Showing posts with label Leonardo da Vinci. Show all posts
Showing posts with label Leonardo da Vinci. Show all posts

Monday 13 May 2019

Which side are you on? The mysterious world of brain lateralisation

There are many linguistic examples of ancient superstitions still lurking in open sight. Among the more familiar are sinister and dexterous, which are directly related to being left- and right-handed respectively. These words are so common-place that we rarely consider the pre-scientific thinking behind them. I was therefore interested last year to find out that I am what is known as 'anomalous dominant'. Sounds ominous!

The discovery occurred during my first archery lesson where - on conducting the Miles test for ocular dominance - I discovered that despite being right-handed, I am left-eye dominant. I'd not heard of cross-dominance before, so I decided to do some research. As Auckland Central City Library didn't have any books on the subject I had to resort to the Web, only to find plenty of contradictory information, often of dubious accuracy, with some sites clearly existing so as to sell their strategies for overcoming issues related to the condition.

Being cross-dominant essentially means it takes longer for sensory information to be converted into physical activity, since the dominant senses and limbs must rely on additional transmission of neurons between the hemispheres of the brain. One common claim is that the extra time this requires has an effect on coordination and thus affects sporting ability. I'm quite prepared to accept that idea as I've never been any good at sport, although I must admit I got used to shooting a bow left-handed much quicker than I thought; lack of strength on my left side proved to be a more serious issue than lack of coordination due to muscle memory.

Incidentally, when I did archery at school in the 1980s, no mention was ever made about testing for eye dominance and so I shot right-handed! I did try right-handed shooting last year, only to find that I was having to aim beyond the right edge of the sight in order to make up for the parallax error caused by alignment of the non-dominant eye.

Research over the past century suggests children with crossed lateralisation could suffer a reduction in academic achievement or even general intelligence as a direct result, although a 2017 meta-analysis found little firm evidence to support this. Archery websites tend to claim that the percentage of people with mixed eye-hand dominance is around 18%, but other sources I have found vary anywhere from 10% to 35%. This lack of agreement over so fundamental a statistic suggests that there is still much research to be done on the subject, since anecdotal evidence is presumably being disseminated due to lack of hard data.

There is another type of brain lateralisation which is colloquially deemed ambidextrous, but this term covers a wide range of mixed-handedness abilities. Despite the descriptions of ambidextrous people as lucky or gifted (frequently-named examples include Leonardo da Vinci, Beethoven, Gandhi and Albert Einstein) parenting forums describe serious issues as a result of a non-dominant brain hemisphere. Potential problems include dyspraxia and dyslexia, ADHD, even autism or schizophrenia.

While the reporting of individual families can't be considered of the same quality as professional research, a 2010 report by Imperial College London broadly aligns with parents' stories. 'Functional disconnection syndrome' has been linked to learning disabilities and slower physical reaction times, rooted in the communications between the brain's hemispheres. There also seems to be evidence for the opposite phenomenon, in which the lack of a dominant hemisphere causes too much communication between left and right sides, generating noise that impedes normal mental processes.

What I would like to know is why there is so little information publicly available? I can only conclude that this is why there is such a profusion of non-scientific (if frequently first-hand) evidence. I personally know of people with non-dominant lateralisation who have suffered from a wide range of problems from dyslexia to ADHD, yet they have told me that their general practitioners failed to identify root causes for many years and suggested conventional solutions such as anti-depressants.

Clearly this is an area that could do with much further investigation; after all, if ambidexterity is a marker for abnormal brain development that arose in utero (there is some evidence that a difficult pregnancy could be the root cause) then surely there is clearly defined pathway for wide scale research? This could in turn lead to a reduction in people born with these problems.

In the same way that a child's environment can have a profound effect on their mental well-being and behaviour, could support for at-risk pregnant women reduce the chance of their offspring suffering from these conditions? I would have thought there would be a lot to gain from this, yet I can't find evidence of any medical research seeking a solution. Meanwhile, why not try the Miles test yourself and find out where you stand when it comes to connectivity between your brain, senses and limbs?

Tuesday 21 June 2016

Military intelligence: how martial sci-tech does science few favours

I recently read an article about the USA's latest aircraft carrier the USS Gerald R. Ford that contained two bewildering facts: that at a combined research and construction cost of around US$18 billion it is the most expensive warship ever built; and that although only the first of three ships to be built in the class - and with an intended lifespan of half a century - it may already be obsolete.

So if potential aggressor nations now have the anti-ship missile technology to sink the carrier, is it little more than an enormous waste of taxpayer funds? There are reports of war games and simulations over the past three decades which fundamentally undermine the Victorian notion of technological progress - that bigger, stronger, faster equals better. This is particularly apt if your opponent uses 'unfair' and/or 'underhand' tactics such as stealth systems and guerrilla strategies. Then why are these colossal projects still being funded?

The USS Gerald R. Ford is merely the (admittedly very large) tip of an enormous iceberg concerning military expenditure of recent decades. Just to drive the point home, here's a few other recent examples:
  1. The US Navy's aircraft carrier-version of the Lightening II Joint Strike Fighter is the F-35C, with some estimates suggesting each combat-ready aircraft costs up to $337 million.
  2. The US Air Force's F-22 Raptor programme was shut down after only 187 operational aircraft were built, as the price per airframe was even higher, around $350 million.
  3. The apotheosis of combat aircraft has to be the B-2 Spirit stealth bomber. Only 21 were ever built, at a whopping $737 million each, excluding the research and development costs, which may double or even triple this number.
  4. So as to not seem unfairly biased against the USA, other nations also have their share of military expenditure. For example, South Korea's K2 Black Panther is the most expensive main battle tank ever built, with per-unit costs of US$8.5 million each.
So who's to blame for all this? The USS Gerald R. Ford for example was approved during George W. Bush's administration but is only nearing completion eight years after he has left office. At least in democracies, politicians usually come and go in less than a decade whilst defence contractors last much longer. Could the armaments sector be duping administrations into giving them a lifeline? A large proportion of manufacturing has migrated to developing nations but due to the sensitive nature of the sector, advanced military technology is one of the few areas still concentrated within the developed West.

It's difficult to collate anything like exact figures, but the proportion of STEM (Science, Technology, Engineering and Mathematics) professionals worldwide who work on military projects is frequently given as 20% to 25%. Is it feasible that this high level of involvement in an area that is both secretive and horrendously expensive may be counter-productive to the public's attitude to science in general?

After all, no other sector has access to such enormous amounts of tax payer's funds without being responsible to some form of public scrutiny. Then again, since the early 1980s we have been sold a vision of military technology that is a mostly one-sided glorification of armaments and the requirements for ever-increasing expenditure in the name of freedom.

How many mainstream Hollywood movies since 1986's Top Gun - including plenty of sci-fi epics - can be seen as glossy advertisements for advanced weaponry? It may seem odd considering the conventional portrayal of movie scientists but homages to the military-industrial complex show little sign of abating. Praise be to the sophistication of the technology, whilst damning those who develop it as untrustworthy schemers outside of mainstream society. It's a curious phenomenon!

However, developing advanced technology for military purposes is hardly new. The ancient Greek Archimedes developed anti-ship devices whilst Leonardo da Vinci wrote effusive letters to prospective patrons about his land, sea and even aerial weapons, albeit some were of dubious practicality.

Today's society is supposedly more refined than those earlier times, yet whilst a concerted effort is being made to attract more women to STEM subjects, the macho nature of armaments presumably ensures the sector remains male-dominated. If proof would were needed of the interest in all things explosive, the global success of the TV show Mythbusters should be a good indicator. If an example of the crazy nature of unrestrained masculinity needs delineating, then how about atomic bomb pioneer Edward Teller's promotion of nuclear devices for civil engineering projects? For every J. Robert Oppenheimer there were far more Tellers.

It isn't just the sheer cost of contemporary military projects that can lead to the ire of taxpayers. There have been some almost farcical instances of under-performance, such as the degradation of the B-2's anti-radar coating by high levels of humidity (never mind rain). It's easy to blame the scientists and engineers in such circumstances; after all, the politicians and generals leave the cutting-edge technology to the experts! But talk about over-promise and under-deliver...

One area that presumably didn't exist before the Twentieth Century's development of weapons of mass destruction cannot be blamed on STEM professionals and that is the deliberate use of civilians as guinea pigs. From the US and British atomic bomb tests that affected local populations as well as military personal to the cloud-seeding experiments over heavily-populated areas that may have led to fatal downpours, it seems no-one is safe from their own armed forces.

Of course, a large proportion of the degradation of the image of scientists as authority figures may have occurred during the Cold War, when it became apparent that military technocrats of the period earned their reputation as 'architects of the apocalypse'. There's obviously a lot of complexity around this issue. Arguments range back and forth, on such topics as once the Apollo moon landings proved America's technological superiority to the Soviet Union, the project was rapidly wound up; or how did the more right-wing elements of society feel when that same know-how was stalemated by markedly inferior forces in Vietnam?

The space shuttle was another victim of military requirements, the orbiter's unprecedented size being needed for the then large spy satellites - and the intention to fly two of them from Vandenburg Air Force base for 'shadow' missions. In a sense, the military could be seen to have had their fingers in many leading but nominally civilian pies.

This isn't to say that there haven't been productive examples of military technology modified for civilian usage, from early manned spacecraft launched on adapted ICBMs to the ARPANET providing a foundation for the Internet.

Even so, it is easy to look at the immense worldwide expenditure on weapon development and wonder what could be achieved if even a few percent of that funding was redirected elsewhere. There's no doubt about it: the sheer quantity, sophistication and expensive of modern military hardware provides some legitimate public concerns as to the role of science and technology in the name of 'defence'. Especially if $18 billion worth of aircraft carrier is little more than a showy piece of machismo that belongs to the last half century, not the next.

Tuesday 29 May 2012

How to be cyantific: connecting the laboratory to the artist's studio

Moving house - or more broadly speaking, hemispheres - last year was a good excuse for a spring clean on an epic scale. One of the items that didn't make the grade even as far as a charity shop was a framed painting I created several decades' ago, a clumsy attempt to describe scientific imagery in acrylics. In front of a false colour radar map of the surface of Venus was the head and neck of a raptor dinosaur above a bowler-hatted figure straight out of Rene Magritte. You can judge the work for yourself below; I seem to remember the bemusement of the framer but as I said at the time, it wasn't meant to be to everyone's taste...

But if my daub was rather wide of the mark, just how successful have attempts been to represent the theory and practice of science in the plastic, non-linear, arts such as painting and sculpture? Whereas musical and mathematical ability seem to readily connect and there has been some admirable science-influenced poetry, by comparison the visual arts are somewhat lacking. Much has been written about the Surrealist's use of psychoanalysis but as this discipline is frequently described as a pseudoscience I've decided to cut through the issue by ignoring it and concentrate on the 'hard' sciences instead.

Combining science and art - or failing to
One of the most difficult issues to resolve (especially for those who accept C.P. Snow's theory of 'two cultures') is that whilst most science books for a general readership describe a linear progression or definitive advancement to the history of science, art has no such obvious arrow of change. After all, a century has passed since the early non-realist movements (Cubism, les Fauves, etc.) but there are plenty of contemporary artists who avoid abstraction. Granted, they are unlikely to win any of the art world's top prizes, but the progression of science and its child technology over the past three or so centuries clearly differentiates the discipline from the arts, both the sequential schools of the West and the 'traditional' aesthetics of other cultures.

Of course, it's usual to differentiate the character of scientists and artists about as far apart as any human behaviour can get, but like most stereotypical ideas it doesn't take much to prove them wildly inaccurate. Anyone aware of Einstein's views ("Imagination is more important than knowledge") or his last unsuccessful decades spent on a unification theory that ignored quantum mechanics will understand that scientists can have as imaginative and colourful personality as any artist. Indeed, the cutting edge of theoretical science, especially physics, may rely on insights and creativity as much as advanced mathematics, a far cry from the popular image of dull, plodding scientists who follow dry, repetitive processes.

Another aspect worth mentioning is that our species appears unique in the ability to create representations of the world that can be recognised as such by most if not all of our species. Despite Congo the chimpanzee gaining enough kudos in the 1950s for Picasso and Miro to buy his paintings, as well as more recent media interest in elephant art works, there is no evidence that under controlled experimental conditions non-human artists can produce obviously realistic images unaided. Then again, could it be that we are so biased in our recognition patterns that we do not identify what passes for realism in other species? Might it be possible that other animals interpret their work as representational when to us it resembles the energetic daubs of toddlers? (This suggests shades of Douglas Adams's dolphins, who considered themselves more intelligent than humans because rather than build cities and fight wars, all do is muck about in water having a good time...)

So where do we start? Firstly, what about unintentional, science-generated art? Over the past decade or so there has been a spate of large format, text-light, coffee table books consisting of images taken by space probes, telescopes and Earth resources satellites. A recent internet success consisted of time lapse photography of the Earth taken by crew aboard the International Space Station; clearly, no-one spent a hundred billion US dollars or so just to make a breath-taking video, but the by-products of the project are a clear example of how science can incidentally create aesthetic work. This isn't just a contemporary phenomenon either: the earliest examples I can think of are Leonardo da Vinci's dissection drawings; in addition to being possibly the most detailed such illustrations until today's non-invasive scanning techniques they are also beautiful works of art in themselves. But then Leonardo's intentions appear to have been to both investigate the natural world for the sheer sake of learning as well as improve his painting technique by knowledge of the underlying anatomy. I wonder if there are any contemporary artists who use MRI technology or similar as a technical aid for their draftsmanship?

At the other end of the spectrum (groan), mathematician Marcus du Sautoy's 2010 BBC TV series The Beauty of Diagrams was an interesting discourse on how certain images created for a scientific purpose have become mainstream visual symbols. From Vitruvian Man, da Vinci's analysis of ideal human proportions, to the double helix diagram of DNA (incidentally first drawn by Odile Crick, an artist married to a scientist), these works integrate the transmission of information with a beautiful aesthetic. The latter example is particularly interesting in that the attempt to illustrate complex, miniscule structures in an easily understandable format has since become a mainstay of science diagrams, shorthand that is frequently interpreted by the non-specialist as a much closer representation of reality than the schematic it really is.

Physicist and writer John Gribbin has often stated that the cutting edge science of the past century, especially physics, has had to resort to allegory to describe situations at scales far removed from human sensual experience. This implies that an essential method by which science can be conveyed is via the written metaphor and visual symbolism. As we delve further into new phenomena, science may increasingly rely on art to describe ideas that cannot for the foreseeable future be glimpsed at first hand. But ironically this could have a deleterious effect on public understanding if the model is too successful, for then it becomes difficult to supplant with a more accurate theory. An obvious example is the architecture of the atom, with the familiar if highly inaccurate classical model of electrons orbiting the nucleus like a miniature solar system prevalent long after the development of quantum electrodynamics.

You might ask how difficult would it be to describe probabilities and world paths in conventional art media, but Cubism was a style attempting to combine different viewpoints of a subject into one composition. If this appears too simplistic, then it may seem more convincing once you know that physicist Niels Bohr was inspired by Cubist theories during the development of the Complementarity Principle on the wave-particle duality. Cubism is of course only one of the more obvious visual tricks but even the most photo-realistic painting requires techniques to convert three dimensional reality (well four, if you want to include time), into two dimensions. How often do we consider this conversion process in itself, which relies on a series of visual formula to produce the desired result? It may not be science, but the production of most art isn't a haphazard or random series of actions.

It's easy to suggest that a fundamental difference between science and the plastic arts is that the former is ideally built of a combination of method and results whilst the latter is firmly biased towards the works alone. An exception can be seen in abstract expressionism, a.k.a. action painting: at art college we were taught that to practitioners of this school the moment of creation was at least as important as the final result. To this end, Jackson Pollock was filmed painting from as early as 1950, with numerous other artists of various movements following suit soon after. In general though, the art world runs on the rich individuals and corporations who buy the works, not the theories of critics.

And what of art theory? Most of it isn't relevant here, but one of the fundamentals of composition is the harmony and rhythm generated by the use of mathematical ratios and sequences. The Golden section and Fibonacci series are frequently found in organic structures, so in a sense their use is a confirmation of that old adage that the purpose of art is to hold a mirror up to nature. If that sounds trite, why not examine works by contemporary artists inspired by scientific theories or methodologies? That's coming in the next post...