Category Archives: writing

Leaning Out of Windows (LOoW): An Art and Physics Collaboration (2023 book) in Vancouver (Canada)

Be careful not to fall, is a familiar stricture when applied to ‘leaning out of windows’ supplying a frisson of danger to the ‘lean’ but in German, ‘aus dem Fenster lehnen’ or ‘lean out of the window’, is an expression for interdisciplinarity. It’s a nice touch for a book about an art/physics collaboration where it can feel ‘dangerous’ to move so far out of your comfort zone. The book is described this way in its Vancouver (Canada) Public Library catalogue entry,

Art and physics collide in this expansive exploration of how knowledge can be translated across disciplinary communities to activate new aesthetic and scientific perspectives.
Leaning Out of Windows shares findings from a six-year collaboration by a group of artists and physicists exploring the connections and differences between the language they use [emphasis mine], the means by which they develop knowledge, how that knowledge is visualized, and, ultimately, how they seek to understand the universe. Physicists from TRIUMF, Canada’s particle physics accelerator, presented key concepts in the physics of Antimatter, Emergence, and In/visible Forces to artists convened by Emily Carr University of Art + Design; the participants then generated conversations, process drawings, diagrams, field notes, and works of art. The “wondrous back-and-forth” of this process allowed both scientists and artists to, as Koenig [Ingrid Koenig] and Cutler [Randy Lee Cutler] describe, “lean out of our respective fields of inquiry and inhabit the infinite spaces of not knowing.”
From this leaning into uncertainty comes a rich array of work towards furthering the shared project of artists and scientists in shaping cultural understandings of the universe: Otoniya J. Okot Bitek reflects on the invisible forces of power; Jess H. Brewer contemplates emergence, free will, and magic; Mimi Gellman looks at the resonances between Indigenous Knowledge and physics; Jeff Derksen finds Hegelian dialectics within the matter-antimatter process; Sanem Güvenç considers the possibilities of the void; Nirmal Raj ponders the universe’s “special moment of light and visibility” we happen to inhabit; Sadira Rodrigues eschews the artificiality of the lab for a “boring berm of dirt”; and Marina Roy metaphorically turns beams of stable and radioactive gold particles into art of pigments, oils, liquid plastic, and wood. Combined with additional essays, diagrams, and artworks, these texts and artworks live in the intersection of disparate fields that nonetheless share a deep curiosity of the world and our place within it, and a dedication to building and sharing knowledges.

Self-published, “Leaning Out of Windows: An Art and Physics Collaboration” and edited by Ingrid Koenig & Randy Lee Cutler (who also wrote many of the essays) was produced through an entity known as Figure 1 (located in Vancouver). It can be purchased for $45 CAD here on the Figure 1 website or $41.71 (CAD?) on Amazon. (Weirdly, if you look at the back outside cover you’ll see a price of $45 USD.)

Kind of a book

“Leaning” functions as three kinds of books in one package. First, it is documentation for a six year project funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), second, a collection of essays, and, third, a catalogue for three inter-related exhibitions. (Aside: my focus is primarily on the text for an informal book review.)

Like an art exhibition catalogue, this book is printed in a large, awkward to hold format, with shiny (coated) pages. It makes reading the essays and documentation a little challenging but perfect for a picture book/coffee table book where the images are supposed to look good.

I particularly liked the maps for the various phases of the project and the images for phase 1 showing what happens when an image is passed from one artist to the next, without explanation, asking for a new image to be produced and passed on to yet another artist and so on. There is no discussion amongst the artists about the initial impetus (the first artist in the stream of four met with physicists at a science symposium to talk about antimatter).

Ingrid Koenig, Antimatter Process Design (detail), 2017. This diagram shows the process design of five different streams of interactions, mapping out routes for 26 artists and 26 physicists, as well as an experimental class taught by Koenig at Emily Carr University of Art and Design. [downloaded from https://canadianart.ca/features/searching-for-the-language-of-the-universe/]

Unexpectedly, the documentation proved to be a highlight for me. BTW, you can find out more about the Leaning Out of Windows (LOoW) project (e.g. participants, phases, and art/science resources) on its website.

Koenig should be congratulated for getting as much publicity for the book as possible, given the topic and that there are no celebrities involved. CBC gave it a mention (May 8, 2023) on its Books: Leaning Out of Windows webpage. It also got a mention by Dana Gee in a May 12, 2023 ‘Books brief‘ posting on the Vancouver Sun website.

Plus, there were a couple of articles in an art magazine highlighting the art/science project while it was in progress featuring the few images I was about to access online for this project.

A January 6, 2020 article in Canadian Art Magazine by Randy Lee Cutler and Ingrid Koenig introduces the project (Note: I’ll revisit the “metaphor and analogy” mention in this article and throughout the LOoW book later in this post),

The disciplines of art and physics share certain critical perspectives: both deal with how metaphor and analogy inform creative processes. Additionally, artists and physicists address issues of the imagination, creative thinking and communication, and how meaning is made through theoretical research and process-based investigations. There are also important differences in these perspectives. Art brings an appreciation for abstract or non-representational practices. Physics research addresses complex problems relevant to understanding the study of matter and motion through space and time. Physicists also contribute knowledge about how the universe behaves. Together, the achievements of art and physics allow the possibility of a much richer understanding of the nature of reality than each field can contribute individually.

There’s a January 13, 2020 article in Canadian Art Magazine by Perrin Grauer featuring Mimi Gellman, Note: A link has been removed,

Artwork by artist and ECU Associate Professor Mimi Gellman was selected to appear on the cover of the current issue of Canadian Art magazine.
The gleaming, otherworldly image graces the magazine’s issue on antimatter —a subject which “presents a mirror world of abstract phenomena: time reversals, mutual annihilation, cosmic rays, cloud chambers, an infinite sea of sub-atomic particles that parallels our ‘real’ world of matter,” according to the issue’s editors.
Mimi describes her work as approaching some of the affinities between the biological, the perceptual, the cultural and the astronomical.
“My drawings do not explore the exterior world we perceive but rather what I call the ‘architecture of consciousness’ which permits us to perceive it,” she says.
“Recalling astronomical diagrams and reflecting the mixture of hybrid cultural worldviews in my background, they reveal deep similarities between the dimension explored by sub-atomic physics and the implicit interiority of contemporary art.”
…

I’m sorry I never saw any announcements for the project exhibitions, all of which seemed to have taken place at the Emily Carr University of Art + Design. There were three concepts each explored in three exhibitions, with different artists each time, titled: Antimatter, Emergence, and In/visible Forces, respectively.

A bouquet or two and a few nitpicks

Randy Lee Cutler and Ingrid Koenig have a wonderful quote from Karen Barad, physicist and philosopher, in their essay titled, “Collaborative Research between Artists and Physicists,”

Barad introduces the concept of intra-action and the fluidity of materialization through our bodily entanglements—through intra-action our bodies remain entangled with those around us. “Not only subjects but also objects are permeated through and through with their entangled kin, the other is not just in one’s skin, but in one’s bones, in one’s belly in one’s heart, in one’s nucleus, in one’s past and future.This is a true for electrons as it is for brittlestars as it is for the differentially constituted human.” As Barad asks herself, “How do I know where my physics begins and ends?” … [p. 13]

To the left of the page is a black and white photograph of entangled cables captioned, “GRIFFIN (Gamma Ray Infrastructure for Fundamental Investigations of Nuclei- TRIUMF.” It’s a nice touch and points to the difficulty of ‘illustrating’ or producing visual art in response to physics ideas such as quantum entanglement, something Einstein called, ‘spooky action at a distance’. From the Quantum entanglement Wikipedia entry, Note: Links have been removed,

Quantum entanglement is the phenomenon that occurs when a group of particles are generated, interact, or share spatial proximity in a way such that the quantum state of each particle of the group cannot be described independently of the state of the others [[emphasis mine], including when the particles are separated by a large distance [emphasis mine]. The topic of quantum entanglement is at the heart of the disparity between classical and quantum physics: entanglement is a primary feature of quantum mechanics not present in classical mechanics.^[1]

Some of the essays

One essay that stood out in LOoW, was “A Boring Berm of Dirt’ (pp. 141-7) by Sadira Rodrigues. She notes that dirt and soil are not the same; one is dead (dirt) and the other is living (soil) and that the berm has an important role at TRIUMF. If you want a more specific discussion of the difference between dirt and soil, see David Beaulieu’s February 23, 2023 essay (Soil vs. Dirt: What’s the Difference?) on The Spruce website.

Rodrigues’ essay (part of the Emergence concept) situates the work physically (word play alert: physics/physically) whereas all of the other work is based on ideas.

In “Boring Berm … ,” radioactivity is mentioned, a term which is largely taboo these days due its association with poisoning, bombs, and death. The eassy goes into fascinating detail about TRIUMF’s underground facility and how the facility deals with its nuclear waste and the role that the berm plays. (On a more fanciful note, the danger in the title of the book is given another dimension in this essay focused on nuclear topics.) Regardless, the essay was definitely an eye-opener.

Aside: The institution has been rebranded from: TRIUMF (Canada’s National Laboratory for Particle and Nuclear Physics) to: TRIUMF (Canada’s national particle accelerator centre). You can find a reference to the ‘nuclear’ name in my October 2, 2018 posting although the name was already changed, probably in the early to mid-2010s. There is no mention of the ‘nuclear’ name in TRIUMF’s Wikipedia entry, accessed August 22, 2023.

Gellman and language

Mimi Gellman’s essay, “Crossing No Divide: Mapping Affinities in Art and Science” evokes unity, as can be seen in the title. She’s one of the more ‘lyrical’ writers,

There is a place in our imagination where east or west, or large or small, or any other opposites cease to be productive contradictions. As an artist and educator, I have become interested in the non-binary and resonance between Indigenous Knowledge and physics, between art and science, and between traditional ways of considering cognition and thinking with the hand. [p. 33]

This is how Gellman is described for the January 13, 2020 article in Canadian Art Magazine, which is archived on the Emily Carr University of Art + Design (ECUAD) website,

Mimi Gellman is an Anishinaabe/Ashkenazi (Ojibway-Jewish Métis) visual artist and educator with a multi-streamed practice in architectural glass and conceptual installation. She is currently an Associate Professor in the Faculty of Culture + Community at Emily Carr University of Art + Design in Vancouver, Canada, and is completing her research praxis PhD in Cultural Studies at Queen’s University on the metaphysics of Indigenous mapping.
…

She highlights some interesting observations about language and thinking,

The Ojibwe language, Anishinaabemowin, like many Indigenous languages is verb-based in contrast with Western languages’ noun-based constructions and these have deep implications for the development of one’s worldview. …

I suspect anyone who speaks more than one language can testify to the observation that language affects one’s worldview. More academically, it’s called linguistic relativity or the Sapir-Whorf hypothesis. I find it hard to believe that it’s considered a controversial idea but here goes from the Linguistic relativity Wikipedia entry, Note: Links have been removed,

The idea of linguistic relativity, also known as the Sapir–Whorf hypothesis /səˌpɪər ˈhwɔːrf/ sə-PEER WHORF, the Whorf hypothesis, or Whorfianism, is a principle suggesting that the structure of a language influences its speakers’ worldview or cognition, and thus individuals’ languages determine or shape their perceptions of the world.^[1]
The hypothesis has long been controversial, and many different, often contradictory variations have existed throughout its history.^[2] The strong hypothesis of linguistic relativity, now referred to as linguistic determinism, says that language determines thought and that linguistic categories limit and restrict cognitive categories. This was held by some of the early linguists before World War II,^[3] but it is generally agreed to be false by modern linguists.^[4] Nevertheless, research has produced positive empirical evidence supporting a weaker version of linguistic relativity:^[4][3] that a language’s structures influence and shape a speaker’s perceptions, without strictly limiting or obstructing them.
…

Gettng back to Gellman, language, linguistic relativity, worldviews, and, adding physics/science, she quotes James (Sa’ke’j) Youngblood Henderson “a research fellow at the Native Law Centre of Canada, University of Saskatchewan College of Law. He was born to the Bear Clan of the Chickasaw Nation and Cheyenne Tribe in Oklahoma in 1944 and is married to Marie Battiste, a Mi’kmaw educator. In 1974, he received a juris doctorate in law from Harvard Law School,”

[at a 1993 dialogue between Western and Indigenous scientists …]
[Youngblood Henderson] We don’t have one god. You need a noun-based language to have one god. We have forces. All forces are equal and you are just the amplifier of the forces. The way you conduct your life and the dignity you give to other things gives you access to other forces. Even trees are verbs instead of nouns. The Mi’kmaq named their trees for the sound the wind makes when it blows through the trees during the autumn about an hour after the sunset, when the wind usually comes from a certain direction. So one might be like a ‘shu-shu’ something and another more like a ‘tinka-tinka’ something. Although physics in the western world has been essentially the quest for the smallest noun (which used to be a-tom, ‘that which cannot be further divided’), as they were inside the atom things weren’t acting like nouns anymore. The physicists were intrigued with the possibilities inherent in a language that didn’t depend on nouns but could move right to verbs when the circumstances were appropriate.³
…

This work from Gellman is a favourite of mine, and is featured in the January 13, 2020 article in Canadian Art Magazine and you’ll find it in the book,

Image courtesy Mimi Gellman. Mimi Gellman, ‘Invisible Landscapes,’ 2017. Conte on Japanese Obonai paper, 63.5 x 48.3 cm. [downloaded from https://www.ecuad.ca/news/2020/canadian-art-magazine-features-cover-artwork-by-mimi-gellman]

There are more LOoW images embedded in the January 6, 2020 article on the Canadian Art Magazine website.

Derksen and his poem

Karl Marx, Friedrich Engels, Theodor W. Adorno, and Georg Wilhelm Friedrich Hegel were unexpected guest stars in Derksen’s essay, “From Two to Another: The Anti-Matter Series,” given that he is an award-winning poet. These days he has this on his profile page on the Department of English, Simon Fraser University website, “Dean and Associate Provost, Graduate and Postdoctoral Studies.”

From LOoW,

Karl Marx and Friedrich Engels are well known as materialists, having helped define a materialist view of history, of economics and of capitalism. And both Marx and Engels aimed to develop Marxism as a science rather than a model based on naturalizing capitalism and “man.” … [p. 89]

Derksen includes a diagram/poem, for which I can’t find a digitized copy, but here’s what he had to say about it,

My mode of looking at this [antimatter] is through poetic research —which itself does not aim to arrive at a synthesis but instead looks for relational moments. In this I also see a poetic language emerge from both discourses [artistic/scientific]—matter-antimatter thought and dialectical thinking. For my contribution to Leaning Out of Windows, I have tried to combine the scientific aspect of dialectical thinking with the poetic aspect of matter-antimatter thought and experimentation. To do this, I have taken the diagrammatic rendering of Carl Anderson’s experiment which resulted in his 1932 paper … as a model to relate the dialectical thinking at the heart of Marxism and matter-antimatter thought. …

Towards the end of his essay, Derksen notes that he’s working (on what I would call) a real poem. I sent an email to Derksen on August 21, 2023 asking,

Have you written the poem or is still in progress?
If you have written it, has it been published or is it being readied for publication? I would be happy to mention where.
If you do have it ready and would like to ‘soft launch’ the poem, could you send it to me for inclusion in the post?

No response at this time.

Flashback to Alan Storey

I think it was 2002 or 2003 when I first heard about an artist at TRIUMF, Alan Storey. The ‘residency’ was the product of a joint effort between the Canada Council for the Arts (Canada Council) and the Natural Sciences and Engineering Council of Canada (NSERC).

I spoke with Storey towards the end of his ;residency; and he was a little disappointed because nothing much had come of it. Nobody really seemed to know what to do with an artist at a nuclear facility and he didn’t really didn’t seem to know either. (Alan Storey’s work can be seen in the City of Vancouver’s collection of public art works here and on his website.)

My guess is that someone had a great idea but didn’t think past the ‘let’s give money to science institutions so they can host some artists who will magically produce wonderful things for us’ stage of thinking. While there is no longer a Canada Council/NSERC programme, it’s clear from LOoW (funded by the Social Sciences and Humanities Research Council of Canada [SSHRC]) that lessons have been learned.

Kudos to David Morissey who acted as an interface and convenor for the artists and to Nigel Smith (Director 2021 – present) and Jonathan Bagger (Director 2014 – 2020) for supporting the project from the TRIUMF side and to Ingrid Koenig and Randy Lee Cutler who organized and facilitated LOoW from the artists’ side.

Now, for the nits

“Co-thought” is mentioned a number of times. What is it? According to my searches, it has something to do with gestures. Here’s one of the few reference I could find for co-thought,

Co-thought and co-speech gestures are generated by the same action generation process by Mingyuan Chu and Sotaro Kita. Exp Psychol Learn Mem Cogn. 2016 Feb;42(2):257-70. doi: 10.1037/xlm0000168. Epub 2015 Aug 3.
Abstract
People spontaneously gesture when they speak (co-speech gestures) and when they solve problems silently (co-thought gestures) [emphasis mine]. In this study, we first explored the relationship between these 2 types of gestures and found that individuals who produced co-thought gestures more frequently also produced co-speech gestures more frequently (Experiments 1 and 2). This suggests that the 2 types of gestures are generated from the same process. We then investigated whether both types of gestures can be generated from the representational use of the action generation process that also generates purposeful actions that have a direct physical impact on the world, such as manipulating an object or locomotion (the action generation hypothesis). To this end, we examined the effect of object affordances on the production of both types of gestures (Experiments 3 and 4). We found that individuals produced co-thought and co-speech gestures more often when the stimulus objects afforded action (objects with a smooth surface) than when they did not (objects with a spiky surface). These results support the action generation hypothesis for representational gestures. However, our findings are incompatible with the hypothesis that co-speech representational gestures are solely generated from the speech production process (the speech production hypothesis).

It would have been nice if Koenig and Cutler had noted they were borrowing a word ot coining a word and explaining how it was being used in the LOoW context.

Fruit, passports, and fishing trips

The editors/writers use the words or variants, metaphor, poetry, and analogy with great abandon.

“Fruitful bridge” (top of page) and “fruitful match-ups” (bottom of page) on p. 18 seemed a bit excessive as did the “metaphorical passport” on p. 5.

I choked a bit over this on p. 19, “… these artist/scientist interactions can be seen as ‘procedural metaphors’ that enact a thought experiment … .” Procedural metaphor? It seems a bit of a stretch.

A last example and it’s a pair: “metaphorical fishing trips whereby artist and scientists received whatever they might reel in …” on p. 42 (emphases mine). Fishing trips are mentioned in a later essay too, one of the few times there’s some sort of follow through on an analogy.

Maybe someone who wasn’t involved with the project should have taken a look at the text before it was sent to the printer.

Using the words, poetry, metaphor, and analogy can be tricky and, I want to emphasize that in my opinion, those words were not often put to good use in this book.

Moving on, arts and sciences together have a longstanding history.

Poetry and physics

One of the giants of 19th century physics, James Clerk Maxwell was also known for his poetry. and some of the most evocative (poetic) text in the LOoW book can be found in the quotes from various physicists of the 20th century. The link between physicist and poetry is explicit in a September 17, 2018 posting (12 poignant poems (and one bizarre limerick) written by physicists about physics) by Colin Hunter for the Perimeter Institute for Theoretical Physics in Waterloo, Canada.

Going back further, there’s De rerum natura, a poem in six books, by Lucretius ((c. 99 BCE– c. 55 BCE). Amongst many other philosophical concerns (e.g., the nature of mind and soul, etc.), Lucretius also discussed atomism (“… a natural philosophy proposing that the physical universe is composed of fundamental indivisible components known as atoms; from the Atomism Wikipedia entry). So, poetry and physics have a long history.

Leaving aside Derksen’s diagram/poem, there’s a dearth of poetry in the book except for a suite of seven poems from TRIUMF physicist and professor at UBC, Jess Brewer following his “Emergence, Free Will and Magic” essay,

Emergence / An extremely brief history of one universe, expressed as a series of science fiction poems by Jess H. Brewer, June 29, 2019
Inspired by Dyson Freeman’s delightful lecture series , “Time Without End: Physics and Biology in an Open Universe,” Reviews of Modern Physics (51) 1979
1. Bang
Why not?
For reasons known only to itself,
the universe begins
The quantum foam of spacetime seethes
with effortless energies,
entering and exiting this continuum
with a turbulent intensity
transcending the superficially smooth
expanding cosmos
and yet it kens the glacial passage of “time”,
because it waits.
And kens the vast reaches of “space”,
because it watches,
Its own experiences has taught it that
from each iteration of complexity,
awareness will emerge.
… [p. 149]

My thanks to Brewer for the poetry and magic and my apologies for any mistakes I’ve introduced into his piece. I was trying to be especially careful with the punctuation as that can make quite a difference to how a piece is read.

While Muriel Rukeyser is not a physicist at TRIUMF or, indeed, alive, one of her poems leads the essay “Leaning into Language or the Universe is Made of Stories,” by Randy Lee Cutler and Ingrid Koenig,

Time comes into it
Say it. Say it.
The universe is made of stories,
not of atoms..
—Muriel Ruykeyser, Speed of Darkness, 1968

Before getting into the response that physicist, David Morrissey, had to the poem, here’s a little about the poet, from the Poetry Foundation’s Muriel Ruykeyser (1913-1980) webpage,

Muriel Rukeyser was a poet, playwright, biographer, children’s book author, and political activist. Indeed, for Rukeyser, these activities and forms of expression were linked. …
…
One of Rukeyser’s intentions behind writing biographies of nonliterary persons was to find a meeting place between science and poetry. [emphasis mine] In an analysis of Rukeyser’s The Life of Poetry, Virginia Terris argued that Rukeyser believed that in the West, poetry and science are wrongly considered to be in opposition to one another. Thus, writes Terris, “Rukeyser [set] forth her theoretical acceptance of science … [and pointed] out the many parallels between [poetry and science]—unity within themselves, symbolic language, selectivity, the use of the imagination in formulating concepts and in execution. [emphasis mine] Both, she believe[d], ultimately contribute to one another.”
…

Rokeyser’s poem raised a few questions. Is her poem a story? Or, is she using symbolic language, the poem, to poke fun at stories and atoms? Is she suggesting that atoms are really stories? I found the poem evocative especially with where it was placed in the book.

Morrissey takes a prosaic approach, from the essay “Leaning into Language or the Universe is Made of Stories,”

… [in response to Rukeyser’s claim about stories] Morrissey responded stating that “scientific theories are stories—but how we evaluate stories is important—they need to be true, but they do probe, and some are more popular than others, especially theories that we can’t measure.” He surprised us further when he said that wrong stories can also be useful—they may have elements in them that turn out to be useful for future research. … [pp. 205-6]

In general and throughout this project, it seems as if they (artists and physicists) tried but, for the most part, were never quite able to articulate in poetic, metaphoric, and analogical forms. They tended to fall back onto their preferred modes of scientific notations, prosaic language, and artworks.

Both sides of the knife blade cut

Everybody does it. Poets, academics, artists, scientists, etc. we all appropriate ideas and language, sometimes without understanding them very well. Take this for example, from the Canadian Broadcasting’s (CBC) Books “Elementary Particles” August 16, 2023 webpage,

Elementary Particles by Sneha Madhavan-Reese
A poetry collection about family history and scientific exploration
Through keen, quiet observation, Sneha Madhavan-Reese’s evocative new collection takes us from the wide expanse of rural India to the minute map of Michigan we carry on the palms of our hands. These poems contemplate ancestral language, the wonder and uncertainty of scientific discovery, the resilience of a dung beetle, the fleeting existence of frost flowers on the Arctic Ocean.
The collection is full of familiar characters, from Rosa Parks to Seamus Heaney to Corporal Nathan Cirillo, anchoring it in specific moments in time and place, but has the universality that comes from exploring the complex relationship between a child and her immigrant parents, and in turn, a mother and her children. Elementary Particles examines the building blocks of a life — the personal, family, and planetary histories, transformations, and losses we all experience. (From Brick Books)
Sneha Madhavan-Reese is a writer currently based in Ottawa. In 2015 she received Arc Poetry Magazine’s Diana Brebner Prize and was shortlisted for the Montreal International Poetry Prize. Her previous poetry collection is called Observing the Moon

As you can see, there’s no substantive mention of physics in this book description—it’s just a title. Puzzling since there’s this about the author on Asian Heritage Canada’s Sneha Madhavan-Reese webpage

Sneha Madhavan-Reese’s award winning poetry has been widely published in literary magazines in North America and Australia. She earned a bachelor’s degree in mechanical engineering from MIT in 2000, and a master’s degree in mechanical engineering from the University of Michigan in 2002. Madhavan-Reese currently lives in Ottawa, Ontario. [emphases mine]

It seems the mechanical engineer did not write up her book blurb because even though the poet’s scientific specialty is not physics as such, I’d expect a better description.

In the end, it seems art and science or poetry and science (in this case, physics) sells.

Alchemy, beauty, and Marx’s surprise connection to atomism

It was unexpected to see a TRIUMF physicist reference alchemy. The physicists haven’t turned lead into gold but they have changed one element into another. If memory holds it was one metallic atom being changed into another type of metallic atom. (Having had to return the book to the library, memory has serve.)

The few references to alchemy that I’ve stumbled across elsewhere in my readings of assorted science topics are derogatory, hence the surprise. Things may be changing; Princeton University Press published a November 7, 2018 posting by author William R. Newman about Newton and alchemy. First, here’s a bit about William Newman,

William R. Newman is Distinguished Professor and Ruth N. Halls Professor in the Department of History and Philosophy of Science and Medicine at Indiana University. His many books include Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution and Promethean Ambitions: Alchemy and the Quest to Perfect Nature. He lives in Bloomington, Indiana.

Now for Newman’s comments, from the November 7, 2018 posting,

People often say that Isaac Newton was not only a great physicist, but also an alchemist. This seems astonishing, given his huge role in the development of science. Is it true, and if so, what is the evidence for it?
WN: The astonishment that Newton was an alchemist stems mostly from the derisive opinion that many moderns hold of alchemy [emphasis mine]. How could the man who discovered the law of universal gravitation, who co-invented calculus, and who was the first to realize the compound nature of white light also engage in the seeming pseudo-science of alchemy? There are many ways to answer this question, but the first thing is to consider the evidence of Newton’s alchemical undertaking. We now know that at least a million words in Newton’s hand survive in which he addresses alchemical themes. Much of this material has been edited in the last decade, and is available on the Chymistry of Isaac Newton site at www.chymistry.org. Newton wrote synopses of alchemical texts, analyzed their content in the form of reading notes and commentaries, composed florilegia or anthologies made up of snippets from his sources, kept experimental laboratory notebooks that recorded his alchemical research over a period of decades, and even put together a succession of concordances called the Index chemicus in which he compared the sayings of different authors to one another. The extent of his dedication to alchemy was almost unprecedented. Newton was not just an alchemist, he was an alchemist’s alchemist.
…

Beauty

The ‘beauty’ essay by Ingrid Koenig was also a surprise. Beauty seems to be anathema to contemporary artists. I wrote this in an August 23, 2016 posting (Georgina Lohan, Bharti Kher, and Pablo Picasso: the beauty and the beastliness of art [in Vancouver]), “It seems when it comes to contemporary art, beauty is transgressive.”

Koenig describes it as irrelevant for contemporary artists and yet, beauty is an important attribute to physicists. Her thoughts on beauty in visual art and in physics were a welcome addition to the book.

Marx’s connection to atomism

This will take a minute.

De rerum natura, a six-volume poem by Lucretius (mentioned under the Poetry and physics subhead of this posting), helped to establish the concept of atomism. As it turns out, Lucretius got the idea from earlier thinkers, Epicurus and Democritus.

Karl Marx’s doctoral dissertation, which focused on Lucretius, Epicurus and more, suggests an interest in science that may have led to his desire to establish economics as a science. From Cambridge University Press’s “Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura,” Chapter 12 – A Tribute to a Hero: Marx’s Interpretation of Epicurus in his Dissertation,

Summary
This chapter turns to Karl Marx’s treatment of Epicureanism and Lucretius [emphasis mine] in his doctoral dissertation, and argues that the questions raised by Marx may be brought to bear on our own understanding of Epicurean philosophy, particularly in respect of a tension between determinism and individual self-consciousness in a universe governed by material causation. Following the contours of Marx’s dissertation [emphasis mine], the chapter focusses on three key topics: the difference between Democritus’ and Epicurus’ methods of philosophy; the swerve of the atom; and the so-called ‘meteors’, or heavenly bodies [emphasis mine]. Marx sought to develop Hegel’s understanding of Epicurus, in particular by elevating the principle of autonomous action to a first form of self-consciousness – a consideration largely mediated by Lucretius’ theorization of the atomic swerve and his poem’s overarching framework of liberating humans from the oppression of the gods.

Fascinating, eh? The rest of this is behind a paywall. For the interested, here’s a citation and link for the book,

Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura
Edited by Donncha O’Rourke, University of Edinburgh
Publisher: Cambridge University Press
Online publication date: June 2020
Print publication year: 2020
Online ISBN: 9781108379854
DOI: https://doi.org/10.1017/9781108379854
32.99 (USD) Digital access

It’s a little surprising Derksen doesn’t mention the connection in his essay.

Finally

It’s an interesting book if not an easy one. (By the way, I wish they’d included an index.) You can get a preview of some of the artwork in the January 6, 2020 article on the Canadian Art Magazine website.

I can’t rid myself of the feeling that LOoW (the book) is meant to function as a ‘proof of concept’ for someone wanting to start an art/science department or programme at the Emily Carr University of Art + Design, perhaps jointly with the University of British Columbia. It is highly unusual to see this sort of material in anything other than a research journal or as a final summary to the granting agency.

Should starting an art/science programme be the intention, I hope they are successful in getting such it together and, in the meantime, thank you to the physicists and artists for their work.

We should all ‘lean out of windows’ on occasion and, if it means, falling or encountering ‘dangerous, uncomfortable ideas’ then, that’s alright too.

Animals: Art, Science and Sound at the British Library in London, UK until August 28, 2023 and Digital Storytelling until October 15, 2023

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Only 10 days left for the Animals: Art, Science and Sound exhibition in London, UK at one of my favourite institutions, the British Library.

Here’s more from an April 20, 2023 British Library press release,

Featuring more than 100 artworks, manuscripts, sound recordings and books, many on display for the first time, Animals: Art, Science and Sound explores how animals have been documented across the world over the last 2,000 years
Season of events includes musicians Cosmo Sheldrake and Cerys Matthews, wildlife photographer Hamza Yassin and ornithologist Mya-Rose Craig, also known as Birdgirl, and more
Complemented by two free displays featuring newly acquired material from animal rights activist Kim Stallwood and award-winning photographer Levon Biss

Animals: Art, Science and Sound(21 April – 28 August 2023) at the British Library reveals how the intersection of science, art and sound has been instrumental in our understanding of the natural world and continues to evolve today.
From an ancient Greek papyrus detailing the mating habits of dogs to the earliest photographs of Antarctic animals and a recording of the last Kauaʻi ʻōʻō songbird, this is the first major exhibition to explore the different ways in which animals have been written about, visualised and recorded.
Journeying through darkness, water, land and air, visitors will encounter striking artworks, handwritten manuscripts, sound recordings and printed publications that speak to contemporary debates around discovery, knowledge, conservation, climate change and extinction. Each zone also includes a bespoke, atmospheric soundscape created using recordings from the Library’s sound archive.
Featuring over 120 exhibits, highlights include:

Earliest known illustrated Arabic scientific work documenting the characteristics of animals alongside their medical uses (c. 1225)
Earliest use of the word ‘shark’ in printed English (1569) on public display for the first time
One of the earliest works on the microscopic world, Micrographia (1665) by Robert Hooke, alongside three insect portraits by photographer Levon Biss (2021) recently acquired by the British Library, which use a combination of microscopy and photography to magnify specimens collected by Charles Darwin in 1836 and Alfred Russell Wallace circa 1859
Leonardo da Vinci’s notes (1500-08) on the impact of wind on a bird in flight, on public display for the first time
One of the rarest ichthyology publications ever produced, The Fresh-Water Fishes of Great Britain (1828-38), with hand painted illustrations by Sarah Bowdich
First commercially published recording of an animal from 1910 titled Actual Bird Record Made by a Captive Nightingale (No. I) by The Gramophone Company Limited
One of the earliest examples of musical notation being used to represent the songs and calls of birds from 1650 by Athanasius Kircher
One of the earliest portable bat detectors, the Holgate Mk VI, used by amateur naturalist John Hooper during the 1960s-70s to capture some of the first sound recordings of British bats

Cam Sharp Jones, Visual Arts Curator at the British Library, said: ‘Animals have fascinated people for as long as human records exist and the desire to study and understand other animals has taken many forms, including textual and artistic works. This exhibition is a great opportunity to showcase some of the earliest textual descriptions of animals ever produced, as well as some of the most beautiful, unique and strange records of animals that are cared for by the British Library.’
Cheryl Tipp, Curator of Wildlife and Environmental Sound at the British Library, said: ‘Sound recording has allowed us to uncover aspects of animal lives that just would not have been possible using textual or visual methods alone. It has been used to reclassify species, locate previously unknown populations and allowed us to eavesdrop on worlds that would otherwise be inaudible to our ears. It is such an emotive medium and I hope visitors will be inspired to explore the Library’s collections, as well as tune in to the sounds of the natural world in their everyday lives.’
[Note: All of the events have taken place.] There is a season of in-person and online events inspired by the exhibition, such as a Late at the Library with musician, composer and producer Cosmo Sheldrake hosted by musician, author and broadcaster Cerys Matthews and Animal Magic: A Night of Wild Enchantment where five speakers, including wildlife cameraman, ornithologist and Strictly Come Dancing winner Hamza Yassin and birder, environmentalist and diversity activist, Mya-Rose Craig, each have 15 minutes to tell a story. There is a family event on Earth Day 22 April where Art Fund’s The Wild Escape epic-scale digital landscape featuring children’s images of animals will be unveiled. A selection of these works are included in an outdoor exhibition around Kings Cross.
A richly illustrated publication by the British Library with interactive QR technology allowing readers to listen to sound recordings and a free trail for families and groups also accompanies the exhibition.
The exhibition is made possible with support from Getty through The Paper Project initiative and PONANT. With thanks to The American Trust for the British Library and The B.H. Breslauer Fund of the American Trust for the British Library. Audio soundscapes created by Greg Green with support from the Unlocking our Sound Heritage project, made possible by the National Lottery Heritage Fund. Scientific advice provided by ZSL (the Zoological Society of London).
Animals: Art, Science and Sound is complemented by two free displays at the British Library. Animal Rights: From the Margins to the Mainstream (7 May – 9 July 2023) in the Treasures Gallery draws on published, handwritten and ephemeral works from the Library’s collection relating to animal welfare. It features newly acquired material collected by animal rights activist Kim Stallwood who will be in conversation at the Library about the history of animal welfare legislation. Microsculpture (12 May – 20 November 2023) showcases nine portraits by photographer Levon Biss that capture the microscopic form and evolutionary adaptions of insects in striking large-format, high-resolution detail.
Animals: Art, Science and Sound draws on the British Library’s role as home to the UK’s national sound archive, one of the largest collections of sound recordings in the world. With over 6.5 million items of speech, music and wildlife, this includes audio from the advent of recording to the present day, and over 70,000 recordings are freely available online at sounds.bl.uk and in the British Library’s Sound Gallery in St Pancras.

The Animals: Art, Science and Sound What’s on webpage gives information about location and fees for the exhibition.

Digital Storytelling

A May 30, 2023 British Library press release announces an exhibition focused on how online technology is affecting storytelling,

Opening on 2 June [2023], Digital Storytelling features publications that use new technologies to reimagine reading experiences
Visitors will discover a range of digital stories, on display together for the first time, including four-time BAFTA nominated 80 Days, an interactive adaptation of Jules Verne’s Around the World in Eighty Days, and the exclusive public preview of Windrush Tales, the world’s first interactive narrative game based on the experiences of Caribbean immigrants in post-war Britain
Also on display will be interactive media providing insights into the lived stories behind historical events, from the 2011 Egyptian uprising in A Dictionary of the Revolution to a moving account of the loss of a relative in the Manchester Arena Bombing in c ya laterrrr.

The British Library has announced it will be opening a new exhibition, Digital Storytelling (2 June – 15 October 2023), that explores how evolving online technologies have changed how writers write, and readers read.
The narratives featured in the exhibition will prompt visitors to consider what new possibilities emerge when they are invited as readers to become a part of the story themselves. Visitors will get to discover how technology can be used to enhance their reading experience, from Zombies, Run!, the widely popular audio fiction fitness app, to Breathe, a ghost story that “follows the reader around”, reacting to users’ real-time location data.
On display for the first time is a playable preview of Windrush Tales,the world’s first interactive narrative game based on the lived experiences of Caribbean immigrants in post-World War II Britain. The game is still in development; the preview is its first public launch, and is made exclusively available for the exhibition by 3-Fold Presents. The exhibition also premieres a new edition of This is a Picture of Wind, with a new sequence of poems inspired by Derek Jarman’s writing about his garden. This is a Picture of Wind was originally written in response to severe storms in the South West of England in 2014. [I found the attribution a little puzzling; hopefully, I haven’t added to the confusion. Note 1: This is a Picture … is a web-based project from J.R. Carpenter, see more in this January 22, 2018 posting on the IOTA Institute website ; Note 2: As for Derek Jarman, there’s this “… if modern gardening has a patron saint, it must be the English artist, filmmaker, and LGBT rights activist Derek Jarman (January 31, 1942–February 19, 1994)”; as for writing about his garden, “The record of this healing creative adventure became Jarman’s Modern Nature (public library)— part memoir and part memorial, …” both Jarman excerpts are from Maria Popova’s April 4, 2021 posting on the marginalian; Note 3: There are accounts of the 2014 storms mentioned in the IOTA posting but sources are not specified]
Items on display will also explore how writers and artists can provide an empathetic look into the lived realities behind the news. Digital Storytelling illustrates this through A Dictionary of the Revolution, which charts the evolution of political language in Egypt during the uprising in 2011. Another work, c ya laterrrr, is an intimate autobiographical hypertext account of the loss of author Dan Hett’s brother in the 2017 Manchester Arena terrorist attack.
Visitors will also get to experience the wide-ranging possibilities of historical immersion and alternate story-worlds through these emerging formats. The exhibition will feature Astrologaster, an award-winning interactive comedy based on the archival casebooks of Elizabethan medical astrologer Simon Forman, and Clockwork Watch, a transmedia collaborative story set in a steampunk Victorian England.
Giulia Carla Rossi, Curator for Digital Publications in Contemporary British Published Collections and co-curator of the exhibition, says:
“In 2023 we’re celebrating the 50th anniversary of the British Library. Over the last half a century, digital technologies have transformed how we communicate, research and consume media – and this shift is reflected in the growth of digital stories in the Library’s ever-growing collection. In recognition of this evolution in communication, we are thrilled to present Digital Storytelling, the first exhibition of its kind at the British Library. Working closely with artists and creators, the exhibition draws on the Library’s expertise in collecting and preserving innovative online publications and reflects the rapidly evolving concept of interactive writing. At the core of all the items on display are rich narratives that are dynamic, responsive, personalised and evoke for readers the experience of getting lost in a truly immersive story.”
A season of in-person events inspired by the exhibition will feature writers, creators and academics:
MIX 2023 Storytelling in Immersive Media. A one-day conference exploring the intersection of writing and technology, Friday 7 July 2023.
An Island of Sound: J.R. Carpenter with Jules Rawlinson. A live and immersive experience exploring phantom islands as weather phenomena, Friday 7 July 2023.
Astrologaster: meet the makers and the music from this pioneering storytelling game, A conversation with the creators and a live performance of songs from the Astrologaster soundtrack, Friday 15^th September 2023.
Late at the Library: Digital Steampunk. Immerse yourself in the Clockwork Watch story world, party with Professor Elemental and explore 19^th century London in Minecraft, Friday 13^th October 2023.

As you can see two of the Digital Storytelling events have yet to take place.

This exhibit too has a fee.

You can find the British Library website here. (Click on Visit for the address and other details.) Some exhibits are free and others require a fee. I cannot find information about an all access pass, so, it looks like you’ll have to pay individual fees for the exhibits that require them. Members get free access to all exhibits.

Punctuation: a universal complement to the mathematical perfection of language

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Before getting to the research into mathematics and punctuation, I’m setting the scene with snippets from a February 13, 2023 online article by Dan Falk for Aperio magazine, which seems to function both as a magazine and an advertisement for postdoctoral work in Israel funded by the Azrieli Foundation,

Four centuries ago, Galileo famously described the physical world as a realm that was rooted in mathematics. The universe, he wrote, “cannot be read until we have learnt the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles and other geometrical figures, without which means it is humanly impossible to comprehend a single word.”
Since Galileo’s time, scientists and philosophers have continued to ponder the question of why mathematics is so shockingly effective at describing physical phenomena. No one would deny that this is a deep question, but for philosopher Balthasar Grabmayr, an Azrieli International Postdoctoral Fellow at the University of Haifa, even deeper questions lie beneath it. Why does mathematics work at all? Does mathematics have limits? And if it does, what can we say about those limits?
…
Grabmayr found his way to this field from a very different passion: music. Growing up in Vienna, he attended a music conservatory and was set on becoming a classical musician. Eventually, he began to think about what made music work, and then began to think about musical structure. “I started to realize that, actually, what I’m interested in — what I found so attractive in music — is basically mathematics,” he recalls. “Mathematics is the science of structure. I was completely captured by that.”
…
One of Grabmayr’s main areas of research involves Gödel coding, a technique that, roughly put, allows mathematics to study itself. Gödel coding lets you convert statements about a system of rules or axioms into statements within the original system.
…
Gödel coding is named for the Austrian logician Kurt Gödel, who in the 1930s developed his famous “incompleteness theorems,” which point to the inherent limitations of mathematics. Although expressed as an equation, Gödel’s proof was based on the idea that a sentence such as “This statement is unprovable” is both true and unprovable. As Rebecca Goldstein’s biography of Gödel declares, he “demonstrated that in every formal system of arithmetic there are true statements that nevertheless cannot be proved. The result was an upheaval that spread far beyond mathematics, challenging conceptions of the nature of the mind.”
Grabmayr’s work builds on the program that Gödel began nearly a century ago. “What I’m really interested in is what the limitations of mathematics are,” he says. “What are the limits of what we can prove? What are the limits of what we can express in formal languages? And what are the limits of what we can calculate using computers?” (That last remark shows that Gödel coding is of interest well beyond the philosophy of mathematics. “We’re surrounded by it,” says Grabmayr. “I mean, without Gödel coding there wouldn’t be any computers.”)
Another potential application is in cognitive science and the study of the mind. Psychologists and other scientists have long debated to what extent the mind is, or is not, like a computer. When we “think,” are we manipulating symbols the way a computer does? The jury is still out on that question, but Grabmayr believes his work can at least point toward some answers. “Cognitive science is based on the premise that we can use computational models to capture certain phenomena of the brain,” he says. “Artificial intelligence, also, is very much concerned with trying to formally capture our reasoning, our thinking processes.”
…
Albert Visser, a philosopher and logician at Utrecht University in the Netherlands and one of Grabmayr’s PhD supervisors, sees a number of potential payoffs for this research. “Balthasar’s work has some overspill to computer science and linguistics, since it involves a systematic reflection both on coding and on the nature of syntax,” he says. “The discussion of ideas from computer science and linguistics in Balthasar’s work is also beneficial in the other direction. [emphases mine]

Now for the research into punctuation in European languages. From an April 19, 2023 Henryk Niewodniczanski Institute of Nuclear Physics Polish Academy of Sciences press release (also on EurekAlert but published April 20, 2023),

A moment’s hesitation… Yes, a full stop here – but shouldn’t there be a comma there? Or would a hyphen be better? Punctuation can be a nuisance; it is often simply neglected. Wrong! The most recent statistical analyses paint a different picture: punctuation seems to “grow out” of the foundations shared by all the (examined) languages, and its features are far from trivial.
To many, punctuation appears as a necessary evil, to be happily ignored whenever possible. Recent analyses of literature written in the world’s current major languages require us to alter this opinion. In fact, the same statistical features of punctuation usage patterns have been observed in several hundred works written in seven, mainly Western, languages. Punctuation, all ten representatives of which can be found in the introduction to this text, turns out to be a universal and indispensable complement to the mathematical perfection of every language studied. Such a remarkable conclusion about the role of mere commas, exclamation marks or full stops comes from an article by scientists from the Institute of Nuclear Physics of the Polish Academy of Sciences (IFJ PAN) in Cracow, published in the journal Chaos, Solitons & Fractals.
“The present analyses are an extension of our earlier results on the multifractal features of sentence length variation in works of world literature. After all, what is sentence length? It is nothing more than the distance to the next specific punctuation mark – the full stop. So now we have taken all punctuation marks under a statistical magnifying glass, and we have also looked at what happens to punctuation during translation,” says Prof. Stanislaw Drozdz (IFJ PAN, Cracow University of Technology).
Two sets of texts were studied. The main analyses concerning punctuation within each language were carried out on 240 highly popular literary works written in seven major Western languages: English (44), German (34), French (32), Italian (32), Spanish (32), Polish (34) and Russian (32). This particular selection of languages was based on a criterion: the researchers assumed that no fewer than 50 million people should speak the language in question, and that the works written in it should have been awarded no fewer than five Nobel Prizes for Literature. In addition, for the statistical validity of the research results, each book had to contain at least 1,500 word sequences separated by punctuation marks. A separate collection was prepared to observe the stability of punctuation in translation. It contained 14 works, each of which was available in each of the languages studied (two of the 98 language versions, however, were omitted due to their unavailability). In total, authors in both collections included such writers as Conrad, Dickens, Doyle, Hemingway, Kipling, Orwell, Salinger, Woolf, Grass, Kafka, Mann, Nietzsche, Goethe, La Fayette, Dumas, Hugo, Proust, Verne, Eco, Cervantes, Sienkiewicz or Reymont.
The attention of the Cracow researchers was primarily drawn to the statistical distribution of the distance between consecutive punctuation marks. It soon became evident that in all the languages studied, it was best described by one of the precisely defined variants of the Weibull distribution. A curve of this type has a characteristic shape: it grows rapidly at first and then, after reaching a maximum value, descends somewhat more slowly to a certain critical value, below which it reaches zero with small and constantly decreasing dynamics. The Weibull distribution is usually used to describe survival phenomena (e.g. population as a function of age), but also various physical processes, such as increasing fatigue of materials.
“The concordance of the distribution of word sequence lengths between punctuation marks with the functional form of the Weibull distribution was better the more types of punctuation marks we included in the analyses; for all marks the concordance turned out to be almost complete. At the same time, some differences in the distributions are apparent between the different languages, but these merely amount to the selection of slightly different values for the distribution parameters, specific to the language in question. Punctuation thus seems to be an integral part of all the languages studied,” notes Prof. Drozdz, only to add after a moment with some amusement: “…and since the Weibull distribution is concerned with phenomena such as survival, it can be said with not too much tongue-in-cheek that punctuation has in its nature a literally embedded struggle for survival.”
The next stage of the analyses consisted of determining the hazard function. In the case of punctuation, it describes how the conditional probability of success – i.e. the probability of the next punctuation mark – changes if no such mark has yet appeared in the analysed sequence. The results here are clear: the language characterised by the lowest propensity to use punctuation is English, with Spanish not far behind; Slavic languages proved to be the most punctuation-dependent. The hazard function curves for punctuation marks in the six languages studied appeared to follow a similar pattern, they differed mainly in vertical shift.
German proved to be the exception. Its hazard function is the only one that intersects most of the curves constructed for the other languages. German punctuation thus seems to combine the punctuation features of many languages, making it a kind of Esperanto punctuation. The above observation dovetails with the next analysis, which was to see whether the punctuation features of original literary works can be seen in their translations. As expected, the language most faithfully transforming punctuation from the original language to the target language turned out to be German.
In spoken communication, pauses can be justified by human physiology, such as the need to catch one’s breath or to take a moment to structure what is to be said next in one’s mind. And in written communication?
“Creating a sentence by adding one word after another while ensuring that the message is clear and unambiguous is a bit like tightening the string of a bow: it is easy at first, but becomes more demanding with each passing moment. If there are no ordering elements in the text (and this is the role of punctuation), the difficulty of interpretation increases as the string of words lengthens. A bow that is too tight can break, and a sentence that is too long can become unintelligible. Therefore, the author is faced with the necessity of ‘freeing the arrow’, i.e. closing a passage of text with some sort of punctuation mark. This observation applies to all the languages analysed, so we are dealing with what could be called a linguistic law,” states Dr Tomasz Stanisz (IFJ PAN), first author of the article in question.
Finally, it is worth noting that the invention of punctuation is relatively recent – punctuation marks did not occur at all in old texts. The emergence of optimal punctuation patterns in modern written languages can therefore be interpreted as the result of their evolutionary advancement. However, the excessive need for punctuation is not necessarily a sign of such sophistication. English and Spanish, contemporarily the most universal languages, appear, in the light of the above studies, to be less strict about the frequency of punctuation use. It is likely that these languages are so formalised in terms of sentence construction that there is less room for ambiguity that would need to be resolved with punctuation marks.
The Henryk Niewodniczański Institute of Nuclear Physics (IFJ PAN) is currently one of the largest research institutes of the Polish Academy of Sciences. A wide range of research carried out at IFJ PAN covers basic and applied studies, from particle physics and astrophysics, through hadron physics, high-, medium-, and low-energy nuclear physics, condensed matter physics (including materials engineering), to various applications of nuclear physics in interdisciplinary research, covering medical physics, dosimetry, radiation and environmental biology, environmental protection, and other related disciplines. The average yearly publication output of IFJ PAN includes over 600 scientific papers in high-impact international journals. Each year the Institute hosts about 20 international and national scientific conferences. One of the most important facilities of the Institute is the Cyclotron Centre Bronowice (CCB), which is an infrastructure unique in Central Europe, serving as a clinical and research centre in the field of medical and nuclear physics. In addition, IFJ PAN runs four accredited research and measurement laboratories. IFJ PAN is a member of the Marian Smoluchowski Kraków Research Consortium: “Matter-Energy-Future”, which in the years 2012-2017 enjoyed the status of the Leading National Research Centre (KNOW) in physics. In 2017, the European Commission granted the Institute the HR Excellence in Research award. As a result of the categorization of the Ministry of Education and Science, the Institute has been classified into the A+ category (the highest scientific category in Poland) in the field of physical sciences.

Here’s a link to and a citation for the paper,

Universal versus system-specific features of punctuation usage patterns in major Western languages by Tomasz Stanisz, Stanisław Drożdż, and Jarosław Kwapień. Chaos, Solitons & Fractals Volume 168, March 2023, 113183 DOI: https://doi.org/10.1016/j.chaos.2023.113183

This paper is behind a paywall but the publishers do offer a preview of sorts.

There is also an earlier, less polished, open access version on the free peer review website arXiv,

Universal versus system-specific features of punctuation usage patterns in~major Western~languages by Tomasz Stanisz, Stanislaw Drozdz, Jaroslaw Kwapie. arXiv:2212.11182 [cs.CL] (or arXiv:2212.11182v1 [cs.CL] for this version) DOI: https://doi.org/10.48550/arXiv.2212.11182 Postede Wed, 21 Dec 2022 16:52:10 UTC (1,073 KB)

Physics in James Joyce’s Ulysses and physics amongst the penguins

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So James Joyce included some physics in his novel, Ulysses (serialized in The Little Review from March 1918 to December1920 and published as a novel in February 1922)?

That’s not the only surprise. Apparently, penguins perform some interesting feats from a physics perspective. I have two stories about penguin physics with the latest research being published in June 2023.

Let’s start with literature.

James Joyce, Ulysses, and 19th century physics

This article came to my attention in April 2023 but the material is from 2021/22. Thankfully, since it’s a literature topic, timing doesn’t matter quite as much as it does for other topics. From a December 22, 2021 American Institute of Physics news release highlights an intriguing article in The Physics Teacher,

James Joyce’s book “Ulysses” is widely considered a 20th-century literary masterpiece. It also contains a surprising amount of 19th-century classical physics, according to Harry Manos, faculty member at Los Angeles City College.
“Ulysses” chronicles the ordinary life of the protagonist Leopold Bloom over a single day in 1904. In The Physics Teacher, by AIP Publishing, Manos reveals several connections that have not been analyzed before in the Joycean literature between classic physics prevalent during that time and various passages of the book.
“‘Ulysses’ exemplifies what physics students and teachers should realize — namely, physics and literature are not mutually exclusive,” Manos said.
Manos shows how Joyce uses the optics of concave and convex mirrors to metaphorically parallel “Ulysses” with Homer’s “Odyssey,” and how Joyce uses physics to show Bloom’s strengths and weaknesses in science.
…

Here’s a link to and a citation for the paper,

Physics in James Joyce’s Ulysses by Harry Manos. The Physics Teacher 60, 6–10 (2022) DOI: https://doi.org/10.1119/5.0028832 Published online: January 1, 2022

This paper is behind a paywall but there is a freely available abstract

Ulysses by James Joyce (1882–1941) has a surprising amount of 19th-century, classical physics. The physics community is familiar with the name James Joyce mainly through the word “quark” (onomatopoeic for the sound of a duck or seagull), which Murray Gell-Mann (1929-2019 – Physics Nobel Prize 1969) sourced from Joyce’s Finnegan’s Wake. Ulysses, however, was ranked number one in 1998 on the Modern Library “100 Best Novels” list and is, in whole or in part, in the literature curriculum in university English departments worldwide. The fact that Ulysses contains so much classical physics should not be surprising. Joyce’s friend Eugene Jolas observed: “the range of subjects he [Joyce] enjoyed discussing was a wide one … [including] certain sciences, particularly physics, geometry, and mathematics.” Knowing physics can enhance everyone’s understanding of this novel and enrich its entertainment value. Ulysses exemplifies what physics students (science and non-science majors) and physics teachers should realize, namely, physics and literature are not mutually exclusive.

In addition to the December 22, 2021 American Institute of Physics news release which provides some detail about the physics in Ulysses, there’s Jennifer Ouellette’s April 2, 2023 article for Ars Technica where in addition to the material in the news release, she adds some intriguing information, Note: Links have been removed,

…
In Chapter 15 (“Circe”), one of the characters says, “You can call me up by sunphone any old time”—a phrase that also appears in Joyce’s handwritten notes for the chapter. While Manos was unable to trace a specific source for this term, there was a similar device that had been invented some 20 years earlier: Alexander Graham Bell’s photophone, co-invented with his assistant Charles Sumner Tainter.
Unlike the telephone, which relies on electricity, the photophone transmitted sound on a beam of light. Bell’s voice was projected through the instrument to a mirror, causing similar vibrations in the mirror. When he directed sunlight into the mirror, it captured and projected the mirror’s vibrations via reflection, which were then transformed back into sound at the receiving end of the projection. Bell’s device never found immediate application, but it’s arguably the progenitor to modern fiber-optic telecommunications.
There are several other instances of physics (both correct and incorrect/outdated) mentioned in Ulysses, per Manos, including Bloom misunderstanding the science of X-rays; his confusion over parallax; trying to figure out the source of buoyancy in the Dead Sea; ruminating on Archimedes’ “burning glass”; seeing rainbow colors in a water spray; and pondering why he hears the ocean when he places a seashell to his ear. Manos believes introducing literature like Ulysses into physics courses could be a boon for non-majors, as well as encouraging physics and engineering students to learn more about literature.
In fact, Manos notes that an earlier 1995 paper introduced a handy introductory physics problem involving distance, velocity, and time. Ulysses opens with Stephen Dedalus and his roommate, Buck Mulligan, standing at the Martello tower overlooking a bay at Sandy Cove. …

Now onto …

Penguin physics

Two stories, two research teams, and six months separate their papers.

A February 7, 2023 news item on phys.org features work from a team of Japanese scientists studying how penguins turn in the water, Note: A link has been removed,

Penguins constitute a fascinating family of flightless birds, that although somewhat clumsy on land, are extremely talented swimmers. Their incredible maneuverability in water has captivated biologists for decades, with the first hydrodynamic studies on their swimming dating back to the 1970s.
Although a rare few studies have clarified some of the physics behind penguins’ dexterity, most of them have focused on forward swimming rather than turning. While one may argue that existing studies on the turning mechanisms of flying birds could shed some light on this topic, water is 800 hundred times denser than air, and thus the turning mechanisms employed are presumably very different between these media.
In an effort to bridge this knowledge gap, a pair of Japanese scientists from Tokyo Institute of Technology (Tokyo Tech), including Associate Professor Hiroto Tanaka, recently conducted a study. The main goal of this work, which was published in Journal of Experimental Biology, was to gain a better understanding of the three dimensional (3D) kinematics and hydrodynamic forces that enable penguins to turn underwater.

Penguin Physics: Understanding the Mechanisms of Underwater Turning Maneuvers in Penguins — Credit: Tokyo Institute of Technology

A February 8, 2023 Tokyo Institute of Technology (Tokyo Tech) press release, which originated the news item, describes the research in more technical detail,

The researchers recorded two sessions of gentoo penguins (Pygoscelis papua) free swimming in a large water tank at Nagasaki Penguin Aquarium, Japan, using a dozen or more underwater cameras. Then, thanks to a technique called 3D direct linear transformation, they were able to integrate data from all the footage and conduct detailed 3D motion analyses by tracking various points on the penguins’ bodies and wings.
Armed with these data, the researchers then established a mathematical 3D body model of the penguins. This model covered the orientation and angles of the body, the different positions and motions of the wings during each stroke, the associated kinematic parameters and hydrodynamic forces, and various turning metrics. Through statistical analyses and comparisons with the experimental data, the researchers validated the model and gained insight into the role of the wings and other body movements during turning.
The main findings of the study were related to how penguins generate centripetal force to assist their turns. They achieve this, in part, is by maintaining outward banking, which means that they tilt their bodies such that their belly faces inward. In powered turns—those in which the penguin flaps its wings—the majority of changes in direction occur during the upstroke, whereas the forward thrust occurs during the downstroke. In addition, it turns out that penguins flap their wings with a certain asymmetry during powered turns. “We found contralateral differences in wing motion; the wing on the inside of the turn becomes more elevated during the upstroke than the other,” explains Assoc. Prof. Tanaka, “Quasi-steady calculations of wing forces confirmed that this asymmetry in wing motion with the outward banking contributes to the generation of centripetal force during the upstroke. In the following downstroke, the inside wing generates thrust and counter yaw torque to brake the turning.”
Overall, these findings contribute to a greater understanding of how penguins turn when swimming, which is relevant from both biological and engineering standpoints. However, Assoc. Prof. Tanaka remarks that these findings bring but one piece to the puzzle: “The mechanisms of various other maneuvers in penguins, such as rapid acceleration, pitch up and down, and jumping out of the water, are still unknown. Our study serves as the basis for further understanding of more complex maneuvers.”
Let us hope future research helps fully clarify how penguins achieve their mesmerizing aquatic prowess!

Here’s a link to and a citation for the paper,

Kinematic and hydrodynamic analyses of turning manoeuvres in penguins: body banking and wing upstroke generate centripetal force by Natsuki Harada and Hiroto Tanaka. J Exp Biol (2022) 225 (24): jeb244124. DOI: https://doi.org/10.1242/jeb.244124 Published online December 22, 2022

This paper is open access.

Penguins are the fastest swimming birds and this team published a paper about their propulsion six months after the ‘turning’ team according to a June 20, 2023 news item on phys.org,

Penguins aren’t just cute: they’re also speedy. Gentoo penguins are the fastest swimming birds in the world, and that ability comes from their unique and sophisticated wings.
Researchers from the University of Chinese Academy of Sciences, Chinese Academy of Sciences, and King Mongkut’s Institute of Technology Ladkrabang [KMITL or KMIT Ladkrabang; Thailand] developed a model to explore the forces and flow structures created by penguin wings underwater. They determined that wing feathering is the main factor for generating thrust. Their findings have been published in the journal Physics of Fluids.
…

An American Institute of Physics June 20, 2022 news release (also on EurekAlert), which originated the news item, provides further explanation of how penguins are able to achieve their swimming speed,

Penguin wings, aka flippers, bear some resemblance to airplane wings covered with scaly feathers. To maximize efficiency underwater instead of in the air, penguin wings are shorter and flatter than those of flying birds.
The animals can adjust swimming posture by active wing feathering (changing the angle of their wings to reduce resistance), pitching, and flapping. Their dense, short feathers can also lock air between the skin and water to reduce friction and turbulence.
“Penguins’ superior swimming ability to start/brake, accelerate/decelerate, and turn swiftly is due to their freely waving wings. They allow penguins to propel and maneuver in the water and maintain balance on land,” said author Prasert Prapamonthon. “Our research team is always curious about sophisticated creatures in nature that would be beneficial to mankind.”
The hydrodynamic model takes in information about the flapping and feathering of the wings, including amplitude, frequency, and direction, and the fluid parameters, such as velocity and viscosity. Using the immersed boundary method, it solves for the motion of the wing and the thrust, lift, and lateral forces.
To establish the movement of wings across species, researchers use the ratio of wing flapping speed to forward speed. This value avoids any differences between air and water. Additionally, the authors define an angle of thrust, determined by the angle of the wings. Both of these parameters have a significant impact on the penguin’s thrust.
“We proposed the concept of angle of thrust, which explains why finned wings generate thrust: Thrust is primarily determined by the angle of attack and the relative angle of the wings to the forward direction,” said Prapamonthon. “The angle of thrust is an important concept in studying the mechanism of thrust generated by flapping motion and will be useful for designing mechanical wing motion.”
These findings can guide the design of aquatic vehicles by quickly estimating propulsion performance without high experimental or computational costs.
In the future, the team plans to examine a more realistic 3D penguin model. They will incorporate different wing properties and motion, such as starting, braking, turning, and jumping in and out of water.

Here’s a link to and a citation for the paper,

Hydrodynamic performance of a penguin wing: Effect of feathering and flapping by Hao Zhanzhou (郝占宙), Yin Bo (银波), Prasert Prapamonthon, Yang Guowei (杨国). Physics of Fluids 35 (6), 061907 (2023) DOI: https://doi.org/10.1063/5.0147776 Published online: June 20, 2023

This paper is open access.

12th World Conference of Science Journalists in Medellín, Colombia from March 27-31, 2023

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I very rarely get a chance to feature science from Latin America and the Caribbean, largely due to my lack of Spanish, Portuguese, or Dutch language skills. So, you might say I’m desperate to find something, which explains, at least in part, why I’m posting about the 12th World Conference (WCSJ).

A March 29, 2023 WCSJ press release (also on EurekAlert but published March 28, 2023) describes the opening day of the 2023 conference,

The opening day [March 27, 2023] of the World Conference of Science Journalists (WCSJ) 2023 in Medellín, Colombia saw hundreds of journalists from 62 countries come together in the stunning setting of the city’s Jardin Botanico.
Over 500 attendees will gather over three days to discuss science journalism, to challenge ideas and to reinforce their professional networks and friendships.
The day began with a keynote on biodiversity delivered by Brigitte Baptiste, a Colombian biologist and expert in biodiversity issues. And it closed with an opening ceremony and vibrant social event for attendees.
Both took place under open skies in the Jardin’s orquideorama, an open air meshwork of flower-tree structures surrounded by trees, butterflies and with a backdrop of birdsong.
Two other plenaries focused on scientific advice and news from Amazonia. The morning’s parallel panels covered Latin American and international collaboration, with discussions from Latin American women researchers, reporting on science, health and the environment in the region and what the world can learn from Latin American and the Caribbean early warning alerts systems. The afternoon saw discussions on COVID-19, popular science writing and astronomy.
The conference continues until Friday when there are scientific tours and excursions that provide the opportunity to visit local research teams and find out more about science in the region.
According to WWF, Colombia is the most biodiverse country per square kilometre in the world. It is also the country with the largest number of bird species — over 1,900 — and the greatest number of butterfly species — over 3,600 or 20% butterfly species.
Milica Momcilovic, President of the World Federation of Science Journalists said: “Independent journalism is the lifeblood of democracy and our focus at the Federation is, and will continue to be, supporting independent science journalism around the world. I have seen first hand how talented science journalists can change the world for the better and during this conference they will tell us these stories in person.”
Ximena Serrano Gil, Director of the Medellín conference said: “Colombia and Medellin are a biodiversity hotspot, an unrivalled laboratory for helping other nations adapt to climate change, a model for how to feed populations in rapidly changing tropical environments, and a cultural repository where thousands of years of indigenous peoples’ knowledge can make a lasting contribution to the wisdom of future generations.”
She continued: “The opportunity to share ideas and collaborate with others is invaluable and we must continue to create platforms that facilitate these interactions. I hope that other places in the global south will have the opportunity to host the WCSJ.”
Over the past two decades, the World Federation of Science Journalists (WFSJ) has mounted the WCSJ every other year. The event has been held in cities across the globe, and the current edition in Medellín, Colombia, was postponed from 2021 because of the COVID-19 pandemic. Each gathering lasts about a week and attracts hundreds of participants from the WFSJ membership, including some 10,000 science writers in 51 countries.
This conference has been put together with a specific focus on the global south and on amplifying new voices from science journalist communities.

The programme has something that interests me, a talk on brain organoids according to a March 17, 2023 WCSJ press release, Note: Links have been removed,

Food security, organoid intelligence, local tours and scientific excursions
Plenary: Challenges to food security in the face of global catastrophe risks
In times of crisis and global risks, very few issues have as many factors feeding into them as food security. The integrative measures envisaged by various global players link the actions that are needed to meet the challenges we face. These should be considered in terms of technology, economics and security to ensure the future of food security, but also how science validates the environmental the environmental impact and guarantees the viability of the processes.
Jennifer Wiegel is the Sub Regional Manager for Central America and a scientist in the Food Environment and Consumer Behavior research area of the Alliance of Bioversity International and CIAT [International Center for Tropical Agriculture]. Her research includes work on agri-food systems, food markets and value chains for inclusion and sustainability and public procurement. She has a Ph.D. in Sociology from the University of Wisconsin-Madison and a Master’s in Rural Sociology from the same University.
Juan Fernando Zuluaga is the National Territorial Coordinator for Antioquia. He has a PhD in Social Sciences from the University of Antioquia and a Master in RuralEconomics from the Federal University of Ceará-Brazil. Juan is a specialist in finance from the Latin American Autonomous University and Agricultural Engineer from the National University of Medellín.
Thomas Hartung, MD, PhD. Professor of environmental health sciences at the Johns Hopkins Bloomberg School of Public Health and Whiting School of Engineering and Professor for Pharmacology and Toxicology at University of Konstanz, Germany. He is leading the revolution in toxicology to move away from 50+ year old animal testing to organoid cultures and the use of artificial intelligence.
New keynote
Climate change: How to embroider the risks that put the stability of the most vulnerable at risk

Paola Andrea Arias Gómez is Professor of the Environmental School of the Faculty of Engineering of the University of Antioquia. In 2021 she was El Espectador’s Person of the Year and received the Medellin Council’s Orchid Award for Scientific Merit.
Paola completed her undergraduate studies in Civil Engineering and a Master’s degree in Water Resources Development at the National University of Colombia, Medellin. She was Head of the Environmental School of the Faculty of Engineering of the University of Antioquia and is now a member of the First Working Group of the Intergovernmental Panel on Climate Change (IPCC). She is also a member of the GEWEX Hydroclimatology Panel (GHP), the Amazon Regional Hydrogeomorphology Working Group (UNESCO) and the WCRP Science Plan Development Team (WCRP) Lighthouse Activities – My Climate Risk.
Parallel session:
In conversation: “Organoid intelligence”: the future of modern computing from human brain cells. [sic]
Biocomputing is a huge effort to compact computational power and increase its efficiency to overcome current technological limits. Researchers at Johns Hopkins delve into this technology that may one day produce computers that are faster, more efficient and more powerful than silicon-based computing and AI.
Thomas Hartung, MD, PhD. will present the team’s latest research and discuss its context, implications and what his hopes are for the field.
Thomas Hartung is the Director of Centers for Alternatives to Animal Testing (CAAT, http://caat.jhsph.edu) of both universities. CAAT hosts the secretariat of the Evidence-based Toxicology Collaboration (http://www.ebtox.org) and manages collaborative programs on Good Read-Across Practice, Good Cell Culture Practice, Green Toxicology, Developmental Neurotoxicity, Developmental Immunotoxicity, Microphysiological Systems and Refinement.
…

I found another intriguing session (Story Corner: “Fusion Energy and Climate Change – The Conversation begins” by ITER) which was held on Tuesday, March 28, 2023 at 9:30 – 10:00 am during the coffee break. (For more about fusion energy, see my October 28, 2022 posting “Overview of fusion energy scene“.)

While it’s too late to sign up for the conference, you might find perusing the programme schedule provides some insight into issues being faced my science journalists outside the Canada/US bubble.

Ars Scientia talks at the University of British Columbia (UBC) in February, March, and April 2023

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The University of British Columbia (UBC; Vancouver, Canada) partnership between its Stewart Blusson Quantum Matter Institute (Blusson QMI), its Morris & Helen Belkin Art Gallery (the Belkin), and its Department of Physics and Astronomy (UBC PHAS) is known as Ars Scientia. (See my September 6, 2021 posting for more; scroll down to the Ars Scientia subhead.)

It’s been a while since I’ve seen any notices about Ars Scientia events but the Belkin Gallery announced three in a February 15, 2023 notice (received via email),

Ars Scientia Artist Talks
Room 311, Brimacombe Building, 2355 East Mall, UBC
Join us for a series of artist talks hosted at UBC’s Stewart Blusson Quantum Matter Institute (Blusson QMI). Our current cohort of Ars Scientia artists-in-residence have formed collaborative partnerships with scientists and engineers while embedded at Blusson QMI.
Tuesday, February 21 [2023] at 2 pm
JG Mair
Tuesday, March 28 [2023] at 1 pm
Scott Billings
Tuesday, April 2 [2023] at 2 pm
Timothy Taylor

IMAGE (ABOVE): AN ARS SCIENTIA COLLABORATION BETWEEN VISUAL ARTIST JG MAIR AND PHYSICIST ALANNAH HALLAS AT BLUSSON QMI; THE TWO WORKED TOGETHER IN HALLAS’S LAB TO TURN “INSIGHTFUL FAILURES” OF HIGH-ENTROPY OXIDES (A TYPE OF QUANTUM MATERIAL) INTO AN ARTIST’S MEDIUM – PAINT. PHOTO: RACHEL TOPHAM PHOTOGRAPHY.

I have found more details about the upcoming talk here on the Belkin Gallery’s Artist Talks: JG Mair, Scott Billings and Timothy Taylor events page,

Artist Talk with JG Mair, Tuesday, 21 February [2023] at 2 pm
Please join visual and media artist JG Mair for a discussion about his art practice and experiences as a collaborative participant in the Ars Scientia residency. As part of his talk, Mair will present one of his major works, Chroma Chamber, a web-based new media art installation that investigates human expectations of vision and machine algorithms by programmatically collating real-time Google image results to surround the viewer with the distilled colour of the words they speak. Visit Blusson QMI for more details. [Note 1: On the Blusson QMI page, the talk is titled: Algorithmic allegories by JG Mair; Note 2: You’ll find a map showing the Brimacombe building location.]

I wasn’t able to find out more about the other talks but I did get more information about the three artists, Belkin Gallery’s Artist Talks: JG Mair, Scott Billings and Timothy Taylor events page.

JG Mair is a Vancouver-based multidisciplinary artist and media designer specializing in mixed media, web and audio. He has a BFA from the University of Victoria and a BEd from the University of British Columbia. Mair has been working in the areas of both traditional and digital contemporary art and as a sound designer for various game studios developing titles for publishers including Apple, Electronic Arts, Microsoft and Netflix. Mair has had exhibitions and residencies in Canada, USA, South Korea and Japan.
Scott Billings is a visual artist, industrial designer and engineer based in Vancouver. His sculptures and video installations have been described as existing somewhere between cinema and automata. Centering on issues of animality, mobility and spectatorship, Billings’s work examines the mimetic relationship between the physical apparatus and the virtual motion it delivers. In what ways does the apparatus itself reveal both the mechanisms of causality and its own dormant animal quality? Billings addresses this question under the pursuit of the technological conundrum and a preoccupation with precise geometry and logic. Billings holds an MFA from the University of British Columbia, a BFA from Emily Carr University and a BASc in Mechanical Engineering from the University of Waterloo. He teaches at UBC and Emily Carr as a sessional instructor. Billings is represented by Wil Aballe Art Projects.
Timothy Taylor is an Associate Professor and Graduate Advisor at the School of Creative Writing. He is also a bestselling and award-winning author of eight book-length works of fiction and nonfiction, a prolific journalist, and creative nonfiction writer. In addition to his writing and teaching at UBC, Taylor travels widely, having in recent years spent time on assignment in China, Tibet, Japan, Dubai, Brazil, the Canadian arctic and other places. He lives in Point Grey Vancouver with his wife, his son, and a pair of Brittany Spaniels named Keaton and Murphy.

Hopefully, the talk is a little more accessible than its description.

Data storytelling in libraries

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I had no idea that thee was such enthusiasm for data storytelling but it seems libraries require a kit for the topic. From an August 30, 2022 University of Illinois School of Information Sciences news release (also on EurekAlert), Note: A link has been removed,

A new project led by Associate Professor Kate McDowell and Assistant Professor Matthew Turk of the School of Information Sciences (iSchool) at the University of Illinois Urbana-Champaign will help libraries tell data stories that connect with their audiences. Their project, “Data Storytelling Toolkit for Librarians,” has received a two-year, $99,330 grant from the Institute of Museum and Library Services (IMLS grant RE-250094-OLS-21), under the Laura Bush 21st Century Librarian Program, which supports innovative research by untenured, tenure-track faculty.
“There are thousands of librarians who are skittish about data but love stories,” explained McDowell, who co-teaches a data storytelling course at the iSchool with Turk. “And there are hundreds of librarians who see data as fundamental, but until those librarians have a language through which to connect with the passions of the thousands who love stories, this movement toward strategic data use in the field of libraries will be stifled, along with the potential collaborative creativity of librarians.”
The data storytelling toolkit will provide a set of easy-to-adapt templates, which librarians can use to move quickly from data to story to storytelling. Librarians will be able to use the toolkit to plug in data they already have and generate data visualization and narrative structure options.
“To give an example, public libraries need to communicate employment impact. In this case, the data story will include who has become employed based on library services, how (journey map showing a visual sequence of steps from job seeking to employment), a structure for the story of an individual’s outcomes, and a strong data visualization strategy for communicating this impact,” said McDowell.
According to the researchers, the toolkit will be clearly defined so that librarians understand the potential for communicating with data but also fully adaptable to each librarian’s setting and to the communication needs inside the organization and with the public. The project will focus on community college and public libraries, with initial collaborators to include Ericson Public Library in Boone, Iowa; Oregon City (OR) Public Library; Moraine Valley Community College in Palos Hills, Illinois; Jackson State Community College in Jackson, Tennessee; and The Urbana Free Library.
McDowell’s storytelling research has involved training collaborations with advancement staff both at the University of Illinois Urbana-Champaign and the University of Illinois system; storytelling consulting work for multiple nonprofits including the 50th anniversary of the statewide Prairie Rivers Network that protects Illinois water; and storytelling lectures for the Consortium of Academic and Research Libraries in Illinois (CARLI). McDowell researches and publishes in the areas of storytelling at work, social justice storytelling, and what library storytelling can teach the information sciences about data storytelling. She holds both an MS and PhD in library and information science from Illinois.
Turk also holds an appointment with the Department of Astronomy in the College of Liberal Arts and Sciences at the University of Illinois. His research focuses on how individuals interact with data and how that data is processed and understood. He is a recipient of the prestigious Gordon and Betty Moore Foundation’s Moore Investigator Award in Data-Driven Discovery. Turk holds a PhD in physics from Stanford University.

I found some earlier information about a data storytelling course taught by the two researchers, from a September 25, 2019 University of Illinois School of Information Sciences news release, which provides some additional insight,

Collecting and understanding data is important, but equally important is the ability to tell meaningful stories based on data. Students in the iSchool’s Data Science Storytelling course (IS 590DST) learn data visualization as well as storytelling techniques, a combination that will prove valuable to their employers as they enter the workforce.
The course instructors, Associate Professor and Interim Associate Dean for Academic Affairs Kate McDowell and Assistant Professor Matthew Turk, introduced Data Science Storytelling in fall 2017. The course combines McDowell’s research interests in storytelling practices and applications and Turk’s research interests in data analysis and visualization.
Students in the course learn storytelling concepts, narrative theories, and performance techniques as well as how to develop stories in a collaborative workshop style. They also work with data visualization toolkits, which involves some knowledge of coding.
Ashley Hetrick (MS ’18) took Data Science Storytelling because she wanted “the skills to be able to tell the right story when the time is right for it.” She appreciated the practical approach, which allowed the students to immediately apply the skills they learned, such as developing a story structure and using a pandas DataFrame to support and build a story. Hetrick is using those skills in her current work as assistant director for research data engagement and education at the University of Illinois.
“I combine tools and methods from data science and analytics with storytelling to make sense of my unit’s data and to help researchers make sense of theirs,” she said. “In my experience, few researchers like data for its own sake. They collect, care for, and analyze data because they’re after what all storytellers are after: meaning. They want to find the signal in all of this noise. And they want others to find it too, perhaps long after their own careers are complete. Each dataset is a story and raw material for stories waiting to be told.”
According to Turk, the students who have enrolled in the course have been outstanding, “always finding ways to tell meaningful stories from data.” He hopes they leave the class with an understanding that stories permeate their lives and that shaping the stories they tell others and about others is a responsibility they carry with them.
“One reason that this course means a lot to me is because it gives students the opportunity to really bring together the different threads of study at the iSchool,” Turk said. “It’s a way to combine across levels of technicality, and it gives students permission to take a holistic approach to how they present data.”

I didn’t put much effort into it but did find three other courses on data storytelling, one at the University of Texas (my favourite), one at the University of Toronto, and one (Data Visualization and Storytelling) at the University of British Columbia. The one at the University of British Columbia is available through the business school, the other two are available through information/library science faculties.

Canadian copyright quietly extended

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As of December 30, 2022, Canadian copyright (one of the three elements of intellectual property; the other two: patents and trademarks) will be extended for another 20 years.

Mike Masnick in his November 29, 2022 posting on Techdirt explains why this is contrary to the intentions for establishing copyright in the first place, Note: Links have been removed,

… it cannot make sense to extend copyright terms retroactively. The entire point of copyright law is to provide a limited monopoly on making copies of the work as an incentive to get the work produced. Assuming the work was produced, that says that the bargain that was struck was clearly enough of an incentive for the creator. They were told they’d receive that period of exclusivity and thus they created the work.
Going back and retroactively extending copyright then serves no purpose. Creators need no incentive for works already created. The only thing it does is steal from the public. That’s because the “deal” setup by governments creating copyright terms is between the public (who is temporarily stripped of their right to share knowledge freely) and the creator. But if we extend copyright term retroactively, the public then has their end of the bargain (“you will be free to share these works freely after such-and-such a date”) changed, with no recourse or compensation.
…
Canada has quietly done it: extending copyrights on literary, dramatic or musical works and engravings from life of the author plus 50 years year to life of the author plus 70 years. [emphasis mine]
…

Masnick pointed to a November 23, 2022 posting by Andrea on the Internet Archive Canada blog for how this will affect the Canadian public,

… we now know that this date has been fixed as December 30, 2022, meaning that no new works will enter the Canadian public domain for the next 20 years.
A whole generation of creative works will remain under copyright. This might seem like a win for the estates of popular, internationally known authors, but what about more obscure Canadian works and creators? With circulation over time often being the indicator of ‘value’, many 20th century works are being deselected from physical library collections. …
Edward A. McCourt (1907-1972) is an example of just one of these Canadian creators. Raised in Alberta and a graduate of the University of Alberta, Edward went on to be a Rhodes Scholar in 1932. In 1980, Winnifred Bogaards wrote that:
“[H]e recorded over a period of thirty years his particular vision of the prairies, the region of Canada which had irrevocably shaped his own life. In that time he published five novels and forty-three short stories set (with some exceptions among the earliest stories) in Western Canada, three juvenile works based on the Riel Rebellion, a travel book on Saskatchewan, several radio plays adapted from his western stories, The Canadian West in Fiction (the first critical study of the literature of the prairies), and a biography of the 19th century English soldier and adventurer, Sir William F. Butler… “
In Bogaards’ analysis of his work, “Edward McCourt: A Reassessment” published in the journal Studies in Canadian Literature, she notes that while McCourt has suffered in obscurity, he is often cited along with his contemporaries Hugh MacLennan, Robertson Davies and Irving Layton; Canadian literary stars. Incidentally, we will also wait an additional 20 years for their works to enter the public domain. The work of Rebecca Giblin, Jacob Flynn, and Francois Petitjean, looking at ‘What Happens When Books Enter the Public Domain?’ is relevant here. Their study shows concretely and empirically that extending copyright has no benefit to the public at all, and only benefits a very few wealthy, well known estates and companies. This term extension will not encourage the publishers of McCourt’s works to invest in making his writing available to a new generation of readers.
…

This 20 year extension can trace its roots to the trade agreement between the US, Mexico, and Canada (USMCA) that replaced the previous North American Free Trade Agreement (NAFTA), as of July 1, 2020. This is made clear in Michael Geist’s May 2, 2022 Law Bytes podcast where he discusses with Lucie Guibault the (then proposed) Canadian extension in the context of international standards,

…
Lucie Guibault is an internationally renowned expert on international copyright law, a Professor of Law and Associate Dean at Schulich School of Law at Dalhousie University, and the Associate Director of the school’s Law and Technology Institute.
…

It’s always good to get some context and in that spirit, here’s more from Michael Geist’s May 2, 2022 Law Bytes podcast,

… Despite recommendations from its own copyright review, students, teachers, librarians, and copyright experts to include a registration requirement [emphasis mine] for the additional 20 years of protection, the government chose to extend term without including protection to mitigate against the harms.
…

Geist’s podcast discussion with Guibault, where she explains what a ‘registration requirement’ is and how it would work plus more, runs for almost 27 mins. (May 2, 2022 Law Bytes podcast). One final comment, visual artists and musicians are also affected by copyright rules.

FrogHeart’s 2022 comes to an end as 2023 comes into view

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I look forward to 2023 and hope it will be as stimulating as 2022 proved to be. Here’s an overview of the year that was on this blog:

Sounds of science

It seems 2022 was the year that science discovered the importance of sound and the possibilities of data sonification. Neither is new but this year seemed to signal a surge of interest or maybe I just happened to stumble onto more of the stories than usual.

“Tree music ” January 18, 2022 posting
“Classical music makes protein songs easier listening” March 31, 2022 posting
“Sounds of Central African Landscapes; a Cornell (University) Elephant Listening Project” March 8, 2022 posting
“Fishes ‘talk’ and ‘sing’” March 4, 2022 posting
“The sound of the mushroom” May 27, 2022 posting

This is not an exhaustive list, you can check out my ‘Music’ category for more here. I have tried to include audio files with the postings but it all depends on how accessible the researchers have made them.

Aliens on earth: machinic biology and/or biological machinery?

When I first started following stories in 2008 (?) about technology or machinery being integrated with the human body, it was mostly about assistive technologies such as neuroprosthetics. You’ll find most of this year’s material in the ‘Human Enhancement’ category or you can search the tag ‘machine/flesh’.

However, the line between biology and machine became a bit more blurry for me this year. You can see what’s happening in the titles listed below (you may recognize the zenobot story; there was an earlier version of xenobots featured here in 2021):

“Nanopore-tal enables cells to talk to computers?” February 17, 2022 posting
“Xenobots (living robots) that can reproduce” June 8, 2022 posting
“Incorporating human cells into computer chips” August 29, 2022 posting
“Electrical conductivity in bacterial nanowires” November 18, 2022 posting

This was the story that shook me,

“Robots with living human skin tissue?” December 27, 2022 posting

Are the aliens going to come from outer space or are we becoming the aliens?

Brains (biological and otherwise), AI, & our latest age of anxiety

As we integrate machines into our bodies, including our brains, there are new issues to consider:

Going blind when your neural implant company flirts with bankruptcy (long read) April 5, 2022 posting
US National Academies Sept. 22-23, 2022 workshop on techno, legal & ethical issues of brain-machine interfaces (BMIs) September 21, 2022 posting

I hope the US National Academies issues a report on their “Brain-Machine and Related Neural Interface Technologies: Scientific, Technical, Ethical, and Regulatory Issues – A Workshop” for 2023.

Meanwhile the race to create brainlike computers continues and I have a number of posts which can be found under the category of ‘neuromorphic engineering’ or you can use these search terms ‘brainlike computing’ and ‘memristors’.

On the artificial intelligence (AI) side of things, I finally broke down and added an ‘artificial intelligence (AI) category to this blog sometime between May and August 2021. Previously, I had used the ‘robots’ category as a catchall. There are other stories but these ones feature public engagement and policy (btw, it’s a Canadian Science Policy Centre event), respectively,

“The “We are AI” series gives citizens a primer on AI” March 23, 2022 posting
“Age of AI and Big Data – Impact on Justice, Human Rights and Privacy Zoom event on September 28, 2022 at 12 – 1:30 pm EDT” September 16, 2022 posting

These stories feature problems, which aren’t new but seem to be getting more attention,

“Racist and sexist robots have flawed AI” June 23, 2022 posting
“How AI-designed fiction reading lists and self-publishing help nurture far-right and neo-Nazi novelists” December 6, 2022 posting

While there have been issues over AI, the arts, and creativity previously, this year they sprang into high relief. The list starts with my two-part review of the Vancouver Art Gallery’s AI show; I share most of my concerns in part two. The third post covers intellectual property issues (mostly visual arts but literary arts get a nod too). The fourth post upends the discussion,

“Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (1 of 2): The Objects” July 28, 2022 posting
“Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (2 of 2): Meditations” July 28, 2022 posting
“AI (artificial intelligence) and art ethics: a debate + a Botto (AI artist) October 2022 exhibition in the Uk” October 24, 2022 posting
Should AI algorithms get patents for their inventions and is anyone talking about copyright for texts written by AI algorithms? August 30, 2022 posting

Interestingly, most of the concerns seem to be coming from the visual and literary arts communities; I haven’t come across major concerns from the music community. (The curious can check out Vancouver’s Metacreation Lab for Artificial Intelligence [located on a Simon Fraser University campus]. I haven’t seen any cautionary or warning essays there; it’s run by an AI and creativity enthusiast [professor Philippe Pasquier]. The dominant but not sole focus is art, i.e., music and AI.)

There is a ‘new kid on the block’ which has been attracting a lot of attention this month. If you’re curious about the latest and greatest AI anxiety,

Peter Csathy’s December 21, 2022 Yahoo News article (originally published in The WRAP) makes this proclamation in the headline “Chat GPT Proves That AI Could Be a Major Threat to Hollywood Creatives – and Not Just Below the Line | PRO Insight”
Mouhamad Rachini’s December 15, 2022 article for the Canadian Broadcasting Corporation’s (CBC) online news overs a more generalized overview of the ‘new kid’ along with an embedded CBC Radio file which runs approximately 19 mins. 30 secs. It’s titled “ChatGPT a ‘landmark event’ for AI, but what does it mean for the future of human labour and disinformation?” The chat bot’s developer, OpenAI, has been mentioned here many times including the previously listed July 28, 2022 posting (part two of the VAG review) and the October 24, 2022 posting.

Opposite world (quantum physics in Canada)

Quantum computing made more of an impact here (my blog) than usual. it started in 2021 with the announcement of a National Quantum Strategy in the Canadian federal government budget for that year and gained some momentum in 2022:

“Quantum Mechanics & Gravity conference (August 15 – 19, 2022) launches Vancouver (Canada)-based Quantum Gravity Institute and more” July 26, 2022 posting Note: This turned into one of my ‘in depth’ pieces where I comment on the ‘Canadian quantum scene’ and highlight the appointment of an expert panel for the Council of Canada Academies’ report on Quantum Technologies.
“Bank of Canada and Multiverse Computing model complex networks & cryptocurrencies with quantum computing” July 25, 2022 posting
“Canada, quantum technology, and a public relations campaign?” December 29, 2022 posting

This one was a bit of a puzzle with regard to placement in this end-of-year review, it’s quantum but it’s also about brainlike computing

“Quantum memristors” September 29, 2022 posting

It’s getting hot in here

Fusion energy made some news this year.

“Overview of fusion energy scene” October 28, 2022 posting
“US announces fusion energy breakthrough” December 13, 2022 posting

There’s a Vancouver area company, General Fusion, highlighted in both postings and the October posting includes an embedded video of Canadian-born rapper Baba Brinkman’s “You Must LENR” [L ow E nergy N uclear R eactions or sometimes L attice E nabled N anoscale R eactions or Cold Fusion or CANR (C hemically A ssisted N uclear R eactions)].

BTW, fusion energy can generate temperatures up to 150 million degrees Celsius.

Ukraine, science, war, and unintended consequences

Here’s what you might expect,

“Science during a time of war in Ukraine” June 28, 2022 posting

These are the unintended consequences (from Rachel Kyte’s, Dean of the Fletcher School, Tufts University, December 26, 2022 essay on The Conversation [h/t December 27, 2022 news item on phys.org]), Note: Links have been removed,

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Russian President Vladimir Putin’s war on Ukraine has reverberated through Europe and spread to other countries that have long been dependent on the region for natural gas. But while oil-producing countries and gas lobbyists are arguing for more drilling, global energy investments reflect a quickening transition to cleaner energy. [emphasis mine]
Call it the Putin effect – Russia’s war is speeding up the global shift away from fossil fuels.
In December [2022?], the International Energy Agency [IEA] published two important reports that point to the future of renewable energy.
First, the IEA revised its projection of renewable energy growth upward by 30%. It now expects the world to install as much solar and wind power in the next five years as it installed in the past 50 years.
The second report showed that energy use is becoming more efficient globally, with efficiency increasing by about 2% per year. As energy analyst Kingsmill Bond at the energy research group RMI noted, the two reports together suggest that fossil fuel demand may have peaked. While some low-income countries have been eager for deals to tap their fossil fuel resources, the IEA warns that new fossil fuel production risks becoming stranded, or uneconomic, in the next 20 years.
…

Kyte’s essay is not all ‘sweetness and light’ but it does provide a little optimism.

Kudos, nanotechnology, culture (pop & otherwise), fun, and a farewell in 2022

This one was a surprise for me,

“Salmon science camps” February 14, 2022 posting

Sometimes I like to know where the money comes from and I was delighted to learn of the Ărramăt Project funded through the federal government’s New Frontiers in Research Fund (NFRF). Here’s more about the Ărramăt Project from the February 14, 2022 posting,

…
“The Ărramăt Project is about respecting the inherent dignity and interconnectedness of peoples and Mother Earth, life and livelihood, identity and expression, biodiversity and sustainability, and stewardship and well-being. Arramăt is a word from the Tamasheq language spoken by the Tuareg people of the Sahel and Sahara regions which reflects this holistic worldview.” (Mariam Wallet Aboubakrine)
Over 150 Indigenous organizations, universities, and other partners will work together to highlight the complex problems of biodiversity loss and its implications for health and well-being. The project Team will take a broad approach and be inclusive of many different worldviews and methods for research (i.e., intersectionality, interdisciplinary, transdisciplinary). Activities will occur in 70 different kinds of ecosystems that are also spiritually, culturally, and economically important to Indigenous Peoples.
The project is led by Indigenous scholars and activists …

Kudos to the federal government and all those involved in the Salmon science camps, the Ărramăt Project, and other NFRF projects.

There are many other nanotechnology posts here but this appeals to my need for something lighter at this point,

“Say goodbye to crunchy (ice crystal-laden) in ice cream thanks to cellulose nanocrystals (CNC)” August 22, 2022 posting

The following posts tend to be culture-related, high and/or low but always with a science/nanotechnology edge,

“Research communicated by puppets” June 3, 2022 posting
“Drag artists making science more accessible” July 20, 2022 posting
“When poetry feels like colour, posture or birdsong plus some particle fiction” July 13, 2022 posting
“STEM (science, technology, engineering and math) brings life to the global hit television series “The Walking Dead” and a Canadian AI initiative for women and diversity” July 12, 2022 posting
“The physics of the multiverse of madness” November 11, 2022 posting
“A spray-on dress with nanoparticles as the base?” November 4, 2022 posting

Sadly, it looks like 2022 is the last year that Ada Lovelace Day is to be celebrated.

… this year’s Ada Lovelace Day is the final such event due to lack of financial backing. Suw Charman-Anderson told the BBC [British Broadcasting Corporation] the reason it was now coming to an end was:

You can read more about it here:

“The last Ada Lovelace Day?” October 14, 2022 posting

In the rearview mirror

A few things that didn’t fit under the previous heads but stood out for me this year. Science podcasts, which were a big feature in 2021, also proliferated in 2022. I think they might have peaked and now (in 2023) we’ll see what survives.

Nanotechnology, the main subject on this blog, continues to be investigated and increasingly integrated into products. You can search the ‘nanotechnology’ category here for posts of interest something I just tried. It surprises even me (I should know better) how broadly nanotechnology is researched and applied.

If you want a nice tidy list, Hamish Johnston in a December 29, 2022 posting on the Physics World Materials blog has this “Materials and nanotechnology: our favourite research in 2022,” Note: Links have been removed,

“Inherited nanobionics” makes its debut
The integration of nanomaterials with living organisms is a hot topic, which is why this research on “inherited nanobionics” is on our list. Ardemis Boghossian at EPFL [École polytechnique fédérale de Lausanne] in Switzerland and colleagues have shown that certain bacteria will take up single-walled carbon nanotubes (SWCNTs). What is more, when the bacteria cells split, the SWCNTs are distributed amongst the daughter cells. The team also found that bacteria containing SWCNTs produce a significantly more electricity when illuminated with light than do bacteria without nanotubes. As a result, the technique could be used to grow living solar cells, which as well as generating clean energy, also have a negative carbon footprint when it comes to manufacturing.
…

Getting to back to Canada, I’m finding Saskatchewan featured more prominently here. They do a good job of promoting their science, especially the folks at the Canadian Light Source (CLS), Canada’s synchrotron, in Saskatoon. Canadian live science outreach events seeming to be coming back (slowly). Cautious organizers (who have a few dollars to spare) are also enthusiastic about hybrid events which combine online and live outreach.

After what seems like a long pause, I’m stumbling across more international news, e.g. “Nigeria and its nanotechnology research” published December 19, 2022 and “China and nanotechnology” published September 6, 2022. I think there’s also an Iran piece here somewhere.

With that …

Making resolutions in the dark

Hopefully this year I will catch up with the Council of Canadian Academies (CCA) output and finally review a few of their 2021 reports such as Leaps and Boundaries; a report on artificial intelligence applied to science inquiry and, perhaps, Powering Discovery; a report on research funding and Natural Sciences and Engineering Research Council of Canada.

Given what appears to a renewed campaign to have germline editing (gene editing which affects all of your descendants) approved in Canada, I might even reach back to a late 2020 CCA report, Research to Reality; somatic gene and engineered cell therapies. it’s not the same as germline editing but gene editing exists on a continuum.

For anyone who wants to see the CCA reports for themselves they can be found here (both in progress and completed).

I’m also going to be paying more attention to how public relations and special interests influence what science is covered and how it’s covered. In doing this 2022 roundup, I noticed that I featured an overview of fusion energy not long before the breakthrough. Indirect influence on this blog?

My post was precipitated by an article by Alex Pasternak in Fast Company. I’m wondering what precipitated Alex Pasternack’s interest in fusion energy since his self-description on the Huffington Post website states this “… focus on the intersections of science, technology, media, politics, and culture. My writing about those and other topics—transportation, design, media, architecture, environment, psychology, art, music … .”

He might simply have received a press release that stimulated his imagination and/or been approached by a communications specialist or publicists with an idea. There’s a reason for why there are so many public relations/media relations jobs and agencies.

Que sera, sera (Whatever will be, will be)

I can confidently predict that 2023 has some surprises in store. I can also confidently predict that the European Union’s big research projects (1B Euros each in funding for the Graphene Flagship and Human Brain Project over a ten year period) will sunset in 2023, ten years after they were first announced in 2013. Unless, the powers that be extend the funding past 2023.

I expect the Canadian quantum community to provide more fodder for me in the form of a 2023 report on Quantum Technologies from the Council of Canadian academies, if nothing else otherwise.

I’ve already featured these 2023 science events but just in case you missed them,

2023 Preview: Bill Nye the Science Guy’s live show and Marvel Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network) coming to Vancouver (Canada) November 24, 2022 posting
September 2023: Auckland, Aotearoa New Zealand set to welcome women in STEM (science, technology, engineering, and mathematics) November 15, 2022 posting

Getting back to this blog, it may not seem like a new year during the first few weeks of 2023 as I have quite the stockpile of draft posts. At this point I have drafts that are dated from June 2022 and expect to be burning through them so as not to fall further behind but will be interspersing them, occasionally, with more current posts.

Most importantly: a big thank you to everyone who drops by and reads (and sometimes even comments) on my posts!!! it’s very much appreciated and on that note: I wish you all the best for 2023.

How AI-designed fiction reading lists and self-publishing help nurture far-right and neo-Nazi novelists

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Literary theorists Helen Young and Geoff M Boucher, both at Deakin University (Australia), have co-written a fascinating May 29, 2022 essay on The Conversation (and republished on phys.org) analyzing some of the reasons (e.g., novels) for the resurgence in neo-Nazi activity and far-right extremism, Note: Links have been removed,

Far-right extremists pose an increasing risk in Australia and around the world. In 2020, ASIO [Australian Security Intelligence Organisation] revealed that about 40% of its counter-terrorism work involved the far right.
The recent mass murder in Buffalo, U.S., and the attack in Christchurch, New Zealand, in 2019 are just two examples of many far-right extremist acts of terror.
Far-right extremists have complex and diverse methods for spreading their messages of hate. These can include through social media, video games, wellness culture, interest in medieval European history, and fiction [emphasis mine]. Novels by both extremist and non-extremist authors feature on far-right “reading lists” designed to draw people into their beliefs and normalize hate.
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Here’s more about how the books get published and distributed, from the May 29, 2022 essay, Note: Links have been removed,

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Publishing houses once refused to print such books, but changes in technology have made traditional publishers less important. With self-publishing and e-books, it is easy for extremists to produce and distribute their fiction.
In this article, we have only given the titles and authors of those books that are already notorious, to avoid publicizing other dangerous hate-filled fictions.
…
Why would far-right extremists write novels?
Reading fiction is different to reading non-fiction. Fiction offers readers imaginative scenarios that can seem to be truthful, even though they are not fact-based. It can encourage readers to empathize with the emotions, thoughts and ethics of characters, particularly when they recognize those characters as being “like” them.
A novel featuring characters who become radicalized to far-right extremism, or who undertake violent terrorist acts, can help make those things seem justified and normal.
Novels that promote political violence, such as The Turner Diaries, are also ways for extremists to share plans and give readers who hold extreme views ideas about how to commit terrorist acts. …
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In the late 20th century, far-right extremists without Pierce’s notoriety [American neo-Nazi William L. Pierce published The Turner Diaries (1978)] found it impossible to get their books published. One complained about this on his blog in 1999, blaming feminists and Jewish people. Just a few years later, print-on-demand and digital self-publishing made it possible to circumvent this difficulty.
The same neo-Nazi self-published what he termed “a lifetime of writing” in the space of a few years in the early 2000s. The company he paid to produce his books—iUniverse.com—helped get them onto the sales lists of major booksellers Barnes and Noble and Amazon in the early 2000s, making a huge difference to how easily they circulated outside extremist circles.
It still produces print-on-demand hard copies, even though the author has died. The same author’s books also circulate in digital versions, including on Google Play and Kindle, making them easily accessible.
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Distributing extremist novels digitally
Far-right extremists use social media to spread their beliefs, but other digital platforms are also useful for them.
Seemingly innocent sites that host a wide range of mainstream material, such as Google Books, Project Gutenberg, and the Internet Archive, are open to exploitation. Extremists use them to share, for example, material denying the Holocaust alongside historical Nazi newspapers.
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Amazon’s Kindle self-publishing service has been called “a haven for white supremacists” because of how easy it is for them to circulate political tracts there. The far-right extremist who committed the Oslo terrorist attacks in 2011 recommended in his manifesto that his followers use Kindle to to spread his message.
Our research has shown that novels by known far-right extremists have been published and circulated through Kindle as well as other digital self-publishing services.
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Ai and its algorithms also play a role, from the May 29, 2022 essay,

Radicalising recommendations
As we researched how novels by known violent extremists circulate, we noticed that the sales algorithms of mainstream platforms were suggesting others that we might also be interested in. Sales algorithms work by recommending items that customers who purchased one book have also viewed or bought.
Those recommendations directed us to an array of novels that, when we investigated them, proved to resonate with far-right ideologies.
A significant number of them were by authors with far-right political views. Some had ties to US militia movements and the gun-obsessed “prepper” subculture. Almost all of the books were self-published as e-books and print-on-demand editions.
Without the marketing and distribution channels of established publishing houses, these books rely on digital circulation for sales, including sale recommendation algorithms.
The trail of sales recommendations led us, with just two clicks, to the novels of mainstream authors. They also led us back again, from mainstream authors’ books to extremist novels. This is deeply troubling. It risks unsuspecting readers being introduced to the ideologies, world-views and sometimes powerful emotional narratives of far-right extremist novels designed to radicalise.
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It’s not always easy to tell right away if you’re reading fiction promoting far-right ideologies, from the May 29, 2022 essay,

Recognising far-right messages
Some extremist novels follow the lead of The Turner Diaries and represent the start of a racist, openly genocidal war alongside a call to bring one about. Others are less obvious about their violent messages.
Some are not easily distinguished from mainstream novels – for example, from political thrillers and dystopian adventure stories like those of Tom Clancy or Matthew Reilly – so what is different about them? Openly neo-Nazi authors, like Pierce, often use racist, homophobic and misogynist slurs, but many do not. This may be to help make their books more palatable to general readers, or to avoid digital moderation based on specific words.
Knowing more about far-right extremism can help. Researchers generally say that there are three main things that connect the spectrum of far-right extremist politics: acceptance of social inequality, authoritarianism, and embracing violence as a tool for political change. Willingness to commit or endorse violence is a key factor separating extremism from other radical politics.
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It is very unlikely that anyone would become radicalised to violent extremism just by reading novels. Novels can, however, reinforce political messages heard elsewhere (such as on social media) and help make those messages and acts of hate feel justified.
With the growing threat of far-right extremism and deliberate recruitment strategies of extremists targeting unexpected places, it is well worth being informed enough to recognise the hate-filled stories they tell.

I recommend reading the essay as my excerpts don’t do justice to the ideas being presented. As Young and Boucher note, it’s “… unlikely that anyone would become radicalised to violent extremism …” by reading novels but far-right extremists and neo-Nazis write fiction because the tactic works at some level.