Sunday, June 10, 2018

Event 3: The Postgenomic Condition: Justice, Knowledge, Life After the Genome

Dr. Jenny Reardon introducing her talk
For my third event, I attended a talk presented by Dr. Jenny Reardon, entitled “The Postgenomic Condition: Justice, Knowledge, Life After the Genome.” Dr. Reardon is a professor at UC Santa Cruz whose research focuses on how questions about identity, justice, and democracy can be found integrated within scientific ideas and practices, especially in genomic research during the modern era. Her talk was based on a book that Dr. Reardon herself authored, entitled The Postgenomic Condition: Ethics, Justice, Knowledge After the Genome, which examined science and society following the Human Genome Project. Both her book and talk sought to analyze what it means to have sequenced the entire human genome, particularly concerning questions about value and justice that were raised after reaching this milestone achievement.

Dr. Reardon began her talk by introducing her latest book, as well as her 2005 book Race to the Finish: Identity and Governance in an Age of Genomics, which examined the genetic meaning of race. She also defined what she meant by the “postgenomic condition,” explaining that after the Human Genome Project, our thinking about the meaning of our genes and the genomic differences between humans changed. Although the Human Genome Project resulted in a wealth of information, now the problem lies in making meaning out of this information and how we should understand and use it. As Craig Venter describes this challenge, “Watson argued that our goal was to work out the sequence and let future generations of scientists worry about understanding it” (Venter 110). Thus, Dr. Reardon seeks to analyze the state of our contemporary condition and how we should aim to move forward.

Dr. Reardon speaking about an image of chromosome 1
Part of Dr. Reardon’s talk that I found particularly interesting was her description regarding one of the images in her book that illustrated how complex genetic sequencing can be. Dr. Reardon explained that the image depicted thousands of reads of a part of chromosome 1 that was associated with autism. She likened sequencing this segment to the arduous task of putting together a puzzle with one million pieces that are all purple. Thus, Dr. Reardon explained that by sequencing, one essentially adds barcodes to each of the short reads so they can be distinguished and put back together. This characterization of genetic sequencing reminded me of how science is essentially art, as well as how artistic imagery can be applied to gain an understanding of science. As Thomas Kuhn describes, science can be thought of as puzzle-solving, and sequencing in particular offered genomic puzzles (Kuhn 36).

Dr. Reardon described several studies and projects, such as the International HapMap Project, as examples of the attempts made to solve these puzzles and the challenges faced in the process. In essence, the “trouble concerns the fact that the ‘truths’ of the modern scientific world view … will no longer lend themselves to normal expression in speech and thought” (Arendt 3-4). Sequencing data is difficult to understand, and adding to that obstacle is the fact that thinking about the human genetic sequence is closely tied to ideas about human differences, race, and labeling. In the end, Dr. Reardon emphasized the difference between speech and talk, delineating that what we need is not talk about genetics, but rather speech. While talk implies a one-sided delivery, speech requires interactions with those who are different from you, thereby fostering collectiveness and togetherness. This distinction was intriguing to me, as I had always considered talk and speech to mean the same thing, but Dr. Reardon’s call to action imbued my understanding of these activities with new context. I am glad I had the opportunity to attend this talk, as it not only related to my interest in genetics, but also expanded my perspective on how we can make sense of and speak about this complex topic as humans.

Selfie with Dr. Reardon answering audience questions in the background

References


Arendt, Hannah. The Human Condition. Chicago, IL, The University of Chicago Press, 1958.

Kuhn, Thomas S. The Structure of Scientific Revolutions. Chicago, IL, The University of Chicago Press, 1962.

Reardon, Jenny. The Postgenomic Condition: Ethics, Justice, Knowledge After the Genome. Chicago, IL, The University of Chicago Press, 2017.

Venter, Craig. A Life Decoded: My Genome, My Life. New York, NY, Penguin Group, 2007.

Sunday, June 3, 2018

Unit 9: Space + Art

The "pale blue dot" that is Earth

Space is truly the final frontier, the epitome of limitlessness and the boundlessness of imagination and creativity. Along with this comes the realization that Earth represents only a tiny fraction of the realities and possibilities of the universe. This understanding is illustrated by the “pale blue dot” image taken from space, in which Earth appears as just a pale blue dot. As Carl Sagan describes, “Look again at that dot. That's here. That's home. That’s us” (Sagan 6). The size of our reality is creatively represented in Powers of Ten, which zooms in and out by magnitudes of ten, starting from the human scale (Eames). This visual representation of the relative sizes of everything that we know, and all that we do not, compels us to realize how small we really are, as well as the difference that a change in perspective can make.

As such, our curiosity and desire to understand this vast unexplored expanse is only logical. It is interesting to consider however that this exploration of space initially began, in part, as a political statement (Vesna). The idea that all our space-based knowledge and creations originated as a response to the Cold War illustrates the impact that sociocultural factors can have on the progress of science and art.

Illustration of the space elevator
Within our pursuit to understand space, the fusion of science and art, and their influence on each other, can be observed. One of the most intriguing examples is the space elevator (Vesna). Now science fiction is not just fiction – the ideas authors come up with can form the basis for real scientific applications. Scientists can draw from the creativity of artists to bring novel ideas into actual practice. This duality also goes the other way around, with artists taking inspiration from scientific concepts to create works that represent and expand the knowledge and perspectives we hold. For instance, the Dancing on the Ceiling exhibition draws from the scientific concept of gravity to explore ideas such as transcendence, going beyond the science to give us a new way to view our world (Forde). The Mars Patent project takes this to a new level, with the installation of an interplanetarian exhibition on Mars (van Oldenburg and Reiche), expanding our understanding of artistic and cultural exchange to the scale of the universe. With the vast expanse of space open for us to explore and build upon, there truly are no limits to what we can know and create. 

Art piece based on concept of zero gravity

References

Britten, Sean. “Pale Blue Dot.” 2SER, https://2ser.com/pale-blue-dot/pale-blue-dot/. Accessed 3 June 2018.

Eames, Charles and Eames, Ray. Powers of Ten. YouTube, uploaded by Eames Office, 26 Aug 2010, https://www.youtube.com/watch?v=0fKBhvDjuy0.

Forde, Kathleen. “Dancing on the Ceiling: Art & Zero Gravity.” Rensselaer Polytechnic Institute, http://zerogravity.empac.rpi.edu/. Accessed 3 June 2018.

Guo-Qiang, Cai. “Desire for Zero Gravity.” Cai Guo-Qiang, http://www.caiguoqiang.com/projects/desire-zero-gravity. Accessed 3 June 2018.

Sagan, Carl. Pale Blue Dot: A Vision of the Human Future in Space. New York, Random House Publishing Group, 1994.

Templeton, Graham. “60,000 miles up: Space elevator could be built by 2035, says new study.” ExtremeTech, https://www.extremetech.com/extreme/176625-60000-miles-up-geostationary-space-elevator-could-be-built-by-2035-says-new-study. Accessed 3 June 2018.

Vesna, Victoria. “Space Exploration + Art.” YouTube, uploaded by uconlineprogram, 29 July 2013, https://www.youtube.com/watch?v=2dPAmpBiVHY.

von Oldenburg, Helene and Reiche, Claudia. “The Mars Patent.” The Mars Patent, http://www.mars-patent.org/. Accessed 3 June 2018.


Sunday, May 27, 2018

Unit 8: Nanotechnology + Art

Although the word “nanotechnology” evokes fascination, the field itself is often not fully understood. For instance, one of the misconceptions mentioned by Dr. Gimzewski resonated with me, in that I also held the notion that nanotechnology has to do with robots in laboratories. In reality, nanotechnology is prevalent in the tasks and objects of our daily lives, such as in sunscreen and cosmetics (Gimzewski). I was surprised to learn that some nanotechnology has roots in ancient times, and that nanotechnology can even be found in nature. The pervasiveness and versatility of nanotechnology illustrates its inherent power and potential to vastly improve our lives.
Nanostructures give this butterfly's wings their blue color

Computer simulation of a nanobee particle
It is interesting to consider how as our society advances, things become smaller. Although this may seem counterintuitive, the ability to contain the same, or increased, functionality in a reduced amount of material or space essentially expands our capacity and efficiency. Ray Kurzweil describes how our technological capacities have progressed exponentially through time, predicting we will eventually reach the “Singularity” as this technology becomes increasingly integrated into our lives (Kurzweil). Combining this increase in technological capacity with artistic creativity can result in previously unimaginable solutions to enhance human life. One of the most intriguing examples of this pairing is the nanobee, a self-assembling nanoparticle that can selectively target cancer cells (“Making Stuff: Smaller”). This exciting idea combines evolutionary advancements refined by nature with nanotechnology applications and innovative design elements to revolutionize the way we treat disease.

Nano "lock box" created using DNA folding
Another example of the innovative creations that can arise from blending nanotechnology with art is the concept of DNA folding. Having previously studied the characteristics and processes of DNA, I am wholly familiar with its base pairing properties. However, the idea of capitalizing on these traits to construct new shapes and objects had never occurred to me, and represents an inventive new way of thought. Utilizing DNA as a blueprint or building sequence allows for not only the creation of nano-artwork, but also essentially nano-circuits, which can eventually lead to self-assembling molecules and objects (Rothemund). Thus, by viewing the established scientific concept of DNA from the perspectives of nanotechnology, along with an art, we are able to arrive at a new way to understand and advance human life. In this way, blending nano-science and art blurs the lines of perception and promotes the shift towards a “third culture” that paves the way for new biological and aesthetic understandings (Gimzewski and Vesna 19).

References

Ericson, Gwen. “Tumors feel the deadly sting of nanobees.” The Source, Washington University in St. Louis, https://source.wustl.edu/2009/08/tumors-feel-the-deadly-sting-of-nanobees/. Accessed 27 May 2018.

Gimzewski, Jim. “Nanotech for Artists.” YouTube, uploaded by uconlineprogram, 21 May 2012, https://www.youtube.com/watch?v=q7jM6-iqzzE.

Gimzewski, Jim and Vesna, Victoria. “The Nanomeme Syndrome: Blurring of fact & fiction in the construction of a new science.” Technoietic Arts, vol. 1, no. 1, 2003, pp. 7-24.

Kurzweil, Ray. “A university for the upcoming singularity.” TED, Feb 2009, https://www.ted.com/talks/ray_kurzweil_announces_singularity_university.

“Making Stuff: Smaller.” NOVA. PBS, 26 Jan 2011. http://www.pbs.org/wgbh/nova/tech/making-stuff.html#making-stuff-smaller. Accessed 27 May 2018.

Mu, Zhongde, et al. “In situ synthesis of gold nanoparticles (AuNPs) in butterfly wings for surface enhanced Raman spectroscopy (SERS).” J. Mater. Chem. B, vol. 1, 2013, pp. 1607-1613.

Rothemund, Paul. “DNA folding, in detail.” TED, Feb 2008, https://www.ted.com/talks/paul_rothemund_details_dna_folding.

Slonczewski, Joan. “Nanorobot Detects Cancer.” Ultraphyte.com, https://ultraphyte.com/2012/02/26/nanorobot-detects-cancer/. Accessed 27 May 2018.


Sunday, May 20, 2018

Unit 7: Neuroscience + Art


Neuroscience is one of the most intriguing topics of study since, as is commonly described, it comprises the mind attempting to understand itself. Since art is conceived and created from the mind itself, it stands to reason that the two fields would complement and enhance each other with such harmony.

Drawing of cerebellum cells by Ramon y Cajal
Neuroscientist Santiago Ramon y Cajal epitomizes the union of these two worlds. His studies exploring neuroanatomy contributed significantly to our understanding of the structure of the brain at a microscopic level, earning him the Nobel Prize (Vesna). However, art also played a large role in the work he was able to produce. His description of neurons as the “butterflies of the mind,” and view of himself as an entomologist (Vesna) illustrates the way he perceives himself as a scientist creating art, or equally, an artist studying science. Indeed, his images of neurons achieve not only scientific clarity, but also serve as artistic creations that expand our ability to visualize and perceive the mind. 

fMRI image of brain in action
The advancements and technology of today’s modern world allow this interface between neuroscientist and artist to attain even greater reach and potential. For instance, inventor Christopher deCharms utilizes fMRI scans to visualize brain activity in real time (deCharms), enabling us to visualize the abstract concept of thought and thereby allowing for new insights into what it means to think. Professor Michael Cohen pursues a similar purpose with a twist, utilizing special inverting goggles to explore the effects of distorted perception (Cohen).

Indeed, the connections between neuroscience, the study of the mind, and art, the product of the mind, tie the two fields and their success together. As D.T. Max observes, “writers and musicians lead the way to new theories with inspiration, while scientists mop up with hard data” (Max 711). The creativity and lack of boundaries defining art allow for full exploration of the mind’s elements and capabilities. And in a similar way, understanding the way the brain works enables us to apply it and express its holdings to their full potential. Writer John Lehrer captures the mutual duality of this relationship, expressing “science needs art to frame the mystery, but art needs science so that not everything is a mystery” (Frazzetto and Anker 820). 
"Brainbow" image of neurons, illustrating the potential of neuroscience combined with art


References

Cohen, Mark S. “Neuroscience.” YouTube, uploaded by Victoria Vesna, 12 May 2012, https://www.youtube.com/watch?v=eDq8uTROeXU.

deCharms, Christopher. “A look inside the brain in real time.” TED, Feb 2008, https://www.ted.com/talks/christopher_decharms_scans_the_brain_in_real_time?language=en.

Frazzetto, Giovanni and Anker, Suzanne. “Neuroculture.” Nat Rev Neuroscience, vol. 10, no. 11, 2009, pp. 815-821.

Max, D.T. “Swann’s Hypothesis.” The New York Times, 4 Nov 2007, pp. 711.

Moore, Pamela. “TED deCharms.” Newton Street, https://newtonstreet.org/ted-christopher-decharms/. Accessed 20 May 2018.

Ramon y Cajal, Santiago. “Trabajos Escogidos.” Estructura de los centros nerviosos de las aves. 1905, Madrid. Harvard Medical School, https://hms.harvard.edu/news/butterflies-soul. Accessed 20 May 2018.

Vesna, Victoria. “Consciousness/Memory.” YouTube, uploaded by uconlineprogram, 17 May 2012, https://www.youtube.com/watch?v=TzXjNbKDkYI.

Weissman, Tamily. “Brainbow.” Cell, https://www.cell.com/pictureshow/brainbow. Accessed 20 May 2018.