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Please don't use this image on websites, blogs or other media without explicit permission. © All... NO MULTI INVITATIONS in your commenTs, Tks
Shortlist for microscope images in Close-up Photographer of the Year 2020.
www.cupoty.com/micro-shortlist-02
Above image and a few others of mine are among the shortlisted images.
Other categories include insects, plants&fungi and more. Lots of beautiful and inspiring images.
A HaOIII narrowband image of the Eagle Nebula (catalogued as Messier 16, M16, or NGC 6611).
The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7,000 light-years from Earth.
A spire of gas that can be seen coming off the nebula in the north-eastern part is approximately 9.5 light-years or about 90 trillion kilometers long. The nebula contains several active star-forming gas and dust regions, including the "Pillars of Creation".
About this image:
This image consists of old narrowband Hα and OIII data, that I reprocessed after combining it with more data that I recently imaged.
The Hydrogen dust and gas (the most basic and abundant element in the Universe), emits in the Red part of the spectrum, and the doubly ionized Oxygen emits in the Blue part of the spectrum.
Wavelengths of light in this image:
Hydrogen Alpha line 656nm (7nm bandwidth).
OIII line 500.7nm (6.5nm bandwidth).
Processing:
Pre-Processing and Linear workflow in PixInsight,
and finished in Photoshop.
Plate Solving:
Platesolve 2 via Sequence Generator Pro.
Astrometry Info:
Center RA, Dec: 274.716, -13.820
Center RA, hms: 18h 18m 51.796s
Center Dec, dms: -13° 49' 11.111"
Size: 60.8 x 40 arcmin
Radius: 0.606 deg
Pixel scale: 2.21 arcsec/pixel
Orientation: Up is 9.62 degrees E of N
nova.astrometry.net/user_images/2794874#annotated
Martin
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Art and Science, they say, are polar opposites that must not be forked together. One is intuitive, inductive, and sensory, while the other is analytical, deductive, and logical. They must be held apart, for they come from different places and evoke different things in the practitioner while suffocating and/or rewarding them in unlike ways.
Now, is that true?
Let’s take the example of the String theory – a theory, which at its crescendo, posits the existence of eleven dimensions around us: ten of space and one of time (M-theory). On the surface, string theory is the child of Science: an analytical idea that was deduced in a systematic and logical way. It divides all particles in the universe into two types: Bosons and Fermions, and from there, attempts to explore the universe at the highest level of abstraction. At dizzying heights of such abstraction, this theory posits that a staggering 10^520 universes (Multiverse) may exist folded within the theoretical ‘String landscape’ of 11 dimensions. Intuitively, such abstraction is useless for an artist, who often struggles to portray three regular dimensions within restrictions of the two dimensional canvas. Instead, imagine portraying all 11 dimensions on a flat surface… it is forbiddingly disorienting!
Disorientation is not limited to artists; scientists suffer at the hands of this theory too. The String theory cannot be experimentally proven, or more importantly, disproven. To many scientists, what cannot be tested is not science. Period. And yet, generations of physicists have pursued the String theory with a creative madness rivaled in intensity only by lunacy of geniuses like Beethoven, Schumann and Vincent van Gogh. So, who are these physicists working their paint in mathematical formalization for three decades trying to birth their ‘theory of everything’ in some tangible form? Are they scientists – because they are using impeccable mathematics in their art; or, are they artists – because they are applying their top creative sparks and imagination in their science?
So, at the risk of offending a few prigs and pundits, I will leave you with the idea that Science and Art are perhaps like Bosons and Fermions, which according to an even wilder version of string theory (Supersymmetry), are contained in one another: every Fermion has a Boson, and every Boson a Fermion.
This steampunk style sculpture is the brainchild of UK artist, Tim Wetherell. On one level it represents a Newtonian model of the universe operating as a gigantic machine in accordance with fixed physical laws. But it is also a reference to the shortcomings of that model—shortcomings which eventually led Einstein to develop his theories of special and general relativity. The artwork has moving gears, a working clock, and a ‘speed adjuster’ that is an allusion to the need to compensate for the inconsistencies which surfaced when Newton’s model was tested in the light of more precise measurements of physical phenomena. At the centre of the sculpture is an animation of the moon going through its phases.
The work is displayed on a wall at the Questacon science museum in Canberra. I have not been able to find information as to its exact size but it is large—probably four to five metres in total height and a good two-and-a-half metres wide. The section of the mechanism shown in the photograph is probably a metre and a half across.
For a photo of the complete work, click on this link: www.flickr.com/photos/fotographia64/9771044394 .
For Wetherell’s own description of the sculpture, more photographs of the work, and a short video of it’s operation, go to the artist’s web page at:
www.wetherellart.co.uk/pages/sculpture_clockwork.html
© Irwin Reynolds, all rights reserved. If you are interested in using one of my images or would like a high quality fine art print, please send me an email (irwinreynolds@me.com)
Solarigrafía entre solsticios en la Estación de Ferrocarril El Cañuelo-Soria.
Tiempo de exposición: 21 de junio a 25 de diciembre 2016.
Caminos del sol al amanecer sobre la silueta de un dinosaurio en Garray (Soria). Desde el 21 de diciembre 2015 al 10 de julio 2016.
Sunpaths at sunrise over the silhouette of a dinosaur in Garray (Soria). From December 21 2015 to July 10, 2016.
NASA’s Chandra X-ray Observatory and other telescopes have identified a supermassive black hole that has torn apart one star and is now using that stellar wreckage to pummel another star or smaller black hole, as described in our latest press release. This research helps connect two cosmic mysteries and provides information about the environment around some of the bigger types of black holes.
This image shows Chandra X-ray data (purple) and an optical image of the source from Pan-STARRS (red, green, and blue) of the area around AT2019qiz. Chandra and other telescopes have identified this supermassive black hole that has torn apart one star and is now using that stellar wreckage to pummel another star or smaller black hole. The X-ray source at lower left is unrelated to the AT2019qiz system. It's most likely a supermassive black hole in a background galaxy located behind AT2019qiz.
Credit: X-ray: NASA/CXC/Queen’s Univ. Belfast/M. Nicholl et al.; Optical/IR: PanSTARRS, NSF/Legacy Survey/SDSS; Illustration: Soheb Mandhai / The Astro Phoenix; Image Processing: NASA/CXC/SAO/N. Wolk
#NASAMarshall #NASA #astrophysics #NASAChandra #NASA #ESA #BlackHole
Construcción de apartamentos abandonada en la Ciudad de la Imagen, Alicante. 2016. Tiempo de exposición: 21/12/2015 a 14/10/2016. Cámara de agujero de alfiler, proyección cilíndrica. Plano focal orientado al oeste.
Solarigrafía. Tiempo de exposición: 23 diciembre 2016 a 12 noviembre 2017. Cámara estenopeica de fabricación casera, proyección cilíndrica. Situada en la margen izquierda del puente con el eje orientado a oeste.
Solarigrafía de una silueta del toro de Osborne #22. Tiempo de exposición: 02 de junio a 29 de diciembre 2016
'Scientists investigate that which already is
and Engineers create that which has never been.' Albert Einstein
"I believe the same principle applies for Artists,
it is challenging to create something that has never been..
unlike 'pop art' that is derived from something mainstream..
..yet even pop-art is creative in the way that it is focused through the Artist's personal lens
and then reconstructed as something new." ~Tomitheos
Copyright © 2011 Tomitheos Photography - All Rights Reserved
Logos from Web 2.0 are caught in the web somewhere between NASA photos of deep space, science fiction landscapes of our inner space, the synapses of the brain, the virtual space that is not abstract, imagined or really real.
This image has been updated over the years. See the 2013 version here.
Web 2.0, is a term coined by Tim O’Reilly in 2004 for a series of conferences on a revivified Internet. O’Reilly (2005) in what is now considered to be his seminal article claimed that, “If Netscape was the standard bearer for Web 1.0, Google is most certainly the standard bearer for Web 2.0 (O’Reilly 2005). He contrasted Web 1.0 with Web 2.0 by citing examples: DoubleClick vs Google AdSense, Ofoto vs Flickr, Britannica Online vs Wikipedia, personal websites vs blogging, domain name speculation vs search engine optimization, page views vs cost per click, publishing vs participation, content management systems vs wikis directories (taxonomy) vs tagging (”folksonomy”) and stickiness vs syndication. The conceptual map his team devised provides a sketch of Web 2.0 showing social networking sites, wikis, communication tools, and folksonomies.
Although some argue that it does not exist as anything more than geek jargon, for this new user, it is a promising and surprising paradigm shift in the Internet and in software development. I began blogging using Web 2.0 freeware in September 2006. Numerous users like myself have access to sophisticated, ever-improving software technologies since the cost of development is shared among enthusiastic nerds and geeks (in a good way). Freeware on Web 2.0 is not proprietary by nature but is capable of generating huge profits because of the viral way in which users share in the development, marketing and growth of the product while improving connectivity and in content in the process.
NB Digitage updated 2010 www.flickr.com/photos/oceanflynn/6632389481
Selected webliography
Tim O'Reilly, 2005. "What Is Web 2.0: Design Patterns and Business Models for the Next Generation of Software". Uploaded 09/30/2005. Accessed January 6, 2007.
As a child, I was never naughty enough to get Coal for Christmas, so this past Christmas, I decided to get myself some.
The tradition of getting coal for Christmas:
In 16th-century Europe, children put their shoes (or Christmas stockings) by the fireplace on Christmas Eve. When they woke, they would either have candy and goodies if you were good or coal if they were naughty. Other countries had similar traditions and stories based around this theme.
About carbon:
Carbon atoms are unique in their ability to form stable, complex molecules through covalent bonding, which is largely due to their electron configuration.
Each carbon atom has 6 electrons, 2 in the inner shell (K shell), and 4 in the outer shell (L shell). The outer shell can hold up to 8 electrons. This means that each carbon atom can share its 4 outer shell electrons with up to 4 other atoms, forming 4 covalent bonds.
This ability to form four bonds makes carbon extremely versatile. It can bond with other carbon atoms to form long chains, branched structures, or closed rings. It can also bond with atoms of other elements, such as hydrogen, oxygen, nitrogen, and more.
Carbon can form double and triple bonds by sharing two or three pairs of electrons, respectively. This leads to a variety of molecular structures with different properties, contributing to the complexity and diversity of organic compounds.
The electron configuration of carbon atoms allows them to form complex molecules by creating multiple covalent bonds with other atoms, including other carbon atoms. This is the basis for the vast diversity of organic chemistry.
About carbonium:
A carbonium ion is a type of organic molecule that has a positive charge localized at a carbon atom.
Gear:
Vosentech MicroFogger 5 Pro.
Adaptalux Studio Modular Macro Lighting System with Diffusers.
Martin
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In mid-August 2010 ESO Photo Ambassador Yuri Beletsky snapped this amazing photo at ESO’s Paranal Observatory. A group of astronomers were observing the centre of the Milky Way using the laser guide star facility at Yepun, one of the four Unit Telescopes of the Very Large Telescope (VLT). Yepun’s laser beam crosses the majestic southern sky and creates an artificial star at an altitude of 90 km high in the Earth's mesosphere. The Laser Guide Star (LGS) is part of the VLT’s adaptive optics system and is used as a reference to correct the blurring effect of the atmosphere on images.
Credit: ESO/Y. Beletsky
I have been working on this Adobe Photoshop Image which seems to keep getting larger and larger. I first sketched out the movement I wanted using 2B Pentil on paper. I was working with several images of neural architecture as models but the movement and composition looked like dozens of images I've painted and drawn over the years. The I scanned the full-size image on a flat bed scanner. In Adobe Photoshop I inverted the positive/negative aspect under Image > Adjustments > Invert. Under Image>Mode I converted the image from RGB to Greyscale then to RGB again so I could adjust the colours to one I hoped would be easier to paint with. I deleted the background so I could have a transparent layer to work with. I used the Magic Wand tool to delete the spaces between neurons. (Some of this work must feel a little like users of video games where you target and delete). I like to use both the eraser, blurring and cloning tools at this stage with full ranges of Master Diameter and Hardness . I used the starry night wallpaper for the background. I tried to keep Michaelangelo out of this but I kept thinking of the layered image I made recently inspired by Charles Taylor's response to William James' Varieties of Religious Experience. Adam looks ridiculous on the neuron branch. I had fun with the shell turned into neuron around the image of Michaelangelo's depiction of the Creator.
I keep making sketches of close-ups so now I am trying to imagine terminal nerve fibres entwined in neurofilament, proteins at the interface of the downstream end of neuron’s dendritic spine and an excitary synapse. I used Adobe Photoshop's pattern tool to create the translucid cell membrane encasing the nerves along which electrical impulses flow. I am not satisifed with the detailed synaptic gap so I have started to examine more closely what goes on under the cellular membrane. The synaptic vesicle reminds me of pomegranite seed in some images so I want to play with that a little more. I continue to collect images of synapses and keep track of them on my del.icio.us and my Google customized homepage using .rss feed. I still need to use pencil and paper to understand the relationships. It is strangely relaxing. This type of layered image is never complete. As I learn more about Adobe Photoshop options I will try different tools. (Thank you by the way to the Orton Group. I haven't tried their suggested tools on any of my work yet but I probably will at some time.)
The synaptic cleft in the human brain reminds me of the gap between the hand of God and Adam in Michaelangelo’s visualization of Creation. My mind is stuck on the image of the gap. That’s the leap of faith between that which we can know and that which is beyond our capacity to know. In the human brain this synaptic gap is so macroscopic no one has ever seen it. But there are amazing images that are somewhat like science fiction as artists attempt to compile scientific data into visualizations of what it might look like. I am not attempting to be a science illustrator. But I think somehow this image will be like a cartography of a way of thinking that resonates more with complex hyperlinkages than with the human brain.
The brain is a supersystem of systems. Each system is composed of an elaborate interconnection of small but macroscopic cortical regions and subcortical nuclei, which are made of microscopic local circuits, which are made of neurons, all of which are connected by synapses (Damasio 1994:30).
Neurons must be triggered by a stimulus to produce nerve impulses, which are waves of electrical charge moving along the nerve fibres. When the neuron receives a stimulus, the electrical charge on the inside of the cell membrane changes from negative to positive. A nerve impulse travels down the fibre to a synaptic knob at its end, triggering the release of chemicals (neurotransmitters) that cross the gap between the neuron and the target cell, stimulating a response in the target (Baggaley 2001:104).
Damasio (1994) describes the neural underpinnings of reason and challenges Cartesian dualisms of mind/body, emotions/reason. Feelings and logical thinking are not like oil and water.
The “body [. . .] represented in the brain [constitutes] an indispensable frame of reference for the neural process that we experience as the mind (Damasio 1994:xvi).”
Our bodies are the ground reference for the construction we make of the world. Our embodied selves construct the ever-present sense of subjectivity, our experience. The body becomes is the instrument through which we construct our most refined thoughts and actions (Damasio 1994:xvi).
Baggaley, Ann, Ed. (2001), “Anatomy of the Human Body,” Human Body, Dorling Kindersley Publishing: NY, p. 104.
Damasio, Antonio R., 1994, Descartes’ Error: Emotion, Reason, and the Human Brain, Grosset/Putnam: New York.
Damasio, Hanna, (1994) “Gage’s skull, illustrations” in Damasio, Antonio R., 1994, Descartes’ Error: Emotion, Reason, and the Human Brain, Grosset/Putnam: New York. p. 31-2.
Johnson, Graham, (2005), “The Synapse Revealed,” 23 September 2005, Science Magazine and the National Science Foundation.
The first place winner of the Science and Engineering Visualization Challenge was Graham Johnson from Medical Media, Boulder, Colorado. His image is described on Science Magazine’s web page:
Deep inside the brain, a neuron prepares to transmit a signal to its target. To capture that fleeting moment, Graham Johnson based this elegant drawing on ultra-thin micrographs of sequential brain slices. After scanning a sketch into 3D modeling software, he colored the image and added texture and glowing lighting reminiscent of a scanning electron micrograph.
Stuck in with a bad cold at the moment - can't even photo-edit at the moment!
Any way, this one continues the theme of Space travel and the imagined experience of space time and star gates at high velocity.
The first picture in the series:
www.flickr.com/photos/thecrescent/3757735957/in/photostream/
:-)
Simon
Photo showing Orbits by Quadrature (DE) at the Ars Electronica Center’s Deep Space 8K.
Quadrature are recipients of the European Digital Art and Science Network residency.
Ars Electronica Center
Ars-Electronica-Straße 1
A-4040 Linz
Austria
credit: tom mesic
For AGRIEBORZ, Nick Ervinck used imagery of human organs that he found in medical manuals as construction materials to create an organic form, a larynx (or voice box) “gone wild.” Though imaginary, AGRIEBORZ seems to retain some familiarity due to its visual connection to human organs, muscles, nerves, etc.
credit: Luc Dewaele
A spectacular aerial view of the ESO Very Large Telescope (VLT) platform, atop Cerro Paranal, in the Chilean Atacama Desert.
Credit: J.L. Dauvergne & G. Hüdepohl (atacamaphoto.com)/ESO
Flynn-Burhoe, Maureen. 2007. “Nanuq of the North II: Animal Rights vs Human Rights.” Speechless. Uploaded January 3, 2007.
The Bush administration took advantage of the way in which all eyes turn towards Santa’s North Pole, where big-eyed talking polar bears, reindeer and seals live in harmony, to announce that they would save these creatures from Nanook of the North. See story.
For a divergent point of view read Nunatsiak News article.
Nanook (nanuq Inuktitut for polar bear) was the name of the Eskimo hunter captured on film in the first documentary ever produced, Robert Flaherty’s (1922) Nanook of the North, — still shown in film studies survey courses. Nanook the Stone Age-20the century hunter became an international legend as a lively, humourous and skillful hunter of polar bears, seals and white fox who tried to bite into the vinyl record Flaherty had brought with him. (The real “Nanook” died of tuberculosis (Stern 2004:23) as did countless Inuit from small communities ravaged by one of the worst epidemic’s of tuberculosis on the planet.)
On August 13, 1942 in Walt Disney studios’ canonical animated film Bambi it was revealed that many animals with cute eyes could actually talk and therefore shared human values. Nanook and his kind became the arch enemy of three generations of urban North Americans and Europeans. Hunters were bad. Cute-eyed animals that could talk were good. Today many animals’ lives have been saved from these allegedly cruel hunters by the billion dollar cute-eyed-talking-animals-industry.
The White House has once again come to the rescue of these vulnerable at-risk animals. (There was an entire West Wing episode in which a gift of moose meat was rejected by all staff since it came from a big-eyed-talking-animal. See Ejesiak and Flynn-Burhoe (2005) for more on how the urban debates pitting animal rights against human rights impacted on the Inuit.) Who would ever have suspected that the Bush administration cared so much about the environment that they would urge an end to the polar bear hunt, already a rare phenomenon to many Inuit since their own quotas protected them?
When I lived in the north the danger for polar bears did not reside in the hearts of hunters. Nanuq the polar bear who could not talk was starving. He hung out around hamlets like Churchill, Baker Lake or Iqaluit, looking for garbage since this natural habitat was unpredictable as the climate changed. Some people even insisted that there was no danger from the polar bear who had wandered into town since he was ’skinny.’ That did not reassure me! I would have preferred to know that he was fat, fluffy and well-fed. Polar bears die from exhaustion trying to swim along their regular hunting routes as ice floes they used to be able to depend on melted into thin air literally. They die, not because there are not enough seals but because they need platform ice in the right seasons. That platform ice is disappearing. They die with ugly massive tumours in them developed from eating char, seals and other Arctic prey whose bodies are riddled with southern toxins that have invaded the pristine, vulnerable northern ecosystem. Nanuq is dying a slow painful death. Nanuq is drowning. Although he doesn’t sing he is a canary for us all.
Climate change and southern industrial toxins affect the fragile ecosystem of the Arctic first. The Inuit claimed in 2003,"Global warming is killing us too, say Inuit ."This is why Sheila Watt-Cloutier laid a law suit against the administration of the United States of America. Now the handful of Job-like Inuit who managed to survive the seal hunt fiasco of the 1980s and are still able hunt polar bear, will have yet another barrier put between them and the ecosystem they managed and protected for millennia. When I see Baroque art and read of the Enlightenment, I think Hudson’s Bay and the whalers in the north. It wasn’t the Inuit who caused the mighty leviathan to become endangered. Just how enlightened are we, the great grandchildren of the settlers today? Who is taking care of our Other grandparents?
Since the first wave of Inuit activists flooded the Canadian research landscape fueled by their frustrations with academic Fawlty Towers they morphed intergenerational keen observation of details, habits of memory, oral traditions and determination with astute use of artefacts and archives to produce focused and forceful research. When Sheila Watt-Cloutier representing the Inuit Circumpolar Conference (ICC) was acknowledged with two awards in one year for work done to protect the environment, I wondered how many cheered her on.
I don’t cheer so much anymore. I am too overwhelmed, too hopeless to speak. I myself feel toxic, perhaps another pollutant from the south — my name is despair. I don’t want to dampen the enthusiasm of those activists who still have courage to continue. For myself, I feel like the last light of the whale-oil-lit kudlik is Flicktering and there is a blizzard outside.
Footnotes:
From wikipedia entry Sheila Watt-Cloutier
In 2002, Watt-Cloutier was elected[1][4] International Chair of ICC, a position she would hold until 2006[1]. Most recently, her work has emphasized the human face of the impacts of global climate change in the Arctic. In addition to maintaining an active speaking and media outreach schedule, she has launched the world’s first international legal action on climate change. On December 7, 2005, based on the findings of the Arctic Climate Impact Assessment, which projects that Inuit hunting culture may not survive the loss of sea ice and other changes projected over the coming decades, she filed a petition, along with 62 Inuit Hunters and Elders from communities across Canada and Alaska, to the Inter-American Commission on Human Rights, alleging that unchecked emissions of greenhouse gases from the United States have violated Inuit cultural and environmental human rights as guaranteed by the 1948 American Declaration of the Rights and Duties of Man.[5]
2. See also David Ewing Duncan's "Bush's Polar-Bear Problem" Technology Review: The Authority on the Future of Technology. From MIT. Information on Emerging Technologies. March 09, 2007. Duncan claims "The administration tells scientists attending international meetings not to discuss polar bears, climate change, or sea ice."
Note:
Digitage elements:
Caspar David Friedrich's (1824) The Sea of Ice
Tujjaat Resolution Island, abandoned, DEW line station DINA Northern Contaminated Sites Program (CSP) web site
My photo of ice floes in Charlottetown harbour, March 2000
A section of my acrylic painting entitled Nukara (2000)
Selected Bibliography
Eilperin, Juliet. (2006). ""U.S. Wants Polar Bears Listed as Threatened." Washington Post Staff Writer. Wednesday, December 27, 2006; Page A01
Fekete, Jason. 2008. "Nunavut opposes anti-polar bear hunt movement in U.S." Calgary Herald. May 29, 2008
Gertz, Emily. 2005. The Snow Must Go On. Inuit fight climate change with human-rights claim against U.S. Grist: Environmental News and Commentary. 26 Jul 2005.
The Guardian. 2003. ""Inuit to launch human rights case against the Bush Administration."
DEW line contaminated sites in Nunavut.
Stern, Pamela R. 2004. Historical Dictionary of the Inuit. Lanham, MD:Scarecrow Press.
www.guardian.co.uk/international/story/0,3604,1104241,00....
www.grist.org/news/maindish/2005/07/26/gertz-inuit/index....
This will be updated from EndNote. If you require a specific reference please leave a comment on this page.
Creative Commons Canadian Copyright 2.5 BY-NC-SA.
Antennas of the Atacama Large Millimeter/submillimeter Array (ALMA), on the Chajnantor Plateau in the Chilean Andes. The Large and Small Magellanic Clouds, two companion galaxies to our own Milky Way galaxy, can be seen as bright smudges in the night sky, in the centre of the photograph.
Credit: ESO/C. Malin
Solarigrafía en relación al viento y el sol en Madrid.
Trabajo realizado combinando una cámara estenopeica de fabricación artesanal para hacer solarigrafías montada en el plato de anclaje de un steadycam. Tiempos de exposición de un día sobre papel fotosensible KODAK. Datos del viento tomados con una estación metereológica situada en la zona de trabajo con la Escala de Beaufort.
Mas información:
The third recipient of the residency staged under the auspices of the Art & Science Network is the artists’ collective Quadrature (Jan Bernstein, Juliane Götz and Sebastian Neitsch, all DE). In 2016, they were selected from among the 322 applicants from 53 countries and spent their residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria.
Credit: Claudia Schnugg
I'm working on art work to submit to a juried show upcoming in Dallas, Texas, called "Water, More or Less." This shot of the Gulf of Mexico is from my research files.
The badly battered tin globe is from my personal collection.
The show will be held at the Brazos Gallery, Richland College, Dallas TX.
Opening reception: Sat, Jan. 30, 5-7 PM, 2010. For more information: www.richlandcollege.edu/artandscience/water.php.
British artist SHOK-1 spraypaints unique X-ray art on walls around the world. The works present a kind of diagnosis of life in the 21st century, sometimes in glowing health and other times pathological. A cool blend of street and science, the paintings are enormously popular. SHOK-1 is based in London and holds a degree in Applied Chemistry.
The graffitied walls of London's Brick Lane with a high quality selection of street art draw visitors from all over the world. Artists from UK and abroad come here to paint, knowing that they will get an appreciative audience and a wide appeal.
It is the epicentre of street art in the city.
London with a 8mm
Samyang 8mm f/2.8 ED AS IF UMC Fisheye Lens with SAMSUNG NX1
When salivary glands stop working and the mouth becomes dry, either from disease or as a side effect of medical treatment, the once-routine act of eating can become a major challenge.
To help such people, researchers are now trying to engineer replacement salivary glands. While the research is still in the early stages, this image captures a crucial first step in the process: generating 3D structures of saliva-secreting cells (yellow).
More info: directorsblog.nih.gov/2018/05/03/snapshots-of-life-the-sc...
Credit: Swati Pradhan-Bhatt, Christiana Care Health System, Newark, DE
NIH support from: National Institute of Dental and Craniofacial Research; National Cancer Institute; National Center for Advancing Translational Sciences
Concept, name, direction and design for new piano album by Dmitriy Malikov. More images comming soon.
This view of the reddish, Mars-like landscape of the Atacama Desert around the Visible and Infrared Survey Telescope for Astronomy (VISTA), was taken from the neighbouring Cerro Paranal, home of ESO's Very Large Telescope (VLT). VISTA started operations at the end of 2009 and the latest telescope to be added to ESO´s Paranal Observatory, located some 120 km south from Antofagasta, in the II Region of Chile. VISTA is the largest telescope in the world dedicated to surveying the sky and works at near-infrared wavelengths.
credit: ESO/José Francisco Salgado (josefrancisco.org)
In this image, researchers used a recently developed polarized light microscope to trace the spatial orientation of neurons in a thin section of the mouse midbrain. Neurons that stretch horizontally appear green, while those oriented at a 45-degree angle are pinkish-red and those at 225 degrees are purplish-blue. These colors don’t involve staining or tagging the cells with fluorescent markers: the colors are generated strictly from the light interacting with the physical orientation of each neuron.
More information: directorsblog.nih.gov/2017/04/27/snapshots-of-life-neuron...
Credit: Michael Shribak, Marine Biological Laboratory, Woods Hole, MA
This image is not owned by the NIH. It is shared with the public under license. If you have a question about using or reproducing this image, please contact the creator listed in the credits. All rights to the work remain with the original creator.
NIH support from: National Institute of General Medical Sciences
All necessary data about the positions and paths of satellites is known though, as it is crucial for determining free spots for new satellites. Accessing this information allows the drawing machine SATELLITEN to keep record of the sheer amount of satellite flyovers in regard to its own location. In a square of approximately 10cm², the machine traces their lines in real time until the far away object leaves our horizon again.
Credit: Quadrature
(un)shaped show how so-called antibubbles emerge. The artists created a mechanism which puts drops into water so that bubbles are created.
Credit: Jürgen Grünwald
Triaina is an ongoing large-scale art project that utilizes design and technology to create sustainable ecosystems that integrate man-made forms with nature. A sculpture made from concrete and α-amino acids is placed on the seabed and acts as cultural artifact as well as home to marine life, promoting an symbiotic ecosystem between man and nature.
Credit: AnotherFarm
The BR41N.IO Brain-Computer Interface Designers Hackathon Series has been created to show current and future developments, and the unlimited possibilities of BCIs in creative or scientific fields, and brings together engineers, programmers, designers and artists. Each team must design and build a wearable BCI-headpiece that can measure brain activity in real-time to create any sort of interaction. The hacking projects use EEG electrodes and amplifiers, and challenge programmers to code an interface that enables them to control devices, robots or applications, post messages on social media, draw paintings, or a myriad of other applications by using their thoughts only. BR41N.IO also challenges creative minds to design a BCI headset with 3-D printers, handcrafted materials and sewing machines.
Children are invited to create their own Brain-Computer Interfaces and can take their handicraft with them. BR41N.IO aims to promote awareness of artificial intelligence, life science, art and technology, and how these can merge into innovative and exceptional BCI systems.
Credit: vog.photo
For “AGRIEBORZ” Nick Ervinck used images of human organs that he found in medical manuals as construction material for creating organic forms, and then realized them in 3D. With his work he is questioning, on the one hand, the impact of rapid prototyping and 3D printing for medical research and, on the other hand, the influence of bioprinting technology in generating organs.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
1911, sculpture of Art
en.wikipedia.org/wiki/Boston_Public_Library
two seated allegorical female figures - one representing Art, holding a palette and a paintbrush ( (in this image), the other one representing Science, holding a sphere
Best view in SlideShow
When Art and Science Meet
Over 100 Jewish, Arab and Circassian junior-high and high school students from Jatt, Ramleh, Afula and Kfar Kama participated in the fascinating project sponsored by the U.S. Embassy Tel Aviv. The “D.N.A. (Department of Nocturnal Affairs) project” is run by the Israeli-American artistic duo: Tal Yizrael and Caroline Maxwell. It gathers information on nocturnal animals from people around the world and presents it an artistic way to raise awareness to their importance and beauty in our lives. This year the D.N.A. project is part of the “Fresh Paint” International Art Fair in Tel Aviv, where thousands of visitors are exposed to it daily. In addition, Tal and Caroline gave inspirational workshops in the schools in Israeli periphery to the groups of female students involved in the scientific project “Girls Using CSI Approach to Study Barn Owls in STEAM Study in Israel and the U.S.” by the University of f Haifa’s Department of Evolution and Environmental Biology. This project - dedicated to a beautiful nocturnal bird- the barn owl, is supported by the U.S. Embassy, and promotes science education for girls. The organic connection between art and science was a perfect fit for the girls that were excited to learn about alternative research tools and actively involved in painting and sculpting nocturnal environment at their schools. This program highlighted the Embassy’s goal to promote STEAM (Science, Technology, Engineering, Arts and Math) education among girls in general, and from underrepresented communities in Israel’s socio-economic and geographic periphery.
Weeknights at the Wagner
February 9th at 5:30 PM
"What's Love Got To Do With It? Fertilization Imagery in the Art of Gustav Klimt, Frida Kahlo, and Diego Rivera"
By Dr. Scott F. Gilbert
Saint Valentine's Day, a celebration of love between intimate companions, is often symbolized by images of hearts, doves, cupids and... embryos? Images of fertilized cells and fetuses may not be traditional icons for Saint Valentine’s Day, but a few unconventional 20th-century artists used these modern scientific depictions to speak about love, passion, politics, and society.
Dr. Scott Gilbert, a Professor of Biology at Swarthmore College, recently made the fascinating discovery that Klimt, Kahlo, and Rivera all depicted images of fertilized cells and embryos (often with scientific accuracy) in their artwork, and each to convey a unique, powerful message. Scott will take an in-depth look at their paintings to see how they merged science and art, and to explain the meaning behind their deliberate appropriation of scientific images. Klimt depicted nascent embryos to champion artistic creativity over government repression; Kahlo used embryonic development to symbolize the consummation of love and the primacy of woman in creation; and Rivera used an image of ovulation to portray workers controlling their fertility and wages.
Join us to examine this fascinating period in history when science and art intermingled – when biology influenced artistic creativity and created a new language for political and social commentary. Scott Gilbert will again bring science to art with new insight into the history, and meaning of these works.
How does an artist paint love? How will you represent and communicate love this Valentine’s Day? We recommend consulting a biology textbook for inspiration and bringing your date to this lecture.
Dr. Scott Gilbert is the Howard A. Schneiderman Professor of Biology at Swarthmore College and is a Finland Distinguished Professor at the University of Helsinki. He teaches developmental genetics, embryology, and the history and critiques of biology. His award-winning research looks at the ways in which evolution is a product of embryological changes. Dr. Gilbert’s work has been published extensively in academic journals and he is the author of three textbooks
Photo credits, left to right: Gustav Klimt, photograph by Josef Trcka, 1914; Frida Kahlo, photograph by Carl Van Vechten, 1932; Diego Rivera, photograph by Carl Van Vechten, 1932.