Tag Archives: art/sci

Art/sci projects (+ related events) in Vancouver

There are a couple of art/science (or sciart projects) available for viewing in Vancouver, Canada which I’m listing in what is roughly in date order with a few out-of-order additions at the end including a January 18, 2018 movie screening.

Art/sci exhibitions

From the Curiosity Collider calendar of art + sci events around town,

Work in Progress: The Making of A Science Illustrator

When: 24 Nov 2017 – 24 Jan 2018 [emphasis mine]

Where: Creative Coworkers, 343 Railway St, Vancouver, BC V6A 1A4, Canada (map)

Description:  Science illustrator Jen Burgess graduated from California State University Monterey Bay’s renowned science illustration program in 2015, and since then the varied body of work she created has been idle in flat files. When the opportunity arose to share this work in person and find it some new homes, she could not resist.

The work is primarily natural history subject matter, in a variety of media including graphite, pen and ink, coloured pencil, watercolour, gouache, acrylic, and digital. To reflect the location of the show, the theme of the show is “Work in Progress,” so adjacent to many of the pieces Jen will display some sketches, work in progress scans, photos, and/or write ups, so you can get a glimpse into the process of creating each piece. In addition, there will be work from Jen’s June 2016 self-imposed residency in Haida Gwaii, from the show entitled “On a Tangent Tear” which was on display at Emily Carr House in Victoria in September 2016. Most original works and some prints will be available for sale. Please join Jen Burgess and the team at Creative Coworkers on Friday November 24th to have a drink after work or after dinner and see some artwork before heading out to your late evening plans. There will be a cash bar and some light snacks provided. Admission is free but donations will be gratefully accepted if you would like to help Jen cover the costs of framing. Please RSVP! The show will be up from November 24 through January 24, so if you cannot make it, please stop by and see the work on your own time. There may be plans afoot for a closing reception as well, perhaps with a silent auction. Stay tuned!

The Curiosity Collider calendar also listed this event (from the Beaty Biodiversity Museum Exhibition page),

Life In Colour

Drawings by Angela Gooliaff, colouring by you
September 16, 2017 – February 18, 2018

Colour your way through nature on a giant mural that showcases ecosystems from BC and around the world.

Presented by Hemlock Printers, artist Angela Gooliaff explores keystone species in both the terrestrial and aquatic ecosystems, employing feminine symbology of peace and wisdom, and story through a giant interactive colouring book mural. “I have connected my investigation of keystone species with the adult colouring book movement as an interruption to the current story of the natural world,” says Gooliaff.

By presenting a web of life for visitors to interact with, it will be visually apparent just how biodiverse our ecosystems are and how drastic an impact the removal of one species from the environment could be. Gooliaff concludes that by “giving the audience control to own their story through colour, perhaps will get them thinking about their own story and placement within the natural world.”

Science get together

Vancouver’s H. R. MacMillan Space Centre is hosting a January 25, 2018 event in their Cosmic Night series in January 2018, from the Cosmic Nights: Beyond Our Universe event page,

Is there anything beyond the universe? What came before the Big Bang? These are questions that don’t have answers, but we have theories! This installment of Cosmic Nights we delve into theories of the Multiverse!

Cosmic Nights is a themed party featuring a custom planetarium show, music, drinks, science demonstrations, games, and a special guest lecturer – all surrounding an exciting theme. Experience the Space Centre after hours in a 19+ environment!

Cosmic Nights returns on Thursday, January 25 [2018] with Cosmic Nights: Beyond our Universe. Jump into multiple universes, the Big Bang and other ideas that are bending our cosmic minds. Select your preferred Planetarium Star Theatre show time and then come early or stay late to experience all this event has to offer!

6:30pm – 10:00pm – Drinks | Music | Games | Demonstrations I Lecture I Planetarium

7:30 or 9:00pm – Planetarium Star Theatre show: Cosmology Questions
How did it all begin? What is the Big Bang Theory and what does this theory suggest about an end to our universe? Are there universes in addition to the one we live in? How do scientists even attempt to answer these mind-blowing questions? We’ll talk about some of the biggest questions about the universe and leave you with even more ideas to explore.

8pm and 9pm – “The Multiverse” lecture by Dr. Douglas Scott
Can there be more than one universe?  Why is the Universe that we live in the way that it is?  Does our existence imply that the universe has to have certain properties? Can we imagine universes that are quite different? What does the word “multiverse” even mean? These and other questions will be tackled in this special talk (and others quite like it, all across the multiverse!).

Bio: Douglas Scott is a Professor of Physics & Astronomy at the University of British Columbia, who was trained in Edinburgh, Cambridge and Berkeley.  He specialises in cosmology- the study of the universe on the largest scales and has co-authored more than 500 papers on a wide range of both concrete and speculative astrophysical topics.

7pm-9pm – Groundstation Canada Theatre  – Cocktail Crash Course: String Theory and Quantum Gravity 
A fun, interactive science demo on string theory and quantum gravity – enough fun facts to impress at a cocktail party. Trivia prizes are also up for grabs!

TICKETS: $20 early bird tickets until January 11th, $25 after.
Tickets available online through Eventbrite. Or, save the service fee by purchasing in person at the Space Centre or by calling 604.738.7827 ext. 240.

Beer from Red Truck Beer Company, wine frrom Hester Creek Estate Winery. Games by Starlit Citadel.

19+ event. All attendees will be required to provide photo ID upon entry.

You can go here to buy tickets.

Curiosity Colllider Café

The Curiosity Collider folks themselves are holding a January 31, 2018 Collider Café with the theme: Art. Science. Fusion. (from a January 9, 2018 announcement received via email),

Save the date – our next Collider Cafe will be on Wednesday, January 31 [2018]. Speakers include:

  • Visualizing Medicine (Paige Blumer, medical illustration)
  • Art = Science in Love (Martin Krzywinski, data visualization)
  • Geo-synth Music Video (Mika McKinnon, science communication)
  • Sciart Zine (Raymond Nakamura & Katrina Wong, creative collaboration)

I found more details,

Date/Time
Date(s) – 31/01/2018
8:00 pm – 9:30 pm

Location
Café Deux Soleils
[2096 Commercial Drive, Vancouver]

Curiosity Collider calls

I believe this is the first time the organization has announced calls for submissions. There are two (from the January 9, 2018 announcement received via email),

Call for Submissions

Do you exist in both the worlds of art and science? Does your artistic practice rely on science? Does your scientific practice rely on art? We are launching two calls for submissions:

Want to receive future calls for submissions? Update your email subscription options so you don’t miss out!

More from Curiosity Collider

This January 9, 2018 announcement was very full,

Enjoy!

H. G. Wells’ Crystal Egg as an immersive multimedia experience in London, UK (January 6 – 13*, 2018)

Here’s the promotional trailer,

Exciting, eh? Tash Reith-Banks writes about this immersive theatre experience in a January 5, 2018 article for The Guardian (Links have been removed),

HG Wells hold a special place in the hearts of many sci-fi enthusiasts and scientists alike. Best known for his novels The War of the Worlds, The Island of Doctor Moreau, and The Invisible Man, Wells’s work is renowned for its prescience and has been revisited and adapted many times, so modern do some of his fears and preoccupations seem.

The Crystal Egg is a short story written 1897. Set in a grimily familiar depiction of Victorian London, it is a disturbing piece combining an almost Dickensian family-run curiosity shop, a pleasing account of scientific method and altogether more eerie references to portals into other worlds and alien beings.

I asked the show’s producer, Mike Archer, and director, Elif Knight to talk me through their interest in Wells, the challenges of adaptation and how Victorian sci-fi sits alongside more contemporary fiction, film and television.

What drew you to HG Wells in general and this story in particular?

Mike Archer: I have been a fan of Wells’s work since I was a boy. I encountered The Crystal Egg in 2005 and was drawn to the idea of it extending the mythos of the invasion from Mars in The War of the Worlds.

Recently, I started to feel the story had something to say about things that are happening in the world right now. When we went back to the story, myself and my partner Luisa Guerreiro thought about how we could use The Crystal Egg as an inspiration, and wanted to adapt it into an invasion story for the now.

Elif Knight: I was aware of HG Wells as a very prescient writer of science fiction. The fact that he had predicted many of the inventions and developments of the 20th century – not least manned flight and the internet – demonstrated that his imagination was not just wide-ranging but also accurate. But the question arose: how to show what an extraordinary piece of work The Crystal Egg is? And when the producers offered me the Vaults as a location, I had my answer – to recreate for the audience the atmosphere of the late nineteenth century, so that they could get a sense of how astonishing Wells’s vision was at that time.

Were there any particular challenges in staging the story?

MA: Yes, several. The biggest for me, was how to honour the source material whilst making it engaging on a relatable level and feeling somewhat fresh. The book is very scientific in its vision, but that scientific vision alone doesn’t necessarily translate to a two hour show.

Denizens of the curiosity shop attempt to unlock the strange object’s secrets.
Denizens of the curiosity shop attempt to unlock the strange object’s secrets. Photograph: Morgan Fraser PR

I like sci-fi to feel real. For me the best kind is when you have a world that is recognisable and believable and sci-fi just so happens to be a part of it. I think that is where the semi-immersive nature of part of the show came from. Bringing the audience, themselves aliens in a foreign world, face-to-face with the creation of Wells. This means you have to have a believable world in which to play. We did a lot of research into the Seven Dials area, the context of the story’s creation and began to extrapolate it out.

EK: That was a challenge : to re-create the slums of Victorian London in the Vaults. For example, with a small cast we had to create a busy market day in the London of 1897. But that is where things get interesting; that’s where I have used other media and interesting sonic and filmic devices to bring the area to life.

Here’s more about the show from the Crystal Egg Live! event page,

THE CRYSTAL EGG

An immersive adaptation of H.G. Wells’ mystery novel. Dive in to Victorian London deep underground, using multimedia to enhance your immersive experience.

They Are Watching!

London’s newest immersive, multi-media experience is about to land in a sci-fi extravaganza at The Vaults, Waterloo.

The Crystal Egg Live by H.G. Wells tells the story of Charley Cave. After watching his father dash into the night, Charley is taken in by Uncle Wace, an eccentric old man who, with his dysfunctional family, runs a curiosity shop in London’s Seven Dials Rookery.

When the body of his father is found in the river, Charley inherits the sole possession found with it – a  crystal egg. Believing the object to be of value, the family plan to sell it quickly and improve their lives. However one night Wace makes a chance discovery about this seemingly innocent item, a discovery that threatens to tear the family apart and plunge the world into a greater danger.

Old Lamp Entertainment invites you to The Vaults to uncover the secret for yourself. Fusing multiple art forms including light, sound, video, and performance; this production will bring to life the work of seminal writer H. G. Wells, author of ‘The War of the Worlds’ and ‘The Time Machine’ like never before.

Step back into 19th Century London to discover an object of immense power amongst the dusty relics of Wace’s curio shop, and come face to face with creatures of another world.

What would you do if you knew you were being watched? Watched by someone you were not even aware was there?

www.oldlamp.biz

Preview: 6th January 2018  6.00pm

Performances: 7th- 13th January 2018  4.00pm & 7.30pm daily

Strictly limited run

Press Performance: 7.30pm on 7th January [2018]

TICKETS

£20 – Preview performances

£30 – General Admission

Prices exclude Booking fee

Book online, by phone or in person at V3, 100 Lower Marsh. SE1

To book Step-free or Access tickets, please call 02074019603

ENTRANCE INFORMATION

Entrance to THE CRYSTAL EGG is via our Leake Street entrance

There may be an age limitation; please phone ahead.

For anyone not familiar with The Vaults, there’s a comprehensive description fo the site and explanation for how to get there. Enjoy!

*’Jan. 6 – 15′ corrected to ‘Jan. 6 – 13’ on January 8, 2018.

Colour: an art/science open call for submissions

The submission deadline for this open ‘art/sci’ call is January 17, 2018 (from a November 29, 2017 Art/Science Salon announcement; received via email),

COLOUR: WHAT DO YOU MEAN BY THAT?

An exhibition exploring colour as a phenomenon that crosses the
boundaries of the arts and sciences.

Artists and designers revel in, and seek to understand, the visceral,
physical and ephemeral qualities of colour. Sir Isaac Newton began his
scientific experiments with light and prisms as ‘a very pleasing
divertisement, to view the vivid and intense colours produced
thereby’. His investigations ultimately changed our understanding of
the fundamental nature of light and colour. Johann Wolfgang von Goethe
challenged Newton’s understanding as limited, and introduced colour as
an emotionally charged phenomenon. He proposed an alternative
methodological approach based on ’empathic observation’.

COLOUR: WHAT DO YOU MEAN BY THAT? calls for art inspired by, or
questioning, scientific concepts about colour: art that encapsulates
colour knowledge from multiple perspectives.

We are not looking for the merely colourful – rather we look for work
engaging ideas, theories and aspects of colour – both conceptual and
physical – that highlight colour knowledge as richly meaningful across
diverse ways of knowing.

To this end, we invite proposals that present, consider, or respond to
research about colour and colour phenomena. Work may relate to:

* physical colour phenomena, e.g. light sources, interference,
iridescence, scattering, reflection
* chemistry of dyes & pigments
* colour vision / colour perception
* colour renderings of energies outside of the visible spectrum
(ultraviolet, infra-red, etc.)
* colour meanings (cultural, scientific, philosophical)
* cross-sensory colour sensations and understandings
* colour theories
* colour histories

SHOW DATES: MARCH 7-25, 2018.

COLOUR: WHAT DO YOU MEAN BY THAT? is jointly sponsored by Propeller
Gallery and the Colour Research Society of Canada [1]

SHOW LOCATION: Propeller Gallery, 30 Abell St, Toronto, ON, Canada

SUBMISSION DEADLINE: Wed Jan 17, 2018, 11:59pm [which timezone?]

SUBMIT YOUR APPLICATION HERE:
HTTP://HUUTAART.COM/OPENCALLS/COLOUR-WHAT-DO-YOU-MEAN-BY-THAT [2]

SUBMISSION REQUIREMENTS:

You may submit more than one submission, provided the concept is
substantially different for each piece, with a maximum of three
submissions. With each submission, please provide at least one image
(maximum 4 images) relevant to your proposal.

Details about yourself and your work including:

* Name, address, email, phone number, with a brief bio.
* Title of Work, Year, Medium, Size and Value in $CAD.
* A brief written statement about the work, including how the work
deals with, or draws its inspiration from, diverse ways of knowing about
colour (max. 150 words).
* NON-REFUNDABLE SUBMISSION FEE OF $50.00 PER SUBMISSION.

CURATORIAL TEAM MEMBERS: Doreen Balabanoff, Robin Kingsburgh, Janet
Read, Judith Tinkl

ADDITIONAL INFORMATION:

* 25% commission collected on any work sold as a result of this
exhibition.
* For more information visit our website: www.propellerctr.com [3]
* If selected, you agree to allow us to use your submission material,
without compensation, in any potential catalogue/publication for this
exhibition.
* Selected artists will be contacted by email not later than January
31. Delivery instructions will be given at that time.
* An event at the exhibition, related to International Colour Day,
March 21st, will be announced in early 2018.

Please direct inquiries to:

Nathan Heuvingh
Gallery Director
gallery@propellerctr.com
1-416-504-7142

Facebook: https://www.facebook.com/PropellerTO/ [4]
Twitter: @PropellerTO
Instagram: @propellerygallery_to

The co-sponsor for this upcoming exhibition, the Colour Research Society of Canada has a website that proved to be a delightful surprise.

Getting back to COLOUR: WHAT DO YOU MEAN BY THAT?, good luck with your submission, and should it be accepted, good luck with sales!

Art/science events in Vancouver, Canada (Nov. 22, 2017) and Toronto (Dec. 1, 2017)

The first event I’m highlighting is the Curiosity Collider Cafe’s Nov. 22, 2017 event in Vancouver (Canada), from a November 14, 2017 announcement received via email,

Art, science, & neuroscience. Visualizing/sonifying particle collisions. Colors from nature. Sci-art career adventure. Our #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science.

Meet, discover, connect, create. Are you curious?

Join us at “Collider Cafe: Art. Science. Interwoven.” to explore how art and science intersect in the exploration of curiosity.

When: 8:00pm on Wednesday, November 22, 2017.

Doors open at 7:30pm.

Where: Café Deux Soleils.. 2096 Commercial Drive, Vancouver, BC (Google Map).

Cost: $5-10 (sliding scale) cover at the door.

Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

With speakers:

Caitlin Ffrench (painter, writer, and textile artist) – Colours from Nature

Claudia Krebs (neuroanatomy professor) – Does the brain really differentiate between science and art?

Derek Tan (photographer, illustrator, and multimedia designer) – Design for Science: How I Got My Job E

Eli York (neuroscience researcher) – Imaging the brain’s immune system

Leó Stefánsson (multimedia artist) – Experiencing Data: Visualizing and Sonifying Particle Collisions

Follow updates on twitter via @ccollider or #ColliderCafe.

Head to the Facebook event page – let us know you are coming and share this event with others!

Then in Toronto, there’s the ArtSci Salon with an event about what they claim is one of the hottest topics today: STEAM. For the uninitiated, the acronym is for Science, Technology, Engineering, Art, and Mathematics which some hope will supersede STEM (Science, Technology, Engineering, and Mathematics). Regardless, here’s more from a November 13, 2017 Art/Sci Salon announcement received via email,

The ArtSci Salon presents:

What does A stand for in STEAM?

Date: December 1, 2017

Time: 5:30-7:30 pm

Location: The Fields Institute for Research in Mathematical Sciences
222 College Street, Toronto, ON

Please, RSVP here
http://bit.ly/2zH8nrN

Grouping four broadly defined disciplinary clusters –– Science, Technology, Engineering and Mathematics –– STEM has come to stand for governments’ and institutions’ attempt to champion ambitious programs geared towards excellence and innovation while providing hopeful students with “useful” education leading to “real jobs”. But in recent years education advocates have reiterated the crucial role of the arts in achieving such excellence. A has been added to STEM…

But what does A stand for in STEAM? What is its role? and how is it interpreted by those involved in STEM education, by arts practitioners and educators and by science communicators? It turns out that A has different roles, meanings, applications, interpretations…

Please, join us for an intriguing discussion on STEAM education and STEAM approaches. Our guests represent different experiences, backgrounds and areas of research. Your participation will make their contributions even richer

With:

Linda Duvall (Visual and Media Artist)

Richard Lachman (Associate Professor, RTA School of Media, Ryerson University)

Jan McMillin (Teacher/Librarian, Queen Victoria P.S.)

Jenn Stroud Rossmann (Professor, Mechanical Engineering – Lafayette College)

Lauren Williams (Special Collections Librarian – Thomas Fisher Rare Book Library

Bios

Linda Duvall is a Saskatoon-based visual artist whose work exists at the intersection of collaboration, performance and conversation. Her hybrid practice addresses recurring themes of connection to place, grief and loss, and the many meanings of exclusion and absence.

Richard Lachman directs the Zone Learning network of incubators for Ryerson University, Research Development for the Faculty of Communication and Design, and the Experiential Media Institute. His research interests include transmedia storytelling, digital documentaries, augmented/locative/VR experiences, mixed realities, and collaborative design thinking.

Jan McMillin is a Teacher Librarian at the TDSB. Over the last 3 years she has led a team to organize a S.T.E.A.M. Conference for approximately 180 Intermediate students from Queen Victoria P.S. and Parkdale Public. The purpose of the conference is to inspire these young people and to show them what they can also aspire to. Queen Victoria has a history of promoting the Arts in Education and so the conference was also partly to expand the notion of STEM to incorporate the Arts and creativity

Jenn Stroud Rossmann is a professor of mechanical engineering at Lafayette College. Her research interests include cardiovascular and respiratory fluid mechanics and interdiscplinary pedagogies. She co-authored an innovative textbook, Introduction to Engineering Mechanics: A Continuum Approach (CRC Press, Second Edition, 2015), and writes the essay series “An Engineer Reads a Novel” for Public Books. She is also a fiction writer whose work (in such journals as Cheap Pop, Literary Orphans, Tahoma Literary Review) has earned several Pushcart Prize nominations and other honors; her first novel is forthcoming in Fall 2018 from 7.13 Books.

Lauren Williams is Special Collections Librarian in the Department of Rare Books and Special Collections, Thomas Fisher Rare Book Library. Lauren is a graduate of the University of Toronto iSchool, where she specialized in Library and Information Science and participated in the Book History and Print Culture Collaborative Program.

Enjoy!

Vancouver’s (Canada) Fringe Festival (Sept. 7 – 17, 2017) and science

A lot of writers feel the need to comment when art and science are brought together in various artistic/scientific works. Here’s Janet Smith in a Sept. 6, 2017 article about science at Vancouver’s 2017 Fringe Festival for the Georgia Straight,

Science and art are often seen as opposites [emphasis mine], but they seem to be intermingling like never before at this year’s Vancouver Fringe Festival.

Experimental cancer treatments, zoology lectures, cryogenically frozen heads: they’re just some of the topics inspiring theatrical outings.

Smith is right and wrong. She’s right if your perspective ranges from the mid-20th century to the present day. “The Two Cultures” a 1959 lecture (and later a book) by C.P. Snow discusses a divide between two cultures: science and the humanities and he includes the arts in with the humanities. However, if you dive deeper into the past, you’ll find that humanities/arts and sciences have been more closely linked. Science sprang from ‘Natural Philosophy’ and faculties of arts and sciences are still found in universities.

Returning to the 2017 Vancouver Fringe Festival, I found some 17 shows that are science-inflected or using the mention of science as a marketing tool. Here they are:

Distractingly Sexy: Join real life scientist (and writer) Molly Mumford for an interactive, ultra-funny quite wild, pretty-durn-sexy history of how women in science have been f*S%ed over for centuries.

Thursday September 14, 2017 6:45 pm
Friday September 15, 2017 8:35 pm
Saturday Sept. 16, 2017 2:45 pm

Shadowlands: Cells in a petrii dish. A scientist. A ghost. A laboratory mouse. We are on a journey to see what can’t be seen. We are on a quest to find truth in the dark. …

No more showtimes

Interstellar Elder: Meet Kitt, age 96, fierce lone astronaut protecting the last of humankind. Images Ridley Scott’s ‘Aliens’ meets ‘Golden Girls’.

Wednesday September 13, 2017 5:00 pm
Friday September 16, 2017 6:40 pm
Saturday Sept. 16, 2017 12:30 pm
Sunday September 17, 2017 5:15 pm

Let Me Freeze Your Head: Why leave the futture to your children when you can have it for yourself? Attend our short sales presentation to learn how you preserve your brain to live again! This one-person show takes you on a deeply personal journey into the world of human cryonic preservation.

Wednesday September 13, 2017 9:45 pm
Friday September 15, 2017 5:00 pm
Saturday September 16, 2017 6:00 p.m

The Immaculate Big Bang: Sparked by the death of his father birth of his daughter; comedian Bill Santiago goes in search of answers and laughs at the border of science religion exploring the comic nature of the cosmic quest for understanding existence, life, and death (not necessarily in the order).

Tuesday September 12, 2017 9:30 pm
Friday September 15, 2017 10:25 pm
Sunday September 17, 2017 6:30 pm

Field Zoology, 101: From the untamed wilds of the Vancouver Landfill in the loading bay behind the Burger Kin, Field Zoologist Brad GooseBerry has seen it all. In this introductory course, he shares a lifetime of “knowledge” and “experience” teaching you to thrive and survive in the harrowing world of field zoology.

Wednesday September 13, 2017 9:20 pm
Friday September 15, 2017 5:10 pm
Saturday September 16, 2017 3:50 pm

Scientist Turned Comedian: “Lee, who got his PhD before realizing where his true talents lay, blends science talk (complete with PowerPoint presentations) with comedy. The hilarious result is like what would happen if you crossed your high-school chem teacher with George Carlin.”

Thursday September 14, 2017 6:40 pm
Saturday September 16, 2017 5:25 pm
Sunday September 17, 2017 2:45 pm

Acceleration: It’s 2012. The world’s top physicists are searching for the elusive Higgs boson particle and it’s been a year since Elise’s sister disappeared. Desperate to forget, Elise wraps herself up in the search for the Higgs. But what we’re looking for isn’t always what we find. A moving exploration of how we cope with a world that doesn’t make sense.

Wednesday September 13, 2017 10:15 pm
Friday September 15, 2017 8:30 pm
Saturday September 16, 2017 2:15 pm

Two series (five shows in total) about climate change: Generation Hot Waterborne

O Sandada 150M: 150 million years later … the world stops—and out of the basic elements sand and water, comes … life. Under the sun, Sandadians build beautiful castles, sing the National Sandthem, and glorify the Sandadian flag. Meanwhile under the stars, Wateries plan their attack. On the natural/industrial stage of the grassy knoll on Granville Island, two culture try to make peace. Fantastical Apocalyptic Puppets.

Twenty Feet Away: A site-specific theatrical adventure based on the bank of Vancouver’s False Creek. Two entrepreneurs daringly attempt to bottle themselves a new life while facing difficult ethical questions.

Brothers: Bonds are tested, sides taken, and loyalty is questioned. Two brothers come to terms with progress and preservation while on a fishing trip.

Wednesday September 13, 2017 6:00 pm
Thursday September 14, 2017 6:00 pm
Saturday September 16, 2017 6:00 pm

WYSPA: A group of youth stranded on an urchin-infested island guide the audience through a magic-infused ceremony and explore their world views that have turned them into survivors. Part documentary verbatim script drive by your aged 5-16.

Citlali: A fantastic tale about water by a Mexican poet: A mythological tale about the origins of Mexico and the journey of a demigoddess on a search for water.

Wednesday September 13, 2017 8:00 pm
Thursday September 14, 2017 8:00 pm
Saturday September 16, 2017 8:00 pm

Go, no go: .. the story of 13 barrier-breaking pilots who in 1961 petitioned NASA {US National Aeronautics and Space Administration] to be become the first femal astronatus. And it’s about why you don’t know their names. Welcome to the space race.

Tuesday September 12, 2017 1:30 pm

Kurt Vonnegut’s the Euphio Question: A new adaptation of Kurt Vonnegut’s 1951 short story. A young physicist discovers radio waves from outer space that mage anyone withing earshot completely and utterly euphoric. The Euphio Question asks audiences what the true cost of happiness is when it comes at the mere flick of a switch.

Tuesday September 12, 2017 6:00 pm
Thursday September 14, 2017 7:30 pm
Saturday September 16, 2017 6:30 pm
Sunday September 17, 2017 3:45 pm

Gutenberg: The Musical: In this whirlwind 90-minute musical comedy, Chris Adams and Erik Gow play over 30 characters in two-man spoof . A pair of aspiring playwrights perform a backers’ audition for this new project—a big, splashy musical about printing press inventor Johann [Johannes] Gutenberg. Too bad their musical is terrible.

Tuesday September 12, 2017 6:00 pm
Thursday September 14, 2017 10:45 pm
Friday September 15, 2017 6:00 pm
Saturday September 16, 2017 7:45 pm
Sunday September 17, 2017 2:00 pm

Brain machine: Award-wining monologist Andrew Bailey (The Adversary, Phantom Signal) proudly premieres: “Brain Machine.” Generations of scientists create the web to bring “harmony and understanding” to humanity. Chaos ensues. Bailey attempts to escape technology by moving to a cabin in the woods. While there he accidentally creates a viral video Chaos ensues.

Wednesday September 13, 2017 6:15 pm
Thursday September 14, 2017 8:00 pm
Friday September 15, 2017 9:45 pm
Sunday September 17, 2017 6:15 pm

Admittedly the science or technology element is quite tangential is some of these shows but I think it’s interesting that there’s any mention of science in 17 (16%) of 104 shows at this year’s Fringe. If memory serves, there have been man years where no mention of any kind has been made of science or technology, let alone 1q6% of the programme.

Women in science is a thread linking a number of the shows in this year’s Fringe Festival as Janet Smith notes in her Sept. 6, 2017 article (Women get their science on at the Vancouver Fringe Festival) for the Georgia Straight.

One final comment, I’ve done my best but I was copying the information out of the programme and have likely made errors, as well, schedules can change so do check the festival website or at the Fringe Festival’s updated schedule boards on Granville Island.

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.

2017 Research as Art Awards at Swansea University (UK)

It’s surprising I haven’t stumbled across Swansea University’s (UK) Research as Art competitions before now. still, I’m happy to have done so now.

Picture: Research as Art winner 2017. “Bioblocks: building for nature”. How the tidal lagoon could be a habitat for marine creatures.

A July 14, 2017 news item on phys.org announces the results of 2017 Research as Art competition,

Fifteen stunning images, and the fascinating stories behind them—such as how a barn owl’s pellets reveal which animals it has eaten, how data can save lives, and how Barbie breaks free—have today been revealed as the winners of the 2017 Research as Art awards.

The overall winner is Dr Ruth Callaway, a research officer from the College of Science. Her entry, Bioblocks: building for nature, illustrates how children and researchers have been exploring ways in which the tidal lagoon proposed for Swansea Bay could become a new habitat for marine creatures.

A July 14, 2017 Swansea University press release, which originated the news item, describes the competition in more detail (Note: Links have been removed),

Research as Art is the only competition of its kind, open to researchers from all subjects, and with an emphasis on telling the research story, as well as composing a striking image.

It offers an outlet for researchers’ creativity, and celebrates the diversity, beauty, and impact of research at Swansea University – a top 30 research university.

86 entries were received from researchers across all Colleges of the University.

A distinguished judging panel of senior figures selected a total of fifteen winners. Along with the overall winner, there were judges’ awards in four categories relating to engagement – imagination, inspiration, illumination, and the natural world – and 10 highly-commended entries.

Judging panel:

Prof. Gail Cardew – Professor of Science, Culture and Society at the Royal Institution
Dan Cressey, Reporter, Nature News
Flora Graham – Digital Editor of NewScientist
Barbara Kiser, Books and Arts Editor, Nature

Overall winner Dr Ruth Callaway described the image in her winning entry:

“Over 200 children used cubes of clay to sculpt ecologically attractive habitats for coastal creatures. These bioblocks demonstrate that humanmade structures can support marine life, while children and their families have gained a better understanding of the unique resilience of sea creatures.

It is hoped that the diverse and complex habitat will enable more species to use this new material as a living space: crevices and holes will provide shelter; variable textures and overhangs will allow animals and seaweed to cling to the material.”

Dr Ruth Callaway added:

“Innovative projects such as the Tidal Lagoon Swansea Bay are inspiring, but they also throw up lots of questions and complex environmental challenges.

For marine scientists, the project creates unprecedented research opportunities to explore how the construction process could reduce negative impact on the coastal environment.

The EU-funded SEACAMS project and the company Tidal Lagoon Power work in collaboration, and we explore novel ways of enhancing biodiversity. Discussing these ideas with the public both informs the wider community about our work and triggers new research ideas.”

Competition founder and Director Dr Richard Johnston, Associate Professor in materials science and engineering at Swansea University, said:

“Research as Art is an opportunity for researchers to reveal hidden aspects of their research to audiences they wouldn’t normally engage with. This may uncover their personal story, their humanity, their inspiration, and emotion.

It can also be a way of presenting their research process, and what it means to be a researcher; fostering dialogue, and dissolving barriers between universities and the wider world.”

You can find out more about the competition, which seems to date from 2012, on the Research as Art competition page and more about the SEACAMS project here.

La Machine, Ottawa (Canada), and the Canada Aviation and Space Museum

First, you have to see the video,

La Machine

The ‘dragon’ and the ‘spider’ have sprung forth from a French street theatre group known as La Machine and the  La Machine ‘experience’ is making its début in North America in Ottawa, Ontario (July 27 – 30, 2017) as part of Canada’s 150th celebration.

Here’s more about La Machine and the ‘experience’ from the city of Ottawa’s event page,

Making its debut in North America, La Machine will captivate the public with its travelling urban theatre in the streets of downtown Ottawa.

Wandering around in public spaces, the protagonists will invade the heart of the capital in a show entitled “The Spirit of the Dragon-Horse, With Stolen Wings”. They will live among us for 24 hours a day over the course of four days as they pursue their quest and fulfill their destiny.

LongMa

Part dragon and part horse, LongMa stands 12 metres high, 5 metres wide and weighs 45 tons. Although his body is made of wood and steel, we quickly fall under his spell and connect with him on an ethereal level. From the top of his hooves, he trots with elegance, gallops, rears himself up and lies down.

With his piercing gaze, LongMa scours the crowd and interacts with them thanks as his neck rises, lowers and oscillates from left to right. His ribcage swells under the pressure of his lungs. But be careful, the warm breath coming out of his nostrils could quickly be transformed into fire coming out of his mouth.

The Spider

Beautiful and repulsive, aggressive and gentle, the giant spider will give you chills. Her eight legs and body that synchronize as she crawls around town gracefully. Like a dancer, she wanders, steps over trees, streetlights and bus shelters… At rest, she is 5.7 metres high and 6 metres wide, but she can reach up to 13 metres when in motion.  Fully outstretched, she is about 20 metres long.

Will she extinguish LongMa’s flames with the water deployed from her abdomen?

Credit: Jordi Bover


About La Machine Company

La Machine is a street theatre company founded in 1999 and leaded by François Delarozière. Its conception is thanks to artists, technicians and theatre designers working together for the construction of unusual theatre objects. Today, La Machine develops many projects in the field of urban development as well as for street theatre. At the heart of La Machine’s artistic approach, movement is read as a language, as a source of emotion. Through each of these living architectures, the idea is to dream of tomorrow’s cities, and thanks to this, transform the way we look at our towns. To bring its creations to life, La Machine has set up two workshops, one in Nantes and one in Tournefeuille. They bring together many different trades and crafts from theatre and the arts, to industry and advanced technology. People and their skills are the very essence of the creative process.

Ottawa and La Machine

I think this Ottawa event is much more engaging than Toronto’s giant rubber duck (which has proved to be controversial( e.g. June ?, 2017 posting on blogTO and Alina Bykova’s June 30, 3017 article for thestar.com) on July 1, 2017. Getting back to Ottawa, Judy Trinh’s June 1, 2016 article for CBC (Canadian Broadcasting Corporation) news online previews and provides some inside scoop about the 2017 event (Note: A link has been removed),

A giant mechanical dragon and spider from France will roam the streets of Ottawa next summer as part of celebrations for Canada’s 150th birthday.

It will be the first time the fire-breathing and water spraying creatures invade North America.

Securing the performance of the monsters from La Machine, a production company based in Nantes, France comes at a cost of $3 million — an amount that will be shared by both the public and private sector.

The Ottawa 2017 organizing committee has been working on booking the show for nearly a year and a half.

Negotiations didn’t just involve the City of Ottawa and the French production company. It also involved a Chinese businessman — Adam Yu, an entrepreneur based in Beijing who owns the rights to the dragon for La Machine.

Laflamme [executive director of Ottawa 2017, Guy Laflamme] said mayor Jim Watson set aside time during his economic mission to China to meet with Yu and make the case for loaning the dragon to Ottawa.

Organizers have just started “storyboarding” the show with La Machine’s artistic director, François Delarozière.

Although he’s reticent to describe what the show will look like, Laflamme does provide some hints: the operators will be dressed like they stepped out of the movie, The Matrix [movi e description], and the giant robots will make stops at Ottawa landmarks and interact with spectators.

Local musicians will also be hired to form a travelling orchestra for the soundtrack to the dragon’s and spider’s adventures.

If I read that rightly, planning seems to have started in 2014.

Canada Aviation and Space Museum

While La Machine is in Ottawa with their mechanicals, there will be a preview (from an Ingenium [formerly Canada Science and Technology Museums Corporation] July 12, 2017 notice received via email), Note: Links have been removed,

EXCLUSIVE SNEAK PEEK
Presented as part of Ottawa 2017

Making its debut in North America, _La Machine_ will captivate the
public with its dramatic urban theatre experience – and you can get
exclusive access at the Canada Aviation and Space Museum!

From July 15 to 24 [2017; emphasis mine], the Museum will be hosting a variety of
larger-than-life activities leading up to the big performance.
Activities include special viewing areas, a mini exhibition about _La
Machine_, a film about Long Ma the Dragon-Horse, creative activities and
a special lecture with _La Machine_’s creator. All activities are FREE
with Museum admission. Find out more by visiting our website.   [3]

SPECIAL LECTURE
THE MAKING OF_ LA MACHINE_ WITH FRANÇOIS DELAROZIÈRE
Join François Delarozière, the visionary artistic director and
engineer behind the wonders of _La Machine_, for an afternoon of insight
and conversation exploring the street theatre company’s history and
the creative process behind its fantastical mechanical masterpieces.
(Bilingual presentation)

Saturday, July 15, 2017
2 p.m. to 3 p.m.
Canada Aviation and Space Museum
Mauril Bélanger Theatre

SPACE IS LIMITED, REGISTER HERE!  [4]

[5]

UN AVANT-GOÛT EXCLUSIF

Présenté dans le cadre d’Ottawa 2017

Pour la première fois en Amérique du Nord,_ La Machine_ s’apprête
à captiver le public avec son impressionnant théâtre urbain. De plus,
vous aurez droit à un accès exclusif au Musée de l’aviation et de
l’espace du Canada!

Du 15 au 24 juillet, le Musée tiendra une série d’activités hors du
commun dans l’attente de la grande représentation.  On y comptera des
projections spéciales; une mini-exposition sur _La Machine_; un film
racontant l’histoire de Long Ma, le cheval-dragon; des activités
créatives et une conférence spéciale en compagnie du créateur de _La
Machine_. Tous les activités sont comprises dans le prix d’entrée au
Musée.  Visitez notre site Web [6] pour obtenir plus de renseignements.

CONFÉRENCE SPÉCIALE
LA RÉALISATION DE _LA MACHINE_ AVEC FRANÇOIS DELAROZIÈRE
Venez échanger avec François Delarozière, directeur artistique de _La
Machine_ et concepteur visionnaire de ces merveilles mécaniques, et
découvrez l’histoire de cette compagnie de théâtre de rue et le
processus ayant mené à la création de ses fantastiques
chefs-d’œuvre mécaniques.  (Présentation bilingue)

Samedi 15 juillet 2017
De 14 h à 15 h
Musée de l’aviation et de l’espace du Canada
Théâtre Mauril Bélanger

INSCRIVEZ-VOUS ICI – LE NOMBRE DE PLACES EST LIMITÉ!  [7]

You can sign up for the talk with François Delarozière here. It is a bilingual presentation included with the entrance fee (as noted previously) to the museum entitling you to a seat assuming you sign up quickly.

For the curious, you can find more about La Machine at its website. The images on the banner are stunning.

A question of consciousness: Facebotlish (a new language); a July 5, 2017 rap guide performance in Vancouver, Canada; Tom Stoppard’s play; and a little more

This would usually be a simple event announcement but with the advent of a new, related (in my mind if no one else’s) development on Facebook, this has become a roundup of sorts.

Facebotlish (Facebook’s chatbots create their own language)

The language created by Facebook’s chatbots, Facebotlish, was an unintended consequence—that’s right Facebook’s developers did not design a language for the chatbots or anticipate its independent development, apparently.  Adrienne LaFrance’s June 20, 2017 article for theatlantic.com explores the development and the question further,

Something unexpected happened recently at the Facebook Artificial Intelligence Research lab. Researchers who had been training bots to negotiate with one another realized that the bots, left to their own devices, started communicating in a non-human language.

In order to actually follow what the bots were saying, the researchers had to tweak their model, limiting the machines to a conversation humans could understand. (They want bots to stick to human languages because eventually they want those bots to be able to converse with human Facebook users.) …

Here’s what the language looks like (from LaFrance article),

Here’s an example of one of the bot negotiations that Facebook observed:Bob: i can i i everything else . . . . . . . . . . . . . .
Alice: balls have zero to me to me to me to me to me to me to me to me to
Bob: you i everything else . . . . . . . . . . . . . .
Alice: balls have a ball to me to me to me to me to me to me to me
Bob: i i can i i i everything else . . . . . . . . . . . . . .
Alice: balls have a ball to me to me to me to me to me to me to me
Bob: i . . . . . . . . . . . . . . . . . . .
Alice: balls have zero to me to me to me to me to me to me to me to me to
Bob: you i i i i i everything else . . . . . . . . . . . . . .
Alice: balls have 0 to me to me to me to me to me to me to me to me to
Bob: you i i i everything else . . . . . . . . . . . . . .
Alice: balls have zero to me to me to me to me to me to me to me to me to

It is incomprehensible to humans even after being tweaked, even so, some successful negotiations can ensue.

Facebook’s researchers aren’t the only one to come across the phenomenon (from LaFrance’s article; Note: Links have been removed),

Other AI researchers, too, say they’ve observed machines that can develop their own languages, including languages with a coherent structure, and defined vocabulary and syntax—though not always actual meaningful, by human standards.

In one preprint paper added earlier this year [2017] to the research repository arXiv, a pair of computer scientists from the non-profit AI research firm OpenAI wrote about how bots learned to communicate in an abstract language—and how those bots turned to non-verbal communication, the equivalent of human gesturing or pointing, when language communication was unavailable. (Bots don’t need to have corporeal form to engage in non-verbal communication; they just engage with what’s called a visual sensory modality.) Another recent preprint paper, from researchers at the Georgia Institute of Technology, Carnegie Mellon, and Virginia Tech, describes an experiment in which two bots invent their own communication protocol by discussing and assigning values to colors and shapes—in other words, the researchers write, they witnessed the “automatic emergence of grounded language and communication … no human supervision!”

The implications of this kind of work are dizzying. Not only are researchers beginning to see how bots could communicate with one another, they may be scratching the surface of how syntax and compositional structure emerged among humans in the first place.

LaFrance’s article is well worth reading in its entirety especially since the speculation is focused on whether or not the chatbots’ creation is in fact language. There is no mention of consciousness and perhaps this is just a crazy idea but is it possible that these chatbots have consciousness? The question is particularly intriguing in light of some of philosopher David Chalmers’ work (see his 2014 TED talk in Vancouver, Canada: https://www.ted.com/talks/david_chalmers_how_do_you_explain_consciousness/transcript?language=en runs roughly 18 mins.); a text transcript is also featured. There’s a condensed version of Chalmers’ TED talk offered in a roughly 9 minute NPR (US National Public Radio) interview by Gus Raz. Here are some highlights from the text transcript,

So we’ve been hearing from brain scientists who are asking how a bunch of neurons and synaptic connections in the brain add up to us, to who we are. But it’s consciousness, the subjective experience of the mind, that allows us to ask the question in the first place. And where consciousness comes from – that is an entirely separate question.

DAVID CHALMERS: Well, I like to distinguish between the easy problems of consciousness and the hard problem.

RAZ: This is David Chalmers. He’s a philosopher who coined this term, the hard problem of consciousness.

CHALMERS: Well, the easy problems are ultimately a matter of explaining behavior – things we do. And I think brain science is great at problems like that. It can isolate a neural circuit and show how it enables you to see a red object, to respondent and say, that’s red. But the hard problem of consciousness is subjective experience. Why, when all that happens in this circuit, does it feel like something? How does a bunch of – 86 billion neurons interacting inside the brain, coming together – how does that produce the subjective experience of a mind and of the world?

RAZ: Here’s how David Chalmers begins his TED Talk.

(SOUNDBITE OF TED TALK)

CHALMERS: Right now, you have a movie playing inside your head. It has 3-D vision and surround sound for what you’re seeing and hearing right now. Your movie has smell and taste and touch. It has a sense of your body, pain, hunger, orgasms. It has emotions, anger and happiness. It has memories, like scenes from your childhood, playing before you. This movie is your stream of consciousness. If we weren’t conscious, nothing in our lives would have meaning or value. But at the same time, it’s the most mysterious phenomenon in the universe. Why are we conscious?

RAZ: Why is consciousness more than just the sum of the brain’s parts?

CHALMERS: Well, the question is, you know, what is the brain? It’s this giant complex computer, a bunch of interacting parts with great complexity. What does all that explain? That explains objective mechanism. Consciousness is subjective by its nature. It’s a matter of subjective experience. And it seems that we can imagine all of that stuff going on in the brain without consciousness. And the question is, where is the consciousness from there? It’s like, if someone could do that, they’d get a Nobel Prize, you know?

RAZ: Right.

CHALMERS: So here’s the mapping from this circuit to this state of consciousness. But underneath that is always going be the question, why and how does the brain give you consciousness in the first place?

(SOUNDBITE OF TED TALK)

CHALMERS: Right now, nobody knows the answers to those questions. So we may need one or two ideas that initially seem crazy before we can come to grips with consciousness, scientifically. The first crazy idea is that consciousness is fundamental. Physicists sometimes take some aspects of the universe as fundamental building blocks – space and time and mass – and you build up the world from there. Well, I think that’s the situation we’re in. If you can’t explain consciousness in terms of the existing fundamentals – space, time – the natural thing to do is to postulate consciousness itself as something fundamental – a fundamental building block of nature. The second crazy idea is that consciousness might be universal. This view is sometimes called panpsychism – pan, for all – psych, for mind. Every system is conscious. Not just humans, dogs, mice, flies, but even microbes. Even a photon has some degree of consciousness. The idea is not that photons are intelligent or thinking. You know, it’s not that a photon is wracked with angst because it’s thinking, oh, I’m always buzzing around near the speed of light. I never get to slow down and smell the roses. No, not like that. But the thought is, maybe photons might have some element of raw subjective feeling, some primitive precursor to consciousness.

RAZ: So this is a pretty big idea – right? – like, that not just flies, but microbes or photons all have consciousness. And I mean we, like, as humans, we want to believe that our consciousness is what makes us special, right – like, different from anything else.

CHALMERS: Well, I would say yes and no. I’d say the fact of consciousness does not make us special. But maybe we’ve a special type of consciousness ’cause you know, consciousness is not on and off. It comes in all these rich and amazing varieties. There’s vision. There’s hearing. There’s thinking. There’s emotion and so on. So our consciousness is far richer, I think, than the consciousness, say, of a mouse or a fly. But if you want to look for what makes us distinct, don’t look for just our being conscious, look for the kind of consciousness we have. …

Intriguing, non?

Vancouver premiere of Baba Brinkman’s Rap Guide to Consciousness

Baba Brinkman, former Vancouverite and current denizen of New York City, is back in town offering a new performance at the Rio Theatre (1680 E. Broadway, near Commercial Drive). From a July 5, 2017 Rio Theatre event page and ticket portal,

Baba Brinkman’s Rap Guide to Consciousness

Wednesday, July 5 [2017] at 6:30pm PDT

Baba Brinkman’s new hip-hop theatre show “Rap Guide to Consciousness” is all about the neuroscience of consciousness. See it in Vancouver at the Rio Theatre before it goes to the Edinburgh Fringe Festival in August [2017].

This event also features a performance of “Off the Top” with Dr. Heather Berlin (cognitive neuroscientist, TV host, and Baba’s wife), which is also going to Edinburgh.

Wednesday, July 5
Doors 6:00 pm | Show 6:30 pm

Advance tickets $12 | $15 at the door

*All ages welcome!
*Sorry, Groupons and passes not accepted for this event.

“Utterly unique… both brilliantly entertaining and hugely informative” ★ ★ ★ ★ ★ – Broadway Baby

“An education, inspiring, and wonderfully entertaining show from beginning to end” ★ ★ ★ ★ ★ – Mumble Comedy

There’s quite the poster for this rap guide performance,

In addition to  the Vancouver and Edinburgh performance (the show was premiered at the Brighton Fringe Festival in May 2017; see Simon Topping’s very brief review in this May 10, 2017 posting on the reviewshub.com), Brinkman is raising money (goal is $12,000US; he has raised a little over $3,000 with approximately one month before the deadline) to produce a CD. Here’s more from the Rap Guide to Consciousness campaign page on Indiegogo,

Brinkman has been working with neuroscientists, Dr. Anil Seth (professor and co-director of Sackler Centre for Consciousness Science) and Dr. Heather Berlin (Brinkman’s wife as noted earlier; see her Wikipedia entry or her website).

There’s a bit more information about the rap project and Anil Seth in a May 3, 2017 news item by James Hakner for the University of Sussex,

The research frontiers of consciousness science find an unusual outlet in an exciting new Rap Guide to Consciousness, premiering at this year’s Brighton Fringe Festival.

Professor Anil Seth, Co-Director of the Sackler Centre for Consciousness Science at the University of Sussex, has teamed up with New York-based ‘peer-reviewed rapper’ Baba Brinkman, to explore the latest findings from the neuroscience and cognitive psychology of subjective experience.

What is it like to be a baby? We might have to take LSD to find out. What is it like to be an octopus? Imagine most of your brain was actually built into your fingertips. What is it like to be a rapper kicking some of the world’s most complex lyrics for amused fringe audiences? Surreal.

In this new production, Baba brings his signature mix of rap comedy storytelling to the how and why behind your thoughts and perceptions. Mixing cutting-edge research with lyrical performance and projected visuals, Baba takes you through the twists and turns of the only organ it’s better to donate than receive: the human brain. Discover how the various subsystems of your brain come together to create your own rich experience of the world, including the sights and sounds of a scientifically peer-reviewed rapper dropping knowledge.

The result is a truly mind-blowing multimedia hip-hop theatre performance – the perfect meta-medium through which to communicate the dazzling science of consciousness.

Baba comments: “This topic is endlessly fascinating because it underlies everything we do pretty much all the time, which is probably why it remains one of the toughest ideas to get your head around. The first challenge with this show is just to get people to accept the (scientifically uncontroversial) idea that their brains and minds are actually the same thing viewed from different angles. But that’s just the starting point, after that the details get truly amazing.”

Baba Brinkman is a Canadian rap artist and award-winning playwright, best known for his “Rap Guide” series of plays and albums. Baba has toured the world and enjoyed successful runs at the Edinburgh Fringe Festival and off-Broadway in New York. The Rap Guide to Religion was nominated for a 2015 Drama Desk Award for “Unique Theatrical Experience” and The Rap Guide to Evolution (“Astonishing and brilliant” NY Times), won a Scotsman Fringe First Award and a Drama Desk Award nomination for “Outstanding Solo Performance”. The Rap Guide to Climate Chaos premiered in Edinburgh in 2015, followed by a six-month off-Broadway run in 2016.

Baba is also a pioneer in the genre of “lit-hop” or literary hip-hop, known for his adaptations of The Canterbury Tales, Beowulf, and Gilgamesh. He is a recent recipient of the National Center for Science Education’s “Friend of Darwin Award” for his efforts to improve the public understanding of evolutionary biology.

Anil Seth is an internationally renowned researcher into the biological basis of consciousness, with more than 100 (peer-reviewed!) academic journal papers on the subject. Alongside science he is equally committed to innovative public communication. A Wellcome Trust Engagement Fellow (from 2016) and the 2017 British Science Association President (Psychology), Professor Seth has co-conceived and consulted on many science-art projects including drama (Donmar Warehouse), dance (Siobhan Davies dance company), and the visual arts (with artist Lindsay Seers). He has also given popular public talks on consciousness at the Royal Institution (Friday Discourse) and at the main TED conference in Vancouver. He is a regular presence in print and on the radio and is the recipient of awards including the BBC Audio Award for Best Single Drama (for ‘The Sky is Wider’) and the Royal Society Young People’s Book Prize (for EyeBenders). This is his first venture into rap.

Professor Seth said: “There is nothing more familiar, and at the same time more mysterious than consciousness, but research is finally starting to shed light on this most central aspect of human existence. Modern neuroscience can be incredibly arcane and complex, posing challenges to us as public communicators.

“It’s been a real pleasure and privilege to work with Baba on this project over the last year. I never thought I’d get involved with a rap artist – but hearing Baba perform his ‘peer reviewed’ breakdowns of other scientific topics I realized here was an opportunity not to be missed.”

Interestingly, Seth has another Canadian connection; he’s a Senior Fellow of the Azrieli Program in Brain, Mind & Consciousness at the Canadian Institute for Advanced Research (CIFAR; Wikipedia entry). By the way, the institute  was promised $93.7M in the 2017 Canadian federal government budget for the establishment of a Pan-Canadian Artificial Intelligence Strategy (see my March 24, 2017 posting; scroll down about 25% of the way and look for the highlighted dollar amount). You can find out more about the Azrieli programme here and about CIFAR on its website.

The Hard Problem (a Tom Stoppard play)

Brinkman isn’t the only performance-based artist to be querying the concept of consciousness, Tom Stoppard has written a play about consciousness titled ‘The Hard Problem’, which debuted at the National Theatre (UK) in January 2015 (see BBC [British Broadcasting Corporation] news online’s Jan. 29, 2015 roundup of reviews). A May 25, 2017 commentary by Andrew Brown for the Guardian offers some insight into the play and the issues (Note: Links have been removed),

There is a lovely exchange in Tom Stoppard’s play about consciousness, The Hard Problem, when an atheist has been sneering at his girlfriend for praying. It is, he says, an utterly meaningless activity. Right, she says, then do one thing for me: pray! I can’t do that, he replies. It would betray all I believe in.

So prayer can have meanings, and enormously important ones, even for people who are certain that it doesn’t have the meaning it is meant to have. In that sense, your really convinced atheist is much more religious than someone who goes along with all the prayers just because that’s what everyone does, without for a moment supposing the action means anything more than asking about the weather.

The Hard Problem of the play’s title is a phrase coined by the Australian philosopher David Chalmers to describe the way in which consciousness arises from a physical world. What makes it hard is that we don’t understand it. What makes it a problem is slightly different. It isn’t the fact of consciousness, but our representations of consciousness, that give rise to most of the difficulties. We don’t know how to fit the first-person perspective into the third-person world that science describes and explores. But this isn’t because they don’t fit: it’s because we don’t understand how they fit. For some people, this becomes a question of consuming interest.

There are also a couple of video of Tom Stoppard, the playwright, discussing his play with various interested parties, the first being the director at the National Theatre who tackled the debut run, Nicolas Hytner: https://www.youtube.com/watch?v=s7J8rWu6HJg (it runs approximately 40 mins.). Then, there’s the chat Stoppard has with previously mentioned philosopher, David Chalmers: https://www.youtube.com/watch?v=4BPY2c_CiwA (this runs approximately 1 hr. 32 mins.).

I gather ‘consciousness’ is a hot topic these days and, in the venacular of the 1960s, I guess you could describe all of this as ‘expanding our consciousness’. Have a nice weekend!