Science & Technology

How to Make a Mummy

Mon, 03 Jun 2013 21:31:00 -0700

You can make them yourself. “We mummified a sheep and a cat by leaving them out on the roof of a building. You have to make sure they’re covered with natron, a salt-soil mixture that occurs naturally in Egypt and acts as a desiccating agent.”

Image: Nomad

But they might detonate! “If you don’t prepare them correctly, they won’t dry out properly. Gases could build up inside the bodies and cause them to burst. We’ve found Egyptian mummies that
look like they exploded.”

Image: Nomad

Ancient Egypt was plagued by mummy scams. “For religious reasons, people mummified animals. But we find fakes—a specimen might look like a falcon, for example, but inside it’s just mud, with maybe one feather. It could have been a lucrative scheme for priests, who charged people to create mummies.”

The Oregon Museum of Science and Industry debuts Mummies of the World—billed as “the largest collection of mummies ever assembled”—on June 14.

Two centuries ago, Egyptian mummies were frequently cut into pieces and sold, often to tourists. These Egyptian mummy heads are part of the Mummies of the World exhibition, the largest traveling exhibition of mummies and artifacts ever assembled.

Image: American Exhibitions, Inc.

Slide Show: Ancient Oddities from OMSI's 'Mummies of the World'

Fri, 17 May 2013 14:04:00 -0700

Mummies of the World is the largest traveling exhibition ever assembled of mummies and artifacts, featuring 150 never-before-seen real human and animal mummies and objects from South America, Europe, Asia, Oceana, and Egypt. The exhibition was developed by American Exhibitions, Inc., in association with the Reiss-Engelhorn Museum (REM). For more information: www.mummiesoftheworld.com.

Technology & Children's Health

Thu, 02 May 2013 15:15:00 -0700

Image: Luke Bott

In some circles, technology has gotten a pretty bad rap—smartphones, video games, movies, and TV have been blamed for everything from rising levels of childhood obesity and ADD/ADHD to sleep disorders, classroom temper tantrums, and risky adolescent sexual behaviors. But technology serves a positive purpose, too: sending a child out of the house with a cell phone in hand and Mom’s number on speed-dial calms the nerves of many a parent. Kids are asked to do their homework on computers increasingly often, and are no longer limited to the research they can do in their school library. And whether we like it or not, much of the crucial social development that used to take place on the school playground has migrated to Facebook walls and Twitter feeds.

News headlines lament the loss of a “real human connection,” while others celebrate the new opportunities for communication and collaboration offered by media and technology. “There are a lot of people in this discussion with very strong opinions,” says Darren Janzen, a pediatric psychologist at OHSU’s Doernbecher Children’s Hospital and a father of two. “But it’s not going away. We can’t fear technology, but we can be mindful of it, and we can decide how our kids will interact with it.”

“Background media use—that is, parents’ consumption of media—distracts them from interacting with their children.”

This isn’t to say there aren’t serious concerns to address. Managing the role that technology use plays in rising child obesity levels is a difficult job for parents of kids who would rather exercise their thumbs on a video game controller than kick a soccer ball around outside. “Obesity is complicated, but at some level it’s calories coming in versus calories going out—and if kids aren’t active, they’re falling behind,” explains Carrie Phillipi, a pediatrician at OHSU Doernbecher and a mother of four. She encourages parents to advocate for recess and free-play at their children’s schools, where children can get the person-to-person social interaction and the physical exercise they need.

Image: Luke Bott

Attention deficit disorders have been a hot-button issue for parents, politicians, and pediatricians for years, including rising worries about the relationship between technology use and these health issues. “Access to media doesn’t cause ADHD—the vast majority of these cases are related to genetics,” Dr. Janzen explains. “But because ADHD is a deficit of self-regulation, kids with it can get sucked into TV and video games much more intensely than other kids can. It’s not causing the disorder, but there can certainly be greater challenges in pulling away from media and moving to other important activities.”

While overexposure to media may not cause clinical attention disorders, it can breed attention-jumping habits. Rather than learning to focus on one task or subject for a long period of time, kids can jump from video to video on YouTube, or scroll through a Facebook feed looking for an interesting snippet of entertainment. “Too much media time may take away from the practice of other important skills or activities,” Dr. Janzen says.

Parenting a child in an increasingly technology-saturated world means navigating the ins and outs of rapidly changing communication devices, social media sites, and entertainment options. Restricting access to age-inappropriate material, limiting time spent parked in front of a TV (or smartphone, computer, or tablet), and limiting where and when they access those screens are all crucial aspects of fostering children’s healthy relationship with new media and technology. What, where, when, and how much media kids should consume is hotly debated by technology advocates and adversaries—but pediatricians are on the front line, dispensing useful advice to curious and concerned parents.

Image: Luke Bott

START SLOW

Today’s children spend an average of seven hours a day tuned in to some kind of entertainment media—televisions, computers, and smartphones are virtually unavoidable, from the screens lining the walls at some restaurants and retail stores to the new computers appearing in grade school classrooms every year. While some exposure to media is unavoidable, parents should be in control of the bulk of the time their children spend engaging with technology.

For children under 2, doctors recommend no screen time at all. Sorry, parents—this means no “Baby Einstein,” either. “Infants and young children learn by playing and interacting with humans, not screens,” says Dr. Phillipi. But keeping young kids away from screens is only half the battle. It’s especially important in these early stages of development for parents to unplug from their own devices. “Background media use—that is, parents’ consumption of media—distracts them from interacting with their children,” she says.

After 2 years of age, doctors recommend a maximum of two hours of digital media a day, a guideline echoed by the American Academy of Pediatrics. “This can be hard to follow, though, especially as kids are asked to do more of their schoolwork on the computer,” says Dr. Janzen. “I usually start by encouraging parents to limit kids to two hours of media for entertainment purposes, outside of what’s needed for school.”

Even when media access is carefully controlled at home, kids may have additional exposure elsewhere. Communicating with children, their friends, teachers, and other adults in their lives about the activities that take place when parents aren’t present can provide a clearer snapshot of their actual media consumption.

CONTENT IS KEY

After their children are 2, parents should be vigilant about small doses of age-appropriate media. “With young kids, it is best when content is slower-paced, sends a pro-social message, and is educational in some way,” Dr. Janzen says.

“Content is a big concern for me,” says Dr. Phillipi. While the cool factor of on-screen smoking has been tarnished by the aggressive campaigning of anti-tobacco groups, that still leaves the violence, sexual promiscuity, and other risky behaviors that feature prominently on popular TV shows, websites, and video games. She counsels parents to communicate very clearly and directly about inappropriate media use, and to familiarize themselves with the content and storylines of their kids’ favorite shows and games.

There are rating systems in place for movies and video games, which can serve as helpful guidelines for what may or may not be appropriate for your child. “But don’t take their word for it—just because a movie is rated PG-13 doesn’t mean your 13-year-old is ready for it,” Dr. Janzen says. “Similarly, some kids can handle content rated slightly above their age level when appropriate guidance and oversight is provided.”

Image: Luke Bott

LEAD BY EXAMPLE

An easy way to demonstrate healthy interaction with technology is to set rules for common areas of the house that all family members have to follow. “No phones at the dinner table, no checking your e-mail while you help with homework,” says Dr. Phillipi. Watching TV with one eye and a third-grader practicing handstands with the other means both your favorite show and your gymnast-in-training aren’t getting the attention they deserve.

It may seem simple, but parents should be wary of the content they watch while kids are in the room. Even if they’re busy with another activity, kids who aren’t ready for “grown-up” jokes and plotlines can easily misinterpret the snippets of information they pick up.

Watching shows and movies as a family is an easy way to enjoy time together, while keeping watch on the ways kids react to different types of content. If themes or issues are presented that kids respond negatively to or have questions about, parents can address them right away.

SCREEN-FREE ZONES

Designating “screen-free zones” in the house can also help a parent keep track of the time kids spend with their devices, and what kind of content they consume. Dr. Phillipi recommends setting up a computer for doing homework in the living room or kitchen, where parents are likely to pass by often.

“It is important to consciously reward good behaviors in our children, rather than giving in to bad ones.”

For children of all ages, it’s important to cut off screen time at least an hour before bed. Set up phone chargers outside of the bedroom, so kids and teens aren’t awakened in the middle of the night with a text from a friend (or tempted by the sudden urge to post a photo of their footie pajamas on Instagram).

Image: Luke Bott

STRIKING A BALANCE

Dr. Janzen is no stranger to temptation. When his kids’ energy levels are a little too high to be safely contained inside a moving vehicle, the flip-down TV screen in the backseat looks better by the minute. “Doctors struggle with the same things everyone else does,” he says. He advises parents to set clear and consistent rules for technology use, and follow them whenever possible, to make saying “no” easier—even in the middle of a full-blown temper tantrum.

Sometimes, though, long-term parenting goals have to yield to surviving a trip to the grocery store—and that’s OK. “We try to save screens in the car for long rides, not short trips around town,” Dr. Janzen says. “Every once in a while, these things are
nice to have. However, it is important to consciously reward good behaviors in our children, rather than giving in to bad ones.”

For better or for worse, much of the younger generation’s social development is wrapped up in media. Complex social interactions take place on Facebook, and profound personal revelations are shared on Twitter. Kids who are completely cut off from social media and other technologies may have trouble relating to their peers, or keeping up with conversations.

Walking the line between too much media, not enough media, the right kinds of media, and media in the right places, at the right times, is a big job—but one that, if managed carefully, can ultimately benefit the entire family.

“Technology isn’t all bad,” says Dr. Phillipi. “My daughter just left for college, and it’s great being able to talk or text with her regularly. We use technology to connect as a family, and I love that.”

MEDIA OVERLOAD: WHAT TO WATCH FOR

Increased Aggression: Kids exposed to violent content can exhibit more of these behaviors when they aren’t in front of the screen.

Flexibility: Can they follow the rules parents have set, or do they throw a tantrum? If kids consistently have a hard time tearing themselves away from the TV, it’s time to reevaluate their technology access.

Sleep Problems: If children have difficulties “winding down” or going to sleep, it may mean screens need to be turned off earlier in the evening.

For more on raising active kids in a tech-heavy world, check out
the Healthy Families blog from OHSU Doernbecher experts.

What's Better: Real Crab or Real Krab?

Wed, 01 May 2013 09:25:00 -0700

Image: Courtesy Shutterstock

You know krab with a k. You’ve probably eaten it in strip-mall California rolls, in which finely ground whitefish often stands in for the real thing. What you may not know is that Oregon, which hauls in 20.2 million pounds of crab (with a c and working pincers) every year, also plays a leading role in the krab masquerade.

Surimi, the fine art of disguising one fish as another, dates back to 12th-century Japan. Basically, surimi makers grind up cheaper fish and craft the resulting paste to mimic the look, taste, and texture of more expensive fish. The abundance of Pacific whiting off the coast lured Oregon processors into the surimi business more than 20 years ago. The state ranks well behind Alaska as a US fake-crab producer—but Oregon State University’s Jae Park is the man who helps the whole industry create simulations.

In 1993, Park, a food-science professor, began leading the Surimi School, an annual short-
format seminar in Astoria. Since then, he’s trained more than 4,500 people to twist, color, and mold lesser fish into fancy forgeries. This month, crabstick (that’s Park’s preferred term) experts descend on the old seaport for insight on manufacturing, chemistry, flavor creation, microbiology, and other arcana. This highly technical content makes Park’s program a must-do for the industry, with spin-offs in Europe and Asia. Last year, Seafood Executive magazine named the professor one of the 100 most powerful leaders in the global seafood industry.

Knowing that imitation is the sincerest form of flattery, but still wondering whether crabstick is our friend or faux (sorry, we couldn’t resist), we weighed crabstick’s merits against the real thing.

VERDICT: Depends on your taste buds, the pinch of your budget, and your green consciousness. (But we’ll be checking out the live tank, thanks.)

A Portland Disaster App Preps for the Big One

Fri, 22 Mar 2013 08:00:00 -0700

Two years ago this month, a massive quake unleashed a tsunami and nuclear crisis on Japan. Thanks to the Cascadian fault line, Oregon will get a similar shake—some say any day now—destined to devastate Portland’s infrastructure.

At least there’s an app for that.

“If Portland was hit by some sort of natural disaster or an earthquake, the likelihood of being able to communicate via cell is slim to none,” says Lindsay Bell, the president of Hillsboro’s Darkwater Studios. The firm created Survive!, a free app for iPhone, for a competition last year. A just-released version incorporates input from the city’s Bureau of Emergency Management. Key features for the quake prepper:

TEXT Users can create prearranged text messages and contact lists. A preset “I need help” alert even sends out GPS coordinates. (SMS puts less strain on networks than voice calls.)

10-4 Users can monitor police, fire, and weather services with the app’s built-in emergency and weather band radio scanners.

DOT DASH DOT The app includes an International Morse Code translation chart and allows users to tap out Morse messages with their phone’s “flashlight” mode.

NAVIGATE Survive! maps rally points set up by local governments, like the network of neighborhood emergency communication nodes launched late last year by the City of Portland. Users can map their own gathering spots, landmarks, or just where the wreckage of the Fremont Bridge has washed up.

Frightened townsfolk will, of course, have to plan their Survive! use strategically. Those iPhone batteries may not last much longer than civilization itself.

Fullbright Aims to Change the Video Game

Fri, 22 Mar 2013 08:00:00 -0700

Image: Courtesy The Fullbright Company

Steve Gaynor got his start in video games designing industry megahits like BioShock 2, a sci-fi shoot-’em-up that sold about 750,000 copies in its first month on the market. But after earning a sculpture degree from Portland State with a thesis project that was an entire video game level (rather than a physical sculpture), he aspired to deeper creative control.

“You need to say, ‘All right, I don’t want to do something that’s already been done,’” he says. “‘How do I do something really interesting?’”

He pooled his resources with two colleagues, and the trio united in Portland, a relative blank spot on the gaming industry’s map. The Fullbright Company’s debut game, Gone Home, set for release later this year, has already inspired feverish anticipation. The Sundance-esque Independent Games Festival shortlisted the game for several awards this winter. After a preview, a writer for the influential blog Kotaku opined that this “game steeped in mystery and atmosphere ... hits a rhythm that isn’t quite like anything I’ve recently played.”

The project may owe some hype to what it’s not. Instead of wielding futuristic weapons, Gone Home players quietly wander an abandoned house in a fictional Oregon town, combing through newspaper clippings, books, and crumpled flight itineraries, gradually teasing out what happened to a vanished family.

“I WANT MY GAMES TO KNOW WHAT THEY’RE ABOUT.” —STEVE GAYNOR

“Many games create a huge world and have the player touch all of it in a really shallow way,” Gaynor says. “Instead of building eight levels that players blast through, we wanted to create a small space that you inhabit for a long time.”

Image: Courtesy The Fullbright Company

Gaynor compares Gone Home’s virtual experience to Sleep No More, a groundbreaking performance-art adaptation of Macbeth staged in elaborate spaces (44 rooms in an old Boston school, for example), with audience members wandering from scene to scene. The game’s eerie vibe also draws on a long-standing Japanese fascination with “modern ruins,” or haikyo. “Every abandoned space gets explored,” Gaynor says, “but in Japan there’s an ethic of conserving and protecting them.”

Gaynor and his collaborators, Johnnemann Nordhagen and Karla Zimonja, went out on their own amid profound industry shifts. Game development costs have plummeted; independent designers can easily distribute games online. Video gaming’s future, they hope, will include artistic statements beyond what Nordhagen calls “18-to-24-year-old male power fantasy stuff.”

If so, this tiny Portland company is perched to pioneer a new creative frontier. “A game that has something to say in the voice of an individual creator is really exciting,” Gaynor says.

Slide Show: Inside Bent Image Labs

Fri, 18 Jan 2013 14:46:00 -0800

Slide Show: Inside Bent Image Labs

Fri, 18 Jan 2013 14:41:00 -0800

A behind-the-scenes look at how the acclaimed Portland animation studio creates characters.

Related Article:
Animating Classic Characters

Animating Classic Characters

Fri, 18 Jan 2013 14:40:00 -0800

Bent Image Lab works in animation genres from 3-D to stop-motion to classic 2-D drawings. The studio makes long-form films and clips tailored to YouTube attention spans. It animates rats for Portlandia and provides visual effects for Grimm. But the company’s most valuable product may be that rare pop-culture commodity, the memorable character. “When a character has depth, it strikes a chord with a huge number of people,” Bent cofounder Ray Di Carlo says. “I don’t know if that’s teachable.

Image: Courtesy Bent Image Lab

FRED FLINTSTONE In ads for Fruity Pebbles, Bent reinvented the iconic cave-dude. Every character needs its own “bible”: the definitive guide to how she, he, or it looks and moves. For Bedrock’s alpha male, the good book concerned translating a two-dimensional 1960s cartoon character into a 3-D creature of sculptural stop-motion. “In 2-D, when Fred turns his head, his hair part flips from one side to another,” Di Carlo points out. Solution: two different Flintstonian wigs. When shooting stop-motion Fred from the left, producers use the “left side” wig, and vice versa, to ensure consistency with the 2-D hair.

Image: Courtesy Bent Image Lab

JINGLE The Thanksgiving weekend of 2012 saw the second holiday TV special for Jingle, a Hallmark-developed husky pup that Bent adapted from illus-trated kids’ books into a ratings hit the year before. “We had a character, but probably only 5 to 10 percent of the design we needed to make it come to life,” says Bent cofounder Chel White. “We have to know the full range of their motion, because ultimately what we have to express isn’t much different from live action: What’s their motivation? How do they feel? What do they want?”

Image: Courtesy Bent Image Lab

EL TABADOR Bent director Rob Shaw, a dedicated fan of Mexican wrestling, created this masked, muscled, four-inch-tall adventurer to promote Koodo Mobile, a Canadian phone brand. “You look at this head with that body,” says Bent producer Tsui Ling Toomer. “Then you change them around. Rob loved a version that was strangely proportioned, and the client went for it. It was supposed to be a single TV campaign, but everyone saw the gem right away.” El Tabador’s slyly naughty clips—one features the little wrestler reclining nude on a bearskin rug—went viral. El Tab even recorded his own holiday album.

Halo's Virtual Props

Wed, 21 Nov 2012 21:26:00 -0800

video games now rake in $9 billion a year and consume as much electricity as San Diego. As always, size brings a basic problem: outfitting ever-more-vast and complicated (albeit imaginary) space.

Portland’s Liquid Development thrives in the industry’s margins: its 40 employees and 300 or so freelance artists create the detailed ephemera—props, character costumes, and backdrops—that bring games to life. Anyone who dabbles in the urban-planning game CityVille on Facebook (as about 16 million people do) might “build” a skyscraper designed by Liquid. To pretend to be George Harrison with The Beatles: Rockband, a player uses Liquid’s virtual Rickenbacker. This fall, the firm created futuristic armor for Microsoft’s Halo 4, one of the most hotly anticipated releases in industry history.

“Game developers will call us up and say, ‘Hey, we need a bunch of characters,’” says Stefan Henry-Biskup, Liquid’s 47-year-old creative director, “or weapons, or vehicles, or rooms. We give them the ability to focus on their project without having to worry about making 100 things.”

Image: Courtesy Liquid Development

Electric cars and urban dreamscapes

CityVille “One day we’ll be designing sports stadiums, and then the next it’s Thanksgiving turkey farms or Las Vegas nightclubs.”

Image: Courtesy Liquid Development

“Space-western” weaponry

Borderlands 2 “ Players plug one part of a gun into another to make detailed combinations,” Henry-Biskup says. “The designers like to say the game has billions and billions of guns. We designed half of those components, so I guess we built billions of guns!”

Image: Courtesy Liquid Development

Paul McCartney’s bass

The Beatles: Rockband “When we were building Paul’s bass, we got notes from the president of Rickenbacker: it was sanded and painted psychedelic colors in one particular year, where to put a crack in the lacquer, whether to use a Phillips or flathead screw. It’s the Beatles—people pay attention.”