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By N. Katherine Hayles

"Nano" denotes a billionth; a nanometer is a billionth of a meter. New instrumentation and methods have for the 1st time made attainable fabrics learn and engineering at this point, the dimensions of person molecules and atoms.
Extraordinary visions of fabric abundance, extraordinary fabrics, and robust engineering features have marked the coming of nanotechnology, in addition to dystopian eventualities of self-replicating units working amok and inflicting worldwide disaster. principally a destiny threat instead of current reality, nanotechnology has turn into a powerful cultural signifier.

NanoCulture explores the ways that nanotechnology interacts with, and itself turns into, a cultural development. themes contain the co-construction of nanoscience and technology fiction; the effect of threat evaluation and nanotechnology at the shapes of narratives; intersections among nanoscience as a writing perform and experimental literature on the limits of fabrication; the Alice-in-Wonderland metaphor for nanotechnology; and the results of mediation on nanotechnology and digital literature.

NanoCulture is produced in collaboration with the nano artwork show on the l. a. County Museum of paintings (December 2003-September 2004), created through an interdisciplinary workforce led through media artist Victoria Vesna and nanoscientist James Gimzewski. NanoCulture is richly illustrated with photos from the nano show, which additionally offers the root for an ethnographic research of collaborative approach and an exploration of adjusting innovations of museum space.

The dynamic uniting those various views is boundary crossing: among artwork, technology, and literature; cultural imaginaries, clinical proof, and technological percentages; genuine. digital, and hybrid areas; the technological know-how of fictions and the fictions of technological know-how; and utopian goals, fabric constraints, and dystopian nightmares.

The first book-length learn concentrate on cultural implications of nanotechnology, NanoCulture breaks new flooring in exhibiting the significance of the hot technoscience to modern tradition and of tradition to the advance, interpretation, and way forward for this technoscience.

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In this context, the concept of the virtual as it relates to a museum no longer means merely a website that can be accessed remotely. A different sense of the virtual is constructed as a potentiality that can be actualized. In a museum context, these virtualities are actualized by visitor’s actions in physical spaces. Virtualities are potentialities always ready to emerge and to reconfigure the reality in which they appear. 4. 1. Re-creating reality as an emergent potentiality: the virtual Frequently the virtual has been considered to be opposed to the physical, mainly because cyberspace has often been considered an immaterial space.

The floor has a wave-like behavior, similar to what happens in the nanoworld. When the STM scans atoms, the data is used to produce visualizations. The wave-like behaviors revealed by the visualizations are caused by electrons, which can behave like waves as well as particles. Therefore they are dispersed in space, and this nano-dispersion is represented by wave-like appearance. Every nano-particle that comes close enough to an atomic surface affects it and is affected by it. Causing perturbations in the floor projection, visitors are like atoms experiencing quantum mechanical interactions.

The glowing grid is also projected on top of the robotic “atoms,” creating a three-dimensional curved surface. Everything is connected in this environment, like a propagating wave influencing all nearby elements. 6 Participants’ shadows are projected onto the same wall, sharing the virtual nanospace with the buckyballs. From time to time a new molecule grows on the wall, while some stand still. I realize that my shadow is able to move and deform these structures. However, not every movement affects the system.

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