Category Archives: New Media

Research2Reality: a science media engagement experience dedicated to Canadian science

As of May 11, 2015, Canadians will be getting an addition to their science media environment (from the May 4, 2015 news release),

Research2Reality to celebrate Canadian research stars

Social media initiative to popularize scientific innovation

May 4, 2015, TORONTO – On Monday, May 11, Research2Reality.com goes live and launches a social media initiative that will make the scientist a star. Following in the footsteps of popular sites like IFLScience and How Stuff Works, Research2Reality uses a video series and website to engage the community in the forefront of scientific discoveries made here in Canada.

The interviews feature some of Canada’s leading researchers such as Dick Peltier – director of the Centre for Global Change Science at the University of Toronto, Sally Aitken – director of the Centre for Forest Conservation Genetics at the University of British Columbia and Raymond Laflamme – executive director of the Institute for Quantum Computing at the University of Waterloo.

“Right now many Canadians don’t understand the scope of cutting-edge work being done in our backyards,” says Research2Reality co-founder and award-winning professor Molly Shoichet. “This initiative will bridge that gap between researchers and the public.”

Also launching Monday, May 11, courtesy of Research2Reality’s official media partner, Discovery Science, is a complementary website www.sciencechannel.ca/Shows/Research2Reality. The new website will feature the exclusive premieres of a collection of interview sessions. In addition, Discovery Science and Discovery will broadcast an imaginative series of public service announcements through the end of the year, while social media accounts will promote Research2Reality, including Discovery’s flagship science and technology program DAILY PLANET.

About Research2Reality:
Research2Reality is a social media initiative designed to popularize the latest Canadian research. It was founded by Molly Shoichet, Professor of Chemical Engineering & Applied Chemistry and Canada Research Chair in Tissue Engineering at the University of Toronto, and Mike MacMillan, founder and producer of Lithium Studios Productions. Research2Reality’s founding partners are leading research-intensive universities – the University of Alberta, the University of British Columbia, McMaster University, the University of Toronto, the University of Waterloo, and Western University – along with the Ontario Government and Discovery Networks. Discovery Science is the official media partner. Research2Reality is also supported by The Globe and Mail.

Research2Reality details

A Valentine of sorts to Canadian science researchers from Molly Shoichet (pronounced shoy [and] quette as in David Arquette)  and her producing partner Mike MacMillan of Lithium Studios, Research2Reality gives Canadians an opportunity to discover online some of the extraordinary work done by scientists of all stripes, including (unusually) social scientists, in this country. The top tier in this effort is the interview video series ‘The Orange Chair Sessions‘  which can be found and shared across

Shoichet and MacMillan are convinced there’s an appetite for more comprehensive science information. Supporting The Orange Chair Sessions is a complementary website operated by Discovery Channel where there are

  • more interviews
  • backgrounders,
  • biographies,
  • blogs, and
  • links to other resources

Discovery Channel is also going to be airing special one minute  public service announcements (PSA) on topics like water, quantum computing, and cancer. Here’s one of the first of those PSAs,

“I’m very excited about this and really hope that other people will be too,” says Shoichet. The audience for the Research2Reality endeavour is for people who like to know more and have questions when they see news items about science discoveries that can’t be answered by investigating mainstream media programmes or trying to read complex research papers.

This is a big undertaking. ” Mike and I thought about this for about two years.” Building on the support they received from the University of Toronto, “We reached out to the vice-presidents of research at the top fifteen universities in the country.” In the end, six universities accepted the invitation to invest in this project,

  • the University of British Columbia,
  • the University of Alberta,
  • Western University (formerly the University of Western Ontario),
  • McMaster University,
  • Waterloo University, and, of course,
  • the University of Toronto

(Unfortunately, Shoichet was not able to answer a question about the cost for an individual episode but perhaps when there’s time that detail and more about the financing will be made available. [ETA May 11, 2015 1625 PDT: Ivan Semeniuk notes this is a $400,000 project in his Globe and Mail May 11, 2015 article.]) As part of their involvement, the universities decide which of their researchers/projects should be profiled then Research2Reality swings into action. “We shoot our own video, that is, we (Mike and I) come out and conduct interviews that take approximately fifteen minutes. We also shoot a b-roll, that is, footage of the laboratories and other relevant sites so it’s not all ‘talking heads’.” Shoichet and MacMillan are interested in the answer to two questions, “What are you doing? and Why do we care?” Neither interviewer/producer is seen or heard on camera as they wanted to keep the focus on the researcher.

Three videos are being released initially with another 67 in the pipeline for a total of 70.  The focus is on research of an international calibre and one of the first interviews to be released (Shoichet’s will be release later) is Raymond Laflamme’s (he’s also featured in the ‘quantum PSA’.

Raymond Laflamme

Who convinces a genius that he’s gotten an important cosmological concept wrong or ignored it? Alongside Don Page, Laflamme accomplished that feat as one of Stephen Hawking’s PhD students at the University of Cambridge. Today (May 11, 2015), Laflamme is (from his Wikipedia entry)

… co-founder and current director of the Institute for Quantum Computing at the University of Waterloo. He is also a professor in the Department of Physics and Astronomy at the University of Waterloo and an associate faculty member at Perimeter Institute for Theoretical Physics. Laflamme is currently a Canada Research Chair in Quantum Information.

Laflamme changed his focus from quantum cosmology to quantum information while at Los Alamos, “To me, it seemed natural. Not much of a change.” It is the difference between being a theoretician and an experimentalist and anyone who’s watched The Big Bang Theory (US television programme) knows that Laflamme made a big leap.

One of his major research interests is quantum cryptography, a means of passing messages you can ensure are private. Laflamme’s team and a team in Vienna (Austria) have enabled two quantum communication systems, one purely terrestrial version, which can exchange messages with another such system up to 100 km. away. There are some problems yet to be solved with terrestrial quantum communication. First, buildings, trees, and other structures provide interference as does the curvature of the earth. Second, fibre optic cables absorb some of the photons en route.

Satellite quantum communication seems more promising as these problems are avoided altogether. The joint Waterloo/Vienna team of researchers has  conducted successful satellite experiments in quantum communication in the Canary Islands.

While there don’t seem to be any practical, commercial quantum applications, Laflamme says that isn’t strictly speaking the truth, “In the last 10  to 15 years many ideas have been realized.” The talk turns to quantum sensing and Laflamme mentions two startups and notes he can’t talk about them yet. But there is Universal Quantum Devices (UQD), a company that produces parts for quantum sensors. It is Laflamme’s startup, one he co-founded with two partners. (For anyone unfamiliar with the Canadian academic scene, Laflamme’s home institution, the University of Waterloo, is one of the most actively ‘innovative’ and business-oriented universities in Canada.)

LaFlamme’s interests extend beyond laboratory work and business. He’s an active science communicator as can be seen in this 2010 TEDxWaterloo presentation where he takes his audience from the discovery of fire to quantum physics concepts such as a ‘quantum superposition’ and the ‘observer effect’ to the question, ‘What is reality?’ in approximately 18 mins.

For anyone who needs a little more information, a quantum superposition is a term referring the ability of a quantum object to inhabit two states simultaneously, e.g., on/off. yes/no, alive/dead, as in Schrödinger’s cat. (You can find out more about quantum superpositions in this Wikipedia essay and about Schrodinger’s cat in this Wikipedia essay.) The observer effect is a phenomenon whereby the observer of a quantum experiment affects that experiment by the act of observing it. (You can find out more about the observer effect in this Wikipedia essay.)

The topic of reality is much trickier to explain. No one has yet been able to offer a viable theory for why the world at the macro scale behaves one way (classical physics) and the world at the quantum scale behaves another way (quantum physics). As Laflamme notes, “There is no such thing as a superposition in classical physics but we can prove in the laboratory that it exists in quantum physics.” He goes on to suggest that children, raised in an environment where quantum physics and its applications are commonplace, will have an utterly different notion as to what constitutes reality.

Laflamme is also interested in music and consulted on a ‘quantum symphony’. He has this to say about it in an Sept. 20, 2012 piece on the University of Waterlo website,

Science and art share a common goal — to help us understand our universe and ourselves.  Research at IQC [Institute for Quantum Computing] aims to provide important new understanding of nature’s building blocks, and devise methods to turn that understanding into technologies beneficial for society.Since founding IQC a decade ago, I have sought ways to bridge science and the arts, with the belief that scientific discovery itself is a source of beauty and inspiration.  Our collaboration with the Kitchener-Waterloo Symphony was an example — one of many yet to come — of how science and the arts provide different but complementary insights into our universe and ourselves.

I wrote about the IQC and the symphony which debuted at the IQC’s opening in a Sept. 25, 2012 posting.

Music is not the only art which has attracted Laflamme’s talents. He consulted on a documentary, The Quantum Tamers: Revealing our weird and wired future, a co-production between Canada’s Perimeter Institute and Title Entertainment,

From deep inside the sewers of Vienna, site of groundbreaking quantum teleportation experiments, to cutting-edge quantum computing labs, to voyages into the minds of the world’s brightest thinkers, including renowned British scientist Stephen Hawking, this documentary explores the coming quantum technological revolution.

All of this suggests an interest in science not seen since the 19th century when scientists could fill theatres for their lectures. Even Hollywood is capitalizing on this interest. Laflamme, who saw ‘Interstellar’, ‘The Imitation Game’ (Alan Turing), and ‘The Theory of Everything’ (Stephen Hawking) in fall 2014 comments, “I was surprised by how much science there was in The Imitation Game and Interstellar.” As for the Theory of Everything, “I was apprehensive since I know Stephen well. But, the actor, Eddie Redmayne, and the movie surprised me. There were times when he moved his head or did something in a particular way—he was Stephen. Also, most people don’t realize what an incredible sense of humour Stephen has and the movie captured that well.” Laflamme also observed that it was a movie about a relationship and not really concerned with science and its impacts (good and ill) or scientific accomplishments.  Although he allows, “It could have had more science.”

Research2Reality producers

Molly Shoichet

Co-producer Shoichet has sterling scientific credentials of her own. In addition to this science communication project, she runs the Shoichet Lab at the University of Toronto (from the Dr. Molly Shoichet bio page),

Dr. Molly Shoichet holds the Tier 1 Canada Research Chair in Tissue Engineering and is University Professor of Chemical Engineering & Applied Chemistry, Chemistry and Biomaterials & Biomedical Engineering at the University of Toronto. She is an expert in the study of Polymers for Drug Delivery & Regeneration which are materials that promote healing in the body.

Dr. Shoichet has published over to 480 papers, patents and abstracts and has given over 310 lectures worldwide.  She currently leads a laboratory of 25 researchers and has graduated 134 researchers over the past 20 years.  She founded two spin-off companies from research in her laboratory.

Dr. Shoichet is the recipient of many prestigious distinctions and the only person to be a Fellow of Canada’s 3 National Academies: Canadian Academy of Sciences of the Royal Society of Canada, Canadian Academy of Engineering, and Canadian Academy of Health Sciences. Dr. Shoichet holds the Order of Ontario, Ontario’s highest honour and is a Fellow of the American Association for the Advancement of Science. In 2013, her contributions to Canada’s innovation agenda and the advancement of knowledge were recognized with the QEII Diamond Jubilee Award. In 2014, she was given the University of Toronto’s highest distinction, University Professor, a distinction held by less than 2% of the faculty.

Mike MacMillan

MacMIllan’s biography (from the Lithium Studios website About section hints this is his first science-oriented series (Note: Links have been removed),

Founder of Lithium Studios Productions
University of Toronto (‘02)
UCLA’s Professional Producing Program (‘11)

His first feature, the dark comedy / thriller I Put a Hit on You (2014, Telefilm Canada supported), premiered at this year’s Slamdance Film Festival in Park City. Guidance (2014, Telefilm Canada supported, with super producer Alyson Richards over at Edyson), a dark comedy/coming of age story is currently in post-production, expected to join the festival circuit in September 2014.

Mike has produced a dozen short films with Toronto talents Dane Clark and Linsey Stewart (CAN – Long Branch, Margo Lily), Samuel Fluckiger (SWISS – Terminal, Nightlight) and Darragh McDonald (CAN – Love. Marriage. Miscarriage.). They’ve played at the top film fests around the world and won a bunch of awards.

Special skills include kickass hat collection and whiskey. Bam.

Final comments

It’s nice to see the Canadian scene expanding; I’m particularly pleased to learn social scientists will be included.Too often researchers from the physical sciences or natural sciences and researchers from the social sciences remain aloof from each other. In April 2013, I attended a talk by Evelyn Fox Keller, physicist, feminist, and philosopher, who read from a paper she’d written based on a then relatively recent experience in South Africa where researchers had aligned themselves in two different groups and refused to speak to each other. They were all anthropologists but the sticking point was the type of science they practiced. One group were physical anthropologists and the other were cultural anthropologists. That’s an extreme example unfortunately symptomatic of a great divide. Bravo to Research2Reality for bringing the two groups together.

As for the science appetite Shoichet and MacMillan see in Canada, this is not the only country experiencing a resurgence of interest; they’ve been experiencing a science media expansion in the US.  Neil deGrasse Tyson’s Star Talk television talk show, which also exists as a radio podcast, debuted on April 19, 2015 (Yahoo article by Calla Cofield); Public Radio Exchange’s (PRX) Transistor; a STEM (science, technology, engineering, and mathematics) audio project debuted in Feb. 2015; and video podcast Science Goes to the Movies also debuted in Feb. 2015 (more about the last two initiatives in my March 6, 2015 posting [scroll down about 40% of the way]). Finally (for the burgeoning US science media scene) and neither least nor new, David Bruggeman has a series of posts titled, Science and Technology Guests on Late Night, Week of …, on his Pasco Phronesis blog which has been running for many years. Bruggeman’s series is being included here because most people don’t realize that US late night talk shows have jumped into the science scene. You can check  David’s site here as he posts this series on Mondays and this is Monday, May 11, 2015.

It’s early days for Research2Reality and it doesn’t yet have the depth one might wish. The videos are short (the one featured on the Discovery Channel’s complementary website is less than 2 mins. and prepare yourself for ads). They may not be satisfying from an information perspective but what makes The Orange Chair Series fascinating is the peek into the Canadian research scene. Welcome to Research2Reality and I hope to hear more about you in the coming months.

[ETA May 11, 2015 at 1625 PDT: Semeniuk’s May 11, 2015 article mentions a few other efforts to publicize Canadian research (Note: Links have been removed),

For example, Research Matters, a promotional effort by the Council of Ontario Universities, has built up a large bank of short articles on its website that highlight researchers across the province. Similarly, the Canada Foundation for Innovation, which channels federal dollars toward research infrastructure and projects, produces features stories with embedded videos about the scientists who are enabled by their investments.

What makes Research2Reality different, said Dr. Shoichet, is an approach that doesn’t speak for one region, field of research of  [sic] funding stream.

One other aspect which distinguishes Research2Reality from the other science promotion efforts is the attempt to reach out to the audience. The Canada Foundation for Innovation and Council for Ontario Universities are not known for reaching out directly to the general public.]

Virtual Reality (VR) becomes educational (at Case Western Reserve University and Miami Children’s Hospital)

I have two virtual reality news bits the most recent concerning Case Western Reserve University (CWRU; located in Cleveland, Ohio) and Microsoft’s HoloLens in an April 29, 2015 CWRU press release (also on EurekAlert), Note: Some of this academic press release reads like marketing collateral,

Case Western Reserve University Radiology Professor Mark Griswold knew his world had changed the moment he first used a prototype of Microsoft’s HoloLens headset. Two months later, one of the university’s medical students illustrated exactly why.

“There’s the aortic valve,” Satyam Ghodasara exclaimed as he used Microsoft’s device to examine a holographic heart. “Now I understand.”

Today, Griswold told tens of thousands of people how HoloLens can transform learning across countless subjects, including those as complex as the human body. Speaking to an in-person and online audience at Microsoft’s annual Build conference, he highlighted disciplines as disparate as art history and engineering–but started with a holographic heart. In traditional anatomy, after all, students like Ghodasara cut into cadavers to understand the body’s intricacies.

With HoloLens, Griswold explained, “you see it truly in 3D. You can take parts in and out. You can turn it around. You can see the blood pumping–the entire system.”

In other words, technology not only can match existing educational methods–it can actually improve upon them. Which, in many ways, is why Cleveland Clinic CEO Toby Cosgrove contacted then-Microsoft executive Craig Mundie in 2013, after the hospital and university first agreed to partner on a new education building.

“We launched this collaboration to prepare students for a health care future that is still being imagined,” Cleveland Clinic CEO Delos “Toby” Cosgrove said of what has become a 485,000-square-foot Health Education Campus project. “By combining a state-of-the-art structure, pioneering technology, and cutting-edge teaching techniques, we will provide them the innovative education required to lead in this new era.”

As Cosgrove, Case Western Reserve President Barbara R. Snyder and other academic leaders engaged more extensively with Microsoft, the more potential everyone saw.

“For more than a century, our medical school has been renowned for inventing and reinventing approaches to teaching and learning that take root nationwide,” President Snyder said. “When we match that expertise with the interdisciplinary knowledge of our faculty, we create a rich environment to explore the educational potential of Microsoft’s extraordinary technology.”

After a small group including Griswold, engineering professor Marc Buchner and Cleveland Clinic education technology leader Neil Mehta first experienced HoloLens in December, the faculty returned to Cleveland to create a core team dedicated to exploring the technology’s academic potential. In February, 10 members of the team–including Ghodasara–returned to Microsoft for a HoloLens programming deep dive.

Ghodasara already had taken the traditional anatomy class at Case Western Reserve, but it wasn’t until he used the HoloLens headset that he first visualized the aortic valve in its entirety–unobstructed by other elements of the cardiac system and undamaged by earlier dissection efforts. Members of the Microsoft team were in the room when Ghodasara had his “aha” moment; a few weeks later, the heart demonstration became part of the Build conference agenda.

Case Western Reserve is the only university represented during the three-day event, a distinction Griswold attributes in part to the core team’s breadth of expertise and collegial approach.

“Without all of those people coming together,” Griswold said, “this would not have happened.”

When Griswold took the stage as part of Microsoft’s opening keynote at the Build conference, Ghodasara, Buchner and Chief Information Officer Sue Workman also were in the audience. Back in Cleveland, three of Professor Buchner’s undergraduates–John Billingsley, Henry Eastman and Tim Sesler–demonstrated some of the potential of the HoloLens technology live in the Tinkham Veale University Center.

Buchner, whose specialties include simulation and game design, believes Microsoft’s innovation “has the capability to transform engineering education.”

Because the technology is relatively easy to use, students will be able to build, operate and analyze all manner of devices and systems. “[It will] encourage experimentation,” Buchner said, “leading to deeper understanding and improved product design.”

In truth, HoloLens ultimately could have applications for dozens of Case Western Reserve’s academic programs. NASA’s Jet Propulsion Laboratory already has worked with Microsoft to develop software that will allow Earth-based scientists to work on Mars with a specially designed rover vehicle. A similar collaboration could enable students here to take part in archeological digs around the world. Or astronomy students could stand in the midst of colliding galaxies, securing front-row view of the unfolding chaos. Art history professors could present masterpieces in their original settings–a centuries-old castle, or even the Sistine Chapel.

“The whole campus has the potential to use this,” Griswold said. “Our ability to use this for education is almost limitless.”

For now, however, the top priority is creating a full digital anatomy curriculum, a process launched with the advent of the Health Education Campus, and now experiencing even greater momentum. Among the key collaborators are a team of medical students and anatomy and radiology faculty who are already investigating the use of these kinds of technology. This team, led by Amy Wilson­Delfosse, the medical school’s associate dean for curriculum, and Suzanne Wish-Baratz, an assistant professor who is one of the primary leaders of anatomy education, fully expects to have a digital curriculum ready for the new Health Education Campus.

Also essential, Griswold said, has been the advice and assistance of Microsoft’s HoloLens team and executives.

“It’s been a joy to work with them. They have been so friendly, so collaborative, so willing to work with us on this,” Griswold said. “We’re going to do incredible things together.”

Ohio is not the only state where virtual reality is being incorporated into medical education.

Florida

From an April 30, 2015 Next Galaxy Corp. news release,

Incorporating eye gaze control, gestures, and voice commands while “walking around” inside an emergency medical experience, Next Galaxy’s Virtual Reality Model educates participants far beyond today’s methodology of passively watching video and taking written tests.

Next Galaxy Corp (OTC: NXGA) recently announced the signing of an agreement with Miami Children’s Hospital to use the Company’s VR Model to develop immersive Virtual Reality medical instructional content for patient and medical professional education. Per the multi-year agreement, Next Galaxy and Miami Children’s Hospital are jointly developing VR Instructionals on cardiopulmonary resuscitation (CPR) and other lifesaving procedures, which will be released as an application for smartphones.

Assessments are incorporated directly into the medical VR models, creating situations where participants are required to make the appropriate decisions about proper techniques. The Virtual CPR instructional will measure metrics and provide real-time feedback ensuring participants accurately perform CPR techniques. Further, the instructional will explain any mistake and prompt users to try again when errors are made. Supportive messages are delivered upon success.

The medical VR models will be viewable through smartphones and desktops as 3D, and via VR devices such as Google Cardboard, VRONE and Oculus Rift.

About Next Galaxy Corporation

Next Galaxy Corporation is a leading developer of innovative content solutions and fully Immersive Consumer Virtual Reality technology. The Company’s flagship consumer product in development is CEEK, a next-generation fully immersive entertainment and educational social virtual reality platform featuring a combination of live action and 3D experiences. Next Galaxy’s CEEK simulates the communal experience of attending events, such as concerts, sporting events, movies or conferences through Virtual Reality. Next Galaxy is developing entertainment and educational experiences for VR Cinema, VR Concerts, VR Sports, VR Business, VR Tourism and more. In short, Next Galaxy is building the meeting places of the future. For further information, visit www.nextgalaxycorp.com

This seems to be the second time this information has been distributed (March 11, 2015 news release on PRNewswire), a widely adopted practice. Consequently and thankfully, there’s a March 11, 2015 article by Celia Ampel for the South Florida Business Journal which provides more details about the technology and explaining how a smartphone fits into virtual reality,

The best way to learn CPR is an immersive experience, Miami Children’s Hospital leaders believe — not a video.

“If I’m watching a video, I can pause and count, but there’s no way to tell if I counted to six or seven,” Next Galaxy President Mary Spio said. “Because [the virtual reality application] is voice-activated, they’re going to be able to count out loud and self-assess whether they’re doing it correctly.”

Next Galaxy (Pink Sheets: NXGA)’s virtual reality technology uses a smartphone app. Users can put their smartphone into a virtual reality headset for an immersive experience, or see 3D content through the phone.

The application will be available to the public in the next few months, Spio said.

This deal and another with Miami-Dade Country Public Schools are transforming Next Galaxy Corp according to Ampel’s article,

The five-person company will be hiring about 20 full-time employees in the next six months, focusing on developers with 3D modeling and gaming experience, she said.

Quadrupling the size of your company in six months can be quite a challenge. I wish them good luck with their expansion and their virtual reality course materials.

As to what all this mixed-reality/virtual reality might look like, there’s this image from Case Western Reserve University,

Courtesy: Case Western Reserve University

Courtesy: Case Western Reserve University

Digital life in Estonia and the National Film Board of Canada’s ‘reclaim control of your online identity’ series

Internet access is considered a human right in Estonia (according to a July 1, 2008 story by Colin Woodard for the Christian Science Monitor). That commitment has led to some very interesting developments in Estonia which are being noticed internationally. The Woodrow Wilson International Center for Scholars (Wilson Center) is hosting the president of Estonia, Toomas Hendrik Ilves at an April 21, 2015 event (from the April 15, 2015 event invitation),

The Estonia Model: Why a Free and Secure Internet Matters
After regaining independence in 1991, the Republic of Estonia built a new government from the ground up. The result was the world’s most comprehensive and efficient ‘e-government': a digital administration with online IDs for every citizen, empowered by a free nationwide Wi-Fi network and a successful school program–called Tiger Leap–that boosts tech competence at every age level. While most nations still struggle to provide comprehensive Internet access, Estonia has made major progress towards a strong digital economy, along with robust protections for citizen rights. E-government services have made Estonia one of the world’s most attractive environments for tech firms and start-ups, incubating online powerhouses like Skype and Transferwise.

An early adopter of information technology, Estonia was also one of the first victims of a cyber attack. In 2007, large-scale Distributed Denial of Service attacks took place, mostly against government websites and financial services. The damages of these attacks were not remarkable, but they did give the country’s security experts  valuable experience and information in dealing with such incidents. Eight years on, the Wilson Center is pleased to welcome Estonia’s President Toomas Hendrik Ilves for a keynote address on the state of cybersecurity, privacy, and the digital economy. [emphasis mine]

Introduction
The Honorable Jane Harman
Director, President and CEO, The Wilson Center

Keynote
His Excellency Toomas Hendrik Ilves
President of the Republic of Estonia

The event is being held in Washington, DC from 1 – 2 pm EST on April 21, 2015. There does not seem to be a webcast option for viewing the presentation online (a little ironic, non?). You can register here, should you be able to attend.

I did find a little more information about Estonia and its digital adventures, much of it focused on digital economy, in an Oct. 8, 2014 article by Lily Hay Newman for Slate,

Estonia is planning to be the first country to offer a status called e-residency. The program’s website says, “You can become an e-Estonian!” …

The website says that anyone can apply to become an e-resident and receive an e-Estonian online identity “in order to get secure access to world-leading digital services from wherever you might be.” …

You can’t deny that the program has a compelling marketing pitch, though. It’s “for anybody who wants to run their business and life in the most convenient aka digital way!”

You can find the Estonian e-residency website here. There’s also a brochure describing the benefits,

It is especially useful for entrepreneurs and others who already have some relationship to Estonia: who do business, work, study or visit here but have not become a resident. However, e-residency is also launched as a platform to offer digital services to a global audience with no prior Estonian affiliation – for  anybody  who  wants  to  run their  business  and  life in  the  most convenient aka digital way! We plan to keep adding new useful services from early 2015 onwards.

I also found an Oct. 31, 2013 blog post by Peter Herlihy on the gov.uk website for the UK’s Government Digital Service (GDS). Herlihy offers the perspective of a government bureaucrat (Note: A link has been removed),

I’ve just got back from a few days in the Republic of Estonia, looking at how they deliver their digital services and sharing stories of some of the work we are up to here in the UK. We have an ongoing agreement with the Estonian government to work together and share knowledge and expertise, and that is what brought me to the beautiful city of Tallinn.

I knew they were digitally sophisticated. But even so, I wasn’t remotely prepared for what I learned.

Estonia has probably the most joined up digital government in the world. Its citizens can complete just about every municipal or state service online and in minutes. You can formally register a company and start trading within 18 minutes, all of it from a coffee shop in the town square. You can view your educational record, medical record, address, employment history and traffic offences online – and even change things that are wrong (or at least directly request changes). The citizen is in control of their data.

So we should do whatever they’re doing then, right? Well, maybe. …

National Film Board of Canada

There’s a new series being debuted this week about reclaiming control of your life online and titled: Do Not Track according to an April 14, 2015 post on the National Film Board of Canada (NFB) blog (Note: Links have been removed),

An eye-opening personalized look at how online data is being tracked and sold.

Starting April 14 [2015], the online interactive documentary series Do Not Track will show you just how much the web knows about you―and the results may astonish you.

Conceived and directed by acclaimed Canadian documentary filmmaker and web producer Brett Gaylor, the 7-part series Do Not Track is an eye-opening look at how online behaviour is being tracked, analyzed and sold―an issue affecting each of us, and billions of web users around the world.

Created with the goal of helping users learn how to take back control of their digital identity, Do Not Track goes beyond a traditional documentary film experience: viewers who agree to share their personal data are offered an astounding real-time look at how their online ID is being tracked.

Do Not Track is a collective investigation, bringing together public media broadcasters, writers, developers, thinkers and independent media makers, including Gaylor, Vincent Glad, Zineb Dryef, Richard Gutjahr, Sandra Rodriguez, Virginie Raisson and the digital studio Akufen.

Do Not Track episodes launch every 2 weeks, from April 14 to June 9, 2015, in English, French and German. Roughly 7 minutes in length, each episode has a different focus―from our mobile phones to social networks, targeted advertising to big data with a different voice and a different look, all coupled with sharp and varied humour. Episodes are designed to be clear and accessible to all.

You can find Do Not Track here, episode descriptions from the April 14, 2015 posting,

April 14 | Episode 1: Morning Rituals
This episode introduces viewers to Brett Gaylor and offers a call to action: let’s track the trackers together.

Written and directed by Brett Gaylor

Interviews: danah boyd, principal researcher, Microsoft Research; Nathan Freitas, founder, and Harlo Holmes, software developer, The Guardian Project; Ethan Zuckerman, director, MIT Center for Civic Media*

April 14 | Episode 2: Breaking Ad
We meet the man who invented the Internet pop-up ad―and a woman who’s spent nearly a decade reporting on the web’s original sin: advertising.

Directed by Brett Gaylor | Written by Vincent Glad

Interviews: Ethan Zuckerman; Julia Angwin, journalist and author of Dragnet Nation: A Quest for Privacy, Security, and Freedom in a World of Relentless Surveillance*

April 28 | Episode 3: The Harmless Data We Leave on Social Media
This episode reveals how users can be tracked from Facebook activity and how far-reaching the data trail is.

Directed by Brett Gaylor | Written by Sandra Marsh | Hosted by Richard Gutjahr

Interviews: Constanze Kurz, writer and computer scientist, Chaos Computer Club

May 12 | Episode 4: Your Mobile Phone, the Spy
Your smartphone is spying on you—where does all this data go, what becomes of it, and how is it used?

Directed by Brett Gaylor | Written and hosted by Zineb Dryef

Interviews: Harlo Holmes; Rand Hindi, data scientist and founder of Snips*

May 26 | Episode 5: Big Data and Its Algorithms
There’s an astronomical quantity of data that may or may not be used against us. Based on the information collected since the start of this documentary, users discover the algorithmic interpretation game and its absurdity.

Directed by Sandra Rodriguez and Akufen | Written by Sandra Rodriguez

Interviews: Kate Crawford, principal researcher, Microsoft Research New York City; Matthieu Dejardins, e-commerce entrepreneur and CEO, NextUser; Tyler Vigen, founder, Spurious Correlations, and Joint Degree Candidate, Harvard Law School; Cory Doctorow, science fiction novelist, blogger and technology activist; Alicia Garza, community organizer and co-founder, #BlackLivesMatter; Yves-Alexandre De Montjoye, computational privacy researcher, Massachusetts Institute of Technology Media Lab*

June 9 | Episode 6: Filter Bubble
The Internet uses filters based on your browsing history, narrowing down the information you get―until you’re painted into a digital corner.

Written and directed by Brett Gaylor*

June 9 | Episode 7:  The Future of Tracking
Choosing to protect our privacy online today will dramatically shape our digital future. What are our options?

Directed by Brett Gaylor | Written by Virginie Raisson

Interviews: Cory Doctorow

Enjoy!

Interactive haiku from Canada’s National Film Board

This comes from an April 2, 2015 posting on Canada’s National Film Board blog,

Designed to surprise, move, and inspire thought, Interactive Haiku will be released throughout the month of April, with 4 stories launching today. The project will also be featured at this year’s Tribeca Film Festival, as part of Tribeca Film Institute Interactive’s “Interactive Playground.”

Recently, the NFB and ARTE [France, interactive platform] asked creators to experiment a new kind of short interactive work: the very short form, or digital equivalent of the haiku. The 12 winning proposals come from 6 different countries and were selected out of 162 submissions from 20 nations.

The projects are accessible online or via tablets.

All of the interactive haiku follow 10 creative rules. These include: a 60-second time limit; being accessible to an international audience, and creating an experience that nudges us to see the world differently.

Discover the first 4 of these bite-sized, mind-jolting experiences below, along with some creative footnoting, courtesy of their vanguard creators.

Don’t want to miss a haiku? Subscribe to receive an e-mail notification (top left corner)! A new haiku will be released every Monday and Thursday of April (except for Easter Monday.)

Here’s a description of the four haiku pieces released in the first batch (from the April 2, 2015 NFB posting),

Cat’s Cradle

by Thibaut Duverneix, David Drury, Jean-Maxime Couillard, Gentilhomme (Canada)

HAIKUS_03-CATS-CRADDLE_550px

A game of strings, frequencies, stars, and distances. Elegantly explore the theory of everything! (Experience Cat’s Cradle)

Who knew theoretical physics’ Superstring theory was such child’s play?!

“What is fascinating about [Superstring] theory is that it is extremely hard to prove – it forces mathematics and physics to work in an imaginary and deeply complex sandbox. The theory and its implications give rise to a wealth of poetic, even romantic, imagery, which is where our treatment begins.

In our interactive haiku, we propose a novel conception of this topic, treating it metaphorically with one of the most playful, simple and naive of childhood games: cat’s cradle.”

*

Speech Success

by Roc Albalat, Pau Artigas, Jorge Caballero and Marcel Pié (Spain)

HAIKUS_01-SPEECH-SUCCESS_550px

The crowd is huge, tightly packed, and merciless. All eyes are on you. Will you be cheered… or will you flame out? (Experience Speech Success)

“If the haiku is based on the poet’s amazement at the sight of nature, here we look at certain attitudes toward technology – our present environment.

[Our haiku] gives a parodic representation of online social relationships. The Internet works as a public screen through which we try to break our isolation and be recognized. Often, our public shows of vanity don’t find targets: that’s why we have created a virtual public. We’ve programmed this audience to react to mood: the spectators’ reaction varies according to the speaker’s emotional intensity. The aim is to be ironic about our attempts to be heard on the network: finally you find somebody on the other side of the screen that listens and understands you –  for 60 full seconds.”

*

Life is Short

by Florian Veltman and Baptiste Portefaix (France)

HAIKUS_11-LIFE-IS-SHORT_550px

From first to last words, everything goes by too fast. Relive the key moments of your life in a few seconds. (Experience Life is Short)

“As time goes by, our lives begin to appear shorter and shorter. And yet, we rarely take the time to stop and contemplate everything we’ve lived through and are still experiencing in the moment. Our haiku offers a quick opportunity to stop and reflect on time, memory, and our own inexorable demise. But pay attention! Life is Short can be only be enjoyed once – like life itself.”

*

Music is the Key of Life

by Theodor Twetman and Viktor Lanneld (Sweden)

HAIKUS_07-MUSIC-IN-THE-KEY-OF-LIFE_550px

Everyday objects possess an innate melody. Scan the barcodes of the objects around you and let the music play! (Experience Music is the Key of Life)

“Our haiku takes something ever-present but seldom noticed – the barcode – and makes it the star of the show. Relying on the camera, a tool seldom used in web applications, it brings interactivity beyond what’s on the screen, forcing the user to interact with physical objects that aren’t usually perceived as valuable or interesting.

In normal life, the barcode announces its presence with a simple beep noise when scanned at the supermarket. With our haiku, each code is given the opportunity to be noticed for its uniqueness, perhaps helping people notice and appreciate their beauty and the hard work they do.”

Enjoy!

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

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

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

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

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

Here’s more from the Theme page,

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

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

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

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

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

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

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

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

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

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

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

What about the heart? and the quest to make androids lifelike

Japanese scientist Hiroshi Ishiguro has been mentioned here several times in the context of ‘lifelike’ robots. Accordingly, it’s no surprise to see Ishiguro’s name in a June 24, 2014 news item about uncannily lifelike robotic tour guides in a Tokyo museum (CBC (Canadian Broadcasting Corporation) News online),

The new robot guides at a Tokyo museum look so eerily human and speak so smoothly they almost outdo people — almost.

Japanese robotics expert Hiroshi Ishiguro, an Osaka University professor, says they will be useful for research on how people interact with robots and on what differentiates the person from the machine.

“Making androids is about exploring what it means to be human,” he told reporters Tuesday [June 23, 2014], “examining the question of what is emotion, what is awareness, what is thinking.”

In a demonstration, the remote-controlled machines moved their pink lips in time to a voice-over, twitched their eyebrows, blinked and swayed their heads from side to side. They stay seated but can move their hands.

Ishiguro and his robots were also mentioned in a May 29, 2014 article by Carey Dunne for Fast Company. The article concerned a photographic project of Luisa Whitton’s.

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry--androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

From Dunne’s May 29, 2014 article (Note: Links have been removed),

We’re one step closer to a robot takeover. At least, that’s one interpretation of “What About the Heart?” a new series by British photographer Luisa Whitton. In 17 photos, Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. These are the result of a growing group of scientists trying to make robots look like living, breathing people. Their efforts pose a question that’s becoming more relevant as Siri and her robot friends evolve: what does it mean to be human as technology progresses?

Whitton spent several months in Japan working with Hiroshi Ishiguro, a scientist who has constructed a robotic copy of himself. Ishiguro’s research focused on whether his robotic double could somehow possess his “Sonzai-Kan,” a Japanese term that translates to the “presence” or “spirit” of a person. It’s work that blurs the line between technology, philosophy, psychology, and art, using real-world studies to examine existential issues once reserved for speculation by the likes of Philip K. Dick or Sigmund Freud. And if this sounds like a sequel to Blade Runner, it gets weirder: after Ishiguro aged, he had plastic surgery so that his face still matched that of his younger, mechanical doppelganger.

I profiled Ishiguro’s robots (then called Geminoids) in a March 10, 2011 posting which featured a Danish philosopher, Henrik Scharfe, who’d commissioned a Geminoid identical to himself for research purposes. He doesn’t seem to have published any papers about his experience but there is this interview of Scharfe and his Geminoid twin by Aldith Hunkar (she’s very good) at a 2011 TEDxAmsterdam,

Mary King’s 2007 research project notes a contrast, Robots and AI in Japan and The West and provides an excellent primer (Note: A link has been removed),

The Japanese scientific approach and expectations of robots and AI are far more down to earth than those of their Western counterparts. Certainly, future predictions made by Japanese scientists are far less confrontational or sci-fi-like. In an interview via email, Canadian technology journalist Tim N. Hornyak described the Japanese attitude towards robots as being “that of the craftsman, not the philosopher” and cited this as the reason for “so many rosy imaginings of a future Japan in which robots are a part of people’s everyday lives.”

Hornyak, who is author of “Loving the Machine: The Art and Science of Japanese Robots,” acknowledges that apocalyptic visions do appear in manga and anime, but emphasizes that such forecasts do not exist in government circles or within Japanese companies. Hornyak also added that while AI has for many years taken a back seat to robot development in Japan, this situation is now changing. Honda, for example, is working on giving better brains to Asimo, which is already the world’s most advanced humanoid robot. Japan is also already legislating early versions of Asimov’s laws by introducing design requirements for next-generation mobile robots.

It does seem there might be more interest in the philosophical issues in Japan these days or possibly it’s a reflection of Ishiguro’s own current concerns (from Dunne’s May 29, 2014 article),

The project’s title derives from a discussion with Ishiguro about what it means to be human. “The definition of human will be more complicated,” Ishiguro said.

Dunne reproduces a portion of Whitton’s statement describing her purpose for these photographs,

Through Ishiguro, Whitton got in touch with a number of other scientists working on androids. “In the photographs, I am trying to subvert the traditional formula of portraiture and allure the audience into a debate on the boundaries that determine the dichotomy of the human/not human,” she writes in her artist statement. “The photographs become documents of objects that sit between scientific tool and horrid simulacrum.”

I’m not sure what she means by “horrid simulacrum” but she seems to be touching on the concept of the ‘uncanny valley’. Here’s a description I provided in a May 31, 2013 posting about animator Chris Landreth and his explorations of that valley within the context of his animated film, Subconscious Password,,

Landreth also discusses the ‘uncanny valley’ and how he deliberately cast his film into that valley. For anyone who’s unfamiliar with the ‘uncanny valley’ I wrote about it in a Mar. 10, 2011 posting concerning Geminoid robots,

It seems that researchers believe that the ‘uncanny valley’ doesn’t necessarily have to exist forever and at some point, people will accept humanoid robots without hesitation. In the meantime, here’s a diagram of the ‘uncanny valley’,

From the article on Android Science by Masahiro Mori (translated by Karl F. MacDorman and Takashi Minato)

Here’s what Mori (the person who coined the term) had to say about the ‘uncanny valley’ (from Android Science),

Recently there are many industrial robots, and as we know the robots do not have a face or legs, and just rotate or extend or contract their arms, and they bear no resemblance to human beings. Certainly the policy for designing these kinds of robots is based on functionality. From this standpoint, the robots must perform functions similar to those of human factory workers, but their appearance is not evaluated. If we plot these industrial robots on a graph of familiarity versus appearance, they lie near the origin (see Figure 1 [above]). So they bear little resemblance to a human being, and in general people do not find them to be familiar. But if the designer of a toy robot puts importance on a robot’s appearance rather than its function, the robot will have a somewhat humanlike appearance with a face, two arms, two legs, and a torso. This design lets children enjoy a sense of familiarity with the humanoid toy. So the toy robot is approaching the top of the first peak.

Of course, human beings themselves lie at the final goal of robotics, which is why we make an effort to build humanlike robots. For example, a robot’s arms may be composed of a metal cylinder with many bolts, but to achieve a more humanlike appearance, we paint over the metal in skin tones. These cosmetic efforts cause a resultant increase in our sense of the robot’s familiarity. Some readers may have felt sympathy for handicapped people they have seen who attach a prosthetic arm or leg to replace a missing limb. But recently prosthetic hands have improved greatly, and we cannot distinguish them from real hands at a glance. Some prosthetic hands attempt to simulate veins, muscles, tendons, finger nails, and finger prints, and their color resembles human pigmentation. So maybe the prosthetic arm has achieved a degree of human verisimilitude on par with false teeth. But this kind of prosthetic hand is too real and when we notice it is prosthetic, we have a sense of strangeness. So if we shake the hand, we are surprised by the lack of soft tissue and cold temperature. In this case, there is no longer a sense of familiarity. It is uncanny. In mathematical terms, strangeness can be represented by negative familiarity, so the prosthetic hand is at the bottom of the valley. So in this case, the appearance is quite human like, but the familiarity is negative. This is the uncanny valley.

[keep scrolling, I’m having trouble getting rid of this extra space below]

It seems that Mori is suggesting that as the differences between the original and the simulacrum become fewer and fewer, the ‘uncanny valley’ will disappear. It’s possible but I suspect before that day occurs those of us who were brought up in a world without synthetic humans (androids) may experience an intensification of the feelings aroused by an encounter with the uncanny valley even as it disappears. For those who’d like a preview, check out Luisa Whitton’s What About The Heart? project.

Tweet the International Space Station on the solstice, June 21, 2014

On the heels of the nanosatellite project (see this June 19, 2014 posting) here’s an email announcement about a very interesting project for the Summer Solstice (June 21, 2014),

The June Solstice (Saturday, June 21) is the best time to view the International Space Station [ISS] in the northern hemisphere.

But now there¹s another way.

Crowdsource the pictures via Twitter.

Space enthusiasts are being encouraged to tag their tweets with #SpotTheStation and include a location name and it will go on an interactive map.

Astronaut Reid Wiseman had the idea while on the International Space Station.  His tweet for example was ³During #Exp40, spot the #ISS & tweet your town, country-or-state w/ #spotthestation (pics welcome); we’ll map it! bit.ly/SpotTheStation2²

Here’s a little more detail as to the company and agency behind this project,

Esri, a GIS mapping software provider, has partnered with the Center of Geographic Sciences in Canada to develop a Twitter app to pinpoint the exact location of the ISS sightings around the world in order to give a complete view. The global map documenting the recent ISS sightings is already live.

I have looked at the live map and tweeters have been active. You can check to see the locations. For example, as of June 19, 2014 1000 hours PDT, Canada has some 26 tweets while Florida has 40 and Munich tops them both with 132 tweets.

I have looked up the company, Esri, and found this on the About Esri History page,

Jack and Laura Dangermond founded Esri in 1969 as a small research group focused on land-use planning. The company’s early mission was to organize and analyze geographic information to help land planners and land resource managers make well-informed environmental decisions.

There’s a very interesting article on the Esri website, which provides some insight into the origins for the June 21, 2014 ‘#SpotTheStation’ project. Written by Carla Wheeler (an Esri writer), it is undated but there is mention of Chris Hadfield’s sojourn on the ISS and his attendance at an event in June 2013 after he landed. From Wheeler’s 2013 (?) article, A Map App Odyssey,

Today social media, with doses of humor, are very much a part of the space mission, with the National Aeronautics and Space Administration (NASA), the Canadian Space Agency (CSA), and many astronauts sending messages, videos, and photos back to Earth via Twitter, Facebook, and YouTube. Followers post messages for the astronauts too, making interaction about space interactive.

The photos Hadfield and fellow ISS astronaut Thomas Marshburn sent via Twitter inspired their follower David MacLean, a faculty member at the Centre of Geographic Sciences (COGS), Nova Scotia Community College, and his students to create a mapping app called Our World from the ISS. It used Esri ArcGIS Online to map more than 950 photographs of interesting places on Earth that Hadfield and Marshburn shot from space. They took the photos during their December 2012–May 2013 mission and posted the images on Twitter with their observations of each scene (in 140 characters or fewer, of course). Hadfield, a Canadian, was especially prolific and poetic. …

MacLean, also a Canadian, was intrigued by the astronauts’ unique perspective as they orbited 400 kilometers (250 miles) above earth, photographing everything from cities to barrier reefs and sand formations to smoke from brush fires. He didn’t want their geologically and geographically interesting images and descriptions—such as “taffy-twisted African rock” and the “yin and yang of ice and land”—to quickly get swallowed and lost in the fast-moving Twitterverse.

“[Hadfield] took pictures all over the earth, with wonderful prose as he described the outback of Australia and parts of Mauritania and Algeria that no one would [otherwise] get to see,” MacLean said. “Unfortunately, Twitter seems to be a very temporal medium, and all these wonderful pictures—these rich resources—slip away and you have to really look to find them.”

MacLean wondered if there was a way to preserve the images and messages in the Tweets in a form that was easy for people to find and view. He decided to try building a mapping app, which he and his students created using geographic information system (GIS) technology from Esri, online comma-separated value (CSV) files, and Google Docs spreadsheets in Google Drive. Their map displays icons, provided courtesy of the Canadian Space Agency, that look like small space stations. These show the approximate (or, at times, quite accurate) locations of each photograph. Viewers can pan the map, zoom in to any area of interest, and tap an icon. A pop-up window will appear that includes a thumbnail of the picture and the message from the astronaut. You can also click the thumbnail to see the full-size Tweet in the astronauts’ Twitter feed. (Clicking the photo in Twitter will then bring up a larger, sharper image.) It’s a little like seeing photos of landscapes in National Geographic—only taken from space.

Tap an icon north of Medina, Saudi Arabia, to see Hadfield’s May 3 [2013?] photo of the Harrat Khaybar volcanic lava field and read his post: “The Earth bubbled and spat, like boiling porridge, long ago in Saudi Arabia.” Another geologic wonder caught his eye Down Under: “A splash of dry salt, white on seared red, in Australia’s agonizingly beautiful Outback.”

So, on June 21, 2014 get ready to tweet ‘#SpotTheStation’ and have a joyous Summer Solstice!

The Space, a new digital museum opens with an international splash

Erica Berger in a June 14, 2014 article for Fast Company provides a fascinating account of a project where Arts Council England, the BBC, Open Data Institute, and other cultural groups partnered to create: The Space (Note: Links have been removed),

This Space is no final frontier. Rather, it’s just begun as a new place for digital and experimental art.

A free and public website aimed at discovering the best emerging digital artistic talent around the world, The Space opened yesterday and is launching with a weekend [June 14 – 15, 2014] hackathon hosted by the Tate Modern in London, a first for the formidable institution. Born from a partnership between Arts Council England, the BBC, Open Data Institute, and other cultural groups, it’s “a gallery without walls,” says Alex Graham, chair of The Space. The Space is putting out an international open call for projects, the first round of which is due July 11. The projects will be funded by the partnering groups with amounts ranging from £20,000 (about $34,000) to £60,000 ($101,000) for an individual commission, and up to 50% of the total cost. Each Friday, new collaborations will launch.

Among the first installations are pieces from high-profile artists, including Marina Abramovic, who broadcasted live on the site at midnight last night, and Ai Weiwei, who has an interactive piece on The Space. There will also be a live, Google hangout theater project with actors in London, Barcelona, and Lagos and directed by Erin Gilley.

The Space can be found here,

About The Space

The Space is a free website for artists and audiences to create and explore exciting new art, commissioned by us and shared around the Whole Wide World.

We commission new talent and great artists from all art forms, creative industries, technical and digital backgrounds, through Open Calls and partnerships. The Space is one of the most exciting places on the internet to find new art to explore and enjoy.

An open call was launched on June 12, 2014,

The Space launches first Open Call
Posted … on 12 June 2014

The Space Open Call is looking for original, groundbreaking ideas for digital art. We are encouraging artists to take risks and do crazy things with technology!

This is a great opportunity for artists to be bold, ambitious and experimental, creating a work which can communicate wi people round the World via mobile, tablets and desktops.

We are seeking artists working across a range of art forms and industries including, creative and digital, technology and coding, art and culture sectors, to pitch the very best original ideas to the Open Call.

If you have an idea for The Space, please go to thespace.org/opencall and complete the online form before the closing date: 12 noon (GMT) 11 July 2014.​

Organizers have produced an inspirational video for this call,

I don’t know if this offer is still available (from Erica Berger’s Fast Company article about The Space) but here it is,

Sign up to be one of the first 10,000 newsletter subscribers to The Space and receive a free digital work of art from Turner Prize winner Jeremy Deller.

I availed myself of the offer at approximately 1000 hours PDT, June 16, 2014.

Call for submissions for two Electronic Literature Organization (ELO) prizes

Nothing is more heartbreaking than to be late for a submission, so, here’s the deadline for the Electronic Literature prizes: May 10, 2014. The Electronic Literature Organization’s gives more details on its call for prize submissions webpage,

The ELO is proud to announce the ”The N. Katherine Hayles Award for Criticism of Electronic Literature” and “The Robert Coover Award for a Work of Electronic Literature.” Below is information including guidelines for submissions for each.

“The N. Katherine Hayles Award for Criticism of Electronic Literature”

“The N. Katherine Hayles Award for Criticism of Electronic Literature” is an award given for the best work of criticism, of any length, on the topic of electronic literature. Bestowed by the Electronic Literature Organization and funded through a generous donation from N. Katherine Hayles and others, this $1000 annual prize aims to recognize excellence in the field. The prize comes with a plaque showing the name of the winner and an acknowledgement of the achievement, and a one-year membership in the Electronic Literature Organization at the Associate Level.

We invite critical works of any length. Submissions must follow these guidelines:

1. This is an open submission. Self nominations and nominations are both welcome. Membership in the Electronic Literature Organization is not required.
2. There is no cost involved in nominations. This is a free and open award aimed at rewarding excellence.
3. ELO Board Members serving their term of office on the Board are ineligible for nomination for the award. Members of the Jury are also not allowed to be nominated for the award.
4. Three finalists for the award will be selected by a jury of specialists in electronic literature; N. Katherine Hayles will choose the winner from among the finalists.
5. Because of the nature of online publishing, it is not possible to conduct a blind review of the submissions; the jury will be responsible for fair assessment of the work.
6. Those nominated may only have one work considered for the prize. In the event that several works are identified for a nominee, the nominee will choose the work that he or she wishes to be juried.
7. All works must have already been published or made available to the public within 18 months, no earlier than December 2012.
8. All print articles must be submitted in .pdf format. Books can be sent either in .pdf format or in print format. Online articles should be submitted as a link to an online site.
9. Nominations by self or others must include a 250-word explanation of the work’s impact in the field. The winner selected for the prize must also include a professional bio and a headshot or avatar.
10. All digital materials should be emailed to [email protected] by May 15, 2014; three copies of the book should be mailed to Dr. Dene Grigar, Creative Media & Digital Culture, Washington State University Vancouver, 14204 NE Salmon Creek Ave., Vancouver, WA 98686 by May 15, 2014. [emphasis mine] Those making the nomination or the nominees themselves are responsible for mailing materials for jurying. Print materials will be returned via a self-addressed mailer.
11. Nominees and the winner retain all rights to their works. If copyright allows, ELO will be given permission to share the work or portions of it on the award webpage. Journals and presses that have published the winning work will be acknowledged on the award webpage.
12. The winner is not expected to attend the ELO conference banquet. The award will be mailed to the winner.

Timeline
Call for Nominations: April 15-May 10
Jury Deliberations: May 15-June 10
Award Announcement: ELO Conference Banquet

For more information, contact Dr. Dene Grigar, President, Electronic Literature Organization.

“The Robert Coover Award for a Work of Electronic Literature”

“The Robert Coover Award for a Work of Electronic Literature” is an award given for the best work of electronic literature of any length or genre. Bestowed by the Electronic Literature Organization and funded through a generous donation from supporters and members of the ELO, this $1000 annual prize aims to recognize creative excellence. The prize comes with a plaque showing the name of the winner and an acknowledgement of the achievement, and a one-year membership in the Electronic Literature Organization at the Associate Level.

We invite critical works of any length and genre. Submissions must follow these guidelines:

1. This is an open submission. Self nominations and nominations are both welcome. Membership in the Electronic Literature Organization is not required.
2. There is no cost involved in nominations. This is a free and open award aimed at rewarding excellence.
3. ELO Board Members serving their term of office on the Board are ineligible for nomination for the award. Members of the Jury are also not allowed to be nominated for the award.
4. Three finalists for the award will be selected by a jury of specialists in electronic literature; Robert Coover or a representative of his will choose the winner from among the finalists.
5. Because of the nature of online publishing, it is not possible to conduct a blind review of the submissions; the jury will be responsible for fair assessment of the work.
6. Those nominated may only have one work considered for the prize. In the event that several works are identified for a nominee, the nominee will choose the work that he or she wishes to be juried.
7. All works must have already been published or made available to the public within 18 months, no earlier than December 2012.
8. Works should be submitted either as a link to an online site or in the case of non-web work, available via Dropbox or sent as a CD/DVD or flash drive.
9. Nominations by self or others must include a 250-word explanation of the work’s impact in the field. The winner selected for the prize must also include a professional bio and a headshot or avatar.
10. Links to the digital materials or to Dropbox should be emailed to [email protected] by May 15, 2014; three copies of the CD/DVDs and flash drives should be mailed to Dr. Dene Grigar, Creative Media & Digital Culture, Washington State University Vancouver, 14204 NE Salmon Creek Ave., Vancouver, WA 98686 by May 15, 2014. [emphasis mine] Those making the nomination or the nominees themselves are responsible for mailing materials for jurying. Physical materials will be returned via a self-addressed mailer.
11. Nominees and the winner retain all rights to their works. If copyright allows, ELO will be given permission to share the work or portions of it on the award webpage. Journals and presses that have published the winning work will be acknowledged on the award webpage.
12. The winner is not expected to attend the ELO conference banquet. The award will be mailed to the winner.

Timeline
Call for Nominations: April 19-May 10
Jury Deliberations: May 15-June 10
Award Announcement: ELO Conference Banquet

For more information, contact Dr. Dene Grigar, President, Electronic Literature Organization.

Good luck and please note the mailing address in the submission guidelines is for Vancouver, US and not for Vancouver, Canada. Finally, thank you to Christine Wilks of crissxross for the heads up via LinkedIn.

The human body as a musical instrument: performance at the University of British Columbia on April 10, 2014

It’s called The Bang! Festival of interactive music with performances of one kind or another scheduled throughout the day on April 10, 2014 (12 pm: MUSC 320; 1:30 PM: Grad Work; 2 pm: Research) and a finale featuring the Laptop Orchestra at 8 pm at the University of British Columbia’s (UBC) School of Music (Barnett Recital Hall on the Vancouver campus, Canada).

Here’s more about Bob Pritchard, professor of music, and the students who have put this programme together (from an April 7, 2014 UBC news release; Note: Links have been removed),

Pritchard [Bob Prichard], a professor of music at the University of British Columbia, is using technologies that capture physical movement to transform the human body into a musical instrument.

Pritchard and the music and engineering students who make up the UBC Laptop Orchestra wanted to inject more human performance in digital music after attending one too many uninspiring laptop music sets. “Live electronic music can be a bit of an oxymoron,” says Pritchard, referring to artists gazing at their laptops and a heavy reliance on backing tracks.

“Emerging tools and techniques can help electronic musicians find more creative and engaging ways to present their work. What results is a richer experience, which can create a deeper, more emotional connection with your audience.”

The Laptop Orchestra, which will perform a free public concert on April 10, is an extension of a music technology course at UBC’s School of Music. Comprised of 17 students from Arts, Science and Engineering, its members act as musicians, dancers, composers, programmers and hardware specialists. They create adventurous electroacoustic music using programmed and acoustic instruments, including harp, piano, clarinet and violin.

Despite its name, surprisingly few laptops are actually touched onstage. “That’s one of our rules,” says Pritchard, who is helping to launch UBC’s new minor degree in Applied Music Technology in September with Laptop Orchestra co-director Keith Hamel. “Avoid touching the laptop!”

Instead, students use body movements to trigger programmed synthetic instruments or modify the sound of their live instruments in real-time. They strap motion sensors to their bodies and instruments, play wearable iPhone instruments, swing Nintendo Wiis or PlayStation Moves, while Kinect video cameras from Sony Xboxes track their movements.

“Adding movement to our creative process has been awesome,” says Kiran Bhumber, a fourth-year music student and clarinet player. The program helped attract her back to Vancouver after attending a performing arts high school in Toronto. “I really wanted to do something completely different. When I heard of the Laptop Orchestra, I knew it was perfect for me. I begged Bob to let me in.”

The Laptop Orchestra has partnered itself with UBC’s Dept. of Computer and Electrical Engineering (from the news release),

The engineers come with expertise in programming and wireless systems and the musicians bring their performance and composition chops, and program code as well.

Besides creating their powerful music, the students have invented a series of interfaces and musical gadgets. The first is the app sensorUDP, which transforms musicians’ smartphones into motion sensors. Available in the Android app store and compatible with iPhones, it allows performers to layer up to eight programmable sounds and modify them by moving their phone.

Music student Pieteke MacMahon modified the app to create an iPhone Piano, which she plays on her wrist, thanks to a mount created by engineering classmates. As she moves her hands up, the piano notes go up in pitch. When she drops her hands, the sound gets lower, and a delay effect increases if her palm faces up. “Audiences love how intuitive it is,” says the composition major. “It creates music in a way that really makes sense to people, and it looks pretty cool onstage.”

Here’s a video of the iPhone Piano (aka PietekeIPhoneSensor) in action,

The members of the Laptop Orchestra have travelled to collaborate internationally (Note: Links have been removed),

Earlier this year, the ensemble’s unique music took them to Europe. The class spent 10 days this February in Belgium where they collaborated and performed in concert with researchers at the University of Mons, a leading institution for research on gesture-tracking technology.

The Laptop Orchestra’s trip was sponsored by UBC’s Go Global and Arts Research Abroad, which together send hundreds of students on international learning experiences each year.

In Belgium, the ensemble’s dancer Diana Brownie wore a body suit covered head-to-toe in motion sensors as part of a University of Mons research project on body movement. The researchers – one a former student of Pritchard’s – will use the suit’s data to help record and preserve cultural folk dances.

For anyone who needs directions, here’s a link to UBC’s Vancouver Campus Maps, Directions, & Tours webpage.