A Still Point in Cell Motility Research

I study a group of single-cell organisms - the Foraminifera - that are incessantly busy. Within "foram" pseudopodia, which are the spiderweb-like projections seen in the photo below, one can watch (with a microscope) zillions of granules zipping to-and-fro; likewise, tiny particles picked up from the environment move back and forth along the pseudopodial surfaces. The rapid, bidirectional motion of these intracellular granules and surface-bound particles is a fascinating biological phenomenon I've been studying for a couple of decades now.

Watching this cellular hustle and bustle can make you feel frazzled and fried, particularly if you empathize with the foram. It has no still point in life as it prods and probes the environment for food and a mate. That is, no still point until a cell biologist enters its realm...

Phase contrast light micrograph of Allogromia with extended pseudopodia

I recall here a critical experiment performed as part of my dissertation research back in the early 80's. The question being asked was whether or not membrane surface motility, revealed by the movement of surface-bound latex spheres, was linked to a system of cytoskeletal elements called microtubules. (I'll blog about these miniscule protein tubes at a later time.) To find out, I was treating forams with various drugs that disassemble microtubules. The logic was simple: destroy microtubules and you stop cell processes that depend on them. My colleague Jeff Travis had already shown that these anti-microtubule drugs shut down intracellular transport in forams. Would they likewise stop the motion surface-bound particles? Late one night, alone in the lab, I was ready to find out.

Foram pseudopodia are a blur of activity. Seen here is a one-second exposure of pseudopodia imaged at high magnification. Because of the non-stop motion of intracellular granules, the 'pods appear smeared and uniformly dark; surface-bound latex spheres (1-micrometer in diameter) are seen as white streaks due to their movement along the 'pod surfaces.

It takes several hours to set up these experiments and, quite frankly, they're dangerous because they involve handling tiny amounts of some very potent compounds. It is not simple work, either: nimble hands, like those of an artist, are needed to seal perfusion chambers and assemble the intricate apparatus. Also like artists, an eye for the aesthetic is needed in order to record observations in ways that colleagues will appreciate. I remember my mentor Sam McGee-Russell saying "If it looks good, mate, the results will be more convincing." My other mentor, Conly Rieder, always said "Bowser, if you want to get a job in science, you better take pretty pictures!" We'll call it effective visual communication.

The stillness following drug treatment is manifest as sharp images. In this two-second exposure, the motionless granules inside the pseudopods are clearly seen. So, too, are the static, white latex spheres.

The result of this experiment was yes: take away microtubules and you stop membrane surface motility. Not to be too melodramatic, but the thrill of this discovery screamed in the silence of that evening, and I'll never forget its impact on my psyche. It was a still point for me (and literally for the foram) -- an "ah-hah!" moment shared with no one until the video recordings were shown to lab mates the following morning. The question I was addressing was based on the collective wisdom of hundreds of scientists over many decades, but this experiment was mine alone. Conducted alone, at night, just the way that science was "supposed" to be done. A still point indeed.

Few things are more beautiful than gleaning basic knowledge about the workings of the natural world. To me, it defines the sublime. And revealing that truth is art.

Compare and Contrast Art and Science

While we are off the ice, I'd like this blog to serve as a vehicle to comment on art/science collaboration. I'll begin with some of my (mis)perceptions:

My childhood impression was that scientists toil alone in a lab until the wee hours of night, striving for "ah hah!" moments. Solitude is something I've always been drawn toward, and a career in science seemed like my calling. But reality turned out to be far different. After 25 years as a biologist, I've learned that collaboration is the rule. I've now worked elbow-to-elbow with over 97 different scientists, and have published only two solo-authored papers; the others reflect joint efforts with these colleagues. I'm not complaining: the frantic exchange of ideas (and occasional cusses) inherent to healthy collaborative work is invigorating. And I've had enough moments of solitude doing experiments in the wee hours of night to touch my still point.

Until recently, I've harbored the impression that artists do indeed work alone in the studio, often 'till late at night, to ultimately produce a solo exhibition. (The exhibition being the art equivalent of science publications.) But is this really true? If so, it would clearly set art apart from science.

Since 2005, I've been collaborating with Claire Beynon on various art/science projects - mostly based on our joint work in Antarctica. In Albany, I've collaborated with artists Chris Moran and Elinor Mossop on related art/science ventures. This work has brought us in contact with Cynthia Pannucci and ASCI (Art & Science Collaborations, Inc.), and from these associations it has become clear that collaboration can be a powerful approach in art, just as it is in science. The Sound Still exhibition that Claire participated in a number of years ago is a good example.

An early Beynon-Bowser collaboration: DNA sequence of

Gromia and scanning electron micrograph of its gametes

Another childhood myth busted? I'd like to hear from other artists (and writers and poets...)

Tribute to a Friend

Today I lost another friend.

Karolyn Buttle was a microscopist with the High Voltage Electron Microscope facility at the Wadsworth Center. She always had a bright smile and was eager to assist with research challenges. I learned of the severity of her illness after seeking help with an art/science project. Despite the pain she was enduring, Karolyn immersed herself in the work and within a few days we had 3-D reconstructions of silver grains; with further refinement by her colleagues, these became the basis for a stunning art installation now on display at Mass MoCA.

Karolyn was a gifted, compassionate, and courageous woman. She will be greatly missed...

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Karolyn's obituary can be found here. She also developed a web site where friends can visit and share memories.

Farewell to an Ice Colleague

This week I lost a dear friend and colleague, Dr. Matt Florczyk, to a long illness.  I first knew Matt as a graduate student in our Biomedical Sciences program, and later as an ice hockey teammate with the Albany Lab Rats. He was an incredibly gifted young man, both athletically and intellectually, with a warm, compassionate personality. 

I shed blood with him during hockey games; tonight I shed tears, missing him on the ice.

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Matt's obituary and information on a memorial fund can be found here.

YES WE CAN

Today we celebrate the inauguration of our new President. It is a time of hope, and an opportunity for change. I will work comfortably with that thought.

There is much to do ...

Curiosity

One theme of this blog, and of my website, is the intersection of art and science. I delight in conversation with artists, scientists, and educators who share this interest.

As you might gather from previous posts, Claire Beynon has been a constant source of inspiration in exploring the art/science interface. Our projects leave me puzzled at times, but they always foster playful curiosity. We are now collaborating with Schenectady artist/educator Chris Moran to help promote art, science, and their common element of curiosity through an upcoming workshop sponsored by the Capital Region Center for Arts in Education.

A puzzling moment (for me; Claire is amused) in the studio

Curiosity is a powerful driving force. In an evolutionary context, the adaptive significance of curiosity seems quite obvious: It prompts an individual to discover new resources (food, shelter, material goods), to find solutions to problems (e.g., cure an ailment), to select a compatible mate, and to occupy a comfortable social setting. At a personal or psychological level, however, curiosity presents many challenges. The risks and rewards of acting on our curiosity must be weighed carefully in order to optimize the outcome, which is the measure of success (and a definition of wisdom).

Modern science employs a well-scripted process - the scientific method - to act on curiosity. Adhering to this approach provides us with verifiable (more accurately, falsifiable) information which, in sum, has freed humanity from reliance on chance or superstition. Metaphorically, the scientific method provides us with the factual tools needed to navigate successfully the labyrinth of nature.

I wonder if the scientific method can help us explore imagined worlds, where outcomes are not necessarily the product of natural law? This question must have been asked a thousand times already. I'd love to hear from an artist who has formalized hypotheses, conducted controlled experiments, and analyzed the results with some measure of statistical significance.

More importantly, I'd love to know how they measure success. And I wonder if that success defines artistic wisdom...

Cellular masonry (and intelligence?)

In 1878, agglutinated foraminifera were dubbed "nature's little masons" by A.M. Norman, a prominent British reverend and naturalist. William B. Carpenter, arguably the 19th-century's premier cell biologist, also pointed to the "skill" displayed by foraminifera in selecting materials to build their shells -- a characteristic that got Edward Heron-Allen in heated debates with colleagues over the definition of intelligence. (See, for example, his paper entitled Purpose and intelligence in the Foraminifera published in the Proceedings of the Zoological Society of London, 1914:1069-1070.) In future posts, I'll dedicate some space to Heron-Allen and examine the seemingly incongruous mix of science and mysticism that marked his career.

Four species of agglutinated foraminifera from the same handful of Antarctic sediment. Each species collects a characteristic range of grain sizes or type of mineral to build a shell.

Speaking of incongruous mixes, Claire Beynon's December 28th post juxtaposed a recipe for chicken kofta and my watercolor of Astrammina rara - one of the unicellular giants that we collect in Antarctica. About a decade ago, Joan Bernhard and I used straightforward statistical approaches to show that Astrammina "selects" sediment particles that range in size from 0.25 to 0.50 mm to use as the main non-compressible (read: hard) component of its shell. Since then, we and coworkers have noted that A. rara's shell usually contains a conspicuous, red-orange sand grain. This feature prompted ceramic artist Katherine Glenday to write a poem in which, to paraphrase, she describes A. rara as "the species that builds its heart on its house." I adore the beautiful aesthetic of that anthropomorphism! But it begs the question: does it really select one red grain, or is this simply a consequence of chance? If it is indeed displaying selectivity, what is the molecular basis of this cellular process?

As an expression of rote scientific curiosity, we'll do a bit of experimental work to explore this question and post some results here. In a sense, though, I almost don't want to know the answer. Why despoil a beautiful poem with a rational whitewash?

Foram food

A final thought for 2008 ... and a bold prediction:  I'll think more about this topic in 2009!

A tasty foraminiferan protist?

I work with many clever people. One measure of "cleverness" is the capacity to make quick connections between disparate concepts. Check out Claire Beynon's post at Ice Lines for a good example.

(I wonder if I've been clever enough to figure out what Claire was thinking of ...)

Knew Year Wishes

... as in, the year I knew. To acknowledge the New Year, I'll pictorially summarize some significant stuff 2008 brought (in no particular order).

HAPPY Y2K+9!

InterfaCE III viewed at home before installation at ISOP '08 in Halifax

On stage

InterfaCE I at the Tang (!!!)

Simon Starling's sculpture at Mass MoCA

The mother of all ice storms almost wrecks our house

Katherine Glenday shows me her vessels in NYC

I show Katherine her vessels in Antarctica

Claire and I find flat, easy-to-drill ice (finally!)

For the birds

... as in, "This weather is for the birds!"

It's a good thing my "polar wings" were spread when I landed here. Between the big ice storm last week (no power for 6 days), the recent snow, and now the bitter cold, it's as though Explorers Cove doesn't want to release her grip. 

Some musings today about birds and making images, just to warm the spine:

Finches at the bird feeder during a snowstorm

I've always held a fascination for birds. Winter brings out their best: when it's cold, they puff up their feathers and become animated fuzzballs. Many of their root behaviors - forage and battle for food / attract and battle for mates - become evident in footprints frozen in the snow. The sleuth in me tries to discern these behaviors from their tracks, much as a paleontologist tries to interpret the life of dinosaurs from their prints in fossil mud.

Chickadee tracks in the snow

Frozen footprints and fossil tracks represent hard evidence of reality in the natural world. I find it interesting that photographs were once analogous to these tracks. That's no longer true, thanks to digital imaging and software that allow us to merge images seamlessly. For example, I can show you compelling pictures of Chairman Mao wearing a New Jersey Devils uniform (I hear he was a big ice hockey fan!) or Caroline Kennedy pushing a broom at Wal-Mart (that's what every soccer-mom representative of middle-class America has done, right?). But do such images represent reality? No - they are manifestations of the imagination. What has unlocked our limitless creativity has also shattered our faith in photographic evidence. It's a New Age for creatives ... as well as charlatans and thieves.

There is considerable debate among scientists about how we should use images to report our findings, i.e., to depict the realities of nature. I have touched on this topic in my art/science blog, and it is something that Claire Beynon and I have incorporated in previous work.

Ah, look -- an Adelie penguin has been visiting my bird feeder! For the first time in evolutionary history, penguins have tasted sunflower seeds.

Out of the frying pan ...

...and into the fire. In my case, however, the expression is "out of the freezer and onto the ice."


I left Explorers Cove because it became an icy, slushy mess. Look at the scene here in upstate New York!

Everything is coated with ice due to a freak storm. For the past four days, we've been without electricity ... and heat, and a washing machine, and a TV. It's like camping near the Herbertson Glacier!

Well, not exactly...

Sweet sorrow

The sea ice is getting too sloppy to work on safely -- each step can drop you into a waist-deep pool of melt water. Time to make the last dive, pack camp, and head for home.

It's hard to say goodbye. We had a difficult, weather-abbreviated 2008 field season filled with logistical challenges due to the 10-yr-old ice. But the season was a success: sampling sites were surveyed, specimens were collected, experimental arrays deployed, and art was made. And -- most importantly -- no one was injured in the process.

I'm sure I speak for Molly and Sally when I say that five outstanding people made this season not only possible, but thoroughly enjoyable. Cecil Shin, Shawn Harper, Henry Kaiser, and Steve Clabuesch were an awesome team of divers.

G-093 divers: Cecil, Shawn, Henry, me, and Steve

In addition to dive tending, Claire Beynon worked within and behind the scenes to ensure that things got done and that our voices, visions, and music were heard worldwide.

Claire photographing ice lines

Eight souls aboard Explorers Cove field camp ... eight souls sad to leave it. I'm sure that we will cast long shadows together far into the future.