Week 8: NanoTech + Art (Travis Shibata-Bardaro)

    With this week’s lecture being presented by Dr. Gimzewski, the separation between art and science became rather difficult to distinguish. At the beginning of this class, we saw that modern thinking imposed a clear separation between the arts and sciences. Creativity, imagination, and intellectual freedom governed the former, while rationality, rigor, and adherence to laws governed the latter (“Art for Science”). However, nanoscience challenges this rationale because the focus and scope of the field is ambiguous leading to an increase in creativity and productivity among scientists and artists alike (Spector 348). This ambiguity has also given rise to inflated perception of the potential of nanoscience allowing the imagination of researchers and science fiction writers to take over (Gimzewski and Vesna).

Figure 1: A scale comparison of metric measurements including the nano (“The Scale of Things”).

    In particular, the main issue with nanoscience is scale. A nanometer is mathematically defined as a unit of length equivalent to one billionth of a meter or 10-9 meters, which is a size that lacks any tangible connection to human experience (Gimzewski and Vesna). Consequently, establishing an intellectual connection to the nanoscale becomes extremely difficult (Gimzewski and Vesna). A visual representation or aesthetic projection is important in understanding and navigating scientific concepts including data collection (Glowacki). Therefore, media artists, nano-scientists and humanists must collaborate to address the issue of visual scalability (Gimzewski and Vesna).
    Thus far, Glowacki and his laboratory have successfully integrated both artistic and scientific practices to develop ways to explore perception beyond vision including touch, audio, and proprioception. Developing a virtual reality software coined ‘Narupa,’ participants are able to interact with and manipulate real-time simulations of nanoscale structures (Glowacki). As Glowacki emphasizes, one of the major challenges in building this framework lies in designing aesthetic projections that enable multimodal sensory perception of nanoscale objects that are inherently beyond our direct experience. Consequently, close collaboration between artists and scientists is crucial since it encourages a positive feedback loop where both kinds of inquiry drive one another to explore new domains (Glowacki).

Video 1: Video example of ‘Narupa.’ (“Interactive Quantum Chemistry”).

    Another notable example is the collaborative project titled “Zero@Wavefuntion.” This project by Victoria Vesna and nanoscientist James Gimzewski allows individuals to carefully manipulate the buckminsterfullerene using the motion of their shadows (Vesna). According to Vesna, the purpose of the project was to make the inaccessible accessible in order to highlight the interconnectedness of molecules.
    Utilizing a different approach, Filipe Rocha da Silva explores how macroscale structures expose aspects of the nanoscale when observed from a distance (Spector). He accomplishes such by painting densely packed canvases that feature recursive depictions of people, buildings, and consumer goods that lose their individuality when viewed collectively, mirroring the atoms that compose the materials studied by nanoscientists (Spector).

Figure 2: Filipe Rocha da Silva’s exploration of macroscale paintings (Da Silva).

    Beyond perception, nanotechnology can also be used by artists for purely artistic purposes. One notable example is VantaBlack, a product developed by Surrey NanoSystems made of carbon nanotubes (Majeswki). Due to the light-absorbing properties of carbon nanotubes, VantaBlack appears exceptionally black (Majeswki). Unfortunately, VantaBlack was soon exclusively licensed to British artist Anish Kapoor leading to considerable controversy (Majeswki). Recognizing the significance of color in visual arts, a collaborative effort between scientists and artists ensued, resulting in the creation of Black 2.0 (Majeswki). This product is nearly identical to VantaBlack while also being increasingly accessible being fairly cheap and not requiring any special laboratory equipment (Majeswki). This collaborative endeavor demonstrates the power of artists and scientists working together as they were able to enhance a cutting-edge scientific discovery while making it more accessible in the process.

Figure 3: Example of VantaBlack on a bust (“Two Busts”).

Figure 4: Example of Black 2.0 (Semple).

Works Cited:

“Art for Science.” Nature Nanotechnology, vol. 14, no. 5, 2019, pp. 399–399, https://doi.org/10.1038/s41565-019-0459-1. 

Da Silva, Filipe Rocha. “Macroscale Structures.” Nano-Art, Science, and Tech, 2008, http://filiperochadasilva.com/assets/nanotechnology.pdf. Accessed 25 May 2023. 

Gimzewski, Jim, and Victoria Vesna. “The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science.” VictoriaVesna, vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm. Accessed 25 May 2023. 

Glowacki, David R. “Perceptions at the Nanoscale.” Nature Nanotechnology, vol. 14, no. 5, May 2019, pp. 403–403, https://doi.org/10.1038/s41565-019-0452-8. 

“Interactive Quantum Chemistry in VR: CN + Isopentane.” YouTube, uploaded by University of Bristol, 23 May 2019, https://www.youtube.com/watch?v=U_k1GXr5ubI. 

Majeswki, Oskar. “Nanotechnology and Nanomaterials; Where Science Meets Art.” Nano News, 18 Apr. 2017, blogs.flinders.edu.au/nano-news/2017/04/18/nanotechnology-and-nanomaterials-where-science-meets-art/. 

Semple, Stuart. “Black 2.0 Among Other Black Paints.” Twitter, 3 July 2017, https://twitter.com/stuartsemple/status/881956267731898369. Accessed 25 May 2023. 

Spector, Tami I. “Nanotechnology, Nanoscale Science and Art.” Leonardo, vol. 41, no. 4, Aug. 2008, pp. 348–349, https://muse.jhu.edu/article/243499/pdf. 

“The Scale of Things.” National Nanotechnology Initiative, National Nanotechnology Initiative, https://www.nano.gov/nanotech-101/what/nano-size. Accessed 25 May 2023. 

“Two Busts of The One Show Presenter Marty Jopson, One Coated with Vantablack.” Science Museum, Surrey Nanosystems, 3 Feb. 2016, https://blog.sciencemuseum.org.uk/vantablack-is-the-new-black/. 

Vesna, Victoria. “Victoria Vesna.” Victoria Vesna | Projects, 2002, victoriavesna.com/index.php?p=projects&item=16.