Tuesday, February 16, 2016

Now Let's Get in Formation


Beyoncé has been on the forefront of the music industry for the majority of her life, beginning at the age of 16. She has always been considered a creative in the traditional sense, pushing music to its boundaries and forcing Pop to try new things: the face of a new era. Instead of worrying about her license or curfew, she was worrying about how well-received her band’s new single would be when it came out on the Men in Black soundtrack.


Needless to say, she has had it different from the rest of us.

However, the public has struggled with how to handle Beyoncé’s success and attitude. She uses her fame and fortune to express her thoughts on feminism, racism, and other social justice issues. Even just a year and a half ago, she donated $7 million to build a homeless shelter for her hometown, providing food, AIDS screening, and several support systems to help the residents get employed. Her talent and her creativity are all rolled-up into a lovely political-pop-icon package. 

Her newest release has taken the internet by a storm. She has been known to drop her new songs, and even an entire album, without any press knowledge or heads-up. She did this again, just a day before her Superbowl L performance. It was not just any video filled with Beyoncé’s typical musical and kinesthetic talent. It was a firm political statement, and what seems to be Beyoncé claiming her roots in Southern African American culture. Many seemed to have forgotten that she is, indeed, African American, and that she has on many occasions discussed her dismay at the racial and gender inequality in America. Her song was filled with references to the recent protests and sensitive political state around the country, particularly in the south. She had references to police violence like a sign that says “Stop shooting us,” and the video ends with her sinking a cop car. 

Her choices were definitively saying one thing: I have something to say, and it’s not just in my lyrics. “Formation” is being seen as a call to action for those who are fighting inequality. It is undoubtedly creative, as it is a cross-disciplined discussion of real issues being brought to the public through media. According to Csikszentmihaly’s theory on creativity, there are three nodes that need to be considered: the individual talent, the domain of the creation, and the field that places judgement and decides success. Beyoncé’s new video uses those three elements as a proxy for her true creation of her political statement. She is utilizing her “field” of the public to get as many as possible to hear her statement. She is putting it in a “domain” that everyone can understand, and she is doing it with talent that allows for the success of her single. Her ability to use her own established creativity as a platform for what she would next like to get to the public is an amazing feat. She bends what is considered acceptable, and uses her normalized and celebrated talent to try to make her radical views more accessible and easier to swallow.

Another aspect of creative theory, this portion stated by Gardner, is personality traits common in creative individuals. Beyoncé has easily been deemed creative by the public, for almost 20 years now. Gardner says those that are more creative seem more likely to possess “independence, self-confidence, unconventionality...ambition, and commitment to work.” In “Formation” Beyoncé directly exhibits almost a direct parallel of those personality traits. Her lyrics state “I see it, I want it...I dream it, I work hard, I grind 'til I own it” showing her commitment, closely followed by expression of her self-confidence with “I go hard, Get what’s mine, I’m a star.” 



She not only possesses the personality traits of a classically creative individual, but works them directly into her creation. She most recently described her process by saying "art is the unapologetic celebration of culture through self-expression."

People are either raging or raving over her newest form of self-expression. There are anti-Beyoncé protests being organized throughout the U.S., but many other artists and celebrities are coming out in support of her work. Her creativity is not only producing music and videos, but also a line drawn through the country dividing those who fight for rights, and those who are offended by the idea of equality. Songs rarely make people feel such intense emotions that they inspire protests, but this song is so unique it inspires protests both for its message and against the messenger. Her music and political stance are creating change, the basest form of creativity, and her hopes of unity and equality can be achieved in America if everyone works together and gets in "Formation."

Finally, it is truly just a wonderful song, accompanied by moving and original choreography. Definitely a creative landmark in music this year.


**Disclaimer: choice language in following video**



Omni Processor

"Worldwide, 780 million people don't have access to an improved water source."

"Diseases caused by poor sanitation kill some 700,000 children every year, and they prevent many more from fully developing mentally and physically."

Peter Janicki utilized his creative abilities to combat the above statistics by inventing the Omni Processor.  The Omni Processor is a machine that converts sewage to electricity and clean drinking water that meets the standards of the United States FDA and the World Health Organization.

The sewage is converted by heating the sewage sludge until it boils.  The boiling water exits the dryers as steam.  This steam is at temperatures that are much too high for any pathogen survival.  While the water is vaporized, it is filtered to remove any remaining unwanted particles.  This steam is then condensed to water and is put through a water treatment.  This treatment adjusts the water's pH and uses additional filters to ensure the safety of the water.  Energy is created by boiling water; the heat from combustion of water generates a high pressure steam.  This steam travels to a piston steam engine.  The engine is connected to a generator, which produces the electricity needed to dry the fecal sludge. Excess energy is created to be used in surrounding areas.  The Omni Processor is completely self-sufficient; it generates enough energy for the machine to run in addition to the electricity that can be used by the surrounding community.  Janicki intends to implement his creation in third world countries that are in need of clean water and electricity.  The first Omni Processor (S100) resides in Dakar, Senegal and is set to start this month!  Janicki continues to improve the function of these machines; he has plans for a second model (S200) that is even more efficient.
Omni Processor S200 model 

Janicki used his knowledge that he acquired by earning a B.S. from the University of Notre Dame and a Masters from the University of Washington.  He began his career as a lead design engineer for Electro Impact, Inc. designing large computer numerical control machines (CNC) for riveting and assembling aircraft wings and Spars.  In 1993, Janicki founded Janicki Machine Design to develop and sell CNC machines.  Janicki revolutionized the marine manufacturing industry with machine-composite boat molds.  After this success, Janicki realized that he could apply these machines to various different fields-- including sanitation and the production of clean water and electricity!

Gardner defines a creative individual as "a person who regularly solves problems, fashions products, or defines new questions in a domain in a way that is initially considered novel but that ultimately becomes accepted in a particular cultural setting" (pg. 33).  Peter Janicki fits this description; as an engineer he is always solving problems, fashioning new products, and defining new questions.  His initial goal with this project was to create a better means of sanitation in third world countries while producing electricity.  Janicki wanted an alternative from septic trucks dumping sewage into nearby rivers and streams and wanted to avoid pit latrines filling up so that the people have no choice but to defecate outside.  Both of these situations contaminate drinking water and cause those drinking this water to become ill.  This machine is economical because it produces electricity.  Janicki later realized that this machine could be even more economical because it could produce clean drinking water as well.  This is the first machine of its kind to be implemented in such a way.  Janicki's invention was quickly accepted when the Bill and Melinda Gates Foundation decided to fund this project.




To be creative is to take one idea and revolutionize it into something even better by thinking outside of the box, as was done with the Omni Processor.  Janicki took his basic goal of sanitation and electricity production and made it even better by producing fresh drinking water.  This was not just a creative idea, it was completely revolutionary and will have a lasting impact on the lives of many.  This change is starting in Dakar, Senegal and will be spread all across impoverished areas.  Janicki refuses to be complacent; he is continuously working to make this machine as efficient and economical as possible.  


Works Cited:
http://www.cdc.gov/healthywater/global/wash_statistics.htmlhttp://janickibioenergy.com/index.html
http://www.janicki.com/about-us/
https://www.gatesnotes.com/Development/Omniprocessor-From-Poop-to-Potable

The Seabin: For A Garbage Free Ocean

 



      The Seabin, created by Australians Andrew Turton and Pete Ceglinski, is an automated garbage bin that sits in the water of marinas, private pontoons, inland waterways, residential lakes, harbors, water ways, ports and yacht clubs. The Seabin floats on the water's surface and suck water into it, also pulling in any garbage and debris, the garbage is captured in a bag made of natural fiber, and the water is pulled into a pump located on the shore, or the dock, which separates out any oil in the water, and then pumps the clean water back into the ocean.
seabin3
     Andrew Turton and Pete Ceglinski were inspired to create the Seabin, because they were tired of having to surf in waters teeming with garbage. Their solution, the Seabin is low maintenance, and can be operated by a single person working at the docks. Rather than the traditional method of having people go out into the waters to clean up the garbage, the Seabin uses the pump to bring the garbage into one location and make it easy for one person to remove garbage from the water with much less effort. Additionally, some of the captured plastic can be used to produce more Seabins to capture more garbage.
Hessian catch bag 100% biodegradeable
      Andrew and Pete attacked the problem of ocean garbage and pollution in a new way, and their unconventional idea provides more efficient and easier way to clean the garbage in the water. The Seabin project has been warmly received by the public, especially within the surfer community. The creators have a working prototype, and their crowdfunding page on Indiegogo has raised $267,767 USD from over seven thousand backers.


Monday, February 15, 2016

Marimba Gets (More) Complex: Jane Boxall and "Zero to Eight"

Elton John features it. Jack White can play it. Apple deemed it worthy of a ringtone (which was bizarrely remixed with Adele's Hello here).

The marimba is a percussive keyboard instrument composed of rosewood bars connected with string. Origins of the marimba are unknown, as versions of the instrument have been connected to South and Central America as well as Africa. Musicians play the instrument with mallets - typically one or two in each hand.

This xylophone cousin is a favorite for soothing music, festivals, and symphony hall concerts. A four mallet combination can held either in Burton grip (with two mallets forming an 'x' across the palm) or in Stevens grip (with the mallet ends connecting in a 'v' at the center of the palm). Marimbist Jane Boxall teaches students to combine these two techniques to use a total four pairs of mallets at one time.

Burton grip (image from Adam Rönnegård, Double Mallet Grips)
Stevens grip (image from Adam Rönnegård, Double Mallet Grips)

In her 2012 album Zero to Eight Mallets, Boxall performs a series of pieces that focus on specific mallet techniques. The first piece on the album, Sambai (Boxall), requires no mallets and instead requires Boxall to strike the bars with flat, open palms. Each consecutive piece requires the addition of another mallet, culminating with eight mallets for Marimba Moods II (Boxall).

Zero to Eight Mallets has received significant critical acclaim. As Percussive Notes magazine writes in the May 2013 issue, the album "is an eclectic mix of 100 years' worth of music masterfully performed on marimba...Throughout the recording, Boxall's performance is consistently excellent." Janine Scherline, director of Plattsburgh Arts in New York calls Boxall's live performance of Zero to Eight Mallets "unique and highly accessible repertoire, unparalleled artistry and the perfect dash of visual spectacle." Boxall is not without fans.

Boxall performs with eight mallets


Eight-mallet marimba breaks from percussion tradition. In a musical world that puts significant emphasis on correct finger placement and wrist bend, Boxall innovates and creates an alternative grip that allows her to easily play more notes at one time. The conceptual change from an established method of performance to a new, innovative method is affecting the percussion performance landscape constantly. Like Frank Gehry, who insisted that his work be categorized as architecture instead of sculpture, Boxall is pushing the limits of how classical marimba is performed. Ten years ago, marimba was rarely (if ever) played with more than four mallets. Today, a quick Google search will reveal a plethora of tutorials teaching percussionists to add an extra mallet (or three) to their grip. Boxall's repertoire has inspired composers and performers to embrace a shift in thinking from pre-established categories.

Watch an except of Zero to Eight Mallets below:

Integrated Tissue and Organ Printing System

A research team at the Wake Forest Institute for Regenerative Medicine led by chief researcher Anthony Atala has discovered a method to use a specialized 3D printing system to print “human scale tissue constructs with structural integrity.” The idea behind this process is not new; researchers have attempted to grow new organs from a mixture of amniotic fluid and placental derived stem cells since 1996. In fact, one of Atala’s patients, Luke M., received one of the first genetically engineered organs, a bladder, at the age of 10.

Scientists say they're closer to 3D printing body parts

But, their paper published today (February 15, 2016) reveals new methods of printing viable human organs that have capability and strength to function within the human body. The structures are printed by an integrated tissue-organ printer (ITOP) that is able to print cell-laden hydrogels together with biodegradable gel in integrated patterns. The shape is created by computer imaging data to translate cells to specific locations. After the structure is formed, the gel polymers disintegrate, leaving behind a viable organ complete with pathways for nutrients. Previous attempts to create organs with room for blood vessels were too fragile, but this problem was overcome by printing tiny blood vessels.



The team printed three different kinds of structures to show what their printer could do: a human infant ear, muscle tissue, and a small part of human jaw bone. These structures were implanted under the skin of mice and rats. After a short period of time—between two weeks and five months—all three structures not only survived, but grew to form vascularized tissue. This structures will be specially designed for each specific patient through technologies similar to CT scanning and MRI imaging.



Atala has been working on this project for over 15 years. He is described by colleagues as shy and humble, but exhibits divergent thinking in the face of a global heart crisis. Originally he wanted to become a primary care physician in a small community, but as he did surgeries, he was constantly "devastated" by the fact that the tissues he was transplanting into his patients weren't ideal. He knew that there was a better way to find tissue and organ matches for his patients. In his 2011 TED Talk, Atala reported the statistic that in the past decade alone, the need for organ transplants has doubled while the number of donors have barely budged. His new 3D printing technologies could have life changing affects for the over 123,000 patients awaiting organ transplants. Trials are still in preclinical stages, but Atala hopes that these innovations could be implanted in humans within the next 5 years, a novel and appropriate solution to the global health crisis of organ shortages.

“Nothing I ever planned in my life turned out the way that I thought it would, I just went in totally different directions at every single step.” - Anthony Atala

Atala has been the recipient of a number of esteemed awards throughout his research tenure, including Time Magazine’s top 10 medical breakthroughs of the year (2003), Discover Magazine`s Number 1 Top Science Story of the Year in the field of medicine in 2007, one of 14 Pioneers of Medical Progress in the 21st Century in U.S. News & World Report (2009). Dr. Atala’s work was also listed in the Huffington Post as one of 18 great ideas of 2011, in Time Magazine as one of the top 5 medical breakthroughs of the year in 2011, by the American Association of Retired Persons as one of the 50 influential people who will make life better in 2012, and by Time Magazine as one of 5 discoveries that will change the future of organ transplants in 2013. 



Pilobolus is a fungus.

A phototropic fungus that grows on cow dung and "propels itself with extraordinary strength, speed and accuracy," to be exact. It is the latter that serves as the connection to the alternative meaning of Pilobolus: an internationally acclaimed arts organization that was founded in 1971 and continues to explore the dynamic uses of the human body as graphic expression. This organization lingers on the border between dance and physical theatre, ignoring any preconceived barriers that stand between different art forms.

I am in a professional dance company based in Chicago, and recently one of my good friends and fellow company members traveled to New York with our Artistic Director for a large performing arts conference. While they were there, they were invited to a presenter's showcase, where different premium dance companies presented single works in an informal and intimate setting. One of the pieces that my friend and director had the honor of seeing from seven feet away was Pilobolus's "On the Nature of Things." My friend who got to experience this piece up close has described it to me in such a vivid manner that it almost feels like I was there to experience it myself.

"On the Nature of Things" is a quintessential Pilobolus creation. It is a minimal dance piece that involves a two-foot column that is raised above the floor, three incredibly muscular and controlled dancers, and quiet, unassuming Baroque-inspired vocal music. It is minimal in terms of dancers and additional theatrical elements, but there is nothing minimal about the power of the slow, continuous movements that transform three athletic humans atop a circular surface into a living, breathing sculpture. For ten minutes, these dancers move in the most naturally controlled manner, lifting one another, moving through each other, and creating organic flowing forms with nothing more than their bodies.

On the Nature of Things

It is the strong interaction between human bodies, moving and twisting and molding in a dynamic way, that is characteristic of Pilobolous. Simply hearing a description of this dance piece from my friend moved me, and if an imagined version of this sculpture-esque dance had such an impact, I can’t even fathom the power of experiencing this art firsthand. When thinking about Pilobolous in terms of this class, the phrases “divergent thinking” and “expertise” came to mind. Pilobolous succeeds on the basis of thriving in both of these creative manners. It is the divergent thinking that allows members of this company to combine multiple fields, playing with the interplay between dance and the more essential and basic physical forms. “On the Nature of Things,” or so I have heard second-hand, highlighted the expertise of these artists. The ability to make movement flow in the most natural manner takes an incredible amount of control, and there was not a toe out of line the entire time the three dancers were moving as one atop their platform.

I have been unable to find full footage of “On the Nature of Things,” but the following article contains exquisite descriptions and photos:


I Wanna Get Better: A Different Approach to Therapy

For those of you who aren't majoring/minoring in psychology and haven't taken a class on abnormal or clinical psych, all therapy may seem to be more or less the same. A person goes in, talks about their problems, their therapist gives them some advice, and they start to get better, right? In reality, therapy is much more complicated, and there are many specific methods and approaches that clinical psychologists use that have been proven to yield the best chances of recovery for their patients; types of exposure therapy for patients with specific phobias, cognitive behavioral therapy for patients with general anxiety or depression, etc. But for a long time, psychologists were stumped when it came to patients with a disorder known as BPD.

BPD, which stands for borderline personality disorder, is characterized by emotional instability, impulsiveness, and difficulty in having stable relationships with others, and more "traditional" forms of therapy generally do not help those with BPD improve their symptoms. For a long time, therapists would either flat-out refuse to work with people with a BPD diagnosis or would spend months or years working with these patients with little to nothing to show for it. This began to change in the late 1970s, when a LUC alum and psychology researcher named Marsha M. Linehan developed a method known as dialectical behavior therapy (DBT).
Marsha M. Linehan,
developer of DBT

Linehan, who herself lived with BPD, was researching the effectiveness of treatments for chronically suicidal women when she and her research associates realized some of the pitfalls of cognitive behavioral therapy (CBT) in treating their issues. She noted that CBT tended to
  • Invalidate the emotions of the women, which caused them to act out more
  • Create unhealthy cycles in the patient-therapist relationship
  • Leave therapists unable to address the wide array of issues the women dealt with while also helping them learn the skills needed to cope in daily life
After finding these issues with CBT as a treatment, Linehan and her associates took CBT back to the drawing board so they could adapt it with these issues in mind. Several modifications and a completely new set of treatment goals later, Linehan and her team had developed DBT as a treatment specialized toward what patients with BPD and similar symptoms of BPD. In the group's first study of the effectiveness of DBT, they found that DBT had a significantly lower dropout rate for patients (36% compared with 73% for CBT), that patients who had been substance abusers were eventually able to stop using, and that patients reported improvements in their symptoms. Additional research has shown that DBT can be effective for patients with PTSD and patients with more chronic mental illnesses.

Though DBT may seem to be "leaps" away from CBT, through examining the potential processes that Linehan went through to reach it reveal similar patterns as found in Weisberg's writings on problem solving. According to Weisberg, the inclusion of new information can help trigger memories of solutions that relied upon similar information in the past, and that these memories help redirect thoughts of new solutions that seem "leaps" away from previous solutions. In this case, the realization that there are specific flaws in CBT that prevent improvement of BPD symptoms helped Linehan redirect the solution toward a more empathetic and dialectical model of therapy that was not initially thought of. Through this change in approach to problem-solving, Linehan and her associates were able to develop a truly unique and effective solution that continues to help mental health patients today and that will help for years to come.

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Works Cited

Weisberg, "Creative Problem Solving: The Charlie Problem." p. 104-105
http://behavioraltech.org/resources/whatisdbt.cfm
http://www.nytimes.com/2011/06/23/health/23lives.html?pagewanted=3&_r=1
http://www.socialworktoday.com/archive/102708p22.shtml
http://www.nimh.nih.gov/health/topics/borderline-personality-disorder/index.shtml#part_145391