DOCSLIB.ORG

Jw-8507 the Artistic Presentation of Scientific

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jw-8507 the Artistic Presentation of Scientific Project Number: JW-8507 THE ARTISTIC PRESENTATION OF SCIENTIFIC RESEARCH AS A MEANS TO INCREASE PUBLIC AWARENESS An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirement for the Degree of Bachelor of Science By ____________________________ Ian Anderson ____________________________ Andres Lopez ____________________________ Mark Lindblad Date: April 24, 2008 _____________________________________ Professor George Pins, Major Advisor _____________________________________ Professor Jennifer Wilcox, Co Advisor _____________________________________ Professor Andrew Klein, Co advisor 1 Acknowledgements We thank the all the researchers at WPI who shared their time and knowledge with us and with out whom this exhibit wouldn‟t have been possible. They devoted time to interviews and email correspondence with students whom for the most part they had had no previous contact. This is a testament to the quality and enthusiasm of the faculty at WPI and their generosity in sharing their research and labs with us made this project the success that it was. The guidance of our advisors throughout the conception and execution of the project kept the team productive and on track. Their enthusiasm and support helped the team persevere through the tremendous workload an exhibit and project of this nature requires. We also would like to thank: Vangy Tool Co., Worcester,MA National Glass Works, Worcester MA D.B. Cotton, Putnam, CT EcoTarium, Worcester, MA A special thanks goes to Professor Jennifer Wilcox for funding the project through her professional development fund. 2 Table of Contents Acknowledgements ......................................................................................................................... 2 Table of Contents ............................................................................................................................ 3 Abstract ........................................................................................................................................... 5 List of Figures ................................................................................................................................. 6 List of Tables .................................................................................................................................. 6 Executive Summary ........................................................................................................................ 7 Introduction and Background ......................................................................................................... 9 Methods of Conveying Science .............................................................................................................. 12 The Interaction of Art and Science ......................................................................................................... 22 Perceptions of Art and Science ............................................................................................................... 27 Scanning Electron Microscopy as an Analytical Tool ............................................................................ 30 The Use of SEM as a Source of Artistic Inspiration ............................................................................... 33 Light microscopy as an Analytical Tool ................................................................................................. 35 Differential Interference Contrast Microscopy as an Analytic Tool ....................................................... 35 Fluorescence Imaging as an Analytical Tool ........................................................................................... 36 Objectives ..................................................................................................................................... 38 Methodology ................................................................................................................................. 39 Project Design: Origins ........................................................................................................................... 39 Support and Funding ............................................................................................................................... 42 Researcher Interviews ............................................................................................................................. 43 Imaging ................................................................................................................................................... 44 Black and White Wet Process ................................................................................................................. 46 Test Prints ............................................................................................................................................... 47 Frame Design .......................................................................................................................................... 47 Design of Individual Works .................................................................................................................... 52 Electrospun Fibers .............................................................................................................................. 52 Vascular Smooth Muscle Cells ........................................................................................................... 54 Inorganic Hydrogen Separation Membranes ...................................................................................... 55 Mouse Oocytes .................................................................................................................................... 56 Oocytes, HeLa Cells and Fibroblasts .................................................................................................. 58 Zeolites ................................................................................................................................................ 59 3 Analysis of a Steel Beam from the World Trade Center .................................................................... 60 Video Console and Text .......................................................................................................................... 61 Survey Design ............................................................................................................................... 68 Results and Discussion ................................................................................................................. 71 Conclusion .................................................................................................................................... 78 Further Recommendations ............................................................................................................ 78 Bibliography ................................................................................................................................. 80 Appendices .................................................................................................................................... 83 A1 Worcester Local Cultural Commission Grant Particulars ........................................................... 83 A1.1 LCC Grant Application ........................................................................................................... 83 A1.2 Letter of Student Commitment ............................................................................................... 85 A1.3 Letters of Support.................................................................................................................... 86 A1.4 Supporting Curriculum Vitae of Project Members ................................................................. 90 A1.5 Additional Information ........................................................................................................... 98 A2 Preliminary Research Interviews .............................................................................................. 100 A3 Important Science and Art Quotes ............................................................................................ 101 A4 Project Expenditures ................................................................................................................. 104 A5 Survey Responses ...................................................................................................................... 104 A5.1 How would you describe this exhibit to a friend? ................................................................ 104 A5.2 How has this exhibit affected your definitions of art and science, if at all? ......................... 106 A5.3 Which aspect of this Exhibit will you remember most? ....................................................... 107 A5.4 Please share any Additional responses to the Exhibit .......................................................... 108 A5.5 Demographics ....................................................................................................................... 109 A6 Exhibit Invitation ....................................................................................................................... 110 A7 Blank Exhibit Questionnaire ...................................................................................................... 111 A8 Grounded Theory Survey .........................................................................................................
Load more

Recommended publications
  • Photography As Metaphor and Material Object in Victorian Culture
    "MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought.
    [Show full text]
  • ANNUAL REPORT 2014 the Ecotarium Fun Facts a Special Thank You Goes To
    Annual Report 2 14 Transformation through Collaboration Dear Friends and Supporters, We all know the saying “two heads are better than our work as lead organization on two federal grants with one.” Or how about “many hands make light work?” At the Institute of Museum and Library Services, and as a the EcoTarium, working together as a team is essential partner site on two National Science Foundation grants, to everything we do. During popular events like Great bear fruit, paving the way to improving how we serve our Pumpkin Fest, Earth Day, or Free Fun Friday when more diverse audiences. than 5,000 visitors can be on campus, we couldn’t do it without the help of every single member of our staff and a It is our hope that when the stewards of the EcoTarium great many volunteers. Working together, we make great of tomorrow look back on 2014 and all that we have things happen. accomplished through collaboration, they will see it as a turning point, the pivotal moment at which this Collaboration is even more important at the organizational iconic Worcester treasure transformed to become an level. As a mid-sized science and nature museum, the indispensible national asset, securing the strongest of EcoTarium’s resources are limited. We are just one of many futures as we rapidly approach our 200th anniversary similarly sized cultural sites, competing for audience, in 2025. funds, and recognition in a world rich with entertainment and educational possibilities. And by collaborating with local, national, and internationally-renowned organizations we are able to make wonderful things happen.
    [Show full text]
  • Symbolism of Surface and Depth in Edvard
    MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body.
    [Show full text]
  • Letter from the Education and Public Engagement Department
    Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art.
    [Show full text]
  • Supplement to the History and Social Science Curriculum Framework
    Resources for History and Social Science Draft Supplement to the 2018 Massachusetts History and Social Science Curriculum Framework Massachusetts Department of Elementary and Secondary Education May 15, 2018 Copyediting incomplete This document was prepared by the Massachusetts Department of Elementary and Secondary Education Board of Elementary and Secondary Education Members Mr. Paul Sagan, Chair, Cambridge Mr. Michael Moriarty, Holyoke Mr. James Morton, Vice Chair, Boston Mr. James Peyser, Secretary of Education, Milton Ms. Katherine Craven, Brookline Ms. Mary Ann Stewart, Lexington Dr. Edward Doherty, Hyde Park Dr. Martin West, Newton Ms. Amanda Fernandez, Belmont Ms. Hannah Trimarchi, Chair, Student Advisory Ms. Margaret McKenna, Boston Council, Marblehead Jeffrey C. Riley, Commissioner and Secretary to the Board The Massachusetts Department of Elementary and Secondary Education, an affirmative action employer, is committed to ensuring that all of its programs and facilities are accessible to all members of the public. We do not discriminate on the basis of age, color, disability, national origin, race, religion, sex, or sexual orientation. Inquiries regarding the Department’s compliance with Title IX and other civil rights laws may be directed to the Human Resources Director, 75 Pleasant St., Malden, MA, 02148, 781-338-6105. © 2018 Massachusetts Department of Elementary and Secondary Education. Permission is hereby granted to copy any or all parts of this document for non-commercial educational purposes. Please credit the “Massachusetts Department of Elementary and Secondary Education.” Massachusetts Department of Elementary and Secondary Education 75 Pleasant Street, Malden, MA 02148-4906 Phone 781-338-3000 TTY: N.E.T. Relay 800-439-2370 www.doe.mass.edu Massachusetts Department of Elementary and Secondary Education 75 Pleasant Street, Malden, Massachusetts 02148-4906 Telephone: (781) 338-3000 TTY: N.E.T.
    [Show full text]
  • Making a Difference
    Making A Difference 2013 COMMUNITY REPORT The Hanover helps connect our employees with volunteer opportunities to make a meaningful difference in our home communities — including these Howell employees, who helped Habitat for Humanity build a new home for a local family. The mission of The Hanover Insurance Group Foundation is to improve the quality of life in the communities where our companies have a major presence, placing special emphasis on helping to build world class public education systems, and inspiring and empowering youth to achieve their full potential. For additional information about our foundation, The Hanover Insurance Group, or its subsidiaries — Citizens Insurance Company of America and The Hanover Insurance Company — please visit our website at community.hanover.com Table of Contents 1 President’s Message 2 Education and Youth 6 Community 38% Youth and Education 8 Giving by the Numbers 2013 32% Community 10 Environment GIVING 30% United Way 11 Volunteerism 12 Community Heroes 14 Foundation Grants 16 VIP Grants CORPORATE COMMUNITY RELATIONS Jennifer Luisa Becky Best Vice President, Community Relations Manager, Community Relations The Hanover Insurance Group Citizens Insurance Company of America 440 Lincoln Street, S251 808 North Highlander Way, HWC340 Worcester, MA 01653 Howell, MI 48842 [email protected] [email protected] 508-855-2524 517-540-4290 The Hanover Insurance Group includes The Hanover Insurance Company and Citizens Insurance Company of America, and sponsors The Hanover Insurance Group Foundation, Inc. Message From Our PRESIDENT Every day, across our company, more than 5,000 employees are building a world class property and casualty insurance company — one that delivers exceptional value to our agent partners and their customers.
    [Show full text]
  • La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École De Nancy
    La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École de Nancy By Jessica Marie Dandona A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Darcy Grimaldo Grigsby, Chair Professor Anne Wagner Professor Andrew Shanken Spring 2010 Copyright © 2010 by Jessica Marie Dandona All rights reserved Abstract La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École de Nancy by Jessica Marie Dandona Doctor of Philosophy in History of Art University of California, Berkeley Professor Darcy Grimaldo Grigsby, Chair My dissertation explores the intersection of art and politics in the career of 19th-century French designer Émile Gallé. It is commonly recognized that in fin-de-siècle France, works such as commemorative statues and large-scale history paintings played a central role in the creation of a national mythology. What has been overlooked, however, is the vital role that 19th-century arts reformers attributed to material culture in the process of forming national subjects. By educating the public’s taste and promoting Republican values, many believed that the decorative arts could serve as a powerful tool with which to forge the bonds of nationhood. Gallé’s works in glass and wood are the product of the artist’s lifelong struggle to conceptualize just such a public role for his art. By studying decorative art objects and contemporary art criticism, then, I examine the ways in which Gallé’s works actively participated in contemporary efforts to define a unified national identity and a modern artistic style for France.
    [Show full text]
  • The Gakhn Dictionary of Artistic Terms, 1923–1929
    The GAKhN Dictionary of Artistic Terms, 1923–1929 Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00310/1754157/octo_a_00310.pdf by guest on 29 September 2021 The State Academy of Artistic Sciences (GAKhN, 1921–1931), like other early Soviet state institutions, was organized by the famous artists, scientists, and philosophers of this critical time (it suffices to name Kandinsky, Shpet, A. Gabrichevskii, A. Sidorov) with the personal support of the People’s Commissar for Education, A. Lunacharskii. GAKhN was originally conceived as an interdisci - plinary project combining psychophysiological, sociological, and philosophical approaches, and was aimed at establishing a synthetic science of art in a new insti - tutional form. Two items were on the agenda: creating a purely scientific approach to understanding contemporary art, including that of the avant-garde (INKhUK collaborators such as Malevich, Eisenstein, Vygotsky, Ginzburg, Arvatov, and many others either joined GAKhN or presented there at various moments); and aligning the cultural policy of the Soviet state in the fields of science and art (the organiza - tion of international exhibitions, the development of criteria for original art, and even control of the activities of scientists and artists). But GAKhN played an equal - ly important role in transforming the most traditional currents of scientific knowl - edge, from physics and psychology to philosophy and literary criticism, as they applied to the study of such an important anthropological experience as the pro - duction of artistic images in the broadest sense of the word. In its study of the tem - poral and spatial arts (primarily literature, painting, and theater), GAKhN placed an emphasis on analyzing the internal form of works of art and on explicating the particular “language” of the diverse arts, which resulted in a general reorientation of the sciences of art from metaphysical concepts like truth and beauty to the spe - cific problems of meaning and value in concrete works.
    [Show full text]
  • Time Passed, to Be Highly Enthusiastic Autumn's Coming, to Reach Great
    Time passed, to be highly enthusiastic A Chinese aphorism goes: wine tastes better over time. To my knowledge, in Chuang Che’s Autumn's coming, to reach great heights! mind, there are two such “wines” in modern art, both aged well and host ample flavors, but who are they? I’ll tell you, one he often mentions with all seriousness to young aspiring Essay on Chuang Che’s Artist Statement for His Solo Exhibition: artists: “Go admire the works of Qi Baishi!” The other is whom he speaks about frequently Thoughts on “Holistic View, Microscopic Vision” and somewhat irreverently, the “Old Pablo.” Needless to say, in Chuang Che’s mind, the two masters of modern art are Qi Baishi (1864 – 1957) and Pablo Picasso (1881 – 1973). One Chinese, one Western, both wholeheartedly admired as the heroes of his heart and with lofty heights to which he aspires to emulate. By aesthetician and art critic Liu Wen-Tan If one were to ask Old Pablo: “Which is your favorite work?” His answer is always without hesitation: “next one!” If you asked Old Chuang the same question, his answer would be different from that of Picasso while sharing a common spirit: “You just wait and see, I have nearly found it.” Given such, we can conclude that Chuang and Picasso are full-blown, genuine idealists. Thus, they strive, at every step along the way to move toward their ideal goal, arduously progressing along. As it is said, an ideal arises to the level of ideality through continuously guiding one toward it; whilst it also ensures that an easy capture remains ever difficult.
    [Show full text]
  • William Sherman Reese
    September 2018 Number 96 American Antiquarian ALMANAC Society In Memoriam: William Sherman Reese (1955–2018) With the passing of AAS councilor Bill Reese on June 4th, the world of rare books lost a remarkable man, widely respected as the greatest antiquarian bookseller of his time. To honor him, at its June meeting the AAS Council held a remembrance gathering and passed a resolution designating that funds given in memory of Bill be used to support the building and the capital campaign (see page 3). The following resolution Replacing the copper roofing on Antiquarian Hall. and tributes gathered from his colleagues and friends pay fitting All Hands on Deck: tribute to an extraordinary man. Antiquarian Hall Construction Resolution of the AAS Council “One of the great bookmen of Project Nearing Completion his or any other generation, Bill Reese was unmatched in his nyone who has had the All the activity is a sure sign multidimensional generosity as a opportunity to drive by of the progress being made scholar, collector, dealer, educator, AAntiquarian Hall in recent toward completion of this and philanthropist. Perhaps no months will have seen the transformative project. Th ough institution benefi tted as much building addition start to take they can’t convey the sounds and from his counsel and support in shape—fi rst with excavating, then energy that have accompanied as many ways and for as many a bare steel frame, followed by a the building project, the years as the American Antiquarian shell prepped for its glass window following features provide a Society. and copper façade.
    [Show full text]
  • SUMMER 2014: ISSUE 2 ART, PAPER,Your Weekly Connection SCISSORS to Camp Art Academy
    SUMMER 2014: ISSUE 2 ART, PAPER,Your Weekly Connection SCISSORS to Camp Art Academy Art Spotlight Interplanetary Artistic Inspiration! Our imaginations will be stretched to the farthest reaches of the universe this week at Planet Art! Camp Art Academy. We will look to the stars through the eyes of surrealist painters Kush, Bonestall, Pesek, and Rudaux, who painted exotic worlds filled with From the Director strange and beautiful nature! Blossoms and land- Ramona Toussaint scapes will come to life with artists O’Keeffe and Welcome to the intersection of science, nature and art aptly named, Planet Art! at Camp Art Acade- my. Actually, the name for this week’s theme was almost, Art and the Theory of Everything! Why you might ask? Continued on page 2 Church, and we will use our imaginations to create Meet Our Team Up Next Week Creative Quote our own wondrous natural worlds. A special mid-week see page 2 Imagining of the Week field trip to theDrake Planetarium will open our eyes America to the skies above! At Drake they say, “The sky is NOT June 23-27 the limit!” As we gaze at the stars and planets, we will feel inspired to dream up new possibilities. Drake of- Take a closer 21st Century Creativity is fers several high-tech, science shows tailored for our look at our talent- American art, intelligence campers, and their programming will take us straight ed staff. Carole a little “yankee having fun! up into outer space. Our field trip will help campers Ritchie gets Kids wakco-doodle –Albert Einstein develop a love of science and the many wonders of “Thinking About dandy”, but in a our Universe, and our artistic abilities will expand Thinking!” good way..
    [Show full text]
  • Discover Central Massachusetts Regions
    Discover Central Massachusetts www.discovercentralma.org Social Media Facebook: @DiscoverCentralMA Instagram: @DiscoverCentralMA Twitter: @VisitCentralMA YouTube: Discover Central Mass Media Contact Colleen Onuffer [email protected] 585-394-0787 x2 | 716-864-1263 Regional Contact Stephanie Ramey, Executive Director [email protected] 508-753-1550 x300 Explore the regions of Central Massachusetts Worcester | 395 Corridor | Blackstone Valley | Sturbridge Townships | Wachusett Jump to the activities found across Central Massachusetts Dining Destination | Arts & Culture | Fun Experiences & Outdoor Adventure | Craft Beverage Meetings, Event & Convention Destination Regions A seamless balance among historic treasures, peaceful scenery, urban and country landscapes and trendy establishments await in Central Massachusetts. Located in the heart of New England, Central Massachusetts encompasses Worcester and the surrounding 34 communities that fall into five main regions, each with its own vibrant personality. WORCESTER The heart of the Commonwealth, Worcester is located 45 minutes west of Boston and north of Providence, Rhode Island, and home to the Worcester Regional Airport. With a strong entrepreneurial culture, Worcester is packed with chic small businesses, unique experiences and ground-breaking discoveries. Its expansive food scene ranges from historic diners to inventive eateries. Museums, theaters and galleries are found throughout the city, and street art complements the historic cityscapes. Must-See Stops: The city of Worcester is the second largest city in New England, combining the historic charm of a small town with the conveniences and attractions of a thriving metropolis. Over 70 cultural venues await, including world-class museums, premier concert halls and sport complexes. Walk around the Canal District for one-of-a-kind shops and tasty treats or dine along Restaurant Row on Shrewsbury Street where you will find over 50 unique options.
    [Show full text]