Susana M. Halpine explores the underrated areas of science visualization and educational animation, which were hot topics at this year's SIGGRAPH.
Distribution of matter in the early universe 2.5 billion years after the Big Bang. Shown here is a volume of space approximately 24 billion light-years across. Created by L. Hernquist while at the University of California, Santa Cruz, D. H. Weinberg of Ohio State University, and N. Katz of the University of Massachusetts using a supercomputer at SDSC. Courtesy of Lars Hernquist.
The grand finale to Danny Hillis' SIGGRAPH keynote address, "The Big Picture," was a slide visualizing our current understanding of the universe. The science visualization image, similar to the universe shown here, looked a lot like a fiery explosion produced by a Hollywood special effects team. If artists can create these graphics, given the right plug-ins, what's the big deal with scientific visualization?
Many game developers and special effects animators in the audience may not have realized that computer graphics owes its start in large part to science visualization. For example, during the 1970s, scientific research, such as molecular visualization, was a major consumer of 3D interactive graphics hardware. The technology transfer to the entertainment industry was both subtle and dramatic. Digital trailblazer Jim Blinn, working at the Jet Propulsion Laboratory (JPL) in the early '80s, animated a DNA molecule for Carl Sagan's PBS program, Cosmos. To do so, he developed new algorithms to represent dynamic simulations of electron fields around molecules, what Blinn refers to as "blobby molecules sticking and unsticking." These blobby molecules are now known as the first metaballs. The term "metaballs" was actually coined by Japanese researchers developing similar algorithms at Osaka University and at Toyo Links. Their version of metaballs was used extensively by artist Yoichiro Kawaguchi in several of his spectacular films shown over the years at the SIGGRAPH's Electronic Theater.
An adenine molecule created using the "metaballs" algorithm for a DNA replication sequence in the PBS series Cosmos. Courtesy of James F. Blinn.
E-Symbiosis
The symbiotic relationship between science visualization and digital graphics and animation continues to this day. In the SIGGRAPH Course, "From Ivory Tower to Silver Screen," Stuart Sumido, biologist from Cal State University at San Bernardino working with Sony Imageworks, demonstrated how his biophysical understanding of bird feathers transposed to digital animation makes the falcon character more believable in the upcoming movie, Stuart Little 2.
On the other hand, the lively SIGGRAPH panel discussion, "Computer Games and Viz: If You Can't Beat Them, Join Them," underscored the different perspectives held by the entertainment industry and the science visualization community. Scientist Hanspeter Pfister and game developer Nate Robins debated issues such as long term scientific goals vs. built in obsolescence, the lack of advanced rendering features in computer game hardware, and the potential for game developers to fund research in computer graphics. Chris Hecker, from the Game Developers Conference, emphasized areas where these seemingly conflicting interests overlap, such as improved chip performance from hardware manufacturers.
Too Big -- Too Small: In the Past -- In the Future.
Why do scientists need to visualize their work? A popular misconception holds that most scientists are left-brain, linear thinkers that don't feel comfortable in the spatial, visual-motor world. At the Image and Meaning Conference held at MIT in June, however, scientists from nearly every discipline colorfully displayed the images they rely on to conceptualize their research. Even established mathematicians stepped forward and, as if attending an Artist Anonymous meeting, confessed to using blackboard drawings to stimulate discussions among colleagues. Any sort of illustration, however, is generally forbidden from their professional publications.
An artist's rendering of NASA's Mars Rover, scheduled for launch in June 2003, as it sets off to roam the surface of the red planet. Courtesy of NASA Mars Exploration, NASA/JPL/Caltech. A composite of a forensic animation sequence; the snow plow attachment on the front of the pickup may have played a role in a fatal car accident. Courtesy of Knott Laboratory, Inc.
Visualization is particularly helpful for understanding concepts beyond the boundaries of our physical senses, such as exploring extremes in scale or describing phenomena beyond our current time frame. The above supercomputer's model of the early universe, a huge fireworks display approximately 24 billion light-years across, is one mind-boggling illustration. Other instances of astronomical visualization may seem remarkably familiar. For example, NASA initially used traditional animators to depict the Apollo Space Mission and the vastness of space for the general public. To a large extent, these images still form the basis of our shared "view" of extraterrestrial exploration. Today NASA-JPL uses digital animation to envision the possibility of water on Mars, for example, or to explore concepts such as interplanetary robotics. Similarly, looking ahead to future funding needs, NASA-JPL uses digital animation to propose potential missions to Congress. At the sub-microscopic extreme, molecular visualization is critically important to biochemists and molecular biologists, as I'll discuss a little later.
Forensic digital reconstructions of past events are entering courtrooms too. An accurately reenacted 3D animation can show, for instance, how the shape of a snow-plow attachment on the front of a pickup might have caused a bizarre car accident. Taking it a step forward, the forensic engineers digitally designed potentially safer attachments for future use.
Peace keeping theater: 3D intelligent agents interact with a trainee in an immersive environment. In this scenario, the trainee must decide how to address a vehicular accident, involving a local boy, on the way to assist in a conflict. Courtesy of the Institute for Creative Technologies at the University of Southern California.
Danger, Danger Will Robinson!
Safety concerns, cost of implementation and simplification of complex systems are additional reasons for applying digital visualization. For example, a nuclear reactor simulator can test out different scenarios without risking public safety. The U. S. military has also used visualization in planning and training exercises for many years. While not strictly "scientific visualization," one of the more impressive uses of current technology is an immersive Virtual Reality (VR) program for training soldiers on international peace-keeping missions. On-screen 3D agents incorporate both artificial intelligence and "emotion." Thus, the storyline and characters react to decisions made by the "real" trainee. The resulting lessons can be wrenchingly powerful even for seasoned military personnel.
Another fascinating integration of games and medical science is taking place in the mental health arena. Some mental health professionals are using off-the-shelf computer games to desensitize patients' fear of driving, for example. VR games are also being re-used to distract burn victims from the excruciating pain experienced during treatments.
Impossible Science
Some scientific research areas were hardly possible before the advent of sophisticated computer graphics. Complex systems such as global weather patterns can now be analyzed using a number of analytical approaches, including visualization of cloud formations and ocean temperature maps. Simplified versions of these weather graphics are now slipping into the nightly news.
Biochemistry is another discipline that developed in-step with technological advances: molecular visualization software programs have now become indispensable to the field. The 3D helical DNA molecule has become almost a visualization icon. Far more important then mapping the DNA in the Human Genome, however, will be determining the many protein structures built in our cells from the DNA "maps." Like spaghetti placed in boiling water, our understanding of protein chemistry has evolved from linear bonds to the complex 3D folding of the protein strand. Invasive bacteria docking on a cell membrane, hormone reactions, and drug effects all involve Lego-like interactions with proteins. By determining the folded protein shapes using x-ray diffraction analysis and translating the shape into 3D atomic coordinates, molecular visualization software allows us to conceptualize protein interactions in a way that words alone never could.
Buckyballs and HIV?
When graduate student Simon Friedman first proposed using Buckyballs in the fight against AIDS, he meant it as a joke. Buckyballs are 60-carbon hollow structures that look just like soccer balls. Officially, they're called Buckminsterfullerenes, after Buckminster Fuller's geodesic domes. Using Buckyballs against AIDS became an ongoing gag in Friedman's chemistry lab. One night he sat down at a workstation and realized that his crazy notion was, in fact, quite feasible. Apparently an amino acid-modified Buckyball has the right size and shape to fit in and block the HIV protease enzyme. So Friedman arranged with his advisor to take on this topic for his PhD research. Similar work is now underway at several research universities, including the University of California at Los Angeles.
Educational Animation: Art and Technology...
Educational animation is another example of how technology is reestablishing the relationship between science and the visual arts. Research chemists are discovering that text alone is inadequate for describing complex processes such as inter-molecular reactions. That is, changes in molecular conformation, angle of rotation and "lock and key" docking of molecules are more readily explained through animation. This is because animation shows the interdependence of form and function over time. Therefore, animations are playing an increasing role in science education and publications.
Additionally, non-scientists must make decisions on DNA fingerprinting in courtrooms, genetically modified foods for our kitchens and cloning in selecting our future representatives. Educational animation can relate science concepts to everyday experiences by using increasing levels of abstraction, starting with real world examples and zooming in to reveal the underlying phenomena.
Educational animation can, of course, reach audiences from pre-school to adult education. Even autistic children, viewing a fire prevention program, show a greater response to an animated dog than a live-action video of a person. Since animation delivers content through non-textual means, reaching visual and auditory learners, it may also circumvents learning disabilities such as dyslexia. Most important, succinct animated images can cross linguistic and cultural barriers, while synchronized sound and visual motion commands the attention of students brought up on electronic games. Ultimately, animation can be a potent tool for disseminating health information: how many 12 year olds chattered about white blood cells fighting viral diseases before the release of Osmosis Jones?
For our more discerning readers, SIGGRAPH's Computer Animation Festival presented brilliant depictions of science at its most complex, such as Eric Rosemann's Exploring Serotonin in the GI Tract, and Donna Cox's Evolution of the Universe: Large-Scale Structure and Galaxy Formation.
... And Beyond
Distance learning programs will undoubtedly become more popular over the Internet. This will require more than converting textbooks into HTML, however. Interactive visualization and educational animation are ideal venues for Web-based education. In his Educators Program workshop "Graphics in a Flash," James Mohler demonstrated how instructors can use Macromedia Flash to create interactive educational material for the Web.
In fact, some chemistry professors are already asking their students to answer test questions "with words or drawings." Imagine: in the future, students may require drawing and animation skills to complete their geography exams and chemistry assignments!
Susana Maria Halpine's goal, as a multimedia developer, is to present educational concepts in an interactive, visual format. Her work for publisher W. H. Freeman include the Molecular Cell Biology textbook CD-Rom and the Kuby Immunology companion Website. Halpine has a background in both art and science. Working for the Howard Hughes Medical Institute at Columbia University, she received a Master's degree from the medical school while simultaneously exhibiting her paintings in NYC galleries. She then combined these interests as Biochemist at the National Gallery of Art, a position she held for seven years. Since then she has excelled in computer animation and teaches Macromedia Flash at the Venice Arts Mecca in Venice, California. To view sample animations and visualization graphics, visit: http://home.earthlink.net/~shalpine
