Tag Archives: art/science

Convergence at Canada’s Perimeter Institute: art/science and physics

It’s a cornucopia of convergence at Canada’s Perimeter Institute (PI). First, there’s a June 16, 2015 posting by Colin Hunter about converging art and science in the person of Alioscia Hamma,

In his professional life, Hamma is a lecturer in the Perimeter Scholars International (PSI) program and an Associate Professor at China’s Tsinghua University. His research seeks new insights into quantum entanglement, quantum statistical mechanics, and other aspects of the fundamental nature of reality.

Though he dreamed during his boyhood in Naples of one day becoming a comic book artist, he pursued physics because he believed – still believes – it is our most reliable tool for decoding our universe.

“Mathematics is ideal, clean, pure, and meaningless. Natural sciences are living, concrete, dirty, and meaningful. Physics is right in the middle, like the human condition,” says Hamma.

Art too, he says, resides in the middle ground between the world of ideals and the world as it presents itself to our senses.

So he draws. …

Perimeter Institute has provided a video where Hamma shares his ideas,

This is very romantic as in literature-romantic. If I remember rightly, ‘truth is beauty and beauty is truth’ was the motto of the romantic poets, Byron, Keats, and Shelley. It’s intriguing to hear similar ideas being applied to physics, philosophy, and art.

H/t to Speaking Up For Canadian Science regarding this second ‘convergence at PI‘. From the Convergence conference page on the Perimeter Institute website,

Convergence is Perimeter’s first-ever alumni reunion and a new kind of physics conference providing a “big picture” overview of fundamental physics and its future.

Physics is at a turning point. The most sophisticated experiments ever devised are decoding our universe with unprecedented clarity — from the quantum to the cosmos — and revealing a stunning simplicity that theory has yet to explain.

Convergence will bring together many of the world’s best minds in physics to probe the field’s most exciting ideas and chart a course for 21st century physics. The event will also celebrate, through commemorative lectures, the centenaries of two defining discoveries of the 20th century: Noether’s theorem and Einstein’s theory of general relativity.

Converge with us June 20-24. [Registration is now closed]

Despite registration being closed it is still possible to attend online,


Whether you’re at Convergence in person or joining us online, there are many ways to join the conversation:

You can find PI’s Convergence blog here.

Animation: art and science

Being in the process of developing an art/science piece involving poetry and visual metaphors as realized through video, I was quite fascinated to read about someone else’s process and issues in Stephen Curry’s and Drew Berry’s June 9, 2015 joint post on the Guardian science blogs (Note: Links have been removed),

Yesterday [June 8, 2015] I [Stephen Curry] was trying to figure out why it seems to be so difficult to connect to the biological molecules that we are made of – proteins, DNA and such like. My piece might have ended on a frustrated note but I have no wish to be negative, especially since the problem has only arisen because animators like Drew Berry are now able to use the results of structural biology to make quite exquisite movies of the molecules of life at work inside the cells of our bodies. As I was working though my difficulties, I wrote to ask Berry how he approached the task of representing molecular complexity in ways that would make sense to people. This is his considered and insightful reply:

“The goal of my [Drew Berry] work is to show non-experts – the general public aged 4 to 99, students of biology, journalists and politicians, and so on – what is being discovered in biology, in a format that is accessible, meaningful, and engaging. I hope that my work provides some sense of what biologists and medical researchers are discovering and thinking about, to provide the public with a framework of understanding to discuss these important new discoveries and the impact it will have on us as a society as we head into the future.

These passages, in particular, caught my attention as they are descriptive of the art and the science inherent in Berry’s work,

… I should avoid overstating how accurately I have depicted the reality of the molecular world. It is vastly messier, random and crowded, and it’s physical nature is unimaginably alien to our normal perception of the world around us. That said, my work is not intended to be a lab-bench-calculated model for research use, it is an impressionistic, artist-generated crude sketch of phenomena and structures science is measuring and discovering at the molecular scale.

… I would then assert that the animations are firmly founded on real data and are as accurate as I can possibly make them, while making them watchable and interpretable to a human audience. By far the largest portion of my time is spent conducting broad ranging literature reviews of the topic I am working on, gathering the fragments of data scattered throughout the journals, and holistically reconstructing what currently we know and do not know. Wherever data and models are available, I incorporate them directly into the construction of the animation, including molecular structures, dynamics simulations, speed measurements, and so on. My work is most akin to a ‘review’ paper in the literature, presented in visual form.

Here is one of the problems Berry and other animators struggle with,

… I am friends with the dozen or so people who are at the top of the game at creating biomedical animations (most have a PhD scientific background) and we all struggle with the problem of having a molecule arrive at a particular location from the thick molecular soup of the cytoplasm and not look directed. I can make the molecule wander around in a Brownian type manner, but for story telling and visual explanations, I need it to get to a certain point and do it’s thing at a certain time to move the story along. This can make it look determined and directed.

Berry also discusses the unexpected,

An unexpected outcome I stumbled across more than a decade ago is that the public loves it when ‘real time’ speeds are displayed and the structures and reactions are derived from research data. This takes a lot of time to build, but then the animations have a remarkable longevity of use and strongly resonate with the audience.

For the last excerpt from this essay, I include Berry’s description of one of his most challenging projects and the video he produced,

The most heavily researched and technically challenging animation I have ever built is the kinetochore which can be seen in the video below . The kinetochore is a gigantic structure that assembles on chromosomes just after they have been duplicated and helps them to be pulled apart during cell division (mitosis). It has about 200 proteins of which I depicted about 50. I gathered data from more than 180 scientific papers with everything built as accurately as possible with hundreds of little scientific details built into the structure and dynamics.”

There are more illustrations and one more video embedded along with more from Berry in the essay, which includes these biographical details (Note: Links have been removed),

Drew Berry is the Biomedical Animations Manager at the Walter and Eliza Hall Institute of Medical Research in Melbourne, Australia. @Stephen_Curry is a professor of structural biology at Imperial College [London, UK].

DNA (deoxyribonucleic acid), music, and data storage

David Bruggeman (Pasco Phronesis blog) has written up, as he so often does, a fascinating art/science piece in his May 28, 2015 post (Note: A link has been removed),

Opening next month [June 2015] at the Dilston Grove Gallery at GDP London is Music of the Spheres, an exhibition that uses bioinformatics to record music.  Dr. Nick Goldman of the European Bioinformatics Institute has been working on new technologies for encoding large amounts of information into DNA.  Collaborating with Charlotte Jarvis, the two have worked on installations of bubbles that would contain DNA encoded with music (the DNA is suspended in soap solution).

There’s more information about the exhibit on the Music of the Spheres webpage on the CGP London website,

Music of the Spheres utilises new bioinformatics technology developed by Dr. Nick Goldman to encode a new musical recording by the Kreutzer Quartet into DNA.

The DNA has been suspended in soap solution and will be used by visual artist Charlotte Jarvis to create performances and installations filled with bubbles. The recording will fill the air, pop on visitors skin and literally bathe the audience in music.

Dr. Nick Goldman and Charlotte Jarvis have been working together for the past year to create a series of moving visual and musical experiences that explore the scope and future ubiquity of DNA technologies.

The Kreutzer Quartet’s new composition for string quartet loosely follows the traditional form of a concerto, in comprising of three musical movements. The second movement only exists in the form of a recording encoded into DNA.

For the exhibition the DNA will be suspended in soap solution and used to create silent installations filled with bubbles. The bubbles will be accompanied by a video projection showing the musicians playing in the server room of the European Bioinformatics Institute, Cambridge.

In response to the growing challenge of storing vast quantities of biological data generated by biomedical research Dr. Nick Goldman and the European Bioinformatics Institute have developed a method to encode huge amounts of information in DNA itself. Every day the huge quantities and speed of data pouring into servers gets larger. When research groups sequence DNA the file sizes are too large to be kept on local computers. It is this problem that was the motivation for Nick Goldman to develop his new technology. Their goal is a system that will safely store the equivalent of one million CDs in a gram of DNA for 10,000 years. Nick’s work was has been featured in The New York Times, The Guardian and on BBC News amongst other media outlets.

The Kreutzer Quartet will play the full-length composition live during the preview on 12 June [2015] timed with the setting of the sun through the large westerly windows. [emphasis mine] During the passage of the second movement the stage will fall silent, the music will be released into the auditorium in the form of bubbles. The performance will be accompanied by film projection and a discussion about the project.

The exhibit runs from June 12 – July 5, 2015. Hours and location can be found on the CGP website.

The Music of the Spheres DNA/music project was first mentioned here in a May 5, 2014 post about the launch of the book ‘Synthetic Aesthetics: Investigating Synthetic Biology’s Designs on Nature’. The launch featured a number of performances and events, scroll down abut 80% of the way for the then description of Music of the Spheres.

2015 Science & You, a science communication conference in France

Science communicators can choose to celebrate June 2015 in Nancy, France and acquaint themselves with the latest and greatest in communication at the Science & You conference being held from June 1 – 6, 2015. Here’s the conference teaser being offered by the organizers,

The 2015 conference home page (ETA May 5, 2015 1045 hours PDT: the home page features change) offers this sampling of the workshops on offer,

No less than 180 communicators will be lined up to hold workshop sessions, from the 2nd to the 5th June in Nancy’s Centre Prouvé. In the meantime, here is an exclusive peek at some of the main themes which will be covered:

– Science communication and journalism. Abdellatif Bensfia will focus on the state of science communication in a country where major social changes are playing out, Morocco, while Olivier Monod will be speaking about “Chercheurs d’actu” (News Researchers), a system linking science with the news. Finally, Matthieu Ravaud and Fabrice Impériali from the CNRS (Centre National de Recherche Scientifique) will be presenting “CNRS Le journal”, the new on-line media for the general public.

– Using animals in biomedical research. This round-table, chaired by Victor Demaria-Pesce, from the Groupement Interprofessionnel de Réflexion et de Communication sur la Recherche (Gircor) will provide an opportunity to spotlight one of society’s great debates: the use of animals in research. Different actors working in biomedical research will present their point of view on the subject, and the results of an analysis of public perception of animal experimentation will be presented. What are the norms in this field? What are the living conditions of the animals in laboratories? How is this research to be made legitimate? This session will centre on all these questions.

– Science communication and the arts. This session will cover questions such as the relational interfaces between art and science, with in particular the presentation of “Pulse Project” with Michelle Lewis-King, and the Semaine du Cerveau (Brain Week) in Grenoble (Isabelle Le Brun).
Music will also be there with the talk by Milla Karvonen from the University of Oulu, who will be speaking about the interaction between science and music, while Philippe Berthelot will talk about the art of telling the story of science as a communication tool.

– Science on television. This workshop will also be in the form of a round table, with representatives from TVV (Vigyan Prasar, Inde), and Irene Lapuente (La Mandarina de Newton), Mico Tatalovic and Elizabeth Vidal (University of Cordoba), discussing how the world of science is represented on a mass media like television. Many questions will be debated, as for example the changing image of science on television, its historical context, or again, the impact these programmes have on audiences’ perceptions of science.

To learn more, you will find the detailed list of all the workshops and plenaries in the provisional programme on-line.

Science & You seems to be an ‘umbrella brand’ for the “Journées Hubert Curien” conference with plenaries and workshops and the “Science and Culture” forum, which may explain the variety of dates (June 1 – 6, June 2 – 5, and June 2 – 6) on the Science & You home page.

Here’s information about the Science & You organizers and more conference dates (from the Patrons page),

At the invitation of the President of the Université de Lorraine, the professors Etienne Klein, Cédric Villani and Brigitte Kieffer accepted to endorse Science & You. It is an honour to be able to associate them with this major event in science communication, in which they are particularly involved.

Cédric Villani, Fields Medal 2010

Cédric Villani is a French mathematician, the Director of the Institut Henri Poincaré and a professor at the Université Claude Bernard Lyon 1.
His main research interests are in kinetic theory (Boltzmann and Vlasov equations and their variants), and optimal transport and its applications (Monge equation).
He has received several national and international awards for his research, in particular the Fields Medal, which he received from the hands of the President of India at the 2010 International Congress of Mathematicians in Hyderabad (India). Since then he has played the role of spokesperson for the French mathematical community in media and political circles.
Cédric Villani regularly invests in science communication aiming at various audiences: conferences in schools, public conferences in France and abroad, regular participation in broadcasts and current affairs programmes and in science festivals.

Etienne Klein, physicist and philosopher

Etienne Klein is a French physicist, Director of Research at the CEA (Commissariat à l’énergie atomique et aux énergies alternatives – Alternative Energies and Atomic Energy Commission) and has a Ph.D. in philosophy of science. He teaches at the Ecole Centrale in Paris and is head of the Laboratoire de Recherche sur les Sciences de la Matière (LARSIM) at the CEA.

He has taken part in several major projects, such as developing a method of isotope separation involving the use of lasers, and the study of a particle accelerator with superconducting cavities. He was involved in the design of the Large Hadron Collider (LHC) at CERN.
He taught quantum physics and particle physics at Ecole Centrale in Paris for several years and currently teaches philosophy of science. He is a specialist on time in physics and is the author of a number of essays.
He is also a member of the OPECST (Conseil de l’Office parlementaire d’évaluation des choix scientifiques et technologiques – Parliamentary Office for the Evaluation of Scientific and Technological Choices), of the French Academy of Technologies, and of the Conseil d’Orientation (Advisory Board) of the Institut Diderot.
Until June 2014, he presented a weekly radio chronicle, Le Monde selon Etienne Klein, on the French national radio France Culture.

Photo by Philippe Matsas © Flammarion

Brigitte Kieffer, Campaigner for women in science

B. L. Kieffer is Professor at McGill University and at the Université de Strasbourg France. She is also Visiting Professor at UCLA (Los Angeles, USA). She develops her research activity at IGBMC, one of the leading European centres of biomedical research. She is recipient of the Jules Martin (French Academy of Science, 2001) and the Lounsbery (French and US Academies of Science, 2004) Awards, and has become an EMBO Member in 2009.
In 2012 she received the Lamonica Award of Neurology (French Academy of Science) and was nominated Chevalier de la Légion d’honneur. In December 2013 she was elected as a member of the French Academy of Sciences.
In March 2014, she received the International L’OREAL-UNESCO Award for Women in Science (European Laureate). She started as the Scientific Director of the Douglas Hospital Research Centre, affiliated to McGill University in January 2014, and remains Professor at the University of Strasbourg, France.

Photo by Julian Dufort

Here’s more about the conference at the heart of Science & You (from The Journées Hubert Curien International Conference webpage),

Following on the 2012 conference, this project will bring together all those interested in science communication: researchers, PhD students, science communicators, journalists, professionals from associations and museums, business leaders, politicians… A high-level scientific committee has been set up for this international conference, chaired by Professor Joëlle Le Marec, University of Paris 7, and counting among its members leading figures in science communication such as Bernard Schiele (Canada) or Hester du Plessis (South Africa).

The JHC Conference will take place from June 2nd to 6th at the Centre Prouvé, Nancy. These four days will be dedicated to a various programme of plenary conferences and workshops on the theme of science communication today and tomorrow.

You can find the Registration webpage here where you can get more information about the process and access the registration form.

Dark Matter at Vancouver’s (Canada) PUSH Festival, Jan. 28 – 30, 2015

With a title like Dark Matter, my expectation is for an art/science theatrical piece but the performance description makes a murky mess of my expectation (from the 2015 PuSH Festival’s Dark Matter webpage on the Simon Fraser University website; Note: A link has been removed),

Like so much good art, Dark Matter defies categorization. Creator Kate McIntosh takes the weightiest issues—time, space and existence—and turns them into wild, anarchic play. You might call this a musical about the universe—the one we know and others that may exist. Or you might say it’s an exploration of the mind/body problem—with the emphasis on bodies. It has billowing smoke, propulsive percussion, powerful symbolism and crazy dance. A woman stands before you with a mic and asks questions, some of which have no answer. You can think about them while you’re watching the universe being poured into a glass, darkness coming out of a paper bag, dancers being dragged across the stage with lassoes. What does it all add up to? The answer will be different for everyone, but one thing’s for sure: no one will emerge unshaken. With her two performance partners, McIntosh has produced a triumph of physical performance, of theatrical conjecture, and, most of all, of imagination.

Here’s a Dark Matter trailer McIntosh has made available,

The show seems to have had its start in 2009 when the science aspect was more explicitly part of the performance, from McIntosh’s Spin website (Performances webpage),

Dark Matter a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, Dark Matter approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

There’s also a Nov. 22, 2009 review of that Dark Matter version on the Utopia Parkway blog (Note: A link has been removed),

A parallel universe. It’s always nice when a performer succeeds in taking you there. Some silly jokes delivered with a straight face, a couple of scientific experiments going wrong in the best Tommy Cooper-tradition, a leading lady pretending to be in control of everything, and a story taking a few absurd turns. That’s how Kate McIntosh won me over. And of course it always helps to throw in some balloons and twinkling stars too.

Intriguing, non? Although the show has likely undergone some changes over the years. In any case, here are the logistical details for the event in Vancouver, From the 2015 PuSH Festival Dark Matter webpage,

Fei & Milton Wong Experimental Theatre, SFU’s Goldcorp Centre for the Arts
149 West Hastings Street, Vancouver (Level B2)

January 28–30 (2015)
80 Minutes (No intermission)


Thursday, Jan. 29, 2015, there will be a post-performance artist’s talk at the Scotiabank Dance Centre (the talk is included free with the performance on Jan. 29). You can get more details about the talk at PuSH Conversations webpage. The moderator for the session, Maiko Bae Yamamoto is the Artistic Director of Vancouver-based Theatre/Replacement.

Quantum; the dance performance about physics in Vancouver, Canada (2 of 2)

Gilles Jobin kindly made time to talk about his arts residency at CERN (European Particle Physics Laboratory) prior to the performances of Quantum (a dance piece resulting from the residency) from Oct. 16 -18, 2014 at Vancouver’s Dance Centre.

Jobin was the first individual to be selected as an artist-in-residence for three months in the CERN/Geneva programme (there is another artist-in-residence programme at the laboratory which is the CERN/Ars Electronica programme). Both these artist-in-residence programmes were announced in the same year, 2011. (You can find out more about the CERN artist-in-residence programmes on the Collide@CERN webpage,

As a main strategy of CERN’s Cultural Policy for Engaging with the Arts, Collide@CERN is a 3-year artist’s residency programme initiated by Arts@CERN in 2011.

By bringing world-class artists and scientists together in a free exchange of ideas, the Collide@CERN residency programme explores elements even more elusive than the Higgs boson: human ingenuity, creativity and imagination.

See below for more information about the Collide@CERN artist residency programmes:

Collide@CERN Geneva Residency

Prix Ars Electronica Collide@CERN Residency

The Collide@CERN prize – an open call to artists working in different art forms to win a fully funded residency – will be awarded annually in two strands (Collide@CERN Geneva and Prix Ars Electronica Collide@CERN) until 2013. It comprises prize money and a residency grant for up to 3 months at CERN.

The winning artists will interact and engage with CERN scientists in order to take their artistic work to new creative dimensions.

The awards are made following two annual international open calls and the jury comprises the cultural partners as well as representatives from Arts@CERN, including scientists.

Planned engagement with artists at CERN is a relatively new concept according to an August 4, 2011 CERN press release,

Today CERN1 launches its cultural policy for engaging with the arts. Called ‘Great Arts for Great Science’, this new cultural policy has a central strategy – a selection process for arts engagement at the level of one of the world’s leading research organizations.

“This puts CERN’s engagement with the arts on a similar level as the excellence of its science,” said Ariane Koek, CERN’s cultural specialist.

CERN’s newly appointed Cultural Board for the Arts will be the advisers and guardians of quality. It is made up of renowned cultural leaders in the arts from CERN’s host-state countries: Beatrix Ruf, Director of the Kunsthalle Zurich; Serge Dorny, Director General of the Lyon Opera House; Franck Madlener, Director of the music institute IRCAM in Paris. Geneva and CERN are represented by Christoph Bollman of ArtbyGenève and Michael Doser, an antimatter scientist. Membership of the board is an honorary position that will change every three years.

The Cultural Board will select one or two art projects a year to receive a CERN letter of approval, enabling these projects to seek external funding for their particle-physics inspired work. This will also build up an international portfolio of CERN-inspired work over the years to come, in conjunction with the Collide@CERN (link sends e-mail) Artists Residency Programme, details of which will be announced in the coming month.

To date, Jobin is the only choreographer to become, so to speak, a member of the CERN community. It was a position that was treated like a job. Jobin went to his office at CERN every day for three months to research particle physics. He had two science advisors, Nicholas Chanon and Michael Doser to help him gain an understanding of the physics being studied in the facility. Here’s Jobin describing his first experiences at CERN (from Jobin’s Collide Nov. 13, 2012 posting),

When I first arrived at Cern, I was captivated by the place and overwhelmed by the hugeness of the subject: Partical [sic] physics… And I had some serious catch up to do… Impressed by the two introduction days in which I had the opportunity to meet many different scientists, Ariane Koeck told me “not to panic” and “to spend my first month following my instinct and not my head…”. …

I found out about the 4 fundamental forces and the fact that gravity was the weakest of all the forces. For a contemporary dancer formed basically around the question of gravity and “groundness” that came as a total shock! I was not a “pile of stuff”, but particles bound together by the strong force and “floating” on the surface of the earth… Me, the earth, you readers, the LHC flying at incredible speed through space, without any of us, (including the physicists!) noticing anything…  Stardust flying into space… I was baffled…

Jobin was required deliver two public lectures, one at the beginning of his residency and the other at the end, as well as, a series of ‘interventions’. He instituted four ‘interventions’, one each in CERN’s library, data centre, anti-matter hall, and cafeteria. Here’s an image and a description of what Jobin was attempting with his library intervention (from his Nov. 13, 2012 posting),

CERN library dance intervention Credit: Gilles Jobin

CERN library dance intervention Credit: Gilles Jobin

 My idea was to “melt” our bodies into the timeline of the library. Like time chameleons, we were to adapt our movements and presence to the quiet and studious atmosphere of the library and be practically unnoticed. My postulate was to imagine that the perception of time is relative; there was a special texture to “time” inside the library. How long is an afternoon in a library? Never ending or passing by too quickly? It is a shared space, with the unique density you can feel in studious atmosphere and its user’s different virtual timelines. We melted into the element of the library and as we guessed, our “unusual” presence and actions did not create conflicts with our surroundings and the students at work. It was a bit like entering slowly into water and becoming part of the element without disturbing its balance. The time hypothesis worked… I wanted to do more site specific interventions in Cern because I was learning things differently. Some understanding was going through my body. Being in action into the labs…

It was only after the residency was completed that he started work on Quantum (producing a dance piece was not a requirement of the residency). After the residency, he did bring his science advisors, Chanon and Doser to his studio and brought his studio to CERN. Jobin managed to get rehearsal time in one of the halls that is 100 metres directly above the large hadron collider (LHC) during the time period when scientists were working to confirm the existence of the Higgs Boson). There were a number of announcements ‘confirming’ the Higgs. They started in July 2012 and continued, as scientists refined their tests, to March 2013 (Wikipedia entry)  when a definitive statement was issued. The definitive statement was recently followed with more confirmation as a June, 25, 2014 article by Amir Aczel for Discover declares Confirmed: That Was Definitely the Higgs Boson Found at LHC [large hadron collider].

As scientists continue to check and doublecheck, Jobin presented Quantum in October 2013 for the first time in public, fittingly, at CERN (from Jobin’s Oct. 3, 2013 blog posting),



Jobin was greatly influenced by encounters at CERN with Julius von Bismarck who won the 2012 Prix Ars Electronica Collide@CERN Residency and with his science advisors, Dosen and Chanon. Surprisingly, Jobin was also deeply influenced by Richard Feynman (American physicist; 1918 – 1988). “I loved his approach and his humour,” says Jobin while referring to a book Feynman wrote, then adding,  “I used Feynman diagrams, learning to draw them for my research and for my choreographic work on Quantum.”

For those unfamiliar with Feynman diagrams, from the Wikipedia entry (Note: Links have been removed),

In theoretical physics, Feynman diagrams are pictorial representations of the mathematical expressions describing the behavior of subatomic particles. The scheme is named for its inventor, American physicist Richard Feynman, and was first introduced in 1948. The interaction of sub-atomic particles can be complex and difficult to understand intuitively, and the Feynman diagrams allow for a simple visualization of what would otherwise be a rather arcane and abstract formula.

There’s also an engaging Feb. 14, 2010 post by Flip Tanedo on Quantum Diaries with this title, Let’s draw Feynman diagrams! and there’s this paper, by David Kaiser on the Massachusetts Institute of Technology website, Physics and Feynman’s Diagrams; In the hands of a postwar generation, a tool intended to lead quantum electrodynamics out of a decades-long morass helped transform physics. In the spirit of Richard Feynman, both the Tanedo post and Kaiser paper are quite readable. Also, here’s an example (simplified) of what a diagram (from the Quantum Diaries website) can look like,

[downloaded from http://www.quantumdiaries.org/2010/02/14/lets-draw-feynman-diagams/]

[downloaded from http://www.quantumdiaries.org/2010/02/14/lets-draw-feynman-diagams/]

Getting back to Quantum (dance), Jobin describes this choreography as a type of collaboration where the dancers have responsibility for the overall look and feel of the piece. (For more details, Jobin describes his ‘momement generators’ in the radio interview embedded in part 1 of this piece on Quantum.)

In common with most contemporary dance pieces, there is no narrative structure or narrative element to the piece although Jobin does note that there is one bit that could be described as a ‘Higgs moment’ where a dancer is held still by his or her feet, signifying the Higgs boson giving mass to the universe.

As to why Vancouver, Canada is being treated to a performance of Quantum, Jobin has this to say, “When I knew the company was traveling to New York City and then San Francisco, I contacted my friend and colleague, Mirna Zagar, who I met at a Croatian Dance Week Festival that she founded and produces every year.”  She’s also the executive director for Vancouver’s Dance Centre. “After that it was easy.”

Performances are Oct. 16 – 18, 2014 at 8 pm with a Post-show artist talkback on October 17, 2014.

Compagnie Gilles Jobin

$30/$22 students, seniors, CADA members/$20 Dance Centre members
Buy tickets online or call Tickets Tonight: 604.684.2787 (service charges apply to telephone bookings)

You can find part 1 of this piece about Quantum in my Oct. 15, 2014 posting. which includes a video, a listing of the rest of the 2014 tour stops, a link to an interview featuring Jobin and his science advisor, Michael Doser, on a US radio show, and more.

Finally, company dancers are posting video interviews (the What’s Up project mentioned in part 1) with dancers they meet in the cities where the tour is stopping will be looking for someone or multiple someones in Vancouver. These are random acts of interviewing within the context of the city’s dance community.

Vancouver’s Georgia Straight has featured an Oct. 15, 2014 article by Janet Smith about Jobin and his particle physics inspiration for Quantum.

The Higgs boson on its own has inspired other creativity as noted in my Aug. 1, 2012 posting (Playing and singing the Higgs Boson).

As noted in my Oct. 8, 2013 post, Peter Higgs (UK) after whom the particle was named  and François Englert (Belgium) were both awarded the 2013 Nobel Prize in Physics for their contributions to the theory of the Higgs boson and its role in the universe.

Quantum; an upcoming dance performance in Vancouver, Canada (1 of 2)

Oct. 16 – 18, 2014 are the Vancouver (Canada) dates when you can catch Compagnie Gilles Jobin performing its piece, Quantum, based on choreographer Gilles Jobin’s residency CERN (Europe’s particle physics laboratory). The Vancouver stop is part of a world tour which seems to have started in New York City (US) and San Francisco (US).

News flash: There is a special lecture by Gilles Jobin at TRIUMF, Canada’s National Laboratory for Particle and Nuclear Physics at 11 am on Oct. 15, 2014 in the auditorium. Instructions for getting to TRIUMF can be found here.

Back to the tour, here’s what the dance company has planned for the rest of October and November (Chile is Chili, Brazil is Brésil, Switzerland is Suisse and Peru is Pérou in French), from the gillesjobin.com Tour webpage,

– 21 octobre
Festival Danzalborde – Centro Cultural Matucana 100 – Santiago de Chile – Chili

– 23 octobre
Festival Danzalborde – Parque Cultural de Valparaiso, Valparaiso – Chili

– 26 octobre
Bienal Internacional de dança do Ceará – Fortaleza – Brésil

– 29 et 30 octobre
En collaboration avec swissnex Brésil au Forum Internacional de dança FID, Centro Cultural Banco do Brasil – Belo Horizonte – Brésil

– 2 novembre
En collaboration avec swissnex Brésil au Festival Panorama, Teatro Carlos Gomes – Rio de Janeiro – Brésil

– Du 6 au 9 novembre
Arsenic – Lausanne – Suisse

– Du 13 au 15 novembre
Arsenic – Lausanne – Suisse

– 21 et 22 novembre
Festival de Artes Escenicas de Lima FAEL – Teatro Municipal, Lima – Pérou

As ambitious as this touring programme seems, it can’t be any more ambitious than trying to represent modern physics in dance. Here’s more about Quantum from the (Vancouver) Dance Centre’s events page,

Art and science collide in QUANTUM, the result of Gilles Jobin’s artistic residency at the largest particle physics laboratory in the world – CERN in Geneva, where he worked with scientists to investigate principles of matter, gravity, time and space in relation to the body. Six dancers power through densely textured, sculptural choreography, to evoke the subtle balance of forces that shape our world. Illuminated by Julius von Bismarck’s light-activated kinetic installation built from industrial lamps, and accompanied by an electronic score by Carla Scaletti which incorporates data from the Large Hadron Collider, QUANTUM epitomizes the adventurous, searching spirit of artistic and scientific inquiry.

Response to the performances in New York City were interesting, that is to say, not rapturous but intriguing nonetheless. From an Oct. 3, 2014 review by Gia Kourlas for the New York Times,

Performed Thursday night [Oct. 2, 2014] at the Fishman Space at BAM Fisher — and included in the French Institute Alliance Française’s Crossing the Line festival — this spare 45-minute work is a duet of movement and light. Instead of dramaturges, there are scientific advisers. Jean-Paul Lespagnard’s jumpsuits reimagine particles as a densely patterned uniform of green, purple and white. (They’re cute in a space-camp kind of way.) Carla Scaletti’s crackling, shimmering score incorporates data from the Large Hadron Collider, CERN’s powerful particle accelerator.

But in “Quantum,” translating scientific ideas, however loosely, into dance vocabulary is where the trouble starts. A lunge is still a lunge.

Robert P Crease in an Oct. 7, 2014 posting (for Physics World on the Institute of Physics website) about one of the performances in New York City revealed something about his relationship to art/science and about Gilles Jobin’s work,

I’m fascinated by the interactions between science and culture, which is what led me to the Brooklyn Academy of Music (BAM), which was hosting the US première of a dance piece called Quantum that had previously debuted where it had been created, at CERN. …

I ran into Gilles Jobin, who had choreographed Quantum during an artist’s residency at CERN. I asked him the following question: “If a fellow choreographer who knew nothing about the piece were to watch it, is there anything in the movement or structure of the work that might cause that person to say ‘That choreographer must have spent several months at a physics lab!’?” Gilles paused, then said “No.” The influence of the laboratory environment, he said, was in inspiring him to come up with certain kinds of what he called “movement generators”, or inspirations for the dancers to create their own movements. “For instance, all those symmetries – like ghost symmetries – that I didn’t even know existed!” he said. I asked him why he had chosen the work’s title. “I considered other names,” he said. “Basically, Quantum was just a convenient tag that referred to the context – the CERN laboratory environment – in which I had created the work.”

Jobin and Michael Doser (Senior research physicist at CERN) talked to Ira Flatow host of US National Public Radio’s (NPR) Science Friday programme in an Oct. 3, 2014 broadcast which is available as a podcast on the Dance and Physics Collide in ‘Quantum’ webpage. It’s fascinating to hear both the choreographer and one of the CERN scientists discussing Jobin’s arts residency and how they had to learn to talk to each other.

NPR also produced a short video highlighting moments from one of the performances and showcasing Jobin’s commentary,

Produced by Alexa Lim, Associate Producer (NPR, Science Friday)

The Dance Centre (Vancouver) has an Oct. 7, 2014 post featuring Jobin on its blog,

How did you get involved with dance?

I wanted to be an actor and thought it was a good idea to take dance classes. Later, back at acting classes I realized how comfortable I was with movement and uncomfortable with words. I must admit that I was a teenager at the time and the large majority of girls in the dance classes was also a great motivation…

Have you always been interested in science?

I was an arty kid that did not have any interest in science. I was raised in an artistic family – my father was a geometrical painter – I thought science was not for me. Art, literature, “soft” science, theatre, that was my thing. It was only at the age of 48, in one of the greatest laboratories there is, that I started to see that I could become “science able”. I realized that particle physics was not only about math, but also had great philosophical questions: that I could get the general sense of what was going down there and follow with passion the discovery. Science is like contemporary art, you need to find the door, but when you get in you can take everything on and make up your own mind about it without being a specialist or a geek.

If you didn’t have a career in dance, what might you be doing?

Ski instructor!

Adding their own measure of excitement to this world tour of Quantum, the company’s dancers are producing videos of interviews with choreographers and dancers local to the city the company is visiting (from the What’s Up project page or the gillesjobin.com website),

WHAT’S UP est un projet des danseurs de la Cie Gilles Jobin : Catarina Barbosa, Ruth Childs, Susana Panadés Díaz, Bruno Cezario, Stanislas Charré et Denis Terrasse .

Dans chaque ville visitée pendant la tournée mondiale de QUANTUM, ils partent à la rencontre des danseurs/chorégraphes pour connaître le contexte de la danse contemporaine locale et partager leurs différentes réalités.

Retrouvez ici toutes les interviews

The latest interview is an Oct. 10, 2014 video (approximate 2 mins.) focusing on Katherine Hawthorne who in addition to being a dancer trained as a physicist.

Part 2 is based on an interview I had with Gilles Jobin on Tuesday, Oct. 14, 2014 an hour or so after his and his company’s flight landed in Vancouver.

Fun Palaces for artists, scientists, and everyone in the UK, Oct. 4 – 5, 2014

The Fun Palace project is a celebration of UK theatre visionary and director, Joan Littlewood’s centenary in Oct. 2014. Stella Duffy, one of the project organizer’s provides some  insight into why Littlewood is considered an important influence, the origin of the ‘Fun Palace’, and the genesis of the upcoming celebration in a Sept. 18, 2013 posting on the Guardian newspaper website (Note: Links have been removed),,

In January, at Improbable’s annual Devoted and Disgruntled event, I called one session: “Who wants to do something for Joan Littlewood’s centenary in October 2014, that isn’t another revival of Oh! What a Lovely War?”

Oh! What a Lovely War, which Joan developed, is brilliant, but with the first world war anniversary next year, there will be many revivals and Joan was more than a director. She was one of the few British directors (before or since) to work fully with an ensemble, from training to performance. She made “immersive” theatre long before immersive was cool. She kick-started improvisation in the UK. She was political, formidable, inspiring, and far ahead of her time.

In 1961, Joan and the architect Cedric Price came up with the idea of the fun palace. Their blueprint says:

“Choose what you want to do – or watch someone else doing it. Learn how to handle tools, paint, babies, machinery, or just listen to your favourite tune. Dance, talk or be lifted up to where you can see how other people make things work. Sit out over space with a drink and tune in to what’s happening elsewhere in the city. Try starting a riot or beginning a painting – or just lie back and stare at the sky.”

An idea descended from pleasure gardens, the fun palace was designed to link arts and sciences, entertainment and education, in a space welcoming to all – especially children and young people.

A year later, the idea has not only taken root, it has grown. Here’s more about Fun Palaces from co-organizers Stella Duffy and Sarah-Jane Rawlings in a Sept. 25, 2014 interview with Eleanor Turney of The Space (a digital arts museum in the UK ).

At Devoted&Disgruntled in 2013, Stella Duffy called a session asking if anyone wanted to do “a thing” to celebrate Joan Littlewood’s centenary. It quickly became apparent that the “thing” was going to be reviving Littlewood’s idea of a ‘Fun Palace’, a community-run, free space for people to explore the arts and sciences. Several people responded, a small GfA grant followed and Fun Palaces snowballed, as more and more people got involved, and Duffy and Sarah-Jane Rawlings started to articulate exactly what they wanted the project to be. This was followed by an Arts Council England Exceptional Award – which Duffy describes as “astonishing… It’s all becoming real now, but it’s still astonishing to me that they gave us this grant. I’m not the kind of person who always gets funding, but this is too fucking good an idea. Also, it’s not about us. It’s about the whole thing, which they [ACE] quite bravely saw.”

Rawlings continues: “The idea has developed so much, it’s always changing, we’re learning all the time. Our relationship with the site that The Space is making has changed – it’s now really key to how all of this develops. If we don’t get any money next year, [Fun Palaces] can still can go forward, because at the centre of it is this communication tool. It’s about people talking to each other, about showing their art on it, being able to say ‘I am making a Fun Palace,’ being able to access other avenues. It’s absolutely huge.”

“My favourite new phrase is ‘equality of online presence’,’ says Duffy, ‘and the point is that everyone has the same platform. It’s got nothing to do with what an organisation’s own resources are; on this site, everyone’s got the same profile, the same start, which is amazing.” The site, which The Space has commissioned, offers a page to each of the participating Fun Palaces: “You can put photos on it, videos, art work, links etc.,’ explains Rawlings. Over the weekend and in the run-up to it, says Duffy, “there’ll be a scrolling banner which has the Instagram and Twitter feeds. It’s not just about the weekend itself, it’s about the process. Some of the organisations that have never shown their process before have started sharing photos, writing blogs, talking about their process. The idea is, during the weekend when lots of people are sharing, that the scrolling banner will pull through the Instragram feed and it’ll look ‘live’ with stuff happening all the time. And afterwards, it’s not getting archived and put away – we’ll make a collage of the photos, and an infographic of stats from the weekend, which will ‘hold’ 2014, but it’s also all ready for people to sign up for 2015.”

The emphasis in this interview is on the project’s digital presence which is understandable given that the interview is being conducted by someone associated with a digital arts museum but there are many real life ‘Fun Palaces’ designed for this coming weekend, Oct. 4 – 5, 2014.

You can find the Fun Palace website here and if you should choose to create a Fun Palace, the organizers have provided this nugget of information/inspiration on the FAQs (frequently asked questions) page amongst many other nuggets on the website,

How do I find people in arts and science to make a Fun Palace with me?

Go beyond the usual suspects: the people who make school dinners know about the science of cooking, the person who mends your car knows a lot about the science of mechanics; your local librarian knows about arts and sciences and where to find out more.

Think about where you might be able to approach people in your locality: makerspaces, tech meet-ups, universities, schools, children’s centres, theatres, arts spaces, galleries, museums, music venues, community centres, co-working spaces. Places where people are meeting and sharing regularly, or where there’s a strong grassroots support network.

Also, you can talk to other members of the Fun Palace community on our Discussion Boards. If you’re stuck for ideas, then contact our Digital Champion Hannah on hn@funpalaces.co.uk (she works part time).  

Remember that even if there isn’t a Fun Palace near you in real life, there will be an online version.

For anyone interested in The Space, it was first featured here in a June 16, 2014 posting.

Science for your imagination

David Bruggeman over on his Pasco Phronesis has two postings which highlight different approaches to communicating about science. His Aug. 31, 2014 posting features audio plays (Note: Links have been removed),

L.A. Theatre Works makes a large number of their works available via audio. Its Relativity series (H/T Scirens) is a collection of (at this writing) 25 plays with science and technology either as themes and/or as forces driving the action of the play. You’re certainly familiar with War of the Worlds, and you may have heard of the plays Arcadia and Copenhagen. The science covered in these plays is from a number of different fields, and some works will try to engage the audience on the social implications of how science is conducted. The casts have many familiar faces as well. …

You can find the Relativity Series website here where the home page features these (amongst others),


Jason Ritter and Mandy Siegfried star in a new play about love between gun-shy young scientists.


The story of Alan Turing, an early pioneer in computer science, and his struggle to live authentically while serving his country.


A respected physician must choose between the lives of two terminally ill men in George Bernard Shaw’s sharp-tongued satire of the medical profession.


It’s London, 1879, and the members of the Explorers Club must confront their most lethal threat yet: the admission of a woman into their scientific ranks.


The Scopes Monkey Trial of 1925 comes to life as William Jennings Bryan and Clarence Darrow square off over human evolution and the divide between faith and science.


Miriam Margolyes stars as Rosalind Franklin, whose work led directly to the discovery of the DNA “double helix.”


A teenage misfit is coming of age in the comforting glow of late-night horror movies. But when reality begins to intrude on his fantasy world, he realizes that hiding in the closet is no longer an option.

David’s Aug. 26, 2014 posting features Hieroglyph, a project from Arizona State University’s (ASU) Center for Science and the Imagination (Note: A link has been removed),

Next month [Sept. 2014] William Morrow will release Hieroglyph, a collection of science fiction short stories edited by the Director of the Center for Science and the Imagination at Arizona State University.  The name of the collection is taken from a theory advanced by science fiction writer Neil [Neal] Stephenson, and a larger writing project of which this book is a part.  The Hieroglyph Theory describes the kind of science fiction that can motivate scientists and engineers to create a future.  A Hieroglyph story provides a complete picture of the future, with a compelling innovation as part of that future.  An example would be the Asimov model of robotics.

Heiroglyph was first mentioned here in a May 7, 2013 posting,

The item which moved me to publish today (May 7, 2013), Can Science Fiction Writers Inspire The World To Save Itself?, by Ariel Schwartz concerns the Hieroglyph project at Arizona State University,

Humanity’s lack of a positive vision for the future can be blamed in part on an engineering culture that’s more focused on incrementalism (and VC funding) than big ideas. But maybe science fiction writers should share some of the blame. That’s the idea that came out of a conversation in 2011 between science fiction author Neal Stephenson and Michael Crow, the president of Arizona State University.

If science fiction inspires scientists and engineers to create new things–Stephenson believes it can–then more visionary, realistic sci-fi stories can help create a better future. Hence the Hieroglyph experiment, launched this month as a collaborative website for researchers and writers. Many of the stories created on the platform will go into a HarperCollins anthology of fiction and non-fiction, set to be published in 2014.

As it turns out, William Morrow Books is a a HarperCollins imprint. You can read a bit more about the book and preview some of the contents from the Scribd.com Hieroglyph webpage which includes this table of contents (much better looking in the Scribd version),


Good on the organizers for being able to follow through on their promise to have something published by HarperCollins in 2014.

This book is not ASU’s Center for Science and the Imagination’s only activity. In November 2014, Margaret Atwood, an internationally known Canadian novelist, will visit the center (from the center’s home page),

Internationally renowned novelist and environmental activist Margaret Atwood will visit Arizona State University this November to discuss the relationship between art and science, and the importance of creative writing and imagination for addressing social and environmental challenges.

Atwood’s visit will mark the launch of the Imagination and Climate Futures Initiative, a new collaborative venture at ASU among the Rob and Melani Walton Sustainability Solutions Initiatives, the Center for Science and the Imagination and the Virginia G. Piper Center for Creative Writing. Atwood, author of the MaddAddam trilogy of novels that have become central to the emerging literary genre of climate fiction, or “CliFi,” will offer the inaugural lecture for the initiative on Nov. 5.

“We are proud to welcome Margaret Atwood, one of the world’s most celebrated living writers, to ASU and engage her in these discussions around climate, science and creative writing,” said Jewell Parker Rhodes, founding artistic director for the Virginia G. Piper Center for Creative Writing and the Piper Endowed Chair at Arizona State University. “A poet, novelist, literary critic and essayist, Ms. Atwood epitomizes the creative and professional excellence our students aspire to achieve.”

Focusing in particular on CliFi, the Imagination and Climate Futures Initiative will explore how imaginative skills can be harnessed to create solutions to climate challenges, and question whether and how creative writing can affect political decisions and behavior by influencing our social, political and scientific imagination.

“ASU is a leader in exploring how creativity and the imagination drive the arts, sciences, engineering and humanities,” said Ed Finn, director of the Center for Science and the Imagination. “The Imagination and Climate Futures Initiative will use the thriving CliFi genre to ask the hard questions about our cultural relationship to climate change and offer compelling visions for sustainable futures.”

The multidisciplinary Initiative will bring together researchers, artists, writers, decision-makers and the public to engage in research projects, teaching activities and events at ASU and beyond. The three ASU programs behind the Imagination and Climate Futures Initiative have a track record for academic and public engagement around innovative programs, including the Sustainability Solutions Festival; Emerge; and the Desert Nights, Rising Stars Writers Conference.

“Imagining how the future could unfold in a climatically changing world is key to making good policy and governance decisions today,” said Manjana Milkoreit, a postdoctoral fellow with the Walton Sustainability Solutions Initiatives. “We need to know more about the nature of imagination, its relationship to scientific knowledge and the effect of cultural phenomena such as CliFi on our imaginative capabilities and, ultimately, our collective ability to create a safe and prosperous future.”

Kind of odd they don’t mention Atwood’s Canadian, eh?

There’s lots more on the page which features news bits and articles, as well as, event information. Coincidentally, another Canuck (assuming he retains his citizenship after several years in the US) visited the center on June 7, 2014 to participate in an event billed as ‘An evening with Nathan Fillion and friends;; serenity [Joss Whedon’s tv series and movie], softwire, and science of science fiction’. A June 21, 2014 piece (on the center home page) by Joey Eschrich describes the night in some detail,

Nathan Fillion may very well be the friendliest, most unpretentious spaceship captain, mystery-solving author and science fiction heartthrob in the known universe. The “ruggedly handsome” star of TV’s “Castle” was the delight of fans as he headlined a fundraiser on the Arizona State University campus in Tempe, June 7 [2014].

The “Serenity, Softwire, and the Science of Science Fiction” event, benefiting the ASU Department of English and advertised as an “intimate evening for a small group of 50 people,” included considerable face-time with Fillion, who in-person proved surprisingly similar to the witty, charming and compassionate characters he plays on television and in film.

Starring with Fillion in the ASU evening’s festivities were science fiction author PJ Haarsma (a close friend of Fillion’s) along with ASU professors Ed Finn, director of the Center for Science and the Imagination; Peter Goggin, a literacy expert in the Department of English and senior scholar with the Global Institute of Sustainability; and School of Earth and Space Exploration faculty Jim Bell, an astronomer, and Sara Imari Walker, an astrobiologist. In addition to the Department of English, sponsors included ASU’s College of Liberal Arts and Sciences and Center for Science and the Imagination.

The event began with each panelist explaining how he or she arrived at his or her respective careers, and whether science or science fiction played a role in that journey. All panelists pointed to reading and imagining as formational to their senses of themselves and their places in life.

A number of big questions were posed to the panelists: “What is the likelihood of life on other planets?” and “What is the physical practicality of traveling to other planets?” ASU scientists Bell and Walker deftly fielded these complex planetary inquiries, while Goggin and Finn explained how the intersection of science and humanities – embodied in science fiction books and film – encouraged children and scholars alike to think creatively about the future. Attendees reported that they found the conversation “intellectually stimulating and thought-provoking as well as fun and entertaining.”

During the ensuing discussion, Haarsma and Fillion bantered back and forth comically, as we are told they often do in real life, at one point raising the group’s awareness of the mission they have shared for many years: promoting reading in the lives of young people. The two founded the Kids Need to Read Foundation, which provides books to underserved schools and libraries. Fillion, the son of retired English teachers, attended Concordia University of Alberta [no], where he was a member of the Kappa Alpha Society, an organization that emphasizes literature and debate. His brother, Jeff, is a highly respected school principal. Fillion’s story about the importance of books and reading in his childhood home was a rare moment of seriousness for the actor.

The most delightful aspect of the evening, according to guests, was the good nature of Fillion himself, who arrived with Haarsma earlier than expected and stayed later than scheduled. Fillion spent several minutes with each individual or group of friends, laughing with them, using their phone cameras to snap group “selfies” and showing a genuine interest in getting to know them.

Audience members each received copies of science fiction books: Haarsma’s teen novel, “Softwire: Virus on Orbis I,” and the Tomorrow Project science fiction anthology “Cautions, Dreams & Curiosities,” which was co-produced by the Center for Science and the Imagination with Intel and the Society for Science & the Public. Guests presented their new books and assorted other items to Fillion and Haarsma for autographing and a bit more conversation before the evening came to a close. It was then time for Fillion to head back downtown to his hotel, but not before one cadre of friends “asked him to take one last group shot of us at the end of the night, to which he replied with a smile, ‘I thought you’d never ask.’”

Oops! Concordia University is in the province of Québec not Alberta which is home to the University of Calgary and the University of Alberta.

The evening with Nathan Fillion and friends was a fundraiser, participants were charged $250 each for one of 50 seats at the event, which means they raised $12,500 minus any expenses incurred. Good for them!

For anyone unfamiliar with P.J. Haarsma’s oeuvre, there’s this Wikipedia entry for The Softwire.