Combine nanostructured glass and femtosecond laser writing with five-dimensional digital data and you can wave goodbye to any anxieties about losing information. Researchers at Southampton University (UK) made the announcement in a Feb. 15, 2016 news item on ScienceDaily,
Scientists at the University of Southampton have made a major step forward in the development of digital data storage that is capable of surviving for billions of years.
Using nanostructured glass, scientists from the University’s Optoelectronics Research Centre (ORC) have developed the recording and retrieval processes of five dimensional (5D) digital data by femtosecond laser writing.
The storage allows unprecedented properties including 360 TB [Terabyte]/disc data capacity, thermal stability up to 1,000°C and virtually unlimited lifetime at room temperature (13.8 billion years at 190°C ) opening a new era of eternal data archiving. As a very stable and safe form of portable memory, the technology could be highly useful for organisations with big archives, such as national archives, museums and libraries, to preserve their information and records.
The technology was first experimentally demonstrated in 2013 when a 300 kb [kilobit] digital copy of a text file was successfully recorded in 5D.
Now, major documents from human history such as [the] Universal Declaration of Human Rights (UDHR), Newton’s Opticks, Magna Carta and Kings [sic] James Bible, have been saved as digital copies that could survive the human race. A copy of the UDHR encoded to 5D data storage was recently presented to UNESCO by the ORC at the International Year of Light (IYL) closing ceremony in Mexico.
The documents were recorded using ultrafast laser, producing extremely short and intense pulses of light. The file is written in three layers of nanostructured dots separated by five micrometres (one millionth of a metre).
The self-assembled nanostructures change the way light travels through glass, modifying polarisation of light that can then be read by combination of optical microscope and a polariser, similar to that found in Polaroid sunglasses.
Coined as the ‘Superman memory crystal’, as the glass memory has been compared to the “memory crystals” used in the Superman films, the data is recorded via self-assembled nanostructures created in fused quartz. The information encoding is realised in five dimensions: the size and orientation in addition to the three dimensional position of these nanostructures.
Professor Peter Kazansky, from the ORC, says: “It is thrilling to think that we have created the technology to preserve documents and information and store it in space for future generations. This technology can secure the last evidence of our civilisation: all we’ve learnt will not be forgotten.”
The researchers will present their research at the photonics industry’s renowned SPIE—The International Society for Optical Engineering Conference in San Francisco, USA this week. The invited paper, ‘5D Data Storage by Ultrafast Laser Writing in Glass’ will be presented on Wednesday 17 February .
The team are now looking for industry partners to further develop and commercialise this ground-breaking new technology.
Thanks to David Bruggeman’s Dec. 8, 2015 posting on his Pasco Phronesis blog, I’ve gotten some details about the European Union’s (EU) Open Science Policy Platform and about a science, technology and arts programme to connect artists with scientists (Note: Links have been removed),
Recently the European Commission’s [EC] Directorate-General for Research and Development announced the development of an Open Science Policy Platform. In the European Commission context, Open Science is one of its Digital Government initiatives, but this Policy Platform is not technical infrastructure. It is a communications mechanism for stakeholders in open access, new digital tools for research and joint arts and research communities.
David goes on to contrast the open science situation in the US with the approach being taken in the EU. Unfortunately, I do not have sufficient knowledge of the Canadian open science scene to offer any opinion.
The Open Science Policy Platform will be governed by a Steering Group composed of top-leading individuals of (European) branch organisations with the required decision-power. DG RTD will seek to appoint individuals from the following stakeholder groups:
Scientific and technological skills are not the only forces driving innovation. Creativity and the involvement of society play a major role in the innovation process and its endorsement by all. In this context, the Arts serve as catalysts in an efficient conversion of Science and Technology knowledge into novel products, services, and processes.
ICT can enhance our capacity to sense the world, but an artwork can reach audiences on intrinsic emotional levels.
The constant appropriation of new technologies by artists allows them to go further in actively participating in society. By using ICT as their medium of expression, artists are able to prototype solutions, create new products and make new economic, social and business models. Additionally, by using traditional mediums of expression and considering the potentials of ICT, they propose new approaches to research and education.
The European Commission recognised this by launching the Startsprogramme: Innovation at the nexus of Science, Technology and the Arts (Starts) to foster the emergence of joint arts and research communities. It supported the ICT Art Connect study which lead the way to the StARTS initiative by revealing new evidence for the integration of the Arts as an essential and fruitful component within research and innovation in ICT.
Tom Hanks has appeared in many acting roles over the years, playing young and old, smart and simple. Yet we always recognize him as Tom Hanks.
Why? Is it his appearance? His mannerisms? The way he moves?
University of Washington researchers have demonstrated that it’s possible for machine learning algorithms to capture the “persona” and create a digital model of a well-photographed person like Tom Hanks from the vast number of images of them available on the Internet.
With enough visual data to mine, the algorithms can also animate the digital model of Tom Hanks to deliver speeches that the real actor never performed.
“One answer to what makes Tom Hanks look like Tom Hanks can be demonstrated with a computer system that imitates what Tom Hanks will do,” said lead author Supasorn Suwajanakorn, a UW graduate student in computer science and engineering.
As for the performances Tom Hanks never gave, the news release offers more detail,
The technology relies on advances in 3-D face reconstruction, tracking, alignment, multi-texture modeling and puppeteering that have been developed over the last five years by a research group led by UW assistant professor of computer science and engineering Ira Kemelmacher-Shlizerman. The new results will be presented in a paper at the International Conference on Computer Vision in Chile on Dec. 16.
The team’s latest advances include the ability to transfer expressions and the way a particular person speaks onto the face of someone else — for instance, mapping former president George W. Bush’s mannerisms onto the faces of other politicians and celebrities.
Here’s a video demonstrating how former President Bush’s speech and mannerisms have mapped onto other famous faces including Hanks’s,
The research team has future plans for this technology (from the news release)
It’s one step toward a grand goal shared by the UW computer vision researchers: creating fully interactive, three-dimensional digital personas from family photo albums and videos, historic collections or other existing visuals.
As virtual and augmented reality technologies develop, they envision using family photographs and videos to create an interactive model of a relative living overseas or a far-away grandparent, rather than simply Skyping in two dimensions.
“You might one day be able to put on a pair of augmented reality glasses and there is a 3-D model of your mother on the couch,” said senior author Kemelmacher-Shlizerman. “Such technology doesn’t exist yet — the display technology is moving forward really fast — but how do you actually re-create your mother in three dimensions?”
One day the reconstruction technology could be taken a step further, researchers say.
“Imagine being able to have a conversation with anyone you can’t actually get to meet in person — LeBron James, Barack Obama, Charlie Chaplin — and interact with them,” said co-author Steve Seitz, UW professor of computer science and engineering. “We’re trying to get there through a series of research steps. One of the true tests is can you have them say things that they didn’t say but it still feels like them? This paper is demonstrating that ability.”
Existing technologies to create detailed three-dimensional holograms or digital movie characters like Benjamin Button often rely on bringing a person into an elaborate studio. They painstakingly capture every angle of the person and the way they move — something that can’t be done in a living room.
Other approaches still require a person to be scanned by a camera to create basic avatars for video games or other virtual environments. But the UW computer vision experts wanted to digitally reconstruct a person based solely on a random collection of existing images.
To reconstruct celebrities like Tom Hanks, Barack Obama and Daniel Craig, the machine learning algorithms mined a minimum of 200 Internet images taken over time in various scenarios and poses — a process known as learning ‘in the wild.’
“We asked, ‘Can you take Internet photos or your personal photo collection and animate a model without having that person interact with a camera?'” said Kemelmacher-Shlizerman. “Over the years we created algorithms that work with this kind of unconstrained data, which is a big deal.”
Suwajanakorn more recently developed techniques to capture expression-dependent textures — small differences that occur when a person smiles or looks puzzled or moves his or her mouth, for example.
By manipulating the lighting conditions across different photographs, he developed a new approach to densely map the differences from one person’s features and expressions onto another person’s face. That breakthrough enables the team to ‘control’ the digital model with a video of another person, and could potentially enable a host of new animation and virtual reality applications.
“How do you map one person’s performance onto someone else’s face without losing their identity?” said Seitz. “That’s one of the more interesting aspects of this work. We’ve shown you can have George Bush’s expressions and mouth and movements, but it still looks like George Clooney.”
Here’s a link to and a citation for the paper presented at the conference in Chile,
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.]