It’s been a while since I last (in a March 17, 2015 post) featured PoetryFilm. Here’s the latest from the organization’s Oct. 2015 newsletter,
I have been invited to join the International Jury for the CYCLOP International Videopoetry Festival, 20-22 November 2015 (Kiev, Ukraine)
PoetryFilm Paradox events, featuring poetry films about love, as part of the BFI LOVE season, 6 and 22 December 2015 (London, UK)
PoetryFilm screening + Zata Banks in conversation with filmmaker Roxana Vilk at The Scottish Poetry Library, 3 December 2015 (Scotland, UK)
I have been invited to judge the Carbon Culture Review poetry film competition (USA)
poetryfilmkanal in Germany recently invited me to write an article about the poetry film artform – it can be read here
FYI, the “I” in the announcement’s text is for Zata Banks, the founder and director of PoetryFilm since 2002.
There’s more about the CYCLOP International Videopoetry Festival in a Sept. 13, 2015 posting on the PoetryFilm website,
*The 5th CYCLOP International Videopoetry Festival will take place on 20 – 22 November 2015 in Ukraine (Kyiv). The festival programme features video poetry-related lectures, workshops, round tables, discussions, presentations of international contests and festivals, as well as a demonstration of the best examples of Ukrainian and world videopoetry, a competitive programme, an awards ceremony and other related projects.
One of the projects is a new Contest for International poetry films within the framework of the CYCLOP festival. The International Jury: Alastair Cook (Filmpoem Festival, Edinburgh, Scotland), Zata Banks (PoetryFilm, London, United Kingdom), Javier Robledo (VideoBardo, Buenos Aires, Argentina), John Bennet (videopoet, USA), Alice Lyons (Videopoet, Sligo, Ireland), Sigrun Hoellrigl (Art Visuals & Poetry, Vienna, Austria), Lucy English (Liberated Words, Bristol, United Kingdom), Tom Konyves (poet, video producer, educator and a pioneer in the field of videopoetry, British Columbia, Canada), Polina Horodyska (CYCLOP Videopoetry Festival, Kyiv, Ukraine) and Thomas Zandegiacomo (ZEBRA Poetry Film Festival, Berlin, Germany).
I can’t find a website for the Carbon Culture Review poetry film competition or a webpage for it on the Carbon Culture Review website but here’s what they have to say about themselves on the journal’s About page,
Carbon Culture Review is a journal at the intersection of new literature, art, technology and contemporary culture. We define culture broadly as the values, attitudes, actions and inventions of our global society and its subcultures in our modern age. Carbon Culture Review is distributed in the United States and countries throughout the world by Publisher’s Distribution Group, Inc. and Annas International as well as digitally through 0s&1s, Magzter and Amazon. CCR is a member of Councils of Literary Magazines and Presses and also publishes monthly online issues.
The last item from the announcement that I’m highlighting is Zata’s essay for poetryfilmkanal ,
Poetry films offer creative opportunities for exploring new semiotic modes and for communicating messages and meanings in innovative ways. Poetry films open up new methods of engagement, new audiences, and new means of self-expression, and also provide rich potential for the creation, perception and experience of emotion and meaning.
We are surrounded by communicative signs in literature, art, culture and in the world at large. Whilst words represent one system of communicating, there are many other ways of making meanings, for instance, colour semiotics, typographic design, and haptic, olfactive, gustatory and durational experiences – indeed, a comprehensive list could be infinite. The uses of spoken and written words to communicate represent just two approaches among many. Through using meaning-making systems other than words, by communicating without words, or by not using words alone, we can bypass these direct signifiers and tap directly into pools of meaning, or the signifieds, associated with those words. Different combinations of systems, or modes, can reinforce each other, render meanings more complex and subtle, or contrast with each other to illuminate different perspectives. Powerful juxtapositions, associations and new meanings can therefore emerge.
The essay is a good introduction for beginners and a good refresher for those in need. Btw, I understand Zata got married in March 2015. Congratulations to Zata and Joe!
It’s exciting to hear that CERN (European Particle Physics Laboratory) has an open call for artists but it’s also a little complicated, so read carefully. From an Oct. 12, 2015 CERN press release,
CERN1 has today announced three new open calls giving a chance to artists to immerse themselves in the research of particle physics and its community. Two new international partners have joined the Accelerate @ CERN programme: the Abu Dhabi Music & Arts Foundation (ADMAF) from UAE2 and Rupert, the centre for Art and Education from Vilnius, Lithuania3. The Collide @ CERN Geneva award is also now calling for entries, continuing the fruitful collaboration with The Republic and Canton of Geneva and the City of Geneva4. Last but not least, the Collide @ CERN Ars Electronica winning artists start their residency at CERN this week.
“Science and the arts are essential parts of a vibrant, healthy culture, and the Arts @ CERN programme is bringing them closer together,” said CERN DG Rolf Heuer. “With CERN’s diverse research programme, including the LHC’s second run getting underway, there’s no better place in the world to do that than here.”
With the support of The Abu Dhabi Music & Arts Foundation (ADMAF), Arts @ CERN gives the chance for an Emirati visual artist to come to CERN for a fully funded immersion in high-energy physics in the Accelerate @ CERN programme. Thanks to the support by Rupert, Centre for Art and Education in Vilnius, the same door opens to Lithuanian artists who wish to deepen their knowledge in science and use it as a source of inspiration for their work. Each of the two open calls begins today for artists to win a one-month research stay at CERN. Applications can be submitted up to 11 January 2016.
Funded by The Republic and Canton of Geneva and The City of Geneva, Collide @ CERN Geneva has operated successfully since 2012. Arts @ CERN announces the fourth open call for artists from Geneva, this time celebrating the city’s strength in digital writing. Today, the competition opens to writers [emphasis mine] who were born, live or work in the Geneva region, and would like to win a three-month residency where scientific and artistic creativity collide. The winner will also receive a stipend of 15,000CHF. The deadline for applications is 11 January 2016.
“Arts and science have always been interlinked as major cultural forces, and this is the fundamental reason for CERN to continue to proactively pursue this relationship,” said Mónica Bello, Head of Arts @ CERN. “The arts programme here continues to flourish.”
Semiconductor, the artist duo formed by Ruth Jarman and Joe Gerdhardt, are the winners of the Collide @ CERN Ars Electronica award5. Out of 161 projects from 53 countries, the jury6 awarded Semiconductor for their broad sense of speculation, complexity and wonder, using strategies of analysis and translation of the phenomena into tangible and beautiful forms. Their two-month Collide @ CERN residency starts on 12 October 2015.
1. CERN, the European Organization for Nuclear Research, is the world’s leading laboratory for particle physics. It has its headquarters in Geneva. At present, its member states are Austria, Belgium, Bulgaria, the Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Israel, Italy, the Netherlands, Norway, Poland, Portugal, Slovakia, Spain, Sweden, Switzerland and the United Kingdom. Romania is a Candidate for Accession. Serbia is an Associate Member in the pre-stage to Membership. Pakistan and Turkey are Associate Members. India, Japan, the Russian Federation, the United States of America, the European Union, JINR and UNESCO have observer status.
Museum curators planning to develop virtual exhibits online should choose communication and navigation technologies that match the experience they want to offer their visitors, according to a team of researchers.
“When curators think about creating a real-world exhibit, they are thinking about what the theme is and what they want their visitors to get out of the exhibit,” said S. Shyam Sundar, Distinguished Professor of Communications and co-director of the Media Effects Research Laboratory. “What this study suggests is that, just like curators need to be coherent in the content of the exhibit, they need to be conscious of the tools that they employ in their virtual museums.” [emphasis mine]
For some reason that phrase “need to be conscious of the tools that they employ” reminds of Marshall McLuhan and his dictum “the medium is the message.” Here’s more about study from the news release,
Many museum curators hope to create an authentic experience in their online museums by using technology to mimic aspects of the social, personal and physical aspects of a real-world museum experience. However, a more-is-better approach to technology may actually hinder that authentic experience, the researchers suggest.
In a study, visitors to an online virtual art museum found that technology tools used to communicate about and navigate through the exhibits were considered helpful when they were available separately, but less so when they were offered together. The researchers tested customization tools that helped the participants create their own art gallery, live-chat technology to facilitate communication with other visitors and 3-D tool navigation tools that some participants used to explore the museum.
The participants’ experiences often depended on what tools and what combinations of tools they used, according to the researchers, who released their findings in a recent issue of the International Journal of Human-Computer Interaction.
The news release goes on to provide some examples of when technologies do not mesh together for a good experience,
“When live chat and customization are offered together, for example, the combination of tools may be perceived to have increased usability, but it turns out using either customization or live chat separately was greater than either both functions together, or neither of the functions,” said Sundar. “We saw similar results not just with perceived usability, but also with sense of control and agency.”
The live chatting tool gave participants a feeling of social presence in the museum, but when live chatting was used in conjunction with the 3D navigation tool, the visitor had less of a sense of control, said Sundar, who worked with Eun Go, assistant professor of broadcasting and journalism, Western Illinois University; Hyang-Sook Kim, assistant professor of mass communication and media communication studies, Towson University and Bo Zhang, doctoral candidate in mass communications, Penn State.
Similarly, participants indicated the live chatting function lessened the realistic experience of the 3D tool, according to the researchers, who suggested that chatting may increase the user’s cognitive burden as they try to navigate through the site.
Each of these tools carries unique meaning for users, Sundar said. While customization provides an individualized experience, live-chatting signals a social experience of the site.
“Our data also suggest that expert users prefer tools that offer more agency or control to users whereas novices appreciate a variety of tools on the interface,” he added.
Users may react to these tools on other online platforms, not just during visits to online museums, Sundar said.
“We might be able to apply this research on tools you might add to news sites, for example, or it could be used to improve educational sites and long-distance learning,” he added. “You just have to be careful about how you deploy the tools because more is not always better.”
The researchers recruited 126 participants for the study. The subjects were assigned one of eight different website variations that tested their reactions to customization, live chat, 3D navigation and combinations of those tools during their visit to a virtual version of the Museum of Modern Art. The museum’s artworks were made available through the Google Art Project.
The 2015 International Symposium on Electronic Arts (or ISEA 2015) held in Vancouver ended yesterday, Aug. 19, 2015. It was quite an experience both as a participant and as a presenter (mentioned in my Aug. 14, 2015 posting, Sneak peek: Steep (1): a digital poetry of gold nanoparticles). Both this ISEA and the one I attended previously in 2009 (Belfast, Northern Ireland, and Dublin, Ireland) were jampacked with sessions, keynote addresses, special events, and exhibitions of various artworks. Exhilarating and exhausting, that is the ISEA experience for me and just about anyone else I talked to here in Vancouver (Canada). In terms of organization, I have to give props to the Irish. Unfortunately, the Vancouver team didn’t seem to have given their volunteers any training and technical difficulties abounded. Basics such as having a poster outside a room noting what session was taking place, signage indicating which artist’s work was being featured, and good technical support (my guy managed to plug in a few things but seemed disinclined or perhaps didn’t have the technical expertise (?) to troubleshoot prior to the presentation) seemed elusive (a keynote presentation had to be moved due to technical requirements [!] plus no one told the volunteer staff who consequently misdirected people). Ooops.
Despite the difficulties, people remained enthusiastic and that’s a tribute to both the participants and, importantly, the organizers. The Vancouver ISEA was a huge undertaking with over 1000 presentation submissions made and over 1800 art work submissions. They had 900+ register and were the first ISEA able to offer payment to artists for their installations. Bravo to Philippe Pasquier, Thecla Schiphorst, Kate Armstrong, Malcolm Levy, and all the others who worked hard to pull this off.
Moving on to ‘I’, while the theme for ISEA 2015 was Disruption, I noticed a number of presentations focused on biology and on networks (in particular, generative networks). In some ways this parallels what’s happening in the sciences where more notice is being given to networks and network communications of all sorts. For example, there’s an Aug. 19, 2015 news item on ScienceDaily suggesting that our use of the pronoun ‘I’ may become outdated. What we consider to be an individual may be better understood as a host for a number of communities or networks,
Recent microbiological research has shown that thinking of plants and animals, including humans, as autonomous individuals is a serious over-simplification.
A series of groundbreaking studies have revealed that what we have always thought of as individuals are actually “biomolecular networks” that consist of visible hosts plus millions of invisible microbes that have a significant effect on how the host develops, the diseases it catches, how it behaves and possibly even its social interactions.
“It’s a case of the whole being greater than the sum of its parts,” said Seth Bordenstein, associate professor of biological sciences at Vanderbilt University, who has contributed to the body of scientific knowledge that is pointing to the conclusion that symbiotic microbes play a fundamental role in virtually all aspects of plant and animal biology, including the origin of new species.
In this case, the parts are the host and its genome plus the thousands of different species of bacteria living in or on the host, along with all their genomes, collectively known as the microbiome. (The host is something like the tip of the iceberg while the bacteria are like the part of the iceberg that is underwater: Nine out of every 10 cells in plant and animal bodies are bacterial. But bacterial cells are so much smaller than host cells that they have generally gone unnoticed.)
Microbiologists have coined new terms for these collective entities — holobiont — and for their genomes — hologenome. “These terms are needed to define the assemblage of organisms that makes up the so-called individual,” said Bordenstein.
In the article “Host Biology in Light of the Microbiome: Ten Principles of Holobionts and Hologenomes” published online Aug. 18  in the open access journal PLOS Biology, Bordenstein and his colleague Kevin Theis from the University of Michigan take the general concepts involved in this new paradigm and break them down into underlying principles that apply to the entire field of biology.
They make specific and refutable predictions based on these principles and call for other biologists to test them theoretically and experimentally.
“One of the basic expectations from this conceptual framework is that animal and plant experiments that do not account for what is happening at the microbiological level will be incomplete and, in some cases, will be misleading as well,” said Bordenstein.
The first principle they advance is that holobionts and hologenomes are fundamental units of biological organization.
Another is that evolutionary forces such as natural selection and drift may act on the hologenome not just on the genome. So mutations in the microbiome that affect the fitness of a holobiont are just as important as mutations in the host’s genome. However, they argue that this does not change the basic rules of evolution but simply upgrades the types of biological units that the rules may act upon.
Although it does not change the basic rules of evolution, holobionts do have a way to respond to environmental challenges that is not available to individual organisms: They can alter the composition of their bacterial communities. For example, if a holobiont is attacked by a pathogen that the host cannot defend against, another symbiont may fulfill the job by manufacturing a toxin that can kill the invader. In this light, the microbes are as much part of the holobiont immune system as the host immune genes themselves.
According to Bordenstein, these ideas are gaining acceptance in the microbiology community. At the American Society of Microbiology General Meeting in June , he convened the inaugural session on “Holobionts and Their Hologenomes” and ASM’s flagship journal mBio plans to publish a special issue on the topic in the coming year. [emphases are mine]
However, adoption of these ideas has been slower in other fields.
“Currently, the field of biology has reached an inflection point. The silos of microbiology, zoology and botany are breaking down and we hope that this framework will help further unify these fields,” said Bordenstein.
Not only will this powerful holistic approach affect the basic biological sciences but it also is likely to impact the practice of personalized medicine as well, Bordenstein said.
Take the missing heritability problem, for example. Although genome-wide studies have provided valuable insights into the genetic basis of a number of simple diseases, they have only found a small portion of the genetic causes of a number of more complex conditions such as autoimmune and metabolic diseases.
These may in part be “missing” because the genetic factors that cause them are in the microbiome, he pointed out.
“Instead of being so ‘germophobic,’ we need to accept the fact that we live in and benefit from a microbial world. We are as much an environment for microbes as microbes are for us,” said Bordenstein.
It’s intriguing to see artists and scientists exploring ideas that resonate with each other. In fact, ISEA 2015 hosted a couple of sessions on BioArt, as well as, having sessions devoted to networks. While, I wasn’t thinking about networks or biological systems when I wrote my poem on gold nanoparticles, I did pose this possibility (how we become the sum of our parts) at the end:
we become gold
discovering what we are
As for how Raewyn handled the idea, words fail, please do go here to see the video here.
I last wrote about ISEA (International Sympsosium on Electronics Arts) in an April 24, 2015 posting when announcing this,
Our paper (Raewyn Turner, an artist from New Zealand, and mine, Maryse de la Giroday), Steep (I): a digital poetry of gold nanoparticles, has been accepted for the 2015 International Symposium on Electronic Arts (ISEA) to be held in Vancouver, Canada from Aug. 14 – 18, 2015. I last wrote about ISEA 2015 in a Dec. 19, 2014 post where I indicated more information about our project would be forthcoming—the next week. Ah well, better late than never, eh?
In short, I will be presenting at the conference and (fingers crossed) so will Raewyn.
A July 7, 2015 Simon Fraser University (SFU) news release reveals more about the conference programming,
For the first time in two decades, the 2015 International Symposium on Electronic Arts (ISEA) is returning to Canada and will be hosted by Simon Fraser University’s Faculty of Communication, Arts and Technology, and its School of Interactive Arts and Technology (SIAT), the School for Contemporary Arts (SCA).
I attended the 2009 edition of ISEA which was held in Northern Ireland and Ireland where some people were still raving about the Québec-hosted event. Vancouver has a lot to live up to.
Back to the news release,
ISEA 2015 will be held in Vancouver from August 14-19. Over the five days the symposium will feature more than 450 speakers, workshops and presentations. Its theme, “Disruption,” will examine the borders between academia and artwork, practice and theory, systems and reality, and art and society.
The symposium will also feature some of the most innovative and groundbreaking digital artworks from all over the world and will transform Vancouver into a “city-sized” dynamic art space, says symposium coordinator and SIAT professor Philippe Pasquier. More than 160 digital artworks will come to life in multiple venues throughout Vancouver, including SFU Woodwards.
“We are excited that Simon Fraser University, with its core commitments to innovative education and community engagement, will host one of the world’s most prominent international arts and technology events,” said SFU President Andrew Petter. “Featuring leading experts and innovators in the field, including those from SFU, and a global arts showcase, ISEA 2015 will bring great energy to the city.”
A committee of distinguished experts has curated a program for ISEA 2015 that will explore how disruptions manifest in science, artistic practice, activism, geopolitics, media, sound, sound ecology and embodied practices.
Panels and roundtable programs will feature discussions on artistic research, communications, computational media technologies, dance and performance. These will explore how art intersects with climate change, contemporary curatorial practices, media activism and subversion, IY technology, bio art and sound, embodied art practices, geopolitics and more.
To frame the discussion around the artistic, scientific, technological, and social manifestations of disruptions as a phenomenon, keynote speakers will include Brian Massumi, Michael Connor, Dominique Moulon, Sara Diamond, as well as SFU’s Hildegard Westerkamp. The Yes Men will close the symposium with an address on the use of creative expression for subversion and disruption.
The symposium will feature 19 workshops across several disciplines. MOCO’15, the 2nd international workshop on movement and computing, aims to gather academics and practitioners interested in the computational study and generation of movement in art and science. As part of MOCO’15’s artistic program visitors can attend Hakanai, a dance performance, taking place in a cube of moving images.
Keynote speakers (and master disruptors) Andy Bichlbaum and Mike Bonnano, better known as the Yes Men, will share the history of media activism, following up with a mater-class on creating media activist campaign base on unscripted responses.
MUTEK Cabaret, organized by the MUTEK Festival and curated for ISEA 2015 by Alain Mongeau.
Computer code meets contemporary art as ISEAS 2015 presents an Algorave, a participatory performance that invites visitors to dance to music generated by algorithms. This is the first time an Algorave will take place in Canada.
Beyond the Trees: WALLPAPERS in dialogue with Emily Carr is an exhibition by the WALLPAPERS collective that will run at the Vancouver Art Gallery.
As for the paper and video we’re (Raewyn and I) presenting, it’s called “Steep (1): a digital poetry of gold nanoparticles. It is scheduled for Sunday, Aug. 16, 2015 in session no. 9 (Interactive Text 1), 11:30 am – 1 pm. You can find the schedule here.
David Bruggeman (Pasco Phronesis blog) has written up, as he so often does, a fascinating art/science piece in his May 28, 2015 post (Note: A link has been removed),
Opening next month [June 2015] at the Dilston Grove Gallery at GDP London is Music of the Spheres, an exhibition that uses bioinformatics to record music. Dr. Nick Goldman of the European Bioinformatics Institute has been working on new technologies for encoding large amounts of information into DNA. Collaborating with Charlotte Jarvis, the two have worked on installations of bubbles that would contain DNA encoded with music (the DNA is suspended in soap solution).
Music of the Spheres utilises new bioinformatics technology developed by Dr. Nick Goldman to encode a new musical recording by the Kreutzer Quartet into DNA.
The DNA has been suspended in soap solution and will be used by visual artist Charlotte Jarvis to create performances and installations filled with bubbles. The recording will fill the air, pop on visitors skin and literally bathe the audience in music.
Dr. Nick Goldman and Charlotte Jarvis have been working together for the past year to create a series of moving visual and musical experiences that explore the scope and future ubiquity of DNA technologies.
The Kreutzer Quartet’s new composition for string quartet loosely follows the traditional form of a concerto, in comprising of three musical movements. The second movement only exists in the form of a recording encoded into DNA.
For the exhibition the DNA will be suspended in soap solution and used to create silent installations filled with bubbles. The bubbles will be accompanied by a video projection showing the musicians playing in the server room of the European Bioinformatics Institute, Cambridge.
In response to the growing challenge of storing vast quantities of biological data generated by biomedical research Dr. Nick Goldman and the European Bioinformatics Institute have developed a method to encode huge amounts of information in DNA itself. Every day the huge quantities and speed of data pouring into servers gets larger. When research groups sequence DNA the file sizes are too large to be kept on local computers. It is this problem that was the motivation for Nick Goldman to develop his new technology. Their goal is a system that will safely store the equivalent of one million CDs in a gram of DNA for 10,000 years. Nick’s work was has been featured in The New York Times, The Guardian and on BBC News amongst other media outlets.
The Kreutzer Quartet will play the full-length composition live during the preview on 12 June  timed with the setting of the sun through the large westerly windows. [emphasis mine] During the passage of the second movement the stage will fall silent, the music will be released into the auditorium in the form of bubbles. The performance will be accompanied by film projection and a discussion about the project.
The exhibit runs from June 12 – July 5, 2015. Hours and location can be found on the CGP website.
The Music of the Spheres DNA/music project was first mentioned here in a May 5, 2014 post about the launch of the book ‘Synthetic Aesthetics: Investigating Synthetic Biology’s Designs on Nature’. The launch featured a number of performances and events, scroll down abut 80% of the way for the then description of Music of the Spheres.
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.
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.
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
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),
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’.
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.
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.”
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.
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.
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.]
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.
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,
Our paper (Raewyn Turner, an artist from New Zealand, and mine, Maryse de la Giroday), Steep (I): a digital poetry of gold nanoparticles, has been accepted for the 2015 International Symposium on Electronic Arts (ISEA) to be held in Vancouver, Canada from Aug. 14 – 18, 2015. I last wrote about ISEA 2015 in a Dec. 19, 2014 post where I indicated more information about our project would be forthcoming—the next week. Ah well, better late than never, eh?
Before getting to our project, here’s a little information on the symposium’s theme (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.
At least two of the speakers are going to be very well aligned with the disruption theme (from the Keynote Speakers page),
The Yes Men, Andy Bichlbaum and Mike Bonanno, have been called “the Jonathan Swift of the Jackass generation” by author Naomi Klein. The Yes Men have impersonated World Trade Organization, Dow Chemical Corporation, and Bush administration spokesmen on TV and at business conferences around the world. They do this (a) in order to demonstrate some of the mechanisms that keep bad people and ideas in power, and (b) because it’s absurdly fun. As the Yes Men, they use humor, truth and lunacy to bring media attention to the crimes of their unwilling employers. Their second film, The Yes Men Fix the World, won the audience award at this year’s Berlin Film Festival, the Grierson Award for Most Entertaining Documentary, and went on to become a smash box-office sensation, only just barely surpassed by Avatar. Their main goal is to focus attention on the dangers of economic policies that place the rights of capital before the needs of people and the environment.
Sessions Title: TBD
Michael Connor is the Editor and Curator of Rhizome at the New Museum. Connor’s work focuses on artists’ responses to cinema and new technologies. His past solo and collaborative projects as curator include: ‘Liquid Crystal Palace,’ Honor Fraser, Los Angeles; ‘Street Digital’ (works by artist duo JODI); ‘Wild Sky,’ Edith-Russ Haus, Oldenburg, Germany; ‘Screen Worlds’, ACMI in Melbourne; ‘Essential Cinema’ at the Toronto Film Festival, and ‘The New Normal’ touring exhibition. Connor previously worked as Curator at FACT, Liverpool and Head of Exhibitions at BFI Southbank, London.
Session Title: No One Without Another: Creativity and Decision in the Transindividual Fold
Brian Massumi is professor of communication at the University of Montreal. He specializes in the philosophy of experience, art and media theory, and political philosophy. His most recent books include Politics of Affect (Polity, 2015), The Power at the End of the Economy (Duke UP, 2015), and What Animals Teach Us about Politics (Duke UP, 2014). He is co-author with Erin Manning of Thought in the Act: Passages in the Ecology of Experience (co-written with Erin Manning; University of Minnesota Press, 2014). Also with Erin Manning and the SenseLab collective, he participates in the collective exploration of new ways of bringing philosophical and artistic practices into collaborative interaction, most recently in the frame of the “Immediations: Art, Media, Event” international partnership project.
Sessions Title: TBD
Dominique Moulon studied visual art at the Fine Art School (ENSA) of Bourges and holds a Master’s Degree in aesthetics, science and technology from the University of Paris 8. Member of the Observatory of Digital Worlds in Humanities (OMNSH), of the International Association of Art Critics (AICA), of the Opline Prize for online contemporary art and founder of MediaArtDesign.net ; he also writes articles for Art Press, Digital MCD, The Seen and Neural. He is the Artistic Director of the media art fair Variation Paris and currently curator in residence at the art center of the Maison Populaire in Montreuil. Dominique Moulon teaches new media at Parsons (The New School for Design), ECV (Ecole de Communication Visuelle) and EPSAA (Ecole Professionnelle Supérieure d’Arts Graphiques) in Paris. He has also been a regular guest professor at the School of the Art Institute of Chicago (SAIC), the National School of Fine Arts (ENSBA) in Paris, The Fresnoy (Studio national des arts contemporains) and the University of Paris 8. His book Contemporary New Media Art was published in French by Nouvelles Editions Scala in 2011 and in English as an e-book in 2013. He is doing research at the laboratory Art & Flux (CNRS) of the University of Paris 1 Panthéon-Sorbonne while preparing his next book on the relationships between art, technology and society. As an expert in digital cultures, he has also been sollicited for his input by some companies like Axa, Accenture, Google, Landor or Renault.
Sessions Title: TBD
Hildegard Westerkamp has lectured on topics of listening, environmental sound and acoustic ecology and has conducted soundscape workshops internationally. By focusing the ears’ attention to details in the acoustic environment, her compositional work draws attention to the act of listening itself and to the inner, hidden spaces of the environment we inhabit. For details check her website: http://www.sfu.ca/~westerka
Her music has been commissioned by CBC Radio, Canada Pavilion at Expo ’86, Ars Electronica (Linz), Österreichischer Rundfunk, Zentrum für Kunst und Medien in Germany…. She received Honorable Mentions in competitions such as Prix Ars Electronica in Austria, Prix Italia, and the International Competition for Electroacoustic Music in Bourges, as well as a Recommendation for Broadcast from the International Music Council’s 4th International Rostrum of Electroacoustic Music. Her articles have been published in Radio Rethink, Kunstforum, Musicworks, MusikTexte and a variety of books… For an extensive exploration into her compositional work see Andra McCartney’s Sounding Places: Situated Conversations through the Soundscape Work of Hildegard Westerkamp, York University, Toronto, 1999, and in the internet at: http://beatrouteproductions.com/Andradiss.pdf
As part of Vancouver New Music’s yearly season she has coordinated and led Soundwalks for some years since 2003, which in turn inspired the creation of The Vancouver Soundwalk Collective.
A founding member of the World Forum for Acoustic Ecology (WFAE, see: www.wfae.net), and long-time co-editor of its journal Soundscape, Westerkamp was a researcher for R. Murray Schafer’s World Soundscape Project in the Seventies, and has taught acoustic communication at Simon Fraser University with colleague Barry Truax.
Biography coming soon
As for the last speaker on the list, Sara Diamond is the president of the Ontario College of Art and Design University (OCAD University). Her professional focus is digital media and prior to heading OCAD University she was the Artistic Director of Media and Visual Art and Director of Research at the Banff Centre. You can find out more about Sara Diamond here.
The general atmosphere is saturated and awash with particles and vibrations that are transpired by living beings and everything on earth. Emerging into the troposphere, sounds and fragrances arise from cultural, social and political systems that have engineered the landscapes and thus mindscapes into settlements, habitations, fields, factories, front lawns and streets.
In the absence of a visceral sensing of the atmospheric ocean of particles and cues which are in dynamic flux with perception., Steep combines art+ science+ technology to explore sensing gold nanotechnology, where it accumulates, changes over time, and how it may affect living beings and the environment
Raewyn, a visual artist (video, painting, sculpture, interactive installations) and concept and design theatre artist and lighting designer located in Auckland, New Zealand, contacted me, located in Vancouver, Canada, a few years ago after reading some of the material I have on gold nanoparticles. She wanted to make contact with a scientist who was examining gold nanoparticles as they circulate from products into the air, the water, and the soil. Eventually I remembered the Duke University mesocosm project, located in Durham, North Carolina, at the Center for the Environmental Implication of Nano Technology (CEINT) led by Mark Wiesner (first mentioned here in an Aug. 15, 2011 post) and so Raewyn found her scientist and, although she wasn’t looking for one, a writer too. Her longtime collaborator, Brian Harris (located in Auckland, New Zealand), has an electronics background and is an independent designer and inventor who “invents and creates large scale finely tuned adaptive mechatronics and bespoke equipment. His inventions for motion control, stabilising camera mounts for aerial photography and robotic trajectories have been used in local and international tv, commercial and film productions.” (from the Steep About Us page).
For our first Steep project, Raewyn and I are working on a digital poetry installation. Here’s more about the project from the paper,
Steep is an international art/science research project examining the impact gold and gold nanoparticles have had in the past and could have in the future. Designed as a multi-year, multidisciplinary project with a rotating cast of collaborators, Steep is based on the current state of scientific research and its flexibility as a project reflects the uncertain and disruptive state of nanoscience and nanotechnology (as they are sometimes referred to).
Steep (I) a digital poetry of gold nanoparticles, our first piece, is largely concerned with the elements of air and earth or more fancifully, gold in all its forms: myth, metaphor, and reality as it transitions visibly and invisibly throughout our environment.
The following poetry excerpt and video sample accompanying this submission [the video sample is not included in this posting] are works in progress and a research project within themselves.
shards of sun
hidden in the river’s silted bed
buried beneath the earth’s skin
a beautiful killing
in the cold, cold river
in the darkness underground
opportunities made of gold
wealth beyond Croesus’ and Midas’ imaginings
shining brighter than the sun
The other two parts of the trilogy are titled: Light/Shadow and Discovery respectively. I may have to change that last three lines to:
opportunities of gold
beyond Midas’ and Croesus’ imaginings
brighter than the sun
Raewyn and I are quite excited but there’s still work to do (our reviewers had comments).
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]
The Honorable Jane Harman
Director, President and CEO, The Wilson Center
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!”
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 , 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