Final Presentation: Quantum Dot Dispenser

Event 3: Centered in the Universe at the Griffith Observatory

Last Sunday, I paid a visit to the renowned Griffith Observatory for the first time. Built in 1933, scientists have used the observatory and its equipment for decades to study the night sky in order to better understand our universe.

Me in front of the entrance to the Griffith Observatory.

The main attraction, of course, is the observatory itself. At about 1134 feet above the ocean, this historic structure can be seen all the way from the Hollywood sign to downtown Los Angeles. Although they are no longer used, the observatory contains a 12-inch Zeiss refracting telescope in the east dome and a triple-beam coelostat in the west dome, both of which scientists once used to study outer space. 

The east dome of the observatory.

However, the spectacle I came to the observatory to see was the "Centered in the Universe" show in the Samuel Oschin planetarium. Using the Digistar 3 digital laser projection system and the Zeiss Universarium Mark IX star projector, the show was projected onto the dome-like screen of the planetarium, providing a 360 degree viewing experience.

In the show, the narrator explained the history of the universe from the beginning with the Big Bang to today with our modern theories about the cosmos such as dark matter and dark energy, and all of the scientific theories  (like heliocentrism) about our solar system in between. The show incorporated many artistic components, including the aesthetically-pleasing visual presentation of the show and references to how early astronomers made artistic interpretations of the constellations into figures from ancient mythology. The show also presented depictions of what early scientists thought the the solar system looked like, showing that space has inspired art for centuries, not just in modern times.

The inside of the Samuel Oschin planetarium before the show.

After the show, there was still much to see in the observatory. I saw many depictions of the cosmos and the explanations its origins, from which I can see how artists can be inspired by outer space to create works of art in art media such as painting, photography, and music.

A diagram of the origins of the Big Bang, reminiscent of the space and nebula art I commonly see nowadays especially in fashion.

As I looked at all of the items and diagrams about the universe on display at the observatory, I realized that space provides so much potential for artistic inspiration. It is a vast, largely unknown field of exploration, with so much to see and a cosmic aesthetic that has a universal appeal. As human beings, we are naturally curious about things that are mysterious and beautiful, and with the help of science and technology, we are able to better view the cosmos to satisfy our wonder. 

One of the telescopes of the observatory; an aid for artists and scientists alike.

Using technology for better artistic inspiration is not just limited to space art; we see people using all sorts of scientific technology like MRI machines and STM microscopes to better understand things like the body and the atom. In utilizing these technologies, artists can not only find a new source of inspiration for their works, but they can also garner a better understanding of science. It is in this way that the artistic and scientific disciplines can be bridged together, reconcile with each other's differences, and benefit from each other's contributions. Perhaps the telescope at the Griffith Observatory has once been used for that very purpose, showing that even this site has been involved in the intersection of the arts and the sciences.

A final memento of my visit at the observatory.

Sources/Links

1)The Griffith Observatory website: http://www.griffithobs.org/

2)More about the observatory: http://en.wikipedia.org/wiki/Griffith_Observatory

3)The show's official page on the website: http://www.griffithobservatory.org/buildingfiles/bcentered.html

4)More shows you can see at the observatory: http://www.griffithobservatory.org/psoplanet.html

Nanotechnology + Art | Space + Art

As mentioned this past week in lecture, our current advances in nanotechnology is something that is not readily apparent to us at first; in fact, we can not even easily see the technology, for the matter. This recently-developed field of technology follows the nanometer scale (1-100nm), which is 10^-9 of a meter. However, it turns out this physically-miniscule scientific field has enormous and profound implications for us and even our current ways if thinking.

Immediately, once we get to know this new technology, we can see how it could be applied to tackle on issues we face everyday. From clothes to oil spills to traveling into Earth's orbital space, we can utilize nanotechnology to benefit us, whether it's creating smart clothing with nano-sensors in them, nanobots that break down or collect oil on the surface of the ocean, or carbon nanotubes that can help us develop shafts for elevators into space.

We once again look to the Discovery Channel TV series "2057", where futurist Michio Kaku discusses the the future of smart clothes and the nanotechnology involved in the first episode, "The Body".

In the third and final installment of "2057", Michio Kaku also discusses about the potential utilization of smart clothes for soldiers and how carbon nanotubes could be used for elevator shafts into space. (Note: I highly recommend watching this series; it is as informative about potential future technologies and social situations as it is entertaining).

Nanotechnology can be regarded as a source of fear as well, as popular culture works of art like movies such as "I, Robot" and "The Day the Earth Stood Still" like to incorporate this technology in a fairly terrifying way. We see this commonly depicted as silver/grey goos or swarms that devour everything in sight or as instruments of mind control. 

Nanobots destroying a stadium in "The Day the Earth Stood Still"

In addition, there is a real-life concern over how nanotechnology could be used in war or terrorism. For instance, in his article "From Nanotechnology to Nano-Defense", journalist Jayshree Pandya discusses the potential uses and effects on nanotechnology in relation to warfare, public safety, and terrorist attacks.

The most profound impact I gleaned from nanotechnology, however, was the paradigmatic shift it would instigate in the field of science. As discussed by Jim Gimzewski and Professor Vesna, we can not "see" components of nanotechnology like nanoparticles in the traditional sense of the word, as we can only perceive them through specialized equipment like microscopes. In addition, they also explained that we have to modify our current methodologies and equipment in order to properly study technology; to do that, one revolutionary invention we must use is the scanning tunneling microscope (STM), which feels across the surface of very small objects in order to get a visual of the object, as opposed to using disruptive rays of electrons or light to reflect an image for us.

The tip of the STM probe scanning the surface of an object

The way this new scientific field of nanotechnology has challenged our current paradigms and how it made us rethink our reality reminds me how good, provocative art does the exact same thing for its viewers and audiences. Perhaps art and science (especially innovative and novel science, at that) can share that aspect of paradigmatic shifting and rethinking as well, not just how they can work together to create news works of art or science.

Although nanotechnology and its effects can be somewhat difficult to discern, the study of outer space and its intersection with art is readily prevalent all around us. Since the first human launch into space in 1961 with Yuri Gagarin, we have been surrounded by news and updates of developments in satellites, rockets, manned missions, and space stations. As a nation, the United States also ponders the future of its space industry, as government funding for NASA has been largely discontinued and as advancements for space technology now lie in the hands of private companies like SpaceX and Virgin Galactic.

Even Redbull wanted a piece of the progressing field of space technology and exploration.

We also see how space inspires art, whether it's paintings, music, or even fashion. Even events like the discontinued funding for NASA has inspired art in response to such dire situations, as seen in this photograph series called "Astronaut Suicides" (WARNING: contains somewhat disturbing images related to suicide).

A creative work of spray paint in the streets of New York City.

"All this science, I don't understand, It's just my job five days a week, Rocket Man!"

 -John Elton in "Rocket Man"

The Beastie Boys' "Intergalactic" and its music video

A rising trend in fashion, space or nebula patterned clothing is very popular amongst youth; a prominent leader in space-inspired clothing is an online clothing shop called Black Milk Clothing.

But even more astounding is how art inspires the field of astronomy and space tech; this, I think, is what is most inspiring and what most stands out of the intersection of space and art itself. As Annick Bureaud, from the Leonardo Project, said about space and art,

"It is artists and their work that reveal to me the essence of space for human beings in the twentieth century, as well as my place in the cosmos. Since then, space art works and images have continued to have a powerful effect upon me: they make me dream and move me deeply.

While learning and discovering the history of space art, I came to understand that artists have been the fuel of space exploration, embodying in their art the dreams of humankind, making these dreams desirable for engineers to achieve.

Space art is the only field I know of that depends on strong relations, cooperation and exchange between artists and scientists. Space art is one of the very few fields that gathers disciplines so apparently different as visual arts, music, dance, literature. At the end of the twentieth century, space may not seem to be as much an issue as it used to be, but it is still an important issue for humanity. I strongly believe that only artists can provide the vision that will bring humankind to other planets."

Hopefully in the future, disciplines from both the math/sciences and the arts/humanities can work together or inspire each other to achieve great things for the progress of humanity, as what Bureaud described for space and art and what they have done for each other. Whether it is a colloboration for mainly technological advancement or for cultural evolution, we hope that these fields will progress in both ways, as a new culture.

Sources/Links:

1)Oil-eating nanobots: http://gra-zone.blogspot.com/2012/05/nanobots-cleaning-up-oil-spills.html

2)More on Michio Kaku and "2057": http://dsc.discovery.com/tv-shows/curiosity/topics/michio-kaku.htm

3)"I, Robot" on IMDB: http://www.imdb.com/title/tt0343818/

4)"The Day the Earth Stood Still" on IMDB: http://www.imdb.com/title/tt0970416/

5)Jayshree Padya's "From Nanotechnology to Nano-Defense": http://www.isn.ethz.ch/Digital-Library/Articles/Special-Feature/Detail/?id=155962&contextid774=155962&contextid775=155959&tabid=1453410412

6)Jim Gimzewski's and Professor Vesna's "The Nanomeme Syndrome: Blurring of fact and fiction in the construction of a new science": http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm

7)More on the Red Bull space jump: http://www.redbullstratos.com/

8)More on space spray paint art: http://singaporeseen.stomp.com.sg/stomp/sgseen/this_urban_jungle/1614138/check_out_the_cool_space_scene_of_this_street_spray_artist.html

9)More about Black Milk Clothing: http://blackmilkclothing.com/pages/about-us

10)"Astronaut Suicides" website: http://www.astronautsuicides.com/

11)More about the Leonardo Project and its staff: http://spaceart.org/leonardo/vision.html


Works Cited:

Vesna, Victoria. "Nanotechnology + Art Lectures." https://cole2.uconline.edu/courses/32590/wiki/nanotech-+-art-view?module_item_id=355658. July 26, 2013.

Carol. "Oil spill-cleaning nanobots, explosice-sensing wetsuits- underwater micro-tech hits the beach." Gra-Zone. http://gra-zone.blogspot.com/2012/05/nanobots-cleaning-up-oil-spills.html. May 2, 2012.

Pandya, Jayshree. "From Nanotechnology to Nano-Defense." ISN, ETH Zurich. http://www.isn.ethz.ch/Digital-Library/Articles/Special-Feature/Detail/?id=155962&contextid774=155962&contextid775=155959&tabid=1453410412. December 10, 2012.

Gimzewsi, Jim, and Victoria Vesna. "The Nanomeme Syndrome: Blurring of fact and fiction in the construction of a new science." Victoria Vesna. http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm. July 26, 2013.

Vesna, Victoria. "Space + Art Lectures." https://cole2.uconline.edu/courses/32590/wiki/space-+-art-view?module_item_id=355659. July 27, 2013.

Bureaud, Annick. "The Leonardo Space Art Project Working Group." Leonardo Space Art Project. http://spaceart.org/leonardo/vision.html. 1996.

Biotechnology + Art | Neuroscience + Art

In light of the recent advent of biotechonology, it is no surprise that this field can influence current artists and their works, or cause new forms of art to emerge today. An example of a new medium of artistic expression is the "bioart" created by Joe Davis. Davis utilized various biotechnological equipment and bacterial samples to create works of bioart, including audio microscopy (captures light and translates them into acoustic signatures, very reminiscent of Silvia Casnini's essay on MRI acoustic art) and bacterial genomes to encode his artpiece, the "Microvenus".

Davis' "Microvenus"

Speaking of medical technology, it appears that it is inherently similar biotechnology due to the same biological issues they need to address and be employed for. Consequently, we see examples of biotechnology that can be used for medicine like 3D organ and tissue printing. Ordinarily, printers are a technology that we normally use for certain art media such as copies of paintings, photography, printed computer/digital art, and - in the case of 3D printers - sculptures. However, it appears that in the future, we may indeed be able to use artistic instruments like these to create tissues for biotechnological research and to solve many medical problems with extra donor organs.

In his TED Talk, Anthony Atala goes over our current advances in 3D tissue and organ printing.

In the first episode of a three-part Discovery Channel series called 2057, futurist Michio Kaku predicts that we can utilize current 3D printing technology to create organs from scratch for patients in need of new ones.

Orlan, the infamous artist who used medical technology like plastic surgery to create her works of performance art, shows up again in relation to biotechnology for her masterpiece the "Harlequin Coat". Arguably the most influential piece in terms of my understanding of biotechnology and art, Orlan constructs a polychromatic coat of diamond-shaped Petri dishes with samples of skin cells of individuals of different "races". Although the biotechnological aspect of this coat stands out immediately, the questions it raises later - about hybridization of races, tissue ownership, and the perspectives of other cultures on matters like this - make it apparent that it really is a work of art as well, as art is intended to evoke an emotional response or make the audience ask critical questions about their current reality.

Orlan's "Harlequin Coat"

In addition to bringing about emotional responses, a result of cognitive functions, artists have also harbored a great interest in the brain and the conscious and unconscious mind. A pioneer in one field of understanding the brain, phrenology, is Franz Joseph Gall. His work involved categorizing the brain into twentyseven separate organs of cognitive function and measuring different bumps of the brain to ascertain particular behavioral traits of individuals, such as their susceptibility to commit crime (very similar to the erroneous and social-Darwinist field of craniometry, but I suppose there is a reason why phrenology has been deemed a pseudoscience).

The different organs of cognitive functions, as drawn by Gall onto a model skull

Another influential neuroscientist is Santiago Ramon y Cajal, who strived to understand neural connections and comminucation; he looked at the shape of neurons as well as their degeneration and regeneration in relation to neuron theory. Ramon y Cajal states that only artists are attracted to the sciences (he was even an aspiring artist himself prior to going into the scientific profession), which explains his colorful comparison of neurons to "butterflies of the soul." 

Ramon y Cajal's claim would also explain the proliferation of art inspired by the growing field of neuroscience, as seen in Suzanne Anker's work on fMRI butterflies. In her pieces, she would post multiple brain scans with identical butterfly patterns superimposed on each scan; however, since each scan is different and has distinguishing Rorschach blots on them, it creates an optical illusion to make it seem like each butterfly is different on each scan. This is not only an example of utilizing common neuroscience techniques like bran scanning, but also raising the questions of what makes our "butterflies of the soul" perceive these works of optical illusions in these ways.

Anker's fMRI butterflies

What I imagine would be one of the most influential neuroscientific factors in creating art is the use of psychedelic drugs. Not only have these drugs influenced the work of many psychologists and scientists such as Sigmund Freud and Timothy Leary in understanding neuroscience, but they have also influenced the work of artists like Vincent Van Gogh and Bryan Saunders. The latter artist intentionally draws a self portrait for each different psychedlic drug to see the effects of them on his cognitives functions and their result in his art.

Saunder's self portrait under the use of cocaine

Even other art pieces inspired by neuroscience look psychedelic as well, as seen in the artworks produced by the Brainbow project and the Human Connectome Project. These projects took aspects of the brain and neural circuitry to create wondrous multi-colored works of art that also function as a scientific finding in further understanding the anatomical components of neuroscience. For the Brainbow pieces, they colored each individual neuron so they can be distinguished from each other; for the Human Connectome Project, pieces showing the colored myelin networks outline the otherwise hidden neural connections of the brain using MRI scans. These I believe are just some of the key examples of art inspired by scientific disciplines like neuroscience and biotechnology to come.

A piece produced by the Brainbow project

Alternative rock band Muse's album cover, an image created by the Human Connectome project

Sources/Links:
1)More on Anthony Atala's TED Talk: http://www.ted.com/talks/anthony_atala_growing_organs_engineering_tissue.html
2)More on Michio Kaku and the "2057" series: http://dsc.discovery.com/tv-shows/curiosity/topics/michio-kaku.htm
3)More on phrenology: http://psychology.about.com/od/historyofpsychology/f/phrenology.htm
4)More on Vincent van Gogh's drug use: http://www.finerminds.com/personal-growth/5-famous-iconic-drug-users-that-inspired-the-world/

5)More of Bryan Saunder's work: http://www.finerminds.com/personal-growth/5-famous-iconic-drug-users-that-inspired-the-world/

6)The Human Connectome Project: http://www.finerminds.com/personal-growth/5-famous-iconic-drug-users-that-inspired-the-world/

Works Cited:

Casini, Silvia. "Magnetic Resonance Imaging (MRI) as Mirror and Portrait: MRI Configurations Between Science and the Arts." https://instructure-uploads.s3.amazonaws.com/account_30000000000529/attachments/1377959/19.1.casini.pdf?AWSAccessKeyId=AKIAJBQ7MOX3B5WFZGBA&Expires=1374353302&Signature=WNo5VPkZNAdayQR518ye56IqXgA%3D&response-content-disposition=attachment%3B%20filename%3D%2219.1.casini.pdf%22%3B%20filename%2A%3DUTF-8%27%2719.1.casini.pdf. July 13, 2013.

 

Cherry, Kendra. "What is Phrenology?" About.com. http://psychology.about.com/od/historyofpsychology/f/phrenology.htm. July 21, 2013.

Anker, Suzanne. "MRI Butterfly." Suzanne Anker. http://psychology.about.com/od/historyofpsychology/f/phrenology.htm. July 21, 2013.

Saunders, Bryan Lewis. "Drugs" http://psychology.about.com/od/historyofpsychology/f/phrenology.htm. July 21, 2013.

Vesna, Victoria. "Biotech+Art Lectures." https://cole2.uconline.edu/courses/32590/wiki/biotech-+-art-view?module_item_id=355656. July 21, 2013.

Vesna, Victoria. "Neuroscience+Art Lectures." https://cole2.uconline.edu/courses/32590/wiki/biotech-+-art-view?module_item_id=355656. July 21, 2013.

Event 2: Metropolis II at LACMA

Yesterday, I tried my hand at becoming culturally and artistically educated by visiting the Los Angeles County Museum of Art (LACMA). This widely-acclaimed museum is famous for its vast art collection, the most well-known of which include the "Urban Light" installation (the forest of lamp posts), "Penetrable in Neon Lime" by Jesus Rafael Soto (the plastic yellow strands noodles), and the steel gargantua structures (the giant folding walls of iron) by Richard Serra.

Me towards the entrance of the LACMA campus.

Although I did explore all areas and exhibits of the LACMA campus, what I came to see was the "Metropolis II" exhibit by Chris Burden, the infamous performance artist behind "Shoot" and "Trans-fixed" and the creator of the "Urban Light" installation itself.

"Metropolis II" by Chris Burden.

Inspired by his successful creation of the smaller "Metropolis I" in 2004, Burden and his engineer Zak Cook spent four years building the 10 foot tall, 30 feet wide kinetic sculpture, which finally debuted in 2011. The structure contains 18 roadways as well as 1,100 toy cars, each custom-built in China so that their axles do not wear out while going at a scale speed of 230 miles per hour (unlike Hotwheels toy cars, whose axles are not as strong and were used in the first Metropolis sculpture).

To control the speed of the cars, Burden and Cook employed certain structural features and physics principles such as raised lane dividers on curves to cause friction against the cars' wheel rims to act as a braking mechanism. They also utilized an electronically-powered conveyor belt that used magnets to propel cars up the incline to the top of the structure, built in a similar fashion to roller coaster inclines. Below is a short film about "Metropolis II" to show the awe and energy of the massive structure and zooming cars within it.

"Metropolis II" by Chris Burden, the movie.

The system does not have its cars and toy trains running all of the time, but it is turned on four times a day every Friday, Saturday, and Sunday for museum visitors to observe. Although I was not able to see it being run during my visit to the exhibit, I was still able to appreciate the different building materials used to create it (such as childhood favorites like legos, lincoln logs, and model train tracks), the complex system of roadways incorporated into the structure, the detail put into each miniature building, and the overall likeness of a bustling, high-energy 21st century city that Burden tried to emulate through "Metropolis II".

View of the structure from above on a viewing balcony.

A miniature replica of the Eiffel Tower, emphasizing the urban aspect of "Metropolis II".

A miniature mosque, church, and residential area.

A tower resembling business skyscrapers found in major urban centers.

A view from the bottom.

Even the bottom/floor of the structure is lined with steel bars for structural integrity.

A miniature wall of Medieval-esque stone and stained glass, exemplifying the attention to detail put into "Metropolis II".

Me with the installation.

What intrigued me the most about this piece, however, was how it reflected Burden's vision for the urban future. He believes that one day, we will be living in a city that resembles "Metropolis II", in the sense that cars will be controlled in such a way that there will never be traffic jams, cars will travel much faster, and passengers will not have to act as drivers due to future automated driving technologies. Burden also predicts that our current ability to drive wherever and whenever we want to go will no longer be possible in the future if the driving system does truly become automated enough to enable driver-less cars and to prevent traffic gridlocks. (This prediction of the future of our cars and traffic system is also echoed by futurist Michio Kaku in the once-popular Discovery Channel mini-series "2057".)

The second episode of "2057", "The City", which predicts how automobile traffic will be controlled in the future.

Yet, at the same time, "Metropolis II" also reminds of how major cities like Los Angeles are today. The miniature skyscrapers, residential districts, busy cars, maze of roadways, and even places of religious worship are all reminiscent of our bustling modern urban centers, seemingly always in motion, never once pausing in order to carry on with the energy and life of the city. Even Burden says that "Metropolis II" holds a likeness to Los Angeles; he estimates that the equivalent of about 100,000 cars run through the entire system, similar to the automobile activity of the City of Angels.

As I pondered about its likeness to current cities and how it predicts traffic systems in future ones, I was able to see how this truly was a work of art in the sense that it evoked an emotional sense of awe and wonder and provoked much thought in me. I also saw how Burden was able to have this effect on me through his art by implementing all of the aforementioned materials, kinetic components, and scientific principles to convey his vision of the future and reflection of the present. In the end, as I walked away from the exhibit and the museum, I realized that the combination of these conceptual and structural elements truly did make "Metropolis II" a masterpiece that exemplified the intersection of art and science, making this a worthy exhibit for anyone from either and any discipline to see.

Yet another souvenir to keep as a memento of this visit.

Sources/Links

1)The LACMA website: http://www.lacma.org/

2)The official "Metropolis II" page on the LACMA website: http://www.lacma.org/art/exhibition/metropolis-ii

3)About Chris Burden: https://en.wikipedia.org/wiki/Chris_Burden

4)More about Chris Burden: http://www.gagosian.com/artists/chris-burden-2

5)About "Metropolis II": http://www.fastcodesign.com/1664409/how-chris-burden-created-metropolis-ii-a-tiny-city-where-1100-toy-cars-zoom

6)More about "Metropolis II": http://www.fastcodesign.com/1664409/how-chris-burden-created-metropolis-ii-a-tiny-city-where-1100-toy-cars-zoom

7)A bit about "Metropolis I": http://manpodcast.com/post/12690061867/chris-burden-metropolis-i-2004-photo-by-shingeo

Medical Technology + Art

During our third week of DESMA 9, we learned how art is influenced by medicine and the technology associated with it, as well as how art and medicine can work in conjunction with each other.

First, we were introduced to the ethics of medicine by taking a look at the Hippocratic Oath, a statement of ethical principals that new doctors swear by as they are inducted into their profession (Tyson). However, as the needs of medicine and of its patients evolve in our modern society, we find that the original oath increasingly fails to meet these, and so new modern versions of the oath are developed. This reminds me of the paradigmatic shifts we learned about in the first week of this course, where the current paradigm (analogous to the original Hippocratic Oath) increasingly struggles to solve major world issues, and thus a new paradigm (analogous to the modern versions of the oath) is needed.

Hippocrates, Greek philosopher and founder of the Hippocratic Oath

Next, we learned about how art can be influenced by medicine. We looked at medical texts like De Humani Corporis Fabrica and Grey's Anatomy, to which anatomical artists contributed medically-accurate sketches of body parts. We also learned that almost all human body artists have a copy of the latter text and use it as a reference for their work (whereas not as many doctors personally own a copy of the same text) (Vesna, Body Medicine Intro). 

The Gray's Anatomy textbook

In addition, we learned how medical technology can influence and bring about new art forms, such as that described by Silvia Casini in her essay about acoustics and visuals derived from magnetic resonance imaging (MRI) scans. Another great example is the work of Michael Harratt, who captures images of stained biological cells using a medical microscopy technique called fluorescent microscopy to create beautiful polychromatic works of art.

A work of fluorescent microscopy art

As a final topic, we learned about body modifications and procedures including prosthetics and plastic surgery. Particularly for plastic surgery, we learned how many used this field of medicine to create art, as seen in Orlan's video-taped procedures (Vesna, Medicine pt3). Others have also been known to use plastic surgery to artistically beautify themselves; two infamous examples of this are Valeria Lukyanova and Justin Jedlica, known as the "Human Barbie and Ken dolls". They used extreme surgical modifications in order to create a more "ideal" body-type for themselves, creating what they think is a work of art out of their own bodies.

Real-life dolls: Justin Jedlica on the right, Valeria Lukyanova on the left.

1)The original vs modern version of the Hippocratic Oath: http://www.pbs.org/wgbh/nova/body/hippocratic-oath-today.html

2)Professor Vesna's first lecture video: http://youtu.be/zEgn-fZQ8po

3)Silvia Casini's essay on MRI acoustic art: https://instructure-uploads.s3.amazonaws.com/account_30000000000529/attachments/1377959/19.1.casini.pdf?AWSAccessKeyId=AKIAJBQ7MOX3B5WFZGBA&Expires=1374353302&Signature=WNo5VPkZNAdayQR518ye56IqXgA%3D&response-content-disposition=attachment%3B%20filename%3D%2219.1.casini.pdf%22%3B%20filename%2A%3DUTF-8%27%2719.1.casini.pdf

4)More on Michael Harratt's fluorescent microscopy art: http://ignitebristol.net/2011/06/michael-harratt-%E2%80%93-art-in-science-fluorescence-microscopy/

5)Professor Vesna's third lecture video: http://youtu.be/FIX-9mXd3Y4

6)More on Valeria Lukyanova and Justin Jedlica: http://www.huffingtonpost.com/2013/01/29/valeria-lukyanova-real-life-barbie-justin-jedlica-real-life-ken_n_2575786.html

Works Cited

Tyson, Peter. "The Hippocratic Oath Today." Nova. http://www.pbs.org/wgbh/nova/body/hippocratic-oath-today.html. March 27, 2001.

Vesna, Victoria. "Body Medicine Intro." Youtube. http://youtu.be/zEgn-fZQ8po. March 26, 2012.

Casini, Silvia. "Magnetic Resonance Imaging (MRI) as Mirror and Portrait: MRI Configurations Between Science and the Arts." https://instructure-uploads.s3.amazonaws.com/account_30000000000529/attachments/1377959/19.1.casini.pdf?AWSAccessKeyId=AKIAJBQ7MOX3B5WFZGBA&Expires=1374353302&Signature=WNo5VPkZNAdayQR518ye56IqXgA%3D&response-content-disposition=attachment%3B%20filename%3D%2219.1.casini.pdf%22%3B%20filename%2A%3DUTF-8%27%2719.1.casini.pdf. July 13, 2013.

Dan. "Michael Harratt - Art in Science." Ignite Bristol. http://ignitebristol.net/2011/06/michael-harratt-%E2%80%93-art-in-science-fluorescence-microscopy/. June 23, 2011.

Vesna, Victoria. "Medicine pt3." Youtube. http://youtu.be/FIX-9mXd3Y4. April 22, 2012.

Sieczkowski, Cavan. "Valeria Lukyanova, Real-Life Barbie, Blasts Justin Jedlica, Real-Life Ken, After First Meeting." http://www.huffingtonpost.com/2013/01/29/valeria-lukyanova-real-life-barbie-justin-jedlica-real-life-ken_n_2575786.html. January 29, 2013.

Event 1: A Night at the Avalon

Last Friday, July 5th, I had the pleasure of attending an EDM show at the Avalon Hollywood nightclub in Los Angeles. For those of you who are unfamiliar with EDM, it stands for Electronic Dance Music, a music genre that has a diverse range of sub-genres, including house, drum and bass, and dubstep. Typically for EDM shows, there is a focus not only on the music, but also on visual art such as poster art, visualizers, and lighting effects.

The show's official poster

Even before I entered the venue that night, an official poster for the show was posted right next to the entrance for everyone to see. The macabre artwork on the poster acted as an artistic aid to establish the mood for the night, foreshadowing a dark theme for the music to come and the club's atmosphere.

I have attended the Avalon before, so I knew what to expect: there were dim to no lights in most areas, employees dressed in all black, and speakers systems that produced significant bass frequencies, all contributing to a fairly atramentous club vibe. Located towards the back of the Avalon was the main stage with a visualizer screen (which is colloquially just called "the visualizer") right behind it, a huge component of the artistic aspect of EDM shows.

DJ duo Gent & Jawns with some psychedelic video art on their visualizer 

The visualizer acts as an optical complement to the aural experience provided by the disc jockeys (DJs) and the music they spin. For this show, there were many times when dark, contorted music was played, and equally distorted, kaleidoscopic images were projected to further enhance the music's effect for the audience. Most EDM shows nowadays utilize light-emitting diode (LED) screens to project visuals for the audience; however, depending on an artist's taste or budget, he or she may use a screen projector or even a custom-made visualizer structure to cast their visuals.

Drum and bass DJ Andy C performing with his own custom visualizer structure at the 2012 Beyond Wonderland music festival

The visualizer is manned by a team of video disc jockeys (VDJs), which can consist of as few as one individual or as many three VDJs, depending on the number of screens being utilized or the venue's or artist's budget. They use computers, visualizer programs, and musical instrument digital interface (MIDI) controllers (devices that send MIDI signals that act as cues for certain video elements on the visualizer) to control what shows up on the visualizer screen in tune with the music the DJ performs with.

Visualizers and lazers as lighting effects to complement the music being played

In addition to controlling the the visual cues for the visualizer, VDJs also control lighting and other miscellaneous effects at EDM shows. This includes cuing for strobe lights, lasers, spotlights, or even fog machines or CO2 cannons, which is also done by using the MIDI controller. The lighting effects provide an additional artistic touch the show as they can be displayed in a certain pattern or frequency that make it a work of art. Meanwhile, other effects such as fog machines, CO2 cannons (which are, in simple terms, fog machines that projectile fog into the audience using carbon dioxide), and pyrotechnics also provide a visual and even tactile experience for the crowd, which traditional visual artists utilize in their own art as well.

Dubstep artist Calvertron, performing with a plethora of lighting effects

Usually next to the VDJ(s) is the sound technician (sound tech for short), who controls the sound systems that relay the music that the DJ spins. The sound tech manages the sound board for the show, which commonly consists of computers, sound channels (volume controllers), and equalizers if it is a digital sound board (you will see that in modern EDM shows, digital equipment is much more prevalent than their older analog counterparts).

The VDJ (left) and sound tech (right) operating their respective equipment during the show

In general, a sound tech's main job is to equalize the music that is being mixed live by the DJ; this entails manipulating the equalizers to best fit the different types of music being played. For instance, if a DJ transitions from a song with high frequencies (lots of treble) to low frequencies (bass-heavy), the sound tech is responsible for modifying the new sound waves coming from the DJ's own set so that they can be better propagated through the venue's sound systems; otherwise, bass-heavy songs would not reach their optimal aural potential and would sound flat or not as loud.

To be connected to the DJ and his equipment, sound techs attach a voltage-controlled amplifier (VCA) cable or an XLR cable to their sound board, which is directly connected to the DJ's mixing console (deck). Most prefer to use XLR cables over VCA cables since the latter is unbalanced, meaning it only has two conductors and can pick up on radio signals, which can interfere with the music being played. It is through this cable that the sound tech can modify the DJ's music, the most important aspect of the show itself.

Famous UK dubstep artist Trolley Snatcha, arguably the most anticipated act of the night

When the DJ mixes to execute the main part of the show, the music, he or she can use a variety of different equipment for their music sets, depending on their taste or budget. While almost all modern DJs use CDJs (a type of turntable that can plays CDs), some may also use laptops, audio MIDI controllers, vinyl discs, or a combination of the above. In my experience, most DJs use digital and electronic equipment, rather than outdated, analog ones such as vinyl discs, acting as yet another indication of the transition into a digitally-technological era we face today.

How a DJ performs at show can vary as well; some may come with a pre-recorded mix and just "hit play" when it's showtime, while others may mix their music "on the fly", picking and incorporating new tracks as the show goes on. Most people prefer to listen to music sets where the DJ mixes on the fly due to preferences for creativity and ingenuity, although some can still appreciate a pre-made set if they like the song selection. The three aforementioned factors - as well as the quality of song transitions, an adherence to a musical theme or genre, and the magnitude of the audience's response - are also a few major factors that EDM show-goers take into consideration when deeming a set as an enjoyable one.

Trolley Snatcha's dark dubstep set during the show; a perfect complement to the show's overall tenebrous theme in conjunction with the club's poster art and setting

In the end, all of these elements that make up an EDM show - from the poster art to the music itself, and the technological effects in between - help compose an experience unlike any other not only in the entertainment industry but also in the music realm in general. I would highly recommend everyone to attend at least one event, as EDM shows are indeed a modern technological spectacle as well as a work of art in themselves.

My only souvenir and memento of my riveting night at the Avalon, with hopefully more to come.

Sources/Links

1)The Avalon Hollywood website: http://avalonhollywood.com/ 

2)Official event page on the Avalon website: http://avalonhollywood.com/club-night/control/control-presents-trolley-snatcha-calvertron-gent-jawns-2/

3)More about EDM: https://en.wikipedia.org/wiki/Electronic_dance_music

4)A good blog site to learn more about the EDM culture and upcoming EDM events to attend: http://www.globaldanceelectronichq.com/

5)Pretty Low's SoundCloud page:  https://soundcloud.com/prettylow

6)Regulator's SoundCloud page: https://soundcloud.com/weregulate

7)Gent & Jawns' website: http://www.gentandjawns.com/

8)Calvertron's website: http://www.calvertron.net/

9)Trolley Snatcha's website: http://www.trolleysnatcha.com/

Works Cited

Wan, Johnathan. Personal Interview. 12 July. 2013.