Nano-Optical Image-Making L a R E N E G ©2020 ISAST with Thisissue

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Nano-Optical Image-Making L a R E N E G ©2020 ISAST with Thisissue g e n e r a l a r t i c l e Nano-Optical Image-Making Morphologies, Devices, Speculations A l e k san d ra k A M I N S k A This article provides a technical overview of nano-optical image-making gies of the image, with work at the nanoscale currently a produced in collaboration between the author, engineering scientists focus of this activity. This area of research was explored in a at the Ciber Lab in Vancouver and the artists Christine Davis and Scott collaborative initiative I instigated and developed with Hao Lyall. It situates the work in relation to other optical technologies (such ABSTRACT as holographs), to the primary application of nano-optical images Jiang and Bozena Kaminska at the Ciber Lab at Simon Fraser as authentication devices and to other artistic practices concerning University in Vancouver, along with artists Christine Davis nanoscale interactions of light and matter. The paper articulates and Scott Lyall, each of whom has been working on studies the convergence of visual technologies and designed materials by of light, color and material throughout their career. Together explaining how the principles of structural color can be used for the we have been developing nano-optical images that material- production of images. Building a discussion on the shift from device ize in the convergence of visual technologies and designed to medium that is anchored around questions of remediation and reproducibility, it concludes with a speculation on informatic matters, materials, resulting in both material samples and specula- or the convergence of mediating functions at the surface of things. tive prototypes of something that could be described as a burgeoning optical medium. The ability to design materials at the nanoscale is providing MorphOlOgIeS Of scientists and artists alike with new ways of manipulating ORganic/desigNed Nano-Optics light and making color. The “blackest of black,” or what has come to be known as Vantablack [1], is one example of a Morphology (from the Greek morphé, or form) is concerned metamaterial pushing the established laws of chemistry and with forms and structures and is most frequently used in cer- physics for visual effect. Artists have in some cases conten- tain branches of linguistics and biology. The outcome of a sci- tiously claimed some of these for personal and exclusive use entific interest in shapes and their functions has notably led [2], but this control over color also extends to other fields. to the now-familiar detailed drawings of plants, animals and In the security industry, for example, there is a continuous other life-forms that have been the product of morphological search for cutting-edge image-making techniques and sub- studies since at least Robert Hooke’s Micrographia in 1665. It strates, especially in the sector interested in the production of has been well documented how these structural studies have visual devices, such as those used for authentication. There, been refined with every advance in optical technology, each technologies like next-generation holographs or UV inks are allowing the human eye to see what it previously could not developed for use in passports, credit cards, product labels [3]. Through optical devices like microscopes, form, struc- and other objects as a means to visually identify, legitimate ture and the shape of things gradually emerged from the lim- and secure. In this context, restricted access to the technical its of perception. With the development of microscopes that know-how required for producing complex visual effects is could reach into the molecular scale came the ability to see a necessary anticounterfeiting measure. Artists, scientists, the construction of matter itself [4]. One of the phenomena governments and industries alike are thus all interested in that was studied at this scale is biological iridescence, such the ongoing development and exclusivity of new technolo- as the shimmering blue wing of the morpho butterfly. What a nanoscale morphological study revealed is that the wings are in themselves transparent and the color comes not from Aleksandra Kaminska (researcher), Université de Montréal, Department of Communication, PO Box 6128, Downtown Station, Montreal, QC H3C 3J7 Canada. pigment but from structure: It is through the morphology Email: [email protected]. Web: www.aleksandrakaminska.com. of the wing—its form—that color is produced. This is called See www.mitpressjournals.org/toc/leon/53/2 for supplemental files associated structural color [5]. with this issue. Because of the way the light diffracts in the billions of ©2020 ISAST https://doi.org/10.1162/leon_a_01610 LEONARDO, Vol. 53, No. 2, pp. 167–173, 2020 167 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon_a_01610 by guest on 30 September 2021 nano-sized structures that constitute the wing of the mor- In the business of authentication technologies, optical pho butterfly, it generally appears blue to the human eye. nano-images are called nano-optical variable devices (nano- In movement (i.e. when angles between structures, light OVDs), with colors and variability (morphing, iridescence) and eye shift), the points of contact tune in and out and the becoming ever-more precise and defined thanks to the on- color shimmers, or iridesces. The fact that the appearance going improvements in nanoscale engineering in designing is generally blue is significant, as is the implication that the specific shapes and forms [11]. OVDs, which include the term morpho refers to an idea of changing forms: morphing, common holograph, are characterized by their changeability, metamorphosis, etc. In the morpho butterfly, this applies not or iridescent visual effects, which tune in and out of focus as to a literal restructuring of the wing but to the variability they are tilted and placed under different light conditions. or instability in the color that is perceived, that is, in the However, holographs and nano-OVDs are produced using a iridescent quality of the blue. This iridescence—a mutabil- different technical principle: whereas holographs are based ity of perceived color—is the product of the fluid interac- on the recording, or inscription, of a whole image on a holo- tion between the environment (light) and angles of sight, or graphic film (substrate) with reflected laser light, the nano- “viewing geometry” [6]. Such iridescence exists only to the OVD’s visual effect comes from the structural forms of the extent of our ability to see it [7]. substrate itself. This is significant insofar as the scientific goal The study of iridescence is the study of optics, or “the long of nano-optical image research is not primarily to produce history of humanity’s struggle to control light” [8]. The mor- 3D representations (which is also a possibility) but rather to pho butterfly’s iridescent wing has served as an oft-referenced produce high-resolution images that can be seen accurately inspiration for nano-optical researchers. Engineering scien- under the widest-possible viewing angles, in effect working tists, extrapolating from the morphology of the wing, began to limit its color variability and improve brightness (color designing materials with specific nano-sized structures to intensity). The search for widest viewing angle and high reso- imitate the hole-based system of the butterfly to produce a lution is the search for a reliable form of representation and variety of colors through shifting forms and shapes. The re- reproduction, something more akin to a multipurpose film sulting substrates—what Giuliana Bruno might refer to as the that is used in analog cameras than to ambitions of producing “fabric of the visual” [9]—use nano-sized slits or holes that 3D representations. are designed to produce specific material encounters with The primary application of nano-OVDs has been as an light that generate precise “optical effects.” Because of these anticounterfeit device for documents, joining a lineage that nanoscale dimensions, light behaves and interacts not merely includes practices of microphotography and security print- as a beam or ray but rather through its constitutive parts— ing. The typical way of producing nano-OVDs for such use wavelengths, photons. As light hits the surface of this pixelated is through renewals of familiar techniques—lithography, canvas, it diffracts, refracts, reflects and transmits selectively embossing, stamping. First, a master of a wanted image (the so that the human eye sees certain colors at certain angles. “original”) is fabricated in a nickel stamp (using nanolithog- A number of artists have experimented with nano-optics raphy), which is then replicated through roll-to-roll emboss- in their work. Anish Kapoor has claimed exclusive rights to ing in a colorless polymer/plastic [12]. The optical image is Vantablack, but other artists have also worked to produce structurally integrated into the material: The color from each near-absolute blacks, such as Stuart Semple with his Black hole of the nanosubstrate is a direct outcome of the stamping 2.0 (2017), or Frederik de Wilde in his series Hostage (2010–), process. This technique means that to reproduce is to make a where black “grows” through the cultivation of carbon copy of a combined material-image each time. nanotubes. Kate Nichols meanwhile is producing iridescent While OVDs are in general difficult to reproduce (and thus nano-optical pigments using silver nanoparticles, showcased forge) because of their technical complexity, nano-OVDs for example in Doppelganger (2013), among other ongoing made in this way face specific challenges. First is a restriction works. Where the work in our collaboration differs, however, concerning the volume of production. To produce a nickel is that we are not producing pigment but surface: a canvas stamp requires significant investment of time, labor and re- that uses the logic of a system of holes, as in the butterfly sources—too much in fact to produce for one-off images and wing, for the making of color.
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