Original cover art submitted for consideration with Even-Chen*, Murate*, et al. (2020) Nature Biomedical Engieering. Photo composed and taken by Dr. Darrell Deo and Dr. Frank Willett. Current neural implants like those shown on this 3D printed brain use wires to transmit information and receive power. Stanford University (Even-Chen*, Muratore*, et al. in this issue) and University of Michigan (Nason et al. in this issue) researchers are showing how it is possible to create much lower-power, and thus lower heat on the brain, wireless brain-computer interfaces (BCIs). These BCIs are used to treat neurological injuries and disease by providing neurally-controlled prosthetic hands, arms and legs, and neurally-controlled computer interfaces. The image block pattern conceptually illustrates the measurement and transmission of neural data at multiple resolutions. Photo by Dr. Darrel Deo and artistic image processing by Ms. Erika Woodrum.
Original cover art submitted for consideration with Willett*, Deo*, et al. (2020) Cell. Photo composed and taken by Dr. Darrell Deo and Dr. Frank Willett.
Original artwork (22K gold microetching of future or BMIs) commissioned and given to Krishna Shenoy as part of receiving the 2018 Andrew Cargenie Mind and Brain Prize, Carnegie Mellon University. Artist Dr. Greg Dunn. From Greg Dunn, "The animated reflective microetching Brain Machine Interface is a piece about the interconnected future of the human brain. It simultaneously comments on both the amazing benefits and potential dangers of these powerful neural interfacing technologies, and will hopefully serve as a reminder to humanity to proceed with cautious optimism. As the viewer moves from the left to the right of the etching, neurons synapse into and create a face initially with a terrified expression. This symbolizes the average person’s fear regarding the future of human/machine evolution, particularly concerning the more invasive implant technologies currently being utilized. The etching then transitions into an expression of awe, relief, and joy upon their successful implentation – restoring lost functionality, enhancing human cognition and communication, greatly increasing our access to information, etc. Finally, circuits spray out of the face and symbolize this evolution toward enhancing human potential. Upon viewing the etching from right to left, however, the opposite progression unfolds: humanity achieving a godlike state through the use of these technologies only to fall victim to unwise misuses that lead to a degradation of the human soul. 22K gold Brain Machine Interface in its frame under a single white light."
Commissed art, selected as the cover for Pandarinath et al. (2018) Nature Methods .
Comissioned cover art submited for consideration, but was not selected, for Vyas et al. (2018) Neuron.
Stavisky et al. (2017) Neuron. Comissioned cover art was selected. On the cover: A ship signaling other vessels to avoid an iceberg serves as a metaphor for why perturbation-evoked motor cortical activity does not prematurely “leak out” and affect movement. The iceberg and ship lights represent the perturbation and circuit activity, respectively. Course corrections are communicated with lamps precisely aimed from ship to ship. Other lights on each ship do not need to be hidden because these will appear much dimmer than the focused signal lamp and thus will not be mistaken for commands. Similarly, Stavisky et al. (pages 195–208) found that neural responses can vary in a large “space” of patterns without affecting circuit output because these patterns project weakly onto specific movement-causing readout dimensions. This mechanism may be ubiquitous in cortex, represented by a background cloud. Artwork by Ryan J. McCarty. Concept by Sergey Stavisky.
Original art created from data, rendered and recorded by Sergey Stavisky in the Group, and submitted for consideration as cover art for Stavisky et al. (2017) Journal of Neuroscience. Not selected.
Original art created from data, rendered by Sussillo and recorded by Mark Churchland and Matt Kaufman in Group, and submitted for consideration for Sussillo et al. (2015) Nature Neuroscience. Not selected.
Shenoy (2014) Princeton University Press
Commissioned cover art submitted for consideration for Kaufman et al. (2014) Nature Neuroscience. Not selected, but appeared in Table of Contents.
Cover art created by Neuron staff. Shenoy & Carmena (2014) Neuron
Original art created from data, rendered by Gilja and recorded by Vikash Gilja and Paul Nuyujukian in Group, and submitted for consideration for Gilja V*, Nuyujukian P*, et al. (2012) Nature Neuroscience. Not selected, but appeared in Table of Contents.
Cover created by IEEE Pulse. Shenoy & Nurmikko (2012) IEEE Pulse Magazine.
Commissioned cover art, created by Samantha Alvirez-Rivera, submitted for consideration for Afshar et al. (2011) Neuron.
Comissioned cover art, by David Delp, submitted for Diester et al. (2011) Nature Neuroscience. Not selected, but appeared in Table of Contents.
Cover created by IEEE TNSRE. Chestek*, Gilja*, et al. (2009) IEEE TNSRE.
Original art created from data, rendered and recorded by Byron Yu in Group, and submitted for consideration for Yu et al. (2007) J Neurophysiology. Selected for Cover Art.
Cover art created by IEEE Signal Processing Magazine. Linderman et al. (2006) IEEE Signal Processing Magazine.
Art created by Neuron, and appeared in Table of Contents in association with Churchland et al. (2006) Neuron.
Art created by Nature, and appeared in news piece accompanying our Santhanam*, Ryu*, et al. (2006) Nature,