Lindas imagens!
Artist Kononenko described this interactive piece as “a microscope specimen, a map of symptoms, and an investigation of the unknown” in a statement accompanying it. Viewers can zoom in and explore the details of a microscope image of the peripheral nerve system, which is overlaid by textual facts and poetic phrases about sleep.Sleep is “a voluntary act of losing one’s own consciousness,” Konenenko explained in her statement. The poetic snippets resemble the fragmented thoughts humans have while falling asleep. And zooming in and out of the image represents the transition between wakefulness and sleep. Additionally, 31-3594 allows the viewer to act as a pathologist, achieving the goal of blending neuroscience and art. In assessing this unique piece, the jurors praised it for “the interactivity and playful combination of imagery of a human peripheral nerve with a text-based story that unfolds at various scales and highlights the role of the nervous system in the human condition.”
Red Haze by Nicki Coveña
A tsunami of red dots dominates this image by neuroscientist Coveña. The bright red color comes from a fluorescent protein, which was used to visualize the workings of TBR1—a gene that synthesizes the protein that regulates the information transfer from DNA to messenger RNA in vertebrate embryo development. “The out-of-focus view makes one guess at what details are hidden below,” the jurors wrote.
Motor White Matter Networks of the Human Brain by Sanja Budisavljevic
In this piece, neuroscientist Budisavljevic superimposed color onto a 19th-century black-and-white drawing of a brain based on a postmortem dissection. Each color indicates a different “highway,” or white matter pathway connecting particular regions of gray matter and allowing information to be transferred. Red indicates the most prominent highway, which links the cortex and spinal cord. “This pathway carries the messages to and from the body and allows us to function in our sensory world,” Budisavljevic says. Green represents the connection that supports coordination, and blue shows the one that regulates movements.
Bdl by Paméla Simard (Alex Tran, photographs)
Artist Simard partnered with Hunter Shaw, a neuroscientist then at McGill University, to create a series of delicate wooden sculptures. “The various installations were created from fluorescent microscopy images representing the visual system of the fruit fly brain,” Simard wrote in her statement. The intricate details of the fruit fly visual system were made possible by first laminating the thin slices of different types of wood together, then hand cutting the result to mimic the microscope images.
Whale Retina Rainbow by Elena Vecino Cordero and Luis López Vecino
In February 2019 the death of a whale in Sopelana Beach in Spain made the local news. The beach happened to be close to the University of the Basque Country, where biologist Vecino Cordero works. Seizing the opportunity, she and some volunteers extracted the eye of the whale and took it back to her ophthalmology research group for further study. The image was produced as a part of their research. The whale’s retina was imaged using scanning electron microscopy. And later López Vecino added the colors using Adobe Photoshop.
Sensing Spin by Dan Jagger
Physiologist Jagger used a high-resolution microscope to capture this image. It shows mechanosensory hair cells located in the inner ear that play a role in the sense of balance. A protein called actin is within bundles of stereocilia and is stained yellow. Actin helps the bundles to stand upright, so when the human head turns, they can detect the movement of the fluid they are immersed in. The hair-cell nuclei are stained with cyan.
The Protection of Nature Starts in Our Mind by Robert Luck
Luck is a neuroscientist at Heidelberg University in Germany who studies the development of the cerebellum, located where the spinal cord meets the brain. Alarmed by climate change and deforestation, he created a “mind forest” that resembles bird’s-eye-view photographs of real forests. The “trees” are 65 individually traced images of mice’s Purkinje neurons, which play important roles in controlling coordination and movements. “I chose the number 65 to represent the number of years needed for the rainforest to regrow and gain back at least 80% of its diversity,” Luck wrote in his statement. “[Sixty-five] years—a human lifetime!”
Memories and Patterns: Oligodendrocytes by Shanthi Chandrasekar
Oligodendrocytes are glial cells that support and insulate long neuronal axons. The cells’ lipid membrane wraps around the axons to strengthen the structure, as well as to help neurons to send signals quickly. “A single oligodendrocyte can connect with multiple axons,” artist Chandrasekar wrote in her statement. “In this [pen-and-ink] drawing, I have tried to bring out the connectedness of the oligodendrocytes and the axons.”
Shelter in Place by Geinene Carson
As its title suggests, this piece represents “the artist’s interpretation of the pandemic experience” while sheltering in place because of COVID-19, according to artist Carson’s statement. This acrylic-on-canvas piece is a part of a series entitled Neuron, which started as “visual prayers for our daughter with a rare genetic disorder,” Carson wrote on her Web site. While Shelter in Place implies physical restrictions, Carson, who is based in Atlanta, draws inspiration from the neural network, “because as important as our physical surroundings are to our state of living, our thought life holds the key to thriving within whatever the circumstances may be,” she wrote.
Bridges between Genesis and Neuroscience: Triplets by Rui Rodrigues
This image features three neurospheres—clusters of neural stem or progenitor cells—that are similar in size and shape. Because of their similarity, neurobiologist Rodrigues entitled the piece Triplets. The vibrant colors come from “antibodies coupled with fluorescent tags to label specific proteins,” he says.
The Transfer by Geinene Carson
Motor Neuron Architectural Digest by Stefanie Hauck - University of Bonn
Illuminating The Vascular Network - EPFL by Marwan Abdellah
フランスで5月までクラウドファンディング中です。
フランスで5月までクラウドファンディング中です。 おまけのミニポスターのイラスト①東京シリーズ
It is cloud funding in France until May.
It is cloud funding in France until May. Illustration of extra mini poster ① Tokyo series
https://fr.ulule.com/shinji-tsuchimochi-les-images-derisoires/news/
Chopin, Bach used human speech ‘cues’ to express emotion in music
Music has long been described, anecdotally, as a universal language.
This may not be entirely true, but we’re one step closer to understanding why humans are so deeply affected by certain melodies and modes.
A team of McMaster researchers has discovered that renowned European composers Frédéric Chopin and Johann Sebastian Bach used everyday speech “cues” to convey emotion in some of their most famous compositions. Their findings were recently published in Frontiers of Psychology: Cognition.
Their research stemmed from an interest in human speech perception — the notion that “happy speech” for humans tends to be higher in pitch and faster in timing, while “sad speech” is lower and slower.
These same patterns are reflected in the delicate nuances of Chopin and Bach’s music, the McMaster team found.
To borrow from Canadian singer-songwriter Feist, we “feel it all” because the music features a very familiar cadence or rhythmic flow. It’s speaking to us in a language we understand.
“If you ask people why they listen to music, more often than not, they’ll talk about a strong emotional connection,” says Michael Schutz, director of McMaster’s MAPLE (Music, Acoustics, Perception & LEarning) Lab, and an associate professor of music cognition and percussion.
“What we found was, I believe, new evidence that individual composers tend to use cues in their music paralleling the use of these cues in emotional speech.” For example, major key or “happy” pieces are higher and faster than minor key or “sad” pieces.
The team also discovered that Bach and Chopin appear to “trade-off” their use of cues within the examined music.
Sets with larger pitch differences between major and minor key pieces had smaller timing differences, and vice versa. This may reflect efforts to balance the cues to avoid sounding trite, Schutz explains.
Schutz and Matthew Poon, a Music alumnus from the Class of 2012, began analyzing a complete body or “corpus” of three 24-piece sets by Chopin and Bach several years ago, as part of an Undergraduate Student Research Award (USRA) project. Poon is now a graduate student at the University of Toronto.
The pair analyzed all 48 preludes and fugues from J.S. Bach’s Well-Tempered Clavier (Book 1); as well as all 24 of Chopin’s Preludes (Op. 28). The pieces were chosen based on their historical significance and enduring popularity amongst performers, educators and audiences.
In order to ensure the tonal areas of each composition stayed in their stated keys, analysis was confined to the first eight complete measures — excluding pick-ups — from each of the 72 pieces.
Previous research on musical emotion has often involved manipulating existing melodies and compositions, Schutz explains. For example, transposing a melody higher or playing a song slower than written, in order to explore changes in emotional responses.
The McMaster-led study built upon that work by exploring how Bach and Chopin used emotional cues in their actual work — music still performed and enjoyed on a regular basis, hundreds of years after it was composed.
Can the same research be applied to modern pop music? Schutz says yes, although it’s much easier to analyze classical music based on the availability of sheet music and detailed notation, he offers.
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Each month, we highlight a different research topic on the International Space Station. In May, our focus is physical science.
The space station is a laboratory unlike any on Earth; on-board, we can control gravity as a variable and even remove it entirely from the equation. Removing gravity reveals fundamental aspects of physics hidden by force-dependent phenomena such as buoyancy-driven convection and sedimentation.
Gravity often masks or distorts subtle forces such as surface tension and diffusion; on space station, these forces have been harnessed for a wide variety of physical science applications (combustion, fluids, colloids, surface wetting, boiling, convection, materials processing, etc).
Other examples of observations in space include boiling in which bubbles do not rise, colloidal systems containing crystalline structures unlike any seen on Earth and spherical flames burning around fuel droplets. Also observed was a uniform dispersion of tin particles in a liquid melt, instead of rising to the top as would happen in Earth’s gravity.
So what? By understanding the fundamentals of combustion and surface tension, we may make more efficient combustion engines; better portable medical diagnostics; stronger, lighter alloys; medicines with longer shelf-life, and buildings that are more resistant to earthquakes.
Findings from physical science research on station may improve the understanding of material properties. This information could potentially revolutionize development of new and improved products for use in everything from automobiles to airplanes to spacecraft.
For more information on space station research, follow @ISS_Research on Twitter!
Make sure to follow us on Tumblr for your regular dose of space: http://nasa.tumblr.com
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