Category Archives: performing arts

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,

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


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

Tickets
$36

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),

QUANTUM @ CERN OPEN DAYS CMS-POINT5-CESSY. Credit: Gilles Jobin

QUANTUM @ CERN OPEN DAYS CMS-POINT5-CESSY. Credit: Gilles Jobin

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,

[downloaded from http://www.quantumdiaries.org/2010/02/14/lets-draw-feynman-diagams/]

[downloaded from http://www.quantumdiaries.org/2010/02/14/lets-draw-feynman-diagams/]

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 gillesjobin.com Tour webpage,

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

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

– 26 octobre
QUANTUM
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
QUANTUM
Arsenic – Lausanne – Suisse

– Du 13 au 15 novembre
A+B=X
Arsenic – Lausanne – Suisse

– 21 et 22 novembre
QUANTUM
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 gillesjobin.com 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 [email protected] (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.

Science and the arts: a science rap promotes civil discussion about science and religion; a science movie and a play; and a chemistry article about authenticating a Lawren Harris painting

Canadian-born rapper of science and many other topics, Baba Brinkman sent me an update about his current doings (first mentioned in an Aug. 1, 2014 posting featuring his appearances at the 2014 Edinburgh Fringe Festival, his Rap Guide to Religion being debuted at the Fringe, and his Kickstarter campaign to raise money for the creation of an animated rap album of his news Rap Guide to Religion), Note: Links have been removed,

Greetings from Edinburgh! In the past two and half weeks I’ve done fifteen performances of The Rap Guide to Religion for a steadily building audience here at the Fringe, and we recently had a whole pile of awesome reviews published, which I will excerpt below, but first a funny story.

Yesterday [August 14, 2014] BBC [British Broadcasting Corporation] Sunday Morning TV was in to film my performance. They had a scheme to send a right wing conservative Christian to the show and then film us having an argument afterwards. The man they sent certainly has the credentials. Reverend George Hargreaves is a Pentecostal Minister and former leader of the UK Christian Party, as well as a young earth creationist and strong opponent of abortion and homosexuality. He led the protests that got “Jerry Springer the Opera” shut down in London a few years back, and is on record as saying that religion is not an appropriate subject for comedy. Before he converted to Christianity, the man was also a DJ and producer of pop music for the London gay scene, interesting background.

So after an hour of cracking jokes at religion’s expense, declaring myself an unapologetic atheist, and explaining why evolutionary science gives a perfectly satisfying naturalistic account of where religion comes from, I sat down with Reverend George and was gobsmacked when he started the interview with: “I don’t know if we’re going to have anything to debate about… I LOVED your show!” We talked for half an hour with the cameras rolling and at one point George said “I don’t know what we disagree about,” so I asked him: “Do you think one of your ancestors was a fish?” He declared that statement a fishy story and denied it, and then we found much to disagree about.

I honestly thought I had written a hard-hitting, provocative and controversial show, but it turns out the religious are loving it as much as the nonbelievers – and I’m not sure how I feel about that. I asked Reverend George why he wasn’t offended, even though he’s officially against comedy that targets religion, and he told me it’s because I take the religious worldview seriously, instead of lazily dismissing it as delusional. The key word here is “lazily” rather than “delusional” because I don’t pull punches about religion being a series of delusions, but I don’t think those delusions are pointless. I think they have evolved (culturally and genetically) to solve adaptive problems in the past, and for religious people accustomed to atheists being derisive and dismissive that’s a (semi) validating perspective.

To listen to songs from The Rap Guide to Religion, you need to back my Kickstarter campaign so I can raise the money to produce a proper record. To check out what the critics here in Edinburgh have to say about my take on religion, read on. And if you want to help organize a gig somewhere, just let me know. The show is open for bookings.

On Sunday Morning [August 17, 2014 GMT] my segment with Reverend George will air on BBC One, so we’ll see what a million British people think of the debate.

All the best from the religious fringe,

Baba

Here’s a link to the BBC One Sunday Morning Live show, where hopefully you’ll be able to catch the segment featuring Baba and Reverend George Hargreaves either livestreamed or shortly thereafter.

A science movie and a science play

Onto the science movie and the play: David Bruggeman on his Pasco Phronesis blog writes about two upcoming movie biopics featuring Alan Turing and Stephen Hawking respectively, in an Aug. 8, 2014 posting. Having covered the Turing movie here (at length) in a July 22, 2014 posting here’s the new information about the Hawking movie from David’s Aug, 8, 2014 posting,

Alan Turing and Stephen Hawking are noted British scientists, well recognized for their work and for having faced significant challenges in their lives.  While they were in different fields and productive in different parts of the 20th century (Hawking is still with us), their stories will compete in movieplexes (at least in the U.S.) this November.

The Theory of Everything is scheduled for release on November 7 and focuses on the early career and life of Hawking.  He’s portrayed by Eddie Redmayne, and the film is directed by James Marsh.  Marsh has several documentaries to his credit, including the Oscar-winning Man on Wire.  Theory is the third film project on Hawking since 2004, but the first to get much attention outside of the United Kingdom (this might explain why it won’t debut in the U.K. until New Year’s Day).  It premieres at the Toronto International Film Festival next month [Sept. 2014].

David features some trailers for both movies and additional information.

Interestingly the science play focuses on the friendship between a female UK scientist and her former student, Margaret Thatcher (a UK Prime Minister). From an Aug. 13, 2014 Alice Bell posting on the Guardian science blog network (Note: Links have been removed),

Adam Ganz’s new play – The Chemistry Between Them, to be broadcast on Radio 4 this month – explores one of the most intriguing friendships in the history of science and politics: Margaret Thatcher and Dorothy Hodgkin.

As well as winning the Nobel Prize in Chemistry for her pioneering scientific work on the structures of proteins, Hodgkin was a left-wing peace campaigner who was awarded the Soviet equivalent of the Nobel Peace Prize, the Order of Lenin. Hardly Thatcher’s type, you might think. But Hodgkin was Thatcher’s tutor at university, and the relationships between science, politics and women in high office are anything but straightforward.

I spoke to Ganz about his interest in the subject, and started by asking him to tell us more about the play.

… they stayed friends throughout Dorothy’s life. Margaret Thatcher apparently had a photo of Dorothy Hodgkin in Downing Street, and they maintained a kind of warm relationship. The play happens in two timescales – one is a meeting in 1983 in Chequers where Dorothy came to plead with Margaret to take nuclear disarmament more seriously at a time when Cruise missiles and SS20s were being stationed in Europe. In fact I’ve set it – I’m not sure of the exact date – shortly after the Korean airliner was shot down, when the Russians feared Nato were possibly planning a first strike. And that is intercut with the time when Margaret is studying chemistry and looking at her journey; what she learned at Somerville, but especially what she learned from Dorothy.

Here’s a link to the BBC 4 webpage for The Chemistry Between Them. I gather the broadcast will be Weds., Aug. 20, 2014 at 1415 hours GMT.

Chemistry and authentication of a Lawren Harris painting

The final item for this posting concerns Canadian art, chemistry, and the quest to prove the authenticity of a painting. Roberta Staley, editor of Canadian Chemical News (ACCN), has written a concise technical story about David Robertson’s quest to authenticate a painting he purchased some years ago,

Fourteen years ago, David Robertson of Delta, British Columbia was holidaying in Ontario when he stopped at a small antique shop in the community of Bala, two hours north of Toronto in cottage country. An unsigned 1912 oil painting caught his attention. Thinking it evocative of a Group of Seven painting, Robertson paid the asking price of $280 and took it home to hang above his fireplace.

Roberta has very kindly made it available as a PDF: ChemistryNews_Art.Mystery.Group.7. It will also be available online at the Canadian Chemical News website soon. (It’s not in the July/August 2014 issue.)

For anyone who might recognize the topic, I wrote a sprawling five-part series (over 5000 words) on the story starting with part one. Roberta’s piece is 800 words and offers her  account of the tests for both Autumn Harbour and the authentic Harris painting, Hurdy Gurdy. I was able to attend only one of them (Autumn Harbour).

David William Robertson, Autumn Harbour’s owner has recently (I received a notice on Aug. 13, 2014) updated his website with all of the scientific material and points of authentication that he feels prove his case.

Have a very nice weekend!

BRAIN and ethics in the US with some Canucks (not the hockey team) participating (part two of five)

The Brain research, ethics, and nanotechnology (part one of five) May 19, 2014 post kicked off a series titled ‘Brains, prostheses, nanotechnology, and human enhancement’ which brings together a number of developments in the worlds of neuroscience*, prosthetics, and, incidentally, nanotechnology in the field of interest called human enhancement. Parts one through four are an attempt to draw together a number of new developments, mostly in the US and in Europe. Due to my language skills which extend to English and, more tenuously, French, I can’t provide a more ‘global perspective’. Part five features a summary.

Before further discussing the US Presidential Commission for the Study of Bioethical Issues ‘brain’ meetings mentioned in part one, I have some background information.

The US launched its self-explanatory BRAIN (Brain Research through Advancing Innovative Neurotechnologies) initiative (originally called BAM; Brain Activity Map) in 2013. (You can find more about the history and details in this Wikipedia entry.)

From the beginning there has been discussion about how nanotechnology will be of fundamental use in the US BRAIN initiative and the European Union’s 10 year Human Brain Project (there’s more about that in my Jan. 28, 2013 posting). There’s also a 2013 book (Nanotechnology, the Brain, and the Future) from Springer, which, according to the table of contents, presents an exciting (to me) range of ideas about nanotechnology and brain research,

I. Introduction and key resources

1. Nanotechnology, the brain, and the future: Anticipatory governance via end-to-end real-time technology assessment by Jason Scott Robert, Ira Bennett, and Clark A. Miller
2. The complex cognitive systems manifesto by Richard P. W. Loosemore
3. Analysis of bibliometric data for research at the intersection of nanotechnology and neuroscience by Christina Nulle, Clark A. Miller, Harmeet Singh, and Alan Porter
4. Public attitudes toward nanotechnology-enabled human enhancement in the United States by Sean Hays, Michael Cobb, and Clark A. Miller
5. U.S. news coverage of neuroscience nanotechnology: How U.S. newspapers have covered neuroscience nanotechnology during the last decade by Doo-Hun Choi, Anthony Dudo, and Dietram Scheufele
6. Nanoethics and the brain by Valerye Milleson
7. Nanotechnology and religion: A dialogue by Tobie Milford

II. Brain repair

8. The age of neuroelectronics by Adam Keiper
9. Cochlear implants and Deaf culture by Derrick Anderson
10. Healing the blind: Attitudes of blind people toward technologies to cure blindness by Arielle Silverman
11. Ethical, legal and social aspects of brain-implants using nano-scale materials and techniques by Francois Berger et al.
12. Nanotechnology, the brain, and personal identity by Stephanie Naufel

III. Brain enhancement

13. Narratives of intelligence: the sociotechnical context of cognitive enhancement by Sean Hays
14. Towards responsible use of cognitive-enhancing drugs by the healthy by Henry T. Greeley et al.
15. The opposite of human enhancement: Nanotechnology and the blind chicken debate by Paul B. Thompson
16. Anticipatory governance of human enhancement: The National Citizens’ Technology Forum by Patrick Hamlett, Michael Cobb, and David Guston
a. Arizona site report
b. California site report
c. Colorado site reportd. Georgia site report
e. New Hampshire site report
f. Wisconsin site report

IV. Brain damage

17. A review of nanoparticle functionality and toxicity on the central nervous system by Yang et al.
18. Recommendations for a municipal health and safety policy for nanomaterials: A Report to the City of Cambridge City Manager by Sam Lipson
19. Museum of Science Nanotechnology Forum lets participants be the judge by Mark Griffin
20. Nanotechnology policy and citizen engagement in Cambridge, Massachusetts: Local reflexive governance by Shannon Conley

Thanks to David Bruggeman’s May 13, 2014 posting on his Pasco Phronesis blog, I stumbled across both a future meeting notice and documentation of the  Feb. 2014 meeting of the Presidential Commission for the Study of Bioethical Issues (Note: Links have been removed),

Continuing from its last meeting (in February 2014), the Presidential Commission for the Study of Bioethical Issues will continue working on the BRAIN (Brain Research through Advancing Innovative Neurotechnologies) Initiative in its June 9-10 meeting in Atlanta, Georgia.  An agenda is still forthcoming, …

In other developments, Commission staff are apparently going to examine some efforts to engage bioethical issues through plays.  I’d be very excited to see some of this happen during a Commission meeting, but any little bit is interesting.  The authors of these plays, Karen H. Rothenburg and Lynn W. Bush, have published excerpts in their book The Drama of DNA: Narrative Genomics.  …

The Commission also has a YouTube channel …

Integrating a theatrical experience into the reams of public engagement exercises that technologies such as stem cell, GMO (genetically modified organisms), nanotechnology, etc. tend to spawn seems a delightful idea.

Interestingly, the meeting in June 2014 will coincide with the book’s release date. I dug further and found these snippets of information. The book is being published by Oxford University Press and is available in both paperback and e-book formats. The authors are not playwrights, as one might assume. From the Author Information page,

Lynn Bush, PhD, MS, MA is on the faculty of Pediatric Clinical Genetics at Columbia University Medical Center, a faculty associate at their Center for Bioethics, and serves as an ethicist on pediatric and genomic advisory committees for numerous academic medical centers and professional organizations. Dr. Bush has an interdisciplinary graduate background in clinical and developmental psychology, bioethics, genomics, public health, and neuroscience that informs her research, writing, and teaching on the ethical, psychological, and policy challenges of genomic medicine and clinical research with children, and prenatal-newborn screening and sequencing.

Karen H. Rothenberg, JD, MPA serves as Senior Advisor on Genomics and Society to the Director, National Human Genome Research Institute and Visiting Scholar, Department of Bioethics, Clinical Center, National Institutes of Health. She is the Marjorie Cook Professor of Law, Founding Director, Law & Health Care Program and former Dean at the University of Maryland Francis King Carey School of Law and Visiting Professor, Johns Hopkins Berman Institute of Bioethics. Professor Rothenberg has served as Chair of the Maryland Stem Cell Research Commission, President of the American Society of Law, Medicine and Ethics, and has been on many NIH expert committees, including the NIH Recombinant DNA Advisory Committee.

It is possible to get a table of contents for the book but I notice not a single playwright is mentioned in any of the promotional material for the book. While I like the idea in principle, it seems a bit odd and suggests that these are purpose-written plays. I have not had good experiences with purpose-written plays which tend to be didactic and dull, especially when they’re not devised by a professional storyteller.

You can find out more about the upcoming ‘bioethics’ June 9 – 10, 2014 meeting here.  As for the Feb. 10 – 11, 2014 meeting, the Brain research, ethics, and nanotechnology (part one of five) May 19, 2014 post featured Barbara Herr Harthorn’s (director of the Center for Nanotechnology in Society at the University of California at Santa Barbara) participation only.

It turns out, there are some Canadian tidbits. From the Meeting Sixteen: Feb. 10-11, 2014 webcasts page, (each presenter is featured in their own webcast of approximately 11 mins.)

Timothy Caulfield, LL.M., F.R.S.C., F.C.A.H.S.

Canada Research Chair in Health Law and Policy
Professor in the Faculty of Law
and the School of Public Health
University of Alberta

Eric Racine, Ph.D.

Director, Neuroethics Research Unit
Associate Research Professor
Institut de Recherches Cliniques de Montréal
Associate Research Professor,
Department of Medicine
Université de Montréal
Adjunct Professor, Department of Medicine and Department of Neurology and Neurosurgery,
McGill University

It was a surprise to see a couple of Canucks listed as presenters and I’m grateful that the Presidential Commission for the Study of Bioethical Issues is so generous with information. in addition to the webcasts, there is the Federal Register Notice of the meeting, an agenda, transcripts, and presentation materials. By the way, Caulfield discussed hype and Racine discussed public understanding of science with regard to neuroscience both fitting into the overall theme of communication. I’ll have to look more thoroughly but it seems to me there’s no mention of pop culture as a means of communicating about science and technology.

Links to other posts in the Brains, prostheses, nanotechnology, and human enhancement five-part series:

Part one: Brain research, ethics, and nanotechnology (May 19, 2014 post)

Part three: Gray Matters: Integrative Approaches for Neuroscience, Ethics, and Society issued May 2014 by US Presidential Bioethics Commission (May 20, 2014)

Part four: Brazil, the 2014 World Cup kickoff, and a mind-controlled exoskeleton (May 20, 2014)

Part five: Brains, prostheses, nanotechnology, and human enhancement: summary (May 20, 2014)

* ‘neursocience’ corrected to ‘neuroscience’ on May 20, 2014.