Dedicated to foundational theoretical physics, the Perimeter Institute (PI) has an active outreach programme. In their latest ‘newsletter’ (received via email on September 19, 2018) highlights poetry written by scientists, (from the ’12 poignant poems’ webpage),
It can be said that science and poetry share the common purpose of revealing profound truths about the universe and our place in it.
Physicist Paul Dirac, a known curmudgeon, would have dismissed that idea as hogwash.
“The aim of science is to make difficult things understandable in a simpler way; the aim of poetry is to state simple things in an incomprehensible way,” Dirac grouched to a colleague. “The two are incompatible.”
The colleague to whom Dirac was grumbling, J. Robert Oppenheimer, was a lover of poetry who dabbled in it himself — as did, it turns out, quite a few great physicists, past and present. Physicists have often turned to poetry to express ideas for which there are no equations.
Here’s a look at some of the loveliest stanzas from physicists past and present, plus a few selections of rhyming silliness that get an A+ for effort.
Considering his reported distaste for poetry, it seems Dirac may have committed a few lines to verse. A four-line poem credited to Dirac laments the belief that, once past the age of 30, physicists have already passed their peak intellectual years.
Perhaps the most prolific of all the poetic physicists was the Scottish genius [James Clerk Maxwell] whose equations for electromagnetism have been called “the second great unification in physics” (second to Isaac Newton’s marriage of physics and astronomy).
Maxwell’s best-known poetic composition is “Rigid Body Sings,” a ditty he used to sing while playing guitar, which is based on the classic Robbie Burns poem “Comin’ Through the Rye” (the inspiration for the title of J.D. Salinger’s TheCatcher in the Rye). In terms of melding poetry and physics, however, Maxwell’s geekiest composition might be “A Problem in Dynamics,” which shows both his brilliance and sense of humour.
If Maxwell’s “A Problem in Dynamics,” is a little too technical for your mathematical comfort level, his fellow Scottish physicist William J.M. Rankine penned poetry requiring only a rudimentary understanding of algebra (and a peculiar understanding of love).
Richard Feynman was known for both his brilliance and his eclectic lifestyle, which included playing the bongos, safe-cracking, and, occasionally, writing poetry.
Although theoretical physics is her specialty, Shohini Ghose is a true polymath. Born in India, educated in the US, and now a multi-award-winning professor at Wilfrid Laurier University, Ghose has delivered popular talks on subjects ranging from climate change to sexism in science. She recently joined Perimeter Institute as an affiliate researcher and an Equity, Inclusion & Diversity Specialist. On top of all that, she is a poet too.
English mathematician James Joseph Sylvester was a prolific scholar whose collected works on matrix theory, number theory, and combinatorics fill four (large) volumes. In his honour, the Royal Society of London bestows the Sylvester Medal every two years to an early-career mathematician who shows potential to make major breakthroughs, just as the medal’s namesake did. It is only fitting that Sylvester’s best known work of poetry is an ode to a missing part of an algebraic formula.
Sonali Mohapatra is a Chancellor’s PhD Student at the University of Sussex and an alumna of the Perimeter Scholars International master’s program (during which she sang on the nationally broadcast CBC Radio program Ideas). She’s also the author of the poetry compilation Leaking Ink and runs an international magazine on creative resistance called Carved Voices. In her spare time — which, remarkably, she occasionally has — she delivers motivational talks on physics, feminism, and the juxtaposition of the personal and the professional.
William Rowan Hamilton was an extraordinary mathematician whose research had long-lasting implications for modern physics. As a poet, he was a bit of a hack, at least in the eyes of his friend and renowned poet William Wordsworth. Hamilton often sent his poems to Wordsworth for feedback, and Wordsworth went to great pains to provide constructive criticism without hurting his friend’s feelings. Upon reading one of Hamilton’s poems, Wordsworth replied: “I do venture to submit to your consideration, whether the poetical parts of your nature would not find a field more favourable to their exercise in the regions of prose.” Translation: don’t quit your day job, Bill. Here’s one of Hamilton’s better works — a tribute to another giant of mathematics and physics, Joseph Fourier.
For some lyrical physicists, poetry is not always a hobby separate from scientific research. For some (at least one), poetry is a way to present scientific findings. In 1984, Australian physicist J.W.V. Storey published a research paper — The Detection of Shocked Co/ Emission from G333.6-0.2 — as a 38-stanza poem. To any present-day researchers reading this: we dare you to try it.
Caltech physicist John Preskill is one of the world’s leading researchers exploring quantum information and the application of quantum computing to big questions about spacetime. Those are extremely complex topics, but Preskill also has a knack for explaining complicated subjects in accessible (and, occasionally, rhyming) terms. Here’s a snippet from a poem he wrote called “Quantum Cryptography.”
Nitica Sakharwade is a PhD student who, when not tackling foundational puzzles in quantum mechanics and quantum information, writes poetry and performs spoken word. In fact, she’s performing at the Canadian Festival of Spoken Word in October 2018. Though her poems don’t always relate to physics, when they do, they examine profound ideas like the Chandrasekhar limit (the mass threshold that determines whether a white dwarf star will explode in a cataclysmic supernova).
David Morin is a physics professor at Harvard who has become somewhat legendary for sprucing up his lessons with physics-based limericks. Some are quite catchy and impressively whittle a complex subject down to a set of simple rhyming verses, like the one below about Emmy Noether’s landmark theorem.
Other poems by Morin — such as this one, explaining how a medium other than a vacuum would affect a classic experiment — border on the absurd.
Lastly, we can’t resist sharing a poem by the brilliant Katharine Burr Blodgett, a physicist and chemist who, among other achievements, invented non-reflective “invisible” glass. That glass became very useful in filmmaking and was first put to use by Hollywood in a little movie called Gone With the Wind. After she retired from a long and successful career at General Electric (where she also pioneered materials to de-ice airplane wings, among many other innovations), she amused herself by writing quirky poetry.
I’d usually edit a bit in an effort to drive readers over to the Perimeter website but I just can’t bear to cut this up. Thank you to Colin Hunter for compiling the poems and the write ups. For anyone who wants to investigate the Perimeter Institute further and doesn’t have a PhD in physics, there’s the Slices of PI webpage featuring “fun, monthly dispatches about science designed for social sharing.”
Compared to five or more years ago, there’s a lollapalooza of art/sci (or sciart) events coming up in September 2018. Of course, it’s helpful if you live in or are visiting Toronto or Vancouver or Calgary at the right time. All of these events occur from mid September (roughly) to the end of September. In no particular date order:
“The Sense of Beauty: Art and Science at CERN” (2017) by Valerio Jalongo
TUESDAY, SEPTEMBER 25, 2018 at 6:30 pm
The CINEMATHEQUE – 1131 Howe Street, Vancouver
Duration of film: 75’. Director in attendance; Q&A with the film director to follow the screening
Director Jalongo will discuss the making of his documentary in a seminar open to the public on September 24 (1:00-2:30 pm) at UBC [University of British Columbia] (Buchanan Penthouse, *1866 Main Maill, Block C, 5th floor*, Vancouver).
The Sense of Beauty is the story of an unprecedented experiment that involves scientists from throughout the world collaborating around the largest machine ever constructed by human beings: the LHC (Large Hadron Collider). As the new experiment at CERN proceeds in its exploration of the mysterious energy that animates the universe, scientists and artists guide us towards the shadow line where science and art, in different ways, pursue truth and beauty.
Some of these men and women believe in God, while others believe only in experiment and doubt. But in their search for truth they are all alert to an elusive sixth – or seventh – sense: the sense of beauty. An unmissable opportunity for lovers of science, of beauty, or of both.
Rome-born Valerio Jalongo is a teacher, screenwriter and director who works in cinema and TV, for which he created works of fiction and award-winning documentaries. Among them: Sulla mia pelle (On My Skin, 2003) and La scuola è finita (2010), starring Valeria Golino, on the difficulties facing public schools in Italy.
This event is presented by the Dante Alighieri Society of BC in collaboration with the Consulate General of Italy in Vancouver and in association with ARPICO (www.arpico.ca), the Society of Italian Researchers and Professionals in Western Canada.
I searched for more information both about the film and about the seminar at UBC. I had no luck with the UBC seminar but I did find more about the film. There’s an April (?) 2017 synopsis by Luciano Barisone on the Vision du Réel website,
From one cave to another. In prehistoric times, human beings would leave paintings in caves to show their amazement and admiration for the complexity of the world. These reproductions of natural forms were the results of an act of creation and also of mystical gestures which appropriated the soul of things. In another gigantic and modern den, the immense CERN laboratory, the same thing is happening today, a combination of enthralled exploration of the cosmos and an attempt to control it. Valerio Jalongo’s film tackles the big questions that have fascinated poets, artists and philosophers since the dawn of time. Who are we? Where do we come from? Where are we going? The scientists at CERN attempt to answer them through machines that explore matter and search for the origins of life. In their conversations or their words to camera, the meaning of existence thus seems to become a pure question of the laws of physics and mathematical formulae. If only for solving the mystery of the universe a sixth sense is necessary. That of beauty…
There’s also a February 5, 2018 essay by Stefano Caggiano for Interni, which uses a description of the film to launch into a paean to Italian design,
The success of the documentary The Sense of Beauty by Valerio Jalongo, which narrates the ‘aesthetic’ side of the physicists at CERN when faced with the fundamental laws of nature, proves that the yearning for beauty is not just an aspect of art, but something shared by all human efforts to interpret reality.
It is no coincidence that the scientists themselves define the LHC particle accelerator (27 km) as a grand machine for beauty, conceived to investigate the meaning of things, not to perform some practical function. In fact, just as matter can be perceived only through form, and form only if supported by matter (Aristotle already understood this), so the laws of physics can be glimpsed only when they are applied to reality.
This is why in the Large Hadron Collider particles are accelerated to speeds close to that of light, reconstructing the matter-energy conditions just a few instants after the Big Bang. Only in this way is it possible to glimpse the hidden fundamental laws of the universe. It is precisely this evanescence that constitutes ‘beauty.’
The quivering of the form that reveals itself in the matter that conceals it, and which – given the fact that everything originates in the Big Bang – is found everywhere, in the most faraway stars and the closest objects: you just have to know how to prove it, grasp it, how to wait. Because this is the only way to establish relations with beauty: not perceiving it but awaiting it. Respecting its way of offering itself, which consists in denying itself.
Charging the form of an object with this sensation of awaiting, then, means catalyzing the ultimate and primary sense of beauty. And it is what is held in common by the work of the five Italian designers nominated for the Rising Talent Awards of Maison & Object 2018 (with Kensaku Oshiro as the only non-Italian designer, though he does live and work in Milan).
There’s a trailer (published by CERN on November 7, 2017,
It’s in both Italian and English with subtitles throughout, should you need them.
*The address for the Buchanan Penthouse was corrected from: 2329 West Mall to 1866 Main Maill, Block C, 5th floor on Sept. 17, 2018.
Toronto’s ArtSci Salon at Nuit Blanche, Mycology, Wild Bees and Art+Tech!
From a Tuesday, September 11, 2018 Art/Sci Salon announcement (received via email),
Baba Yaga Collective and ArtSci Salon Present: Chaos Fungorum
In 1747, Carl Linnaeus, known as the “father of taxonomy”, observed
that the seeds of fungus moved in water like fish until “..by a law of
nature thus far unheard of and surpassing all human understanding..,”
they changed back to plant in their adult life.
He proceeded to include fungi in the new genus of “Chaos”. But why
delimiting fungi within categories and boundaries when it is exactly
their fluidity that make them so interesting?
Chaos Fungorum draws on the particular position occupied by fungi and
other hybrid organisms: neither plant nor animal, fungi extend across,
and can entertain, communications and collaborations between animal,
human and industrial realms.
Mixing different artistic practices and media, the artists featured in
this exhibition seek to move beyond rigid comprehensions of the living
by working with, rather than merely shaping, sculpting and manipulating
plants, microorganisms and fungi. Letting the non-human speak is to move
away from an anthropocentric approach to the world: it not only opens to
new rewarding artistic practices, but it also fosters new ideas of
sustainable coexistence, new unusual life collaborations and
adaptations, and new forms of communications and languages.
September 26 – October 7, 2018
Baba Yaga Collective 906 Queen Street West @Crawford, Toronto
All the Buzz on Wild Bee Club!
Summer Speaker Series
Wed Sept 19 at 7pm
High Park Nature Centre,
All the Buzz on Wild Bee Club! – Summer Speaker Series
The speaker series will feature the club’s biologist/leader SUSAN FRYE.
A major component of this club will use the SONIC SOLITARIES AUDIO BEE
CABINET – an observable nest site for bees in OURSpace – to encompass a
sensory experience with stem nesting bees and wasps, and to record
weekly activity at the cabinet. Pairing magnified views in tandem with
amplified sound via headphones, the cabinet facilitates an enhanced
perception of its tiny inhabitants: solitary bees and wasps and other
nest biota in action, up close. As citizen scientists, we can gather and
record observations to compile them into a database that will contribute
to our growing understanding of native bees, the native (and non-native)
plants they use for food and nest material sources, their co-evolution,
and how pollination in a park and restored habitat setting is
facilitated by native bees.
Fri, Sept 21, 8pm
Music Gallery, 918 Bathurst (their new location) – Trio Wow & Flutter
with Bea Labikova, fujara, saxophones,
Kayla Milmine-Abbott, soprano saxophone,
Sarah Peebles, shō, cracklebox, amplifiers.
Call for Participants: Art+Tech Jam
ChangeUp’s Art+Tech Jam
This three days event will unite a diverse group of artists and
technologists in an intensive, collaborative three-day creation period
and culminating showcase (public exhibition and interdisciplinary rave).
ChangeUo is currently accepting applicants from tech and arts/culture
spaces of all ages, backgrounds, and experience levels.
Limited spots available.
For more information and to apply https://tinyurl.com/changeup-artsorg
I looked up Nanotopia and found it on SoundCloud. Happy listening!
Et Al III (the ultimate science bar night in Vancouver) and more
A September 12, 2018 Curiosity Collider announcement (received via email) reveals details about the latest cooperative event/bar night put on by three sciencish groups,
Curiosity Collider is bringing art + science to Vancouver’s Ultimate Bar Science Night with Nerd Nite & Science Slam
Do you enjoy learning about science in a casual environment? This is the third year that Curiosity Collider is part of Et al, the Ultimate Bar Science Night where we bring together awesome speakers and activities. Come and enjoy Curiosity Collider’s segment on quantum physics with Spoken Word Poet Angelica Poversky, Physicist James Day, and CC’s own Creative Director Char Hoyt.
When: Drinks and mingling start at 6:30pm. Presentations start at 7:30pm. Where:Rio Theatre, 1660 E Broadway, Vancouver, BC V5N 1W1 Cost:$15-20 via Eventbrite and at the door. Proceeds will be used to cover the cost of running this event, and to fund future science bar events.
Special Guest talk by Dr. Carin Bondar – Biologist with a Twist!
Dr. Carin Bondar is a biologist, author and philosopher. Bondar is author of the books Wild Sex and Wild Moms (Pegasus). She is the writer and host of an online series based on her books which have garnered over 100,000,000 views. Her TED talk on the subject has nearly 3 million views. She is host of several TV series including Worlds Oddest Animal Couples (Animal Planet, Netflix), Stephen Hawking’s Brave New World (Discovery World HD, National Geographic) and Outrageous Acts of Science (The Science Channel). Bondar is an adventurer and explorer, having discovered 11 new species of beetles and snails in the remote jungles of Borneo. Bondar is also a mom of 4 kids, two boys and two girls.
Vancouver Biennale is hosting Patricia Piccinini’s CURIOUS IMAGININGS at the Patricia Hotel. The exhibition will “challenge us to explore the social impacts of emerging biotechnology and our ethical limits in an age where genetic engineering and digital technologies are already pushing the boundaries of humanity.” Purchase tickets online.
Devoted readers 🙂 will note that the Vancouver Biennale’s Curious Imaginings show was featured here in a June 18, 2018 post and mentioned more recently in the context of a September 11, 2018 post on xenotransplantation.
Et Al III: The Ultimate Bar Science Night Curiosity Collider + Nerd Nite Vancouver + Science Slam Canada
POSTER BY: Armin Mortazavi IG:@Armin.Scientoonist
Et Al III: The Ultimate Bar Science Night
Curiosity Collider + Nerd Nite Vancouver + Science Slam Canada
Special Guest talk by Dr. Carin Bondar – Biologist with a Twist!
6:30pm – Doors open
6:30-7:30 Drinks, Socializing, Nerding
7:30pm-945pm Stage Show with two intermissions
You like science? You like drinking while sciencing? In Vancouver there are many options to get educated and inspired through science, art, and culture in a casual bar setting outside of universities. There’s Nerd Nite which focuses on nerdy lectures in the Fox Cabaret, Curiosity Collider which creates events that bring together artists and scientists, and Science Slam, a poetry-slam inspired science communication competition!
In this third installment of Et Al, we’re making the show bigger than ever. We want people to know all about the bar science nights in Vancouver, but we also want to connect all you nerds together as we build this community. We encourage you to COME DRESSED AS YOUR FAVOURITE SCIENTIST. We will give away prizes to the best costumes, plus it’s a great ice breaker. We’re also encouraging science based organizations to get involved in the show by promoting your institution. Contact Kaylee or Michael at firstname.lastname@example.org if your science organization would like to contribute to the show with some giveaways, you will get a free ticket, if you don’t have anything to give away, contact us anyway, we want this to be a celebration of science nights in Vancouver!
Dr. Carin Bondar is a biologist, author and philosopher. Bondar is author of the books Wild Sex and Wild Moms (Pegasus). She is writer and host of online series based on her books (Wild Sex and Wild Moms) which have garnered over 100,000,000 views. Her TED talk on the subject has nearly 3 million views. She is host of several TV series including Worlds Oddest Animal Couples (Animal Planet, Netflix), Stephen Hawking’s Brave New World (Discovery World HD, National Geographic) and Outrageous Acts of Science (The Science Channel). Bondar is an adventurer and explorer, having discovered 11 new species of beetles and snails in the remote jungles of Borneo. Bondar is also a mom of 4 kids, two boys and two girls.
Curiosity Collider Art Science Foundation promotes interdisciplinary collaborations that capture natural human curiosity. At the intersection of art, culture, technology, and humanity are innovative ways to communicate the daily relevance of science. Though exhibitions, performance events and our quarterly speaker event, the Collider Cafe we help create new ways to experience science.
In our opinion, there has never been a better time to be a Nerd! Nerd Nite is an event which is currently held in over 60 cities worldwide! The formula for each Nerd Nite is pretty standard – 20 minute presentations from three presenters each night, in a laid-back environment with lots to learn, and lots to drink!
Science Slam YVR is a community outreach organization committed to supporting and promoting science communication in Vancouver. Our Science Slams are informal competitions that bring together researchers, students, educators, and communicators to share interesting science in creative ways. Every event is different, with talks, poems, songs, dances, and unexpected surprises. Our only two rules? Each slammer has 5 minutes, and no slideshows are allowed! Slammers come to share their science, and the judges and audience decide their fate. Who will take away the title of Science Slam champion?
An art, science, and engineering festival in Calgary, Alberta, Beakerhead opens on September 19, 2018 and runs until September 23, 2018. Here’s more from the 2018 online programme announcement made in late July (?) 2018,
Giant Dung Beetle, Zorb Ball Racers, Heart Powered Art and More Set to Explode on Calgary Streets!
Quirky, fun adventures result when art, science and engineering collide at Beakerhead September 19 – 23, 2018.
In just seven weeks, enormous electric bolts will light up the sky in downtown Calgary when a crazy cacophony of exhibits and events takes over the city. The Beakerhead crew is announcing the official program lineup with tickets now available online for all ticketed events. This year’s extravaganza will include remarkable spectacles of art and science, unique activities, and more than 50 distinct events – many of which are free, but still require registration to get tickets.
The Calgary-born smash up of art, science and engineering is in its sixth year. Last year, more than 145,000 people participated in Beakerhead and organizers are planning to top that number in 2018.
“Expect conversations that start with “wow!” says Mary Anne Moser, President and Co-founder of Beakerhead. “This year’s lineup includes a lot of original concepts, special culinary events, dozens of workshops, shows and and tours.”
Beakerhead events take place indoors and out. Beakernight is science’s biggest ticketed street party and tickets are now on sale.
Highlights of Beakerhead 2018:
Light up the Night: Giant electric bolts will light up the night sky thanks to two 10-metre Tesla Coils built by a team of artists and engineers.
Lunch Without Light: This special Dark Table dining experience is led by a famous broadcaster and an esteemed neuroscientist.
Beakereats and Beakerbar: Dining is a whole new experience when chef and bartender become scientist! Creative Calgary chefs and mixologists experiment with a new theme in 2018: canola.
Four to Six on Fourth: Blocks of open-air experimentation including a human-sized hamster wheel, artists, performers, and hands-on or feet-on experiences like walking on liquid.
Beacons: This series of free neighbourhood installations is completely wild! There’s everything from a giant dung beetle to a 3.5 metre lotus that lights up with your heart beat.
Workshops: Learn the art of animation, understand cryptocurrency, meet famous scientists and broadcasters, make organic facial oil or a vegan carrot cake and much more.
Zorbathon: Get inside a zorb and cavort with family and friends in an oversized playground. Participate in rolling races, bump-a-thons, obstacle courses. Make a day of it.
Beakerhead takes place September 19 – 23, 2018 with the ticketed Beakernight on Saturday, September 22 at Fort Calgary.
Here’s a special shout out to Shaskatchewan`s Jean-Sébastien Gauthier and Brian F. Eames (featured here in a February 16, 2018 posting) and their free ‘Within Measure’ Sept. 19 – 23, 2018 event at Beakerhead.
Racism and social justice are two themes often found in the works featured at the Rennie Museum (formerly Rennie Collection). Local real estate marketer, Bob Rennie has been showing works there from his collection since at least 2009 when I wrote my first commentary about it (December 4, 2009).
Kerry James Marshall, the latest artist to have his work featured (June 2 – November 3, 2018), carries on the tradition while making those artistic ‘themes’ his own n a breathtaking (in both its positive and negative meanings) range of styles and media.
Rennie Museum presents a survey of works by Kerry James Marshall spanning thirty-two years of the artist’s career. Kerry James Marshall: Collected Works features pieces from the artist’s complex body of work, which interrogates the sparse historical presence of African-Americans through painting, sculpture, drawing and other media. …
The sculptural installation Untitled (Black Power Stamps) (1998) [emphasis mine], Marshall’s very first work acquired by Bob Rennie, aptly sets the tone of the exhibition. Five colossal stamps and their corresponding ink pads are dispersed over the floor of the museum’s four-story high gallery space. Inscribed on each stamp, and reiterated on the walls, are phrases of power dating back to the Civil Rights Movement: ‘Black is Beautiful’, ‘Black Power’, ‘We Shall Overcome’, ‘By Any Means Necessary’, and ‘Burn Baby Burn’. The sentiment reverberates through the three 18 feet (5.5 metre) wide paintings installed in the same room, respectively titled Untitled (Red) (2011), Untitled (Black) and Untitled (Green) (2012). Exhibited together for the first time in North America, the imposing paintings with their colours saluting the Pan African flag echo the form of Barnett Newman’s Who’s Afraid of Red, Yellow and Blue III (1967).
Commanding attention in the center of another room is Wake (2003-2005) [emphasis mine], a sculptural work that focuses on the collective trauma of slavery. Draped atop a blackened model sailboat is a web of medallions featuring portraits of descendants of the approximately twenty African slaves who first landed in Jamestown, Virginia in 1607. Atop a polished black base evoking the deep seas, the medallions cascade over and behind the mourning vessel in a gilded procession, cast out in the boat’s wake. The work commemorates an entire lineage of people whose lives have been irrevocably affected by the traumatic history of slavery in the United States, while simultaneously celebrating the resilience and vivacity of the culture that flourished from it.
Garden Party (2004-2013) [emphasis mine] is a long-coveted painting that Marshall re-worked over the course of almost ten years. Created in a style that harkens 19th century impressionist paintings, the work depicts a scene of leisure – an array of multi-ethnic friends and neighbours casually gathered in a backyard of a social housing project. Painted on a flat canvas tarp and hung barely off the floor, the image highlights an often-overlooked perspective of the vibrant everyday life in the projects and invites its viewers to join in the gathering.
In a dimmed room is Invisible Man (1986) [emphasis mine] – a historic work and one of the first to feature Marshall’s now iconic black on black tonal painting. Referencing Ralph Ellison’s 1952 novel of the same title, Marshall’s work literalizes the premise of black invisibility. Only distinguishable by his bright-white eyes and teeth, and the subtle warmth that delineates black body from black background, Marshall’s figure, like Ellison’s protagonist, subverts his own invisibility, using colour as an emblem of power rather than of submission. The work’s presentation at Rennie Museum provides an opportunity for viewers to explore the full mastery with which Kerry James Marshall layers his various shades of black.
As always, you book a tour or claim a space on a tour (here) to see the latest exhibition and are guided through the gallery spaces. What follows is a series of pictures depicting the Marshall pieces in that first room (from the Rennie Museum’s photographic documentation for Marshall’s work), Note: There are five pages of documentation and I encourage you to look at all five,
Heirlooms and Accessories, 2002. 3 inkjet prints on wove paper, rhinestone encrusted wooden artist’s frames each: 56 5/8 × 53 3/4 inches (144 × 137 cm) Courtesy: Rennie Museum
I’ve placed the pieces in the order in which I viewed them. Being at the opening event on June 2, 2018 meant that rather than having a tour, we were ‘invited’ to look at the pieces and ask questions of various ‘attendants’ standing nearby. The ‘Blot’, with all that colour, immediate drew my attention and not having read the title of the piece, I commented on its resemblance to a Rorschach Inkblot. It was my only successful guess of the visit and I continue to bask in it.
According to the attendant, in addition to resembling said inkblot, this piece also addresses abstract expressionism and the absence of African American visual artists from the movement. In this piece as with many others, Marshall finds a way to depict absence despite the paradox (a picture of absence) in terms.
‘Heirlooms and Accessories’ is an example of Marshall’s talent for depicting absence. At first glance the piece seems benign. There is a kind of double frame. The outermost frame is white and inside (abutting the artwork) a diamante braid has been added all around it to create a double frame. The braid is very pretty and accentuates the lockets depicted in the image. There are three white women pictured in their lockets and beneath those lockets and the white paint lay images of African Americans being lynched. The women, by the way, were complicit in the lynchings. It was deeply unsettling to learn this as my friend and I had just moments before been admiring the diamante braid.
Marshall’s work seems designed to force the viewer to look beneath the surface, which means stripping away layers, which with ‘Heirlooms’ means that you strip away the whitewashing.
As a white woman, the show is a profoundly disturbing experience. Marshall’s range of materials and mastery are breathtaking (in the positive sense) and the way he seduces the (white) viewer into coming closer and experiencing the painting, metaphorically speaking, as a mirror rather than a picture. Marshall has flipped the viewer’s experience making it impossible (or very difficult) to blame racism on other people while failing to recognize your own sins.
The third piece in the room, the sculpture is a representation of a standard of beauty still not often seen in popular culture in North America. Weirdly, it reminded me of something from a December 21, 2017 posting on the LaineyGossip blog,
[downloaded from http://www.laineygossip.com/princess-michael-of-kent-racist-jewelry-greets-meghan/48728]
I don’t know well you can see this, but it’s an example of ‘Blackamoor jewellery’. The woman wearing it is Princess Michael of Kent and at the time the picture was taken she was on her to a Christmas 2017 lunch with the Queen of England. The lunch is where she was to meet Meghan Markle who describes herself as a woman of mixed race and is now the Duchess of Sussex and married to the Queen’s grandson, Harry. For anyone unfamiliar with ‘Blackmoor art’ here’s a July 31, 2015 essay by Anneke Rautenbach for New York University,
… Blackamoors—a trope in Italian decorative art especially common in pieces of furniture, but also appearing in paintings, jewelry, and textiles. The motif emerged as an artistic response to the European encounter with the Moors—dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe during the Middle Ages. Commonly fixed in positions of servitude—as footmen or waiters, for example—the figures personify fantasies of racial conquest.
I trust Princess Michael was made to remove her brooch before entering the palace.
The contrast between Marshall’s sculpture emphasizing the dignity and beauty of the figure and the ‘jewellery’ is striking. The past, as Marshall reminds us, is always with us. From Rautenback’s July 31, 2015 essay (Note: A link has been removed),
Gaudy by nature, and uncomfortably dated—a bit like the American lawn jockey, or Aunt Jemima doll— … Blackamoors are still a thriving industry, with the United States as their no. 1 importer. (In fact, the figurines are especially popular in Texas and Connecticut—search “Blackamoor” online and you’ll find countless listings on eBay, Etsy, and elsewhere.) Unlike their American counterparts, which focus mostly on romanticizing scenes from the era of slavery, these European ornaments often depict black bodies as exotic noblemen. And not everyone considers them passé: As recently as September 2012, the Italian fashion house Dolce & Gabbana invited outrage when it included a caricatured black woman figurine on an earring as part of its spring/summer collection.
Encountering bias and (conscious or unconscious) racism in one’s self is both deeply chastening and a priceless gift. It’s one that comedienne Roseanne Barr seems determined to refuse (from a June 14, 2018 article by Marissa Martinelli for Slate.com (Note: Link have been removed),
Barr […] suggested on Thursday [June 14, 2018] that it is only “low IQ” people who would interpret describing a black woman as “Muslim Brotherhood & planet of the apes had a baby” as racist. The real explanation is apparently much deeper:
Roseanne BarrVerified account@therealroseanne
Rod Serling wrote Planet of The Apes. It was about anti-semitism. That is what my tweet referred to-the anti semitism of the Iran deal. Low IQ ppl can think whatever they want.
8:08 PM – 13 Jun 2018
Low IQ people and Rod Serling’s screenwriting join Ambien and Memorial Day on the growing list of entities that Barr has used to justify the racist tweet over the past two weeks. The one person whose name you will not find on that list of people responsible for what Roseanne Barr said is Roseanne Barr herself.
Even with such an obvious tweet, Barr can’t (consistently) admit to and (consistently) apologize for her comment. It may not seem like a gift to her but it is. Facing up to one’s sins and making reparation can help heal the extraordinary wounds that Marshall is making visible.
You may have noticed that I called this show ‘a song of racism’. It’s a reference to poetry which in ancient times was sometimes referred to as a song (Song of Solomon, anyone?). It was also a narrative instrument, i. e., used for storytelling for an active, participatory audience.
Marshall tells a story in allusive language (like poetry) and tricks/seduces you into participating.
On that note, I have one last story to tell and it’s about the placement of Marshall’s artworks in the first floor room. It’s my story, yours and Marshall’s might be different but he has inspired me and so …
The ‘Blot’ or Rorschach Inkblot is a test, which tells a psychologist something about you and how you apprehend the world. It’s the first piece you see when you enter the Rennie Museum space and it sets the tone for all that is to come. What you see says much about you.
The women, in the sculpture and the lockets, provide contrast and, depending on your race, hold a mirror to you. What is ‘other’ and what is ‘you’?
There was religious imagery in much of Marshall’s work elsewhere and I was particularly struck with the hearts that appeared in some of his paintings. I was reminded of the ‘sacred heart’, a key piece of religious iconography usually associated with Roman Catholicism although other religions also use the imagery.
It is a symbol of love and compassion although I’ve always associated it more with guilt. (My mother favoured the version featuring the heart pierced with a crown of thorns.)
Getting back to “What is ‘other’ and what is ‘you’?” Marshall seems to be hinting that after guilt and suffering, forgiveness is possible.
That’s my story and I’m sticking to it.
As for Marshall, he is a thoughtful artist asking some difficult questions. I hope you’ll get a chance to see his work at the Rennie Museum. As I write this, every tour through June is completely booked and first set of July tours is getting booked fast. You’d best keep an eagle eye on the Visit page.
ETA June18, 2018: Kerry James Marshall was in Vancouver and gave this talk about his work just prior to the show’s opening: https://vimeo.com/274179397 (It runs for roughly 1 hr. and 49 minutes.)
A March 22, 2018 EuroScience Open Forum (ESOF) 2018 announcement (received via email) trumpets some of the latest news for this event being held July 9 to July 14, 2018 in Toulouse, France. (Located in the south in the region known as the Occitanie, it’s the fourth largest city in France. Toulouse is situated on the River Garonne. See more in its Wikipedia entry.) Here’s the latest from the announcement,
ESOF 2018 Plenary Sessions
Top speakers and hot topics confirmed for the Plenary Sessions at ESOF 2018
Lorna Hughes, Professor at the University of Glasgow, Chair of the Europeana Research Advisory Board, will give a plenary keynote on “Digital humanities”. John Ioannidis, Professor of Medicine and of Health Research and Policy at Stanford University, famous for his PLoS Medicine paper on “Why most Published Research Findings are False”, will talk about “Reproducibility”. A third plenary will involve Marìa Teresa Ruiz, a Chilean astronomer and the 2017 L’Oreal UNESCO award for Women in Science: she will talk about exoplanets.
ESOF under the spotlights
French President’s high patronage: ESOF is at the top of the institutional agendas in 2018.
“Sharing science”. But also putting science at the highest level making it a real political and societal issue in a changing world. ESOF 2018 has officially received the “High Patronage” from the President of the French Republic Emmanuel Macron. ESOF 2018 has also been listed by the French Minister for Europe and Foreign Affairs among the 27 priority events for France.
A constellation of satellites around the ESOF planet!
Second focus on Satellite events:
– 4th GEO Blue Planet Symposium organised 4-6 July by Mercator Ocean.
– ECSJ 2018, 5th European Conference of Science Journalists, co-organised by the French Association of Science Journalists in the News Press (AJSPI) and the Union of European Science Journalists’ Associations (EUSJA) on 8 July.
– Esprit de Découvertes (Discovery spirit) organised by the Académie des Sciences, Inscriptions et Belles Lettres de Toulouse on 8 July.
More Satellite events to come! Don’t forget to stay long enough in order to participate in these focused Satellite Events and … to discover the city.
A unique feature of ESOF is the Science meets Poetry day, which is held at every Forum and brings poets and scientists together.
Indeed, there is today a real artistic movement of poets connected with ESOF. Famous participants from earlier meetings include contributors such as the late Seamus Heaney, Roald Hoffmann [sic] Jean-Pierre Luminet and Prince Henrik of Denmark, but many young and aspiring poets are also involved.
The meeting is in two parts:
lectures on subjects involving science with poetry
a poster session for contributed poems
There are competitions associated with the event and every Science meets Poetry day gives rise to the publication of Proceedings in book form.
In Toulouse, the event will be staged by EuroScience in collaboration with the Académie des Jeux Floraux of Toulouse, the Société des Poètes Français and the European Academy of Sciences Arts and Letters, under patronage of UNESCO. The full programme will be announced later, but includes such themes as a celebration of the number 7 in honour of the seven Troubadours of Toulouse, who held the first Jeux Floraux in the year 1323, Space Travel and the first poets and scientists who wrote about it (including Cyrano de Bergerac and Johannes Kepler), from Metrodorus and Diophantes of Alexandria to Fermat’s Last Theorem, the Poetry of Ecology, Lafayette’s ship the Hermione seen from America and many other thought-provoking subjects.
The meeting will be held in the Hôtel d’Assézat, one of the finest old buildings of the ancient city of Toulouse.
Exceptionally, it will be open to registered participants from ESOF and also to some members of the public within the limits of available space.
Tentative Programme for the Science meets Poetry day on the 12th of July 2018
(some Speakers are still to be confirmed)
09:00 – 09:30 A welcome for the poets : The legendary Troubadours of Toulouse and the poetry of the number 7 (Philippe Dazet-Brun, Académie des Jeux Floraux)
09:30 – 10:00 The science and the poetry of violets from Toulouse (Marie-Thérèse Esquerré-Tugayé Laboratoire de Recherche en Sciences Végétales, Université Toulouse III-CNRS)
10:00 –10:30 The true Cyrano de Bergerac, gascon poet, and his celebrated travels to the Moon (Jean-Charles Dorge, Société des Poètes Français)
10:30 – 11:00 Coffee Break (with poems as posters)
11:00 – 11:30 Kepler the author and the imaginary travels of the famous astronomer to the Moon. (Uli Rothfuss, die Kogge International Society of German-language authors )
11:30 – 12:00 Spoutnik and Space in Russian Literature (Alla-Valeria Mikhalevitch, Laboratory of the Russian Academy of Sciences Saint-Petersburg)
12:00 – 12:30 Poems for the planet Mars (James Philip Kotsybar, the ‘Bard of Mars’, California and NASA USA)
12:30 – 14:00 Lunch and meetings of the Juries of poetry competitions
14:00 – 14:30 The voyage of the Hermione and « Lafayette, here we come ! » seen by an American poet (Nick Norwood, University of Columbus Ohio)
14:30 – 15:00 Alexandria, Toulouse and Oxford : the poem rendered by Eutrope and Fermat’s Last Theorem (Chaunes [Jean-Patrick Connerade], European Academy of Sciences, Arts and Letters, UNESCO)
15:00 –15:30 How biology is celebrated in contemporary poetry (Assumpcio Forcada, biologist and poet from Barcelona)
15:30 – 16:00 A book of poems around ecology : a central subject in modern poetry (Sam Illingworth, Metropolitan University of Manchester)
16:00 – 16:30 Coffee break (with poems as posters)
16:30 – 17:00 Toulouse and Europe : poetry at the crossroads of European Languages (Stefka Hrusanova (Bulgarian Academy and Linguaggi-Di-Versi)
17:00 – 17:30 Round Table : seven poets from Toulouse give their views on the theme : Languages, invisible frontiers within both science and poetry
17:30 – 18:00 The winners of the poetry competitions are announced
18:00 – 18:15 Chaunes. Closing remarks
I’m fascinated as in all the years I’ve covered the European City of Science events I’ve never before tripped across a ‘Science meets Poetry’ meeting. Sadly, there’s no contact information for those organizers. However, you can sign up for a newsletter and there are contacts for the larger event, European City of Science or as they are calling it in Toulouse, the Science in the City Festival,
Camille Rossignol (Toulouse Métropole)
+33 (0)5 36 25 27 83
François Lafont (ESOF 2018 / So Toulouse)
+33 (0)5 61 14 58 47
Travel grants for media types
One last note and this is for journalists. It’s still possible to apply for a travel grant, which helps ease but not remove the pain of travel expenses. From the ESOF 2018 Media Travel Grants webpage,
ESOF 2018 – ECSJ 2018 Travel Grants
The 5th European Conference of Science Journalists (ECSJ2018) is offering 50 travel + accommodation grants of up to 400€ to international journalists interested in attending ECSJ and ESOF.
We are looking for active professional journalists who cover science or science policy regularly (not necessarily exclusively), with an interest in reflecting on their professional practices and ethics. Applicants can be freelancers or staff, and can work for print, web, or broadcast media.
Springer Nature is a leading research, educational and professional publisher, providing quality content to its communities through a range of innovative platforms, products and services and is home of trusted brands including Nature Research.
Nature Research has supported ESOF since its very first meeting in 2004 and is funding the Nature Travel Grant Scheme for journalists to attend ESOF2018 with the aim of increasing the impact of ESOF. The Nature Travel Grant Scheme offers a lump sum of £400 for journalists based in Europe and £800 for journalists based outside of Europe, to help cover the costs of travel and accommodation to attend ESOF2018.
There are a couple of events coming up in April and an opportunity to submit your work for inclusion in a Curiosity Collider event or two. There’s also a Science Writers and Communicators conference being held from April 12 – 15, 2018. All of this is happening in Vancouver, Canada.
Curiosity Collider events, etc.
Colliding with the Quantum
From a March 23, 2018 announcement (received via email) from CuriosityCollider.org,
MOA [Museum of Anthropology] Night Shift: Quantum Futures
In the quantum realm, what is observable and what is not? What happens when we mix art and science?
Join us at UBC Museum of Anthropology on the evening of April 5  and immerse yourself in quantum physics through dance, spoken word, projection sculpture, virtual reality, and hands-on activities.
Doors/Bar/Art & Science Activities 6 pm | Live Show 7:30 pm | Entry with museum admission ($10; free for UBC students & staff, Indigenous peoples, children under 6, and MOA Members)| Family Friendly
This event is curated by Curiosity Collider Creative Managing Director Char Hoyt.
The artwork gathered together for this event is a delightful blending of some of the most famous theories in Quantum Mechanics with both traditional and new artistic practices. When science is filtered through a creative expression it can both inspire and reveal new ways of seeing and understanding the concepts within. Our performers have crafted thoughtful experiences through dance, spoken word, sound, and light, that express the weirdness of the quantum realm and how it is reflected in our daily lives. We have also worked closely with scientists to develop hands-on activities that embody the same principles to create experiences that engage your creativity in understanding the quantum world. We encourage you to interact with the artists and scientists and let their work guide you through the quantum realm.
Most of these folks are associated with the Quantum Matter Institute.
Call for submissions
From a March 23, 2018 announcement (received via email) from CuriosityCollider.org,
Call for Submissions:
Women in STEM Exhibition
Interstitial: Science Innovations by Canadian Women is a two-week exhibition (June 1-14) and events showcasing work by female artists featuring women in STEM. We are looking for one more 2D artist/illustrator to join the exhibition and will accept existing work. Deadline April 6. To submit, visit our website.
I found more information about this event at something called allevents.in/vancouver,
SciComm Social with SWCC and STAN
Science Writers and Communicators of Canada (SWCC) and Science Technology Awareness Network (STAN) are hosting their annual conferences in Vancouver in April. This joint reception event featuring #scicomm and #sciart is free for conference delegates and also open to the public … . [emphasis mine]
Friends, family, and fans of science communication & communicators welcome!
This evening event will include performances and activities from:
* Beakerhead – Power Point Karaoke, hosted by Banff SciComm/Beakerhead alumni: A deck of slides is provided. Brave participants, who have never seen the slides before, improvise the talk. Hilarity ensues, egged on by an enthusiastic audience.
* Curiosity Collider – #sciart silent auction, stage performances, and art installation
* SFU Applied Sciences – interactive technology exhibits
* Science Slam Canada – Whether it’s a talk, a poem, a song, a dance, or something completely unexpected, the possibilities are endless. Our only two rules? Five minute slams, and no slideshows allowed!
Get your tickets – available until April 10! This is a 19+ event. Performances starting at 7:30, doors at 7 pm.
Science Writers and Communicators Conference in Vancouver from April 12 – 15, 2018
Before getting to the costs here a couple of peeks at the programme. First, there’s a March 25, 2018 posting on the SWCC blog by Ashley EM Miller about one of the conference sessions,
Art can be a way to engage the public with science through the the simple fact that novelty sparks curiosity. Artists in the emerging field of sci-art utilize science concepts, methods, principles and information within their practice. Their art, along with the work of science illustrators, can facilitate a deeper emotional connection to science, particularly in those who don’t regularly pay attention or feel welcome.
However, using artwork in science communication is not as simple as inserting a picture into a body of text and referencing the artist in MLA style.
For those coming from the sciences, citing your sources, as laborious as that may be, is a given. While that is fine for incorporating information, that isn’t always adequate for artwork. In the art world, artists know how to ask other artists to use their work. If a scientist or science communicator does not have an “in” with the art community, they may not know where to find legal information about using art.
The session boasts a well-rounded panel. Attendees will gain insights on aspects of the art world with panelists Kate Campbell, a science illustrator, and Steven J. Barnes, a psychologist and artist. Legal and ethical considerations will be provided by Lawrence Chan, an intellectual property lawyer, and April Britski, the National Executive Director of Canadian Artists’ Representation/Le Front des artistes canadiens (CARFAC). For those unfamiliar, CARFAC is a federal organization that acts as a voice for visual artists in Canada and outlines minimum fee guidelines among other things.
Science communicators and bloggers will certainly benefit from the session, particularly early-career freelancers. When working independently, there are no organizational policies and procedures in place for you to follow. It means that you have to check everything yourself, and this session will give you a crash course of what to look for in artist collaborations, what to ask and how to ask it. Even researchers will benefit from the discussion, by learning about the opportunities for working with science illustrators and about what to expect.
There’s a programme schedule for the 2018 conference here and it includes both an “At a glance’ version and a more fulsome description of the various sessions such as these,
THURSDAY APRIL 12
Act your Science – Interactive Improvisation Training
10:00 am – 12:00 pm Innovation Lab
Come and share a taste of a communication program developed by Jeff Dunn, in collaboration with SWCC, theLoose Moose Theatre in Calgary and the University of Calgary. The goal of this presentation is to provide a taste of how improvisation can be used to improve communication skills in science fields. This hands-on exercise will help participants build capacity to communicate science to various audiences by learning how to fail gracefully in public (to help reduce presentation anxiety), how to connect with your audience and how to recognize and use status in personal interactions.
The full program is 10hrs of training, in this shorter session, we will sample the program in a fun interactive environment. Be prepared to release your inner thespian. Space is limited to 20 people
Jeff Dunn has been a research scientist in brain and imaging for over 30 years. He has a strong interest in mentoring science trainees to broaden their career skills and has recently been developing programs to improve science communication. One class, gaining traction, is “Act your Science”, a custom designed course using improvisation to improving science communication skills for science trainees. He is an alumni of the Banff Science Communication program where he first experienced improvisation training for science. He has held a Canada Research Chair and has Directed the Experimental Imaging Centre at the University of Calgary since 2004. He has over 150 science publications in diverse journals ranging from Polar Biology to the Journal of Neurotrauma. He has supervised scores of graduate students and taught on subjects including MRI, optical imaging and brain physiology at altitude. His imaging research currently includes multiple sclerosis, brain cancer and concussion.
Video Booth: How I SciComm – go ahead and tell all, we want to know!
Available 10:am – 2:30pm: Exploration Lab
A camera team will be on hand to help you record and upload your 1 minute video about who you are, and how you do your science communications. Here are some questions for you to think about:
1. Who are you?
2. How do you do your science communications?
3. What’s your favourite science trivia? What’s something cool you learned when researching a story? What’s your favourite jargon? What’s a word you had to memorizing pronunciation or spelling for a story
A Community of Innovators: 50 Years of TRIUMF
2:30 -3:30 pm Science Theatre
Ask TRIUMF’s spirited founders and emeriti about the humble beginnings of Canada’s particle accelerator centre and you will invariably hear: “This used to be just a big pile of dirt.” You could imagine TRIUMF’s founding members five decades ago standing at the edge of the empty lot nestled between the forest and the sea, contemplating possibilities. But not even TRIUMF’s founders could have imagined the twists and turns of the lab’s 50-year journey, nor the impact that the lab would have on the people of Canada and the world.
Today, on that same 12.8-acre plot of land, TRIUMF houses world-leading research and technology, and fuels Canada’s collective imagination for the future of particle and nuclear physics and accelerator science. Join TRIUMF’s Director Jonathan Bagger and colleagues for an exploration of TRIUMF’s origins, impacts, and possibilities – a story of collaboration that over five decades celebrates a multifaceted community and growing family of 20 Canadian member universities and partners from around the world.www.triumf50.com @TRIUMFlab
FRIDAY, APRIL 13
Frontiers in SciComm Policy & Practice
Canada 2067 – Building a national vision for STEM learning
10:30 Room 1900
Canada 2067 is an ambitious initiative to develop a national vision and goals for youth learning in science, technology, engineering and math (STEM). Significant and scalable changes in education can be achieved by aligning efforts towards shared goals that support all children and youth in Canada. A draft framework has been developed that builds on research into global policy, broad-based public input, five youth summits, consultation with millennials and a national leadership conference. It calls for action by diverse stakeholders including students, educators, parents, community organizations, industry and all levels of governments. In this workshop, participants will learn about the initiative and discuss the inherent challenges of catalyzing education change in Canada. Participants will also review the framework and provide feedback that will be incorporated into the final version of the Canada 2067 framework. Input into the design of phase 2 will also be encouraged.
Bonnie Schmidt, C.M., Ph.D.
Founder and President, Let’s Talk Science
Dr. Bonnie Schmidt is the founder and president of Let’s Talk Science, a national charitable organization that helps Canadian youth prepare for future careers and citizenship roles by supporting their engagement in science, technology, engineering and math (STEM). Annually, Let’s Talk Science is accessed by more than 40% of schools in over 1,700 communities, impacting nearly 1 million youth. More than 3,500 volunteers at 45 post-secondary sites form our world-class outreach network. Bonnie currently serves as Chair of the National Leadership Taskforce on Education & Skills for the Information and Communications Technology Council (ICTC) and is on the Board of Governors of the University of Ontario Institute of Technology (UOIT). She was named a Member of the Order of Canada in 2015 and has received an Honorary Doctorate (Ryerson University), the Purvis Memorial Award (Chemical Institute of Canada), Community Service Award (Life Sciences Ontario), and a Queen’s Diamond Jubilee Award. @BMSchmidt
Infographics: Worth a Thousand Words with Kate Broadly and Sonya Odsen
1:15 Room 1520
Infographics have become a popular way to present results to non-specialist audiences, and they are a very effective tool for sharing science on social platforms. Infographics are more likely to be shared online, where they increase engagement with scientific content on platforms like Twitter.
No art skills? No problem! This session will guide you through the process of creating your own infographic, from crafting your story to telling that story visually, and will include strategies to design effective visuals without having to draw (unless you want to!). Topics will include developing your key messages, making your visuals functional rather than decorative, tips for giving your visuals a professional edge, and the best software options for each artistic skill level. Our goal is to empower you to create a visually-pleasing infographic regardless of your art or drawing experience. At the end of this active session, you will have a draft of your own unique infographic ready to be made digital.
The skills you develop during this session will be readily transferable to other visual media, such as talks, posters, or even creating visuals for blog posts.
Kate Broadley and Sonya Odsen are Science Communicators with Fuse Consulting. Located in Edmonton, Alberta, Fuse is dedicated to communicating cutting-edge research to different audiences in creative and innovative ways. Their ultimate goal is to bring knowledge to life and empower audiences to apply that knowledge in policy, conservation, research, and their day-to-day lives. Every day, Kate and Sonya tackle complex topics and transform them for specific audiences through writing and design. Infographics are one of their favourite tools for conveying information in fun and accessible ways. Their past and current design projects include interpretive signage for Nature Conservancy Canada, twitter-optimized visual abstracts for the Applied Conservation Ecology lab at the University of Alberta, and a series of science-inspired holiday cards. You can see examples of their work at http://www.fuseconsulting.ca/see-our-work/. Kate and Sonya are also ecologists by training, each holding an M.Sc. from the University of Alberta.
Should this excite your interest, get going as registration ends March 29, 2018. Here are the rates and the registration link is at the end,
Awkwardly named as it is, the Women in Communications and Technology BC Chapter (WCTBC) has been reinvigorated after a moribund period (from a Feb. 21, 2018 posting by Rebecca Bollwitt for the Miss 604 blog),
There’s an exciting new organization and event series coming to Vancouver, which will aim to connect, inspire, and advance women in the communications and technology industries. I’m honoured to be on the Board of Directors for the newly rebooted Women in Communications and Technology, BC Chapter (“WCTBC”) and we’re ready to announce our first event!
Women in Debate: Is Technology Taking Our Jobs?
When: Tuesday, March 6, 2018 at 5:30pm Where: BLG – 200 Burrard, 1200 Waterfront Centre, Vancouver Tickets:Register online today. The cost is $25 for WCT members and $35 for non-members.
Automation, driven by technological progress, has been expanding for the past several decades. As the pace of development increases, so has the urgency in the debate about the potential effects of automation on jobs, employment, and human activity. Will new technology spawn mass unemployment, as the robots take jobs away from humans? Or is this part of a cycle that predates even the Industrial Revolution in which some jobs will become obsolete, while new jobs will be created?
ntelligence Squared is the world’s premier forum for debate and intelligent discussion. Live and online we take you to the heart of the issues that matter, in the company of some of the world’s sharpest minds and most exciting orators.
Intelligence Squared Live
Our events have captured the imagination of public audiences for more than a decade, welcoming the biggest names in politics, journalism and the arts. Our celebrated list of speakers includes President Jimmy Carter, Stephen Fry, Patti Smith, Richard Dawkins, Sean Penn, Marina Abramovic, Werner Herzog, Terry Gilliam, Anne Marie Slaughter, Reverend Jesse Jackson, Mary Beard, Yuval Noah Harari, Jonathan Franzen, Salman Rushdie, Eric Schmidt, Richard Branson, Professor Brian Cox, Nate Silver, Umberto Eco, Martin Amis and Grayson Perry.
“Earlier this month [October 2017?], Christin Wiedemann and Briana Sim, co-Chairs of the BC Chapter of WCT, attended a Women in IoT [Internet of Things] event in Vancouver. The event was organized by the GE Women’s Network and TELUS Connections, with WCT as an event partner. The event sold out after only two days, and close to 200 women attended.
Five female panelists representing different backgrounds and industries talked about the impact IoT is having on our lives today, and how they think IoT fits into the future of the technology landscape. Christin facilitated the Q&A portion of the event, and had an opportunity to share that the BC chapter is rebooting and hopes to launch a kickoff event later in November”
Coincidentally or not, there’s a major series of events being offered by Simon Fraser University’s (SFU; located in Vancouver, British Columbia, Canada) Public Square Programme in their 2018 Community Summit Series titled: Brave New Work; How can we thrive in the changing world of work? which takes place February 26, 2018 to March 7, 2018.
There’s not a single mention (!!!!!) of Brave New World (by Aldous Huxley) in what is clearly word play based on this man’s book.
The 2018 Community Summit, Brave New Work, invites us to consider how we can all thrive in the changing world of work.
Technological growth is happening at an unprecedented rate and scale, and it is fundamentally altering the way we organize and value work. The work we do (and how we do it) is changing. One of the biggest challenges in effectively responding to this new world of work is creating a shared understanding of the issues at play and how they intersect. Individuals, businesses, governments, educational institutions, and civil society must collaborate to construct the future we want.
The future of work is here, but it’s still ours to define. From February 26th to March 7th, we will convene diverse communities through a range of events and activities to provoke thinking and encourage solution-finding. We hope you’ll join us.
The New World of Work: Thriving or Surviving?
As part of its 2018 Community Summit, Brave New Work, SFU Public Square is proud to present, in partnership with Vancity, an evening with Van Jones and Anne-Marie Slaughter, moderated by CBC’s Laura Lynch at the Queen Elizabeth Theatre.
Van Jones and Anne-Marie Slaughter, two leading commentators on the American economy, will discuss the role that citizens, governments and civil society can play in shaping the future of work. They will explore the challenges ahead, as well as how these challenges might be addressed through green jobs, emergent industries, education and public policy.
Join us for an important conversation about how the future of work can be made to work for all of us.
Are you a member of Vancity? As one of the many perks of being a Vancity member, you have access to a free ticket to attend the event. For your free ticket, please visit Vancity for more information. There are a limited number of seats reserved for Vancity members, so we encourage you to register early.
Tickets are now on sale, get yours today!
Future of Work in Canada: Emerging Trends and Opportunities
What are some of the trends currently defining the new world of work in Canada, and what does our future look like? What opportunities can be seized to build more competitive, prosperous, and inclusive organizations? This mini-conference, presented in partnership with Deloitte Canada, will feature panel discussions and presentations by representatives from Deloitte, Brookfield Institute for Innovation & Entrepreneurship, Vancity, Futurpreneur, and many more.
Work in the 21st Century: Innovations in Research
Research doesn’t just live in libraries and academic papers; it has a profound impact on our day to day lives. Work in the 21st Century is a dynamic evening that showcases the SFU researchers and entrepreneurs who are leading the way in making innovative impacts in the new world of work.
This lecture will examine the question of basic income (BI). A neoliberal version of BI is being considered and even developed by a number of governments and institutions of global capitalism. This form of BI could enhance the supply of low wage precarious workers, by offering a public subsidy to employers, paid for by cuts to others areas of social provision.
ReframeWork is a national gathering of leading thinkers and innovators on the topic of Future of Work. We will explore how Canada can lead in forming new systems for good work and identify the richest areas of opportunity for solution-building that affects broader change.
The Urban Worker Project Skillshare
The Urban Worker Project Skillshare is a day-long gathering, bringing together over 150 independent workers to lean on each other, learn from each other, get valuable expert advice, and build community. Join us!
SFU City Conversations: Making Visible the Invisible
Are outdated and stereotypical gender roles contributing to the invisible workload? What is the invisible workload anyway? Don’t miss this special edition of SFU City Conversations on intersectionality and invisible labour, presented in partnership with the Simon Fraser Student Society Women’s Centre.
Climate of Work: How Does Climate Change Affect the Future of Work
What does our changing climate have to do with the future of work? Join Embark as they explore the ways our climate impacts different industries such as planning, communications or entrepreneurship.
Symposium: Art, Labour, and the Future of Work
One of the key distinguishing features of Western modernity is that the activity of labour has always been at the heart of our self-understanding. Work defines who we are. But what might we do in a world without work? Join SFU’s Institute for the Humanities for a symposium on art, aesthetics, and self-understanding.
Worker Writers and the Poetics of Labour
If you gave a worker a pen, what would they write? What stories would they tell, and what experiences might they share? Hear poetry about what it is to work in the 21st century directly from participants of the Worker Writers School at this free public poetry reading.
Creating a Diverse and Resilient Economy in Metro Vancouver
This panel conversation event will focus on the future of employment in Metro Vancouver, and planning for the employment lands that support the regional economy. What are the trends and issues related to employment in various sectors in Metro Vancouver, and how does land use planning, regulation, and market demand affect the future of work regionally?
Preparing Students for the Future World of Work
This event, hosted by CACEE Canada West and SFU Career and Volunteer Services, will feature presentations and discussions on how post-secondary institutions can prepare students for the future of work.
Work and Purpose Later in Life
How is the changing world of work affecting older adults? And what role should work play in our lives, anyway? This special Philosophers’ Cafe will address questions of retirement, purpose, and work for older adults.
Beyond Bitcoin: Blockchain and the Future of Work
Blockchain technology is making headlines. Enthusiastic or skeptic, the focus of this dialogue will be to better understand key concepts and to explore the wide-ranging applications of distributed ledgers and the implications for business here in BC and in the global economy.
Building Your Resilience
Being a university student can be stressful. This interactive event will share key strategies for enhancing your resilience and well-being, that will support your success now and in your future career.
We may not be working because of robots (no mention of automation in the SFU descriptions?) but we sure will talk about work-related topics. Sarcasm aside, it’s good to see this interest in work and in public discussion although I’m deeply puzzled by SFU’s decision to seemingly ignore technology, except for blockchain. Thank goodness for WCTBC. At any rate, I’m often somewhat envious of what goes on elsewhere so it’s nice to see this level of excitement and effort here in Vancouver.
The University of Waterloo Art Gallery (UWAG) has partnered with Bridges to create an exhibition of five local artists who explore mathematical themes in their work. The exhibition runs concurrently with the conference.
A session of invited readings of poetry exploring mathematical themes, in a wide range of styles. Attendees will also be invited to share their own poetry in an open mic session. A printed anthology will be available at the conference.
A longstanding tradition at Bridges—a casual variety show in which all conference participants are invited to share their talents, musical or otherwise, with a brief performance.
I have some more details about the exhibition at the University of Waterloo Art Gallery (UWAG) from a July 19, 2017 ArtSci Salon notice received via email,
P A S S A G E + O B S T A C L E
LAURA DE DECKER
ANDREW JAMES SMITH
OPEN DAILY: 12–5 PM
EXHIBITION RECEPTION: FRIDAY JULY 28, 5–8 PM
PRESENTED IN COOPERATION WITH BRIDGES WATERLOO 2017
PASSAGE + OBSTACLE features a selection of work by multidisciplinary
area artists Patrick Cull, Paul Dignan, Laura De Decker, Soheila
Esfahani, and Andrew James Smith. Sharing a rigorous approach to
materials and subject matter, their artworks parallel Bridges’ stated
goal to explore “mathematical connections in art, music, architecture,
education and culture”. The exhibition sets out to complement and
expand on the theme by contrasting subtle and overt links between the
use of geometry, pattern, and optical effects across mediums ranging
from painting and installation to digital media. Using the bridge as a
metaphor, the artworks can be appreciated as a means of getting from A
to B by overcoming obstructions, whether perceptual or otherwise.
EXHIBITION IS FREE AND OPEN TO BOTH CONFERENCE VISITORS AND THE PUBLIC
University of Waterloo Art Gallery
East Campus Hall 1239
519.888.4567 ext. 33575
This would usually be a simple event announcement but with the advent of a new, related (in my mind if no one else’s) development on Facebook, this has become a roundup of sorts.
Facebotlish (Facebook’s chatbots create their own language)
The language created by Facebook’s chatbots, Facebotlish, was an unintended consequence—that’s right Facebook’s developers did not design a language for the chatbots or anticipate its independent development, apparently. Adrienne LaFrance’s June 20, 2017 article for theatlantic.com explores the development and the question further,
Something unexpected happened recently at the Facebook Artificial Intelligence Research lab. Researchers who had been training bots to negotiate with one another realized that the bots, left to their own devices, started communicating in a non-human language.
In order to actually follow what the bots were saying, the researchers had to tweak their model, limiting the machines to a conversation humans could understand. (They want bots to stick to human languages because eventually they want those bots to be able to converse with human Facebook users.) …
Here’s what the language looks like (from LaFrance article),
Here’s an example of one of the bot negotiations that Facebook observed:Bob: i can i i everything else . . . . . . . . . . . . . . Alice: balls have zero to me to me to me to me to me to me to me to me to Bob: you i everything else . . . . . . . . . . . . . . Alice: balls have a ball to me to me to me to me to me to me to me Bob: i i can i i i everything else . . . . . . . . . . . . . . Alice: balls have a ball to me to me to me to me to me to me to me Bob: i . . . . . . . . . . . . . . . . . . . Alice: balls have zero to me to me to me to me to me to me to me to me to Bob: you i i i i i everything else . . . . . . . . . . . . . . Alice: balls have 0 to me to me to me to me to me to me to me to me to Bob: you i i i everything else . . . . . . . . . . . . . . Alice: balls have zero to me to me to me to me to me to me to me to me to
It is incomprehensible to humans even after being tweaked, even so, some successful negotiations can ensue.
Facebook’s researchers aren’t the only one to come across the phenomenon (from LaFrance’s article; Note: Links have been removed),
Other AI researchers, too, say they’ve observed machines that can develop their own languages, including languages with a coherent structure, and defined vocabulary and syntax—though not always actual meaningful, by human standards.
In one preprint paper added earlier this year  to the research repository arXiv, a pair of computer scientists from the non-profit AI research firm OpenAI wrote about how bots learned to communicate in an abstract language—and how those bots turned to non-verbal communication, the equivalent of human gesturing or pointing, when language communication was unavailable. (Bots don’t need to have corporeal form to engage in non-verbal communication; they just engage with what’s called a visual sensory modality.) Another recent preprint paper, from researchers at the Georgia Institute of Technology, Carnegie Mellon, and Virginia Tech, describes an experiment in which two bots invent their own communication protocol by discussing and assigning values to colors and shapes—in other words, the researchers write, they witnessed the “automatic emergence of grounded language and communication … no human supervision!”
The implications of this kind of work are dizzying. Not only are researchers beginning to see how bots could communicate with one another, they may be scratching the surface of how syntax and compositional structure emerged among humans in the first place.
LaFrance’s article is well worth reading in its entirety especially since the speculation is focused on whether or not the chatbots’ creation is in fact language. There is no mention of consciousness and perhaps this is just a crazy idea but is it possible that these chatbots have consciousness? The question is particularly intriguing in light of some of philosopher David Chalmers’ work (see his 2014 TED talk in Vancouver, Canada: https://www.ted.com/talks/david_chalmers_how_do_you_explain_consciousness/transcript?language=en runs roughly 18 mins.); a text transcript is also featured. There’s a condensed version of Chalmers’ TED talk offered in a roughly 9 minute NPR (US National Public Radio) interview by Gus Raz. Here are some highlights from the text transcript,
So we’ve been hearing from brain scientists who are asking how a bunch of neurons and synaptic connections in the brain add up to us, to who we are. But it’s consciousness, the subjective experience of the mind, that allows us to ask the question in the first place. And where consciousness comes from – that is an entirely separate question.
DAVID CHALMERS: Well, I like to distinguish between the easy problems of consciousness and the hard problem.
RAZ: This is David Chalmers. He’s a philosopher who coined this term, the hard problem of consciousness.
CHALMERS: Well, the easy problems are ultimately a matter of explaining behavior – things we do. And I think brain science is great at problems like that. It can isolate a neural circuit and show how it enables you to see a red object, to respondent and say, that’s red. But the hard problem of consciousness is subjective experience. Why, when all that happens in this circuit, does it feel like something? How does a bunch of – 86 billion neurons interacting inside the brain, coming together – how does that produce the subjective experience of a mind and of the world?
RAZ: Here’s how David Chalmers begins his TED Talk.
(SOUNDBITE OF TED TALK)
CHALMERS: Right now, you have a movie playing inside your head. It has 3-D vision and surround sound for what you’re seeing and hearing right now. Your movie has smell and taste and touch. It has a sense of your body, pain, hunger, orgasms. It has emotions, anger and happiness. It has memories, like scenes from your childhood, playing before you. This movie is your stream of consciousness. If we weren’t conscious, nothing in our lives would have meaning or value. But at the same time, it’s the most mysterious phenomenon in the universe. Why are we conscious?
RAZ: Why is consciousness more than just the sum of the brain’s parts?
CHALMERS: Well, the question is, you know, what is the brain? It’s this giant complex computer, a bunch of interacting parts with great complexity. What does all that explain? That explains objective mechanism. Consciousness is subjective by its nature. It’s a matter of subjective experience. And it seems that we can imagine all of that stuff going on in the brain without consciousness. And the question is, where is the consciousness from there? It’s like, if someone could do that, they’d get a Nobel Prize, you know?
CHALMERS: So here’s the mapping from this circuit to this state of consciousness. But underneath that is always going be the question, why and how does the brain give you consciousness in the first place?
(SOUNDBITE OF TED TALK)
CHALMERS: Right now, nobody knows the answers to those questions. So we may need one or two ideas that initially seem crazy before we can come to grips with consciousness, scientifically. The first crazy idea is that consciousness is fundamental. Physicists sometimes take some aspects of the universe as fundamental building blocks – space and time and mass – and you build up the world from there. Well, I think that’s the situation we’re in. If you can’t explain consciousness in terms of the existing fundamentals – space, time – the natural thing to do is to postulate consciousness itself as something fundamental – a fundamental building block of nature. The second crazy idea is that consciousness might be universal. This view is sometimes called panpsychism – pan, for all – psych, for mind. Every system is conscious. Not just humans, dogs, mice, flies, but even microbes. Even a photon has some degree of consciousness. The idea is not that photons are intelligent or thinking. You know, it’s not that a photon is wracked with angst because it’s thinking, oh, I’m always buzzing around near the speed of light. I never get to slow down and smell the roses. No, not like that. But the thought is, maybe photons might have some element of raw subjective feeling, some primitive precursor to consciousness.
RAZ: So this is a pretty big idea – right? – like, that not just flies, but microbes or photons all have consciousness. And I mean we, like, as humans, we want to believe that our consciousness is what makes us special, right – like, different from anything else.
CHALMERS: Well, I would say yes and no. I’d say the fact of consciousness does not make us special. But maybe we’ve a special type of consciousness ’cause you know, consciousness is not on and off. It comes in all these rich and amazing varieties. There’s vision. There’s hearing. There’s thinking. There’s emotion and so on. So our consciousness is far richer, I think, than the consciousness, say, of a mouse or a fly. But if you want to look for what makes us distinct, don’t look for just our being conscious, look for the kind of consciousness we have. …
Vancouver premiere of Baba Brinkman’s Rap Guide to Consciousness
Baba Brinkman’s new hip-hop theatre show “Rap Guide to Consciousness” is all about the neuroscience of consciousness. See it in Vancouver at the Rio Theatre before it goes to the Edinburgh Fringe Festival in August .
This event also features a performance of “Off the Top” with Dr. Heather Berlin (cognitive neuroscientist, TV host, and Baba’s wife), which is also going to Edinburgh.
Wednesday, July 5
Doors 6:00 pm | Show 6:30 pm
Advance tickets $12 | $15 at the door
*All ages welcome!
*Sorry, Groupons and passes not accepted for this event.
“Utterly unique… both brilliantly entertaining and hugely informative” ★ ★ ★ ★ ★ – Broadway Baby
“An education, inspiring, and wonderfully entertaining show from beginning to end” ★ ★ ★ ★ ★ – Mumble Comedy
There’s quite the poster for this rap guide performance,
In addition to the Vancouver and Edinburgh performance (the show was premiered at the Brighton Fringe Festival in May 2017; see Simon Topping’s very brief review in this May 10, 2017 posting on the reviewshub.com), Brinkman is raising money (goal is $12,000US; he has raised a little over $3,000 with approximately one month before the deadline) to produce a CD. Here’s more from the Rap Guide to Consciousness campaign page on Indiegogo,
Brinkman has been working with neuroscientists, Dr. Anil Seth (professor and co-director of Sackler Centre for Consciousness Science) and Dr. Heather Berlin (Brinkman’s wife as noted earlier; see her Wikipedia entry or her website).
There’s a bit more information about the rap project and Anil Seth in a May 3, 2017 news item by James Hakner for the University of Sussex,
The research frontiers of consciousness science find an unusual outlet in an exciting new Rap Guide to Consciousness, premiering at this year’s Brighton Fringe Festival.
Professor Anil Seth, Co-Director of the Sackler Centre for Consciousness Science at the University of Sussex, has teamed up with New York-based ‘peer-reviewed rapper’ Baba Brinkman, to explore the latest findings from the neuroscience and cognitive psychology of subjective experience.
What is it like to be a baby? We might have to take LSD to find out. What is it like to be an octopus? Imagine most of your brain was actually built into your fingertips. What is it like to be a rapper kicking some of the world’s most complex lyrics for amused fringe audiences? Surreal.
In this new production, Baba brings his signature mix of rap comedy storytelling to the how and why behind your thoughts and perceptions. Mixing cutting-edge research with lyrical performance and projected visuals, Baba takes you through the twists and turns of the only organ it’s better to donate than receive: the human brain. Discover how the various subsystems of your brain come together to create your own rich experience of the world, including the sights and sounds of a scientifically peer-reviewed rapper dropping knowledge.
The result is a truly mind-blowing multimedia hip-hop theatre performance – the perfect meta-medium through which to communicate the dazzling science of consciousness.
Baba comments: “This topic is endlessly fascinating because it underlies everything we do pretty much all the time, which is probably why it remains one of the toughest ideas to get your head around. The first challenge with this show is just to get people to accept the (scientifically uncontroversial) idea that their brains and minds are actually the same thing viewed from different angles. But that’s just the starting point, after that the details get truly amazing.”
Baba Brinkman is a Canadian rap artist and award-winning playwright, best known for his “Rap Guide” series of plays and albums. Baba has toured the world and enjoyed successful runs at the Edinburgh Fringe Festival and off-Broadway in New York. The Rap Guide to Religion was nominated for a 2015 Drama Desk Award for “Unique Theatrical Experience” and The Rap Guide to Evolution (“Astonishing and brilliant” NY Times), won a Scotsman Fringe First Award and a Drama Desk Award nomination for “Outstanding Solo Performance”. The Rap Guide to Climate Chaos premiered in Edinburgh in 2015, followed by a six-month off-Broadway run in 2016.
Baba is also a pioneer in the genre of “lit-hop” or literary hip-hop, known for his adaptations of The Canterbury Tales, Beowulf, and Gilgamesh. He is a recent recipient of the National Center for Science Education’s “Friend of Darwin Award” for his efforts to improve the public understanding of evolutionary biology.
Anil Seth is an internationally renowned researcher into the biological basis of consciousness, with more than 100 (peer-reviewed!) academic journal papers on the subject. Alongside science he is equally committed to innovative public communication. A Wellcome Trust Engagement Fellow (from 2016) and the 2017 British Science Association President (Psychology), Professor Seth has co-conceived and consulted on many science-art projects including drama (Donmar Warehouse), dance (Siobhan Davies dance company), and the visual arts (with artist Lindsay Seers). He has also given popular public talks on consciousness at the Royal Institution (Friday Discourse) and at the main TED conference in Vancouver. He is a regular presence in print and on the radio and is the recipient of awards including the BBC Audio Award for Best Single Drama (for ‘The Sky is Wider’) and the Royal Society Young People’s Book Prize (for EyeBenders). This is his first venture into rap.
Professor Seth said: “There is nothing more familiar, and at the same time more mysterious than consciousness, but research is finally starting to shed light on this most central aspect of human existence. Modern neuroscience can be incredibly arcane and complex, posing challenges to us as public communicators.
“It’s been a real pleasure and privilege to work with Baba on this project over the last year. I never thought I’d get involved with a rap artist – but hearing Baba perform his ‘peer reviewed’ breakdowns of other scientific topics I realized here was an opportunity not to be missed.”
Brinkman isn’t the only performance-based artist to be querying the concept of consciousness, Tom Stoppard has written a play about consciousness titled ‘The Hard Problem’, which debuted at the National Theatre (UK) in January 2015 (see BBC [British Broadcasting Corporation] news online’s Jan. 29, 2015 roundup of reviews). A May 25, 2017 commentary by Andrew Brown for the Guardian offers some insight into the play and the issues (Note: Links have been removed),
There is a lovely exchange in Tom Stoppard’s play about consciousness, The Hard Problem, when an atheist has been sneering at his girlfriend for praying. It is, he says, an utterly meaningless activity. Right, she says, then do one thing for me: pray! I can’t do that, he replies. It would betray all I believe in.
So prayer can have meanings, and enormously important ones, even for people who are certain that it doesn’t have the meaning it is meant to have. In that sense, your really convinced atheist is much more religious than someone who goes along with all the prayers just because that’s what everyone does, without for a moment supposing the action means anything more than asking about the weather.
The Hard Problem of the play’s title is a phrase coined by the Australian philosopher David Chalmers to describe the way in which consciousness arises from a physical world. What makes it hard is that we don’t understand it. What makes it a problem is slightly different. It isn’t the fact of consciousness, but our representations of consciousness, that give rise to most of the difficulties. We don’t know how to fit the first-person perspective into the third-person world that science describes and explores. But this isn’t because they don’t fit: it’s because we don’t understand how they fit. For some people, this becomes a question of consuming interest.
There are also a couple of video of Tom Stoppard, the playwright, discussing his play with various interested parties, the first being the director at the National Theatre who tackled the debut run, Nicolas Hytner: https://www.youtube.com/watch?v=s7J8rWu6HJg (it runs approximately 40 mins.). Then, there’s the chat Stoppard has with previously mentioned philosopher, David Chalmers: https://www.youtube.com/watch?v=4BPY2c_CiwA (this runs approximately 1 hr. 32 mins.).
I gather ‘consciousness’ is a hot topic these days and, in the venacular of the 1960s, I guess you could describe all of this as ‘expanding our consciousness’. Have a nice weekend!
I have listings for two art/science events in Vancouver (Canada).
Dance, poetry and quantum entanglement
From April 20, 2017 (tonight) – April 22, 2017, there will be 8 p.m. performances of Lesley Telford’s ‘Three Sets/Relating At A Distance; My tongue, your ear / If / Spooky Action at a Distance (phase 1)’ at the Scotiabank Dance Centre, 677 Davie St, Yes, that third title is a reference to Einstein’s famous phrase describing his response of the concept of quantum entanglement.
An April 19, 2017 article by Janet Smith for the Georgia Straight features the dancer’s description of the upcoming performances,
One of the clearest definitions of quantum entanglement—a phenomenon Albert Einstein dubbed “spooky action at a distance”—can be found in a vampire movie.
In Jim Jarmusch’s Only Lovers Left Alive Tom Hiddleston’s depressed rock-star bloodsucker explains it this way to Tilda Swinton’s Eve, his centuries-long partner: “When you separate an entwined particle and you move both parts away from the other, even at opposite ends of the universe, if you alter or affect one, the other will be identically altered or affected.”
In fact, it was by watching the dark love story that Vancouver dance artist Lesley Telford learned about quantum entanglement—in which particles are so closely connected that they cannot act independently of one another, no matter how much space lies between them. She became fascinated not just with the scientific possibilities of the concept but with the romantic ones. …
“I thought, ‘What a great metaphor,’ ” the choreographer tells the Straight over sushi before heading into a Dance Centre studio. “It’s the idea of quantum entanglement and how that could relate to human entanglement.…It’s really a metaphor for human interactions.”
First, though, as is so often the case with Telford, she needed to form those ideas into words. So she approached poet Barbara Adler to talk about the phenomenon, and then to have her build poetry around it—text that the writer will perform live in Telford’s first full evening of work here.
“Barbara talked a lot about how you feel this resonance with people that have been in your life, and how it’s tied into romantic connections and love stories,” Telford explains. “As we dig into it, it’s become less about that and more of an underlying vibration in the work; it feels like we’ve gone beyond that starting point.…I feel like she has a way of making it so down-to-earth and it’s given us so much food to work with. Are we in control of the universe or is it in control of us?”
Spooky Action at a Distance, a work for seven dancers, ends up being a string of duets that weave—entangle—into other duets. …
Lesley Telford’s choreography brings together a technically rigorous vocabulary and a thought-provoking approach, refined by her years dancing with Nederlands Dans Theater and creating for companies at home and abroad, most recently Ballet BC. This triple bill features an excerpt of a new creation inspired by Einstein’s famous phrase “spooky action at a distance”, referring to particles that are so closely linked, they share the same existence: a collaboration with poet Barbara Adler, the piece seeks to extend the theory to human connections in our phenomenally interconnected world. The program also includes a new extended version of If, a trio based on Anne Carson’s poem, and the duet My tongue, your ear, with text by Wislawa Szymborska.
Here’s what appears to be an excerpt from a rehearsal for ‘Spooky Action …’,
I’m not super fond of the atonal music/sound they’re using. The voice you hear is Adler’s and here’s more about Barbara Adler from her Wikipedia entry (Note: Links have been removed),
Barbara Adler is a musician, poet, and storyteller based in Vancouver, British Columbia. She is a past Canadian Team Slam Champion, was a founding member of the Vancouver Youth Slam, and a past CBC Poetry Face Off winner.
She was a founding member of the folk band The Fugitives with Brendan McLeod, C.R. Avery and Mark Berube until she left the band in 2011 to pursue other artistic ventures. She was a member of the accordion shout-rock band Fang, later Proud Animal, and works under the pseudonym Ten Thousand Wolves.
In 2004 she participated in the inaugural Canadian Festival of Spoken Word, winning the Spoken Wordlympics with her fellow team members Shane Koyczan, C.R. Avery, and Brendan McLeod. In 2010 she started on The BC Memory Game, a traveling storytelling project based on the game of memory and has also been involved with the B.C. Schizophrenia Society Reach Out Tour for several years. She is of Czech-Jewish descent.
Barbara Adler has her bachelor’s degree and MFA from Simon Fraser University, with a focus on songwriting, storytelling, and community engagement. In 2015 she was a co-star in the film Amerika, directed by Jan Foukal, which premiered at the Karlovy Vary International Film Festival.
Finally, Telford is Artist in Residence at the Dance Centre and TRIUMF, Canada’s national laboratory for particle and nuclear physics and accelerator-based science.
To buy tickets ($32 or less with a discount), go here. Telford will be present on April 21, 2017 for a post-show talk.
Pi Theatre’s ‘Long Division’
This theatrical performance of concepts in mathematics runs from April 26 – 30, 2017 (check here for the times as they vary) at the Annex at 823 Seymour St. From the Georgia Straight’s April 12, 2017 Arts notice,
Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount” of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movement-driven piece that has a strong cast. …
Long Division uses text, multimedia, and physical theatre to create a play about the mathematics of human connection.
Long Division focuses on seven characters linked – sometimes directly, sometimes more obliquely – by a sequence of tragic events. These characters offer lessons on number theory, geometry and logic, while revealing aspects of their inner lives, and collectively the nature of their relationships to one another.
Playwright: Peter Dickinson Director: Richard Wolfe Choreographer: Lesley Telford, Inverso Productions Composer: Owen Belton Assistant Director: Keltie Forsyth
Cast: Anousha Alamian, Jay Clift, Nicco Lorenzo Garcia, Jennifer Lines, Melissa Oei, LInda Quibell & Kerry Sandomirsky
Costume Designer: Connie Hosie Lighting Designer: Jergus Oprsal Set Designer: Lauchlin Johnston Projection Designer: Jamie Nesbitt Production Manager: Jayson Mclean Stage Manager: Jethelo E. Cabilete Assistant Projection Designer: Cameron Fraser Lighting Design Associate: Jeff Harrison
Dates/Times: April 26 – 29 at 8pm, April 29 and 30 at 2pm
Student performance on April 27 at 1pm
A Talk-Back will take place after the 2pm show on April 29th.
Shawn Conner engaged the playwright, Peter Dickinson in an April 20, 2017 Q&A (question and answer) for the Vancouver Sun,
Q: Had you been working on Long Division for a long time?
A: I’d been working on it for about five years. I wrote a previous play called The Objecthood of Chairs, which has a similar style in that I combine lecture performance with physical and dance theatre. There are movement scores in both pieces.
In that first play, I told the story of two men and their relationship through the history of chair design. It was a combination of mining my research about that and trying to craft a story that was human and where the audience could find a way in. When I was thinking about a subject for a new play, I took the profession of one of the characters in that first play, who was a math teacher, and said, “Let’s see what happens to his character, let’s see where he goes after the breakup of his relationship.”
At first, I wrote it (Long Division) in an attempt at completely real, kitchen-sink naturalism, and it was a complete disaster. So I went back into this lecture-style performance.
Q: Long Division is set in a bar. Is the setting left over from that attempt at realism?
A: I guess so. It’s kind of a meta-theatrical play in the sense that the characters address the audience, and they’re aware they’re in a theatrical setting. One of the characters is an actress, and she comments on the connection between mathematics and theatre.
Q: This is being called a “refreshed” remount. What’s changed since its first run
A: It’s mostly been cuts, and some massaging of certain sections. And I think it’s a play that actually needs a little distance.
Like mathematics, the patterns only reveal themselves at a remove. I think I needed that distance to see where things were working and where they could be better. So it’s a gift for me to be given this opportunity, to make things pop a little more and to make the math, which isn’t meant to be difficult, more understandable and relatable.
You may have noticed that Lesley Telford from Spooky Action is also choreographer for this production. I gather she’s making a career of art/science pieces, at least for now.
In the category of ‘Vancouver being a small town’, Telford lists a review of one of her pieces, ‘AUDC’s Season Finale at The Playhouse’, on her website. Intriguingly, the reviewer is Peter Dickinson who in addition to being the playwright with whom she has collaborated for Pi Theatre’s ‘Long Division’ is also the Director of SFU’s (Simon Fraser University’s) Institute for Performance Studies. I wonder how many more ways these two crisscross professionally? Personally and for what it’s worth, it might be a good idea for Telford (and Dickinson, if he hasn’t already done so) to make readers aware of their professional connections when there’s a review at stake.
Final comment: I’m not sure how quantum entanglement or mathematics with the pieces attributed to concepts from those fields but I’m sure anyone attempting to make the links will find themselves stimulated.
ETA April 21, 2017: I’m adding this event even though the tickets are completely subscribed. There will be a standby line the night of the event (from the Peter Wall Institute for Advanced Studies The Hidden Beauty of Mathematics event page,
02 May 2017
7:00 pm (doors open at 6:00 pm)
The Vogue Theatre
918 Granville St.
The Wall Exchange lecture with Cédric Villani is sold out. There will be a standby line available on the night of the lecture.
It has been said that mathematics is the poetry of science. Some of the fundamental values of poetry parallel those of mathematics, and mathematical research is, in many ways, an art. Professor Cédric Villani will discuss the interface between mathematics and art, showing how both these disciplines seek to illuminate hidden beauty in the world.
Cédric Villani is the Director of the Institut Henri Poincaré, France’s prime and oldest international institute for research in mathematical sciences. He has received many mathematical awards, including the Fields Medal in 2010, often considered the most prestigious in mathematics. Prof. Villani is a specialist of mathematical analysis applied to problems of statistical physics, geometry and probability. His books on gas theory and optimal transport theory have become classics.
It seems poetry goes deep into the brain. A Feb. 17, 2017 news item on ScienceDaily describes some blended poetry/brain research,
In 1932 T.S. Eliot famously argued, “Genuine poetry can communicate before it is understood.”
In a recent article published in the journal Frontiers in Psychology, Professor Guillaume Thierry and colleagues at Bangor University [Maine, US] have demonstrated that we do indeed appear to have an unconscious appreciation of poetic construction.
“Poetry,” explains Professor Thierry “is a particular type of literary expression that conveys feelings, thoughts and ideas by accentuating metric constraints, rhyme and alliteration.”
However, can we appreciate the musical sound of poetry independent of its literary meaning?
To address this question the authors created sentence sample sets that either conformed or violated poetic construction rules of Cynghanedd — a traditional form of Welsh poetry. These sentences were randomly presented to study participants; all of whom were native welsh speakers but had no prior knowledge of Cynghanedd poetic form.
Initially participants were asked to rate sentences as either “good” or “not good” depending on whether or not they found them aesthetically pleasing to the ear. The study revealed that the participants’ brains implicitly categorized Cyngahanedd-orthodox sentences as sounding “good” compared to sentences violating its construction rules.
The authors also mapped Event-Related Brain Potential (ERP) in participants a fraction of a second after they heard the final word in a poetic construction. These elegant results reveal an electrophysiological response in the brain when participants were exposed to consonantal repetition and stress patterns that are characteristic of Cynghanedd, but not when such patterns were violated.
Interestingly the positive responses from the brain to Cynghanedd were present even though participants could not explicitly tell which of the sentences were correct and which featured errors of rhythm or sound repetitions.
Professor Thierry concludes, “It is the first time that we show unconscious processing of poetic constructs by the brain, and of course, it is extremely exciting to think that one can inspire the human mind without being noticed!”
So when you read a poem, if you feel something special but you cannot really pinpoint what it is, make no mistake, your brain loves it even if you don’t really know why.
This paper has been published in an open access. journal.
While I appreciate the enthusiasm, I think it might be better to do more research before making grand statements about poetry and the brain. For example, are they positive these native Welsh speakers had never ever encountered the poetic form being studied? Would a French or Farsi or Mandarin or Russian or … speaker respond the same way to a poem from their own poetic traditions? Is the effect cross cultural? Does a translation make a difference? Are there only certain poetic forms that create the effect? I look forward to hearing more about this research in the years to come.