DOCSLIB.ORG

Yetisentb2015.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yetisentb2015.Pdf Review Bioart 1,6, 2,3,6 4 Ali K. Yetisen, * Joe Davis, Ahmet F. Coskun, 3 1,5, George M. Church, and Seok Hyun Yun * fi Bioart is a creative practice that adapts scienti c methods and draws inspiration Trends from the philosophical, societal, and environmental implications of recombinant Bioart is a contemporary art form that fi genetics, molecular biology, and biotechnology. Some bioartists foster inter- adapts scienti c methods and biotech- nology to explore living systems as disciplinary relationships that blur distinctions between art and science. Others artistic subjects. emphasize critical responses to emerging trends in the life sciences. Since Interdisciplinary bioart initiatives blur bioart can be combined with realistic views of scientific developments, it may boundaries between art and modern help inform the public about science. Artistic responses to biotechnology also biology with an emphasis on philosophi- integrate cultural commentary resembling political activism. Art is not only cal, societal, and environmental issues. about ‘responses’, however. Bioart can also initiate new science and engineer- Bioart plays an important role in critically ing concepts, foster openness to collaboration and increasing scientific literacy, challenging emerging life science appli- fi and help to form the basis of artists’ future relationships with the communities of cations, stimulating of scienti c thinking, and contributing to new research ques- biology and the life sciences. tions and new technologies. New concepts emerge for bioart in Interface of Biotechnology and Art physical, digital, and computational Bioart utilizes laboratory practice and biotechnology to explore living systems as artistic subjects forms. [1,2]. It is often interdisciplinary, involving researchers and laboratories in creating art. Although Bioart receives ethical criticism for subtexts of science are associated with more general cultural forces, few philanthropies commit modifying living systems. to fund the joint practice of art and science, including bioart. Accordingly, bioart is constrained by practicalities of access to affordable materials, services, and the commitments expected of laboratories otherwise predisposed to funded research. Nevertheless, an influential community of bioartists has emerged producing work that transcends and evaluates conventional notions 1 Harvard Medical School and Wellman about art and science. Art involves conceptual frameworks, fields of association, and avenues of Center for Photomedicine, inquiry not investigated by scientists and engineers. Bioart thus presents opportunities for the Massachusetts General Hospital, 65 Landsdowne Street, Cambridge, MA recognition and synthesis of traditionally separate approaches to critical thinking [3]. Bioartists 02139, USA can introduce research questions, contribute to new technologies, and help to innovate 2 Department of Biology, materials for art and science. Massachusetts Institute of Technology, 77 Massachusetts Avenue, Cambridge, MA 02139, USA Some bioartists adapt biological methods to create expressions of discord and controversy 3 Department of Genetics, Harvard enabling public debates in collaboration with scientists. Biotechnological artifacts used to form Medical School, Harvard University, 77 Avenue Louis Pasteur, Boston, MA disquieting scenarios about perceived risks of genetic engineering are presented as aesthetically 02115, USA appealing cultural commentaries. Regardless of their potential for health benefits and quality of 4 Division of Chemistry and Chemical life, genetic technologies have consequences that are not absolutely foreseeable and this has led Engineering, California Institute of Technology, 1200 East California Blvd, to public uncertainty about implications for personal privacy and human rights, eugenics, food Pasadena, CA 91125, USA and drug safety, replacement of natural systems with bioengineered counterparts, involvement 5 Harvard–MIT Division of Health of multinational corporations with genetic propriety, worldwide agricultural monopolies, and Sciences and Technology, Massachusetts Institute of Technology, prospects for the weaponization of biotechnological accessories for the military and law Cambridge, MA 02139, USA enforcement. Bioartists find these issues to be compelling subjects for their art. Yet, with or 6 These authors contributed equally to without a focus on alarming interpretations of science and technology, all bioart raises questions the manuscript. about social and cultural paradigms [4,5]. *Correspondence: [email protected] At the turn of the 21st century, bioart emerged as a formal subject of academic study. Bioart (A.K. Yetisen), [email protected] curricula and dedicated research centers have been established at colleges and universities (S.H. Yun). 724 Trends in Biotechnology, December 2015, Vol. 33, No. 12 http://dx.doi.org/10.1016/j.tibtech.2015.09.011 © 2015 Elsevier Ltd. All rights reserved. 11928928 1933 Alexander Fleming Edward Steichen Invented penicillin on bacterial Conceived the idea of painngs on papers and petri dishes genec art with mutant plants 1985 1996 2000-2004 2001 Joe Davis Tissue culture & art project Ken Rinaldo Laura Cin C-LAB Designed transgenic Oron cas and Ionat zurr iniated Developed autopoiesis (2000) Developed transgenic art microvenus project ssue engineering and art augmented fish reality (2004) the cactus project 1988 2000 2001 George Gessert SymbiocA Marc Quinn Developed iris project A center for arsc laboratory Designed a genomic portrait of sir John Sulston at the University of Western Australia 1997-2009 2000 2003-2011 Eduardo Kac Marta de Menezes Jens Hauser Designed Designed the nature Curated art and biology exhibions: me capsule (1997) projectwith synthethic L’ Art biotech (2003) biennale of electronic arts perth (2007) genesis (1999) buerfly wing paerns sk-interfaces at FACT (2008) synth-ethic (2011) 2004 2008 Reiner Maria Matysik The arts and genomics center Promoted the term of biological sculpture A program that promotes the role of visual 2006 arts in genomics at the University of Leiden Hunter Cole 2008 Created living drawings Finnish bioart society with bioluminescent bacteria An organizaon that supports 2007 acvies around art and biology Bioart at rensselaer polytechnic instute A collaborave iniave to synthesize 2008 Anna Dumitriu emerging biotech research with media art pracce Designed bacterial bioartworks and installaons 2009 Brandon Ballengée 2010 Dual use of ecological art and biological studies Synthec Aesthecs 2009 A collaborave research project between arts, Microbial art design, synthec biology and social sciences between A collecon of artworks created the University of Edinburgh and Stanford University using living bacteria, fungi, and prosts. 2011 2012 Bioart lab at Bioart at FASEB School of visual arts, New York A contest for scienfic images in An interdisciplinary program to pracce biomedical and life science research laboratory skills in the form of arsc studio Figure 1. Pioneers, Programs, and Initiatives at the Intersection of Biology and Art worldwide (see ‘Academic Bioart Programs’ in the supplementary material online). Figure 1 shows the pioneers, programs, and initiatives at the interface of biology and art. Historical Contexts Aesthetically inspired manipulations of the biological world reach deep into history. Art and literature representing the ‘quickening’ of nonliving materials or transformation of one living substance into some other form coincided with the appearance of cultures dependent on the cultivation of species derived from wild-type progenitors. Classical Greeks noticed homologies in the geometries of human physiology and other forms in nature. The art, architecture, and mathematics of the Greek ‘Golden Age’ reflected biologically derived principles and these in turn formed the groundwork for the arts and sciences of the European Renaissance. The history of scientific illustration reflects the influence of biologists on artists in the 19th and 20th centuries. Examples include the collaborations of Charles Darwin and Oscar Rejlander (1872) and the work of German biologist Ernst Haeckel (1899) notably influencing Paul Klee [6,7]. D’Arcy Wentworth Thompson's book On Growth and Form (1917) is thought to have been one of the factors promoting abstract expressionism in the arts. Trends in Biotechnology, December 2015, Vol. 33, No. 12 725 (A) (B) (C) 1 0 1 0 1 0 1 1 1 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 1 0 0 (D) (E) Figure 2. Historical and Contemporary Bioart. (A) Germ paintings on paper by Alexander Fleming. Bar, 1 cm. Courtesy of Kevin Brown of the Alexander Fleming Laboratory Museum. (B) Cleared and stained Pacific tree frog gathered from Aptos, CA, USA by Brandon Ballengée (2012) in scientific collaboration with Stanley K. Sessions. DFA 186: Hades, unique digital c-print on watercolor paper. Bar, 9 cm. Courtesy of Ronald Feldman Fine Arts, New York and reproduced with permission. (C) Conceptual drawing of Microvenus. Courtesy of Joe Davis, 1988. (D) Victimless Leather project showing a miniaturized leather jacket using skin cells by SymbioticA. Bar, 2 cm. Courtesy of Oron Catts and Ionat Zurr and reproduced with permission. (E) Ear on Arm project. Bar, 3 cm. Courtesy of Nina Sellars and reproduced with permission. Juxtapositions of art and biology have serendipitously stimulated scientific discovery. In the 1920s, Alexander Fleming, discoverer of penicillin, created ‘germ paintings’ on paper, illustrating stick figures, soldiers, and
Load more

Recommended publications
  • Ficha Catalográfica Online
    UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE ODONTOLOGIA DE PIRACICABA DIEGO ROMARIO DA SILVA ATIVIDADE FARMACOLÓGICA DE MEL ORGÂNICO DA MATA ATLÂNTICA BRASILEIRA NOS COMPONENTES MICROBIANO E INFLAMATÓRIO DA DOENÇA PERIODONTAL PHARMACOLOGICAL ACTIVITY OF ORGANIC HONEY FROM THE BRAZILIAN ATLANTIC FOREST IN THE MICROBIAL AND INFLAMMATORY COMPONENTS OF PERIODONTAL DISEASE Piracicaba 2021 DIEGO ROMARIO DA SILVA ATIVIDADE FARMACOLÓGICA DE MEL ORGÂNICO DA MATA ATLÂNTICA BRASILEIRA NOS COMPONENTES MICROBIANO E INFLAMATÓRIO DA DOENÇA PERIODONTAL PHARMACOLOGICAL ACTIVITY OF ORGANIC HONEY FROM THE BRAZILIAN ATLANTIC FOREST IN THE MICROBIAL AND INFLAMMATORY COMPONENTS OF PERIODONTAL DISEASE Tese apresentada à Faculdade de Odontologia de Piracicaba da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Odontologia, na área de Farmacologia, Anestesiologia e Terapêutica. Thesis presented to the Piracicaba Dental School of the University of Campinas in partial fulfillment of the requirements for the degree of Doctor in Dentistry, in Pharmacology, Anesthesiology and Therapeutics area. Orientador: Prof. Dr. Pedro Luiz Rosalen ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELO ALUNO DIEGO ROMARIO DA SILVA E ORIENTADA PELO PROF. DR PEDRO LUIZ ROSALEN. PIRACICABA 2021 Ficha catalográfica Universidade Estadual de Campinas Biblioteca da Faculdade de Odontologia de Piracicaba Marilene Girello - CRB 8/6159 Romario-Silva, Diego, 1993- Si38a RomAtividade farmacológica de mel orgânico da Mata Atlântica brasileira nos componentes microbiano e inflamatório da doença periodontal / Diego Romario da Silva. – Piracicaba, SP : [s.n.], 2021. RomOrientador: Pedro Luiz Rosalen. RomTese (doutorado) – Universidade Estadual de Campinas, Faculdade de Odontologia de Piracicaba. Rom1. Mel. 2. Atividade antimicrobiana. 3. Atividade antiinflamatória. 4.
    [Show full text]
  • Infectious Disease
    Year 12 Biology Infectious Disease Lesson 2: Transmission of disease Sample resources 1 Year 12 Biology Lesson 2: Transmission of disease Transmission of disease The chain of infection ▪ Infectious diseases result from the interaction of the pathogen, the host and the environment. This is referred to as the chain of infection. ▪ If the chain is broken at any point, the spread of disease can be prevented. Infectious Agents Susceptible Reservoirs Host Portals of Portals of Entry Exit Modes of Transmission ▪ Infectious agents are living and non-living things that cause disease. − What is the technical term for this?1 _________________________________________________________________ − Provide some examples. 2 _________________________________________________________________ 2 Our students come first Copyright © Matrix Education 2020 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of Matrix Education. Year 12 Biology Lesson 2: Transmission of disease ▪ A reservoir is a place where the pathogen can live grow and reproduce, within people, water or food for example. − What are the reservoirs for the common cold and prion diseases? 3 __________________________________________________________________ ________________________________________________________________ ▪ To be infectious the pathogen must have a way of leaving the reservoir (portal of exit), such as through blood, other bodily fluid or skin. − What is the portal of exit for a tape worm? 4 _________________________________________________________________ Guinea worm exits through ulcers in the skin. ▪ Modes of transmission are the ways the pathogen spreads from the reservoir to the next susceptible host. This may be achieved through physical contact, droplets or by airborne pathogens.
    [Show full text]
  • Nile Tilapia (Oreochromis Niloticus)
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 24 November 2019 doi:10.20944/preprints201911.0282.v1 1 Nile tilapia (Oreochromis niloticus) as an aquatic vector for Pseudomonas 2 species: Quorum Sensing Association with Antibiotic Resistance, Biofilm 3 Formation and Virulence 4 Kamelia M Osman1*, Állan da Silva Pires2, Octavio Luiz Franco2,3,4, Ahmed Orabi1, Amr 5 H M Ali5, Mohamed Hamada6, Feras A. Alzaben7,8, Abdulaziz M. Almuzaini7, Ayman 6 Elbehiry9,10* 7 1 Department of Microbiology, Faculty of Veterinary Medicine, Cairo University, Egypt 8 ² Centro de Análises Proteômicas e Bioquímicas, Pós-Graduação em Ciências Genômicas e 9 Biotecnologia, Universidade Católica de Brasília, Brasília-DF, Brazil. 10 3 S-Inova Biotech, Programa de Pós-Graduação em Biotecnologia, Universidade Católica Dom 11 Bosco, Campo Grande, Brazil 12 4 Graduação em Ciências Biológicas, Universidade Católica Dom Bosco, Campo Grande, Brazil 13 5 Private Sector Veterinarian, Egypt 14 6 Department of Food Hygiene & Control, Faculty of Veterinary Medicine, Sadat City University, 15 Egypt 16 7 Department of Veterinary Medicine, College of Agriculture and Veterinary Medicine, Qassim 17 University, Buraydah, Saudi Arabia 18 8 Department of Preventive Medicine, King Fahad Armed Forces Hospital, Jeddah City, Saudi 19 Arabia 20 9 Department of Bacteriology, Mycology and Immunology, Faculty of Veterinary Medicine, 21 University of Sadat City, Egypt 22 10 Department of Public Health, College of Public Health and Health Informatics, Qassim 23 University, Saudi Arabia 24 25 * Corresponding author: Ayman Elbehiry 26 Tel.: +966532207969 27 E-mail: [email protected] 28 29 © 2019 by the author(s). Distributed under a Creative Commons CC BY license.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]
  • Advances in Applied Microbiology, Voume 49 (Advances in Applied
    ADVANCES IN Applied Microbiology VOLUME 49 ThisPageIntentionallyLeftBlank ADVANCES IN Applied Microbiology Edited by ALLEN I. LASKIN JOAN W. BENNETT Somerset, New Jersey New Orleans, Louisiana GEOFFREY M. GADD Dundee, United Kingdom VOLUME 49 San Diego New York Boston London Sydney Tokyo Toronto This book is printed on acid-free paper. ∞ Copyright C 2001 by ACADEMIC PRESS All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the Publisher. The appearance of the code at the bottom of the first page of a chapter in this book indicates the Publisher’s consent that copies of the chapter may be made for personal or internal use of specific clients. This consent is given on the condition, however, that the copier pay the stated per copy fee through the Copyright Clearance Center, Inc. (222 Rosewood Drive, Danvers, Massachusetts 01923), for copying beyond that permitted by Sections 107 or 108 of the U.S. Copyright Law. This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. Copy fees for pre-2000 chapters are as shown on the title pages. If no fee code appears on the title page, the copy fee is the same as for current chapters. 0065-2164/01 $35.00 Academic Press A division of Harcourt, Inc. 525 B Street, Suite 1900, San Diego, California 92101-4495, USA http://www.academicpress.com Academic Press Harcourt Place, 32 Jamestown Road, London NW1 7BY, UK http://www.academicpress.com International Standard Serial Number: 0065-2164 International Standard Book Number: 0-12-002649-X PRINTED IN THE UNITED STATES OF AMERICA 010203040506MM987654321 CONTENTS Microbial Transformations of Explosives SUSAN J.
    [Show full text]
  • From Multimedia to Software Art Installations
    Collaborative and Transdisciplinary practices in Cyberart: from Multimedia to Software Art installations Diana Domingues Eliseo Reategui NTAV Lab – Universidade de Caxias do Sul/CNPQ Mestrado em Comunicação e Linguagens – Universidade Tuiuti do Paraná Brazil How to synthesize Leonardo? The efficiency of collaborative practices related to complex systems in Cyberart dissolves the old rupture and the well-known historical divergences between artists and scientists. The main point of convergence is when all disciplines investigate the same issues, all sciences become one unique science. Interactivity, immersion, autonomy and mobile connections in Cyberart require collaborative practices related to Science of Complexity and its emergent proprieties. Speculative software are written to respond for artistic projects and they place art in the three recent realms of “engineering art”, “engineering culture” and “engineering nature”1. These investigation fields respond to the high level of Cyberart’s philosophical, technical, biological, social, ethical and emotional implications of scientific discoveries. A variety of disciplines related to the use of computers and networks in genetics, engineering, biotechnology, cognitive sciences, communication, anthropology, computer science, and other areas require sometimes a scripted software when applied in art practices. Writing software is not new in art practices, it has been done since the beginning of computer art, mainly in the development of formalistic aesthetics. However, artists embrace nowadays the design of adequate software by taking algorithmic information content for searching “rules” to be included in the code. Art works in cyberspace search for forms of communication close to the expansion of life in the post-human culture. The focus is the human factor of technologies or the humanization of technologies in the cross- boundaries with creativity and changes in daily life2.
    [Show full text]
  • Bioart on the Verge of Aesthetic Ontology
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of University of Primorska original scientific article UDC 111.852:7.038.531 received: 2011-07-04 BIOART ON THE VERGE OF AESTHETIC ONTOLOGY María Antonia GONZÁLEZ VALERIO Universidad Nacional Autónoma de México, Facultad de Filosofía y Letras, Circuito Interior Ciudad Universitaria, s/n. C.P. 04510, México, D.F. e-mail: [email protected] ABSTRACT Bioart is a new art form with specific characteristics and aims. In order to state this, one should provide a defi- nition of bioart that explains its novelty and the extent to which it differs from traditional art forms. Bioart is the essential form of expression of our techno-scientific epoch, bringing about an interaction of science, technology and art that requires explanation in order not only to understand it as a new art form but also a possible way for our techno-scientific epoch to develop a more appropriate means of artistic expression. The traditional philosophy of art, which has created various definitionsANNALES of · Ser.art overhist. the sociol. course · 22 ·of 2012 the · past2 decade, is not sufficient for analyz- ing the ontological consequences of bioart. Therefore, this paper explores the possibility of creating a theoretical framework that is drawn from the discipline of aesthetic ontology in order to examine the ontological implications of bioart. : bioart, aesthetic ontology, art definition, transaesthetic, art and science LA BIOARTE SULL’ORLO DELL’ONTOLOGIA ESTETICA SINTESI La bioarte è una nuova forma d’arte con caratteristiche e obiettivi specifici.
    [Show full text]
  • Bioart Residency Project
    UNIVERSITY CITY SCIENCE CENTER BIOART RESIDENCY PROJECT AT INTEGRAL MOLECULAR U NIVERSITY CITY SCIENCE CENTER BIOART RESIDENCY PROJECT AT INTEGRAL MOLECULAR GENEROUSLY FUNDED BY: 2019 WINNER OF Business + Arts Partnership Award ORGANIZED BY: BIOART RESIDENCY PROJECT TABLE OF CONTENTS “ON A DAILY BASIS, SCIENTISTS EVERYWHERE HAVE AN IMPACT ON MEDICINE AND PUBLIC HEALTH, YET MUCH OF THIS IS NOT VISIBLE OUTSIDE THE SCIENTIFIC OUR TEAM 06 COMMUNITY. WE HOPE THIS PROGRAM WILL BEGIN CHANGING THIS BY PROMOTING ARTISTS 08 SCIENTIFIC ENGAGEMENT WITH THE GENERAL PUBLIC.” A well-suited partnership by angela mcquillan 13 -BEN DORANZ, CEO INTEGRAL MOLECULAR THE ART OF SCIENCE by BEN DORANZ 15 a scientist‘s perspective by TOM CHARPENTIER 17 In 2017, the University City of how art – in this case, the Science Center, in partnership visual arts – and science can artists in the lab by cindy stockton moore 20 with biotech company Integral converge to communicate Molecular, established a new complex scientific concepts in artist-in-residence program a profound yet clear manner. known as the BioArt Residency. This program is designed The BioArt Residency was to get people excited about designed to improve the science; to educate the public understanding of science and about new developments in biotechnology in all of our biotechnology; and to explore lives, foster a creative dialog not only the health aspects, between artists and scientists, but also the social and cultural and create a direct positive implications of scientific impact on human health. This development. residency is an ideal example » COVER IMAGE: Oxytocin filled glass blown vials part of Heather Dewey Hagborg‘s Lovesick Project, credit: Tabb Sullivan » IMAGE: Photograph from “Needle in a Haystack”, artist book by Laura Splan » BOOK DESIGN: Angela McQuillan 04 05 BIOART RESIDENCY PROJECT OUR TEAM ANGELA MCQUILLAN - RESIDENCY DIRECTOR BEN DORANZ - PRESIDENT & CEO, INTEGRAL MOLECULAR Angela McQuillan is an artist and the curator of the Science Ben Doranz is President and CEO of Integral Molecular.
    [Show full text]
  • Super STEM Sleuths: 1 Teacher's Guide and After School Activities
    Super STEM Sleuths: 1 Teacher's Guide and After School Activities Barbara Z. Tharp, MS, Michael T. Vu, MS, Gregory L. Vogt, EdD, Christopher A. Burnett, BA, James Denk, MA., and Nancy P. Moreno, PhD Baylor ( :olkg<' of .\kdicinc © Baylor College of Medicine © 2014 by Baylor College of Medicine All rights reserved. Printed in the United States of America TEACHER RESOURCES FROM THE CENTER FOR EDUCATIONAL OUTREACH AT BAYLOR COLLEGE OF MEDICINE The mark “BioEd” is a service mark of Baylor College of Medicine. The information contained in this publication is for educational purposes only and should in no way be taken to be the provision or practice of medical, nursing or professional healthcare advice or services. The information should not be considered complete and should not be used in place of a visit, call, consultation or advice of a physician or other health care provider. Call or see a physician or other health care provider promptly for any health care-related questions. Development of this draft of the Super STEM Sleuths educational materials is supported, in part, by the National Institute of Allergy and Infectious Diseases of the National Institutes of Health (NIH), grant number 5R25AI084826 (Principal Investigator, Nancy Moreno, Ph.D.). The activities described in this book are intended for school-age children under direct supervision of adults. The authors, Baylor College of Medicine (BCM), the NIAID and the NIH cannot be responsible for any accidents or injuries that may result from conduct of the activities, from not specifically following directions, or from ignoring cautions contained in the text.
    [Show full text]
  • Downloaded from the SGM Apolicationsin 200 1 Is3o November 2OO1
    'ru t'i e i J ,'1 "*; i;r ir'r:.1 SGM Headquartens MarlboroughHouse, Articles BasingstokeRoad, Spencers Shininga newlight on microbial phototrophs - Wood,Reading RG7 1AG thesecond century Sam Kaplan |5 Tel.01 18988 1800 Fax01 189885656 Diversityand ecology of phototrophicsulfur bacteria [email protected] Jorg Overmann tto SGMWebsite Light harvesting by pu rple bacteria: a circu lar arg u ment http:,/www.sgm.ac.uk RichardCogdell&AlastairT.Gardiner 120 Editor DrMerielJones Lichensand co-ordinatron ofthe symbionts David Hill 124 Editorial Board Cyanobacte ri a: eco logy, n iche adaptation and g e n om ics ProfessorDave Kelly DrLynne Macaskie DaveScanlan 128 ManagingEditor Howdocyanobacteriaglide?DavidG.Adams 131 JanetHurst Surfacewarfare in the sea Production Editor lanAtherton Staffan Kje | | ebe rg & Peter Stein be rg IUT Assistant Editor and Koch'scolonies and the culinary contribution of BookReviewManager FannyHesse Philip Mortimer lJo JaniceMeekings - Gontributions Careersfor microbiologists or, what on earth am I Theseare always welcome and doinghere? PeterWyn-Jones 138 shouldbe addressed tothe Editor (c/oSG M Headquarters). CopyDates Regular Features Lastdates for receiptof copy PublicAffairs 114 at MarlboroughHouse are General Copy GoingPublic not a November2001issue 3 Sept Above:Aselectionof Lichensare only fheWorldofMicrobesworkshopsDarielBurdass 140 February2002 issue23 November - fascinatingexample of lichens fascinating MISAC2OOiSchoolsComoetition DarielBurdass 141 Adveftisements (CRC) examplesof microbial symbiosisbut also act as Foodmicrobes - thegood, the bad and the uglyl November200l issue1 October symbiosis. usefulindicators of 2002 issue7 January Joy Perkins 142 February Photoslan Atherlon, SGM environmentalpollution. Advertisements DavidHill describes this SocietyNews besentto: Allenquiriesshould Vol.28,Part3, partnershipbetween f ungi MayCouncil Meeiing t40 JulieLauder, NWH SalesLtd, StaffNews,/AG M 2001/News of Members 146 TheArcadeChambers, Aug2OOl andalgae on pp, 124-127.
    [Show full text]
  • Phd in Computational Media, Arts & Cultures
    Computational Media, Arts & Cultures PhD Proposal 19 April 2016/vs 1 PROPOSAL for an Interdisciplinary, Interdepartmental PhD in Computational Media, Arts & Cultures Submitted by: Victoria Szabo, Art History & Visual Studies and Information Science + Studies Mark Hansen, Program in Literature and Art, Art History & Visual Studies Deborah Jenson, Franklin Humanities Institute TABLE OF CONTENTS I. EXECUTIVE SUMMARY ....................................................................................................................................... 4 II. RATIONALE FOR THE PROGRAM .................................................................................................................. 5 A. Introduction ................................................................................................................................... 5 B. History and Background ............................................................................................................ 6 C. An Interdisciplinary, Interdepartmental Program ......................................................... 11 D. The Interdisciplinary Humanities Lab Model .................................................................. 13 E. Characteristics of the Constituting Partners ..................................................................... 15 F. Rationale for a Distinct Program .......................................................................................... 16 G. Unit Sponsor Contributions ...................................................................................................
    [Show full text]
  • Rematerialized Tendencies in Media Art? from Silicon to Carbon-Based Art
    Sociología y tecnociencia/Sociology and Technoscience: Special Issue: Artefacts REMATERIALIZED TENDENCIES IN MEDIA ART? FROM SILICON TO CARBON-BASED ART ¿TENDENCIAS REMATERIALIZADORAS EN EL MEDIA ART? DEL SILICIO AL CARBONO EN EL ARTE DANIEL LÓPEZ DEL RINCÓN Universitat de Barcelona – University of Barcelona [email protected] Recibido: 24/VI/2012. Aceptado: 19/XII/2012. Abstract: The importance of digitality in Media Art theories consolidated the aesthetic of dematerialization, as it shifted the value of materiality in this field. However, the advent of new forms of technological art, such as Bio Art, which uses laboratory technologies in an aesthetic way to manipulate life, demonstrates the crisis of this paradigm and the trend of rematerialization. This paper investigates the role of materiality, even in the more dematerialized realms of Media Art: the digital technologies. We focus on two art forms that combine new technologies and life sciences: Artificial life, which involves the intangible features of Media Art, and Bio Art, which interprets materiality in a radical manner, by choosing life as the raw material for artistic creation. Key Words: materiality, inmateriality, Digital Art, A-life Art, Bio Art. Resumen: La importancia de lo digital en las teorías del Media Art consolida la estética de la desmaterialización al alterar el valor de la meterialidad en este campo. En cualquier caso la llegada de nuevas formas de arte tecnológico, como el Bio Art, que usa tecnologías de laboratorio para manipular vida de una forma estética, demuestra la crisis de este paradigma y la tendencia a la rematerialización. En este artículo se aborda el papel de la materialidad, incluso en los ámbitos más desmaterializados del Media Art, los de las tecnologías digitales.
    [Show full text]