From an October 16, 2018 Café Scientifique Vancouver announcement (received via email),
Our next café will happen on TUESDAY, OCTOBER 30TH at 7:30PM in the
back room at YAGGER’S DOWNTOWN (433 W Pender). Our speaker for the
evening will be DR. VIKRAMADITYA G. YADAV. His topic will be:
SOLVING SOME OF CANADA’S GRANDEST CHALLENGES WITH SYNTHETIC BIOLOGY
A warming climate, unrepressed mining and logging, contamination of our
water resources, the uncertain price and tight supply of crude oil and
the growing threat of epidemics are having a profound, negative impact
on the well-being of Canadians. There is an urgent need to develop and
implement sustainable manufacturing technologies that can not only meet
our material and energy needs, but also sustain our quality of life.
Romantic and unbelievable as it sounds, Nature posses all the answer to
our challenges, and the coming decades in science and engineering will
be typified by our attempts to mimic or recruit biology to address our
needs. This talk will present a vivid snapshot of current and emerging
research towards this goal and highlight some cutting-edge technologies
under development at the University of British Columbia [UBC].
When he joined the University of Waterloo as an undergraduate student in
chemical engineering, Dr. Vikramaditya G. Yadav coveted a career in
Alberta’s burgeoning petrochemical sector. He even interned at Imperial
Oil during his first summer break from university. Then, one fine
evening during second year, he stumbled upon a copy of Juan Enríquez’s
As the Future Catches You in the library and became instantly captivated
with biological engineering. His journey over the past few years has
taken him to Sanofi Pasteur [vaccines division of the multinational
pharmaceutical company Sanofi], the Massachusetts Institute of Technology [MIT],
Harvard University, and finally, the University of British Columbia,
where he now leads a wonderful group of researchers working on
wide-ranging topics at the interface of biology, chemistry, engineering,
medicine and economics.
We hope to see you there!
Oftentimes, the speaker is asked to write up a description of their talk and assuming that’s the case and based on how it’s written, I’d say the odds are good that this will be a lively, engaging talk.
For more proof, you can check out Dr. Yadav’s description of his research interests on his UBC profile page. BTW, his research group is called The Biofoundry (at UBC).
An October 3, 2018 announcement arrived from the Brain Talks folks (Vancouver, Canada) in my email box,
BrainTalks: Epigenetics and Early Life Experiences
Monday, October 22, 2018 from 6:00 PM – 8:30 PM
Join us on Monday, October 22nd for a talk on Epigenetics and Early Life Experiences. We are honoured to host three phenomenal presenters for the evening: Dr. Michael Kobor, Dr. Liisa Galea, and Dr. Adele Diamond.
Dr. Michael Koboris a senior scientist at the Centre for Molecular Medicine and Therapeutics and BC Children’s Hospital, and a Professor at UBC [University of British Columbia]. He studies social epigenetics and medical genetics, with a focus on studying how the environment shapes the human epigenome, and how this in turn might affect children’s susceptibilities to chronic disease and their mental health. He has received numerous awards for his research, and runs the Kobor Lab at UBC.
Dr. Liisa Galea is a Professor in the Department of Psychology, and Director of the Graduate program in Neuroscience at UBC. The vision for her research is to establish how sex hormones influence brain health and disease in both females and males. Her goal is to improve brain health for women and men by examining the influence of sex and sex hormones on normal and diseased brain states, and how this can effect offspring development. She has received numerous awards for her research, and runs the Galea Laboratory for Behavioural Neuroendocrinology.
Dr. Adele Diamond is a well known and respected expert in Developmental Cognitive Neuroscience, the way the developing young brain evolves in its ability to make intelligent sense of the world around it, and how it evolves in response to the surrounding environment. She will address the effect of early adverse experiences on the brain from a developmental perspective. She has spoken at TedTalks and runs her Developmental Cognitive Neuroscience Lab associated with UBC.
Our event on Monday, October 22nd will start with presentations from each of the three speakers, and end with a panel discussion inspired by audience questions. For physicians, the event is CME accredited for a [sic] MOC credit of 1.5. After the talks, at 7:30 pm, we host a social gathering with a rich spread of catered healthy food and non-alcoholic drinks. We look forward to seeing you there!
You can get tickets here (no more free tickets, the ones that are left cost $10),
I guess they wanted to keep it a secret? In any event, TRIUMF’s 2018 year of celebrating their 50th anniversary is almost over. Their celebratory website, TRIUMF50 lists two events (scroll down to see them) for October 2018 and nothing after that. One event is in Ottawa (which is titled ‘#DiscoverTHIS: TRIUMF, Science, and Society’ on the TRIUMF50 website) and the other in Vancouver (Canada). Then, there’s the the other 50th sciencish anniversary in Vancouver, this being celebrated by the HR MacMillan Space Centre.
TRIUMF’s two events
Weirdly, I found out about TRIUMF’s 50th anniversary after reading an October 1, 2018 Ingenium (formerly Canada Science and Technology Museums Corporation) news release (received via email) and digging further. First, the announcement about the Ottawa event,
#DISCOVERTHIS: […] THE MOTHER OF INVENTION […] CANADA SCIENCE AND TECHNOLOGY MUSEUM
October 3, 2018
Time: 7:30 p.m. – 9 p.m. (Doors open at 7 p.m.)
FEE: FREE (REGISTRATION REQUIRED)
LANGUAGE: ENGLISH ONLY
On October 3, join a team of experts from TRIUMF […], Canada’s particle accelerator centre, for an illuminating discussion. The event will take place at the museum, and will also include a screening of a short documentary that explores the possibility for TRIUMF to take up the reins as the world’s largest producer of actinium-225 (Ac-225), a radioisotope with promising potential as an anti-cancer therapy.
If the adage is true that necessity is the mother of invention, then curiosity-driven research is the grandmother of the whole shebang. The internet, the cellphone, the PET scanner – or even further back – radio, penicillin, electricity: all these inventions and their impacts on our lives were made possible because of innovative people looking at scientific discoveries and asking, “What problem can I solve with this?”
How exactly does a scientist’s eureka moment turn into the internet, the satellite, the next generation of cancer therapy? Join a team of experts from TRIUMF, Canada’s particle accelerator centre, for an illuminating discussion that sheds light on the journey from our research to you.
The event will include a screening of “The Rarest Drug on Earth,” a short documentary that explores the possibility for TRIUMF to take up the reins as the world’s largest producer of actinium-225 (Ac-225), a radioisotope with promising potential as an anti-cancer therapy.
Hosted by science journalist Tim Lougheed, and featuring:
Kathryn Hayashi: President & CEO, TRIUMF Innovations
Morgan Dehnel: Founder and Chief Science & Innovation Officer, D-Pace
Beatrice Franke: TRIUMF Research Scientist – Physical Sciences
Andrew Robertson: PhD Student – Life Sciences
#discoverTHIS: La mère de l’invention
On dit que la nécessité est mère de l’invention. Si ce dicton est vrai, alors la curiosité qui alimente la recherche serait, elle, grand-mère de tout le processus. L’internet, le téléphone cellulaire, la tomographie par émission de positrons ou, si on remonte encore plus loin, la radio, la pénicilline et l’électricité, toutes ces inventions, qui ont changé nos vies, auraient été impossibles sans ces personnes innovatrices qui se sont intéressées aux découvertes scientifiques et qui se sont demandé quels problèmes elles pouvaient résoudre grâce à celles-ci. Mais comment l’éclair de génie d’un chercheur donne-t-il naissance à l’internet, au satellite ou à la nouvelle génération de traitement contre le cancer?
Joignez-vous à un groupe d’experts de TRIUMF, le Centre canadien d’accélération des particules, pour une discussion éclairante qui fera la lumière sur les étapes du processus, des chercheurs jusqu’à vous.
L’événement comprendra la projection du court documentaire The Rarest Drug on Earth, qui explore la possibilité que TRIUMF devienne le plus grand producteur mondial d’actinium-225 (AC-225), un radio-isotope prometteur dans le traitement contre le cancer.
La discussion, animée par le journaliste scientifique Tim Lougheed, mettra en vedette :
Kathryn Hayashi : présidente et directrice générale, TRIUMF Innovations
Morgan Dehnel : fondateur et agent en chef de la science et de l’innovation, D-Pace
Beatrice Franke : chercheuse scientifique chez TRIUMF – sciences physiques
Catching Ghosts: Using Neutrinos to Unveil the Universe
On a clear night, away from the bright lights of Vancouver, you can see the incredible expanse of the universe before you. To study these far-away celestial bodies, scientists use a “radiation toolkit” to observe our universe and understand how the galaxies we see today came to be. Some types of radiation, such as infrared radiation, can sense stars in their infancy, not yet hot enough to shine visible light. Others, like x-rays and gamma rays, can reveal matter being sucked into a black hole.
When it comes to studying the nuclear processes in the heart of stars, scientists must turn to neutrinos: subatomic particles that are currently flying unbeknownst through your body by the billions, right this second. These elusive little particles are an excellent probe into the core of the sun and distant supernovae, but they are notoriously difficult to detect. Difficult, but not impossible.
On Tuesday, October 23, join Dr. Stanley Yen, TRIUMF Research Scientist, for his talk, Detecting the Ghost Particles of the Universe.
Date: October 23, 2018 Doors open at 6:30pm
Lecture begins at 7:00pm
This lecture is presented in partnership by TRIUMF and Science World as part of the TRIUMF 50th Anniversary Unveiling the Universe Lecture Series.
Some may have noticed that I’m still referring to TRIUMF as Canada’s National Laboratory for Particle and Nuclear Physics. I know it has changed but I prefer it to the latest one, TRIUMF (Canada’s particle accelerator centre).
Life in the Universe
An evening of music and astronomy
Join the H.R. MacMillan Space Centre in celebrating their 50th anniversary with a very special evening of music under the cosmic visuals of the Planetarium Star Theatre. Composer Thomas Beckman will be premiering an original work “Life in the Universe” inspired by the unique character of the planets in our solar system and the wonders of our Universe. The suite will be performed by Thomas Beckman and the Borealis String Quartet.
Thomas Beckman, CMC [Canadian Music Centre] associate composer, has written for a wide range of ensembles that include the Borealis String Quartet, the Vancouver Symphony orchestra, the Prince George Symphony orchestra, the Postmodern Camerata and the Vancouver Youth Choir. For the past several years he has served as Festival Composer for the Artists for Conservation organization, as the in-house-composer for the Canadian Aboriginal AIDS Network and as a freelance film composer for several award-winning independent documentaries. With an MMus in western classical performance from the University of British Columbia, Thomas also serves as principal violist of the Vancouver Pops Symphony and the Prince George Symphony orchestra, and performs solo with his looping project for a number of events held by the H.R. MacMillan Space Centre, Semperviva Yoga studios, and the Vancouver Maritime Museum. Thomas’ latest project has been to create the Jean Coulthard Music Video series in collaboration with the Canadian Music Centre as a means to empower local composers in BC.
The Borealis Quartet was founded in Vancouver, British Columbia in the fall of 2000 and rapidly establishing a stellar reputation. The Borealis has toured extensively in North America, Europe and Asia and performed to enthusiastic sold-out audiences in major cities, including New York, Washington, DC, Los Angeles, San Francisco, Rome, Mainz, Shanghai, Taipei, Beijing, Toronto, Montreal, Ottawa and, of course, in their home town of Vancouver. http://www.borealisstringquartet.com/
TICKETS: $35 early bird tickets until October 5th, $40 after.
Tickets available online through Eventbrite until 12:00pm on October 19th.
Tickets available for 7:30pm and 9:00pm shows.
Beer and wine will be available for purchase.
This is a 19+ event. All attendees will be required to provide photo ID upon entry.
We’re turning 50 – help us celebrate! Bring the entire family out and enjoy our programming and special activities on Saturday and Sunday. Discover more about our past 50 years of science and space education as we pull some gems from our archives and explore how producing shows in the planetarium has changed over the decades. Share your memories of the Space Centre on our memory wall and create a card for Canadian astronaut David Saint-Jacques as he prepares for his mission to the International Space Station in December. We’ll be testing your knowledge with trivia questions before each show in the Planetarium Star Theatre and we’ll have a birthday treat for all to eat.
$5 for general admission and children under 5 are free.
We will be open from 10:00am – 5:00pm on Saturday and Sunday for the celebration with activities running from 10:30am – 4:30pm.
October 20, 2018 – 10:00am to October 21, 2018 – 5:00pm
1968 seems to have been quite the sciencish year in Vancouver.
One last anniversary and this is a national one, the Royal Astronomical Society of Canada (RASC) is celebrating its sesquicentennial (150th) in 2018 just one year after the country’s sesquicentennial in 2017. First mentioned here in a July 2, 2018 posting about celebratory events in Toronto, There don’t seem to be any more events planned for this year but RASC’s 150th Anniversary webpage lists resources such as podcasts and more for you delectation.
Curiosity Collider seems to have started the fall 2018 season with a lot of oomph. They just hosted (along with Nerd Nite Vancouver and Science Slam Canada) a science bar night on September 18, 2018 (as per my September 13, 2018 posting).
Barely a week after the bar night, there’s a Collider Cafe event on September 26, 2018 (from a September 21, 2018 announcement received via email),
When science collides with music and performance,
the beat never stops!
OUR #COLLIDERCAFE IS A SPACE FOR ARTISTS, SCIENTISTS, MAKERS, AND
ANYONE INTERESTED IN ART+SCIENCE. MEET, DISCOVER, CONNECT, CREATE. Are
you curious? Join us at “Collider Cafe: Art. Science. Cadence.” to
explore how art and science intersect in the exploration of curiosity.
When: 8:00pm on Wednesday, September 26, 2018. Doors open at 7:30pm.
Street party celebrating the launch of Vancouver Biennale‘s CURIOUS IMAGININGS will be on September 22. Get tickets on Eventbrite – each street party ticket includes free access to the exhibition that 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.”
Join the H.R. MacMillan Space Centre in celebrating their 50th anniversary with a very special evening of music under the cosmic visuals of the Planetarium Star Theatre. Purchase your ticket on Eventbrite.
There are two items today, an event in Vancouver (Canada) and an online competition.
From a September 14, 2018 Café Scientifique Vancouver announcement received via email,
Our next café will happen on TUESDAY, SEPTEMBER 25TH at 7:30PM in the
back room at YAGGER'S DOWNTOWN (433 W Pender). Our speaker for the
evening will be DR. SUZANNE VERCAUTEREN the Director of BC Children’s
Hospital BioBank. Her topic will be:
GIVING PATIENTS, THE PUBLIC, AND HEALTH-CARE PROVIDERS A VOICE IN
Dr. Vercauteren is a hematopathologist and associate head of the
department of pathology and laboratory medicine at BC Children’s
Hospital. She obtained her MD and PhD at the University of Utrecht, The
Netherlands and did her residency in hematological pathology at the
University of British Columbia. Since 2013 Suzanne has been the
director of the BC Children’s Hospital BioBank, the first
institutional pediatric biobank in Canada to allow for a standardized
approach of patients and sample collections and ensuring high quality
samples and data and reduce consent burden for patients. “My research
includes ethical issues as well as public engagement and education in
biobanking. I believe that a systematic approach for the collection of
patient specimens and data is allowing groundbreaking research that can
quickly be translated into improved diagnosis and clinical care in many
areas of research.” She has published several papers regarding
pediatric biobanking and consenting [consent] and is a member of the Canadian
Tissue Repository Network Management Committee. She received several
grants to study public perception on (pediatric) biobanking topics.
You can find Dr. Vercauteren’s webpage on the BC Children’s Hospital website here.
One thing I’m curious about is this quote from her event description: “I believe that a systematic approach for the collection of patient specimens and data is allowing groundbreaking research that can quickly be translated into improved diagnosis and clinical care in many areas of research.” Since she started her biobanking initiative in 2011, have there been any breakthroughs? It seems to me that seven years later there might be some promising news and it’s surprisingly unmentioned in the event description.
Science Borealis’ Online Science Communication Competition
Science Borealis and our co-sponsor the Science Writers and Communicators of Canada (SWCC) are excited to present the nominees for the 2018 People’s Choice Awards: Canada’s Favourite Science Online!
This year you are invited to vote for your 3 favourites in 2 categories — Favourite Science Blog and Favourite Science Site. The winners of each category will get snazzy site badges, endless bragging rights, and will be featured in full write-ups on both our blog and SWCC’s site.
Once you’ve voted, join us on social media to cheer for your favourite blogs and sites using the hashtag #CdnSciFav.
The Palaeocast blog is where we let palaeontologists around the world tell their own stories in their own voice. Palaeocast is a free web series exploring the fossil record and the evolution of life on earth.
I’m an evolutionary ecologist and entomologist at the University of New Brunswick. Most of my current research has to do with plant-insect interactions and with the evolution of new biodiversity. But when I’m not doing research, I think about a lot of quasirandom things. I blog about some of them here.
I am a vertebrate paleontologist who specializes in the study of the tracks and traces of Mesozoic animals, specifically Cretaceous-age (145 million years ago to 66 million years ago) dinosaurs and birds!
Agile Scientific – Matt Hall, Evan Bianco, Diego Castañeda, Robert Leckenby, Kara Turner, Tracey Lothian
A bioscience and technology blog with a string focus on geophysics and geosciences, Agile also organizes hackathons, teaches coding for geoscientists and engineers, and promotes open discussion about pressing topics in science and industry.
CMN was established to collaboratively address the diverse challenges facing mountain regions by harnessing existing capacities and seeking new research relationships between Indigenous and non-Indigenous researchers and communities. Our aim is for CMN to become a national and global leader in inclusive, co-designed, interdisciplinary mountain-research that recognizes the interconnectedness in mountain systems between the environment, economy, and society, and encourages an integrated approach for long-term sustainability that serves the needs of mountain communities. CMN and its administrative centre is hosted at the University of Alberta.
Obesity Panacea educates people about the science (or lack thereof) behind popular weight loss products, and has grown to include discussions of the latest news and research regarding obesity, nutrition and physical activity.
This is a blog about spiders (and probably occasionally some other stuff, too)! The idea is that each post will feature accumulations of cool bits of information (‘bytes’) about spiders: spiderbytes. By the way, spiders (usually) do NOT bite, and one of my dreams (for this blog, and in life) is to shift perceptions about spiders from fearsome, aggressive, disgusting etc., to amazing, beautiful, sophisticated, charming, fascinating, elegant, resourceful, mysterious, and many more adjectives that could be used to describe these awesome arthropods!
I am an Assistant Professor in Plant Ecology/Genetics at Vancouver Island University. I teach units including Plant Ecology, Conservation Biology, Terrestrial Ecosystems and Computing for Biologists. I currently work and collaborate on projects ranging from genomics of eucalypts and mountain pine beetle, to speciation mechanisms in Stellaria, to dietary metagenomics in Vancouver Island Marmot.
Here are the 2018 contenders for the Favourite Science Site category:
At a guess, every single blogger is a member of SWCC and, oddly, all of them are scientists. It will be a great day, as far as I’m concerned, when regular people, assuming there are some out there, writing about science are in contention for these awards..
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 email@example.com 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.
The last time (June 18, 2018 post) I mentioned xenotransplantation (transplanting organs from one species into another species; see more here), it was in the context of an art/sci (or sciart) event coming to Vancouver (Canada).,
Patricia Piccinini’s Curious Imaginings Courtesy: Vancouver Biennale [downloaded from http://dailyhive.com/vancouver/vancouver-biennale-unsual-public-art-2018/]
The latest edition of the Vancouver Biennale was featured in a June 6, 2018 news item on the Daily Hive (Vancouver),
Melbourne artist Patricia Piccinini’s Curious Imaginings is expected to be one of the most talked about installations of the exhibit. Her style of “oddly captivating, somewhat grotesque, human-animal hybrid creature” is meant to be shocking and thought-provoking.
Piccinini’s interactive [emphasis mine] experience 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.”
Piccinini’s work will be displayed in the 105-year-old Patricia Hotel in Vancouver’s Strathcona neighbourhood. The 90-day ticketed exhibition [emphasis mine] is scheduled to open this September .
(The show opens on Sept. 14, 2018.)
At the time, I had yet to stumble across Ingfei Chen’s thoughtful dive into the topic in her May 9, 2018 article for Slate.com,
In the United States, the clock is ticking for more than 114,700 adults and children waiting for a donated kidney or other lifesaving organ, and each day, nearly 20 of them die. Researchers are devising a new way to grow human organs inside other animals, but the method raises potentially thorny ethical issues. Other conceivable futuristic techniques sound like dystopian science fiction. As we envision an era of regenerative medicine decades from now, how far is society willing to go to solve the organ shortage crisis?
I found myself pondering this question after a discussion about the promises of stem cell technologies veered from the intriguing into the bizarre. I was interviewing bioengineer Zev Gartner, co-director and research coordinator of the Center for Cellular Construction at the University of California, San Francisco, about so-called organoids, tiny clumps of organlike tissue that can self-assemble from human stem cells in a Petri dish. These tissue bits are lending new insights into how our organs form and diseases take root. Some researchers even hope they can nurture organoids into full-size human kidneys, pancreases, and other organs for transplantation.
Certain organoid experiments have recently set off alarm bells, but when I asked Gartner about it, his radar for moral concerns was focused elsewhere. For him, the “really, really thought-provoking” scenarios involve other emerging stem cell–based techniques for engineering replacement organs for people, he told me. “Like blastocyst complementation,” he said.
Never heard of it? Neither had I. Turns out it’s a powerful new genetic engineering trick that researchers hope to use for growing human organs inside pigs or sheep—organs that could be genetically personalized for transplant patients, in theory avoiding immune-system rejection problems. The science still has many years to go, but if it pans out, it could be one solution to the organ shortage crisis. However, the prospect of creating hybrid animals with human parts and killing them to harvest organs has already raised a slew of ethical questions. In 2015, the National Institutes of Health placed a moratorium on federal funding of this nascent research area while it evaluated and discussed the issues.
As Gartner sees it, the debate over blastocyst complementation research—work that he finds promising—is just one of many conversations that society needs to have about the ethical and social costs and benefits of future technologies for making lifesaving transplant organs. “There’s all these weird ways that we could go about doing this,” he said, with a spectrum of imaginable approaches that includes organoids, interspecies organ farming, and building organs from scratch using 3D bioprinters. But even if it turns out we can produce human organs in these novel ways, the bigger issue, in each technological instance, may be whether we should.
Gartner crystallized things with a downright creepy example: “We know that the best bioreactor for tissues and organs for humans are human beings,” he said. Hypothetically, “the best way to get you a new heart would be to clone you, grow up a copy of yourself, and take the heart out.” [emphasis mine] Scientists could probably produce a cloned person with the technologies we already have, if money and ethics were of no concern. “But we don’t want to go there, right?” he added in the next breath. “The ethics involved in doing it are not compatible with who we want to be as a society.”
This sounds like Gartner may have been reading some science fiction, specifically, Lois McMaster Bujold and her Barrayar series where she often explored the ethics and possibilities of bioengineering. At this point, some of her work seems eerily prescient.
As for Chen’s article, I strongly encourage you to read it in its entirety if you have the time.
Medicine, healing, and big money
At about the same time, there was a May 31, 2018 news item on phys.org offering a perspective from some of the leaders in the science and the business (Note: Links have been removed),
Over the past few years, researchers led by George Church have made important strides toward engineering the genomes of pigs to make their cells compatible with the human body. So many think that it’s possible that, with the help of CRISPR technology, a healthy heart for a patient in desperate need might one day come from a pig.
“It’s relatively feasible to change one gene in a pig, but to change many dozens—which is quite clear is the minimum here—benefits from CRISPR,” an acronym for clustered regularly interspaced short palindromic repeats, said Church, the Robert Winthrop Professor of Genetics at Harvard Medical School (HMS) and a core faculty member of Harvard’s Wyss Institute for Biologically Inspired Engineering. Xenotransplantation is “one of few” big challenges (along with gene drives and de-extinction, he said) “that really requires the ‘oomph’ of CRISPR.”
To facilitate the development of safe and effective cells, tissues, and organs for future medical transplantation into human patients, Harvard’s Office of Technology Development has granted a technology license to the Cambridge biotech startup eGenesis.
Co-founded by Church and former HMS doctoral student Luhan Yang in 2015, eGenesis announced last year that it had raised $38 million to advance its research and development work. At least eight former members of the Church lab—interns, doctoral students, postdocs, and visiting researchers—have continued their scientific careers as employees there.
“The Church Lab is well known for its relentless pursuit of scientific achievements so ambitious they seem improbable—and, indeed, [for] its track record of success,” said Isaac Kohlberg, Harvard’s chief technology development officer and senior associate provost. “George deserves recognition too for his ability to inspire passion and cultivate a strong entrepreneurial drive among his talented research team.”
The license from Harvard OTD covers a powerful set of genome-engineering technologies developed at HMS and the Wyss Institute, including access to foundational intellectual property relating to the Church Lab’s 2012 breakthrough use of CRISPR, led by Yang and Prashant Mali, to edit the genome of human cells. Subsequent innovations that enabled efficient and accurate editing of numerous genes simultaneously are also included. The license is exclusive to eGenesis but limited to the field of xenotransplantation.
The prospect of using living, nonhuman organs, and concerns over the infectiousness of pathogens either present in the tissues or possibly formed in combination with human genetic material, have prompted the Food and Drug Administration to issue detailed guidance on xenotransplantation research and development since the mid-1990s. In pigs, a primary concern has been that porcine endogenous retroviruses (PERVs), strands of potentially pathogenic DNA in the animals’ genomes, might infect human patients and eventually cause disease. [emphases mine]
That’s where the Church lab’s CRISPR expertise has enabled significant advances. In 2015, the lab published important results in the journal Science, successfully demonstrating the use of genome engineering to eliminate all 62 PERVs in porcine cells. Science later called it “the most widespread CRISPR editing feat to date.”
In 2017, with collaborators at Harvard, other universities, and eGenesis, Church and Yang went further. Publishing again in Science, they first confirmed earlier researchers’ fears: Porcine cells can, in fact, transmit PERVs into human cells, and those human cells can pass them on to other, unexposed human cells. (It is still unknown under what circumstances those PERVs might cause disease.) In the same paper, they corrected the problem, announcing the embryogenesis and birth of 37 PERV-free pigs. [Note: My July 17, 2018 post features research which suggests CRISPR-Cas9 gene editing may cause greater genetic damage than had been thought.]
“Taken together, those innovations were stunning,” said Vivian Berlin, director of business development in OTD, who manages the commercialization strategy for much of Harvard’s intellectual property in the life sciences. “That was the foundation they needed, to convince both the scientific community and the investment community that xenotransplantation might become a reality.”
“After hundreds of tests, this was a critical milestone for eGenesis — and the entire field — and represented a key step toward safe organ transplantation from pigs,” said Julie Sunderland, interim CEO of eGenesis. “Building on this study, we hope to continue to advance the science and potential of making xenotransplantation a safe and routine medical procedure.”
Genetic engineering may undercut human diseases, but also could help restore extinct species, researcher says. [Shades of the Jurassic Park movies!]
It’s not, however, the end of the story: An immunological challenge remains, which eGenesis will need to address. The potential for a patient’s body to outright reject transplanted tissue has stymied many previous attempts at xenotransplantation. Church said numerous genetic changes must be achieved to make porcine organs fully compatible with human patients. Among these are edits to several immune functions, coagulation functions, complements, and sugars, as well as the PERVs.
“Trying the straight transplant failed almost immediately, within hours, because there’s a huge mismatch in the carbohydrates on the surface of the cells, in particular alpha-1-3-galactose, and so that was a showstopper,” Church explained. “When you delete that gene, which you can do with conventional methods, you still get pretty fast rejection, because there are a lot of other aspects that are incompatible. You have to take care of each of them, and not all of them are just about removing things — some of them you have to humanize. There’s a great deal of subtlety involved so that you get normal pig embryogenesis but not rejection.
“Putting it all together into one package is challenging,” he concluded.
In short, it’s the next big challenge for CRISPR.
Not unexpectedly, there is no mention of the CRISPR patent fight between Harvard/MIT’s (Massachusetts Institute of Technology) Broad Institute and the University of California at Berkeley (UC Berkeley). My March 15, 2017 posting featured an outcome where the Broad Institute won the first round of the fight. As I recall, it was a decision based on the principles associated with King Solomon, i.e., the US Patent Office, divided the baby and UCBerkeley got the less important part of the baby. As you might expect the decision has been appealed. In an April 30, 2018 piece, Scientific American reprinted an article about the latest round in the fight written by Sharon Begley for STAT (Note: Links have been removed),
All You Need to Know for Round 2 of the CRISPR Patent Fight
It’s baaaaack, that reputation-shredding, stock-moving fight to the death over key CRISPR patents. On Monday morning in Washington, D.C., the U.S. Court of Appeals for the Federal Circuit will hear oral arguments in University of California v. Broad Institute. Questions?
How did we get here? The patent office ruled in February 2017 that the Broad’s 2014 CRISPR patent on using CRISPR-Cas9 to edit genomes, based on discoveries by Feng Zhang, did not “interfere” with a patent application by UC based on the work of UC Berkeley’s Jennifer Doudna. In plain English, that meant the Broad’s patent, on using CRISPR-Cas9 to edit genomes in eukaryotic cells (all animals and plants, but not bacteria), was different from UC’s, which described Doudna’s experiments using CRISPR-Cas9 to edit DNA in a test tube—and it was therefore valid. The Patent Trial and Appeal Board concluded that when Zhang got CRISPR-Cas9 to work in human and mouse cells in 2012, it was not an obvious extension of Doudna’s earlier research, and that he had no “reasonable expectation of success.” UC appealed, and here we are.
For anyone who may not realize what the stakes are for these institutions, Linda Williams in a March 16, 1999 article for the LA Times had this to say about universities, patents, and money,
The University of Florida made about $2 million last year in royalties on a patent for Gatorade Thirst Quencher, a sports drink that generates some $500 million to $600 million a year in revenue for Quaker Oats Co.
The payments place the university among the top five in the nation in income from patent royalties.
Oh, but if some people on the Gainesville, Fla., campus could just turn back the clock. “If we had done Gatorade right, we would be getting $5 or $6 million (a year),” laments Donald Price, director of the university’s office of corporate programs. “It is a classic example of how not to handle a patent idea,” he added.
Gatorade was developed in 1965 when many universities were ill equipped to judge the commercial potential of ideas emerging from their research labs. Officials blew the university’s chance to control the Gatorade royalties when they declined to develop a professor’s idea.
The Gatorade story does not stop there and, even though it’s almost 20 years old, this article stands the test of time. I strongly encourage you to read it if the business end of patents and academia interest you or if you would like to develop more insight into the Broad Institute/UC Berkeley situation.
Getting back to the science, there is that pesky matter of diseases crossing over from one species to another. While, Harvard and eGenesis claim a victory in this area, it seems more work needs to be done.
A shortage of organs for transplantation — including kidneys and hearts — means that many patients die while still on waiting lists. So, research at the University of Alabama at Birmingham and other sites has turned to pig organs as an alternative. [emphasis mine]
Using gene-editing, researchers have modified such organs to prevent rejection, and research with primates shows the modified pig organs are well-tolerated.
An added step is needed to ensure the safety of these inter-species transplants — sensitive, quantitative assays for viruses and other infectious microorganisms in donor pigs that potentially could gain access to humans during transplantation.
The U.S. Food and Drug Administration requires such testing, prior to implantation, of tissues used for xenotransplantation from animals to humans. It is possible — though very unlikely — that an infectious agent in transplanted tissues could become an emerging infectious disease in humans.
In a paper published in Xenotransplantation, Mark Prichard, Ph.D., and colleagues at UAB have described the development and testing of 30 quantitative assays for pig infectious agents. These assays had sensitivities similar to clinical lab assays for viral loads in human patients. After validation, the UAB team also used the assays on nine sows and 22 piglets delivered from the sows through caesarian section.
“Going forward, ensuring the safety of these organs is of paramount importance,” Prichard said. “The use of highly sensitive techniques to detect potential pathogens will help to minimize adverse events in xenotransplantation.”
“The assays hold promise as part of the screening program to identify suitable donor animals, validate and release transplantable organs for research purposes, and monitor transplant recipients,” said Prichard, a professor in the UAB Department of Pediatrics and director of the Department of Pediatrics Molecular Diagnostics Laboratory.
The UAB researchers developed quantitative polymerase chain reaction, or qPCR, assays for 28 viruses sometimes found in pigs and two groups of mycoplasmas. They established reproducibility, sensitivity, specificity and lower limit of detection for each assay. All but three showed features of good quantitative assays, and the lower limit of detection values ranged between one and 16 copies of the viral or bacterial genetic material.
Also, the pig virus assays did not give false positives for some closely related human viruses.
As a start to understanding the infectious disease load in normal healthy animals and ensuring the safety of pig tissues used in xenotransplantation research, the researchers then screened blood, nasal swab and stool specimens from nine adult sows and 22 of their piglets delivered by caesarian section.
Mycoplasma species and two distinct herpesviruses were the most commonly detected microorganisms. Yet 14 piglets that were delivered from three sows infected with either or both herpesviruses were not infected with the herpesviruses, showing that transmission of these viruses from sow to the caesarian-delivery piglet was inefficient.
Prichard says the assays promise to enhance the safety of pig tissues for xenotransplantation, and they will also aid evaluation of human specimens after xenotransplantation.
The UAB researchers say they subsequently have evaluated more than 300 additional specimens, and that resulted in the detection of most of the targets. “The detection of these targets in pig specimens provides reassurance that the analytical methods are functioning as designed,” said Prichard, “and there is no a priori reason some targets might be more difficult to detect than others with the methods described here.”
As is my custom, here’s a link to and a citation for the paper,
All this leads to questions about chimeras. If a pig is incubating organs with human cells it’s a chimera but then means the human receiving the organ becomes a chimera too. (For an example, see my Dec. 22, 2013 posting where there’s mention of a woman who received a trachea from a pig. Scroll down about 30% of the way.)
What is it to be human?
A question much beloved of philosophers and others, the question seems particularly timely with xenotransplantion and other developments such neuroprosthetics (cyborgs) and neuromorphic computing (brainlike computing).
As I’ve noted before, although not recently, popular culture offers a discourse on these issues. Take a look at the superhero movies and the way in which enhanced humans and aliens are presented. For example, X-Men comics and movies present mutants (humans with enhanced abilities) as despised and rejected. Video games (not really my thing but there is the Deus Ex series which has as its hero, a cyborg also offer insight into these issues.
Other than popular culture and in the ‘bleeding edge’ arts community, I can’t recall any public discussion on these matters arising from the extraordinary set of technologies which are being deployed or prepared for deployment in the foreseeable future.
(If you’re in Vancouver (Canada) from September 14 – December 15, 2018, you may want to check out Piccinini’s work. Also, there’s ” NCSU [North Carolina State University] Libraries, NC State’s Genetic Engineering and Society (GES) Center, and the Gregg Museum of Art & Design have issued a public call for art for the upcoming exhibition Art’s Work in the Age of Biotechnology: Shaping our Genetic Futures.” from my Sept. 6, 2018 posting. Deadline: Oct. 1, 2018.)
At a guess, there will be pushback from people who have no interest in debating what it is to be human as they already know, and will find these developments, when they learn about them, to be horrifying and unnatural.
This is all about a local (Burnaby is one of the metro Vancouver municipalities) quantum computing companies, D-Wave Systems. The company has been featured here from time to time. It’s usually about about their quantum technology (they are considered a technology star in local and [I think] other circles) but my March 9, 2018 posting about the SXSW (South by Southwest) festival noted that Bo Ewald, President, D-Wave Systems US, was a member of the ‘Quantum Computing: Science Fiction to Science Fact’ panel.
Now, they’re back making technology announcements like this August 22, 2018 news item on phys.org (Note: Links have been removed),
D-Wave Systems today [August 22, 2018] published a milestone study demonstrating a topological phase transition using its 2048-qubit annealing quantum computer. This complex quantum simulation of materials is a major step toward reducing the need for time-consuming and expensive physical research and development.
The paper, entitled “Observation of topological phenomena in a programmable lattice of 1,800 qubits”, was published in the peer-reviewed journal Nature. This work marks an important advancement in the field and demonstrates again that the fully programmable D-Wave quantum computer can be used as an accurate simulator of quantum systems at a large scale. The methods used in this work could have broad implications in the development of novel materials, realizing Richard Feynman’s original vision of a quantum simulator. This new research comes on the heels of D-Wave’s recent Science paper demonstrating a different type of phase transition in a quantum spin-glass simulation. The two papers together signify the flexibility and versatility of the D-Wave quantum computer in quantum simulation of materials, in addition to other tasks such as optimization and machine learning.
In the early 1970s, theoretical physicists Vadim Berezinskii, J. Michael Kosterlitz and David Thouless predicted a new state of matter characterized by nontrivial topological properties. The work was awarded the Nobel Prize in Physics in 2016. D-Wave researchers demonstrated this phenomenon by programming the D-Wave 2000Q™ system to form a two-dimensional frustrated lattice of artificial spins. The observed topological properties in the simulated system cannot exist without quantum effects and closely agree with theoretical predictions.
“This paper represents a breakthrough in the simulation of physical systems which are otherwise essentially impossible,” said 2016 Nobel laureate Dr. J. Michael Kosterlitz. “The test reproduces most of the expected results, which is a remarkable achievement. This gives hope that future quantum simulators will be able to explore more complex and poorly understood systems so that one can trust the simulation results in quantitative detail as a model of a physical system. I look forward to seeing future applications of this simulation method.”
“The work described in the Nature paper represents a landmark in the field of quantum computation: for the first time, a theoretically predicted state of matter was realized in quantum simulation before being demonstrated in a real magnetic material,” said Dr. Mohammad Amin, chief scientist at D-Wave. “This is a significant step toward reaching the goal of quantum simulation, enabling the study of material properties before making them in the lab, a process that today can be very costly and time consuming.”
“Successfully demonstrating physics of Nobel Prize-winning importance on a D-Wave quantum computer is a significant achievement in and of itself. But in combination with D-Wave’s recent quantum simulation work published in Science, this new research demonstrates the flexibility and programmability of our system to tackle recognized, difficult problems in a variety of areas,” said Vern Brownell, D-Wave CEO.
“D-Wave’s quantum simulation of the Kosterlitz-Thouless transition is an exciting and impactful result. It not only contributes to our understanding of important problems in quantum magnetism, but also demonstrates solving a computationally hard problem with a novel and efficient mapping of the spin system, requiring only a limited number of qubits and opening new possibilities for solving a broader range of applications,” said Dr. John Sarrao, principal associate director for science, technology, and engineering at Los Alamos National Laboratory.
“The ability to demonstrate two very different quantum simulations, as we reported in Science and Nature, using the same quantum processor, illustrates the programmability and flexibility of D-Wave’s quantum computer,” said Dr. Andrew King, principal investigator for this work at D-Wave. “This programmability and flexibility were two key ingredients in Richard Feynman’s original vision of a quantum simulator and open up the possibility of predicting the behavior of more complex engineered quantum systems in the future.”
The achievements presented in Nature and Science join D-Wave’s continued work with world-class customers and partners on real-world prototype applications (“proto-apps”) across a variety of fields. The 70+ proto-apps developed by customers span optimization, machine learning, quantum material science, cybersecurity, and more. Many of the proto-apps’ results show that D-Wave systems are approaching, and sometimes surpassing, conventional computing in terms of performance or solution quality on real problems, at pre-commercial scale. As the power of D-Wave systems and software expands, these proto-apps point to the potential for scaled customer application advantage on quantum computers.
The company has prepared a video describing Richard Feynman’s proposal about quantum computing and celebrating their latest achievement,
In 1982, Richard Feynman proposed the idea of simulating the quantum physics of complex systems with a programmable quantum computer. In August 2018, his vision was realized when researchers from D-Wave Systems and the Vector Institute demonstrated the simulation of a topological phase transition—the subject of the 2016 Nobel Prize in Physics—in a fully programmable D-Wave 2000Q™ annealing quantum computer. This complex quantum simulation of materials is a major step toward reducing the need for time-consuming and expensive physical research and development.
You may want to check out the comments in response to the video.
Here’s a link to and a citation for the Nature paper,
Observation of topological phenomena in a programmable lattice of 1,800 qubits by Andrew D. King, Juan Carrasquilla, Jack Raymond, Isil Ozfidan, Evgeny Andriyash, Andrew Berkley, Mauricio Reis, Trevor Lanting, Richard Harris, Fabio Altomare, Kelly Boothby, Paul I. Bunyk, Colin Enderud, Alexandre Fréchette, Emile Hoskinson, Nicolas Ladizinsky, Travis Oh, Gabriel Poulin-Lamarre, Christopher Rich, Yuki Sato, Anatoly Yu. Smirnov, Loren J. Swenson, Mark H. Volkmann, Jed Whittaker, Jason Yao, Eric Ladizinsky, Mark W. Johnson, Jeremy Hilton, & Mohammad H. Amin. Nature volume 560, pages456–460 (2018) DOI: https://doi.org/10.1038/s41586-018-0410-x Published 22 August 2018
This paper is behind a paywall but, for those who don’t have access, there is a synopsis here.
For anyone curious about the earlier paper published in July 2018, here’s a link and a citation,
Phase transitions in a programmable quantum spin glass simulator by R. Harris, Y. Sato, A. J. Berkley, M. Reis, F. Altomare, M. H. Amin, K. Boothby, P. Bunyk, C. Deng, C. Enderud, S. Huang, E. Hoskinson, M. W. Johnson, E. Ladizinsky, N. Ladizinsky, T. Lanting, R. Li, T. Medina, R. Molavi, R. Neufeld, T. Oh, I. Pavlov, I. Perminov, G. Poulin-Lamarre, C. Rich, A. Smirnov, L. Swenson, N. Tsai, M. Volkmann, J. Whittaker, J. Yao. Science 13 Jul 2018: Vol. 361, Issue 6398, pp. 162-165 DOI: 10.1126/science.aat2025
Here’s more about the latest Café Scientifique talk from an August 22, 2018 announcement received via email,
Our next café will happen on TUESDAY, AUGUST 28TH at 7:30PM in the back
room at YAGGER'S DOWNTOWN (433 W Pender [St., Vancouver]). Our speaker for the
evening will be DR. KATIE MARSHALL from the Department of Zoology at
UBC [University of British Columbia]. Her topic will be:
GETTING THE MESSAGE: WHAT IS GENE EXPRESSION AND WHY DOES IT MATTER?
Many of us think that DNA is like a light switch; you have a particular
sequence of base pairs or a particular chromosome, and these directly
cause a large change in biological functioning. But the truth is that
any given gene can be up or downregulated through a dizzying array of
biochemical “dimmer switches” that finely control how much that
particular gene is expressed. Understanding how this works is key to
answering questions like “How does a sequence of base pairs in DNA
become a whole organism?” and “Why is it that every cell has the
same DNA sequence but different function?”. We’ll chat about the
advances in computing needed to answer these questions, the importance
of gene expression in disease, and how this science can help us
understand social issues better too.
I wasn’t able to find out too much more about Dr. Katie but there is this profile page on the UBC Zoology Department website,
The long-term goal of my research is to understand how abiotic stress filters through physiology to shape species abundance and distribution. While abiotic stressors such as temperature have been used very successfully to predict population growth, distribution, and diversity of insect species, integration of the mechanisms of how these stressors are experienced by individuals from alteration of physiology through to fitness impacts has lagged. Inclusion of these mechanisms is crucial for accurate modelling predictions of individual (and therefore population-level) responses. My research to date has focused on how the impact of frequency of stress (rather than the duration or intensity of stress) is a superior predictor of both survival and reproductive success , and used insect cold tolerance as a model system.
At UBC I’ll be focusing on the cold tolerance and cryobiology of invertebrates in the intertidal. These organisms face freezing stress through the winter, yet remarkably little is known about how they do so. I’ll also be investigating plasticity in cold tolerance by looking for interactive effects of ocean acidification and community composition on thermal tolerance.
While my main interest is the group’s temporary art gallery, I am providing a brief explanatory introduction and a couple of previews for SIGGRAPH 2018.
For anyone unfamiliar with the Special Interest Group on Computer GRAPHics and Interactive Techniques (SIGGRAPH) and its conferences, from the SIGGRAPH Wikipedia entry Note: Links have been removed),
Some highlights of the conference are its Animation Theater and Electronic Theater presentations, where recently created CG films are played. There is a large exhibition floor, where several hundred companies set up elaborate booths and compete for attention and recruits. Most of the companies are in the engineering, graphics, motion picture, or video game industries. There are also many booths for schools which specialize in computer graphics or interactivity.
Dozens of research papers are presented each year, and SIGGRAPH is widely considered the most prestigious forum for the publication of computer graphics research. The recent paper acceptance rate for SIGGRAPH has been less than 26%. The submitted papers are peer-reviewed in a single-blind process. There has been some criticism about the preference of SIGGRAPH paper reviewers for novel results rather than useful incremental progress. …
This is the third SIGGRAPH Vancouver has hosted; the others were in 2011 and 2014. The theme for the 2018 iteration is ‘Generations’; here’s more about it from an Aug. 2, 2018 article by Terry Flores for Variety,
While its focus is firmly forward thinking, SIGGRAPH 2018, the computer graphics, animation, virtual reality, games, digital art, mixed reality, and emerging technologies conference, is also tipping its hat to the past thanks to its theme this year: Generations. The conference runs Aug. 12-16 in Vancouver, B.C.
“In the literal people sense, pioneers in the computer graphics industry are standing shoulder to shoulder with researchers, practitioners and the future of the industry — young people — mentoring them, dabbling across multiple disciplines to innovate, relate, and grow,” says SIGGRAPH 2018 conference chair Roy C. Anthony, VP of creative development and operations at software and technology firm Ventuz. “This is really what SIGGRAPH has always been about. Generations really seemed like a very appropriate way of looking back and remembering where we all came from and how far we’ve come.”
SIGGRAPH 2018 has a number of treats in store for attendees, including the debut of Disney’s first VR film, the short “Cycles”; production sessions on the making of “Blade Runner 2049,” “Game of Thrones,” “Incredibles 2” and “Avengers: Infinity War”; as well as sneak peeks of Disney’s upcoming “Ralph Breaks the Internet: Wreck-It Ralph 2” and Laika’s “Missing Link.”
That list of ‘treats’ in the last paragraph makes the conference seem more like an iteration of a ‘comic-con’ than a technology conference.
CHICAGO–In the burgeoning world of virtual reality (VR) technology, it remains a challenge to provide users with a realistic perception of infinite space and natural walking capabilities in the virtual environment. A team of computer scientists has introduced a new approach to address this problem by leveraging a natural human phenomenon: eye blinks.
All humans are functionally blind for about 10 percent of the time under normal circumstances due to eye blinks and saccades, a rapid movement of the eye between two points or objects. Eye blinks are a common and natural cause of so-called “change blindness,” which indicates the inability for humans to notice changes to visual scenes. Zeroing in on eye blinks and change blindness, the team has devised a novel computational system that effectively redirects the user in the virtual environment during these natural instances, all with undetectable camera movements to deliver orientation redirection.
“Previous RDW [redirected walking] techniques apply rotations continuously while the user is walking. But the amount of unnoticeable rotations is limited,” notes Eike Langbehn, lead author of the research and doctoral candidate at the University of Hamburg. “That’s why an orthogonal approach is needed–we add some additional rotations when the user is not focused on the visuals. When we learned that humans are functionally blind for some time due to blinks, we thought, ‘Why don’t we do the redirection during eye blinks?'”
Human eye blinks occur approximately 10 to 20 times per minute, about every 4 to 19 seconds. Leveraging this window of opportunity–where humans are unable to detect major motion changes while in a virtual environment–the researchers devised an approach to synchronize a computer graphics rendering system with this visual process, and introduce any useful motion changes in virtual scenes to enhance users’ overall VR experience.
The researchers’ experiments revealed that imperceptible camera rotations of 2 to 5 degrees and translations of 4 to 9 cm of the user’s viewpoint are possible during a blink without users even noticing. They tracked test participants’ eye blinks by an eye tracker in a VR head-mounted display. In a confirmatory study, the team validated that participants could not reliably detect in which of two eye blinks their viewpoint was manipulated while walking a VR curved path. The tests relied on unconscious natural eye blinking, but the researchers say redirection during blinking could be carried out consciously. Since users can consciously blink multiple times a day without much effort, eye blinks provide great potential to be used as an intentional trigger in their approach.
The team will present their work at SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia. The annual conference and exhibition showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
“RDW is a big challenge since current techniques still need too much space to enable unlimited walking in VR,” notes Langbehn. “Our work might contribute to a reduction of space since we found out that unnoticeable rotations of up to five degrees are possible during blinks. This means we can improve the performance of RDW by approximately 50 percent.”
The team’s results could be used in combination with other VR research, such as novel steering algorithms, improved path prediction, and rotations during saccades, to name a few. Down the road, such techniques could some day enable consumer VR users to virtually walk beyond their living room.
Langbehn collaborated on the work with Frank Steinicke of University of Hamburg, Markus Lappe of University of Muenster, Gregory F. Welch of University of Central Florida, and Gerd Bruder, also of University of Central Florida. For the full paper and video, visit the team’s project page.
About ACM, ACM SIGGRAPH, and SIGGRAPH 2018
ACM, the Association for Computing Machinery, is the world’s largest educational and scientific computing society, uniting educators, researchers, and professionals to inspire dialogue, share resources, and address the field’s challenges. ACM SIGGRAPH is a special interest group within ACM that serves as an interdisciplinary community for members in research, technology, and applications in computer graphics and interactive techniques. SIGGRAPH is the world’s leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques. SIGGRAPH 2018, marking the 45th annual conference hosted by ACM SIGGRAPH, will take place from 12-16 August at the Vancouver Convention Centre in Vancouver, B.C.
They have provided an image illustrating what they mean (I don’t find it especially informative),
Caption: The viewing behavior of a virtual reality user, including fixations (in green) and saccades (in red). A blink fully suppresses visual perception. Credit: Eike Langbehn
Walt Disney Animation Studios will debut its first ever virtual reality short film at SIGGRAPH 2018, and the hope is viewers will walk away feeling connected to the characters as equally as they will with the VR technology involved in making the film.
Cycles, an experimental film directed by Jeff Gipson, centers around the true meaning of creating a home and the life it holds inside its walls. The idea for the film is personal, inspired by Gipson’s childhood spending time with his grandparents and creating memories in their home, and later, having to move them to an assisted living residence.
“Every house has a story unique to the people, the characters who live there,” says Gipson. “We wanted to create a story in this single place and be able to have the viewer witness life happening around them. It is an emotionally driven film, expressing the real ups and downs, the happy and sad moments in life.”
For Cycles, Gipson also drew from his past life as an architect, having spent several years designing skate parks, and from his passion for action sports, including freestyle BMX. In Los Angeles, where Gipson lives, it is not unusual to find homes with an empty swimming pool reserved for skating or freestyle biking. Part of the pitch for Cycles came out of Gipson’s experience riding in these empty pools and being curious about the homes attached to them, the families who lived there, and the memories they made.
SIGGRAPH attendees will have the opportunity to experience Cycles at the Immersive Pavilion, a new space for this year’s conference. The Pavilion is devoted exclusively to virtual, augmented, and mixed reality and will contain: the VR Theater, a storytelling extravaganza that is part of the Computer Animation Festival; the Vrcade, a space for VR, AR, and MR games or experiences; and the well-known Village, for showcasing large-scale projects. SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia, is an annual gathering that showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
The production team completed Cycles in four months with about 50 collaborators as part of a professional development program at the studio. A key difference in VR filmmaking includes getting creative with how to translate a story to the VR “screen.” Pre-visualizing the narrative, for one, was a challenge. Rather than traditional storyboarding, Gipson and his team instead used a mix of Quill VR painting techniques and motion capture to “storyboard” Cycles, incorporating painters and artists to generate sculptures or 3D models of characters early on and draw scenes for the VR space. The creators also got innovative with the use of light and color saturation in scenes to help guide the user’s eyes during the film.
“What’s cool for VR is that we are really on the edge of trying to figure out what it is and how to tell stories in this new medium,” says Gipson. “In VR, you can look anywhere and really be transported to a different world, experience it from different angles, and see every detail. We want people watching to feel alive and feel emotion, and give them a true cinematic experience.”
This is Gipson’s VR directorial debut. He joined Walt Disney Animation Studios in 2013, serving as a lighting artist on Disney favorites like Frozen, Zootopia, and Moana. Of getting to direct the studio’s first VR short, he says, “VR is an amazing technology and a lot of times the technology is what is really celebrated. We hope more and more people begin to see the emotional weight of VR films, and with Cycles in particular, we hope they will feel the emotions we aimed to convey with our story.”
Apparently this is a still from the ‘short’,
Caption: Disney Animation Studios will present ‘Cycles’ , its first virtual reality (VR) short, at ACM SIGGRAPH 2018. Credit: Disney Animation Studios
Google has unveiled a new virtual reality (VR) immersive experience based on a novel system that captures and renders high-quality, realistic images from the real world using light fields. Created by a team of leading researchers at Google, Welcome to Light Fields is the tech giant’s splash into the nascent arena of light fields VR experiences, an exciting corner of VR video technology gaining traction for its promise to deliver extremely high-quality imagery and experiences in the virtual world.
Google released Welcome to Light Fields earlier this year as a free app on Steam VR for HTC Vive, Oculus Rift, and Windows Mixed Reality headsets. The creators will demonstrate the VR experience at SIGGRAPH 2018, in the Immersive Pavilion, a new space for this year’s conference. The Pavilion is devoted exclusively to virtual, augmented, and mixed reality and will contain: the Vrcade, a space for VR, AR, and MR games or experiences; the VR Theater, a storytelling extravaganza that is part of the Computer Animation Festival; and the well-known Village, for showcasing large-scale projects. SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia, is an annual gathering that showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
Destinations in Welcome to Light Fields include NASA’s Space Shuttle Discovery, delivering to viewers an astronaut’s view inside the flight deck, which has never been open to the public; the pristine teak and mahogany interiors of the Gamble House, an architectural treasure in Pasadena, CA; and the glorious St. Stephen’s Church in Granada Hills, CA, home to a stunning wall of more than 14,000 pieces of glimmering stained glass.
“I love that light fields in VR can teleport you to exotic places in the real world, and truly make you believe you are there,” says Ryan Overbeck, software engineer at Google who co-led the project. “To me, this is magic.”
To bring this experience to life, Overbeck worked with a team that included Paul Debevec, senior staff engineer at Google, who managed the project and led the hardware piece with engineers Xueming Yu, Jay Busch, and Graham Fyffe. With Overbeck, Daniel Erickson and Daniel Evangelakos focused on the software end. The researchers designed a comprehensive system for capturing and rendering high-quality, spherical light field still images from footage captured in the real world. They developed two easy-to-use light field camera rigs, based on the GoPro Hero4action sports camera, that efficiently capture thousands of images on the surface of a sphere. Those images were then passed through a cloud-based light-field-processing pipeline.
Among other things, explains Overbeck, “The processing pipeline uses computer vision to place the images in 3D and generate depth maps, and we use a modified version of our vp9 video codec
to compress the light field data down to a manageable size.” To render a light field dataset, he notes, the team used a rendering algorithm that blends between the thousands of light field images in real-time.
The team relied on Google’s talented pool of engineers in computer vision, graphics, video compression, and machine learning to overcome the unique challenges posed in light fields technology. They also collaborated closely with the WebM team (who make the vp9 video codec) to develop the high-quality light field compression format incorporated into their system, and leaned heavily on the expertise of the Jump VR team to help pose the images and generate depth maps. (Jump is Google’s professional VR system for achieving 3D-360 video production at scale.)
Indeed, with Welcome to Light Fields, the Google team is demonstrating the potential and promise of light field VR technology, showcasing the technology’s ability to provide a truly immersive experience with a level of unmatched realism. Though light fields technology has been researched and explored in computer graphics for more than 30 years, practical systems for actually delivering high-quality light field experiences has not yet been possible.
Part of the team’s motivation behind creating this VR light field experience is to invigorate the nascent field.
“Welcome to Light Fields proves that it is now possible to make a compelling light field VR viewer that runs on consumer-grade hardware, and we hope that this knowledge will encourage others to get involved with building light field technology and media,” says Overbeck. “We understand that in order to eventually make compelling consumer products based on light fields, we need a thriving light field ecosystem. We need open light field codecs, we need artists creating beautiful light field imagery, and we need people using VR in order to engage with light fields.”
I don’t really understand why this image, which looks like something belongs on advertising material, would be chosen to accompany a news release on a science-based distribution outlet,
Caption: A team of leading researchers at Google, will unveil the new immersive virtual reality (VR) experience “Welcome to Lightfields” at ACM SIGGRAPH 2018. Credit: Image courtesy of Google/Overbeck
Advances in computer-generated imagery have brought vivid, realistic animations to life, but the sounds associated with what we see simulated on screen, such as two objects colliding, are often recordings. Now researchers at Stanford University have developed a system that automatically renders accurate sounds for a wide variety of animated phenomena.
“There’s been a Holy Grail in computing of being able to simulate reality for humans. We can animate scenes and render them visually with physics and computer graphics, but, as for sounds, they are usually made up,” said Doug James, professor of computer science at Stanford University. “Currently there exists no way to generate realistic synchronized sounds for complex animated content, such as splashing water or colliding objects, automatically. This fills that void.”
The researchers will present their work on this sound synthesis system as part of ACM SIGGRAPH 2018, the leading conference on computer graphics and interactive techniques. In addition to enlivening movies and virtual reality worlds, this system could also help engineering companies prototype how products would sound before being physically produced, and hopefully encourage designs that are quieter and less irritating, the researchers said.
“I’ve spent years trying to solve partial differential equations – which govern how sound propagates – by hand,” said Jui-Hsien Wang, a graduate student in James’ lab and in the Institute for Computational and Mathematical Engineering (ICME), and lead author of the paper. “This is actually a place where you don’t just solve the equation but you can actually hear it once you’ve done it. That’s really exciting to me and it’s fun.”
Informed by geometry and physical motion, the system figures out the vibrations of each object and how, like a loudspeaker, those vibrations excite sound waves. It computes the pressure waves cast off by rapidly moving and vibrating surfaces but does not replicate room acoustics. So, although it does not recreate the echoes in a grand cathedral, it can resolve detailed sounds from scenarios like a crashing cymbal, an upside-down bowl spinning to a stop, a glass filling up with water or a virtual character talking into a megaphone.
Most sounds associated with animations rely on pre-recorded clips, which require vast manual effort to synchronize with the action on-screen. These clips are also restricted to noises that exist – they can’t predict anything new. Other systems that produce and predict sounds as accurate as those of James and his team work only in special cases, or assume the geometry doesn’t deform very much. They also require a long pre-computation phase for each separate object.
“Ours is essentially just a render button with minimal pre-processing that treats all objects together in one acoustic wave simulation,” said Ante Qu, a graduate student in James’ lab and co-author of the paper.
The simulated sound that results from this method is highly detailed. It takes into account the sound waves produced by each object in an animation but also predicts how those waves bend, bounce or deaden based on their interactions with other objects and sound waves in the scene.
In its current form, the group’s process takes a while to create the finished product. But, now that they have proven this technique’s potential, they can focus on performance optimizations, such as implementing their method on parallel GPU hardware, that should make it drastically faster.
And, even in its current state, the results are worth the wait.
“The first water sounds we generated with the system were among the best ones we had simulated – and water is a huge challenge in computer-generated sound,” said James. “We thought we might get a little improvement, but it is dramatically better than previous approaches even right out of the box. It was really striking.”
Although the group’s work has faithfully rendered sounds of various objects spinning, falling and banging into each other, more complex objects and interactions – like the reverberating tones of a Stradivarius violin – remain difficult to model realistically. That, the group said, will have to wait for a future solution.
Timothy Langlois of Adobe Research is a co-author of this paper. This research was funded by the National Science Foundation and Adobe Research. James is also a professor, by courtesy, of music and a member of Stanford Bio-X.
Researchers Timothy Langlois, Doug L. James, Ante Qu and Jui-Hsien Wang have created a video featuring highlights of animations with sounds synthesized using the Stanford researchers’ new system.,
The researchers have also provided this image,
By computing pressure waves cast off by rapidly moving and vibrating surfaces – such as a cymbal – a new sound synthesis system developed by Stanford researchers can automatically render realistic sound for computer animations. (Image credit: Timothy Langlois, Doug L. James, Ante Qu and Jui-Hsien Wang)
It does seem like we’re synthesizing the world around us, eh?
SIGGRAPH 2018, the world’s leading showcase of digital art created using computer graphics and interactive techniques, will present a special Art Gallery, entitled “Origins,” and historic Art Papers in Vancouver, B.C. The 45th SIGGRAPH conference will take place 12–16 August at the Vancouver Convention Centre. The programs will also honor the generations of creators that have come before through a special, 50th anniversary edition of the Leonard journal. To register for the conference, visit S2018.SIGGRAPH.ORG.
The SIGGRAPH 2018 ART GALLERY is a curated exhibition, conceived as a dialogical space that enables the viewer to reflect on man’s diverse cultural values and rituals through contemporary creative practices. Building upon an exciting and eclectic selection of creative practices mediated through technologies that represent the sophistication of our times, the SIGGRAPH 2018 Art Gallery will embrace the narratives of the indigenous communities based near Vancouver and throughout Canada as a source of inspiration. The exhibition will feature contemporary media artworks, art pieces by indigenous communities, and other traces of technologically mediated Ludic practices.
Andrés Burbano, SIGGRAPH 2018 Art Gallery chair and professor at Universidad de los Andes, said, “The Art Gallery aims to articulate myth and technology, science and art, the deep past and the computational present, and will coalesce around a theme of ‘Origins.’ Media and technological creative expressions will explore principles such as the origins of the cosmos, the origins of life, the origins of human presence, the origins of the occupation of territories in the Americas, and the origins of people living in the vast territories of the Arctic.”
He continued, “The venue [in Vancouver] hopes to rekindle the original spark that ignited the collaborative spirit of the SIGGRAPH community of engineers, scientists, and artists, who came together to create the very first conference in the early 1970s.”
Highlights from the 2018 Art Gallery include:
Transformation Mask (Canada) [Technology Based]
Shawn Hunt, independent; and Microsoft Garage: Andy Klein, Robert Butterworth, Jonathan Cobb, Jeremy Kersey, Stacey Mulcahy, Brendan O’Rourke, Brent Silk, and Julia Taylor-Hell, Microsoft Vancouver
TRANSFORMATION MASK is an interactive installation that features the Microsoft HoloLens. It utilizes electronics and mechanical engineering to express a physical and digital transformation. Participants are immersed in spatial sounds and holographic visuals.
Somnium (U.S.) [Science Based]
Marko Peljhan, Danny Bazo, and Karl Yerkes, University of California, Santa Barbara
Somnium is a cybernetic installation that provides visitors with the ability to sensorily, cognitively, and emotionally contemplate and experience exoplanetary discoveries, their macro and micro dimensions, and the potential for life in our Galaxy. Some might call it “space telescope.”
Ernest Edmonds Retrospective – Art Systems 1968-2018 (United Kingdom) [History Based]
Ernest Edmonds, De Montfort University
Celebrating one of the pioneers of computer graphics-based art since the early 1970s, this Ernest Edmonds career retrospective will showcase snapshots of Edmonds’ work as it developed over the years. With one piece from each decade, the retrospective will also demonstrate how vital the Leonardo journal has been throughout the 50-year journey.
In addition to the works above, the Art Gallery will feature pieces from notable female artists Ozge Samanci, Ruth West, and Nicole L’Hullier. For more information about the Edmonds retrospective, read THIS POST ON THE ACM SIGGRAPH BLOG.
The SIGGRAPH 2018 ART PAPERS program is designed to feature research from artists, scientists, theorists, technologists, historians, and more in one of four categories: project description, theory/criticism, methods, or history. The chosen work was selected by an international jury of scholars, artists, and immersive technology developers.
To celebrate the 50th anniversary of LEONARDO (MIT Press), and 10 years of its annual SIGGRAPH issue, SIGGRAPH 2018 is pleased to announce a special anniversary edition of the journal, which will feature the 2018 art papers. For 50 years, Leonardo has been the definitive publication for artist-academics. To learn more about the relationship between SIGGRAPH and the journal, listen to THIS EPISODE OF THE SIGGRAPH SPOTLIGHT PODCAST.
“In order to encourage a wider range of topics, we introduced a new submission type, short papers. This enabled us to accept more content than in previous years. Additionally, for the first time, we will introduce sessions that integrate the Art Gallery artist talks with Art Papers talks, promoting richer connections between these two creative communities,” said Angus Forbes, SIGGRAPH 2018 Art Papers chair and professor at University of California, Santa Cruz.
Art Papers highlights include:
Alienating the Familiar with CGI: A Recipe for Making a Full CGI Art House Animated Feature [Long]
Alex Counsell and Paul Charisse, University of Portsmouth
This paper explores the process of making and funding an art house feature film using full CGI in a marketplace where this has never been attempted. It explores cutting-edge technology and production approaches, as well as routes to successful fundraising.
Augmented Fauna and Glass Mutations: A Dialogue Between Material and Technique in Glassblowing and 3D Printing [Long]
Tobias Klein, City University of Hong Kong
The two presented artworks, “Augmented Fauna” and “Glass Mutations,” were created during an artist residence at the PILCHUCK GLASS SCHOOL. They are examples of the qualities and methods established through a synthesis between digital workflows and traditional craft processes and thus formulate the notion of digital craftsmanship.
Inhabitat: An Imaginary Ecosystem in a Children’s Science Museum [Short]
Graham Wakefield, York University, and Haru Hyunkyung Ji, OCAD University
“Inhabitat” is a mixed reality artwork in which participants become part of an imaginary ecology through three simultaneous perspectives of scale and agency; three distinct ways to see with other eyes. This imaginary world was exhibited at a children’s science museum for five months, using an interactive projection-augmented sculpture, a large screen and speaker array, and a virtual reality head-mounted display.
What’s the what?
My father used to say that and I always assumed it meant summarize the high points, if you need to, and get to the point—fast. In that spirit, I am both fascinated and mildly appalled. The virtual, mixed, and augmented reality technologies, as well as, the others being featured at SIGGRAPH 2018 are wondrous in many ways but it seems we are coming ever closer to a world where we no longer interact with nature or other humans directly. (see my August 10, 2018 posting about the ‘extinction of experience’ for research that encourages more direct interaction with nature) I realize that SIGGRAPH is intended as a primarily technical experience but I think a little more content questioning these technologies and their applications (social implications) might be in order. That’s often the artist’s role but I can’t see anything in the art gallery descriptions that hint at any sort of fundamental critique.