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Animate Biology: Data, Visualization...

Nocek, Adam J.

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Animate Biology: Data, Visualization, and Life's Moving Image.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Animate Biology: Data, Visualization, and Life's Moving Image./
作者:	Nocek, Adam J.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	233 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
Contained By:	Dissertation Abstracts International77-02A(E).
標題:	Philosophy of science. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3724057
ISBN:	9781339073279

Animate Biology: Data, Visualization, and Life's Moving Image.
Nocek, Adam J.

Animate Biology: Data, Visualization, and Life's Moving Image. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 233 p.

Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.

Thesis (Ph.D.)--University of Washington, 2015.

This item is not available from ProQuest Dissertations & Theses.

The dissertation, Animate Biology: Data, Visualization, and Life's Moving Image, develops a concept of scientific aesthetics in order to counter the neoliberalization of scientific visualization practices. In particular, the dissertation investigates how 3D molecular animation is a visualization practice that uses technologies developed by the entertainment industry (Pixar and DreamWorks) to animate data sets. The project shows how there is controversy among scientists regarding the scientific value of using this technology, since scientists disagree over whether computer animation is capable of accurately visualizing biological data.

ISBN: 9781339073279Subjects--Topical Terms:

2079849
Philosophy of science.

Animate Biology: Data, Visualization, and Life's Moving Image.
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500 $a Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
500 $a Adviser: Phillip Thurtle.
502 $a Thesis (Ph.D.)--University of Washington, 2015.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a The dissertation, Animate Biology: Data, Visualization, and Life's Moving Image, develops a concept of scientific aesthetics in order to counter the neoliberalization of scientific visualization practices. In particular, the dissertation investigates how 3D molecular animation is a visualization practice that uses technologies developed by the entertainment industry (Pixar and DreamWorks) to animate data sets. The project shows how there is controversy among scientists regarding the scientific value of using this technology, since scientists disagree over whether computer animation is capable of accurately visualizing biological data.
520 $a Over the course of four chapters, the dissertation uses the methods of media archeology to discover a genealogy for scientific visualization that does not rely on the values of representation; it will then use this as the basis for generating non-representational values for computer animation in biology. The dissertation contends that an aesthetics of the scientific image developed out of the twentieth-century avant-garde science films of Jean Painleve, as well as the aesthetic philosophies of Immanuel Kant and Gilles Deleuze, offers a genealogical and conceptual framework to understand how computer animation could become a visual medium for scientific aesthetics that resists neoliberal value production in science.
520 $a The first chapter, "Molecular Control," situates molecular animation within the field of biological data visualization, and argues that the distinct advantage of the technology, according to its proponents, is that it gives spatial and temporal form to invisible and static data sets. However, opponents argue that the technology takes far too many liberties with the interpretation of data, and so does not provide a reliable form of visualization.
520 $a The chapter demonstrates how computer animation, especially with its development of automated design techniques, exemplifies representational values in neoliberalized technoscience. In this way, molecular animation testifies to the latest shift in scientific representation, and also exposes the limitation of more "internalist" histories of science, such as Daston and Galison's, inasmuch as they are too often blind to the co-production of market and epistemic values.
520 $a The second chapter, "Micro and Nano Imaging," investigates two case studies from the history of scientific imaging that appear to thwart representational values. In particular, the chapter inquires into whether these instances could provide a framework for non-representational values in scientific visuality. The first case study comes from early twentieth century molecular cinematography. Drawing on scholarship from Hannah Landecker and Lisa Cartwright, the project examines how the techniques of "micro-cinematography," introduced by Jean Comandon, Alexis Carrel, and others, made significant contributions to our understanding of the temporal development of living systems.
520 $a The second case study that the chapter draws on is nanomanipulation. In this domain of technoscience, seeing the world through a microscope and bringing it into existence have merged into the same process. The chapter investigates current nanoimaging technologies that are indebted to the work of Don Eigler and Erhard Schweizer, who first used a scanning tunneling microscope (STM) in 1989 to write their company name, IBM, at the atomic scale.
520 $a The third and fourth chapters of the dissertation then investigate how the "aesthetic" could become a form of resistance to scientific representation, by inquiring into whether there are instances of visual aesthetics in science that cannot be incorporated into representational values. To this end, Chapter three, "The Scientific Avant-Garde," considers work from a scientific filmmaker who has always been on the fringes of scientific acceptability: Jean Painleve. In particular, the chapter examines Painleve's fraught relation to the scientific community, and his subsequent embrace of avant-garde filmmakers and painters, especially the Surrealists.
520 $a Chapter four, "Disinterested Aesthetics," situates this interpretation of Painleve's work within a history of aesthetic philosophy. In particular, the dissertation uses Deleuze's Kantian-inspired aesthetics to understand the philosophical significance of privileging aesthetics over representation.
520 $a The conclusion of the dissertation, "Molecular Aesthetics," examines whether Painleve's "disinterested aesthetics" can help us develop alternatives to representational values in contemporary scientific cinema. The project proposes that molecular animation has the potential to have a vastly different meaning than it currently has. I argue that what's significant about animation is that it gives spatial and temporal dimensions to data that biologists have never seen before. In other words, animation "defamiliarizes" biological data for scientists; it gives visual form to what has none. In this way, the project suggests that molecular animation is always implicitly generating "disinterested aesthetic judgments" among scientists, but that they are immediately transformed into what can generate neoliberal value. The dissertation ultimately contends that the seeds for an aesthetic critique of neoliberalized technoscience are already implicit in molecular animation. (Abstract shortened by UMI.).
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