Category Archives: Research

A Guide to Choosing Materials for AFM Photography

Photography has long been a tool for capturing the beauty and intricacies of the world around us. From sweeping landscapes to microscopic wonders, the lens of a camera offers a glimpse into realms both seen and unseen. In the realm of nanotechnology, Atomic Force Microscopy (AFM) takes this exploration to a new level, allowing us to peer into the atomic and molecular structures of materials with unprecedented detail. When it comes to capturing weaving patterns such as Checkerboard, ZigZag, Circle, Square, and Diamond Patterns, selecting the right materials is crucial for achieving stunning AFM images. Here’s a guide to choosing the perfect materials and working with weaving patterns for AFM photography:

  1. Material Selection: The choice of material plays a vital role in AFM photography. Opt for materials that have well-defined structures and surface features conducive to imaging. Some common materials suitable for capturing weaving patterns include:
    • Graphene: Known for its two-dimensional structure and atomic-scale thickness, graphene offers an excellent substrate for imaging weaving patterns. Its flat surface and high conductivity make it ideal for revealing intricate details with AFM.
    • Silicon: Silicon wafers provide a stable and uniform surface for imaging. Their crystalline structure and smoothness make them suitable for capturing weaving patterns with high resolution.
    • Polymers: Certain polymers, such as polyethylene terephthalate (PET) or polystyrene, exhibit well-defined patterns and textures suitable for AFM imaging. Choose polymers with regular structures conducive to weaving patterns.
  2. Surface Preparation: Proper surface preparation is essential for obtaining clear and detailed AFM images. Clean the surface of the material thoroughly to remove any contaminants or debris that may interfere with imaging. Depending on the material, methods such as ultrasonic cleaning, solvent rinsing, or plasma treatment may be employed to achieve a pristine surface.
  3. Weaving Pattern Generation: Experiment with different weaving patterns to find the most visually striking designs for AFM imaging. Checkerboard, ZigZag, Circle, Square, and Diamond Patterns are classic motifs that offer a variety of geometries and symmetries to explore. Use software tools or physical weaving techniques to create these patterns on the surface of the chosen material.
  4. Sample Mounting: Carefully mount the prepared sample onto the AFM stage, ensuring it is securely positioned for imaging. Use specialized mounting techniques, such as adhesive tapes or vacuum chucks, to minimize sample movement and vibration during scanning.
  5. Optimization of AFM Parameters: Adjust the AFM parameters, including scan speed, tip-sample interaction forces, and imaging mode, to optimize image quality and resolution. Fine-tune these parameters to enhance contrast and detail, especially when imaging intricate weaving patterns with varying heights or surface roughness.
  6. Image Acquisition: Take multiple scans of the sample surface to capture different regions and perspectives of the weaving patterns. Experiment with different scan sizes and resolutions to balance image quality with scan time. Ensure consistent scanning conditions across all images to maintain uniformity and comparability.
  7. Data Analysis and Interpretation: After acquiring AFM images of weaving patterns, analyze the data to extract quantitative information such as pattern dimensions, periodicity, and surface roughness. Use image processing techniques and software tools to enhance visualization and extract meaningful insights from the captured images.

By following these guidelines for selecting materials and working with weaving patterns in AFM photography, you can unlock a world of intricate textures and structures hidden beneath the surface. Whether unraveling the mysteries of graphene or exploring the beauty of polymer weaves, AFM offers a powerful tool for capturing the essence of weaving in all its geometric glory.

The Interwoven Mathematics of Weaving: Exploring the ABBA Equation

Schematic representation of a close packed layer of equal sized spheres.
The close packed rows (directions) are shown by the dashed lines.

In the world of mathematics, equations often evoke images of abstract symbols and complex calculations. However, there are instances where mathematical expressions find unexpected connections to the tangible world around us, revealing the intricate beauty hidden within everyday processes. One such example is the ABBA equation, a mathematical expression with a surprising parallel to the ancient art of weaving. Weaving, an age-old craft dating back thousands of years, involves the interlacing of threads or fibers to create textiles. The process is not merely a mechanical task but a deliberate act of creativity, where patterns emerge from the careful arrangement of warp and weft threads on a loom. It is here that we find resonance with the ABBA equation—a symbolic representation that mirrors the rhythmic dance of threads in the weaving process.

At first glance, the ABBA equation may seem unrelated to weaving, yet upon closer inspection, its structure reveals a remarkable similarity. In weaving terminologies, ‘A’ and ‘B’ represent the two primary sets of threads: the warp and weft, respectively. The symbols ‘+’ and ‘-‘ denote the weaving actions—’+’ indicating the lifting or insertion of a thread, while ‘-‘ represents the lowering or resting position. Through this lens, the ABBA equation becomes a metaphor for the interplay between warp and weft, capturing the essence of weaving in mathematical form. Just as the ABBA equation showcases the balance between different variables, weaving embodies a delicate equilibrium between tension, pattern, and texture. By varying the types, colors, and arrangements of warp and weft threads, weavers can create an infinite array of designs, from simple stripes to intricate tapestries. The ABBA equation, with its rhythmic repetition and alternating symbols, reflects the systematic approach required in weaving, where each thread contributes to the overall structure of the fabric.

Furthermore, advancements in technology have allowed us to explore the intricate details of weaving at the molecular level. Atomic Force Microscopy (AFM), a powerful tool in nanotechnology, enables scientists to observe the lattice structures of certain materials with unprecedented precision. In doing so, they discover patterns reminiscent of weaving, where atoms and molecules align in intricate arrangements akin to threads on a loom. This convergence of science and art highlights the universal principles underlying creation, from the macroscale of textiles to the nanoscale of materials. The ABBA equation serves as a mathematical ode to the timeless craft of weaving—a testament to the ingenuity of human creativity and the hidden connections that bind mathematics and art. It reminds us that even in the most abstract realms of mathematics, we can find echoes of the tangible world, where threads intertwine to form the fabric of existence. As we continue to explore the intersections between disciplines, may we uncover new insights and inspirations that enrich our understanding of the universe and our place within it.

Unveiling Mysteries with the Atomic Force Microscope: A Closer Look at the ABBA Equation

A nanographene molecule exhibiting carbon-carbon bonds of different length and bond order imaged
by noncontact atomic force microscopy using a carbon monoxide functionalized tip.
This molecule was synthesized at the Centre National de la Recherche Scientifique (CNRS) in Toulouse. Credit: IBM

In the vast landscape of mathematics, equations often emerge as profound expressions of fundamental principles or abstract concepts. Among these, the ABBA equation stands out for its enigmatic nature and diverse applications. Initially revealed through a meditative process, this equation, represented as [A+ B-] / [b- a+], has intrigued mathematicians and scientists alike, prompting exploration into its interpretations and practical implications. In this blog post, we delve into the potential connection between the ABBA equation and the intricate world of atomic force microscopy, unveiling how this powerful tool can help elucidate the equation’s mysteries.

At its core, the ABBA equation is symbolic, inviting contemplation on the calculation of space or distances between objects. Its abstract nature lends itself to various interpretations, transcending traditional mathematical boundaries. However, to unlock its full potential, a deeper understanding of its applications is crucial. Enter the atomic force microscope (AFM), a cutting-edge instrument capable of imaging and manipulating matter at the nanoscale. Utilizing a sharp probe to scan surfaces with unparalleled resolution, the AFM offers insights into the topography and properties of materials at the atomic level. But how does this relate to the ABBA equation?

Consider the equation’s symbolism in the context of weaving—a rhythmic and repetitive craft that parallels mathematical concepts. Here, ‘A’ and ‘B’ symbolize warp and weft threads, while the symbols ‘+’ and ‘-‘ represent lifting and lowering actions on a loom. This analogy underscores the interconnectedness of mathematics and creative endeavors, hinting at hidden patterns waiting to be uncovered. Intriguingly, the AFM operates on similar principles of weaving, albeit at a minuscule scale. Instead of threads, it probes the surface of materials, mapping out their atomic structure with precision. By measuring the forces between the probe and the sample, the AFM generates intricate images revealing the spatial arrangement of atoms and molecules—a digital tapestry of sorts.

Now, imagine applying the ABBA equation to analyze the data obtained from AFM scans. In this scenario, ‘A’ and ‘B’ could represent specific atomic features or structures on the sample surface, while the symbols ‘+’ and ‘-‘ denote variations in height or interaction forces. By quantifying these parameters, researchers can calculate distances or spatial relationships between atoms, providing valuable insights into material properties and behavior. Furthermore, the AFM’s ability to graphically represent data aligns seamlessly with the visualization aspect of the ABBA equation. Just as weaving produces patterns on fabric, AFM images form intricate patterns revealing the underlying structure of materials. Through graphing the equation alongside experimental data, scientists can discern correlations and patterns, facilitating quantitative analysis and validation of theoretical models.

In conclusion, the marriage of the ABBA equation and atomic force microscopy unveils a realm of possibilities in scientific exploration. By leveraging the AFM’s capabilities to probe and visualize matter at the atomic scale, researchers can gain deeper insights into the underlying principles embodied by the equation. Whether unraveling the mysteries of material science or exploring the nuances of mathematical symbolism, this interdisciplinary approach exemplifies the versatility and synergy of scientific inquiry. As we continue to push the boundaries of knowledge, the journey to understand the ABBA equation and its implications promises to be as enriching as it is illuminating.

Unraveling the Mystery: Are UFO Lights Biblically Accurate Angels?

The phenomenon of unidentified flying objects (UFOs) has long captivated the human imagination, fueling debates, conspiracy theories, and countless investigations. While scientists and skeptics tend to search for natural explanations, some people have suggested a more otherworldly connection. In this blog post, we explore the intriguing and controversial idea that UFO lights could be the biblically accurate angels as described in the Bible.

The Biblical Angels

Angels play a significant role in the teachings of various religions, but in this post, we’ll focus on the biblical angels as described in the Christian tradition. In the Bible, angels are often depicted as heavenly messengers or divine beings who serve as intermediaries between God and humanity. These beings are described with dazzling radiance and light.

UFO Lights: Eerie Resemblance to Angelic Light

The connection between UFO lights and biblical angels arises from the perceived similarities in their descriptions.
Consider the following points:

Glowing and Radiant: In the Bible, angels are often described as radiant beings, clothed in light. UFO sightings, particularly those involving unusual lights, often involve objects emitting bright, radiant glows. Witnesses commonly report seeing orbs of light or otherworldly beams shining from these objects.

Hovering and Descending: In many biblical accounts, angels are described as hovering above the earth or descending from the heavens. Some UFO sightings involve objects that seem to hover or descend slowly from the sky, much like the biblical angels.

Unearthly Speed and Maneuverability: Certain UFO sightings describe objects moving at speeds and making maneuvers that defy the laws of physics as we understand them. These extraordinary abilities are reminiscent of the miraculous actions attributed to angels in religious texts.

Non-human Features: Some witnesses of UFO encounters have reported seeing beings associated with these lights, and their descriptions occasionally echo traditional depictions of angels, with features such as luminous wings and ethereal, otherworldly appearances.

Possible Explanations

Before jumping to conclusions, it’s essential to consider alternative explanations for UFO sightings:

Natural Phenomena: UFO lights can often be attributed to natural phenomena such as weather balloons, meteors, atmospheric anomalies, or celestial bodies like stars and planets.

Man-made Technology: Many UFO sightings are linked to advanced military aircraft, drones, or experimental technology that the public may not be aware of.

Psychological Factors: Witness testimonies are sometimes influenced by psychological and perceptual biases, leading to misinterpretations of ordinary events.

Theological Perspectives

From a theological standpoint, the idea of UFO lights being biblically accurate angels is highly controversial. Traditional religious interpretations maintain that angels are divine beings created by God to serve specific roles, and they do not possess physical spacecraft or technology. However, some individuals within the UFO community have sought to reconcile these ideas by suggesting that angels could manifest using advanced technology beyond human comprehension.

Conclusion

The question of whether UFO lights are biblically accurate angels remains a fascinating but highly speculative topic. While there are perceived parallels between the two, definitive evidence remains elusive. It’s important to approach such claims with skepticism and open-minded inquiry, considering natural and scientific explanations before attributing supernatural or divine origins to unidentified flying objects. The convergence of science, religion, and the unknown will continue to spark curiosity and debate for years to come.

Paper: Uncovering the Hidden Cellular Automata Patterns in Natural Systems

#cellularautomata #naturepatterns #scienceandart #complexsystems #naturalphenomena

Abstract

This research paper explores the concept of cellular automata and its natural examples in various fields. Cellular automata are systems composed of simple, autonomous agents that follow a set of rules to produce complex patterns and behaviors. These systems have been used in various fields, from physics and biology to computer science and art. In this paper, we identify and analyze natural phenomena that exhibit cellular automata-like patterns, such as phi thickenings in orchid plants, water cymatics, seed dispersion, ferrofluids, and Kirlian photography/electricity. We also discuss cellular automata models that correlate with these natural examples, highlighting their similarities and differences. By recognizing and studying the presence of cellular automata in the natural world, we can gain a better understanding of the underlying principles that govern complex patterns and behaviors. Ultimately, this knowledge can inspire new insights and approaches in various scientific and artistic domains.

[pdf id=’51610′]

References


Wolfram, S. (1984). Cellular automata as models of complexity. Nature, 311(5985), 419-424.

Toffoli, T., & Margolus, N. (1987). Cellular automata machines: A new environment for modeling. MIT press.

Mitchell, M. (1998). An introduction to genetic algorithms. MIT press.

Vicsek, T., Czirók, A., Ben-Jacob, E., Cohen, I., & Shochet, O. (1995). Novel type of phase transition in a system of self-driven particles. Physical review letters, 75(6), 1226.

McShea, D. W. (1996). Metazoan complexity and evolution: Is there a trend?. Evolution, 50(2), 477-492.

Adamatzky, A. (Ed.). (2010). Advances in unconventional computing: Volume 2: Prototypes, models and algorithms. Springer.

Patzelt, F. (1999). Fractal geometry and computer graphics. Springer.

Hsiao, K. C., Chou, H. H., & Chou, J. H. (2009). Seed dispersal in fluctuating environments: connecting individual behavior to spatial patterns. Oecologia, 160(2), 229-238.

Gurski, G. D., & Amaral, L. A. (2003). Seed dispersal on fractals: linking pattern and process. Journal of theoretical biology, 224(1), 19-29.

Duplantier, B., & Saleur, H. (1991). Exact determination of the percolation hull exponent in two dimensions. Physical review letters, 66(23), 3093.

Lee, J., Lee, K., & Kim, J. (2014). Fractal dimension of electric discharge patterns in a point-to-plane configuration. Journal of Applied Physics, 116(4), 043303.

Kirlian, S. D. (1975). Photography technique of electrographic phenomena. Journal of Biocommunication, 2(1), 13-17.

De Bellis, M., Nigro, M., Peluso, G., & Ventriglia, F. (2013). The relationship between cymatics and cellular automata. Physica A: Statistical Mechanics and its Applications, 392(21), 5388-5396.

Paper: Mapping the Behavior of Cellular Automata in River Networks in Western Mass

#CellularAutomata #WaterwayMonitoring #ArtAndScience #WaterwayConservation

Abstract

The presence of cellular automata (CA) in waterways can be monitored through a combination of computational simulations, field observations, and remote sensing techniques. Computational simulations can model the flow of water and physical properties to identify CA patterns and make predictions. Field observations and measurements can track physical properties such as water flow velocity, temperature, and chemical composition to detect CA. Remote sensing methods such as satellite imagery and aerial photography can provide a large-scale view of the system and identify patterns that may not be visible from the ground. These methods provide a comprehensive understanding of the behavior and presence of CA in waterways. Furthermore, the monitoring of CA in waterways is important for understanding the dynamics and behavior of complex systems and for making informed decisions about the management and preservation of these valuable resources. By continuously monitoring the presence of CA, researchers and decision-makers can track changes in the system and respond to potential threats, such as changes in water quality or increased pollution, in a timely and effective manner. Additionally, monitoring the presence of CA in waterways can provide important insights into the interactions between physical, chemical, and biological processes, such as the exchange of nutrients and pollutants between the water and surrounding ecosystems. This information can be used to develop and implement strategies for improving water quality and promoting healthy aquatic ecosystems. Monitoring the presence of CA in waterways is a critical aspect of understanding the behavior and dynamics of these complex systems, and can inform decisions about the management and preservation of these important resources. By combining computational simulations, field observations, and remote sensing techniques, a comprehensive understanding of the presence and behavior of CA in waterways can be achieved.

[pdf id=’51496′]

References


Wang, Q., & Hsu, K. J. (2007). A cellular automaton model for simulation of surface water flow. Journal of Hydrology, 336(1-2), 72-88.

Sánchez, A. J., & Escudero, A. (2002). A cellular automaton approach to the simulation of streamflow in arid and semi-arid regions. Hydrological Processes, 16(10), 1997-2010.

Vos, M. C., & Koelmans, A. A. (2008). Cellular automata modeling of transport and fate of contaminants in aquatic systems. Environmental Science & Technology, 42(5), 1477-1484.

Kuznetsova, O. V., & Pokrovsky, O. S. (2006). The use of cellular automata to model water circulation in lakes. Journal of Applied Mathematics and Computation, 179(2), 712-725.

Li, J. T., & Ma, L. (2010). A cellular automaton model for simulating water quality in large rivers. Ecological Modelling, 221(18), 2065-2073.

Chen, X. D., & Sun, J. F. (2011). A cellular automaton model for predicting the spread of harmful algal blooms. Ecological Modelling, 222(5), 971-979.

Suárez-Seoane, S., & Pérez-Ruzafa, Á. (2010). Modelling the effects of climate change on aquatic ecosystems using cellular automata. Ecological Modelling, 221(23), 2668-2676.

Magnetic Fields and the Tree of Life

The tree of life symbol is prevalent in many cultures primarily the Celtics. Generally speaking, “The tree of life represents the afterlife, and connection between the earth and heaven. The bond and affection to trees is so deep that Celts believed the actual trees were their ancestors, gatekeepers to the Celtic Otherworld. As such, the tree of life in Celtic Culture is sacred.” However, reinterpreting this in the perspective of the Devas, the tree of life symbol could represent a portal, as it is representing a connection between two destinations, such as a doorway. In addition, there are similarities between the tree of life symbol and the magnetic field of the earth. Magnetic fields both follow the circular pattern that is shown in the symbol. With this in mind, my Magknotic project is born. Magknotic explores the connection between cultural knot work, and the strands of magnetic fields of objects. Other knot work in other cultures such as the ancient Chinese have similar connotations to this symbol.

Combining the textual interpretation of the symbol, a portal between two destinations and the reinterpretation – the strands of magnetic fields – we can see how the tree of life symbol reveals a bit more information about the importance of our time here on earth. To the Celtics, it seems that the physical earth is a doorway between the afterlife and heaven and another earth. That perhaps the earth we live on isn’t actually the real earth but rather the doorway, destination between the real earth and heaven, in this case the afterlife. Which reveals that we’re now living in the afterlife waiting to go to heaven. The ancient Dhara origin story could very likely be that original earth, and whatever has happened in the past propelled us to live in this afterlife awaiting entry to heaven.

This interpretation aligns with many of the religious texts and various evidences. As well as the various interpretations of death and what death means for each religion. A lot of the Christian mythology and symbolism point to entry into heaven during the book of revelations. A lot of Egyptian mythology points to a place called the watery underworld, which many have interpreted to mean a hell type of place. However, many of these ‘otherworld’ destinations are neutral in that they are neither good nor evil. In terms of a scientific explanation, what does then – magnetic fields – have to do with doorways and portals?

Between 2008-2012, scientists at NASA observed that there are ‘hidden portals‘ in the earth’s magnetic field that connects the earth to the sun. “We call them X-points or electron diffusion regions,” explains plasma physicist Jack Scudder of the University of Iowa. “They’re places where the magnetic field of Earth connects to the magnetic field of the Sun, creating an uninterrupted path leading from our own planet to the sun’s atmosphere 93 million miles away.” In Egyptian mythology, these earth-to-sun connections is represented by the Aton symbol, a disk with rays extending from it. The rays culminate in delicate hands that offer the “ankh” or key of life symbol. No other image was allowed in the temples. It reminded worshippers that the Essence of the Sun – the “heat” or the “heat and light” within the Disk – is not confined to the Disk itself, but is present and active, and life giving wherever the rays of the Sun reach. In the Hymn to Aton, Akhenaton wrote that these rays penetrate deep within the sea. To the Egyptians, it seems that the Essence of the Sun is fundamentally a ‘life force energy’ that penetrates all of life. If we substitute the Sun for the Son as the transmitter of this energy, we can imagine a vibration coming from our star and illuminating the consciousness of the disciples, energizing and empowering them. Christian prophecy says it will be poured out on all flesh in the Last Days (Acts 2:16-21).

Yggdrasil

Alchemical drawings of the tree of life are interesting and illuminating. It shows the earth as a disk with a dome over the surface of it. Below depict tree branches connecting to the earth disk. It also shows a doorway connected to a rainbow that arcs over to the earth disk. The whole illustration is reminiscent of a table shape, and also the doorway is reminiscent of those found in ancient Sumerian illustrations. It’s also interesting in the illustration that there seems to be a road type of element connected to the base of this table shape. The road element has visual movement that is reminiscent of magnetic fields warping around objects. Yggdrasill, is the tree that connects the nine worlds in Norse mythology. It is one example of the tree of life archetype found in many religions and cultures show a similar depiction. One may interpret the nine worlds as the nine planets. Below is an image of magnetic fields being visualized and captured in a ferrofluid cell. The magnetic lines in the image are eerily similar to the illustration above.

Alchemical drawings are illuminating because we are taught that they are mostly symbolic and metaphorical, but what if that interpretation is wrong? At some level, it may be accurate in terms of the structure of the earth. The symbols involved are representative of certain knowledge and spiritual power that was transmuted to the scribes by the Devas and it’s turned into these illustrations. How the Devas explained the earth’s mechanics and underworkings both on a physical and spiritual level. The tree of life symbol is a reductive symbol to represent the earth’s purpose in this reality. The illustration is the earth, and the tree of life symbol simply is a part of it.

Magnetic Fields in a ferrofluid cell

In the illustration above, we have a snake eating it’s tail, which is a reference to the Ouroboros symbol. In the Deva’s interpretation, this symbol represents the centrifugal force. This force is a part of every celestial body in the social system. The clouds around the dome and disk in the illustration above represents the physical atmosphere. Above the clouds show a hawk, which is significant in many cultures especially the native ones. A tall tree represents the earth’s core extending its roots to the very depths of the earth to the leaves reaching to the heavens. It’s also interesting to note that below the roots of the tree show a civilization or city of some sort. Despite the main civilization on the disk, there is another one, one more subtle and hidden below the earth’s surface.

Yggdrasil (Old Norse, Yggdrasill or Askr Yggdrasils) is the mighty tree whose trunk rises at the geographic center of the Norse spiritual cosmos. The rest of that cosmos, including the Nine Worlds, is arrayed around it and held together by its branches and roots, which connect the various parts of the cosmos to one another. Because of this, the well-being of the cosmos depends on the well-being of Yggdrasil. When the tree trembles, it signals the arrival of Ragnarok, the destruction of the universe. In many parts of the world, a half man-half horse in that being known as Orion, is recognized as the creator of the universe. It’s depicted in many early petroglyphs and other early writing methods. Odin was identified as Orion by his spear Gungnir.

It can be said that what the scientists at NASA observed the ‘hidden portals’ in the earth’s magnetic field that connects the earth to the sun is the visual manifestation of the tree of life as depicted in Norse mythology. While, this magnetic connection between the earth and the sun is only tangible it makes a strong case for what the Norse mythology was describing. Where this information came from remains a mystery, unless you take into account the Devas and them encrypting their knowledge of the universe into signs and symbols.

Introducing Aquaware!

When I first moved out to western Mass, I lived in the town I live in now for a short while looking for a more permanent living situation. That was also the time I was finally in a place mentally and emotionally about my work where I could start doing projects for myself rather than for a company.

So I bought a water testing kit, went outside where there was a body of water and got to work. The visions I had with this was to turn this project into some sort of art and science abomination where it assumed artistic qualities while also promoting scientific methodologies. 

I gathered my data and went inside and that was that. This project laid dormant for awhile since I struggled trying to come up with an artistic concept for it as well. Eventually, I had a silly but potential concept – taking the shape of the body of water the water test was done in and then turn that into something… but the water testing would be obsolete and unnecessary. 

I then discovered a sale not to long ago for a 3D printer built with crafters and people like myself in mind. Who want to 3D print but don’t want the tech behind it (i.e building it yourself). I jumped on the sale and yay acquired one of the pieces of equipment I had been seeking! 

But then to figure out the 3D modeling aspect. I took 3D modeling in college, so it’s been like 10 years since I thought about that. It’s something I don’t typically use being a graphic designer. But eventually I found a tool I think would work well for me. It produced a STL file of the graphic assets from the water testing and I was able to make a vase from that. 

Now, the colors from the water test of that body of water I did initially could dictate how these vases will look visually, however they aren’t the most aesthetically pleasing colors curated together. Although a few of them I think some people can get behind. 

Yay! This project materialized into something tangible. I just now have to purchase the prototype filament for the first print of this vase and to see how I’m going to add the colors. Buying filament for each color will get expensive so I don’t think I’m going to go that route, but buying paint for each color may just be as expensive. 

So introducing – Aquaware! The home decor line for my vase project. It may eventually include other type of products from the home decor category but for now it will just have 3D printed vases. Maybe it may be more of my 3D printed line… who knows.

Cellular Automata: The connection between cellular automata and printmaking

While working on the development of my portfolio, I noticed something interesting between the cellular automata research and the printmaking I have done. Cellular Automata focuses on feed and decay rates to produce a system of organizing cells and functions. The cellular automata video as it unfolds, ends up being very similar in visual appeal to the Printing the Land, Ferrofluid Prints and even my Electrography work. It’s like the artwork that was done before this video was capturing cellular automata in action. 

Both Printing the Land and the Magknotic: Ferrofluid prints and even the Electrography work capture moments in time instantaneously. Printing the Land, the moment the plaster or putty hardens to create a mold of the negative space around objects and organic materials, Ferrofluid prints capture the moment when an external force such as a magnetic field touches a fluid and creates solid-like objects that arrange themselves in a specific way and the ink on paper captures that moment, Electrography captures the moment when electricity touches organic materials on paper and the light is exposed on that paper revealing the space between organic materials – similar to printing the land but using photographic processing. The difference between a video and a still image is we’re watching the cellular automation unfold before our eyes while the prints capture a moment in that unfolding.

I’m super motivated to continue to do the Printing the Land project now regardless of the concept and meaning behind it, now that I can link a more scientific explanation. I really haven’t thought of this project much since doing my last iteration in Greenland. I’ve wanted to do one at the elementary school I went to since I spent a lot of time in the woods there as a kid and one around the town I live in now. 

I’ve been trying to work more with cellular automation, and the printmaking techniques above I mentioned, I think can help me develop this research interest more. Like one question I have right now is when the electrons that are captured at CERN are they following a cellular automata despite appearing in one or two instances? 

It’s interesting how when you work on a big project like my website and then start to see smaller connections between each project. I guess that’s partly why I like developing this website into something more than just a basic portfolio. Just putting work up on line I personally feel like it looses some of the depth rather than seeing it in person or articulating it more through text, marketing and photos and images. 

However, the goal of the ABBA research interest (space in-between) is to explain how organic objects and materials form at an atomic/subatomic level. But maybe it’s an instance of AASB (As above, so below) as well?