Category Archives: Mathematics

How do viruses and physics go together? Find out at a Nov. 4, 2020 Perimeter Institute (PI) virtual lecture

I got this announcement from an Oct. 29, 2020 Perimeter Institute (PI) Emmy Noether newsletter (received via email),

Catherne Beauchemin

A Physicist’s Adventures in Virology WEDNESDAY, NOVEMBER 4 at 7 pm ET [4 pm PT]

In recent years, there has been a rise in cynicism about many traditionally well-respected institutions – science, academia, news reporting, and even the concepts of experts and expertise more generally. Many people’s primary – or only – exposure to science is through biological or health science, especially during the COVID-19 pandemic.

In health research, rising cynicism has spawned the anti-vaccine movement, and a growing reliance on advice from peer networks rather than experts. In part, such movements are fuelled by several examples of provably false, so-called “scientific results,” coming about either through fraud or incompetence. While skepticism is crucial to science, cynicism rooted in a lack of trust can devalue scientific contributions.

In her lecture webcast, physicist Catherine Beauchemin will explore the erosion of trust in health research, presenting examples from influenza and COVID-19. …

I went to the A Physicist’s Adventures in Virology event and livestrream page to find this,

Two essential ingredients of the scientific method are skepticism and independent confirmation – the ability to glean for oneself whether an established theory or a new hypothesis is true or false. But not everyone has the capacity to perform the experiments to obtain such a confirmation.

Consider, for example, the costs of constructing your own Large Hadron Collider, or your ability as a non-expert to critically read and understand a scientific publication. In practice, acceptance of scientific theories is more often based on trust than on independent confirmation. When that trust is eroded, issues emerge.

Catherine Beauchemin is a Professor of Physics at Ryerson University and a Deputy Program Director in the RIKEN Interdisciplinary Theoretical and Mathematical Sciences Program in Japan. For the last 18 years, she has been developing mathematical and computational descriptions of how viruses spread from cell to cell, a field she calls “virophysics.”

In her November 4 [2020] Perimeter Public Lecture webcast, Beauchemin will highlight some of the issues that have eroded trust in health research, presenting examples from influenza and COVID-19. She will show why she believes many of these issues have their root in the fact that hypotheses in health research are formulated as words rather than mathematical expressions – and why a dose of physics may be just the prescription we need.

Enjoy!

Toronto’s ArtSci Salon and its Kaleidoscopic Imaginations on Oct 27, 2020 – 7:30 pm (EDT)

The ArtSci Salon is getting quite active these days. Here’s the latest from an Oct. 22, 2020 ArtSci Salon announcement (received via email), which can also be viewed on their Kaleidoscope event page,

Kaleidoscopic Imaginations

Performing togetherness in empty spaces

An experimental  collaboration between the ArtSci Salon, the Digital Dramaturgy Lab_squared/ DDL2 and Sensorium: Centre for Digital Arts and Technology, York University (Toronto, Ontario, Canada)

Tuesday, October 27, 2020

7:30 pm [EDT]

Join our evening of live-streamed, multi-media  performances, following a kaleidoscopic dramaturgy of complexity discourses as inspired by computational complexity theory gatherings.

We are presenting installations, site-specific artistic interventions and media experiments, featuring networked audio and video, dance and performances as we repopulate spaces – The Fields Institute and surroundings – forced to lie empty due to the pandemic. Respecting physical distance and new sanitation and safety rules can be challenging, but it can also open up new ideas and opportunities.

NOTE: DDL2  contributions to this event are sourced or inspired by their recent kaleidoscopic performance “Rattling the the Curve – Paradoxical ECODATA performances of A/I (artistic intelligence), and facial recognition of humans and trees

Virtual space/live streaming concept and design: DDL2  Antje Budde, Karyn McCallum and Don Sinclair

Virtual space and streaming pilot: Don Sinclair

Here are specific programme details (from the announcement),

  1. Signing the Virus – Video (2 min.)
    Collaborators: DDL2 Antje Budde, Felipe Cervera, Grace Whiskin
  2. Niimi II – – Performance and outdoor video projection (15 min.)
    (Nimii means in Anishinaabemowin: s/he dances) Collaborators: DDL2 Candy Blair, Antje Budde, Jill Carter, Lars Crosby, Nina Czegledy, Dave Kemp
  3. Oracle Jane (Scene 2) – A partial playreading on the politics of AI (30 min.)
    Playwright: DDL2 Oracle Collaborators: DDL2 Antje Budde, Frans Robinow, George Bwannika Seremba, Amy Wong and AI ethics consultant Vicki Zhang
  4. Vriksha/Tree – Dance video and outdoor projection (8 min.)
    Collaborators: DDL2 Antje Budde, Lars Crosby, Astad Deboo, Dave Kemp, Amit Kumar
  5. Facial Recognition – Performing a Plate Camera from a Distance (3 min.)
    Collaborators: DDL2 Antje Budde, Jill Carter, Felipe Cervera, Nina Czegledy, Karyn McCallum, Lars Crosby, Martin Kulinna, Montgomery C. Martin, George Bwanika Seremba, Don Sinclair, Heike Sommer
  6. Cutting Edge – Growing Data (6 min.)
    DDL2 A performance by Antje Budde
  7. “void * ambience” – Architectural and instrumental acoustics, projection mapping Concept: Sensorium: The Centre for Digital Art and Technology, York University Collaborators: Michael Palumbo, Ilze Briede [Kavi], Debashis Sinha, Joel Ong

This performance is part of a series (from the announcement),

These three performances are part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic] Institute for Research in Mathematical Science. Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states. Our goal is to cross these boundaries by proposing new narratives to show how the distinctions, and the barriers that science, technology, society and the state have created can in fact be re-interpreted as porous and woven together.

This event is curated and produced by ArtSci Salon; Digital Dramaturgy Lab_squared/ DDL2; Sensorium: Centre for Digital Arts and Technology, York University; and Ryerson University; it is supported by The Fields Institute for Research in Mathematical Sciences

Streaming Link 

Finally, the announcement includes biographical information about all of the ‘boundary-crossers’,

Candy Blair (Tkaron:to/Toronto)
Candy Blair/Otsίkh:èta (they/them) is a mixed First Nations/European,
2-spirit interdisciplinary visual and performing artist from Tio’tía:ke – where the group split (“Montreal”) in Québec.

While continuing their work as an artist they also finished their Creative Arts, Literature, and Languages program at Marianopolis College (cégep), their 1st year in the Theatre program at York University, and their 3rd year Acting Conservatory Program at the Centre For Indigenous Theatre in Tsí Tkaròn:to – Where the trees stand in water (Toronto”).

Some of Candy’s noteable performances are Jill Carter’s Encounters at the Edge of the Woods, exploring a range of issues with colonization; Ange Loft’s project Talking Treaties, discussing the treaties of the “Toronto” purchase; Cheri Maracle’s The Story of Six Nations, exploring Six Nation’s origin story through dance/combat choreography, and several other performances, exploring various topics around Indigenous language, land, and cultural restoration through various mediums such as dance,
modelling, painting, theatre, directing, song, etc. As an activist and soon to be entrepreneur, Candy also enjoys teaching workshops around promoting Indigenous resurgence such as Indigenous hand drumming, food sovereignty, beading, medicine knowledge, etc..

Working with their collectives like Weave and Mend, they were responsible for the design, land purification, and installation process of the four medicine plots and a community space with their 3 other members. Candy aspires to continue exploring ways of decolonization through healthy traditional practices from their mixed background and the arts in the hopes of eventually supporting Indigenous relations
worldwide.

Antje Budde
Antje Budde is a conceptual, queer-feminist, interdisciplinary experimental scholar-artist and an Associate Professor of Theatre Studies, Cultural Communication and Modern Chinese Studies at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Antje has created multi-disciplinary artistic works in Germany, China and Canada and works tri-lingually in German, English and Mandarin. She is the founder of a number of queerly feminist performing art projects including most recently the (DDL)2 or (Digital Dramaturgy Lab)Squared – a platform for experimental explorations of digital culture, creative labor, integration of arts and science, and technology in performance. She is interested in the intersections of natural sciences, the arts, engineering and computer science.

Roberta Buiani
Roberta Buiani (MA; PhD York University) is the Artistic Director of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto). Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centres and galleries (the Free Gallery Toronto; Immigrant Movement
International, Queens, Myseum of Toronto), and science institutions (RPI; the Fields Institute). Her writing has appeared on Space and Culture, Cultural Studies and The Canadian Journal of Communication_among others. With the ArtSci Salon she has launched a series of experiments in “squatting academia”, by re-populating abandoned spaces and cabinets across university campuses with SciArt installations.

Currently, she is a research associate at the Centre for Feminist Research and a Scholar in Residence at Sensorium: Centre for Digital Arts and Technology at York University [Toronto, Ontario, Canada].

Jill Carter (Tkaron:to/ Toronto)
Jill (Anishinaabe/Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto. She works with many members of Tkaron:to’s Indigenous theatre community to support the development of new works and to disseminate artistic objectives, process, and outcomes through community- driven research projects. Her scholarly research,
creative projects, and activism are built upon ongoing relationships with Indigenous Elders, Artists and Activists, positioning her as witness to, participant in, and disseminator of oral histories that speak to the application of Indigenous aesthetic principles and traditional knowledge systems to contemporary performance.The research questions she pursues revolve around the mechanics of story creation,
the processes of delivery and the manufacture of affect.

More recently, she has concentrated upon Indigenous pedagogical models for the rehearsal studio and the lecture hall; the application of Indigenous [insurgent] research methods within performance studies; the politics of land acknowledgements; and land – based dramaturgies/activations/interventions.

Jill also works as a researcher and tour guide with First Story Toronto; facilitates Land Acknowledgement, Devising, and Land-based Dramaturgy Workshops for theatre makers in this city; and performs with the Talking Treaties Collective (Jumblies Theatre, Toronto).

In September 2019, Jill directed Encounters at the Edge of the Woods. This was a devised show, featuring Indigenous and Settler voices, and it opened Hart House Theatre’s 100th season; it is the first instance of Indigenous presence on Hart House Theatre’s stage in its 100 years of existence as the cradle for Canadian theatre.

Nina Czegledy
(Toronto) artist, curator, educator, works internationally on collaborative art, science & technology projects. The changing perception of the human body and its environment as well as paradigm shifts in the arts inform her projects. She has exhibited and published widely, won awards for her artwork and has initiated, lead and participated in workshops, forums and festivals worldwide at international events.

Astad Deboo (Mumbai, India)
Astad Deboo is a contemporary dancer and choreographer who employs his
training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him. He has become a pioneer of modern dance in India. Astad describes his style as “contemporary in vocabulary and traditional in restraints.” Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alis on Becker Chase and Pink Floyd and performed in many parts of the world. He has been awarded the Sangeet Natak Akademi Award (1996) and Padma Shri (2007), awarded by the Government of India. In January 2005 along with 12 young women with hearing impairment supported by the Astad Deboo Dance Foundation, he performed at the 20th Annual Deaf Olympics at Melbourne, Australia. Astad has a long record of working with disadvantaged youth.

Ilze Briede [Kavi]
Ilze Briede [artist name: Kavi] is a Latvian/Canadian artist and researcher with broad and diverse interests. Her artistic practice, a hybrid of video, image and object making, investigates the phenomenon of perception and the constraints and boundaries between the senses and knowing. Kavi is currently pursuing a PhD degree in Digital Media at York University with a research focus on computational creativity and generative art. She sees computer-generated systems and algorithms as a potentiality for co-creation and collaboration between human and machine. Kavi has previously worked and exhibited with Fashion Art Toronto, Kensington Market Art Fair, Toronto Burlesque Festival, Nuit Blanche, Sidewalk Toronto and the Toronto Symphony Orchestra.

Dave Kemp
Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess,
Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank.

Stephen Morris
Stephen Morris is Professor of experimental non-linear Physics in the faculty of Physics at the University of Toronto. He is the scientific Director of the ArtSci salon at the Fields Institute for Research in Mathematical Sciences. He often collaborates with artists and has himself performed and produced art involving his own scientific instruments and experiments in non-linear physics and pattern formation

Michael Palumbo
Michael Palumbo (MA, BFA) is an electroacoustic music improviser, coder, and researcher. His PhD research spans distributed creativity and version control systems, and is expressed through “git show”, a distributed electroacoustic music composition and design experiment, and “Mischmasch”, a collaborative modular synthesizer in virtual reality. He studies with Dr. Doug Van Nort as a researcher in the Distributed
Performance and Sensorial Immersion Lab, and Dr. Graham Wakefield at the Alice Lab for Computational Worldmaking. His works have been presented internationally, including at ISEA, AES, NIME, Expo ’74, TIES, and the Network Music Festival. He performs regularly with a modular synthesizer, runs the Exit Points electroacoustic improvisation series, and is an enthusiastic gardener and yoga practitioner.

Joel Ong (PhD. Digital Arts and Experimental Media (DXARTS, University
of Washington)

Joel Ong is a media artist whose works connect scientific and artistic approaches to the environment, particularly with respect to sound and physical space.  Professor Ong’s work explores the way objects and spaces can function as repositories of ‘frozen sound’, and in elucidating these, he is interested in creating what systems theorist Jack Burnham (1968) refers to as “art (that) does not reside in material entities, but in relations between people and between people and the components of their environment”.

A serial collaborator, Professor Ong is invested in the broader scope of Art-Science collaborations and is engaged constantly in the discourses and processes that facilitate viewing these two polemical disciplines on similar ground.  His graduate interdisciplinary work in nanotechnology and sound was conducted at SymbioticA, the Center of Excellence for Biological Arts at the University of Western Australia and supervised by BioArt pioneers and TCA (The Tissue Culture and Art Project) artists Dr Ionat Zurr and Oron Catts.

George Bwanika Seremba
George Bwanika Seremba,is an actor, playwright and scholar. He was born
in Uganda. George holds an M. Phil, and a Ph.D. in Theatre Studies, from Trinity
College Dublin. In 1980, having barely survived a botched execution by the Military Intelligence, he fled into exile, resettling in Canada (1983). He has performed in numerous plays including in his own, “Come Good Rain”, which was awarded a Dora award (1993). In addition, he published a number of edited play collections including “Beyond the pale: dramatic writing from First Nations writers & writers of colour” co-edited by Yvette Nolan, Betty Quan, George Bwanika Seremba. (1996).

George was nominated for the Irish Times’ Best Actor award in Dublin’s Calypso Theatre’s for his role in Athol Fugard’s “Master Harold and the boys”. In addition to theatre he performed in several movies and on television. His doctoral thesis (2008) entitled “Robert Serumaga and the Golden Age of Uganda’s Theatre (1968-1978): (Solipsism, Activism, Innovation)” will be published as a monograph by CSP (U.K) in 2021.

Don Sinclair (Toronto)
Don is Associate Professor in the Department of Computational Arts at York University. His creative research areas include interactive performance, projections for dance, sound art, web and data art, cycling art, sustainability, and choral singing most often using code and programming. Don is particularly interested in processes of artistic creation that integrate digital creative coding-based practices with performance in dance and theatre. As well, he is an enthusiastic cyclist.

Debashis Sinha
Driven by a deep commitment to the primacy of sound in creative expression, Debashis Sinha has realized projects in radiophonic art, music, sound art, audiovisual performance, theatre, dance, and music across Canada and internationally. Sound design and composition credits include numerous works for Peggy Baker Dance Projects and productions with Canada’s premiere theatre companies including The Stratford Festival, Soulpepper, Volcano Theatre, Young People’s Theatre, Project Humanity, The Theatre Centre, Nightwood Theatre, Why Not Theatre, MTC Warehouse and Necessary Angel. His live sound practice on the concert stage has led to appearances at MUTEK Montreal, MUTEK Japan, the Guelph Jazz Festival, the Banff Centre, The Music Gallery, and other venues. Sinha teaches sound design at York University and the National Theatre School, and is currently working on a multi-part audio/performance work incorporating machine learning and AI funded by the Canada Council for the Arts.

Vicki (Jingjing) Zhang (Toronto)
Vicki Zhang is a faculty member at University of Toronto’s statistics department. She is the author of Uncalculated Risks (Canadian Scholar’s Press, 2014). She is also a playwright, whose plays have been produced or stage read in various festivals and venues in Canada including Toronto’s New Ideas Festival, Winnipeg’s FemFest, Hamilton Fringe Festival, Ergo Pink Fest, InspiraTO festival, Toronto’s Festival of Original Theatre (FOOT), Asper Center for Theatre and Film, Canadian Museum for Human Rights, Cultural Pluralism in the Arts Movement Ontario (CPAMO), and the Canadian Play Thing. She has also written essays and short fiction for Rookie Magazine and Thread.

If you can’t attend this Oct. 27, 2020 event, there’s still the Oct. 29, 2020 Boundary-Crossings event: Beauty Kit (see my Oct. 12, 2020 posting for more).

As for Kaleidoscopic Imaginations, you can access the Streaming Link On Oct. 27, 2020 at 7:30 pm EDT (4 pm PDT).

Belated posting for Ada Lovelace Day (it was on Tuesday, Oct. 13, 2020)

For anyone who doesn’t know who Ada Lovelace was (from my Oct. 13, 2015 posting, ‘Ada Lovelace “… manipulative, aggressive, a drug addict …” and a genius but was she likable?‘)

Ada Lovelace was the daughter of the poet Lord Byron and mathematician Annabella Milbanke.

Her [Ada Lovelace’s] foresight was so extraordinary that it would take another hundred years and Alan Turing to recognise the significance of her work. But it was an achievement that was probably as much a product of her artistic heritage as her scientific training.

You can take the title of that October 13, 2015 post as a hint that I was using ‘Ada Lovelace “… manipulative, aggressive, a drug addict …” and a genius but was she likable?‘ to comment on the requirement that women be likable in a way that men never have to consider.

Hard to believe that 2015 was the last time I stumbled across information about the day. ’nuff said. This year I was lucky enough to see this Oct. 13, 2020 article by Zoe Kleinman for British Broadcasting Corporation (BBC) news online,

From caravans [campers] to kitchen tables, and podcast production to pregnancy, I’ve been speaking to many women in and around the technology sector about how they have adapted to the challenges of working during the coronavirus pandemic.

Research suggests women across the world have shouldered more family and household responsibilities than men as the coronavirus pandemic continues, alongside their working lives.

And they share their inspirations, frustrations but also their optimism.

“I have a new business and a new life,” says Clare Muscutt, who lost work, her relationship and her flatmate as lockdown hit.

This Tuesday [Oct. 13, 2020] is Ada Lovelace Day – an annual celebration of women working in the male-dominated science, technology, engineering and maths (Stem) sectors.

And, this year, it has a very different vibe.

Claire Broadley, technical writer, Leeds

Before lockdown, my husband and I ran our own company, producing user guides and written content for websites.

Business income dropped by about two-thirds during lockdown.

We weren’t eligible for any government grants. And because we still had a small amount of work, we couldn’t furlough ourselves.

It felt like we were slowly marching our family towards a cliff edge.

In May [2020], to my astonishment and relief, I was offered my dream job, remote writing about the internet and technology.

Working from home with the children has been the most difficult thing we’ve ever done.

My son is seven. He is very scared.

Sometimes, we can’t spend the time with him that we would like to. And most screen-time rules have gone completely out of the window.

The real issue for us now is testing.

My young daughter caught Covid in July [2020]. And she recently had a temperature again. But it took six days to get a test result, so my son was off school again. And my husband was working until midnight to fit everything in.

There are many other stories in Kleinman’s Oct. 13, 2020 article.

Nancy Doyle’s October 13, 2020 article for Forbes tends to an expected narrative about women in science, technology, engineering, and mathematics (STEM),

“21st century science has a problem. It is short of scientists. Technological innovations mean that the world needs many more specialists in the STEM (Science, Technology, Engineering and Maths) subjects than it is currently training. And this problem is compounded by the fact that women, despite clear evidence of aptitude and ability for science subjects, are not choosing to study STEM subjects, are not being recruited into the STEM workforce, are not staying in the STEM workplace.”

Why Don’t Women Do Science?

Professor Rippon [Gina Rippon, Professor of Neuroscience at Aston University in the UK] walked me through the main “neurotrash” arguments about the female brain and its feebleness.

“There is a long and fairly well-rehearsed ‘blame the brain’ story, with essentialist or biology-is-destiny type arguments historically asserting that women’s brains were basically inferior (thanks, Gustave le Bon and Charles Darwin!) or too vulnerable to withstand the rigours of higher education. A newer spin on this is that female brains do not endow their owners with the appropriate cognitive skills for science. Specifically, they are poor at the kind of spatial thinking that is core to success in science or, more generally, are not ‘hard-wired’ for the necessary understanding of systems fundamental to the theory and practice of science.

The former ‘spatial deficit’ description has been widely touted as one of the most robust of sex differences, quite possibly present from birth. But updated and more nuanced research has not been able to uphold this claim; spatial ability appears to be more a function of spatial experience (think toys, videogames, hobbies, sports, occupations) than sex. And it is very clearly trainable (in both sexes), resulting in clearly measurable brain changes as well as improvements in skill.”

You can find out more about women in STEM, Ada Lovelace, and events (year round) to celebrate her at the Ada Lovelace Day website.

Plus, I found this on Twitter about a new series of films about women in science from a Science Friday (a US National Public Radio podcast) tweet,

Science Friday @scifri

Celebrate #WomenInScience with a brand new season of #BreakthroughFilms, dropping today [October 14, 2020]! Discover the innovative research & deeply personal stories of six women working at the forefront of their STEM fields.

Get inspired at BreakthroughFilms.org

Here’s the Breakthrough Films trailer,

Enjoy!

Wormlike communication at the nanoscale

These days I need a little joy and these two researchers seem happy to share,

Prof. Dirk Grundler and doctoral assistant Sho Watanabe with a broadband spin-wave spectroscopy set up. Credit: EPFL / Alain Herzog

A July 15, 2020 news item on phys.org announces the development that so delights these researchers,

Researchers at EPFL [École polytechnique fédérale de Lausanne; Switzerland] have shown that electromagnetic waves coupled to precisely engineered structures known as artificial ferromagnetic quasicrystals allow for more efficient information transmission and processing at the nanoscale. Their research also represents the first practical demonstration of Conway worms, a theoretical concept for the description of quasicrystals.

A July 15, 2020 EPFL press release, which originated the news item, explains further,

High-frequency electromagnetic waves are used to transmit and process information in microelectronic devices such as smartphones. It’s already appreciated that these waves can be compressed using magnetic oscillations known as spin waves or magnons. This compression could pave the way for the design of nanoscale, multifunctional microwave devices with a considerably reduced footprint. But first, scientists need to gain a better understanding of spin waves – or precisely how magnons behave and propagate in different structures.

Learning more about aperiodic structures

In a study conducted by the doctoral assistant Sho Watanabe, postdoctoral researcher Dr. Vinayak Bhat, and further team members, the scientists from EPFL’s Laboratory of Nanoscale Magnetic Materials and Magnonics (LMGN) examined how electromagnetic waves propagate, and how they could be manipulated, in precisely engineered nanostructures known as artificial ferromagnetic quasicrystals. The quasicrystals have a unique property: their structure is aperiodic, meaning that their constituent atoms or tailor-made elements do not follow a regular, repeating pattern but are still arranged deterministically. Although this characteristic makes materials especially useful for the design of everyday and high-tech devices, it remains poorly understood.

Faster, easier transmission of information

The LMGN team found that, under controlled conditions, a single electromagnetic wave coupled to an artificial quasicrystal splits into several spin waves, which then propagate within the structure. Each of these spin waves represents a different phase of the original electromagnetic wave, carrying different information. “It’s a very interesting discovery, because existing information-transmission methods follow the same principle,” says Dirk Grundler, an associate professor at EPFL’s School of Engineering (STI). “Except you need an extra device, a multiplexer, to split the input signal because – unlike in our study – it doesn’t divide on its own.”

Grundler also explains that, in conventional systems, the information contained in each wave can only be read at different frequencies – another inconvenience that the EPFL team overcame in their study. “In our two-dimensional quasicrystals, all the waves can be read at the same frequency,” he adds. The findings have been published in the journal Advanced Functional Materials.

Waves that spread like worms

The researchers also observed that, rather than propagating randomly, the waves often moved like so-called Conway worms, named after a well-known mathematician John Horton Conway who also developed a model to describe the behavior and feeding patterns of prehistoric worms. Conway discovered that, within two-dimensional quasicrystals, constituent elements arrange like meandering worms following a Fibonacci sequence. Thereby they form selected one-dimensional quasicrystals. “Our study represents the first practical demonstration of this theoretical concept, proving that the sequences induce interesting functional properties of waves in a quasicrystal,” says Grundler.

Take a look at that last paragraph. A mathematician develops a model for how prehistoric worms may have moved and applies it, theoretically, to 2D quasicrystals which these researchers believe they’ve observed in the laboratory and they believe this may have an impact on our future electronic devices. Sometimes I sit at home in wonder.

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

Direct Observation of Worm‐Like Nanochannels and Emergent Magnon Motifs in Artificial Ferromagnetic Quasicrystals by Sho Watanabe, Vinayak S. Bhat, Korbinian Baumgaert, Dirk Grundler. Advanced Functional Materials DOI: https://doi.org/10.1002/adfm.202001388 First published: 15 July 2020

This is an open access paper.

The mention of quasicrystals reminded me of Daniel Schechtman who received the Nobel Prize for Chemistry in 2011 and who was mentioned in a December 24, 2013 posting here,

“I suggested earlier that this achievement has a fabulous quality and the Daniel Schechtman backstory is the reason. The winner of the 2011 Nobel Prize for Chemistry, Schechtman was reviled for years [emphasis mine] within his scientific community as Ian Sample notes in his Oct. 5, 2011 article on the announcement of Schechtman’s Nobel win written for the Guardian newspaper (Note: A link has been removed),

A scientist whose work was so controversial he was ridiculed and asked to leave his research group has won the Nobel Prize in Chemistry.

Daniel Shechtman, 70, a researcher at Technion-Israel Institute of Technology in Haifa, received the award for discovering seemingly impossible crystal structures in frozen gobbets of metal that resembled the beautiful patterns seen in Islamic mosaics.

Images of the metals showed their atoms were arranged in a way that broke well-establised rules of how crystals formed, a finding that fundamentally altered how chemists view solid matter.

You may want to click on the Guardian link to the full story about Schechtman and his quasicrystals. As for my December 24, 2013 posting, that features news of the creation of the first single-element quasicrystal in a laboratory along with an excerpt of the Schechtman story (scroll down about 50% of the way).

“The earth is mostly made of cubes,” said Plato in 5th Century BCE. Turns out, he was right!

Theories from mathematics, physics, and geology have been used to demonstrate that the earth’s basic shape is, roughly speaking, a cube. From a July 20, 2020 news item on ScienceDaily,

Plato, the Greek philosopher who lived in the 5th century B.C.E. [before the common era], believed that the universe was made of five types of matter: earth, air, fire, water, and cosmos. Each was described with a particular geometry, a platonic shape. For earth, that shape was the cube.

Science has steadily moved beyond Plato’s conjectures, looking instead to the atom as the building block of the universe. Yet Plato seems to have been onto something, researchers have found.

In a new paper in the Proceedings of the National Academy of Sciences [PNAS], a team from the University of Pennsylvania, Budapest University of Technology and Economics, and University of Debrecen [Hungary] uses math, geology, and physics to demonstrate that the average shape of rocks on Earth is a cube.

A July 17, 2020 University of Pennsylvania news release (also on EurekAlert but dated July 20, 2020), which originated the news item, goes on to describe the work as “mind-blowing,”

“Plato is widely recognized as the first person to develop the concept of an atom [Maybe not, scroll down to find the subhead “Leucippus and Democritus”], the idea that matter is composed of some indivisible component at the smallest scale,” says Douglas Jerolmack, a geophysicist in Penn’s School of Arts & Sciences’ Department of Earth and Environmental Science and the School of Engineering and Applied Science’s Department of Mechanical Engineering and Applied Mechanics. “But that understanding was only conceptual; nothing about our modern understanding of atoms derives from what Plato told us.

“The interesting thing here is that what we find with rock, or earth, is that there is more than a conceptual lineage back to Plato. It turns out that Plato’s conception about the element earth being made up of cubes is, literally, the statistical average model for real earth. And that is just mind-blowing.”

The group’s finding began with geometric models developed by mathematician Gábor Domokos of the Budapest University of Technology and Economics, whose work predicted that natural rocks would fragment into cubic shapes.

“This paper is the result of three years of serious thinking and work, but it comes back to one core idea,” says Domokos. “If you take a three-dimensional polyhedral shape, slice it randomly into two fragments and then slice these fragments again and again, you get a vast number of different polyhedral shapes. But in an average sense, the resulting shape of the fragments is a cube.”

Domokos pulled two Hungarian theoretical physicists into the loop: Ferenc Kun, an expert on fragmentation, and János Török, an expert on statistical and computational models. After discussing the potential of the discovery, Jerolmack says, the Hungarian researchers took their finding to Jerolmack to work together on the geophysical questions; in other words, “How does nature let this happen?”

“When we took this to Doug, he said, ‘This is either a mistake, or this is big,'” Domokos recalls. “We worked backward to understand the physics that results in these shapes.”

Fundamentally, the question they answered is what shapes are created when rocks break into pieces. Remarkably, they found that the core mathematical conjecture unites geological processes not only on Earth but around the solar system as well.

“Fragmentation is this ubiquitous process that is grinding down planetary materials,” Jerolmack says. “The solar system is littered with ice and rocks that are ceaselessly smashing apart. This work gives us a signature of that process that we’ve never seen before.”

Part of this understanding is that the components that break out of a formerly solid object must fit together without any gaps, like a dropped dish on the verge of breaking. As it turns out, the only one of the so-called platonic forms–polyhedra with sides of equal length–that fit together without gaps are cubes.

“One thing we’ve speculated in our group is that, quite possibly Plato looked at a rock outcrop and after processing or analyzing the image subconsciously in his mind, he conjectured that the average shape is something like a cube,” Jerolmack says.

“Plato was very sensitive to geometry,” Domokos adds. According to lore, the phrase “Let no one ignorant of geometry enter” was engraved at the door to Plato’s Academy. “His intuitions, backed by his broad thinking about science, may have led him to this idea about cubes,” says Domokos.

To test whether their mathematical models held true in nature, the team measured a wide variety of rocks, hundreds that they collected and thousands more from previously collected datasets. No matter whether the rocks had naturally weathered from a large outcropping or been dynamited out by humans, the team found a good fit to the cubic average.

However, special rock formations exist that appear to break the cubic “rule.” The Giant’s Causeway in Northern Ireland, with its soaring vertical columns, is one example, formed by the unusual process of cooling basalt. These formations, though rare, are still encompassed by the team’s mathematical conception of fragmentation; they are just explained by out-of-the-ordinary processes at work.

“The world is a messy place,” says Jerolmack. “Nine times out of 10, if a rock gets pulled apart or squeezed or sheared–and usually these forces are happening together–you end up with fragments which are, on average, cubic shapes. It’s only if you have a very special stress condition that you get something else. The earth just doesn’t do this often.”

The researchers also explored fragmentation in two dimensions, or on thin surfaces that function as two-dimensional shapes, with a depth that is significantly smaller than the width and length. There, the fracture patterns are different, though the central concept of splitting polygons and arriving at predictable average shapes still holds.

“It turns out in two dimensions you’re about equally likely to get either a rectangle or a hexagon in nature,” Jerolmack says. “They’re not true hexagons, but they’re the statistical equivalent in a geometric sense. You can think of it like paint cracking; a force is acting to pull the paint apart equally from different sides, creating a hexagonal shape when it cracks.”

In nature, examples of these two-dimensional fracture patterns can be found in ice sheets, drying mud, or even the earth’s crust, the depth of which is far outstripped by its lateral extent, allowing it to function as a de facto two-dimensional material. It was previously known that the earth’s crust fractured in this way, but the group’s observations support the idea that the fragmentation pattern results from plate tectonics.

Identifying these patterns in rock may help in predicting phenomenon such as rock fall hazards or the likelihood and location of fluid flows, such as oil or water, in rocks.

For the researchers, finding what appears to be a fundamental rule of nature emerging from millennia-old insights has been an intense but satisfying experience.

“There are a lot of sand grains, pebbles, and asteroids out there, and all of them evolve by chipping in a universal manner,” says Domokos, who is also co-inventor of the Gömböc, the first known convex shape with the minimal number–just two–of static balance points. Chipping by collisions gradually eliminates balance points, but shapes stop short of becoming a Gömböc; the latter appears as an unattainable end point of this natural process.

The current result shows that the starting point may be a similarly iconic geometric shape: the cube with its 26 balance points. “The fact that pure geometry provides these brackets for a ubiquitous natural process, gives me happiness,” he says.

“When you pick up a rock in nature, it’s not a perfect cube, but each one is a kind of statistical shadow of a cube,” adds Jerolmack. “It calls to mind Plato’s allegory of the cave. He posited an idealized form that was essential for understanding the universe, but all we see are distorted shadows of that perfect form.”

The human capacity for imagination, in this case linking ideas about geometry and mathematics from the 5th Century BCE to modern physics and geology and to the solar system, astounds and astonishes me. As for Jerolmack’s comment that Plato (428/427 or 424/423 – 348/347 BC) was the first to develop the concept of an atom, not everyone agrees.

Leucippus and Democritus

It may not ever be possible to determine who was the first to theorize/philosophize about atoms but there is relatively general agreement that Leucippus (5th cent.BCE) and his successor, Democritus (c. 460 – c. 370 BC) were among the first. Here’s more about Ancient Atomism and its origins from the Stanford Encyclopedia of Philosphy,

Leucippus (5th c. BCE) is the earliest figure whose commitment to atomism is well attested. He is usually credited with inventing atomism. According to a passing remark by the geographer Strabo, Posidonius (1st c. BCE Stoic philosopher) reported that ancient Greek atomism can be traced back to a figure known as Moschus or Mochus of Sidon, who lived at the time of the Trojan wars. This report was given credence in the seventeenth century: the Cambridge Platonist Henry More traced the origins of ancient atomism back, via Pythagoras and Moschus, to Moses. This theologically motivated view does not seem to claim much historical evidence, however.

Leucippus and Democritus are widely regarded as the first atomists [emphasis mine] in the Greek tradition. Little is known about Leucippus, while the ideas of his student Democritus—who is said to have taken over and systematized his teacher’s theory—are known from a large number of reports. These ancient atomists theorized that the two fundamental and oppositely characterized constituents of the natural world are indivisible bodies—atoms—and void. The latter is described simply as nothing, or the negation of body. Atoms are by their nature intrinsically unchangeable; they can only move about in the void and combine into different clusters. Since the atoms are separated by void, they cannot fuse, but must rather bounce off one another when they collide. Because all macroscopic objects are in fact combinations of atoms, everything in the macroscopic world is subject to change, as their constituent atoms shift or move away. Thus, while the atoms themselves persist through all time, everything in the world of our experience is transitory and subject to dissolution.

Although the Greek term atomos is most commonly associated with the philosophical system developed by Leucippus and Democritus, involving solid and impenetrable bodies, Plato’s [emphasis mine] Timaeus presents a different kind of physical theory based on indivisibles. The dialogue elaborates an account of the world wherein the four different basic kinds of matter—earth, air, fire, and water—are regular solids composed from plane figures: isoceles and scalene right-angled triangles. Because the same triangles can form into different regular solids, the theory thus explains how some of the elements can transform into one another, as was widely believed.

As you can see from the excerpt, they are guessing as to the source for atomism and thee are different kinds of atomism and Plato staked his own atomistic territory.

The paper

Here’s a link to and a citation for the paper followed by a statement of significance and the paper’s abstract,

Plato’s cube and the natural geometry of fragmentation by Gábor Domokos, Douglas J. Jerolmack, Ferenc Kun, and János Török. PNAS DOI: https://doi.org/10.1073/pnas.2001037117 First published July 17, 2020

This paper is behind a paywall.

Now for the Significance and the Abstract,

We live on and among the by-products of fragmentation, from nanoparticles to rock falls to glaciers to continents. Understanding and taming fragmentation is central to assessing natural hazards and extracting resources, and even for landing probes safely on other planetary bodies. In this study, we draw inspiration from an unlikely and ancient source: Plato, who proposed that the element Earth is made of cubes because they may be tightly packed together. We demonstrate that this idea is essentially correct: Appropriately averaged properties of most natural 3D fragments reproduce the topological cube. We use mechanical and geometric models to explain the ubiquity of Plato’s cube in fragmentation and to uniquely map distinct fragment patterns to their formative stress conditions.

Plato envisioned Earth’s building blocks as cubes, a shape rarely found in nature. The solar system is littered, however, with distorted polyhedra—shards of rock and ice produced by ubiquitous fragmentation. We apply the theory of convex mosaics to show that the average geometry of natural two-dimensional (2D) fragments, from mud cracks to Earth’s tectonic plates, has two attractors: “Platonic” quadrangles and “Voronoi” hexagons. In three dimensions (3D), the Platonic attractor is dominant: Remarkably, the average shape of natural rock fragments is cuboid. When viewed through the lens of convex mosaics, natural fragments are indeed geometric shadows of Plato’s forms. Simulations show that generic binary breakup drives all mosaics toward the Platonic attractor, explaining the ubiquity of cuboid averages. Deviations from binary fracture produce more exotic patterns that are genetically linked to the formative stress field. We compute the universal pattern generator establishing this link, for 2D and 3D fragmentation.

Fascinating, eh?

Canadian and Italian researchers go beyond graphene with 2D polymers

According to a May 20,2020 McGill University news release (also on EurkekAltert), a team of Canadian and Italian researchers has broken new ground in materials science (Note: There’s a press release I found a bit more accessible and therefore informative coming up after this one),

A study by a team of researchers from Canada and Italy recently published in Nature Materials could usher in a revolutionary development in materials science, leading to big changes in the way companies create modern electronics.

The goal was to develop two-dimensional materials, which are a single atomic layer thick, with added functionality to extend the revolutionary developments in materials science that started with the discovery of graphene in 2004.

In total, 19 authors worked on this paper from INRS [Institut National de la Recherche Scientifique], McGill {University], Lakehead [University], and Consiglio Nazionale delle Ricerche, the national research council in Italy.

This work opens exciting new directions, both theoretical and experimental. The integration of this system into a device (e.g. transistors) may lead to outstanding performances. In addition, these results will foster more studies on a wide range of two-dimensional conjugated polymers with different lattice symmetries, thereby gaining further insights into the structure vs. properties of these systems.

The Italian/Canadian team demonstrated the synthesis of large-scale two-dimensional conjugated polymers, also thoroughly characterizing their electronic properties. They achieved success by combining the complementary expertise of organic chemists and surface scientists.

“This work represents an exciting development in the realization of functional two-dimensional materials beyond graphene,” said Mark Gallagher, a Physics professor at Lakehead University.

“I found it particularly rewarding to participate in this collaboration, which allowed us to combine our expertise in organic chemistry, condensed matter physics, and materials science to achieve our goals.”

Dmytro Perepichka, a professor and chair of Chemistry at McGill University, said they have been working on this research for a long time.

“Structurally reconfigurable two-dimensional conjugated polymers can give a new breadth to applications of two-dimensional materials in electronics,” Perepichka said.

“We started dreaming of them more than 15 years ago. It’s only through this four-way collaboration, across the country and between the continents, that this dream has become the reality.”

Federico Rosei, a professor at the Énergie Matériaux Télécommunications Research Centre of the Institut National de la Recherche Scientifique (INRS) in Varennes who holds the Canada Research Chair in Nanostructured Materials since 2016, said they are excited about the results of this collaboration.

“These results provide new insights into mechanisms of surface reactions at a fundamental level and simultaneously yield a novel material with outstanding properties, whose existence had only been predicted theoretically until now,” he said.

About this study

Synthesis of mesoscale ordered two-dimensional π-conjugated polymers with semiconducting properties” by G. Galeotti et al. was published in Nature Materials.

This research was partially supported by a project Grande Rilevanza Italy-Quebec of the Italian Ministero degli Affari Esteri e della Cooperazione Internazionale, Direzione Generale per la Promozione del Sistema Paese, the Natural Sciences and Engineering Research Council of Canada, the Fonds Québécois de la recherche sur la nature et les technologies and a US Army Research Office. Federico Rosei is also grateful to the Canada Research Chairs program for funding and partial salary support.

About McGill University

Founded in Montreal, Quebec, in 1821, McGill is a leading Canadian post-secondary institution. It has two campuses, 11 faculties, 13 professional schools, 300 programs of study and over 40,000 students, including more than 10,200 graduate students. McGill attracts students from over 150 countries around the world, its 12,800 international students making up 31% per cent of the student body. Over half of McGill students claim a first language other than English, including approximately 19% of our students who say French is their mother tongue.

About the INRS
The Institut National de la Recherche Scientifique (INRS) is the only institution in Québec dedicated exclusively to graduate level university research and training. The impacts of its faculty and students are felt around the world. INRS proudly contributes to societal progress in partnership with industry and community stakeholders, both through its discoveries and by training new researchers and technicians to deliver scientific, social, and technological breakthroughs in the future.

Lakehead University
Lakehead University is a fully comprehensive university with approximately 9,700 full-time equivalent students and over 2,000 faculty and staff at two campuses in Orillia and Thunder Bay, Ontario. Lakehead has 10 faculties, including Business Administration, Education, Engineering, Graduate Studies, Health & Behavioural Sciences, Law, Natural Resources Management, the Northern Ontario School of Medicine, Science & Environmental Studies, and Social Sciences & Humanities. In 2019, Maclean’s 2020 University Rankings, once again, included Lakehead University among Canada’s Top 10 primarily undergraduate universities, while Research Infosource named Lakehead ‘Research University of the Year’ in its category for the fifth consecutive year. Visit www.lakeheadu.ca

I’m a little surprised there wasn’t a quote from one of the Italian researchers in the McGill news release but then there isn’t a quote in this slightly more accessible May 18, 2020 Consiglio Nazionale delle Ricerche press release either,

Graphene’s isolation took the world by surprise and was meant to revolutionize modern electronics. However, it was soon realized that its intrinsic properties limit the utilization in our daily electronic devices. When a concept of Mathematics, namely Topology, met the field of on-surface chemistry, new materials with exotic features were theoretically discovered. Topological materials exhibit technological relevant properties such as quantum hall conductivity that are protected by a concept similar to the comparison of a coffee mug and a donut.  These structures can be synthesized by the versatile molecular engineering toolbox that surface reactions provide. Nevertheless, the realization of such a material yields access to properties that suit the figure of merits for modern electronic application and could eventually for example lead to solve the ever-increasing heat conflict in chip design. However, problems such as low crystallinity and defect rich structures prevented the experimental observation and kept it for more than a decade a playground only investigated theoretically.

An international team of scientists from Institut National de la Recherche Scientifique (Centre Energie, Matériaux et Télécommunications), McGill University and Lakehead University, both located in Canada, and the SAMOS laboratory of the Istituto di Struttura della Materia (Cnr), led by Giorgio Contini, demonstrates, in a recent publication on Nature Materials, that the synthesis of two-dimensional π-conjugated polymers with topological Dirac cone and flats bands became a reality allowing a sneak peek into the world of organic topological materials.

Complementary work of organic chemists and surface scientists lead to two-dimensional polymers on a mesoscopic scale and granted access to their electronic properties. The band structure of the topological polymer reveals both flat bands and a Dirac cone confirming the prediction of theory. The observed coexistence of both structures is of particular interest, since whereas Dirac cones yield massless charge carriers (a band velocity of the same order of magnitude of graphene has been obtained), necessary for technological applications, flat bands quench the kinetic energy of charge carriers and could give rise to intriguing phenomena such as the anomalous Hall effect, surface superconductivity or superfluid transport.

This work paths multiple new roads – both theoretical and experimental nature. The integration of this topological polymer into a device such as transistors possibly reveals immense performance. On the other hand, it will foster many researchers to explore a wide range of two-dimensional polymers with different lattice symmetries, obtaining insight into the relationship between geometrical and electrical topology, which would in return be beneficial to fine tune a-priori theoretical studies. These materials – beyond graphene – could be then used for both their intrinsic properties as well as their interplay in new heterostructure designs.

The authors are currently exploring the practical use of the realized material trying to integrate it into transistors, pushing toward a complete designing of artificial topological lattices.

This work was partially supported by a project Grande Rilevanza Italy-Quebec of the Italian Ministero degli Affari Esteri e della Cooperazione Internazionale (MAECI), Direzione Generale per la Promozione del Sistema Paese.

The Italians also included an image to accompany their press release,

Image of the synthesized material and its band structure Courtesy: Consiglio Nazionale delle Ricerche

My heart sank when I saw the number of authors for this paper (WordPress no longer [since their Christmas 2018 update] makes it easy to add the author’s names quickly to the ‘tags field’). Regardless and in keeping with my practice, here’s a link to and a citation for the paper,

Synthesis of mesoscale ordered two-dimensional π-conjugated polymers with semiconducting properties by G. Galeotti, F. De Marchi, E. Hamzehpoor, O. MacLean, M. Rajeswara Rao, Y. Chen, L. V. Besteiro, D. Dettmann, L. Ferrari, F. Frezza, P. M. Sheverdyaeva, R. Liu, A. K. Kundu, P. Moras, M. Ebrahimi, M. C. Gallagher, F. Rosei, D. F. Perepichka & G. Contini. Nature Materials (2020) DOI: https://doi.org/10.1038/s41563-020-0682-z Published 18 May 2020

This paper is behind a paywall.

A mathematical sculptor, a live webcast (May 6, 2020) with theoretical cosmologist and author Katie Mack, & uniting quantum theory with Einstein’s Theory of General Relativity in a drawing

I’ve bookended information about the talk with physicist Katie Mack at Canada’s Perimeter Institute on May 6, 2020 with two items on visual art and mathematics and the sciences.

Mathematical sculpting

Robert Fathauer’s Three-Fold Hyperbolic Form exhibits negative curvature, a concept in geometry and topology that describes a surface curving in two directions at every point. Hemp crochet by Marla Peterson. Image courtesy of Robert Fathauer. [downloaded from https://www.pnas.org/content/114/26/6643.full]

You’ll find this image and a few more in a fascinating 2017 paper (see link and citation below) about mathematical sculpture,

Ferguson [Helaman Ferguson], who holds a doctorate in mathematics, never chose between art and science: now nearly 77 years old, he’s a mathematical sculptor. Working in stone and bronze, Ferguson creates sculptures, often placed on college campuses, that turn deep mathematical ideas into solid objects that anyone—seasoned professors, curious children, wayward mathophobes—can experience for themselves.

Mathematics has an intrinsic aesthetic—proofs are often described as “beautiful” or “elegant”—that can be difficult for mathematicians to communicate to outsiders, says Ferguson. “It isn’t something you can tell somebody about on the street,” he says. “But if I hand them a sculpture, they’re immediately relating to it.” Sculpture, he says, can tell a story about math in an accessible language.

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

Science and Culture: Armed with a knack for patterns and symmetry, mathematical sculptors create compelling forms by Stephen Ornes. PNAS [Proceedings of the National Academy of Sciences] June 27, 2017 114 (26) 6643-6645; https://doi.org/10.1073/pnas.1706987114

This paper appears to be open access.

Live webcast: theoretical cosmologist & science communicator Katie Mack

The live webcast will take place at 4 pm PT (1600 hours) on Wednesday, May 6, 2020. Here’s more about Katie Mack and the webcast from the event webpage (click through to the event page to get to the webcast) on the Perimeter Institute of Theoretical Physics (PI) website,

In a special live webcast on May 6 [2020] at 7 pm ET [4 pm PT], theoretical cosmologist and science communicator Katie Mack — known to her many Twitter followers as @astrokatie — will answer questions about her favourite subject: the end of the universe.

Mack, who holds a Simons Emmy Noether Visiting Fellowship at Perimeter, will give viewers a sneak peek at her upcoming book, The End of Everything (Astrophysically Speaking). She will then participate in a live “ask me anything” session, answering questions submitted via social media using the hashtag #piLIVE.

Mack is an Assistant Professor at North Carolina State University whose research investigates dark matter, vacuum decay, and the epoch of reionization. Mack is a popular science communicator on social media, and has contributed to Scientific American, Slate, Sky & Telescope, Time, and Cosmos.

PI is located in Waterloo, Ontario, Canada.

Uniting quantum theory with Einstein’s Theory of General Relativity with a drawing about light

The article by Stephon Alexander was originally published March 16, 2017 for Nautilus. My excerpts are from a getpocket.com selection,

LIGHT IN THE GARDEN: This drawing by the Oakes brothers, Irwin Gardens at the Getty in Winter, inspired the author to think anew about quantum mechanics and general relativity. The meticulous drawing, done on curved paper, allows viewers to reflect on the act of perception. Credit: Ryan and Trevor Oakes [downloaded from http://nautil.us/issue/46/balance/what-this-drawing-taught-me-about-four_dimensional-spacetime]

My aim as a theoretical physicist is to unite quantum theory with Einstein’s Theory of General Relativity. While there are a few proposals for this unification, such as string theory and loop quantum gravity, many roadblocks to a complete unification remain.

Einstein’s theory tells us the gravitational force is a direct manifestation of space and time bending. The sun bends the fabric of space, much like a sleeping person bends a mattress. Planetary orbits, including Earth’s, are motion along the contours of the bent space created by the sun. This theory provides some critical insights into the nature of light.

… one summer, I had the most unexpected breakthrough. Beth Jacobs, a member of the New York Academy of Sciences’ Board of Governors, invited me and some friends to her New York City apartment to meet the Oakes twins, artists who have gained attention in recent years for their drawings as well as the innovative technique and inventions they deploy to create them. An Oakes work, Irwin Gardens at the Getty in Winter (2011), an intricate drawing of the famous gardens designed by Robert Irwin at The Getty Museum in Los Angeles, was displayed on the balcony of Jacobs’ apartment overlooking Central Park, with the backdrop of the New York City skyline lit with a warm orange sky moments before sunset.

As I gazed at the drawing, I could feel the artists challenging me to reconsider the nature of light. I began to realize I should consider not only the physics of light, but also how light information is perceived by observers, when theorizing and conceiving new principles to unify quantum mechanics and general relativity. …

Ryan and Trevor Oakes, 35, have been exploring the impact and intersection of visual perception and the physics of light since they were kids. After attending The Cooper Union for the Advancement of Science and Art in New York City, and years of experimentation and inventing new techniques, the twins exploited the notion that light information is better described when originating from a spherical surface.

Fascinating stuff. BTW, you can find the original article here on Nautilus.

The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (5 of 5)

At long last, the end is in sight! This last part is mostly a collection of items that don’t fit elsewhere or could have fit elsewhere but that particular part was already overstuffed.

Podcasting science for the people

March 2009 was the birth date for a podcast, then called Skeptically Speaking and now known as Science for the People (Wikipedia entry). Here’s more from the Science for the People About webpage,

Science for the People is a long-format interview podcast that explores the connections between science, popular culture, history, and public policy, to help listeners understand the evidence and arguments behind what’s in the news and on the shelves.

Every week, our hosts sit down with science researchers, writers, authors, journalists, and experts to discuss science from the past, the science that affects our lives today, and how science might change our future.

THE TEAM

Rachelle Saunders: Producer & Host

I love to learn new things, and say the word “fascinating” way too much. I like to talk about intersections and how science and critical thinking intersect with everyday life, politics, history, and culture. By day I’m a web developer, and I definitely listen to way too many podcasts.

….

H/t to GeekWrapped’s 20 Best Science Podcasts.

Science: human contexts and cosmopolitanism

situating science: Science in Human Contexts was a seven-year project ending in 2014 and funded by the Social Sciences and Humanities Research Council of Canada (SSHRC). Here’s more from their Project Summary webpage,

Created in 2007 with the generous funding of the Social Sciences and Humanities Research Council of Canada Strategic Knowledge Cluster grant, Situating Science is a seven-year project promoting communication and collaboration among humanists and social scientists that are engaged in the study of science and technology.

You can find out more about Situating Science’s final days in my August 16, 2013 posting where I included a lot of information about one of their last events titled, “Science and Society 2013 Symposium; Emerging Agendas for Citizens and the Sciences.”

The “think-tank” will dovetail nicely with a special symposium in Ottawa on Science and Society Oct. 21-23. For this symposium, the Cluster is partnering with the Institute for Science, Society and Policy to bring together scholars from various disciplines, public servants and policy workers to discuss key issues at the intersection of science and society. [emphasis mine]  The discussions will be compiled in a document to be shared with stakeholders and the wider public.

The team will continue to seek support and partnerships for projects within the scope of its objectives. Among our top priorities are a partnership to explore sciences, technologies and their publics as well as new partnerships to build upon exchanges between scholars and institutions in India, Singapore and Canada.

The Situating Science folks did attempt to carry on the organization’s work by rebranding the organization to call it the Canadian Consortium for Situating Science and Technology (CCSST). It seems to have been a short-lived volunteer effort.

Meanwhile, the special symposium held in October 2013 appears to have been the springboard for another SSHRC funded multi-year initiative, this time focused on science collaborations between Canada, India, and Singapore, Cosmopolitanism and the Local in Science and Nature from 2014 – 2017. Despite their sunset year having been in 2017, their homepage boasts news about a 2020 Congress and their Twitter feed is still active. Harking back, here’s what the project was designed to do, from the About Us page,

Welcome to our three year project that will establish a research network on “Cosmopolitanism” in science. It closely examines the actual types of negotiations that go into the making of science and its culture within an increasingly globalized landscape. This partnership is both about “cosmopolitanism and the local” and is, at the same time, cosmopolitan and local.

Anyone who reads this blog with any frequency will know that I often comment on the fact that when organizations such as the Council of Canadian Academies bring in experts from other parts of the world, they are almost always from the US or Europe. So, I was delighted to discover the Cosmopolitanism project and featured it in a February 19, 2015 posting.

Here’s more from Cosmopolitanism’s About Us page

Specifically, the project will:

  1. Expose a hitherto largely Eurocentric scholarly community in Canada to widening international perspectives and methods,
  2. Build on past successes at border-crossings and exchanges between the participants,
  3. Facilitate a much needed nation-wide organization and exchange amongst Indian and South East Asian scholars, in concert with their Canadian counterparts, by integrating into an international network,
  4. Open up new perspectives on the genesis and place of globalized science, and thereby
  5. Offer alternative ways to conceptualize and engage globalization itself, and especially the globalization of knowledge and science.
  6. Bring the managerial team together for joint discussion, research exchange, leveraging and planning – all in the aid of laying the grounds of a sustainable partnership

Eco Art (also known as ecological art or environmental art)

I’m of two minds as to whether I should have tried to stuff this into the art/sci subsection in part 2. On balance, I decided that this merited its own section and that part 2 was already overstuffed.

Let’s start in Newfoundland and Labrador with Marlene Creates (pronounced Kreets), here’s more about her from her website’s bio webpage,

Marlene Creates (pronounced “Kreets”) is an environmental artist and poet who works with photography, video, scientific and vernacular knowledge, walking and collaborative site-specific performance in the six-acre patch of boreal forest in Portugal Cove, Newfoundland and Labrador, Canada, where she lives.

For almost 40 years her work has been an exploration of the relationship between human experience, memory, language and the land, and the impact they have on each other. …

Currently her work is focused on the six acres of boreal forest where she lives in a ‘relational aesthetic’ to the land. This oeuvre includes Water Flowing to the Sea Captured at the Speed of Light, Blast Hole Pond River, Newfoundland 2002–2003, and several ongoing projects:

Marlene Creates received a Governor General’s Award in Visual and Media Arts for “Lifetime Artistic Achievement” in 2019. …

As mentioned in her bio, Creates has a ‘forest’ project. The Boreal Poetry Garden,
Portugal Cove, Newfoundland 2005– (ongoing)
. If you are interested in exploring it, she has created a virtual walk here. Just click on one of the index items on the right side of the screen to activate a video.

An October 1, 2018 article by Yasmin Nurming-Por for Canadian Art magazine features 10 artists who focus on environmental and/or land art themes,

As part of her 2016 master’s thesis exhibition, Fredericton [New Brunswick] artist Gillian Dykeman presented the video Dispatches from the Feminist Utopian Future within a larger installation that imagined various canonical earthworks from the perspective of the future. It’s a project that addresses the inherent sense of timelessness in these massive interventions on the natural landscape from the perspective of contemporary land politics. … she proposes a kind of interaction with the invasive and often colonial gestures of modernist Land art, one that imagines a different future for these earthworks, where they are treated as alien in a landscape and as beacons from a feminist future.

A video trailer featuring “DISPATCHES FROM THE FEMINIST UTOPIAN FUTURE” (from Dykeman’s website archive page featuring the show,

If you have the time, I recommend reading the article in its entirety.

Oddly, I did not expect Vancouver to have such an active eco arts focus. The City of Vancouver Parks Board maintains an Environmental Art webpage on its site listing a number of current and past projects.

I cannot find the date for when this Parks Board initiative started but I did find a document produced prior to a Spring 2006 Arts & Ecology think tank held in Vancouver under the auspices of the Canada Council for the Arts, the Canadian Commission for UNESCO, the Vancouver Foundation, and the Royal Society for the Encouragement of the Arts, Manufactures and Commerce (London UK).

In all likelihood, Vancouver Park Board’s Environmental Art webpage was produced after 2006.

I imagine the document and the think tank session helped to anchor any then current eco art projects and encouraged more projects.

The document (MAPPING THE TERRAIN OF CONTEMPORARY ECOART PRACTICE AND COLLABORATION) while almost 14 years old offers a fascinating overview of what was happening internationally and in Canada.

While its early days were in 2008, EartHand Gleaners (Vancouver-based) wasn’t formally founded as an arts non-for-profit organization until 2013. You can find out more about them and their projects here.

Eco Art has been around for decades according to the eco art think tank document but it does seemed to have gained momentum here in Canada over the last decade.

Photography and the Natural Sciences and Engineering Research Council of Canada (NSERC)

Exploring the jack pine tight knit family tree. Credit: Dana Harris Brock University (2018)

Pictured are developing phloem, cambial, and xylem cells (blue), and mature xylem cells (red), in the outermost portion of a jack pine tree. This research aims to identify the influences of climate on the cellular development of the species at its northern limit in Yellowknife, NT. The differences in these cell formations is what creates the annual tree ring boundary.

Science Exposed is a photography contest for scientists which has been run since 2016 (assuming the Past Winners archive is a good indicator for the programme’s starting year).

The 2020 competition recently closed but public voting should start soon. It’s nice to see that NSERC is now making efforts to engage members of the general public rather than focusing its efforts solely on children. The UK’s ASPIRES project seems to support the idea that adults need to be more fully engaged with STEM (science, technology, engineering, and mathematics) efforts as it found that children’s attitudes toward science are strongly influenced by their parents’ and relatives’ attitudes.(See my January 31, 2012 posting.)

Ingenious, the book and Ingenium, the science museums

To celebrate Canada’s 150th anniversary in 2017, then Governor General David Johnston and Tom Jenkins (Chair of the board for Open Text and former Chair of the federal committee overseeing the ‘Review of Federal Support to R&’D [see my October 21, 2011 posting about the resulting report]) wrote a boo about Canada’s inventors and inventions.

Johnston and Jenkins jaunted around the country launching their book (I have more about their June 1, 2017 Vancouver visit in a May 30, 2017 posting; scroll down about 60% of the way]).

The book’s full title, “Ingenious: How Canadian Innovators Made the World Smarter, Smaller, Kinder, Safer, Healthier, Wealthier and Happier ” outlines their thesis neatly.

Not all that long after the book was launched, there was a name change (thankfully) for the Canada Science and Technology Museums Corporation (CSTMC). It is now known as Ingenium (covered in my August 10, 2017 posting).

The reason that name change was such a relief (for those who don’t know) is that the corporation included three national science museums: Canada Aviation and Space Museum, Canada Agriculture and Food Museum, and (wait for it) Canada Science and Technology Museum. On the list of confusing names, this ranks very high for me. Again, I give thanks for the change from CSTMC to Ingenium, leaving the name for the museum alone.

2017 was also the year that the newly refurbished Canada Science and Technology Museum was reopened after more than three years (see my June 23, 2017 posting about the November 2017 reopening and my June 12, 2015 posting for more information about the situation that led to the closure).

A Saskatchewan lab, Convergence, Order of Canada, Year of Science, Animated Mathematics, a graphic novel, and new media

Since this section is jampacked, I’m using subheads.

Saskatchewan

Dr. Brian Eames hosts an artist-in-residence, Jean-Sebastien (JS) Gauthier at the University of Saskatchewan’s College of Medicine Eames Lab. A February 16, 2018 posting here featured their first collaboration together. It covered evolutionary biology, the synchrotron (Canadian Light Source [CLS]) in Saskatoon, and the ‘ins and outs’ of a collaboration between a scientist an artist. Presumably the art-in-residence position indicates that first collaboration went very well.

In January 2020, Brian kindly gave me an update on their current projects. Jean-Sebastin successfully coded an interactive piece for an exhibit at the 2019 Nuit Blanche Saskatoon event using Connect (Xbox). More recently, he got a VR [virtual reality] helmet for an upcoming project or two.

After much clicking on the Nuit Blanche Saskatoon 2019 interactive map, I found this,

Our Glass is a work of interactive SciArt co-created by artist JS Gauthier and biologist Dr Brian F. Eames. It uses cutting-edge 3D microscopic images produced for artistic purposes at the Canadian Light Source, Canada’s only synchrotron facility. Our Glass engages viewers of all ages to peer within an hourglass showing how embryonic development compares among animals with whom we share a close genetic heritage.

Eames also mentioned they were hoping to hold an international SciArt Symposium at the University of Saskatchewan in 2021.

Convergence

Dr. Cristian Zaelzer-Perez, an instructor at Concordia University (Montreal; read this November 20, 2019 Concordia news release by Kelsey Rolfe for more about his work and awards), in 2016 founded the Convergence Initiative, a not-for-profit organization that encourages interdisciplinary neuroscience and art collaborations.

Cat Lau’s December 23, 2019 posting for the Science Borealis blog provides insight into Zaelzer-Perez’s relationship to science and art,

Cristian: I have had a relationship with art and science ever since I have had memory. As a child, I loved to do classifications, from grouping different flowers to collecting leaves by their shapes. At the same time, I really loved to draw them and for me, both things never looked different; they (art and science) have always worked together.

I started as a graphic designer, but the pursuit to learn about nature was never dead. At some point, I knew I wanted to go back to school to do research, to explore and learn new things. I started studying medical technologies, then molecular biology and then jumped into a PhD. At that point, my life as a graphic designer slipped down, because of the focus you have to give to the discipline. It seemed like every time I tried to dedicate myself to one thing, I would find myself doing the other thing a couple years later.

I came to Montreal to do my post-doc, but I had trouble publishing, which became problematic in getting a career. I was still loving what I was doing, but not seeing a future in that. Once again, art came back into my life and at the same time I saw that science was becoming really hard to understand and scientists were not doing much to bridge the gap.

The Convergence Initiative has an impressive array of programmes. Do check it out.

Order of Canada and ‘The Science Lady’

For a writer of children’s science books, an appointment to the Order of Canada is a singular honour. I cannot recall a children’s science book writer previous to Shar Levine being appointed as a Member of the Order of Canada. Known as ‘The Science Lady‘, Levine was appointed in 2016. Here’s more from her Wikipedia entry, Note: Links have been removed,

Shar Levine (born 1953) is an award-winning, best selling Canadian children’s author, and designer.

Shar has written over 70 books and book/kits, primarily on hands-on science for children. For her work in Science literacy and Science promotion, Shar has been appointed to the 2016 Order of Canada. In 2015, she was recognized by the University of Alberta and received their Alumni Honour Award. Levine, and her co-author, Leslie Johnstone, were co-recipients of the Eve Savory Award for Science Communication from the BC Innovation Council (2006) and their book, Backyard Science, was a finalist for the Subaru Award, (hands on activity) from the American Association for the Advancement of Science, Science Books and Films (2005). The Ultimate Guide to Your Microscope was a finalist-2008 American Association for the Advancement of Science/Subaru Science Books and Films Prize Hands -On Science/Activity Books.

To get a sense of what an appointment to the Order of Canada means, here’s a description from the government of Canada website,

The Order of Canada is how our country honours people who make extraordinary contributions to the nation.

Since its creation in 1967—Canada’s centennial year—more than 7 000 people from all sectors of society have been invested into the Order. The contributions of these trailblazers are varied, yet they have all enriched the lives of others and made a difference to this country. Their grit and passion inspire us, teach us and show us the way forward. They exemplify the Order’s motto: DESIDERANTES MELIOREM PATRIAM (“They desire a better country”).

Year of Science in British Columbia

In the Fall of 2010, the British Columbia provincial government announced a Year of Science (coinciding with the school year) . Originally, it was supposed to be a provincial government-wide initiative but the idea percolated through any number of processes and emerged as a year dedicated to science education for youth (according to the idea’s originator, Moira Stilwell who was then a Member of the Legislative Assembly [MLA]’ I spoke with her sometime in 2010 or 2011).

As the ‘year’ drew to a close, there was a finale ($1.1M in funding), which was featured here in a July 6, 2011 posting.

The larger portion of the money ($1M) was awarded to Science World while $100,000 ($0.1 M) was given to the Pacific Institute of Mathematical Sciences To my knowledge there have been no followup announcements about how the money was used.

Animation and mathematics

In Toronto, mathematician Dr. Karan Singh enjoyed a flurry of interest due to his association with animator Chris Landreth and their Academy Award (Oscar) Winning 2004 animated film, Ryan. They have continued to work together as members of the Dynamic Graphics Project (DGP) Lab at the University of Toronto. Theirs is not the only Oscar winning work to emerge from one or more of the members of the lab. Jos Stam, DGP graduate and adjunct professor won his third in 2019.

A graphic novel and medical promise

An academic at Simon Fraser University since 2015, Coleman Nye worked with three other women to produce a graphic novel about medical dilemmas in a genre described as’ ethno-fiction’.

Lissa: A Story about Medical Promise, Friendship, and Revolution (2017) by Sherine Hamdy and Coleman Nye, two anthropologists and Art by Sarula Bao and Caroline Brewer, two artists.

Here’s a description of the book from the University of Toronto Press website,

As young girls in Cairo, Anna and Layla strike up an unlikely friendship that crosses class, cultural, and religious divides. Years later, Anna learns that she may carry the hereditary cancer gene responsible for her mother’s death. Meanwhile, Layla’s family is faced with a difficult decision about kidney transplantation. Their friendship is put to the test when these medical crises reveal stark differences in their perspectives…until revolutionary unrest in Egypt changes their lives forever.

The first book in a new series [ethnoGRAPIC; a series of graphic novels from the University of Toronto Press], Lissa brings anthropological research to life in comic form, combining scholarly insights and accessible, visually-rich storytelling to foster greater understanding of global politics, inequalities, and solidarity.

I hope to write more about this graphic novel in a future posting.

New Media

I don’t know if this could be described as a movement yet but it’s certainly an interesting minor development. Two new media centres have hosted, in the last four years, art/sci projects and/or workshops. It’s unexpected given this definition from the Wikipedia entry for New Media (Note: Links have been removed),

New media are forms of media that are computational and rely on computers for redistribution. Some examples of new media are computer animations, computer games, human-computer interfaces, interactive computer installations, websites, and virtual worlds.[1][2]

In Manitoba, the Video Pool Media Arts Centre hosted a February 2016 workshop Biology as a New Art Medium: Workshop with Marta De Menezes. De Menezes, an artist from Portugal, gave workshops and talks in both Winnipeg (Manitoba) and Toronto (Ontario). Here’s a description for the one in Winnipeg,

This workshop aims to explore the multiple possibilities of artistic approaches that can be developed in relation to Art and Microbiology in a DIY situation. A special emphasis will be placed on the development of collaborative art and microbiology projects where the artist has to learn some biological research skills in order to create the artwork. The course will consist of a series of intense experimental sessions that will give raise to discussions on the artistic, aesthetic and ethical issues raised by the art and the science involved. Handling these materials and organisms will provoke a reflection on the theoretical issues involved and the course will provide background information on the current diversity of artistic discourses centred on biological sciences, as well a forum for debate.

VIVO Media Arts Centre in Vancouver hosted the Invasive Systems in 2019. From the exhibition page,

Picture this – a world where AI invades human creativity, bacteria invade our brains, and invisible technological signals penetrate all natural environments. Where invasive species from plants to humans transform spaces where they don’t belong, technology infiltrates every aspect of our daily lives, and the waste of human inventions ravages our natural environments.

This weekend festival includes an art-science exhibition [emphasis mine], a hands-on workshop (Sat, separate registration required), and guided discussions and tours by the curator (Sat/Sun). It will showcase collaborative works by three artist/scientist pairs, and independent works by six artists. Opening reception will be on Friday, November 8 starting at 7pm; curator’s remarks and performance by Edzi’u at 7:30pm and 9pm. 

New Westminster’s (British Columbia) New Media Gallery recently hosted an exhibition, ‘winds‘ from June 20 – September 29, 2019 that could be described as an art/sci exhibition,

Landscape and weather have long shared an intimate connection with the arts.  Each of the works here is a landscape: captured, interpreted and presented through a range of technologies. The four artists in this exhibition have taken, as their material process, the movement of wind through physical space & time. They explore how our perception and understanding of landscape can be interpreted through technology. 

These works have been created by what might be understood as a sort of scientific method or process that involves collecting data, acute observation, controlled experiments and the incorporation of measurements and technologies that control or collect motion, pressure, sound, pattern and the like. …

Council of Canadian Academies, Publishing, and Open Access

Established in 2005, the Council of Canadian Academies (CCA) (Wikipedia entry) is tasked by various departments and agencies to answer their queries about science issues that could affect the populace and/or the government. In 2014, the CCA published a report titled, Science Culture: Where Canada Stands. It was in response to the Canada Science and Technology Museums Corporation (now called Ingenium), Industry Canada, and Natural Resources Canada and their joint request that the CCA conduct an in-depth, independent assessment to investigate the state of Canada’s science culture.

I gave a pretty extensive analysis of the report, which I delivered in four parts: Part 1, Part 2 (a), Part 2 (b), and Part 3. In brief, the term ‘science culture’ seems to be specifically, i.e., it’s not used elsewhere in the world (that we know of), Canadian. We have lots to be proud of. I was a little disappointed by the lack of culture (arts) producers on the expert panel and, as usual, I bemoaned the fact that the international community included as reviewers, members of the panel, and as points for comparison were drawn from the usual suspects (US, UK, or somewhere in northern Europe).

Science publishing in Canada took a bit of a turn in 2010, when the country’s largest science publisher, NRC (National Research Council) Research Publisher was cut loose from the government and spun out into the private, *not-for-profit publisher*, Canadian Science Publishing (CSP). From the CSP Wikipedia entry,

Since 2010, Canadian Science Publishing has acquired five new journals:

Since 2010, Canadian Science Publishing has also launched four new journals

Canadian Science Publishing offers researchers options to make their published papers freely available (open access) in their standard journals and in their open access journal, (from the CSP Wikipedia entry)

Arctic Science aims to provide a collaborative approach to Arctic research for a diverse group of users including government, policy makers, the general public, and researchers across all scientific fields

FACETS is Canada’s first open access multidisciplinary science journal, aiming to advance science by publishing research that the multi-faceted global community of research. FACETS is the official journal of the Royal Society of Canada’s Academy of Science.

Anthropocene Coasts aims to understand and predict the effects of human activity, including climate change, on coastal regions.

In addition, Canadian Science Publishing strives to make their content accessible through the CSP blog that includes plain language summaries of featured research. The open-access journal FACETS similarly publishes plain language summaries.

*comment removed*

CSP announced (on Twitter) a new annual contest in 2016,

Canadian Science Publishing@cdnsciencepub

New CONTEST! Announcing Visualizing Science! Share your science images & win great prizes! Full details on the blog http://cdnsciencepub.com/blog/2016-csp-image-contest-visualizing-science.aspx1:45 PM · Sep 19, 2016·TweetDeck

The 2016 blog posting is no longer accessible. Oddly for a contest of this type, I can’t find an image archive for previous contests. Regardless, a 2020 competition has been announced for Summer 2020. There are some details on the VISUALIZING SCIENCE 2020 webpage but some are missing, e.g., no opening date, no deadline. They are encouraging you to sign up for notices.

Back to open access, in a January 22, 2016 posting I featured news about Montreal Neuro (Montreal Neurological Institute [MNI] in Québec, Canada) and its then new policy giving researchers world wide access to its research and made a pledge that it would not seek patents for its work.

Fish, Newfoundland & Labrador, and Prince Edward Island

AquAdvantage’s genetically modified salmon was approved for consumption in Canada according to my May 20, 2016 posting. The salmon are produced/farmed by a US company (AquaBounty) but the the work of genetically modifying Atlantic salmon with genetic material from the Chinook (a Pacific ocean salmon) was mostly undertaken at Memorial University in Newfoundland & Labrador.

The process by which work done in Newfoundland & Labrador becomes the property of a US company is one that’s well known here in Canada. The preliminary work and technology is developed here and then purchased by a US company, which files patents, markets, and profits from it. Interestingly, the fish farms for the AquAdvantage salmon are mostly (two out of three) located on Prince Edward Island.

Intriguingly, 4.5 tonnes of the modified fish were sold for consumption in Canada without consumers being informed (see my Sept. 13, 2017 posting, scroll down about 45% of the way).

It’s not all sunshine and roses where science culture in Canada is concerned. Incidents where Canadians are not informed let alone consulted about major changes in the food supply and other areas are not unusual. Too many times, scientists, politicians, and government policy experts want to spread news about science without any response from the recipients who are in effect viewed as a ‘tabula rasa’ or a blank page.

Tying it all up

This series has been my best attempt to document in some fashion or another the extraordinary range of science culture in Canada from roughly 2010-19. Thank you! This series represents a huge amount of work and effort to develop science culture in Canada and I am deeply thankful that people give so much to this effort.

I have inevitably missed people and organizations and events. For that I am very sorry. (There is an addendum to the series as it’s been hard to stop but I don’t expect to add anything or anyone more.)

I want to mention but can’t expand upon,the Pan-Canadian Artificial Intelligence Strategy, which was established in the 2017 federal budget (see a March 31, 2017 posting about the Vector Institute and Canada’s artificial intelligence sector).

Science Borealis, the Canadian science blog aggregator, owes its existence to Canadian Science Publishing for the support (programming and financial) needed to establish itself and, I believe, that support is still ongoing. I think thanks are also due to Jenny Ryan who was working for CSP and championed the initiative. Jenny now works for Canadian Blood Services. Interestingly, that agency added a new programme, a ‘Lay Science Writing Competition’ in 2018. It’s offered n partnership with two other groups, the Centre for Blood Research at the University of British Columbia and Science Borealis

While the Royal Astronomical Society of Canada does not fit into my time frame as it lists as its founding date December 1, 1868 (18 months after confederation), the organization did celebrate its 150th anniversary in 2018.

Vancouver’s Electric Company often produces theatrical experiences that cover science topics such as the one featured in my June 7, 2013 posting, You are very star—an immersive transmedia experience.

Let’s Talk Science (Wikipedia entry) has been heavily involved with offering STEM (science, technology, engineering, and mathematics) programming both as part of curricular and extra-curricular across Canada since 1993.

This organization predates confederation having been founded in 1849 by Sir Sandford Fleming and Kivas Tully in Toronto. for surveyors, civil engineers, and architects. It is the Royal Canadian Institute of Science (Wikipedia entry)_. With almost no interruption, they have been delivering a regular series of lectures on the University of Toronto campus since 1913.

The Perimeter Institute for Theoretical Physics is a more recent beast. In 1999 Mike Lazirides, founder of Research In Motion (now known as Blackberry Limited), acted as both founder and major benefactor for this institute in Waterloo, Ontario. They offer a substantive and imaginative outreach programmes such as Arts and Culture: “Event Horizons is a series of unique and extraordinary events that aim to stimulate and enthral. It is a showcase of innovative work of the highest international standard, an emotional, intellectual, and creative experience. And perhaps most importantly, it is a social space, where ideas collide and curious minds meet.”

While gene-editing hasn’t seemed to be top-of-mind for anyone other than those in the art/sci community that may change. My April 26, 2019 posting focused on what appears to be a campaign to reverse Canada’s criminal ban on human gene-editing of inheritable cells (germline). With less potential for controversy, there is a discussion about somatic gene therapies and engineered cell therapies. A report from the Council of Canadian is due in the Fall of 2020. (The therapies being discussed do not involve germline editing.)

French language science media and podcasting

Agence Science-Presse is unique as it is the only press agency in Canada devoted to science news. Founded in 1978, it has been active in print, radio, television, online blogs, and podcasts (Baladodiffusion). You can find their Twitter feed here.

I recently stumbled across ‘un balados’ (podcast), titled, 20%. Started in January 2019 by the magazine, Québec Science, the podcast is devoted to women in science and technology. 20%, the podcast’s name, is the statistic representing the number of women in those fields. “Dans les domaines de la science et de la technologie, les femmes ne forment que 20% de la main-d’oeuvre.” (from the podcast webpage) The podcast is a co-production between “Québec Science [founded in 1962] et l’Acfas [formerly, l’Association Canadienne-Française pour l’Avancement des Sciences, now, Association francophone pour le savoir], en collaboration avec la Commission canadienne pour l’UNESCO, L’Oréal Canada et la radio Choq.ca.” (also from the podcast webpage)

Does it mean anything?

There have been many developments since I started writing this series in late December 2019. In January 2020, Iran shot down one of its own planes. That error killed some 176 people , many of them (136 Canadians and students) bound for Canada. The number of people who were involved in the sciences, technology, and medicine was striking.

It was a shocking loss and will reverberate for quite some time. There is a memorial posting here (January 13, 2020), which includes links to another memorial posting and an essay.

As I write this we are dealing with a pandemic, COVID-19, which has us all practicing physical and social distancing. Congregations of large numbers are expressly forbidden. All of this is being done in a bid to lessen the passage of the virus, SARS-CoV-2 which causes COVID-19.

In the short term at least, it seems that much of what I’ve described in these five parts (and the addendum) will undergo significant changes or simply fade away.

As for the long term, with this last 10 years having hosted the most lively science culture scene I can ever recall, I’m hopeful that science culture in Canada will do more than survive but thrive.

For anyone who missed them:

Part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (1 of 5).

Part 2 covers art/science (or art/sci or sciart) efforts, science festivals both national and local, international art and technology conferences held in Canada, and various bar/pub/café events: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (2 of 5).

Part 3 covers comedy, do-it-yourself (DIY) biology, chief science advisor, science policy, mathematicians, and more: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (3 of 5)

Part 4 covers citizen science, birds, climate change, indigenous knowledge (science), and the IISD Experimental Lakes Area: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (4 of 5)

*”for-profit publisher, Canadian Science Publishing (CSP)” corrected to “not-for-profit publisher, Canadian Science Publishing (CSP)” and this comment “Not bad for a for-profit business, eh?” removed on April 29, 2020 as per Twitter comments,

Canadian Science Publishing @cdnsciencepub

Hi Maryse, thank you for alerting us to your blog. To clarify, Canadian Science Publishing is a not-for-profit publisher. Thank you as well for sharing our image contest. We’ve updated the contest page to indicate that the contest opens July 2020!

10:01am · 29 Apr 2020 · Twitter Web App