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<p><br/>这是<font color="#2a5b86"> rinceton University</font>举办的<font color="#2a5b86">Art of Science Competition</font></p><p><img height="212" alt="" src="http://www.princeton.edu/artofscience/gallery/common/2005artofscience.gif" width="232"/></p><p>In the spring of 2006 we again asked the Princeton University community to submit images—and, for the first time, videos and sounds—produced in the course of research or incorporating tools and concepts from science. Out of nearly 150 entries from 16 departments, we selected 56 works to appear in the 2006 Art of Science exhibition. </p><p>The practices of science and art both involve the single-minded pursuit of those moments of discovery when what one perceives suddenly becomes more than the sum of its parts. Each piece in this exhibition is, in its own way, a record of such a moment. They range from the image that validates years of research, to the epiphany of beauty in the trash after a long day at the lab, to a painter\'s meditation on the meaning of biological life. </p><p>We thank all those who submitted their work to this year\'s competition. By sharing their imagination, as well as the fruits of their research, they have reaffirmed the deep links between art and science. </p><p></p><p></p><p></p><p></p><center><table><tbody><tr><td class="bodyText"><br/> <div class="heading">.</div></td></tr></tbody></table></center><p></p><p><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><a href="http://www.princeton.edu/artofscience/gallery2006/view.php?id=49.html"></a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="492" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/37.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>One or the Other</b></span><br/></font>Darren Rand GS, Jayson Paulose ‘07, and Ken Steiglitz<br/><i>Departments of Electrical Engineering, Physics, and Computer Science</i><br/> </div><div class="galleryText" id="caption">This plot was generated from a model describing collisions of optical solitons, beams of light which do not diffract. Pictured are two basins of attraction, given by the white and blue regions, along with the corresponding foci (red dots), plotted on the complex plane.</div></td></tr></tbody></table></center><p></p><p><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><a href="http://www.princeton.edu/artofscience/gallery2006/view.php?id=21.html"></a></p><center><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/20.jpg" width="413" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Mapping Urban Fluxes</b></span><br/></font>Aurel von Richthofen GS and Hyundai Kim GS<br/><i>School of Architecture</i><br/> </div><div class="galleryText" id="caption">reliminary to the design of a fashion institute in Milan the authors, two students at the School of Architecture, tracked vectors of horizontal disruption as interpretation of complex urban fluxes. While vertical vectors of gravity forces inform the structure of many buildings and find their architectural expression in columns, beams and trusses, horizontal vectors such as vectors of movement and sight, can only be simulated using software deriving from the animation industry. A fluid dynamic simulation within the 3D model of the site generated patterns of density. These were then exported into computer aided design software that interpreted the patterns as fields of spatial vectors. <p>In order to reinform the design project for the fashion institute with the vectors of horizontal disruption found through the fluid dynamic simulation a physical model of the field was needed. The laboratory at the School of Architecture is equipped with some of the latest computer-driven fabrication technology for model making, including a Precix 9100 series large-bed milling machine. The machine consists of a router and a 3-axis mill over a large table that drives a spinning bit into materials such as acrylic, wood or metal. Code generated from the virtual model drives the mill. </p><p>We used the machine to produce a series of 12 by 12 inch acrylic models from which the pictures shown are taken. The models were produced upside down, flipping the milled side to the bottom and producing a negative image of the field. The diameter of the milling bit imprints the vectors as fins into the acrylic. The transparency of the material and the refraction of the light create a haptic impression even though the vectors are captured inside the material.</p></div></td></tr></tbody></table></center></td></tr></tbody></table></p></td></tr></tbody></table></p><center><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/21.jpg" width="550" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Desert Jewels</b></span><br/></font>David Potere GS<br/><i>Office of Population Research</i><br/> </div><div class="galleryText" id="caption"><p>This image of irrigated agriculture in the deserts of central Saudi Arabia, 450 km west of Riyadh, was taken by the Landsat 7 satellite on February 5, 2000, while orbiting 700 km above the surface of the Earth at a speed of roughly 26,000 km/h. The Saudis manage to make the desert bloom by pumping fossil water from deep below the Earth’s surface. A well at the center of each of these fields feeds a center pivot irrigation system which spreads water in large circles up to one kilometer in diameter. The aquifers which supply these fields are ancient and finite. When the fossil water runs out, the desert sands will return. Like the irrigation projects of many arid regions, the Saudis’ desert jewels will soon fade. </p><p>I began building this image by selecting a set of infrared bands that would best tell the story of irrigated agriculture in Saudi Arabia. Landsat satellites see the earth through eight spectral bands—the reds, greens, and blues of human experience, along with much longer wavelengths of infrared and thermal light. After using image processing software to assemble the initial false color composite, I selected a 100km-wide subset and choose contrast and saturation levels to accentuate the most interesting features of the image. Because healthy vegetation reflects strongly in the near infrared, the Saudis’ alfalfa and wheat fields are painted red against the desert background. To an astronaut these fields would appear green, and the intense brightness of the desert would likely washout the complex mineralogical patterns picked up by Landsat. </p><p>Aside from providing beautiful images, Landsat is used in desert environments to build maps of irrigated agriculture, to prospect for water and minerals, and to manage natural resources. The workhorse of NASA’s Earth observing satellite constellation, Landsat-series satellites have been on orbit continuously since 1972, making Landsat the longest-running satellite collection program in the world.</p></div></td></tr></tbody></table></center><p></p><p><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/25.jpg" width="631" border="0"/><br/> </p><div class="heading"><font size="2"><span class="title"><b>Nesting Leatherback Sea Turtle</b></span><br/></font>Celene Chang ‘06<br/><i>Department of Ecology and Evolutionary Biology</i><br/> </div><div class="galleryText" id="caption">Once categorized with mythical sea creatures, the leatherback sea turtle <i>(Dermochelys coriacea)</i> is perhaps the most majestic reptile alive. Rather than a typical hard shell, it is covered with leather-like skin, optimal for deep-diving and withstanding cold temperatures. Not only is it the largest of the sea turtles (up to 70 inches in length), it is the fastest moving and deepest diving: it can dive to 1230 meters for food, the same depths as a whale. These photographs were taken during the most extraordinary time of the adult turtle’s life: nesting. The nesting female is in a state of complete hypnosis. This trance-like state, along with her blindness to red light, allowed us to stroke her body and head, and witness the egg-laying from point blank. After slowly emerging from the ocean, she dug a deep cavity with her rear flippers. She then laid her eggs, visibly straining in each contraction through her Lamaze-style breathing. When she finished, she masterfully covered the nest until its plot was indistinguishable. Although the tears in the center right photograph were mucosal extract to moisten her air-exposed eyes, it was difficult not to attribute them to pain and utter exhaustion. Classified as a critically endangered species, this female is presumed to be one of only 200 turtles that nested on that Panamanian beach in 2005. Undoubtedly the dinosaur among the seven sea turtle species, creatures such as this leatherback are powerful reminders of the magnificent megafauna that walked the earth millions of years ago.</div><div class="galleryText"></div><div class="galleryText"></div><div class="galleryText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/27.jpg" width="366" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Interior Vacuum Vessel NSTX</b></span><br/></font>Elle Starkman and Charles Skinner<br/><i>rinceton Plasma Physics Laboratory</i><br/> </div><div class="galleryText" id="caption">The National Spherical Torus Experiment (NSTX) is an innovative magnetic fusion device that was constructed by the Princeton Plasma Physics Laboratory (PPPL) in collaboration with Oak Ridge National Laboratory, Columbia University, and the University of Washington at Seattle. This image is of the interior of the experiment showing the protective carbon tiles and the central column. Various diagnostics are mounted at the midplane.</div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="borderless" height="379" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/32.jpg" width="550" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Turbulent Channel Structures</b></span><br/></font>Melissa Green<br/><i>Department of Mechanical and Aerospace Engineering</i><br/> </div><div class="galleryText" id="caption">Turbulence is chaotic by definition, but previous work has shown that turbulent flow is organized into coherent structures. We use a method called Direct Lyapunov Exponent to identify these structures in a turbulent channel flow. The top image is a plane seen by looking down the channel, and the bottom image is a plane seen from looking from the side of the channel. Structures are outlined in black, and are more dominant near the walls, as expected.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="488" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/11.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>The Fly Show</b></span><br/></font>Matthieu Coppey<br/><i>Lewis Sigler Institute for Integrative Genomics</i><br/> </div><div class="galleryText" id="caption">A mutant fruit fly <i>Drosophila Melanogaster</i>, shot under the light of a Zeiss Stemi 2000 microscope. During the last three decades, the fruit fly has been a central model for the study of development. A great number of genetic modifications help the scientist in his discoveries, mainly by linking the mutation of a gene of interest with easy-to-recognize phenotypic attribute. Here, as a main actor of the actual science, a mutant with curly wings and white eyes shows up...</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="437" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/3.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Color Patterns of an Iron Extraction Time Series</b></span><br/></font>Andrew Altevogt<br/><i>Department of Civil and Environmental Engineering</i><br/> </div><div class="galleryText" id="caption">Hydrochloric acid flows in a closed loop through a column packed with a synthetic iron oxide coated sand. As the acid contacts the sand it extracts Fe(III) from the sand. The iron in solution causes the ferozine to turn shades of pink/purple (darker shades indicate higher iron concentrations). A spectrophotometer measures the absorbance of a specific wavelength of light for each sample which is then correlated to iron concentrations. Going from left to right and from top to bottom are a time series of samples taken from the initial time until the equilibrium time when all iron has been desorbed. Each set of two samples (left to right) are the outflow (initially pink) and inflow (initially clear) from the column. The outflow samples start relatively high (pink) become higher (more purple) and then gradually become lighter (pink) again. The inflow samples start out clear and gradually become darker (pink) throughout the experiment. The difference between each pair of inflow and outflow colors is a representation of the iron extraction rate. The extraction rate is high (clear inflow versus pink/purple outflow) at early times and goes to zero, when all of the iron has been extracted, at the end of the experiment (solutions are the same shade of pink). The color patterns which arise are simply a manifestation of dynamic changes in iron extraction.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><center><table><tbody><tr><td class="bodyText"><img id="border" height="176" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/41.jpg" width="800" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Tension</b></span><br/></font>Ashwin C. Atre ‘09<br/><i>Department of Chemical Engineering</i><br/> </div><div class="galleryText" id="caption">Partial charges of hydrogen bonding give water its remarkable sticky and elastic properties on display. The surface tension of the water droplet above the coin shapes a seemingly impossible, yet beautiful and almost magical form. The droplet clings on to the edges of the metal until the intermolecular forces are no longer strong enough to resist the force of gravity.</div></td></tr></tbody></table></center><center></center><center><table><tbody><tr><td class="bodyText"><img id="border" height="471" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/9.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Lounge Chair (Image 4)</b></span><br/></font>Emmet Truxes ‘06<br/><i>School of Architecture</i><br/> </div><div class="galleryText" id="caption">This project became an unintentional study of light, specifically the reflective, refractive, and transparent properties of the plexiglass modules. Due to the hundreds of angles of the normals, there is no telling which modules will reflect the artificial light from ceiling and wall fixtures or natural light from windows. When walking by the chair, the viewer is able to see the lights bouncing to different modules, adding a distinct level of animation to the experience. Furthermore, any reading is dependent on the viewer’s height, his figurative relationship to the frame of the piece, and the levels of interior and exterior lighting. These factors drive how light is perceived by the viewer and ensure that no two readings will be the same.</div></td></tr></tbody></table></center><center></center><center></center><center><img id="border" height="427" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/8.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Lounge Chair (Image 1)</b></span><br/></font>Emmet Truxes ‘06<br/><i>School of Architecture</i><br/> </div><div class="galleryText" id="caption">The formal and theoretical inspiration for this chair prototype results from projects produced in the first half of Jesse Reiser’s spring 2005 undergraduate design studio in the School of Architecture at Princeton University. The last part of a comprehensive study of surfacing techniques focuses on the single modular unit as skin. The regular hexagon presents itself as a suitable module because of its ability to self-tessellate. Hundreds of hexagon nuts form the surface for the design model, acting as planar modules surfacing a complex curved form. As the rows of hexagons twist around the curves, they react and break from their neighbors, forming negative space.</div><div class="galleryText"></div><div class="galleryText"><center><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/12.jpg" width="449" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Cryptic Coalition</b></span><br/></font>Trond H. Larsen GS<br/><i>Department of Ecology and Evolutionary Biology</i><br/> </div><div class="galleryText" id="caption">In addition to cryptic coloration allowing them to blend in with the tree trunk, these Peruvian caterpillars fool their enemies by foraging together in a large group. As a whole, the caterpillars may appear to be a large patch of lichen. However, every individual must stay tightly within the group in order to maintain the illusion. Moving in groups can also have other benefits, including diluting attacks from predators and parasitoids and increasing foraging efficiency through cooperation. This provides one example of how simple interactions can scale up to form collective behaviors that benefit the species. The rules of movement can be estimated from the turning patterns of individuals in the photograph. Other species use related strategies, such as moving in a single file line which may be interpreted as a snake or a liana.</div></td></tr></tbody></table></center><center></center><center><img id="border" height="511" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/7.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Soap Film Hurricane</b></span><br/></font>Steffen Berg and Sandra Troian<br/><i>Department of Chemical Engineering</i><br/> </div><div class="galleryText" id="caption">The image shows white-light reflection from a flat soap film formed from an aqueous solution of the anionic surfactant sodium dodecyl sulfate and the hydrosoluble polymer poly-(ethylene oxide). The planar film was formed in a 10 mm wide, vertical frame. The very dark upper region of the film, the so-called “black film” region, is less than 100 nanometers thick and has low optical reflectivity. A step-wise thinning front in the black film region progresses from right to left and causes a swirl in the yellow soap film band. The peacock feather patterns in the yellow and green parts of the film arise from inhomogeneous distributions of the surfactant causing gradients in the surface tension.</div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="445" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/33.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Above the Fray</b></span><br/></font>Keith Morton GS<br/><i>Department of Electrical Engineering</i><br/> </div><div class="galleryText" id="caption">Scanning electron micrograph of 300nm diameter high-aspect ratio silicon pillars made using nanoimprint lithography and deep reactive ion etching. The original, regular array of pillars was part of a microfluidic device to separate nanoparticles. The pillars pile up from scribing damage when the silicon wafer is cleaved to obtain a cross-section image.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="533" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/28.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Fairies</b></span><br/></font>Margaret E. Bisher and Soyeon Im<br/><i>Department of Molecular Biology</i><br/> </div><div class="galleryText" id="caption">The “fairies” in the image above occurred unexpectedly in a sample of protein filaments. They were visible in addition to the expected rope-like structures. The “fairies” showed up again a few weeks later, in other protein filament samples. They are likely staining artifacts: a result of the stain precipitating on the carbon film that supports the sample. These odd structures form randomly and very intermittently. The original protein filament sample itself was in a solution or buffer that was absorbed onto a grid (a mesh-like structure 3mm in diameter) with a carbon support film across it, approximately 50 Angstroms thick. The sample was washed with water and then stained with 1% uranyl acetate. It was then viewed at 80kV on a Zeiss 912AB transmission electron microscope equipped with an Omega energy filter.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><center><table><tbody><tr><td class="bodyText"><img id="border" height="410" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/42.jpg" width="550" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Trapped Terrapin</b></span><br/></font>Madeline Renny ‘06<br/><i>Department of Ecology and Evolutionary Biology</i><br/> </div><div class="galleryText" id="caption">This image displays a female northern diamondback terrapin, <i>Malaclemys terrapin terrapin,</i> captured in a crab trap in the salt marsh of southern New Jersey. This terrapin was captured for research purposes for the Terrapin Conservation Project at the Wetlands Institute in Stone Harbor, New Jersey (this was also the research base for the field work for my thesis). However, each year thousands of terrapins drown from being caught in crab traps that do not have the proper excluder devices. The peaceful nature of the terrapin and the reflection of the sunlight on its shell contrast with the restraining bars of the crab trap.</div></td></tr></tbody></table></center><center></center><center></center><center><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/40.jpg" width="413" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Perturbed Circle of Life</b></span><br/></font>David Karig<br/><i>Department of Electrical Engineering</i><br/> </div><div class="galleryText" id="caption">A twirling mesh of bright synthetic blue hands reaches out to me... Pictured are the contents of a biohazardous waste bin in our synthetic biology lab. Our research group focuses on engineering life and “programming” living cells such as <i>E. coli</i>, yeast, and stem cells. I was captivated by the colors in my delirium during a non-stop 36 hour experiment.</div><div class="galleryText"></div><div class="galleryText"><center><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/5.jpg" width="413" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Canopy Crane</b></span><br/></font>Kathryn Fiorella ‘06<br/><i>Department of Ecology and Evolutionary Biology</i><br/> </div><div class="galleryText" id="caption">“Canopy Crane” was taken in Parque Metropolitano, a tropical dry forest located just outside of Panama City, Panama. The canopy crane pictured is a tool of the Smithsonian Tropical Research Institute. The crane pivots 360 degrees around the central tower and can be raised and lowered to give researchers a new perspective on the forest. On the EEB semester abroad for tropical field study, Parque Metropolitano was among the first forests students visited in February 2005.</div></td></tr></tbody></table></center><center></center><center></center><center><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery2006/images/58.jpg" width="550" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>International Trade Networks, 2001</b></span><br/></font>Miguel Centeno and Abigail Cooke<br/><i>Princeton Institute for International and Regional Studies</i><br/> </div><div class="galleryText" id="caption">These four “maps” reveal network patterns of world trade in goods in 2001 at four different thresholds. The colored boxes represent countries, clustered in selected regional trade alliance groupings. The green lines show trade relationships between countries for an aggregate of all traded commodities and products. Lines in the multi-color central circles show inter-regional trade; lines in the single-color peripheral circles show intra-regional trade. The thickness of the line indicates the relative dollar value of the trade relationship, with thicker lines representing larger dollar values. Reading from left to right, the first image shows all trade links, the second shows the largest links that cumulatively account for 75% of the total value of world trade, the third shows the largest links accounting for 50%, and the last shows 25%. Together, these four maps illustrate many aspects of the network patterns of world trade. Perhaps the most striking feature is the extreme concentration of value among a small number of countries. Underlying data are from the World Trade Analyzer. Software used to produce images is NetMap Visualizer. <p></p><p></p><p></p><p><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <span style="COLOR: #a0a0a0;">« Prev</span> | <a href="http://www.princeton.edu/artofscience/gallery/index.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=42.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/56.jpg" width="649" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Plasma Table</b></span><br/></font>Elle Starkman and Andrew Post-Zwicker<br/><i>Princeton Plasma Physics Laboratory</i><br/> </div><div class="galleryText" id="caption"><div style="MARGIN-BOTTOM: 8pt;">FIRST PRIZE WINNER</div>A dust cloud of silicon micro-spheres that was illuminated by laser light scattering from the cloud is suspended in a plasma. The dust cloud is approximately 0.5” high and floats in a conical shape between the dust tray and an electrode as long as the plasma is maintained. Fundamental dust cloud properties and dynamics have applications from plasma processing to space plasmas.</div></td></tr></tbody></table></center></td></tr></tbody></table></p><p></p><p><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=56.html">« Prev</a> | <a href="http://www.princeton.edu/artofscience/gallery/index.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=48.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/42.jpg" width="544" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Driven</b></span><br/></font>Anton Darhuber, Benjamin Fischer and Sandra Troian<br/><i>Microfluidic Research and Engineering Laboratory, Department of Chemical Engineering</i><br/> </div><div class="galleryText" id="caption"><div style="MARGIN-BOTTOM: 8pt;">SECOND PRIZE WINNER</div>This image illustrates evolving dynamical patterns formed during the spreading of a surface-active substance (surfactant) over a thin liquid film on a silicon wafer. After spin-coating of glycerol, small droplets of oleic acid were deposited. The usually slow spreading process was highly accelerated by the surface tension imbalance that triggered a cascade of hydrodynamic instabilities. Such surface-tension driven flow phenomena are believed to be important for the self-cleaning mechanism of the lung as well as pulmonary drug delivery.</div></td></tr></tbody></table></center></td></tr></tbody></table></p><p></p><p><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=49.html">« Prev</a> | <a href="http://www.princeton.edu/artofscience/gallery/index.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=57.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/50.jpg" width="462" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Snow</b></span><br/></font>Shufeng Bai GS<br/><i>Department of Electrical Engineering</i><br/> </div><div class="galleryText" id="caption">An optical micrograph of self-assembled pattern in polymer thin film. When a polymer film is heated above its glass transition temperature and a mask is placed at a small distance above the film, the interplay between electrostatic force and surface tension can create interesting patterns. Actual dimensions: 108 µm x 138 µm.</div></td></tr></tbody></table></center></td></tr></tbody></table></p><p></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/76.jpg" width="550" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Strange Crystal</b></span><br/></font>Darsh Ranjan \'05<br/><i>Department of Mathematics</i><br/> </div><div class="galleryText" id="caption">This crystal grows on its black substrate from a pentagonal seed by reflecting it across its 5 vertices and rescaling the new pentagons by a factor of 0.61803..., the “golden mean,” back towards the point of reflection, and repeating this for all the new pentagons, <i>ad infinitum</i>. Each seed can have its own rule to determine its color and the colors of its descendants. The growth of a single seed has finite area but infinite detail (possessing a fractal dimension of 2). This crystal is strange because crystals in nature do not possess 5-fold symmetry on any large scale, while this one can fill the entire plane very nicely with appropriately placed seeds. In understanding this shape, the arithmetic of the integers extended by the fifth roots of unity proves very helpful.</div></td></tr></tbody></table></center><p></p><p></p><center><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=77.html">« Prev</a> | <a href="http://www.princeton.edu/artofscience/gallery/index.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=45.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="487" alt="" src="http://www.princeton.edu/artofscience/gallery/images/46.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>The Rock Blooms</b></span><br/></font>James Nehlsen GS<br/><i>Department of Chemical Engineering</i><br/> </div><div class="galleryText" id="caption">This unique semi-organic mineral structure is the result of a slow chemical reaction. The reaction occurs spontaneously between alkanethiols, which are simple sulfur-containing organic compounds, and lead oxide. Here, the oxide is a surface coating on a coil of metallic lead wire that forms naturally in moist air. The structure consists of layers of lead alkanethiolates, a stable compound that is solid at room temperature and has a distinct yellow color. The layers grow outwards from the surface of the wire as the reaction proceeds, curling into “petals.” But be careful, beautiful though it may be, this “flower” is toxic. The structure grows slowly upward as the wire is uncoiled by the growing petals, eventually filling the jar in which the reaction occurs. This structure took more than a week to grow. A less delicate but faster growing form of this material can be used to remove polluting sulfur compounds from gasoline during the refining process.</div></td></tr></tbody></table></center></td></tr></tbody></table></center><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"></script><script type="text/javascript"></script><p></p><p></p><p><table><tbody><tr><td class="bodyText"><img id="borderless" height="487" alt="" src="http://www.princeton.edu/artofscience/gallery/images/51.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>NanoDog</b></span><br/></font>Shufeng Bai GS<br/><i>Department of Electrical Engineering</i><br/> </div><div class="galleryText" id="caption">A sub-micrometer size piece of dust on the surface of a silicon wafer.</div></td></tr></tbody></table></p><p></p><p><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/54.jpg" width="399" border="0"/><br/> </p><div class="heading"><font size="2"><span class="title"><b>Earth in Thread</b></span><br/></font>Amineh Mahallati<br/><i>Spouse of a Faculty Member</i><br/> </div><div class="galleryText" id="caption">This is the story of Earth: where we are born, where we live and where we are buried. Inspired by art, nature and culture, I used vibrant dyes, cotton and polyester threads to design my unique piece. Earth images are reflected in my designed room. Looking down from an airplane, we know that earth is a plain land, but it is presented to us as an optical illusion. It could be a river or a chain of mountains. We are not sure about the depth and height of the land. It is simply appears to us as the magnificent creation and evolution of nature. I used innovative and manipulative techniques to create new textures. I wanted to unify forms and shapes in a particular way with the piece. These forms and shapes reproduce nature. The images are created on transparent fabric for its metaphorical and mystical lightness. Transparent surfaces allow light and air to circulate through and around the piece while creating an atmosphere of peace, wonder and magical beauty. I folded, layered, dyed, boiled and then stitched the fabric to reach the stage of transforming earth images to the cloth. I created an environment to embrace us as soon as we step inside this room. My intentions are to grab the far images of earth and present them closer to our eyes and tangible to our hands.</div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="borderless" height="197" alt="" src="http://www.princeton.edu/artofscience/gallery/images/96.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Ontogeny Recapitulates Phylogeny</b></span><br/></font>Claire Filloux \'07<br/><i>Department of Physics</i><br/> </div><div class="galleryText" id="caption">Evolutionarily, to be human is ordinary and incredible. In eight weeks after fertilization, a single human embryo traces our entire evolutionary past. The first weeks we start simple, a sponge maybe, or the translucent ghost of a hydra. Within the next few days a notochord descends. The origin of the vertebrate. Gills streak our sides by week four, and we begin to breathe the amniotic fluid of our mother’s uterus like an ancient jawless fish. Week five, our hands web into the ray-like fin of a perch. Then a spine. A red lattice of veins. A mouth that sucks fluid into the soaked lungs of something amphibian. Week seven we sprout the first hair follicles of a mammal. Only in week eight are we human. We can never escape our ancestry because we play it back in ourselves. But with the same neurons that make a kingfisher dive or a deer start at the fall of a footstep he feels foreign, we can marvel as the whole living kingdom rises in a single human cell. We are not special because we can look down on other forms of life, but because we can see the connection. A deer looks into our eyes and sees a stranger. We look into the eyes of a deer and see ourselves.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="433" alt="" src="http://www.princeton.edu/artofscience/gallery/images/73.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Life on a Plate</b></span><br/></font>Sara Hooshangi GS<br/><i>Department of Electrical Engineering</i><br/> </div><div class="galleryText" id="caption">Bacteria cells can grow on an agar plate and form patterns. To do so we engineer these cells with synthetic gene circuits to control the growth in certain direction and under specific conditions. Here you can see two colonies of cells which are grown under the presence of a chemical gradient.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText">.</td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/84.jpg" width="607" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Spider\'s Genitalia</b></span><br/></font>Maria M. Ramos GS<br/><i>Department of Ecology and Evolutionary Biology</i><br/> </div><div class="galleryText" id="caption">This is the image of a dissected and cleared “epigynum”—the genitalia of a female spider of the species <i>Nephila edulis</i>. The large spheres are the spermathecae, or sperm reservoirs.</div></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=83.html">« Prev</a> | <a href="http://www.princeton.edu/artofscience/gallery/index.html?p=3.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=102.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/95.jpg" width="508" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b><i>G. dehiscens</i></b></span><br/></font>Laura K.O. Smith \'05<br/><i>Department of Civil and Environmental Engineering</i><br/> </div><div class="galleryText" id="caption"><i>Globoraquadrina dehiscens</i> is a planktic foraminifera, which means that it is a floating microfossil. Its average size is about the size of a grain of sand. <i>G. dehiscens</i> first appears in the fossil record at the very beginning of the Miocene (24 million years ago) and is used world wide as an indicator of the Miocene/Oligocene boundary. This sample was collected from the Gee Greensand at from Campbell’s beach in Otago, New Zealand, in order to date the Greensand. The Gee Greensand also contains many macrofossils including corals, shark’s teeth, echinoderms, and brachiopods. The fossils, grain size, and mineral content of the Gee Greensand, as well as proximity to other rock formations, suggest that the Gee Greensand was deposited during a low sedimentation period and in very shallow water. <i>G. dehiscens</i>, along the presence of <i>G. labicrassata</i>, and <i>G. woodi woodi</i>, narrowed the age of the sediment to the base of the Waitakian Stage, the New Zealand stage for the beginning of the Miocene. </div></td></tr></tbody></table></center></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText" style="WIDTH: 660px;"><p><b>2005 Online Gallery</b> <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=95.html">« Prev</a> | <a href="http://www.princeton.edu/artofscience/gallery/index.html?p=3.html">Index</a> | <a href="http://www.princeton.edu/artofscience/gallery/view.php?id=88.html">Next »</a></p><center><table><tbody><tr><td class="bodyText"><img id="border" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/102.jpg" width="582" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Infection</b></span><br/></font>Miguel Gaspar GS<br/><i>Department of Molecular Biology</i><br/> </div><div class="galleryText" id="caption">Electron microscopy image of human cytomegalovirus-infected human foreskin fibroblasts at 96 hours post-infection. Virions and dense bodies can be observed in the cytoplasm. In collaboration with Peggy Bisher from the Confocal/EM facility of the Molecular Biology Department.</div></td></tr></tbody></table></center></td></tr></tbody></table></div><div class="galleryText"></div><div class="galleryText"><img id="borderless" height="550" alt="" src="http://www.princeton.edu/artofscience/gallery/images/94.jpg" width="573" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>Wake of a Pitching Plate</b></span><br/></font>James Buchholz GS and Alexander Smits<br/><i>Department of Mechanical and Aerospace Engineering</i><br/> </div><div class="galleryText" id="caption">These images contain top and side views of the wake produced by a rigid plate pitching about its leading edge in a uniform flow (flowing left to right). The leading edge of the plate is hinged to the trailing edge of a stationary symmetric airfoil. The wake is visualized using fluorescent dyes that are introduced through a series of holes on each side of the airfoil support. Twice in each flapping cycle, a horseshoe-shaped vortex is shed from the top, bottom, and trailing edges. The vortices become entangled to form the chain-like structure shown here. Studying such wakes is believed to be important for understanding the mechanisms of thrust production in fish-like swimming.</div><div class="galleryText"></div><div class="galleryText"><table><tbody><tr><td class="bodyText"><img id="border" height="217" alt="" src="http://www.princeton.edu/artofscience/gallery/images/79.jpg" width="650" border="0"/><br/> <div class="heading"><font size="2"><span class="title"><b>(19,3,12,3)</b></span><br/></font>Gabriel Doyle \'05<br/><i>Department of Mathematics</i><br/> </div><div class="galleryText" id="caption">This picture is a representation of the universal cover of the doubly-pointed Heegaard diagram of genus 1 of a (1,1)-knot. The black line represents the bounding curve for the knot, and the gray lines represent a meridian and a longitude of the torus. By finding all disks bounded by a vertical segment of the gray lines and any segment of the black lines, one is able to calculate the Knot Floer Homology of a (1,1)-knot. This is a knot invariant that can be used to tell similar knots apart. All 22 disks that can be used to determine the Floer Homology of this knot are marked on this diagram, with green and blue referring to the multiplicities of two special points. Bright colors indicate disks with multiplicity 1, while the dark disks have multiplicity 2. The title of the diagram is a set of four integers that define this particular knot: the number of intersections between the black and grey line on one side of the fundamental region (one small square in the picture), the number of disks on one side of the fundamental region, the number of lines going above the right-hand side’s disks, and a rotation number.</div></td></tr></tbody></table></div><div class="galleryText"><a href="http://www.princeton.edu/artofscience/about.html"><img height="151" alt="" src="http://www.princeton.edu/artofscience/gallery2006/common/2006artofscience.gif" width="500" border="0"/></a></div></div><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"></script><script type="text/javascript"></script><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"></script><script type="text/javascript"></script></div></center></div></center></div></center><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"></script><script type="text/javascript"></script></div></center></div><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"></script><script type="text/javascript"></script></div>
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发表于 2007-8-4 13:39:37
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