Tag Archives: art/science

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!

Did artists lead the way in mathematics?

There is no way to definitively answer the question of whether artists have led the way in mathematics but the question does provide interesting fodder for an essay (h/t April 28, 2017 news item on phys.org) by Henry Adams, professor of Art History at Case Western Reserve University , in his April 28, 2017 essay for TheConversation.com,

Mathematics and art are generally viewed as very different disciplines – one devoted to abstract thought, the other to feeling. But sometimes the parallels between the two are uncanny.

From Islamic tiling to the chaotic patterns of Jackson Pollock, we can see remarkable similarities between art and the mathematical research that follows it. The two modes of thinking are not exactly the same, but, in interesting ways, often one seems to foreshadow the other.

Does art sometimes spur mathematical discovery? There’s no simple answer to this question, but in some instances it seems very likely.

Patterns in the Alhambra

Consider Islamic ornament, such as that found in the Alhambra in Granada, Spain.

In the 14th and 15th centuries, the Alhambra served as the palace and harem of the Berber monarchs. For many visitors, it’s a setting as close to paradise as anything on earth: a series of open courtyards with fountains, surrounded by arcades that provide shelter and shade. The ceilings are molded in elaborate geometric patterns that resemble stalactites. The crowning glory is the ornament in colorful tile on the surrounding walls, which dazzles the eye in a hypnotic way that’s strangely blissful. In a fashion akin to music, the patterns lift the onlooker into an almost out-of-body state, a sort of heavenly rapture.

It’s a triumph of art – and of mathematical reasoning. The ornament explores a branch of mathematics known as tiling, which seeks to fill a space completely with regular geometric patterns. Math shows that a flat surface can be regularly covered by symmetric shapes with three, four and six sides, but not with shapes of five sides.

It’s also possible to combine different shapes, using triangular, square and hexagonal tiles to fill a space completely. The Alhambra revels in elaborate combinations of this sort, which are hard to see as stable rather than in motion. They seem to spin before our eyes. They trigger our brain into action and, as we look, we arrange and rearrange their patterns in different configurations.

An emotional experience? Very much so. But what’s fascinating about such Islamic tilings is that the work of anonymous artists and craftsmen also displays a near-perfect mastery of mathematical logic. Mathematicians have identified 17 types of symmetry: bilateral symmetry, rotational symmetry and so forth. At least 16 appear in the tilework of the Alhambra, almost as if they were textbook diagrams.

The patterns are not merely beautiful, but mathematically rigorous as well. They explore the fundamental characteristics of symmetry in a surprisingly complete way. Mathematicians, however, did not come up with their analysis of the principles of symmetry until several centuries after the tiles of the Alhambra had been set in place.

Tiles at the Alhambra. Credit: Wikimedia Commons, CC BY-SA

Quasicrystalline tiles

Stunning as they are, the decorations of the Alhambra may have been surpassed by a masterpiece in Persia. There, in 1453, anonymous craftsmen at the Darbi-I Imam shrine in Isfahan discovered quasicrystalline patterns. These patterns have complex and mysterious mathematical properties that were not analyzed by mathematicians until the discovery of Penrose tilings in the 1970s.

Such patterns fill a space completely with regular shapes, but in a configuration which never repeats itself – indeed, is infinitely nonrepeated – although the mathematical constant known as the Golden Section occurs over and over again.

Daniel Schectman won the 2001 Nobel Prize [Schechtman was awarded the Nobel Prize for Chemistry in 2011 as per his Wikipedia entry] or the discovery of quasicrystals, which obey this law of organization. This breakthrough forced scientists to reconsider their conception of the very nature of matter.

In 2005, Harvard physicist Peter James Lu showed that it’s possible to generate such quasicrystalline patterns relatively easily using girih tiles. Girih tiles combine several pure geometric shapes into five patterns: a regular decagon, an irregular hexagon, a bow tie, a rhombus and a regular pentagon.

Whatever the method, it’s clear that the quasicrystalline patterns at Darbi-I Imam were created by craftsmen without advanced training in mathematics. It took several more centuries for mathematicians to analyze and articulate what they were doing. In other words, intuition preceded full understanding.

It’s a fascinating essay and, if you have the time and the interest, it’s definitely a worthwhile read (Henry’s April 28, 2017 essay ).

May/June 2017 scienceish events in Canada (mostly in Vancouver)

I have five* events for this posting

(1) Science and You (Montréal)

The latest iteration of the Science and You conference took place May 4 – 6, 2017 at McGill University (Montréal, Québec). That’s the sad news, the good news is that they have recorded and released the sessions onto YouTube. (This is the first time the conference has been held outside of Europe, in fact, it’s usually held in France.) Here’s why you might be interested (from the 2017 conference page),

The animator of the conference will be Véronique Morin:

Véronique Morin is science journalist and communicator, first president of the World Federation of Science Journalists (WFSJ) and serves as judge for science communication awards. She worked for a science program on Quebec’s public TV network, CBCRadio-Canada, TVOntario, and as a freelancer is also a contributor to -among others-  The Canadian Medical Journal, University Affairs magazine, NewsDeeply, while pursuing documentary projects.

Let’s talk about S …

Holding the attention of an audience full of teenagers may seem impossible… particularly on topics that might be seen as boring, like sciences! Yet, it’s essential to demistify science in order to make it accessible, even appealing in the eyes of futur citizens.
How can we encourage young adults to ask themselves questions about the surrounding world, nature and science? How can we make them discover sciences with and without digital tools?

Find out tips and tricks used by our speakers Kristin Alford and Amanda Tyndall.

Kristin Alford
Dr Kristin Alford is a futurist and the inaugural Director of MOD., a futuristic museum of discovery at the University of South Australia. Her mind is presently occupied by the future of work and provoking young adults to ask questions about the role of science at the intersection of art and innovation.

Internet Website

Amanda Tyndall
Over 20 years of  science communication experience with organisations such as Café Scientifique, The Royal Institution of Great Britain (and Australia’s Science Exchange), the Science Museum in London and now with the Edinburgh International Science Festival. Particularly interested in engaging new audiences through linkages with the arts and digital/creative industries.

Internet Website

A troll in the room

Increasingly used by politicians, social media can reach thousand of people in few seconds. Relayed to infinity, the message seems truthful, but is it really? At a time of fake news and alternative facts, how can we, as a communicator or a journalist, take up the challenge of disinformation?
Discover the traps and tricks of disinformation in the age of digital technologies with our two fact-checking experts, Shawn Otto and Vanessa Schipani, who will offer concrete solutions to unravel the true from the false..

 

Shawn Otto
Shawn Otto was awarded the IEEE-USA (“I-Triple-E”) National Distinguished Public Service Award for his work elevating science in America’s national public dialogue. He is cofounder and producer of the US presidential science debates at ScienceDebate.org. He is also an award-winning screenwriter and novelist, best known for writing and co-producing the Academy Award-nominated movie House of Sand and Fog.

Vanessa Schipani
Vanessa is a science journalist at FactCheck.org, which monitors U.S. politicians’ claims for accuracy. Previously, she wrote for outlets in the U.S., Europe and Japan, covering topics from quantum mechanics to neuroscience. She has bachelor’s degrees in zoology and philosophy and a master’s in the history and philosophy of science.

At 20,000 clicks from the extreme

Sharing living from a space station, ship or submarine. The examples of social media use in extreme conditions are multiplying and the public is asking for more. How to use public tools to highlight practices and discoveries? How to manage the use of social networks of a large organisation? What pitfalls to avoid? What does this mean for citizens and researchers?
Find out with Phillipe Archambault and Leslie Elliott experts in extrem conditions.

Philippe Archambault

Professor Philippe Archambault is a marine ecologist at Laval University, the director of the Notre Golfe network and president of the 4th World Conference on Marine Biodiversity. His research on the influence of global changes on biodiversity and the functioning of ecosystems has led him to work in all four corners of our oceans from the Arctic to the Antarctic, through Papua New Guinea and the French Polynesia.

Website

Leslie Elliott

Leslie Elliott leads a team of communicators at Ocean Networks Canada in Victoria, British Columbia, home to Canada’s world-leading ocean observatories in the Pacific and Arctic Oceans. Audiences can join robots equipped with high definition cameras via #livedive to discover more about our ocean.

Website

Science is not a joke!

Science and humor are two disciplines that might seem incompatible … and yet, like the ig-Nobels, humour can prove to be an excellent way to communicate a scientific message. This, however, can prove to be quite challenging since one needs to ensure they employ the right tone and language to both captivate the audience while simultaneously communicating complex topics.

Patrick Baud and Brian Malow, both well-renowned scientific communicators, will give you with the tools you need to capture your audience and also convey a proper scientific message. You will be surprised how, even in Science, a good dose of humour can make you laugh and think.

Patrick Baud
Patrick Baud is a French author who was born on June 30, 1979, in Avignon. He has been sharing for many years his passion for tales of fantasy, and the marvels and curiosities of the world, through different media: radio, web, novels, comic strips, conferences, and videos. His YouTube channel “Axolot”, was created in 2013, and now has over 420,000 followers.

Internet Website
Youtube

Brian Malow
Brian Malow is Earth’s Premier Science Comedian (self-proclaimed).  Brian has made science videos for Time Magazine and contributed to Neil deGrasse Tyson’s radio show.  He worked in science communications at a museum, blogged for Scientific American, and trains scientists to be better communicators.

Internet Website
YouTube

I don’t think they’ve managed to get everything up on YouTube yet but the material I’ve found has been subtitled (into French or English, depending on which language the speaker used).

Here are the opening day’s talks on YouTube with English subtitles or French subtitles when appropriate. You can also find some abstracts for the panel presentations here. I was particularly in this panel (S3 – The Importance of Reaching Out to Adults in Scientific Culture), Note: I have searched out the French language descriptions for those unavailable in English,

Organized by Coeur des sciences, Université du Québec à Montréal (UQAM)
Animator: Valérie Borde, Freelance Science Journalist

Anouk Gingras, Musée de la civilisation, Québec
Text not available in English

[La science au Musée de la civilisation c’est :
• Une cinquantaine d’expositions et espaces découvertes
• Des thèmes d’actualité, liés à des enjeux sociaux, pour des exposition souvent destinées aux adultes
• Un potentiel de nouveaux publics en lien avec les autres thématiques présentes au Musée (souvent non scientifiques)
L’exposition Nanotechnologies : l’invisible révolution :
• Un thème d’actualité suscitant une réflexion
• Un sujet sensible menant à la création d’un parcours d’exposition polarisé : choix entre « oui » ou « non » au développement des nanotechnologies pour l’avenir
• L’utilisation de divers éléments pour rapprocher le sujet du visiteur

  • Les nanotechnologies dans la science-fiction
  • Les objets du quotidien contenant des nanoparticules
  • Les objets anciens qui utilisant les nanotechnologies
  • Divers microscopes retraçant l’histoire des nanotechnologies

• Une forme d’interaction suscitant la réflexion du visiteur via un objet sympatique : le canard  de plastique jaune, muni d’une puce RFID

  • Sept stations de consultation qui incitent le visiteur à se prononcer et à réfléchir sur des questions éthiques liées au développement des nanotechnologies
  • Une compilation des données en temps réel
  • Une livraison des résultats personnalisée
  • Une mesure des visiteurs dont l’opinion s’est modifiée à la suite de la visite de l’exposition

Résultats de fréquentation :
• Public de jeunes adultes rejoint (51%)
• Plus d’hommes que de femmes ont visité l’exposition
• Parcours avec canard: incite à la réflexion et augmente l’attention
• 3 visiteurs sur 4 prennent le canard; 92% font l’activité en entier]

Marie Lambert-Chan, Québec Science
Capting the attention of adult readership : challenging mission, possible mission
Since 1962, Québec Science Magazine is the only science magazine aimed at an adult readership in Québec. Our mission : covering topical subjects related to science and technology, as well as social issues from a scientific point of view. Each year, we print eight issues, with a circulation of 22,000 copies. Furthermore, the magazine has received several awards and accolades. In 2017, Québec Science Magazine was honored by the Canadian Magazine Awards/Grands Prix du Magazine and was named Best Magazine in Science, Business and Politics category.
Although we have maintained a solid reputation among scientists and the media industry, our magazine is still relatively unknown to the general public. Why is that ? How is it that, through all those years, we haven’t found the right angle to engage a broader readership ?
We are still searching for definitive answers, but here are our observations :
Speaking science to adults is much more challenging than it is with children, who can marvel endlessly at the smallest things. Unfortunately, adults lose this capacity to marvel and wonder for various reasons : they have specific interests, they failed high-school science, they don’t feel competent enough to understand scientific phenomena. How do we bring the wonder back ? This is our mission. Not impossible, and hopefully soon to be accomplished. One noticible example is the number of reknown scientists interviewed during the popular talk-show Tout le monde en parle, leading us to believe the general public may have an interest in science.
However, to accomplish our mission, we have to recount science. According to the Bulgarian writer and blogger Maria Popova, great science writing should explain, elucidate and enchant . To explain : to make the information clear and comprehensible. To elucidate : to reveal all the interconnections between the pieces of information. To enchant : to go beyond the scientific terms and information and tell a story, thus giving a kaleidoscopic vision of the subject. This is how we intend to capture our readership’s attention.
Our team aims to accomplish this challenge. Although, to be perfectly honest, it would be much easier if we had more resources, financial-wise or human-wise. However, we don’t lack ideas. We dream of major scientific investigations, conferences organized around themes from the magazine’s issues, Web documentaries, podcasts… Such initiatives would give us the visibility we desperately crave.
That said, even in the best conditions, would be have more subscribers ? Perhaps. But it isn’t assured. Even if our magazine is aimed at adult readership, we are convinced that childhood and science go hand in hand, and is even decisive for the children’s future. At the moment, school programs are not in place for continuous scientific development. It is possible to develop an interest for scientific culture as adults, but it is much easier to achieve this level of curiosity if it was previously fostered.

Robert Lamontagne, Université de Montréal
Since the beginning of my career as an astrophysicist, I have been interested in scientific communication to non-specialist audiences. I have presented hundreds of lectures describing the phenomena of the cosmos. Initially, these were mainly offered in amateur astronomers’ clubs or in high-schools and Cégeps. Over the last few years, I have migrated to more general adult audiences in the context of cultural activities such as the “Festival des Laurentides”, the Arts, Culture and Society activities in Repentigny and, the Université du troisième âge (UTA) or Senior’s University.
The Quebec branch of the UTA, sponsored by the Université de Sherbrooke (UdeS), exists since 1976. Seniors universities, created in Toulouse, France, are part of a worldwide movement. The UdeS and its senior’s university antennas are members of the International Association of the Universities of the Third Age (AIUTA). The UTA is made up of 28 antennas located in 10 regions and reaches more than 10,000 people per year. Antenna volunteers prepare educational programming by drawing on a catalog of courses, seminars and lectures, covering a diverse range of subjects ranging from history and politics to health, science, or the environment.
The UTA is aimed at people aged 50 and over who wish to continue their training and learn throughout their lives. It is an attentive, inquisitive, educated public and, given the demographics in Canada, its number is growing rapidly. This segment of the population is often well off and very involved in society.
I usually use a two-prong approach.
• While remaining rigorous, the content is articulated around a few ideas, avoiding analytical expressions in favor of a qualitative description.
• The narrative framework, the story, which allows to contextualize the scientific content and to forge links with the audience.

Sophie Malavoy, Coeur des sciences – UQAM

Many obstacles need to be overcome in order to reach out to adults, especially those who aren’t in principle interested in science.
• Competing against cultural activities such as theater, movies, etc.
• The idea that science is complex and dull
• A feeling of incompetence. « I’ve always been bad in math and physics»
• Funding shortfall for activities which target adults
How to reach out to those adults?
• To put science into perspective. To bring its relevance out by making links with current events and big issues (economic, heath, environment, politic). To promote a transdisciplinary approach which includes humanities and social sciences.
• To stake on originality by offering uncommon and ludic experiences (scientific walks in the city, street performances, etc.)
• To bridge between science and popular activities to the public (science/music; science/dance; science/theater; science/sports; science/gastronomy; science/literature)
• To reach people with emotions without sensationalism. To boost their curiosity and ability to wonder.
• To put a human face on science, by insisting not only on the results of a research but on its process. To share the adventure lived by researchers.
• To liven up people’s feeling of competence. To insist on the scientific method.
• To invite non-scientists (citizens groups, communities, consumers, etc.) to the reflections on science issues (debate, etc.).  To move from dissemination of science to dialog

Didier Pourquery, The Conversation France
Text not available in English

[Depuis son lancement en septembre 2015 la plateforme The Conversation France (2 millions de pages vues par mois) n’a cessé de faire progresser son audience. Selon une étude menée un an après le lancement, la structure de lectorat était la suivante
Pour accrocher les adultes et les ainés deux axes sont intéressants ; nous les utilisons autant sur notre site que sur notre newsletter quotidienne – 26.000 abonnés- ou notre page Facebook (11500 suiveurs):
1/ expliquer l’actualité : donner les clefs pour comprendre les débats scientifiques qui animent la société ; mettre de la science dans les discussions (la mission du site est de  « nourrir le débat citoyen avec de l’expertise universitaire et de la recherche »). L’idée est de poser des questions de compréhension simple au moment où elles apparaissent dans le débat (en période électorale par exemple : qu’est-ce que le populisme ? Expliqué par des chercheurs de Sciences Po incontestables.)
Exemples : comprendre les conférences climat -COP21, COP22 – ; comprendre les débats de société (Gestation pour autrui); comprendre l’économie (revenu universel); comprendre les maladies neurodégénératives (Alzheimer) etc.
2/ piquer la curiosité : utiliser les formules classiques (le saviez-vous ?) appliquées à des sujets surprenants (par exemple : «  Que voit un chien quand il regarde la télé ? » a eu 96.000 pages vues) ; puis jouer avec ces articles sur les réseaux sociaux. Poser des questions simples et surprenantes. Par exemple : ressemblez-vous à votre prénom ? Cet article académique très sérieux a comptabilisé 95.000 pages vues en français et 171.000 en anglais.
3/ Susciter l’engagement : faire de la science participative simple et utile. Par exemple : appeler nos lecteurs à surveiller l’invasion de moustiques tigres partout sur le territoire. Cet article a eu 112.000 pages vues et a été republié largement sur d’autres sites. Autre exemple : appeler les lecteurs à photographier les punaises de leur environnement.]

Here are my very brief and very rough translations. (1) Anouk Gingras is focused largely on a nanotechnology exhibit and whether or not visitors went through it and participated in various activities. She doesn’t seem specifically focused on science communication for adults but they are doing some very interesting and related work at Québec’s Museum of Civilization. (2) Didier Pourquery is describing an online initiative known as ‘The Conversation France’ (strange—why not La conversation France?). Moving on, there’s a website with a daily newsletter (blog?) and a Facebook page. They have two main projects, one is a discussion of current science issues in society, which is informed with and by experts but is not exclusive to experts, and more curiosity-based science questions and discussion such as What does a dog see when it watches television?

Serendipity! I hadn’t stumbled across this conference when I posted my May 12, 2017 piece on the ‘insanity’ of science outreach in Canada. It’s good to see I’m not the only one focused on science outreach for adults and that there is some action, although seems to be a Québec-only effort.

(2) Ingenious—a book launch in Vancouver

The book will be launched on Thursday, June 1, 2017 at the Vancouver Public Library’s Central Branch (from the Ingenious: An Evening of Canadian Innovation event page)

Ingenious: An Evening of Canadian Innovation
Thursday, June 1, 2017 (6:30 pm – 8:00 pm)
Central Branch
Description

Gov. Gen. David Johnston and OpenText Corp. chair Tom Jenkins discuss Canadian innovation and their book Ingenious: How Canadian Innovators Made the World Smarter, Smaller, Kinder, Safer, Healthier, Wealthier and Happier.

Books will be available for purchase and signing.

Doors open at 6 p.m.

INGENIOUS : HOW CANADIAN INNOVATORS MADE THE WORLD SMARTER, SMALLER, KINDER, SAFER, HEALTHIER, WEALTHIER, AND HAPPIER

Address:

350 West Georgia St.
VancouverV6B 6B1

Get Directions

  • Phone:

Location Details:

Alice MacKay Room, Lower Level

I do have a few more details about the authors and their book. First, there’s this from the Ottawa Writer’s Festival March 28, 2017 event page,

To celebrate Canada’s 150th birthday, Governor General David Johnston and Tom Jenkins have crafted a richly illustrated volume of brilliant Canadian innovations whose widespread adoption has made the world a better place. From Bovril to BlackBerrys, lightbulbs to liquid helium, peanut butter to Pablum, this is a surprising and incredibly varied collection to make Canadians proud, and to our unique entrepreneurial spirit.

Successful innovation is always inspired by at least one of three forces — insight, necessity, and simple luck. Ingenious moves through history to explore what circumstances, incidents, coincidences, and collaborations motivated each great Canadian idea, and what twist of fate then brought that idea into public acceptance. Above all, the book explores what goes on in the mind of an innovator, and maps the incredible spectrum of personalities that have struggled to improve the lot of their neighbours, their fellow citizens, and their species.

From the marvels of aboriginal invention such as the canoe, snowshoe, igloo, dogsled, lifejacket, and bunk bed to the latest pioneering advances in medicine, education, philanthropy, science, engineering, community development, business, the arts, and the media, Canadians have improvised and collaborated their way to international admiration. …

Then, there’s this April 5, 2017 item on Canadian Broadcasting Corporation’s (CBC) news online,

From peanut butter to the electric wheelchair, the stories behind numerous life-changing Canadian innovations are detailed in a new book.

Gov. Gen. David Johnston and Tom Jenkins, chair of the National Research Council and former CEO of OpenText, are the authors of Ingenious: How Canadian Innovators Made the World Smarter, Smaller, Kinder, Safer, Healthier, Wealthier and Happier. The authors hope their book reinforces and extends the culture of innovation in Canada.

“We started wanting to tell 50 stories of Canadian innovators, and what has amazed Tom and myself is how many there are,” Johnston told The Homestretch on Wednesday. The duo ultimately chronicled 297 innovations in the book, including the pacemaker, life jacket and chocolate bars.

“Innovations are not just technological, not just business, but they’re social innovations as well,” Johnston said.

Many of those innovations, and the stories behind them, are not well known.

“We’re sort of a humble people,” Jenkins said. “We’re pretty quiet. We don’t brag, we don’t talk about ourselves very much, and so we then lead ourselves to believe as a culture that we’re not really good inventors, the Americans are. And yet we knew that Canadians were actually great inventors and innovators.”

‘Opportunities and challenges’

For Johnston, his favourite story in the book is on the light bulb.

“It’s such a symbol of both our opportunities and challenges,” he said. “The light bulb was invented in Canada, not the United States. It was two inventors back in the 1870s that realized that if you passed an electric current through a resistant metal it would glow, and they patented that, but then they didn’t have the money to commercialize it.”

American inventor Thomas Edison went on to purchase that patent and made changes to the original design.

Johnston and Jenkins are also inviting readers to share their own innovation stories, on the book’s website.

I’m looking forward to the talk and wondering if they’ve included the botox and cellulose nanocrystal (CNC) stories to the book. BTW, Tom Jenkins was the chair of a panel examining Canadian research and development and lead author of the panel’s report (Innovation Canada: A Call to Action) for the then Conservative government (it’s also known as the Jenkins report). You can find out more about in my Oct. 21, 2011 posting.

(3) Made in Canada (Vancouver)

This is either fortuitous or there’s some very high level planning involved in the ‘Made in Canada; Inspiring Creativity and Innovation’ show which runs from April 21 – Sept. 4, 2017 at Vancouver’s Science World (also known as the Telus World of Science). From the Made in Canada; Inspiring Creativity and Innovation exhibition page,

Celebrate Canadian creativity and innovation, with Science World’s original exhibition, Made in Canada, presented by YVR [Vancouver International Airport] — where you drive the creative process! Get hands-on and build the fastest bobsled, construct a stunning piece of Vancouver architecture and create your own Canadian sound mashup, to share with friends.

Vote for your favourite Canadian inventions and test fly a plane of your design. Discover famous (and not-so-famous, but super neat) Canadian inventions. Learn about amazing, local innovations like robots that teach themselves, one-person electric cars and a computer that uses parallel universes.

Imagine what you can create here, eh!!

You can find more information here.

One quick question, why would Vancouver International Airport be presenting this show? I asked that question of Science World’s Communications Coordinator, Jason Bosher, and received this response,

 YVR is the presenting sponsor. They donated money to the exhibition and they also contributed an exhibit for the “We Move” themed zone in the Made in Canada exhibition. The YVR exhibit details the history of the YVR airport, it’s geographic advantage and some of the planes they have seen there.

I also asked if there was any connection between this show and the ‘Ingenious’ book launch,

Some folks here are aware of the book launch. It has to do with the Canada 150 initiative and nothing to do with the Made in Canada exhibition, which was developed here at Science World. It is our own original exhibition.

So there you have it.

(4) Robotics, AI, and the future of work (Ottawa)

I’m glad to finally stumble across a Canadian event focusing on the topic of artificial intelligence (AI), robotics and the future of work. Sadly (for me), this is taking place in Ottawa. Here are more details  from the May 25, 2017 notice (received via email) from the Canadian Science Policy Centre (CSPC),

CSPC is Partnering with CIFAR {Canadian Institute for Advanced Research]
The Second Annual David Dodge Lecture

Join CIFAR and Senior Fellow Daron Acemoglu for
the Second Annual David Dodge CIFAR Lecture in Ottawa on June 13.
June 13, 2017 | 12 – 2 PM [emphasis mine]
Fairmont Château Laurier, Drawing Room | 1 Rideau St, Ottawa, ON
Along with the backlash against globalization and the outsourcing of jobs, concern is also growing about the effect that robotics and artificial intelligence will have on the labour force in advanced industrial nations. World-renowned economist Acemoglu, author of the best-selling book Why Nations Fail, will discuss how technology is changing the face of work and the composition of labour markets. Drawing on decades of data, Acemoglu explores the effects of widespread automation on manufacturing jobs, the changes we can expect from artificial intelligence technologies, and what responses to these changes might look like. This timely discussion will provide valuable insights for current and future leaders across government, civil society, and the private sector.

Daron Acemoglu is a Senior Fellow in CIFAR’s Insitutions, Organizations & Growth program, and the Elizabeth and James Killian Professor of Economics at the Massachusetts Institute of Technology.

Tickets: $15 (A light lunch will be served.)

You can find a registration link here. Also, if you’re interested in the Canadian efforts in the field of artificial intelligence you can find more in my March 24, 2017 posting (scroll down about 25% of the way and then about 40% of the way) on the 2017 Canadian federal budget and science where I first noted the $93.7M allocated to CIFAR for launching a Pan-Canadian Artificial Intelligence Strategy.

(5) June 2017 edition of the Curiosity Collider Café (Vancouver)

This is an art/science (also known called art/sci and SciArt) that has taken place in Vancouver every few months since April 2015. Here’s more about the June 2017 edition (from the Curiosity Collider events page),

Collider Cafe

When
8:00pm on Wednesday, June 21st, 2017. Door opens at 7:30pm.

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

Cost
$5.00-10.00 cover at the door (sliding scale). Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization.

***

#ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet, discover, connect, create. How do you explore curiosity in your life? Join us and discover how our speakers explore their own curiosity at the intersection of art & science.

The event will start promptly at 8pm (doors open at 7:30pm). $5.00-10.00 (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. Curiosity Collider is a registered BC non-profit organization.

Enjoy!

*I changed ‘three’ events to ‘five’ events and added a number to each event for greater reading ease on May 31, 2017.

The Cabinet Project: a call for proposals from Canada’s ArtSci Salon

Thanks to my colleague, Raewyn Turner (artist, New Zealand) for information about this call for proposals. BTW, she and I are talking about putting our own proposal forward but the deadline is Sept. 30, 2016, which isn’t all that far away.

The ArtSci Salon; A Hub for the Arts & Science communities in Toronto and Beyond is soliciting proposals for ‘The Cabinet Project; An artsci exhibition about cabinets‘ to be held *March 30 – May 1* 2017 at the University of Toronto in a series of ‘science cabinets’ found around campus,

Despite being in full sight, many cabinets and showcases at universities and scientific institutions lie empty or underutilized. Located at the entrance of science departments, in proximity of laboratories, or in busy areas of transition, some contain outdated posters, or dusty scientific objects that have been forgotten there for years. Others lie empty, like old furniture on the curb after a move, waiting for a lucky passer-by in need. The ceaseless flow of bodies walking past these cabinets – some running to meetings, some checking their schedule, some immersed in their thoughts – rarely pay attention to them.

The neglect of these cabinets seems to confirm well-established ideas about science institutions as recluse spaces where secrecy reigns, and communication with the outside world is either underappreciated or prohibited. But at a closer look, this is not the case: those seemingly ignored and neglected cabinets have fascinating and compelling stories that speak to their mobility, their past uses and their owners; laboratories in their proximity burst of excitement and boredom, frustration and euphoria, their machineries being constantly fabricated, rethought, dismantled or replaced; in these laboratories, individuals, objects and instruments come to life in complicated ways. These objects, human relations and stories are forming complex ecologies that are very much alive.

Here are the objectives (from the Project page),

The Cabinet project seeks to explore and to bring to life historical, anecdotal and imagined stories evoked by scientific objects, their surrounding space and the individuals that inhabit them. The goal is to reflect on, and reverse the stereotypical assumptions about science as inaccessible and secretive, to make the intense creativity existing inside science laboratories visible, and to suggest potential interactions between the sciences and the arts.

We invite artists, scientists and other creative individuals to turn a select number of cabinets across the University of Toronto into small-scale installations. Interventions can use a variety of media and material and engage with a number of disciplines.

The resulting distributed exhibition ( March 2017) will feature dialogues between art and science that engage with objects and instruments created in nearby science labs.

Before you send your proposal, make sure to check the location/size of the cabinets, as well as the UTSIC collection.
Please come back often as more cabinets are added

There’s also the Call for Proposals (from the Project page),

Artists are invited to populate a variety of cabinets around the St. George Campus at the University of Toronto with artworks that

  • interact with objects and instruments that have been fabricated or used in the labs nearby;
  • engage with the history of the cabinets (how they got there, who donated them, what was their initial purpose etc..);
  • narrate imaginary or science fictional stories about the cabinets, the labs in their proximity and the mysterious objects they have produced in the past or are currently producing.

Of course, these are only suggested scenarios. Please, contact us if you have a particular request or idea.

We request that you fill in the online proposal below with a 250 words MAX description, accompanied by 3-4 images that meaningfully describe your work. Please, specify your goals, how you plan to interact with certain objects or a particular environment, and how you plan to install your work, using which media etc..  This project assumes that a meaningful interaction with the surrounding context is established.

The application form is here. Don’t forget to go to the Project page for a list of cabinets and the deadline is Sept. 30, 2016. Good luck to us all!

*’March’ replaced by ‘March 30 – May 1’ on S.1.16 at 1420 PDT.

Online art/science exhibit on stem cells and Canadians, Dr. Jim Till and Dr. Ernest McCulloch

Before getting to the exhibit, here’s some background information from Stacey Johnson’s July 22, 2016 posting on the Signals blog (Note: Links have been removed),

You would be hard-pressed to find a Canadian stem cell scientist who doesn’t know that Drs. Jim Till and Ernest McCulloch advanced medical research across the globe with their discovery, in 1961, of blood stem cells at Toronto’s Princess Margaret Hospital, today the Princess Margaret Cancer Centre.

Recently, a group of artists, doctors, scientists and educators launched an art exhibit based on Till and McCulloch. The group, NASCENT Art Science Collective, created portraits of the two men, produced drawings and designed banners to honour these pioneers and their ground-breaking work.

You can find the show, The Protean SELF here. Before clicking on the link I encourage you to read Johnson’s piece in its entirety. Whether you choose to read it further or not, I highly (!) recommend that you scroll down the exhibit page or click on Interpretive Guide for Museum of Health Care before when viewing the images and text otherwise it will seem a hodgepodge. The guide was for the real life exhibit, which is over.

The guide won’t answer all your questions but will help greatly to contextualize the images and the text. For example,

Hanging in the main windows are two banners by Elizabeth Greisman. Elizabeth has been extending her work on stem cells, their discovery by Dr. James Till and the importance of “ah hah’ moments to the field of dance. Elizabeth has worked with the National Ballet – cross fertilization through this work has expanded her understanding of the two defining features of stem cells – the ability to regenerate and the ability to differentiate.

That description applies to this image (I believe),

Artist: Elizabeth Greisman

Artist: Elizabeth Greisman

It’s also very helpful for understanding why there’s a fair chunk text devoted to open access,

On entering the museum, you will find a banner with an original written piece by Dr. James Till, produced for this show. Dr. Till has become a tireless advocate for Open Access. His words speak for themselves.

Artist: Dr. James Till. Formatted by Wendy Wobeser

Artist: Dr. James Till. Formatted by Wendy Wobeser

Enjoy!

Beatrix Potter and her science on her 150th birthday

July 28, 2016 was the 150th anniversary of Beatrix Potter‘s birthday. Known by many through her children’s books, she has left an indelible mark on many of us. Hop-skip-jump.com has a description of an extraordinary woman, from their Beatrix Potter 150 years page,

An artist, storyteller, botanist, environmentalist, farmer and impeccable businesswoman, Potter was a visionary and a trailblazer. Single-mindedly determined and ambitious she overcame professional rejection, academic humiliation, and personal heartbreak, going on to earn her fortune and a formidable reputation.

A July 27, 2016 posting by Alex Jackson on the Guardian science blogs provides more information about Potter’s science (Note: Links have been removed),

Influenced by family holidays in Scotland, Potter was fascinated by the natural world from a young age. Encouraged to follow her interests, she explored the outdoors with sketchbook and camera, honing her skills as an artist, by drawing and sketching her school room pets: mice, rabbits and hedgehogs. Led first by her imagination, she developed a broad interest in the natural sciences: particularly archaeology, entomology and mycology, producing accurate watercolour drawings of unusual fossils, fungi, and archaeological artefacts.

Potter’s uncle, Sir Henry Enfield Roscoe FRS, an eminent nineteenth-century chemist, recognised her artistic talent and encouraged her scientific interests. By the 1890s, Potter’s skills in mycology drew Roscoe’s attention when he learned she had successfully germinated spores of a class of fungi, and had ideas on how they reproduced. He used his scientific connections with botanists at Kew’s Royal Botanic Gardens to gain a student card for his niece and to introduce her to Kew botanists interested in mycology.

Although Potter had good reason to think that her success might break some new ground, the botanists at Kew were sceptical. One Kew scientist, George Massee, however, was sufficiently interested in Potter’s drawings, encouraging her to continue experimenting. Although the director of Kew, William Thistleton-Dyer refused to give Potter’s theories or her drawings much attention both because she was an amateur and a female, Roscoe encouraged his niece to write up her investigations and offer her drawings in a paper to the Linnean Society.

In 1897, Potter put forward her paper, which Massee presented to the Linnean Society, since women could not be members or attend a meeting. Her paper, On the Germination of the Spores of the Agaricineae, was not given much notice and she quickly withdrew it, recognising that her samples were likely contaminated. Sadly, her paper has since been lost, so we can only speculate on what Potter actually concluded.

Until quite recently, Potter’s accomplishments and her experiments in natural science went unrecognised. Upon her death in 1943, Potter left hundreds of her mycological drawings and paintings to the Armitt Museum and Library in Ambleside, where she and her husband had been active members. Today, they are valued not only for their beauty and precision, but also for the assistance they provide modern mycologists in identifying a variety of fungi.

In 1997, the Linnean Society issued a posthumous apology to Potter, noting the sexism displayed in the handling of her research and its policy toward the contributions of women.

A rarely seen very early Beatrix Potter drawing, A Dream of Toasted Cheese was drawn to celebrate the publication of Henry Roscoe’s chemistry textbook in 1899. Illustration: Beatrix Potter/reproduced courtesy of the Lord Clwyd collection (image by way of The Guardian newspaper)

A rarely seen very early Beatrix Potter drawing, A Dream of Toasted Cheese was drawn to celebrate the publication of Henry Roscoe’s chemistry textbook in 1899. Illustration: Beatrix Potter/reproduced courtesy of the Lord Clwyd collection (image by way of The Guardian newspaper)

I’m sure you recognized the bunsen burner. From the James posting (Note: A link has been removed),

London-born, Henry Roscoe, whose family roots were in Liverpool, studied at University College London, before moving to Heidelberg, Germany, where he worked under Robert Bunsen, inventor of the new-fangled apparatus that inspired Potter’s drawing. Together, using magnesium as a light source, Roscoe and Bunsen reputedly carried out the first flashlight photography in 1864. Their research laid the foundations of comparative photochemistry.

These excerpts do not give full justice to James’ piece which I encourage you to read in its entirety.

Should you be going to the UK and inclined to follow up further, there’s a listing of 2016 events being held to honour Potter on the UK National Trust’s Celebrating Beatrix Potter’s anniversary in the Lake District webpage.

Curiosity Collider event on May 4, 2016 (Vancouver, Canada)

The latest Curiosity Collider event in Vancouver, Canada is being billed as “Untold Stories of Collisions … between Art + Science Vol II. From an April 28, 2016 notice (received via email),

From Star Wars and blown glass, to knots and scents, join Curiosity Collider on May the 4th [2016] to celebrate collisions between art and science.

When: 8:00pm on Wednesday, May 4th, 2016. Doors open at 7:30pm.

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

Cost: $5.00 cover (sliding scale) at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

With Fascinating Stories by

Holman Wang (@JackandHolman) | Co-author of Star Wars Epic Yarns | Star Wars in Felt
Kelly Ablard (@kellyablard) | Biologist (olfactory communication) | Order Through Odour
Larissa Blokhuis (@LarissaBlokhuis) | Glass Artist | Nature in Blown Glass
Rob Scharein | Scientist, Digital Artist of LocoMoto Art Collective | Why Knots? A Tangled Tale…

Art & Science Open Mic

And back by popular demand, we are having another art-science open mic. 90 seconds to share your ideas, look for art-science collaborators, or showcase your own project!

Follow updates on twitter via @ccollider or #ArtSciStories2

You can find more information about the individual speakers here and I encourage you to do so if you have the time. There’s also a Facebook page where you can sign up for the event.