Category Archives: performing arts

“Off The Top” is a science/comedy hour Sept. 9, 2015 at Vancouver’s (Canada) China Cloud

Baba Brinkman, a Canadian-born rapper who’s made a bit of a career in science circles and has been featured here many times for the ‘Rap Guide to Evolution’ and other pieces, will be performing in Vancouver on Sept. 9, 2015 at The China Cloud (524 Main Street) Doors 7:30pm, showtime 8pm, $15 cover.

It’s actually a two-part performance according to the Sept. 9, 2015 event page on Baba Brinkman’s website,

First: “Off The Top” is a science/comedy hour co-hosted by Baba and Heather [Berlin], exploring the neuroscience of improvisation and humour, and the odd-couple mash-up of science and rap in their marriage. …

Second: After an intermission, Baba will perform his new rap/science/comedy show ”Rap Guide to Climate Chaos”, which explores the science and politics of global warming.

Here’s more from the Off The Top page on Baba Brinkman’s website,

Science rapper Baba Brinkman (Rap Guide to Evolution) teams up with neuroscientist Dr. Heather Berlin to explore the brain basis of improvisation. What’s going on “under the hood” when a comedian or musician improvises? Why are the spontaneous moments of life always the most memorable? Does anything actually rhyme with Dorsolateral Prefrontal Cortex?

As for the Rap Guide to Climate Chaos, from the its webpage on Baba Brinkman’s website,

Fringe First Award Winner Baba Brinkman (Rap Guide to Evolution) is the world’s first and only “peer reviewed rapper,” bringing science to the masses with his unique brand of hip-hop comedy theatrics. In “Rap Guide to Climate Chaos,” Baba breaks down the politics, economics, and science of global warming, following its surprising twists from the carbon cycle to the energy economy. If civilization is a party in full swing, are the climate cops about to pull the plug? And what happens if we just let it rage? With scientists, activists, contrarians, and the Pope adding their voices to the soundtrack, get ready for a funny and refreshing take on the world’s hottest topic.

I didn’t find much about The China Cloud but there was this January 20, 2010 article by Bob Kronbauer for,

Floating above Vancouver’s Chinatown rests the new studio/gallery space, The China Cloud. It is currently the home base to a handful of local bands – Analog Bell Service, No Gold, Macchu Picchu; four visual artists and comedy troupes Man Hussy and Bronx Cheer. This past Friday The China Cloud had its grand opening with an art show, some booze, and musical performances by Sun Wizard, My!Gay!Husband!, Analog Bell Service and Blue Violets. It was wall to wall people, with line-ups all night and a bit more hectic than what the artists behind the event expect it to be for future events – but what a way to step on the scene!

For anyone unfamiliar with Vancouver, The China Cloud is in an area that’s gentrifying but still retains its edgy character.

The article was well illustrated by Marcus Jolly’s photographs.

Finally, Dr. Heather Berlin was mentioned here in a March 6, 2015 post (scroll down about 75% of the way) highlighting International Women’s Day and various science communication projects including hers and Faith Salie’s, Science Goes to the Movies.

ETA Sept. 7, 2015: David Bruggeman gives a brief update on Baba Brinkman’s upcoming album release in his Sept. 5, 2015 posting on Pasco Phronesis.

Photograph 51 (about Rosalind Franklin and the double helix) in London, UK, Sept. – Nov. 2015

Thanks to David Bruggeman’s August 27, 2015 posting on his Pasco Phronesis blog for this news featuring a new theatrical production of Anna Zeigler’s play about Rosalind Franklin titled: Photograph 51,

Photograph 51 will be at the Noël Coward Theatre in the West End of London starting on September 5, with Nicole Kidman playing Franklin.  It marks the first London stage performance by Kidman since 1998, and is scheduled to run through November 21 [2015].

There has been at least one attempt to turn this play into a movie as per my Jan. 16, 2012 posting (scroll down about 75% of the way),

… from the news item on Nanowerk,

A film version of third STAGE Competition winner Photograph 51 is being produced by Academy Award-nominated director Darren Aronofsky (Black Swan), Academy Award-winning actress Rachel Weisz, and Ari Handel. [emphases mine] Playwright Anna Ziegler will adapt her play for the screen. Photograph 51 was featured at the 2011 World Science Festival in New York City; the play has also enjoyed prestigious productions in New York City and Washington, D.C.

To my knowledge this play has not yet become a movie and sharp-eyed observers may note that Darren Aronofsky and Rachel Weisz, listed as producers for the proposed film, were married at that time and have subsequently divorced, which may have affected plans for the movie.

Here’s more about the upcoming theatrical production in London (UK), from the Photograph 51 webpage on the website,

The Michael Grandage Company has today [July 27, 2015] announced the full company for the UK première of Anna Ziegler’s Photograph 51. Nicole Kidman who leads the company as Rosalind Franklin is joined by Will Attenborough (James Watson), Edward Bennett (Francis Crick), Stephen Campbell Moore (Maurice Wilkins), Patrick Kennedy (Don Caspar) and Joshua Silver (Ray Gosling). Photograph 51 opens at the Noel Coward Theatre on 14th September, with previews from 5th September, and runs until 21st November, 2015.

Photograph 51 also sees the return of Michael Grandage Company to the West End following their immensely successful season in 2013/14, also at the Noel Coward Theatre. The company is committed to reaching as wide an audience as possible through accessible ticket prices across their theatre work, and are offering over 20,000 tickets at £10 (including booking fee and restoration levy), which is 25% of the tickets for the entire run, across all levels of the auditorium. In addition, the company will stage access performances – with both captioned and audio described performances.

“The instant I saw the photograph my mouth fell open and my pulse began to race”

Does Rosalind Franklin know how precious her photograph is? In the race to unlock the secret of life it could be the one to hold the key. With rival scientists looking everywhere for the answer, who will be first to see it and more importantly, understand it? Anna Ziegler’s extraordinary play looks at the woman who cracked DNA and asks what is sacrificed in the pursuit of science, love and a place in history.

Nicole Kidman makes her hugely anticipated return to the London stage in the role of Rosalind Franklin, the woman who discovered the secret to Life, in the UK première of Anna Ziegler’s award-winning play. The production reunites Kidman and Grandage following their recent collaboration on the forthcoming feature film Genius [this film is about the literary world].

You can see a trailer where Kidman is seen briefly as Rosalind Franklin in the upcoming theatrical production. It is embedded in David Bruggeman’s August 27, 2015 posting. Here’s one of my all time favourite productions of the Rosalind Franklin story, from an Aug. 19, 2013 posting, (scroll down about 65% of the way to the part about Tom McFadden and science raps for school children),

For a description of the controversies surrounding Photograph 51 and Rosalind Franklin’s contributions, there’s this Wikipedia entry.

ETA Sept. 3, 2015: Nick Clark has written a Sept. 3, 2015 article for The about how Kidman’s got involved with the play,

It took four years for Michael Grandage to find a play that would tempt Nicole Kidman back to the London stage for the first time in 17 years, and he discovered it in an unlikely place: the slush pile.

After turning down the chance to headline a classic revival of Ibsen or Tennessee Williams, the Australian superstar plumped instead for Photograph 51, a play about a “scientific injustice” that had been sent to the director unsolicited, and had only ever been staged in minor productions in the US.

I think there’s a little self-aggrandizement taking place here. More importantly, Grandage and Kidman are turning the spotlight on a story that isn’t as well known as it should be and for that they should be thanked. (h/t Lainey Gossip)

One final comment, James Watson seems to have an interesting relationship with the now dead Franklin. As noted in the Clark article and elsewhere, she’s mentioned (quite briefly) in Watson’s book, The Double Helix, which helped keep her name in the history books as an obscure footnote. More interestingly, David Bruggeman notes in his August 27, 2015 posting that Watson was present at one the play’s productions (2011 World Science Festival in Ireland) and participated in a public discussion (The secret behind the secret of life: facts and fictions) with the playwright Ziegler and other biologists,

In the 1950s, three labs raced to unravel the structure of DNA. Five decades after the Nobel Prize was awarded for the breakthrough, the contribution of one scientist—Rosalind Franklin—remains controversial. The event was a riveting performance of The Ensemble Studio Theatre Production of Anna Ziegler’s Photograph 51, directed by Linsay Firman, a historical drama that explores Rosalind Franklin’s electrifying story, followed (in Friday’s performance) by a discussion among three of the men whose lives the play dramatizes—Nobel laureate James Watson, Raymond Gosling, who worked closely with Franklin at King’s College and co-authored one of Franklin’s 3 papers published in ‘Nature’ in 1953, and emeritus professor of biology Don Caspar—illuminating one of science’s most remarkable, influential, and controversial discoveries. [emphases of names mine)

Fascinating, oui?

Please, don’t kill my hive! (a Science Rap Academy production)

In celebration of an upcoming event in Vancouver (Canada), “Honey, Hives, and Poetry,” I’m including this April 17, 2015 news from David Bruggeman (on his Pasco Phronesis blog),

Tom McFadden has debuted the first video of this year’s Science Rap Academy.  Seventh and eighth grade students at the Nueva School prepare a music video based on a science concept, usually reworking a rap or hip-hop song.

Here’s the first installment in this year’s Science Rap Academy series, Please Don’t Kill My Hive,

There are many posts on this blog about Tom McFadden and his various science rap projects (many of them courtesy of David Bruggeman/Pasco Phronesis). Here’s one of the more recent ones, a May 30, 2014 posting.

Getting back to David’s April 17, 2015 news, he also mentions the latest installment of  “Science goes to the movies” which features three movies (Kingsman: The Secret Service, The Lazarus Effect, and Them!) and has Neil deGrasse Tyson as a guest. David has embedded the episode on his blog. One brief comment, it’s hard to tell how familiar Tyson or the hosts, Faith Salie and Dr. Heather Berlin are with the history of the novel or science. But the first few minutes of the conversation suggest that Mary Shelley’s Frankenstein is the first novel to demonize scientists. (I had the advantage of not getting caught up in their moment and access to search engines.) Well, novels were still pretty new in Europe and I don’t believe that there were any other novels featuring scientists prior to Mary Shelley’s work.

A brief history of novels: Japan can lay claim to the first novel, The Tale of Genji, in the 11th century CE, (The plot concerned itself with aristocratic life and romance.) Europe and its experience with the novel is a little more confusing. From the City University of New York, Brooklyn site, The Novel webpage,

The term for the novel in most European languages is roman, which suggests its closeness to the medieval romance. The English name is derived from the Italian novella, meaning “a little new thing.” Romances and novelle, short tales in prose, were predecessors of the novel, as were picaresque narratives. Picaro is Spanish for “rogue,” and the typical picaresque story is of the escapades of a rascal who lives by his wits. The development of the realistic novel owes much to such works, which were written to deflate romantic or idealized fictional forms. Cervantes’ Don Quixote (1605-15), the story of an engaging madman who tries to live by the ideals of chivalric romance, explores the role of illusion and reality in life and was the single most important progenitor of the modern novel.

The novel broke from those narrative predecessors that used timeless stories to mirror unchanging moral truths. It was a product of an intellectual milieu shaped by the great seventeenth-century philosophers, Descartes and Locke, who insisted upon the importance of individual experience. They believed that reality could be discovered by the individual through the senses. Thus, the novel emphasized specific, observed details. It individualized its characters by locating them precisely in time and space. And its subjects reflected the popular eighteenth-century concern with the social structures of everyday life.

The novel is often said to have emerged with the appearance of Daniel Defoe’s Robinson Crusoe (1719) and Moll Flanders (1722). Both are picaresque stories, in that each is a sequence of episodes held together largely because they happen to one person. But the central character in both novels is so convincing and set in so solid and specific a world that Defoe is often credited with being the first writer of “realistic” fiction. The first “novel of character” or psychological novel is Samuel Richardson’s Pamela (1740-41), an epistolary novel (or novel in which the narrative is conveyed entirely by an exchange of letters). It is a work characterized by the careful plotting of emotional states. Even more significant in this vein is Richardson’s masterpiece Clarissa (1747-48). Defoe and Richardson were the first great writers in our literature who did not take their plots from mythology, history, legend, or previous literature. They established the novel’s claim as an authentic account of the actual experience of individuals.

As far as I’m aware none of these novels are concerned with science or scientists for that matter. After all, science was still emerging from a period where alchemy reined supreme. One of the great European scientists, Isaac Newton (1642-1726/7), practiced alchemy along with his science. And that practice did not die with Newton.

With those provisos in mind, or not, do enjoy the movie reviews embedded in David’s April 17, 2015 news.  One final note,David in his weekly roundup of science on late night tv noted that Neil deGrasse Tyson’s late night tv talk show, Star Talks, debuted April 20, 2015, the episode can be seen again later this week while deGrasse Tyson continues to make the rounds of other talk shows to publicize his own.

Dark Matter at Vancouver’s (Canada) PUSH Festival, Jan. 28 – 30, 2015

With a title like Dark Matter, my expectation is for an art/science theatrical piece but the performance description makes a murky mess of my expectation (from the 2015 PuSH Festival’s Dark Matter webpage on the Simon Fraser University website; Note: A link has been removed),

Like so much good art, Dark Matter defies categorization. Creator Kate McIntosh takes the weightiest issues—time, space and existence—and turns them into wild, anarchic play. You might call this a musical about the universe—the one we know and others that may exist. Or you might say it’s an exploration of the mind/body problem—with the emphasis on bodies. It has billowing smoke, propulsive percussion, powerful symbolism and crazy dance. A woman stands before you with a mic and asks questions, some of which have no answer. You can think about them while you’re watching the universe being poured into a glass, darkness coming out of a paper bag, dancers being dragged across the stage with lassoes. What does it all add up to? The answer will be different for everyone, but one thing’s for sure: no one will emerge unshaken. With her two performance partners, McIntosh has produced a triumph of physical performance, of theatrical conjecture, and, most of all, of imagination.

Here’s a Dark Matter trailer McIntosh has made available,

The show seems to have had its start in 2009 when the science aspect was more explicitly part of the performance, from McIntosh’s Spin website (Performances webpage),

Dark Matter a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, Dark Matter approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

There’s also a Nov. 22, 2009 review of that Dark Matter version on the Utopia Parkway blog (Note: A link has been removed),

A parallel universe. It’s always nice when a performer succeeds in taking you there. Some silly jokes delivered with a straight face, a couple of scientific experiments going wrong in the best Tommy Cooper-tradition, a leading lady pretending to be in control of everything, and a story taking a few absurd turns. That’s how Kate McIntosh won me over. And of course it always helps to throw in some balloons and twinkling stars too.

Intriguing, non? Although the show has likely undergone some changes over the years. In any case, here are the logistical details for the event in Vancouver, From the 2015 PuSH Festival Dark Matter webpage,

Fei & Milton Wong Experimental Theatre, SFU’s Goldcorp Centre for the Arts
149 West Hastings Street, Vancouver (Level B2)

January 28–30 (2015)
80 Minutes (No intermission)


Thursday, Jan. 29, 2015, there will be a post-performance artist’s talk at the Scotiabank Dance Centre (the talk is included free with the performance on Jan. 29). You can get more details about the talk at PuSH Conversations webpage. The moderator for the session, Maiko Bae Yamamoto is the Artistic Director of Vancouver-based Theatre/Replacement.

Art project (autonomous bot purchases illegal goods) seized by Swiss law enforcement

Having just attended a talk on Robotics and Rehabilitation which included a segment on Robo Ethics, news of an art project where an autonomous bot (robot) is set loose on the darknet to purchase goods (not all of them illegal) was fascinating in itself (it was part of an art exhibition which also displayed the proceeds of the darknet activity). But things got more interesting when the exhibit attracted legal scrutiny in the UK and occasioned legal action in Switzerland.

Here’s more from a Jan. 23, 2015 article by Mike Masnick for Techdirt (Note: A link has been removed),

… some London-based Swiss artists, !Mediengruppe Bitnik [(Carmen Weisskopf and Domagoj Smoljo)], presented an exhibition in Zurich of The Darknet: From Memes to Onionland. Specifically, they had programmed a bot with some Bitcoin to randomly buy $100 worth of things each week via a darknet market, like Silk Road (in this case, it was actually Agora). The artists’ focus was more about the nature of dark markets, and whether or not it makes sense to make them illegal:

The pair see parallels between copyright law and drug laws: “You can enforce laws, but what does that mean for society? Trading is something people have always done without regulation, but today it is regulated,” says ays [sic] Weiskopff.

“There have always been darkmarkets in cities, online or offline. These questions need to be explored. But what systems do we have to explore them in? Post Snowden, space for free-thinking online has become limited, and offline is not a lot better.”

Interestingly the bot got excellent service as Mike Power wrote in his Dec. 5, 2014 review of the show. Power also highlights some of the legal, ethical, and moral implications,

The gallery is next door to a police station, but the artists say they are not afraid of legal repercussions of their bot buying illegal goods.

“We are the legal owner of the drugs [the bot purchased 10 ecstasy pills along with a baseball cap, a pair of sneaker/runners/trainers among other items] – we are responsible for everything the bot does, as we executed the code, says Smoljo. “But our lawyer and the Swiss constitution says art in the public interest is allowed to be free.”

The project also aims to explore the ways that trust is built between anonymous participants in a commercial transaction for possibly illegal goods. Perhaps most surprisingly, not one of the 12 deals the robot has made has ended in a scam.

“The markets copied procedures from Amazon and eBay – their rating and feedback system is so interesting,” adds Smojlo. “With such simple tools you can gain trust. The service level was impressive – we had 12 items and everything arrived.”

“There has been no scam, no rip-off, nothing,” says Weiskopff. “One guy could not deliver a handbag the bot ordered, but he then returned the bitcoins to us.”

The exhibition scheduled from Oct. 18, 2014 – Jan. 11, 2015 enjoyed an uninterrupted run but there were concerns in the UK (from the Power article),

A spokesman for the National Crime Agency, which incorporates the National Cyber Crime Unit, was less philosophical, acknowledging that the question of criminal culpability in the case of a randomised software agent making a purchase of an illegal drug was “very unusual”.

“If the purchase is made in Switzerland, then it’s of course potentially subject to Swiss law, on which we couldn’t comment,” said the NCA. “In the UK, it’s obviously illegal to purchase a prohibited drug (such as ecstasy), but any criminal liability would need to assessed on a case-by-case basis.”

Masnick describes the followup,

Apparently, that [case-by[case] assessment has concluded in this case, because right after the exhibit closed in Switzerland, law enforcement showed up to seize stuff …

!Mediengruppe Bitnik  issued a Jan. 15, 2015 press release (Note: Links have been removed),

«Can a robot, or a piece of software, be jailed if it commits a crime? Where does legal culpability lie if code is criminal by design or default? What if a robot buys drugs, weapons, or hacking equipment and has them sent to you, and police intercept the package?» These are some of the questions Mike Power asked when he reviewed the work «Random Darknet Shopper» in The Guardian. The work was part of the exhibition «The Darknet – From Memes to Onionland. An Exploration» in the Kunst Halle St. Gallen, which closed on Sunday, January 11, 2015. For the duration of the exhibition, !Mediengruppe Bitnik sent a software bot on a shopping spree in the Deepweb. Random Darknet Shopper had a budget of $100 in Bitcoins weekly, which it spent on a randomly chosen item from the deepweb shop Agora. The work and the exhibition received wide attention from the public and the press. The exhibition was well-attended and was discussed in a wide range of local and international press from Saiten to Vice, Arte, Libération, CNN, Forbes. «There’s just one problem», The Washington Post wrote in January about the work, «recently, it bought 10 ecstasy pills».

What does it mean for a society, when there are robots which act autonomously? Who is liable, when a robot breaks the law on its own initiative? These were some of the main questions the work Random Darknet Shopper posed. Global questions, which will now be negotiated locally.

On the morning of January 12, the day after the three-month exhibition was closed, the public prosecutor’s office of St. Gallen seized and sealed our work. It seems, the purpose of the confiscation is to impede an endangerment of third parties through the drugs exhibited by destroying them. This is what we know at present. We believe that the confiscation is an unjustified intervention into freedom of art. We’d also like to thank Kunst Halle St. Gallen for their ongoing support and the wonderful collaboration. Furthermore, we are convinced, that it is an objective of art to shed light on the fringes of society and to pose fundamental contemporary questions.

This project brings to mind Isaac Asimov’s three laws of robotics and a question (from the Wikipedia entry; Note: Links have been removed),

The Three Laws of Robotics (often shortened to The Three Laws or Three Laws, also known as Asimov’s Laws) are a set of rules devised by the science fiction author Isaac Asimov. The rules were introduced in his 1942 short story “Runaround”, although they had been foreshadowed in a few earlier stories. The Three Laws are:

A robot may not injure a human being or, through inaction, allow a human being to come to harm.
A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law.
A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Here’s my question, how do you programme a robot to know what would injure a human being? For example, if a human ingests an ecstasy pill the bot purchased, would that be covered in the first law?

Getting back to the robot ethics talk I recently attended, it was given by Ajung Moon (Ph.D. student at the University of British Columbia [Vancouver, Canada] studying Human-Robot Interaction and Roboethics. Mechatronics engineer with a sprinkle of Philosophy background). She has a blog,  Roboethic info DataBase where you can read more on robots and ethics.

I strongly recommend reading both Masnick’s post (he positions this action in a larger context) and Power’s article (more details and images from the exhibit).

CONSTELLATIONS: a play about theoretical physics, romance, and multiverses

CONSTELLATIONS by Nicholas Payne was premiered to great acclaim in the UK in 2013 according to the producers of the play’s 2015 US premiere (previews starting Dec. 16, 2014 with the regular run starting Jan. 13, 2015) on Broadway in New York, New York. David Bruggeman in a Dec. 21, 2014 post on his Pasco Phronesis blog describes the production in more detail including some of the financial aspects. He also mentions a very special, Jan. 15, 2014 performance (Note: A link has been removed),

… I first heard from the World Science Festival about the January 15 premiere of Constellations (which includes a post-performance discussion with Brian Greene and playwright Nick Payne), …

Here’s a video made available by the producers. At this stage I imagine it could be described as a preview of the preview,

Here’s a description of the play from the World Science Festival’s CONSTELLATIONS webpage,

The story of Constellations is “boy meets girl” with a scientific twist. A simple encounter between a man (Jake Gyllenhaal) and a woman (Ruth Wilson) leads to a romantic journey that eventually encompasses one of the most profound theories of physics: the idea that we live in a bundle of universes where all possibilities exist. Greene [Brian Greene {physicist and World Science Festival co-founder}] and Payne [playwright] will follow the show with an on-stage discussion about what we know about the multiverse—and what remains a mystery.

For anyone unfamiliar with the ‘multiverse’ concept (from its Wikipedia entry),

The multiverse (or meta-universe) is the hypothetical set of infinite or finite possible universes (including the universe we consistently experience) that together comprise everything that exists: the entirety of space, time, matter, and energy as well as the physical laws and constants that describe them. The various universes within the multiverse are sometimes called parallel universes or “alternate universes”

The structure of the multiverse, the nature of each universe within it and the relationships among the various constituent universes, depend on the specific multiverse hypothesis considered. Multiple universes have been hypothesized in cosmology, physics, astronomy, religion, philosophy, transpersonal psychology, and fiction, …

Amusingly, the play was featured in two places I check for news. David Bruggeman’s Pasco Phronesis blog and Elaine Lui’s Lainey Gossip blog. From Lui’s Dec. 22, 2014 posting (Jakey & Ruth?),

The Gossip Genie appears to be ignoring my requests for a Jake Gyllenhaal-Rachel McAdams love situation. Because he’s been spending a lot of time with Ruth Wilson. They’re working on a new play together, Constellations. …

You can get tickets and more information about the play at CONSTELLATIONS on Broadway.

Disrupting the arts scene around the world and in Vancouver (Canada)

I have two news bits of news for this post. First, the theme for the 2015 International Symposium on Electronic Arts (ISEA) to be held in Vancouver, Canada from Aug. 14 – 18, 2015 is Disruption and the deadline for submitting proposals for research papers and art installations is Dec. 20, 2014 (ETA Dec. 22, 2014: The deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, workshops, tutorials and institutional presentations has been extended to Jan. 12, 2014; the deadline for artwork submissions remains Dec. 20, 2014). Here’s more about the symposium from the About page,

ISEA is one of the world’s most prominent international arts and technology events, bringing  together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. The event annually brings together artists, designers, academics, technologists, scientists, and general audience in the thousands. The symposium consists of a peer reviewed conference, a series of exhibitions, and various partner events—from large scale interactive artwork in public space to cutting edge electronic music performance.

In the last four years ISEA has been hosted in Istanbul (2011), Albuquerque, New Mexico (2012), and Sydney, Australia (2013), and Dubai (2014). ISEA2015 in Vancouver marks its return to Canada, 20 years since the groundbreaking first Canadian ISEA1995 in Montréal. The Symposium will be held at the Woodward’s campus of Simon Fraser University in downtown Vancouver with exhibitions and events taking place at Emily Carr University of Art + Design and many other sites and venues throughout the city.

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

Here’s more from the Theme page,

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines. We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

I encourage you to read the whole Theme page if you’re interested in making a proposal as the organizers have outlined many approaches to the main theme. Good luck to everyone making a submission (and that includes me). I will be submitting a proposal  with my co-author, Raewyn Turner, an artist from New Zealand, for Steep (I): a digital poetry of gold nanoparticles. (I’ll be writing more about our Steep project soon (hopefully next week Dec. 22 – 25, 2014.)

For the second bit of news, Emily Carr University of Art + Design received grants for two Canada Research Chairs in Oct. 2014. Here’s more from the Recipients List (Note: I have made some changes to the formatting),

Frid-Jimenez, Amber     Emily Carr University of Art + Design     Canada Research Chair in Art and Design Technology     SSHRC [funding agency: Social Sciences and Humanities Research Council]     [Tier] 2     New [position]
Hertz, Garnet     Emily Carr University of Art + Design     Canada Research Chair in Design and Media Arts     SSHRC     2     New

A Nov. 22, 2014 blog post on Emily Carr University’s The Big Idea blog provides more detail about the appointments,

Emily Carr University of Art + Design is honoured to announce the appointment of Associate Professors Amber Frid-Jimenez and Dr. Garnet Hertz to Canada Research Chairs recently published by the Government of Canada. This historic milestone marks the first Canada Research Chair appointments for Emily Carr University of Art + Design recognizing the institution’s capacity, faculty and contributions-to-date in the fields of art, media and design research. …

… “We are honoured that our University and the work of Dr. Garnet Hertz and Amber Frid-Jimenez are being recognized by the Government of Canada,” said David Bogen, Vice President Academic + Provost, Emily Carr University of Art + Design. “The appointment of our first Canada Research Chairs is significant at every level – for our institution’s culture of research, for our academic programs, and for our students who will work directly with some of today’s greatest artists, designers, and scholars in their prospective fields.” … Associate Professor Amber Frid-Jimenez is an awarding-winning interaction and print designer who has taught design studios and seminars at the Rhode Island School of Design, the Massachusetts Institute of Technology Visual Arts Program, the National Arts Academy (KHiB) in Bergen, Norway, and most recently at Emily Carr University of Art + Design. She holds a Masters in Media Arts and Sciences from the MIT Media Lab where she studied with John Maeda. Associate Professor Dr. Garnet Hertz’s work explores themes of DIY culture and interdisciplinary art/design practices. His work has been shown at several notable international venues including SIGGRAPH, Arts Electronica, and DEAF, and he was awarded the 2008 Oscar Signorini Award in robotic art. He is the founder and director of Dorkbot SoCal, a monthly Los Angeles-based lecture series, has taught at the Art Center College of Design, the University of California, Irvine, and is now Associate Professor at Emily Carr University of Art + Design.

You can find out more about Amber Frid-Jiminez here and about Garnet Hertz here .

Quantum; the dance performance about physics in Vancouver, Canada (2 of 2)

Gilles Jobin kindly made time to talk about his arts residency at CERN (European Particle Physics Laboratory) prior to the performances of Quantum (a dance piece resulting from the residency) from Oct. 16 -18, 2014 at Vancouver’s Dance Centre.

Jobin was the first individual to be selected as an artist-in-residence for three months in the CERN/Geneva programme (there is another artist-in-residence programme at the laboratory which is the CERN/Ars Electronica programme). Both these artist-in-residence programmes were announced in the same year, 2011. (You can find out more about the CERN artist-in-residence programmes on the Collide@CERN webpage,

As a main strategy of CERN’s Cultural Policy for Engaging with the Arts, Collide@CERN is a 3-year artist’s residency programme initiated by Arts@CERN in 2011.

By bringing world-class artists and scientists together in a free exchange of ideas, the Collide@CERN residency programme explores elements even more elusive than the Higgs boson: human ingenuity, creativity and imagination.

See below for more information about the Collide@CERN artist residency programmes:

Collide@CERN Geneva Residency

Prix Ars Electronica Collide@CERN Residency

The Collide@CERN prize – an open call to artists working in different art forms to win a fully funded residency – will be awarded annually in two strands (Collide@CERN Geneva and Prix Ars Electronica Collide@CERN) until 2013. It comprises prize money and a residency grant for up to 3 months at CERN.

The winning artists will interact and engage with CERN scientists in order to take their artistic work to new creative dimensions.

The awards are made following two annual international open calls and the jury comprises the cultural partners as well as representatives from Arts@CERN, including scientists.

Planned engagement with artists at CERN is a relatively new concept according to an August 4, 2011 CERN press release,

Today CERN1 launches its cultural policy for engaging with the arts. Called ‘Great Arts for Great Science’, this new cultural policy has a central strategy – a selection process for arts engagement at the level of one of the world’s leading research organizations.

“This puts CERN’s engagement with the arts on a similar level as the excellence of its science,” said Ariane Koek, CERN’s cultural specialist.

CERN’s newly appointed Cultural Board for the Arts will be the advisers and guardians of quality. It is made up of renowned cultural leaders in the arts from CERN’s host-state countries: Beatrix Ruf, Director of the Kunsthalle Zurich; Serge Dorny, Director General of the Lyon Opera House; Franck Madlener, Director of the music institute IRCAM in Paris. Geneva and CERN are represented by Christoph Bollman of ArtbyGenève and Michael Doser, an antimatter scientist. Membership of the board is an honorary position that will change every three years.

The Cultural Board will select one or two art projects a year to receive a CERN letter of approval, enabling these projects to seek external funding for their particle-physics inspired work. This will also build up an international portfolio of CERN-inspired work over the years to come, in conjunction with the Collide@CERN (link sends e-mail) Artists Residency Programme, details of which will be announced in the coming month.

To date, Jobin is the only choreographer to become, so to speak, a member of the CERN community. It was a position that was treated like a job. Jobin went to his office at CERN every day for three months to research particle physics. He had two science advisors, Nicholas Chanon and Michael Doser to help him gain an understanding of the physics being studied in the facility. Here’s Jobin describing his first experiences at CERN (from Jobin’s Collide Nov. 13, 2012 posting),

When I first arrived at Cern, I was captivated by the place and overwhelmed by the hugeness of the subject: Partical [sic] physics… And I had some serious catch up to do… Impressed by the two introduction days in which I had the opportunity to meet many different scientists, Ariane Koeck told me “not to panic” and “to spend my first month following my instinct and not my head…”. …

I found out about the 4 fundamental forces and the fact that gravity was the weakest of all the forces. For a contemporary dancer formed basically around the question of gravity and “groundness” that came as a total shock! I was not a “pile of stuff”, but particles bound together by the strong force and “floating” on the surface of the earth… Me, the earth, you readers, the LHC flying at incredible speed through space, without any of us, (including the physicists!) noticing anything…  Stardust flying into space… I was baffled…

Jobin was required deliver two public lectures, one at the beginning of his residency and the other at the end, as well as, a series of ‘interventions’. He instituted four ‘interventions’, one each in CERN’s library, data centre, anti-matter hall, and cafeteria. Here’s an image and a description of what Jobin was attempting with his library intervention (from his Nov. 13, 2012 posting),

CERN library dance intervention Credit: Gilles Jobin

CERN library dance intervention Credit: Gilles Jobin

 My idea was to “melt” our bodies into the timeline of the library. Like time chameleons, we were to adapt our movements and presence to the quiet and studious atmosphere of the library and be practically unnoticed. My postulate was to imagine that the perception of time is relative; there was a special texture to “time” inside the library. How long is an afternoon in a library? Never ending or passing by too quickly? It is a shared space, with the unique density you can feel in studious atmosphere and its user’s different virtual timelines. We melted into the element of the library and as we guessed, our “unusual” presence and actions did not create conflicts with our surroundings and the students at work. It was a bit like entering slowly into water and becoming part of the element without disturbing its balance. The time hypothesis worked… I wanted to do more site specific interventions in Cern because I was learning things differently. Some understanding was going through my body. Being in action into the labs…

It was only after the residency was completed that he started work on Quantum (producing a dance piece was not a requirement of the residency). After the residency, he did bring his science advisors, Chanon and Doser to his studio and brought his studio to CERN. Jobin managed to get rehearsal time in one of the halls that is 100 metres directly above the large hadron collider (LHC) during the time period when scientists were working to confirm the existence of the Higgs Boson). There were a number of announcements ‘confirming’ the Higgs. They started in July 2012 and continued, as scientists refined their tests, to March 2013 (Wikipedia entry)  when a definitive statement was issued. The definitive statement was recently followed with more confirmation as a June, 25, 2014 article by Amir Aczel for Discover declares Confirmed: That Was Definitely the Higgs Boson Found at LHC [large hadron collider].

As scientists continue to check and doublecheck, Jobin presented Quantum in October 2013 for the first time in public, fittingly, at CERN (from Jobin’s Oct. 3, 2013 blog posting),



Jobin was greatly influenced by encounters at CERN with Julius von Bismarck who won the 2012 Prix Ars Electronica Collide@CERN Residency and with his science advisors, Dosen and Chanon. Surprisingly, Jobin was also deeply influenced by Richard Feynman (American physicist; 1918 – 1988). “I loved his approach and his humour,” says Jobin while referring to a book Feynman wrote, then adding,  “I used Feynman diagrams, learning to draw them for my research and for my choreographic work on Quantum.”

For those unfamiliar with Feynman diagrams, from the Wikipedia entry (Note: Links have been removed),

In theoretical physics, Feynman diagrams are pictorial representations of the mathematical expressions describing the behavior of subatomic particles. The scheme is named for its inventor, American physicist Richard Feynman, and was first introduced in 1948. The interaction of sub-atomic particles can be complex and difficult to understand intuitively, and the Feynman diagrams allow for a simple visualization of what would otherwise be a rather arcane and abstract formula.

There’s also an engaging Feb. 14, 2010 post by Flip Tanedo on Quantum Diaries with this title, Let’s draw Feynman diagrams! and there’s this paper, by David Kaiser on the Massachusetts Institute of Technology website, Physics and Feynman’s Diagrams; In the hands of a postwar generation, a tool intended to lead quantum electrodynamics out of a decades-long morass helped transform physics. In the spirit of Richard Feynman, both the Tanedo post and Kaiser paper are quite readable. Also, here’s an example (simplified) of what a diagram (from the Quantum Diaries website) can look like,

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Getting back to Quantum (dance), Jobin describes this choreography as a type of collaboration where the dancers have responsibility for the overall look and feel of the piece. (For more details, Jobin describes his ‘momement generators’ in the radio interview embedded in part 1 of this piece on Quantum.)

In common with most contemporary dance pieces, there is no narrative structure or narrative element to the piece although Jobin does note that there is one bit that could be described as a ‘Higgs moment’ where a dancer is held still by his or her feet, signifying the Higgs boson giving mass to the universe.

As to why Vancouver, Canada is being treated to a performance of Quantum, Jobin has this to say, “When I knew the company was traveling to New York City and then San Francisco, I contacted my friend and colleague, Mirna Zagar, who I met at a Croatian Dance Week Festival that she founded and produces every year.”  She’s also the executive director for Vancouver’s Dance Centre. “After that it was easy.”

Performances are Oct. 16 – 18, 2014 at 8 pm with a Post-show artist talkback on October 17, 2014.

Compagnie Gilles Jobin

$30/$22 students, seniors, CADA members/$20 Dance Centre members
Buy tickets online or call Tickets Tonight: 604.684.2787 (service charges apply to telephone bookings)

You can find part 1 of this piece about Quantum in my Oct. 15, 2014 posting. which includes a video, a listing of the rest of the 2014 tour stops, a link to an interview featuring Jobin and his science advisor, Michael Doser, on a US radio show, and more.

Finally, company dancers are posting video interviews (the What’s Up project mentioned in part 1) with dancers they meet in the cities where the tour is stopping will be looking for someone or multiple someones in Vancouver. These are random acts of interviewing within the context of the city’s dance community.

Vancouver’s Georgia Straight has featured an Oct. 15, 2014 article by Janet Smith about Jobin and his particle physics inspiration for Quantum.

The Higgs boson on its own has inspired other creativity as noted in my Aug. 1, 2012 posting (Playing and singing the Higgs Boson).

As noted in my Oct. 8, 2013 post, Peter Higgs (UK) after whom the particle was named  and François Englert (Belgium) were both awarded the 2013 Nobel Prize in Physics for their contributions to the theory of the Higgs boson and its role in the universe.

Quantum; an upcoming dance performance in Vancouver, Canada (1 of 2)

Oct. 16 – 18, 2014 are the Vancouver (Canada) dates when you can catch Compagnie Gilles Jobin performing its piece, Quantum, based on choreographer Gilles Jobin’s residency CERN (Europe’s particle physics laboratory). The Vancouver stop is part of a world tour which seems to have started in New York City (US) and San Francisco (US).

News flash: There is a special lecture by Gilles Jobin at TRIUMF, Canada’s National Laboratory for Particle and Nuclear Physics at 11 am on Oct. 15, 2014 in the auditorium. Instructions for getting to TRIUMF can be found here.

Back to the tour, here’s what the dance company has planned for the rest of October and November (Chile is Chili, Brazil is Brésil, Switzerland is Suisse and Peru is Pérou in French), from the Tour webpage,

– 21 octobre
Festival Danzalborde – Centro Cultural Matucana 100 – Santiago de Chile – Chili

– 23 octobre
Festival Danzalborde – Parque Cultural de Valparaiso, Valparaiso – Chili

– 26 octobre
Bienal Internacional de dança do Ceará – Fortaleza – Brésil

– 29 et 30 octobre
En collaboration avec swissnex Brésil au Forum Internacional de dança FID, Centro Cultural Banco do Brasil – Belo Horizonte – Brésil

– 2 novembre
En collaboration avec swissnex Brésil au Festival Panorama, Teatro Carlos Gomes – Rio de Janeiro – Brésil

– Du 6 au 9 novembre
Arsenic – Lausanne – Suisse

– Du 13 au 15 novembre
Arsenic – Lausanne – Suisse

– 21 et 22 novembre
Festival de Artes Escenicas de Lima FAEL – Teatro Municipal, Lima – Pérou

As ambitious as this touring programme seems, it can’t be any more ambitious than trying to represent modern physics in dance. Here’s more about Quantum from the (Vancouver) Dance Centre’s events page,

Art and science collide in QUANTUM, the result of Gilles Jobin’s artistic residency at the largest particle physics laboratory in the world – CERN in Geneva, where he worked with scientists to investigate principles of matter, gravity, time and space in relation to the body. Six dancers power through densely textured, sculptural choreography, to evoke the subtle balance of forces that shape our world. Illuminated by Julius von Bismarck’s light-activated kinetic installation built from industrial lamps, and accompanied by an electronic score by Carla Scaletti which incorporates data from the Large Hadron Collider, QUANTUM epitomizes the adventurous, searching spirit of artistic and scientific inquiry.

Response to the performances in New York City were interesting, that is to say, not rapturous but intriguing nonetheless. From an Oct. 3, 2014 review by Gia Kourlas for the New York Times,

Performed Thursday night [Oct. 2, 2014] at the Fishman Space at BAM Fisher — and included in the French Institute Alliance Française’s Crossing the Line festival — this spare 45-minute work is a duet of movement and light. Instead of dramaturges, there are scientific advisers. Jean-Paul Lespagnard’s jumpsuits reimagine particles as a densely patterned uniform of green, purple and white. (They’re cute in a space-camp kind of way.) Carla Scaletti’s crackling, shimmering score incorporates data from the Large Hadron Collider, CERN’s powerful particle accelerator.

But in “Quantum,” translating scientific ideas, however loosely, into dance vocabulary is where the trouble starts. A lunge is still a lunge.

Robert P Crease in an Oct. 7, 2014 posting (for Physics World on the Institute of Physics website) about one of the performances in New York City revealed something about his relationship to art/science and about Gilles Jobin’s work,

I’m fascinated by the interactions between science and culture, which is what led me to the Brooklyn Academy of Music (BAM), which was hosting the US première of a dance piece called Quantum that had previously debuted where it had been created, at CERN. …

I ran into Gilles Jobin, who had choreographed Quantum during an artist’s residency at CERN. I asked him the following question: “If a fellow choreographer who knew nothing about the piece were to watch it, is there anything in the movement or structure of the work that might cause that person to say ‘That choreographer must have spent several months at a physics lab!’?” Gilles paused, then said “No.” The influence of the laboratory environment, he said, was in inspiring him to come up with certain kinds of what he called “movement generators”, or inspirations for the dancers to create their own movements. “For instance, all those symmetries – like ghost symmetries – that I didn’t even know existed!” he said. I asked him why he had chosen the work’s title. “I considered other names,” he said. “Basically, Quantum was just a convenient tag that referred to the context – the CERN laboratory environment – in which I had created the work.”

Jobin and Michael Doser (Senior research physicist at CERN) talked to Ira Flatow host of US National Public Radio’s (NPR) Science Friday programme in an Oct. 3, 2014 broadcast which is available as a podcast on the Dance and Physics Collide in ‘Quantum’ webpage. It’s fascinating to hear both the choreographer and one of the CERN scientists discussing Jobin’s arts residency and how they had to learn to talk to each other.

NPR also produced a short video highlighting moments from one of the performances and showcasing Jobin’s commentary,

Produced by Alexa Lim, Associate Producer (NPR, Science Friday)

The Dance Centre (Vancouver) has an Oct. 7, 2014 post featuring Jobin on its blog,

How did you get involved with dance?

I wanted to be an actor and thought it was a good idea to take dance classes. Later, back at acting classes I realized how comfortable I was with movement and uncomfortable with words. I must admit that I was a teenager at the time and the large majority of girls in the dance classes was also a great motivation…

Have you always been interested in science?

I was an arty kid that did not have any interest in science. I was raised in an artistic family – my father was a geometrical painter – I thought science was not for me. Art, literature, “soft” science, theatre, that was my thing. It was only at the age of 48, in one of the greatest laboratories there is, that I started to see that I could become “science able”. I realized that particle physics was not only about math, but also had great philosophical questions: that I could get the general sense of what was going down there and follow with passion the discovery. Science is like contemporary art, you need to find the door, but when you get in you can take everything on and make up your own mind about it without being a specialist or a geek.

If you didn’t have a career in dance, what might you be doing?

Ski instructor!

Adding their own measure of excitement to this world tour of Quantum, the company’s dancers are producing videos of interviews with choreographers and dancers local to the city the company is visiting (from the What’s Up project page or the website),

WHAT’S UP est un projet des danseurs de la Cie Gilles Jobin : Catarina Barbosa, Ruth Childs, Susana Panadés Díaz, Bruno Cezario, Stanislas Charré et Denis Terrasse .

Dans chaque ville visitée pendant la tournée mondiale de QUANTUM, ils partent à la rencontre des danseurs/chorégraphes pour connaître le contexte de la danse contemporaine locale et partager leurs différentes réalités.

Retrouvez ici toutes les interviews

The latest interview is an Oct. 10, 2014 video (approximate 2 mins.) focusing on Katherine Hawthorne who in addition to being a dancer trained as a physicist.

Part 2 is based on an interview I had with Gilles Jobin on Tuesday, Oct. 14, 2014 an hour or so after his and his company’s flight landed in Vancouver.

Fun Palaces for artists, scientists, and everyone in the UK, Oct. 4 – 5, 2014

The Fun Palace project is a celebration of UK theatre visionary and director, Joan Littlewood’s centenary in Oct. 2014. Stella Duffy, one of the project organizer’s provides some  insight into why Littlewood is considered an important influence, the origin of the ‘Fun Palace’, and the genesis of the upcoming celebration in a Sept. 18, 2013 posting on the Guardian newspaper website (Note: Links have been removed),,

In January, at Improbable’s annual Devoted and Disgruntled event, I called one session: “Who wants to do something for Joan Littlewood’s centenary in October 2014, that isn’t another revival of Oh! What a Lovely War?”

Oh! What a Lovely War, which Joan developed, is brilliant, but with the first world war anniversary next year, there will be many revivals and Joan was more than a director. She was one of the few British directors (before or since) to work fully with an ensemble, from training to performance. She made “immersive” theatre long before immersive was cool. She kick-started improvisation in the UK. She was political, formidable, inspiring, and far ahead of her time.

In 1961, Joan and the architect Cedric Price came up with the idea of the fun palace. Their blueprint says:

“Choose what you want to do – or watch someone else doing it. Learn how to handle tools, paint, babies, machinery, or just listen to your favourite tune. Dance, talk or be lifted up to where you can see how other people make things work. Sit out over space with a drink and tune in to what’s happening elsewhere in the city. Try starting a riot or beginning a painting – or just lie back and stare at the sky.”

An idea descended from pleasure gardens, the fun palace was designed to link arts and sciences, entertainment and education, in a space welcoming to all – especially children and young people.

A year later, the idea has not only taken root, it has grown. Here’s more about Fun Palaces from co-organizers Stella Duffy and Sarah-Jane Rawlings in a Sept. 25, 2014 interview with Eleanor Turney of The Space (a digital arts museum in the UK ).

At Devoted&Disgruntled in 2013, Stella Duffy called a session asking if anyone wanted to do “a thing” to celebrate Joan Littlewood’s centenary. It quickly became apparent that the “thing” was going to be reviving Littlewood’s idea of a ‘Fun Palace’, a community-run, free space for people to explore the arts and sciences. Several people responded, a small GfA grant followed and Fun Palaces snowballed, as more and more people got involved, and Duffy and Sarah-Jane Rawlings started to articulate exactly what they wanted the project to be. This was followed by an Arts Council England Exceptional Award – which Duffy describes as “astonishing… It’s all becoming real now, but it’s still astonishing to me that they gave us this grant. I’m not the kind of person who always gets funding, but this is too fucking good an idea. Also, it’s not about us. It’s about the whole thing, which they [ACE] quite bravely saw.”

Rawlings continues: “The idea has developed so much, it’s always changing, we’re learning all the time. Our relationship with the site that The Space is making has changed – it’s now really key to how all of this develops. If we don’t get any money next year, [Fun Palaces] can still can go forward, because at the centre of it is this communication tool. It’s about people talking to each other, about showing their art on it, being able to say ‘I am making a Fun Palace,’ being able to access other avenues. It’s absolutely huge.”

“My favourite new phrase is ‘equality of online presence’,’ says Duffy, ‘and the point is that everyone has the same platform. It’s got nothing to do with what an organisation’s own resources are; on this site, everyone’s got the same profile, the same start, which is amazing.” The site, which The Space has commissioned, offers a page to each of the participating Fun Palaces: “You can put photos on it, videos, art work, links etc.,’ explains Rawlings. Over the weekend and in the run-up to it, says Duffy, “there’ll be a scrolling banner which has the Instagram and Twitter feeds. It’s not just about the weekend itself, it’s about the process. Some of the organisations that have never shown their process before have started sharing photos, writing blogs, talking about their process. The idea is, during the weekend when lots of people are sharing, that the scrolling banner will pull through the Instragram feed and it’ll look ‘live’ with stuff happening all the time. And afterwards, it’s not getting archived and put away – we’ll make a collage of the photos, and an infographic of stats from the weekend, which will ‘hold’ 2014, but it’s also all ready for people to sign up for 2015.”

The emphasis in this interview is on the project’s digital presence which is understandable given that the interview is being conducted by someone associated with a digital arts museum but there are many real life ‘Fun Palaces’ designed for this coming weekend, Oct. 4 – 5, 2014.

You can find the Fun Palace website here and if you should choose to create a Fun Palace, the organizers have provided this nugget of information/inspiration on the FAQs (frequently asked questions) page amongst many other nuggets on the website,

How do I find people in arts and science to make a Fun Palace with me?

Go beyond the usual suspects: the people who make school dinners know about the science of cooking, the person who mends your car knows a lot about the science of mechanics; your local librarian knows about arts and sciences and where to find out more.

Think about where you might be able to approach people in your locality: makerspaces, tech meet-ups, universities, schools, children’s centres, theatres, arts spaces, galleries, museums, music venues, community centres, co-working spaces. Places where people are meeting and sharing regularly, or where there’s a strong grassroots support network.

Also, you can talk to other members of the Fun Palace community on our Discussion Boards. If you’re stuck for ideas, then contact our Digital Champion Hannah on (she works part time).  

Remember that even if there isn’t a Fun Palace near you in real life, there will be an online version.

For anyone interested in The Space, it was first featured here in a June 16, 2014 posting.