Space and Technology and Art

In this last lecture, Dr. Vesna outlines how all of the science and technology that has been integrated into art thus far all helps build up to the exploration of space and its influence on the perseverance of technology and the extension of the artistic sphere.  While historical concerns and scientific development, starting with Copernicus, led to concerns with old ideals and customs, i.e. the Church and its belief that the Earth was the center of the universe; more recent scientific inquiry, like the space race, encouraged paranoia in the possibilities of scientific advancement. Although these concerns are valid, as the space race allowed for the further development of nuclear arms and therefore the destruction of two Japanese cities, Hiroshima and Nagasaki, the continued advancement of technology and potential for our societies expression/development is contingent on mediating the poor public image of scientific advancement and space discovery.

While in the Robotics lecture, the guest professor touched on the usage of science fiction anime/tv series to reintroduce nuclear technology in a more appealing manner (such as through astro boy shown below), the importance of science fiction as an artistic media to influence public opinion on technology reaches far beyond reintroduction and all the way into creative innovation.

As Dr. Vesna mentioned, The Fountains of Paradise, a science fiction novel by Arthur C. Clarke in 1979, describes the construction of a space elevator linking the earth with a satellite in geostationary orbit using an "orbital tower".  While this, during its initial publication, seemed to be consistently fiction, Obayashi Corporation in Japan now believes that it can make Clarke's fiction a reality by 2050.  

As shown above, Obayashi Corp intends to integrate nanoparticle based materials and high technology design to manufacture this once science-fiction concept.

So with these realized potential technological advancements, it is more crucial than ever to look into the science fiction based medias of space.  Since space remains the "final frontier", novels like Phillip K. Dick's Do Androids Dream of Electric Sheep? have the potential to deeply effect the direction of developing technologies.  This novel specifically centers on the development of androids as personal assistants to incentivize the relocation of families from the overpopulated Earth to the seeded Mars.  While the android technology ends up developing motives of its' own in the science fiction novel, the concept of personal assistant based robots for aid in space exploration is  being realized currently by aerospace engineers.

References

Anders, Charlie. 'What H.G. Wells Got Wrong When He Predicted The Atomic Bomb'.io9. N.p., 2015. Web. 27 May 2015.

Obayashi.co.jp,. 'Obayashi Global'. N.p., 2015. Web. 27 May 2015.

Uconlineprogram. “Robotics MachikoKusahara 1.” YouTube. YouTube, 14 Apr. 2012. Web. 19 Oct. 2012.

Vesna , Victoria, dir. Space Part 1. 2012. Film. 30 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=2O5C0Iv6ROo#>.

Vesna , Victoria, dir. Space Part 3. 2012. Film. 30 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=xCvFdfjj404>.

Vesna , Victoria, dir. Space Part 5. 2012. Film. 30 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=WnSUHMXBmdg#>

Wikipedia,. 'Do Androids Dream Of Electric Sheep?'. N.p., 2015. Web. 27 May 2015.

Hammer Museum + Arts Party (Extra Credit Event)

To explore art and technology at the interface of a museum and a university, I visited the Hammer Museum during the Arts Party 2k15: Transferral (a free event for UCLA students).

This event, involving various workshops provided by UCLA design and arts students who form the Hammer Student Association, is provided to expose the general intellectual population of UCLA to developing arts.  While this is focused in on art and interaction with art, some of the various pieces were prime examples of the heavily intertwined spheres of art and technology.

One piece involved the filming of a short music video using random crowd-goers as extras and shooting pieces freely due to the ease of current video technology.  This was something more generally expected as this involved a few students dressed up as shown below, as well as green screens and a simple camera setup.  Despite the commonality of this workshop, it demonstrated how advanced technology has greatly increased the availability of various medias for expression and art.

To contrast with this, there were also workshops directly applying advanced technology to provide an aesthetic experience; this mainly was concerned with the virtual reality headsets (Oculus Rift Virtual Reality headsets).  These headsets allowed the wearer to be transported to a world of color and fruit in an encompassing experience that many attendees have never had before, demonstrating how science and technology in fact add to and extend the boundaries of art and aesthetics.

Nanotechnology & Art & the Progress Resulting

  As an engineering major, I am required to explore a subject as my “technical breadth area”; while it is most common for students to take very traditionally applicable technical breadths like tech management and computer science, I took interest in nanotechnology.  This new science has been the center of cutting-edge research in medicine, optics, manufacturing and much more.  The principles that guide nanotechnology and nanoscience are also brand new, leaving behind traditional Newtonian physics, the physics explaining gravity and easily conceptualized phenomena, for quantum mechanics with shrodinger’s cat and strange new properties of nano-scale materials. In nanotechnology’s contributions to a new understanding of science (and the world), nanotechnology also gives art a whole new perspective and medium to work with.

  One way that nanotechnology could potentially contribute to the possibilities in the realm of the arts is by giving traditional mediums a more technologically advanced aspect. Researchers at the University of California Riverside noticed that through stringing together gold nanoparticles, colors could change.  Because of the quantum effects at the nanoscale, light is reflected depending on the specific scale of the nanoparticles.  Because of this, stresses on the strings of nanoparticles provided different colors, as imaged below.

While the practical applications of this is in crash-test dummies and mechanical stress sensors, this color changing paint can be incorporated into more transient art pieces.

  Another way that nanoparticles can improve paint and other mediums is through “self-cleaning paints”.  A company known as EcoClean recently utilized the oxidizing properities of nanoscale titanium dioxide in paint to produce a paint that literally absorbs airborne pollutants and oxidizes them.  While this improves air quality in the surrounding area, the exterior walls also remain stain resistant.  An application of this type of paint/cement is exemplified by the Jubilee Church pictured below. The application of this novel material is centered in environmental applications and engineering, however it could be further applied to public art and other more exposed pieces.

  Finally, to contrast with the beneficial aspects of nano-scale material and scientific advancement, we have an example of the danger of working with nanoparticles.  As nanoparticles become more prominent in art and technology, the toxicology involved with them needs to be further understood.  Just recently, Duke University identified that it is nanoparticles in diesel exhaust that caused damage to lung airways.  Shown in the image below, these particles, due to their small nature, can collect in areas of the body over time, accumulating to a detrimental amount. In advancing nanotechnology in art and science, one must be aware of these health considerations.

References

Gimzewski, Jim, and Victoria Vesna. The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science. N.p., n.d. Web. 23 Nov. 2012. <http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm>.

Lafrance, Adrienne. 'Scientists Made Color-Changing Paint Out Of Gold Nanoparticles'. The Atlantic. N.p., 2014. Web. 19 May 2015.

Miller, Lia. 'Smog-Eating Cement - New York Times'. Nytimes.com. N.p., 2015. Web. 19 May 2015.

Nanowiki.info,. 'Nanowiki, Tracking Nanotechnology'. N.p., 2015. Web. 19 May 2015.

Schelmetic, Tracey. 'Titanium Dioxide Coats Buildings, Structures To Help Them Stand Up To Smog Monster - Thomasnet News'. News.thomasnet.com. N.p., 2015. Web. 19 May 2015.

Neuroscience and Art (and Neurochemical Explorations)

The brain is a complex organ that is often misunderstood; it is also central to the development of both art and sciences.  While many put a significant focus on the functioning's of the brain as well as the anatomy, I believe it is more interesting to understand the capacity of the brain, and how that capacity has been tested in history. Although many prolific neurologists/scientists have made efforts to understanding the inner-working of consciousness and unconsciousness, few have made as significant contributions as Sigmund Freud (see below).

His ideas of psychoanalysis, although criticized often for being oversexualized, allowed for the development of many new therapeutic techniques.  These contributions to current medicine can also be contrasted with the contributions to popular culture and western thought; his wide-ranging interpretation of repressed consciousness and libidos lead to the artistic interpretations of sexuality and mental health.

In addition to being an influential neurologist, Sigmund Freud was a cocaine addict; this close tie between scientific exploration of the brain, and neurochemical modification by synthetic drugs is seen throughout the history of neuroscience, psychiatry and scientific exploration.  One similar example is that of Timothy Leary, a Harvard University psychology professor and researcher (see below).

While he was the first prominent "intellectual" figure to begin experimentation regarding psychoactive drugs, he brought into popular attention the usage of psychedelics to promote understanding, mental health, scientific exploration as well as artistic inspiration.  Starting first with psilocybin in fungi, he later, in the early 1960s, began research with LSD on himself and graduate students.  His lingering reputation ended up centering on the criticism he got for "exhorting youth" to take recreational psychedelics, however his great contributions to music and literature give contrasting views on his character. A few examples of this legacy are Aldous Huxley's novels and the title of the music artists "the Doors".


References

Biography.com,. 'Timothy Leary'. N.p., 2015. Web. 14 May 2015.

Holzman, Philip S. 'Revidew Of Freud: A Biographical Introduction And Sigmund Freud.'.PsycCRITIQUES 18.2 (1973): n. pag. Web.

Vesna, Victoria. “Conscious / Memory (Part 1).” Lecture. 16 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=DLVQIwOn7o8>

Vesna, Victoria. Lecture. “Conscious / Memory (Part 2).” 16 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=Xlg5wXHWZNI>

Vesna, Victoria. Lecture. “Conscious / Memory (Part 3).” 16 Nov 2012. <http://www.youtube.com/watch?feature=player_embedded&v=E5EX75xoBJ0>

Webspace.ship.edu,. 'Sigmund Freud'. N.p., 2015. Web. 14 May 2015.

The Natural History Museum of Los Angeles

Museum: /myo͞oˈzēəm/ noun
a building in which objects of historical, scientific, artistic, or cultural interest are stored and exhibited.

In my visit to the Natural History Museum of Los Angeles, I finally understood the complete concept of a museum; while I've been to mummy museums and art museums, the natural history museum was an aesthetic treat, an informative afternoon, and a glimpse into the scientific work that lends to our understanding of the world.

At the foyer of the museum, right after the ticketing office, there is a huge skeleton of a dinosaur, which is pictured (with me) below. While it's bones were carefully studied, assessed and organized in a logical manner, giving archaeologists more collective knowledge about the various dinosaur species of the past, the structure itself is beautifully dark and intriguing.

While this intrigue is initially assumed to be due to the general aesthetic quality of the varying exhibit, it is additionally the research and informative aspects, I believe, that make us find these exhibits so intriguing.  Another very easy example of this was in the North American Mammals exhibit.  Filled with various posed taxidermic animals, the rather gruesome showcase gives an opportunity to our very urban population to see various species that they might never run into, and additionally read some interesting facts.  This mixture of learning and seeing is what the interface of science and art are all about; by lending a media to publicly display scientific/artistic work, the public gets an education about the material centered in the work.  Again, in the North American Mammals exhibit featured below, both appreciate the novel experience of seeing caribou in their wild habitat which is conducive towards public awareness about the urban ailing of this wildlife.

Biotechnology and Art (Bioart!)

As introduced in this lecture about the usage of biotechnology in art, we are again reminded of the roots of inspiration for artists.  Biotechnology offers the rare opportunity to modify the human body as well as other life forms.  As indicated by Stelarc’s third ear experiment/piece displayed below, we see the usage of modern biotechnology to provide shocking and controversial results.

While his specific boundary-pushing body art is not exactly very generally acceptable in popular culture, this technical body modification is just a controversial example of the future of “transhumanism”.  As our society develops and increases in biotechnological understanding, the human body will be further modified to provide desirable traits or potential aesthetic ideas.  This concept has been covered before in the film Gattaca, where there are featured characters with body modifications to improve their designed gift (i.e. the pianist with extra fingers shown in the image below).

This “transhumanism” may seem more useful, but utility gain is not the main focus of art’s usage of biotechnology and awareness of biotechnology. Other applications of art and biotechnology in conjunction were given in Dr. Vesna’s lecture and specific examples of Kathy High and Edward Steichen.  While Kathy High’s experimentation with lab rat rehabilitation was focused on the study of enthalpy due to her own ailment of Crohn’s disease, other artists like George Gessert had less personal applications of their research and work.  George Gessert’s experimentation as a horticulturist was to explore the influence of genetics on hybrids and plant aesthetics. 

The flower above is only one of the many works of George Gessert as he contributed to plant breeds as well as the general aesthetics of the various species of life on Earth. 

References

Gattaca. USA: Andrew Niccol, 1997. DVD.

High, Kathy. 'Projects: Embracing Animal'. Kathyhigh.com. N.p., 2015. Web. 8 May 2015.

Stelarc.org,. 'Stelarc // Ear On Arm'. N.p., 2015. Web. 8 May 2015.

Vesna, Victoria. Lecture. DESMA 9. Web. 6 May 2015.

Viewingspace.com,. 'George Gessert: Genetics And Culture'. N.p., 2015. Web. 8 May 2015.