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© Aaron Ansarov

Aaron Ansarov experienced some depression after retiring from his post as a military photographer in 2007. But, one of the things that made him happy was walking in his backyard with his son, pointing out beetles, salamanders, praying mantis and other creepy crawlies. “One day, he just said, ‘Daddy, let’s take pictures of them,’” says Ansarov. “That just never occurred to me. That’s when everything changed.”

Aaron Ansarov over his light table. Photo courtesy of Aaron Ansarov.

Ansarov, who lives in Delray Beach, Florida, has three children: a 12-year-old, a 3-year-old and a 2-year-old. He transitioned from photojournalism to commercial photography and fine art, and in the process, he says, he has followed one simple rule—to look at things through the eyes of a child.

© Aaron Ansarov

“It is very tough as adults, because we get bored. We see things over and over and they are no longer as fascinating to us as they were when we were a child,” says the photographer. “All I try to do is to force myself to see things freshly.”

© Aaron Ansarov

After exploring his backyard (National Geographic is featuring his “My Backyard” series in a four-page spread in its June 2013 issue), Ansarov turned to the beach, about a mile from his home. There, he became captivated with Portuguese men-of-war.

A Portuguese man-of-war washed up on shore. Photo courtesy of Aaron Ansarov.

A man-of-war, if you’ve never encountered one, is a bit like a jellyfish. It is a transparent, gelatinous marine creature with stinging tentacles, except unlike a jellyfish, a man-of-war is a colonial animal made up of individual organisms called zooids. The zooids—the dactylozooid (that brings in the food), the gastrozooid (that eats and digests the food), the gonozooid (that reproduces) and the pneumatophore (an air sac that keeps the animal afloat)—are so integrated that they form one being with one shared stomach. Without their own means of locomotion, the little-studied men-of-war are at the whim of tides and currents. Scientists do not know how men-of-war breed or where their migrations take them because they cannot attach tracking devices to them, but, the animals wash up on shore in Florida from November to February. They turn from purple to deep reds the longer they are beached.

© Aaron Ansarov

For the most part, Floridians and tourists find men-of-war to be a nuisance. To some, they are disgusting and dangerous even. As a kid, I stepped on one at a Florida beach, and I can attest that the sting is painful. But, Ansarov approaches them with a child-like curiosity. From December to February, he made special trips to his local beach to collect men-of-war. He finds the creatures, with their vibrant colors, textures and shapes, to be beautiful and has made them the subject of his latest photographic series, called “Zooids.”

© Aaron Ansarov

To give credit where credit is due, Ansarov’s wife, Anna, is the collector. She wears industrial-grade rubber gloves and walks the surf with a small cooler. When she spots a blob in the sand, she grabs it by its non-poisonous air sac and stows it in her cooler with some sea water. Ansarov then takes the men-of-war back to his studio, where he washes the sand from them and lays them one-by-one onto a light table.

The photographer arranges each man-of-war on his light table. Photo courtesy of Aaron Ansarov.

“I’m spreading them out and I’m using tweezers to somewhat separate their tentacles and untangle them and then from there just move them around and see what shapes develop,” says the photographer. “I’ll shoot one for five or ten minutes [with a Nikon D800 with a 60mm micro lens] and then put it back and do the same process with the others.”

© Aaron Ansarov

After the shoot, Ansarov returns the living men-of-war to the beach where he found them and let’s nature take its course. “Either they get swept back out to sea or they die with the others on the beach,” he says.

© Aaron Ansarov

Ansarov often sees air bubbles that resemble eyeballs and tentacles that frame alien-like faces in his photographs. To accentuate this, he “mirrors” each image by opening it in Photoshop, expanding the canvas and flipping it once. In nature, he points out, we respond more to symmetrical things. “If we see two eyes or two arms or two legs, we recognize it a lot more,” he says.

© Aaron Ansarov

In Ansarov’s Zooids, the anatomical parts of the men-of-war quickly become any number of things: moustaches, antennae, beaks and flared nostrils. The colorful patterns are “nature’s Rorschach test,” the photographer has said. Everyone sees something different.

“One person told me they saw a raccoon playing on drums,” says Ansarov. I see a startled toucan in one—and aliens, lots and lots of aliens.

Humpback whale (Megaptera novaeangliae). Image by Mark Fischer.

Those who have a neurological condition called chromesthesia associate certain colors with certain sounds. It’s these people that I think of when I see Mark Fischer’s Aguasonic Acoustics project. Fischer systematically transforms the songs of whales, dolphins and birds into brightly colored, psychedelic art.

Minke whale (Balaenoptera acutorostrata). Image by Mark Fischer.

The software developer from San Jose, California, gathers the sounds of marine mammals in nearby Monterey Bay using a hydrophone and the chirps of birds in his neighborhood with a digital recorder; he also collects audio of other hard-to-reach species from scientists. Fischer scans the clips for calls that demonstrate a high degree of symmetry. Once he identifies a sound that interests him, he transforms it into a mathematical construct called a wavelet where the frequency of the sound is plotted over time. Fischer adds color to the wavelet—a graph with an x and y axis—using a hue saturation value map—a standard way for computer graphic designers to translate numbers into colors. Then, he uses software he personally wrote to spin the graph into a vibrant mandala.

“The data is still there, but it’s been made into something more compelling to look at,” wrote Wired.

Vermiculated screech-owl (Otus guatemalae). Image by Mark Fischer.

The first animal sound that Fischer turned into visual art was that of a blue whale. “I was spending some time down in Baja California. Someone had posted a note on MARMAM [the Marine Mammal Research and Conservation email list] looking for volunteers for a blue whale population survey out of the University of La Paz, and I volunteered. We spent the next three days in the Sea of Cortez looking for blue whales,” says Fischer. “We never did find a blue whale, but I was able to make recordings. I just got fascinated with the sounds of whales and dolphins.”

Rufous-tailed jacamar (Galbula ruficauda). Image by Mark Fischer.

Fischer concentrates on whales, dolphins and birds mostly, having found that their calls have the most structure. Humpback whales, in particular, are known to have incredible range. “They make very well defined sounds that have extraordinary shapes in wavelet space,” says the artist. The chirps of insects and frogs, however, make for less engaging visuals. When it comes to a cricket versus a humpback, Fischer adds, it is like comparing “someone who has never played a guitar in their life and a violin virtuoso.”

Rufous-tailed jacamar (Galbula ruficauda). Image by Mark Fischer.

Animal sounds have long been studied using spectrograms—sheets of data on the frequency of noises—but the software designer finds it curious that researchers only look at sounds this one way. Fischer finds wavelets much more compelling. He prints his images in large-scale format, measuring four feet by eight feet, to call attention to this other means of analyzing sound data.

Lesser ground-cuckoo (Morococcyx erythropygius). Image by Mark Fischer.

Some researchers argue that little progress has been made in understanding humpback whale songs. But, Fischer says, ”I am concluding that we are looking the wrong way.” The artist hopes that his mandalas will inspire scientists to look at bioacoustics anew. “Maybe something beneficial will happen as a result,” he says.

Short-eared owl (Asio flammeus). Image by Mark Fischer.

The Peabody Essex Museum in Salem, Massachusetts, will include a selection of Fischer’s images in “Beyond Human,” an exhibition on artist-animal collaborations on view from October 19, 2013 to June 29, 2014.

The shelled sea butterfly Hyalocylis striata can be found in the warm surface waters of the ocean around the world. Photo: © Karen Osborn

The chemistry of the ocean is changing. Most climate change discussion focuses on the warmth of the air, but around one-quarter of the carbon dioxide we release into the atmosphere dissolves into the ocean. Dissolved carbon dioxide makes seawater more acidic—a process called ocean acidification—and its effects have already been observed: the shells of sea butterflies, also known as pteropods, have begun dissolving in the Antarctic.

Tiny sea butterflies are related to snails, but use their muscular foot to swim in the water instead of creep along a surface. Many species have thin, hard shells made of calcium carbonate that are especially sensitive to changes in the ocean’s acidity. Their sensitivity and cosmopolitan nature make them an alluring study group for scientists who want to better understand how acidification will affect ocean organisms. But some pteropod species are proving to do just fine in more acidic water, while others have shells that dissolve quickly. So why do some species perish while others thrive?

It’s a hard question to answer when scientists can hardly tell pteropod species apart in the first place. The cone-shaped pteropod shown here is in a group of shelled sea butterflies called thecosomes, from the Greek for “encased body.” There are two other groups: the pseudothecosomes have gelatinous shells, and the gymnosomes (“naked body”) have none at all. Within these groups it can be hard to tell who’s who, especially when relying on looks alone. Scientists at the Smithsonian’s National Museum of Natural History are using genetics to uncover the differences among the species.

This effort is led by zoologist Karen Osborn, who has a real knack for photography: in college, she struggled over whether to major in art or science. After collecting living animals while SCUBA diving in the open ocean, she brings them back to the research ship and photographs each in a shallow tank of clear water with a Canon 5D camera with a 65mm lens, using three to four flashes to capture the colors of the mostly-transparent critters. The photographs have scientific use—to capture never-before-recorded images of the living animals—and to “inspire interest in these weird, wild animals,” she said. All of these photos were taken in the Pacific Ocean off the coasts of Mexico and California.

This gymnosome (Pneumodermopsis sp.) pulls shelled pteropods from their shells with a set of suckers. Photo: © Karen Osborn

Although sea butterflies in the gymnosome group, like the one seen above, don’t have shells and are therefore not susceptible to the dangers of ocean acidification, their entire diet consists of shelled pteropods. If atmospheric CO₂ continues to rise due to the burning of fossil fuels and, in turn, the ocean becomes more acidic, their prey source may disappear—indirectly endangering these stunning predators and all the fish, squid and other animals that feed on the gymnosomes.

Cavolinia uncinata. Photo: © Karen Osborn

For years, sea butterflies were only collected by net. When collected this way, the animals (such as Cavolinia uncinata above) retract their fleshy “wings” and bodies into pencil eraser-sized shells, which often break in the process. Researchers then drop the collected pteropods into small jars of alcohol for preservation, which causes the soft parts to shrivel—leaving behind just the shell. Scientists try to sort the sea butterflies into species by comparing the shells alone, but without being able to see the whole animals, they may miss the full diversity of pteropods.

This may be the same species as the previous sea butterfly (Cavolinia uncinata), or it could be a different species that has gone unnoticed for decades. Photo: © Karen Osborn

More recently, scientists such as Osborn and Smithsonian researcher Stephanie Bush have begun collecting specimens by hand while SCUBA diving in the open sea. This blue-water diving allows her to collect and photograph fragile organisms. As she and her colleagues observe living organisms in more detail, they are realizing that animals they had thought were the same species, in fact, may not be! This shelled pteropod (Cavolinia uncinata) is considered the same species as the one in the previous photo. Because their fleshy parts look so different, however, Bush is analyzing each specimen’s genetic code to establish whether they really are the same species.

Mass of Cavolinia uncinata eggs. Photo: © Karen Osborn

This string of eggs shot out of Cavolinia uncinata when it was being observed under the microscope. The eggs are attached to one another in a gelatinous mass, and, had they not been self-contained in a petri dish, would have floated through the water until the new pteropods emerged as larvae. Their reproduction methods aren’t well studied, but we know that pteropods start off as males and once they reach a certain size switch over to females. This sexual system, known as sequential hermaphroditism, may boost reproduction because bigger females can produce more eggs.

In the Arctic, this pteropod species (Limacina helicina) can compose half of the zooplankton swimming in the water column. Photo: © Karen Osborn

This pteropod (Limacina helicina) has taken a beating from being pulled through a trawl net: you can see the broken edges of its shell. An abundant species with black flesh, each of these sea butterflies are the size of a large grain of sand. In certain conditions they “bloom” and, when fish eat too many, the pteropod’s black coloring stains the fishes’ guts black.

The shell of Clio recurva is a perfect landing strip for a colony of hydroids. Photo: © Karen Osborn

Not only is the inside of this shell home to a pteropod (Clio recurva), but the outside houses a colony of hydroids—the small pink flower-like animals connected by transparent tubing all over the shell. Hydroids, small, predatory animals related to jellyfish, need to attach to a surface in the middle of the ocean to build their colony, and the tiny shell of Clio is the perfect landing site. While it’s a nice habitat for the hydroids, this shell probably provides less than ideal protection for the pteropod: the opening is so large that a well equipped predator, such as larger shell-less pteropods, can likely just reach in and pull it out. “I would want a better house, personally,“ says Osborn.

It was once thought that Clione limacina was found in the Antarctic and Arctic, but it’s likely that they are two separate species. Photo: © Karen Osborn

Gymnosomes are pteropods that lack shells and have a diet almost entirely composed of shelled pteropods. This species (Clione limacina), exclusively feeds on Limacina helicina (the black-fleshed pteropod a few slides back). They grab their shelled relative with six tentacle-like arms, and then use grasping jaws to suck their meal out of the shell.

  This post was written by Emily Frost and Hannah Waters. Learn more about the ocean from the Smithsonian’s Ocean Portal.

For Nathalie Miebach, the stars aligned with this sculpture, inspired by a Hertzsprung-Russell diagram. © Nathalie Miebach

In 2000, Nathalie Miebach was studying both astronomy and basket weaving at the Harvard Extension School in Cambridge, Massachusetts. She was constantly lugging her shears and clamps with her into the room where she’d study projections of stars and nebulas on the wall.

Understanding the science of space could be tricky, she found. “What was so frustrating to me, as a very kinesthetic learner, is that astronomy is so incredibly fascinating, but there’s nothing really tactile about it,” says Miebach. “You can’t go out and touch a star.”

Soon, something in the budding artist clicked. Her solution? Turn space data into visual art, so that she and other learners like her could grasp it.

Miebach’s final project for her basket weaving class was a sculpture based on the Hertzsprung-Russell diagram, a well-known astronomy scatter plot measuring stars’ luminosities against their surface temperatures. Temperature readings travel downward from left to right, and the wider the diameter of the star, the higher the luminosity. The graph is used to track stars as they evolve, showing how they move along the diagram as shifts in their structure cause changes in temperature, size and luminosity.

Miebach translated the relationship between star luminosity and temperature into a thick, funnel-shaped sculpture (shown above) with tightly interwoven reeds. She uses the temperature and luminosity values of specific stars on the diagram to inform the manner in which she weaves  the reeds.

Basket weaving involves a three-dimensional grid with vertical spokes that create structure and horizontal weavers that fill in the sides of the work. The sculpture achieves its shape through the interaction of the materials—usually, straw, grass or reeds—and the amount of pressure exerted on the grid by the artist’s hand.

“Antarctic Explorer – Darkness to Lightness” © Nathalie Miebach

Miebach’s next project involved transforming scientific data of solar and lunar cycles into sculpture. In the piece pictured above, the artist transferred three months of moon, twilight and sun data from Antarctica into layers of woven reeds. She assigned the vertical and horizontal reeds of the basket grid specific variables, such as temperature, wind and barometric pressure. Changes in these variables naturally altered the tension exerted on the reeds, and the varying tensions created bulges within the piece. The changing values of these variables distorted the tension between the reeds, driving the warped shapes that emerged in the piece.

Reeds are not unbreakable; if too much pressure is exerted, they snap. If Miebach used wire, she’d be completely in charge of the process, and no tension would exist to guide the piece into its final shape.

“Because these cycles change every day, you are working this grid in different ways,” she says.

The thick, ribbon-like blue lines circumventing each bulge are segmented into hours of the day. The naturally colored reeds representmoon data, the yellow reeds sun data and the green reeds twilight.

The yellow spheres on the exterior of the shape signify sunrise and the smaller navy balls represent moon phases. The orange spokes protruding from each bulge of the sculpture represent solar azimuth, or the spherical angle of the sun, and solar hours, which measure the passage of time based on the sun’s position in the sky. Red spokes designate the ocean’s high tide and yellow spokes, the low tide. The basket grid becomes a pattern representing the changes of these variables.

How elements like wind, temperature and barometric pressure, assigned to vertical spokes based on values from low to high, look in a woven representation of two months of Cape Cod weather. © Nathalie Miebach

This weaving process remained the same when Miebach’s subject changed from sky to sea during an artist residence on Cape Cod several years ago. Armed with basic measuring tools like thermometers purchased at the hardware store, Miebach studied the Gulf of Maine every day for 18 months, checking and recording temperature, wind speeds, barometric pressure and other climate indicators. She gleaned additional data from weather stations, satellites and anchored buoys bobbing up and down in open water.

“Changing Waters” portrays meteorological and oceanic interactions within the Gulf of Maine. © Nathalie Miebach

The result was multiple woven sculptures examining different aspects of the Gulf of Maine. A 33-foot-wide wall installation called “Changing Waters” (pictured above) depicts the geography of the gulf. The blue material represents its currents, streams and basins, delineated by changes in the water that Miebach recorded and assigned to each tiny segment.

“To Hear an Ocean in a Whisper” (pictured below) examines the effects of currents, temperature and tidal patterns on krill living in the Georges Bank of the Gulf of Maine. The roller coaster represents the Labrador Current, which flows from the Arctic Ocean and along Nova Scotia’s eastern coast. The merry-go-round inside shows how krill activity changes as temperature, salinity and wave height vary, and the Ferris wheel tracks the diurnal cycle of the tiny crustaceans. A swinging ship-style ride follows the tidal patterns of the Bay of Fundy on the northeast end of the gulf and nearby whale sightings.

“Everything is some sort of data point,” Miebach says. “There’s nothing there just for whimsy or aesthetic purpose only.”

“To Hear an Ocean in a Whisper.” © Nathalie Miebach

The artist has taken this same approach with her latest project: translating scientific data into musical scores. When Miebach relocated from the coast of Maine to Omaha and then Boston in 2006, she realized the cityscape influenced weather dramatically, and not in the same way that the shoreline did.

“In an urban environment, you have infrastructure, you have heat bubbles that hover over cities, you have the lack of vegetation, and all these create very localized fluctuations in weather data that the weather instruments are very sensitive in picking up,” she says.

Miebach found that she could not accurately express in her basket weaving the subtle fluctuations in weather that cities foster. Instead, she began experimenting with musical notation as a medium, which she says provided the flexibility she needed in artistically representing weather data at the street level.

“Navigating Into a New Night” © Nathalie Miebach

In the score pictured above, the royal blue squiggly lines represent cloud cover. The notes signify weather variables: orange is humidity, red is temperature and green is barometric pressure. The sky blue lines zigzagging across the sheet indicate wind direction, and the pink shading represents tempo for musicians to interpret.

Interpreting scientific data in this way allowed Miebach to translate the nuance of weather she felt was present in a city environment without altering the information in any way. “One thing that has been very dear to my heart from the very beginning is that I don’t change information for any aesthetic purpose,” she says. “I want the information to stay true, so that when you look at the sculpture, you’re still seeing the weather.”

Musical score for Hurricane Noel. © Nathalie Miebach

In her musical score for Hurricane Noel, which swept along the Atlantic Ocean in 2007, Miebach correlated each change in a given weather variable she had measured with a note on the piano keyboard. The piano scale is drawn as black-and-white column on the left-hand side of the sheet music (pictured above). Shaded regions represent shifting cloud cover during the storm.

Miebach says she transposed wind speed into the upper two octaves because howling winds are a dominant aspect of any storm. Each note on the scale receives a range, from zero to two miles per hour, two to four miles per hour and so on. The same goes for temperature and barometric pressure readings.

The Nineteen Thirteen, a group of cellists and percussionists, performed Hurricane Noel at the Milwaukee Art Museum in 2011 (listen to the ominous-sounding song here). Another cellist group offered up a different interpretation.

But transforming the musical scores into live performances isn’t the end. Once she feels that she has captured the nuances of weather data from urban settings, Miebach then uses her melodious blueprints to create woven sculptures such as the one pictured below.

What Hurricane Noel looks like in three-dimensional music. © Nathalie Miebach

The amusement-park themed “To Hear an Ocean in a Whisper” that Miebach made in collaboration with Jon Fincke, an oceanography graduate student at MIT, is on display in “Ocean Stories: A Synergy of Art and Science,” an exhibition at Boston’s Museum of Science through June 2. Her latest piece, “The Last Ride,” translates weather and ocean data from Hurricane Sandy, which destroyed the Jersey Shore’s Star Jet roller coaster. It will be featured in the Massachusetts College of Art and Design’s annual art auction on April 13.

First Place and People’s Choice, Photography: Biomineral Single Crystals. Credit: Pupa U. P. A. Gilbert and Christopher E. Killian; University of Wisconsin, Madison.

When Pupa U. P. A. Gilbert, a biophysicist at the University of Wisconsin, Madison, and her colleague Christopher E. Killian saw the scanning electron micrograph that they took of a sea urchin’s tooth, they were dumbstruck, says the journal Science. “I had never seen anything that beautiful,” Gilbert told the publication.

The individual crystals of calcite that form an urchin’s tooth are pointy, interlocking pieces; as the outermost crystals decay, others come to the surface, keeping the tooth sharp. In Photoshop, Gilbert added blues, greens and purples to the black-and-white image to differentiate the crystals. The resulting image calls to mind an eerie landscape in a Tim Burton movie.

Judges of the 2012 International Science & Engineering Visualization Challenge, a competition sponsored by Science and the National Science Foundation, as well as the public who voted online, were equally ecstatic about the SEM image. Enough so, in fact, that they selected the micrograph as the first place and people’s choice winner for the contest’s photography division.

The 10th annual Visualization Challenge received 215 entries across five categories—photography, illustration, posters and graphics, games and apps, and video. The submissions are judged based on visual impact, effective communication and originality.

And…drum roll, please. Here are some of the the recently announced winners:

Honorable Mention, Photography: Self Defense. Credit: Kai-hung Fung, Pamela Youde Nethersole Eastern Hospital in Hong Kong.

Kai-hung Fung, a radiologist at Pamela Youde Nethersole Eastern Hospital in Hong Kong, captured this image of a clam shell (on the left) and a spiral-shaped sea snail shell (on the right) using a CT scanner. The image won honorable mention in the photography category. The multi-colored lines represent the contours in the shells. Fung told Science that he took into account “two sides of a coin” when making the image. “One side is factual information, wile the other side is artistic,” he told the journal.

Honorable Mention, Photography: X-ray micro-radiography and microscopy of seeds. Credit: Viktor Sykora, Charles University; Jan Zemlicka, Frantisek Krejci, and Jan Jakubek, Czech Technical University.

Viktor Sykora, a biologist at Charles University in Prague, and researchers at the Czech Technical University submitted three miniscule (we’re talking three millimeters in diameter or less) seeds to high-resolution, high-contrast x-ray imaging (on the left) and microscopy (on the right). The above image also won honorable mention in the photography category.

First Place, Illustration: Connectivity of a Cognitive Computer Based on the Macaque Brain. Credit: Emmett McQuinn, Theodore M. Wong, Pallab Datta, Myron D. Flickner, Raghavendra Singh, Steven K. Esser, Rathinakumar Appuswamy, William P. Risk, and Dharmendra S. Modha.

Earning him first prize in the illustration category, Emmett McQuinn, a hardware engineer at IBM, created this “wiring diagram” for a new kind of computer chip, based on the neural pathways in a macaque‘s brain.

Honorable Mention and People’s Choice, Illustration: Cerebral Infiltration. Credit: Maxime Chamberland, David Fortin, and Maxime Descoteaux, Sherbrooke Connectivity Imaging Lab.

Maxime Chamberland, a computer science graduate student at the Sherbrooke Connectivity Imaging Lab in Canada, used magnetic resonance imaging (MRI) to capture this ominous image of a brain tumor. (The tumor is the solid red mass in the left side of the brain.) Science calls the image a “road map for neurosurgeons,” in that the red fibers are hot-button fibers that, if severed, could negatively impact the patient’s everyday functions, while blue fibers are nonthreatening. The image won honorable mention and was the people’s choice winner in the contest’s illustration category.

A team of researchers (Guillermo Marin, Fernando M. Cucchietti, Mariano Vázquez, Carlos Tripiana, Guillaume Houzeaux, Ruth Arís, Pierre Lafortune and Jazmin Aguado-Sierra) at the Barcelona Supercomputing Center produced this first-place and people’s-choice winning video, “Alya Red: A Computational Heart.” The film shows Alya Red, a realistic animation of a beating human heart that the scientists designed using MRI data.

“I was literally blown away,” Michael Reddy, a judge in the contest, told Science. “After the first time I watched the video, I thought, ‘I’ve just changed the way I thought about a heart.’”

Be sure to check out the other videos below, which received honorable mention in the contest:

Fertilization, by Thomas Brown, Stephen Boyd, Ron Collins, Mary Beth Clough, Kelvin Li, Erin Frederikson, Eric Small, Walid Aziz, Hoc Kho, Daniel Brown and Nobles Green Nucleus Medical Media

Observing the Coral Symbiome Using Laser Scanning Confocal Microscopy, by Christine E. Farrar, Zac H. Forsman, Ruth D. Gates, Jo-Ann C. Leong, and Robert J. Toonen, Hawaii Institute of Marine Biology, University of Hawaii, Manoa

Revealing Invisible Changes in the World, by Michael Rubinstein, Neal Wadhwa, Frédo Durand, William T. Freeman, Hao-Yu Wu, John Guttag, MIT; and Eugene Shih, Quanta Research Cambridge

For winners in the posters and graphics and games and apps categories, see the National Science Foundation’s special report on the International Science & Engineering Visualization Challenge.