I found Space and Art to be the most interesting of the different topics that we looked at over the course of the quarter. We have all considered space and what it is like out there, but I never really considered the profound influence that art has had upon space technology. Roger Malina presents this very concept in the Leonardo Space Project when he explains just how much art and the cultural imagination of artists and writers has gone into helping the advancement of space technology. What was once regarded as science fiction is now becoming a reality.
Virgin Galactic
First depicted in shows such as Star Trek, or The Jetsons, space travel seemed like such a far off concept. However, the private business Virgin Galactic is pioneering the development of the first commercialized human spaceflight. The company hopes that through the expansion to space, they will be able to significantly change the world in a positive way. This very invention is the result of the boundless imaginations of movie writers and artists.
Use of Zero Gravity in art
As has been a constant theme throughout the many weeks, space and art have had a mutually beneficial relationship, helping each other to grow in many ways. One of the applications I found most interesting is the use of zero gravity in art. As we learn more about space and our intrigue for it grows, so too does our intrigue for its utilization within art. The use of art and zero gravity attempts to create the condition of weightlessness on earth through photography and video. It encapsulated the imagination of the viewer, presenting something that we know is out there, but have yet to experience for ourselves (or at least for most of us).
Floatation Tank
Our desire to experience zero gravity has grown with the development of space and art. This can be seen in the development of floatation tanks and zero gravity chambers. Both of these work to mimic the effects of zero gravity, making it affordable for an individual to experience weightlessness first hand. It is amazing to consider how space and art continue to reinforce each other, and I cannot wait to see what the future holds for this kind of technology.
- Contributors. "Isolation Tank." Wikiwand. Wikipedia, n.d. Web. 26 May 2016.
- Forde, Kathleen. "Dancing on the Ceiling: Art & Zero Gravity." Dancing on the Ceiling. Curtis R. Priem Experimental Media, n.d. Web. 26 May 2016.
- "Human Spaceflight - Virgin Galactic." Virgin Galactic. 2016 Virgingalactic, n.d. Web. 26 May 2016.
-“Leonardo Space Art Project Visioneers.” Leonardo Space Art Project. MIT Press, 1996. Web. 25 May 2016.
- Vesna, Victoria. "Space and Art (Part 1)." UCLA. Lecture. 26 May 2016.
- Vesna, Victoria. "Space and Art (Part 2)." UCLA. Lecture. 26 May 2016.
- Vesna, Victoria. "Space and Art (Part 3)." UCLA. Lecture. 26 May 2016.
- Vesna, Victoria. "Space and Art (Part 4)." UCLA. Lecture. 26 May 2016.
- Vesna, Victoria. "Space and Art (Part 5)." UCLA. Lecture. 26 May 2016.
- Vesna, Victoria. "Space and Art (Part 6)." UCLA. Lecture. 26 May 2016.
For my second event I attended Maša Jazbec's presentation on the history of robotics as well as their current state today. This event reinforced my understanding of robotics as well as the influence that art has had on its extremely rapid development over the course of recent years.
Maša Jazbec's presentation began with a simple robot that serves solely to pour tea and ended with one that is able to walk around, pick up items, and even get up when it has fallen. Throughout the presentation I couldn't help but notice how closely it related to the robotics and art unit covered during week 3. It is amazing to look at how much movies and shows such as Star Trek and The Jetson's have influenced both the functionality and physical appearance of robots today.
Another interesting comparison I noticed was how highly Maša Jazbec spoke of robots and their eventual blending in with human society. Based on the advancements made so far, she viewed lifelike robots and artificial intelligence as an inevitable creation for the near future. This related to guest speaker Machiko Kusahara's discussion on the differing views of the East and the West on robots. Countries such as Japan are extremely welcoming to the idea of robots entering our daily lives, while western countries such as the US are more wary of what may come with that. It was awesome to see the excitement Maša Jazbec held for this possibility as she spoke of robots eventually being like another species of our world.
Though the event was only a one time presentation, I would have highly recommended anyone to attend. It was great to get a fresh perspective from a current expert in the field of robotics. The presentation went hand and hand with the unit provided by Professor Vesna on robotics and has been beneficial in furthering my understanding of the mutual influence of robotics and art.
This week we discussed the development of nanotechnology and the influence that it has had upon both art and science. Nanotechnology involves manipulation of matter that is not visible to the naked eye. For this reason, art has developed in a way that it utilizes new techniques to allow the viewer to connect with the tiny matter.
Nano-Scape
An example of this is the Nano-Scape by Christa Sommelier and Laurent Mignonneau. Rather than creating something that appeals to visual senses, this interface attempts to make the nano-world accessible through touch. This project uses magnetic forces to allow individuals to feel the nano-particles. I find it amazing that art has adapted in a way to accommodate tactile senses where actual perception is not possible.
Boo Chapple's Transjuicer
Another example of art adapting in new ways can be seen in Boo Chapple's "Transjuicer." This time, however, it allows the viewer to interact with the nano-world through sound. The project attempts to create vibrations within a bone in order to create audible sounds. As nanotech develops, we have learned that there are many phenomena that occur outside of human capacity. The Transjuicer and Nano-Scape are but two of the ways that art attempts to bring us into contact with this other world.
Artist Representation of Molecules
Art has also served a large role in the development of nanotechnology. Since nanotech operates on such a minuscule scale, it takes an extremely powerful microscope for scientists to see the actual particles. Seeing that most individuals do not have access to this kind of technology, art has helped in a way that it depicts exactly what particles look like at this level. Since even the smallest of changes greatly alter the particles, artists must have great precision in order to accurately portray them.
⁃Gimzewski, Jim, and Victoria Vesna. The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science. N.p., n.d. Web. 18 May 2016.
- Lovgren, Steven. "Can Art Make Nanotechnology Easier to Understand?" National Geographic. National Geographic Society, 23 Dec. 2003. Web. 19 May 2016.
- "Seeing at the Nanoscale." Nano. Nanotechnolgy 101, n.d. Web. 20 May 2016.
⁃Sommerer, Christa, and Laurent Mignonneau. “Nano-Scape: An Invisible Interactive Structure.” NanoScape. N.p., 2002. Web. 18 May 2016.
⁃“Visceral: Interview with Boo Chapple.” Sciencegallery.com. N.p., n.d. Web. 18 May 2016.
This week we discussed the development of neuroscience and its affects on art as well as arts effects on neuroscience. Neuroscience is concerned predominantly with the nervous system and how neurons are responsible for communication between cells. From filmmaker, Noah Hutton, we learn that neurosci and art both mutually affect one another. Art is often used to inform us about our brains physical structure and inner workings. Similarly, our brains allow us to interpret and benefit from works of art. An example of this can be seen in Greg Dunn's "sumi-e" art that infuses minimalist style art with neurons as a motif. Neuroscience allows us to draw the neuron properly while art allows us to all see what it looks like.
"Two Pyramidals" by Greg Dunn
Johns Hopkins University set up a study called "Beauty and the Brain: A Neural Approach to Aesthetics," that considered the question of what exactly attracts the brain to artwork. This brought in the concept of aesthetic emotion -- emotions that are felt during aesthetic activity or appreciation. Aesthetic emotion is felt in a number of ways, but the two I found most interesting is in its application to amateur magic tricks, and coloring books.
Child Reacting to a "Magic" Trick
I had a bit of a magic phase during high school and many of my tricks relied upon artfully setting up and executing the specific trick. Unknown at the time, my small performances utilized aesthetic emotion in order to derive pleasure for both parties. The guest experienced pleasurable aesthetic emotion by witnessing something that tugged the curiosity of their mind, begging the question: "How did he do that?" For me however, the pleasure I experienced was from the many perplexed and amazed looks that would often follow the performance.
My other example, coloring books, demonstrates the mutual affects of neuroscience and art. My mother recently started coloring in coloring books as a method of de-stressing at the end of her day. Here we see the effects of art on the brain rather than the effects of neuroscience on art. As testified by my mom, the act of engaging in a simple, yet creative task served as an effective way to relax. Coloring books is just one of the many forms of art that can help calm our nerves and relax.
- Alba, Deane. "The Mental Health Benefits of Art Are for Everyone." Be Brain Fit. Be Brain Fit & Blue Sage, LLC, 21 Oct. 2015. Web. 10 May 2016.
- Dunn, Gregory. Greg A. Dunn Design. Web. 10 May 2016.
- Hutton, Noah. "Art and the Limits of Neuroscience." Opinionator. New York Times, 4 Dec. 2011. Web. 10 May 2016.
- John Hopkins University. "Beauty and the Brain: A Neural Approach to Aesthetics." The Walters Art Museum, 23 Jan. 2010. Web. 10 May 2016.
- Kemp, Gary. "Collingwood's Aesthetics." Stanford University. Stanford University, 21 Aug. 2007. Web. 10 May 2016.
- Vesna, Victoria. "Conscious / Memory (Part 1)." UCLA. Lecture. 10 May 2016.
- Vesna, Victoria. "Conscious / Memory (Part 2)." UCLA. Lecture. 10 May 2016.
- Vesna, Victoria. "Conscious / Memory (Part 3)." UCLA. Lecture. 10 May 2016.
This week we discussed the development of BioTechnology and its influence on art. The most immediate recognizable use of biotech can be seen in surgical manipulation of the body. Plastic surgery however is only one of the many uses of biotech. One of the uses I found most interesting was Eduardo Kac's "Edunia." The Edunia is a petunia altered by his blood using genomics and genetic experimentation. It is amazing that biotech has developed in a way that allows us to genetically alter flowers with our own DNA. One point that Eduardo Kac makes in "Natural History of Enigma" is that humans and flowers might be more genetically similar than we think.
Designer Baby
Though the Edunia is a great application of biotech on art, the one I find most interesting is Agar Nicholas' idea of Designer Babies. This concept uses genomics to enable individuals to genetically plan and modify a fetus's traits. The idea of being able to give your child any trait may be enticing at first, but it carries many negatives with it. The prospect actually becomes somewhat terrifying considering that designing our babies with certain traits takes away from our gene pool and is essentially killing off any traits deemed "undesirable." This is not to say designer babies would be without its benefits, but I personally believe it is a dangerous path worthy of caution.
Genetically Modified Food
A more relevant example of biotech is the development of genetically modified foods. Using genomics, farmers are able to genetically alter foods foods for better taste, appearance, and texture. Gary Wenk discusses how GMO's can affect how someone thinks and feels. With so many GMO's out there today, it can be difficult to know which foods are actually safe to consume.
- Agar, Nicholas. “Designer Babies: Ethical Considerations.”ActionBioscience. N.p.. Web. 8 May 2016.
- Kac, Eduardo. "NATURAL HISTORY OF THE ENIGMA." ekac. N.p.,n.d. Web. 8 May 2016.
- Liss-Schultz, Nina. "We Are This Close to 'Designer Babies'" Mother Jones. Mother Jones and the Foundation for National Progress, 8 Feb. 2016. Web. 8 May 2016.
-Vesna, Victoria. “BioTech Art Lecture Part I.” N.p., . Web. 8 May 2016.
-Vesna, Victoria. “BioTech Art Lecture Part II.” N.p., . Web. 8 May 2016.
-Vesna, Victoria. “BioTech Art Lecture Part III.” N.p., . Web. 8 May 2016.
-Vesna, Victoria. “BioTech Art Lecture Part IV.” N.p., . Web. 8 May 2016.
-Vesna, Victoria. “BioTech Art Lecture Part V.” N.p., . Web. 8 May 2016.
-Wenk, Gary. “This is Your Brain on Food.” SEED. N.p., 13 2010. Web. 8 May 2016.
For my first event, my buddy and I (attempted) to attend the "Leap Before You Look" exhibit walkthrough at the Hammer Museum in Westwood. Unfortunately, the time listed on the website was actually an hour late. This gave us the opportunity to explore the museum on our own accord. Upon entering the exhibit I learned that it pertained to examining the history of Black Mountain College. I learned that this college was one of experimentation that utilized the arts to educate its students. Though the exhibit consisted of many various sections, the section I found most interesting was the "Scarcity and Creativity" section.
Untitled by Kenneth Noland
Oil On Board
The "Scarcity and Creativity" section reflected the values of Black Mountain College during the Great Depression. Suffering from lack of financials, the college depended upon a school work program that would cook, collect trash, and repair buildings. These bare essentials to keep the college up and running gave the college the motto of "making do." This was evident in the artwork as well. With little money to pump into the arts, much of the productions were extremely simplistic.
Study in Orange, Gray, And Ochre
by W. Pete Jennerjahn
Oil on Masonite
I found this particular area most fascinating because it shows the profound effect the economy and society has upon art. Much like how linear perspective was influenced by scientific advancements at the time, the use of oil on board was reflective of the hard times created by the Great Depression. Without the necessary funds to afford luxury's for more expensive art, the college made do with what they had. This is reflective in the style of art as well. There are no fancy patterns or complex techniques. It is all very simple, just like the other aspects of their lives.
My Friend in the Chair
I would highly recommend the "Leap Before You Look" exhibit at the Hammer Museum. Though the art itself is far from complex, its simplicity and reflective meaning make it an amazing exhibit. It has helped me to realize just how much each era of art represents and reflects the economy and societal standards for the time.....plus, they have these cool chair things you can spin around in.
