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Which clippings match 'Magnification' keyword pg.1 of 1
12 FEBRUARY 2012

Powers of Ten: a dramatic representation of our place in the universe

"Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only a s a speck of light among many others. Returning to Earth with breathtaking speed, we move inward– into the hand of the sleeping picnicker– with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell."

(Powers of Ten © 1977 Eames Office LLC)

Fig.1 Original video of the "Powers of Ten". 1977, uploaded by EamesOffice on 26 Aug 2010, YouTube.

Fig.2 Interactive presentation of the "Powers of Ten". 2010 Based on the film by Charles and Ray Eames. An Eames Office Website.

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TAGS

19772010animated presentationatomblood • blood cell • bringing into relation • carbon atom • cellcell divisionCharles EameschartChicagocomposed of partscosmosDNA • Eames Office LLC • Earthfilmgalaxygraphic representationIBMin perspectiveinformation aestheticsinteractive information visualisationinteractive presentationjourney • lakeside • magnificationmagnitudesmicroscopic worldminuscule detailmolecule • outer edges • perspective • picnic • Powers of Ten • proton • Ray Eamesrelational viewrepresentationscalesciencespace • speck of light • subdivisionsuniverseviewvisual communicationvisual depictionvisual dramavisual representations of mathematical conceptsvisual scientific representationsvisual spectaclevisualisation • white blood cell • zooming

CONTRIBUTOR

Simon Perkins
23 JANUARY 2011

Theory building through DNA visualisation

Drew "Berry's animations function as a tool for representing activities occurring within our bodies that could otherwise only be seen at a magnification of 100 million times. What distinguishes these works in the context of the moving image art form is the creation of a visual landscape that is extraordinary, strange and other–worldly, even though viewers are armed with the knowledge that they are scientifically exact. To follow the virtual camera through this strange world reminds them of the constant energetic presence of their own seething, pulsing, cellular functions. Watching these works, viewers become strangers in their own skin, inhabitants of a foreign landscape. Berry uses this synthesis of scientific and digital technology to create a holistic sense of the world beneath people's skin, sending a ripple across the viewers' bodies as they interact with the work, enlivened with the knowledge of their organic relation to the alien world on screen."

(Australian Centre for the Moving Image, Australia)

Fig.1 Drew Berry (2003). 'Body Code' 3D computer animation displayed as single–channel DVD projection; stereo audio. 8:34 mins; colour. Sound design: Franc Tétaz. Collection: Australian Centre for the Moving Image. Courtesy: Walter and Eliza Hall Institute of Medical Research (WEHI) and the artist.

[These animations demonstrate the potential of design practice for revealing insight that might not otherwise be revealed. In this way preoccupations with visual fidelity and scientific accuracy must recognised as being only peripherally important.]

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TAGS

2003ACMIanimationAustralia • Australian Centre for the Moving Image • body • Body Code • cellconceptualisationdatadesign practicedigital technologydiscoverydiscovery through designDNA • Drew Berry • extraordinaryfidelitygraphic representationillustrationinsightmagnificationrepresentation • scientific accuracy • scientific methodscientific visualisationskintheory buildingVictoria (Australia)visual depictionvisual fidelityvisual representationvisualisation • Walter and Eliza Hall Institute • WEHI

CONTRIBUTOR

Simon Perkins
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