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Frederick “Rusty” Gage has spent his life asking a question many neuroscientists once considered heretical: can the adult brain grow new neurons?
When I photographed him at the Salk Institute in February 2026, that question felt less like rebellion and more like legacy. We made portraits in his study overlooking the Pacific, a quiet room washed in coastal light. The ocean moved below the cliffs in long, steady breaths. It is the same office once occupied by Jonas Salk, who recruited Rusty decades ago. The desk, the view, the gravity of the place. You feel it immediately. History is not abstract there. It presses in from the walls.
In the late twentieth century, neuroscience was built on a stark premise: you are born with a fixed number of neurons. Damage them and they are gone. Memory fades. Injury lingers. Aging narrows possibility. Rusty challenged that dogma with careful, methodical experiments that showed new neurons could, in fact, form in the adult hippocampus. The implications were enormous. Learning, mood, resilience, even the biology of hope took on new dimensions.
In person, what strikes you first is his attentiveness. He leans in slightly when you speak, hands folded, eyes steady behind round glasses. There is warmth in him that feels unforced. Soft spoken, yes, but never distant. You sense a mind that is constantly mapping connections, not only between neurons but between people. Students drift in and out of his orbit with ease. Colleagues seek him out. He listens more than he declares.
The study itself holds layers of meaning. Jonas Salk built the institute as a place where scientists could think expansively, where architecture and intellect met the horizon. Standing in that room with Rusty, you understand that recruitment was more than a hire. It was a passing of trust. Salk had imagined a future for biology that included imagination and risk. Rusty carried that forward into the living brain.
His work has since expanded beyond neurogenesis into how the genome shapes the nervous system over time. His lab explores mosaicism in the brain, the idea that our neurons are not genetically identical but subtly varied. The brain becomes not a static organ but a dynamic landscape, shaped by experience and by the restless choreography of DNA. It is a vision of the self that is fluid and intricate.
Photographing him in that office felt less like documenting a single scientist and more like tracing a lineage. Salk sought a vaccine that would protect children from paralysis. Rusty sought evidence that the adult brain was not condemned to decline. Both projects required a certain stubborn optimism. A belief that the body holds more possibility than we assume.
The weight of history was there, yes. But so was something lighter. A current of curiosity that refuses to settle. In Rusty Gage’s presence, you feel that science is not a monument. It is a conversation, still unfolding, with the ocean as witness.
This group exhibition, including work by Catherine Richards, Michael Snow, Scott Rogers, Thomson & Craighead and Simon Pope, draws on ideas of scientific experimentation, media processing, and time delay. Each work acts to slow down our senses of perception, causing within us an awareness of both time passing and our experience of it. The title refers to that fact that we often watch other people interact with responsive art, and mirror their behaviour, consciously or not.
Catherine Richards’ I was scared to death / I could have died of joy features glass replicas of the brain, which react to your presence with pulses of electromagnetic light. Scott Rogers’ Between Nonesuch Place juxtaposes an actual non-functioning glass object, a ‘self-flowing flask’ with its virtual working counterpart. Thomson & Craighead’s Flipped Clock is a modified digital clock display, where each individual digit is rotated by 180-degrees. Simon Pope’s Recall From Memory the Space of Another Gallery is an invitation for the visitor to recall experiences of being in other gallery spaces from memory. The seminal filmmaker Michael Snow’s WVLNT: Wavelength for those who don't have the time. Originally 45 minutes, Now 15! remixes his own seminal work Wavelength.
Credit
Curated by Sarah Cook. Supported by CRUMB and The University of Sunderland.
Coupe parasagittale au niveau des replis de la valvule du cervelet. La technique de coloration est la même que celle de la figure P11a_010 avec un grossissement des replis multiplié par quatre. Cette méthode à l’argent, utilisée sur coupes à la paraffine, est rapide et assez bien reproductible. Elle teinte en noir le réseau neurofibrillaire des dendrites et axones mais pas les corps cellulaires, qui présentent une teinte brun-orangé.
- Pour plus de détails ou précisions, voir « Atlas of Fish Histology » CRC Press, ou « Histologie illustrée du poisson » (QUAE) ou s'adresser à Franck Genten (fgenten@gmail.com)
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Parasagittal section through the folds of the valvula cerebelli. Neuronal processes can be quite easily
demonstrated in paraffin sections by using the silver
impregnation according to Tinel. This rapid and
fairly reliable method stains axons, fibrillary structures
(neurofibrils) and dendrites of many neurons in
black, with some differences depending on the procedure.
Cell bodies (somata) of neurons are in shades of orange brown.
- For more information or details, see « Atlas of Fish Histology » CRC Press, or « Histologie illustrée du poisson » (QUAE) or contact Franck Genten (fgenten@gmail.com)
Credit: Dr Sarah Newey, Dorothy Hodgkin Fellow from the University of Oxford.
Growing brain cells from humans to understand brain development and disease has become possible with the advent of induced pluripotent stem cell (iPSC) technology. Here, a skin biopsy is taken and the resulting skin cells grown in a dish. These cells are then reprogrammed to naive stem cells using a clever cocktail of biological factors. These stem cells are now pluripotent - meaning they can be differentiated into any cell type in the body with the appropriate instructions. In this image, human iPSCs have been instructed to make cortical brain cells, or neurons, which make up three quarters of the human brain. The red flower-like structures, known as ‘rosettes’, are labelled for a marker of neuronal stem cells. These neuronal stem cells give rise to the more mature neurons, labelled green, with their characteristic long branches. The nuclei of these cells are labelled blue. A truly remarkable process.
By activating multiple fluorescent proteins in neurons, neuroscientists at Harvard University are imaging the brain and nervous system as never before, rendering their cells in a riotous spray of colors dubbed a "Brainbow";
Brainbow allows researchers to tag neurons with roughly 90 distinct colors, a huge leap over the mere handful of shades possible with current fluorescent labeling. By permitting visual resolution of individual brightly colored neurons, this increase should greatly help scientists in charting the circuitry of the brain and nervous system.
Revised logo for the Brain Rehabilitation Research Center, located in Gainesville, Florida. At the center, scientists conduct research to discover new or improved forms of neurorehabilitation for impairments caused by stroke, incomplete spinal cord injury, or other neurological problems.
1998 frame built with Columbus Neuron, fully chromed, lovely lugwork. Unfortunately paint is in very poor condition, lots of rust spots on the chainstays and inside the fork crown and legs. Awaiting full restoration including new chrome and wet paint. Will be dressed in mid 90's Campagnolo Chorus.
Original auction photos.
[continua dalle foto precendenti]
allora il flickeriano-mezzo-neurone, che ha deciso di contribuire affinché la mia anima vada in Paradiso senza passare dal Purgatorio, e, anzi lotta perché io sia direttamente fatta santa, mi fa:
- ma te perché non usi una reflex?
io, che sono buona, non lo mando direttamente all'Inferno (anche se così avremmo buone possibilità di smettere di sentirci, ma vabbè...) e gli rispondo, con tutta la calma possibile:
- vedi, io non uso la reflex perchè non ho una reflex.
io ho due compattine.
una, ormai famosa su Flickr, che si chiama Zoran, ma è una storia lunga e non vorrei tediarti;
la seconda si chiama Fujina, ed è quella che uso di più, adesso, perchè la Zoran è un po' malaticcia, da quella volta che ha preso un'onda sulla faccia e io non sono riuscita a salvarla in tempo, neanche pulendola con amore col maglione di lana.
ah, ti capitasse che un'ondata ti prende la compattina, non usare la maglia di lana, e non cercare neanche di asciugarla con il fon ( o phon): non funziona.
comunque, a parte questo "parco-macchine", avrei voglia di comperarmi la numero tre.
sai, flickeriano-mezzo-neurone, ci sto lavorando sopra.
ho letto un miliardo di pagine, consultato link, adesso so un sacco di cose che prima non sapevo neanche esistessero.
chessoio:
cose tipo ISO, pixel, rumore;
ho scoperto che esistono le compattone anche dette bridge;
che se in una macchina ci sono cento milioni di pixel ma un'apertura piccola è come cercare di fare entrare me in una taglia 42:
praticamente un casino, i pixel ti sbottano da tutte le parti, come la mia ciccia, e viene fuori il "rumore" (nel mio caso i rotolini);
ho scoperto anche che ci sono compattone che pesano come le reflex, però hanno tutto:
tele, zoom ottico, cento milioni di pixel e se vai nella modality "casalinga" trovi anche l'opzione "tagliatelle" e "frittura mista".
nel senso che ci puoi anche impastare le uova e cucinare il pesce, con le compattone, ma hanno sempre quel ca**o di rumore, e non si sa come toglierlo.
che poi non è vero, c'è un programma che toglie il "rumore", però poi non ho capito come si usa, ma vabbè.
vedi, flickeriano-mezzo-neurone, io prima prendevo le fotocamere così, a intuito.
tipo:
"caruccia questa, fa pendant con la la mia borsetta e posso anche abbinarla con gli anfibi e il poncho"
da quando ho cominciato a leggere e studiare le macchine fotografiche mi sembra di sapere un sacco di cose teoriche, (a parte quella cosa f.1/8 o roba simile, che non ho bn capito a cosa serva...).
in compenso non ho ancora capito:
a) come ca**o abbia fatto a fare fotografie fino adesso con le mie compattine, perché la Zoran, per esempio, non viene neanche catalogata: ho una fotocamera fantasma;
b) come ca**o abbia fatto a vivere fino a ora senza un tele, un grandangolo e un aggeggio con meno di un miliardo mi pixel;
però ho capito che:
a) le reflex sono costose, se non sono costose sono ciofeche, i kit sono ciofeche, e comunque io sono troppo ignorante per una reflex;
b) mi piacerebbe una compattona ma pesa 7 etti e allora mi tocca anche cambiare tutto il mio parco-borse, perchè non ne ho di così capienti da portarmi dietro 7 etti di macchina E tutto il resto;
c) secondo me cascherò nel solito ingranaggio e comprerò una fotocamera carina, con i fiorellini applicati sopra;
d) chissà a cosa serve quell' f.1/8 o f1.8 o cose così...
e tu, flickeriano-mezzo-neurone, che fotocamera hai?
Waterfall image, taken with 4 x 5 camera and then aged in Adobe Photoshop, Middle - single neuron hand coloured - scanning electron micrograph and 3D space ship rendered in Swift 3D
Onkologie
Was hier wie ein Halsreif aussieht, entpuppt sich im Blick der Wissenschaft als die Schleife, durch die es den Zellausläufern gelingt, zu dem grünen Wachstumskegel zurückzukehren, dem sie entwachsen sind. Lange Ausläufer dieser Art bringen nur Nervenzellen zustande, und sie verlieren diese Fähigkeit nicht, wenn sie aus der natürlichen Umgebung genommen und in die Kulturschale gebracht werden. Gelungen ist die Aufnahme mit einem Fluoreszenzmikroskop, mit dessen Hilfe die Wissenschaftler vor allem nach Faktoren suchen, die das Wachsen entarten und gefährlich werden lassen.
Weitere Infos bei SimplyScience
Copyright by F. Hoffmann-La Roche AG, Corporate Communications
A Neuron in the Spotlight
Every neuron in an artificial neural network can be seen as a mathematical function which, as a rule, connects several inputs to an output. From the input values, the neuron generates an output value that is passed on to the next layer of neurons. The higher this value is, the more “active” the neuron becomes in the network. This is why we refer to so-called activation functions. At this station you can try out how different mathematical functions in the neuron affect the output.
Credit: Magdalena Sick-Leitner
A neurotrophin-induced signaling endosome (green) is transported by a specialized dynein motor (red) along the microtubules of a hippocampal neuron. (JCB 181(6) TOC2).
This image is available to the public to copy, distribute, or display under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported license.
Reference: Ha et al. (2008) J. Cell Biol. 181:1027-1039.
Published on: June 16, 2008.
Doi: 10.1083/jcb.200803150.
Read the full article at:
1998 frame built with Columbus Neuron, fully chromed, lovely lugwork. Unfortunately paint is in very poor condition, lots of rust spots on the chainstays and inside the fork crown and legs. Awaiting full restoration including new chrome and wet paint. Will be dressed in mid 90's Campagnolo Chorus.
Original auction photos.
a close up (width of photo = roughly .0001m) of young neurons born recently in the adult mouse brain. the blue is NeuN, a protein found only in neurons (and is therefore good for identifying them) and the red/pink is doublecortin, a protein found only in young neurons. doublecortin is needed for neuronal processes to be able to grow and contact other neurons. when the neurons mature and have formed all their connections they no longer need doublecortin. you can see that all the neurons but those at the left-most edge are therefore mature.
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This group exhibition, including work by Catherine Richards, Michael Snow, Scott Rogers, Thomson & Craighead and Simon Pope, draws on ideas of scientific experimentation, media processing, and time delay. Each work acts to slow down our senses of perception, causing within us an awareness of both time passing and our experience of it. The title refers to that fact that we often watch other people interact with responsive art, and mirror their behaviour, consciously or not.
Catherine Richards’ I was scared to death / I could have died of joy features glass replicas of the brain, which react to your presence with pulses of electromagnetic light. Scott Rogers’ Between Nonesuch Place juxtaposes an actual non-functioning glass object, a ‘self-flowing flask’ with its virtual working counterpart. Thomson & Craighead’s Flipped Clock is a modified digital clock display, where each individual digit is rotated by 180-degrees. Simon Pope’s Recall From Memory the Space of Another Gallery is an invitation for the visitor to recall experiences of being in other gallery spaces from memory. The seminal filmmaker Michael Snow’s WVLNT: Wavelength for those who don't have the time. Originally 45 minutes, Now 15! remixes his own seminal work Wavelength.
Credit
Curated by Sarah Cook. Supported by CRUMB and The University of Sunderland.
What's the role of an astrocyte in the human brain? New research at the University of California in San Diego suggests that the mysterious cells -- which link neurons in the human brain -- may be more important in understanding diseases such as Alzheimer's than once believed. In one study using a rat cortex, researchers observed how astrocytes were triggered and saw how calcium signals would rise and fall. The research could help scientists develop new drug treatments.
Source: UCSD
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