Category Archives: Visual Art

Narrating neuroscience in Toronto (Canada) on Oct. 20, 2017 and knitting a neuron

What is it with the Canadian neuroscience community? First, there’s The Beautiful Brain an exhibition of the extraordinary drawings of Santiago Ramón y Cajal (1852–1934) at the Belkin Gallery on the University of British Columbia (UBC) campus in Vancouver and a series of events marking the exhibition (for more see my Sept. 11, 2017 posting ; scroll down about 30% for information about the drawings and the events still to come).

I guess there must be some money floating around for raising public awareness because now there’s a neuroscience and ‘storytelling’ event (Narrating Neuroscience) in Toronto, Canada. From a Sept. 25, 2017 ArtSci Salon announcement (received via email),

With NARRATING NEUROSCIENCE we plan to initiate a discussion on the  role and the use of storytelling and art (both in verbal and visual  forms) to communicate abstract and complex concepts in neuroscience to  very different audiences, ranging from fellow scientists, clinicians and patients, to social scientists and the general public. We invited four guests to share their research through case studies and experiences stemming directly from their research or from other practices they have adopted and incorporated into their research, where storytelling and the arts have played a crucial role not only in communicating cutting edge research in neuroscience, but also in developing and advancing it.

OUR GUESTS

MATTEO FARINELLA, PhD, Presidential Scholar in Society and Neuroscience – Columbia University

SHELLEY WALL , AOCAD, MSc, PhD – Assistant professor, Biomedical Communications Graduate Program and Department of Biology, UTM

ALFONSO FASANO, MD, PhD, Associate Professor – University of Toronto Clinician Investigator – Krembil Research Institute Movement Disorders Centre – Toronto Western Hospital

TAHANI BAAKDHAH, MD, MSc, PhD candidate – University of Toronto

DATE: October 20, 2017
TIME: 6:00-8:00 pm
LOCATION: The Fields Institute for Research in Mathematical Sciences
222 College Street, Toronto, ON

Events Facilitators: Roberta Buiani and Stephen Morris (ArtSci Salon) and Nina Czegledy (Leonardo Network)

TAHANI BAAKDHAH is a PhD student at the University of Toronto studying how the stem cells built our retina during development, the mechanism by which the light sensing cells inside the eye enable us to see this beautiful world and how we can regenerate these cells in case of disease or injury.

MATTEO FARINELLA combines a background in neuroscience with a lifelong passion for drawing, making comics and illustrations about the brain. He is the author of _Neurocomic_ (Nobrow 2013) published with the support of the Wellcome Trust, _Cervellopoli_ (Editoriale Scienza 2017) and he has collaborated with universities and educational institutions around
the world to make science more clear and accessible. In 2016 Matteo joined Columbia University as a Presidential Scholar in Society and Neuroscience, where he investigates the role of visual narratives in science communication. Working with science journalists, educators and cognitive neuroscientists he aims to understand how these tools may
affect the public perception of science and increase scientific literacy (cartoonscience.org [2]).

ALFONSO FASANO graduated from the Catholic University of Rome, Italy, in 2002 and became a neurologist in 2007. After a 2-year fellowship at the University of Kiel, Germany, he completed a PhD in neuroscience at the Catholic University of Rome. In 2013 he joined the Movement Disorder Centre at Toronto Western Hospital, where he is the co-director of the
surgical program for movement disorders. He is also an associate professor of medicine in the Division of Neurology at the University of Toronto and clinician investigator at the Krembil Research Institute. Dr. Fasano’s main areas of interest are the treatment of movement  disorders with advanced technology (infusion pumps and neuromodulation), pathophysiology and treatment of tremor and gait disorders. He is author of more than 170 papers and book chapters. He is principal investigator of several clinical trials.

SHELLEY WALL is an assistant professor in the University of Toronto’s Biomedical Communications graduate program, a certified medical illustrator, and inaugural Illustrator-in-Residence in the Faculty of Medicine, University of Toronto. One of her primary areas of research, teaching, and creation is graphic medicine—the intersection of comics with illness, medicine, and caregiving—and one of her ongoing projects is a series of comics about caregiving and young onset Parkinson’s disease.

You can register for this free Toronto event here.

One brief observation, there aren’t any writers (other than academics) or storytellers included in this ‘storytelling’ event. The ‘storytelling’ being featured is visual. To be blunt I’m not of the ‘one picture is worth a thousand words’ school of thinking (see my Feb. 22, 2011 posting). Yes, sometimes pictures are all you need but that tiresome aphorism which suggests  communication can be reduced to one means of communication really needs to be retired. As for academic writing, it’s not noted for its storytelling qualities or experimentation. Academics are not judged on their writing or storytelling skills although there are some who are very good.

Getting back to the Toronto event, they seem to have the visual part of their focus  ” … discussion on the  role and the use of storytelling and art (both in verbal and visual  forms) … ” covered. Having recently attended a somewhat similar event in Vancouver, which was announced n my Sept. 11, 2017 posting, there were some exciting images and ideas presented.

The ArtSci Salon folks also announced this (from the Sept. 25, 2017 ArtSci Salon announcement; received via email),

ATTENTION ARTSCI SALONISTAS AND FANS OF ART AND SCIENCE!!
CALL FOR KNITTING AND CROCHET LOVERS!

In addition to being a PhD student at the University of Toronto, Tahani Baakdhah is a prolific knitter and crocheter and has been the motor behind two successful Knit-a-Neuron Toronto initiatives. We invite all Knitters and Crocheters among our ArtSci Salonistas to pick a pattern
(link below) and knit a neuron (or 2! Or as many as you want!!)

http://bit.ly/2y05hRR

BRING THEM TO OUR OCTOBER 20 ARTSCI SALON!
Come to the ArtSci Salon and knit there!
You can’t come?
Share a picture with @ArtSci_Salon @SciCommTO #KnitANeuronTO [3] on
social media
Or…Drop us a line at artscisalon@gmail.com !

I think it’s been a few years since my last science knitting post. No, it was Oct. 18, 2016. Moving on, I found more neuron knitting while researching this piece. Here’s the Neural Knitworks group, which is part of Australia’s National Science Week (11-19 August 2018) initiative (from the Neural Knitworks webpage),

Neural Knitworks is a collaborative project about mind and brain health.

Whether you’re a whiz with yarn, or just discovering the joy of craft, now you can crochet wrap, knit or knot—and find out about neuroscience.

During 2014 an enormous number of handmade neurons were donated (1665 in total!) and used to build a giant walk-in brain, as seen here at Hazelhurst Gallery [scroll to end of this post]. Since then Neural Knitworks have been held in dozens of communities across Australia, with installations created in Queensland, the ACT, Singapore, as part of the Cambridge Science Festival in the UK and in Philadelphia, USA.

In 2017, the Neural Knitworks team again invites you to host your own home-grown Neural Knitwork for National Science Week*. Together we’ll create a giant ‘virtual’ neural network by linking your displays visually online.

* If you wish to host a Neural Knitwork event outside of National Science Week or internationally we ask that you contact us to seek permission to use the material, particularly if you intend to create derivative works or would like to exhibit the giant brain. Please outline your plans in an email.

Your creation can be big or small, part of a formal display, or simply consist of neighbourhood neuron ‘yarn-bombings’. Knitworks can be created at home, at work or at school. No knitting experience is required and all ages can participate.

See below for how to register your event and download our scientifically informed patterns.

What is a neuron?

Neurons are electrically excitable cells of the brain, spinal cord and peripheral nerves. The billions of neurons in your body connect to each other in neural networks. They receive signals from every sense, control movement, create memories, and form the neural basis of every thought.

Check out the neuron microscopy gallery for some real-world inspiration.

What happens at a Neural Knitwork?

Neural Knitworks are based on the principle that yarn craft, with its mental challenges, social connection and mindfulness, helps keep our brains and minds sharp, engaged and healthy.

Have fun as you

  • design your own woolly neurons, or get inspired by our scientifically-informed knitting, crochet or knot patterns;
  • natter with neuroscientists and teach them a few of your crafty tricks;
  • contribute to a travelling textile brain exhibition;
  • increase your attention span and test your memory.

Calm your mind and craft your own brain health as you

  • forge friendships;
  • solve creative and mental challenges;
  • practice mindfulness and relaxation;
  • teach and learn;
  • develop eye-hand coordination and fine motor dexterity.

Interested in hosting a Neural Knitwork?

  1. Log your event on the National Science Week calendar to take advantage of multi-channel promotion.
  2. Share the link^ for this Neural Knitwork page on your own website or online newsletter and add information your own event details.
  3. Use this flyer template (2.5 MB .docx) to promote your event in local shop windows and on noticeboards.
  4. Read our event organisers toolbox for tips on hosting a successful event.
  5. You’ll need plenty of yarn, needles, copies of our scientifically-based neuron crafting pattern books (3.4 MB PDF) and a comfy spot in which to create.
  6. Gather together a group of friends who knit, crochet, design, spin, weave and anyone keen to give it a go. Those who know how to knit can teach others how to do it, and there’s even an easy no knit pattern that you can knot.
  7. Download a neuroscience podcast to listen to, and you’ve got a Neural Knitwork!
  8. Join the Neural Knitworks community on Facebook  to share and find information about events including public talks featuring neuroscientists.
  9. Tweet #neuralknitworks to show us your creations.
  10. Find display ideas in the pattern book and on our Facebook page.

Finally,, the knitted neurons from Australia’s 2014 National Science Week brain exhibit,

[downloaded from https://www.scienceweek.net.au/neural-knitworks/]

ETA Oct. 24, 2017: If you’re interested on how the talk was received, there’s an Oct. 24, 2017 posting by Magosia Pakulska for the Research2Reality blog.

“Innovation and its enemies” and “Science in Wonderland”: a commentary on two books and a few thoughts about fish (1 of 2)

There’s more than one way to approach the introduction of emerging technologies and sciences to ‘the public’. Calestous Juma in his 2016 book, ”Innovation and Its Enemies; Why People Resist New Technologies” takes a direct approach, as can be seen from the title while Melanie Keene’s 2015 book, “Science in Wonderland; The Scientific Fairy Tales of Victorian Britain” presents a more fantastical one. The fish in the headline tie together, thematically and tenuously, both books with a real life situation.

Innovation and Its Enemies

Calestous Juma, the author of “Innovation and Its Enemies” has impressive credentials,

  • Professor of the Practice of International Development,
  • Director of the Science, Technology, and Globalization Project at Harvard Kennedy School’s Better Science and International Affairs,
  • Founding Director of the African Centre for Technology Studies in Nairobi (Kenya),
  • Fellow of the Royal Society of London, and
  • Foreign Associate of the US National Academy of Sciences.

Even better, Juma is an excellent storyteller perhaps too much so for a book which presents a series of science and technology adoption case histories. (Given the range of historical time periods, geography, and the innovations themselves, he always has to stop short.)  The breadth is breathtaking and Juma manages with aplomb. For example, the innovations covered include: coffee, electricity, mechanical refrigeration, margarine, recorded sound, farm mechanization, and the printing press. He also covers two recently emerging technologies/innovations: transgenic crops and AquAdvantage salmon (more about the salmon later).

Juma provides an analysis of the various ways in which the public and institutions panic over innovation and goes on to offer solutions. He also injects a subtle note of humour from time to time. Here’s how Juma describes various countries’ response to risks and benefits,

In the United States products are safe until proven risky.

In France products are risky until proven safe.

In the United Kingdom products are risky even when proven safe.

In India products are safe when proven risky.

In Canada products are neither safe nor risky.

In Japan products are either safe or risky.

In Brazil products are both safe and risky.

In sub-Saharan Africa products are risky even if they do not exist. (pp. 4-5)

To Calestous Juma, thank you for mentioning Canada and for so aptly describing the quintessentially Canadian approach to not just products and innovation but to life itself, ‘we just don’t know; it could be this or it could be that or it could be something entirely different; we just don’t know and probably will never know.’.

One of the aspects that I most appreciated in this book was the broadening of the geographical perspective on innovation and emerging technologies to include the Middle East, China, and other regions/countries. As I’ve  noted in past postings, much of the discussion here in Canada is Eurocentric and/or UScentric. For example, the Council of Canadian Academies which conducts assessments of various science questions at the request of Canadian and regional governments routinely fills the ‘international’ slot(s) for their expert panels with academics from Europe (mostly Great Britain) and/or the US (or sometimes from Australia and/or New Zealand).

A good example of Juma’s expanded perspective on emerging technology is offered in Art Carden’s July 7, 2017 book review for Forbes.com (Note: A link has been removed),

In the chapter on coffee, Juma discusses how Middle Eastern and European societies resisted the beverage and, in particular, worked to shut down coffeehouses. Islamic jurists debated whether the kick from coffee is the same as intoxication and therefore something to be prohibited. Appealing to “the principle of original permissibility — al-ibaha, al-asliya — under which products were considered acceptable until expressly outlawed,” the fifteenth-century jurist Muhamad al-Dhabani issued several fatwas in support of keeping coffee legal.

This wasn’t the last word on coffee, which was banned and permitted and banned and permitted and banned and permitted in various places over time. Some rulers were skeptical of coffee because it was brewed and consumed in public coffeehouses — places where people could indulge in vices like gambling and tobacco use or perhaps exchange unorthodox ideas that were a threat to their power. It seems absurd in retrospect, but political control of all things coffee is no laughing matter.

The bans extended to Europe, where coffee threatened beverages like tea, wine, and beer. Predictably, and all in the name of public safety (of course!), European governments with the counsel of experts like brewers, vintners, and the British East India Tea Company regulated coffee importation and consumption. The list of affected interest groups is long, as is the list of meddlesome governments. Charles II of England would issue A Proclamation for the Suppression of Coffee Houses in 1675. Sweden prohibited coffee imports on five separate occasions between 1756 and 1817. In the late seventeenth century, France required that all coffee be imported through Marseilles so that it could be more easily monopolized and taxed.

Carden who teaches economics at Stanford University (California, US) focuses on issues of individual liberty and the rule of law with regards to innovation. I can appreciate the need to focus tightly when you have a limited word count but Carden could have a spared a few words to do more justice to Juma’s comprehensive and focused work.

At the risk of being accused of the fault I’ve attributed to Carden, I must mention the printing press chapter. While it was good to see a history of the printing press and attendant social upheavals noting its impact and discovery in regions other than Europe; it was shocking to someone educated in Canada to find Marshall McLuhan entirely ignored. Even now, I believe it’s virtually impossible to discuss the printing press as a technology, in Canada anyway, without mentioning our ‘communications god’ Marshall McLuhan and his 1962 book, The Gutenberg Galaxy.

Getting back to Juma’s book, his breadth and depth of knowledge, history, and geography is packaged in a relatively succinct 316 pp. As a writer, I admire his ability to distill the salient points and to devote chapters on two emerging technologies. It’s notoriously difficult to write about a currently emerging technology and Juma even managed to include a reference published only months (in early 2016) before “Innovation and its enemires” was published in July 2016.

Irrespective of Marshall McLuhan, I feel there are a few flaws. The book is intended for policy makers and industry (lobbyists, anyone?), he reaffirms (in academia, industry, government) a tendency toward a top-down approach to eliminating resistance. From Juma’s perspective, there needs to be better science education because no one who is properly informed should have any objections to an emerging/new technology. Juma never considers the possibility that resistance to a new technology might be a reasonable response. As well, while there was some mention of corporate resistance to new technologies which might threaten profits and revenue, Juma didn’t spare any comments about how corporate sovereignty and/or intellectual property issues are used to stifle innovation and quite successfully, by the way.

My concerns aside, testimony to the book’s worth is Carden’s review almost a year after publication. As well, Sir Peter Gluckman, Chief Science Advisor to the federal government of New Zealand, mentions Juma’s book in his January 16, 2017 talk, Science Advice in a Troubled World, for the Canadian Science Policy Centre.

Science in Wonderland

Melanie Keene’s 2015 book, “Science in Wonderland; The scientific fairy tales of Victorian Britain” provides an overview of the fashion for writing and reading scientific and mathematical fairy tales and, inadvertently, provides an overview of a public education programme,

A fairy queen (Victoria) sat on the throne of Victoria’s Britain, and she presided over a fairy tale age. The nineteenth century witnessed an unprecedented interest in fairies and in their tales, as they were used as an enchanted mirror in which to reflection question, and distort contemporary society.30  …  Fairies could be found disporting themselves thought the century on stage and page, in picture and print, from local haunts to global transports. There were myriad ways in which authors, painters, illustrators, advertisers, pantomime performers, singers, and more, capture this contemporary enthusiasm and engaged with fairyland and folklore; books, exhibitions, and images for children were one of the most significant. (p. 13)

… Anthropologists even made fairies the subject of scientific analysis, as ‘fairyology’ determined whether fairies should be part of natural history or part of supernatural lore; just on aspect of the revival of interest in folklore. Was there a tribe of fairy creatures somewhere out thee waiting to be discovered, across the globe of in the fossil record? Were fairies some kind of folks memory of any extinct race? (p. 14)

Scientific engagements with fairyland was widespread, and not just as an attractive means of packaging new facts for Victorian children.42 … The fairy tales of science had an important role to play in conceiving of new scientific disciplines; in celebrating new discoveries; in criticizing lofty ambitions; in inculcating habits of mind and body; in inspiring wonder; in positing future directions; and in the consideration of what the sciences were, and should be. A close reading of these tales provides a more sophisticated understanding of the content and status of the Victorian sciences; they give insights into what these new scientific disciplines were trying to do; how they were trying to cement a certain place in the world; and how they hoped to recruit and train new participants. (p. 18)

Segue: Should you be inclined to believe that society has moved on from fairies; it is possible to become a certified fairyologist (check out the fairyologist.com website).

“Science in Wonderland,” the title being a reference to Lewis Carroll’s Alice, was marketed quite differently than “innovation and its enemies”. There is no description of the author, as is the protocol in academic tomes, so here’s more from her webpage on the University of Cambridge (Homerton College) website,

Role:
Fellow, Graduate Tutor, Director of Studies for History and Philosophy of Science

Getting back to Keene’s book, she makes the point that the fairy tales were based on science and integrated scientific terminology in imaginative ways although some books with more success than other others. Topics ranged from paleontology, botany, and astronomy to microscopy and more.

This book provides a contrast to Juma’s direct focus on policy makers with its overview of the fairy narratives. Keene is primarily interested in children but her book casts a wider net  “… they give insights into what these new scientific disciplines were trying to do; how they were trying to cement a certain place in the world; and how they hoped to recruit and train new participants.”

In a sense both authors are describing how technologies are introduced and integrated into society. Keene provides a view that must seem almost halcyon for many contemporary innovation enthusiasts. As her topic area is children’s literature any resistance she notes is primarily literary invoking a debate about whether or not science was killing imagination and whimsy.

It would probably help if you’d taken a course in children’s literature of the 19th century before reading Keene’s book is written . Even if you haven’t taken a course, it’s still quite accessible, although I was left wondering about ‘Alice in Wonderland’ and its relationship to mathematics (see Melanie Bayley’s December 16, 2009 story for the New Scientist for a detailed rundown).

As an added bonus, fairy tale illustrations are included throughout the book along with a section of higher quality reproductions.

One of the unexpected delights of Keene’s book was the section on L. Frank Baum and his electricity fairy tale, “The Master Key.” She stretches to include “The Wizard of Oz,” which doesn’t really fit but I can’t see how she could avoid mentioning Baum’s most famous creation. There’s also a surprising (to me) focus on water, which when it’s paired with the interest in microscopy makes sense. Keene isn’t the only one who has to stretch to make things fit into her narrative and so from water I move onto fish bringing me back to one of Juma’s emerging technologies

Part 2: Fish and final comments

Art in the details: A look at the role of art in science—a Sept. 19, 2017 Café Scientifique event in Vancouver, Canada

The Sept. 19, 2017 Café Scientifique event, “Art in the Details A look at the role of art in science,” in Vancouver seems to be part of a larger neuroscience and the arts program at the University of British Columbia. First, the details about the Sept. 13, 2017 event from the eventful Vancouver webpage,

Café Scientifique – Art in the Details: A look at the role of art in science

Art in the Details: A look at the role of art in science With so much beauty in the natural world, why does the misconception that art and science are vastly different persist? Join us for discussion and dessert as we hear from artists, researchers and academic professionals about the role art has played in scientific research – from the formative work of Santiago Ramon Y Cajal to modern imaging, and beyond – and how it might help shape scientific understanding in the future. September 19th, 2017  7:00 – 9:00 pm (doors open at 6:45pm)  TELUS World of Science [also known as Science World], 1455 Quebec St., Vancouver, BC V6A 3Z7 Free Admission [emphasis mine] Experts Dr Carol-Ann Courneya Associate Professor in the Department of Cellular and Physiological Science and Assistant Dean of Student Affairs, Faculty of Medicine, University of British Columbia   Dr Jason Snyder  Assistant Professor, Department of Psychology, University of British Columbia http://snyderlab.com/   Dr Steven Barnes Instructor and Assistant Head—Undergraduate Affairs, Department of Psychology, University of British Columbia http://stevenjbarnes.com/   Moderated By   Bruce Claggett Senior Managing Editor, NEWS 1130   This evening event is presented in collaboration with the Djavad Mowafaghian Centre for Brain Health. Please note: this is a private, adult-oriented event and TELUS World of Science will be closed during this discussion.

The Art in the Details event page on the Science World website provides a bit more information about the speakers (mostly in the form of links to their webpage),,

Experts

Dr Carol-Ann Courneya
Associate Professor in the Department of Cellular and Physiological Science and Assistant Dean of Student Affairs, Faculty of Medicine, University of British Columbia

Dr Jason Snyder 

Assistant Professor, Department of Psychology, University of British Columbi

Dr Steven Barnes

Instructor, Department of Psychology, University of British Columbia

Moderated By  

Bruce Claggett

Senior Managing Editor, NEWS 1130

Should you click though to obtain tickets from either the eventful Vancouver or Science World websites, you’ll find the event is sold out but perhaps the organizers will include a waitlist.

Even if you can’t get a ticket, there’s an exhibition of Santiago Ramon Y Cajal’s work (from the Djavad Mowafaghian Centre for Brain Health’s Beautiful brain’s webpage),

Drawings of Santiago Ramón y Cajal to be shown at UBC

Santiago Ramón y Cajal, injured Purkinje neurons, 1914, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Pictured: Santiago Ramón y Cajal, injured Purkinje neurons, 1914, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

The Beautiful Brain is the first North American museum exhibition to present the extraordinary drawings of Santiago Ramón y Cajal (1852–1934), a Spanish pathologist, histologist and neuroscientist renowned for his discovery of neuron cells and their structure, for which he was awarded the Nobel Prize in Physiology and Medicine in 1906. Known as the father of modern neuroscience, Cajal was also an exceptional artist. He combined scientific and artistic skills to produce arresting drawings with extraordinary scientific and aesthetic qualities.

A century after their completion, Cajal’s drawings are still used in contemporary medical publications to illustrate important neuroscience principles, and continue to fascinate artists and visual art audiences. Eighty of Cajal’s drawings will be accompanied by a selection of contemporary neuroscience visualizations by international scientists. The Morris and Helen Belkin Art Gallery exhibition will also include early 20th century works that imaged consciousness, including drawings from Annie Besant’s Thought Forms (1901) and Charles Leadbeater’s The Chakras (1927), as well as abstract works by Lawren Harris that explored his interest in spirituality and mysticism.

After countless hours at the microscope, Cajal was able to perceive that the brain was made up of individual nerve cells or neurons rather than a tangled single web, which was only decisively proven by electron microscopy in the 1950s and is the basis of neuroscience today. His speculative drawings stemmed from an understanding of aesthetics in their compressed detail and lucid composition, as he laboured to clearly represent matter and processes that could not be seen.

In a special collaboration with the Morris and Helen Belkin Art Gallery and the VGH & UBC Hospital Foundation this project will encourage meaningful dialogue amongst artists, curators, scientists and scholars on concepts of neuroplasticity and perception. Public and Academic programs will address the emerging field of art and neuroscience and engage interdisciplinary research of scholars from the sciences and humanities alike.

“This is an incredible opportunity for the neuroscience and visual arts communities at the University and Vancouver,” says Dr. Brian MacVicar, who has been working diligently with Director Scott Watson at the Morris and Helen Belkin Art Gallery and with his colleagues at the University of Minnesota for the past few years to bring this exhibition to campus. “Without Cajal’s impressive body of work, our understanding of the anatomy of the brain would not be so well-formed; Cajal’s legacy has been of critical importance to neuroscience teaching and research over the past century.”

A book published by Abrams accompanies the exhibition, containing full colour reproductions of all 80 of the exhibition drawings, commentary on each of the works and essays on Cajal’s life and scientific contributions, artistic roots and achievements and contemporary neuroscience imaging techniques.

Cajal’s work will be on display at the Morris and Helen Belkin Art Gallery from September 5 to December 3, 2017.

Join the UBC arts and neuroscience communities for a free symposium and dance performance celebrating The Beautiful Brain at UBC on September 7. [link removed]

The Beautiful Brain: The Drawings of Santiago Ramón y Cajal was developed by the Frederick R. Weisman Art Museum, University of Minnesota with the Instituto Cajal. The exhibition at the Morris and Helen Belkin Art Gallery, University British Columbia is presented in partnership with the Djavad Mowafaghian Centre for Brain Health with support from the VGH & UBC Hospital Foundation. We gratefully acknowledge the generous support of the Canada Council for the Arts, the British Columbia Arts Council and Belkin Curator’s Forum members.

The Morris and Helen Belkin Art Gallery’s Beautiful Brain webpage has a listing of upcoming events associated with the exhibition as well as instructions on how to get there (if you click on About),

SEMINAR & READING GROUP: Plasticity at SFU Vancouver and 221A: Wednesdays, October 4, 18, November 1, 15 and 21 at 7 pm

CONVERSATION with Anthony Phillips and Timothy Taylor: Wednesday, October 11, 2017 at 7 pm

LECTURE with Catherine Malabou at the Liu Institute: Thursday, November 23 at 6 pm

CONCERT with UBC Contemporary Players: Friday, December 1 at 2 pm

Cajal was also an exceptional artist and studied as a teenager at the Academy of Arts in Huesca, Spain. He combined scientific and artistic skills to produce arresting drawings with extraordinary scientific and aesthetic qualities. A century after their completion, his drawings are still used in contemporary medical publications to illustrate important neuroscience principles, and continue to fascinate artists and visual art audiences. Eighty of Cajal’s drawings are accompanied by a selection of contemporary neuroscience visualizations by international scientists.

Organizationally, this seems a little higgledy piggledy with the Cafe Scientifique event found on some sites, the Belkin Gallery events found on one site, and no single listing of everything on any one site for the Beautiful Brain. Please let me know if you find something I’ve missed.

Call for art (and possible donation) featuring amphibians for Precious Frogs Art Exhibit and fundraising effort

Thanks to the August 24, 2017 Opus Art Supplies newsletter (received via email), I got notice about this call for art (from the Opus Call for Submissions webpage),

Submission Deadline:

September 6, 2017

Date:  September 29, 2017December 15, 2017 [for Amphibian Art Exhibit at Science World in Vancouver, Canada]

Paint, draw, print, sculpt, design, photograph the province’s [British Columbia] frogs, toads and salamanders, and consider how art can combat threats to amphibian survival including habitat loss, pollution, invasive species, and disease. Because this is a fundraising event, we are hoping to engage artists to donate artwork for sale at the exhibition, with proceeds towards the long-term conservation of our native amphibians. However, you can choose to exhibit only. To submit, please download the call for artists for full details and instructions.

We encourage small pieces (for example: 5×7, 6×4, 8×8, 8×10 inches or other small size you enjoy working in) or small sculptures to ensure accessibility for all artists. We realize that artists are often asked to donate artwork for charity, and we respect and value the fact that artists have been very generous in supporting the causes they believe in. We hope you will consider ours.For more information and questions, contact us: info@preciousfrog.ca

Precious Frog, the organization (the exhibition is Precious Frogs) requesting the art has more detail in its (On the spot webpage) June 12, 2017 initial call for submissions,

Are you an artist? Are you passionate about art and conservation? Are you interested in creatively exploring how to celebrate British Columbia’s amphibians through art?

This is your opportunity to submit a piece of art for a three-month long art exhibition to be launched at Science World in Vancouver on September 29, 2017.

We are very excited to announce that we are partnering with TELUS World of Science to bring you the first art exhibition in Vancouver entirely dedicated to the amphibians of the province. The Precious Frogs Art Exhibition will integrate art and conservation by showcasing a variety of visual and media art pieces combined with scientific and educational information on the challenges faced by amphibians in our province.

Elsewhere in North America, artists have already demonstrated their creativity to raise awareness about the global decline of amphibians. In North Carolina, artist Terry Thirion has initiated the Disappearing Frogs Project, in 2013.

But this is a first in Vancouver, and with the Precious Frogs art exhibition, we hope to inspire artists to be a bridge between scientists and the broader public and to promote awareness and action for the long-term conservation of all of our precious amphibians. Additional film screenings, educational events, and art workshops will be presented at Science World in the fall as part of the art exhibition.

To us, amphibians are intriguing, beautiful, complex, inspiring, unusual, and more. What do you see?

Paint, draw, print, sculpt, design, photograph the province’s  frogs, toads and salamanders, and consider how art can combat threats to amphibian survival including habitat loss, pollution, invasive species, and disease. Submit your most convincing art piece. Your work will support the Oregon Spotted Frog Recovery Team’s efforts to conserve amphibians in British Columbia.

To submit, please download the call for artists for full details and instructions. The submission deadline is September 6, 2017. For more information and questions, contact us: info@preciousfrog.ca

And mark your calendar: the opening reception for the art exhibition will be on Tuesday, October 3 from 6 to 8 pm at Science World.

Frequently Asked Questions

Why are you organizing this event?

Amphibians serve an important role in ecosystems and are particularly sensitive to changes in the environment that ultimately affect us all. This volunteer-run project aims to promote awareness and raise funds for the long-term conservation of our native amphibians.

Why are you asking artists to donate artwork?

Because this is a fundraising event, we are hoping to engage artists to donate artwork for sale at the exhibition, with proceeds towards the long-term conservation of our native amphibians.  We encourage small pieces (for example: 5×7, 6×4, 8×8, 8×10 inches or other small size you enjoy working in) or small sculptures to ensure accessibility for all artists. We realize that artists are often asked to donate artwork for charity, and we respect and value the fact that artists have been very generous in supporting the causes they believe in. We hope you will consider ours.

I don’t want to donate my artwork. Can I still participate?

Yes absolutely! You can choose to have your artwork on display at the exhibition and marked “Not For Sale.” The artwork will be returned to you at the end of the exhibition, and you are then free to sell your piece as you wish. We encourage artists to consider a donation to the Precious Frogs Project on subsequent sales of amphibian-related artwork. The gesture will always be appreciated.

How much will the artwork be sold for?

Artwork will be sold at accessible, standardized prices ($20 – $50) for small works. Larger pieces will be sold at prices recommended by the artist.

Why should I participate?

We feel passionate about the conservation of amphibians, and we hope you will too. This project is part of a series of exhibits such as the Disappearing Frogs Project in the United States. If you participate in our project, you will become part of a larger context. Ultimately, this project is about opening people’s eyes on amphibian extinction, and artists have the capacity to express themselves and help change the views of people on these very important issues. Additionally, the publicity about the event and the public exposure artists will receive during the three-month long exhibition are factors that we hope artists will value, in addition to becoming active contributors to the long-term conservation of amphibians.

How do I find out more information about amphibians at risk in BC?

A good starting point is our Frog guide on our website, which lists all BC’s native amphibians — frogs, toads, and salamanders. If you would like to learn more or have specific questions, please do not hesitate to contact us at: info@preciousfrog.ca

Do you accept volunteers?

Yes! Volunteers are welcome to help us with the different dimensions of this project and the events that we are planning during the three-month exhibition. Please check out our current volunteer position posting and contact us for additional opportunities.

Text: Isabelle Groc

Here’s a sample of what’s on preciousfrog.ca’s call for submission webpage,

Artwork: Lord Byng Secondary School, Grade 10 Honours art class

I wish Precious Frog good luck with its fundraising efforts and greater exposure for any artists who participate.

Bill Nye saving science ?; a Blackout Night Sky Festival; and Eclipse: Total Alignment (science events in Vancouver Canada)

During August (2017), science in Vancouver (Canada) seems to be mostly about the night sky. The one exception is an event featuring American science communicator, Bill Nye. Here, in the order in which they occur, are the three science events mentioned in the head (scroll down to the third event [Eclipse: Total Alignment] if you are interested in Early Bird tickets, which are available until Aug. 4, 2017).

Bill Nye speaks

Billed as ‘An Evening With Bill Nye & George Stroumboulopoulos’, the event takes place at the Orpheum Theatre on Friday, August 11, 2017. Here’s more from the event page on brownpapertickets.com,

An Evening With Bill Nye & George Stroumboulopoulos
presented by Pangburn Philosophy

Friday, August 11, 2017
Doors: 7pm
Show: 8pm Sharp!

Bill Nye is one of the worlds most eminent promoters of science. He is a scientist, engineer, comedian, author, and inventor. His mission: to help foster a scientifically literate society, to help people everywhere understand and appreciate the science that makes our world work. Making science entertaining and accessible is something Bill has been doing most of his life. He will grace the stage on August 11th at the Orpheum Theatre in Vancouver to exchange dialogue with one of Canada’s most beloved public figures and tv personalities. George Stroumboulopoulos is a six-time Gemini Award and Canadian Screen Award winner for best host in a talk series, George Stroumboulopoulos has interviewed a who’s who of entertainment icons, world leaders and respected thinkers. George has also taken an active role in global initiatives and is a strong advocate for social issues.Special Note:

All PREMIUM ticket purchases grant you a copy of Bill Nye’s new book “Everything All at Once” plus fast-pass access to Bill’s book signing, taking place directly after the event.

All STUDENT discounted tickets are Will Call only at the Box Office, on the evening of the event. Student & Photo ID must be shown. No exceptions.

Service Charges Disclaimer
Note that all tickets are subject to an additional $3.50 for the Facility Fee and $5.00 for the Ticketing Fee.
Friday Aug 11, 2017 8:00 PM – Friday Aug 11, 2017 11:00 PM | CA$60.00 – CA$150.00

I got a message saying ‘sales are ended’, which suggests the event is sold out but organizers usually trumpet that detail right away so I don’t know. It might be an idea to try the Buy Tickets button on this page for yourself.

For anyone unfamiliar with the event organizers, Pangburn Philosophy, there’s their home page and this video,

While I’m quite interested in science and art, singly and together, the discussion about science, religion, and/or god, discussed in the video, leaves me cold. I notice the Pangburn Philosophy organization has a series of events titled ‘Science and Reason’ and all of them feature Richard Dawkins who (as I understand it) has been very involved in the debate about science/reason and religion/god. The debate gets more attention in the UK than it has here in Canada.

Getting back to Bill Nye, there was a provocative essay about Nye, his new television programme, and the debate regarding science/reason and anti-science/alternative facts (which can also touch on religion/god). From an April 25, 2017 essay (titled: Can Bill Nye – or any other science show – really save the world?) by Heather Akin, Bruce W. Hardy, Dietram A. Scheufele, and Dominique Brossard for The Conversation.com (h/t May 1, 2017 republication on salon.com; Note: Links have been removed)

Netflix’s new talk show, “Bill Nye Saves the World,” debuted the night before people around the world joined together to demonstrate and March for Science. Many have lauded the timing and relevance of the show, featuring the famous “Science Guy” as its host, because it aims to myth-bust and debunk anti-scientific claims in an alternative-fact era.

But are more facts really the kryptonite that will rein in what some suggest is a rapidly spreading “anti-science” sentiment in the U.S.?

“With the right science and good writing,” Nye hopes, “we’ll do our best to enlighten and entertain our audience. And, perhaps we’ll change the world a little.” In an ideal world, a show like this might attract a broad and diverse audience with varying levels of science interest and background. By entertaining a wide range of viewers, the thinking goes, the show could effectively dismantle enduring beliefs that are at odds with scientific evidence. Significant parts of the public still aren’t on board with the scientific consensus on climate change and the safety of vaccines and genetically modified foods, for instance.

But what deserves to be successful isn’t always what ends up winning hearts and minds in the real world. In fact, empirical data we collected suggest that the viewership of such shows – even heavily publicized and celebrity-endorsed ones – is small and made up of people who are already highly educated, knowledgeable about science and receptive to scientific evidence.

Engaging scientific programming could still be an antidote to waning public interest in science, especially where formal science education is falling short. But it is revealing that “Cosmos” – a heavily marketed, big-budget show backed by Fox Networks and “Family Guy” creator Seth McFarlane – did not reach the audience who need quality science information the most. “Bill Nye Saves the World” might not either. Its streaming numbers are not yet available.

Today’s fragmented and partisan media environment fosters selective exposure and motivated reasoning – that is, viewers typically tune in to programming that confirms their existing worldview. There are few opportunities or incentives for audiences to engage with scientific evidence in the media. All of this can propagate misleading claims and deter audiences from accepting the conclusions of sound science. And adoption of misinformation and alternative facts is not a partisan problem. Policy debates questioning or ignoring scientific consensus on vaccines, climate change and GMOs have cut across different political camps.

None of this is meant to downplay the huge potential of entertainment media to reach diverse audiences beyond the proverbial choir. We know from decades of research that our mental images of science and its impact on society are shaped heavily by (sometimes stereotypical) portrayals of science and scientists in shows like “The Big Bang Theory” or “Orphan Black.”

But successful scientific entertainment programming needs to accomplish two goals: First, draw in a diverse audience well beyond those already interested in science; second, present scientific issues in a way that unites audiences around shared values rather than further polarizing by presenting science in ways that seems at odds with specific political or religious worldviews.

And social science research suggests that complex information can reach audiences via the most unlikely of places, including the satirical fake news program “The Colbert Report.” In fact, a University of Pennsylvania study showed that a series of “Colbert Report” episodes about Super PACs and 501(c)(4) groups during the 2012 presidential election did a better job educating viewers than did mainstream programming in traditional news formats.

Social science can help us learn from our mistakes and better understand how to connect with hard-to-reach audiences via new formats and outlets. None of these shows by themselves will save the world. But if done right, they each might get us closer, one empirical step at a time.

I encourage you to read the essay in its entirety and, in particular, to read the comments.

The tickets for the Aug. 11, 2017 event seem a bit expensive but as they appear to be sold out, it proves I know very little about marketing science celebrities. I guess Stroumboulopoulos’ name recognition due to his CBC (Canadian Broadcasting Corporation) experience was part of the sales strategy since he doesn’t seem to have any science background. That said, good interviewers take the time to research and often unearth questions that someone with more expertise might not think to ask. I’ve been favourably impressed the few times I’ve caught one of Stroumboulopoulos’ interviews.

Blackout: Night Sky Festival

The day after Bill Nye, on Saturday, August 12, 2017, there’s a special event at the Museum of Anthropology on the University of British Columbia grounds in Vancouver. Cecilia Lu in a July 24, 2017 posting on The Daily Hive (Vancouver edition) writes up the event,

With the Perseid meteor shower returning next month, the Museum of Anthropology is putting on a unique stargazing festival for the occasion.

On Saturday, August 12 [2017], at the peak of meteor shower viewing season, Blackout: Night Sky Festival will see the MOA transform into an all-ages arts and astronomy celebration.

The museum will remain open until midnight, as stargazers enjoy the night sky amidst Indigenous storytelling, special musical performances, and lantern making.

The Museum of Anthropology’s Blackout event page provides more information,

Saturday, August 12 [2017] | 5 pm – Midnight | All-Ages + Licensed |
Adults $10 | Youth + Students Free | Tickets available at the door

Join the event on Facebook
Explore our connection to the stars during an evening of arts and astronomy.
Inspired by the global dark sky movement, Blackout brings together storytellers, musicians, artists and astronomers to share their relationships to the skies. Join us to witness the peak of the Perseid meteor shower and explore the museum until midnight during this all-ages event.
You’ll have the chance to peer into telescopes, make your own star lantern and experience an experimental art installation that reimagines the constellations. Bring a chair or blanket and enjoy stargazing to a soundtrack of downtempo and ambient beats, punctuated by live music and throat singing.
Co-hosted with the UBC Astronomy Club, in association with Hfour and the Secret Lantern Society. Performers include Bronson Charles, Jerry DesVoignes, You’re Me, Andrew Kim the musical scientist and the Secret Lantern Society musicians.


Blackout Night Sky Festival Schedule

Indigenous Sky Stories | 5–6 pm
Join us in the Great Hall for celestial storytelling by Margaret Grenier and learn about what you’ll see in the skies that night from the UBC Astronomy Club.
Planets and Pulsations: The New Keplerian Revolution | 6–7 pm
Does Earth harbour the only life in the universe? Astrophysicist Don Kurtz examines how the Kepler Space Mission has revolutionized our view in an animated multimedia performance.
Late Night Gallery Viewing | 5 pm – midnight
Explore MOA all night long — including our brand new Gallery of Northwest Coast Masterworks.
Bar + BBQ + Music | 7 pm – midnight
Grab a bite to eat or drink from our licensed bar and enjoy the music that runs all night. Vegetarian and non-alcoholic options available.
Lantern Making Workshop | 7–9 pm
Make your own pinhole lantern inspired by constellations from around the world in this drop-in workshop hosted by the Secret Lantern Society.
Reclaiming the Night Skies | 8:30 pm – midnight
Experimental artists Hfour and the MOA’s Native Youth Program present an immersive, projected art installation that brings to life a series of new constellations, featuring soundscapes by Adham Shaikh.
Lantern Procession | 9 pm
Join the procession of freshly built lanterns and roving musicians as we make our way across the Museum Grounds and up the hill for a night of stargazing!
Stargazing + Meteor Shower | 9:30 pm – midnight
How many meteors can you find? Expand your knowledge of the night sky with the telescopes and expertise of the UBC Astronomy Club and HR MacMillan Space Centre, set to a background of live and electronic music. On view that night: Moon, Saturn, Jupiter, M13, M15, Ring Nebula, Lagoon Nebula, Dumbbell Nebula and the Perseid meteor shower.

There are two eclipses during August 2017 (Aug. 7, 2017 and Aug. 21, 2017) and I find it odd that neither are mentioned in this astronomy-focused event at the Museum of Anthropology.  The Aug. 21, 2017 astronomical event is a total eclipse of the sun.. There’s more about it on this NASA (US National Aeronautics Space Administration) eclipse website.

Curiosity Collider and the Eclipse

[downloaded from http://www.curiositycollider.org/events/]

Vancouver’s art/sci organization (they have a wordier description here). Curiosity Collider is holding an event that celebrates the upcoming eclipse. From a July 28, 2017 notice (received via email),

Join Curiosity Collider and H.R. MacMillan Centre for this one night
only event

ART & SCIENCE EXPLORE THE MOMENTARY DARKNESS
ON AUGUST 17TH [2017], FOR ONE NIGHT ONLY, CURIOSITY COLLIDER AND THE H.R.
MACMILLAN SPACE CENTRE WILL HOST ECLIPSE: TOTAL ALIGNMENT where artists
and scientists interpret the rare alignment of the sun, earth, and moon
during a total solar eclipse. The event includes a performance show in
the planetarium theatre, and interactive multi and mixed media art
installations on the main level Cosmic Courtyard. Highlights include:

* a soundtrack of the solar system created by data sonification
* a dance piece that plays with alignment, light, and shadow
* scientific narration about the of the upcoming total solar eclipse
(on August 21st) and the phases of the moon
* spectacular custom planetarium dome visuals
* meeting the artists and scientists behind one-of-a-kind interactive
and multimedia art projects

This event is 19+ only. Beer and wine available for purchase, light
snacks included.

WHEN: 6:30pm on Thursday, August 17th 2017.
WHERE: H. R. MacMillan Space Centre (1100 Chestnut Street, Vancouver, BC

COST: $25-30. Each ticket includes entrance to the Space Centre and one
planetarium show (7:30pm or 9pm). LIMITED EARLY BIRD TICKETS AVAILABLE
BEFORE AUGUST 4 [2017].

Interested in observing the partial solar eclipse in Vancouver on
Monday, August 21st [2017]? Check out the two observation events hosted by H.R.
MacMillan Space Centre [5] and UBC Department of Physics & Astronomy
[6].

You can find information about the H.R. MacMillan Space Centre’s eclipse viewing event here and the UBC Department of Physics & Astronomy’s eclipse viewing event here. Both event will have eclipse viewers for safety purposes. For instructions on how to view an eclipse safely, there’s NASA.

Curiosity Collider’s event page (it’s a scrolling page so there are other events there as well) provides details about participants,

This show is curated by Curiosity Collider’s Creative Director Char Hoyt, and developed in collaboration with the H.R. MacMillan Space Centre. Participating artists and scientists:

I have not tried all of the links but at least one (Maren Lisac’s) is for a Twitter feed and it’s not particularly informative.

You can find the Eclipse event’s Facebook page here and information about tickets here.

Ian Wallace show: the frame/box within the frame/box within the frame/box (at the Rennie Gallery in Vancouver, Canada until Sept. 30, 2017)

The opening reception for the Ian Wallace exhibition (Ian Wallace: Collected Works, May 27 to Sept. 30, 2017) at the Rennie Collection was a celebration of both Ian Wallace and Bob Rennie’s donation of 197 art works to the National Gallery of Canada in Ottawa marking Canada’s 150th anniversary. Here’s more about the gift from a May 9, 2017 Rennie Collection notice (received via email),

In celebration of Canada’s 150th birthday, we are donating 197 paintings, sculptures and mixed-media pieces made by some of the most well-known and established Canadian and international artists working today to the National Gallery of Canada!

This is the largest gift of contemporary art ever received by the National Gallery, with major pieces created by internationally renowned artists, such as Colombian Doris Salcedo, as well as important Vancouver based artists Brian Jungen, Damian Moppett, Rodney Graham, Ian Wallace [emphasis mine], and Geoffrey Farmer, who is Canada’s selection for the 57th International Art Exhibition, La Biennale di Venezia.

Getting back to the Ian Wallace exhibition,

“The Idea of the University” (1990)  Courtesy: Rennie Collection

The commentary that follows are my impressions of the show, your mileage may vary.

What I found most intriguing was the ‘squareness’ of it all with its prevalence of frames/boxes. For example the image above is framed with red and white (paint on plywood) at the sides and within the image, there’s the window, the calendar, the photograph, a markedly squarish electric typewriter, a box on the desk, the cabinet behind the typist, and the books on the cabinet. One image could be a coincidence but when you’re surrounded by room after room  with these framed/boxed images of more frames and boxes, well, happenstance has to be rejected.

Wallace is a photographer-artist, one of the individuals in Vancouver, Canada, who founded  photoconceptualism (I sometimes mistakenly refer to this as photorealism). As you may have guessed from my parenthesized comment, I’m not a big fan of this movement or school. However, I’ve found that enjoyment or fandom isn’t necessarily the point where contemporary art is concerned. My experience is that contemporary art is largely intellectual rather than sensual. Sculptures, paintings, textiles, etc. are more sensual by nature where many contemporary pieces begin their existence in a machinist’s shop or via a piece of equipment such as a camera or as an algorithm.

To attend an exhibition of contemporary art, explanation is needed and thankfully the Rennie provides a tour guide providing insight into the artist and their work. In Wallace’s case (kudos, by the way, to Sydney who led the tour I attended), he’s a professor of art history whose main means of expression is photography and much of his focus is on the production of art.

For me though, it was all about square edges, frames, and boxes—an obvious association given that you frame your subject (inadvertently or not) when taking a photograph. There are images and pieces that don’t fit into my ‘square’ obsession but the number in this exhibition that did is amazing and dizzying. I got to the point where I was giddy enough to think of each room as yet another box/frame and we were the subjects leading to these questions: who is seeing, who is being seen, and what is being seen?

The fourth question: how we were seeing the images came up in the context of the show, more specifically, when viewing Wallace’s ‘Poverty 1980 – 1984’ series. It’s considered one of Wallace’s earlier works and like many of his pieces is a series of images. According to Sydney, Wallace is critiquing how we view poverty. In his view, poverty and images of poverty are often glamourized and to draw attention to that he had friends dress up as bohemians from an earlier period and pose in some of Vancouver’s dicier streets and alleyways. It’s not easy to see the images as they are indistinct and washed over in one colour or another.

Before commenting on this piece, I’ve got an excerpt from the Rennie Collection’s undated [?} press release,

Rennie Museum is pleased to announce a solo exhibition featuring rarely and never–before seen historic works of renowned Vancouver artist Ian Wallace. Highlighting Wallace’s perennial exploration of social issues, the works presented will also examine the crux of his artistic process: the intersectionality between public and private, personal and universal, process and production, abstraction and representation. The exhibition runs May 27 to September 30, 2017.

Included in the exhibition will be Poverty 1980 – 1984, a multimedia installation comprising of film, painting, and photography. Initially enacted in 1980 as a 16mm film commenting on the tradition of documentary film–making, the Poverty project offers variations on a single theme. By employing friends and colleagues to act out scenes of bohemian scarcity in Vancouver, Wallace creates fictionalized simulacra—an aestheticized model of poverty derived from our collective, often over–embellished, social conscious. [emphasis mine] The film stills are then abstracted through repetition and presented amidst monochromatic colour fields, prompting viewers to review their own cognitive processes.

I think I understand what is being described in the news release and I agree that poverty can be ‘aestheticized’ or made glamourous. In fact, there’s a term for it ‘poverty porn’. I first heard the term in relation to a series of images taken by Lincoln Clarkes and his series, Heroines (from his Wikipedia entry; Note: Links have been removed),

Heroines (Anvil Press) [3] is an epic photographic documentary of 400 addicted women of Vancouver’s Downtown Eastside, which won the 2003 Vancouver Book Award (in a tie with Stan Douglas), and was the subject of numerous philosophical essays (by Leigh Butler, Margot Leigh Butler, and Paul Ugor, among them). The London Observer said Clarkes’ book offered “beauty in a beastly place.” Globe and Mail called it “intimate, compelling and undeniably unsettling,” while The Toronto Star called it “incredibly powerful.”

Clarkes, who’d been a high end fashion photographer, took photographs of female addicts (hence heroin/heroine) living in Vancouver’s Downtown Eastside, an area which by then was and still is a national and international disgrace. Within the Downtown Eastside community there was a great deal of controversy over Clarke’s work hence the whispers about ‘poverty porn’.

I gather Clarkes’ initial impulse was to treat the women with respect and kindness and to try framing ‘addicts’ in the same way as he would a high fashion model rather than as one of the ‘wretched of the earth’. Unfortunately as the work evolved, it appeared to become a career stepping stone for him and any other concerns seemed to drop out of view. In the end, I couldn’t escape the impression that these women had been used again as unintentional as it may have been.

Getting back to Wallace, I see his point but I don’t understand how his hard-to-see images of fake bohemians in streets and alleyways that are unrecognizable even to a local make his point about glamourizing poverty. Presumably, Wallace’s images were taken in the Downtown Eastside, which in the 1980s was not nearly in the straits it is today. The social safety net cuts that came in the mid to later 1980s and the diminishment of the federal transfer funds to the provinces weren’t yet the stuff of nightmares for social activists.

In retrospect, Wallace’s images seem weirdly prescient, a kind of ‘fiddling while Rome burns ‘view of the future which is now our present day but, for me, they don’t exactly deglamourize poverty or give us a view of an “… over–embellished, social conscious.” In fact, there’s something a bit odd about seeing this piece in a gallery that is housed in the same building as Rennie’s real estate marketing business in a rapidly gentrifying area just a block or two away from where those ‘poverty images’ were taken. Add in the fact that the tour was made up of a relatively middle class group of people staring at poverty when the reality is block away the whole thing becomes head-spinning as these questions whirl who is seeing, who is being seen, and what is being seen?

The last piece I’m going to mention is the multi-panel “The Idea of the University” (1990). The piece brought back memories as I once worked at the University of British Columbia where Wallace took his images. It was a walk down the lane of ‘old technology’ with microfiche readers, electric typewriters, card catalogues, etc. Sydney Marshall (tour guide Sydney) has written a July 25, 2017 essay about the piece on the Rennie Collection’s website,

Without contest, my favourite artwork by Ian Wallace is The Idea of the University (1990). Installed in Rennie Museum’s monumental four-storey high exhibition space, the sprawling canvasses are almost as immense as their depicted subject: the University of British Columbia. It’s likely that I appreciate it so much because like Wallace, I also studied at U.B.C., sitting in the same lecture hall that he used to teach in. This sentimentality seems to be shared; local visitors will often stop to point out former professors, or remember old buildings that have since been demolished. The piece is an exercise in collective memory. Functioning like a time capsule, it allows viewers to reflect on developments from the past to present. This is, however, just one aspect of a multi-faceted piece. By using the competing technical modes of painting and photography to depict university spaces, Wallace challenges the notion that painting is the only valid form of artistic production within academia. Historically, art production has operated within a technical hierarchy, with painting as the most revered medium due to the artistic labour it necessitates. The 20th century’s shifting social climate ultimately sees a redistribution of this hierarchical power. In response to the increasing corporatization of the university space, anti-institutional dissent permeated universities across the North American continent – U.B.C. included. For Ian Wallace and his contemporaries, this manifested as a desire to dispute traditional designations of painting as the most inherently valuable way to produce art. With his work, Wallace recontextualizes the medium, placing it in direct conversation with its subsidiaries: photography, writing, and thinking. In doing so, he subverts the idea that a technical hierarchy needs exist at all, equating multiple forms of production across a broad spectrum of intellectual and artistic interests.


Ian Wallace
The Idea of the University I-XVI, 1990

 

Conceived for a special exhibition at the U.B.C. Fine Arts Gallery in 1990, the work features sixteen photographs of university spaces and personnel in various states of candidness, each flanked with bars of white and multicoloured monochrome. In its entirety, the work looks cinematic – as if it were a filmstrip of image stills pulled from a promotional clip. This is not to say the images are typically beautiful because, by all accounts, they’re not. The depicted spaces are not inherently exciting. Some photographs are oddly cropped, others slightly out of focus; these formal details are irrelevant to the medium’s intended purpose: its subject. Photography, as a medium, offers to art that which painting cannot. The photograph is able to capture the totality of ‘the everyday’ as it exists in a moment, bringing banality into focus and calling the viewer to engage with it further. Visible beauty no longer designates whether a work is ‘art’ or ‘not art’; instead, it is the depth of concept that provides this justification. The valorization of these images as ‘art’ is additionally supported by their proximity to monochrome painting. The white monochrome acts as grounding, a symbolic representation of the white-walled gallery space typically designating a work of art. The multicoloured inclusions operate similarly. Different on each canvas, the monochrome bars provide an aesthetic and historical reference to modernism that further situates the opposing photographs within an established artistic context. By referencing this history, Wallace is able to push the limit of acceptable artistic production, using the predetermined power of modernism to elevate the comparatively new medium of photography.

It should be noted that a key component of The Idea of the University is missing from its visual representation: Wallace’s catalogue essay. The writing has become a near immovable companion to the work, as it explains precisely why the artist has chosen to explore the subject of the university. In it, Wallace identifies the contemporary university as an abstracted space, caught between its founding principles and modern-day realities. The university is supposed to be a universalizing space, providing equal opportunity to acquire ‘truth’ and knowledge to everyone that passes through its metaphorical gates. Wallace almost immediately invalidates this idea by identifying the discrepancy between this ideal image and its actuality*. Instead of a collective organization united in the unhindered production of knowledge, the contemporary university exists as an ideology-producing institution that services a number of specific political and socioeconomic interests*. For Wallace, the same designation could be given to the discourse of art – a supposedly universal field that relies almost entirely on individual notions of taste and arbitrary economic determinations. The Idea of the University works as an evaluation of both the university and the discourse of art, but Wallace very intentionally leaves the canvasses open-ended. Instead, he presents the failures (or at least, potential failures) of these systems in his writing, using its visual counterpart as a stimulus by which the viewer can judge the validity of his propositions for themselves.


Ian Wallace
The Idea of the University I-XVI, 1990

 

Just as Wallace succeeds in neutrally depicting the university space, so too does he succeed in avoiding a singular narrative of exactly how knowledge is produced. He chooses not to privilege one form of ‘work’ over another, but does show immense regard for practice in general. Some empty and others full, most of the photographed spaces feature a single figure engaging in various forms of intellectual labour: reading, searching the web, or completing administrative tasks. All of these engagements are qualified as ‘work’ that contributes to the ultimate output of the university. This is paralleled by Wallace’s own technical expansions of artistic labour. He challenges traditional perceptions of painting and photography by combining the two, then supplementing the combination with writing. In this sense, it is neither the visual nor the written work that takes precedence, but the idea that all of these productive forms are equally valid. In essence, Wallace’s presentation of simultaneous forms of labour democratizes realms of production within art, decentralizing painting as the foundation upon which art must be based. Not only does artwork not need to be painted, it doesn’t even have to be visual. To Ian Wallace, a radical thought is as legitimate an artistic gesture as a visible brushstroke.

* Wallace, Ian. “The Idea of the University.” UBC Fine Arts Gallery, 1990. Page 23. Print.

The production of art and the production of knowledge would seem to be the dominant themes of this Ian Wallace exhibition and, I suspect, his life.

Anyone interested in seeing the show for themselves, can go here to save a space on one of the tours (for this show they are on Wednesdays, Thursdays, and Saturdays). It is also possible to book separate tours for groups of eight or more here.

Mathematics/Music/Art/Architecture/Education/Culture: Bridges 2017 conference in Waterloo, Canada

Bridges 2017 will be held in Waterloo, Canada from July 27 – 31, 2017. Here’s the invitation which was released last year,

To give you a sense of the range offered, here’s more from Bridges 2017 events page,

Every Bridges conference includes a number of events other than paper presentations. Please click on one of the events below to learn more about it.

UWAG Exhibition

The University of Waterloo Art Gallery (UWAG) has partnered with Bridges to create an exhibition of five local artists who explore mathematical themes in their work. The exhibition runs concurrently with the conference.

 

Theatre Night

An evening dramatic performance that explores themes of art, mathematics and teaching, performed by Peter Taylor and Judy Wearing from Queen’s University.

 

Formal Music Night

An evening concert of mathematical choral music, performed by a specially-formed ensemble of choristers and professional soloists.

 

Family Day

An afternoon of community activities, games, workshops, interactive demonstrations, presentations, performances, and art exhibitions for children and adults, free and open to all.

 

Poetry Reading

A session of invited readings of poetry exploring mathematical themes, in a wide range of styles. Attendees will also be invited to share their own poetry in an open mic session. A printed anthology will be available at the conference.

 

Informal Music Night

A longstanding tradition at Bridges—a casual variety show in which all conference participants are invited to share their talents, musical or otherwise, with a brief performance.

I have some more details about the exhibition at the University of Waterloo Art Gallery (UWAG) from a July 19, 2017 ArtSci Salon notice received via email,

P A S S A G E  +  O B S T A C L E
PATRICK CULL
LAURA DE DECKER
PAUL DIGNAN
SOHEILA ESFAHANI
ANDREW JAMES SMITH

JULY 27–30

OPEN DAILY: 12–5 PM
EXHIBITION RECEPTION: FRIDAY JULY 28, 5–8 PM
PRESENTED IN COOPERATION WITH BRIDGES WATERLOO 2017
BRIDGESMATHART.ORG [8]

PASSAGE + OBSTACLE features a selection of work by multidisciplinary
area artists Patrick Cull, Paul Dignan, Laura De Decker, Soheila
Esfahani, and Andrew James Smith. Sharing a rigorous approach to
materials and subject matter, their artworks parallel Bridges’ stated
goal to explore “mathematical connections in art, music, architecture,
education and culture”. The exhibition sets out to complement and
expand on the theme by contrasting subtle and overt links between the
use of geometry, pattern, and optical effects across mediums ranging
from painting and installation to digital media. Using the bridge as a
metaphor, the artworks can be appreciated as a means of getting from A
to B by overcoming obstructions, whether perceptual or otherwise.

EXHIBITION IS FREE AND OPEN TO BOTH CONFERENCE VISITORS AND THE PUBLIC

ADMIT EVERYONE
University of Waterloo Art Gallery
East Campus Hall 1239
519.888.4567 ext. 33575
uwag.uwaterloo.ca [9]
facebook.com/uwag.waterloo [10]

CONTACT
Ivan Jurakic, Director / Curator
519.888.4567 ext. 36741
ijurakic@uwaterloo.ca

DRIVING
263 Phillip Street, Waterloo
East Campus Hall (ECH) is located north of University Avenue West
across from Engineering 6

PARKING
Visitor Parking is available in Lot E6 or Q for a flat rate of $5
uwaterloo.ca/map/ [11]

MAILING
University of Waterloo Art Gallery
200 University Avenue West
Waterloo, ON, Canada N2L 3G1

You can find out more about Bridges 2017 including how to register here (the column on the left provides links to registration, program, and more information.