Tag Archives: Janet Smith

Dancing quantum entanglement (Ap. 20 – 22, 2017) and performing mathematics (Ap. 26 – 30, 2017) in Vancouver, Canada

I have listings for two art/science events in Vancouver (Canada).

Dance, poetry and quantum entanglement

From April 20, 2017 (tonight) – April 22, 2017, there will be 8 p.m. performances of Lesley Telford’s ‘Three Sets/Relating At A Distance; My tongue, your ear / If / Spooky Action at a Distance (phase 1)’ at the Scotiabank Dance Centre, 677 Davie St, Yes, that third title is a reference to Einstein’s famous phrase describing his response of the concept of quantum entanglement.

An April 19, 2017 article by Janet Smith for the Georgia Straight features the dancer’s description of the upcoming performances,

One of the clearest definitions of quantum entanglement—a phenomenon Albert Einstein dubbed “spooky action at a distance”—can be found in a vampire movie.

In Jim Jarmusch’s Only Lovers Left Alive Tom Hiddleston’s depressed rock-star bloodsucker explains it this way to Tilda Swinton’s Eve, his centuries-long partner: “When you separate an entwined particle and you move both parts away from the other, even at opposite ends of the universe, if you alter or affect one, the other will be identically altered or affected.”

In fact, it was by watching the dark love story that Vancouver dance artist Lesley Telford learned about quantum entanglement—in which particles are so closely connected that they cannot act independently of one another, no matter how much space lies between them. She became fascinated not just with the scientific possibilities of the concept but with the romantic ones. …

 “I thought, ‘What a great metaphor,’ ” the choreographer tells the Straight over sushi before heading into a Dance Centre studio. “It’s the idea of quantum entanglement and how that could relate to human entanglement.…It’s really a metaphor for human interactions.”

First, though, as is so often the case with Telford, she needed to form those ideas into words. So she approached poet Barbara Adler to talk about the phenomenon, and then to have her build poetry around it—text that the writer will perform live in Telford’s first full evening of work here.

“Barbara talked a lot about how you feel this resonance with people that have been in your life, and how it’s tied into romantic connections and love stories,” Telford explains. “As we dig into it, it’s become less about that and more of an underlying vibration in the work; it feels like we’ve gone beyond that starting point.…I feel like she has a way of making it so down-to-earth and it’s given us so much food to work with. Are we in control of the universe or is it in control of us?”

Spooky Action at a Distance, a work for seven dancers, ends up being a string of duets that weave—entangle—into other duets. …

There’s more information about the performance, which concerns itself with more than quantum entanglement in the Scotiabank Dance Centre’s event webpage,

Lesley Telford’s choreography brings together a technically rigorous vocabulary and a thought-provoking approach, refined by her years dancing with Nederlands Dans Theater and creating for companies at home and abroad, most recently Ballet BC. This triple bill features an excerpt of a new creation inspired by Einstein’s famous phrase “spooky action at a distance”, referring to particles that are so closely linked, they share the same existence: a collaboration with poet Barbara Adler, the piece seeks to extend the theory to human connections in our phenomenally interconnected world. The program also includes a new extended version of If, a trio based on Anne Carson’s poem, and the duet My tongue, your ear, with text by Wislawa Szymborska.

Here’s what appears to be an excerpt from a rehearsal for ‘Spooky Action …’,

I’m not super fond of the atonal music/sound they’re using. The voice you hear is Adler’s and here’s more about Barbara Adler from her Wikipedia entry (Note: Links have been removed),

Barbara Adler is a musician, poet, and storyteller based in Vancouver, British Columbia. She is a past Canadian Team Slam Champion, was a founding member of the Vancouver Youth Slam, and a past CBC Poetry Face Off winner.[1]

She was a founding member of the folk band The Fugitives with Brendan McLeod, C.R. Avery and Mark Berube[2][3] until she left the band in 2011 to pursue other artistic ventures. She was a member of the accordion shout-rock band Fang, later Proud Animal, and works under the pseudonym Ten Thousand Wolves.[4][5][6][7][8]

In 2004 she participated in the inaugural Canadian Festival of Spoken Word, winning the Spoken Wordlympics with her fellow team members Shane Koyczan, C.R. Avery, and Brendan McLeod.[9][10] In 2010 she started on The BC Memory Game, a traveling storytelling project based on the game of memory[11] and has also been involved with the B.C. Schizophrenia Society Reach Out Tour for several years.[12][13][14] She is of Czech-Jewish descent.[15][16]

Barbara Adler has her bachelor’s degree and MFA from Simon Fraser University, with a focus on songwriting, storytelling, and community engagement.[17][18] In 2015 she was a co-star in the film Amerika, directed by Jan Foukal,[19][20] which premiered at the Karlovy Vary International Film Festival.[21]

Finally, Telford is Artist in Residence at the Dance Centre and TRIUMF, Canada’s national laboratory for particle and nuclear physics and accelerator-based science.

To buy tickets ($32 or less with a discount), go here. Telford will be present on April 21, 2017 for a post-show talk.

Pi Theatre’s ‘Long Division’

This theatrical performance of concepts in mathematics runs from April 26 – 30, 2017 (check here for the times as they vary) at the Annex at 823 Seymour St.  From the Georgia Straight’s April 12, 2017 Arts notice,

Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount” of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movement-driven piece that has a strong cast. …

Here’s more about the play from Pi Theatre’s Long Division page,

Long Division uses text, multimedia, and physical theatre to create a play about the mathematics of human connection.

Long Division focuses on seven characters linked – sometimes directly, sometimes more obliquely – by a sequence of tragic events. These characters offer lessons on number theory, geometry and logic, while revealing aspects of their inner lives, and collectively the nature of their relationships to one another.

Playwright: Peter Dickinson
Director: Richard Wolfe
Choreographer: Lesley Telford, Inverso Productions
Composer: Owen Belton
Assistant Director: Keltie Forsyth

Cast:  Anousha Alamian, Jay Clift, Nicco Lorenzo Garcia, Jennifer Lines, Melissa Oei, LInda Quibell & Kerry Sandomirsky

Costume Designer: Connie Hosie
Lighting Designer: Jergus Oprsal
Set Designer: Lauchlin Johnston
Projection Designer: Jamie Nesbitt
Production Manager: Jayson Mclean
Stage Manager: Jethelo E. Cabilete
Assistant Projection Designer: Cameron Fraser
Lighting Design Associate: Jeff Harrison

Dates/Times: April 26 – 29 at 8pm, April 29 and 30 at 2pm
Student performance on April 27 at 1pm

A Talk-Back will take place after the 2pm show on April 29th.

Shawn Conner engaged the playwright, Peter Dickinson in an April 20, 2017 Q&A (question and answer) for the Vancouver Sun,

Q: Had you been working on Long Division for a long time?

A: I’d been working on it for about five years. I wrote a previous play called The Objecthood of Chairs, which has a similar style in that I combine lecture performance with physical and dance theatre. There are movement scores in both pieces.

In that first play, I told the story of two men and their relationship through the history of chair design. It was a combination of mining my research about that and trying to craft a story that was human and where the audience could find a way in. When I was thinking about a subject for a new play, I took the profession of one of the characters in that first play, who was a math teacher, and said, “Let’s see what happens to his character, let’s see where he goes after the breakup of his relationship.”

At first, I wrote it (Long Division) in an attempt at completely real, kitchen-sink naturalism, and it was a complete disaster. So I went back into this lecture-style performance.

Q: Long Division is set in a bar. Is the setting left over from that attempt at realism?

A: I guess so. It’s kind of a meta-theatrical play in the sense that the characters address the audience, and they’re aware they’re in a theatrical setting. One of the characters is an actress, and she comments on the connection between mathematics and theatre.

Q: This is being called a “refreshed” remount. What’s changed since its first run 

A: It’s mostly been cuts, and some massaging of certain sections. And I think it’s a play that actually needs a little distance.

Like mathematics, the patterns only reveal themselves at a remove. I think I needed that distance to see where things were working and where they could be better. So it’s a gift for me to be given this opportunity, to make things pop a little more and to make the math, which isn’t meant to be difficult, more understandable and relatable.

You may have noticed that Lesley Telford from Spooky Action is also choreographer for this production. I gather she’s making a career of art/science pieces, at least for now.

In the category of ‘Vancouver being a small town’, Telford lists a review of one of her pieces,  ‘AUDC’s Season Finale at The Playhouse’, on her website. Intriguingly, the reviewer is Peter Dickinson who in addition to being the playwright with whom she has collaborated for Pi Theatre’s ‘Long Division’ is also the Director of SFU’s (Simon Fraser University’s) Institute for Performance Studies. I wonder how many more ways these two crisscross professionally? Personally and for what it’s worth, it might be a good idea for Telford (and Dickinson, if he hasn’t already done so) to make readers aware of their professional connections when there’s a review at stake.

Final comment: I’m not sure how quantum entanglement or mathematics with the pieces attributed to concepts from those fields but I’m sure anyone attempting to make the links will find themselves stimulated.

ETA April 21, 2017: I’m adding this event even though the tickets are completely subscribed. There will be a standby line the night of the event (from the Peter Wall Institute for Advanced Studies The Hidden Beauty of Mathematics event page,

02 May 2017

7:00 pm (doors open at 6:00 pm)

The Vogue Theatre

918 Granville St.

Vancouver, BC

Register

Good luck!

Prosthetics in North Carolina and in Vancouver, Canada

North Carolina

This is the first time I’ve seen any kind of hand prosthestic offering finger control. From a May 31, 2016 OrthoCarolina news release (received via email),

Two OrthoCarolina hand surgeons have successfully completed the first surgery to allow for a prosthetic hand with individual finger control on an amputee patient. Partnering with OrthoCarolina Research Institute (OCRI) in pursuit of medical breakthroughs through orthopedic research, Drs. Glenn Gaston and Bryan Loeffler conceptualized and performed the procedure involving transferring existing muscle from the fingers to the back of the hand and wrist without damaging the nerves and blood vessels to the muscles. The patient who underwent the test surgery is now able to control individual prosthetic fingers using the same muscles that controlled his fingers pre-amputation, making him the first person in the world to have individual digit control in a functioning myoelectric prosthesis.

“Patients who have sustained full or partial hand amputations obviously have significant morbidity and limited function, which is a challenge. Because of the limited number of muscles available after a hand amputation, prostheses have previously allowed only control of the thumb and fingers as a group and single finger control was never possible,” said Dr. Glenn Gaston.  “The severity of this patient’s injury was so great that replanting the lost fingers was not possible, so we collaborated on a new surgery that would allow him to have individual digital control.”

Hypothesizing that existing muscle in the back of human fingers could be transferred to the back of the hand and wrist without damaging the nerves and blood vessels to those muscles, Drs. Gaston and Loeffler first performed cadaveric testing to ensure feasibility. The goal of the initial project was for the small muscles that control individual fingers to regain control of prosthetic fingers by maintaining enough blood and nerve supply to allow the prosthetic limb to recognize individual digits.

With successful research completed, they collaborated with the Hanger Clinic to determine how much bone would be required to be removed from the hand, allowing the prosthetic componentry enough space to maintain a normal hand length.

The two surgeons jointly performed the surgery as a pilot case on a partial hand amputee, moving the muscles while still allowing the prosthesis to detect signals from the transferred muscles; a procedure never before reported in orthopedic literature.

“Imagine the limitations you would have if all of your fingers had to move as one unit, and then suddenly you were able to move individual fingers to perform specific actions,” said Dr. Bryan Loeffler. “This muscle transfer is a breakthrough that could impact how upper extremity amputees are managed and specific amputations are done in the future.”

Drs. Loeffler and Gaston have completed a cadaver model demonstrating the capability of the same type of surgery for a more proximal level total hand amputation. They presented their research at a podium presentation to the First International Symposium on Innovations in Amputation Surgery and Prosthetic Technologies (IASPT) May 12-13, 2016 in Chicago.

OrthoCarolina Research Institute is an independent non-profit committed to the advancement of orthopedic practice through clinical research. OCRI will continue to support this ground-breaking research and the manufacturing of this cutting edge prosthesis. “This is a tremendous example of the life-changing impact that orthopedic research plays in advancing patient outcomes,” said Christi Cadd, Executive Director of OCRI.

You can find out more about OrthoCarolina here.

Vancouver, Canada

While they celebrate exciting prosthetic news in North Carolina, those of us in Vancouver have been given the opportunity to view an unusual display of vintage artificial limbs (prosthetics) in an exhibition, All Together Now, featuring a number of rarely seen private collections including corsets, Chinese restaurant menus, and pinball machines. From a June 22, 2016 article by Janet Smith for the Georgia Straight, here’s more about the prosthetic collection,

For those unfamiliar, the lifelike artificial legs and arms that hang on the Museum of Vancouver’s wall might seem like medical oddities from a less advanced era.

But for collector David Moe, a certified prosthetist, they are integral, inspiring pieces for his career, his teaching, and his workspace.

“I love them all,” he says with enthusiasm, standing in the museum’s giant new exhibit All Together Now: Vancouver Collectors and Their World, in a corner of an expansive, cabinet-of-curiosities-styled room that houses everything from scores of local Chinese-restaurant menus to rows of 19th-century corsets and a glass case full of hundreds of action figures. “It’s very strange because they have been all around me for so long and they have sat in predominant spaces at work—they sit on the top of a shelf. So when I walk back in there right now there are these kinds of empty holes.

“But I’m happy to have them on display and to let people think about what they see and have the opportunity to have them think about prosthetics. Because nobody ever thinks about them until they need one.”

Moe began collecting almost from his start, at the age of 14, when he worked sweeping floors and pouring plaster at Northern Alberta Prosthetic & Orthotic Services, his family’s business in Edmonton. One of his first big finds was a leg that sits in the exhibit today—a meticulously carved wooden limb covered in smooth skin-tone leather, dating back to the 1930s. At the time, he recognized the craftsmanship and tucked it away where it wouldn’t disappear; today he still marvels at the anatomical design, with a hinged knee that bends with the use of straps.

“… . The math is the math. But we’ve moved so far. I really love where we’ve come from,” says Moe, gesturing to the vintage pieces he uses regularly to teach students at BCIT [British Columbia Institute of Technology]. He says he can appreciate the human touch and deep care that went into each one, then adds: “All of these were used by people, so the energy of these people is in these. I feel that responsibility of these people in here.”

To show how far his specialty has come, though, Moe has juxtaposed the historic limbs with modern-day advances—decorative limb coverings with fashionable latticework, or a kids’ shin piece that’s been emblazoned with a comic-book image of Superman. Now, instead of trying to just mimic natural limbs, some people are opting for statement pieces that actually draw attention to their prosthetic. “This empowers them in this powerless situation where someone has amputated your leg,” he notes.

As with other exhibits in All Together Now, there are audiovisuals that accompany his collection—in this case showing people using the advanced limbs of today, from a female triathlete carrying her baby to another client playing competitive volleyball.

“When someone does the Grouse Grind or, hell, just walks their child down the street, that’s when they come alive. We’re rebuilding lives, not pieces,” Moe says.

You can find out more about All Together Now here,

All Together Now: Vancouver Collectors and Their Worlds features 20 beautiful, rare, and unconventional collections, with something for everyone including corsets, prosthetics, pinball machines, taxidermy, toys, and much more. In this exhibition both collector and collected are objects of study, interaction, and delight.

The exhibition runs until January 8, 2017. The last Thursday of the month is by donation from 5 pm to 8 pm. More information about admission can be found here and you might also want to check out the exhibition’s Events page.