Chemistry Reference
In-Depth Information
accompanies imaginative project titles. Over the years, we ourselves have
fabricated molecular shuttles [
106
], switches [
107
], push-buttons [
108
], trains
[
109
], elevators [
110
], pistons [
111
], muscles [
112
], abacuses [
113
], motors
[
114
], and valves [
115
]. Other groups have reported MIMs as molecular necklaces
[
116
-
118
], locks [
119
], rotors [
120
], chameleons [
121
], charm bracelets [
122
], and
the list goes on and on. It is apparent that the visionary dream of nanotechnology is
aided and abetted by the new symbols borne out of supramolecular chemistry [
28
]
and mechanostereochemistry [
50
].
Though we allow ourselves to talk freely about the beauty of molecular
structures, technomorphs are among the few products of chemistry that can cur-
rently withstand a formal aesthetic philosophy. Schummer, a philosopher of sci-
ence, has undertaken a systematic investigation [
9
] of chemical representations in
the context of idealistic aesthetics (Plato, Kant) [
123
], aesthetics of symbols
(Goodman) [
124
], and Eco's semiotic theory [
125
], concluding in the negative on
all but Eco's theory. In brief, Umberto Eco's modern theory would recognize
that technomorph symbols are rich in aesthetic content because they (1) can
be interpreted ambiguously, (2) challenge the interpreter to develop new
interpretations, and (3) redirect the interpreter's attention to the symbol itself. In
other words, an individual's reflection on and interpretation of a technomorph
image is a bona fide aesthetic experience.
It is good news that cartoons, particularly the subset referred to as technomorphs,
have been accepted by the chemical community as a new symbolic language. The
result has been the formation of a symbolic link between molecular and ordinary
objects, images that appeal to a broader audience (no background in chemistry
necessary!), and a new, powerful driving force for ongoing research.
4 The Beauty of MIMs
The various ways to represent MIMs on paper have often been a portrayal of beauty
in their own right. In Sect.
3
, we tried to engage the beauty of printed molecular
representations. There remain many other ways to perceive the beauty of molecular
objects, some of them particularly unique to MIMs, but things get messier when we
depart from concrete illustrations and images and venture into even more subjective
territory. Roald Hoffman, pioneer of molecular aesthetics, has approached beauty
in chemistry from the perspective that “beauty is built out of individual pleasure
around an object or idea” [
126
]. The aesthetic experience of molecular structures is
therefore inexorably tied together with our subjective biases. Synthetically derived
molecules are retroactively beautified out of a psychological need to associate
pleasure with hard work. We find reasons to label a molecule beautiful and
experiments elegant, because we invested work, time, and failure to achieve
them. Nevertheless, these notions of beauty are common to the experiences of
