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Research on interactive design for visualization and auralization of biological data in Diaphsasia
... Samanci et al. [14] create an interactive art installation that visualizes and auralizes the motion data of sharks and action data of human by controlling the light and sound of three life-size shark skeletons trapped in an ocean made of fiber optic threads. Liu et al. [15] proposed an audiovisual interaction bio-art installation by visualizing and auralizing Escherichia coli DNA sequence data. Yu [16] analyses the physical visualization in artistic creation, proposes to classify physical visualization by whether it is interactive or is programming or not, and analyses how these changes affect to artistic creation. ...
The application of data visualization in public art attracts increasing attention. In this paper, we present the design and implementation of a visualization method for sunlight data collected over a long period of time with an industrial camera. The proposed method makes use of the saturation and value information of collected sunlight image data in Hue Saturation Value (HSV) colour model to show the variation of the “mood” of the sunlight. Specifically, we create visual patterns with a rotating planet gear, which has an intuitively consistent geometric meaning with HSV colour model and the planetary motion. Due to the variation of the sunlight data over time, the generated visual pattern presents a periodic variation that corresponds to the changing “mood” of the sunlight. Furthermore, we also use the sunlight data to generate music as another form of data representation. Two public artworks have been created with the above visualization and auralization methods and displayed on an exhibition held at China Resources Tower, Shenzhen, China. This work is a typical practice of creating public installations with data visualization technology, giving a glimpse into the many ways science and art intersect. The two public artworks generated in this work can been seen at https://github.com/crowang1A/The-Mood-of-Sunlight.
In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two fields focusing on generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique.
In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two fields focusing on generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique.
DNA emerged as a novel potential material for mass data storage, offering the possibility to cheaply solve a great data storage problem. Large oligonucleotide pools demonstrated high potential of large-scale data storage in test tube, meanwhile, living cell with high fidelity in information replication. Here we show a mixed culture of bacterial cells carrying a large oligo pool that was assembled in a high-copy-number plasmid was presented as a stable material for large-scale data storage. The underlying principle was explored by deep bioinformatic analysis. Although homology assembly showed sequence context dependent bias, the large oligonucleotide pools in the mixed culture were constant over multiple successive passages. Finally, over ten thousand distinct oligos encompassing 2304 Kbps encoding 445 KB digital data, were stored in cells, the largest storage in living cells reported so far and present a previously unreported approach for bridging the gap between in vitro and in vivo systems. Hao, Qiao, Gao et al. show that over ten thousand oligonucleotides encoding 445 KB of digital data can be stored in cultured bacterial cells. Data storage in living cells increases the information storage capacity while enabling its economical propagation.
Sound Shifting is an artistic research project that focuses on the physical representation of sound - this means the visualization and materialization of invisible phenomena that significantly shape our perception. We present a system that allows the transformation from sound into form in real-time by using a newly developed machine, the Audio Foam Cutter. This machine converts sound into polystyrene stripes that are arranged into sculptural objects. The resulting sound sculptures provide information about the represented sounds by their shape and aesthetic features and expand the range of our auditory perception to the tangible domain. The sound sculptures are snapshots of our soundscape and form a physical archive of sound representations. The Sound Shifting project aims to create an awareness of the materiality of sonic movements and affects.
In this paper, I explore how contemporary musicians using electronic technologies in improvised music conceptualize skill and virtuosity in their musical practices. This includes ideas about the role and agency of technology, learned and repeatable physical skill, skill acquisition, skill transmission, and the projection of learned skill from traditional instruments onto new instruments. The musicians’ use of idiosyncratic and individually constructed instruments—instruments with little or no history of a performance practice—makes this field a rich resource to examine how such conceptions are developed. Among the musicians I interviewed, the relationship between physical skill and virtuosity is particularly contested. While they frequently value such skill, they also connect it to perceived excesses of certain factions within Western art music, jazz, and other established musical performance practices where physical skill can be conflated with (or considered as the primary element of) musical skill, writ large. This perception of the excess and the prioritization of physical skill have led some interviewed musicians to adopt antivirtuosity as a reactive counter-ideology or to explore the less tangible concepts of hearing, creativity, imagination, memory, novelty, innovation, and even ideas of management as constitutive of musical virtuosity and skill. This paper is part of a larger ethnographic examination of a diverse cross-section of contemporary musicians who improvise with new, repurposed, and reinvented electronic technologies, including Robert Henke (one of the original authors of the software package Ableton Live), guitarist Nels Cline (Wilco), composer and flute player Anne La Berge, and trumpeter/composer Wadada Leo Smith.
BackgroundDNA Sonification refers to the use of an auditory display to convey the information content of DNA sequence data. Six sonification algorithms are presented that each produce an auditory display. These algorithms are logically designed from the simple through to the more complex. Three of these parse individual nucleotides, nucleotide pairs or codons into musical notes to give rise to 4, 16 or 64 notes, respectively. Codons may also be parsed degenerately into 20 notes with respect to the genetic code. Lastly nucleotide pairs can be parsed as two separate frames or codons can be parsed as three reading frames giving rise to multiple streams of audio. ResultsThe most informative sonification algorithm reads the DNA sequence as codons in three reading frames to produce three concurrent streams of audio in an auditory display. This approach is advantageous since start and stop codons in either frame have a direct affect to start or stop the audio in that frame, leaving the other frames unaffected. Using these methods, DNA sequences such as open reading frames or repetitive DNA sequences can be distinguished from one another. These sonification tools are available through a webpage interface in which an input DNA sequence can be processed in real time to produce an auditory display playable directly within the browser. The potential of this approach as an analytical tool is discussed with reference to auditory displays derived from test sequences including simple nucleotide sequences, repetitive DNA sequences and coding or non-coding genes. Conclusion
This study presents a proof-of-concept that some properties of a DNA sequence can be identified through sonification alone and argues for their inclusion within the toolkit of DNA sequence browsers as an adjunct to existing visual and analytical tools.
Jamoma is a system for developing high-level modules in the Max/MSP/Jitter environment. Jamoma consists of two parts: A recommendation and an implementation of that recommendation. Jamoma offers a compelling set of benefits to users. These benefits include fast and flexible interchange of modules, patch-building, and module construction, as well as possibilities of advanced control of the modules in performance. Jamoma modules may encapsulate any type of functionality that can be performed by Max, MSP, Jitter, its components (such as Java or JavaScript), or any third-party objects.
The structure of the Open Sound Control (OSC) content format is introduced with historical con-text. The needs for temporal synchronization and dynamic range of audio control data are described in terms of accuracy, precision, bit-depth, bit-rate, and sampling frequency. Specific details are given for the case of instrumental gesture control, spa-tial audio control and synthesis algorithm control. The consideration of various transport mechanisms used with OSC is discussed for datagram, serial and isochronous modes. A summary of design approaches for describing audio control data is shown, and the case is argued that multi-layered information-rich representations that support mul-tiple strategies for describing semantic structure are necessary.
The complete DNA sequence of pO157, the large virulence plasmid of EHEC strain O157:H7 EDL 933, is presented. The 92 kb F-like
plasmid is composed of segments of putative virulence genes in a framework of replication and maintenance regions, with seven
insertion sequence elements, located mostly at the boundaries of the virulence segments. One hundred open reading frames (ORFs)
were identified, of which 19 were previously sequenced potential virulence genes. Forty-two ORFs were sufficiently similar
to known proteins for suggested functions to be assigned, and 22 had no convincing similarity with any known proteins. Of
the newly identified genes, an unusually large ORF of 3169 amino acids has a putative cytotoxin active site shared with the
large clostridial toxin (LCT) family and proteins such as ToxA and B of Clostridium difficile. A conserved motif was detected that links the large ORF and the LCT proteins with the OCH1 family of glycosyltransferases.
In the complete sequence, the mosaic form can be observed at the levels of base composition, codon usage and gene organization.
Insights were obtained from patterns of DNA composition as well as the pathogenic and ‘housekeeping’ gene segments. Evolutionary
trees built from shared plasmid maintenance genes show that even these genes have heterogeneous origins.
Nowadays, mental illness also called mental health disorders was becoming the most common illness among people. Many people who suffer from mental illness having difficulties in expressing their feeling and commit suicide because they normally do not or cannot open up in verbal communication such as traditional therapy. Interactive art therapy has the potential to decrease mental health among people. The main objective of this paper is to introduce an interactive art called Interactive Art Therapy (IAT) for people who are suffering from mental health that is needed non-verbal communication. The completed IPT application has been successfully developed by using Microsoft Kinect and Touchdesigner software which utilizing visual and audio elements for their interactivity. Based on the results from the usability testing, most of the respondents are agreed that this application is effective and usable for everyone especially those who are suffering from mental illness.
The author presents various approaches particularly in the field of visual arts and sound visualization based on hi-tech artificial agents and audiovisual systems. The number of digital artists and designers who tend to computational creativity has rapidly grown in recent years and their artworks and generative visuals that manifest the new cultural paradigm "Form Follows Data" meet with a wide interest. The author describes and presents a collection of tools and programming environments used for creating visual representations of sound as well as live coding visualizations which fall under so called generative art movement. Concepts of interactive audiovisual systems, sound-reactive programming software, and immersive environments refer to synergy of sound, visuals, and gestures. Another purpose is to point to applications of generative systems and agent-based frameworks in social and cognitive sciences to study environmental and social systems and their interactions.
DNA is an excellent medium for archiving data. Recent efforts have illustrated the potential for information storage in DNA using synthesized oligonucleotides assembled in vitro. A relatively unexplored avenue of information storage in DNA is the ability to write information into the genome of a living cell by the addition of nucleotides over time. Using the Cas1-Cas2 integrase, the CRISPR-Cas microbial immune system stores the nucleotide content of invading viruses to confer adaptive immunity. When harnessed, this system has the potential to write arbitrary information into the genome. Here we use the CRISPR-Cas system to encode the pixel values of black and white images and a short movie into the genomes of a population of living bacteria. In doing so, we push the technical limits of this information storage system and optimize strategies to minimize those limitations. We also uncover underlying principles of the CRISPR-Cas adaptation system, including sequence determinants of spacer acquisition that are relevant for understanding both the basic biology of bacterial adaptation and its technological applications. This work demonstrates that this system can capture and stably store practical amounts of real data within the genomes of populations of living cells.
Getting Started with Processing: A Quick
- R Castle
- Petkoff
Design of Visual Representation Spectrum for Computer Music[J]
- G Wei
- Y Cao
- Wang
Design of Visual Representation Spectrum for Computer Music[J]
- wei