Though I don't use it in the piece, the system of earthquake early warning we profiled – developed by UC Berkeley's Richard Allen, among others – has a name:ElarmS. One of my favorite parts of the ElarmS website is the page where visitors are invited to submit their own ideas for how the system might be used.

I mention this because it illustrates an interesting fact about earthquake prediction, which is that it's not the technology technology (i.e., how to predict an earthquake) that's still up for debate, it's what to do with the warning, once we have it.

If Allen is right, three years from now ElarmS will be up and running, supplying some – if not a whole lot – of warning before quakes hit. But whether the rest of us receive that warning is largely out of ElarmS 's hands. Will someone develop an iPhone app that'll announce the countdown in a GPS-like voice: 10, 9, 8? Will BART rig its system to ElarmS so that every train in the network starts slowing down, as soon as countdown begins? Will fire stations allow their doors to be automatically opened every time an alarm goes off? To borrow the USGS's David Oppenheimer's cringe-inducing example, will surgeons hear an alarm and lift their scalpels?

And what happens when false alarms – and they are inevitable – cause people to turn off their iPhone quake-warning apps, or complain about BART slowdowns? At a conference for environmental journalists last night, I chatted with two Mexicans about how their country has invested in an early-warning system. They rolled their eyes. "If it only worked!" Unfortunately, the price for working sometimes might be not working other times.

Here is a nice depiction of P-waves and S-waves, if you want to learn more about how prediction (and earthquakes) work.

And here's a link to the California Integrated Seismic Network, which includes the vault I visited in the radio piece (and featured in the slde show below).

Listen to Predicting the Next Big One radio report online.

Many programs are geared for incoming students and their families. However, there are a few gems designed for everyone. This year's highlights feature hands on physics, discussions on energy & environmental issues, with the search for extra terrestrial life sprinkled in. For a complete listing of events, check out the Cal Day website. Here are my picks:

Darwin, Dover, and Intelligent Design: What's Next for Anti-Evolutionists?

10-11 am, 2050 Valley Life Sciences Building

Hear a national expert on evolution discuss the conflicts between evolution and creationism, and where this debate is headed.

Mobile Millennium: The System That Keeps Traffic Moving

10-11 am, Sibley Auditorium

This traffic-monitoring system collects data and sends it to your cell phone to help you take the best routes. Be an early adopter of this developing technology; learn how following the lecture or from 1:30 to 3 pm outside McCone Hall.

Are We Wired for Good?

11 am-noon, 145 Dwinelle Hall

Is the capacity for compassion, gratitude, and other positive emotions built into our nervous systems? Are such emotions the path to happiness? The founder of Berkeley's Greater Good Science Center has some answers.

What Is the Large Hadron Collider?

11 am-noon, 4 LeConte Hall

It's the world's largest and most powerful particle accelerator. Hear how it works and discover the exciting things it might reveal about our amazing universe.

Will Water Be the Oil of the 21st Century? A Quest for Sustainable Water Management

11 am-noon, 502 Davis Hall

Water is a limited natural resource, and its importance can be compared to that of oil. Examine the parallels between these two resources, and the future of water sustainability.

How Global Climate Change Will Affect the Oceans

Noon-1 pm, 141 McCone Hall

Warmer surface waters, rising sea levels, more storms, and increased carbon dioxide – all will have an impact on marine ecosystems, coasts, islands, estuaries, and wetlands.

The Dark Side of the Universe

Noon-1 pm, 100 Genetics & Plant Biology Building

The universe is mostly made up of "dark matter" – what evidence do we have that it exists? Hear how we're searching for this mysterious component of the universe.

Genes in a Bottle

Noon-2 pm, Latimer Hall

Learn how DNA is chemically extracted from organisms for research applications. Then extract DNA from your own cheek cells, and take it home in a fashionable necklace!

How Do Cars Fit Into a Clean-Energy Future?

1-2 pm, 105 Stanley Hall

Can car lovers also be planet lovers? How will our favorite vehicle evolve as the need to manage global warming intensifies? Energy and Resources Group Professor Dan Kammen

Is Anybody Out There?

1-2 pm, 3 LeConte Hall

Hear about Berkeley's SETI (Search for Extraterrestrial Intelligence) program at the world's largest telescope, the Allen array. Volunteers have a small but captivating chance that their computer will detect the first signal from a civilization beyond Earth.

New instruments hook to the underwater lab.
Credit: David Fierstein © 2005 MBARI

We heard about the Monterey Bay Aquarium Research Institute's new underwater laboratory in a radio story last fall. When that story aired, the lab (known as the Monterey Accelerated Research System, or MARS) was just getting going, with lots of neat experiments planned. Now, few of those have become a reality.

In case you missed the first story, the MARS is essentially an underwater data hub, perched on the ocean floor almost 3,000 feet below the surface of Monterey Bay. A 32-mile cable connects the system to land, acting as a power cord and data link. Several "underwater extension cords" allow a variety of instruments to plug into the hub, getting power from land and sending back data via the cable. That constant connection is a big step forward in undersea science; without it, researchers have had to use boats to stay physically close to their instruments (something hard to do for very long), or have sent the instruments off on their own, relying on batteries to keep them running and collecting data.

Until late February, earthquake scientists at the UC Berkeley Seismological Laboratory had been using that second method with their seafloor seismic station, the Monterey Ocean Bottom Broadband (MOBB). "We had to wait three months to even know if the instruments were alive," said Barbara Romanowicz, the lab's director. But the MOBB is now plugged in to the MARS system, and is transmitting its information about earthquakes in real-time.

That new stream of information could be especially valuable in California, because the MOBB provides a unique view of the main fault system, the San Andreas, which runs along the Northern California coast. Most seismometers are land-based, and therefore positioned on the east side of the fault. The MOBB is on the west side of the fault, offering a helpful perspective on the fault's shifts and shakes.

The researchers hope that the MOBB's new stream of real-time data will improve their earthquake models, and perhaps eventually help provide early warnings about impending quakes (for more on that topic, see the TV story, Earthquakes: Breaking New Ground).

The MOBB is just one instrument using the MARS hub. A tool that uses sound waves to track fish is currently attached, and within the next six months you can expect to see a robotic DNA lab and a robot that crawls along the seafloor, collecting data on animals that live in the mud.

Chef Ryan Farr demonstrates the art of the butcher.

On Thursday night, the Society of Agriculture and Food Ecology and Meatpaper Magazine co-hosted a panel discussion at UC Berkeley titled, "The Art of the Butcher". Using whole animals from local ranches was the topic of the night, and judging from the standing room only crowd, it's an area that the sustainable agriculture community is gravitating towards.

Marissa Guggiana of Sonoma Direct led the panel, which included both chefs and producers. Melanie Eisemann and David Budworth of Avedano's butcher shop discussed how butcher shops typically don't break down whole animals in-house, and usually provide only the most popular cuts of meat such as the tenderloin, ribs and chops. At Avedano's, they encourage their customers to try lesser-known cuts that can be cheaper and more flavorful depending on the method of preparation. They also offer regular classes on how to butcher your own meat.

Producer Mark Pasternak of Devil's Gulch Ranch described the change he has seen in the marketplace from both chefs and consumers. He's able to sell his pigs to restaurants and markets that are looking for local animals that are raised outdoors, and Bay Area customers are helping to increase the demand for this sustainably raised meat. Chefs Nate Appleman of A16 and Ryan Farr of Ivy Elegance are both dedicated to using every bit of the pig that they can, from the ears and skin all the way down to the hooves. Appleman serves 20 pounds to tripe of week.

The culmination of the evening was a demonstration by Chef Ryan Farr on how to break down an entire side of a pig. It was divided up into CSA shares, which were pre-sold to members of the audience. For more on local meat CSA's, check out this Quest story.

Bio-inspired design borrows its creative inspiration from models and systems in nature, that is, plant and animal parts that have been slowly tweaked for over 3.8 billion years. But that doesn't mean that nature's designs are perfect. In fact, that's what makes the process of engineering things based on natural models so difficult. You have to figure out how to pull the aces from the evolutionary discard pile. As professor Bob Full at U.C. Berkeley explained in our first phone conversation, that's also why scientists now use the term "bio-inspiration" rather than the more commonly known term "biomimicry." Biologists and engineers are not looking to simply mimic nature, because there are all kinds of dead ends and redundancies in natural systems that would be pointless to recreate in an optimized, man-made piece of technology. One of the examples he gave me is a kind of grasshopper that if you were to copy it, you would copy neurons that go to nothing, they don't connect to any muscles, and that's because during evolution the adults lost their ability to fly. The neurons going to the muscles are still there, but the muscles aren't there anymore. No need to copy that, right?

So what a biomimeticist does is look to nature to find plants & animals with remarkable performance abilities, and studies their adaptations for inspiration to design something new. For example, if you want to make a tiny robot that can fly, then look at the best fliers. If you want to design a blade that moves quickly through fluids, or an Olympic swimsuit that minimizes drag, then look to the most efficient swimmers. Now that's what I call "intelligent design!"

Watch the Bio-Inspiration: Nature as Muse television story report online.

Cris Benton inspects his kite aerial photography rig
before sending it up in the sky. Credit: Jane Liaw.

UC Berkeley architecture professor Charles 'Cris' Benton is a kite aerial photography (KAP) enthusiast. Benton is well-known in the KAP world for sharing his knowledge and love of the art.

In this art form, a camera is carried aloft by a kite and operated remotely from the ground. The pictures taken provide a bird's-eye view that can’t be seen from the ground or an airplane. Benton's Web site, chock full of information and gorgeous photos, has attracted numerous newbies to KAP.

I am profiling Benton for the UC Santa Cruz Science Communication Program. As I was casting around for an interesting scientist to write about, Benton stood out to me. He has a distinct and coherent philosophy that extends through both work and hobby.

Benton explains his attraction to KAP on the Web site:

Kite aerial photography appeals to that part of me, perhaps of all of us, that would slip our earthly bonds and see the world from new heights. An aerial view offers a fresh perspective of familiar landscapes and in doing so challenges our spatial sensibilities, our grasp of relationships.

KAP is a natural fit for Benton, who says architects also think about bird's-eye perspectives and relationships between buildings in the landscape.

KAP was invented more than a century ago, but fell out of favor as military and commercial photography from airplanes became popular. In past few decades, artists interested in a unique perspective from the sky have revived the art. Today, thousands of people worldwide pursue KAP, and Benton is one respected example. He builds the rigs that hold his camera aloft from parts he finds around the house. The camera cradle, for instance, is re-purposed from an old computer hard drive. Benton, who took his first aerial photographs at Cesar Chavez Park in 1995, has built every rig himself; he's now on his tenth.

Benton's creation is impressive. He has set a camera in a wooden frame, and engineered a remote mechanism that pushes the shutter button and can move his camera to vertical or horizontal positions. To take his aerial photos, he handles the spool of kite string with one hand and works the radio controller that remotely manipulates the camera with the other.

At Cesar Chavez Park today, I watch as Benton hooks the kite to a park bench after it's aloft, then attaches the camera to the kite line, rigged in a pulley system that allows Benton to move the camera up and down the line. He snaps a few photos of himself at different heights to show me.

Benton peers up at his rig as he positions it for some
photo-taking. Credit: Jane Liaw.
Benton doesn't use real-time video to help compose his shots, as some kite aerial photographers do. With video, the photographer on the ground sees exactly what the camera's shot will look like. Instead, Benton "interrogates the landscape." He thinks through the shot, forms a hypothesis on what he might see if he were looking through the camera lens in the sky, takes the picture, and compares his imaginings to the actual shot.

Benton has in recent years developed a fascination with the south San Francisco Bay. For several years, he has been documenting the area as part of the San Francisco Exploratorium’s Hidden Ecologies project. Benton takes kite aerial photographs of the South Bay salt flats and other Bay geographies, while a microbiologist takes "microcinematography"– photos of tiny critters such as bacteria and diatoms that inhabit these ecosystems, captured with the help of field microscopes.

Benton has published his photos on a blog: majestic overviews of the South Bay salt ponds that run the color spectrum from red to green to pink, depending on how the microscopic organisms adapt to varying salinity levels.

Cris will be collaborating with KQED staff on our next 2-minute "Your Photos on QUEST" segment for broadcast and web distribution. It will air on August 26, 2008.

His stunning set of Kite Aerial Photography of South San Francisco Bay did a wonderful job of expressing a sense of locale, with a passion for nature, via a process that captures something unexpected and essential.

In his own words:

"…juxtapositions abound – dendritic marsh channels as foils for the straight lines of infrastructure; wild openness confronting the confines of encroaching capitalism; salt ponds, vividly colored by the aforementioned halophiles, constrained by subtly hued mud and marsh; derelict, forgotten engineering works faintly echoing their former functions. ."

Benton makes his own kite rigs, but if you're interested in taking up the hobby and are daunted by putting together your own equipment, you can also buy ready-made rigs online from Brooks Leffler, a pioneer of modern KAP.

The Museum contains over 640,000 specimens of amphibians, reptiles, birds and mammals and 50,000 tissue samples that have been specially preserved since the turn of the last century. It's considered to be the largest university museum collection of its kind in the country. While it may even seem a bit disconcerting at first to see this enormous collection– especially the specimens that have been stuffed to be appear more life-like– the historical importance of the collection is tremendously significant.

Many of the specimens were collected in the early 1900's by the Museum's first Director, Dr. Joseph Grinnell, a zoologist who realized how quickly the environment was changing under the influence of human civilization. He set out to meticulously document various regions in California by amassing specimens and creating field notes, photographs, maps, letters and other archival materials. Grinnell understood how valuable this information would be in the years to come to future generations who wanted to learn more about our ever-evolving landscape. Present-day scientists are able to utilize this information for climate change research and can even extract DNA to perform genetic tests.

Monica is the Museum's preparator and oversees its Specimen Preparation Laboratory for UC Berkeley students. Veterinary hospitals or park employees donate specimens for her and her students to work on and she has a special license that allows her to collect any roadkill that she finds. The Museum usually preps specimens in three ways in order for scientists to have several options of study available to the: anatomy and biology (specimens that are prepared with taxidermy methods), skeletons, and entire specimens preserved in fluid. Monica even has a collection of dermestid beetles that help to completely clean the skeletons.

The Museum of Vertebrate Zoology is celebrating its 100th birthday this year and has several special centenary events to commemorate the occasion!

Watch the "Resurveying California's Wildlife 100 Years Later" TV Story online, as well as find additional links and resources. Don't forget to see the behind-the-scenes photos from this story.

Jenny Oh is an Associate Producer for QUEST on KQED Television.