Category Archives: writing

American Association for the Advancement of Science 2016 Mass Media Fellows program is open for submissions

Before getting to the latest information for applying, Matt Miller has written an exuberant and enticing  description of his experiences as a 2016 American Association for the Advancement of Science (AAAS) Mass Media Fellow for in his Oct. 17, 2016 article for them (Note: Links have been removed),

If you’ve ever wanted to write for Slate (or other major media organizations), now is your chance—provided you’re a graduate student or postdoc in science, math, engineering, or medicine [enrolled in a university and with a US citizenship or visa that allows you to receive paymet for work].* The American Association for the Advancement of Science will soon be opening applications for its 2017 Mass Media Fellowship. Along with Slate, publications like Wired, Scientific American, NPR [National Public Radio], and the Los Angeles Times will be hosting fellows who will work as science writers for 10 weeks starting in June of next year.


While many of my classmates were drawing blood and administering vaccines [Miller is a student in a School of Veterinary Medicine], I flew up to New York and started learning how to be a journalist. In Slate’s Brooklyn office, I read the abstracts of newly released journal articles and pitched countless story ideas. I drank lots of coffee, sat in on editorial meetings, and interviewed scientists from almost every field imaginable (entomologists are the best). Perhaps the highlight of the whole summer was being among the first to cover the rising cost of EpiPens, a scandal that has recently led to a congressional hearing.

A large part of what I did this summer involved explaining the scientific fundamentals behind the research and making the findings more accessible and exciting to a general audience. Science writing involves a great deal of translation; scientists often get so tied up in the particulars of their research—exactly how an enzyme cleaves this protein, or whether a newly discovered bird is technically a new species—that they forget to talk about the wider societal implications their research might have on culture and civilization. But science writing also matters for the same reason all journalism matters. Science journalism can play the important role of watchdog, holding the powerful accountable and airing out things that don’t quite seem right.

You can find the application here. Don’t forget to read the eligibility rules (no students enrolled in English, journalism, science journalism, or other non-technical fields need apply).

Good luck!

*ETA Oct. 18, 2016 9:52 am PDT: The deadline for applications is midnight EST Jan. 15, 2017.

Interactive chat with Amy Krouse Rosenthal’s memoir

It’s nice to see writers using technology in their literary work to create new forms although I do admit to a pang at the thought that this might have a deleterious effect on book clubs as the headline (Ditch Your Book Club: This AI-Powered Memoir Wants To Chat With You) for Claire Zulkey’s Sept. 1, 2016 article for Fast Company suggests,

Instead of attempting to write a book that would defeat the distractions of a smartphone, author Amy Krouse Rosenthal decided to make the two kiss and make up with her new memoir.

“I have this habit of doing interactive stuff,” says the Chicago writer and filmmaker, whose previous projects have enticed readers to communicate via email, website, or in person, and before all that, a P.O. box. As she pondered a logical follow-up to her 2005 memoir Encyclopedia of an Ordinary Life (which, among other prompts, offered readers a sample of her favorite perfume if they got in touch via her website), Rosenthal hit upon the concept of a textbook. The idea appealed to her, for its bibliographical elements and as a new way of conversing with her readers. And also, of course, because of the double meaning of the title. Textbook, which went on sale August 9 [2016], is a book readers can send texts to, and the book will text them back. “When I realized the wordplay opportunity, and that nobody had done that before, I loved it,” Rosenthal says. “Most people would probably be reading with a phone in their hands anyway.”

Rosenthal may be best known for the dozens of children’s books she’s published, but Encyclopedia was listed in Amazon’s top 10 memoirs of the decade for its alphabetized musings gathered together under the premise, “I have not survived against all odds. I have not lived to tell. I have not witnessed the extraordinary. This is my story.” Her writing often celebrates the serendipitous moment, the smallness of our world, the misheard sentence that was better than the real one—always in praise of the flashes of magic in our mundane lives. Textbook, Rosenthal says, is not a prequel or a sequel but “an equal” to Encyclopedia. It is organized by subject, and Rosenthal shares her favorite anagrams, admits a bias against people who sign emails with just their initials, and exhorts readers, next time they are at a party, to attempt to write a “group biography.” …

… when she sent the book out to publishers, Rosenthal explains, “Pretty much everybody got it. Nobody said, ‘We want to do this book but we don’t want to do that texting thing.’”

Zulkey also covers some of the nitty gritty elements of getting this book published and developed,

After she signed with Dutton, Rosenthal’s editors got in touch with OneReach, a Denver company that specializes in providing multichannel, conversational bot experiences, “This book is a great illustration of what we’re going to see a lot more of in the future,” says OneReach cofounder Robb Wilson. “It’s conversational and has some basic AI components in it.”

Textbook has nearly 20 interactive elements to it, some of which involve email or going to the book’s website, but many are purely text-message-based. One example is a prompt to send in good thoughts, which Rosenthal will then print and send out in a bottle to sea. Another asks readers to text photos of a rainbow they are witnessing in real time. The rainbow and its location are then posted on the book’s website in a live rainbow feed. And yet another puts out a call for suggestions for matching tattoos that at least one reader and Rosenthal will eventually get. Three weeks after its publication date, the book has received texts from over 600 readers.

Nearly anyone who has received a text from Walgreens saying a prescription is ready, gotten an appointment confirmation from a dentist, or even voted on American Idol has interacted with the type of technology OneReach handles. But behind the scenes of that technology were artistic quandaries that Rosenthal and the team had to solve or work around.

For instance, the reader has the option to pick and choose which prompts to engage with and in what order, which is not typically how text chains work. “Normally, with an automated text message you’re in kind of a lineal format,” says Justin Biel, who built Textbook’s system and made sure that if you skipped the best-wishes text, for instance, and go right to the rainbow, you wouldn’t get an error message. At one point Rosenthal and her assistant manually tried every possible permutation of text to confirm that there were no hitches jumping from one prompt to another.

Engineers also made lots of revisions so that the system felt like readers were having a realistic text conversation with a person, rather than a bot or someone who had obviously written out the messages ahead of time. “It’s a fine line between robotic and poetic,” Rosenthal says.

Unlike your Instacart shopper whom you hope doesn’t need to text to ask you about substitutions, Textbook readers will never receive a message alerting them to a new Rosenthal signing or a discount at Amazon. No promo or marketing messages, ever. “In a way, that’s a betrayal,” Wilson says. Texting, to him, is “a personal channel, and to try to use that channel for blatant reasons, I think, hurts you more than it helps you.

Zulkey’s piece is a good read and includes images and an embedded video.

Beatrix Potter and her science on her 150th birthday

July 28, 2016 was the 150th anniversary of Beatrix Potter‘s birthday. Known by many through her children’s books, she has left an indelible mark on many of us. has a description of an extraordinary woman, from their Beatrix Potter 150 years page,

An artist, storyteller, botanist, environmentalist, farmer and impeccable businesswoman, Potter was a visionary and a trailblazer. Single-mindedly determined and ambitious she overcame professional rejection, academic humiliation, and personal heartbreak, going on to earn her fortune and a formidable reputation.

A July 27, 2016 posting by Alex Jackson on the Guardian science blogs provides more information about Potter’s science (Note: Links have been removed),

Influenced by family holidays in Scotland, Potter was fascinated by the natural world from a young age. Encouraged to follow her interests, she explored the outdoors with sketchbook and camera, honing her skills as an artist, by drawing and sketching her school room pets: mice, rabbits and hedgehogs. Led first by her imagination, she developed a broad interest in the natural sciences: particularly archaeology, entomology and mycology, producing accurate watercolour drawings of unusual fossils, fungi, and archaeological artefacts.

Potter’s uncle, Sir Henry Enfield Roscoe FRS, an eminent nineteenth-century chemist, recognised her artistic talent and encouraged her scientific interests. By the 1890s, Potter’s skills in mycology drew Roscoe’s attention when he learned she had successfully germinated spores of a class of fungi, and had ideas on how they reproduced. He used his scientific connections with botanists at Kew’s Royal Botanic Gardens to gain a student card for his niece and to introduce her to Kew botanists interested in mycology.

Although Potter had good reason to think that her success might break some new ground, the botanists at Kew were sceptical. One Kew scientist, George Massee, however, was sufficiently interested in Potter’s drawings, encouraging her to continue experimenting. Although the director of Kew, William Thistleton-Dyer refused to give Potter’s theories or her drawings much attention both because she was an amateur and a female, Roscoe encouraged his niece to write up her investigations and offer her drawings in a paper to the Linnean Society.

In 1897, Potter put forward her paper, which Massee presented to the Linnean Society, since women could not be members or attend a meeting. Her paper, On the Germination of the Spores of the Agaricineae, was not given much notice and she quickly withdrew it, recognising that her samples were likely contaminated. Sadly, her paper has since been lost, so we can only speculate on what Potter actually concluded.

Until quite recently, Potter’s accomplishments and her experiments in natural science went unrecognised. Upon her death in 1943, Potter left hundreds of her mycological drawings and paintings to the Armitt Museum and Library in Ambleside, where she and her husband had been active members. Today, they are valued not only for their beauty and precision, but also for the assistance they provide modern mycologists in identifying a variety of fungi.

In 1997, the Linnean Society issued a posthumous apology to Potter, noting the sexism displayed in the handling of her research and its policy toward the contributions of women.

A rarely seen very early Beatrix Potter drawing, A Dream of Toasted Cheese was drawn to celebrate the publication of Henry Roscoe’s chemistry textbook in 1899. Illustration: Beatrix Potter/reproduced courtesy of the Lord Clwyd collection (image by way of The Guardian newspaper)

A rarely seen very early Beatrix Potter drawing, A Dream of Toasted Cheese was drawn to celebrate the publication of Henry Roscoe’s chemistry textbook in 1899. Illustration: Beatrix Potter/reproduced courtesy of the Lord Clwyd collection (image by way of The Guardian newspaper)

I’m sure you recognized the bunsen burner. From the James posting (Note: A link has been removed),

London-born, Henry Roscoe, whose family roots were in Liverpool, studied at University College London, before moving to Heidelberg, Germany, where he worked under Robert Bunsen, inventor of the new-fangled apparatus that inspired Potter’s drawing. Together, using magnesium as a light source, Roscoe and Bunsen reputedly carried out the first flashlight photography in 1864. Their research laid the foundations of comparative photochemistry.

These excerpts do not give full justice to James’ piece which I encourage you to read in its entirety.

Should you be going to the UK and inclined to follow up further, there’s a listing of 2016 events being held to honour Potter on the UK National Trust’s Celebrating Beatrix Potter’s anniversary in the Lake District webpage.

A couple of Frankenstein dares from The Frankenstein Bicentennial project

Drat! I’ve gotten the information about the first Frankenstein dare (a short story challenge) a little late in the game since the deadline is 11:59 pm PDT on July 31, 2016. In any event, here’s more about the two dares,

And for those who like their information in written form, here are the details from the Arizona State University’s (ASU) Frankenstein Bicentennial Dare (on The Franklin Bicentennial Project website),

Two centuries ago, on a dare to tell the best scary story, 19-year-old Mary Shelley imagined an idea that became the basis for Frankenstein. Mary’s original concept became the novel that arguably kick-started the genres of science fiction and Gothic horror, but also provided an enduring myth that shapes how we grapple with creativity, science, technology, and their consequences.
Two hundred years later, inspired by that classic dare, we’re challenging you to create new myths for the 21st century along with our partners National Novel Writing Month (NaNoWriMo), Chabot Space and Science Center, and Creative Nonfiction magazine.


Presented by NaNoWriMo and the Chabot Space and Science Center

Frankenstein is a classic of Gothic literature – a gripping, tragic story about Victor Frankenstein’s failure to accept responsibility for the consequences of bringing new life into the world. In this dare, we’re challenging you to write a scary story that explores the relationship between creators and the “monsters” they create.

Almost anything that we create can become monstrous: a misinterpreted piece of architecture; a song whose meaning has been misappropriated; a big, but misunderstood idea; or, of course, an actual creature. And in Frankenstein, Shelley teaches us that monstrous does not always mean evil – in fact, creators can prove to be more destructive and inhuman than the things they bring into being

Tell us your story in 1,000 – 1,800 words on and use the hashtag #Frankenstein200. Read other #Frankenstein200 stories, and use the recommend button at the bottom of each post for the stories you like. Winners in the short fiction contest will receive personal feedback from Hugo and Sturgeon Award-winning science fiction and fantasy author Elizabeth Bear, as well as a curated selection of classic and contemporary science fiction books and  Frankenstein goodies, courtesy of the NaNoWriMo team.

Rules and Mechanics

  • There are no restrictions on content. Entry is limited to one submission per author. Submissions must be in English and between 1,000 to 1,800 words. You must follow all Medium Terms of Service, including the Rules.
  • All entries submitted and tagged as #Frankenstein200 and in compliance with the rules outlined here will be considered.
  • The deadline for submissions is 11:59 PM on July 31, 2016.
  • Three winners will be selected at random on August 1, 2016.
  • Each winner receives the following prize package including:
  • Additionally, one of the three winners, chosen at random, will receive written coaching/feedback from Elizabeth Bear on his or her entry.
  • Select stories will be featured on Frankenscape, a public geo-storytelling project hosted by ASU’s Frankenstein Bicentennial Project. Stories may also be featured in National Novel Writing Month communications and social media platforms.
  • U.S. residents only [emphasis mine]; void where prohibited by law. No purchase is necessary to enter or win.

Dangerous Creations: Real-life Frankenstein Stories

Presented by Creative Nonfiction magazine

Creative Nonfiction magazine is daring writers to write original and true stories that explore humans’ efforts to control and redirect nature, the evolving relationships between humanity and science/technology, and contemporary interpretations of monstrosity.

Essays must be vivid and dramatic; they should combine a strong and compelling narrative with an informative or reflective element and reach beyond a strictly personal experience for some universal or deeper meaning. We’re open to a broad range of interpretations of the “Frankenstein” theme, with the understanding that all works submitted must tell true stories and be factually accurate. Above all, we’re looking for well-written prose, rich with detail and a distinctive voice.

Creative Nonfiction editors and a judge (to be announced) will award $10,000 and publication for Best Essay and two $2,500 prizes and publication for runners-up. All essays submitted will be considered for publication in the winter 2018 issue of the magazine.

Deadline for submissions: March 20, 2017.
For complete guidelines:

[Note: There is a submission fee for the nonfiction dare and no indication as to whether or not there are residency requirements.]

A July 27, 2016 email received from The Frankenstein Bicentennial Project (which is how I learned about the dares somewhat belatedly) has this about the first dare,

Planetary Design, Transhumanism, and Pork Products
Our #Frankenstein200 Contest Took Us in Some Unexpected Directions

Last month [June 2016], we partnered with National Novel Writing Month (NaNoWriMo) and The Chabot Space and Science Center to dare the world to create stories in the spirit of Mary Shelley’s Frankenstein, to celebrate the 200th anniversary of the novel’s conception.

We received a bevy of intriguing and sometimes frightening submissions that explore the complex relationships between creators and their “monsters.” Here are a few tales that caught our eye:

The Man Who Harnessed the Sun
By Sandra Knisely
Eliza has to choose between protecting the scientist who once gave her the world and punishing him for letting it all slip away. Read the story…

The Mortality Complex
By Brandon Miller
When the boogeyman of medical students reflects on life. Read the story…

Bacon Man
By Corey Pressman
A Frankenstein story in celebration of ASU’s Frankenstein Bicentennial Project. And bacon. Read the story… 

You can find the stories that have been submitted to date for the creative short story dare at

Good luck! And, don’t forget to tag your short story with #Frankenstein200 and submit it by July 31, 2016 (if you are a US resident). There’s still lots of time to enter a submission for a creative nonfiction piece.

Nanotechnology, math, cancer, and a boxing metaphor

Violent metaphors in medicine are not unusual although the reference is often to war rather than boxing as it is in this news from the University of Waterloo (Canada). Still, it seems counter-intuitive to closely link violence with healing but the practice is well entrenched and it seems attempts to counteract it are a ‘losing battle’ (pun intended).

Credit: Gabriel Picolo "2-in-1 punch." Courtesy: University of Waterloo

Credit: Gabriel Picolo “2-in-1 punch.” Courtesy: University of Waterloo

A June 23, 2016 news item on ScienceDaily describes a new approach to cancer therapy,

Math, biology and nanotechnology are becoming strange, yet effective bed-fellows in the fight against cancer treatment resistance. Researchers at the University of Waterloo and Harvard Medical School have engineered a revolutionary new approach to cancer treatment that pits a lethal combination of drugs together into a single nanoparticle.

Their work, published online on June 3, 2016 in the leading nanotechnology journal ACS Nano, finds a new method of shrinking tumors and prevents resistance in aggressive cancers by activating two drugs within the same cell at the same time.

A June 23, 2016 University of Waterloo news release (also on EurekAlert), which originated the news item, provides more information,

Every year thousands of patients die from recurrent cancers that have become resistant to therapy, resulting in one of the greatest unsolved challenges in cancer treatment. By tracking the fate of individual cancer cells under pressure of chemotherapy, biologists and bioengineers at Harvard Medical School studied a network of signals and molecular pathways that allow the cells to generate resistance over the course of treatment.

Using this information, a team of applied mathematicians led by Professor Mohammad Kohandel at the University of Waterloo, developed a mathematical model that incorporated algorithms that define the phenotypic cell state transitions of cancer cells in real-time while under attack by an anticancer agent. The mathematical simulations enabled them to define the exact molecular behavior and pathway of signals, which allow cancer cells to survive treatment over time.

They discovered that the PI3K/AKT kinase, which is often over-activated in cancers, enables cells to undergo a resistance program when pressured with the cytotoxic chemotherapy known as Taxanes, which are conventionally used to treat aggressive breast cancers. This revolutionary window into the life of a cell reveals that vulnerabilities to small molecule PI3K/AKT kinase inhibitors exist, and can be targeted if they are applied in the right sequence with combinations of other drugs.

Previously theories of drug resistance have relied on the hypothesis that only certain, “privileged” cells can overcome therapy. The mathematical simulations demonstrate that, under the right conditions and signaling events, any cell can develop a resistance program.

“Only recently have we begun to appreciate how important mathematics and physics are to understanding the biology and evolution of cancer,” said Professor Kohandel. “In fact, there is now increasing synergy between these disciplines, and we are beginning to appreciate how critical this information can be to create the right recipes to treat cancer.”

Although previous studies explored the use of drug combinations to treat cancer, the one-two punch approach is not always successful. In the new study, led by Professor Aaron Goldman, a faculty member in the division of Engineering in Medicine at Brigham and Women’s Hospital, the scientists realized a major shortcoming of the combination therapy approach is that both drugs need to be active in the same cell, something that current delivery methods can’t guarantee.

“We were inspired by the mathematical understanding that a cancer cell rewires the mechanisms of resistance in a very specific order and time-sensitive manner,” said Professor Goldman. “By developing a 2-in-1 nanomedicine, we could ensure the cell that was acquiring this new resistance saw the lethal drug combination, shutting down the survival program and eliminating the evidence of resistance. This approach could redefine how clinicians deliver combinations of drugs in the clinic.”

The approach the bioengineers took was to build a single nanoparticle, inspired by computer models, that exploit a technique known as supramolecular chemistry. This nanotechnology enables scientists to build cholesterol-tethered drugs together from “tetris-like” building blocks that self-assemble, incorporating multiple drugs into stable, individual nano-vehicles that target tumors through the leaky vasculature. This 2-in-1 strategy ensures that resistance to therapy never has a chance to develop, bringing together the right recipe to destroy surviving cancer cells.

Using mouse models of aggressive breast cancer, the scientists confirmed the predictions from the mathematical model that both drugs must be deterministically delivered to the same cell.

Here’s a link to and a citation for the paper,

Rationally Designed 2-in-1 Nanoparticles Can Overcome Adaptive Resistance in Cancer by Aaron Goldman, Ashish Kulkarni, Mohammad Kohandel, Prithvi Pandey, Poornima Rao, Siva Kumar Natarajan, Venkata Sabbisetti, and Shiladitya Sengupta. ACS Nano, Article ASAP DOI: 10.1021/acsnano.6b00320 Publication Date (Web): June 03, 2016

Copyright © 2016 American Chemical Society

This paper is behind a paywall.

The researchers have made this illustration of their work available,

Courtesy: American Chemical Society

Courtesy: American Chemical Society

Next Horizons: Electronic Literature Organization (ELO) 2016
 conference in Victoria, BC

The Electronic Literature Organization (ELO; based at the Massachusetts Institute of Technology [MIT]) is holding its annual conference themed Next Horizons (from an Oct. 12, 2015 post on the ELO blog) at the University of Victoria on Vancouver Island, British Columbia from June 10 – June 12, 2016.

You can get a better sense of what it’s all about by looking at the conference schedule/programme,

Friday, June 10, 2016

8:00 a.m.–5:00 p.m.: Registration
MacLaurin Lobby A100

8:00 a.m.-10:00 a.m: Breakfast
Sponsored by Bloomsbury Academic

10:00 a.m.-10:30: Welcome
MacLaurin David Lam Auditorium A 144
Speakers: Dene Grigar & Ray Siemens

10:30-12 noon: Featured Papers
MacLaurin David Lam Auditorium A 144
Chair: Alexandra Saum-Pascual, UC Berkeley

  • Stuart Moulthrop, “Intimate Mechanics: Play and Meaning in the Middle of Electronic Literature”
  • Anastasia Salter, “Code before Content? Brogrammer Culture in Games and Electronic Literature”

12 Noon-1:45 p.m.  Gallery Opening & Lunch Reception
MacLaurin Lobby A 100
Kick off event in celebration of e-lit works
A complete list of artists featured in the Exhibit

1:45-3:00: Keynote Session
MacLaurin David Lam Auditorium A 144
“Prototyping Resistance: Wargame Narrative and Inclusive Feminist Discourse”

  • Jon Saklofske, Acadia University
  • Anastasia Salter, University of Central Florida
  • Liz Losh, College of William and Mary
  • Diane Jakacki, Bucknell University
  • Stephanie Boluk, UC Davis

3:00-3:15: Break

3:15-4:45: Concurrent Session 1

Session 1.1: Best Practices for Archiving E-Lit
MacLaurin D010
Chair: Dene Grigar, Washington State University Vancouver

  • Dene Grigar, Washington State University Vancouver
  • Stuart Moulthrop, University of Wisconsin Milwaukee
  • Matthew Kirschenbaum, University of Maryland College Park
  • Judy Malloy, Independent Artist

Session 1.2: Medium & Meaning
MacLaurin D110
Chair: Rui Torres, University Fernando Pessoa

  • “From eLit to pLit,” Heiko Zimmerman, University of Trier
  • “Generations of Meaning,” Hannah Ackermans, Utrecht University
  • “Co-Designing DUST,” Kari Kraus, University of Maryland College Park

Session 1.3: A Critical Look at E-Lit
MacLaurin D105
Chair: Philippe Brand, Lewis & Clark College

  • “Methods of Interrogation,” John Murray, University of California Santa Cruz
  • “Peering through the Window,” Philippe Brand, Lewis & Clark College
  • “(E-)re-writing Well-Known Works,” Agnieszka Przybyszewska, University of Lodz

Session 1.4: Literary Games
MacLaurin D109
Chair: Alex Mitchell, National University of Singapore

  • “Twine Games,” Alanna Bartolini, UC Santa Barbara
  • “Whose Game Is It Anyway?,” Ryan House, Washington State University Vancouver
  • “Micronarratives Dynamics in the Structure of an Open-World Action-Adventure Game,” Natalie Funk, Simon Fraser University

Session 1.5: eLit and the (Next) Future of Cinema
MacLaurin D107
Chair: Steven Wingate, South Dakota State University

  • Steve Wingate, South Dakota State University
  • Kate Armstrong, Emily Carr University
  • Samantha Gorman, USC

Session 1.6: Authors & Texts
MacLaurin D101
Chair: Robert Glick, Rochester Institute of Technology

  • “Generative Poems by Maria Mencia,” Angelica Huizar, Old Dominion University
  • “Inhabitation: Johanna Drucker: “no file is ever self-identical,” Joel Kateinikoff, University of Alberta
  • “The Great Monster: Ulises Carrión as E-Lit Theorist,” Élika Ortega, University of Kansas
  • “Pedagogic Strategies for Electronic Literature,” Mia Zamora, Kean University

3:15-4:45: Action Session Day 1
MacLaurin D111

  • Digital Preservation, by Nicholas Schiller, Washington State University Vancouver; Zach Coble, NYU
  • ELMCIP, Scott Rettberg and Álvaro Seiça, University of Bergen; Hannah Ackermans, Utrecht University
  • Wikipedia-A-Thon, Liz Losh, College of William and Mary

5:00-6:00: Reception and Poster Session
University of Victoria Faculty Club
For ELO, DHSI, & INKE Participants, featuring these artists and scholars from the ELO:

  • “Social Media for E-Lit Authors,” Michael Rabby, Washington State University Vancouver
  • “– O True Apothecary!, by Kyle Booten,” UC Berkeley, Center for New Media
  • “Life Experience through Digital Simulation Narratives,” David Núñez Ruiz, Neotipo
  • “Building Stories,” Kate Palermini, Washington State University Vancouver
  • “Help Wanted and Skills Offered,” by Deena Larsen, Independent Artist; Julianne Chatelain, U.S. Bureau of Reclamation
  • “Beyond Original E-Lit: Deconstructing Austen Cybertexts,” Meredith Dabek, Maynooth University
  • Arabic E-Lit. (AEL) Project, Riham Hosny, Rochester Institute of Technology/Minia University
  • “Poetic Machines,” Sidse Rubens LeFevre, University of Copenhagen
  • “Meta for Meta’s Sake,” Melinda White


7:30-11:00: Readings & Performances at Felicita’s
A complete list of artists featured in the event

Saturday, June 11, 2016


8:30-10:00: Lightning Round
MacLaurin David Lam Auditorium A 144
Chair: James O’Sullivan, University of Sheffield

  • “Different Tools but Similar Wits,” Guangxu Zhao, University of Ottawa
  • “Digital Aesthetics,” Bertrand Gervais, Université du Québec à Montréal
  • “Hatsune Miku,” Roman Kalinovski, Independent Scholar
  • “Meta for Meta’s Sake,” Melinda White, University of New Hampshire
  • “Narrative Texture,” Luciane Maria Fadel, Simon Fraser University
  • “Natural Language Generation,” by Stefan Muller Arisona
  • “Poetic Machines,” Sidse Rubens LeFevre, University of Copenhagen
  • “Really Really Long Works,” Aden Evens, Dartmouth University
  • “UnWrapping the E-Reader,” David Roh, University of Utah
  • “Social Media for E-Lit Artists,” Michael Rabby

10:00: Gallery exhibit opens
MacLaurin A100
A complete list of artists featured in the Exhibit

10:30-12 noon: Concurrent Session 2

Session 2.1: Literary Interventions
MacLaurin D101
Brian Ganter, Capilano College

  • “Glitching the Poem,” Aaron Angello, University of Colorado Boulder
  • “WALLPAPER,” Alice Bell, Sheffield Hallam University; Astrid Ensslin, University of Alberta
  • “Unprintable Books,” Kate Pullinger [emphasis mine], Bath Spa University

Session 2.2: Theoretical Underpinnings
MacLaurin D105
Chair: Mia Zamora, Kean University

  • “Transmediation,” Kedrick James, University of British Columbia; Ernesto Pena, University of British Columbia
  • “The Closed World, Databased Narrative, and Network Effect,” Mark Sample, Davidson College
  • “The Cyborg of the House,” Maria Goicoechea, Universidad Complutense de Madrid

Session 2.3: E-Lit in Time and Space
MacLaurin D107
Chair: Andrew Klobucar, New Jersey Institute of Technology

  • “Electronic Literary Artifacts,” John Barber, Washington State University Vancouver; Alcina Cortez, INET-MD, Instituto de Etnomusicologia, Música e Dança
  • “The Old in the Arms of the New,” Gary Barwin, Independent Scholar
  • “Space as a Meaningful Dimension,” Luciane Maria Fadel, Simon Fraser University

Session 2.4: Understanding Bots
MacLaurin D110
Chair: Leonardo Flores, University of Puerto Rico, Mayagüez

  • Allison Parrish, Fordham University
  • Matt Schneider, University of Toronto
  • Tobi Hahn, Paisley Games
  • Zach Whalen, University of Mary Washington

10:30-12 noon: Action Session Day 2
MacLaurin D111

  • Digital Preservation, by Nicholas Schiller, Washington State University Vancouver; Zach Coble, NYU
  • ELMCIP, Allison Parrish, Fordham University; Scott Rettberg, University of Bergen; David Nunez Ruiz, Neotipo; Hannah Ackermans, Utrecht University
  • Wikipedia-A-Thon, Liz Losh, College of William and Mary

12:15-1:15: Artists Talks & Lunch
David Lam Auditorium MacLaurin A144

  • “The Listeners,” by John Cayley
  • “The ChessBard and 3D Poetry Project as Translational Ecosystems,” Aaron Tucker, Ryerson University
  • “News Wheel,” Jody Zellen, Independent Artist
  • “,” Erik Zepka, Independent Artist

1:30-3:00: Concurrent Session 3

Session 3.1: E-Lit Pedagogy in Global Setting
MacLaurin D111
Co-Chairs: Philippe Bootz, Université Paris 8; Riham Hosny, Rochester Institute of Technology/Minia University

  • Sandy Baldwin, Rochester Institute of Technology
  • Maria Goicoechea, Universidad Complutense de Madrid
  • Odile Farge, UNESCO Chair ITEN, Foundation MSH/University of Paris8.

Session 3.2: The Art of Computational Media
MacLaurin D109
Chair: Rui Torres, University Fernando Pessoa

  • “Creative GREP Works,” Kristopher Purzycki, University of Wisconsin Milwaukee
  • “Using Theme to Author Hypertext Fiction,” Alex Mitchell, National University at Singapore

Session 3.3: Present Future Past
MacLaurin D110
Chair: David Roh, University of Utah

  • “Exploring Potentiality,” Daniela Côrtes Maduro, Universität Bremen
  • “Programming the Kafkaesque Mechanism,” by Kristof Anetta, Slovak Academy of Sciences
  • “Reapprasing Word Processing,” Matthew Kirschenbaum, University of Maryland College Park

Session 3.4: Beyond Collaborative Horizons
MacLaurin D010
Chair: Jeremy Douglass, UC Santa Barbara

  • Jeremy Douglass, UC Santa Barbara
  • Mark Marino, USC
  • Jessica Pressman, San Diego State University

Session 3.5: E-Loops: Reshuffling Reading & Writing In Electronic Literature Works
MacLaurin D105
Chair: Gwen Le Cor, Université Paris 8

  • “The Plastic Space of E-loops and Loopholes: the Figural Dynamics of Reading,” Gwen Le Cor, Université Paris 8
  • “Beyond the Cybernetic Loop: Redrawing the Boundaries of E-Lit Translation,” Arnaud Regnauld, Université Paris 8
  • “E-Loops: The Possible and Variable Figure of a Contemporary Aesthetic,” Ariane Savoie, Université du Québec à Montréal and Université Catholique de Louvain
  • “Relocating the Digital,” Stéphane Vanderhaeghe, Université Paris 8

Session 3.6: Metaphorical Perspectives
MacLaurin D107
Chair: Alexandra Saum-Pascual, UC Berkeley

  • “Street Ghosts,” Ali Rachel Pearl, USC
  • “The (Wo)men’s Social Club,” Amber Strother, Washington State University Vancouver
Session 3.7: Embracing Bots
MacLaurin D101

Zach Whalen, Chair

  • Leonardo Flores, University of Puerto Rico Mayagüez Campus
  • Chris Rodley, University of Sydney
  • Élika Ortega, University of Kansas
  • Katie Rose Pipkin, Carnegie Mellon

1:30-3:30: Workshops
MacLaurin D115

  • “Bots,” Zach Whalen, University of Mary Washington
  • “Twine”
  • “AR/VR,” John Murray, UC Santa Cruz
  • “Unity 3D,” Stefan Muller Arisona, University of Applied Sciences and Arts Northwestern; Simon Schubiger, University of Applied Sciences and Arts Northwestern
  • “Exploratory Programming,” Nick Montfort, MIT
  • “Scalar,” Hannah Ackermans, University of Utrecht
  • The Electronic Poet’s Workbench: Build a Generative Writing Practice, Andrew Koblucar, New Jersey Institute of Technology; David Ayre, Programmer and Independent Artist

3:30-5:00: Keynote

Christine Wilks [emphasis mine], “Interactive Narrative and the Art of Steering Through Possible Worlds”
MacLaurin David Lam Auditorium A144

Wilks is British digital writer, artist and developer of playable stories. Her digital fiction, Underbelly, won the New Media Writing Prize 2010 and the MaMSIE Digital Media Competition 2011. Her work is published in online journals and anthologies, including the Electronic Literature Collection, Volume 2 and the ELMCIP Anthology of European Electronic Literature, and has been presented at international festivals, exhibitions and conferences. She is currently doing a practice-based PhD in Digital Writing at Bath Spa University and is also Creative Director of e-learning specialists, Make It Happen.

5:15-6:45: Screenings at Cinecenta
A complete list of artists featured in the Screenings

7:00-9:00: Banquet (a dance follows)
University of Victoria Faculty Club

Sunday, June 12, 2016


8:30-10:00: Town Hall
MacLaurin David Lam Auditorium D144

10:00: Gallery exhibit opens
MacLaurin A100
A complete list of artists featured in the Exhibit

10:30-12 p.m.: Concurrent Session 4

Session 4.1: Narratives & Narrativity
MacLaurin D110
Chair: Kendrick James, University of British Columbia

  • “Narrativity in Virtual Reality,” Illya Szilak, Independent Scholar
  • “Simulation Studies,” David Ciccoricco, University of Otago
  • “Future Fiction Storytelling Machines,” Caitlin Fisher, York University

Session 4.2: Historical & Critical Perspectives
MacLaurin D101
Chair: Robert Glick, Rochester Institute of Technology

  • “The Evolution of E-Lit,” James O’Sullivan, University of Sheffield
  • “The Logic of Selection,” by Matti Kangaskoski, Helsinki University

Session 4.3: Emergent Media
MacLaurin D107
Alexandra Saum-Pascual, UC Berkeley

  • Seasons II:  a case study in Ambient Video, Generative Art, and Audiovisual Experience,” Jim Bizzocchi, Simon Fraser University; Arne Eigenfeldt, Simon Fraser University; Philippe Pasquier, Simon Fraser University; Miles Thorogood, Simon Fraser University
  • “Cinematic Turns,” Liz Losh, College of William and Mary
  • “Mario Mods and Ludic Seriality,” Shane Denson, Duke University

Session 4.4: The E-Literary Object
MacLaurin D109
Chair: Deena Larsen, Independent Artist

  • “How E-Literary Is My E-Literature?,” by Leonardo Flores, University of Puerto Rico Mayagüez Campus
  • “Overcoming the Locative Interface Fallacy,” by Lauren Burr, University of Waterloo
  • “Interactive Narratives on the Block,” Aynur Kadir, Simon Fraser University

Session 4.5: Next Narrative
MacLaurin D010
Chair: Marjorie Luesebrink

  • Marjorie Luesebrink, Independent Artist
  • Daniel Punday, Independent Artist
  • Will Luers, Washington State University Vancouver

10:30-12 p.m.: Action Session Day 3
MacLaurin D111

  • Digital Preservation, by Nicholas Schiller, Washington State University Vancouver; Zach Coble, NYU
  • ELMCIP, Allison Parrish, Fordham University; Scott Rettberg, University of Bergen; David Nunez Ruiz, Neotipo; Hannah Ackermans, Utrecht University
  • Wikipedia-A-Thon, Liz Losh, College of William and Mary

12:15-1:30: Artists Talks & Lunch
David Lam Auditorium A144

  • “Just for the Cameras,” Flourish Klink, Independent Artist
  • “Lulu Sweet,” Deanne Achong and Faith Moosang, Independent Artists
  • “Drone Pilot,” Ian Hatcher, Independent Artist
  • “AVATAR/MOCAP,” Alan Sondheim, Independent Artist

1:30-3:00 : Concurrent Session 5

Session 5.1: Subversive Texts
MacLaurin D101
Chair: Michael Rabby, Washington State University Vancouver

  • “E-Lit Jazz,” Sandy Baldwin, Rochester Institute of Technology; Rui Torres, University Fernando Pessoa
  • “Pop Subversion in Electronic Literature,” Davin Heckman, Winona State University
  • “E-Lit in Arabic Universities,” Riham Hosny, Rochester Institute of Technology/Minia University

Session 5.2: Experiments in #NetProv & Participatory Narratives
MacLaurin D109
Chair: Mia Zamora, Kean University

  • Mark Marino, USC
  • Rob Wittig, Meanwhile… Netprov Studio
  • Mia Zamora, Kean University

Session 5.3: Emergent Media
MacLaurin D105
Chair: Andrew Klobucar, New Jersey Institute of Technology

  • “Migrating Electronic Literature to the Kinect System,” Monika Gorska-Olesinka, University of Opole
  • “Mobile and Tactile Screens as Venues for the Performing Arts?,” Serge Bouchardon, Sorbonne Universités, Université de Technologie de Compiègne
  • “The Unquantified Self: Imagining Ethopoiesis in the Cognitive Era,” Andrew Klobucar, New Jersey Institute of Technology

Session 5.4: E-Lit Labs
MacLaurin D010
Chair: Jim Brown, Rutgers University Camden

  • Jim Brown, Rutgers University Camden
  • Robert Emmons, Rutgers University Camden
  • Brian Greenspan, Carleton University
  • Stephanie Boluk, UC Davis
  • Patrick LeMieux, UC Davis

Session 5.5: Transmedia Publishing
MacLaurin D107
Chair: Philippe Bootz

  • Philippe Bootz, Université Paris 8
  • Lucile Haute, Université Paris 8
  • Nolwenn Trehondart, Université Paris 8
  • Steve Wingate, South Dakota State University

Session 5.6: Feminist Horizons
MacLaurin D110
Moderator: Anastasia Salter, University of Central Florida

  • Kathi Inman Berens, Portland State University
  • Jessica Pressman, San Diego State University
  • Caitlin Fisher, York University

3:30-5:00: Closing Session
David Lam Auditorium MacLaurin A144
Chairs: John Cayley, Brown University; Dene Grigar, President, ELO

  • “Platforms and Genres of Electronic Literature,” Scott Rettberg, University of Bergen
  • “Emergent Story Structures,” David Meurer. York University
  • “We Must Go Deeper,” Samantha Gorman, USC; Milan Koerner-Safrata, Recon Instruments

I’ve bolded two names: Christine Wilks, one of two conference keynote speakers, who completed her MA in the same cohort as mine in De Montfort University’s Creative Writing and New Media master’s program. Congratulations on being a keynote speaker, Christine! The other name belongs to Kate Pullinger who was one of two readers for that same MA programme. Since those days, Pullinger has won a Governor General’s award for her fiction, “The Mistress of Nothing,” and become a professor at the University of Bath Spa (UK).

Registration appears to be open.

Frankenstein and Switzerland in 2016

The Frankenstein Bicentennial celebration is in process as various events and projects are now being launched. In a Nov. 12, 2015 posting I made mention of the Frankenstein Bicentennial Project 1818-2018 at Arizona State University (ASU; scroll down about 15% of the way),

… the Transmedia Museum (Frankenstein Bicentennial Project 1818-2018).  This project is being hosted by Arizona State University. From the project homepage,

No work of literature has done more to shape the way people imagine science and its moral consequences than Frankenstein; or The Modern Prometheus, Mary Shelley’s enduring tale of creation and responsibility. The novel’s themes and tropes—such as the complex dynamic between creator and creation—continue to resonate with contemporary audiences. Frankenstein continues to influence the way we confront emerging technologies, conceptualize the process of scientific research, imagine the motivations and ethical struggles of scientists, and weigh the benefits of innovation with its unforeseen pitfalls.

The Frankenstein Bicentennial Project will infuse science and engineering endeavors with considerations of ethics. It will use the power of storytelling and art to shape processes of innovation and empower public appraisal of techno-scientific research and creation. It will offer humanists and artists a new set of concerns around research, public policy, and the ramifications of exploration and invention. And it will inspire new scientific and technological advances inspired by Shelley’s exploration of our inspiring and terrifying ability to bring new life into the world. Frankenstein represents a landmark fusion of science, ethics, and literary expression.

The bicentennial provides an opportunity for vivid reflection on how science is culturally framed and understood by the public, as well as our ethical limitations and responsibility for nurturing the products of our creativity. It is also a moment to unveil new scientific and technological marvels, especially in the areas of synthetic biology and artificial intelligence. Engaging with Frankenstein allows scholars and educators, artists and writers, and the public at large to consider the history of scientific invention, reflect on contemporary research, and question the future of our technological society. Acting as a network hub for the bicentennial celebration, ASU will encourage and coordinate collaboration across institutions and among diverse groups worldwide.

2016 Frankenstein events

Now, there’s an exhibition in Switzerland where Frankenstein was ‘born’ according to a May 12, 2016 news item on,

Frankenstein, the story of a scientist who brings to life a cadaver and causes his own downfall, has for two centuries given voice to anxiety surrounding the unrelenting advance of science.

To mark the 200 years since England’s Mary Shelley first imagined the ultimate horror story during a visit to a frigid, rain-drenched Switzerland, an exhibit opens in Geneva Friday called “Frankenstein, Creation of Darkness”.

In the dimly-lit, expansive basement at the Martin Bodmer Foundation, a long row of glass cases holds 15 hand-written, yellowed pages from a notebook where Shelley in 1816 wrote the first version of what is considered a masterpiece of romantic literature.

The idea for her “miserable monster” came when at just 18 she and her future husband, English poet Percy Bysshe Shelley, went to a summer home—the Villa Diodati—rented by literary great Lord Byron on the outskirts of Geneva.

The current private owners of the picturesque manor overlooking Lake Geneva will also open their lush gardens to guided tours during the nearby exhibit which runs to October 9 [May 13 – Oct. 9, 2016].

While the spot today is lovely, with pink and purple lilacs spilling from the terraces and gravel walkways winding through rose-covered arches, in the summer of 1816 the atmosphere was more somber.

A massive eruption from the Tambora volcano in Indonesia wreaked havoc with the global climate that year, and a weather report for Geneva in June on display at the exhibit mentions “not a single leaf” had yet appeared on the oak trees.

To pass the time, poet Lord Byron challenged the band of literary bohemians gathered at the villa to each invent a ghost story, resulting in several famous pieces of writing.

English doctor and author John Polidori came up with the idea for “The Vampyre”, which was published three years later and is considered to have pioneered the romantic vampyre genre, including works like Bram Stoker’s “Dracula”.

That book figures among a multitude of first editions at the Geneva exhibit, including three of Mary Shelley’s “Frankenstein, or the Modern Prometheus”—the most famous story to emerge from the competition.

Here’s a description of the exhibit, from the Martin Bodmer Foundation’s Frankenstein webpage,

To celebrate the 200th anniversary of the writing of this historically influential work of literature, the Martin Bodmer Foundation presents a major exhibition on the origins of Frankenstein, the perspectives it opens and the questions it raises.

A best seller since its first publication in 1818, Mary Shelley’s novel continues to demand attention. The questions it raises remain at the heart of literary and philosophical concerns: the ethics of science, climate change, the technologisation of the human body, the unconscious, human otherness, the plight of the homeless and the dispossessed.

The exposition Frankenstein: Creation of Darkness recreates the beginnings of the novel in its first manuscript and printed forms, along with paintings and engravings that evoke the world of 1816. A variety of literary and scientific works are presented as sources of the novel’s ideas. While exploring the novel’s origins, the exhibition also evokes the social and scientific themes of the novel that remain important in our own day.

For what it’s worth, I have come across analyses which suggest science and technology may not have been the primary concern at the time. There are interpretations which suggest issues around childbirth (very dangerous until modern times) and fear of disfigurement and disfigured individuals. What makes Frankenstein and the book so fascinating is how flexible interpretations can be. (For more about Frankenstein and flexibility, read Susan Tyler Hitchcock’s 2009 book, Frankenstein: a cultural history.)

There’s one more upcoming Frankenstein event, from The Frankenstein Bicentennial announcement webpage,

On June 14 and 15, 2016, the Brocher Foundation, Arizona State University, Duke University, and the University of Lausanne will host “Frankenstein’s Shadow,” a symposium in Geneva, Switzerland to commemorate the origin of Frankenstein and assess its influence in different times and cultures, particularly its resonance in debates about public policy governing biotechnology and medicine. These dates place the symposium almost exactly 200 years after Mary Shelley initially conceived the idea for Frankenstein on June 16, 1816, and in almost exactly the same geographical location on the shores of Lake Geneva.

If you’re interested in details such as the programme schedule, there’s this PDF,



Will AI ‘artists’ be able to fool a panel judging entries the Neukom Institute Prizes in Computational Arts?

There’s an intriguing competition taking place at Dartmouth College (US) according to a May 2, 2016 piece on (Note: Links have been removed),

Algorithms help us to choose which films to watch, which music to stream and which literature to read. But what if algorithms went beyond their jobs as mediators of human culture and started to create culture themselves?

In 1950 English mathematician and computer scientist Alan Turing published a paper, “Computing Machinery and Intelligence,” which starts off by proposing a thought experiment that he called the “Imitation Game.” In one room is a human “interrogator” and in another room a man and a woman. The goal of the game is for the interrogator to figure out which of the unknown hidden interlocutors is the man and which is the woman. This is to be accomplished by asking a sequence of questions with responses communicated either by a third party or typed out and sent back. “Winning” the Imitation Game means getting the identification right on the first shot.

Turing then modifies the game by replacing one interlocutor with a computer, and asks whether a computer will be able to converse sufficiently well that the interrogator cannot tell the difference between it and the human. This version of the Imitation Game has come to be known as the “Turing Test.”

On May 18 [2016] at Dartmouth, we will explore a different area of intelligence, taking up the question of distinguishing machine-generated art. Specifically, in our “Turing Tests in the Creative Arts,” we ask if machines are capable of generating sonnets, short stories, or dance music that is indistinguishable from human-generated works, though perhaps not yet so advanced as Shakespeare, O. Henry or Daft Punk.

The piece on is a crossposting of a May 2, 2016 article by Michael Casey and Daniel N. Rockmore for The Conversation. The article goes on to describe the competitions,

The dance music competition (“Algorhythms”) requires participants to construct an enjoyable (fun, cool, rad, choose your favorite modifier for having an excellent time on the dance floor) dance set from a predefined library of dance music. In this case the initial random “seed” is a single track from the database. The software package should be able to use this as inspiration to create a 15-minute set, mixing and modifying choices from the library, which includes standard annotations of more than 20 features, such as genre, tempo (bpm), beat locations, chroma (pitch) and brightness (timbre).

In what might seem a stiffer challenge, the sonnet and short story competitions (“PoeTix” and “DigiLit,” respectively) require participants to submit self-contained software packages that upon the “seed” or input of a (common) noun phrase (such as “dog” or “cheese grater”) are able to generate the desired literary output. Moreover, the code should ideally be able to generate an infinite number of different works from a single given prompt.

To perform the test, we will screen the computer-made entries to eliminate obvious machine-made creations. We’ll mix human-generated work with the rest, and ask a panel of judges to say whether they think each entry is human- or machine-generated. For the dance music competition, scoring will be left to a group of students, dancing to both human- and machine-generated music sets. A “winning” entry will be one that is statistically indistinguishable from the human-generated work.

The competitions are open to any and all comers [competition is now closed; the deadline was April 15, 2016]. To date, entrants include academics as well as nonacademics. As best we can tell, no companies have officially thrown their hats into the ring. This is somewhat of a surprise to us, as in the literary realm companies are already springing up around machine generation of more formulaic kinds of “literature,” such as earnings reports and sports summaries, and there is of course a good deal of AI automation around streaming music playlists, most famously Pandora.

The authors discuss issues with judging the entries,

Evaluation of the entries will not be entirely straightforward. Even in the initial Imitation Game, the question was whether conversing with men and women over time would reveal their gender differences. (It’s striking that this question was posed by a closeted gay man [Alan Turing].) The Turing Test, similarly, asks whether the machine’s conversation reveals its lack of humanity not in any single interaction but in many over time.

It’s also worth considering the context of the test/game. Is the probability of winning the Imitation Game independent of time, culture and social class? Arguably, as we in the West approach a time of more fluid definitions of gender, that original Imitation Game would be more difficult to win. Similarly, what of the Turing Test? In the 21st century, our communications are increasingly with machines (whether we like it or not). Texting and messaging have dramatically changed the form and expectations of our communications. For example, abbreviations, misspellings and dropped words are now almost the norm. The same considerations apply to art forms as well.

The authors also pose the question: Who is the artist?

Thinking about art forms leads naturally to another question: who is the artist? Is the person who writes the computer code that creates sonnets a poet? Is the programmer of an algorithm to generate short stories a writer? Is the coder of a music-mixing machine a DJ?

Where is the divide between the artist and the computational assistant and how does the drawing of this line affect the classification of the output? The sonnet form was constructed as a high-level algorithm for creative work – though one that’s executed by humans. Today, when the Microsoft Office Assistant “corrects” your grammar or “questions” your word choice and you adapt to it (either happily or out of sheer laziness), is the creative work still “yours” or is it now a human-machine collaborative work?

That’s an interesting question and one I asked in the context of two ‘mashup’ art exhibitions in Vancouver (Canada) in my March 8, 2016 posting.

Getting back to back to Dartmouth College and its Neukom Institute Prizes in Computational Arts, here’s a list of the competition judges from the competition homepage,

David Cope (Composer, Algorithmic Music Pioneer, UCSC Music Professor)
David Krakauer (President, the Santa Fe Institute)
Louis Menand (Pulitzer Prize winning author and Professor at Harvard University)
Ray Monk (Author, Biographer, Professor of Philosophy)
Lynn Neary (NPR: Correspondent, Arts Desk and Guest Host)
Joe Palca (NPR: Correspondent, Science Desk)
Robert Siegel (NPR: Senior Host, All Things Considered)

The announcements will be made Wednesday, May 18, 2016. I can hardly wait!


Martin Robbins has written a rather amusing May 6, 2016 post for the Guardian science blogs on AI and art critics where he also notes that the question: What is art? is unanswerable (Note: Links have been removed),

Jonathan Jones is unhappy about artificial intelligence. It might be hard to tell from a casual glance at the art critic’s recent column, “The digital Rembrandt: a new way to mock art, made by fools,” but if you look carefully the subtle clues are there. His use of the adjectives “horrible, tasteless, insensitive and soulless” in a single sentence, for example.

The source of Jones’s ire is a new piece of software that puts… I’m so sorry… the ‘art’ into ‘artificial intelligence’. By analyzing a subset of Rembrandt paintings that featured ‘bearded white men in their 40s looking to the right’, its algorithms were able to extract the key features that defined the Dutchman’s style. …

Of course an artificial intelligence is the worst possible enemy of a critic, because it has no ego and literally does not give a crap what you think. An arts critic trying to deal with an AI is like an old school mechanic trying to replace the battery in an iPhone – lost, possessing all the wrong tools and ultimately irrelevant. I’m not surprised Jones is angry. If I were in his shoes, a computer painting a Rembrandt would bring me out in hives.

Can a computer really produce art? We can’t answer that without dealing with another question: what exactly is art? …

I wonder what either Robbins or Jones will make of the Dartmouth competition?

Canadian science: a new writing guide and a new open access journal

The book
The Scientist’s Guide to Writing: How to Write More Easily and Effectively Throughout Your Scientific Career by Stephen Heard (professor at the University of New Brunswick, Canada) was published today, April 12, 2016. Heard has written up his book and experiences in an April 12, 2016 posting on his blog, Scientist Sees Squirrel,

It’s been almost five years since I started work on what became The Scientist’s Guide to Writing. I’m absolutely thrilled to announce that as of today, the book is officially published!  The Scientist’s Guide is now available from your local or internet bookseller (links below) or, of course, from your local library. …

All scientists are writers – we have to be, or our work will be lost.  But many of us don’t find writing easy.  I wrote The Scientist’s Guide to tell you some of things I wish someone had told me when I was beginning to practice the craft.  Actually (and somewhat to my surprise), in writing it I learned new things that are helping me even this late in my career.  I think the book can help any writer; as of today, you can grab a copy and see whether I’m right.

I have taken a look at the Table of Contents, as usual with Amazon’s previews (thank you for the preview but sigh), I can’t copy and paste it here. Briefly, the book has 28 chapters and is split into seven parts: What Writing Is, Behavior, Content and Structure, Style, Revision, Some Loose Threads, and Final Thoughts. Should this whet your appetite, the paperback book is priced at $27.67 CAD.

The open access journal

An April 12, 2016 post by Dr. Jules Blais on the Canadian Science Publishing blog announces a new journal,

It is my distinct pleasure to introduce FACETS, an open access, multidisciplinary and interdisciplinary science journal that will offer new approaches to publishing original research and perspectives, with a focus on multidisciplinary and interdisciplinary science and engineering.

… It is widely recognized that multidisciplinary and interdisciplinary approaches will be increasingly required to face the challenges of the twenty-first century. Developments to improve and sustain essential aspects of modern society, such as health, energy, environment, and technology, will require a multidisciplinary and interdisciplinary perspective. Although the two terms are often used interchangeably, multidisciplinary approaches refer to independent research leading to a common goal, whereas interdisciplinary research refers to a sharing of methods or concepts among participants. FACETS intends to promote both of these approaches. We believe FACETS is timely because we anticipate that the major research breakthroughs in the coming decades will be made at the interfaces of traditional fields of inquiry. …

Blais goes on to discuss whys of the open access policy, the types of manuscripts they will be accepting, and the journal’s bilingual language policy,

… Open access is still a relatively new concept and online journals have only existed for 20 years. Before this time, research was printed on paper and hand delivered to libraries, making it an exclusive enterprise accessible to the privileged few. There has now been a seismic shift in the research landscape with open access becoming more prevalent in publishing spheres, and in a growing number of cases, a requirement of funding agencies. Open access can serve to expand the reach, influence, and openness of research, making research accessible to those whose public funds have largely paid for it. Funding agency requirements for publishing open access research are now being seen across much of the world, which should put to rest any questions about the future of open access publishing – it is here to stay.

… We will accept a wide variety of paper types that represent the full coverage of research communication, including Research Articles, Review Articles, Perspectives, Communications, Notes, Comments, Editorials, and Science Applications Forum articles focusing on sound science that advances knowledge. An exciting aspect of our journal will be its Integrative Sciences section, which will feature topics at the interface between science and the humanities, including Science Communication, Science and Policy, Science Education, Science and Society, Conservation and Sustainability, Science and Ethics, and Public Health. … Another novel feature of FACETS is that we will accept submissions in either English or French to serve the research landscape in Canada and other francophone countries. …

You can find FACETS here and there’s a special deal available until June 30, 2016 where you can submit your piece free-of-processing-charge until then.

Science blogging: The Essential Guide published March 2016

Peter Janiszewski announced in the blog (Obesity Panacea on the PLOS [Public Library of Science blog network) he co-owns and co-writes with Travis Saunders the launch of a book about science blogging.  (Coincidentally he and Saunders started their blog in 2008 the same year I started FrogHeart.) From a March 31, 2016 posting (Note: A link has been removed),

Back in the fall of 2008 when Travis and I first decided to emulate Yoni Freedhoff [Canadian physician at the University of Ottawa] and start our very own science blog, we had no idea what we were doing. I recall writing my first post while sitting in our shared office at Queen’s University [Ontario, Canada], agonizing over the tone of the writing. I spent the better part of an afternoon on that first post, and if you were to go back and read it today (please don’t – even I’m too embarrassed to read it) you might be surprised that it took that long to write something that uninspired.

We had countless questions, and few resources from which to draw answers.

I’m happy to report that such a resource has finally become available. For all the readers of Obesity Panacea who have thought about starting their very own blog but simply didn’t know where to begin or where to find answers to the many questions surrounding the practice, fret no more.

… Science Blogging: The Essential Guide has just been published.

First, this book is not aimed at Canadian science bloggers, most of the contributors are from the US. The publisher is Yale University Press and the publication date was March 1, 2016 with the paperback version being listed for under $20 (not sure if that’s US or Canadian currency). From the Amazon website Science Blogging: The Essential Guide page,

Here is the essential how-to guide for communicating scientific research and discoveries online, ideal for journalists, researchers, and public information officers looking to reach a wide lay audience. Drawing on the cumulative experience of twenty-seven of the greatest minds in scientific communication, this invaluable handbook targets the specific questions and concerns of the scientific community, offering help in a wide range of digital areas, including blogging, creating podcasts, tweeting, and more. With step-by-step guidance and one-stop expertise, this is the book every scientist, science writer, and practitioner needs to approach the Wild West of the Web with knowledge and confidence.

You can get a look at the Table of Contents (ToC) which allows you to assess what topics have been broached. Unfortunately, I cannot copy and paste the ToC here. (I’m not sure why it’s considered copyright material given that no one in their right mind would plagairize a ToC, especially one featuring over 20 essays from different authors.) Anyway, to take a look for yourself, just click on the book’s cover image. In addition to the ToC, there’s the foreword, the first chapter, and the afterword in the Amazon preview.

For someone who’s looking for a ‘Dummies’ or ‘Idiot’s’ style guide, this book doesn’t seem to be organized to get you started right this minute.