence of human art from archeological findings. It notes that behavioral modernity is characterized by abstract thinking, planning, symbolic behavior like art, and stone/blade technologies. The earliest firm evidence of hominid art dates to around 40,000 years ago in the Upper Paleolithic Age by Homo sapiens, though some older possible examples from Blombos Caves are still being analyzed. Art from this era has been found across a wide region stretching from Europe to Indonesia.
Erika Blumenfeld is an artist who records natural light phenomena. Her work from a 2009 Antarctica residency documents the light emanating from the four cardinal directions at different times. It explores concepts of place, time, polarity and navigation in the polar regions where compasses do not work. Blumenfeld's goal is to experience and convey the essence of light and place through her lensless camera recordings.
A Brief History of Light & Photography by Rick DobleRick Doble
This fully illustrated 23 page paper traces the history of photography and our understanding of light from prehistoric times to the present day and also speculates about the future. From Aristotle to Einstein the camera is much older than most realize. Because photography can record fine detail and freeze a moment of the past, it has also transformed our modern understanding of time and also provided a record of the past which was previously unavailable.
The document provides an art history commentary and visual companion to philosophical aesthetics texts discussed in class. It summarizes major developments in art like naturalism, abstraction, conceptual art, and challenges the idea of artistic genius. Over 50 artworks are discussed, from prehistoric cave paintings to modern abstract works, relating them to philosophers like Plato, Hegel, Kant, and Gadamer to illustrate key concepts in aesthetics through history. The presentation aims to give students a deeper understanding of how philosophical ideas are expressed through actual artworks.
This article discusses autonomous robots that create art. It describes two robotic artists, Max Chandler and Leonel Moura, who have created robots capable of painting autonomously. Chandler's robots paint using a top-down approach with his close involvement, while Moura's robots use a bottom-up swarm intelligence approach where the robots interact indirectly using chemical signals similar to ants. The article argues the art created by these robots is truly original and creative, as the robots incorporate new information through their interactions in a way similar to surrealist automatism art.
The document discusses Cubism and Abstraction in early 20th century art, describing how Cubism revolutionized the treatment of form and space by abandoning traditional perspective techniques and focusing on geometric shapes and multiple viewpoints. It explains that Cubism was influenced by theories of relativity, psychoanalysis, and non-Western art, seeking to depict new conceptualizations of objects rather than realistic illusions. The movement transformed painting and sculpture through techniques like collage, facets, and abstraction of form.
This is an 1880 gouache painting by the British artist Edward Burne-Jones titled The Magic Circle. This is how
I want to introduce you to Merlin -- our gardener, mariner guide, and astronomer extraordinaire.
Anthropologists place him in all sorts of teacher guises in the stretch of history. Here Merlin shows up as a
Mariner attracted by the inner call of the astonished person on the right.
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find the best banks in Armenia , the best exchange results and pawn shops.
The document discusses the art form of assemblage art. It defines assemblage art as a compilation of objects that may seem unrelated but are presented together in an aesthetically intriguing way. The origins of assemblage art can be traced back to the 1950s and artists like Picasso, but it grew in popularity. Key artists discussed include Robert Rauschenberg, Christo and Jeanne-Claude, Jean Dubuffet, and their works that combined everyday objects in creative ways. The document also explores how assemblage art has influenced other forms of art and sculpture over time through its use of found objects and randomness.
How Do I Punctuate Titles. Online assignment writing service.Jessica Huston
The document discusses songs that reference New York City. It talks about how many songs refer to or talk about New York, mentioning aspects of life in the city. Some songs use New York as a metaphor or to represent certain themes or feelings. The document explores how music captures and shares experiences of the city.
Screens everywhere, on every desk and in every pocket, selfies on every social network and dataviz in every paper: we live in an era of image and transparency where everything can (must?) be seen and we experience life mainly through our sense of sight.
But what about the invisible side of things? As life is getting increasingly dematerialized, “invisible worlds” encompass a wide range of expressions and constitute a fascinating topic that inspires artists, designers and companies.
From Wi-Fi signals to brain waves and scientific experiments on "telepathically" transmitted messages, including emotion recognition applications, how is the invisible shaping our environment and generating new creative possibilities?
Andrew Mowbray's exhibition "Tempest Prognosticator" explores humanity's relationship with weather through sculptures that attempt to measure weather in absurdist and idiosyncratic ways. The works reference both 19th century inventions like the Tempest Prognosticator device as well as contemporary reliance on technology for weather information. Through drawings produced by wind-driven machines and a video of the artist wearing a human anemometer, Mowbray comments on our myth of controlling nature through measurement. The exhibition examines how technology aims to provide security but often fails to prevent natural disasters.
THE father and son team who broke historic Rosslyn Chapel’s musical Da Vinci Code have done it again with another of the artist’s riddles.
Stuart and Tommy Mitchell believe they have cracked another secret of the Renaissance genius, this time in Leonardo’s famous portrait The Musician.
Art historians have remained baffled for centuries over the meaning of the work.They have also puzzled over the writing on the piece of music held by the subject of the 1490 painting, believed to be Da Vinci’s great friend Franchino Gaffurio.
Now Stuart and Tommy have used mirrors to reveal the words “agnus dei” and a musical score. Once the score is fully deciphered, Stuart plans to incorporate it in one of his classical pieces.as he did with the notes he found in Rosslyn.
Cubism was an influential early 20th century avant-garde art movement that revolutionized European painting and sculpture. Led by Pablo Picasso and Georges Braque, Cubism was characterized by the geometric fragmentation and synthetic reassembly of forms to depict subject matter from multiple viewpoints in the same canvas. Major influences on Cubism included African tribal masks, Cézanne's compositions, and Fauvism. Cubism evolved from an early phase of angular, simplified still life subjects to a later incorporation of collage materials and brighter colors. Key Cubist artists beyond Picasso and Braque included Juan Gris, Fernand Léger, and Jean Metzinger.
- The Sun has been worshipped by ancient civilizations like the Egyptians who saw it as a deity. Monuments like Stonehenge were used to track the Sun's movement.
- Ancient Greeks proposed that the Sun was a large flaming ball far from Earth. Arabs calculated the Earth-Sun distance and proved moonlight is reflected sunlight.
- Galileo observed sunspots with a telescope, contradicting the view of a perfect, unchanging heavens. Later, Newton used prisms to study the Sun's composition.
Similar to Digital Pictures Made Directly From the Big Bang Radio Signal by Rick Doble (18)
Proposal for a University Department for 'The Study Of Time'Rick Doble
Time is the most used noun in the English language according to the Concise Oxford English Dictionary. This is probably true for most other languages as well. Time is critical to everything we do as individuals, as nations, and as human beings who inhabit the Earth. Yet there are virtually no University departments or courses that deal with the human experience of time. This paper proposes that such a department be established and suggests topics and areas of study that need to be included. Suggestions are based on my blog DeconstructingTime now in its fifth years, with more than 70 blog-essays, almost 50,000 page views from more than 100 countries. Much of this work is also available at my site at slideshare.net in eBook or in individual papers.
Some have claimed Time-Flow Photography (experimental imagery with continuous motion and long shutter speeds) is accidental and others say it is not a legitimate form of photography. For this reason I wrote a Manifesto refuting those statements and explaining its goals.
You can view and/or download the Manifesto in PDF form.
Thoughts About the Future of Art in the 21st Century (1997)Rick Doble
Written over 15 years ago, this is an experimental outline written in 1997 during the earliest days of the Internet and digital photography. The purpose of this outline was to ask questions and suggest answers about the role of art as the world entered the 21st Century. Because the outline was open ended and experimental, it also invited others to join the discussion. This paper was widely reprinted across the Internet around the year 2000 and today can still be found online at the archives of the National Library of Australia, a website by the Board of Education - City of New York and the online Canadian publication, Annihilation Fountain. See more about these references in this document.
Time-Flow Photography: Experimental Imagery with Continuous Motion and Long S...Rick Doble
For the first time in the history of photography, digital photographers can now experiment with photographic effects and immediately review the results. This capability, which is crucial for experimentation, opens up a new world of imagery with slow shutter speeds that 'paint' light in a variety of ways. Yet some people believe that the effects of movement in slow-exposure photography are about the same and accidental. Nothing could be further from the truth. There is a quite sophisticated vocabulary, a physics of light and motion, that can be understood and once understood is not accidental. This eBook details the ways these different motions are registered on photographs and the new artwork that is now possible -- work that has its roots in modern art.
Introduction to Scientific Experimental Methods for Artists: How Science and...Rick Doble
This document introduces how scientific experimental methods can be applied to art. It discusses how both science and art involve experimentation to explore the unknown. While the goals are different, with science seeking repeatable results and art valuing subjective quality, artists can still learn from the structured approach of science. The document provides guidelines for artistic experimentation, such as having a general idea before testing variables and expecting the unexpected. It emphasizes finding a balance between control and allowing accidents to occur. When discovering a promising technique, the document advises exploring it thoroughly to maximize its potential.
Space-Time Digital Photography: Photographs Recorded Over a Duration of TimeRick Doble
A presentation from the SCIENAR exhibit (Science & Art) in Bucharest, Romania, 2010 at the Bucharest National University of Arts: Why Space-Time? Each of these digital photographs was taken over a number of seconds. The idea was to record a sense of motion along with the passage of time, thus the term "space-time photography." This space-time idea draws on the 100 year old concept of Albert Einstein who saw time as another dimension and who saw space and time as connected to each other. This idea also comes from the Futurist artists in Italy 100 years ago who wanted to depict the continuity of movement over time.
Stealing the Oceans: Humanity Struggles for Survival in This 1000 Year Epic W...Rick Doble
Stealing the Oceans by Rick Doble is a hard science fiction novella based on our current understanding of science and technology. An unusual SF story, it covers 1000 years when the people of the Earth are forced to make drastic changes. This occurs because ocean levels begin to gradually fall for hundreds of years -- with no end in sight. Using the latest technology, world governments work to determine the reason. But the discovery of the cause leads to panic and desperate attempts to rebuild civilizations. This epic story is as much about the forces involved as the individual people -- and comes complete with a city directory for one of the new cities that is established, along with a full description of how a new culture evolved.
5 Year Photographic Study of Musicians in Motion: Still Photos Exposed For Se...Rick Doble
This document is an introduction to a photographic study by Rick Doble of musicians in motion using long exposure techniques. It provides background on the history of depicting motion in still images dating back to Eadweard Muybridge and Anton Giulio Bragaglia. Doble's goal is to capture the energy of music through long exposure photos of local musicians, discussing his methodology of manual settings, framing, and post-processing photos to highlight movement. The document includes a table of contents of photographic sections to come.
Historic Timeline: The Capture of Movement in Painting and Photography by Ric...Rick Doble
From Leonardo da Vinci to Rembrandt to the Italian Futurists to the invention of motion pictures by Edison, there has been a 500 year quest to depict motion in still images. This fully illustrated paper traces that development and suggests how the quest for the depiction of motion in still imagery might be continued.
The binding of cosmological structures by massless topological defectsSérgio Sacani
Assuming spherical symmetry and weak field, it is shown that if one solves the Poisson equation or the Einstein field
equations sourced by a topological defect, i.e. a singularity of a very specific form, the result is a localized gravitational
field capable of driving flat rotation (i.e. Keplerian circular orbits at a constant speed for all radii) of test masses on a thin
spherical shell without any underlying mass. Moreover, a large-scale structure which exploits this solution by assembling
concentrically a number of such topological defects can establish a flat stellar or galactic rotation curve, and can also deflect
light in the same manner as an equipotential (isothermal) sphere. Thus, the need for dark matter or modified gravity theory is
mitigated, at least in part.
Candidate young stellar objects in the S-cluster: Kinematic analysis of a sub...Sérgio Sacani
Context. The observation of several L-band emission sources in the S cluster has led to a rich discussion of their nature. However, a definitive answer to the classification of the dusty objects requires an explanation for the detection of compact Doppler-shifted Brγ emission. The ionized hydrogen in combination with the observation of mid-infrared L-band continuum emission suggests that most of these sources are embedded in a dusty envelope. These embedded sources are part of the S-cluster, and their relationship to the S-stars is still under debate. To date, the question of the origin of these two populations has been vague, although all explanations favor migration processes for the individual cluster members. Aims. This work revisits the S-cluster and its dusty members orbiting the supermassive black hole SgrA* on bound Keplerian orbits from a kinematic perspective. The aim is to explore the Keplerian parameters for patterns that might imply a nonrandom distribution of the sample. Additionally, various analytical aspects are considered to address the nature of the dusty sources. Methods. Based on the photometric analysis, we estimated the individual H−K and K−L colors for the source sample and compared the results to known cluster members. The classification revealed a noticeable contrast between the S-stars and the dusty sources. To fit the flux-density distribution, we utilized the radiative transfer code HYPERION and implemented a young stellar object Class I model. We obtained the position angle from the Keplerian fit results; additionally, we analyzed the distribution of the inclinations and the longitudes of the ascending node. Results. The colors of the dusty sources suggest a stellar nature consistent with the spectral energy distribution in the near and midinfrared domains. Furthermore, the evaporation timescales of dusty and gaseous clumps in the vicinity of SgrA* are much shorter ( 2yr) than the epochs covered by the observations (≈15yr). In addition to the strong evidence for the stellar classification of the D-sources, we also find a clear disk-like pattern following the arrangements of S-stars proposed in the literature. Furthermore, we find a global intrinsic inclination for all dusty sources of 60 ± 20◦, implying a common formation process. Conclusions. The pattern of the dusty sources manifested in the distribution of the position angles, inclinations, and longitudes of the ascending node strongly suggests two different scenarios: the main-sequence stars and the dusty stellar S-cluster sources share a common formation history or migrated with a similar formation channel in the vicinity of SgrA*. Alternatively, the gravitational influence of SgrA* in combination with a massive perturber, such as a putative intermediate mass black hole in the IRS 13 cluster, forces the dusty objects and S-stars to follow a particular orbital arrangement. Key words. stars: black holes– stars: formation– Galaxy: center– galaxies: star formation
Immersive Learning That Works: Research Grounding and Paths ForwardLeonel Morgado
We will metaverse into the essence of immersive learning, into its three dimensions and conceptual models. This approach encompasses elements from teaching methodologies to social involvement, through organizational concerns and technologies. Challenging the perception of learning as knowledge transfer, we introduce a 'Uses, Practices & Strategies' model operationalized by the 'Immersive Learning Brain' and ‘Immersion Cube’ frameworks. This approach offers a comprehensive guide through the intricacies of immersive educational experiences and spotlighting research frontiers, along the immersion dimensions of system, narrative, and agency. Our discourse extends to stakeholders beyond the academic sphere, addressing the interests of technologists, instructional designers, and policymakers. We span various contexts, from formal education to organizational transformation to the new horizon of an AI-pervasive society. This keynote aims to unite the iLRN community in a collaborative journey towards a future where immersive learning research and practice coalesce, paving the way for innovative educational research and practice landscapes.
JAMES WEBB STUDY THE MASSIVE BLACK HOLE SEEDSSérgio Sacani
The pathway(s) to seeding the massive black holes (MBHs) that exist at the heart of galaxies in the present and distant Universe remains an unsolved problem. Here we categorise, describe and quantitatively discuss the formation pathways of both light and heavy seeds. We emphasise that the most recent computational models suggest that rather than a bimodal-like mass spectrum between light and heavy seeds with light at one end and heavy at the other that instead a continuum exists. Light seeds being more ubiquitous and the heavier seeds becoming less and less abundant due the rarer environmental conditions required for their formation. We therefore examine the different mechanisms that give rise to different seed mass spectrums. We show how and why the mechanisms that produce the heaviest seeds are also among the rarest events in the Universe and are hence extremely unlikely to be the seeds for the vast majority of the MBH population. We quantify, within the limits of the current large uncertainties in the seeding processes, the expected number densities of the seed mass spectrum. We argue that light seeds must be at least 103 to 105 times more numerous than heavy seeds to explain the MBH population as a whole. Based on our current understanding of the seed population this makes heavy seeds (Mseed > 103 M⊙) a significantly more likely pathway given that heavy seeds have an abundance pattern than is close to and likely in excess of 10−4 compared to light seeds. Finally, we examine the current state-of-the-art in numerical calculations and recent observations and plot a path forward for near-future advances in both domains.
PPT on Direct Seeded Rice presented at the three-day 'Training and Validation Workshop on Modules of Climate Smart Agriculture (CSA) Technologies in South Asia' workshop on April 22, 2024.
Sexuality - Issues, Attitude and Behaviour - Applied Social Psychology - Psyc...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
ESA/ACT Science Coffee: Diego Blas - Gravitational wave detection with orbita...Advanced-Concepts-Team
Presentation in the Science Coffee of the Advanced Concepts Team of the European Space Agency on the 07.06.2024.
Speaker: Diego Blas (IFAE/ICREA)
Title: Gravitational wave detection with orbital motion of Moon and artificial
Abstract:
In this talk I will describe some recent ideas to find gravitational waves from supermassive black holes or of primordial origin by studying their secular effect on the orbital motion of the Moon or satellites that are laser ranged.
(June 12, 2024) Webinar: Development of PET theranostics targeting the molecu...Scintica Instrumentation
Targeting Hsp90 and its pathogen Orthologs with Tethered Inhibitors as a Diagnostic and Therapeutic Strategy for cancer and infectious diseases with Dr. Timothy Haystead.
2. TABLE OF CONTENTS
Forward
Introduction
Examples Of Biomorphic (ART)
About These Images (SCIENCE)
Art & Science
Why Patterns?
Harmony Of The Spheres
Start of Big Bang Picture Gallery
College Student Paper
Doble's Background
3. Foreword
LIVE FROM THE BIG BANG
These are real photographs that have been enhanced
This work seeks to help bridge the gap between art and science
as these pictures are a combination of both. These images
were made directly from the radio waves created in the Big
Bang. The Big Bang signals are the echo or afterglow of the
single event that created the universe, our galaxy, our solar
system, the planet Earth and ourselves. And while the Big Bang
happened almost 14 billion years ago, these radio waves are
happening now, this moment, everyday, and everywhere. They
are ever present -- a signal from creation.
4. Introduction
What could be more primal than the Big Bang that created the Universe? And what could
be more elementary than simple hydrogen atoms -- one positive particle and one negative
particle -- which were originally created in this explosion and which lead to the Universe
today along with our solar system, our Earth and ourselves?
This huge explosion is still with us today in the form of an echo -- the Cosmic Microwave
Background Radiation or CMBR or CMB. Everyday everywhere on the Earth this harmless
radiation is with us. But more than that this 'radio signal' from our origins, our birth, can be
received by man-made equipment and made visible using digital techniques.
I feel that at this fundamental point in our creation, art and science meet. Science found and
revealed the CMBR which confirmed the Big Bang theory and whose discovery led to a
Nobel Prize. Art has the ability to make the CMBR visible and accessible. By doing so,
these images can provide a way of connecting people to their origins and also creating
pictures that evoke a reverence for the miracle of life.
The resulting images, photographs of static on a monitor, are organic. Rather than
repeating and uniform like most static, the shapes are, instead, quite lifelike. And this is
where science and art meet.
Early in the 20th century several artists came up with the idea of biomorphism -- creating
artistic shapes that were based on natural structures and natural processes. The imagery
from the CMBR does just that. The shapes are not mathematical but a kind of 'primal soup',
a squirming interconnected maze of in/out lines and forms that defy the imagination. They
are fascinating at any enlargement.
5. Examples Of Biomorphic (ART)
Biomorphism is an art movement that began in the 20th century. It
models artistic design elements on naturally occurring patterns or
shapes reminiscent of nature and living organisms.
The Tate Gallery's online glossary article on biomorphic form
specifies that while these forms are abstract, they "refer to, or
evoke, living forms...".
http://en.wikipedia.org/wiki/Biomorphism
In fine art, the term "Biomorphic Abstraction" describes the use of rounded abstract forms
based on those found in nature. Also referred to as Organic Abstraction, this type
of abstract art was not a school or movement, but a striking feature of the work of many
different artists.
http://www.visual-arts-cork.com/history-of-art/biomorphic-abstraction.htm
Artists who created in this manner include: Jean Arp, Constantin Brancusi who were
both sculptors and the architect Antoni Gaudí. Here are some examples:
Jean Arp
9. About These Images (SCIENCE)
As I have said, the radio signals received today that were produced by the Big Bang are
technically defined as "cosmic microwave background radiation" or CMB or CMBR which is
an "isotropic radiation bath that permeates the entire Universe" meaning that it is found
everywhere in the Universe.
While NASA uses satellites for its CMBR imagery, it is well established that ground based
equipment can receive these signals. The problem then becomes how to separate the
CMBR from man-made interference. With homemade optimized equipment it is reasonable
to estimate that my raw images contain as much as 30% CMBR.
I created these images with a homemade receiver and a specially modified monitor that
was designed to maximize the received radiation from the Big Bang and reduce man-made
and Earth based interference. I plan to keep tweaking my equipment to improve the
reception and to reduce the amount of Earth created noise. I am hoping that future work will
feel even more organic. Stay tuned!
I tweaked my original photographs by enhancing the color already embedded in the pixels. I
occasionally further enhanced these images by adding "false colors" (a technique that
NASA uses) with computer software and using other computer processes to bring out their
beautiful and random structure. I did not, however, change anything in their structure.
10. Art & Science
While science and art are often quite different, they just as often intersect. The CMBR radio
waves are an example. The CMBR radio waves can be received as imagery or sound. Even
scientists wax poetic when presented with the stunning reality of the CMBR -- it is as though
the Universe itself were singing or talking. This is not a new idea but one that goes back
hundreds of years and led to the the discovery of the how the planets moved -- by Kepler
(see more below). So art, in the sense of aesthetics, i.e. song, harmony, is not a new idea
or one that is far removed from science. In fact it may be central in some
situations.
Here are some comments about the sound aspect and a "harmony of the spheres."
When The Universe Sang
Lawrence Berkeley National Laboratory
The peaks [ED: in the CMBR] indicate harmonics in the sound waves that filled the early,
dense universe. Until some 300,000 years after the Big Bang, the universe was so hot that
matter and radiation were entangled in a kind of soup in which sound waves (pressure
waves) could vibrate. The CMB is a relic of the moment when the universe had cooled
enough so that photons could "decouple" from electrons, protons, and neutrons; then atoms
formed and light went on its way.
http://www.lbl.gov/Science-Articles/Archive/cmb-harmonics.html
BBC NEWS
By mapping tiniest temperature fluctuations in CMB, astronomers can "see" distribution of
matter in early Universe.
Using a music analogy, last year we could tell what note we were seeing - if it was C sharp
or F flat."
"Now, we see not just one, but three of these peaks and can tell not only which note is
being played, but also what instrument is playing it - we can begin to hear in detail the
music of creation."
http://news.bbc.co.uk/1/hi/sci/tech/1304666.stm
11. Primal Soup
"Primordial soup" is a term introduced by the Soviet biologist Alexander Oparin. In
1924, he proposed a theory of the origin of life on Earth through the transformation,
during the gradual chemical evolution of molecules that contain carbon in the
primordial soup.
http://en.wikipedia.org/wiki/Primordial_soup
Primal soup is a scientific term, reflecting one theory about how life evolved. While this
theory is about the origins of life on Earth, it can just as easily be applied to an even more
primal soup, the basic matter that led to the creation of the stars and the galaxies.
One could look at these pictures as a kind of primordial soup, the basic soup from which we
came from. These are more than just fascinating patterns, but designs that contain the
origins of life at the most fundamental level.
Color enhanced dense static containing radio signals from the Big Bang.
12. WHY PATTERNS?
Life is made up of patterns from the blood cells in our veins, to traffic flow in a city, to cloud
formations. All material is made up of microscopic patterns that show how that material is
constructed and held together. And our lives over time are filled with patterns; from morning
to evening we repeat and repeat day after day. Without these patterns life would not be
possible.
Artists tend to avoid patterns except as a background. Patterns are often seen as being
merely decorative and not to be taken seriously. Part of the reason is that man-made
patterns are not as interesting as natural patterns since they repeat in a more predictable
manner. Artistically we do not often look directly at patterns in and of themselves. In this
exhibit I am asking viewers to do just that.
Mark Tobey
Tobey is most notable for his creation of so-called "white writing" - an overlay of
white or light-colored calligraphic symbols on an abstract field which is often itself
composed of thousands of small and interwoven brush strokes. This method, in turn,
gave rise to the type of "all-over" painting style made most famous by Jackson
Pollock, another American painter to whom Tobey is often compared. Tobey’s work is
also defined as creating a vibratory space with the multiple degrees of mobility
obtained by the Brownian movement of a light brush on a bottom with the dense
tonalities.
http://en.wikipedia.org/wiki/Mark_Tobey
13.
14. Harmony Of The Spheres
A belief in a 'harmony of the spheres' was one that was quite old going back to ancient
times and guided Kepler in his precise observations of planetary motion.
http://en.wikipedia.org/wiki/Musica_universalis
In this page from Kepler's book, he notates the music of each planet that he perceives.
While medieval philosophers spoke metaphorically of the "music of the spheres", Kepler discovered
physical harmonies in planetary motion. He found that the difference between the maximum and minimum
angular speeds of a planet in its orbit approximates a harmonic proportion. For instance, the maximum
angular speed of the Earth as measured from the Sun varies by a semitone (a ratio of 16:15), from mi to fa,
betweenaphelion and perihelion. Venus only varies by a tiny 25:24 interval (called a diesis in musical
terms).
http://en.wikipedia.org/wiki/Harmonices_Mundi
I grant you that no sounds are given forth, but I affirm . . .
that the movements of the planets are modulated
according to harmonic proportions.
-- Johannes Kepler, 1619
Kepler's insight led to a mathematical understanding of the planets' movements which in
turn led to the insights of Isaac Newton whose insights in turn led to the creation of the
modern world. When looked at closely, it is often hard to distinguish where art ends and
science begins or vice-versa.
15. For nature is not merely present,
but is implanted within things,
distant from none;
naught is distant from her...
The power of each soul is itself
somehow present afar in the universe...
Giordano Bruno, Italian Philosopher, d. 1600 (burned at the stake for his ideas)
First modern thinker to conceive of an infinite and relative Universe
filled with many worlds.
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37. Digital Arts Processes
Madeleine Reade-Lyons
Module name: Digital Arts Processes
ThamesValley University, London, U.K.
I will be presenting and researching a digital artist called Rick Doble. He was born in Sharon,
Connecticut on July 24th 1944, four days after the assassination attempt on Adolf Hitler. He has been
a digital artist for 15 years and a photographer for over 30.
He became enthralled with the stars in 1955, aged 11, and he bought an inexpensive telescope. His
love of the stars became a lifelong passion and he is still learning about constellations and space
today. At around the same time, his Mother bought him a microscope, thus introducing him to optics
and lenses, which made photography easier to understand when he began to specialize in it at a later
date.
In 1957, at the age of 13, he studied Einstein as explained by George Gamow in his book, One, Two,
Three…Infinity. He was greatly interested in Einstein’s explanation of ‘the fourth dimension’ and he
has used this theory in some of his photographic animations (see www.rickdoble.net, the ‘States of
Being’ personal GIF animations for further)
Specifically, I will be concentrating on Rick Doble’s ‘Live from the Big Bang’ series, which is a
series of over 100 images created directly from the radio waves or, Cosmic Microwave Background
Radiation, of the Big Bang.
I wrote to Rick about his images asking him various, probably mind numbingly basic, questions
about his work. These included what his inspiration was, how he captured the data, how he
colourised it, did he prefer the colourised or embossed versions and so on…I use many of his
responses in my essay and my presentation.
One of the important points he makes it that he finds the organic nature of his images the most
fascinating aspect.
38. Below is an example of one such image with colour:
(www.rickdoble.net)
Rick Doble says ‘These Big Bang signals are the echo, or afterglow, of the single event that created
the universe, our galaxy, our solar system, the planet Earth and ourselves. This online exhibit seeks
to help bridge the gap between art and science.’
‘Enlarging them was the most exciting discovery. I was able to blow up small portions and maintain
a considerable level of fine detail. Just like the Universe itself these pictures contain worlds within
worlds, each fascinating in itself.’
George Gamow first predicted the existence of CMB radiation in 1948. He said that the Universe had
been contracting for long ages and that, when it reached its limiting contraction of 10 to the 14th g/cc,
or one hundred trillion times the density of water, it exploded. This is what we now know to be ‘The
Big Bang’
NASA says ‘The Big Bang theory predicts that the early universe was a very hot place and that as it
expands, the gas within it cools. Thus the universe should be filled with radiation that is literally the
remnant heat left over from the Big Bang, called the “cosmic microwave background radiation”, or
CMB.’ (http://map.gsfc.nasa.gov)
‘For nature is not merely present, but is implanted within things, distant from none; naught is distant
from her...
The power of each soul is itself somehow present afar in the universe...’
(Giordano Bruno, Italian Philosopher, d. 1600)
39. NASA’s image explaining the CMB from the dawn of time
http://map.gsfc.nasa.gov/m_uni/uni_101bbtest3.html
I would like to pick up on what Rick said about bridging the gap between science and art.
What he is saying there is important. To many people, myself included, art and science are two
completely separate things and one does not become the other.
So I am left with a question:
Is something only ‘art’ when it is produced purely for the artistic and aesthetic properties of
the piece?
It is widely accepted that, in order to interpret and understand a piece of art, some context is
necessary. Context can include background information about the artist, historical reference, the
environment of the artist and also their perspective on the artwork.
40. But, is one more important than the other in deciding if something is art? Is it the intention of the
artist that makes it art or the perception of the viewer? I think that the perception of the viewer is
more important in defining a piece as a ‘work of art’
To me, when I look at somebody’s work, I either have an emotional response to it or I don’t. If I
don’t respond to a piece then, as far as I am concerned, it is not art.
When I look at Leonardo Da Vinci’s technical drawings of his flying machine or his war machine, or
any other architectural plans for that matter, I appreciate their aesthetic properties far more than I do
their conventional properties.
Leonardo Da Vinci’s War Machine (www.sciart.com)
41. Indeed, all of Da Vinci’s technical drawings can now be bought in various forms purely for their
artistic merit. I personally own a calendar, sadly it’s from 2003 so is now obsolete but I keep
meaning to cut the images out and frame them!
This image of the architectural plans for the new St Paul's Cathedral is quite clearly a technical
drawing. However, its linearity and simplicity attract me to the image. This may just be because I am
absolutely fascinated by St Paul's, its rich history, dominant architecture and pure beauty. It is
actually my favourite London building; it even beats Craven Cottage home to my beloved Fulham!
That is art.
I truly believe that beauty, elegance and, in this case, artistic merit is in the eye of the beholder. You
may not appreciate the plans of St Paul's in the way that I do and see them purely as the ‘artist’
intended them to be seen. That is science.
Architectural plans of St Paul’s Cathedral
42. www.corpoflondon.gov.uk/collage
The Art Institute of Chicago began a year long course, Science, Art and Technology for the benefit of
Public School teachers that wanted to look at the relationship between science and art.
‘Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories
and hypotheses that are tested in places where mind and hand come together—the laboratory and
studio. In ancient Greece, the word for art was techne, from which technique and technology are
derived—terms that are aptly applied to both scientific and artistic practices.’
(Adapted from a lecture by Robert Eskridge entitled “Exploration and the Cosmos: The Consilience
of Science and Art.” www.artic.edu)
Robert Eskridge is another exponent of the ‘science is art’ brigade.
So, because certain practices use the same technique, according to Robert Eskridge, that means they
can be considered complementary to each other? Well, both a coroner and a surgeon have the same
basic medical training but I know which one I would prefer to do my appendix operation!
Looking further into the subject I discovered that two UCLA professors, media and net artist Victoria
Vesna and nanoscience pioneer James Gimzewski, have created a huge project, Nano, to again try
and fuse art and science, or if not fuse it, at least change people's thinking a little. Their project,
which is at the Los Angeles County Museum of Art, shows the world of nanoscience through a
participatory experience.
‘The exhibition seeks to provide a greater understanding of how art, science, culture and technology
influence each other. Modular, experiential spaces using embedded computing technologies engage
all of the senses to provoke a broader understanding of nanoscience and its cultural ramifications.
The various components of "nano" are designed to immerse the visitor in the radical shifts of scale
and sensory modes that characterize nanoscience, which works on the scale of a billionth of a meter.
Participants can feel what it is like to manipulate atoms one by one and experience nano-scale
43. structures by engaging in art-making activities.’ (http://nano.arts.ucla.edu/)
Layout of NANO exhibition
(http://nano.arts.ucla.edu/)
In this installation, people walk through the various exhibits, which allows them to see and
experience nanoscience. It is not just seeing as in an art gallery though; it is feeling the exhibit, the
senses stimulated by the whole space, being part of the atoms and then being able to participate in
manipulating the exhibit. So, in this way, art and science are in collaboration and one does become
the other.
On the issue of art and science Rick Doble says, ‘One of my goals as a contemporary artist has been
to create connections with modern science.’
He also explains his thoughts behind the theme of patterns, that is a feature of much of his work (see
www.rickdoble.net for the exhibits Snowflakes and Totem Poles) ‘As an artist I have always been
fascinated by complex patterns and have studied the paintings and drawings of Jackson Pollock and
WOLS quite carefully. In 1970 I spent four days absorbing the wonderful and visionary designs that
cover the walls of the Alhambra Palace in Granada, Spain. In addition I looked at Bentley's
snowflakes for many years before I decided to add color to them. I also studied the intricate paintings
of Paul Klee, the deluge and cloudburst drawings of Leonardo da Vinci, the woodcuts of Albrecht
Durer and spent quite a few hours experimenting with moiré patterns’
Rick goes on to say that many artists tend to avoid patterns except for use as a background. A
movement that made more use of patterns purely for their decorative nature was the Art Nouveau
movement from the late 19th, early 20th centuries. This is also another example of art and science (in
this case the science of nature) being melded together in a complementary way.
‘Life is made up of patterns, from the blood cells in our veins, to traffic flow in a city, to cloud
formations. All material is made up of microscopic patterns that show how that material is
constructed and held together. And our lives over time are filled with patterns; from morning to
44. evening we repeat and repeat day after day. Without these patterns life would not be possible.’
I believe there are a number of reasons that Rick has produced his images. Firstly, purely for their
artistic merit. They can stand alone as vibrant absorbing images without one having any idea of their
context and how they came into being. Rick also enjoys exploring, pushing the boundaries of art,
photography and even science. He believes that photographers should actually take ‘bad’ images, just
to see what turns out. He says we should purposely blur images, under and overexpose them and do
things that, as a photography student, you spend years learning not to do. Furthermore, I believe, he
wants to make people think about the link between science and art and how there can be some areas
that are definable as either/or.
All things, by immortal power,
Near or far,
Hiddenly
To each other linked are,
That thou canst not stir a flower
Without troubling a star.
(Francis Thompson (d. 1907), Oriental Ode)
It doesn’t end here either! Rick sent me details of a proposal that he is trying to get funding for and it
is a very exciting installation using his Big Bang data.
This is one of his ideas:
A Big Bang Maze
After entering the maze a participant would see very fine images of the Big Bang on the walls of the
maze. He or she then walks on further into the maze and the images are enlarged so you can see the
amazing organic detail of them. Rick has enlarged his images up to 100 times and they often produce
patterns that repeat yet are not repetitions. At the centre of the maze would be a room containing a
live display of lights and sounds from the Big Bang signals at that particular moment in time.
The aim of this exhibit is to unite art and science and to allow the participant to experience the Big
Bang as something living and ongoing. It is not merely an event that happened millions of years ago.
Its waves and ripples can be heard and felt still.
This essay and the required research has forced me to look at the issues of science and art and I can
see now that certain parts of the two practices do overlap and complement each other. For instance, I
have previously mentioned that I think Rick’s images can stand on their own as art. However,
through researching the production of the images, I have discovered that they have come into being
by scientific means. Not only are they based in astronomy but also satellite technology is used to
capture the raw CMB. Computer technology is used to ‘stain’ them and produce the images you see
today. Lastly, computer technology in the form of the World Wide Web is used to show us these
images.
In conclusion, I am pleased to report that I have changed my mind somewhat about the science and
art issue. While there are still things, especially in ‘modern art’ that are quite clearly technology and
not at all aesthetic, that does not mean that they would not be considered art by some people. After
45. all, beauty is in the eye of the beholder. Furthermore, Rick’s images distinctly and elegantly combine
art, science and technology in a fusion that is energetic, and exciting but so detailed and intricate. It
is a combination that really works.
Bibliography
Christiane Paul – Digital Art (2003)
Many quotes in my essay are direct responses to myself from Rick after I emailed him
Webography
George Gamow's Big Bang theory taken from http://evolution-facts.org/a03a.htm
www.rickdoble.net
http://map.gsfc.nasa.gov/m_uni/uni_101bbtest3.html
www.sciart.com
www.artic.edu
www.corpoflondon.gov.uk
http://nano.arts.ucla.edu/
NB: My research is not limited to the above mentioned. I researched various books and over 30 sites but only chose to use
information from, or quote from the above as it was most relevant.
46. Rick Doble's Background
After getting my Master's Degree in Media, in the mid-seventies, I worked with a brilliant
research doctor at the University of North Carolina at Chapel Hill who, among other things,
discovered a new blood cell. He taught me to "stain" images to bring out their structure.
"Stain is the name of the game," he told me.
This work here, from the Big Bang, came about, in part, because I had spent several years
colorizing the microscopic black and white photographs of W.A. Bentley to bring out their
structure. This work lead directly to these images where I took the idea of 'staining' to show
structure, one step further.
My snowflake pictures in turn were based on the work I had done in the late 1980s with the
black and white images of human beings in motion by Eadweard Muybridge. His
comprehensive landmark scientific study of Human and Animal Locomotion was made in
the late 1800s. These images are now in the public domain. I selected, cropped, enlarged
and then added color with a computer to a number of his photographs. This work has been
exhibited at several museums and published as well. For this project I invented my own
imaging system using the Radio Shack Color Computer.
Personal Note:
At the age of eleven I bought a telescope, made a model of the solar system for a school
project and began to learn the constellations. When I was thirteen I read George Gamow's
book One, Two, Three... Infinity and, as much as I could understand, read about Einstein's
Theory of Relativity. In college I took a course in 20th century physics. I have done my best
as a layman to keep up with the developments in astronomy since then.