Event 5: Hernandez, Singular Spaces

This was a great event to wrap up the quarter and our last unit on space!  Initially, I didn't quite understand the photographs taken by Hernandez - they looked like scary puppets around town.  The photos I took weren't great because of the sunlight bouncing off the glass, but I think they demonstrate the context.

First, I was able to appreciate the bright colors and the lighting of the photographs.  The subjects themselves looked so odd to me, until I learned that these were art pieces done by artists who tried to combine the most bizarre and contrasting of things to create these strong juxtapositions in everyday life and in the space and context they had to work in.  Symbolisms of crosses, nooses, devils and death even - all seemed very serious until I remember the connections to religion and war prevalent through history.  Art in this medium can still reflect upon these past events in new ways that still stir emotions and hint at different perspectives of the past.

We can see very clearly the manipulations of space and how it was utilized to create "idiosyncratic sculptures, gardens, and buildings, the artists developed environmental sites organically without formal architectural or engineering plan" as described by the Fowler Museum Press Release.  Hernandez captured the work of artists in his area who used space to their advantage to create these purposeful, yet unplanned art pieces.  These pieces become part of an art environment that combined with artists' personal spaces, display their creativity in everyday life.

This exhibit definitely gave me a new perspective on how space can be used in art - beyond that of outer space and the Powers of 10 we learned in class.  By introducing new things to a predetermined space or even working with the space itself, art can emerge in new ways that speak volumes of changing yet complete art works that differ each time you take a look at it due to differences in perceiving the space around them.

Selfie!

Definitely would recommend!  It'll cause you to truly reflect on what art means to you.  Would highly suggest reading more about the works before going though - just so you don't get as confused as I did!

Event 4: Art Science Undergraduate Society, Movement

This exhibition, titled Movement, was put together by UCLA art students who showcased their perceptions of kinetics in art.  I'll admit, going by myself to this was not my cup of tea, and I really felt out of place because it wasn't very welcoming (in my haste, I forgot to take a photo with someone there!).  But the pieces I saw were really well thought out, and I was impressed at how it was all student pieces.

Linear representation of hand motions

The pieces above connected really well to my cognitive psych class and how our eye works together to form and perceive movement - all in a complex manner but with very little thought on our part.  This piece reminded me of the robotics unit in that our muscles and movements are very controlled and established in a predetermined system, much as how robots are programmed to move.

Pencil illustration of the anatomy and physiology behind running

Interactive map to demonstrate different pathways between two halves of campus

Shi's "Crossroads: A Web of Paths" immediately drew my attention (and was interactive too!) from the colors and 3D aspects.  It instantly reminded me of our introduction lecture about the two cultures.  Shi acknowledged and pushed the boundary between the North vs. South campus divide, and it was fascinating to see their medium in working to bridge the gap in order to collaborate and share knowledge.  Here, you can see how a geographic divide can instantly create different group.  The perpetuation of such stereotypes regarding the two campuses  are dangerous, and Movement is one way to keep from falling in that line of thinking and allowing for intersecting pathways.

Overall, I felt as if this show really helped bring the class to full circle, especially with Shi's piece.  We started off with this awareness that the divide exists and may be detrimental to the growth of either or both art and science - and now we wrap up with the visual representation of how that may change, if merely by the crossing of paths.  This exhibit is no longer up, but I would have suggested people to come, if only to see first the yarns of movement and to add to Shi's piece.  I hope this show and the class overall has helped alleviate the divide in one way or another.  

Event 3: Vivan Sundaram, Making Strange: Gagawaka + Postmortem

First thing: I'm in love with this place.  Second thing: This may be UCLA's best kept secret spot ever. Or have I just been missing out?

Clearly not a model the way this piece was...
Can you guess what it's made out of?*

A bit of background for this exhibit: Sundaram combined two of his projects to bring Making Strange, which touches upon fashion with recycled or medical materials, like hospital gowns, x-ray film, and used tampons (I'll spare all of you the photos, but ladies, this is some empowering stuff especially when menstruation and tampon taxes are so taboo).  With different mannequins and wooden models, he portrays the stigmas of aging and the medical efforts that may or may not preserve life.

My favorite piece, "Liberty" made of fiberglass and rubber

I think exhibits like this help with both our appreciation of the world but for own creative works (like our final project).  Sundaram uses every day supplies in a way that portrays less of MedTech, but rather, utilizing MedTech in order to create the pieces.  The use of installation art and how it flows about the room was fascinating to experience.  It guides viewers through these empowering models and wraps up with some darker pieces of bodies in tombs and small artifacts.

Made of various medical supplies, like bandages and braces

Overall, this exhibit really struck me from the social issues Sundaram calls attention to.  Some of the wooden props evoked a lot of fear and anxiety - suggesting a darkness and end to life.  This made me realize how our class really did hone in on the intersections of science and art in a more technical manner and left the imagination and feeling aspect to our own devices.  While science itself is typically not emotional, art transforms the information in a way so that we can all empathize or connect to it in some way.  This exhibit is a great example of this.

I'll definitely be back soon...

I highly, highly suggest visiting (or not, so it'll forever be my secret place).  You get an experience as if you were at the Getty or LACMA right here at UCLA, and it is so empowering for women, especially.  But beyond that, the intersection of medicine, aging, art, and so much more are humbling and truly creative.

*red bra cups

Week 9 - Space + Art

"The Mountains of Eternal Light" by Miller -
how can you not resonate with this image?

Image of a comet from NASA

The creation of space art would not have been possible without the media attention and scientific discoveries that made space more accessible.  Professor Vesna described both mediums separately, detailing the advancement of telescopes that allowed us to see far away planets and the arms race that sensationalized the space exploration mission in the 20th century (Vesna).  However, without either aspect, we would not have seen the boom of science and art intersecting to bring the universe to the everyday person.

Because scientists may view art as a distraction to the advances of space now, “there used to be a much closer overlap between the imaginative source of science and art that was shared in the years before that caught so much of our imagination," (Foust).  From lecture, we discussed mostly the practicality of the space art, but along the way, I think the emotional and personal connection to space may have been forgotten.  Space art can be a medium to captivate audiences.  How else would this field have grown the way it has if people were not drawn to it?

After all, art is an avenue for "a glimpse back at the cutting-edge astronomy of yesteryear" (Grabianowski).  I enjoyed the take away that this medium allowed for the universe to be seen by more people beyond the scientists and astronauts working on the projects.  Throughout the course, we have seen this common theme - of art being used as a medium to bring the sciences to just about anyone.  While some may not understand the exact mathematical measurements of the universe for example, the photos and videos will hint at the immense enormity of space.

Depiction by astronaut and artist, Alan Bean,
who walked on the moon

However, beyond illustrating the reality of space through art, "many artists work closely with astronomers in creating scientifically accurate depictions of astronomical subjects, space artists have always felt free to interpret the wonders of astronomy and space exploration as they see fit" (Miller).  I saw this as a strength of space art, in that imagination and creativity are never limited to the constraints of what we discover.  The themes of space - the vastness and the unknown - are all things we can depict and recreate, with or without science.

Works Cited

Carroll, Michael.  "Space Art - Illustrating the Universe." Astronomy Today. Web. 29 May 2015. 

Foust, Jeff.  "When space and art intersect." The Space Review. 8 Sep. 2009.  Web. 29 May. 2015.

Grabianowski, Ed. "An Astounding History of Scientific Space Art from the Past 200 Years." io9 We Come From the Future. 20 Nov. 2014. Web. 29 May. 2015.

Miller, Roy. "The Art of Space, Envisioning the Universe (Op-Ed)." Space. 10 Nov. 2014. Web. 29 May. 2015.

Vesna, Victoria. "8 space pt1." Online video clip. Youtube. Youtube, 22 Apr. 2012. Web. 28 May. 2015.

Event 2: Robert Gero, Infinity Structures: Paradoxical Spaces

Poster for the exhibit

Unfortunately, I made it to the exhibit after hours with my friend, and so everyone was at the LASER symposium (also recommended, though I only was able to stay for three presentations - all very cool!) down the hall.  However, experiencing the room with the display with just another person made it very intimate and meaningful as we were transported into the themes of infinity and challenging paradoxes.

Photo in the middle of the exhibit!  Dark lighting, whoops

Our lecture in the Math+Art unit went in depth about the creation of zero, but we didn't touch base on infinity.  This exhibit supplemented that perfectly, as you got to experience infinity in Gero's interpretation.  It may be considered a "number" of sorts for some people, but the portrayal with a "stable exterior and an infinitely expanding interior" as described by Gero challenged the views of what infinity means or the interpretations you can draw from it.

Shifting lights and pillow display

What really struck me was the fragility of the pieces.  The white beams were made out of foam, and I was scared of accidentally bumping into one and knocking the whole thing down.  However, from afar, the structure looks so strong and solid - purposeful but with closer inspection, a bit unsteady.  It was difficult to really visualize the inner portions growing beyond that of the external, as it took a bit of imagination to really imagine that break down, similar to how we have to imagine and really take for face value the existence of atoms on a microlevel.

Powers of Ten (from lecture)

This helped with my understanding of our Space + Art unit too - space does not have to mean the outer space of the universe, but rather another form of understanding how it fills the voids around us on any level, be it micro or macro.  It reminded of of the Powers of Ten video (see above) as Gero presented this growing, infinity structure - while as we moved out in the powers of ten, you could almost feel the infinity in a moving, yet focused view of the man's hand.  

Another view of the Infinity Structures

This exhibit was really cool to experience in person - I would not miss out!  You can't experience it fully without hearing the soundscape in the background by Greif that contributes to the feeling of being infinite.  It's a surreal feeling that will overcome you, as I know I felt extra small within the space and in the world when I really embraced the gravity of the exhibit and what Gero wanted to demonstrate with the fluid space.

Event 1: Kathy High, Waste Matters: You Are My Future

Photo on site!  

The center display "The Bank of Abject Objects"

I almost didn't get to see Kathy High's exhibit, "Waste Matters: You Are My Future," but it was definitely an experience that I won't forget anytime soon.  To be honest, I didn't read the description of the event too carefully before going, so I dragged along an unsuspecting friend who had some interest in microbiology and medicine.

Little did we know how the exhibit would push the boundaries of acceptable discussion topics and friendship... I'm probably over-exaggerating, but the display in the very center of the room featured fecal matter preserved in honey representing High's research of fecal transplants and bacteria within our bodies!  The curator helped explain to us High's Crohn disease and how it influenced her art with aspects of immunology.  As this was my first exhibit I attended, it took awhile to adjust and put on the lens of someone studying both art and science in a critical manner, rather than a mere passerby shocked by the material.

Here's a better photo of the playground piece with reference to the digestive system

This was a very visual representation of how medicine, technology, and art could be combined for such huge medical benefits and understanding of illnesses.  High's symbolism of how waste and bacteria - as gross as they may be - are so essential for life and being grounded to the earth in humility.  It was a very new way to interpret our unit on MedTech, and I was surprised at how artists like High could turn something we usually disregard or ignore as trivial into something empowering for herself and those with Crohn's disease who would benefit from greater awareness of how important the digestive tract is and the severity of the issue if it were impaired.

The curator taking photos of the letter High wrote to Bowie asking for his fecal matter for transplant

The biotech in the basis of High's exhibit brought to life the themes of functional waste.  I'd recommend this show if it was on display again - though it requires an open mind and at times, a very straight face.  It'll help challenge your ways of thinking - and I know it will help inspire my final project as it forced me to think critically of even the most minor of things we take for granted.

I loved her self-portrait!

Week 8 - NanoTech + Art

Vesna and Gimzewski's interactive butterfly morphology display 

Nanotechnology before this class to me was learning "nano" as a unit and how it was one of the smallest particles to be measured.  With Professor Gimzewski's lecture, my classes in chemistry definitely came to life, and I saw more of how the science concepts I learned was applied in real life - in many different areas including art and medicine!

It has definitely been further defined by Professor Vesna and Gimzewski with a new project that "allows visitors to experience nanotechnology by sensing it, even when they can't see it" (Lovgren).  From this, you can see how the advances of nanotechology are pioneering the future - and artists making it come to life for everyone else to perceive visually and spatially.  I appreciated how this modern, cutting edge research was made readily understandable to everyone, instead of it being specialized for scientists.

Orefescu's nanoart Flamingo representation

Orefescu is another artist who seeks to make this science open to all, as his “work loses the basic scientific information in the end, but with more than 70 percent of the people in the U.S. using products incorporating nanotechnology, [he] wants people to know about it and hopes art stirs their curiosity to find out more” (Feder).  Even though it may not be completely scientific or accurate, any amount of understanding and stimulation of curiosity to pursue more knowledge will only benefit our society.  A greater sense of how important this work is will have people embrace and appreciate the technology more in a medium that is more approachable.   

Krasek's piece "Quasicrystal Blossoms"

NanoArt is another field that allows "an unbelievably tiny world that only a small number of scientists have viewed." Artist Krasek incorporates that using "Fibonacci sequences, inward infinity and perceptual ambiguity," (Extraordinary Beauty of the NanoArt World: Photos) all concepts we have either covered or are closely connected.  While this nano level system is more often than not invisible to the human eye, these art productions make it beautiful while referencing the usefulness it has in our everyday life.  Clearly, art and science has come full circle, both within our class and within the realm of nanotech.

Works Cited

"Extraordinary Beauty of the NanoArt World: Photos." Discovery News. 12 Dec. 2012. Web. 22 May. 2015. 

Feder, Barnaby. "The Art of Nanotech." Bits. New York Times, 25 Jan. 2008. Web. 22 May. 2015.

Gimzewski, James. "Nanotech for Artists Part 5 - Dr. Gimzewski." Youtube. 21 May. 2012. Web. 21 May. 2015. 

Lovgren, Stefan. "Can Art Make Nanotechnology Easier to Understand?" National Geographic. 23 Dec. 2013. Web. 22 May. 2015.

"When Nanotechnology Meets Art."  Science and Religion. 20 Apr. 2011. Web. 22 May. 2015. 

Week 7 - Neuroscience + Art

Saunders huffing lighter fluid (self-portrait) featured by Luxton

Truthfully, this week's material stumped me in a new way - Professor Vesna opened with consciousness, dreams, and the idea of mind control, but then jumped right into neuroscience and even psychology concepts of nervous systems and visual cognition and perception.  And all that talk of LSD and cocaine - did I miss some terribly important transition or what?

Yet, this often unspoken topic of illicit drugs and the direct effects it has on people's neurochemical pathways and creativity had the clearest connections.  Here, we see direct manipualations of the brain mechanisms and how it influences and shapes and inspires artist's works.  For example, Huxley was a pioneer of art inspired or under the influence of mescaline and created works regarding his experiences (Vesna).  His book thrived with these recollections and the aesthetics.

Saunders under influence of Xanax (self-portrait) featured by Luxton

Bryan Saunders, in a similar manner, directly shaped his art by trying various drugs and creating a self-portrait of himself following each consumption of drug (Luxton).  Though at the expense of his own body and with some effects of brain damage, he created numerous works (two featured to the right) that illustrated the drastic effects of drugs on oneself and how it alters one's perspective.

However, that raises another question of how much art has been created purely due to the consumption of such drugs.  Fields raises a question about musicians who admitted to using drugs while creating their art: "Was the music they produced using a pharmacological crutch worth the silence of music unborn, which will never be heard because of their premature death?"

Jamison suggests mania of mental illnesses drives art

This alludes to the art created by those who didn't take drugs, even for mental illnesses.  The mania driven in the neurochemistry produced art quite unseen.  Many talented writers throughout history were plagued by different disorders of the mind and often succumbed to unfortunate ends due to the lack of treatment.  Yet, leading up to this, the musicians, writers, painters, and such create beautiful works driven by the highs of their disorders or as coping mechanisms.

So, we see that "The creative work of an artist who overcomes their mental illness–often by turning to art and literature to help them cope–is an inspirational personal triumph. But the creative work of a person who induces mental imbalance pharmacologically is the product of a drug" (Fields).  Clearly, manipulations of neuroscience through drugs or alternate brain wirings as seen in mental disorders add more depth and perspective to art that otherwise would not so clearly defined and illustrated.  Do we judge differently based on how that art was created or the background pathway it took?

Works Cited

Anthony, Robert. "Artist Creates Self-Portraits On Different Drugs, And The Results Are Insane." Elite Daily.  31 Jan. 2014. Web. 15 May 2015.

Fields, Douglas. "Creativity, Madness and Drugs." Scientific American.  22 Nov. 2013. Web. 15 May 2015.

Luxton, Rebecca. "A Man Got High on 52 Different Drugs Then Drew These Trippy Self-Portraits." Ryot News + Action.  Ryot, 2014. Web. 15 May 2015.

"The Influence of Drugs in Art History." Huffington Post. 20 Apr. 2011.  Web. 15 May 2015.

Vesna, Victoria. "Neuroscience pt. 2." Online video clip. Youtube. Youtube, 29 Apr. 2012. Web. 14 May 2015.

Week 6 - BioTech + Art

Stelarc's performance piece, Ping Body

Human creativity is what pushes our society forward, in terms of the beauty and technology that comes forth from the artists and scientists.  Although scientists are called the experimenters in labs and test trials, artists themselves also have the leeway to experiment with different techniques, much to some debate about controversial acts to humans and animals.  The question is, to what extent may artists push the boundaries, who don't already have ethical laws to follow?

Scientist Haldane self-experimenting in a deep-sea diving chamber

Stelarc, known for his attachment of a third ear on his arm,  formed the Ping Body project "in which he wired himself to the internet — quite literally — by attaching electrodes to various muscles, which could then be activated by remote users" (Dayal).  Stelarc's messages of global connections through the internet and the feelings of human connection through technological interfaces captures the fusion of biotech and art.  Because his experiments are on his own body and is supported by his own free will, I personally am hesitant to refer his work to some of the ethical dilemmas present in artists' manipulations of the body, genes, and animals.

What ethical implications exist for wearable technology?

However, scientists themselves have discussed an idea called "self-experimentation" (Carisa).   While more prevalent before the establishment of ethical review boards, scientists are limited based on a set of rules.  Often, they are not allowed to include themselves as subjects to their experiments, though there are many instances where the scientist, or performer, is placed within the experiment itself though it may devalue the data (Haris).

This does not take into consideration experiments and art forms that extend beyond just the artists' own life and body.  Miranda talks about works that carry "emotional reactions that biotechnology can inspire, especially in the wake of 9/11."  Considering how such art does not create quite as physical benefits that scientists generate for the medical or defense fields, it raises the questions of what can be done in respect to the life forms around us and the consequences they may carry.

Though there may not be answers now, these are all relevant questions that artists must consider before proceeding with their artist expression and manipulations of life.  Professor Vesna, through the varying examples that explore the many realms of ethicality and societal acceptance of art, hinted that such bioart must be taken beyond face value.  Society must also take a more active role in determining and pondering the ethical implications, even more so than they already do for scientists, of artists who challenge the norms and express themselves in biotechnological mechanisms.

Works Cited

Cunningham, Carisa. "Scientists discuss experiments on self." HARVARD GAZETTE ARCHIVES. Harvard University Gazette. Web. 9 May 2015.

Dayal, Greeta. "For Extreme Artist Stelarc, Body Mods Hint at Humans’ Possible Future." Wired. Wired, 2 May 2012. Web. 9 May 2015.

Haris, Eleanor. "Eight scientists who became their own guinea pigs." NewScientist, 11. Mar. 2009. Web. 9 May 2015.

Miranda, Carolina. "WEIRD SCIENCE: BIOTECHNOLOGY AS ART FORM." Art News, 18 Mar. 2013. Web. 9 May 2015.

Kershen, Drew. "The Concept Of Natural: Implications For Biotechnology Regulation." AgBioWorld. Web. 9 May 2015.

Week 4 - MedTech + Art

The development of technological integration in medicine and health has been sensationalized with the works of Orlan and Caps, among other artists, but its effects often goes unspoken for how it has revolutionized patient care with incorporations of art and technology.  Professor Vesna shared the growth of biotechnology and the portrayals of it through body performance art, which truly shocked and surprised me.  I wanted to take a closer look to see how the medical technology first came out before it became portrayed as such a spectacle rather than as something respected.

Medicine now requires a scientific and artistic background

The emphasis on this incorporation of art into medical treatments and the technology utilized to provide cutting edge care is clear from how doctors are now being trained and selected.  After all, medical schools are "emphasizing more 'right brain' characteristics (including imagery, poetry and drawing) may actually hold greater value in the eyes of some experts" (Glatter).

The evolution of 3D printing is another example of how art has played its role in medical advancements.  Scientists have been able to engineer hearing aids, and with the help of the artists (or artistic left brains), they have been able to specialize them to each individual patient.  Even custom made casts can be created, and soon "we’ll be able to make organs from our own stem cells and replace them when needed, and all without the fear of rejection or lifelong dependence on harsh drugs" (Kotler).

Popular medical shows illustrate this evolution, including Grey's Anatomy, with 3D modeling and printing to help aid patients.  The video clip above represents both the spectacle and awe that may come with such advancement.

Brain scans reveal harsh realities and a beauty of biofeedback

Diane Gromola further highlights the unique way technology and art can really individualize treatment plans for patients, with computerized aids to help patients through biofeedback and meditation.  Brain scans are analyzed carefully for their effects, but the grand mechanism behind what they illustrate is beautiful all in itself.

Biotechnology has been often viewed in a scientific lens, but its value comes both from its emphasis on art and science.  The sensationalization of such advancements need not overshadow how modern machinery can change and improve medicine and the human body.

Works Cited

Glatter, Robert.  "Can Studying Art Help Medical Students Become Better Doctors?" Forbes.  20 Oct.  Web.  24 Apr. 2015.

"Grey's Anatomy SE10x08: Meredith's New Printer." Online video clip.  Youtube.  Youtube, 19 Jul. 2014.  Web.  23 Apr. 2015.

Gromola, Diane.  "TEDxAmericanRiviera - Diane Gromala - Curative Powers of Wet, Raw Beauty."   Online video clip.  Youtube.  Youtube, 07 Dec. 2011.  Web.  23 Apr. 2015.

Kotler, Steven.  "5 Medical Technologies Revolutionizing Healthcare." Forbes.  19 Dec. 2014.  Web.  24 Apr. 2015.

Vesna, Victoria.  "Medicine pt3."  Online video clip.  Youtube.  Youtube, 22 Apr. 2012.  Web.  24 Apr. 2015.

Week 3 - Robotics + Art

Robots have emerged as a result of industrialization, both as a direct byproduct of an industrialized world and as an indirect result of the shift in culture that allows for and thrives upon these mechanical beings.

Professor Machiko Kusahara illustrated the cultural difference regarding robots, stating that western culture focuses more on the “evil” robots may become, while Japanese culture values such art form as a means of helping people.  This response to industrialization is interesting as we can discern the different perspectives in how it will lead us into the future.  The evil robots have emerged in varying artistic mediums and has become prevalent in our society through movies and books of robot take overs, yet robots as a means of serving society has prevailed in Japan and is making its way into the medical field.  

Robots help children cope with pain and doctor's visits

Utilizing different forms and artistic measures, robots are now being utilized to interact with children as a way to help with pain and stress coping.  Yam describes how the robots express emotions and personalize their communications with kids.  Clearly, if utilized and designed appropriately, robots and the art generated from their outputs can be used for good.  Through the design of the robots, these machines are made personable and friendly, depicting a level of humanness and emotion that is only made possible through careful composition and construction. 

Brooks describes how “having the idea that robots could really have emotions, or that robots could be living creatures” may be overwhelming, but unavoidable.  One shift we as a society must make is not to think of robots as the future of destruction and doom, but one with greater service and help.  Utilizing art in the creation of these robots, with careful aims and goals, can really help avoid the dramatic scenarios created by the technological culture today. 

Wall-e and Eve, depicting sentience

However, following the release of Disney Pixar’s Wall-e, the discussion of technology and robotic control has escalated beyond that of Frankenstein monsters or medical helpers to that of how robots also take away humanity's need to put effort into relationships.  The art of communication is removed with the use of robots in many scenarios, as critiqued in Robo-everything, a follow up feature to Wall-e.

Society initially responded with mass production efforts, but now with increasing technology and application of art, these robot forms are advancing to much more than production line helpers but helpers for people's needs.  Understanding that robots may influence the value of relationships will allow the development to take into consideration this flaw.

Robots in a more human form

Works Cited

Animation Sound Design: Building Worlds From The Sound Up featurette, 2008 DVD featurette, Walt Disney Studios Home Entertainment.

Brooks, Rodney.  “Robots will invade our lives.”  Online video clip.  Ted.   Ted, Sep. 2008.  Web. 17. Apr. 2015.

Robo-everything, 2008 DVD featurette, Walt Disney Studios Home Entertainment.

Uconlineprogram.  “Robotics MachikoKusahara 1.”  Online video clip.  Youtube.  Youtube, 14. Apr. 2012.  Web.  18. Apr. 2015.

Yam, Kimberly.  “Cheery Robot Helps Kids Cope With Pain During Hospital Procedures.”  The Huffington Post, 14. Apr. 2015.  Web.  17. Apr. 2015.