Category Archives: Mathematics

Fractal brain structures and story listening

For anyone who needs to brush up on their fractals,

Caption: Zoomed in detail of the Mandelbrot set, a famous fractal, at different spatial scales of 1x, 4x, 16x, and 64x (from left to right). Credit: Image by Jeremy R. Manning.

My September 3, 2012 posting (Islands of Benoît Mandelbrot: Fractals, Chaos, and the Materiality of Thinking exhibition opening in Sept. 2012 in New York) includes an explanation of fractals. There is another explanation in the news release that follows below.

The story

A September 30, 2021 Dartmouth College news release announces work from a team of researchers using the concept of fractals as a way of understanding how the brain works (Note: Links have been removed),

Understanding how the human brain produces complex thought is daunting given its intricacy and scale. The brain contains approximately 100 billion neurons that coordinate activity through 100 trillion connections, and those connections are organized into networks that are often similar from one person to the next. A Dartmouth study has found a new way to look at brain networks using the mathematical notion of fractals, to convey communication patterns between different brain regions as people listened to a short story.The results are published in Nature Communications.

“To generate our thoughts, our brains create this amazing lightning storm of connection patterns,” said senior author Jeremy R. Manning, an assistant professor of psychological and brain sciences, and director of the Contextual Dynamics Lab at Dartmouth. “The patterns look beautiful, but they are also incredibly complicated. Our mathematical framework lets us quantify how those patterns relate at different scales, and how they change over time.”

In the field of geometry, fractals are shapes that appear similar at different scales. Within a fractal, shapes and patterns are repeated in an infinite cascade, such as spirals comprised of smaller spirals that are in turn comprised of still-smaller spirals, and so on. Dartmouth’s study shows that brain networks organize in a similar way: patterns of brain interactions are mirrored simultaneously at different scales. When people engage in complex thoughts, their networks seem to spontaneously organize into fractal-like patterns. When those thoughts are disrupted, the fractal patterns become scrambled and lose their integrity.

The researchers developed a mathematical framework that identifies similarities in network interactions at different scales or “orders.” When brain structures do not exhibit any consistent patterns of interaction, the team referred to this as a “zero-order” pattern. When individual pairs of brain structures interact, this is called a “first-order” pattern. “Second-order” patterns refer to similar patterns of interactions in different sets of brain structures, at different scales. When patterns of interaction become fractal— “first-order” or higher— the order denotes the number of times the patterns are repeated at different scales.

The study shows that when people listened to an audio recording of a 10-minute story, their brain networks spontaneously organized into fourth-order network patterns. However, this organization was disrupted when people listened to altered versions of the recording. For example, when the story’s paragraphs were randomly shuffled, preserving some but not all of the story’s meaning, people’s brain networks displayed only second-order patterns. When every word of the story was shuffled, this disrupted all but the lowest level (zero-order) patterns.

“The more finely the story was shuffled, the more the fractal structures of the network patterns were disrupted,” said first author Lucy Owen, a graduate student in psychological and brain sciences at Dartmouth. “Since the disruptions in those fractal patterns seemed directly linked with how well people could make sense of the story, this finding may provide clues about how our brain structures work together to understand what is happening in the narrative.”

The fractal network patterns were surprisingly similar across people: patterns from one group could be used to accurately estimate what part of the story another group was listening to.

The team also studied which brain structures were interacting to produce these fractal patterns. The results show that the smallest scale (first-order) interactions occurred in brain regions that process raw sounds. Second-order interactions linked these raw sounds with speech processing regions, and third-order interactions linked sound and speech areas with a network of visual processing regions. The largest-scale (fourth-order) interactions linked these auditory and visual sensory networks with brain structures that support high-level thinking. According to the researchers, when these networks organize at multiple scales, this may show how the brain processes raw sensory information into complex thought—from raw sounds, to speech, to visualization, to full-on understanding.

The researchers’ computational framework can also be applied to areas beyond neuroscience and the team has already begun using an analogous approach to explore interactions in stock prices and animal migration patterns.

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

High-level cognition during story listening is reflected in high-order dynamic correlations in neural activity patterns by Lucy L. W. Owen, Thomas H. Chang & Jeremy R. Manning. Nature Communications volume 12, Article number: 5728 (2021) DOI: https://doi.org/10.1038/s41467-021-25876-x Published: 30 September 2021

This paper is open access.

Let’s celebrate the International Day of Mathematics March 14, 2022 even if it is a little late

A March 14, 2022 UNESCO (United Nations Educational, Scientific and Cultural Organization) announcement (received via email) focuses on mathematics,

Despite the omnipresence of mathematics in our daily lives, in our phones, credit cards, cars etc., there may not be enough mathematicians to solve the complex challenges we face, from climate change to pandemics, a new UNESCO study finds.

Some 41% of the global population is at risk from flooding caused by tropical cyclones. Thanks to new mathematical models and better algorithms, the path of a tropical cyclone can now be predicted up to a week in advance.  In 2019, it could only be predicted five days in advance and, in the 1970s, just 36 hours ahead. Longer visibility gives municipal authorities precious additional time to plan the evacuation of populations in highly exposed areas.

This is just one of many case studies in Mathematics for Action, a new UNESCO publication released on 14 March to mark International Mathematics Day. “The study demonstrates why it makes sense for governments to include a mathematician on their team of scientific advisors”, says Christiane Rousseau of the Department of Mathematics and Statistics at the University of Montréal in Canada, who led the development of the toolkit.  

Mathematical methods to design vaccines

“The COVID-19 pandemic has really brought mathematical modelling into the public eye”, she adds. “Two years ago, who would have thought that a term such as ‘flattening the curve’ would become part of the public lexicon?” Similarly, news stories referring to mathematical terms such as the basic reproduction rate (R0) of the virus or ‘herd immunity’ through mass vaccination have become regular features. Mathematical methods themselves have been used to design vaccines more efficiently and to model vaccine hesitancy as a social phenomenon.

But the utility of mathematics does not stop there. For Norbert Hounkonnou, President of the Network of African Science Academies, “the Mathematics for Action toolkit is a revolutionary policy-oriented tool. It showcases the decisive role of mathematics in contributing to solving the world’s most pressing challenges and in achieving the 2030 Sustainable Development Goals”.

One of these goals is to end poverty. The toolkit describes, for example, how researchers were able to compile poverty maps of 552 villages and communities in Senegal and identify areas in need of greater public investment, despite missing census data. By applying mathematical tools like machine learning algorithms (artificial intelligence), the researchers were able to establish the extent of poverty in specific areas. .

Scenarios for the future

How are the many services nature provides, such as freshwater, medicinal plants or crops to be priced? Two research studies in Mathematics for Action do just that by quantifying the value of ecosystem services and biodiversity of large estuaries in North America and Asia.

The toolkit describes how mathematical models enable the exploration of multiple “what-if” scenarios to inform the decision-making process. Scientists use climate models in combination with storylines to produce plausible alternative scenarios for the future.

“The shortage of quality mathematics teachers around the world is a threat to training a sufficient number of mathematicians and scientists capable of meeting the challenges of the contemporary world”, warn Merrilyn Goos and Anjum Halai, the two Vice-Presidents of the International Commission on Mathematical Instruction, two authors of the toolkit.

Read the toolkit Mathematics for action: supporting science-based decision-making

The International Day of Mathematics was proclaimed by UNESCO in 2019 to draw attention to the extensive contribution that mathematics makes to social progress and the plethora of vocations that mathematics offers to boys and girls.

Mathematics for Action: Supporting Science-Based Decision Making is a series of policy briefs produced by UNESCO, the Centre de recherches mathématiques of Canada, the International Mathematical Union, the International Science Council and their partners.

The Centre de recherches mathématiques (CRM) was the manager of the toolkit project, which was produced by a consortium composed of the:

African Institute for Mathematical Sciences (AIMS)

African Mathematical Union (AMU)

Centre de recherches mathématiques (CRM)

UNESCO Cat II centre CIMPA (Centre international de mathématiques pures et appliquées)

European Mathematical Society (EMS)

Institut des Sciences mathématiques et de leurs interactions (INSMI) au CNRS [Centre national de la recherche scientifique]

Institut de valorisation des données (IVADO), Canada

International Commission on Mathematical Instruction (ICMI)

International Mathematical Union (IMU)

International Science Council (ISC)

I just noticed that March 14, 2022 is also Pi Day (from its Wikipedia entry; Note: Links have been removed),

Pi Day is an annual celebration of the mathematical constant π (pi). Pi Day is observed on March 14 (3/14 in the month/day format) since 3, 1, and 4 are the first three significant figures of π.[2][3] It was founded in 1988 by Larry Shaw, an employee of the Exploratorium. Celebrations often involve eating pie or holding pi recitation competitions. In 2009, the United States House of Representatives supported the designation of Pi Day.[4] UNESCO’s 40th General Conference designated Pi Day as the International Day of Mathematics in November 2019.[5][6] Alternative dates for the holiday include July 22[alpha 1] (22/7, an approximation of π) and June 28 (6.28, an approximation of 2π or tau).

As you can see from the entry, it’s not coincidence that Pi Day and the International Day of Mathematics are celebrated on the same day.

Orca-shaped puzzle pieces in puzzle for orca conservation

H/t to Rebecca Bollwitt’s Miss604.com’s January 26, 2022 posting about a puzzle being used to help raise funds for the Raincoast Conservation Foundation. ($20 from each puzzle sold will be donated to the foundation.)

[puzzle image downloaded from https://www.puzzle-lab.com/collections/new-puzzles/products/rise-wood-jigsaw-puzzle]

I am fascinated by the orca-shaped pieces. Here’s more about the puzzle from the January 26, 2022 Miss604 posting (Note: A link has been removed),

The Rise puzzle is unique in its design, even for the innovative Puzzle Lab. It features 206 identical orca-shaped pieces in an Escher-style tessellation pattern. The technology in Puzzle Lab draws from cofounder Andrew Robev’s knowledge of parametric, computational, and generative design, involving writing custom computer algorithms to generate highly complex geometry and digital fabrication (using robotic tools such as a laser cutter, 3D printer, or CNC router). 

The January 26, 2022 Miss604 posting features an image of the whole puzzle along with a succinct description of the project and the people behind it.

Puzzle Lab?

According to Puzzle Lab’s About Us page, they make puzzles you can feel good about,

Puzzle Lab was founded by Tinka Robev and Andrew Azzopardi, who met studying architecture at the University of Waterloo in 2012.

The couple moved to Victoria, BC in 2014 where they started Studio Robazzo, a multidisciplinary design & branding agency.

During the coronavirus pandemic, they came up with the idea to launch a puzzle company to encourage more people to get off their devices and into the real world. Sharon Parker joined them and Puzzle Lab was born in the fall of 2020.

Since its founding, Puzzle Lab has been dedicated to fabricating heirloom-quality puzzles as well as providing a platform for talented Canadian artists.

a next-level puzzling experience

Our heirloom-quality wood puzzles merge technology, art, and nature.

We start by curating stunning graphics and local art. Next, the wacky puzzle pieces are created in our digital laboratory with custom computer algorithms. Then, they’re laser cut at our studio in the heart of Victoria, BC.

Each puzzle design has a unique cut pattern, so you won’t find the same piece twice!

You won’t find the same shape twice? it seems an exception has been made for Rise.

Artwork

The company solicits artwork for its puzzles (from the Artist Submission page),

Winter 2021-2022

Please fill out the form below to submit your artwork, and/or share this page with artists in your community to help us spread the word!This is a paid opportunity: all selected artists receive ongoing royalties on the puzzles sold using their licensed artwork(s).

The Rise artwork is by Art by Di,

Beauty of nature is the key inspiration behind Di’s contemporary west coast acrylic paintings. With a focus on light, color and movement Di seeks to reduce the endless detail of life into simple form and palette, allowing viewers’ imaginations to fill in details of time and place. …

… The artist lives and works on Bowen Island, Canada.

Filling in the last pieces

You can find more of Puzzle Lab’s work on their Instagram account. Should you be interested in purchasing a Rise wood jigsaw puzzle,

Strength. Resilience. Recovery. ‘Rise’ is a celebration of life – a celebration of Howe Sound. It is a celebration of cleaner air, cleaner water, cleaner land. Lose yourself in this enchanting west coast scene as you take on a uniquely challenging wood jigsaw puzzle composed of just over 200 identical orca-shaped pieces seamlessly tiled in an Escher-style tessellation pattern.

This exciting Puzzle with a Purpose supports the wildlife conservation efforts of the Raincoast Conservation Foundation.

It is $100.

Again, the organization receiving the $20 donation from the purchase price is the Raincoast Conservation Foundation.

Proximal Fields from September 8 – 12, 2021 and a peek into the international art/sci/tech scene

Toronto’s (Canada) Art/Sci Salon (also known as, Art Science Salon) sent me an August 26, 2021 announcement (received via email) of an online show with a limited viewing period (BTW, nice play on words with the title echoing the name of the institution mentioned in the first sentence),

PROXIMAL FIELDS

The Fields Institute was closed to the public for a long time. Yet, it
has not been empty. Peculiar sounds and intriguing silences, the flows
of the few individuals and the janitors occasional visiting the building
made it surprisingly alive. Microorganisms, dust specs and other
invisible guests populated undisturbed the space while the humans were
away. The building is alive. We created site specific installations
reflecting this condition: Elaine Whittaker and her poet collaborators
take us to a journey of the microbes living in our proximal spaces. Joel
Ong and his collaborators have recorded space data in the building: the
result is an emergent digital organism. Roberta Buiani and Kavi
interpret the venue as an organism which can be taken outside on a
mobile gallery.

PROXIMAL FIELDS will be visible  September 8-12 2021 at

https://ars.electronica.art/newdigitaldeal/en/proximal-fields/

it [sic] is part of Ars Electronica Garden LEONARDO LASER [Anti]disciplinary Topographies

https://ars.electronica.art/newdigitaldeal/en/antidisciplinary-topographies/

see [sic] a teaser here:

https://youtu.be/AYxlvLnYSdE

With: Elaine Whittaker, Joel Ong, Nina Czegledy, Roberta Buiani, Sachin
Karghie, Ryan Martin, Racelar Ho, Kavi.
Poetry: Maureen Hynes, Sheila Stewart

Video: Natalie Plociennik

This event is one of many such events being held for Ars Electronica 2021 festival.

For anyone who remembers back to my May 3, 2021 posting (scroll down to the relevant subhead; a number of events were mentioned), I featured a show from the ArtSci Salon community called ‘Proximal Spaces’, a combined poetry reading and bioart experience.

Many of the same artists and poets seem to have continued working together to develop more work based on the ‘proximal’ for a larger international audience.

International and local scene details (e.g., same show? what is Ars Electronica? etc.)

As you may have noticed from the announcement, there are a lot of different institutions involved.

Local: Fields Institute and ArtSci Salon

The Fields Institute is properly known as The Fields Institute for Research in Mathematical Sciences and is located at the University of Toronto. Here’s more from their About Us webpage,

Founded in 1992, the Fields Institute was initially located at the University of Waterloo. Since 1995, it has occupied a purpose-built building on the St. George Campus of the University of Toronto.

The Institute is internationally renowned for strengthening collaboration, innovation, and learning in mathematics and across a broad range of disciplines. …

The Fields Institute is named after the Canadian mathematician John Charles Fields (1863-1932). Fields was a pioneer and visionary who recognized the scientific, educational, and economic value of research in the mathematical sciences. Fields spent many of his early years in Berlin and, to a lesser extent, in Paris and Göttingen, the principal mathematical centres of Europe of that time. These experiences led him, after his return to Canada, to work for the public support of university research, which he did very successfully. He also organized and presided over the 1924 meeting of the International Congress of Mathematicians in Toronto. This quadrennial meeting was, and still is, the major meeting of the mathematics world.

There is no Nobel Prize in mathematics, and Fields felt strongly that there should be a comparable award to recognize the most outstanding current research in mathematics. With this in mind, he established the International Medal for Outstanding Discoveries in Mathematics, which, contrary to his personal directive, is now known as the Fields Medal. Information on Fields Medal winners can be found through the International Mathematical Union, which chooses the quadrennial recipients of the prize.

Fields’ name was given to the Institute in recognition of his seminal contributions to world mathematics and his work on behalf of high level mathematical scholarship in Canada. The Institute aims to carry on the work of Fields and to promote the wider use and understanding of mathematics in Canada.

The relationship between the Fields Institute and the ArtSci Salon is unclear to me. This can be found under Programs and Activities on the Fields Institute website,

2020-2021 ArtSci Salon

Description

ArtSci Salon consists of a series of semi-informal gatherings facilitating discussion and cross-pollination between science, technology, and the arts. ArtSci Salon started in 2010 as a spin-off of Subtle Technologies Festival to satisfy increasing demands by the audience attending the Festival to have a more frequent (monthly or bi-monthly) outlet for debate and information sharing across disciplines. In addition, it responds to the recent expansion in the GTA [Greater Toronto Area] area of a community of scientists and artists increasingly seeking collaborations across disciplines to successfully accomplish their research projects and questions.

For more details, visit our blog.

Sign up to our mailing list here.

For more information please contact:

Stephen Morris: smorris@physics.utoronto.ca

Roberta Buiani: rbuiani@gmail.com

We are pleased to announce our upcoming March 2021 events (more details are in the schedule below):

Ars Electronica

It started life as a Festival for Art, Technology and Society in 1979 in Linz, Austria. Here’s a little more from their About webpage,

… Since September 18, 1979, our world has changed radically, and digitization has covered almost all areas of our lives. Ars Electronica’s philosophy has remained the same over the years. Our activities are always guided by the question of what new technologies mean for our lives. Together with artists, scientists, developers, designers, entrepreneurs and activists, we shed light on current developments in our digital society and speculate about their manifestations in the future. We never ask what technology can or will be able to do, but always what it should do for us. And we don’t try to adapt to technology, but we want the development of technology to be oriented towards us. Therefore, our artistic research always focuses on ourselves, our needs, our desires, our feelings.

They have a number of initiatives in addition to the festival. The next festival, A New Digital Deal, runs from September 8 – 12, 2021 (Ars Electronica 2021). Here’s a little more from the festival webpage,

Ars Electronica 2021, the festival for art, technology and society, will take place from September 8 to 12. For the second time since 1979, it will be a hybrid event that includes exhibitions, concerts, talks, conferences, workshops and guided tours in Linz, Austria, and more than 80 other locations around the globe.

Leonardo; The International Society for Arts, Sciences and Technology

Ars Electronica and Leonardo; The International Society for Arts, Sciences and Technology (ISAST) cooperate on projects but they are two different entities. Here’s more from the About LEONARDO webpage,

Fearlessly pioneering since 1968, Leonardo serves as THE community forging a transdisciplinary network to convene, research, collaborate, and disseminate best practices at the nexus of arts, science and technology worldwide. Leonardo’ serves a network of transdisciplinary scholars, artists, scientists, technologists and thinkers, who experiment with cutting-edge, new approaches, practices, systems and solutions to tackle the most complex challenges facing humanity today.

As a not-for-profit 501(c)3 enterprising think tank, Leonardo offers a global platform for creative exploration and collaboration reaching tens of thousands of people across 135 countries. Our flagship publication, Leonardo, the world’s leading scholarly journal on transdisciplinary art, anchors a robust publishing partnership with MIT Press; our partnership with ASU [Arizona State University] infuses educational innovation with digital art and media for lifelong learning; our creative programs span thought-provoking events, exhibits, residencies and fellowships, scholarship and social enterprise ventures.

I have a description of Leonardo’s LASER (Leonardo Art Science Evening Rendezvous), from my March 22, 2021 posting (the Garden comes up next),

Here’s a description of the LASER talks from the Leonardo/ISAST LASER Talks event page,

“… a program of international gatherings that bring artists, scientists, humanists and technologists together for informal presentations, performances and conversations with the wider public. The mission of LASER is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building.”

To be specific it’s Ars Electronica Garden LEONARDO LASER and this is one of the series being held as part of the festival (A Digital New Deal). Here’s more from the [Anti]disciplinary Topographies ‘garden’ webpage,

Culturing transnational dialogue for creative hybridity

Leonardo LASER Garden gathers our global network of artists, scientists, humanists and technologists together in a series of hybrid formats addressing the world’s most pressing issues. Animated by the theme of a “new digital deal” and grounded in the UN Sustainability Goals, Leonardo LASER Garden cultivates our values of equity and inclusion by elevating underrepresented voices in a wide-ranging exploration of global challenges, digital communities and placemaking, space, networks and systems, the digital divide – and the impact of interdisciplinary art, science and technology discourse and collaboration.

Dovetailing with the launch of LASER Linz, this asynchronous multi-platform garden will highlight the best of the Leonardo Network (spanning 47 cities worldwide) and our transdisciplinary community. In “Extraordinary Times Call for Extraordinary Vision: Humanizing Digital Culture with the New Creativity Agenda & the UNSDGs [United Nations Sustainable Development Goals],” Leonardo/ISAST CEO Diana Ayton-Shenker presents our vision for shaping our global future. This will be followed by a Leonardo Community Lounge open to the general public, with the goal of encouraging contributions to the cultural environments of different regions through transnational exchange and community building.

Getting back to the beginning you can view Proximal Fields from September 8 – 12, 2021 as part of the Ars Electonica 2021 festival, specifically, the ‘garden’ series.

ETA September 8, 2021: There’s a newly posted (on the Fields Institute webspace) and undated notice/article “ArtSci Salon’s Proximal Fields debuts at the Ars Electronica Festival,” which includes an interview with members of the Proximal Fields team.

May 12, 2021 webcast: a solution to the ‘matchmaker’s dilemma’ (a mathematical problem)

Canada’s Perimeter Institute for Theoretical Physics (PI) is hosting a May 12, 2021 webcast according to their May 7, 2021 announcement (received via email),

A Solution to the Stable Marriage Problem
WEDNESDAY, MAY 12 [2021] at 7 pm ET

Imagine a matchmaker who wishes to arrange opposite-sex marriages in a dating pool of single men and single women (there’s a mathematical reason for the heteronormative framework, which will be explained).

The matchmaker’s goal is to pair every man and woman off into couples that will form happy, stable marriages – so perfectly matched that nobody would rather run off with someone from a different pairing. 

In the real world, things don’t work out so nicely. But could they work out like that if the matchmaker had a computer algorithm to calculate every single factor of compatibility? 

In her Perimeter Public Lecture, mathematician Emily Riehl (Johns Hopkins University) will examine that question, its sexist implications, an algorithmic solution, and real-world applications.

There is a bit more about Emily Riehl on the event page for ‘A Solution to the Stable Marriage Problem’,

An associate professor of mathematics at Johns Hopkins University, Riehl has published more than 20 papers and two books on higher category theory and homotopy theory. She studied at Harvard and Cambridge and earned her PhD at the University of Chicago.  

In addition to her research, Riehl is active in promoting access to the world of mathematics. She is a co-founder of Spectra: the Association for LGBT Mathematicians, and has presented on mathematical proof and queer epistemology as part of several conferences and lecture series. 

Tune in on Wednesday, May 12 [2021] at 7 pm ET for the premiere of Riehl’s lecture, and subscribe to Perimeter’s YouTube channel for more fascinating science videos.  

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).