The authors describe a cross-disciplinary collaboration in which they apply both a qualitative/quantitative and a choreographic analysis to the gestures immunologists use when lecturing on immunity. They identify particular spatiotemporal features by which immunologists have mapped, embodied and blended the conceptual spaces of the molecular and cellular. The immunologists’ difficulties in integrating the differing spatiotemporal modes of observing and embodying revealed hidden policies in their concepts of immunity.
The author’s visual art project is concentrated in the specific area of scientific photography of the Scanning Electron Microscope (SEM), which has expanded the boundaries of observation and representation of the micro world since it was introduced to scientific research in the mid-1960s. Like a number of other artists who have preceded the author, she investigates how to interpret scientific images captured by the SEM as aesthetic forms. In particular, the author considers microscale drops of water from different aquatic systems after evaporation.
A virtual three-dimensional model of Las Meninas is discussed. The model suggests that Diego Velázquez used a large mirror to create his masterpiece.