Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
Cross Dimension Project: an Artistic Practice with Nano Science 1
Hyun Ju Kim, 2Sungjong Woo, 3Yoo-Joo Choi Korean German Institute of Technology,
[email protected] 2, Korea Institute of Advanced Studies,
[email protected] 3, Korean German Institute of Technology,
[email protected] 1,
Abstract This paper presents Cross Dimension project supported by KOFAC as a part of “Science Meets Arts” grant in 2010. We first reviewed the previous literature about the relationship between art and science including the writings of Flusser, C.P.Snow and Vesna. Inquiry continued to review artworks of Novak ,Vesna and Kim as exemplary collaborative works particularly with Nano Science. Cross Dimension project utilizes the collaboration of experts in nano science, educational robotics technologies and ambience computing as well as studio art. It takes the structure and dynamics of nano molecules into an artistic metaphor to express the interactive nature of inter-personal relationships of people and objects in the real world. The sequence of work transforms the space into a crossdimensional one juxtaposed with nano-scale dimension and macro-scale dimension at the same time.
Keywords: Art and Science, Nano Art, Nano Science, Ambience Computing, Media Art, Robotic Art, Interdisciplinary Art, Cross Dimension, Public Installation, Augmented Reality
1. Introduction Art has been closely interrelated to science and technology as its etymological meaning indicates: Greek techne means art and ars is its Latin equivalent. Vilém Flusser mentioned, “the words design, machine, technology, ars and art are closely related to one another, one term being unthinkable without the others, and they all derive from the same existential view of the world”[1]. His observation is that this internal connection has been denied for centuries due to the Modern bourgeois culture which is split into two mutually exclusive branches of one scientific, quantifiable and ‘hard’, the other aesthetic, evaluative and ‘soft’. This conceptual division has lasted modern ages of Western history. It has not been long that C.P. Snow criticized, in his speech in Cambridge and in the following book “Two Culture”, science and humanities as being two distinct cultures and claimed that scientists and literary intellectuals are ‘members of non-communicating’[2][3]. He saw this separation, especially in the educational system, makes it difficult to solve problems in the world. While Snow diagnosed the division of two cultures, he was also criticized for over-simplification of this disciplinary division and for continuing decades of unnecessary fence-building. Korean science philosopher Geong Soon Im asserted that art and science have been growing within the complementary relationship throughout human history and that it is necessary for a new perspective toward the relationship between art and science. He also suggested art and science share the same creative process and common element[4]. Victoria Vesna who revisited the sequence of Snow’s publication related to “Two Cultures” found that he not only witnessed the division between the two cultures, but also “suggested that a new "Third Culture" would emerge and close the gap between literary intellectuals and scientists”. Vesna especially emphasized the role of artist with the use of technology to bridge the gap among the triangulated relationships of science, technology and art. She considered artists are allowed “poetic license” which gives them the freedom to reinforce the delicate bridge and to contribute to the creation of a new mutant third culture. She believed by utilizing tools familiar to scientists and collaborating with the scientific community, the split parties of two divisions are getting closer to an atmosphere of collaboration and mutual respect[7]. Recognizing the role of a media artist interconnecting art and science is significant in the age of global convergence and interdisciplinary collaboration. Hyun Ju Kim has elaborated this tendency of convergence and cross-disciplinary collaborative culture using the keywords of hybridization and syncretism based on Edward Wilson’s consilience theory and Roy Ascott’s Syncretism[6]. Similar to C.P.Snow, Edward Wilson in his book “Consilience: The Unity of Knowledge“ (1998) ,
International Journal of Robots, Education and Art (IJREA) Volume3, Number1, Feb 2013 doi: 10.4156/ijrea.vol3.issue1.4
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
attempted to bridge the culture gap between the sciences and the humanities. He believed humanities, and arts have a common goal: to give a purpose to understanding the details that the world is orderly and can be explained by a small number of natural laws. He regarded human nature as a collection of epigenetic rules - the genetic patterns of mental development, thus suggested gene and culture coevolve. According to Wilson, scientific methods of the natural sciences can be used toward the social research as a part of interdisciplinary research[6]. Although his theory was criticized for reductionism abusing biology toward social and cultural studies, his theory contributed to raising public attention toward interdisciplinary research and debates toward sociobiology & scientific humanism. As a media artist and theorist, Roy Ascott suggested syncretism as a methodological imperative in art practice. He asserted that we are moving towards a syncretic art, reflecting and constructing syncretic culture in syncretic reality. He emphasized the understanding of multi-layered worldviews, both material & meta-physical, with pervasive computational technologies and post-biological systems. In his writing, he proposed a new term – “mostmedia” which emerges from “the confluence of (silicon) dry computational systems and wet biological processes, to produce a new substrate for creative work consisting of bits, atoms, neurons, and genes”[6]. One of his five-fold paths approaching syncretism was the connection of minds, machines and cultures, which again stresses the chemical collaboration of the two parties of cultures in different ends as Snow suggested in early 60’s. From this standpoint of understanding the value of interconnecting effort between scientist and artists, this article presents a collaborative art project, called Cross Dimension which was initiated by artist Hyun Ju Kim along with her collaborators in science and technology: nano physicist Sungjong Woo and computer scientist Yoo-Joo Choi. The project was funded by the Korea Foundation for the Advancement of Science & Creativity (KOFAC) as a part of “Science Meets Arts” grant in 2010. Key aspect of the project was to create and exhibit a series of art works which explore the transdimensional coexistence of multiple dimensional spaces. In this project, nano-scaled molecular space is overlapped with macro-scaled human society, and virtual space of digital representation and simulation is augmented with corporeal ones in the gallery space. By taking the metaphoric representation of nano molecules into aesthetic mediums, the exhibition was a hybrid of various modes of interaction and a variety of artistic mediums. To deliver the cross-dimensional situation, we used digital prints, glass sculpting, video projection, robotics and ambience computing technique of gesture recognition and sensors and furthermore augmented reality toolkit programming. The project was significant in a way that the artist collaborated with the scientist in the field who provided the mechanism of simulating the dynamics of nano molecules. This paper will first review artist works related to nano science and the significance of the artistic implementation of nano science. Second, it will give the overview of the project including the conceptual and methodological approaches of the collaboration. Third, implementation method of each individual work in the series will be addressed. Finally we will cover the result of the audience survey and its implications.
2. Nano Science and the Related Artist Works Nano science is a fancy and trendy term even in the science community. Nano means 10-9 power. Nano science is generally regarded as the study of atoms, molecules, and objects whose size is on the nanometer scale (1-100 nanometers )[13]. Regarding to this definition, scientists who deal with quantum mechanics or dynamics of each individual atoms and molecules can be considered as “nano scientists”. The term, however, is not quite common and, instead, their fields of study are still more an important indicators for their specialty. Nonetheless, governments in the developed countries world wide lately give out grants to initiate centers and institutes to research on nano science. Due to the development of innovative instruments seeing and touching each individual atom gave rise to the huge attention toward the nano scale research. One of them was the scanning tunneling microscope (STM) which was invented at IBM-Zurich in the early 1980’s. It was the first instrument to “see” atoms. Afterwards the Atomic Force Microscope (AFM) and the Scanning Probe Microscopy expanded the capabilities and types of materials to be investigated[13]. Nowadays there are a large number of complementary instruments developed to investigate various properties of nano-scale atoms. Being able to see nano scale molecules and studying their physical properties are believed to contribute greatly in finding innovative
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
materials with amazing characteristics with which people can then lead the next generation industries. A typical nano molecular structure consists of purely carbon atoms. Fullerene with sixty carbons forming a bulky ball shape is also a type of nano-carbon structures. Graphene is a also a substance of pure carbon atoms arranged in a flat layer with honey-comb or hexagonal pattern, while carbon nanotube is a cylindrical nano carbon structure.
Figure 1. Nano-carbon structures : (left) fullerene, (center) graphene, (right) carbon nanotube Source: http://www.wikipedia.org The desire of seeing what is invisible is the driving force of both art and science. Starting from this desire, human beings have invented numerous vision machines. Exploring or expressing the world of “unseen” is believed to be a shared mission for both art and science. The significance of nano science in the arts and humanities perspective is in dealing with “the unseen” which is now unveiled due to the development of science and technology. There are many artist who have utilized the scientific subject into his or her work. Especially with the recent development of information science and digital technology, and biology and genetic engineering as well as nano science, the collaboration of art and science/technology are more and more frequent and diverse. We focus here on the artists whose works deal with nano science and engineering. Marcos Novak’s installation Amon's Acids at the Space Gallery in Seoul 2010, uses molecules formulas for amino-acids along with his sculptural elements as the metaphor to intertwine our scientific understanding of how we literally assemble ourselves, in a molecular sense[14]. The exhibition was a showcase of works exploring the relationships between ancient and contemporary worldviews in the context of emerging global culture taking a vast scope of human history and culture, especially from “Aton (and Ikhnaton) to atoms, from Zeus Ammon to amino-acids” as the artist states. Although he did not literally used the term “nano science”, the visualization of molecular structure in the chemical formula was enough to indicate his conceptual standing point. Earlier than Novak, in 2004, Victoria Vesna in collaboration with nano scientist James Gimzewski, worked on the project ‘NANO’ which was on view at the Los Angeles County Museum of Art. Victoria states, “The main goal of the project was to conceptually shift the idea of nanotechnology from a mechanistic vision of the 20th century to a sensorial and ephemeral one”[8]. Focusing on nano-scale molecular structures such as C60 in other words fullerene, the work was an interconnected spatial installation with sensory and interactive experience. The artist stressed to heighten the understanding of human being’s molecular origin and the world as particles, waves, molecules and atoms connected through quantum interactions. Nanomandala is her other work related to this exhibition. With a video projected onto a 8-feet wide disk of sand, visitors can touch the sand as images are projected in evolving scale from the molecular structure of a single grain of sand, which Vesna regarded as her own “means of a scanning electron microscope (SEM)”[8]. There exist common characteristics in the works of Novak and Vesna. First, artists are open to embrace the subject of science for cultural and artistic context. They transform the scientific element such as amino-acid or fullerene into a metaphorical symbol in each of their work. Second, since nano scale atoms and molecules are not huge in numbers- they are ranging from
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
one to hundred atoms in size, both artists seemed to be able to adequately visualize nano molecules; in the form of chemical formulas for Novak’s work and graphical visualization for Vesna’s work. Third, both artists used nano molecules to implicate the material foundation and the origin of life, but in the different approaches. While Novak took the syncretic approach to embrace the broad spectrum of culture, history and materiality, Vesna focused mainly on visualizing nano molecules and creating the immersive environment to interact with them. Hyun Ju Kim’s work Uri 1.0, discussed next section, takes the similar conceptual approach to Vesna’s work, but is very different in a way the work came out as a public installation and an interactive kinetic sculpture utilizing robotics technology.
3. Uri 1.0 Hyun Ju Kim’s work Uri1.0 was the inaugural piece for a public art initiative Random Arts Program in the University of Massachusetts Lowell in 2007. Random Arts program supported the artworks including the idea of combined disciplines of art and science. Nano science and engineering is one of strongest areas in UMass Lowell and the shape and look of nano molecular structure such as graphene initially inspired the artist. The installation was built in the hallway to one of heavily crowed cafeterias in the campus.
Figure 2. Installation view of Uri 1.0 The work came out as an interactive, kinetic sculpture based on the carbon nano structure. Korean word “Uri” translates as “we” or “community”. The hexagonal or honeycomb shapes within the sculpture represented the elemental structure of all carbon-based life forms. The installation was composed of custom-designed acrylic parts mounted on two oak panels. The mechanical components included Super Cricket microcontrollers, LED lights, servo motors and infrared proximity sensors. The sensors and motors were programmed to respond to the movement of passersby by opening and closing individual arms within the structure. Through their gestures, the viewers transformed the sculpture creating different patterns each time. The interaction of the sculpture and the viewer suggested the mutual and transformative nature of life in all its forms. This work was a significant in a way that the artist took the element of nano science in an artistic context. The dynamics of each carbon in the nano structure was metaphorically rather than scientifically used to convey the concept of community – ‘uri’ in Korean. The project also set a good example of tangible robotic site-specific installation. It is not just a static environmental sculpture, but it senses and interacts with the viewer. Over the time, it changes the shape of nano structural patterns depending on how the passers-by interacted with the piece, which is a process of keeping a memory of what has happened in the short history of the space. The development of this work led to next version of science and art collaboration in the Cross Dimension project.
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
Figure 3. Design of Panel 1 : (top) before interaction, (middle) positions for servomotors, sensors, and LEDs, (bottom) changes after interaction
4. Cross Dimension 4.1 Overview and Project goal Succeeding the concept of Uri 1.0, Cross Dimension Project was developed as a series of works which explored the trans-dimensional coexistence of multiple dimensional spaces such as nano-scaled vs macro-scaled and virtual vs corporeal spaces by using the metaphoric representation of nano molecules in the aesthetic element. The project was in collaboration with people in physics and computer science as well as studio art, as a part of “Science Meets Arts” program funded by the Korea Foundation for the Advancement of Science & Creativity (KOFAC), 2010. “Science Meets Arts” program was a public government fund to encourage the promotion of science in a wider range of audience. Cultural and artistic approach incorporating some aspect of science was the least requirement to get funded. Rather than literal multi-discipline project, the foundation tried to incubate projects that have active dialogue between artists and scientists, and the result can be reached wide range of people as much as possible.
4.2 Cross-Dimension Concept Cross-Dimensional experience is the key concept to this project. Dimension here is rather more close to the concept of space or volume different from what is generally related to mathematical coordinates system such as 2D or 3D. The artist tried to simulate the sate of co-existence of different kinds of dimensions; 1) nano-scale dimension and macro-scale dimension, 2) virtual dimension vs physical dimension. It is meant by providing the viewer enter into a space where nano molecules interact with the viewer as well as among themselves. In fact, it is physically impossible to make this happen that is then perceived by the viewer in the real world. Thus, it is rather through the virtual navigation using viewer’s own body or by the AR interface. Here virtual dimension intermingles with the real dimension, creating the hybrid space of cross-dimension. The intention of this co-existing dimension was to project the human interpersonal relationships in the society onto the dynamics of nano-molecular structure. The attractive and repulsive forces between nano molecules have similarities with cultural tendency of how people in the society interact with each other. Artist is trying to pin point this aspect of similarity between nano scale dimension and the real society – macro dimension. The exhibition was thus to provide viewers with this contemplation on our material foundation and inter-relationships with this unique juxtaposition.
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
4.3 Collaborating Specialty Area To peruse the mission of the grant, we tried to merge three quite different specialties; 1) studio art, 2) nano science, and 3) ambience computing. For each specialty, an expert in the field got together in producing this multi-platform interdisciplinary works. Studio art part was led by Hyun Ju Kim who also conceptualized and directed the project as the main artist. Kim tried to put various art mediums to create the wholeness of the project. To make the installation tangible and interactive or sometimes immersive, the artist approached glass-making, metal-working, printing, video projection as well as physical computing and new media. With the assistant of two glass-making artists, a good number of molecular structures were embodied into a glass sculpture in Cross Dimension V1 and V2. We will discuss this later in the paper. A physicist Sungjong woo led Nano science part. Using his specialty in computational nano science research on fullerene and graphene, he contributed in the simulation of nano structures by calculating the molecular dynamics of small molecules and clusters of atoms based on the actual physics laws. Simulating the full interactions between the atoms are computationally very heavy due to the complexity of quantum mechanical electromagnetic interactions between electrons and nuclei among the adjacent atoms, making the simulation prohibitive in practice for an interactive artwork. Thus, for our simulations, an alternative approach was used, Van der Waals (VdW)-type inter-atomic interaction or force, which is still quite good for describing the actual molecular dynamics with much lighter computing load. Also, in principle, the interactions are remote with no contact, while objects in the macro world interact based on the contact. The remote interaction and the resulting attractive or repulsive inter-molecular dynamics provide the artist with a key concept to symbolize the interpersonal relationship in the macro world. This was then indicated in the work at the same time to indicate the cross-dimensional experience.
Figure 4. contact interaction(left) and remote interaction (right), image by Sungjong Woo Ambience computing part, led by computer scientist Yoo-Joo Choi, played an important role in Cross Dimension V3 which focused on creating the immersive virtual space. Ambience computing is a certain a trend and type of computing which emphasize ambient intelligence for an electronic environments that are sensitive and responsive to the presence of people. The major technique we used was to detect the position of the viewer using camera-based gesture detection.
Figure 5. Ambient intelligence characteristics (left) and human blobs detection using camera images (right), image by Yoo-Joo Choi
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
4.4 Scope The project consists of three different versions of exhibitions; 1) semi-permanent public installation at KGIT Center (2010.9~2011.3), 2) Cross Dimension – Hyun Ju Kim Solo Exhibition (2010.92010.10), and 3) a container box exhibition during the Convergence Culture Festival (2010.11) at Sangsang Madang and the vicinity of Hong-ik University in Seoul. Four different types of work under the same thematic umbrella were produced for the exhibitions. For the each exhibition, some works had to be slightly modified. Table 1. Different types of Cross Dimension works Title
Type
Medium
Dimension (Location)
Cross Dimension V1
Interactive public installation
LED, Glass, Aluminum, Microcontroller, sensor, custom software
5m * 8m * 2m (KGIT Center, Convergence Culture Festival)
Cross Dimension V2
Glass installation
Glass
2m * 3m * 2m (Gallery Palais De Seoul)
Cross Dimension V3
Interactive Installation
custom software, IR camera & beamer, projector
various dimension (Gallery Palais De Seoul)
Cross Dimension V4
Interactive AR Installation, Digital Print
custom AR software, print, wood
various dimension (Gallery Palais De Seoul, Convergence Culture Festival)
5. Work Details 5.1 Cross Dimension V1 Cross Dimension v1 is a tangible public interactive installation exploring transformative space and dimension by visualizing the nano-scale molecular structures into a macro-scale LEDs. The interacting light and glass sculpture provide viewer with the experience of contemplating his or her existence in multiple cross-dimensional spaces such as virtual vs real and nano vs macro spaces. 5.1.1 Design Process Visibility and tangibility was a necessary challenge as a public installation. After several experimentations with different materials, we decided to use glass which seems to best to perform the aesthetic visualization of molecular structures. Glass working involved with 1) creating glass ball to indicate atom by melting down a piece of glass cylinder, 2) creating the basic structure connecting the glass balls with glass rod, and finally 3) assembling more complicated molecular structure. Between each step and whenever assembly takes place, glass making artists had to keep the parts in the hot temperature and slowly cool down to prevent cracking. Forming a glass molecular structure had to be carefully planed. What kind of molecule to make and how to assemble the parts had be clear before taking any action. It was because glass was very fragile and crack & break problem happened very frequently during the assembly. To make the visualization process with glass making more predicable and consistent, the artist took the method of extracting a basic patterns to visualize the nano molecules. It was done by referring to the Protein Data Bank(PDB) visualization and by creatively making 9 different segments for the basic pattern. Glass making artists were given the orthogonal drawings of each pattern and carefully assembled multiple numbers of patterns for the installation.
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
Figure 6. 9 basic nano molecule patterns for glass work In addition to the public installation, it was also designed to be an interactive work to engage people more actively into the work. The artist used educational robotics technology to achieve the interactivity. Each interactive LED ball, hung from the ceiling was equipped with an ultrasound sensor to detect the presence of the viewer. It then triggers the blinking of LEDs in the ball. LEDs are programmed to blink in a certain rhythm while there is no interaction, and to directly respond to viewer when it happens.
Figure 7. A concept drawing for the installation of Cross Dimension V1(left) and a diagram of the interactive LED ball with ultrasound sensor (right)
5.2 Cross Dimension V2 Cross Dimension V2 is the gallery version of glass installation. It was necessary to recognize the difference in the audience group for two works. While the public installation was for more general and wider range of audience, gallery installation targeted for more focused groups in the related field. As a result, the work was installed more poetic and contemplative way by installing purely glass molecular patterns.
Figure 8. Installation view of Cross Dimension V1(left) and V2(right)
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
5.3 Cross Dimension V3 Cross Dimension v3 is an interactive installation exploring transformative space and dimension by visualizing the behavior of the nano-scale molecular structures based on scientific physical simulation algorithm. The viewer from the real/macro-scale world becomes one of molecules influencing van der waals force between the nano particles in the virtual/nano-scale space. As mentioned in the previous section, we used ambience computing technique of gesture sensing and computational molecular dynamic simulation. By doing so, we tried to keep the audience as a part of this cross dimension reality and have them directly interact with the metal atoms and Benzen rings as if they are one of the atoms in the screen. When the viewer trespasses the screen, because of the Van der Waals forces between molecules, atoms, initially clustered, scatter out and bounce back and forth from the boundary until they reach to the dynamic stability.
Figure 9. Installation view of Cross Dimension V3
5.4 Cross Dimension V4 Cross Dimension 4 is an interactive AR application where viewers use AR(augmented reality) interface in which they can pick one of familiar daily-use materials such as Caffeine, Vitamin B1 and Vitamin E. Viewers explore the structure and the space within the exaggerated representation of nano molecules, which creates the situation of juxtaposition of different dimensions (metaphorically though)- nano world and macro world into reality, thus creates the queer familiarity of these daily food materials. Molecule structures were researched in several protein PDBs online and were converted into vrml data so that it can be viewed in the marker based AR application.
Figure 10. AR interface with markers (left) and Installation view of Cross Dimension V4 (right)
6. Conclusion Art and science have the long history of inter-relationship. In this paper, we presented the theoretical background of art and science relationship and agreed with the need of directing toward the third culture of hybrid collaboration. Cross Dimension project, as an exemplary art and science collaboration, utilized the subject of nano science and projected into the context of humanities and arts. The dynamics and the structure of nano
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Cross Dimension Project: an Artistic Practice with Nano Science Hyun Ju Kim, Sungjong Woo, Yoo-Joo Choi
molecules and atoms were symbolically used to embody inter-personal relationships of people. By doing so, the space of experience became cross-dimensional one, intermingling of nano-scale dimension and macro dimension with people’s social space. The survey of the project after the three consecutive exhibitions showed that overall 73% of total responses(out of 100) were positive about valuing the interdisciplinary culture, especially understanding the collaboration of three major specialty fields related to the project: nano science, ambience computing and media art. However, there still remain many issues around the science and art collaboration. First the very frequent issue is in understanding collaborating partner. Sometimes, the merit of collaboration is not balanced, which weakens the tie between collaborators and eventually stopping the collaboration. This happens to be the issue for scientists rather than artists. It is because often times the art collaboration with science is quite far from pursuing the novelty findings for a professional scientist. The lack of understanding the value of the collaboration and the lack of proper systems to evaluate and critique the success of the collaboration are the additional hindrance of art and science collaboration.
7. Acknowledgment Cross Dimension project was possible by the generous support by the Korea Foundation for the Advancement of Science & Creativity (KOFAC), Korean German Institute of Technology (KGIT), Gallery Palais de Seoul, and Korea National University of Arts. Special thanks to Hwayoung Lee and Sunwoo Yong for their heart-felt assistant in glass-making, and SoonYoung Park for the management of the project.
8. References [1] [2] [3] [4]
Flusser, V., The Shape of Things, Reaktion Books, U.K.,1999. Snow, C.P., “The Two Cultures”, Leonardo, Vol. 23, No. 2/3, pp. 169-173, 1990. Bernstein, R., “ArtScience : The Essential Connection”, Leonardo, Vol. 37, No. 2, pp. 93-94 Im, G.S., “Crossroads: Science, Technology, Literature and Arts”, Physics & High Technology, April, pp. 44-46, 2009. [5] Ahn, O.S., “The Relationship between Natural Sciences and Humanities: Consilience Theory and Its Alternative Viewpoint”, Graduate Thesis, Seoul National University of Education, 2010. [6] Kim, H.J., “A Study on Hybridization and Syncretism in Media Art”, Journal of Korea Society of Image Arts and Media, Korea Society of Image Arts and Media, Vol.8, No.1, pp. 127-146, 2010. [7] VESNA, V., "Towards a Third Culture: Being In Between.", Leornardo On-line. Vol. 34, No. 2, pp. 121, 2001. [8] VESNA, V., "NANO: An Exhibition of Scale and Senses". Leonardo Vol. 38, No. 4, pp.310-316, 2005. [9] Ridder-Vignone, K.D., "Public Engagement and the Art of Nanotechnology", Leonardo Vol. 45, No. 5, pp.433–438., 2012. [10] Tarr, S. and Weiss, P.S., "Very Small Horses: Visualizing Motion at the Nanoscale", Leonardo Vol. 45, No. 5, pp.439–445, 2012. [11] Moore, T. N. , "Molecular Communication Paradigm Overview", JNIT: Journal of Next Generation Information Technology, Vol. 2, No. 1, pp. 9 ~ 16, 2011 [12] Matta, N., Atifi, H., Sediri,M., Sagdal,M., "Coordination Interactions Analysis in Design Projects", JCIS: Journal of Communications and Information Sciences, Vol. 1, No. 1, pp. 22 ~ 29, 2011 [13] http://www.nanoscience.com/education/overview.html [14] http://www.space-culture.com/kor/sub_G1009.asp
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