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Office of the Vice President for Research Spring 2008 Search &discovery RESEARCH AT MICHIGAN

contents on the cover 3 Research Perspectives STEPHEN R. FORREST VICE PRESIDENT FOR RESEARCH INTERSECTIONS (2007) by Jim Cogswell, U-M 4 Reflection … professor of art. The cover shows two of five Through Space and the Mind LEE KATTERMAN windows from a mural of vinyl on glass mounted Artist, Architect Explore Perceptions MANAGING EDITOR, WRITER on the side of Orchestra Place on Woodward for Arts and Minds Symposium Avenue in Detroit, which houses the University COPYRIGHT 2008, REGENTS OF of Michigan Detroit Center. The images are 7, 20 A Sampling of Public Art THE UNIVERSITY OF MICHIGAN made from letters that spell the title word, on the U-M Campus JULIA DONOVAN DARLOW, ANN ARBOR which Cogswell adapted from his “Anthropo- LAURENCE B. DEITCH, BINGHAM FARMS morphic Alphabet,” and grids from the “Seven 8 Songs of Life and Death OLIVIA P. MAYNARD, GOODRICH Enigmas” collaboration. The text is a poem REBECCA MCGOWAN, ANN ARBOR written for the installation titled “Cogs in the 10 WHY ANDREA FISCHER NEWMAN, ANN ARBOR Glass Machine” by Thylias Moss, U-M profes- ANDREW C. RICHNER, GROSSE POINTE PARK sor of English language and literature and 14 An Essay in Dance: Swimming S. MARTIN TAYLOR, GROSSE POINTE FARMS professor of art and design. The piece was the English Channel KATHERINE E. WHITE, ANN ARBOR funded by the School of Art & Design, the MARY SUE COLEMAN, EX OFFICIO senior vice provost for academic affairs, and 18 Block M Records: businesses in the U-M Detroit Center area. U-M Helps Faculty and Students NONDISCRIMINATION POLICY STATEMENT Hannah Smotrich, assistant professor of art Publish Musical Performances THE UNIVERSITY OF MICHIGAN, AS AN EQUAL and design, assisted Cogswell in determining OPPORTUNITY/AFFIRMATIVE ACTION EMPLOYER, an effective composition over the set of five 21 View from Washington, DC COMPLIES WITH ALL APPLICABLE FEDERAL AND windows that would best integrate the text Science Faces an Uncertain Future STATE LAWS REGARDING NONDISCRIMINATION with the images. “I really enjoyed my interac- AND AFFIRMATIVE ACTION, INCLUDING TITLE IX tions with the people passing on the street 21 Research Notes OF THE EDUCATION AMENDMENTS OF 1972 AND during the week I was there installing. They Human Research Program SECTION 504 OF THE REHABILITATION ACT OF were wonderfully forthright in their ques- Achieves National Accreditation 1973. THE UNIVERSITY OF MICHIGAN IS COMMIT- tions and interest—more than I get at most Baker Named 2008 Distinguished TED TO A POLICY OF NONDISCRIMINATION AND formal exhibition receptions—and equally per- University Innovator EQUAL OPPORTUNITY FOR ALL PERSONS ceptive,” says Cogswell. Images of all five U-M Students Win REGARDLESS OF RACE, SEX, COLOR, RELIGION, windows appear on pages 10 and 11. Entrepreneur Competition CREED, NATIONAL ORIGIN OR ANCESTRY, AGE, Nanomaterial Proves MARITAL STATUS, SEXUAL ORIENTATION, GENDER to Have Remarkable Strength IDENTITY, GENDER EXPRESSION, DISABILITY, OR Faculty Honors VIETNAM-ERA VETERAN STATUS IN EMPLOYMENT, EDUCATIONAL PROGRAMS AND ACTIVITIES, 24 Research Contacts AND ADMISSIONS. INQUIRIES OR COMPLAINTS MAY BE ADDRESSED TO THE SENIOR DIRECTOR FOR INSTITUTIONAL EQUITY AND TITLE IX/SECTION 504 COORDINATOR, OFFICE OF INSTITUTIONAL EQUITY, 2072 ADMINISTRATIVE SERVICES BUILDING, ANN ARBOR, MICHIGAN 48109-1432, 734-763-0235, TTY 734-647-1388. FOR OTHER UNIVERSITY OF MICHIGAN INFOR- MATION CALL 734-764-1817. MM&D 080242, 5-08

Connecting Art, letter from the vp for research Science and planet earth if there is one word often used to provides a wonderful and unique venue Admittedly, the U-M and Ann Arbor are describe the University of Michigan, for these interactions. The University of far less well known as a center of the visual it is “big.” The U-M is also a com- Michigan now has an exciting opportu- arts. The School of Art and Design and prehensive and diverse institution—so nity to define how these diverse disciplines TCAUP have taken on the challenge of much so that sometimes we don’t always work together to broaden the experiences reversing this perception, which is a result give credit to all of the pieces that con- of scholars and students. of real trends established over the last tribute to its quality and character. In several decades. The Arts on Earth pro- this issue we highlight some people and For several years, a primary mission of the gram represents one of many ways to place programs that typify important and per- Office of the Vice President for Research increased emphasis on the visual arts, as vasive contributions made by our arts has been to promote closer contact between is the School of Art and Design’s studio faculty and students. the University and the world beyond our “Work: Ann Arbor” on South State Street academic confines. OVPR believes that and the new gallery space in the U-M The arts play a central role in communi- all world-class academic institutions share Detroit Center. Add to this the annual cating who we are as an institution, a state, a common goal of making a scholarly Detroit Charrette, where important a nation, and a people. And arts scholar- impact within our areas of study, and to architectural and urban planning issues ship, as practiced here at the U-M, is a ensure that the transformational potential are examined by U-M faculty, students, creative exercise that provides connec- of research is given every opportunity to and community members, and where tions between otherwise disparate and flourish and succeed in improving our I see momentum building to link arts seemingly unconnected disciplines. In communities and nations. scholarship and creativity to the lives of effect, the arts provide the means to the citizens of Michigan and the world. understand the world which people of all Conventionally, universities consider their interests and specialties can appreciate. students as the primary mechanism for This issue of Search & Discovery only their engagement with the “outside world.” begins to describe the depth of intellec- This connectivity is clearly demonstrated More recently, emphasis on technology tual pursuit in arts at Michigan. But the in the U-M’s relatively new Arts on Earth transfer has been added. However, when great thing about the world of arts is program, a collaboration between the I think about what attracts companies to that it is always there for you to discover School of Art and Design; the School of a particular locale, it is a mysterious mix on your own and at your own pace. The Music, Theatre and Dance; the Taubman of talent, ideas, capital, and quality of life. opportunities here at the University of College of Architecture and Urban Plan- And this last factor — quality of life — Michigan are as broad and abundant as ning (TCAUP); and the College of Engi- is almost always associated with the anywhere else on the planet! neering. Arts on Earth was established to accessibility to new cultural experiences stimulate participation in, and broaden as exemplified by a high concentration Spring 2008 access to, opportunities for creating and of artistic venues. It is not by accident, engaging in the arts, and to explore how then, that the Ann Arbor region is con- 3 the arts interconnect and communicate sistently ranked among the best places to with each other. live in the U.S., in part due to its world- renowned position as a hot spot for the Indeed, artistic communication not only performing arts. Indeed, the University helps people understand others in a man- Musical Society, under the directorship ner that is difficult to articulate through of Ken Fischer, has played a major and language, but it also has the power to trans- visible role in recruiting new businesses form the viewer or listener in unexpected to our area. The scope of performances ways. Hence, Arts on Earth recognizes the sponsored by UMS are unparalleled by a importance of communication between city the size of Ann Arbor, and stands well what some would think is the largest of next to any location in the country— gaps—that between the engineer and a message not lost on enterprises consid- the artist. North Campus, the shared ering Ann Arbor as their potential home. geography of the Arts on Earth partners,

REFLECTION... THROUGH SPACE AND THE MIND. perception, thinking, the mind… one evening last November. “Spectacles of The end result was an installation of mirrors, all are of interest to people from the Mind” was a special artistic activity projectors, and cameras set up in a studio many different disciplines at the (not a display or presentation) aimed at in the Duderstadt Center for one evening. University of Michigan. Neuroscientists, exploring concepts of the brain, percep- The audience — or more accurately, the psychologists, biologists, writers, and tion, and communication, among others. participants — moved through the space artists all have their own reasons for viewing images, serving as the canvas upon wanting to know more about how “The idea started with a mirror and which images were displayed, all the while humans think and how they perceive the word ‘reflection,’ which has the being captured by cameras and projected and experience the world around them. dual meaning of ‘to think’ as well as onto other screens in the studio. the physical property of bouncing light People from these many walks of academic and images back to a viewer,” says Sophia “Our purpose was to create an environment life had an opportunity to explore these Psarra, associate professor of architecture and an interactive journey. We wanted ideas through an interdisciplinary, inter- in the Taubman College of Architecture these occurrences to have no definitive active, artistic “experience” that took place and Urban Planning. shape, but one that emerged from the Search & Discovery 4

...NOITCELFER .DNIM EHT DNA ECAPS HGUORHT interaction of bodies with space,” explains space with the ways in which the mind The “floor plan” for the installation placed Satoru Takahashi, assistant professor in the processes and recalls information. nine double-sided mirror surfaces on a School of Art and Design and another grid. Images of streetscapes and aerial collaborator on the project. This video installation took place as part of views of cities were projected from the a two-day gathering, Arts & Minds. On two ends of the spatial arrangement. “We saw visitors as an integral part of November 1–2, 2007, the University hosted These images reflected and distorted this environment, interrupting and car- four interdisciplinary studios as a way through the network of mirrors, translating rying the projections with their move- to stimulate, explore, and celebrate the ment in the real-time experience of the dynamic relationship between people and SCENE OF PARTICIPANTS IN A DUDERSTADT installation,” he continues. Visual and their arts worldwide. Leading international CENTER STUDIO. PARTICIPANTS VIEWED IMAGES audio stimuli travel, distort, rebound, artists, scientists, scholars, activists, and stu- OF STREETSCAPES, AERIAL PHOTOS, AND OF and multiply through a network of dents attended to partake in a unique explo- THEMSELVES ON A SERIES OF SCREENS. reflections, linking metaphorically the ration of the interactions of art and mind. ways in which the body experiences Spring 2008 5

SOPHIA PSARRA, ASSOCIATE PROFESSOR OF ARCHITECTURE, AND SATORU TAKAHASHI, ASSIS- TANT PROFESSOR OF ART (LEFT), DEVELOPED AND BUILT A GRID OF MIRRORS AND SCREENS FROM THE PLAN AT RIGHT FOR THEIR “SPECTACLES OF THE MIND” EXHIBITION. As an architect, Psarra has long been inter- ested in how people interact with space. Her book, Architecture and Narrative: The Formation of Space and Cultural Meaning in Buildings (Routledge), will be published this summer. “I’m intrigued by how we conceptualize space,” she says, and her book largely focuses on the relational, conceptual, and perceptual meaning of the notion of neural networks, a scientific buildings. Now, through her involvement phrase referring to functionally related in the Arts & Minds collaboration, she neurons, as an experiential network of also has been able to see how her inter- information transmitted through the ests are related to neuroscience. reflections. Takahashi became involved in the “Spec- life of humans “whose destiny to experi- At the same time, these images were fea- tacles” installation after he met Psarra at ence a system from within prevents them tured on the two ends of a large screen and one of the Arts & Minds planning meet- from grasping its total construction.” on two smaller screens at the periphery of ings in early 2007. “I have been interested The reflections occurring in the installa- the studio. At the center of the large screen in the concepts of memory and place, tion introduced Borges’ notion of infinity, was a projection of a top-down view cap- which in essence defines our understand- and their labyrinthine placement were tured by a camera that was positioned over ing of a space,” says Takahashi. He was metaphors for the mind, its associations, the installation. The video projections also thinking about Alzheimer’s disease as memories, and layers of consciousness. and the top-down view encapsulated the well as manic and depressive expressions Then the two types of images projected dialogue between a narrative based on of bipolar disorder and how these condi- through the installation—streetscapes immersive experience and an omniscient tions provide insight into the meaning and aerial views— established a connec- narrative referring to all actions and all of memory and place. tion between the mental labyrinth of spatial positions. thought and the physical maze some- As Psarra and Takahashi began talking, they s&d“We were interested in the dialogue between realized that they had some mutual inter- times experienced in urban spaces. an immersive experience and a panoramic ests, particularly in how to use space—in one, or between frames of reference related architecture or in art exhibitions—to express to one’s own body and multiple frames ideas about story-telling and memory. Further Reading Search & Discovery of reference where simultaneous actions, “The chemistry was good,” recalls Psarra. Spectacles of the Mind website, routes, and narratives define the experi- including photos and an online video: ence,” says Psarra. In an immersive expe- They also shared an interest in literary www.tcaup.umich.edu/arch/ rience, she explains, spatial navigation presentations about the role of memory. spectaclesofthemind.html is related to the particular perspective of For instance, Argentine author and essayist a perceiver—the person is in the space Jorge Luis Borges was another common Psarra, S. Top-Down and Bottom-up while viewing it. In the panoramic expe- interest. Psarra notes that Borges use of Characterisations of Shape and Space, rience, navigation relates to a framework concepts of space to express philosophical Proceedings of International Space Syntax which is external and independent of the meanings was of special interest. “I became Symposium IV, University College London, viewer's position in space—like looking interested in this because I think Borges’ June 2003. onto the space in the mind’s eye. work is meaningful to architecture, but the field wasn’t discussing these views.” Online portfolio of Satoru Takahashi, assis- “Our intention was to create an installation tant professor, School of Art and Design. 6 which worked as a metaphorical transla- Using notions like mirrors and primitive www.art-design.umich.edu/faculty/ tion of the egocentric and allocentric spatial topographies as allegories for lan- slideshow.php?facID=tsatoru&fullname=Sator frames of reference describing body navi- guage, Psarra says that Borges expressed u%20Takahashi gation from psychology and neuroscience the gap between the concept of the world to space and narrative,” Psarra says. as infinite possibility, and the time-bound

BEGOB WAVE FIELD BY MAYA LIN (1995) BY ALEXANDER LIBERMAN (1996) A pure earth sculpture occupying a 90-foot-square space The proportions of this piece, made of steel and painted and representing a naturally occurring wave pattern, artist red, reflect the artist’s sense of scale and its juxtaposi- Maya Lin described it as “…pure poetry. It is a very gentle tion with the built environment, and a distinctive form space that exists on a very human scale. It is a sanctuary, created by the repetition of shapes. The sculpture is on yet it’s playful, and with the changing shadows of the sun, North Campus east of the Lurie Engineering Center. It it is completely transformed throughout the day. ‘The Wave was a gift of the Engineering Class of 1945 and NROTC Field’ expresses my desire to completely integrate a work Classes that entered the U-M in 1942. with its site, revealing the connectedness of art to landscape, or landscape as art.” Lin is best known as the artist who designed the Vietnam Veterans Memorial in Washington, DC, and the Civil Rights Memorial in Montgomery, AL. The sculpture was commissioned by the Association FXB in memory of Francois-Xavier Bagnoud (’82 Aerospace Engineering), and a gift by his mother, Countess Albina du Boisrouvray. SUNDAY MORNING IN DEEP WATERS INDEXER II Spring 2008 BY KENNETH SNELSON (2002) BY CARL MILLES (1940) 7 Made of stainless steel tubes connected by steel cables, This fountain in bronze is located on the Ingalls Mall between Indexer II displays infinite interlocking geometric forms the Michigan League and Burton Tower. The figures depict of great beauty and strength which the artist likes to call Father Triton and his sons on a holiday excursion. The foun- floating compression. This gift of the Engineering Class tain has been fondly called \"Ye Gods and Little Fishes\" by of 1950 is located on North Campus just south of the students. A renowned Swedish sculptor, Milles was the first reflecting pool and near Cooley Lab. sculptor-in-residence at Cranbrook, where this piece was executed. Funded by a gift of Charles Baird (AB & LLB 1895, AM 1940) in memory of Thomas McIntyre Cooley, professor of law and dean of the Law School.

Search & DiscoveryEVAN CHAMBERS, CHAIR just about a decade ago, Evan Chambers was The premiere performances brought together AND ASSOCIATE PROFESSOR, in New Hampshire. While there, he took a the University Symphony Orchestra, a Grammy COMPOSITION DEPARTMENT walk through a cemetery that turned into Award-winning ensemble conducted by U-M’s something more than a quiet visit to a peaceful Kenneth Kiesler, tenor and soprano soloists, 8 place. “When I visited the cemetery for the first and the noted folk/punk singer Tim Eriksen, time, I was floored by the power of the epitaphs. who sang recently for the soundtrack to the Stern exhortations about the brevity of our lives film Cold Mountain. Renowned poets Keith and tender statements of loss take on an urgent Taylor, Jane Hirshfield, Paula Meehan, Richard meaning when you encounter them face down Tillinghast, and Thomas Lynch all contributed on top of someone’s final resting place,” recalled the original poems that were recited during the Chambers, chair and associate professor of performance. composition in the University of Michigan School of Music, Theatre & Dance. The Old Burying Ground isn’t just about the inscription Chambers found on the tombstones Last fall, that power was shared with audiences in that New Hampshire cemetery. “When I when Chambers’ song cycles, The Old Burying thought about the voices of these eighteenth- Ground premiered in Ann Arbor. Then, in and nineteenth-century rural inhabitants, it February 2008, the piece was presented again, was hard for me to hear them breaking out this time at Carnegie Hall in New York City. into song in the voice of an Italian Bel Canto The piece has been described as “a hauntingly tenor,” he says, referring to a vocal technique compelling musical portrait of the imagined characterized by evenness of tone and tremen- voices of residents who inhabited rural New dous agility and flexibility, which originated in Hampshire two-hundred years ago.” The Old Italy during the late seventeenth century. Burying Ground is scored for soprano, tenor, folksinger, and orchestra, with original poetry “I needed to find a style of singing that would recited between songs over the course of the create a feeling of naturalness,” he continues. 45-minute performance. “I decided to slant the songs toward musical languages I’ve come to love: Irish traditional music, American folk song, sacred harp singing, and Albanian polyphony, in addition to European classical music.”

“When I thought about the voices of these eighteenth and nineteenth century rural inhabitants, it was hard for me to hear them breaking out into song in the voice of an Italian Bel Canto tenor. I needed to find a style of singing that would create a feeling of naturalness.” —evan Chambers Chambers also wanted the music to seem as Chambers’ interest in cemeteries and their Further Resources if it was coming out of the earth. “I had this meaning goes back to his undergraduate days feeling that music was rising from the grave, in Bowling Green, Ohio, where there was a Evan Chambers talks about cemeteries as they are speaking to you from under the cemetery just up the street from the school of and his song cycle, The Old Burying ground,” he says. music. “Honestly, I was a little overwhelmed as Ground, in an online video: a freshman in college, not having any private www.umich.edu/news/index.html? “The piece is non-narrative because I don’t have space at all—living in a dormitory with the noise, Releases/2007/Nov07/chambers. their stories,” continues Chambers. “I have an the people moving in and out, the loud music,” epitaph on a tombstone, these letters that are he recalls. “The cemetery for me at that time Online audio of Evan Chambers’ carved into stone. You have to feel them with became a real refuge, a place where everything is compositions: your fingers sometimes just to read them. You still. Over time, my feelings about what a ceme- www.evanchambers.net/Music.cfm have to sit there, sometimes laying on your tery is has shifted from being a place filled with stomach on the ground, waiting for the sun to grief to a place of great beauty and peace.” come around so that the shadows will be cast slightly differently on the letters and you can Those experiences came back to him when he puzzle out what that one letter is in that one started working on The Old Burying Ground. word to complete your sense of what is inscribed.” “I decided to make a meditation of how lives In the end, that inscription distills that person’s appear and disappear. When you read these life into one short poetic epigram, which tombstones and you see these stories about a Chambers tried to capture in his songs. family who lost, for example, three children in five years, you can imagine the tremendous Spring 2008 pain and grief. And yet a cemetery is a place where all the sufferings of human life are resolved into stillness.” s&d STUDENT MUSICIANS FROM THE UNI- 9 VERSITY SYMPHONY ORCHESTRA GET A SNAPSHOT OF THEMSELVES BY THE POSTER FOR THEIR CARNEGIE HALL PERFORMANCE IN FEBRUARY 2008.

WHY My name’s Jim What compels artists and designers to create? Where Cogswell. Most of what I do is does that drive come from? influenced by my background as a painter. “If we think about making These are a few of the questions behind the About 14 years ago I began making images art, we’re thinking about exhibition WHY staged at the new Work • that were based on an anthropomorphic being put in the position of Detroit gallery by the School of Art & Design. alphabet. I used the alphabet just as a kind the perpetual learner, the The approach to this question included displays of system for making more complex images person who has to find ways of selected works by University of Michigan art in sequences. First I thought of them individ- to say things which have faculty as well as works by artists and designers been unsaid. Art is really the from Detroit. In addition, the gallery in the ually, then I began putting best opportunity for that.” U-M Detroit Center posted excerpts of the them together in a sequence —ed west artist’s responses on “Why I do what I do” and from A to Z, as if I were video monitors played their recorded answers putting the whole alphabet 10 for all to view. up. A while later I realized that these were the building The exhibition, which ran from November 17, blocks for language. And I 2007, through January 26, 2008, offered many was willing to use them in different responses about the source of these artists’ strings to create words, but I didn’t want just creative work. According to Nick Sousanis, found- any word. So I picked words that were entirely ing director of Work • Detroit, the variety of dependent on their context. Words like “this,” perspectives shown on display and in words “that,” “the,” “for,” some linguists call these “offers an educational and insightful exploration words “shifters.” I like that, because I think of the origins of creativity.” Sousanis also pro- that whatever we make as artists is entirely vided the exhibition viewers with an interactive dependent on context, and that is a physical component that allows them to record their context as well as a conceptual context. own responses to this central question about the nature of creativity. Why do I do what I do? I’ve gravitated towards this way of working because it allows What follows are excerpts from five of the U-M me to think through my body, for thinking faculty who spoke for the WHY project and through my whole being. It allows me to be some examples of their work. A virtual version a maker. I can pick up my work anytime I of the original exhibition can be found on the need to—I have a ready starting point. It web at www.whyproject.blogspot.com/. is a form of reflecting physically on the com- ponents of my life. I grew up overseas as a child of missionary parents in Japan quite

VINYL FIGURES AND WORDS MOUNTED BY JIM COGSWELL ON WINDOWS AT ORCHESTRA PLACE IN DETROIT. FULL DESCRIPTION ON CONTENTS PAGE. WHICH (2004), 44” X 17” OIL ON PAPER, BY JIM My name is Anne Mondro. COGSWELL, PROFESSOR OF ART. I’m a mixed-media sculpture artist. I’ve been working on life-sized crocheted figures of the human form. accustomed to living in an environment that I didn’t completely understand lin- Why I do it? Part of it is because it feels good. It’s a way guistically or culturally. I was comfort- for me to express my ideas. As a little girl I had a severe able there. So there’s part of me that is speech impediment, so speaking was hard, and expressing quite comfortable living without a ready myself verbally was so difficult that I started to draw and explanation. I sometimes worry, I some- color. That to me was my way of expression, and I’ve times think, that that may not be charac- been continuing that and it’s developed into my passion. teristic of everybody that I’m around. For Within my work, I really hope that my work speaks to example, a ready analogy for what I do others about issues of empathy and feelings and emotions is, I love music, I listen to music often and things that are significant to who we are. while I work in the studio alone. But I’m much more interested in what happens Well for me, having my own issues, there are feelings to me through my absorption of musical of times of embarrassment, times of struggle, and illness structures than I am by what people are within my family. The need to be empathetic is so vital to saying in lyrics. I get real tired of lyrics me, and art is one way that you can reach out to others. really fast, and it becomes an obstruction You can create a community as well as to express emotions to something that I feel is much more that usually you don’t share. I hope my work does that. profound. So I listen to music that’s instru- mental primarily or music in languages ANNE MONDRO, ASSISTANT PROFESSOR OF ART AND DESIGN, that I don’t understand. That’s probably the best analogy for what I make as art, IS SHOWN WORKING ON LIFE-SIZED CROCHETED FIGURES. SHE is making music in languages that can’t be directly understood. WORKS WITH A WIDE VARIETY OF MEDIA, INCLUDING METAL, WAX, FELT, PAPER, AND MORE—USUALLY IN VARIOUS COMBINATIONS. Spring 2008 11

I’m Ed West, I’m a photographer. So when I went to South Africa, it was about other cultures, I want to know about an opportunity to invest in those people, other people’s lives, I want to participate I come to photography through my under- to spend time with them, and to repre- in those lives and to know that despite graduate studies in art history, when I sent them. In the work I made an effort cultural differences, there is something at became very attracted to Dutch painting to be honest in that representation. base that connects us. In the work, the hope, and scenes of daily life. As a photographer, of course, is that that connection is made I tend to be interested in people; most of Why I’m an artist? I come to it honestly. with my audience and that I act as the inter- my photographs throughout my history My father was a painter and a sculptor. I mediary for that exchange. Not everyone have been of people, either portraits or think like all children you look for a space has the opportunities that I’ve had to travel people in their environments. that’s not occupied, and as a consequence and to visit these different countries and I became a photographer. Photography cultures. And if I can make them avail- The work that I’m showing at the gallery gives me an opportunity to be in the world able in a way that is empathetic and that is a series of portraits that were made in and to engage with people, which is really makes them present for my audience, South Africa of a particular community what I’ve been drawn to. I want to know then I think I’ve achieved some success. of people of mixed race in the western Cape. I published a book earlier on the people of South Africa entitled Casting Shadows. In terms of my photo- graphy in general, I want the work to be of use. To say that I want the work to be of use means that I want it to be useful to the people who I photograph. And it is useful to them in terms of representation. The people in the book are from formal settlements, squatter camps around the country. They generally don’t get the attention of photographers—or of any- one for that matter. I’m Nick Tobier, and I do things in public. I also do things in private, but maybe we won’t talk about that. I say I do public performances—that’s how I’ve been describing my work recently. Most often I describe it as situational—not situationist, but situational. That is, if there’s a situation, I’ll try and do something to disrupt it; and if there’s no sit- uation, maybe I’ll make one up. Why do I do these things? Why do I act Search & Discovery out in public? I think, for the most part, I’m aware of this time when I used to go to my studio all the time, and I’d walk through New York where I grew up, where from the life around me that was the parts the street. The snows had melted, and there I was living, and I’d see all these amazing of it that were engaged by walking through was this enormous puddle that actually things in the street, and I’d open this big the city and wandering and getting to know had become sort of a lake. I watched peo- door with a padlock, and I’d go inside my people and getting lost. So I gave up my ple walk to the middle of the block so that studio, which I always think was either they could get around the puddle. So I 12 studio, and I’d make wood things. Wood the bravest thing or the stupidest thing. made a bridge to help people cross pud- sculptures that had absolutely nothing to do with what I was walking through, but And I just started to work on the street dles. The projects that I do now I think was what I did in the studio. What I real- and be responsive to whatever I came up are an outgrowth of those things that were against. The first thing I remembered utilitarian. They seemed to have an urgency ized at a certain point was that I had a studio life that was completely separate doing was finding myself trying to cross and a purpose, that is, I could make some-

PHOTOS FROM A PROJECT TITLED \"SO CALLED\" BY My name is Ted the aesthetic use of form and knowledge- Ramsay, and I’ve been teaching able use of my medium. EDWARD WEST, PROFESSOR OF ART painting at the University of Michigan, I try to pick models that are very inter- The larger goal is that we all have to find and drawing and other studio courses for esting to me as conversation partners, as some way to contribute to the world, and 41 years, so I’m one of the senior people well as a person who will be wonderful I think that’s part of our responsibility as around the school. in a painting, they can take that mood, human beings—to be a force for the good, they know what I’m trying to do and they to do something that’s affirmative. So I Why am I an artist? I’ve always thought of go along with me, and it becomes a dia- think earlier in my career, when I was more myself as an artist, my grandmother was logue, their modeling and my painting. concerned with art for art’s sake, I found an artist, my grandfather was an architect. that this way of being is more satisfying So there was a lot of encouragement in the In my drawing, I try to combine the skills because of the connection to people and household whenever I did drawing. There’s of the past, I try to pass that along to my because of the opportunity to really learn. something about drawing that goes in a students, and then I put it with contem- If we think about making art, we’re think- different direction for me, it helps me porary ideology and techniques. So often ing about being put in the position of the communicate. I’ll put Renaissance-style drawing in with perpetual learner, the person who has to find ways to say things which have been I think that basically I’m unsaid. Art is really the best opportunity a storyteller. I like to tell for that. This is not the repetition of a task, stories. For me, painting as many people’s lives are forced to repeat and drawing allows me to tasks. This is really an opportunity to be do this. I also do writing, involved with continual invention and and oftentimes I write renewal. This is a most positive place to be, down my ideas and then and we can’t overlook the virtue of being I’ll paint them. Sometimes someone who brings beauty into being I paint my ideas and then write them in the world. So I think that’s part of my down afterwards. motivation. As an artist, I try to capture life experiences, INDEPENDENT WOMAN (2004), OIL PAINTING BY TED FOUNTAIN TABLEAU, CREATED BY NICK TOBIER, drawing on these unique moments to feed RAMSAY, PROFESSOR OF ART my creative vision and build my knowledge ASSISTANT PROFESSOR OF ART about the work while giving it tangible computer-generated images. I’m trying in Spring 2008 form. We live in this really, incredibly my own way, as an older faculty member, thing that would affect someone’s day. And fast-paced culture, and so by sitting down to grow along with the students. And I 13 they were structural. Like the bus stop I and drawing, or interviewing a person, learn from them. And I’m always in school, made in Detroit, it provided a comfort painting them, I learn much more about it seems like. When I’m teaching, I’m learn- or service. But I also do things that are them. I find that I can really understand ing, and I think that’s one of the reasons services of different sorts, things that are something if I sit down and draw it. So that I’ve been in teaching for so long— more celebratory. Choreographed sequence if I’m on a trip to Thailand or Burma or for a group of workers/dancers in a wading China, I actually sit down and I’ll draw a because I feel like I’m also a student. s&d pool in Toronto. Because I think those temple and learn about it. And then often things are utilitarian as well. I think that times I’ve had monks come over and sit celebration is something that we have less down and talk with me and look at the and less of in everyday life. If I can bring drawings. It’s a wonderful exchange. something to the public realm that is cel- ebratory, then that does become part of Drawing, I think like music, is a very everyday life. And I think that in a nut- universal kind of language. It just simply shell what I’d like to do is open the pos- flows. I would like to make something sibility that everyday life can be quite very important out of it, but it’s a lifestyle, extraordinary if someone is willing to step it’s an existence. I’m very happy when I out of daily routine and do something do this. For me, painting and drawing that seems at first eccentric, but maybe are always equated with seeing and under- after a while you can’t live without it. May- standing, and this justifies for me the time be you can. and energy I put into the act of making images in my studio. I strive for a syn- thesis between comprehension of the structural integrity of my subjects and the raw power of expressing this through

S w i m m i n ga n e s s a y i n d a n c e t h e E n g l i s h Passacaglia Passacaglia (the Passacaglia dancers l to r—Samantha Stone, assassination dancer—Helen Bates Gretchen Platt-Koch, and Jennifer Harge attempt of Lenin) dancer—Alex Springer Search & Discovery T he photos on these pages provide a glimpse Power Center for the Performing Arts on campus. at the culmination of an artistic collabora- Amy Chavasse, assistant professor in the tion that happens often at the University of School of Music, Theatre & Dance, collaborated Michigan. The performance shown, “Swimming with 15 U-M dance students to create the English Channel,” was one piece of a full “Swimming…” which was performed to five program, entitled “Stravinsky Revisited,” pre- Stravinsky compositions. “It started when I sat 14 sented January 31–February 3, 2008 at the down with a giant box set of Stravinsky works.

Channel Etudes for Orchestra Excentrique PETER SMITH PHOTOGRAPHY (the eruption of Mt. Vesuvius) downstage dancers— Sheila Klein and Gretchen Platt-Koch upstage dancers— Stephanie Overton and Rosario Lionudakis I started listening, looking for works that settled on were Leon Trotsky’s murder (“an Spring 2008 reflected the era they were composed in and interesting and gruesome event”), the attempted of the right duration,” explains Chavasse. assassination of Vladimir Lenin and the inven- 15 tion of the vacuum cleaner in 1917, Gertrude With about eight pieces selected, she Ederle’s swim across the English Channel (the began to look into historical events from the first ever by a woman), and the eruption of years each work premiered, with special atten- Mt. Vesuvius. tion on Russian history. The final five she

S w i m m i n ga n e s s a y i n d a n c e t h e E n g l i s h Passacaglia Suite No. 2 for Small Orchestra dancers l to r—Samantha Stone, Valse (the invention of the portable Gretchen Platt-Koch, and Jennifer Harge vacuum cleaner) dancers downstage— Alex Springer and Julie Meehan dancers upstage— Gretchen Platt-Koch and Jenny Thomas Search & Discovery With the music and events in mind, own. We did a lot of improvising, and I gave the Chavasse and the students started meeting dancers some problems to solve, too. I wanted three times a week in September 2007 to them to have a stake in the final choreography.” develop the dances. “We didn’t try to mime or Chavasse also felt fortunate to be able to act out the events,” says Chavasse. “We created work with a video artist, Sue Rees of Bennington a dance vocabulary related to the events, but College. Rees edited together archival footage 16 also intended that each dance stand on its from newsreels with other images to set up each

Channel Suite No. 2 for Small Orchestra Adagietto (first woman to swim the Valse (the invention of the portable English Channel) vacuum cleaner) dancer held aloft—Samantha Stone dancers—Stephanie Overton and Rosario Lionudakis segment of “Swimming.” The costume design, performance. Spring 2008 by senior design student Lena Sands, quite “I’ve taught at both large universities and coincidentally blended well with the video colors. 17 And in another bit of ingenuity, the property small schools,” says Chavasse, who came to the master looked at eBay and was able to buy a U-M in the fall of 2006. “The environment classic vacuum cleaner, even if it wasn’t from here is really great for creative work. It’s a huge 1917, for the dancers to incorporate into the university, but a pretty intimate organism here in the dance department.” s&d

U-M HELPS FACULTY AND STUDENTS PUBLISH MUSICAL PERFORMANCES the internet and some creative When Block M Records was launched in sonatas at U-M’s Hill Auditorium with thinking led to the creation of December, 2005, U-M President Mary Professor Jason Corey and a cadre of Block M Records, the University Sue Coleman said she was delighted that U-M audio engineering students. Nagel of Michigan’s recording label that posts the University was taking the lead in such authorized Block M Records to release performances on the internet for anyone a venture. “This project offers manifold the recordings for electronic distribution. to listen to via web streaming or to benefits to students, faculty, and staff alike Anyone interested in Nagel’s recordings download for a fee. by protecting and encouraging the cre- can visit the Block M Records catalog web “Through Block M Records, works by ative process and by making all kinds of page, where all of the label’s recordings U-M students, staff, and faculty performers music more broadly accessible to audi- are linked to the Apple iTunes Music and composers may be recorded, produced, ences everywhere.” Store for purchase. and released,” says Mary Simoni, chair Block M Records, which promotes the When a commercial label publishes a of the Department of Performing Arts convergence of various technologies, allows faculty member’s recording, the company Technology in the School of Music, the University to retain control over its typically requires the performer and/or Theatre & Dance. Simoni notes that the intellectual property by applying a tech- composer to relinquish some or all of record label doesn’t only give student nology transfer model where faculty their rights. Under those commercial and faculty performers a way to distrib- inventors—in this case, performers, contracts, the faculty generally receives a Search & Discovery ute their work, it also provides student composers, and engineers—receive very small percentage of sales as royalty. audio engineers valuable experience in a percentage return on their invention Through this U-M venture, faculty license music production. These student tech- (e.g., a recording). their recorded performance to Block M nologists also are gaining experience in “In short,” Simoni says, “intellectual Records and retain the copyright to their audio compression, metadata tagging, works. Also Block M Records keeps con- property rights stay with the University.” trol over the recording and its production and database design and management. 18 Here is how the Block M label works: and distribution, and the faculty member Louis Nagel, U-M professor of piano, may see a greater return in royalties from went on a performance tour about the his or her work. time the label was formed. His concerts featured selected sonatas by Haydn. Soon after the tour, Nagel recorded the

KARL PESTKA, A U-M STUDENT OF COMPOSITION James and Anne Duderstadt Center— “With the collaboration selected the winners. Concerts that fea- on recording, producing, AND VIOLIN, PERFORMING ON THE ELECTRIC tured the winners were presented in the and distributing the work, Duderstadt Center’s video studio. These U-M outwardly conveys VIOLIN AT THE BLOCK M RECORDS 2006 CONCERT, works are currently being recorded in the a commitment to diver- newly renovated audio studio, and will sity in music making,” “NEW MUSIC ON THE BLOCK.” soon be released on the Block M Records label and distributed through the iTunes —Mary Simoni “I am delighted with Block M Records,” Music Store. Several of the performances says Christopher Kendall, dean of U-M’s can be viewed on the Block M Records School of Music, Theatre & Dance. “It website, as well. has powerful implications for our students and faculty as a teaching tool and for the Karen Wolff, former dean of the U-M recognition of our School’s many outstand- School of Music, helped guide the Block ing recordings. It will be fascinating to M Records initiative. Shortly after the watch the project develop and to see it help label launched, Wolff pointed out that us explore the unique, complex synergy “listeners, potential students, alumni, and between music teaching and technology.” Another example of Block M advantages involves U-M faculty Mark Kirschenmann, Katri Ervamaa, and Michael Gould, who are engaged in contemporary improvisation involving trumpet, percussion, violoncello, and electronics. Their avant garde music is less likely to receive a commercial record contract. But their music is vital to U-M’s commitment to performing and teaching across a wide range of styles, Simoni says. “With the collaboration on recording, pro- ducing, and distributing the work, U-M outwardly conveys a commitment to diversity in music making,” says Simoni. Block M Records benefits U-M students MARY SIMONI, CHAIR AND PROFESSOR, the Office of Technology Transfer, and Spring 2008 by exposing them to various aspects of the Scholarly Publishing Office of the audio encoding for web distribution. A DEPARTMENT OF PERFORMING ARTS TECHNOLOGY University Library. Block M Records is 19 student can learn to identify and solve a subsidiary of the Internet Publication musical problems that result from audio anyone with an interest in hearing music Project— a campuswide, collaborative- compression. In a hands-on environment, performed by our students and faculty will research program that explores the con- students learn how to process audio data be able to download it for personal listening vergence of multiple technologies to to achieve the highest fidelity possible for or study. In this way significant perform- support web-based publication of media- online distribution, and how to acquire ances and compositions will be preserved metadata (data about the music) from and shared beyond our campus.” rich scholarly and creative research. s&d concert programs by entering data into software so the correct information is Block M Records is managed by the School More Information displayed in web-based music services. of Music, Theatre & Dance with the sup- port and guidance of the Office of the See the Block M Records website The label also sponsored a student com- Vice President for Research, the Office at www.blockmrecords.org petition in 2006 and 2007 called “New of the Provost, the Division of Research Music on the Block.” Hundreds of U-M Development and Administration, the students submitted original music which James and Anne Duderstadt Center, they composed, performed, recorded, and produced. A three-judge panel—Erik Santos, associate professor of music com- position; John Storyk, partner and co- founder of Walters-Storyk Design Group; and John Merlin Williams, director of the Digital Media Commons in the

SUMMARIES OF ARITHMETIC THROUGH DUST, DAEDALUS BY CHUCK GINNEVER (1977) INCLUDING WRITING NOT YET PRINTED The sculpture of Cor-Ten steel refers to the BY ALICE AYCOCK (1992) escape of the Greek hero Daedalus on wings from Crete. The \"five parallelograms… Aycock described her piece, made of aluminum and steel fan out and enclose a large concave space and painted white, as “elements taken from various two- nearly 11-feet deep ...The effect is of a and three-dimensional scientific diagrams which attempt serenity that is at odds with its size.\" Ped- to explain various aspects of the universe—for example, estrian traffic flow makes it possible for the scattering of particles, models of spiral galaxies, the people to look at it from every angle, as curvatures of space... . These forms are pervasive in the the piece changes dramatically depending art and culture of many societies both past and present.” on the angle from which it is viewed. The The sculpture was a gift of the Engineering Class of 1933. piece was funded with private gifts by supporters of the Museum of Art and an NEA grant, in recognition of the 30th anniversary of the Museum’s establishment as a separate administrative unit in 1946. Search & Discovery CONVERGENCE BY JON RUSH (1990) THE CUBE ENDOVER BY TONY ROSENTHAL (1968) This stainless steel object was created by \"inverting one Although seemingly massive, the Cube will rotate on its axis, ‘cage of triangles’ against the other,\" explains Rush, who given a gentle push. The Cube, which is made of Cor-Ten sought to symbolize ISR’s work in the study of social steel and painted black, measures 15-feet wide by 15-feet tall. change. A professor emeritus of U-M’s School of Art & It was a gift of the Class of 1965 and the artist, who was a Design, Rush is also the sculptor of Sunstructure, a piece U-M alumnus (’36). at the Matthaei Botanical Gardens, as well as Onus and 20 the Koszonom Raoul Wallenberg Memorial, both on North Campus. Convergence was made possible by a grant from the Michigan Commission on Public Art and gifts to the U-M.

view from bling signs. The White House requested Next, the executive and congressional view from washington,dc washington, dc significant increases for the NSF, the DOE branches will wrangle over allocations for Office of Science, and the Pentagon’s basic every federal agency. Already there are Science Faces research portfolio—a 13 percent increase concerns that the tight budget climate an Uncertain Future for the NSF, an 18.9 percent for the Office may make it difficult to find additional of Science, and 4 percent for defense basic money for research. Final decisions remain R esearch faces a challenging year in research. Unfortunately, the Administra- months away and may not be made until Washington. At the close of 2007, tion held the National Institutes of Health after the presidential election —freezing expected FY08 increases for the National (NIH) funding flat at $29.3 billion and money for federal programs for at least a Science Foundation (NSF) and the Depart- pegged science programs at NASA for cuts. few months after the end of FY08. Unfor- ment of Energy (DOE) Office of Science tunately this means that federally-supported disappeared during the final negotiations Following the release of the President’s researchers and scientists should expect between Congress and the White House. budget proposal, the House and Senate once again to experience the uncertainty This dealt a blow to scientific initiatives passed their own FY09 budget resolutions across the country. The scientific commu- in mid-March. These annual resolutions that marked the end of FY07. s&d nity now is working to recover in a polit- provide general-spending blueprints across ical environment largely frozen by the broad budget categories. In physical sci- —SARAH WALKLING, DIRECTOR OF FEDERAL presidential campaigns. Preliminary indi- ences, both chambers supported the Presi- cators give reason for some hope, but real dent’s request for strong increases. For the RELATIONS FOR RESEARCH; ASSISTANT DIRECTOR, challenges remain. NIH, the two chambers offered more sup- port than shown by the executive branch. U-M WASHINGTON, DC OFFICE The President’s FY09 budget request The Senate recommended raising the includes some bright spots, but also trou- NIH budget to $3 billion. The House voted for additional NIH funds, but did not specify an amount. research notes To date, 107 institutions have earned project is reviewed and monitored by one research notes AAHRPP accreditation. The latest of nine boards—seven on the Ann Arbor Human Research endorsements were announced March campus and one each on the Dearborn and Spring 2008 Program Achieves 20 in Washington, D.C. Flint campuses. National Accreditation “The University research community “We view accreditation as the culmination T he Association for the Accreditation worked hard for this, taking on the of an array of efforts we have put in of Human Research Protection challenges of a rigorous self-assessment place over several years, aimed at enhancing Programs has granted full accreditation process in order to achieve accreditation,” our human research program,” says Vice to U-M, one of 15 institutions to receive says Judy Nowack, associate vice president President for Research Stephen Forrest, the group’s endorsement this year. for research and director of the Human the University’s institutional official for Research Protection Program. human research. The AAHRPP is a nonprofit organization that works with universities, hospitals, “We are committed to striving for the AAHRPP accreditation is valid for three and other institutions that conduct bio- highest standards of ethical and regulatory years, and accredited organizations submit medical, behavioral, and social sciences compliance while supporting creative research involving human participants. and scientifically sound research,” annual reports on the status of The group accredits institutions that she says. their human research pro- demonstrate they provide participant grams. For more infor- safeguards beyond the threshold of state The University has more mation about the and federal requirements. than 5,000 active research Human Research projects involving human Protection Pro- participants. The areas gram, go to 21 of study involve medical www.research. and health research, as umich.edu/hrpp. well as social and behav- ioral sciences topics. Every

research notes Baker Named 2008 so that more faculty research can see a ceutical therapy. Baker’s work with syn- Distinguished University life beyond the academic realm. I am thetic lipid and polymeric nanostructures Innovator extremely pleased he has been selected has resulted in the development of nano- for this award. I especially value his emulsions as a new class of antimicrobial J ames R. Baker, Jr., M.D., a scientist in active role in promoting the Michigan agents with activity against bacteria, spores, the Medical School and a successful Innovation Initiative, a concerted, ongo- fungi, and viruses. entrepreneur, is the Distinguished Uni- ing, campus-wide effort to enhance the versity Innovator for 2008. Baker has entrepreneurial activities of our academic Baker’s nanoemulsion technology became conducted breakthrough research in nano- community.” the basis for NanoBio Corporation, technology materials and launched two which was founded in 2000. The Ann startup companies based on the results. For his own part, Baker is happy to help Arbor-based NanoBio is developing the University expand its entrepreneurial treatments for cold sores, nail fungus, Baker, Ruth Dow Doan Professor and ways. “I’m pleased to be recognized for and mucosal vaccines for hepatitis B and director of the Michigan Nanotech- my efforts to make progress in my research influenza. Other products in develop- nology Institute for Medicine and the and then working hard to see these dis- ment target genital herpes, shingles, and Biological Sciences, received his award coveries applied in the real world,” Baker methicillin-resistant staphylococcus on April 21 when he also gave a public says. “But I’m hardly the only one doing aureus (MRSA). talk on “Taking Nanotechnology from this. There are many good researchers on the Bench to the Bedside.\" campus involved in similar activities, and Through early 2006 a total of $28 million I hope even more do so in the future.” was invested in the company’s NanoStat™ “Professor Baker is an out- technology platform through grants standing researcher and Baker’s research is in the area of immunol- and angel investments. In August 2006 innovative thinker in both ogy and host defense, evolving into NanoBio secured an additional $30 scientific and entrepreneur- nanomaterials and their applications in million in private equity funding from ial terms,” says Stephen medicine. Recently he has been involved Perseus LLC, which is being directed Forrest, vice president for in work concerning gene transfer and toward advancing the clinical programs research. “He also has been drug delivery. These studies have pro- for the company's lead product candidates. a tremendous advocate for duced new vector systems for gene trans- thoughtful changes to the fer using dendritic polymers, which have A second startup, Avidimer Therapeutics, University’s research climate the potential to revolutionize pharma- was launched in 2003 by Baker to develop U-M students Win plans and answer questions from a panel Entrepreneur Competition of distinguished venture capitalists and T eams from the University of Michigan entrepreneurs who serve as judges and have won first prize and received also provide valuable feedback on the additional top honors in the Cleantech business plans. Venture Challenge hosted by the Deming “Competitions are a great way for stu- Center for Entrepreneurship, University dents to fine-tune business plans, hone of Colorado at Boulder. Coached by the The winning plans are Potentia (first presentation skills, and prepare for life faculty and staff from The Samuel Zell place), a battery replacement technology after the University — whether that is & Robert H. Lurie Institute for Entre- for wireless devices; Forest Eye (second with a start-up or as an innovator in an Search & Discovery preneurial Studies, U-M teams captured place), from a team comprised of one established company,” said Tom Kinnear, the $15,000 first prize, $5,000 third U-M student and one student from Uni- executive director of the Zell Lurie prize, $2,000 fourth prize, and shared versity of California-Davis for software Institute. “The Institute has enjoyed the $10,000 second prize. that enables more efficient management working with the University’s business of forest inventory; Cymergy (third plan competition teams, and we are proud place), which will generate energy from cement factory waste heat emissions; and 22 enDep (fourth place), that has a package to allow hybrid vehicles to plug in at home. The Cleantech Venture Challenge requires teams to present their business

pharmaceuticals formed from dendrimers, Nano-based Material Proves The Undergraduate Research Opportu- research notes nanometer-size polymers that serve as an to be as Strong as Steel nities Program annually recognizes five inert bio-scaffolding. In some applications, Outstanding Research Mentors with a therapeutic or diagnostic agents are chem- Engineering researchers in the College $1000 honorarium. Students nominate ically attached to this scaffolding. In other of Engineering have created a trans- the faculty mentors, then a student panel uses, the dendrimers are modified and parent material that is as strong as steel. selects the winners. For 2007–08, they are: serve as the precision guidance system In the Oct. 5, 2007 issue of Science, Augustin Holl, professor of anthropology, which directs therapeutic add-ons to dis- Nicholas Kotov and his colleagues showed College of Literature, Science, and the ease sites, while bypassing healthy tissue. that by mimicking a brick-and-mortar Arts; Catherine Keegan, assistant pro- molecular structure found in seashells fessor of pediatrics and communicable As applied to cancer, avidimers offer they could create a composite plastic that’s diseases, Medical School; Emile Lauzzana, dramatically improved tumor-specific as strong as steel but lighter and trans- lecturer in architecture, A. Alfred Taubman delivery, resulting in improvements in parent. The material is composed of College of Architecture and Urban Plan- both efficacy and safety relative to the layers of clay nanosheets and a water- ning; Armando Matiz Reyes, D.D.S., corresponding untargeted drugs. Addi- soluble polymer that shares chemistry with health behavior and health education, tionally, by incorporating an anti-cancer white glue. This research demonstrated School of Public Health; Sheryl Olson, drug into an avidimer, the drug’s distri- for the first time that the super-strong professor of psychology, College of bution in the body can be altered in a properties of many nanoparticles could Literature, Science, and the Arts. controlled manner, potentially broaden- be bonded together on the macroscale ing its spectrum of activity to include and retain the strength of the building The John Simon Guggenheim Memorial tumor types to which the untargeted drug blocks. Kotov says that further develop- Foundation awarded 190 fellowships in fails to show activity. ment could lead to lightweight armor for 2008, including seven to U-M faculty soldiers or police and their vehicles or members: Geri A. Allen, associate professor Baker joined the faculty in 1989 and aircraft. WIRED magazine named this of jazz piano and improvisation, for music currently is professor of medicine and material one of the Top 10 Scientific composition; Sheldon Danziger, H. J. division chief of allergy and clinical Meyer Distinguished University Professor immunology in the Department of Breakthroughs of 2007. s&d of Public Policy, for a project on anti- Internal Medicine. In 2001 he became poverty policies; Phoebe Gloeckner, assis- a professor of biomedical engineering Faculty Honors tant professor of art and design, for a in the School of Engineering. graphic narrative; David M. Halperin, T he National Academy of Engineering W. H. Auden Collegiate Professor of the of the great work Potentia, Forest Eye, elected 65 new members in February, History and Theory of Sexuality, for a proj- Cymergy, and enDep have done on the including two from the University of ect titled “How to be gay;” Paul Christo- national competition circuit. We look Michigan: Dennis Assanis, Arthur F pher Johnson, associate professor, Center forward to more great successes from Thurnau Professor, Jon R. and Beverly S. for Afroamerican and African Studies these promising new businesses and Holt Professor, director, W.E. Lay Auto- and Department of History, for a project their enthusiastic management teams.” motive Laboratory, and co-director of on religion and the purification of spir- the GM Engine Systems Research Labo- its; Richard Primus, professor of law, ratory, Department of Mechanical Engi- for a project on constitutional authority Spring 2008 neering, College of Engineering; and Pallab in the wake of civil war; Ashutosh Bhattacharya, Charles M. Vest Distin- Varshney, professor of political science, guished University Professor, James R. for a multi-country study of cities and Mellor Professor of Engineering, Depart- ethnic conflict. ment of Electrical Engineering and Computer Science, College of Engineering. In each issue of Search & Discovery, we list a few of the faculty who were recently C.K. Prahalad, Paul and Ruth McCracken recognized for their outstanding achieve- Distinguished University Professor of ments in research and scholarship. Please Strategy in the Stephen M. Ross School send information on these achievements of Business, was ranked No. 1 on Suntop to [email protected]. Media’s “Thinkers 50,” a biennial rank- ing of the top 50 management thought- 23 leaders worldwide.

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