Apr 17, 2014
The STEM to STEAM educational movement strives to put the "A" (Art/Design) in STEM (Science, Technology, Engineering, and Math) learning. As the STEM to STEAM movement grows, it is important to document STEAM-specific learning. In gathering evidence about STEAM learning, we are showing how well STEAM works and how integral all the subjects in STEAM really are.
We recently had the opportunity to document an educational project from start to finish. On the one-year anniversary of the 2013 Boston Marathon, which was a day of both tragedy and bravery for the Boston community, Advent School students created artwork as a memorial in honor of the Marathon and a celebration of the City of Boston. The Advent School, a Boston independent elementary school dedicated to innovative teaching and learning styles, developed a project for their older students to create an installation of flowers made by hand. We filmed the process - not only to document the outcome but to show that learning is an integral part of project design. You can watch the video here:
A visiting artist, Amy Flurry, Co-Founder of the Paper-Cut-Project, led the students in creating “Flowers for Boston.” Amy brought plants and flowers for the students to study and instructed them on how to recreate the shapes and structures of flowers with bristol paper. We filmed as the students used investigative processes and learned to transform their observations into representative artwork. It was fascinating to capture the students’ careful examination of the details of flowers, and then to watch as they put that new knowledge to use in engineering sculptural interpretations.
Documenting learning helps children, parents, teachers, and administrators to learn, teach, and understand. Not only does it encourage reflection and memory for students, but strengthens planning and curriculum development as well as engagement from parents and administrators. Making learning visible means that everyone involved in the educational process can take an active role in evaluating progress and discovery.
Thanks to Advent Art Instructor Saskia Van Vactor and David Van Vactor for making this art/science learning possible at the Advent School. The “Flowers for Boston” installation can be seen at J.P. Licks, 150 Charles Street on Beacon Hill, until Friday, April 25.
Nov 21, 2013
ASKlabs has so many to thank - friends and colleagues who daily inspire with their creativity, knowledge, and style. So in the spirit of the upcoming holiday, here’s a little appreciation for all the intellectual and artistic sustenance, the family and friends, and the hard work, that together keep ASKlabs going.
DP Stephen McCarthy thanks for shooting the MIT video "Putting it Together the Modular Car," my first microdocumentary (only 3 minutes long) -- that was a productive day! Alex Hogan, your hip and clever animations make the film pop. Composer P. Andrew Willis your tunes brought it all together. Editor Stephanie Munroe, always a pleasure!
Cinematographers Scottie McKinnon in New Zealand and David Safian now in San Francisco, and Editors Monica Gillette and Sabrina Zanella-Foresi, your talents made the "Lightning Dreams" and "Electrum" films shine.
My sister Camille Chu has put her fine finishing touch on the film titles for "Lightning Dreams," "New Form at the Farm: Anish Kapoor," "Seeing the Landscape: Richard Serra" and the "Electrum" documentary. How lucky I am to be related to such talent!
The Post-Production team for "New Form at the Farm" rocked! Editor Stephanie Munroe, Animator Tim Kennedy and the crew at Modulus: Eric Masunaga, Evan Schwenterly, Frank McDonnell and Damon Addleman. Thank you to New Zealand DP Stuart Page who shot the gorgeous aerial pickups which for "New Form at the Farm." The late Rob Morsberger created an upbeat rock'n roll score for the film.
"Lightning Dreams," The Advent School" video and "Putting it Together the Modular Car" were all posted at Modulus - thanks guys!
"Seeing the Landscape" was an amazing film to make. I worked with local NZ crews - Graham Bennett, and got to visit Gibbs Farm twice to shoot. Back in Boston, Editors Stephanie Munroe and Geoff Birmingham chopped away with a timely consult from Jon Neuburger. The late Ray Loring created the film's beautiful musical score. We posted sound with Richard Bock and Mark Steele did our color correction.
A big thanks to these filmmakers for their support: Tracy Strain, Randy MacLowry, Bill Lattanzi, Jocelyn Glatzer, Allie Humenek, Courtney Hayes, Sarah Colt, and Rachel Clark. And of course a heartfelt thank you to LA-based Jon Kroll who taught me so much when I was starting out.
L: Mummelgrummel [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons.
Gratitude to Boston friends and neighbors, who are both artistically and technically brilliant, always there to talk about ideas or review a rough cut: Fritz Klaetke and Susan Battista of Visual Dialogue, Polly Becker Illustration, Gabriele de Simone and Niclas Bahn of Noise Industries, Alexandra Metral, Steve Hollinger, TIna Cassidy, Jill Palese, Doreen Hing, Elena Kazlas, Gitika Desai, and Camilla Brinkman.
THANK YOU ALL!
And most of all, many thanks to YOU - all of our supporters for playing: reading, watching, sharing, clicking, commenting, liking and spreading the love. You're the best!
TOP OF PAGE PHOTO: Capitol Theater of Burlington Iowa (Facebook) [Public domain], via Wikimedia Commons
Oct 16, 2013
Last month, Nerd Nite Boston gathered Boston’s nerds to hear some stories inspired by art, science, technology, lightning, and dystopic visions of invasive social networks. At the Middlesex Lounge in Cambridge, with nerds crowded around low tables, it appeared the husband and wife duo, Alberta Chu and Murray Robinson, were presenting to a group of eager kindergarteners, all of whom wanted to grow up to be scientists (though in reality, most of the audience probably already had). In case you missed it, here are some highlights:
Alberta started by explaining how she has forged her career in science and documentaries, showing us some great clips from her broad body of work. This included a clip of Samuel L Jackson narrating a doc on Industrial Light and Magic’s development of special effects for the Star Wars films. The clip went down pretty well, with audience respondents chanting Mr Jackson’s name and laughing at the corny, tongue-in-cheek intro. It also, of course, included some beautiful footage of massive sculptures on Gibbs’ Farm in New Zealand, which also gathered praise from the audience. The work on sci-fi shows and the engineering of big sculpture has allowed Alberta to have exciting premieres of her work and to build her expertise as a filmmaker, enabling her to pursue making films about the intersection of science and art.
The rest of Alberta’s talk featured several possible outcomes of science and art collaborations, like new science, new art, new technology, and public engagement. Alberta is fascinated with the kinds of hybrid science, art, and technologies that emerge from these collaborations, but places her own work in the final grouping, in that she creates art (films) which enable and/or enhance public engagement in science, art, and technology. Alberta’s slideshow reviewed the broad world history of science and art collaborations, including local heroes Doc Edgerton, Synergy Exhibits, Felice Frankel, as well as international technoartists and organizations: SymbioticA, Natalie Jeremijenko, Heather Dewey-Hagborg, the Exploratorium, and more. Ultimately, she argued, artists can help scientists address contemporary big issues, and can help bring science to the public in ways that make the science relevant and immediate.
Murray has been working on genes for nearly 30 years. He started out in the 1980s transferring lightning bug genes into mice to see what happened - resulting in glowing mice! Later, Murray met artist Eduardo Kac through Alberta, and his genetic work with mice inspired Kac’s later work in creating Alba, a glowing rabbit. The media maelstrom around this particular work and the process of genetic mutation seems to have died down considerably in the 13 years following Kac’s Alba, Murray argued, as glowing fish are now available as pets without any huge reaction. Over time, as the science has grown into shocking art and then into mainstream culture, the new technologies have been accepted and are no longer as shocking. Murray extended this pattern to hypothesize that the same would one day be true about public reaction toward the huge technological advance of genomics. The first human genome was sequenced less than 15 years ago, but the drop in cost for this process is phenomenal, and means that there is likely to be a sea change in how we understand ourselves in the next decade (at least). Companies like 23andme are giving consumers access to limited genetic information about themselves for as little as $99, and though the amount of data promised seems like a lot, it actually shows how little we really know about what genes are linked to. We know some things, like some diseases, some facial features, etc. Murray discusses two aspects of gene-linked traits: the controversial behavioral links, and the much less controversial idea of facial features linked to specific genes.
One of the reasons Murray became interested in genetics is because of his brother Kelly. Kelly is an enigmatic figure who is fascinated with electronics, funny, engaging, sleeps funny hours, and developmentally delayed. It wasn’t until 1998 that he was diagnosed with Smith-Magenis Syndrome, which was associated with the loss of one gene, RAI1. The diagnostic features of this gene-linked syndrome, however, included behavioral traits like a fascination with electronics. There are other genetically-linked syndromes with behavioral diagnostic elements. This is fascinating and highly controversial, given that electronics are such a recent and culturally contingent part of society, along with the nature vs nurture debates which rage among scientists and social scientists. Murray also provided two other syndromes which have associated behavioral traits. Aside from behavior, these genetic syndromes are also linked to characteristic facial features, which, again, is less controversial in terms of social narratives about genetics.
But given the huge amount of data flooding in, and the growing number of scientists and organizations working to begin interpreting that data, what will the future hold? When we do know more about our genetic data, how will we use it? Murray presented a few examples of capitalist/consumer-driven dystopian possibilities, and concluded that the issues and implications underlying this new explosion in genomics needs to be widely discussed and understood.
Both Alberta and Murray definitely agreed on a few key points - science needs to be talked about. The public needs to be in on the conversation. That’s the key importance of science and art collaboration and communication - to bring the science and the public together, to make science and technology accessible, interesting, and relevant to everyone.
Photo by Hargo
Thanks to Mary and Tim and all the folks at Middlesex Lounge! A huge thanks to all who attended! And here’s the #storify of Nerd Nite September capturing the social media around the event. Special thanks to Paul Ha, Hargo, Mark Zastrow, Snarky, Jarrett, Derya, Elena, Doreen, Alex and Max for the social media love.
-- Kat Hughes, Development Associate, ASKlabs
Aug 6, 2013
Today we bring you present day science-fiction subcultures. ASKlabs Development Associate Kat Hughes (@_Katacus_) drops in on Boston Comic Con and finds the convention center teeming with costumed otaku. Comic Con began in California in the 1970’s as a gathering of comic book fanatics and has since grown to encompass the genres of science-fiction, fantasy, japanese anime, horror, animation, graphic novels, gaming, and much more. Each of these genres has developed its own unique subculture. This spirited convergence of contemporary popular aculture is clearly thriving in New England.
Boston Comic Con finally happened this past weekend. Rescheduled after the Boston Marathon Bombings, this Comic Con was even bigger and better, and moved to the Seaport World Trade Center. I went down to support my friend and housemate Matt Sylar, aka Soda Poodle, who had his first ever booth this year. It was seriously crazy, and much bigger than I expected! Even as we walked from the parking lot we were seeing people dressed up and in costumes, representing well-known characters (LOTS of Dr Who's as well as Batman and Sailor Moon characters) and more obscure references and combinations. Some big names of the comics, sci-fi, and fantasy worlds were in attendance, including actors from The Hobbit, “The Walking Dead”, and “True Blood”, and artists like Scott Snyder, Neal Adams, James O’Barr, Tim Sale, and Terry Moore, and the Adventure Time comic artists Shelli Paroline and Braden Lamb (I got them to sign a comic for me, which included some on the spot illustrations).
Left: Soda Poodle; Right: Costumes! Photos by Kat Hughes
Aside from celebrities and artists, there was a costume contest, a celebration of the announcement of the new Doctor on “Dr Who”, and several local groups offering entertainment and photo ops like the New England Brethren of Pirates, the Ghostbusters of New Hampshire, and Alderaan Base (a New England Star Wars group that brought a life-sized Jabba the Hutt).
Left: Costumes and antics; Right: Shelli Paroline talks to fans. Photos by Kat Hughes
The overwhelmingly crowded convention center was a little harrowing, but it was filled to capacity with amazing artists and the people that love them and their work. If you missed it this year, make sure to catch it the next time around. There really is nothing like it...
by Kat Hughes
ASKlabs Development Associate
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Jun 10, 2013
Collaborations between artists and scientists are certainly not a new phenomenon, particularly when the aim is to make scientific data accessible or visual for a public - among other forms, scientific illustrations are a perfect example. Recently, however, resources aimed at developing art and science collaborations have expanded exponentially, from the STEM to STEAM movement and UCSC’s OpenLab, both aimed at bringing art and science together in educational environments, to Story Collider, which brings the art of storytelling together with scientists and science experiences, and Artisans Asylum, which provides space, resources, and education on craft and technology from crocheting to building robots. Other groups support and promote research projects and artwork, like the Australian Network for Art and Technology and the NYC-based Art Science Research Laboratory. Cynthia Pannucci’s Art/Science Collaborations Inc (ASCI) provides an online forum for people interested in science/art collaborations to post calls for work/projects, conferences, and meetups.
New to the scene, Richard Lowenberg’s Scientist Artist Research Collaboration (SARC), based in New Mexico, aims to bring together artists and scientists for somewhat structured collaborative explorations. Scientist/artist collaborators can take part in seminars, a commissioning program, a festival, or interactions through social media and publishing. A similar project, based locally at Woods Hole Oceanographic Institution (WHOI) and Oceans at MIT, Synergy produces science communication through its work. The results of their first collaborative project, the amazing Ocean Stories, is currently showing at the Boston Museum of Science. The project stretches beyond the museum, with the hopes of expanding the impact of the science and art. Synergy’s website includes short videos about each collaboration project, information about the artists and scientists, and links to articles and media coverage. Their new social media presence, too, is aimed at allowing them to network beyond their impressive local contacts, so that they can share the results of the fantastic collaborative art and science projects more broadly.
Watery Depths from collaboration between Bryan McFarlane and Jill McDermott. http://synergyexhibit.org/press/
For the scientists involved, taking part in the Ocean Stories collaborative project has meant that their research has now been communicated through the work itself in whole new ways and to brand new audiences. Not only do these projects take the research out of the lab and the field and into the museum, the gallery, the public space, but it also puts that research online through videos and articles on Synergy’s website, Facebook, and Twitter. Both scientists and artists benefit from these collaborations. Certainly participation in interdisciplinary projects helps scientists connect with the public, enabling them to disseminate their research through art, which can open up whole new channels of expression and interpretation. Artists, can learn about science and our world through these collaborations, and flex their communication skills in helping bring the research to their work.
The innovative modes of communication which result from art and science collaborations promise fascinating breakthroughs in scientific research, art and design, science communication, and public awareness and engagement with each of these fields. We can’t wait to see what comes next!
Photo Credit, TOP OF PAGE: Great Egret (Ardea alba) John James Audubon. From http://www.wired.com/wiredscience/2013/03/audubons-birds-fly-again/?pid=6424
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#sciart #oceanstories #scicomm #science #STEMtoSTEAM #art #WHOI #MIT #MuseumofScience #Boston #collaboration
Apr 9, 2013
The Cambridge Science Festival 2013 is here at last! This is the sixth year of this innovative festival, which was the first of its kind in the US. Events take place all over Cambridge, with several events further afield, highlighting all the great venues and great science to be found in the Boston area. Follow the Festival on Twitter (@CSFtweets) for up-to-date info. Please consider making a donation to the Cambridge Science Festival here: http://bit.ly/ZkQvaU
Of the 152 exhibits, events, and recurring programs ranging from the "Party for the Planet at Franklin Park Zoo" in celebration of Earth day, to the MIT Flea Market, the following events really jumped out at us: some #sciart, with a little innovation, storytelling, #scicomm, and education thrown in.
Friday, April 12
What: SoundScience Fun! @ The Museum of Science, ScienceLive Stage
When: April 12, 5:30pm - 6:15pm
Why: Learn about the science of sound through singing and demonstrations. Free!
What: The Edge of the Map @ Harvard University Science Center, Rm 302, 1 Oxford St., Cambridge
When: April 12, 8:00pm - 9:00pm (and again April 13, 2:00pm - 3:00pm & 5:00pm - 6:00pm & 8:00pm - 9:00pm, and April 14, 5:00pm - 6:00pm)
Why: A collaboration between Harvard biology students and theater-maker Calla Videt, this piece explores social issues and biology through genetics.
What: Operation Epsilon @ Central Square Theater, 450 Massachusetts Ave., Cambridge
When: April 12-8:00pm - 10:00pm (and again April 13, 3:00pm - 5:00pm & 8:00pm - 10:00pm; April 14, 2:00pm - 4:00pm; April 17, 7:30pm - 9:30pm; April 18, 7:30pm - 9:30pm; April 19, 8:00pm - 10:00pm; April 20, 3:00pm - 5:00pm & 8:00pm - 10:00pm; April 21, 2:00pm - 4:00pm)
Why: This play is based on real transcripts which were secretly recorded during Hitler’s “Uranium Club’s” captivity in England. How close were the Nazis to an atomic bomb? What was really happening among these top scientists under Hitler?
Sunday, April 14
What: Artisan's Asylum Open House & DIY Festival @ Artisan's Asylum, 10 Tyler Street, Somerville
When: April 14, 1:00pm - 5:00pm
Why: Check out the Artisan’s Asylum - what they do, and what you could do too!
What: MIT Museum Art & Science Studio Showcase @ MIT Museum, 265 Mass Ave, Cambridge
When: April 14, 1:00pm - 4:00pm
Why: See awesome current projects from MIT students, staff, and researchers.
What: Visual-Eyes Art: The Visual Ecology Exhibit @ MassArt Student Life Gallery, Kennedy Bldg., 621 Huntington Ave., 2nd Floor, Boston
When: April 14-1:00pm - 4:00pm
Why: Anatomy, evolution, and art - MassArt students’ multi-media work on animal eyes.
What: Making Science Toys IV @ Beaver Brook Reservation, Waltham line, Waverley Oaks Road
When: April 14, 3:00pm - 5:30pm
Why: Aimed at kids, this course teaches how to make cool science toys - can adults come too?
What: H2Oratorio: A Deluge of Songs @ The Museum of Science, Cahners Theater
When: April 14, 5:00pm - 6:30pm (and again April 21, 2:00pm - 3:30pm)
Why: Songs about H20 with scientifically accurate lyrics? Sounds pretty good.
What: Hi-Fi-Sci: Music & Science Animation @ MIT Museum, 265 Mass Ave., Cambridge
When: April 14, 7:30pm - 10:00pm
Why: Composers and scientists come together for a presentation of musical interpretations of scientific visualizations. Science communication and art!
What: Broader Impacts: How to Talk About Your Work with the Media @ MIT Building 34, Room 101 (50 Vassar St., Cambridge)
When: April 15, 2:00pm - 4:00pm
Why: Science in the media: what is the best way for scientists to get their work known?
Tuesday, April 16
What: Science & Poetry @ Cambridge Public Library, Lecture Hall, 449 Broadway, Cambridge
When: April 16, 6:00pm - 8:00pm
Why: Scientists, poets, writers, discussion: how can science and poetry work together?
Storytellers Seth Mnookin and Anna Wexler from the Collider! http://storycollider.org/shows/2013-04-16
What: The Story Collider @ Johnny D's, 17 Holland Street, Davis Square, Somerville
When: April 16, 7:30pm - 10:00pm
Why: Six people entertain with true stories about science.
Wednesday, April 17
What: A Science Author Salon with Emily Anthes author of Frankenstein's Cat @ ZuZu Bar, 474 Mass Ave., Central Square, Cambridge
When: April 17, 7:00pm - 9:00pm
Why: A talk about animal biotechnology from author Emily Anthes, co-presented by Nerd Nite Boston
Thursday, April 18
What: Science (Pub) Crawl, 3D Printing and Nature-Inspired Product Design Drop-in design workshops with Nervous System Design Studio @ Xylem, 287 3rd St., Kendall Sq. Free, 21+ cash bars
When: April 18, 5:00pm-6:00pm
Why: What could be cooler?!?! Plus you're probably thirsty...
What: What Will it Take: Plugging the Leaky STEM Pipeline @ The Broad Institute Auditorium, 7 Cambridge Center, Kendall Square
When: April 18, 6:00pm - 8:00pm
Why: A roundtable discussion on problems and possible solutions for the cracks in STEM programming.
Friday, April 19
What: Making Movies, Making Science @ MIT Museum, 265 Mass Ave., Cambridge
When: April 19, 6:00pm - 8:00pm
Why: Short films by MIT students about science and technology, plus a Q&A
What: Trimpin: The Sound of Invention film screening and Q&A @ MIT Building 34, Room 101 (50 Vassar St., Cambridge)
When: April 19, 7:00pm - 9:00pm
Why: Screening of doc about innovative sound artist Trimpin, his creative process, and his amazing accomplishments. Q&A with Trimpin afterwards!
What: Rites of Passage by Quicksilver Dance @ MIT Simmons Hall(229 Vassar Street, Cambridge)
When: April 19, 8:00pm- 9:30pm (and again April 20 at 8:00pm- 9:30pm)
Why: Dance interpretations including the process of evolution and movements of early lifeforms.
Saturday, April 20
What: Science & Comics @ Cambridge Public Library, Lecture Hall, 449 Broadway, Cambridge
When: April 20, 2:00pm - 4:00pm
Why: Comic artists and scientists discuss the possibilities within their collaborations
What: Living in the Future: Pop Culture Meets Today's Technology @ MIT Museum, 265 Mass Ave., Cambridge
When: April 20, 6:30pm - 8:30pm
Why: Discussion and clips of futuristic films, and learn how close scientists are to those fantastic representations.
What: The Festival of Bad Ad-Hoc Hypotheses @ MIT 26-100
When: April 20, 7:00pm - 9:00pm
Why: Hilarious and improbable explanations of evolutionary theory given to a panel of judges.
Sunday, April 21
What: Art and Nature: Illustrating Urban Wildlife @ Danehy Park, 99 Sherman St., Cambridge
When: April 21, 1:00pm - 3:00pm
Why: Collect real specimens and learn to make art with natural inspiration from Cambridge wildlife.
What: Sci-Fi Radio Drama Double-Feature: LIVE! @ MIT Museum, 265 Mass Ave., Cambridge
When: April 21, 2:00pm - 4:30pm
Why: Experience science-fiction tales as they used to be on the radio, and then learn about some of the innovative sound techniques with effects artists!
What: Ocean Stories: A Synergy of Art and Science @ The Museum of Science
When: April 12-21, 9:00am-5:00pm
Why: See the experimental work resulting from collaborations between MIT and Woods Hole Oceaonographic Institution scientists and local artists. @sciart_synergy
Follow the exhibit on Twitter: @sciart_synergy and Facebook: http://on.fb.me/14XTApk
When you hit a Cambridge Science Fest (@CSFTweets) event be sure to post a photo or comment on Facebook or Twitter using #CambSciFest. We shall see you there!
Apr 2, 2013
ASKlabs relocated from LA to Boston ten years ago seeking the #sciart scene. Right away, we discovered the Boston Cyberarts Festival, the Decordova Museum, the ICA, the MIT Museum, the MIT List, MIT's Media Lab, and Arts Interactive. Lately we’ve noticed a groundswell of art and science happenings in the Boston area. With world-class scientific research and outstanding arts and cultural institutions in such proximity, it seems natural that the two would intersect, blend, even collide.
The Boston Cyberarts Festival was founded by George Fifield in 1999 with the goal of exposing public audiences to a wide range of digital and experimental media arts. The citywide biennial festival featured: new media art; music, dance, and theatrical performances; film and video; and lectures and panels. The last Cyberarts Festival was held in Spring 2011 but the organization is still very active. These days, Cyberarts produces exhibits, including Cycles, Tides and Seasons by Ben Houge, at the Harbor Island Pavilion on the Greenway Conservancy. The work opens with a reception on May 31st. Also coming up at the Cyberarts Gallery at the Green Street T station (Orange Line) is the Collision Collective’s Collision 19 show, for which they are still taking proposals. The show will run from June 14-July 27 of this year.
L: Adult Offerings at the Museum of Science. R: "Lightning Dreams" film premiere at the MOS wtih Greg Leyh, Lightning On Demand, SF; Daniel Davis, PhD, Museum of Science tesla coil expert, Alberta Chu, Filmmaker, ASKlabs; Lisa Monrose, MOS
Other events to check out include the excellent adult programs at Boston’s Museum of Science. In 2005 independent filmmaker/video artist Lisa Monrose stepped in as Program Manager of Lectures and Special Programs. She has been a driving force in science and art programs at the MOS and around town ever since. Upon arriving at the Museum of Science, she created the “When Science Meets Art” initiative featuring music performances with Evan Ziporyn and Christine Southworth, wearable technology fashion shows, a RadioLab Listening Party in the Planetarium, and lecture-exhibit-installations with artists such as Nathalie Miebach, Halsey Burgund, Alexis Rockman, Chris Jordan, and Anna Deavere Smith. In November 2012, ASKlabs was extremely pleased to have our world premiere of “Lightning Dreams: The Electrum at Gibbs Farm” (2011) chronicling the creation of the world’s largest kinetic lightning sculpture (and tesla coil) as part of this MOS “When Science Meets Art” series. The program featured high-voltage engineer Greg Leyh, of Lightning on Demand from San Francisco and MOS resident tesla coil expert Dr. Daniel Davis.
The MOS also collaborates with the Brookline, MA, Coolidge Corner Theater’s “Science on Screen” film series which launched in Fall 2005. For these events, a film with a science theme is accompanied by a scientist lecture. Films like “It Came From Beneath the Sea” are presented with University of Chicago biologist Michael LaBarbera; “12 Monkeys” is accompanied by a talk from notable science writer Carl Zimmer. This program, piloted in the Boston area, has now been awarded funds to expand nationwide.
In Fall of 2012 Catalyst Conversations (founded by artist, educator, and curator Deborah Davidson) started holding monthly events consisting of thoughtfully curated panel discussions featuring scientists and artists together. Events have included author Seth Mnookin and artists Brian Knep, David Small and Nathalie Miebach; a conversation between scientist and writer Alan Lightman and artist Felice Frankel; artist Janet Echelman and her computer-scientist collaborator Peter Boyer, video artist Sam Jury and science writer Eli Kintish. The latest event featured oceanographer and photographer Larry Pratt, and artistic director of Contrapose Dance, Courtney Peix, and biologist, science journalist and creator of the “Dance Your PhD” contest, John Bohannon.
Currently on view at the Museum of Science Art & Science Gallery is Ocean Voices: A Synergy of Art and Science at the Museum of Science. This exhibit is an experiment in art and science collaboration produced by Whitney Bernstein and Lizzie Kripke of Synergy. New England artists and scientists were paired in order to build upon each other’s ideas, approaches, and perspectives to open up new modes of communication and public engagement. These pairings provide us with innovative ways of understanding oceanography, as well as interesting new insights into scientific and artistic practice. On March 3, 2013 MOS panel discussions with all of the artist and scientists involved with the project moderated by Ari Daniel Shapiro fascinated us with their reflections on the process of scientist and artist collaborations.
The Synergy Artist-Science collaborations was born out of a Climate Art Pizza event organized by science journalist Eli Kintisch. Eli began conducting Climate Art Pizza get-togethers in the Boston area in Fall 2011 when his MIT Knight Science Journalism fellowship brought him to town. More recently he has worked with the Cambridge Arts Council, Catalyst Conversations and the Broad Institute to bring together greater Boston-area organizations and practitioners of art/science initiatives to share current projects and, potentially, to prepare for collaborations, events, and further meetings.
With the national STEM to STEAM movement gaining momentum and a growing international interest in design and innovation, ASKlabs is very enthusiastic about collaborating with other area science/art communicators and educators to contribute to the national and global dialogue on art, design, science, engineering, education, and innovation which will strengthen our community and benefit all of society.
Climate Art Pizza’s Science Art Blender also took place on April 1, 2013 at the Harvard Graduate School of Design (GSD). Billed “minitalks and schmoozing,” this event highlights the massive amount of exciting art and science work happening in Boston. We heard rapidfire 5-minute presentations from: data visualizer aka “visceralizer” Kyuha Shim on Tangible Topography; GSD's Marcus Owens on Multinatural Histories an exhibit being created for Harvard’s Peabody Natural History Museum for Fall 2013 and currently accepting submissions; Marine biologist Whitney Bernstein and artist Lizzie Kripke on the Synergy Artist-Scientist collaborations experiment; RISD Journalist-in-residence Eli Kintisch on his data-driven climate change art project, Here After Now, a collaboration with video artist Sam Jury; physicist Russell Seitz on his CO2 pyramid; artists Andi Sutton and Jane Marsching of Plotform presented their Marsh Radio Island environmental art project; and artist Maria Molteni gave us a bee waggle dance demonstration to articulate the many components of her work Festooning the Inflatable Beehive. The minitalks were followed by schmoozing - it was a great event - thanks to all the presenters, sponsors and attendees!
It’s a terrific time to be exploring science and art in Boston, so go check out some innovative and inspiring work right here, right now, at the epicenter of science, art, and technology. Follow @ASKlabsAlberta on Twitter to keep up on all the latest #sciart events in the Boston area. We’ll see you there!
Photo, Top of page: http://gogreenstreets.org/sites/default/files/boston%20skyline.jpg?1334182758
Mar 20, 2013
The incredible and often ephemeral work of sculptor Andy Goldsworthy is deservedly legendary. Goldsworthy uses geometric shapes like spheres, spirals, squares, and circles, as well as archeological structures like cairns and arches, to create mind-blowing works out of, say, leaves of grass, rowanberries, intertidal sand, icicles, sticks. Goldsworthy’s interest in natural elements and materials lends itself to a study of time, decay, climate, and season. As his pieces are frequently melted, blown away, washed away, or eaten by wildlife, photography and film have been important throughout his career as a means to document both the process of creation as well as the way the work weathers after Goldsworthy is finished with it.
The Arches NZ, Gibbs Farm (2005) Photo Credit: Murray Robinson
Years ago, Andy Goldsworthy created a site-specific work for Gibbs Farm in New Zealand where I have done some work. The Arches (NZ) is a series of eleven freestanding stone arches marching to sea, and it somehow reminds one of the Loch Ness monster. The sandstone hails from a quarry near Goldsworthy’s home in Dumfriesshire, Scotland, which was also the home of art patron Alan Gibbs’ ancestors prior to their emigration to New Zealand. The Arches are held together by nothing but gravity and the principle of a perfectly-designed keystone, although very sturdy foundations were built to support them permanently. When I visited Gibbs Farm to film for the New Form at the Farm: Anish Kapoor and Lightning Dreams: The Electrum documentaries I finally got to experience The Arches for myself. The work is at once natural and man-made, complementing its environment while being shaped by it. The work is dynamic and constantly changing depending on the season, water level, tides, light, and time of day. It seems to provide a framework or lens through which one can observe nature with heightened appreciation.
The DeCordova Sculpture Park and Museum, located (near us!) in Lincoln, MA, has been working with Goldsworthy since 2009 to commission a permanent outdoor sculpture for their collection. The Artist proposes to build the sculpture Snow House. To support the proposal, the DeCordova ran an exhibition of photographs and films of Goldsworthy’s other work with ice and snow, as well as frequent screenings of the brilliant documentary film Rivers and Tides: Andy Goldsworthy Working with Time. The museum has just recently celebrated the completion of this capital fundraising campaign and is moving forward with planning the installation.
Goldsworthy’s Snow House sculpture will be built into the bank of a lake, and it is modelled after historical structures which were used to preserve through the summer ice cut from local ponds. Into this structure a large snowball will be placed. Each summer, the structure will be opened to reveal what is left of the snowball, which will eventually melt once exposed. Then, once winter comes again, the staff of the DeCordova and community members will build another snowball from the first significant snowfall of the year, which will be closed in the structure to repeat the process the following year. This cycle of permanence, degeneration, and interactivity brings several different issues to the fore: a relationship with the seasons, a potential attendance to the effects of climate change, historical processes of ice-cutting and preservation, the passage of time, and a reliance on both the natural world and the community to perpetuate the cycle of artistic creation.
Much of Goldsworthy’s work to date with ice and snow has been extremely temporary. It will be fascinating, then, to see how Snow House plays across both permanence and cyclical decay. For instance, Goldsworthy frequently lies down just as it begins to rain or snow, creating rain and frost shadows which last long enough to be photographed and immediately appreciated before disappearing. Likewise, he has held his hand against thin, spring ice, melting away a handprint in the sheet before the sheet itself disappears with the sun. Some works depend on the melting away of snow or ice for their gradual effect: like snow heaped into a line in a field and left to thaw slowly; snow balls stained with dye from beech nuts, thawed on paper, and dried, leaving pools of stain on the paper; snowballs brought indoors (for instance at the Old Museum of Transport, Glasgow) or placed on display outdoors during summer (in London); and, finally, snow slabs, carved to let the light shine through before they melt in the sun.
The science behind Goldsworthy’s work and techniques is in many ways more intuitive than exact. Though Goldsworthy rarely talks specifically about the science or math underlying his work, his father was a mathematics professor, and his brother, with whom he lived, studied a biology course at university. In his works, Goldsworthy uses natural materials, works with colors and shapes found in nature and in the landscape which surrounds him, and relies on time and decay to add to as well as detract from the shapes and images he leaves behind. Sand sculptures rely on the relentless tide for timing, excitement, and erosion. Patterns of leaves and sticks on river or stream surfaces are pulled by the current to create only vaguely-predictable visual delights. The fact that Goldsworthy returns time and again to similar structures, patterns, and shapes, as well as materials, shows a (perhaps unconscious) alignment with practices of experimentation and redesign familiar to scientific researchers.
Part of Goldsworthy’s process involves a familiarity with space and terrain, with the entire environment of the place he has chosen to work. This includes local and available materials, histories, and seasons. He often explains that he discovers and develops the work through the materials available as they exist on the day; spending more time in a space allows him to deepen his relationship and build on previous work done there. Goldsworthy was invited to visit the DeCordova Sculpture Park during the winter of 2010. Through research and subsequent visits, he developed the project which he then proposed. For the DeCordova piece, he incorporates the changing season into his design, along with historical structures, and historical uses of natural materials like ice and lake landscapes.
We now look forward to the chance to closely observe and perhaps experience the development and creation of a Goldsworthy sculpture at the DeCordova Museum. We are ridiculously excited to welcome this permanent-ish work from Goldsworthy to our neighborhood, and can’t wait to watch as he builds it, and as it melts, shifts, and regenerates each season.
Stay tuned to ASKlabs blog for upcoming posts on the (Harold “Doc”) Edgerton Center at MIT, as well as coverage of the grand re-opening of the SF Exploratorium Museum by a special guest blogger!
Mar 12, 2013
When I was asked to be a part of the Boston Globe’s 25 Most Stylish Bostonians, I scheduled my shoot right away lest they changed their minds! Then I immediately began brainstorming locations for my photo shoot - I am a Producer after all. My criteria: highlighting my passion for science, technology, aesthetics, and film. Naturally I landed at the Edgerton Center at MIT.
The Edgerton Center is dedicated to science and engineering education, international development (D-Lab) and high-speed imaging; they also support many clubs and teams including the Vehicle Design Summit that I made a short video about in the Fall. They even have a machine shop. I love what they do at the Edgerton Center and I thought it would be great to raise awareness about their work among the greater Boston community. That’s right people, I modelled my styles at the very place that was ground zero for enormous technical advances in cinema and photography by MIT professor Harold “Doc” Edgerton who invented techniques of strobe-lighting and photography and won an Oscar in 1940. Yeah!
Iconoclastic Harold Eugene “Doc” Edgerton (April 6, 1903-January 4, 1990) was a groundbreaking and innovative engineer, and a Professor at MIT. (This biographical memoir for the National Academy of Sciences by Dr. J. Kim Vandiver and Pagan Kennedy is an excellent read.) His work with stroboscopic photography is legendary - in fact, while his name is relatively well-known, the images he produced over the years are instantly recognizable and have become a part of our popular imagination. Edgerton earned his masters degree in 1927 and his doctorate in 1931, both from MIT. He then taught there until 1977. A beloved teacher both for his dedication to education and learning, and for his kind demeanor and generosity toward students. As he was cresting in his career, the gorgous images he produced in collaboration with Gjon Mili frequented the covers of national magazines and won copious awards throughout their long-standing partnership.
Their innovation? Photographing fast-paced events like milk dropping into liquid, balloons bursting, and bullets hitting apples, bananas, playing cards, etc. Aside from the iconic and captivating demonstration of stroboscopic possibilities, Doc’s work had real-life applications, too. For instance, it extended to capturing images of nuclear blasts, and he worked to develop seabed scanning for undersea wrecks, resulting in the locating of the Britannia shipwreck. Quicker’n a Wink, a short (one-reel) documentary film about stroboscopic photography, won an Oscar in 1940.
To honor Edgerton’s life’s work at MIT, the Edgerton Center was opened in July of 1992. This is a hands-on lab and educational resource for MIT faculty and students, and also provides K-12 outreach. The Center provides space, equipment, and advice for students and researchers, continuing Edgerton’s dedication to teaching and learning, particularly his emphasis on practice and hands-on experience. On any given day, students are there building stuff. It’s enthralling to watch Ed Moriarty and his happy band of technology pirates make an electric violin, or repair a musical harp that employs lasers instead of strings. The Corridor Lab is a series of cool interactive displays which are designed to enhance knowledge of science and engineering phenomena. The Edgerton Center also continues Edgerton’s work at the High Speed Imaging Lab and the Strobe Project Lab, which dedicates work and darkroom space to high speed and scientific imaging. MIT courses are available which split time between lectures and hands-on image-making. As a part of the Edgerton Center Outreach Program, which works with K-12 students in science and engineering learning, the Center also provides a program called You Go Girl, a four day summer course aimed specifically at young girls entering high school, encouraging interest in science and engineering in a typically ignored and even discouraged population. On Obscura Day 2012, I was able to take my family to the Edgerton Center and we got to take our own milk drop photos and play with balloons, fast cameras, and strobes:
L: MIT Professor Jim Bales explains and demonstrates how the milkdrop shot is set-up, R: captured by yours truly moments later!
Want to know more? There are great resources for learning more about Edgerton, including the Digital Collections website which offers loads of films and images, along with articles and personal stories from his students, friends, and colleagues. Amazingly, it also provides digital archives of his laboratory notebooks from 1930-1990, allowing total access to the designs and thought processes of this visionary engineer. The MIT Museum also dedicates a website to Doc. Doc Edgerton’s photography work and estate are represented in Boston by the stylish Gallery Kayafas and by Gus Kayafas at Palm Press.
STROBE! CAMERA! ACTION!
Photo by: Alexandra Metral
For my Boston Globe fashion shoot, we had initially planned to utilize the strobe lights to do some crazy stuff but ultimately the idea was dropped in favor of simplicity. They chose a dark setting with one prop - yes, that’s Doc Edgerton’s invention: the world's first commercial strobe light - behind me in the shot! The photographer took over 600 photographs, and we had two costume changes.
It was fantastic to work with Pullitzer-prize winning photographer Essdrass Suarez, and his assistant Cecile, and special thanks to my pal and stylist for the shoot, Alexandra Metral who is in fact one of the smartest dressers around... say, I think I’ll nominate her for “the list” next year! (Who do you think should be named “Boston’s Most Stylish in 2014?” You can nominate them here.) Thanks again to the Boston Globe for including me in the 8th edition of their “Most Stylish!" Here I am with Pedro Alonzo, one of the Curators at the ICA, commiserating about our disappointment in not making the cover.
Photo by: Hargo
Stay tuned to ASKlabs blog for upcoming posts on the (Harold “Doc”) Edgerton Center at MIT, as well as coverage of the grand re-opening of the SF Exploratorium Museum by a special guest blogger!
Special thanks to Professor Jim Bales, Ed Moriarty, Camilla Brinkman and everyone at the Edgerton Center. Also Marni Katz, Arlette and Gus Kayafas, Geoff Hargadon and PLV.
Mar 8, 2013
ASKlabs’ dynamic film and TV productions often highlight creativity at the interface of art and science. Naturally, we’ve taken an interest in the STEM to STEAM movement, the educational policy initiative to incorporate art and design into STEM (science, technology, engineering, and mathematics). On the final day of the AAAS (American Association for the Advancement of Science) meeting this year in Boston, we attended the “Benefits Beyond Beauty: Integration of Art and Design into STEM Education and Research” panel to see what scientists, artists, and educators have been doing to advance innovation and creativity; many have brought art and science together.
The panel was organized by Rieko Yajima, Project Director of Research Competitiveness at AAAS and Gunalan Nadarajan, Dean of Art and Design at the University of Michigan. They brought together “four national art + science initiatives, including three that are funded by the NSF, that illustrate how art and design are affecting the practice of science education, public engagement, and research collaborations”. The speakers were Gunalan Nadarajan; Brian K. Smith, Dean of Continuing Education at the Rhode Island School of Design (RISD); J.D. Talasek, Director, Cultural Programs of the National Academy of Sciences, and Marina McDougall, Curator at the Exploratorium Museum.
One way in which this panel immediately differed from others we attended was its structure: panelist talks were reduced to ten minutes apiece so that the whole group could then interact and hold breakout sessions in smaller groups to discuss experiences and ideas. The educators, scientists, artists, and media-makers in the audience could share their ideas and questions, as well as their own experiences in research and in the classroom.
At the National Academy of Sciences, J.D. Talasek runs the DC Art Science Evening Rendezvous (DASER) program, inspired by LASER. Though he started out as an engineer, Talasek is also trained as an artist and teaches a Museums in the Digital Age class at John Hopkins University. He posited that both Art and Science represent important human inquiry. Through his work with the National Academy, he has been developing programs (including an app) aimed at visual iconography and the history of science. Talasek pointed out that there are strongly formed social and academic perceptions about science and art, and it is a challenge to move beyond those ideas. In fact, bringing art and design into scientific inquiry can be seen as a career threat for some scientists, presenting difficulties in funding at the very least. However, he argued, the recent conflux of data streams are meaningless unless we can visualize them! Some of the best examples he provided of data visualization work were Katy Borner’s Atlas of Science, and the Edna Guenther Digital Arboretum.
Computer scientist and Educator Brian K Smith presented “STEM to STEAM: Developing New Frameworks for Art/Science Pedagogy,” Smith heads up the STEM to STEAM initiative at RISD where President John Maeda is a vocal proponent in the effort to change education legislation. While internationally known as an art and design school, RISD is not necessarily in the business of producing artists; rather an education at RISD aims to provide students with tools for innovation and creativity; the ideas and methods that fuel entrepreneurship and the US edge on innovation. Smith explained the need for art, design, and creativity in the field of learning sciences and at the interface of computing and technology learning. He shared William Bennett’s (former Secretary of Education under Reagan) recent op-ed piece in the Detroit Free Press declaring that STEM-based education in the US is missing its mark. Smith feels that a STEM-deficient education holds back the economy, and that together with a drop in creativity (see The Creativity Crisis), there is a serious need for rethinking STEM education. This needs to include innovation and experience, particularly at the intersection of technology and the liberal arts: he asks, how does design fuel the experience and the intersection of technology and arts? With funding from the National Science Foundation, RISD has been heavily involved in this rethinking via its STEM to STEAM initiatives, which have helped to formulate House Resolution 51 re-introduced on February 4, 2013, by US Representative Jim Langevin (D) to turn STEM to STEAM. The petition can be signed here.
“Art allows new ways in and through scientific material and thought.”
Science Communicator and Founder, The Institute for Figuring
Curator Marina MacDougall of San Francisco’s Exploratorium presented “Exploratorium: Art and Inquiry” talked first about the place of the Exploratorium at the intersection of art and science. The unique museum, which was founded by Frank Oppenheimer in 1969, is a hybrid museum and lab, focused on education. Artists have been key to the formation and continuation of the museum: its first show was Cybernetic Serendipity. An early artist in residence program at the museum has resulted in a long term exhibit by artist Bob Miller which explores light and shadow. In fact, art has continued to be an integral part of the museum’s methodologies, which understand art as a cultural tool to advance human knowledge. MacDougall explained that the Exploratorium views art as a way of knowing. They believe that art is an open ended process of working, investigating, speculating, and going along unknown paths - with the unknown something being a discovery. The world eagerly awaits the re-opening of the Exploratorium in its new location in April 2013.
“Art is a culturally evolved strategy for human cognition related to complex problems.”
Artist and Curator
Finally, Dean Gunalan Nadarajan spoke the 2010 National Science Foundation (NSF) and National Endowment for the Arts (NEA) conference which explored the intersection of art and science and potential collaborations. The result of this meeting was a national network called SEAD (science, engineering, art, design). This network was established to respond to complex problems with multidisciplinary teams.
This panel was an excellent survey of ongoing art-science collaborations. It was also a great way to connect with current and interested practitioners from around the world. We loved seeing that art is an integral part of scientific research, communication, and education. Art and design-thinking are vital to the complex problem-solving of scientific and technological innovation and the broad spectrum of art and science programs represented at this symposium indicates the huge potential for work which bridges these fields.
Stay tuned to ASKlabs blog for upcoming posts on the (Harold “Doc”) Edgerton Center at MIT, as well as coverage of the grand re-opening of the SF Exploratorium Museum by a special guest blogger!
Thanks for livetweeting the #AAASsciart panel: @sgalla, @ktraphagen
Feb 28, 2013
The recent AAAS (American Association for the Advancement of Science) conference, organized by the publishers of Science, brought thousands of attendees to Boston's Hynes Convention Center. This year's #AAASmtg, entitled "The Beauty and Benefits of Science" grabbed our attention because that's exactly what we focus on here at ASKlabs. Read on to hear about the most interesting #sciart talks of the conference: "Artful Science" which looked at the science and math behind the natural world; and the "Beauty and Utility of Scientific Images" symposium which presented tools scientists have developed to visualize the invisible - from cells to stars.
Organized by science and art education pioneer John R. Jungck of Beloit College, WI, the Artful Science symposium made connections across disciplines, exploring the intersection of art and science through mathematical equations and biological forms. Panelists Maura Flannery, Robert J. Krawczyk, Jo Ellis-Monaghan, and mathematician/engineer turned sculptor George W. Hart dazzled participants with examples from botany, seashells, and mathematics-inspired sculpture. Professor Flannery opened with "Herbaria are works of art that are essential to science." Herbaria, an early field of science gave rise to botanical illustrations. With the advent of the printing press and reproducible drawings the field of botany was born.
Robert Krawczyk, an architect from Illinois Institute for Technology, explores chaos theory. He says, "Scientific phenomena have an artistic aesthetic. I may see things in there that scientists may not see." You can see his works online: www.bitartworks.com
Why do we have such an immediate aesthetic response to seashells? Because seashells are self-similar, there is a sense of a repeating shape, a pattern. Presenter Jo Ellis-Monaghan spoke about "Seashells, Math and the Natural World" arguing that mathematics is both a creative language, and a language for describing reality. If she could write down the equations for a shimmering ocean surface, she said, she would give them to friends in the midwest. Seashells have helical spirals, and their mathematical model can also be used to recreate fossils and to figure out the structure of ancient ammonites. Seashell models are also a good introduction to vector modelling for students. On the left below is an example of Delauney triangulation and on the right, Voronoi fractals:
(L-R: http://upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Delaunay_Triangulation_(100_Points).svg/250px-Delaunay_Triangulation_(100_Points).svg.png http://www.wblut.com/2008/04/01/voronoi-fractal/)
George W. Hart, (creator of the scupture shown below) is inspired by various forms and aesthetics, many of which are found under the sea. His large-scale works, made from materials ranging from books, and steel, to plastic from 3D printers, can be seen in major museums and public spaces. He recently helped to establish the Museum of Mathematics in NYC, AND he's Vi Hart's Dad! How cool is that?
Professor John R. Jungck, founder of Bioquest, emphasized the importance of beauty, fun, and collaboration. "Mathematics is a lens that allows us to see," he says, and adds that seeing is: doing, measuring, re-visioning, and modelling, all of which leads to a deeper understanding of how forms and patterns come about. He recommended Ernst Haeckel's book Art Forms in Nature and pled for educators to combine art and science in the classroom. And of course no presentation on form is complete without mention of D'Arcy Wentworth Thompson, pioneering mathematical biologist, author of the definitive tome "On Growth and Form" (1917). His observations of phyllotaxis (numerical relationships between spiral structures and the Fibonacci sequence) have become a textbook staple.
The symposium The Beauty and Utility of Scientific Images organized by Kartik Sheth, Associate Astronomor, NRAO (moderator) and Margaret Meixner, Astronomer, Space Telescope Science Institute (STScI) transported participants beyond the visible worlds of seashells and plants, diving into invisible worlds. This symposium included diverse perspectives on the use of scientific imagery for research and public engagement in the fields of astronomy, environmental sciences, molecular biology, and neuroradiology.
Each speaker explained the process of creation and the use of imagery in making visible what is otherwise unseeable, with the aim of showing how visualizations contribute to new and pivotal research, as well as inspiring global movements and engaging the public. Stefi Baum pointed out that sophisticated instruments allow astronomers to capture images of phenomena on other wavelengths that are not on the visual spectrum. This not only creates beautiful and fascinating imagery, but also provides new data for astronomical interpretation.
Molecular Biologist Tom Kirchhausen uses multimedia imagery to both develop and communicate his research. He included examples of “molecular snapshots”, live movies, and “molecular movies” to illustrate the ways that visualizations aid research in the study of cellular clathrin coats. Both Kirchhausen and Baum gave evidence that images help scientists study phenomena which are either too far away or too small to see or observe. In fact, Kirchhausen provided an excellent dynamic visual to illustrate scale (check it out!) to explain just how tiny his object of study is, and why molecular snapshots and molecular movies are needed for his lab's work. Kirchhausen asked: are scientific images simply a visual record of our work? How can they be used to transmit knowledge and interpretation? Should visual aesthetics influence the scientific endeavor?
David Yousem, Professor of Radiology at the John Hopkins Medical Institution in Baltimore, MD, explained that images can aid surgeons -- images of the brain and its pathways mapped onto surgical cases can help surgeons avoid disrupting important functioning parts of the brain. Yousem claims that these radiographs have also been mistaken for paintings when hung on a wall!
Imagery is an integral part of research across scientific fields. At the intersection of science and art we find the fuel that drives innovation and advances technology, knowledge, the humanities, culture, and society. Scientific imagery is also a key aspect of communicating science to the public and engaging the public in the importance of science research. This year's AAAS meeting was an amazing gathering of scientists, visualization and communications experts, and educators, exemplifying the fascinating and dynamic relationships between science and art. Whether researching the visible world around us, microscopic cellular functions, or galaxies far far away, scientists' utility of images and visualizations are a vital part of the scientific endeavor.
Stay tuned for the scoop on #scicommsecrets and Social Media for Scientists #AAASsms.
Feb 5, 2013
Another awesome day for “New Form at the Farm: Anish Kapoor’s Dismemberment Site 1”. The Peabody Essex Museum was a popular destination on Saturday as the closing day of the "Hats" exhibit concurred with the opening day of the museum’s new exhibit, "Midnight to the Boom: Painting in India After Independence" and our screening.
A big THANKS to everybody who came along for our Saturday screenings at the Peabody Essex! We hope had as much fun as we did. Our audience included families, filmmakers, design geeks and of course the South End hipsters rolled in, which made for lively Q&A discussions!
Gibbs Farm is indeed visible on Googlemaps satellite photos and the Kapoor sculpture is quite prominent: (See if you can spot the Serra!)
We especially want to thank Jennifer Evans, Manager of Programs at the PEM for putting these fantastic screenings together.
Jan 22, 2013
Photo Credit: David Maisel’s History’s Shadow http://davidmaisel.com/works/photo/his_xxx_m_01.jpg
Thanks to everyone who submitted to our BLUR Art & Science Pinterest Contest! Here are some ongoing and upcoming events in the world of Art and Science for you to check out:
Ongoing at FACT Liverpool: Noisy Table, an interactive ping pong table which emits sound as games are played, and Winter Sparks, a show in which four new media artists play with electricity and Tesla coils (both shows until February 24).
January 24: DIY BIO led by Romie Littrel at the Broad Art Center in Los Angeles
January 24: Maya Lin speaks at the Central Library in Copley Square, Boston
January 24: Brazilian animator Guilherme Marcondes presents the work from MIT Game Lab workshop at MIT Museum
January 28: Science on Screen at the Coolidge Corner Theatre presents Wes Anderson’s Rushmore (1998) with a talk by Steven Schlozman, MD
January 30: A Symposium with Gallery talk by Swiss Landscape Architects at Boston Architectural College
February 6: LASER event at Stanford University with talks on various subjects as well as an exercise to encourage discussion of ongoing art and science projects. (Next event April 4.)
February 14: Chemical Romance workshop led by Christina Agapakis at Broad Art Center in Los Angeles
February 15: Compass Points: Joël Tettamanti opens at the MIT Museum with work that focuses on the impact of humans on their environment and landscape.
February 16: Ocean Stories: A Synergy of Art and Science at the Museum of Science, Boston.
February 25-March 24: Encounters Between Art and Science, an exhibit at The British Library by artists on the Art and Science MA programme at Central St Martins - the work is all inspired by the Library and its science collections, and runs alongside Inspiring Science, a series of events and workshops which runs from March 11 to March 24 at The British Library.
Various events held by the American Academy of Arts and Sciences can be found here, taking place in California and Cambridge, MA.
Various events held by the UCLA Art│Sci Center and Lab
For more ideas about exhibits in the coming year, the Smithsonian blog Collage of Arts and Sciences has some recommendations too.
So check out some of these events if they’re near you while we wait for the BLUR contest results!
Jan 18, 2013
Last night’s World Premiere of New Form at the Farm: Anish Kapoor’s Dismemberment Site 1 at the RISD Art Museum was great. We were thrilled to share our films about the creation of landscape sculptures at Gibbs Farm with the RISD community, and Producer/Director Alberta Chu and Editor Stephanie Munroe enjoyed the Q&A afterwards with such an engaged audience of filmmakers, artists, and designers.
It was so interesting to see the New Form at the Farm documentary alongside our 2004 film Seeing the Landscape: Richard Serra’s Tuhirangi Contour. Thanks to Deborah Clemons, Associate Educator, Public Programs, at the RISD Art Museum for programming such a nice event. A big THANKS to everyone who attended, and especially those who travelled up from NYC and down from Boston.
A group of us from Boston jumped on the Amtrak and headed down to Providence in the afternoon to explore RISD’s Nature Lab as well as the RISD Museum prior to showtime. RISD is one of the centers of the STEM to STEAM movement, which strives to change public policy by adding the "A" (for art and design) back into the science, technology, engineering, and mathematics (STEM) curriculum of public education. Last night, we learned that RISD President @JohnMaeda is a prime mover in this area. EVENT PHOTOS
We hope to see you at our next event, a screening of New Form at the Farm at Salem’s Peabody Essex Museum on February 2!
Jan 3, 2013
2012 was a busy year for ASKlabs: filmmaking, social media, researching new ideas and stories, and an excellent film premiere. We participated in our first hackathon, went to our first Meetup, and made our first microdocumentary (super short film). Additional 2012 highlights include artist Tom Sachs' "Mission to Mars" installation at the Park Street Armory, Ai Weiwei at the the Hirshhorn Museum, Lauren Greenfield's documentary film "Queen of Versailles," meeting popular science author Steven Johnson, attending the World Congress of Science Producers conference in DC, and being safe inside a Faraday cage while being zapped with 1 megavolt of electricity.
We completed our film “Lightning Dreams: The Electrum at Gibbs Farm,” in February and had an excellent film premiere event at the Boston Museum of Science in November as part of their "When Art Meets Science" film series. San Francisco high-voltage engineer Greg Leyh appeared in person and Daniel Davis dazzled our audience with an amazing show of electricity in the MOS Theater of Electricity; the event was lauded in the Boston Globe and sold out. Audience members and MOS staff all agreed that our event “Lightning Strikes” exceeded every expectation. We are extremely grateful to our friend and supporter, Boston artist and inventor (and sometimes museum consultant) Steve Hollinger for making this happen. Thanks to Lisa Monrose and Jennifer Garrett at the Museum of Science. West-coast and European premieres of the film are being planned for 2013. Stay tuned for details.
ASKlabs continues to develop films that increase public awareness and knowledge of global climate change. One greatly impacted area is the coral reef ecosystem. For that project we travelled to Cancun, Mexico to film the underwater sculptures of Jason de Cairnes Taylor which are seeded to help coral regenerate. The film will be completed in Spring of 2013.
In August, ASKlabs produced the microdocumentary “Putting it Together: The Modular Car” about group of MIT students leveraging crowd-sourced innovation to build a fuel-efficient modular vehicle - this car is to be developed in 2014 will do better than 200mpge. Filmed on location at MIT's Edgerton Center, thanks to Camilla Brinkman for helping to make this happen.
We jumped into transmedia when the Zeega/Tribeca Film Festival Hackathon accepted our interactive documentary concept about the late 19th century War of Currents between Edison and Tesla; during the day-long Hackathon we created films with other media-makers and artists using the novel new browser-based editing software developed by Jesse Shapins and his crew at Zeega in Cambridge.
ASKlabs is currently in the midst of the BLUR pinterest contest - people from around the world are submitting Pinterest boards of images that say "beautiful science." We’re excited to bring the international emerging art/science community together as we approach the January 15th deadline for submissions.
At the close of 2012, we are developing what we believe is the perfect science-art documentary. We’ll reveal more as soon as we can.
Nov 22, 2012
The film's world premiere at Boston's Museum of Science was a huge success; thank you to everyone who helped make it happen and all who came out and had a great time! It was great to see some of the "Lightning Dreams" Boston film crew: Eric Masunaga of Modulus Studios, and Composer P. Andrew Willis. Thanks to Museum of Science's David Rabkin, Lisa Monrose, Jennifer Garrett and Patricia Meegan and to Boston artist/inventor Steve Hollinger for making it all happen. Special shoutouts to everyone who participated in mad-scientist demonstrations and turned out Steampunk, and to our Steampunk fashion judges Tina Cassidy, Jill Palese, and Aricia Symes-Elmer. Thanks to Boston Globe reporters Ethan Gilsdorf for his wonderful piece in the BOSTON GLOBE (11/6/12) and June Wulff for featuring our event for the Globe's To-Do List (11/7/12) on the day of the event and to journalist Astrid Lium (@astridspeak) for our blog interview.
It was a terrific event. EVENT PHOTO GALLERY. The film was extremely well-received and was followed by high-voltage engineer Greg Leyh's presentation of his plans for the ambitious Lightning Foundry project. The museum's own resident high-voltage physicist Daniel Davis moderated a conversaton with Greg Leyh of Lightning on Demand and Survival Research Labs, and filmmaker Alberta Chu. Afterwards, Daniel Davis amazed all with his Theater of Electricity show and mad-scientist demonstrations. Several lucky audience members including the winners of the Steampunk Fashion contest had their 15 seconds of fame in the Faraday Cage.
Nov 7, 2012
Photo: Boston MOS' Daniel Davis and Greg Leyh
Last night, Greg arrived from San Francisco and we had a meeting at the Museum of Science with Jennifer Garrett to plan tonight's events. Daniel Davis and Greg Leyh had a lot to talk about. Here they are chatting inside one of the spheres at the top of the MOS' Van de Graaff generator - I have to say that Greg was impressed with the Theater of Electricity and we're all set to have a BLAST tonight!
A FEW TICKETS LEFT: http://bitly.com/PxYRvr
Nov 5, 2012
Alberta Chu: How is it safe to be inside the Electrum’s sphere while measuring streamers?
Greg Leyh: Electrum was also the first coil designed to operate at power levels higher than 100,000 watts. This required developing a unique 4-armature rotary gap design, 3-phase-to-DC power conversion, and a finite-element high voltage electrode design large enough for a person to climb inside.
After we got the Electrum working, we had to operate it a maximum capacity for a required number of hours in order to test it. These turned into big events in San Francisco. We even got the chance to stage some performance art of our own. Oddly enough, the space inside Electrum’s high voltage electrode is one of the safest places to be while the coil is operating. The person inside the electrode is protected by Faraday’s Law, which states that the electric field inside a conductor is zero. Ironically, the audience standing around the coil is exposed to much higher electric fields as they marvel at the brave soul inside the electrode. A couple of months after this photo was taken, we shipped the Electrum off to New Zealand.
AC: We’re all dying to know - how does one build the world’s largest tesla coil? Tell us about the unique ‘firsts’ for the Electrum sculpture.
Greg Leyh: The Electrum sculpture lives outdoors and needs to withstand exposure to a harsh seaside climate for decades. This is definitely a first for Tesla Coil design. To guard against the harsh environment the entire coil form was literally built ‘inside-out’ -- The secondary coil is molded to the inside wall of the cylindrical fiberglass tower, and the primary drive coil resides *inside* the secondary coil. Although there was no precedent for this approach, calcs and simulations supported the idea, and ultimately the test of time proved it out.
The Electrum consumes the power of 50 homes when it’s being operated.
AC: You visited the Farm to do a tune-up on the Electrum a couple of years ago - how did you find things there?
GL: In 2009, about 10 years after the initial installation, I was asked to visit the Farm and diagnose an apparent internal arcing issue with Electrum. Fearing the worst, I brought a full complement of diagnostic gear, and scheduled 10 days to work on the problem. As it turned out, the salty environment had managed to corrode an open hole through a 3/8” steel plate at the top of the tower, allowing saltwater, cobwebs and bird guano to freely enter and completely coat the high voltage windings inside the tower. Fortunately there was no permanent damage, and I only had to spend a couple of days hanging from a rope inside the tower, cleaning the winding surfaces. Once cleaned and the steel plate replaced, the coil ran just like I remembered. Aside from Electrum, the Farm itself changed dramatically between 1998 and 2009. So many new and incredible sculptures. I walked around the extents of the Farm for days. It’s a fantastic, very meditative place.
TO BE CONTINUED
San Francisco High-Voltage Engineer Greg Leyh, the builder of the world’s biggest tesla coil, will be appearing in-person at the Boston Museum of Science on November 7th, 2012 @ 6:45 pm to present the world premiere of filmmaker Alberta Chu’s documentary “Lightning Dreams: The Electrum at Gibbs Farm.” Greg will give a presentation about the proposed Lightning Foundry project, followed by a reception in the Theater of Electricity. Buy your tickets in advance: http://www.mos.org/events_activities/events&d=5620
Nov 2, 2012
Alberta Chu: What are some of the other fun things that you built in collaboration with Survival Research Labs?
GL: The Lorentz Gun was originally inspired by a high voltage mishap, where a high-energy capacitor bank fired into a set of electrodes with a thin wire filament accidentally draped across them. Even though the wire was hair-thin it easily conducted thousands of amperes, completely discharging the bank. After discovering how the Lorentz force allowed this misdeed to occur, we decided to attempt a directed energy weapon in honor of this principle.
The Lorentz Gun can direct a 25,000 Ampere plasma channel through the air, at grounded targets up to 35 ft downrange. The gun consists of 30 high pressure pneumatic dart stations, each capable of launching a tapered aluminum sabot that trails a thin 'seed wire' 0.008 inches in diameter. Cannon tilt and pan is pneumatic, and a sighting laser is located inside the cannon head.
When a launched sabot contacts the target, the Marx-configured capacitor bank automatically fires and erects the bank to 110,000 volts, igniting a plasma channel along the vaporized seed wire. The plasma channel quickly intensifies, magnetically confined in the air by the Lorentz forces of its own current. Damage to the target can vary widely. Most spectators experience some degree of sinus discomfort after several firings, due to the high brissance of the plasma explosion. The capacitor bank is currently disassembled, and newer capacitors are being added to increase the bank energy to 250 kilojoules, and the range to 50 feet.
The Spark Shooter I built and operated for several SRL shows operates essentially as a railgun, but uses a molten metal projectile instead of the the traditional sabot-armature arrangement. The box contains a 20 kilojoule storage bank, and can cover an area the size of a football field with molten metal when it fires. It’s one of my favorite SRL machines in terms of its compactness and efficacy.
TO BE CONTINUED
Engineer Greg Leyh will be appearing in-person at the Boston Museum of Science on November 7th, 2012 @ 6:45 pm to present the world premiere of filmmaker Alberta Chu’s documentary “Lightning Dreams: The Electrum at Gibbs Farm.” Greg will give a presentation about the proposed Lightning Foundry project, followed by a reception in the Theater of Electricity.
Buy your tickets in advance: http://www.mos.org/events_activities/events&d=5620
Oct 29, 2012
On this day of Hurricane Sandy, we're making our playlist for the MOS Theater of Electricity reception, and confirming our brave Faraday Cage volunteers. Confirmed guests in the Faraday cage on Nov. 7th include: Susan Battista, Geoff Hargadon, Steve Hollinger, and Dave Strickler but you can have your 15 seconds as well...
What is Steampunk? The Wiki definition. I like to think of it as Victorian, Sci-fi, Cyberpunk, retro-futuristic. Steampunk fashions will be judged by former Boston Globe fashion writer, Tina Cassidy and a small committee from the Museum of Science.
Get your tickets in advance:
MOS LIGHTNING STRIKES EVENT NOV 7th, 2012
Oct 25, 2012
OK Greg, whatever you say, but do random nerds have magazine articles like this written about them?
by David Pescowitz
MAKE MAGAZINE (Volume 11, Summer 2007)
Greg Leyh is the pre-eminent high-voltage expert and tesla coil guru responsible for building the Electrum sculpture, by artist Eric Orr for Gibbs Farm, New Zealand in 1998. He has since gotten his ambitious Lightning Foundry project underway which is an enormous twin tesla coil concept - and you guessed it - bigger than anything ever built before. Greg is known for his work with SF machine performance art group Survival Research Labs and the Burning Man Festival.
Greg will appear in-person at the Boston Museum of Science on November 7th, as part of the "Lightning Strikes" event film premiere of the documentary "Lightning Dreams: The Electrum at Gibbs Farm." On this evening, Greg will unveil his Lightning Foundry proposal.
Perhaps the Oatmeal would consider this idea for the new Nikola Tesla Science Center being planned in NY state.
Purchase your tickets in advance.
MOS event page:
Oct 31, 2012
Boston-based documentary filmmaker Alberta Chu loves to combine two passions––art and science––in her work. She does it yet again in her latest film, Lightning Dreams: The Electrum at Gibbs Farm (2011), which premieres November 7 at Boston’s Museum of Science. Alberta’s fourth documentary, Lightning Dreams highlights the story of Alan Gibbs, one of New Zealand’s most prolific art patrons.
She took the time to talk with me about her career path, the journey leading up to this film, and the voice that she hopes to offer her subjects in the fields of art and science.
ASTRID LIUM: How did you get involved with documentary filmmaking?
ALBERTA CHU: I started out as a biologist, [and] I worked as a researcher in L.A. at a biotech company. I had always wanted to get into journalism, and I thought maybe science documentaries could be a way for me to use my science background and break into documentary or journalism. I started a science consulting company, [where] scientists who were tops in their fields would consult with Hollywood screenwriters and set decorators for accuracy. We worked on one of the X-Men films to develop the Wolverine character [and] help them figure out what his supernatural powers would be. It was a way for them to bounce ideas off scientists and get more creative.
How did working as a researcher lead to documentary films?
I did a segment on volcano research. As a researcher there were tons of stories being produced all the time, and I met tons of producers and directors. Most of the stories I would pitch were science, and on one of the shoots I was producing for Sci-Fi Channel I met Greg Leyh, the guy in my film that is premiering at the Museum of Science. I found out that he was building the world’s biggest tesla coil for this billionaire art collector in New Zealand. I pitched it around L.A., but no one wanted to do it, so I decided to make an independent documentary film called The Electrum about the project in the year 2000 about the Electrum sculpture. That film played at a lot of festivals, aired on PBS, won a bunch of awards.
What is the documentary about?
The film was about a quirky group of scientists and engineers that build the world’s largest tesla coil, which ends up in New Zealand. But the guy who commissioned it––the billionaire–– gave me permission to do the film but he didn’t want to be in it. He was very private at the time. His name is Alan Gibbs and he’s ... just totally cool. He’s building a giant sculpture park and the reason he likes art is the likes the mental sparring with the artists. He likes to push them to do better work. He pushes everyone around him, you can see why he’s so successful because he never settles for anything. He’s always pushing for more ... so that’s why he’s the owner of the world’s biggest tesla coil!
How is your relationship with Alan?
He’s bigger than life. It’s been so interesting to have interactions with him, and he likes my films. So he’s been sort of like my patron, in a way. So he invited me to do the Serra film (2003-04), then the Anish Kapoor film (2009-10). Then he asked me to do a film about the Electrum sculpture in 2010, about 10 years after the original film was made. He wanted this new film to include his perspective. The new film, Lightning Dreams, is about the conception and the whole story of the sculpture.
Why do you do the work you do?
I make films about scientists and artists because they see things that aren’t there yet. They’re envisioning the future and I think that’s really inspiring. They inspire me to make films about them, and my hope is that my films will inspire other people to push boundaries of what’s known and unknown and to look and wonder and dream themselves. Because that’s the only thing that humans can do that computers can’t. There’s something about creativity that’s impossible to articulate. I mean science and art really are the same thing and they have become very divergent in today’s culture.
How do you choose the topics for your documentaries?
I’m about making films about creative people that are changing the world for the better, who want to make a difference. I make films about scientists that are making a difference, trying to make the world a better place. If I can give a voice ... I can help them announce their victories and inspire people to help with what they’re doing. I can help them get out their important messages because they are doing very important work. A lot of time they can’t explain it to a regular audience, and I can help.
Do you feel like you’re a translator in some way?
Yes, translating ideas and concepts for a general audience, totally. I hope to be. And same with artists.
It can be a challenge, though.
Yeah, it’s hard to create something. It’s not easy, none of it’s easy, it’s all work. It can be very rewarding work, but if I can help a scientist or artist expose their labors and their victories ... and their failures to a wider audience, that’s what I’m about -- finding the most interesting creative people in the world, and telling stories that really inspire people to create.
- Interview by Astrid Lium, Twitter: @astridspeak
The world premiere of Lightning Dreams is November 7, 2012, at 6:45 p.m. at Boston’s Museum of Science (1 Museum of Science Drive, Boston, MA). The screening is part of the museum’s “Lightning Strikes” event, one of the Fall 2012 adult offerings. For more information:
Facebook Event Page https://www.facebook.com/events/425196287515432/
MOS Event Page www.mos.org/events_activities/events&d=5620.
Nov 1, 2012
I first met Greg Leyh in 1997 while Producing a Sci-Fi Channel shoot for Paramount TV. We were filming with Mark Pauline’s notorious San Francisco machine performance art group Survival Research Laboratories, and Greg was tasked with operating the smoke machine during our shoot. On a documentary TV budget, DGA Director John Jopson wanted to create a post-apocalyptic look and feel in an industrial warehouse wasteland under the highway in San Francisco’s Mission District. On that day, we filmed interviews with SRL Founder Mark Pauline, Computer Scientists Eric Paulos and Karen Marcelo, and we filmed several of the SRL machines cavorting about the yard. Eric Paulos gave us a demonstration of a telepresence robot that was designed to be operated remotely over the internet, alluding to the scary and very real possibility of not knowing who is behind the controls in a war of the future.
As we were wrapping our shoot, Greg approached me in his nondescript manner, “I’m building this really big tesla coil for an eccentric and very wealthy patron of the arts in New Zealand who wants to put it on his Farm.” Greg continued, “It’s gonna be the biggest tesla coil in the world, even bigger than the one Tesla built in Colorado.”
Considering Greg’s background collaborating with Survival Research Labs he was the obvious choice for the task.
Alberta Chu: Greg, can you tell us about your first significant tesla coil. How big was it? Where’d you get the parts?
Greg Leyh: My first coil project was inspired by an accidental collection of parts I came across at a salvage yard in 1989. Sifting through palettes of used pulse capacitors, transformers and busbars from a demolished particle accelerator, I realized that the whole lot could make a decent-sized Tesla Coil. I brought the parts over to Survival Research Labs, and in a few months we assembled what was the world’s largest operating Tesla Coil at the time. We christened the coil by shipping it to Seattle and using it in the ‘Carnival of Misplaced Devotion’ performance. It stood 17 feet tall.
Photo captions: (Seattle, WA 1990) Setting up the coil for "A Carnival of Misplaced Devotion" Survival Research Labs show
AC: Tell us about your favorite SRL show.
GL: The most interesting show was the one where it actually exploded – the Seattle show in 1990, its first SRL performance. In fact the coil was shipped to that show in pieces, untested, and we were feverishly throwing it together during the few days before the show. We finished assembling everything just before the show, so I spent the first 10 minutes of the performance tuning the coil and ramping power until it was running at full bore. The coil then began to reveal some of its unexpected abilities. For instance I didn’t expect the arcs to be able to strike the ground, but they did so quite readily. We also discovered that the arcs happily punch through pneumatic tires on mobile machines. One of the robots, the Running Machine, also displayed an interesting survival trait; when it was struck by an arc, the radio control would glitch and the machine would immediately start marching in reverse. During the show I continued ramping the power, and before long the rotary gap was running well beyond it’s max speed. Near the end of the show when everything usually starts catching fire and blowing up, I discovered that in my haste I forgot to install two critical bolts holding up a large insulator between the rotors… An errant arc reached down and struck the primary winding, jolting the insulator into the high-speed rotors and transforming the gap into a swirling explosion of fire of shrapnel. The coil committed suicide just as everything else in the show was expoding and dying; I couldn’t have planned it any better.
TO BE CONTINUED
Engineer Greg Leyh will be appearing in-person at the Boston Museum of Science on November 7th, 2012 @ 6:45 pm to present the world premiere of filmmaker Alberta Chu’s documentary “Lightning Dreams: The Electrum at Gibbs Farm.” Greg will give a presentation about the proposed Lightning Foundry project, followed by a reception in the Theater of Electricity afterwards.
Buy your tickets in advance:
Photo Caption, Top of Page: (San Francisco, 1990) The 17ft Tesla Coil at the Palace of Fine Arts, sponsored by the Exploratorium Museum
Oct 12, 2012
This just in: the RISD Museum will be holding the world premiere screening of our 2010 film "New Form at the Farm: Anish Kapoor Dismemberment Site 1" along with an old favorite, our 2004 film "Seeing the Landscape: Richard Serra's Tuhirangi Contour." Back in 2004 "Seeing the Landscape" screened at the MFA Boston, the MIT List, the Peabody Essex Museum, and the National Gallery of art as part of the Washington DC Environmental Film Festival as well as at the Festival of Films on Art in Montreal.
Both films will be screened on the same night, and we're looking at Jan./Feb. 2013.
Hope you can make it and please help spread the word!
Oct 5, 2012
What can we do about global warming that can really make a difference? How can we really reduce automobile carbon emissions? What does the vehicle of the future look like? That's what Massachusetts Institute of Technology (MIT) students Anna Jaffe, Nii Armar, and Robyn Allen asked themselves when they founded the Vehicle Design Summit (VDS) in 2006. Six years and several experimental vehicles later, the group has grown into a global collective of designers, engineers, and specialists of every sort, representing nearly every continent (with the exception of Antarctica.) Collectively, they have built vehicles that achieve 200mpg(e) on alternative fuels. Their latest prototype vehicle called ArchiMITes, with its ability to change between different fuel systems and car bodies, will serve as a platform to develop modular vehicle parts. This leads into the 10^5 Competition, the next big project for the Vehicle Design Summit. Projected for 2013-14, the10^5 Competition which will leverage innovation around the world in an effort to build out 100,000 permutations of possible modular cars, each with the minimum fuel efficiency goal set by the XPrize: 100mpg(e).
Sponsored by GE, film distributors Focus Forward Films and Cinelan launched the Focus Forward Film Competition in April 2012. Their call for submissions: short films on innovators and inventors changing the world for the better was an opportunity that ASKlabs absolutely could not pass up -- our passion is making films about exactly this! After months of research, we thought Anna and crew fit the bill perfectly. So we spent a day in August filming at VDS headquarters: MIT's Edgerton Center.
Many thanks to Anna, Nii, and Mitsu Shinomiya for participating in front of the camera and to the following who participated behind the camera: Director of Photography Stephen McCarthy, Editor Stephanie Munroe, Animator Alex Hogan, Composer P. Andrew Willis, Audio Mix Eric Masunaga at Modulus, Post-Production Consultant: Gabriele de Simone, with thanks to Murray Robinson, Camilla Brinkman, and Alison Hynd.
Oct 2, 2012
In today's NY Times, John Tierney's article "If He Starts Nodding Off, Try Another Million Volts" reports "David Blaine, the magician and endurance artist, is ready for more pain. With the help of the Liberty Science Center, a chain-mail suit and an enormous array of Tesla electrical coils, he plans to stand atop a 20-foot-high pillar for 72 straight hours, without sleep or food, while being subjected to a million volts of electricity.... When Mr. Blaine performs “Electrified” on a pier in Hudson River Park, the audience there as well as viewers in London, Beijing, Tokyo and Sydney, Australia, will take turns controlling which of the seven coils are turned on, and at what intensity. They will also be able to play music by producing different notes from the coils. The whole performance, on Pier 54 near West 13th Street, will be shown live at www.youtube.com/electrified.
Greg Leyh, San Francisco tesla coil guru, known for building The Electrum, the world's largest tesla coil remarks, "I don't really see what the big risk is." He goes on, "If he's inside a Faraday Cage he's under no risk at all. The electric field inside a conductor is zero. If he were outside of it however that would be truly interesting death-defying work." Greg Leyh will make a rare public appearance and perform live demonstrations at the Boston Museum of Science event "Lightning Strikes" on November 7, 2012. BUY TICKETS.
Oct 1, 2012
I'm in awe of people who can envision things that don't exist yet and then actually make them a reality. The triumvurate of entrepreneur and art patron Alan Gibbs, artist Eric Orr, and high-voltage engineer Greg Leyh is a great example. Working together on The Electrum sculpture, they overcame unheard of physical and technical hurdles and in the end realized the impossible. Gibbs provided the vision and the funding, Orr made the magic, and Leyh built the device.
The making of "Lightning Dreams: The Electrum at Gibbs Farm" has been an amazing journey, which began in San Francisco waaaay back in 1997. It has been a pleasure to working with and getting to know Alan Gibbs, Noel Lane, and the entire Gibbs Family on this and other documentaries about the building of Gibbs Farm.
I had an excellent crew on "Lightning Dreams," one I'm eager to work with again. New Zealand DP Scottie McKinnon delivered above and beyond. Editor Sabrina Zanella-Foresi, Composer Andrew Willis, and the Modulus crew: Eric Masunaga, Paul McGowan, Evan Schwenterly and Frank McDonnell on Color-Correction and HD Mastering, Damon Addleman the Re-Recording Mixer. And of course my trusty "Kitchen Cabinet" who reviewed numerous roughcuts and gave invaluable feedback: Murray Robinson, Steve Hollinger, Fritz Klaetke, Susan Battista, Polly Becker, Camilla Brinkman, Alexandra Metral, Gitika Desai, and Jocelyn Glatzer. Thanks to all!
Sep 25, 2012
The Theater of Electricity at the Boston Museum of Science is a very special place indeed. It houses 3 tesla coils, the world's biggest Van de Graaff generator, and a Faraday cage. Here's some background on the Theater of Electricity and its history. This couple held their Wedding there; I'm not making any promises, but the "Lightning Strikes" event reception should be pretty colorful, perhaps along these lines: Tesla Guitar Suit Video Actually, maybe you should bring your earplugs or some form of hearing protection...
I'm having a great time working with the MOS crew to plan the reception. High-voltage engineers Greg Leyh and the MOS' own Daniel Davis are cooking up some spectacular demos and experiments that hopefully involve some fun audience participation for the bravest among us. November 7th, 2012 is going to be an unforgettable evening - get your tickets now!
Sep 16, 2012
Congratulations to Niclas Bahn - our WINNER! He and his partner run an amazing video software company Noise Industries providing special effects for film editing, and they are based right here in the South End! Maximize your color correction capabilties, photo animation and even titiing with the tools of FxFactory, and that's just the tip of the iceberg! Niklaus, the "Lightning Dreams" DVD will be personally delivered to you next week, but we must insist that you still attend our MOS premiere on Nov. 7th! Thanks to everyone for participating.
Sep 15, 2012
Sep 13, 2012
The MOS event venue seats 300 and the program will sell out. If you're interested in attending, please purchase your tickets right away. Tickets go on sale to the public today - Thursday Sept. 13th at 9am.
Sep 12, 2012
We didn't realize that Boston's Museum of Science holds such interesting adult offerings until recently. All-year round, a team of savvy programmers develops edgy events for the 18-and-over set to enjoy. Programs range from "Food for Thought" to "Connections" and our personal favorite "When Science Meets Art."
The November 7th "Lightning Strikes" event at the MOS will feature ASKlabs' film "Lightning Dreams: The Electrum at Gibbs Farm" along with a panel discussion by notorious high-voltage engineer, Greg Leyh, filmmaker Alberta Chu, and Daniel Davis, resident MOS high-voltage physicist.
Afterwards, a reception in the Theater of Electricty will celebrate all things high-voltage. Our mad scientist engineers, Greg Leyh and Daniel Davis are at this very moment devising fascinating (and hopefully not too dangerous) experiments and demonstrations with electricity for us all to enjoy apres screening. A lucky few may even get the rare opportunity to go inside a Faraday Cage and put Maxwell's Law to the ultimate test. And to top it all off, there will be a cash bar, for those who think the combination of electricity and alcohol make the perfect "date night."
We got a sneak peek at the brochure for MOS Fall 2012 Adult Programming hot-off-the-press, and our "Lightning Strikes" event is featured on the cover! If you're an MOS member you have the chance to get your ticket early - tickets will be made available to the general public at 9am Thursday Sept. 13th. PURCHASE TICKETS ONLINE NOW!
Sep 11, 2012
May 14, 2012
Jun 6, 2012
Mark your Fall calendars! ASKlabs is pleased to announce the world premiere of "Lightning Dreams" our documentary film about the creation of the world's largest tesla coil, permanantly installed at Gibbs Farm sculpture park in New Zealand. This fantastic Boston Museum of Science event will include a panel discussion including Engineer Greg Leyh and other special guests TBD, as well as live demonstrations in the MOS' Theater of Electricity, home to the world's largest Van de Graaff generator built by Dr. Van de Graaff himself who was a professor at MIT. Stay tuned for details regarding ticket sales.
Feb 1, 2012
The making of this film has been an amazing journey, which began in San Francisco in 1997. It has been an incredible pleasure to work with Alan Gibbs and Noel Lane, and the entire Gibbs Family on this series of documentaries about the building of Gibbs Farm.
I had an excellent crew on this show, one I'm eager to work with again. New Zealand DP Scottie McKinnon delivered above and beyond. Editor Sabrina Zanella-Foresi, Composer Andrew Willis, and the Modulus crew: Eric Masunaga, Paul McGowan, Evan Schwenterly and Frank McDonnell on Color-Correction and HD Mastering, Damon Addleman the Re-Recording Mixer. And of course my trusty "Kitchen Cabinet" who reviewed numerous roughcuts and gave invaluable feedback: Murray Robinson, Steve Hollinger, Fritz Klaetke, Susan Battista, Polly Becker, Camilla Brinkman, Alexandra Metral, Gitika Desai, and Jocelyn Glatzer. Thanks to all!
May 10, 2012
Apr 3, 2012