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Today’s synthetic biologists are in the early stages of engineering living cells to help treat diseases, sense toxic compounds in the environment, and produce valuable drugs. With this manual, you can be part of it. Based on the BioBuilder curriculum, this valuable book provides open-access, modular, hands-on lessons in synthetic biology for secondary and post-secondary classrooms and laboratories. It also serves as an introduction to the field for science and engineering enthusiasts. Developed at MIT in collaboration with award-winning high school teachers, BioBuilder teaches the foundational ideas of the emerging synthetic biology field, as well as key aspects of biological engineering that researchers are exploring in labs throughout the world. These lessons will empower teachers and students to explore and be part of solving persistent real-world challenges. Learn the fundamentals of biodesign and DNA engineering Explore important ethical issues raised by examples of synthetic biology Investigate the BioBuilder labs that probe the design-build-test cycle Test synthetic living systems designed and built by engineers Measure several variants of an enzyme-generating genetic circuit Model "bacterial photography" that changes a strain’s light sensitivity Build living systems to produce purple or green pigment Optimize baker’s yeast to produce ?-carotene
Thanks to the ICT economy, today's world is witnessing a gradual process of transfer and displacement from a society based on the production of man-made material goods to a new society driven by science and knowledge. This new society uses human intelligence to try to solve cultural problems, to sustain activities, to rationalize performances, and to plan, program and develop strategies and projects for the future. This book therefore proposes a multi-faceted framework through which contemporary art, biology, digital science, geology, technology, physiology, chemistry, and philosophy enter into debate and complement each other. It is structured around a number of logically interconnected questions, such as: “What is bio-art?”, “Can a laboratory artist manipulate living beings, perform complex hybridizations, and give birth to chimeras that would coexist with human beings?”, “Do we have the right to use them?”, “Should we authorize research that will allow the development of these techniques, prohibit such research, or fund it?”, and, “Do we have the right to create embryos for transplantation or injection?”
The Routledge Companion to Biology in Art and Architecture collects thirty essays from a transdisciplinary array of experts on biology in art and architecture. The book presents a diversity of hybrid art-and-science thinking, revealing how science and culture are interwoven. The book situates bioart and bioarchitecture within an expanded field of biology in art, architecture, and design. It proposes an emergent field of biocreativity and outlines its historical and theoretical foundations from the perspective of artists, architects, designers, scientists, historians, and theoreticians. Includes over 150 black and white images.
Biological data of all kinds is proliferating at an incredible rate. If humans attempt to read such data in the form of numbers and letters, they will take in the information at a snail's pace. If the information is rendered graphically, however, human analysts can assimilate it and gain insight at a much faster rate. The emphasis of this book is on the graphic representation of information-containing sequences such as DNA and amino acid sequences in order to help the human analyst find interesting and biologically relevant patterns. The editor's goal is to make this voyage through molecular biology, genetics and computer graphics as accessible to a broad audience as possible, with the inclusion of glossaries at the end of most chapters and program outlines where applicable. The book will be of most interest to biologists and computer scientists and the various large reference lists should be of interest to beginners and advanced students of biology, graphic art and computer science. Contributors have sought to find pattern and meaning in the cacophony of genetic and protein sequence data using unusual computer graphics and musical techniques.
What do new technologies taste like? A growing number of contemporary artists are working with food, live materials and scientific processes, in order to explore and challenge the ways in which manipulation of biological materials informs our cooking and eating. 'Bioart', or biological art, uses biotech methods to manipulate living systems, from tissues to ecologies. While most critiques of bioart emphasise the influences of new media, digital media, and genetics, this book takes a bold, alternative approach. Bioart Kitchen explores a wide spectrum of seemingly unconnected subjects, which, when brought together, offer a more inclusive, expansive history of bioart, namely: home economics; the feminist art of the 1970s; tissue culture methodologies; domestic computing; and contemporary artistic engagements with biotechnology.
In the face of climate change, the destruction of biodiversity or genetic experimentation, Bio Art appears as a form that is most directly grappling with the problems of the »Anthropocene«. It develops many different approaches and explores a variety of mediums, often related to scientific research, creating art that uses plants, insects, mammals, bacteria, bird songs, forest sounds, or genetic modification. Bio Art's uniqueness comes from incorporating, rather than just representing the living in a diverse range of artworks. In discussing such works from various world regions and time periods, the contributors address the divide between human and non-human animals, between »culture« and »nature«.
Tracks and Shadows is both an absorbing autobiography of a celebrated field biologist and a celebration of beauty in nature. Harry W. Greene, award-winning author of Snakes, delves into the poetry of field biology, showing how nature eases our existential quandaries. More than a memoir, the book is about the wonder of snakes, the beauty of studying and understanding natural history, and the importance of sharing the love of nature with humanity. Illustrations.
Neuroscience tells us that the products of the mind--thought, emotions, artistic creation--are the result of the interactions of the biological brain with our senses and the physical world: in short, that thinking and learning are the products of a biological process.This realization, that learning actually alters the brain by changing the number and strength of synapses, offers a powerful foundation for rethinking teaching practice and one's philosophy of teaching.James Zull invites teachers in higher education or any other setting to accompany him in his exploration of what scientists can tell us about the brain and to discover how this knowledge can influence the practice of teaching. He describes the brain in clear non-technical language and an engaging conversational tone, highlighting its functions and parts and how they interact, and always relating them to the real world of the classroom and his own evolution as a teacher. "The Art of Changing the Brain" is grounded in the practicalities and challenges of creating effective opportunities for deep and lasting learning, and of dealing with students as unique learners.
"Provides an in-depth review of current print and electronic tools for research in numerous disciplines of biology, including dictionaries and encyclopedias, method guides, handbooks, on-line directories, and periodicals. Directs readers to an associated Web page that maintains the URLs and annotations of all major Inernet resources discussed in th
As synthetic biology transforms living matter into a medium for making, what is the role of design and its associated values?