What, today, the characteristics of travel? What is the point of the journey in society and in contemporary culture? What are the differences to travel to other times? If you look at the primary or literal meaning of the term - and then travel as a means physical movement between two different places - you can not help but notice that today, compared to a past not too remote, traveling is very simpler, faster, comfortable. But not only today you can travel almost anywhere, the world has become smaller, the distances are shortened, they have shortened the time and places available have increased exponentially.
These characteristics have made the trip to lose a crucial aspect of contemporary travels of the past: the unknown, the discovery, wonder, surprise. How many travelers of the past, beginning, they knew in advance where they would come to this? How many of them knew what they would find during the journey and upon arrival at destination? Certainly few. No doubt Dante, not Odysseus, Marco Polo nor not Christopher Columbus, and with them many, many others: Perhaps most impressive of their trip was just not knowing what they were going to meet, or even to discover incredible new worlds which no human being was the first to know.
The modern traveler, in most cases, already knows where it will arrive before you leave. Indeed, more data and information on the destination has the better. After all, what is still unknown on earth that has been transformed into a tourist guide, a documentary, an amateur video or picture of a professional? Often traveling is just going to see 'live' the countries and places that both fascinated us on TV, in a magazine or a book.
JOURNEY TO THE DISCOVERY OF A NEW WORLD
How to retrieve the size of the unknown to the modern traveler, discovery, surprise, surprise? It is still possible today, without knowing where you come from? You can go beyond the Pillars of Hercules of our world to venture into new territory? Maybe, if it is true that, in ours, there is a universe unknown to most people not only because hardly visible to the naked eye, but also because at the moment confined to the theories and their applications in scientific laboratories and research centers.
We are talking about the universe of the infinitely small, so small that our common millimeter is too large to measure something accurately (it's like if you use a meter to measure the head of a pin) and therefore are used as units of measurement micrometers if not even smaller, the nanometer.
For those unfamiliar with multiple sub-units of measure, it is good to know that the prefix micro is a millionth as the prefix for nano stands for one billionth. Referring then to the micro, we refer to scales of magnitude of a millionth of a meter (or even a thousandth of a millimeter), while in the case of nanotechnology, refers to magnitude scale of a billionth of a meter (or of a millimeter 1/1000.000: a nanometer is the length of a small molecule).
Well, the human being has only recently started to explore this unknown world, and the surprises were incredible. Not only are discovering the laws that govern it - and, surprisingly, are different from those that govern our world - but are growing, thanks to nanotechnology, micro-and nanoscale objects that exceed your imagination.
THE UNIVERSE OF NANOTECHNOLOGY
Nanotechnology is a new approach based on understanding and knowledge of the properties of matter at the nanoscale. On this scale the material has many properties, sometimes quite surprising, and the boundaries between scientific disciplines and techniques are reduced, which explains the interdisciplinary strongly associated with nanotechnology. Nanotechnology is often described as potentially 'revolutionary': they make a number of possible solutions to current problems with materials, components and systems smaller, lighter, Faster and more effective. Nanotechnology should also make an important contribution to solving global and environmental problems because they allow you to create products and processes for more specific uses, conserve resources and reduce the volume of waste and emissions.
ART AND NANOTECHNOLOGY
The first artistic expressions
art has only recently begun to interact with nanotechnology. From this point of view, the only artist who has experimented with micro-and nano-structures is Cris Orfescu. The works are Orfescu basically the 'Photos' - obtained by electron microscopy - micro-and nanostructures of various materials, or micro and nanosculture 'random' accessible via attacks / chemical processes. The images of the structures obtained with a scanning electron microscope are then edited and 'color' to your computer and printed on canvas or paper.
approach Scali & Goode
Our approach is different, is different, because it intends to use the potential of micro / nanotechnology as a means, instrument or through to express the artistic point of view, new perspectives, new values, new interpretations of the world. That is, starting from the need to convey a concept or idea, and where we believe that nanotechnology may be the most effective means to express them, use them to produce works of art infinitely small, the order of micrometers or nanometers.
OVER the Pillars of Hercules
silicon microlithography
If indeed there is a new territory to explore, why not go beyond the Pillars of Hercules del nostro mondo per andare alla ricerca di una nuova dimensione, un nuovo modo di concepire lo spazio e il tempo? Perché non far fare all’arte i primi passi sulla sua superficie? Perché non proporre allo spettatore un viaggio verso qualcosa di sostanzialmente sconosciuto e invisibile, ma che è realtà?
È per questo motivo che abbiamo deciso di presentare un’opera dal titolo Oltre le colonne d'Ercole : un’opera che è costituita da un campione di materiale metallico – il silicio – sulla superficie del quale sono state litografate una serie di impronte di dimensioni micrometriche, al fine di rappresentare la prima, vera e propria passeggiata in questo new world. It is important to note that the prints are not simply 'painted', but recorded. This means that - as evidenced by enlarged photographs of the silicon sample - it was possible to reproduce the pressure of the weight of the shoe on the metal surface.
Another noteworthy element is the fact that Beyond the Pillars of Hercules can be considered the first example to the world of micro / nano lithography artistic purposes on a metallic material. It was possible to get this riusultato thanks to the collaboration and essential contribution of the Physics Department of Politecnico di Torino, specifically grazie al prof. Fabrizio Pirri e ai dottorandi Giancarlo Canavese, Alessandro Chiolerio, Gabriele Maccioni Giacomo Piacenza, Samy Strola. Nei paragrafi successivi vengono fornite tutte le informazioni relative al processo di realizzazione dell’opera e degli strumenti utilizzati,
Per quanto riguarda le dimensioni dell’opera, con un calcolo spannometrico la camminata (escludendo i passi fatti nella "sosta") risulta circa 28mm; ci sono in tutto 54 impronte di cui 11 grandi (prima della sosta) 23 medie (che compongono la sosta) e 20 piccole (dopo la sosta verso l'orizzonte).
Dimensioni delle impronte
very positive impression:
length: 1019um
width: 398um
piece rear 58x64um
piece Front 35x83um
Tread very negative:
length: 1121um
width: 489um
piece rear 58x64um
piece Front 42X85um
average footprint positive
Length: 611um
width: 230um
piece rear 34x46um
piece Front 23X54um
footprint small positive
Length: 201um
width: 84um
As one of the characteristics of the 'walk' lithography on silicon is to be readily visible to the naked eye, the second element of the work is made from 4 giant (large photographs) of the walk micrometer, which clearly show what the eye struggles to see the sample of silicon. The pictures were taken through a scanning electron microscope. Again, in the following paragraphs describe the manner in which the images were obtained within the laboratories of Politecnico di Torino.
THE PROCESS OF REALIZATION OF 4 IMAGES
The scanning electron microscope (SEM)
The 'Photos' fingerprint lithographed silicon were obtained by the use of SEM, or scanning electron microscope. The fundamental difference between the traditional optical microscope and the scanning is that it uses a beam of electrons instead of visible light.
The SEM is therefore able to reach a resolution several orders of magnitude greater than what can be achieved with a normal optical microscope (which can not go much below the order of micrometers). Thanks to the SEM are also reported thick objects, which can be oriented and enlarged during the observation. The surface of the sample (in our case the portion of the silicon) is in fact "brushed" by a beam of electrons and the image is built indirettamente a partire dagli elettroni riflessi e diffusi dalla superficie dell'oggetto. Appositi dispositivi consentono sia di orientare il fascio di elettroni che scansiona il campione, sia il campione rispetto al fascio. L’oggetto deve però essere inserito in una camera a vuoto, per evitare il rumore causato dall’interazione degli elettroni con gli atomi che compongono i gas presenti nell’aria, nonché con la polvere e altre impurità. Nella camera possono essere posizionati anche diversi campioni di dimensioni relativamente grandi (dell'ordine dei centimetri).
VERSO L’ARTE INVISIBILE
L’opera Oltre le colonne d'Ercole è solo il primo passo di un progetto artistico e scientifico più ampio che ha quale obiettivo – grazie alla collaborazione con il Politecnico di Torino – la realizzazione di opere d’arte invisibili a occhio nudo. Grazie alle tecnologie oggi disponibili saremo presto in grado di di ridurre ulteriormente le dimensioni delle opere, scendendo dal livello micrometrico a quello nanometrico, arrivando alla produzione di oggetti artistici grandi quanto molecole o cellule. L’intenzione è quella di aprire un nuovo territorio estetico, dove l’opera d’arte c’è, esiste, ma non si vede ad occhio nudo.
Altro obietttivo è la realizzazione di opere non solo bi- ma tridimensionali: in other words to create something similar not only to lithographs or paintings, but sculptures in nanoscale.
These characteristics have made the trip to lose a crucial aspect of contemporary travels of the past: the unknown, the discovery, wonder, surprise. How many travelers of the past, beginning, they knew in advance where they would come to this? How many of them knew what they would find during the journey and upon arrival at destination? Certainly few. No doubt Dante, not Odysseus, Marco Polo nor not Christopher Columbus, and with them many, many others: Perhaps most impressive of their trip was just not knowing what they were going to meet, or even to discover incredible new worlds which no human being was the first to know.
The modern traveler, in most cases, already knows where it will arrive before you leave. Indeed, more data and information on the destination has the better. After all, what is still unknown on earth that has been transformed into a tourist guide, a documentary, an amateur video or picture of a professional? Often traveling is just going to see 'live' the countries and places that both fascinated us on TV, in a magazine or a book.
JOURNEY TO THE DISCOVERY OF A NEW WORLD
How to retrieve the size of the unknown to the modern traveler, discovery, surprise, surprise? It is still possible today, without knowing where you come from? You can go beyond the Pillars of Hercules of our world to venture into new territory? Maybe, if it is true that, in ours, there is a universe unknown to most people not only because hardly visible to the naked eye, but also because at the moment confined to the theories and their applications in scientific laboratories and research centers.
We are talking about the universe of the infinitely small, so small that our common millimeter is too large to measure something accurately (it's like if you use a meter to measure the head of a pin) and therefore are used as units of measurement micrometers if not even smaller, the nanometer.
For those unfamiliar with multiple sub-units of measure, it is good to know that the prefix micro is a millionth as the prefix for nano stands for one billionth. Referring then to the micro, we refer to scales of magnitude of a millionth of a meter (or even a thousandth of a millimeter), while in the case of nanotechnology, refers to magnitude scale of a billionth of a meter (or of a millimeter 1/1000.000: a nanometer is the length of a small molecule).
Well, the human being has only recently started to explore this unknown world, and the surprises were incredible. Not only are discovering the laws that govern it - and, surprisingly, are different from those that govern our world - but are growing, thanks to nanotechnology, micro-and nanoscale objects that exceed your imagination.
THE UNIVERSE OF NANOTECHNOLOGY
Nanotechnology is a new approach based on understanding and knowledge of the properties of matter at the nanoscale. On this scale the material has many properties, sometimes quite surprising, and the boundaries between scientific disciplines and techniques are reduced, which explains the interdisciplinary strongly associated with nanotechnology. Nanotechnology is often described as potentially 'revolutionary': they make a number of possible solutions to current problems with materials, components and systems smaller, lighter, Faster and more effective. Nanotechnology should also make an important contribution to solving global and environmental problems because they allow you to create products and processes for more specific uses, conserve resources and reduce the volume of waste and emissions.
ART AND NANOTECHNOLOGY
The first artistic expressions
art has only recently begun to interact with nanotechnology. From this point of view, the only artist who has experimented with micro-and nano-structures is Cris Orfescu. The works are Orfescu basically the 'Photos' - obtained by electron microscopy - micro-and nanostructures of various materials, or micro and nanosculture 'random' accessible via attacks / chemical processes. The images of the structures obtained with a scanning electron microscope are then edited and 'color' to your computer and printed on canvas or paper.
approach Scali & Goode
Our approach is different, is different, because it intends to use the potential of micro / nanotechnology as a means, instrument or through to express the artistic point of view, new perspectives, new values, new interpretations of the world. That is, starting from the need to convey a concept or idea, and where we believe that nanotechnology may be the most effective means to express them, use them to produce works of art infinitely small, the order of micrometers or nanometers.
OVER the Pillars of Hercules
silicon microlithography
If indeed there is a new territory to explore, why not go beyond the Pillars of Hercules del nostro mondo per andare alla ricerca di una nuova dimensione, un nuovo modo di concepire lo spazio e il tempo? Perché non far fare all’arte i primi passi sulla sua superficie? Perché non proporre allo spettatore un viaggio verso qualcosa di sostanzialmente sconosciuto e invisibile, ma che è realtà?
È per questo motivo che abbiamo deciso di presentare un’opera dal titolo Oltre le colonne d'Ercole : un’opera che è costituita da un campione di materiale metallico – il silicio – sulla superficie del quale sono state litografate una serie di impronte di dimensioni micrometriche, al fine di rappresentare la prima, vera e propria passeggiata in questo new world. It is important to note that the prints are not simply 'painted', but recorded. This means that - as evidenced by enlarged photographs of the silicon sample - it was possible to reproduce the pressure of the weight of the shoe on the metal surface.
Another noteworthy element is the fact that Beyond the Pillars of Hercules can be considered the first example to the world of micro / nano lithography artistic purposes on a metallic material. It was possible to get this riusultato thanks to the collaboration and essential contribution of the Physics Department of Politecnico di Torino, specifically grazie al prof. Fabrizio Pirri e ai dottorandi Giancarlo Canavese, Alessandro Chiolerio, Gabriele Maccioni Giacomo Piacenza, Samy Strola. Nei paragrafi successivi vengono fornite tutte le informazioni relative al processo di realizzazione dell’opera e degli strumenti utilizzati,
Per quanto riguarda le dimensioni dell’opera, con un calcolo spannometrico la camminata (escludendo i passi fatti nella "sosta") risulta circa 28mm; ci sono in tutto 54 impronte di cui 11 grandi (prima della sosta) 23 medie (che compongono la sosta) e 20 piccole (dopo la sosta verso l'orizzonte).
Dimensioni delle impronte
very positive impression:
length: 1019um
width: 398um
piece rear 58x64um
piece Front 35x83um
Tread very negative:
length: 1121um
width: 489um
piece rear 58x64um
piece Front 42X85um
average footprint positive
Length: 611um
width: 230um
piece rear 34x46um
piece Front 23X54um
footprint small positive
Length: 201um
width: 84um
As one of the characteristics of the 'walk' lithography on silicon is to be readily visible to the naked eye, the second element of the work is made from 4 giant (large photographs) of the walk micrometer, which clearly show what the eye struggles to see the sample of silicon. The pictures were taken through a scanning electron microscope. Again, in the following paragraphs describe the manner in which the images were obtained within the laboratories of Politecnico di Torino.
THE PROCESS OF REALIZATION OF 4 IMAGES
The scanning electron microscope (SEM)
The 'Photos' fingerprint lithographed silicon were obtained by the use of SEM, or scanning electron microscope. The fundamental difference between the traditional optical microscope and the scanning is that it uses a beam of electrons instead of visible light.
The SEM is therefore able to reach a resolution several orders of magnitude greater than what can be achieved with a normal optical microscope (which can not go much below the order of micrometers). Thanks to the SEM are also reported thick objects, which can be oriented and enlarged during the observation. The surface of the sample (in our case the portion of the silicon) is in fact "brushed" by a beam of electrons and the image is built indirettamente a partire dagli elettroni riflessi e diffusi dalla superficie dell'oggetto. Appositi dispositivi consentono sia di orientare il fascio di elettroni che scansiona il campione, sia il campione rispetto al fascio. L’oggetto deve però essere inserito in una camera a vuoto, per evitare il rumore causato dall’interazione degli elettroni con gli atomi che compongono i gas presenti nell’aria, nonché con la polvere e altre impurità. Nella camera possono essere posizionati anche diversi campioni di dimensioni relativamente grandi (dell'ordine dei centimetri).
VERSO L’ARTE INVISIBILE
L’opera Oltre le colonne d'Ercole è solo il primo passo di un progetto artistico e scientifico più ampio che ha quale obiettivo – grazie alla collaborazione con il Politecnico di Torino – la realizzazione di opere d’arte invisibili a occhio nudo. Grazie alle tecnologie oggi disponibili saremo presto in grado di di ridurre ulteriormente le dimensioni delle opere, scendendo dal livello micrometrico a quello nanometrico, arrivando alla produzione di oggetti artistici grandi quanto molecole o cellule. L’intenzione è quella di aprire un nuovo territorio estetico, dove l’opera d’arte c’è, esiste, ma non si vede ad occhio nudo.
Altro obietttivo è la realizzazione di opere non solo bi- ma tridimensionali: in other words to create something similar not only to lithographs or paintings, but sculptures in nanoscale.
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