Real-Time MRI Music Video (實時MRI音樂MV)

31 01 2013

Art + Music + Medicine + Technology  = one stunning music video!

Sivu, a UK based musician, laid in an MRI scanner while repeatedly singing his song “Better Man Than He” for 2-3 hours. The real-time MRI footage shows the sagittal section of Sivu’s head as his mouth and tongue move to each word. The video also shows the coronal passage and 3D volume rendering of his head.

Real-time MRI, a relatively new technique, allows the live capture of images of objects in motion and is being employed to study organs such as the heart, joint kinetics and complicated coordinated movements employed during speaking, swallowing and singing as seen here.

Sivu – Better Man Than He. from Adam Powell on Vimeo.

The music video was created by director Adam Powell with the help of doctors Marc E. Miquel and Andrew David Scott at Barts Hospital London.

[via Medgadget + Street Anatomy]

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Jordan Eagles’ Works of Blood

8 04 2012

New York City artist, Jordan Eagles, sometimes referred to as the “blood artist” has been using blood procured from a slaughterhouse as his primary medium for over a decade. Eagles manipulates the blood through layering, heating, burning, aging, and sometimes mixing with copper to spark the flow of energy once present. Preserved and encased in plexiglass and UV resin, the “works becomes relics of that which was once living, embodying transformation, regeneration and an allegory of death to life.” When illuminated, the works of blood project a glow from within exploring the themes of corporeality, mortality, spirituality and science.

See more of Jordan Eagles’ work at jordaneagles.com.

[via Street Anatomy]





Embodiment: A Luminous Glass Skeleton by Eric Franklin

8 04 2012

Portland-based sculptor, Eric Franklin constructs an anatomical study of the human body considering the mind and body as one entity out of flame-worked borosilicate glass filled with ionized krypton, causing it to glow like a neon light. Embodiment, handcrafted out of 10 separate glass units, took Franklin over 1,000 hours to produce in a two-year span. Franklin’s description of the painstaking process:

Every glass seal has to be perfect, and this piece contains hundreds. Everywhere one tube joins another, or a tube terminates, glass tubes were sealed together. They have to be perfect in order to preserve the luminosity of the krypton. If one rogue molecule gets inside the void of the glass tubing it can eventually contaminate the gas and it will no longer glow. There are times when the holes in the seals are so small that you cannot actually see them with your eyes without the help of a leak detector. Once the glass pieces are ready to get filled with gas, I pull a high vacuum while the glass is hot in order to evacuate any dust or water vapor from the interior surface until there are literally no molecules inside the void of the glass. Then the krypton can be introduced and the glass sealed off. It’s an extremely tedious process, one I have somewhat of a love/hate relationship with.

Photos by Brad Carlile.

See more of Eric Franklin’s work on his website.

[via  COLOSSAL]





Sophie Kahn (梁劉柔芬·卡恩)

24 11 2011

Born in London and grew up in Melbourne, Australia, Sophie Kahn trained as a photographer and later expanded her study to animation, 3d imaging and digital sculpture. Sophie’s work engages the role of the image in the expanded field of post-photographic imaging. Her creative use of the novel technology of 3d scanning and 3d printing to capture the living body produces a fragility that exists between that of the living in constant flux and the mortuary stillness.

Laura: RGB, 3d printed epoxy resin, plaster and cyanoacrylate, life-size

Dominick, black ABS acrylic (from 3d laser scan)

Laura, ABS acrylic rapid prototype, 2011, life-size

Head of a Young Woman, bronze (from 3d laser scan and wax stereolithograph), life-size

Cemile, Archival chromogenic print (from 3d laser scan), 24″ x 30″

Sophie has also been employed by the Royal Children’s Hospital, where she conducted research into 3d medical imaging. She currently resides and works in New York City as a teaching artist.

Check out Sophie Kahn’s website for more!

[images via shapeways]

[artist bio via MoMA PS1]





新世界『透明標本』Iori Tomita’s New World Transparent Specimens

20 09 2011

新世界「透明標本」 – New World Transparent Specimens is an exhibition composed of specimens created using a preservation and dyeing technique typically used for scientific purposes to examine the skeletal system.

Tomita uses an enzyme to dissolve the natural proteins in the soft tissue. He then injects magenta dyes into the bones and blue dyes into the cartilages, highlighting the usually unseen internal structures. The creature is then preserved in a jar of glycerin.

Some of Tomita’s smaller specimens (fish, shrimp and squid) can actually be purchased in a few stores in Japan, but the larger specimens (lizards, birds and turtles) are only available in his exhibitions.

He has also published two books:  [新世界]透明標本“New World Transparent Specimens” with descriptions of over 50 species and 透明な沈黙 “Toumei na Chimmoku” with more stunning photographs woven together with the words of philosopher Wittgenstein.

Read and see more stunning creations on Tomita’s website!

[via gakuranman]

These transparent specimens reminded me of David’s fetal monkey!





Between Reality and Reverie—Li Hongjun’s Paper Art (在真實與夢幻之間—李紅軍的紙媒藝術)

10 09 2011

Through Art Taipei 2011, the longest-standing art fair in Asia organized by Taiwan Art Gallery Association since 1992,  I spotted Li Hongjun, who attempts to convey the conversion space of existing objects such as the vacuity of life and death and the space-time distance of reality and illusion—the very same idea as Li claims seen from Gunther von Hagens’ plasticized human specimens on display.

Born in Shaanxi Province  and currently living in Beijing, Li Hongjun attained his degrees in Folk Art and Experimental Art.

Into Papers – Li Hongjun’s Solo Exhibition

Preferred to be called a “handicraftsman” rather than an “artist”, Li expresses his respect for the mere creation of art and exploration of the conversion space theme through his sensitive treatment of the material with the traditional Chinese paper-cut derived process.

“Drift Away II” made out of paper by Li Hongjun displayed at the Art Taipei 2011 exhibition.

Li Hongjun’s “Drift Away II” viewed by a visitor.

“Self”, 2008, paper, Li Hongjun

No. 1 (Series: Rotating Head), 2008, paper, Li Hongjun

No. 2 (Series: Offset paper), 2008, paper, Li Hongjun

No. 3 (Series: Offset paper), 2008, paper, Li Hongjun

(Series: works with no series), 2010, paper, Li Hongjun

Why does Li Hongjun’s work appeal to me so? At first glance, the layers of cut paper resembled the print layers of 3D printing systems for rapid prototyping, which I am currently studying. Realizing that they’re layers of paper, I am even more intrigued. No matter how high-tech and virtual our world becomes, I cannot forego the tactility of materials, especially that of paper. That is one reason I am so drawn to the making of origami. His exploration of the transition between the real and the illusionary,  the living and the deceased, and even the association he draws to von Hagens’ BodyWorlds of the once real and living bodies becoming plastinated specimens for display, is a theme that has long fascinated me with a more anatomical emphasis and has everything to do with the research project I wish to tackle currently.

[images and artist bio via ArtLinkArt via artdaily.org]





Brainstorm (集思廣益)

22 01 2011

The exhibition Brainstorm: investigating the brain through art & science at GV Art in London has been called by a politician as “degrading”, “disrespectful” and “unacceptable.”

This work titled Headache by Helen Pynor is one of many that showcase brains in different ways, from films of neurological examinations to actual human brain tissues. GV Art in London is one of the few places licensed to display human tissue in Britain.

To the politician’s concerns, Dr. Dexter, scientific director of the Joint Multiple Sclerosis Society and Parkinson’s UK Tissue Bank responded in an editorial in the Guardian:

Would we have had such a reactionary response to an art exhibition about the kidney and kidney disease? What is it about the brain that generates such an exaggerated reaction? Is it because the brain is the organ we use to think?…

Brain slices from previous neuropathological examinations are used in the human section of the display at GV Art. They are there not only to educate the public about what a brain looks like and how it can be affected by disease, but also to contextualise where some of the art work originated. Art has a significant role to play in science as a tool for communicating to the public what the scientist sees in the laboratory, in a form that can be understood by everyone…

You don’t go about demystifying the brain by locking it away in a laboratory, but by appropriately involving it in widely accessible media like art. This exhibition is a bold step in the right direction.

[via Guardian via Mr. Ross]