Great-Grandmother's Art Examines 'Planet Earth Screwed'
Science Says: European Art Scene Began with Neanderthals
Spineless: New Photography Collection Celebrates Our Undersea Cousins
Helix Science Center in Los Altos Will Close Its Doors at the End of November
Bay Area Scientists Artfully Present Their Research in Oakland Exhibit
Dancing with Atoms: Innovative Art Advances Computing and Chemistry
Pretty but Prickly: the Defenses of California Plants
Artist Will Take a 13-Hour Watery Stand to Draw Attention to Rising Seas
Communicating Science Through an Artistic Lens at Stanford
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But she’s got a biting sense of irony.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you step into her San Rafael art studio, one of the first things you notice are the 12 wooden globes up on a high shelf. They’re big — the size of soccer balls. Each globe is covered in something representing the various ways humans are despoiling the planet — homes, flames — and sits atop a silver screw, screwed into a wooden block.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Phyllis calls her collection “Planet Earth Screwed.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>This is Phyllis Thelen’s moment.\u003c/em>\u003c/p>\n\u003cp>I don’t paint flowers. I don’t do the usual beauty that most people think about. I look at the wrinkles in a piece of bark, which has a really attractive look that nature did herself. I like to look at pieces that fell off of trees and plants that are dead — totally dead — because they are dry and I can keep them looking that way forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And — being my age — I also like the idea that the old and dried up things are still beautiful.\u003c/p>\n\u003cp>I’m a person who’s inclined to see a need and fill it, not just scream at it. So it’s natural for me to make this art that somehow addresses these issues.\u003c/p>\n\u003cp>So I’ve seen a lot in the last 92 years that make me very aware of how things are changing here. One of the biggest changes came when we saw a picture of Planet Earth from the moon or one of the rockets. Beautiful little orb there swirling in the blue with green and blue — and it was maybe the first time that I really had a picture of how we looked from afar. And I began to think of it as such a vulnerable, little thing out there.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/science/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1931360\" src=\"https://ww2.kqed.org/science/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg\" alt=\"\" width=\"2100\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg 2100w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-520x347.jpg 520w\" sizes=\"(max-width: 2100px) 100vw, 2100px\">\u003c/a>And I began to think about the smog I remembered. I began to see it covered in soot. And I began to think about the plastic floating in the ocean. To look at this beautiful blue globe and see big blobs of plastic — bigger than California — blew my mind. I couldn’t imagine.\u003c/p>\n\u003cp>I couldn’t think of looking at the planet anymore without seeing smudges and smears and terrible things. So I made 12 globes showing what happens when you do something like that.\u003c/p>\n\u003cp>That’s why these planets are screwed into a stand to hold them. It’s obvious they’re on a screw. And I really feel that that’s what we’re doing. It’s us; it’s not anything else. It’s not just nature. Nature’s reacting to what we are doing. We’re making it more and more difficult for the Earth to function the way it is intended.\u003c/p>\n\u003cp>The world can be unscrewed the way it is now. I think we have gone a long way into messing things up and it’s going to take drastic work. And maybe if we all did one thing we felt might make a difference, we would find it really did makes a huge difference. It’s just a matter of deciding to be a partner in this with nature in this whole struggle to keep our Planet Earth looking the way it used to look from afar.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Phyllis Thelen is an award-winning artist in San Rafael. She’s a mother of four, grandmother of 12, and great-grandmother of seven. Becky Hoag reported and produced this Moment.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1704927511,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":634},"headData":{"title":"Great-Grandmother's Art Examines 'Planet Earth Screwed' | KQED","description":"With her white, wispy hair and smiling eyes behind delicate glasses, 92-year old Phyllis Thelen looks every bit the great-grandmother that she is. But she's got a biting sense of irony. If you step into her San Rafael art studio, one of the first things you notice are the 12 wooden globes up on a","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Great-Grandmother's Art Examines 'Planet Earth Screwed'","datePublished":"2018-09-11T16:39:04.000Z","dateModified":"2024-01-10T22:58:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/09/ThelenMomentOnEarth.mp3","sticky":false,"audioTrackLength":288,"path":"/science/1930714/tcr-mag-phyllis-draft","audioDuration":301000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>With her white, wispy hair and smiling eyes behind delicate glasses, 92-year old Phyllis Thelen looks every bit the great-grandmother that she is. But she’s got a biting sense of irony.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you step into her San Rafael art studio, one of the first things you notice are the 12 wooden globes up on a high shelf. They’re big — the size of soccer balls. Each globe is covered in something representing the various ways humans are despoiling the planet — homes, flames — and sits atop a silver screw, screwed into a wooden block.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Phyllis calls her collection “Planet Earth Screwed.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>This is Phyllis Thelen’s moment.\u003c/em>\u003c/p>\n\u003cp>I don’t paint flowers. I don’t do the usual beauty that most people think about. I look at the wrinkles in a piece of bark, which has a really attractive look that nature did herself. I like to look at pieces that fell off of trees and plants that are dead — totally dead — because they are dry and I can keep them looking that way forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And — being my age — I also like the idea that the old and dried up things are still beautiful.\u003c/p>\n\u003cp>I’m a person who’s inclined to see a need and fill it, not just scream at it. So it’s natural for me to make this art that somehow addresses these issues.\u003c/p>\n\u003cp>So I’ve seen a lot in the last 92 years that make me very aware of how things are changing here. One of the biggest changes came when we saw a picture of Planet Earth from the moon or one of the rockets. Beautiful little orb there swirling in the blue with green and blue — and it was maybe the first time that I really had a picture of how we looked from afar. And I began to think of it as such a vulnerable, little thing out there.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/science/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1931360\" src=\"https://ww2.kqed.org/science/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg\" alt=\"\" width=\"2100\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist.jpg 2100w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/35/2018/09/phyllis-thelen-artist-520x347.jpg 520w\" sizes=\"(max-width: 2100px) 100vw, 2100px\">\u003c/a>And I began to think about the smog I remembered. I began to see it covered in soot. And I began to think about the plastic floating in the ocean. To look at this beautiful blue globe and see big blobs of plastic — bigger than California — blew my mind. I couldn’t imagine.\u003c/p>\n\u003cp>I couldn’t think of looking at the planet anymore without seeing smudges and smears and terrible things. So I made 12 globes showing what happens when you do something like that.\u003c/p>\n\u003cp>That’s why these planets are screwed into a stand to hold them. It’s obvious they’re on a screw. And I really feel that that’s what we’re doing. It’s us; it’s not anything else. It’s not just nature. Nature’s reacting to what we are doing. We’re making it more and more difficult for the Earth to function the way it is intended.\u003c/p>\n\u003cp>The world can be unscrewed the way it is now. I think we have gone a long way into messing things up and it’s going to take drastic work. And maybe if we all did one thing we felt might make a difference, we would find it really did makes a huge difference. It’s just a matter of deciding to be a partner in this with nature in this whole struggle to keep our Planet Earth looking the way it used to look from afar.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Phyllis Thelen is an award-winning artist in San Rafael. She’s a mother of four, grandmother of 12, and great-grandmother of seven. Becky Hoag reported and produced this Moment.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/1930714/tcr-mag-phyllis-draft","authors":["11517"],"categories":["science_31","science_35","science_40","science_3584"],"tags":["science_635","science_194","science_3585","science_3581"],"featImg":"science_1931073","label":"science"},"science_1920276":{"type":"posts","id":"science_1920276","meta":{"index":"posts_1591205157","site":"science","id":"1920276","score":null,"sort":[1519428121000]},"guestAuthors":[],"slug":"science-says-european-art-scene-began-with-neanderthals","title":"Science Says: European Art Scene Began with Neanderthals","publishDate":1519428121,"format":"standard","headTitle":"Science Says: European Art Scene Began with Neanderthals | KQED","labelTerm":{"site":"science"},"content":"\u003cp>From the murky depths of Spanish caves comes a surprising insight: Neanderthals created art.\u003c/p>\n\u003cp>That’s been proposed before, but experts say two new studies finally give convincing evidence that our evolutionary cousins had the brainpower to make artistic works and use symbols.\u003c/p>\n\u003cp>The key finding: New age estimates that show paintings on cave walls and decorated seashells in Spain were created long before our species entered Europe. So there’s no way Homo sapiens could have made them or influenced Neanderthals to merely copy their artwork.[contextly_sidebar id=”EHrkRLCP4BtuYxmPUy7RLWeQ4fPThh1Z”]\u003c/p>\n\u003cp>Until now, most scientists thought all cave paintings were the work of our species. But the new work concludes that some previously known paintings — an array of lines, some disks and the outline of a hand — were rendered about 20,000 years before H. sapiens moved into Europe.\u003c/p>\n\u003cp>That’s a surprise that “constitutes a major breakthrough in the field of human evolution studies,” said Wil Roebroeks of Leiden University in the Netherlands, an expert on Neanderthals who didn’t participate in the new work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, he said in an email, Neanderthal “ownership of some cave art is a fact.”\u003c/p>\n\u003cp>The second study provided evidence that Neanderthals used pigments and piercings to modify shells some 115,000 years ago, which is far earlier than similar artifacts are associated with H. sapiens anywhere. That shows Neanderthals “were quite capable of inventing the ornaments themselves,” said Paola Villa of the University of Colorado Museum in Boulder, who also didn’t participate in the new work.\u003c/p>\n\u003cp>Neanderthals lived in Europe and Asia before disappearing about 40,000 years ago, around the time H. sapiens moved into Europe from Africa.\u003c/p>\n\u003cp>The research, released Thursday by the journals\u003ca href=\"http://www.sciencemag.org./\" target=\"_blank\" rel=\"noopener\"> Science\u003c/a> and \u003ca href=\"http://advances.sciencemag.org/content/4/2/eaar5255\" target=\"_blank\" rel=\"noopener\">Science Advances\u003c/a> , focused on determining the ages of previously known artifacts.[contextly_sidebar id=”GUT8Sp90Ob1iJMjQ1XYztxfDYP8opBrS”]\u003c/p>\n\u003cp>\u003cstrong>‘Meaningful Symbols’\u003c/strong>\u003c/p>\n\u003cp>One team of European researchers concentrated on painted artwork in three caves in northern, southern and west-central Spain. They carefully removed tiny bits of rocky crust that had formed on the artwork surfaces and analyzed them in a lab. Results indicated artwork from all three were around 65,000 years old, much older than the arrival of H. sapiens in Europe, which occurred some 45,000 to 40,000 years ago.\u003c/p>\n\u003cp>The artwork is rudimentary, but a study author, Dirk Hoffmann of the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, said it’s symbolic. One work is a collection of lines that look like a ladder, and others include red dots and disks on curtainlike rock formations. Another is a stenciled outline of a hand, made by spewing pigment over a hand held against the wall, Hoffmann said.\u003c/p>\n\u003cp>Making the hand stencil involves so many steps, including preparation of the pigment, that it’s clearly a deliberate creation, he and other authors wrote in the paper. What’s more, a number of hand stencils seem to have been placed with care rather than randomly, so they are certainly “meaningful symbols,” the authors wrote.\u003c/p>\n\u003cp>The other study sought to find the age of shells that had been colored and punctured in another cave, in southeast Spain. Previous studies had estimated an age of 45,000 to 50,000 years old, too young to rule out a link to H. sapiens.\u003c/p>\n\u003cp>For the new work, researchers analyzed rock that had formed above where the shells had been found.\u003c/p>\n\u003cp>Results indicated the shells were around 115,000 years old. That is some 20,000 to 40,000 years older than comparable artifacts in Africa or western Asia that are attributed to H. sapiens. The finding shows Neanderthals shared symbolic thinking with H. sapiens, and suggests the two species were “indistinguishable” in terms of overall mental ability, the researchers wrote.[contextly_sidebar id=”0SxWtG9P8g01TRiYDKdxjjM9fDLS6dBP”]\u003c/p>\n\u003cp>Nobody knows what the shells symbolized. Maybe they indicated membership in a group like a clan, said Joao Zilhao of the Catalan Institution for Research and Advanced Studies in Barcelona, Spain, who did the study with Hoffmann and others.\u003c/p>\n\u003cp>Not all experts were convinced by the studies. Harold Dibble, an archaeologist at the University of Pennsylvania who studies Neanderthal behavior, wondered if the shell color and holes could have occurred naturally. And he said he’d like to see the dating in the cave art paper confirmed by another lab.\u003c/p>\n\u003cp>Warren Sharp of the Berkeley Geochronology Center in California, an expert on the dating technique used in both papers, said he found the results of both studies to be “very solid.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They show “we are not the only ones capable of ‘modern’ behavior,” he wrote in an email.\u003c/p>\n\n","blocks":[],"excerpt":"New findings show artwork was rendered about 20,000 years before our human ancestors' moved into Europe.","status":"publish","parent":0,"modified":1704928177,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":802},"headData":{"title":"Science Says: European Art Scene Began with Neanderthals | KQED","description":"New findings show artwork was rendered about 20,000 years before our human ancestors' moved into Europe.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Science Says: European Art Scene Began with Neanderthals","datePublished":"2018-02-23T23:22:01.000Z","dateModified":"2024-01-10T23:09:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Malcolm Ritter\u003cbr />The Associated Press","path":"/science/1920276/science-says-european-art-scene-began-with-neanderthals","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the murky depths of Spanish caves comes a surprising insight: Neanderthals created art.\u003c/p>\n\u003cp>That’s been proposed before, but experts say two new studies finally give convincing evidence that our evolutionary cousins had the brainpower to make artistic works and use symbols.\u003c/p>\n\u003cp>The key finding: New age estimates that show paintings on cave walls and decorated seashells in Spain were created long before our species entered Europe. So there’s no way Homo sapiens could have made them or influenced Neanderthals to merely copy their artwork.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Until now, most scientists thought all cave paintings were the work of our species. But the new work concludes that some previously known paintings — an array of lines, some disks and the outline of a hand — were rendered about 20,000 years before H. sapiens moved into Europe.\u003c/p>\n\u003cp>That’s a surprise that “constitutes a major breakthrough in the field of human evolution studies,” said Wil Roebroeks of Leiden University in the Netherlands, an expert on Neanderthals who didn’t participate in the new work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, he said in an email, Neanderthal “ownership of some cave art is a fact.”\u003c/p>\n\u003cp>The second study provided evidence that Neanderthals used pigments and piercings to modify shells some 115,000 years ago, which is far earlier than similar artifacts are associated with H. sapiens anywhere. That shows Neanderthals “were quite capable of inventing the ornaments themselves,” said Paola Villa of the University of Colorado Museum in Boulder, who also didn’t participate in the new work.\u003c/p>\n\u003cp>Neanderthals lived in Europe and Asia before disappearing about 40,000 years ago, around the time H. sapiens moved into Europe from Africa.\u003c/p>\n\u003cp>The research, released Thursday by the journals\u003ca href=\"http://www.sciencemag.org./\" target=\"_blank\" rel=\"noopener\"> Science\u003c/a> and \u003ca href=\"http://advances.sciencemag.org/content/4/2/eaar5255\" target=\"_blank\" rel=\"noopener\">Science Advances\u003c/a> , focused on determining the ages of previously known artifacts.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Meaningful Symbols’\u003c/strong>\u003c/p>\n\u003cp>One team of European researchers concentrated on painted artwork in three caves in northern, southern and west-central Spain. They carefully removed tiny bits of rocky crust that had formed on the artwork surfaces and analyzed them in a lab. Results indicated artwork from all three were around 65,000 years old, much older than the arrival of H. sapiens in Europe, which occurred some 45,000 to 40,000 years ago.\u003c/p>\n\u003cp>The artwork is rudimentary, but a study author, Dirk Hoffmann of the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, said it’s symbolic. One work is a collection of lines that look like a ladder, and others include red dots and disks on curtainlike rock formations. Another is a stenciled outline of a hand, made by spewing pigment over a hand held against the wall, Hoffmann said.\u003c/p>\n\u003cp>Making the hand stencil involves so many steps, including preparation of the pigment, that it’s clearly a deliberate creation, he and other authors wrote in the paper. What’s more, a number of hand stencils seem to have been placed with care rather than randomly, so they are certainly “meaningful symbols,” the authors wrote.\u003c/p>\n\u003cp>The other study sought to find the age of shells that had been colored and punctured in another cave, in southeast Spain. Previous studies had estimated an age of 45,000 to 50,000 years old, too young to rule out a link to H. sapiens.\u003c/p>\n\u003cp>For the new work, researchers analyzed rock that had formed above where the shells had been found.\u003c/p>\n\u003cp>Results indicated the shells were around 115,000 years old. That is some 20,000 to 40,000 years older than comparable artifacts in Africa or western Asia that are attributed to H. sapiens. The finding shows Neanderthals shared symbolic thinking with H. sapiens, and suggests the two species were “indistinguishable” in terms of overall mental ability, the researchers wrote.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nobody knows what the shells symbolized. Maybe they indicated membership in a group like a clan, said Joao Zilhao of the Catalan Institution for Research and Advanced Studies in Barcelona, Spain, who did the study with Hoffmann and others.\u003c/p>\n\u003cp>Not all experts were convinced by the studies. Harold Dibble, an archaeologist at the University of Pennsylvania who studies Neanderthal behavior, wondered if the shell color and holes could have occurred naturally. And he said he’d like to see the dating in the cave art paper confirmed by another lab.\u003c/p>\n\u003cp>Warren Sharp of the Berkeley Geochronology Center in California, an expert on the dating technique used in both papers, said he found the results of both studies to be “very solid.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They show “we are not the only ones capable of ‘modern’ behavior,” he wrote in an email.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/1920276/science-says-european-art-scene-began-with-neanderthals","authors":["byline_science_1920276"],"categories":["science_30","science_35","science_37","science_40"],"tags":["science_635","science_116","science_2695"],"featImg":"science_1920277","label":"science"},"science_25085":{"type":"posts","id":"science_25085","meta":{"index":"posts_1591205157","site":"science","id":"25085","score":null,"sort":[1418738458000]},"guestAuthors":[],"slug":"spineless-new-photography-collection-celebrates-our-undersea-cousins","title":"Spineless: New Photography Collection Celebrates Our Undersea Cousins","publishDate":1418738458,"format":"aside","headTitle":"Spineless: New Photography Collection Celebrates Our Undersea Cousins | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_25087\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p47-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-25087\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p47-1024x682.jpg\" alt=\"frilled anemone\" width=\"1024\" height=\"682\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A rare view of a frilled anemone–most of us never see the stalk exposed or all the tentacles extended. (Susan Middleton)\u003c/figcaption>\u003c/figure>\n\u003cp>What would a nature photographer consider “the most beautiful animal I’ve ever photographed in thirty years”: a wild tiger, a tropical bird, a leaping dolphin? For \u003ca title=\"Susan Middleton Homepage\" href=\"http://www.susanmiddleton.com/Susan_Middleton/Home.html\">Susan Middleton\u003c/a>, it was a juvenile giant Pacific octopus. The animal’s image graces the cover of Middleton’s new book, \u003ci>Spineless: Portraits of Marine Invertebrates, the Backbone of Life\u003c/i>, published by Abrams.\u003c/p>\n\u003cfigure id=\"attachment_25089\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless10070JF-1-867x1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-25089\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless10070JF-1-867x1024.jpg\" alt=\"Book cover\" width=\"200\" height=\"236\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Spineless: Portraits of Marine Invertebrates, the Backbone of Life by Susan Middleton, Abrams, 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>Although the individual in the photograph is less than an inch long, it could grow to weigh over a hundred pounds. “Even at this age it had a big attitude, like it knew where it was headed,” said Middleton during a book launch at the San Francisco Public Library last week.\u003c/p>\n\u003cp>\u003ci>\u003cb>Unknown animals facing known danger\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Middleton, currently a research associate at the California Academy of Sciences, is well-known for her conservation photography, particularly portraits of endangered species and, in one memorable case, \u003ca title=\"Shed Bird Plastic Photographs\" href=\"http://marinedebrisart.blogspot.com/2011/03/susan-middleton-portraits-of-rare-and.html\">every single piece of plastic\u003c/a> that contributed to the death of a young seabird.\u003c/p>\n\u003cp>“Conservation” often makes us think of elephants, condors, or lemurs, although such spined animals comprise a tiny fraction of the planet’s species. The other 98% are invertebrates—creatures without backbones, like jellyfish, snails, and worms—and they are also threatened by global changes. But scientists know too little about most invertebrate species to assess their health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think of them as being on the front lines,” said Middleton. “I’m concerned about them, because I have not only an appreciation for their beauty and strangeness, but a genuine affection for them.” She considered using photography to illustrate the dangers they face, but ultimately decided to leave that to the text of \u003cem>Spineless\u003c/em>, which includes her own essays and a foreword by prominent marine biologist \u003ca title=\"TED - Sylvia Earle\" href=\"https://www.ted.com/speakers/sylvia_earle\">Sylvia Earle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_25086\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_flatworm-288x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-25086\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_flatworm-288x162.jpg\" alt=\"flatworm\" width=\"288\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of an orange-rimmed flatworm. (Susan Middleton)\u003c/figcaption>\u003c/figure>\n\u003cp>The photographs simply focus on the beauty of the animals—although that is a canny choice. Middleton studied portraiture with influential fashion photographer \u003ca title=\"Richard Avedon - About\" href=\"http://www.avedonfoundation.org/about/\">Richard Avedon\u003c/a>, who used the same techniques for his \u003ci>Vogue\u003c/i> covers as Middleton now uses for her nature images. “I know what works for advertising,” she said. “Animals can use all the help they can get in the public relations department.”\u003c/p>\n\u003cp>\u003ci>\u003cb>Some cousins are harder to love\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Animal life is divided into over thirty distinct groups; the majority of these are worm-shaped. There are flatworms and roundworms, ribbon worms and acorn worms, peanut worms, jaw worms, arrow worms—not to mention earthworms and leeches. The variety is astounding, but even Middleton said, “It took me a while to understand and appreciate the worms.”\u003c/p>\n\u003cp>Like many children, the young Middleton felt a “visceral fear” of worms. It wasn’t until well into her work on \u003ci>Spineless\u003c/i> that her attitude was altered by some worm-loving scientists—and the worms themselves.\u003c/p>\n\u003cp>“The worms that build the tubes were the real thing that won me over,” Middleton said, referring to a group called \u003ca title=\"Real Monstrosities - Ice Cream Cone Worms\" href=\"http://www.realmonstrosities.com/2013/10/ice-cream-cone-worm.html\">ice cream cone worms\u003c/a>, which carefully glue individual grains of sand into mosaic, cone-shaped houses. “They’re like little artisans. They’re very picky about the sand grains they collect.”\u003c/p>\n\u003cp>Of a different type of tube worm, frilly with tentacles and spangled with iridescence, Middleton just said: “Better than anything Pixar could invent.”\u003c/p>\n\u003cp>Even worms without bright colors or remarkable tubes can hide surprising beauty. One day the invertebrate biologist \u003ca title=\"Gustav Paulay - UFL\" href=\"http://www.flmnh.ufl.edu/malacology/paulay.htm\">Gustav Paulay\u003c/a> offered Middleton a bland-looking brown flatworm to photograph. He was excited to have found the rare species, but Middleton was nonplussed. Nevertheless, she brought it back to her studio. Before her lens the worm became a contortionist, exhibiting routines that would be the envy of any professional gymnast. Neither Paulay nor his students had ever seen such behavior.\u003c/p>\n\u003cp>\u003ci>\u003cb>Meeting Our Family One By One\u003c/b>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_25088\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p6-7-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-25088\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p6-7-1024x682.jpg\" alt=\"beautiful sea slug\" width=\"350\" height=\"233\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The name “opalescent nudibranch” certainly suits this stunner sea slug. (Susan Middleton) \u003ccite>(Susan Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Middleton has been asked how she gets her subjects to behave. “I can’t get them to do anything,” she answers. “They’re not trained animals.” Her technique is pure patience. She gives them fresh water and keeps them happy with the help of the scientists who know them best. And she waits. “I can wait five hours for an anemone to open. There’s no hurrying it up.”\u003c/p>\n\u003cp>Of course, not every individual takes to the limelight. Middleton had photographed a giant Pacific octopus before, without achieving the sort of portrait you’d put on a book cover. But the one that posed for \u003cem>Spineless\u003c/em> had the perfect personality. “When it came into the lab, I knew this was the one,” she said. “I could just tell.”\u003c/p>\n\u003cp>Individual diversity is one of the most beautiful things that we share with the invertebrates—indeed, with all life. “One opalescent nudibranch is different from another,” said Middleton at the San Francisco book launch. “I was amazed by that, though I shouldn’t be, because everyone in this room looks different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Invertebrates are our cousins in an evolutionary sense—from our common ancestors we inherited many inventions that we now take for granted, like the bilateral symmetry so fundamental to our faces. But spined and spineless creatures are also related through our current shared experience in a rapidly changing world. “We’re in this together,” said Middleton. “We’re part of one big living family.”\u003c/p>\n\n","blocks":[],"excerpt":"A new book about marine invertebrates celebrates the sumptuous beauty of our lesser-known cousins.","status":"publish","parent":0,"modified":1704932509,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":992},"headData":{"title":"Spineless: New Photography Collection Celebrates Our Undersea Cousins | KQED","description":"A new book about marine invertebrates celebrates the sumptuous beauty of our lesser-known cousins.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spineless: New Photography Collection Celebrates Our Undersea Cousins","datePublished":"2014-12-16T14:00:58.000Z","dateModified":"2024-01-11T00:21:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/25085/spineless-new-photography-collection-celebrates-our-undersea-cousins","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_25087\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p47-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-25087\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p47-1024x682.jpg\" alt=\"frilled anemone\" width=\"1024\" height=\"682\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A rare view of a frilled anemone–most of us never see the stalk exposed or all the tentacles extended. (Susan Middleton)\u003c/figcaption>\u003c/figure>\n\u003cp>What would a nature photographer consider “the most beautiful animal I’ve ever photographed in thirty years”: a wild tiger, a tropical bird, a leaping dolphin? For \u003ca title=\"Susan Middleton Homepage\" href=\"http://www.susanmiddleton.com/Susan_Middleton/Home.html\">Susan Middleton\u003c/a>, it was a juvenile giant Pacific octopus. The animal’s image graces the cover of Middleton’s new book, \u003ci>Spineless: Portraits of Marine Invertebrates, the Backbone of Life\u003c/i>, published by Abrams.\u003c/p>\n\u003cfigure id=\"attachment_25089\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless10070JF-1-867x1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-25089\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless10070JF-1-867x1024.jpg\" alt=\"Book cover\" width=\"200\" height=\"236\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Spineless: Portraits of Marine Invertebrates, the Backbone of Life by Susan Middleton, Abrams, 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>Although the individual in the photograph is less than an inch long, it could grow to weigh over a hundred pounds. “Even at this age it had a big attitude, like it knew where it was headed,” said Middleton during a book launch at the San Francisco Public Library last week.\u003c/p>\n\u003cp>\u003ci>\u003cb>Unknown animals facing known danger\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Middleton, currently a research associate at the California Academy of Sciences, is well-known for her conservation photography, particularly portraits of endangered species and, in one memorable case, \u003ca title=\"Shed Bird Plastic Photographs\" href=\"http://marinedebrisart.blogspot.com/2011/03/susan-middleton-portraits-of-rare-and.html\">every single piece of plastic\u003c/a> that contributed to the death of a young seabird.\u003c/p>\n\u003cp>“Conservation” often makes us think of elephants, condors, or lemurs, although such spined animals comprise a tiny fraction of the planet’s species. The other 98% are invertebrates—creatures without backbones, like jellyfish, snails, and worms—and they are also threatened by global changes. But scientists know too little about most invertebrate species to assess their health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think of them as being on the front lines,” said Middleton. “I’m concerned about them, because I have not only an appreciation for their beauty and strangeness, but a genuine affection for them.” She considered using photography to illustrate the dangers they face, but ultimately decided to leave that to the text of \u003cem>Spineless\u003c/em>, which includes her own essays and a foreword by prominent marine biologist \u003ca title=\"TED - Sylvia Earle\" href=\"https://www.ted.com/speakers/sylvia_earle\">Sylvia Earle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_25086\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_flatworm-288x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-25086\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_flatworm-288x162.jpg\" alt=\"flatworm\" width=\"288\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of an orange-rimmed flatworm. (Susan Middleton)\u003c/figcaption>\u003c/figure>\n\u003cp>The photographs simply focus on the beauty of the animals—although that is a canny choice. Middleton studied portraiture with influential fashion photographer \u003ca title=\"Richard Avedon - About\" href=\"http://www.avedonfoundation.org/about/\">Richard Avedon\u003c/a>, who used the same techniques for his \u003ci>Vogue\u003c/i> covers as Middleton now uses for her nature images. “I know what works for advertising,” she said. “Animals can use all the help they can get in the public relations department.”\u003c/p>\n\u003cp>\u003ci>\u003cb>Some cousins are harder to love\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Animal life is divided into over thirty distinct groups; the majority of these are worm-shaped. There are flatworms and roundworms, ribbon worms and acorn worms, peanut worms, jaw worms, arrow worms—not to mention earthworms and leeches. The variety is astounding, but even Middleton said, “It took me a while to understand and appreciate the worms.”\u003c/p>\n\u003cp>Like many children, the young Middleton felt a “visceral fear” of worms. It wasn’t until well into her work on \u003ci>Spineless\u003c/i> that her attitude was altered by some worm-loving scientists—and the worms themselves.\u003c/p>\n\u003cp>“The worms that build the tubes were the real thing that won me over,” Middleton said, referring to a group called \u003ca title=\"Real Monstrosities - Ice Cream Cone Worms\" href=\"http://www.realmonstrosities.com/2013/10/ice-cream-cone-worm.html\">ice cream cone worms\u003c/a>, which carefully glue individual grains of sand into mosaic, cone-shaped houses. “They’re like little artisans. They’re very picky about the sand grains they collect.”\u003c/p>\n\u003cp>Of a different type of tube worm, frilly with tentacles and spangled with iridescence, Middleton just said: “Better than anything Pixar could invent.”\u003c/p>\n\u003cp>Even worms without bright colors or remarkable tubes can hide surprising beauty. One day the invertebrate biologist \u003ca title=\"Gustav Paulay - UFL\" href=\"http://www.flmnh.ufl.edu/malacology/paulay.htm\">Gustav Paulay\u003c/a> offered Middleton a bland-looking brown flatworm to photograph. He was excited to have found the rare species, but Middleton was nonplussed. Nevertheless, she brought it back to her studio. Before her lens the worm became a contortionist, exhibiting routines that would be the envy of any professional gymnast. Neither Paulay nor his students had ever seen such behavior.\u003c/p>\n\u003cp>\u003ci>\u003cb>Meeting Our Family One By One\u003c/b>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_25088\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p6-7-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-25088\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/12/Spineless_p6-7-1024x682.jpg\" alt=\"beautiful sea slug\" width=\"350\" height=\"233\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The name “opalescent nudibranch” certainly suits this stunner sea slug. (Susan Middleton) \u003ccite>(Susan Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Middleton has been asked how she gets her subjects to behave. “I can’t get them to do anything,” she answers. “They’re not trained animals.” Her technique is pure patience. She gives them fresh water and keeps them happy with the help of the scientists who know them best. And she waits. “I can wait five hours for an anemone to open. There’s no hurrying it up.”\u003c/p>\n\u003cp>Of course, not every individual takes to the limelight. Middleton had photographed a giant Pacific octopus before, without achieving the sort of portrait you’d put on a book cover. But the one that posed for \u003cem>Spineless\u003c/em> had the perfect personality. “When it came into the lab, I knew this was the one,” she said. “I could just tell.”\u003c/p>\n\u003cp>Individual diversity is one of the most beautiful things that we share with the invertebrates—indeed, with all life. “One opalescent nudibranch is different from another,” said Middleton at the San Francisco book launch. “I was amazed by that, though I shouldn’t be, because everyone in this room looks different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Invertebrates are our cousins in an evolutionary sense—from our common ancestors we inherited many inventions that we now take for granted, like the bilateral symmetry so fundamental to our faces. But spined and spineless creatures are also related through our current shared experience in a rapidly changing world. “We’re in this together,” said Middleton. “We’re part of one big living family.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/25085/spineless-new-photography-collection-celebrates-our-undersea-cousins","authors":["6324"],"categories":["science_30"],"tags":["science_635","science_205","science_633"],"featImg":"science_25086","label":"science"},"science_23791":{"type":"posts","id":"science_23791","meta":{"index":"posts_1591205157","site":"science","id":"23791","score":null,"sort":[1416319250000]},"guestAuthors":[],"slug":"helix-science-center-in-los-altos-will-close-its-doors-at-the-end-of-november","title":"Helix Science Center in Los Altos Will Close Its Doors at the End of November","publishDate":1416319250,"format":"aside","headTitle":"Helix Science Center in Los Altos Will Close Its Doors at the End of November | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_23812\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-2-800.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-23812\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-2-800.jpg\" alt=\"Light lab\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children play and learn with the light lab at Helix in Los Altos. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Helix, a Los Altos “community science center” run by the Exploratorium, will close its doors on November 30. The 5,000-square-foot space brought hands-on science exhibits, a classroom with ever-changing activities, and a museum gift shop to downtown Los Altos.\u003c/p>\n\u003cp>Helix \u003ca title=\"San Jose Mercury News - Helix Opening\" href=\"http://www.mercurynews.com/education/ci_24730190/mini-exploratorium-opens-los-altos\">opened last November\u003c/a>, less than a year after the Exploratorium moved to its new Pier 15 location. It was funded by a one-year grant from \u003ca title=\"Passerelle Investments\" href=\"http://passerelleinvestments.com/\">Passerelle Investment Co.\u003c/a>, which started in 2009 with the explicit goal of revitalizing downtown Los Altos. Passerelle and the Exploratorium have an agreement not to disclose the size of the grant or finances related to Helix, including gift shop revenue.\u003c/p>\n\u003cfigure id=\"attachment_23814\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/1-exterior-orig-216x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23814\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/1-exterior-orig-216x162.jpg\" alt=\"Helix\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Helix, a community science center run by the Exploratorium in downtown Los Altos. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past year, Helix has served up the Exploratorium’s signature style of creative science education to 50,000 visitors, with a special focus on teacher workshops and student field trips.\u003c/p>\n\u003cp>“I had never had anyone from a museum meet with me personally to design a learning activity for my students,” said Cathy Moss, a teacher at Gardner Bullis Elementary School in Los Altos. Before bringing her 5th graders to Helix, she met with director Anne Richardson and explained that she wanted her students to use their knowledge of electricity to design real-world structures. Richardson created a project called “The Electric Playground,” in which students “started by experimenting with circuits and then came up with an idea for some kind of playground structure that would incorporate electricity,” said Moss. “We had electric slides, merry-go-rounds with motors, and lots of equipment with lights.”\u003c/p>\n\u003cp>Helix program manager Hashim Anderson said that supporting K12 teachers has been one of the Exploratorium’s great strengths for many years. He and the other staff members, who are all Exploratorium employees, simply brought this expertise from San Francisco to Los Altos. “We’re not credentialed teachers,” said Anderson, “but we’re all really good learners.”\u003c/p>\n\u003cfigure id=\"attachment_23815\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-1-216x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23815\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-1-216x162.jpg\" alt=\"light lab\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heix’s light lab lets visitors experiment with shapes and shadows. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Even so, it takes time to develop relationships with a new community. “I feel like we’re just really gaining momentum and figuring out working with school groups,” said Lea Frantti, one of four education specialists at Helix. “If we were here for one more year, or two more years or ten more years, there’s so much more we could learn.” But that time isn’t available, and Helix’s two managers, four educators, and three retail workers will be soon be moving on. “Most of us were signed on specifically just for this project, so our positions are coming to an end,” said Anderson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helix’s temporary sojourn is not unusual amidst several Passerelle-funded “pop-ups” in Los Altos, including a four-month visit from the \u003ca title=\"SF MOMA - Los Altos\" href=\"http://www.sfmoma.org/about/press/press_exhibitions/releases/960\">San Francisco Museum of Modern Art\u003c/a>. Helix, in fact, was prefaced by an \u003ca title=\"Exploratorium On The Green\" href=\"http://patch.com/california/losaltos/los-altos-weekend-planner-exploratorium-on-the-green\">Exploratorium pop-up\u003c/a> in the summer of 2013. “We knew we’d get this grant at some point and we’d be down there for a year,” said Anderson.\u003c/p>\n\u003cp>Helix demonstrated certain advantages over the Exploratorium’s huge Pier 15 space. With only 25 exhibits, visitors could easily spend plenty of time on each one. And Helix staff could frequently change displays and activities. “The same people were coming over and over; they enjoyed coming back every weekend and finding something different in the classroom space. The Exploratorium can’t change things so frequently,” said Frantti. “We got to work on so many different things. Every month we would pick a theme and create different programming and workshops around that.”\u003c/p>\n\u003cfigure id=\"attachment_23879\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/dogfish2-243x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23879\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/dogfish2-243x162.jpg\" alt=\"Dogfish dissection\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors to Helix’s Monsters program explore the anatomy of a dogfish. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>July, for example, was \u003ca title=\"Helix - Monsters\" href=\"http://helixlosaltos.org/programs/past-programs-2/july-monsters/\">Monsters\u003c/a>. Helix displayed the “found creature” photography of Adam Thorman; a book club discussed Carl Zimmer’s \u003cem>Parasite Rex\u003c/em>; and visitors learned anatomy from dissections of squid, dogfish, rabbits, and carnivorous plants. Frantti worked with the \u003ca title=\"BAASICS\" href=\"http://www.baasics.com/\">Bay Area Art and Science Interdisciplinary Collaborative Sessions\u003c/a> (BAASICS) to host a Monsters Happy Hour on July 18th. Artist George Pfau discussed zombie movies and mythology, followed by scientist John Hafernik’s lecture on \u003ca href=\"https://www.youtube.com/watch?v=fdZ3M8C6yhs\" target=\"_blank\" rel=\"noopener\">ZomBees\u003c/a>–ordinary honeybees that have been parasitized by flies. A morbidly fascinated audience clutched their wine glasses and beer bottles.\u003c/p>\n\u003cp>Helix Happy Hours began in February, after staff noticed that parents weren’t engaging with the exhibits–they either didn’t pay attention, or thought they should already know everything. Creating 18+ evening events and serving alcohol made many adults feel more at ease to explore and learn. “This is the issue I have with the Exploratorium in general,” said Anderson. “People think ‘oh, it’s a kids’ museum.’ Just because it’s science learning doesn’t mean it’s for a particular demographic. It’s really for everyone.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Helix is certainly offering something for everyone during its \u003ca title=\"Helix - It's a Wrap\" href=\"http://helixlosaltos.org/programs/upcoming-programs/november-grow/its-a-wrap/\">final weekend\u003c/a>, November 28-30. The center’s post-Thanksgiving program will include the year’s “greatest hits,” from dissecting squid to building a 3D fractal sculpture and playing with light and shadow. After that, the Exploratorium’s first and only satellite museum will pack up and head home.\u003c/p>\n\n","blocks":[],"excerpt":"Helix, a Los Altos \"community science center\" run by the Exploratorium, will close its doors on November 30. The 5,000-square-foot space brought hands-on science exhibits, a classroom with ever-changing activities and a museum gift shop to downtown Los Altos.","status":"publish","parent":0,"modified":1704932603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":974},"headData":{"title":"Helix Science Center in Los Altos Will Close Its Doors at the End of November | KQED","description":"Helix, a Los Altos "community science center" run by the Exploratorium, will close its doors on November 30. The 5,000-square-foot space brought hands-on science exhibits, a classroom with ever-changing activities and a museum gift shop to downtown Los Altos.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Helix Science Center in Los Altos Will Close Its Doors at the End of November","datePublished":"2014-11-18T14:00:50.000Z","dateModified":"2024-01-11T00:23:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/23791/helix-science-center-in-los-altos-will-close-its-doors-at-the-end-of-november","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_23812\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-2-800.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-23812\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-2-800.jpg\" alt=\"Light lab\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children play and learn with the light lab at Helix in Los Altos. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Helix, a Los Altos “community science center” run by the Exploratorium, will close its doors on November 30. The 5,000-square-foot space brought hands-on science exhibits, a classroom with ever-changing activities, and a museum gift shop to downtown Los Altos.\u003c/p>\n\u003cp>Helix \u003ca title=\"San Jose Mercury News - Helix Opening\" href=\"http://www.mercurynews.com/education/ci_24730190/mini-exploratorium-opens-los-altos\">opened last November\u003c/a>, less than a year after the Exploratorium moved to its new Pier 15 location. It was funded by a one-year grant from \u003ca title=\"Passerelle Investments\" href=\"http://passerelleinvestments.com/\">Passerelle Investment Co.\u003c/a>, which started in 2009 with the explicit goal of revitalizing downtown Los Altos. Passerelle and the Exploratorium have an agreement not to disclose the size of the grant or finances related to Helix, including gift shop revenue.\u003c/p>\n\u003cfigure id=\"attachment_23814\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/1-exterior-orig-216x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23814\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/1-exterior-orig-216x162.jpg\" alt=\"Helix\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Helix, a community science center run by the Exploratorium in downtown Los Altos. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past year, Helix has served up the Exploratorium’s signature style of creative science education to 50,000 visitors, with a special focus on teacher workshops and student field trips.\u003c/p>\n\u003cp>“I had never had anyone from a museum meet with me personally to design a learning activity for my students,” said Cathy Moss, a teacher at Gardner Bullis Elementary School in Los Altos. Before bringing her 5th graders to Helix, she met with director Anne Richardson and explained that she wanted her students to use their knowledge of electricity to design real-world structures. Richardson created a project called “The Electric Playground,” in which students “started by experimenting with circuits and then came up with an idea for some kind of playground structure that would incorporate electricity,” said Moss. “We had electric slides, merry-go-rounds with motors, and lots of equipment with lights.”\u003c/p>\n\u003cp>Helix program manager Hashim Anderson said that supporting K12 teachers has been one of the Exploratorium’s great strengths for many years. He and the other staff members, who are all Exploratorium employees, simply brought this expertise from San Francisco to Los Altos. “We’re not credentialed teachers,” said Anderson, “but we’re all really good learners.”\u003c/p>\n\u003cfigure id=\"attachment_23815\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-1-216x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23815\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/4-light-lab-1-216x162.jpg\" alt=\"light lab\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heix’s light lab lets visitors experiment with shapes and shadows. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>Even so, it takes time to develop relationships with a new community. “I feel like we’re just really gaining momentum and figuring out working with school groups,” said Lea Frantti, one of four education specialists at Helix. “If we were here for one more year, or two more years or ten more years, there’s so much more we could learn.” But that time isn’t available, and Helix’s two managers, four educators, and three retail workers will be soon be moving on. “Most of us were signed on specifically just for this project, so our positions are coming to an end,” said Anderson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helix’s temporary sojourn is not unusual amidst several Passerelle-funded “pop-ups” in Los Altos, including a four-month visit from the \u003ca title=\"SF MOMA - Los Altos\" href=\"http://www.sfmoma.org/about/press/press_exhibitions/releases/960\">San Francisco Museum of Modern Art\u003c/a>. Helix, in fact, was prefaced by an \u003ca title=\"Exploratorium On The Green\" href=\"http://patch.com/california/losaltos/los-altos-weekend-planner-exploratorium-on-the-green\">Exploratorium pop-up\u003c/a> in the summer of 2013. “We knew we’d get this grant at some point and we’d be down there for a year,” said Anderson.\u003c/p>\n\u003cp>Helix demonstrated certain advantages over the Exploratorium’s huge Pier 15 space. With only 25 exhibits, visitors could easily spend plenty of time on each one. And Helix staff could frequently change displays and activities. “The same people were coming over and over; they enjoyed coming back every weekend and finding something different in the classroom space. The Exploratorium can’t change things so frequently,” said Frantti. “We got to work on so many different things. Every month we would pick a theme and create different programming and workshops around that.”\u003c/p>\n\u003cfigure id=\"attachment_23879\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/dogfish2-243x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23879\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/11/dogfish2-243x162.jpg\" alt=\"Dogfish dissection\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors to Helix’s Monsters program explore the anatomy of a dogfish. (Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>July, for example, was \u003ca title=\"Helix - Monsters\" href=\"http://helixlosaltos.org/programs/past-programs-2/july-monsters/\">Monsters\u003c/a>. Helix displayed the “found creature” photography of Adam Thorman; a book club discussed Carl Zimmer’s \u003cem>Parasite Rex\u003c/em>; and visitors learned anatomy from dissections of squid, dogfish, rabbits, and carnivorous plants. Frantti worked with the \u003ca title=\"BAASICS\" href=\"http://www.baasics.com/\">Bay Area Art and Science Interdisciplinary Collaborative Sessions\u003c/a> (BAASICS) to host a Monsters Happy Hour on July 18th. Artist George Pfau discussed zombie movies and mythology, followed by scientist John Hafernik’s lecture on \u003ca href=\"https://www.youtube.com/watch?v=fdZ3M8C6yhs\" target=\"_blank\" rel=\"noopener\">ZomBees\u003c/a>–ordinary honeybees that have been parasitized by flies. A morbidly fascinated audience clutched their wine glasses and beer bottles.\u003c/p>\n\u003cp>Helix Happy Hours began in February, after staff noticed that parents weren’t engaging with the exhibits–they either didn’t pay attention, or thought they should already know everything. Creating 18+ evening events and serving alcohol made many adults feel more at ease to explore and learn. “This is the issue I have with the Exploratorium in general,” said Anderson. “People think ‘oh, it’s a kids’ museum.’ Just because it’s science learning doesn’t mean it’s for a particular demographic. It’s really for everyone.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Helix is certainly offering something for everyone during its \u003ca title=\"Helix - It's a Wrap\" href=\"http://helixlosaltos.org/programs/upcoming-programs/november-grow/its-a-wrap/\">final weekend\u003c/a>, November 28-30. The center’s post-Thanksgiving program will include the year’s “greatest hits,” from dissecting squid to building a 3D fractal sculpture and playing with light and shadow. After that, the Exploratorium’s first and only satellite museum will pack up and head home.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/23791/helix-science-center-in-los-altos-will-close-its-doors-at-the-end-of-november","authors":["6324"],"categories":["science_32"],"tags":["science_635","science_2694","science_346"],"featImg":"science_23812","label":"science"},"science_22736":{"type":"posts","id":"science_22736","meta":{"index":"posts_1591205157","site":"science","id":"22736","score":null,"sort":[1413816221000]},"guestAuthors":[],"slug":"bay-area-scientists-artfully-present-their-research-in-oakland-exhibit","title":"Bay Area Scientists Artfully Present Their Research in Oakland Exhibit","publishDate":1413816221,"format":"aside","headTitle":"Bay Area Scientists Artfully Present Their Research in Oakland Exhibit | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_22737\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brains.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-22737\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brains.jpg\" alt=\"Stained brain slices\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stained primate brain slices, currently on display in the art show Experimental Space. (Sara M. Freeman)\u003c/figcaption>\u003c/figure>\n\u003cp>A few dozen large gray brains are printed on transparencies and arranged neatly on a light table. They’re the first images to show which parts of primate brains are receptive to the much-hyped “love hormone” oxytocin.\u003c/p>\n\u003cp>You’d never know that, though, from staring at the table of brains. It sits starkly in the middle of an art gallery, without so much as an informational plaque on the wall.\u003c/p>\n\u003cfigure id=\"attachment_22740\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/24_ExperimentalSpace-288x132.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22740\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/24_ExperimentalSpace-288x132.jpg\" alt=\"MRI of fruit fly\" width=\"288\" height=\"132\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MRI of fruit fly suspended in fluid, currently on display in Experimental Space. (\u003ca title=\"Brian Null - Stanford\" href=\"http://cmgm.stanford.edu/~bnull/\">Brian Null\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The aesthetics of scientific research\u003c/b>\u003c/p>\n\u003cp>“\u003ca title=\"Aggregate Space - Experimental Space\" href=\"http://www.aggregatespace.com/\">Experimental Space\u003c/a>” is the latest show at Oakland art gallery Aggregate Space, consisting of images and videos created by scientists in the course of their research. Gallery director Conrad M. Meyers II conceived the idea, and brought on Selene Foster and Christopher Reiger of the \u003ca title=\"BAASICS\" href=\"http://www.baasics.com/\">Bay Area Art and Science Interdisciplinary Collaborative Sessions\u003c/a> as enthusiastic co-hosts.\u003c/p>\n\u003cp>The trio sent out an open call for submissions, but found it challenging to fill the show. “We didn’t say no to much,” said Meyers. “We said no to actual artists.” Most scientists, whose idea of showing their work is a conference presentation or a journal publication, were hesitant about the idea. “This is taking away their ability to frame it,” said Reiger. “It’s risky. Or they just don’t get it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Science is full of framing. Research papers are long and dull because they explain every methodological decision, label each figure ten different ways, run several independent statistical analyses, and finally list any future study that could disprove the results.\u003c/p>\n\u003cfigure id=\"attachment_22739\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/arnaud_martin-288x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22739\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/arnaud_martin-288x162.jpg\" alt=\"mutant shrimp\" width=\"288\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mutant shrimp, currently on display in Experimental Space, by \u003ca title=\"Arnaud Martin\" href=\"http://www.heliconius.org/author/arnaud-martin/\">Arnaud Martin\u003c/a>. (Aaron Rosenstreich)\u003c/figcaption>\u003c/figure>\n\u003cp>Take all that away, and you’re free to appreciate the pure aesthetics of a food web diagram or a mutant shrimp.\u003c/p>\n\u003cp>According to Meyers, the aim of Aggregate Space is to display art that gives, “The feeling that you’ll never in your life understand the whole story.” There could hardly be a more appropriate sentiment for an image snatched from the annals of research and plopped into an art gallery.\u003c/p>\n\u003cp>Do the displays in “Experimental Space” count as “art” even though they weren’t created with aesthetics in mind? Can they still be “science” once they’ve been deliberately divorced from their objective context?\u003c/p>\n\u003cp>\u003cb>A scientist who embraces subjectivity\u003c/b>\u003c/p>\n\u003cp>According to \u003ca title=\"Sara M. Freeman\" href=\"http://smfreeman.wordpress.com/\">Sara Freeman\u003c/a>, the UC Davis neuroscientist whose stained slices of brain tissue are on display, even the thoroughly-explained science in journals isn’t really all that objective.\u003c/p>\n\u003cp>We’re often taught, simplistically, that science is the objective process we use to uncover the fundamental truths of our world. But in graduate school, Freeman discovered that every scientist makes choice after subjective choice: which part of the brain to focus on, which statistics to use, which people to include in a control group.\u003c/p>\n\u003cp>“The more you think you know about the area you’re working in, the more you realize how much we really don’t understand, and how subjective a lot of that knowledge really is,” she said.\u003c/p>\n\u003cp>She eventually worked through her crisis of faith, and accepted that decisions must be made. In fact, she says that taking responsibility for them can be empowering. “It’s all subjective, but if you are aware of it, you can work to come up with something more objective.”\u003c/p>\n\u003cp>\u003cstrong>Solving the primate brain puzzle\u003c/strong>\u003c/p>\n\u003cp>Freeman’s field of research, the effects of oxytocin on social behavior, is full of \u003ca title=\"The Dark Side of Oxytocin - Ed Yong\" href=\"http://blogs.discovermagazine.com/notrocketscience/2010/11/29/the-dark-side-of-oxytocin-much-more-than-just-a-love-hormone/#.VER2L9Sx15R\">fascinating discoveries that can’t yet be fully explained\u003c/a>. In humans oxytocin has been associated with trust and empathy, maternal care and sexual relationships–but our understanding of how the brain receives oxytocin signals is based primarily on work in rodents. This is only so useful for understanding ourselves. Rodent social interactions are dominated by smells, unlike the visual and auditory social cues of most primates.\u003c/p>\n\u003cp>Unfortunately, the chemicals that scientists use to map oxytocin receptors in rodent brains don’t work as well in primates. Instead of binding exclusively to oxytocin receptors, the chemicals turn promiscuous, attaching themselves to receptors for both oxytocin and another hormone called vasopressin.\u003c/p>\n\u003cfigure id=\"attachment_22738\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brain_slices-288x126.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22738\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brain_slices-288x126.jpg\" alt=\"brain slices\" width=\"288\" height=\"126\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rhesus macaque brains by Sara M. Freeman, currently on display in Experimental Space. (Aaron Rosenstreich)\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman has developed a new technique to tell which receptor is which. She uses a precise concentration of an entirely different molecule to tie up the vasopressin receptors, forcing the promiscuous binding chemicals into monogamy with oxytocin receptors.\u003c/p>\n\u003cp>This restricted binding revealed that the primate she was studying, the rhesus macaque, has oxytocin receptors in parts of its brain that deal with both vision and hearing. Freeman also found receptors in regions of higher-order processing, which suggests more nuanced behavioral effects than are seen in rodents. These brain maps will almost certainly help us understand the complexity of the oxytocin system, and refine the molecule’s use in medical treatment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To my mind, that usefulness adds significantly to their aesthetic appeal.\u003c/p>\n\n","blocks":[],"excerpt":"“\u003ca title=\"Aggregate Space - Experimental Space\" href=\"http://www.aggregatespace.com/\">Experimental Space\u003c/a>” is the latest show at Oakland art gallery Aggregate Space, consisting of images and videos created by scientists in the course of their research.","status":"publish","parent":0,"modified":1704932745,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":893},"headData":{"title":"Bay Area Scientists Artfully Present Their Research in Oakland Exhibit | KQED","description":"“Experimental Space” is the latest show at Oakland art gallery Aggregate Space, consisting of images and videos created by scientists in the course of their research.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Scientists Artfully Present Their Research in Oakland Exhibit","datePublished":"2014-10-20T14:43:41.000Z","dateModified":"2024-01-11T00:25:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/22736/bay-area-scientists-artfully-present-their-research-in-oakland-exhibit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_22737\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brains.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-22737\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brains.jpg\" alt=\"Stained brain slices\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stained primate brain slices, currently on display in the art show Experimental Space. (Sara M. Freeman)\u003c/figcaption>\u003c/figure>\n\u003cp>A few dozen large gray brains are printed on transparencies and arranged neatly on a light table. They’re the first images to show which parts of primate brains are receptive to the much-hyped “love hormone” oxytocin.\u003c/p>\n\u003cp>You’d never know that, though, from staring at the table of brains. It sits starkly in the middle of an art gallery, without so much as an informational plaque on the wall.\u003c/p>\n\u003cfigure id=\"attachment_22740\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/24_ExperimentalSpace-288x132.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22740\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/24_ExperimentalSpace-288x132.jpg\" alt=\"MRI of fruit fly\" width=\"288\" height=\"132\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MRI of fruit fly suspended in fluid, currently on display in Experimental Space. (\u003ca title=\"Brian Null - Stanford\" href=\"http://cmgm.stanford.edu/~bnull/\">Brian Null\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The aesthetics of scientific research\u003c/b>\u003c/p>\n\u003cp>“\u003ca title=\"Aggregate Space - Experimental Space\" href=\"http://www.aggregatespace.com/\">Experimental Space\u003c/a>” is the latest show at Oakland art gallery Aggregate Space, consisting of images and videos created by scientists in the course of their research. Gallery director Conrad M. Meyers II conceived the idea, and brought on Selene Foster and Christopher Reiger of the \u003ca title=\"BAASICS\" href=\"http://www.baasics.com/\">Bay Area Art and Science Interdisciplinary Collaborative Sessions\u003c/a> as enthusiastic co-hosts.\u003c/p>\n\u003cp>The trio sent out an open call for submissions, but found it challenging to fill the show. “We didn’t say no to much,” said Meyers. “We said no to actual artists.” Most scientists, whose idea of showing their work is a conference presentation or a journal publication, were hesitant about the idea. “This is taking away their ability to frame it,” said Reiger. “It’s risky. Or they just don’t get it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Science is full of framing. Research papers are long and dull because they explain every methodological decision, label each figure ten different ways, run several independent statistical analyses, and finally list any future study that could disprove the results.\u003c/p>\n\u003cfigure id=\"attachment_22739\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/arnaud_martin-288x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22739\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/arnaud_martin-288x162.jpg\" alt=\"mutant shrimp\" width=\"288\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mutant shrimp, currently on display in Experimental Space, by \u003ca title=\"Arnaud Martin\" href=\"http://www.heliconius.org/author/arnaud-martin/\">Arnaud Martin\u003c/a>. (Aaron Rosenstreich)\u003c/figcaption>\u003c/figure>\n\u003cp>Take all that away, and you’re free to appreciate the pure aesthetics of a food web diagram or a mutant shrimp.\u003c/p>\n\u003cp>According to Meyers, the aim of Aggregate Space is to display art that gives, “The feeling that you’ll never in your life understand the whole story.” There could hardly be a more appropriate sentiment for an image snatched from the annals of research and plopped into an art gallery.\u003c/p>\n\u003cp>Do the displays in “Experimental Space” count as “art” even though they weren’t created with aesthetics in mind? Can they still be “science” once they’ve been deliberately divorced from their objective context?\u003c/p>\n\u003cp>\u003cb>A scientist who embraces subjectivity\u003c/b>\u003c/p>\n\u003cp>According to \u003ca title=\"Sara M. Freeman\" href=\"http://smfreeman.wordpress.com/\">Sara Freeman\u003c/a>, the UC Davis neuroscientist whose stained slices of brain tissue are on display, even the thoroughly-explained science in journals isn’t really all that objective.\u003c/p>\n\u003cp>We’re often taught, simplistically, that science is the objective process we use to uncover the fundamental truths of our world. But in graduate school, Freeman discovered that every scientist makes choice after subjective choice: which part of the brain to focus on, which statistics to use, which people to include in a control group.\u003c/p>\n\u003cp>“The more you think you know about the area you’re working in, the more you realize how much we really don’t understand, and how subjective a lot of that knowledge really is,” she said.\u003c/p>\n\u003cp>She eventually worked through her crisis of faith, and accepted that decisions must be made. In fact, she says that taking responsibility for them can be empowering. “It’s all subjective, but if you are aware of it, you can work to come up with something more objective.”\u003c/p>\n\u003cp>\u003cstrong>Solving the primate brain puzzle\u003c/strong>\u003c/p>\n\u003cp>Freeman’s field of research, the effects of oxytocin on social behavior, is full of \u003ca title=\"The Dark Side of Oxytocin - Ed Yong\" href=\"http://blogs.discovermagazine.com/notrocketscience/2010/11/29/the-dark-side-of-oxytocin-much-more-than-just-a-love-hormone/#.VER2L9Sx15R\">fascinating discoveries that can’t yet be fully explained\u003c/a>. In humans oxytocin has been associated with trust and empathy, maternal care and sexual relationships–but our understanding of how the brain receives oxytocin signals is based primarily on work in rodents. This is only so useful for understanding ourselves. Rodent social interactions are dominated by smells, unlike the visual and auditory social cues of most primates.\u003c/p>\n\u003cp>Unfortunately, the chemicals that scientists use to map oxytocin receptors in rodent brains don’t work as well in primates. Instead of binding exclusively to oxytocin receptors, the chemicals turn promiscuous, attaching themselves to receptors for both oxytocin and another hormone called vasopressin.\u003c/p>\n\u003cfigure id=\"attachment_22738\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brain_slices-288x126.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-22738\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/10/brain_slices-288x126.jpg\" alt=\"brain slices\" width=\"288\" height=\"126\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rhesus macaque brains by Sara M. Freeman, currently on display in Experimental Space. (Aaron Rosenstreich)\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman has developed a new technique to tell which receptor is which. She uses a precise concentration of an entirely different molecule to tie up the vasopressin receptors, forcing the promiscuous binding chemicals into monogamy with oxytocin receptors.\u003c/p>\n\u003cp>This restricted binding revealed that the primate she was studying, the rhesus macaque, has oxytocin receptors in parts of its brain that deal with both vision and hearing. Freeman also found receptors in regions of higher-order processing, which suggests more nuanced behavioral effects than are seen in rodents. These brain maps will almost certainly help us understand the complexity of the oxytocin system, and refine the molecule’s use in medical treatment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To my mind, that usefulness adds significantly to their aesthetic appeal.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/22736/bay-area-scientists-artfully-present-their-research-in-oakland-exhibit","authors":["6324"],"categories":["science_30"],"tags":["science_635","science_807"],"featImg":"science_22737","label":"science"},"science_21640":{"type":"posts","id":"science_21640","meta":{"index":"posts_1591205157","site":"science","id":"21640","score":null,"sort":[1410876004000]},"guestAuthors":[],"slug":"dancing-with-atoms-innovative-art-advances-computing-and-chemistry","title":"Dancing with Atoms: Innovative Art Advances Computing and Chemistry","publishDate":1410876004,"format":"aside","headTitle":"Dancing with Atoms: Innovative Art Advances Computing and Chemistry | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_21656\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/navigatin-nano-cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-21656\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/navigatin-nano-cover.jpg\" alt=\"Protein folding\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two researchers using their “energy fields” in real time to guide the folding of a small protein. (Adam Laity & Nathan Hughes)\u003c/figcaption>\u003c/figure>\n\u003cp>We humans are naturally enchanted by life at scales smaller than our own—from Gulliver in Lilliput to the Magic School Bus inside the human body. But our imaginations fail us when we get down to the truly tiny. A solid rock is built of atoms bonded into molecules arranged into lattices, all of which contain a surprising amount of empty space. What would it even mean to walk through that?\u003c/p>\n\u003cp>[contextly_sidebar id=”dwZPYM7JibOCk0OLqr1khdvA8tmyTtdD”]\u003c/p>\n\u003cp>An innovative art installation called \u003ca title=\"danceroom Spectroscopy\" href=\"http://danceroom-spec.com/\">\u003ci>danceroom Spectroscopy\u003c/i>\u003c/a> (dS for short) can draw you into this sub-microscopic realm with the compelling immersion of a video game. In fact, dS uses Microsoft’s Kinect game controller to track your movements, then projects your body as an energy field into a computer-simulated atomic slurry. Atoms of hydrogen, helium, oxygen, carbon, and iron are rendered as streaks of colored light, attracted and repelled by each other’s energy fields as well as by the human-shaped interloper.\u003c/p>\n\u003cp>It’s literally impossible for your movements not to be in time to the music, because the audio track—sort of ambient electronica—is generated by the action. The vibrations of the simulated atoms, their collisions and coalitions, are fed back into software that assigns them sounds. The result is a dance floor that is both visually and sonically responsive to your every move.\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘You start to wonder, if you grew up playing video games in the nineties, what if I could be an energy field and walk in this molecule?’\u003c/aside>\n\u003cp>\u003ci>danceroom Spectroscopy\u003c/i> has made big waves in Europe; a huge 360-degree dome installation was part of the 2012 London Cultural Olympiad. The project is currently making its American debut at the \u003ca title=\"Stanford Art Gallery - dS\" href=\"http://events.stanford.edu/events/449/44911/\">Stanford Art Gallery\u003c/a> until September 20th, open and free to the public. A professional performance which builds on dS, \u003ca title=\"Dances of the Sacred and Profane\" href=\"http://www.fortmason.org/events/events-details?id=3038\">\u003ci>Dances of the Sacred and Profane\u003c/i>\u003c/a>, will be showing this weekend and next at Cowell Theater in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The Language of Dynamics\u003c/b>\u003c/p>\n\u003cp>\u003ca title=\"David Glowacki\" href=\"http://glow-wacky.com/about/\">David Glowacki\u003c/a>, a scientist and artist jointly based at Stanford and the University of Bristol, started dS as an art project, an attempt to visualize something beyond our senses. Ordinary human vision can’t process the fundamental building blocks of matter, so we try to “see” them with metaphors: \u003ca title=\"Bohr model of the atom\" href=\"http://en.wikipedia.org/wiki/Bohr_model\">a solar system for an atom\u003c/a>, \u003ca title=\"Ball and stick models of molecules\" href=\"http://en.wikipedia.org/wiki/Ball-and-stick_model\">TinkerToys for molecules\u003c/a>. But these models are all static, what Glowacki calls a “time-stationary view.” Time is not stationary, and neither are atoms; in fact they are constantly shivering and shimmying around. Even inside a rock.\u003c/p>\n\u003cp>Gazing at a video he’d made of the dancing molecular structure of diamond—the endless nervous energy of all those carbon atoms!—Glowacki explained the origin of dS, during a talk last week at the Stanford Art Gallery. “You start to wonder, if you grew up playing video games in the nineties, what if I could be an energy field and walk in this molecule?”\u003c/p>\n\u003cfigure id=\"attachment_21655\" class=\"wp-caption alignleft\" style=\"max-width: 253px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-BATH-45-253x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21655 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-BATH-45-253x162.jpg\" alt=\"dancers use their motion to generate both sound and image from atomic physics.\" width=\"253\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Hidden Fields’, a performance in which dancers use their motion to generate both sound and image from atomic physics. (\u003ca title=\"Paul Blakemore\" href=\"http://paulblakemore.co.uk/\">Paul Blakemore\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>And so dS was born in 2011. Glowacki has funded the project with both art and science grants, bringing together almost forty collaborators from the fields of physics, chemistry, computer science, contemporary dance, choreography and music composition. While the original aim of the project was purely aesthetic, the underlying structure has always been strictly scientific. Each atom’s movement is calculated precisely from its mass and charge and from the energy of the surrounding atoms—and human dancers.\u003c/p>\n\u003cp>A system with so many interdependent equations usually takes time to solve, but dS needed speed. “We didn’t want the dancers or the public to get bored,” says Glowacki. Existing desktop computational systems simply weren’t fast enough to display the atoms responding in real time to human movement. So Glowacki and his colleagues pushed the boundaries of computer science until their artistic vision was possible—and now that it is, new research possibilities are opening up.\u003c/p>\n\u003cp>\u003cb>A Video Game For Science\u003c/b>\u003c/p>\n\u003cp>Molecules can be named by their constituent atoms. H\u003csub>2\u003c/sub>O means that a single water molecule contains two hydrogen (H) atoms and one oxygen (O) atom. That’s a pretty small molecule, and its shape is consequently straightforward. But for big molecules, simply knowing their atomic recipe tells you little about their actual shape. Is C\u003csub>3\u003c/sub>H\u003csub>7\u003c/sub>NO\u003csub>2\u003c/sub> looped into a necklace? Wadded into a ball? Doing the splits?\u003c/p>\n\u003cp>Our bodies are full of big and bigger molecules, many of them carrying out hugely important tasks, like turning your food into energy or transmitting messages from your brain. Understanding the shapes they can be folded into is critical to understanding how they work—and fixing them when they don’t. So biochemists simulate these molecules, and set computers to the task of folding them.\u003c/p>\n\u003cfigure id=\"attachment_21657\" class=\"wp-caption alignright\" style=\"max-width: 245px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-FESTIVAL-133-245x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21657 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-FESTIVAL-133-245x162.jpg\" alt=\"Participants transfer atoms between their energy fields\" width=\"245\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Participants transfer atoms between their energy fields at an installation of danceroom Spectroscopy in Bristol, UK. (\u003ca title=\"Paul Blakemore\" href=\"http://paulblakemore.co.uk/\">Paul Blakemore\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>But computers are dumb. They don’t know which shapes are interesting and which are dead ends. What if a human could just grab the molecule and push it around, like an origami artist fiddling with a piece of paper?\u003c/p>\n\u003cp>Chemists are beginning to experiment with a dS-based “Nano Glove Box” that allows them to stretch and fold model molecules to discover new configurations. Just a few months ago, Glowacki and colleagues \u003ca title=\"GPU-accelerated immersive audio-visual framework for interaction with molecular dynamics\" href=\"http://pubs.rsc.org/en/content/articlehtml/2014/fd/c4fd00008k\">published research\u003c/a> showing that people can guide a simulated protein into shapes that a computer would be much slower to simulate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The polished audio-visual aesthetics of the system give it an intrinsic appeal, which raises the possibility of crowd-sourced protein folding. Generations that grow up moving in their game avatars like second skins certainly provide a natural pool of talent. “I’ve hooked up eight- and nine-year-olds and they play with it for hours,” says Glowacki.\u003c/p>\n\n","blocks":[],"excerpt":"We humans are naturally enchanted by life at scales smaller than our own. An imaginative art installation can draw you into the sub-microscopic realm with the compelling immersion of a video game.","status":"publish","parent":0,"modified":1704932944,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1038},"headData":{"title":"Dancing with Atoms: Innovative Art Advances Computing and Chemistry | KQED","description":"We humans are naturally enchanted by life at scales smaller than our own. An imaginative art installation can draw you into the sub-microscopic realm with the compelling immersion of a video game.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dancing with Atoms: Innovative Art Advances Computing and Chemistry","datePublished":"2014-09-16T14:00:04.000Z","dateModified":"2024-01-11T00:29:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/21640/dancing-with-atoms-innovative-art-advances-computing-and-chemistry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_21656\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/navigatin-nano-cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-21656\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/navigatin-nano-cover.jpg\" alt=\"Protein folding\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two researchers using their “energy fields” in real time to guide the folding of a small protein. (Adam Laity & Nathan Hughes)\u003c/figcaption>\u003c/figure>\n\u003cp>We humans are naturally enchanted by life at scales smaller than our own—from Gulliver in Lilliput to the Magic School Bus inside the human body. But our imaginations fail us when we get down to the truly tiny. A solid rock is built of atoms bonded into molecules arranged into lattices, all of which contain a surprising amount of empty space. What would it even mean to walk through that?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>An innovative art installation called \u003ca title=\"danceroom Spectroscopy\" href=\"http://danceroom-spec.com/\">\u003ci>danceroom Spectroscopy\u003c/i>\u003c/a> (dS for short) can draw you into this sub-microscopic realm with the compelling immersion of a video game. In fact, dS uses Microsoft’s Kinect game controller to track your movements, then projects your body as an energy field into a computer-simulated atomic slurry. Atoms of hydrogen, helium, oxygen, carbon, and iron are rendered as streaks of colored light, attracted and repelled by each other’s energy fields as well as by the human-shaped interloper.\u003c/p>\n\u003cp>It’s literally impossible for your movements not to be in time to the music, because the audio track—sort of ambient electronica—is generated by the action. The vibrations of the simulated atoms, their collisions and coalitions, are fed back into software that assigns them sounds. The result is a dance floor that is both visually and sonically responsive to your every move.\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘You start to wonder, if you grew up playing video games in the nineties, what if I could be an energy field and walk in this molecule?’\u003c/aside>\n\u003cp>\u003ci>danceroom Spectroscopy\u003c/i> has made big waves in Europe; a huge 360-degree dome installation was part of the 2012 London Cultural Olympiad. The project is currently making its American debut at the \u003ca title=\"Stanford Art Gallery - dS\" href=\"http://events.stanford.edu/events/449/44911/\">Stanford Art Gallery\u003c/a> until September 20th, open and free to the public. A professional performance which builds on dS, \u003ca title=\"Dances of the Sacred and Profane\" href=\"http://www.fortmason.org/events/events-details?id=3038\">\u003ci>Dances of the Sacred and Profane\u003c/i>\u003c/a>, will be showing this weekend and next at Cowell Theater in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Language of Dynamics\u003c/b>\u003c/p>\n\u003cp>\u003ca title=\"David Glowacki\" href=\"http://glow-wacky.com/about/\">David Glowacki\u003c/a>, a scientist and artist jointly based at Stanford and the University of Bristol, started dS as an art project, an attempt to visualize something beyond our senses. Ordinary human vision can’t process the fundamental building blocks of matter, so we try to “see” them with metaphors: \u003ca title=\"Bohr model of the atom\" href=\"http://en.wikipedia.org/wiki/Bohr_model\">a solar system for an atom\u003c/a>, \u003ca title=\"Ball and stick models of molecules\" href=\"http://en.wikipedia.org/wiki/Ball-and-stick_model\">TinkerToys for molecules\u003c/a>. But these models are all static, what Glowacki calls a “time-stationary view.” Time is not stationary, and neither are atoms; in fact they are constantly shivering and shimmying around. Even inside a rock.\u003c/p>\n\u003cp>Gazing at a video he’d made of the dancing molecular structure of diamond—the endless nervous energy of all those carbon atoms!—Glowacki explained the origin of dS, during a talk last week at the Stanford Art Gallery. “You start to wonder, if you grew up playing video games in the nineties, what if I could be an energy field and walk in this molecule?”\u003c/p>\n\u003cfigure id=\"attachment_21655\" class=\"wp-caption alignleft\" style=\"max-width: 253px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-BATH-45-253x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21655 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-BATH-45-253x162.jpg\" alt=\"dancers use their motion to generate both sound and image from atomic physics.\" width=\"253\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Hidden Fields’, a performance in which dancers use their motion to generate both sound and image from atomic physics. (\u003ca title=\"Paul Blakemore\" href=\"http://paulblakemore.co.uk/\">Paul Blakemore\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>And so dS was born in 2011. Glowacki has funded the project with both art and science grants, bringing together almost forty collaborators from the fields of physics, chemistry, computer science, contemporary dance, choreography and music composition. While the original aim of the project was purely aesthetic, the underlying structure has always been strictly scientific. Each atom’s movement is calculated precisely from its mass and charge and from the energy of the surrounding atoms—and human dancers.\u003c/p>\n\u003cp>A system with so many interdependent equations usually takes time to solve, but dS needed speed. “We didn’t want the dancers or the public to get bored,” says Glowacki. Existing desktop computational systems simply weren’t fast enough to display the atoms responding in real time to human movement. So Glowacki and his colleagues pushed the boundaries of computer science until their artistic vision was possible—and now that it is, new research possibilities are opening up.\u003c/p>\n\u003cp>\u003cb>A Video Game For Science\u003c/b>\u003c/p>\n\u003cp>Molecules can be named by their constituent atoms. H\u003csub>2\u003c/sub>O means that a single water molecule contains two hydrogen (H) atoms and one oxygen (O) atom. That’s a pretty small molecule, and its shape is consequently straightforward. But for big molecules, simply knowing their atomic recipe tells you little about their actual shape. Is C\u003csub>3\u003c/sub>H\u003csub>7\u003c/sub>NO\u003csub>2\u003c/sub> looped into a necklace? Wadded into a ball? Doing the splits?\u003c/p>\n\u003cp>Our bodies are full of big and bigger molecules, many of them carrying out hugely important tasks, like turning your food into energy or transmitting messages from your brain. Understanding the shapes they can be folded into is critical to understanding how they work—and fixing them when they don’t. So biochemists simulate these molecules, and set computers to the task of folding them.\u003c/p>\n\u003cfigure id=\"attachment_21657\" class=\"wp-caption alignright\" style=\"max-width: 245px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-FESTIVAL-133-245x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21657 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/DS-FESTIVAL-133-245x162.jpg\" alt=\"Participants transfer atoms between their energy fields\" width=\"245\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Participants transfer atoms between their energy fields at an installation of danceroom Spectroscopy in Bristol, UK. (\u003ca title=\"Paul Blakemore\" href=\"http://paulblakemore.co.uk/\">Paul Blakemore\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>But computers are dumb. They don’t know which shapes are interesting and which are dead ends. What if a human could just grab the molecule and push it around, like an origami artist fiddling with a piece of paper?\u003c/p>\n\u003cp>Chemists are beginning to experiment with a dS-based “Nano Glove Box” that allows them to stretch and fold model molecules to discover new configurations. Just a few months ago, Glowacki and colleagues \u003ca title=\"GPU-accelerated immersive audio-visual framework for interaction with molecular dynamics\" href=\"http://pubs.rsc.org/en/content/articlehtml/2014/fd/c4fd00008k\">published research\u003c/a> showing that people can guide a simulated protein into shapes that a computer would be much slower to simulate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The polished audio-visual aesthetics of the system give it an intrinsic appeal, which raises the possibility of crowd-sourced protein folding. Generations that grow up moving in their game avatars like second skins certainly provide a natural pool of talent. “I’ve hooked up eight- and nine-year-olds and they play with it for hours,” says Glowacki.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/21640/dancing-with-atoms-innovative-art-advances-computing-and-chemistry","authors":["6324"],"categories":["science_29"],"tags":["science_635","science_798"],"featImg":"science_21656","label":"science"},"science_21214":{"type":"posts","id":"science_21214","meta":{"index":"posts_1591205157","site":"science","id":"21214","score":null,"sort":[1409752820000]},"guestAuthors":[],"slug":"pretty-but-prickly-the-defenses-of-california-plants","title":"Pretty but Prickly: the Defenses of California Plants","publishDate":1409752820,"format":"aside","headTitle":"Pretty but Prickly: the Defenses of California Plants | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_21215\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron_cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-21215\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron_cover.jpg\" alt=\"thorn-bearing citrus branch\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A thorn-bearing citrus branch by Marilena Pistoia, showing at the Hunt Institute. © 1984 Arnoldo Mondadori Editore, Milan.\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical art usually makes people think of flowers, but in fact, scientific illustrators routinely document and find beauty in every part of the plant, stem and root, leaf and fruit. That includes what may seem to be the least attractive botanical anatomy: thorns, spines, and prickles.\u003c/p>\n\u003cfigure id=\"attachment_21223\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/466px-Opuntia22_filtered-e1409629503382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21223 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/466px-Opuntia22_filtered-e1409629503382.jpg\" alt=\"Spine-bearing prickly pear cactus, from The Cactaceae (1919-1923) by Britton et Rose, Vol. I, Plate XXXIV. Art by Mary Emily Eaton, image filtered by Daniel Schweich.\" width=\"250\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Spine-bearing prickly pear cactus by Mary Emily Eaton, from The Cactaceae (1919-1923) by Britton et Rose. Image filtered by Daniel Schweich.\u003c/figcaption>\u003c/figure>\n\u003cp>These defensive structures are rampant throughout California’s vegetation, both native (like prickly pear and agave) and invasive (like foxtails and teasel). Such fierce subjects have inspired many of the state’s widely-known botanical artists, including \u003ca title=\"Jeanne Russell Janish\" href=\"http://wrinunlv.org/research/our-history-profiles-of-nevada-women/jeanne-janish/\">Jeanne Russell Janish\u003c/a>, the first woman to get a geology MA from Stanford. Several inspired illustrations will be featured in a new exhibition called “\u003ca title=\"Hunt Institute - Dangerous Beauty\" href=\"http://huntbot.andrew.cmu.edu/HIBD/Exhibitions/Exhibit-PDF/DangerousBeauty-PR\">Dangerous Beauty: Thorns, Spines and Prickles\u003c/a>,” opening September 18 at CMU’s Hunt Institute in Pittsburgh.\u003c/p>\n\u003cp>It may come as a surprise that thorns, spines, and prickles are each anatomically distinct achievements in sharpness.\u003c/p>\n\u003cp>Spines are simply modified leaves. Thorns, however, grow from stems, and like any plant stem they can branch and grow leaves. Both spines and thorns are as much a part of the plant’s body as your finger is of yours; they are hooked in to the plant’s internal transport system just like your finger is wired up with blood vessels and nerves. Prickles, meanwhile, are more like fingernails—mere extensions of the plant’s epidermis with no deeper connectivity.\u003c/p>\n\u003cfigure id=\"attachment_21218\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/LiskaRosa-e1409629073970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21218 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/LiskaRosa-e1409629073970.jpg\" alt=\"Prickles on a rose branch\" width=\"250\" height=\"382\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Prickles on a rose branch by Petr Liska, showing at the Hunt Institute. © 1981 Petr Liska.\u003c/figcaption>\u003c/figure>\n\u003cp>These precise botanical definitions are often at odds with informal terminology, leading to contradictions such as the prickly pear cactus. It has no prickles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca title=\"UC Davis - Prickly Pear\" href=\"http://sfp.ucdavis.edu/pubs/brochures/Pricklypear/\">Prickly pear cactus\u003c/a> belong to the genus Opuntia, which extends far beyond the deserts of the southwest United States and northwest Mexico, as far as northern Alberta! (The species there is named Opuntia fragilis, which is not as ironic as it sounds—the fragililty refers to the easily broken stem, not temperature tolerance).\u003c/p>\n\u003cp>In California, prickly pear season is just starting, which offers a rare opportunity to eat not only local, but native. As you carefully peel your cactus fruit, please note that it is covered with spines, not prickles.\u003c/p>\n\u003cp>Now you’re probably wondering: if prickly pears don’t have prickles, then who does? One of the most obvious examples of true prickles is the rose. If you want to really impress your friends with your botanical pedantry, take them to one of the Bay Area’s \u003ca title=\"San Jose Municipal Rose Garden\" href=\"http://www.sanjoseca.gov/Facilities/Facility/Details/74\">Rose\u003c/a> \u003ca title=\"Berkeley Rose Garden\" href=\"http://www.ci.berkeley.ca.us/contentdisplay.aspx?id=12048\">Gardens\u003c/a> and, as soon as someone mentions thorns, casually explain: “Oh, those are prickles. Roses don’t have true thorns.”\u003c/p>\n\u003cfigure id=\"attachment_21216\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron-e1409628950420.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21216 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron-e1409628950420.jpg\" alt=\"Thorn-bearing citron\" width=\"250\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thorn-bearing Citrus medica (Citron) by Marilena Pistoia, showing at the Hunt Institute. © 1984 Arnoldo Mondadori Editore, Milan.\u003c/figcaption>\u003c/figure>\n\u003cp>Your friends will no doubt demand to know where to find true thorns, and excellent local examples are California’s many iconic citrus trees. The difference between a lemon thorn and a rose prickle becomes obvious once you try to remove them. Prickles snap right off with a satisfyingly clean break. Just like ripping off . . . Never mind. Anyway, breaking off a thorn usually tears right into the branch, because thorn and branch are knit together by vascular tissue.\u003c/p>\n\u003cp>All three flavors of sharp will soon be on display at the Hunt Institute, if you happen to find yourself in Pittsburgh between September 18 and December 18. For a shorter excursion, you can head to the library to find books illustrated by the three California artists whose work will be part of “Dangerous Beauty”. Check out \u003ca title=\"Amazon - Flowers of the Southwest Mesas\" href=\"http://www.amazon.com/Flowers-Southwest-Mesas-Pauline-Patraw/dp/B000EM7Q2Y\">“Flowers of the Southwest Mesas”\u003c/a>, illustrated by Janish, \u003ca title=\"Amazon - A Natural History of Western Trees\" href=\"http://www.amazon.com/A-Natural-History-Western-Trees/dp/0395581753\">“A Natural History of Western Trees”\u003c/a>, illustrated by wood engraver \u003ca title=\"Wikipedia - Paul Landacre\" href=\"http://en.wikipedia.org/wiki/Paul_Landacre\">Paul Landacre\u003c/a> and the \u003ca title=\"Amazon - Botanical Prints\" href=\"http://www.amazon.com/dp/1582436371/ref=cm_sw_su_dp\">\u003ci>botanical prints\u003c/i>\u003c/a> of linocut artist \u003ca title=\"Henry Evans\" href=\"http://www.henryevans.com/about.html\">Henry Evans\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the next time you’re stabbed by a plant in a garden or in the woods, you can take your mind off the pain by attempting to determine whether the offending structure is a thorn, a spine or a prickle.\u003c/p>\n\n","blocks":[],"excerpt":"Discover the beauty of sharpness and learn how to tell the difference between thorns, spines, and prickles.","status":"publish","parent":0,"modified":1704933031,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":733},"headData":{"title":"Pretty but Prickly: the Defenses of California Plants | KQED","description":"Discover the beauty of sharpness and learn how to tell the difference between thorns, spines, and prickles.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pretty but Prickly: the Defenses of California Plants","datePublished":"2014-09-03T14:00:20.000Z","dateModified":"2024-01-11T00:30:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/21214/pretty-but-prickly-the-defenses-of-california-plants","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_21215\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron_cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-21215\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron_cover.jpg\" alt=\"thorn-bearing citrus branch\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A thorn-bearing citrus branch by Marilena Pistoia, showing at the Hunt Institute. © 1984 Arnoldo Mondadori Editore, Milan.\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical art usually makes people think of flowers, but in fact, scientific illustrators routinely document and find beauty in every part of the plant, stem and root, leaf and fruit. That includes what may seem to be the least attractive botanical anatomy: thorns, spines, and prickles.\u003c/p>\n\u003cfigure id=\"attachment_21223\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/466px-Opuntia22_filtered-e1409629503382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21223 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/466px-Opuntia22_filtered-e1409629503382.jpg\" alt=\"Spine-bearing prickly pear cactus, from The Cactaceae (1919-1923) by Britton et Rose, Vol. I, Plate XXXIV. Art by Mary Emily Eaton, image filtered by Daniel Schweich.\" width=\"250\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Spine-bearing prickly pear cactus by Mary Emily Eaton, from The Cactaceae (1919-1923) by Britton et Rose. Image filtered by Daniel Schweich.\u003c/figcaption>\u003c/figure>\n\u003cp>These defensive structures are rampant throughout California’s vegetation, both native (like prickly pear and agave) and invasive (like foxtails and teasel). Such fierce subjects have inspired many of the state’s widely-known botanical artists, including \u003ca title=\"Jeanne Russell Janish\" href=\"http://wrinunlv.org/research/our-history-profiles-of-nevada-women/jeanne-janish/\">Jeanne Russell Janish\u003c/a>, the first woman to get a geology MA from Stanford. Several inspired illustrations will be featured in a new exhibition called “\u003ca title=\"Hunt Institute - Dangerous Beauty\" href=\"http://huntbot.andrew.cmu.edu/HIBD/Exhibitions/Exhibit-PDF/DangerousBeauty-PR\">Dangerous Beauty: Thorns, Spines and Prickles\u003c/a>,” opening September 18 at CMU’s Hunt Institute in Pittsburgh.\u003c/p>\n\u003cp>It may come as a surprise that thorns, spines, and prickles are each anatomically distinct achievements in sharpness.\u003c/p>\n\u003cp>Spines are simply modified leaves. Thorns, however, grow from stems, and like any plant stem they can branch and grow leaves. Both spines and thorns are as much a part of the plant’s body as your finger is of yours; they are hooked in to the plant’s internal transport system just like your finger is wired up with blood vessels and nerves. Prickles, meanwhile, are more like fingernails—mere extensions of the plant’s epidermis with no deeper connectivity.\u003c/p>\n\u003cfigure id=\"attachment_21218\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/LiskaRosa-e1409629073970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21218 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/LiskaRosa-e1409629073970.jpg\" alt=\"Prickles on a rose branch\" width=\"250\" height=\"382\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Prickles on a rose branch by Petr Liska, showing at the Hunt Institute. © 1981 Petr Liska.\u003c/figcaption>\u003c/figure>\n\u003cp>These precise botanical definitions are often at odds with informal terminology, leading to contradictions such as the prickly pear cactus. It has no prickles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca title=\"UC Davis - Prickly Pear\" href=\"http://sfp.ucdavis.edu/pubs/brochures/Pricklypear/\">Prickly pear cactus\u003c/a> belong to the genus Opuntia, which extends far beyond the deserts of the southwest United States and northwest Mexico, as far as northern Alberta! (The species there is named Opuntia fragilis, which is not as ironic as it sounds—the fragililty refers to the easily broken stem, not temperature tolerance).\u003c/p>\n\u003cp>In California, prickly pear season is just starting, which offers a rare opportunity to eat not only local, but native. As you carefully peel your cactus fruit, please note that it is covered with spines, not prickles.\u003c/p>\n\u003cp>Now you’re probably wondering: if prickly pears don’t have prickles, then who does? One of the most obvious examples of true prickles is the rose. If you want to really impress your friends with your botanical pedantry, take them to one of the Bay Area’s \u003ca title=\"San Jose Municipal Rose Garden\" href=\"http://www.sanjoseca.gov/Facilities/Facility/Details/74\">Rose\u003c/a> \u003ca title=\"Berkeley Rose Garden\" href=\"http://www.ci.berkeley.ca.us/contentdisplay.aspx?id=12048\">Gardens\u003c/a> and, as soon as someone mentions thorns, casually explain: “Oh, those are prickles. Roses don’t have true thorns.”\u003c/p>\n\u003cfigure id=\"attachment_21216\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron-e1409628950420.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-21216 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/09/PistoiaCitron-e1409628950420.jpg\" alt=\"Thorn-bearing citron\" width=\"250\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thorn-bearing Citrus medica (Citron) by Marilena Pistoia, showing at the Hunt Institute. © 1984 Arnoldo Mondadori Editore, Milan.\u003c/figcaption>\u003c/figure>\n\u003cp>Your friends will no doubt demand to know where to find true thorns, and excellent local examples are California’s many iconic citrus trees. The difference between a lemon thorn and a rose prickle becomes obvious once you try to remove them. Prickles snap right off with a satisfyingly clean break. Just like ripping off . . . Never mind. Anyway, breaking off a thorn usually tears right into the branch, because thorn and branch are knit together by vascular tissue.\u003c/p>\n\u003cp>All three flavors of sharp will soon be on display at the Hunt Institute, if you happen to find yourself in Pittsburgh between September 18 and December 18. For a shorter excursion, you can head to the library to find books illustrated by the three California artists whose work will be part of “Dangerous Beauty”. Check out \u003ca title=\"Amazon - Flowers of the Southwest Mesas\" href=\"http://www.amazon.com/Flowers-Southwest-Mesas-Pauline-Patraw/dp/B000EM7Q2Y\">“Flowers of the Southwest Mesas”\u003c/a>, illustrated by Janish, \u003ca title=\"Amazon - A Natural History of Western Trees\" href=\"http://www.amazon.com/A-Natural-History-Western-Trees/dp/0395581753\">“A Natural History of Western Trees”\u003c/a>, illustrated by wood engraver \u003ca title=\"Wikipedia - Paul Landacre\" href=\"http://en.wikipedia.org/wiki/Paul_Landacre\">Paul Landacre\u003c/a> and the \u003ca title=\"Amazon - Botanical Prints\" href=\"http://www.amazon.com/dp/1582436371/ref=cm_sw_su_dp\">\u003ci>botanical prints\u003c/i>\u003c/a> of linocut artist \u003ca title=\"Henry Evans\" href=\"http://www.henryevans.com/about.html\">Henry Evans\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the next time you’re stabbed by a plant in a garden or in the woods, you can take your mind off the pain by attempting to determine whether the offending structure is a thorn, a spine or a prickle.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/21214/pretty-but-prickly-the-defenses-of-california-plants","authors":["6324"],"categories":["science_30"],"tags":["science_635","science_1097"],"featImg":"science_21215","label":"science"},"science_20295":{"type":"posts","id":"science_20295","meta":{"index":"posts_1591205157","site":"science","id":"20295","score":null,"sort":[1407253183000]},"guestAuthors":[],"slug":"artist-will-take-a-13-hour-watery-stand-to-draw-attention-to-rising-seas","title":"Artist Will Take a 13-Hour Watery Stand to Draw Attention to Rising Seas","publishDate":1407253183,"format":"aside","headTitle":"Artist Will Take a 13-Hour Watery Stand to Draw Attention to Rising Seas | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_20300\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/cover-shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-20300\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/cover-shot.jpg\" alt=\"Sarah Cameron Sunde stands through a tidal cycle in Bass Harbor, Maine\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Cameron Sunde stands through a tidal cycle in Bass Harbor, Maine on August 15, 2013. (Maridee Slater)\u003c/figcaption>\u003c/figure>\n\u003cp>On August 15th, performance artist Sarah Cameron Sunde will stand in the San Francisco Bay for a tidal cycle of over thirteen hours. At high tide, she’ll be covered up to her neck. This is the third iteration of her \u003ca title=\"36.5 Water Project\" href=\"http://www.365waterproject.org/\">36.5 water project\u003c/a>, which dramatizes the challenge of rising seas.\u003c/p>\n\u003cp>Climate change is driving up sea levels around the globe at an accelerating rate. Tidal gauges show that San Francisco Bay has already risen by 8 inches since 1900. Scientists estimate a further 16-inch rise by 2050, and 55 inches by 2100. The \u003ca title=\"BCDC - Living with a Rising Bay\" href=\"http://www.bcdc.ca.gov/BPA/LivingWithRisingBay.pdf\">Bay Conservation and Development Commission\u003c/a> has used these numbers to project land loss of 281 and 333 square miles, respectively, including residential developments, schools and health care centers, roads and airports.\u003c/p>\n\u003cfigure id=\"attachment_20310\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/climate_change_maps_regional55-e1407207820328.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20310 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/climate_change_maps_regional55-e1407207820328.jpg\" alt=\"Potential inundation caused by 55-inch sea level rise by 2100.\" width=\"300\" height=\"307\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Potential inundation caused by 55-inch sea level rise by 2100. San Francisco Bay Conservation and Development Commission. Sea level rise data provided by USGS. Knowles, N. 2008. Siegel, S.W. and P. A. M. Bachand, 2002.\u003c/figcaption>\u003c/figure>\n\u003cp>These numbers are personal for Sunde, who grew up in the Bay Area. But it was the destruction Hurricane Sandy wrought on her current home of New York in 2012 that planted the seeds of the 36.5 water project. “All of a sudden I understood in a bigger way that everything is ephemeral,” she says. “In a hundred years from now, or even in my lifetime, it’s very possible that people will have to leave, that the city won’t be able to survive the change.”\u003c/p>\n\u003cp>She took these thoughts with her to an artist residency in Maine, where she spent time on the coast, watching the tide come in. “After seeing a rock getting swallowed, I imagined a body out there in the water, and how beautiful an image that would be.” As a director, she immediately began to wonder who she could cast, then realized, “That’s insane; no one is going to do this for me. Three days later I was in the water.”\u003c/p>\n\u003cp>\u003cb>What Is Your Relationship With the Water?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After standing through an enormous ten and a half foot tidal fluctuation in Maine, Sunde’s second performance could seem anticlimactic. In Akumal, Mexico, for another residency, she stood patiently for twelve hours through a tidal shift of just one foot.\u003c/p>\n\u003cp>But while Maine had been a private performance for her fellow artists, she sought to involve the local community in Akumal. She interviewed locals before her performance, asking: what is your relationship with the water? “Everyone had such a different response, but such a powerful response.”\u003c/p>\n\u003cp>Akumal is on the Yucatán in the Caribbean, a region highly dependent on coastal tourism and therefore highly vulnerable to sea level rise. According to the \u003ca title=\"UCS - Climate Hot Map\" href=\"http://www.climatehotmap.org/global-warming-locations/cancun-mexico.html\">Union of Concerned Scientists\u003c/a>, “Relative to the size of the economy, the Caribbean is the world’s most tourism-dependent region. If climate change makes this region less appealing to tourists because hotels have diminishing beaches, or because resorts experience flooding, the region could suffer serious economic losses and growing poverty.” Forty inches of sea level rise, for example, would flood hundreds of miles of roads and a third of all Caribbean airports. The Mexican government has attempted to rebuild beaches that are already eroding, but such projects are hugely expensive and only postpone the inevitable.\u003c/p>\n\u003cfigure id=\"attachment_20301\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/sarah-BTS-end-moment-e1407207221378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20301 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/sarah-BTS-end-moment-e1407207221378.jpg\" alt=\"spontaneously joined the artist at the end of her performance in Akumal, Mexico\" width=\"300\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Onlookers spontaneously joined the artist at the end of her performance in Akumal, Mexico, on February 15, 2014. (Scott Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>During the last hour of Sunde’s Akumal performance, a member of the audience walked out to join her, then another and another, until seven people stood together in the sea. “It was totally spontaneous and it really moved me,” she says. So in San Francisco, she’s explicitly inviting the public to join her in the water. “What I’m imaging is that people will show up whenever they can, and they’ll come and stand with me for half an hour, or as long as they want to, and then they’ll leave.”\u003c/p>\n\u003cp>She doesn’t expect anyone to stay through the entire 13-hour, 5-foot tidal cycle, during which she will eat nothing. She will drink water, either brought by kayak or worn in a backpack. “I want it to be hard, but I don’t want to get hypothermia and die,” she says. She plans to wear a wetsuit, or possibly a drysuit—although I’m afraid your humble correspondent may have discouraged her from the warmer course of action. “In a drysuit, you couldn’t pee, could you?” said Sunde after I pointed out that particular drawback. “My God, I didn’t really think about that.”\u003c/p>\n\u003cp>\u003cstrong>Thinking Globally, Yet Intimately\u003c/strong>\u003c/p>\n\u003cp>After San Francisco, Sunde will move her project around the world. The next stop will be Europe, where she plans to stand through a tidal cycle in one of the cities most intimately aware of rising seas: Amsterdam.\u003c/p>\n\u003cp>The Netherlands was fighting to stay dry centuries before the Industrial Revolution heralded anthropogenic climate change. The country is at once uniquely vulnerable, and uniquely prepared to cope. The Dutch have been keeping the sea at bay with an ever-increasingly sophisticated system of dikes, floodgates, and sea walls. But now they’ve begun to work \u003ca title=\"NPR - Dutch Embrace Floods\" href=\"http://www.npr.org/templates/story/story.php?storyId=18229027\">with the water rather than against it\u003c/a>, lowering certain dikes to allow flooding and reduce the pressure in other parts of the system. They’re even experimenting with floating housing developments.\u003c/p>\n\u003cfigure id=\"attachment_20306\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/Maine-e1407206859286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20306 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/Maine-e1407206859286.jpg\" alt=\"Low and high tide during Sunde's first 36.5 performance in Bass Harbor, Maine.\" width=\"300\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Low and high tide during Sunde’s first 36.5 performance in Bass Harbor, Maine. (Maridee Slater)\u003c/figcaption>\u003c/figure>\n\u003cp>Sunde’s husband grew up in the Netherlands, making this a very personal destination for the artist. In fact, she is choosing all of her sites based on intimate connections with her own life. This is art in extremely mixed media: a single human, the world ocean.\u003c/p>\n\u003cp>Sunde hopes her performance will grow with each iteration. Locals will join her in the water, and friends and colleagues around the world will stand with her in spirit. “There’s got to be a way to encourage collective thinking. I believe in that. If we all put our minds on something, good can happen.”\u003c/p>\n\u003cp>If you show up at \u003ca title=\"Wikipedia - Aquatic Park\" href=\"http://en.wikipedia.org/wiki/Aquatic_Park_Historic_District\">Aquatic Park\u003c/a> on August 15th between 9:26am and 10:31pm, you’ll see Sunde and her video crew. You can sit and watch from a variety of vantage points, and you can wade out and join her for a time. At 4:09 pm, high tide, the water will be at her neck.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Another eight-inch rise in sea level would cover her head.\u003c/p>\n\n","blocks":[],"excerpt":"A performance artist will stand in San Francisco Bay for a tidal cycle of thirteen hours to dramatize the challenge of rising seas. At high tide, she'll be covered up to her neck.","status":"publish","parent":0,"modified":1704933180,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1166},"headData":{"title":"Artist Will Take a 13-Hour Watery Stand to Draw Attention to Rising Seas | KQED","description":"A performance artist will stand in San Francisco Bay for a tidal cycle of thirteen hours to dramatize the challenge of rising seas. At high tide, she'll be covered up to her neck.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artist Will Take a 13-Hour Watery Stand to Draw Attention to Rising Seas","datePublished":"2014-08-05T15:39:43.000Z","dateModified":"2024-01-11T00:33:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/20295/artist-will-take-a-13-hour-watery-stand-to-draw-attention-to-rising-seas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_20300\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/cover-shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-20300\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/cover-shot.jpg\" alt=\"Sarah Cameron Sunde stands through a tidal cycle in Bass Harbor, Maine\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Cameron Sunde stands through a tidal cycle in Bass Harbor, Maine on August 15, 2013. (Maridee Slater)\u003c/figcaption>\u003c/figure>\n\u003cp>On August 15th, performance artist Sarah Cameron Sunde will stand in the San Francisco Bay for a tidal cycle of over thirteen hours. At high tide, she’ll be covered up to her neck. This is the third iteration of her \u003ca title=\"36.5 Water Project\" href=\"http://www.365waterproject.org/\">36.5 water project\u003c/a>, which dramatizes the challenge of rising seas.\u003c/p>\n\u003cp>Climate change is driving up sea levels around the globe at an accelerating rate. Tidal gauges show that San Francisco Bay has already risen by 8 inches since 1900. Scientists estimate a further 16-inch rise by 2050, and 55 inches by 2100. The \u003ca title=\"BCDC - Living with a Rising Bay\" href=\"http://www.bcdc.ca.gov/BPA/LivingWithRisingBay.pdf\">Bay Conservation and Development Commission\u003c/a> has used these numbers to project land loss of 281 and 333 square miles, respectively, including residential developments, schools and health care centers, roads and airports.\u003c/p>\n\u003cfigure id=\"attachment_20310\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/climate_change_maps_regional55-e1407207820328.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20310 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/climate_change_maps_regional55-e1407207820328.jpg\" alt=\"Potential inundation caused by 55-inch sea level rise by 2100.\" width=\"300\" height=\"307\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Potential inundation caused by 55-inch sea level rise by 2100. San Francisco Bay Conservation and Development Commission. Sea level rise data provided by USGS. Knowles, N. 2008. Siegel, S.W. and P. A. M. Bachand, 2002.\u003c/figcaption>\u003c/figure>\n\u003cp>These numbers are personal for Sunde, who grew up in the Bay Area. But it was the destruction Hurricane Sandy wrought on her current home of New York in 2012 that planted the seeds of the 36.5 water project. “All of a sudden I understood in a bigger way that everything is ephemeral,” she says. “In a hundred years from now, or even in my lifetime, it’s very possible that people will have to leave, that the city won’t be able to survive the change.”\u003c/p>\n\u003cp>She took these thoughts with her to an artist residency in Maine, where she spent time on the coast, watching the tide come in. “After seeing a rock getting swallowed, I imagined a body out there in the water, and how beautiful an image that would be.” As a director, she immediately began to wonder who she could cast, then realized, “That’s insane; no one is going to do this for me. Three days later I was in the water.”\u003c/p>\n\u003cp>\u003cb>What Is Your Relationship With the Water?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After standing through an enormous ten and a half foot tidal fluctuation in Maine, Sunde’s second performance could seem anticlimactic. In Akumal, Mexico, for another residency, she stood patiently for twelve hours through a tidal shift of just one foot.\u003c/p>\n\u003cp>But while Maine had been a private performance for her fellow artists, she sought to involve the local community in Akumal. She interviewed locals before her performance, asking: what is your relationship with the water? “Everyone had such a different response, but such a powerful response.”\u003c/p>\n\u003cp>Akumal is on the Yucatán in the Caribbean, a region highly dependent on coastal tourism and therefore highly vulnerable to sea level rise. According to the \u003ca title=\"UCS - Climate Hot Map\" href=\"http://www.climatehotmap.org/global-warming-locations/cancun-mexico.html\">Union of Concerned Scientists\u003c/a>, “Relative to the size of the economy, the Caribbean is the world’s most tourism-dependent region. If climate change makes this region less appealing to tourists because hotels have diminishing beaches, or because resorts experience flooding, the region could suffer serious economic losses and growing poverty.” Forty inches of sea level rise, for example, would flood hundreds of miles of roads and a third of all Caribbean airports. The Mexican government has attempted to rebuild beaches that are already eroding, but such projects are hugely expensive and only postpone the inevitable.\u003c/p>\n\u003cfigure id=\"attachment_20301\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/sarah-BTS-end-moment-e1407207221378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20301 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/sarah-BTS-end-moment-e1407207221378.jpg\" alt=\"spontaneously joined the artist at the end of her performance in Akumal, Mexico\" width=\"300\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Onlookers spontaneously joined the artist at the end of her performance in Akumal, Mexico, on February 15, 2014. (Scott Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>During the last hour of Sunde’s Akumal performance, a member of the audience walked out to join her, then another and another, until seven people stood together in the sea. “It was totally spontaneous and it really moved me,” she says. So in San Francisco, she’s explicitly inviting the public to join her in the water. “What I’m imaging is that people will show up whenever they can, and they’ll come and stand with me for half an hour, or as long as they want to, and then they’ll leave.”\u003c/p>\n\u003cp>She doesn’t expect anyone to stay through the entire 13-hour, 5-foot tidal cycle, during which she will eat nothing. She will drink water, either brought by kayak or worn in a backpack. “I want it to be hard, but I don’t want to get hypothermia and die,” she says. She plans to wear a wetsuit, or possibly a drysuit—although I’m afraid your humble correspondent may have discouraged her from the warmer course of action. “In a drysuit, you couldn’t pee, could you?” said Sunde after I pointed out that particular drawback. “My God, I didn’t really think about that.”\u003c/p>\n\u003cp>\u003cstrong>Thinking Globally, Yet Intimately\u003c/strong>\u003c/p>\n\u003cp>After San Francisco, Sunde will move her project around the world. The next stop will be Europe, where she plans to stand through a tidal cycle in one of the cities most intimately aware of rising seas: Amsterdam.\u003c/p>\n\u003cp>The Netherlands was fighting to stay dry centuries before the Industrial Revolution heralded anthropogenic climate change. The country is at once uniquely vulnerable, and uniquely prepared to cope. The Dutch have been keeping the sea at bay with an ever-increasingly sophisticated system of dikes, floodgates, and sea walls. But now they’ve begun to work \u003ca title=\"NPR - Dutch Embrace Floods\" href=\"http://www.npr.org/templates/story/story.php?storyId=18229027\">with the water rather than against it\u003c/a>, lowering certain dikes to allow flooding and reduce the pressure in other parts of the system. They’re even experimenting with floating housing developments.\u003c/p>\n\u003cfigure id=\"attachment_20306\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/Maine-e1407206859286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20306 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/08/Maine-e1407206859286.jpg\" alt=\"Low and high tide during Sunde's first 36.5 performance in Bass Harbor, Maine.\" width=\"300\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Low and high tide during Sunde’s first 36.5 performance in Bass Harbor, Maine. (Maridee Slater)\u003c/figcaption>\u003c/figure>\n\u003cp>Sunde’s husband grew up in the Netherlands, making this a very personal destination for the artist. In fact, she is choosing all of her sites based on intimate connections with her own life. This is art in extremely mixed media: a single human, the world ocean.\u003c/p>\n\u003cp>Sunde hopes her performance will grow with each iteration. Locals will join her in the water, and friends and colleagues around the world will stand with her in spirit. “There’s got to be a way to encourage collective thinking. I believe in that. If we all put our minds on something, good can happen.”\u003c/p>\n\u003cp>If you show up at \u003ca title=\"Wikipedia - Aquatic Park\" href=\"http://en.wikipedia.org/wiki/Aquatic_Park_Historic_District\">Aquatic Park\u003c/a> on August 15th between 9:26am and 10:31pm, you’ll see Sunde and her video crew. You can sit and watch from a variety of vantage points, and you can wade out and join her for a time. At 4:09 pm, high tide, the water will be at her neck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another eight-inch rise in sea level would cover her head.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/20295/artist-will-take-a-13-hour-watery-stand-to-draw-attention-to-rising-seas","authors":["6324"],"categories":["science_31"],"tags":["science_635","science_194","science_208","science_206"],"featImg":"science_20300","label":"science"},"science_19200":{"type":"posts","id":"science_19200","meta":{"index":"posts_1591205157","site":"science","id":"19200","score":null,"sort":[1405000822000]},"guestAuthors":[],"slug":"communicating-science-through-an-artistic-lens-at-stanford","title":"Communicating Science Through an Artistic Lens at Stanford","publishDate":1405000822,"format":"aside","headTitle":"Communicating Science Through an Artistic Lens at Stanford | KQED","labelTerm":{"site":"science"},"content":"\u003cfigure id=\"attachment_19209\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/lioncubs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-19209\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/lioncubs.jpg\" alt=\"behavior of lion cubs in the wild\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The behavior of lion cubs in the wild is far removed from the study of brain development in the lab. Sue McConnell pays careful attention to both, one as a photographer and the other as a scientist. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>Stanford scientist Sue McConnell will be one of 15 U.S. professors to receive $1 million over the next five years from the \u003ca title=\"HHMI 2014 Professors\" href=\"http://www.hhmi.org/news/hhmi-puts-top-scientists-classroom\">Howard Hughes Medical Institute\u003c/a>. The grant supports creative approaches to science education; McConnell will use it to sustain a program that teaches biology seniors to communicate science to the public through art.\u003c/p>\n\u003cfigure id=\"attachment_19204\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/page4-1089-full.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-19204 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/page4-1089-full.jpg\" alt=\"Alwali - The Protecting Friend\" width=\"267\" height=\"383\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Alwali – The Protecting Friend,” a graphic novel by Rosy Karna about the science and stigma of lymphatic filariasis. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>As a \u003ca title=\"McConnell Lab\" href=\"http://stanford.edu/group/skmlab/index.html\">developmental neurobiologist\u003c/a>, McConnell studies how brain cells are created and wired together, but she gets out of the lab in a dramatic way as a \u003ca title=\"McConnell Photography\" href=\"http://www.susankmcconnell.com/7-2/\">conservation photographer\u003c/a>. Her images of Namibian elephants have been on the cover of \u003ci>Smithsonian\u003c/i> magazine. “I understand how potent the arts can be in communicating science,” she says—a potency she sees as necessary for policy change. “It’s pretty clear that information isn’t having the impact on public decisions that we’d hoped.”\u003c/p>\n\u003cp>This view motivated McConnell to create “\u003ca title=\"The Senior Reflection\" href=\"http://web.stanford.edu/~suemcc/TSR/index.html\">The Senior Reflection\u003c/a>” in 2010, with acclaimed writer \u003ca title=\"Andrew Todhunter\" href=\"http://www.andrewtodhunter.com/about/index.html\">Andrew Todhunter\u003c/a> as co-director. The course is run like a creative writing workshop—a new experience for many of the students, who are mostly pre-medical. “A number of students come into the program saying ‘I’m not creative,'” says McConnell. But over the academic year they discover and develop their talents with the guidance of local artists. The HHMI grant money will fund honoraria for these creative mentors, as well as salaries for Todhunter and writing teacher Russ Carpenter.\u003c/p>\n\u003cp>“We see a lot of students taking important pieces of themselves and their science, and really trying to connect them,” McConnell says. One created a \u003ca title=\"Alwali - The Protecting Friend\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-41/index.html\">graphic novel\u003c/a> about \u003ca title=\"WHO - Lymphatic filariasis\" href=\"http://www.who.int/mediacentre/factsheets/fs102/en/\">lymphatic filariasis\u003c/a>, a painful and disfiguring parasitic infection, hoping to help people she met during a summer internship in Bangladesh. A \u003ca title=\"Mallory Smith - Biome\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-50/index.html\">student with cystic fibrosis\u003c/a> wrote and performed an \u003ca title=\"Biome\" href=\"https://soundcloud.com/mallorybeasmith/biome\">audio podcast\u003c/a> in which she draws parallels between the gradual destruction of her lungs and the environmental degradation of the planet.\u003c/p>\n\u003cp>[contextly_sidebar id=”7d58494988285dad810964dd5e43e48a”]\u003c/p>\n\u003cp>Doing art instead of research for their senior thesis certainly helps the graduates stand out. “It’s all the med school interviewers want to talk about,” McConnell says. But do any projects have the broader impact she hopes for?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some show promise. A \u003ca title=\"Neglected ~ A Story of Schistosomiasis Infection in Ghana -- Sand Animation\" href=\"https://www.youtube.com/watch?v=lo1cRLdqKq4\">2012 sand animation\u003c/a> about schistosomiasis was featured in \u003ci>Science\u003c/i> magazine. A \u003ca title=\"Brittany Margot - A Mother’s Choice\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-10/index.html\">2013 quilt\u003c/a> portraying the science of breastfeeding now hangs in the maternity ward of Lucille Packard Children’s Hospital. And in both cases, the artists gained commissions for further work.\u003c/p>\n\u003cfigure id=\"attachment_19206\" class=\"wp-caption alignright\" style=\"max-width: 242px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/Sue_McConnell_Elephants_1-242x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-19206 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/Sue_McConnell_Elephants_1-242x162.jpg\" alt=\"A family of elephants in Namibia rescues its baby.\" width=\"242\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A family of elephants in Namibia rescues its baby. Such images may inspire more conservation effort than simple information about the vulnerable status of African elephants. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>As for the 2014 graduates, the author of the graphic novel plans to translate it into Bengali and distribute it in Bangladesh, to combat the extreme stigma associated with the disease. The cystic fibrosis piece, McConnell is certain, “will go national.” The full body of student work is open to public viewing all summer in the first floor of Wallenberg Hall on Stanford campus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Art might seem like a counter-intuitive tool for communicating science, since it resonates with us emotionally rather than intellectually. But that resonance gives art the power to inspire, horrify, chasten, and motivate–a power that Sue McConnell is teaching the next generation of scientists and doctors to wield.\u003c/p>\n\n","blocks":[],"excerpt":"Stanford scientist Sue McConnell will receive $1 million over the next five years to sustain a program that teaches biology seniors to communicate science to the public through art.","status":"publish","parent":0,"modified":1704933308,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":631},"headData":{"title":"Communicating Science Through an Artistic Lens at Stanford | KQED","description":"Stanford scientist Sue McConnell will receive $1 million over the next five years to sustain a program that teaches biology seniors to communicate science to the public through art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Communicating Science Through an Artistic Lens at Stanford","datePublished":"2014-07-10T14:00:22.000Z","dateModified":"2024-01-11T00:35:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/science/19200/communicating-science-through-an-artistic-lens-at-stanford","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_19209\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/lioncubs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-19209\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/lioncubs.jpg\" alt=\"behavior of lion cubs in the wild\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The behavior of lion cubs in the wild is far removed from the study of brain development in the lab. Sue McConnell pays careful attention to both, one as a photographer and the other as a scientist. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>Stanford scientist Sue McConnell will be one of 15 U.S. professors to receive $1 million over the next five years from the \u003ca title=\"HHMI 2014 Professors\" href=\"http://www.hhmi.org/news/hhmi-puts-top-scientists-classroom\">Howard Hughes Medical Institute\u003c/a>. The grant supports creative approaches to science education; McConnell will use it to sustain a program that teaches biology seniors to communicate science to the public through art.\u003c/p>\n\u003cfigure id=\"attachment_19204\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/page4-1089-full.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-19204 size-full\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/page4-1089-full.jpg\" alt=\"Alwali - The Protecting Friend\" width=\"267\" height=\"383\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Alwali – The Protecting Friend,” a graphic novel by Rosy Karna about the science and stigma of lymphatic filariasis. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>As a \u003ca title=\"McConnell Lab\" href=\"http://stanford.edu/group/skmlab/index.html\">developmental neurobiologist\u003c/a>, McConnell studies how brain cells are created and wired together, but she gets out of the lab in a dramatic way as a \u003ca title=\"McConnell Photography\" href=\"http://www.susankmcconnell.com/7-2/\">conservation photographer\u003c/a>. Her images of Namibian elephants have been on the cover of \u003ci>Smithsonian\u003c/i> magazine. “I understand how potent the arts can be in communicating science,” she says—a potency she sees as necessary for policy change. “It’s pretty clear that information isn’t having the impact on public decisions that we’d hoped.”\u003c/p>\n\u003cp>This view motivated McConnell to create “\u003ca title=\"The Senior Reflection\" href=\"http://web.stanford.edu/~suemcc/TSR/index.html\">The Senior Reflection\u003c/a>” in 2010, with acclaimed writer \u003ca title=\"Andrew Todhunter\" href=\"http://www.andrewtodhunter.com/about/index.html\">Andrew Todhunter\u003c/a> as co-director. The course is run like a creative writing workshop—a new experience for many of the students, who are mostly pre-medical. “A number of students come into the program saying ‘I’m not creative,'” says McConnell. But over the academic year they discover and develop their talents with the guidance of local artists. The HHMI grant money will fund honoraria for these creative mentors, as well as salaries for Todhunter and writing teacher Russ Carpenter.\u003c/p>\n\u003cp>“We see a lot of students taking important pieces of themselves and their science, and really trying to connect them,” McConnell says. One created a \u003ca title=\"Alwali - The Protecting Friend\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-41/index.html\">graphic novel\u003c/a> about \u003ca title=\"WHO - Lymphatic filariasis\" href=\"http://www.who.int/mediacentre/factsheets/fs102/en/\">lymphatic filariasis\u003c/a>, a painful and disfiguring parasitic infection, hoping to help people she met during a summer internship in Bangladesh. A \u003ca title=\"Mallory Smith - Biome\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-50/index.html\">student with cystic fibrosis\u003c/a> wrote and performed an \u003ca title=\"Biome\" href=\"https://soundcloud.com/mallorybeasmith/biome\">audio podcast\u003c/a> in which she draws parallels between the gradual destruction of her lungs and the environmental degradation of the planet.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Doing art instead of research for their senior thesis certainly helps the graduates stand out. “It’s all the med school interviewers want to talk about,” McConnell says. But do any projects have the broader impact she hopes for?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some show promise. A \u003ca title=\"Neglected ~ A Story of Schistosomiasis Infection in Ghana -- Sand Animation\" href=\"https://www.youtube.com/watch?v=lo1cRLdqKq4\">2012 sand animation\u003c/a> about schistosomiasis was featured in \u003ci>Science\u003c/i> magazine. A \u003ca title=\"Brittany Margot - A Mother’s Choice\" href=\"http://web.stanford.edu/~suemcc/TSR/styled-10/index.html\">2013 quilt\u003c/a> portraying the science of breastfeeding now hangs in the maternity ward of Lucille Packard Children’s Hospital. And in both cases, the artists gained commissions for further work.\u003c/p>\n\u003cfigure id=\"attachment_19206\" class=\"wp-caption alignright\" style=\"max-width: 242px\">\u003ca href=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/Sue_McConnell_Elephants_1-242x162.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-19206 size-medium\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2014/07/Sue_McConnell_Elephants_1-242x162.jpg\" alt=\"A family of elephants in Namibia rescues its baby.\" width=\"242\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A family of elephants in Namibia rescues its baby. Such images may inspire more conservation effort than simple information about the vulnerable status of African elephants. (Susan McConnell)\u003c/figcaption>\u003c/figure>\n\u003cp>As for the 2014 graduates, the author of the graphic novel plans to translate it into Bengali and distribute it in Bangladesh, to combat the extreme stigma associated with the disease. The cystic fibrosis piece, McConnell is certain, “will go national.” The full body of student work is open to public viewing all summer in the first floor of Wallenberg Hall on Stanford campus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Art might seem like a counter-intuitive tool for communicating science, since it resonates with us emotionally rather than intellectually. But that resonance gives art the power to inspire, horrify, chasten, and motivate–a power that Sue McConnell is teaching the next generation of scientists and doctors to wield.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/science/19200/communicating-science-through-an-artistic-lens-at-stanford","authors":["6324"],"categories":["science_30"],"tags":["science_635","science_205","science_664","science_807","science_633","science_346"],"featImg":"science_19209","label":"science"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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