Category Archives: performing arts

AI (artificial intelligence) artist got a show at a New York City art gallery

AI artists first hit my radar in August 2018 when Christie’s Auction House advertised an art auction of a ‘painting’ by an algorithm (artificial intelligence). There’s more in my August 31, 2018 posting but, briefly, a French art collective, Obvious, submitted a painting, “Portrait of Edmond de Belamy,” that was created by an artificial intelligence agent to be sold for an estimated to $7000 – $10,000. They weren’t even close. According to Ian Bogost’s March 6, 2019 article for The Atlantic, the painting sold for $432,500 In October 2018.

It has also, Bogost notes in his article, occasioned an art show (Note: Links have been removed),

… part of “Faceless Portraits Transcending Time,” an exhibition of prints recently shown [Februay 13 – March 5, 2019] at the HG Contemporary gallery in Chelsea, the epicenter of New York’s contemporary-art world. All of them were created by a computer.

The catalog calls the show a “collaboration between an artificial intelligence named AICAN and its creator, Dr. Ahmed Elgammal,” a move meant to spotlight, and anthropomorphize, the machine-learning algorithm that did most of the work. According to HG Contemporary, it’s the first solo gallery exhibit devoted to an AI artist.

If they hadn’t found each other in the New York art scene, the players involved could have met on a Spike Jonze film set: a computer scientist commanding five-figure print sales from software that generates inkjet-printed images; a former hotel-chain financial analyst turned Chelsea techno-gallerist with apparent ties to fine-arts nobility; a venture capitalist with two doctoral degrees in biomedical informatics; and an art consultant who put the whole thing together, A-Team–style, after a chance encounter at a blockchain conference. Together, they hope to reinvent visual art, or at least to cash in on machine-learning hype along the way.

The show in New York City, “Faceless Portraits …,” exhibited work by an artificially intelligent artist-agent (I’m creating a new term to suit my purposes) that’s different than the one used by Obvious to create “Portrait of Edmond de Belamy,” As noted earlier, it sold for a lot of money (Note: Links have been removed),

Bystanders in and out of the art world were shocked. The print had never been shown in galleries or exhibitions before coming to market at auction, a channel usually reserved for established work. The winning bid was made anonymously by telephone, raising some eyebrows; art auctions can invite price manipulation. It was created by a computer program that generates new images based on patterns in a body of existing work, whose features the AI “learns.” What’s more, the artists who trained and generated the work, the French collective Obvious, hadn’t even written the algorithm or the training set. They just downloaded them, made some tweaks, and sent the results to market.

“We are the people who decided to do this,” the Obvious member Pierre Fautrel said in response to the criticism, “who decided to print it on canvas, sign it as a mathematical formula, put it in a gold frame.” A century after Marcel Duchamp made a urinal into art [emphasis mine] by putting it in a gallery, not much has changed, with or without computers. As Andy Warhol famously said, “Art is what you can get away with.”

A bit of a segue here, there is a controversy as to whether or not that ‘urinal art’, also known as, The Fountain, should be attributed to Duchamp as noted in my January 23, 2019 posting titled ‘Baroness Elsa von Freytag-Loringhoven, Marcel Duchamp, and the Fountain’.

Getting back to the main action, Bogost goes on to describe the technologies underlying the two different AI artist-agents (Note: Links have been removed),

… Using a computer is hardly enough anymore; today’s machines offer all kinds of ways to generate images that can be output, framed, displayed, and sold—from digital photography to artificial intelligence. Recently, the fashionable choice has become generative adversarial networks, or GANs, the technology that created Portrait of Edmond de Belamy. Like other machine-learning methods, GANs use a sample set—in this case, art, or at least images of it—to deduce patterns, and then they use that knowledge to create new pieces. A typical Renaissance portrait, for example, might be composed as a bust or three-quarter view of a subject. The computer may have no idea what a bust is, but if it sees enough of them, it might learn the pattern and try to replicate it in an image.

GANs use two neural nets (a way of processing information modeled after the human brain) to produce images: a “generator” and a “discerner.” The generator produces new outputs—images, in the case of visual art—and the discerner tests them against the training set to make sure they comply with whatever patterns the computer has gleaned from that data. The quality or usefulness of the results depends largely on having a well-trained system, which is difficult.

That’s why folks in the know were upset by the Edmond de Belamy auction. The image was created by an algorithm the artists didn’t write, trained on an “Old Masters” image set they also didn’t create. The art world is no stranger to trend and bluster driving attention, but the brave new world of AI painting appeared to be just more found art, the machine-learning equivalent of a urinal on a plinth.

Ahmed Elgammal thinks AI art can be much more than that. A Rutgers University professor of computer science, Elgammal runs an art-and-artificial-intelligence lab, where he and his colleagues develop technologies that try to understand and generate new “art” (the scare quotes are Elgammal’s) with AI—not just credible copies of existing work, like GANs do. “That’s not art, that’s just repainting,” Elgammal says of GAN-made images. “It’s what a bad artist would do.”

Elgammal calls his approach a “creative adversarial network,” or CAN. It swaps a GAN’s discerner—the part that ensures similarity—for one that introduces novelty instead. The system amounts to a theory of how art evolves: through small alterations to a known style that produce a new one. That’s a convenient take, given that any machine-learning technique has to base its work on a specific training set.

The results are striking and strange, although calling them a new artistic style might be a stretch. They’re more like credible takes on visual abstraction. The images in the show, which were produced based on training sets of Renaissance portraits and skulls, are more figurative, and fairly disturbing. Their gallery placards name them dukes, earls, queens, and the like, although they depict no actual people—instead, human-like figures, their features smeared and contorted yet still legible as portraiture. Faceless Portrait of a Merchant, for example, depicts a torso that might also read as the front legs and rear haunches of a hound. Atop it, a fleshy orb comes across as a head. The whole scene is rippled by the machine-learning algorithm, in the way of so many computer-generated artworks.

Faceless Portrait of a Merchant, one of the AI portraits produced by Ahmed Elgammal and AICAN. (Artrendex Inc.) [downloaded from https://www.theatlantic.com/technology/archive/2019/03/ai-created-art-invades-chelsea-gallery-scene/584134/]

Bogost consults an expert on portraiture for a discussion about the particularities of portraiture and the shortcomings one might expect of an AI artist-agent (Note: A link has been removed),

“You can’t really pick a form of painting that’s more charged with cultural meaning than portraiture,” John Sharp, an art historian trained in 15th-century Italian painting and the director of the M.F.A. program in design and technology at Parsons School of Design, told me. The portrait isn’t just a style, it’s also a host for symbolism. “For example, men might be shown with an open book to show how they are in dialogue with that material; or a writing implement, to suggest authority; or a weapon, to evince power.” Take Portrait of a Youth Holding an Arrow, an early-16th-century Boltraffio portrait that helped train the AICAN database for the show. The painting depicts a young man, believed to be the Bolognese poet Girolamo Casio, holding an arrow at an angle in his fingers and across his chest. It doubles as both weapon and quill, a potent symbol of poetry and aristocracy alike. Along with the arrow, the laurels in Casio’s hair are emblems of Apollo, the god of both poetry and archery.

A neural net couldn’t infer anything about the particular symbolic trappings of the Renaissance or antiquity—unless it was taught to, and that wouldn’t happen just by showing it lots of portraits. For Sharp and other critics of computer-generated art, the result betrays an unforgivable ignorance about the supposed influence of the source material.

But for the purposes of the show, the appeal to the Renaissance might be mostly a foil, a way to yoke a hip, new technology to traditional painting in order to imbue it with the gravity of history: not only a Chelsea gallery show, but also an homage to the portraiture found at the Met. To reinforce a connection to the cradle of European art, some of the images are presented in elaborate frames, a decision the gallerist, Philippe Hoerle-Guggenheim (yes, that Guggenheim; he says the relation is “distant”) [the Guggenheim is strongly associated with the visual arts by way the two Guggeheim museums, one in New York City and the other in Bilbao, Portugal], told me he insisted upon. Meanwhile, the technical method makes its way onto the gallery placards in an official-sounding way—“Creative Adversarial Network print.” But both sets of inspirations, machine-learning and Renaissance portraiture, get limited billing and zero explanation at the show. That was deliberate, Hoerle-Guggenheim said. He’s betting that the simple existence of a visually arresting AI painting will be enough to draw interest—and buyers. It would turn out to be a good bet.

The art market is just that: a market. Some of the most renowned names in art today, from Damien Hirst to Banksy, trade in the trade of art as much as—and perhaps even more than—in the production of images, objects, and aesthetics. No artist today can avoid entering that fray, Elgammal included. “Is he an artist?” Hoerle-Guggenheim asked himself of the computer scientist. “Now that he’s in this context, he must be.” But is that enough? In Sharp’s estimation, “Faceless Portraits Transcending Time” is a tech demo more than a deliberate oeuvre, even compared to the machine-learning-driven work of his design-and-technology M.F.A. students, who self-identify as artists first.

Judged as Banksy or Hirst might be, Elgammal’s most art-worthy work might be the Artrendex start-up itself, not the pigment-print portraits that its technology has output. Elgammal doesn’t treat his commercial venture like a secret, but he also doesn’t surface it as a beneficiary of his supposedly earnest solo gallery show. He’s argued that AI-made images constitute a kind of conceptual art, but conceptualists tend to privilege process over product or to make the process as visible as the product.

Hoerle-Guggenheim worked as a financial analyst for Hyatt before getting into the art business via some kind of consulting deal (he responded cryptically when I pressed him for details). …

This is a fascinating article and I have one last excerpt, which poses this question, is an AI artist-agent a collaborator or a medium? There ‘s also speculation about how AI artist-agents might impact the business of art (Note: Links have been removed),

… it’s odd to list AICAN as a collaborator—painters credit pigment as a medium, not as a partner. Even the most committed digital artists don’t present the tools of their own inventions that way; when they do, it’s only after years, or even decades, of ongoing use and refinement.

But Elgammal insists that the move is justified because the machine produces unexpected results. “A camera is a tool—a mechanical device—but it’s not creative,” he said. “Using a tool is an unfair term for AICAN. It’s the first time in history that a tool has had some kind of creativity, that it can surprise you.” Casey Reas, a digital artist who co-designed the popular visual-arts-oriented coding platform Processing, which he uses to create some of his fine art, isn’t convinced. “The artist should claim responsibility over the work rather than to cede that agency to the tool or the system they create,” he told me.

Elgammal’s financial interest in AICAN might explain his insistence on foregrounding its role. Unlike a specialized print-making technique or even the Processing coding environment, AICAN isn’t just a device that Elgammal created. It’s also a commercial enterprise.

Elgammal has already spun off a company, Artrendex, that provides “artificial-intelligence innovations for the art market.” One of them offers provenance authentication for artworks; another can suggest works a viewer or collector might appreciate based on an existing collection; another, a system for cataloging images by visual properties and not just by metadata, has been licensed by the Barnes Foundation to drive its collection-browsing website.

The company’s plans are more ambitious than recommendations and fancy online catalogs. When presenting on a panel about the uses of blockchain for managing art sales and provenance, Elgammal caught the attention of Jessica Davidson, an art consultant who advises artists and galleries in building collections and exhibits. Davidson had been looking for business-development partnerships, and she became intrigued by AICAN as a marketable product. “I was interested in how we can harness it in a compelling way,” she says.

The art market is just that: a market. Some of the most renowned names in art today, from Damien Hirst to Banksy, trade in the trade of art as much as—and perhaps even more than—in the production of images, objects, and aesthetics. No artist today can avoid entering that fray, Elgammal included. “Is he an artist?” Hoerle-Guggenheim asked himself of the computer scientist. “Now that he’s in this context, he must be.” But is that enough? In Sharp’s estimation, “Faceless Portraits Transcending Time” is a tech demo more than a deliberate oeuvre, even compared to the machine-learning-driven work of his design-and-technology M.F.A. students, who self-identify as artists first.

Judged as Banksy or Hirst might be, Elgammal’s most art-worthy work might be the Artrendex start-up itself, not the pigment-print portraits that its technology has output. Elgammal doesn’t treat his commercial venture like a secret, but he also doesn’t surface it as a beneficiary of his supposedly earnest solo gallery show. He’s argued that AI-made images constitute a kind of conceptual art, but conceptualists tend to privilege process over product or to make the process as visible as the product.

Hoerle-Guggenheim worked as a financial analyst[emphasis mine] for Hyatt before getting into the art business via some kind of consulting deal (he responded cryptically when I pressed him for details). …

If you have the time, I recommend reading Bogost’s March 6, 2019 article for The Atlantic in its entirety/ these excerpts don’t do it enough justice.

Portraiture: what does it mean these days?

After reading the article I have a few questions. What exactly do Bogost and the arty types in the article mean by the word ‘portrait’? “Portrait of Edmond de Belamy” is an image of someone who doesn’t and never has existed and the exhibit “Faceless Portraits Transcending Time,” features images that don’t bear much or, in some cases, any resemblance to human beings. Maybe this is considered a dull question by people in the know but I’m an outsider and I found the paradox: portraits of nonexistent people or nonpeople kind of interesting.

BTW, I double-checked my assumption about portraits and found this definition in the Portrait Wikipedia entry (Note: Links have been removed),

A portrait is a painting, photograph, sculpture, or other artistic representation of a person [emphasis mine], in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer.

So, portraits that aren’t portraits give rise to some philosophical questions but Bogost either didn’t want to jump into that rabbit hole (segue into yet another topic) or, as I hinted earlier, may have assumed his audience had previous experience of those kinds of discussions.

Vancouver (Canada) and a ‘portraiture’ exhibit at the Rennie Museum

By one of life’s coincidences, Vancouver’s Rennie Museum had an exhibit (February 16 – June 15, 2019) that illuminates questions about art collecting and portraiture, From a February 7, 2019 Rennie Museum news release,

‘downloaded from https://renniemuseum.org/press-release-spring-2019-collected-works/] Courtesy: Rennie Museum

February 7, 2019

Press Release | Spring 2019: Collected Works
By rennie museum

rennie museum is pleased to present Spring 2019: Collected Works, a group exhibition encompassing the mediums of photography, painting and film. A portraiture of the collecting spirit [emphasis mine], the works exhibited invite exploration of what collected objects, and both the considered and unintentional ways they are displayed, inform us. Featuring the works of four artists—Andrew Grassie, William E. Jones, Louise Lawler and Catherine Opie—the exhibition runs from February 16 to June 15, 2019.

Four exquisite paintings by Scottish painter Andrew Grassie detailing the home and private storage space of a major art collector provide a peek at how the passionately devoted integrates and accommodates the physical embodiments of such commitment into daily life. Grassie’s carefully constructed, hyper-realistic images also pose the question, “What happens to art once it’s sold?” In the transition from pristine gallery setting to idiosyncratic private space, how does the new context infuse our reading of the art and how does the art shift our perception of the individual?

Furthering the inquiry into the symbiotic exchange between possessor and possession, a selection of images by American photographer Louise Lawler depicting art installed in various private and public settings question how the bilateral relationship permeates our interpretation when the collector and the collected are no longer immediately connected. What does de-acquisitioning an object inform us and how does provenance affect our consideration of the art?

The question of legacy became an unexpected facet of 700 Nimes Road (2010-2011), American photographer Catherine Opie’s portrait of legendary actress Elizabeth Taylor. Opie did not directly photograph Taylor for any of the fifty images in the expansive portfolio. Instead, she focused on Taylor’s home and the objects within, inviting viewers to see—then see beyond—the façade of fame and consider how both treasures and trinkets act as vignettes to the stories of a life. Glamorous images of jewels and trophies juxtapose with mundane shots of a printer and the remote-control user manual. Groupings of major artworks on the wall are as illuminating of the home’s mistress as clusters of personal photos. Taylor passed away part way through Opie’s project. The subsequent photos include Taylor’s mementos heading off to auction, raising the question, “Once the collections that help to define someone are disbursed, will our image of that person lose focus?”

In a similar fashion, the twenty-two photographs in Villa Iolas (1982/2017), by American artist and filmmaker William E. Jones, depict the Athens home of iconic art dealer and collector Alexander Iolas. Taken in 1982 by Jones during his first travels abroad, the photographs of art, furniture and antiquities tell a story of privilege that contrast sharply with the images Jones captures on a return visit in 2016. Nearly three decades after Iolas’s 1989 death, his home sits in dilapidation, looted and vandalized. Iolas played an extraordinary role in the evolution of modern art, building the careers of Max Ernst, Yves Klein and Giorgio de Chirico. He gave Andy Warhol his first solo exhibition and was a key advisor to famed collectors John and Dominique de Menil. Yet in the years since his death, his intention of turning his home into a modern art museum as a gift to Greece, along with his reputation, crumbled into ruins. The photographs taken by Jones during his visits in two different eras are incorporated into the film Fall into Ruin (2017), along with shots of contemporary Athens and antiquities on display at the National Archaeological Museum.

“I ask a lot of questions about how portraiture functionswhat is there to describe the person or time we live in or a certain set of politics…”
 – Catherine Opie, The Guardian, Feb 9, 2016

We tend to think of the act of collecting as a formal activity yet it can happen casually on a daily basis, often in trivial ways. While we readily acknowledge a collector consciously assembling with deliberate thought, we give lesser consideration to the arbitrary accumulations that each of us accrue. Be it master artworks, incidental baubles or random curios, the objects we acquire and surround ourselves with tell stories of who we are.

Andrew Grassie (Scotland, b. 1966) is a painter known for his small scale, hyper-realist works. He has been the subject of solo exhibitions at the Tate Britain; Talbot Rice Gallery, Edinburgh; institut supérieur des arts de Toulouse; and rennie museum, Vancouver, Canada. He lives and works in London, England.

William E. Jones (USA, b. 1962) is an artist, experimental film-essayist and writer. Jones’s work has been the subject of retrospectives at Tate Modern, London; Anthology Film Archives, New York; Austrian Film Museum, Vienna; and, Oberhausen Short Film Festival. He is a recipient of the John Simon Guggenheim Memorial Fellowship and the Creative Capital/Andy Warhol Foundation Arts Writers Grant. He lives and works in Los Angeles, USA.

Louise Lawler (USA, b. 1947) is a photographer and one of the foremost members of the Pictures Generation. Lawler was the subject of a major retrospective at the Museum of Modern Art, New York in 2017. She has held exhibitions at the Whitney Museum of American Art, New York; Stedelijk Museum, Amsterdam; National Museum of Art, Oslo; and Musée d’Art Moderne de La Ville de Paris. She lives and works in New York.

Catherine Opie (USA, b. 1961) is a photographer and educator. Her work has been exhibited at Wexner Center for the Arts, Ohio; Henie Onstad Art Center, Oslo; Los the Angeles County Museum of Art; Portland Art Museum; and the Guggenheim Museum, New York. She is the recipient of United States Artist Fellowship, Julius Shulman’s Excellence in Photography Award, and the Smithsonian’s Archive of American Art Medal.  She lives and works in Los Angeles.

rennie museum opened in October 2009 in historic Wing Sang, the oldest structure in Vancouver’s Chinatown, to feature dynamic exhibitions comprising only of art drawn from rennie collection. Showcasing works by emerging and established international artists, the exhibits, accompanied by supporting catalogues, are open free to the public through engaging guided tours. The museum’s commitment to providing access to arts and culture is also expressed through its education program, which offers free age-appropriate tours and customized workshops to children of all ages.

rennie collection is a globally recognized collection of contemporary art that focuses on works that tackle issues related to identity, social commentary and injustice, appropriation, and the nature of painting, photography, sculpture and film. Currently the collection includes works by over 370 emerging and established artists, with over fifty collected in depth. The Vancouver based collection engages actively with numerous museums globally through a robust, artist-centric, lending policy.

So despite the Wikipedia definition, it seems that portraits don’t always feature people. While Bogost didn’t jump into that particular rabbit hole, he did touch on the business side of art.

What about intellectual property?

Bogost doesn’t explicitly discuss this particular issue. It’s a big topic so I’m touching on it only lightly, if an artist worsk with an AI, the question as to ownership of the artwork could prove thorny. Is the copyright owner the computer scientist or the artist or both? Or does the AI artist-agent itself own the copyright? That last question may not be all that farfetched. Sophia, a social humanoid robot, has occasioned thought about ‘personhood.’ (Note: The robots mentioned in this posting have artificial intelligence.) From the Sophia (robot) Wikipedia entry (Note: Links have been removed),

Sophia has been interviewed in the same manner as a human, striking up conversations with hosts. Some replies have been nonsensical, while others have impressed interviewers such as 60 Minutes’ Charlie Rose.[12] In a piece for CNBC, when the interviewer expressed concerns about robot behavior, Sophia joked that he had “been reading too much Elon Musk. And watching too many Hollywood movies”.[27] Musk tweeted that Sophia should watch The Godfather and asked “what’s the worst that could happen?”[28][29] Business Insider’s chief UK editor Jim Edwards interviewed Sophia, and while the answers were “not altogether terrible”, he predicted it was a step towards “conversational artificial intelligence”.[30] At the 2018 Consumer Electronics Show, a BBC News reporter described talking with Sophia as “a slightly awkward experience”.[31]

On October 11, 2017, Sophia was introduced to the United Nations with a brief conversation with the United Nations Deputy Secretary-General, Amina J. Mohammed.[32] On October 25, at the Future Investment Summit in Riyadh, the robot was granted Saudi Arabian citizenship [emphasis mine], becoming the first robot ever to have a nationality.[29][33] This attracted controversy as some commentators wondered if this implied that Sophia could vote or marry, or whether a deliberate system shutdown could be considered murder. Social media users used Sophia’s citizenship to criticize Saudi Arabia’s human rights record. In December 2017, Sophia’s creator David Hanson said in an interview that Sophia would use her citizenship to advocate for women’s rights in her new country of citizenship; Newsweek criticized that “What [Hanson] means, exactly, is unclear”.[34] On November 27, 2018 Sophia was given a visa by Azerbaijan while attending Global Influencer Day Congress held in Baku. December 15, 2018 Sophia was appointed a Belt and Road Innovative Technology Ambassador by China'[35]

As for an AI artist-agent’s intellectual property rights , I have a July 10, 2017 posting featuring that question in more detail. Whether you read that piece or not, it seems obvious that artists might hesitate to call an AI agent, a partner rather than a medium of expression. After all, a partner (and/or the computer scientist who developed the programme) might expect to share in property rights and profits but paint, marble, plastic, and other media used by artists don’t have those expectations.

Moving slightly off topic , in my July 10, 2017 posting I mentioned a competition (literary and performing arts rather than visual arts) called, ‘Dartmouth College and its Neukom Institute Prizes in Computational Arts’. It was started in 2016 and, as of 2018, was still operational under this name: Creative Turing Tests. Assuming there’ll be contests for prizes in 2019, there’s (from the contest site) [1] PoetiX, competition in computer-generated sonnet writing; [2] Musical Style, composition algorithms in various styles, and human-machine improvisation …; and [3] DigiLit, algorithms able to produce “human-level” short story writing that is indistinguishable from an “average” human effort. You can find the contest site here.

A Café Scientifique Vancouver (Canada) May 28, 2019 talk ‘Getting to the heart of Mars with insight’ and an update on Baba Brinkman (former Vancouverite) and his science raps

It’s been a while since I’ve received any notices about upcoming talks from the local Café Scientifique crowd but on May 22, 2019 there was this announcement in an email,

Dear Café Scientifiquers,

Our next café will happen on TUESDAY, MAY 28TH [2019] at 7:30PM in the back room at YAGGER’S DOWNTOWN (433 W Pender). Our speaker for the evening will be DR. CATHERINE JOHNSON from the Department of Earth, Ocean and Atmospheric Sciences at UBC [University of British Columbia] .

GETTING TO THE HEART OF MARS WITH INSIGHT

Catherine Johnson is a professor of geophysics in the Dept of Earth, Ocean and Atmospheric Sciences at UBC Vancouver [campus], and a senior scientist at the Planetary Science Institute, Tucson.  She is a Co-Investigator on the InSight mission to Mars, the OSIRIS-REx mission to asteroid Bennu and was previously a Participating Scientist on the MESSENGER mission to Mercury.

We hope to see you there!

I did some digging and found two articles about Johnson, the InSight mission, and Mars. The first one is an October 21, 2012 article by James Keller on the Huffington Post Canada website,

As NASA’s Curiosity rover beams back photos of the rocky surface of Mars, another group of scientists, including one from British Columbia, is preparing the next mission to uncover what’s underneath.

Prof. Catherine Johnson, of the University of British Columbia, is among the scientists whose project, named Insight, was selected by NASA this week as part of the U.S. space agency’s Discovery program, which invites proposals from within the scientific community.

Insight will send a stationary robotic lander to Mars in 2016, drilling down several metres into the surface as it uses a combination of temperature readings and seismic measurements to help scientists on this planet learn more about the Martian core.

The second one is a May 6, 2018 article (I gather it took them longer to get to Mars than they anticipated in 2012) by Ivan Semeniuk for the Globe and Mail newspaper website,

Thanks to a thick bank of predawn fog, Catherine Johnson couldn’t see the rocket when it blasted off early Saturday morning at the Vandenberg Air Force Base in California – but she could hear the roar as NASA’s InSight mission set off on its 6½-month journey to Mars.

“It was really impressive,” said Dr. Johnson, a planetary scientist at the University of British Columbia and a member of the mission’s science team. Describing the mood at the launch as a mixture of relief and joy, Dr. Johnson added that “the spacecraft is finally en route to do what we have worked toward for many years.”

But while InSight’s mission is just getting under way, it also marks the last stage in a particularly fruitful period for the U.S. space agency’s Mars program. In the past two decades, multiple, complementary spacecraft tackled different aspects of Mars science.

Unlike the Curiosity rover, which landed on Mars nearly six years ago and is in the process of climbing a mountain in the middle of an ancient crater, InSight is designed to stay in one place after it touches down Nov. 26 [2018]. Its purpose is to open a new direction in Mars exploration – one that leads straight down as the spacecraft deploys a unique set of instruments to spy on the planet’s interior.

“What we will learn … will help us understand the earliest history of rocky planets, including Earth,” Dr. Johnson said.

It has been a prolonged voyage to the red planet. In 2015, technical problems forced program managers to postpone InSight’s launch for 2½ years. Now, scientists are hoping for smooth sailing to Mars and an uneventful landing a few hundred kilometres north of Curiosity, at a site that Dr. Johnson cheerfully describes as “boring.”

Does the timing of this talk mean you’ll be getting the latest news since InSight landed on Mars roughly six months ago? One can only hope. Finally, Johnson’s UBC bio webpage is here.

Baba Brinkman brings us up-to-date

Here’s most of a May 22, 2019 newsletter update (received via email) from former Vancouverite and current rapper, playwright, and science communicator, Baba Brinkman,

… Over the past five years I have been collaborating frequently with a company in California called SpectorDance, after the artistic director Fran Spector Atkins invited me to write and perform a rap soundtrack to one of her dance productions. Well, a few weeks ago we played our biggest venue yet with our latest collaborative show, Ocean Trilogy, which is all about the impact of human activities including climate change on marine ecosystems. The show was developed in collaboration with scientists at the Monterey Bay Aquarium Research Institute, and for the first time there’s now a full video of the production online. Have you ever seen scientifically-informed eco rap music combined in live performance with ballet and modern dance? Enjoy.

Speaking of “Science is Everywhere”, about a year ago I got to perform my song “Can’t Stop” about the neurobiology of free will for a sold-out crowd at the Brooklyn Academy of Music alongside physicist Brian Greene, comedian Chuck Nice, and Neil deGrasse Tyson. The song is half scripted and half freestyle (can you tell which part is which?) They just released the video.

Over the past few months I’ve been performing Rap Guide to Evolution, Consciousness, and Climate Chaos off-Broadway 2-3 times per week, which has been a roller coaster. Some nights I have 80 people and it’s rocking, other nights I step on stage and play to 15 people and it takes effort to keep it lively. But since this is New York, occasionally when there’s only 15 people one of them will turn out to be a former Obama Administration Energy Advisor or will publish a five star review, which keeps it exciting.

Tonight I fly to the UK where I’ll be performing all next week, including the premiere of my newest show Rap Guide to Culture, with upcoming shows in Brighton, followed by off-Broadway previews in June, followed by a full run at the Edinburgh Fringe in August (plus encores of my other shows), followed by… well I can’t really see any further than August at the moment, but the next few months promise to be action-packed.

What’s Rap Guide to Culture about? Cultural evolution and the psychology of norms of course. I recently attended a conference at the National Institute for Mathematical and Biological Synthesis in Knoxville, TN where I performed a sneak preview and did a “Rap Up” of the various conference talks, summarizing the scientific content at the end of the day, check out the video.

Okay, time to get back to packing and hit the road. More to come soon, and wish me luck continuing to dominate my lonely genre.

Brinkman has been featured here many times (just use his name as the term in the blog’s search engine). While he lives in New York City these days, he does retain a connection to Vancouver in that his mother Joyce Murray is the Member of Parliament for Vancouver Quadra and, currently, the president of the Treasury Board.

‘Superconductivity: The Musical!’ wins the 2018 Dance Your Ph.D. competition

I can’t believe that October 24, 2011 was the last time the Dance Your Ph.D. competition was featured here. Time flies, eh? Here’s the 2018 contest winner’s submission, Superconductivity: The Musical!, (Note: This video is over 11 mins. long),

A February 17, 2019 CBC (Canadian Broadcasting Corporation) news item introduces the video’s writer, producer,s musician, and scientist,

Swing dancing. Songwriting. And theoretical condensed matter physics.

It’s a unique person who can master all three, but a University of Alberta PhD student has done all that and taken it one step further by making a rollicking music video about his academic pursuits — and winning an international competition for his efforts.

Pramodh Senarath Yapa is the winner of the 2018 Dance Your PhD contest, which challenges scientists around the world to explain their research through a jargon-free medium: dance.

The prize is $1,000 and “immortal geek fame.”

Yapa’s video features his friends twirling, swinging and touch-stepping their way through an explanation of his graduate research, called “Non-Local Electrodynamics of Superconducting Wires: Implications for Flux Noise and Inductance.”

Jennifer Ouelette’s February 17, 2019 posting for the ars Technica blog offers more detail (Note: A link has been removed),

Yapa’s research deals with how matter behaves when it’s cooled to very low temperatures, when quantum effects kick in—such as certain metals becoming superconductive, or capable of conducting electricity with zero resistance. That’s useful for any number of practical applications. D-Wave Systems [a company located in metro Vancouver {Canada}], for example, is building quantum computers using loops of superconducting wire. For his thesis, “I had to use the theory of superconductivity to figure out how to build a better quantum computer,” said Yapa.

Condensed matter theory (the precise description of Yapa’s field of research) is a notoriously tricky subfield to make palatable for a non-expert audience. “There isn’t one unifying theory or a single tool that we use,” he said. “Condensed matter theorists study a million different things using a million different techniques.”

His conceptual breakthrough came about when he realized electrons were a bit like “unsociable people” who find joy when they pair up with other electrons. “You can imagine electrons as a free gas, which means they don’t interact with each other,” he said. “The theory of superconductivity says they actually form pairs when cooled below a certain temperature. That was the ‘Eureka!’ moment, when I realized I could totally use swing dancing.”

John Bohannon’s Feb. 15, 2019 article for Science (magazine) offers an update on Yapa’s research interests (it seems that Yapa was dancing his Masters degree) and more information about the contest itself ,

..

“I remember hearing about Dance Your Ph.D. many years ago and being amazed at all the entries,” Yapa says. “This is definitely a longtime dream come true.” His research, meanwhile, has evolved from superconductivity—which he pursued at the University of Victoria in Canada, where he completed a master’s degree—to the physics of superfluids, the focus of his Ph.D. research at the University of Alberta.

This is the 11th year of Dance Your Ph.D. hosted by Science and AAAS. The contest challenges scientists around the world to explain their research through the most jargon-free medium available: interpretive dance.

“Most people would not normally think of interpretive dance as a tool for scientific communication,” says artist Alexa Meade, one of the judges of the contest. “However, the body can express conceptual thoughts through movement in ways that words and data tables cannot. The results are both artfully poetic and scientifically profound.”

Getting back to the February 17, 2019 CBC news item,

Yapa describes his video, filmed in Victoria where he earned his master’s degree, as a “three act, mini-musical.”

“I envisioned it as talking about the social lives of electrons,” he said. “The electrons starts out in a normal metal, at normal temperatures….We say these electrons are non-interacting. They don’t talk to each other. Electrons ignore each other and are very unsociable.”

The electrons — represented by dancers wearing saddle oxfords, poodle skirts, vests and suspenders — shuffle up the dance floor by themselves.

In the second act, the metal is cooled.

“The electrons become very unhappy about being alone. They want to find a partner, some companionship for the cold times,” he said

That’s when the electrons join up into something called Cooper pairs.

The dancers join together, moving to lyrics like, “If we peek/the Coopers are cheek-to-cheek.

In the final act, Yapa gets his dancers to demonstrate what happens when the Cooper pairs meet the impurities of the materials they’re moving in. All of a sudden, a group of black-leather-clad thugs move onto the dance floor.

“The Cooper pairs come dancing near these impurities and they’re like these crotchety old people yelling and shaking their fists at these young dancers,” Yapa explained.

Yapa’s entry to the annual contest swept past 49 other contestants to earn him the win. The competition is sponsored by Science magazine and the American Association for the Advancement of Science.

Congratulations to Pramodh Senarath Yapa.

Art. Science. Optics. A Collider Café event in Vancouver (Canada) on January 23, 2019

The Curiosity Collider folks have decided to ring in the new year with an event focused on optics. Here’s more from their January 15, 2019 announcement (received via email),

FROM CONTEMPORARY ART TO SCIENCE ILLUSTRATION, IS “SEEING” REALLY
“BELIEVING”? OR IS THERE MORE TO IT THAN THERE SEEMS? HOW CAN WE EXPLORE
THE POSSIBILITIES THROUGH ART AND SCIENCE?

OUR #COLLIDERCAFE IS A SPACE FOR ARTISTS, SCIENTISTS, MAKERS, AND
ANYONE INTERESTED IN ART+SCIENCE. MEET, DISCOVER, CONNECT, CREATE. Are
you curious? Join us at “Collider Cafe: Art. Science. Optics.” to
explore how art and science intersect in the exploration of curiosity.

When: 8:00pm on Wednesday, January 23, 2019 Doors open at 7:30pm.
Where: Café Deux Soleils. 2096 Commercial Drive, Vancouver, BC (Google Map).
Cost: $5-10 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

With speakers:

Annie Briard, Contemporary Artist : What our eyes perceive but we do not see
Catherine Stewart, Visual Artist: The Museum as Muse: natural history collections as a resource for artistic exploration
Vicky Earle, Medical and Scientific Illustrator: The Art of Science & Medical Illustration
Ramey Newell, Photographer/Film Maker/Artist: Manifest Obscura: Reimagining/reimaging landscape through microbial collaboration
Julius T. Csotonyi, Paleoart, Natural History and Science Illustrator: A Mutualism of Endeavors

Head to the Facebook event page – let us know you are coming and share this event with others! Follow updates on instagram via @curiositycollider or #ColliderCafe. 

The announcement also includes other art/science events currently happening in Vancouver,

Looking for more Art+Science in Vancouver?

The work by one of our Collider Cafe speaker Catherine Stewart is on exhibition at the UBC Beaty Biodiversity Museum! “Skin & Bones” until August 13, 2019.

Another exhibition at the Beaty Biodiversity Museum: The Wild Creative by Asher Jay until April 28, 2019. “Examine biodiversity loss during the Anthropocene – the Age of Man – through compelling artworks and thought-provoking narratives.”

Our friends at the Story Collider will host their next Vancouver event “Kinship” on January 22. Learn more about the eventget tickets on Eventbrite.

Museum of Vancouver and Nature Vancouver are hosting Wild Things: The Power of Nature in Our Lives, an exhibition that delves into the life stories of local animals and plants. Interactive sessions every weekend. Until March 1, 2020.

For more Vancouver art+science events, visit the Curiosity Collider events calendar.

That last event (Wild Things at the Museum of Vancouver) is going to be available for viewing with a $5 Winter Wander ticket on February 2, 2019. A January 14, 2019 posting on the Miss604 blog has more,

Experience unique waterfront attractions showcasing art, history, crafts, science and performances during Winter Wander at Vanier Park on February 2, 2019. Enjoy local food vendors, enter to win great prizes, and get to know your local museum, space centre, archives, and more during this affordable, family-friendly event

Winter Wander at Vanier Park

When: Saturday, February 2, 2019 10:00am to 5:00pm
Venues include

Museum of Vancouver
The Museum of Vancouver inspires deeper understanding of the city through stories, objects and shared experiences. Check out their latest exhibits and their permanent collections and exhibition halls.

H.R. MacMillan Space Centre
The Space Centre is BC’s top space science attraction, inspiring visitors with shows, exhibits and some of Vancouver’s most unique special events

Vancouver Maritime Museum
Make some maritime-themed origami 10:00am to 4:30pm, visit with Parks Canada interpreters 10:00am to 4:30pm, climb on-board the St. Roch and celebrate 90 years of adventure, enjoy music from a string quartet onboard the St. Roch, and more

City of Vancouver Archives
The City Archives houses over 4 km of documents about the history of Vancouver, containing both government and public collections

Vancouver Academy of Music
Vancouver Academy of Music (“VAM”) is the city’s premiere centre of music education, serving aspiring musicians from early childhood to collegiate levels

Bonus: Bard on the Beach performances!

An undated posting at Vancouver’s Best Places gives you a sense of what to expect along with some handy tips,

At Winter Wander, expect lots of people, fair-sized lineups, and an event schedule with a list of entertainment and special activities throughout the day.

Live entertainment doesn’t happen all over the place. There is a set schedule and different things happen at specific times. The museums are open constantly all day. If you want to be entertained by the Bard on the Beach crew, however, you’ll need to check the schedule and be at a certain place at a certain time.

Although crowded, Winter Wander isn’t insanely busy. The venues are indeed crowded, but, surprisingly, not as bad as one might expect, or at least they weren’t when we’ve been. There is a pretty big lineup to get in before the doors even open in the morning, true, and you do need to wait your turn to get photos of your child in the model astronaut suit at the Planetarium, or to board the St. Roch police boat at the Maritime Museum.

Tips and Advic

Below are some tips and advice to help you make the most out of your experience at the Vanier Park museums on Winter Wander day

TIP #1: Go expecting the museums to be insanely crowded, and then hope to be pleasantly surprised. Go expecting small lineups and not too many people, however, and you’ll likely be disappointed

TIP #2: If you haven’t been to the museums at Vanier Park for a long time, you don’t mind crowds and you have children or guests from out of town, then definitely check out Winter Wander. For just $5, it’s a fabulous deal

TIP #3: Some venues and museum exhibit areas will be more popular and consequently more crowded than others. If a lineup for something is too long, simply move along to something else. There’s lots to see, so don’t fret if you don’t get to see everything

TIP #4: The best thing about the HR MacMillan Space Centre is the Planetarium and its shows about the stars and space. Chances are they’ll be busy, so don’t be disappointed if it’s not worth the wait. If you can get in to see a show though, do

TIP #5: Entertainment at Winter Wander happens at specific times and at certain places over the course of the day. When you arrive, check the schedule and decide what you want to see (including possible shows at the Planetarium). Then, plan your visit accordingly

TIP #6: Expect to spend between about an hour and all day at the event, but likely all morning or all afternoon. The length of your stay will depend on your level of interest in museums, model ships, history and space, but also on the crowds and the interest level and tolerance of crowds of the people you’re with

TIP #7: While at Vanier Park, go for a walk and explore. There is a beautiful walking trail all along the waterfront with views of the city. Especially if the museums are crowded, a break for some fresh air can be nice.

There you have it.

Joyeux Noël! Science raps for Christmas 2018!

I received a December 17, 2018 email from Baba Brinkman, a Canadian rapper who lives in New York City these days and who has often graced this blog. He has an offer for those of us lucky enough to be in New York City from December 27, 2018 to mid-February 2019 ,

If you’re looking for a last minute present for someone you know in New York, get them the gift of thought-provoking entertainment with a Rap Guide Gift Card, good for any one of my three off-Broadway shows set to open on December 27th at the Soho Playhouse. Don’t know if you have any friends in New York? Just type “my friends who live in new york” into a Facebook search and be enlightened.

To recap, in 2011 I moved to NYC to perform Rap Guide to Evolution off-Broadway. The show was a hit, nominated for a Drama Desk Award with a glowing review in the New York Times, and I started working with Soho Playhouse artistic director Darren Lee Cole to develop several new hip-hop theatre productions that tackle major topics in science. A series was born.

In 2015 I had the opportunity to perform Rap Guide to Climate Chaos at the UN Paris Climate Conference, followed by a six month off-Broadway run, and earlier this year we presented Rap Guide to Consciousness for an eight-month run, exploring the latest neuroscience research on human thoughts and experiences. This year alone I have performed Consciousness more than 90 times, so I’m ready for a break!

Too bad. The Soho Playhouse recently offered me the chance to present three of my shows in rotation, with 32 performances scheduled through late February. How could I say no?

So all this week I’m in rehearsals, then a brief respite for Christmas cheer, and then next Thursday [Dec. 27, 2018] it’s off to the races. This three show assembly is a grand experiment, designed around the principle that my overall project is more than the sum of its parts. What project is that? Simply the challenge of creatively sharing the findings of science that help us answer the big questions: who are we, where did we come from, and where might we go?

Got any friends who might be interested in that? Send them my way!

Enjoy and to all, a Merry Christmas, Happy Hanukkah, Happy Solstice, Happy Saturnalia, Happy Kwanzaa, and all other winter celebrations!

Tech Art Fair (Ontario, Canada) call for submissions

I received an email (Dec. 19, 2018) from the ArtSci Salon folks in Toronto (Canada) about this call for submissions. It’s a bit late but there’s still time (Jan. 14, 2019) to make the deadline, From a December 19, 2018 ArtSci Salon announcement,

OPEN CALL

Tech Art Fair

February 16 – 18, 2019 at the Ontario Science Centre

Juried Competition: Call for Applications to Participate in the Tech Art Fair

Are you a tech-focused artist who wants to showcase your work in a diverse and dynamic public venue? Do you enjoy face-to-face conversations about what you do? Would you like to expand your network and generate new synergies within a global like-minded community? The Tech Art Fair at the Ontario Science Centre in Toronto will highlight creative processes and provide an opportunity for participants to launch and test-drive creative ideas during a three-day winter holiday event, anticipated to attract up to 10,000 visitors. The Tech Art Fair will be complemented by an online exhibition hosted by the New York-based SciArt Center.

The Opportunity

This is a call for applications to participate in the Tech Art Fair to be held in the Great Hall of the Ontario Science Centre from February 16 through to February 18, 2019. Up to 20 applicants will be selected through a juried competition to demonstrate and exhibit work and sell affordable items at the Tech Art Fair. In addition to participation in the Tech Art Fair, participants will be considered for the art studio residences at MOCA Toronto [Museum of Contemporary Art Toronto], leading to an exhibition at the Ontario Science Centre.

Eligible Art and Selection Criteria

This call is open to artists, artist collectives, innovative entrepreneurs and interdisciplinary makers. Original art projects made in classic or digital media will be considered. This could include installations, immersive 3D works, innovative craft projects, electronics, Internet of Things projects and wearables, decorative arts, furniture, functional glass, ceramics and textiles.

We’re seeking provocative and unconventional art with a connection to science and technology that reveals your creative process, inspires awe and excitement and sparks dialogue. We’ll also be looking for work which facilitates interaction, collaboration and creation with our visitors.

Participants will be provided with a designated space containing one 6-foot table, two chairs and electrical power. Additional vertical supports (up to 6 feet in height) will be available for a limited number of works. Opportunities for displaying large-scale art pieces, hanging installations or video projections will be limited. Applicants selected by the jury will be required to sign a participation agreement with the Ontario Science Centre to participate in the Tech Art Fair. Please review the agreement: your agreement to execute and fulfill the terms of this agreement is a pre-condition to consideration by the jury. As set out in the agreement, you must be in attendance at the Ontario Science Centre during the Centre’s working hours for the duration of the Tech Art Fair.

Jury Members

  • Rachel Birnberg and Cecilia Garcia, North York Arts
  • Julia Buntaine Hoel, SciArt Center
  • Andy Forest, STEAMLabs
  • Ana Klasnja, Ontario Science Centre
  • Megan MacLaurin, InterAccess
  • Vessna Perunovich, Fashion Art Toronto
  • Renn Scott, Daily Goods Design Lab

Apply by January 14, 2019!
NOTE: To submit materials, you’ll need a Google Account.

Key Dates

October 31, 2018, 9 a.m. – Call for Applications opens
January 14, 2019, 11:59 p.m. – Call for applications closes
January 14 – 17, 2019 – Juried competition underway
January 18, 2019 – The Centre begins notifying successful applicants
January 26, 2019 – Due date for signed participant agreements
February 15, 2019, 7 a.m. to 10 a.m. – Participant set-up complete
February 16, 2019, 10 a.m. – Tech Art Fair opens to the public
February 18, 2019, 5 p.m. – Tech Art Fair closes to the public

For further details, please contact us.

I have looked at the ‘agreement’ and given the constraints and apparent lack of any funding for travel, this call is probably more suitable for artists based in Ontario and/or in close proximity to Toronto.  You can find the original call for submissions here on the Ontario Science Centre’s site.

Symbiosis (science education initiative) in British Columbia (Canada)

Is it STEM (science, technology, engineering, and mathematics) or is it STEAM (science, technology, engineering, arts, and mathematics)?

It’s STEAM as least as far as Dr. Scott Sampson is concerned. In his July 6, 2018 Creative Mornings Vancouver talk in Vancouver (British Columbia, Canada) he mentioned a major science education/outreach initiative taking place in the province of British Columbia (BC) but intended for all of Canada, Symbiosis There was some momentary confusion as Sampson’s slide deck identified it as a STEM initiative. Sampson verbally added the ‘A’ for arts and henceforth described it as a STEAM initiative. (Part of the difficulty is that many institutions have used the term STEM and only recently come to the realization they might want to add ‘art’ leading to confusion in Canada and the US, if nowhere else, as old materials require updating. Actually, I vote for adding the humanities too so that we can have SHTEAM.)

You’ll notice, should you visit the Symbiosis website, that the STEM/STEAM confusion extends further than Sampson’s slide deck.

Sampson,  “a dinosaur paleontologist, science communicator, and passionate advocate for reimagining cities as places where people and nature thrive, serves (since 2016) as president and CEO of Science World British Columbia” or as they’re known on their website:  Science World at TELUS World of Science. Unwieldy, eh?

The STEM/STEAM announcement

None of us in the Creative Mornings crowd had heard of Symbiosis or Scott Sampson for that matter (apparently, he’s a huge star among the preschool set due to his work on the PBS [US Public Broadcasting Service] children’s show ‘Dinosaur Train’). Regardless, it was good to hear  of this effort although my efforts to learn more about it have been a bit frustrated.

First, here’s what I found: a May 25, 2017 Science World media release (PDF) about Symbiosis,

Science World Introduces Symbiosis
A First-of Its-Kind [sic] Learning Ecosystem forCanada

We live in a time of unprecedented change. High-tech innovations are rapidly transforming 21st century societies and the Canadian marketplace is increasingly dominated by novel, knowledge-based jobs requiring high levels of literacy in science, technology, engineering and math (STEM). Failing to prepare the next generation to be STEM literate threatens the health of our youth, the economy and the places we live. STEM literacy needs to be integrated into the broader context of what it means to be a 21st century citizen. Also important is inclusion of an extra letter, “A,” for art and design, resulting in STEAM. The idea behind Symbiosis is to make STEAM learning accessible across Canada.

Every major Canadian city hosts dozens to hundreds of organizations that engage children and youth in STEAM learning. Yet, for the most part, these organizations operate in isolation. The result is that a huge proportion of Canadian youth, particularly in First Nations and other underserved communities, are not receiving quality STEAM learning opportunities.

In order to address this pressing need, Science World British Columbia (scienceworld.ca) is spearheading the creation of Symbiosis, a deeply collaborative STEAM learning ecosystem. Driven by a diverse network of cross-sector partners, Symbiosis will become a vibrant model for scaling the kinds of learning and careers needed in a knowledge-based economy.

Today [May 25, 2017], Science World is proud to announce that Symbiosis has been selected by STEM Learning Ecosystems, a US-based organization, to formally join a growing movement. In just two years, the STEM Learning Ecosystems  initiative has become a thriving network of hundreds of organizations and thousands of individuals, joined in regional partnerships with the objective of collaborating in new and creative ways to increase equity, quality, and STEM learning outcomes for all youth. Symbiosis will be the first member of this initiative outside the United States.

Symbiosis was selected to become part of the STEM Learning Ecosystem initiative because of a demonstrated [emphasis mine] commitment to cross-sector collaborations in schools and beyond the classroom. As STEM Ecosystems evolve, students will be able to connect what they’ve learned, in and out of school, with real-world, community-based opportunities.

I wonder how Symbiosis demonstrated their commitment. Their website doesn’t seem to have existed prior to 2018 and there’s no information there about any prior activities.

A very Canadian sigh

I checked the STEM Learning Ecosystems website for its Press Room and found a couple of illuminating press releases. Here’s how the addition of Symbiosis was described in the May 25, 2017 press release,

The 17 incoming ecosystem communities were selected because they demonstrate a commitment to cross-sector collaborations in schools and beyond the classroom—in afterschool and summer programs, at home, with local business and industry partners, and in science centers, libraries and other places both virtual and physical. As STEM Ecosystems evolve, students will be able to connect what is learned in and out of school with real-world opportunities.

“It makes complete sense to collaborate with like-minded regions and organizations,” said Matthew Felan of the Great Lakes Bay Regional Alliance STEM Initiative, one of the founding Ecosystems. “STEM Ecosystems provides technical assistance and infrastructure support so that we are able to tailor quality STEM learning opportunities to the specific needs of our region in Michigan while leveraging the experience of similar alliances across the nation.”

The following ecosystem communities were selected to become part of this [US} national STEM Learning Ecosystem:

  • Arizona: Flagstaff STEM Learning Ecosystem
  • California: Region 5 STEAM in Expanded Learning Ecosystem (San Benito, Santa Clara, Santa Cruz, Monterey Counties)
  • Louisiana: Baton Rouge STEM Learning Network
  • Massachusetts: Cape Cod Regional STEM Network
  • Michigan: Michigan STEM Partnership / Southeast Michigan STEM Alliance
  • Missouri: Louis Regional STEM Learning Ecosystem
  • New Jersey: Delran STEM Ecosystem Alliance (Burlington County)
  • New Jersey: Newark STEAM Coalition
  • New York: WNY STEM (Western New York State)
  • New York: North Country STEM Network (seven counties of Northern New York State)
  • Ohio: Upper Ohio Valley STEM Cooperative
  • Ohio: STEM Works East Central Ohio
  • Oklahoma: Mayes County STEM Alliance
  • Pennsylvania: Bucks, Chester, Delaware, Montgomery STEM Learning Ecosystem
  • Washington: The Washington STEM Network
  • Wisconsin: Greater Green Bay STEM Network
  • Canada: Symbiosis, British Columbia, Canada

Yes, somehow a Canadian initiative becomes another US regional community in their national ecosystem.

Then, they made everything better a year later in a May 29, 2018 press release,

New STEM Learning Ecosystems in the United States are:

  • California: East Bay STEM Network
  • Georgia: Atlanta STEAM Learning Ecosystem
  • Hawaii: Hawai’iloa ecosySTEM Cabinet
  • Illinois: South Suburban STEAM Network
  • Kentucky: Southeastern Kentucky STEM Ecosystem
  • Massachusetts: MetroWest STEM Education Network
  • New York: Greater Southern Tier STEM Learning Network
  • North Carolina: STEM SENC (Southeastern North Carolina)
  • North Dakota: North Dakota STEM Ecosystem
  • Texas: SA/Bexar STEM/STEAM Ecosystem

The growing global Community of Practice has added: [emphasis mine]

  • Kenya: Kenya National STEM Learning Ecosystem
  • México: Alianza Para Promover la Educación en STEM (APP STEM)

Are Americans still having fantasies about ‘manifest destiny’? For those unfamiliar with the ‘doctrine’,

In the 19th century, manifest destiny was a widely held belief in the United States that its settlers were destined to expand across North America.  …

They seem to have given up on Mexico but the dream of acquiring Canadian territory rears its head from time to time. Specifically, it happens when Quebec holds a referendum (the last one was in 1995) on whether or not it wishes to remain part of the Canadian confederation. After the last referendum, I’d hoped that was the end of ‘manifest destiny’ but it seems these 21st Century-oriented STEM Learning Ecosystems people have yet to give up a 19th century fantasy. (sigh)

What is Symbiosis?

For anyone interested in the definition of the word, from Wordnik,

symbiosis

Definitions

from The American Heritage® Dictionary of the English Language, 4th Edition

  • n. Biology A close, prolonged association between two or more different organisms of different species that may, but does not necessarily, benefit each member.
  • n. A relationship of mutual benefit or dependence.

from Wiktionary, Creative Commons Attribution/Share-Alike License

  • n. A relationship of mutual benefit.
  • n. A close, prolonged association between two or more organisms of different species, regardless of benefit to the members.
  • n. The state of people living together in community.

As for this BC-based organization, Symbiosis, which they hope will influence Canadian STEAM efforts and learning as a whole, I don’t have much. From the Symbiosis About Us webpage,

A learning ecosystem is an interconnected web of learning opportunities that encompasses formal education to community settings such as out-of-school care, summer programs, science centres and museums, and experiences at home.

​In May 2017, Symbiosis was selected by STEM Learning Ecosystems, a US-based organization, to formally join a growing movement. As the first member of this initiative outside the United States, Symbiosis has demonstrated a commitment to cross-sector collaborations in schools and beyond the classroom. As Symbiosis evolves, students will be able to connect what they’ve learned, in and out of school, with real-world, community-based opportunities.

We live in a time of unprecedented change. High-tech innovations are rapidly transforming 21st century societies and the Canadian marketplace is increasingly dominated by novel, knowledge-based jobs requiring high levels of literacy in science, technology, engineering and math (STEM). Failing to prepare the next generation to be STEM literate threatens the health of our youth, the economy, and the places we live. STEM literacy needs to be integrated into the broader context of what it means to be a 21st century citizen. Also important is inclusion of an extra letter, “A,” for art and design, resulting in STEAM.

In order to address this pressing need, Science World British Columbia is spearheading the creation of Symbiosis, a deeply collaborative STEAM learning ecosystem. Driven by a diverse network of cross-sector partners, Symbiosis will become a vibrant model for scaling the kinds of learning and careers needed in a knowledge-based economy.

Symbiosis:

  • Acknowledges the holistic connections among arts, science and nature
  • ​Is inclusive and equitable
  • Is learner-centered​
  • Fosters curiosity and life-long learning ​​
  • Is relevant—should reflect the community
  • Honours diverse perspectives, including Indigenous worldviews
  • Is partnerships, collaboration, and mentorship
  • ​Is a sustainable, thriving community, with resilience and flexibility
  • Is research-based, data-driven
  • Shares stories of success—stories of people/role models using STEAM and critical thinking to make a difference
  • Provides a  variety of access points that are available to all learners

I was looking for more concrete information such as:

  • what is your budget?
  • which organizations are partners?
  • where do you get your funding?
  • what have you done so far?

I did get an answer to my last question by going to the Symbiosis news webpage where I found these,

We’re hiring!

 7/3/2018 [Their deadline is July 13, 2018]

STAN conference

3/20/2018

Symbiosis on CKPG

3/12/2018

Design Studio #2 in March

2/15/2018

BC Science Outreach Workshop

2/7/2018

Make of that what you will. Also, there is a 2018 copyright notice (at the bottom of the webpages) but no copyright owner is listed.

There is some Symbiosis information

A magazine known as BC Business (!) offers some details in a May 11, 2018 opinion piece, Note: Links have been removed,

… Increasingly, the Canadian marketplace is dominated by novel, knowledge-based jobs requiring high levels of literacy in STEM (science, technology, engineering and math). Here in B.C., the tech sector now employs over 100,000 people, about 5 percent of the province’s total workforce. As the knowledge economy grows, these numbers will rise dramatically.

Yet technology-driven businesses are already struggling to fill many roles that require literacy in STEM. …

Today, STEM education in North America and elsewhere is struggling. One study found that 60 percent of students who enter high school interested in STEM fields change their minds by graduation. Lacking mentoring, students, especially girls, tend to lose interest in STEM. [emphasis mine]Today, only 22 percent of Canadian STEM jobs are held by women. Failing to prepare the next generation to be STEM-literate threatens the prospects of our youth, our economy and the places we live.

More and more, education is no longer confined to classrooms. … To kickstart this future, a “STEM learning ecosystem” movement has emerged in the United States, grounded in deeply collaborative, cross-sector networks of learning opportunities.

Symbiosis will concentrate on a trio of impacts:

1) Dramatically increasing the number of qualified STEM mentors in B.C.—from teachers and scientists to technologists and entrepreneurs;

2) Connecting this diversity of mentors with children and youth through networked opportunities, from classroom visits and on-site shadowing to volunteering and internships; and

3) Creating a digital hub that interweaves communities, hosts a library of resources and extends learning through virtual offerings. [emphases mine]

Science World British Columbia is spearheading Symbiosis, and organizations from many sectors have expressed strong interest in collaborating—among them K-12 education, higher education, industry, government and non-profits. Several of these organizations are founding members of the BC Science Charter, which formed in 2013.

Symbiosis will launch in fall of 2018 with two pilot communities: East Vancouver and Prince George. …

As for why students tend to lose interest in STEM, there’s a rather interesting longitudinal study taking place in the UK which attempts to answer at least some of that question. I first wrote about the ASPIRES study in a January 31, 2012 posting: Science attitude kicks in by 10 years old. This was based on preliminary data and it seemed to be confirmed by an unrelated US study of high school students also mentioned in that posting (scroll down about 40% of the way).

In short, both studies suggested that children are quite to open to science but when it comes time to think about careers, they tend to ‘aspire’ to what they see amongst family and friends. I don’t see that kind of thinking reflected in any of the information I’ve been able to find about Symbiosis and it was not present in Sampson’s, Creative Mornings talk.

However, I noted during Sampson’s talk that he mentioned his father, a professor of psychology at the University of British Columbia and how he had based his career expectations on his father’s career. (Sampson is from Vancouver originally.) Sampson, like his father, was at one point a professor of ‘science’ at a university.

Perhaps one day someone from Symbiosis will look into the ASPIRE studies or even read my blog 🙂

You can find the latest about what is now called the ASPIRES 2 study here. (I will try to post my own update to the ASPIRES projects in the near future).

Best hopes

I am happy to see Symbiosis arrive on the scene and I wish all the best for the initiative. I am less concerned than the BC Business folks about supplying employers with the kind of employees they want to hire and hopeful that Symbiosis will attract not just the students, educators, mentors, and scientists to whom they are appealing but will cast a wider net to include philosophers, car mechanics, hairdressers, poets, visual artists, farmers, chefs, and others in a ‘pursuit of wonder’.

Aside: I was introduced to the phrase ‘pursuit of wonder’ by a friend who sent me a link to José Teodoro’s May 29, 2018 interview with Canadian filmmaker, Peter Mettler for the Brick. Mettler discusses his film about the Northern Lights and the technical challenges he met along the way.

Quantum Inkblot; An evening of physics, psychology, art and astronomy on July 12, 2018 in Vancouver (Canada)

A June 26, 2018 HR MacMillan Space Centre (HRMSC) press release, received via email, announces an upcoming art/sci event,

This July the H.R. MacMillan Space Centre and Voirelia: Dance, Psychology and Philosophy Hub will be co-hosting Quantum Inkblot, an interactive evening exploring quantum physics through the lenses of physics and psychology, art, and astronomy. The evening will incorporate talks by a physicist and a psychologist, visual artwork, and original contemporary dance performances.

The talks and artistic works will explore some of the questions about how psychology and physics can mirror, inspire, and influence one another. We will touch on topics related to relativity, uncertainty, and predictability of this world.

A dialogue-style talk will be led by physicist Dr. Jaymie Matthews and psychologist Dr. Alina Sotskova exploring the intersections of quantum physics and psychology. Dr. Matthews will be discussing the concept of wave-particle duality and the way it takes the assumption that one thing cannot be in two places at once and turns it on its head.

Dr. Sotskova will be talking about the dissonance in predicting the behaviour of groups vs. predicting the behaviour of individuals, giving pause to reflect on the existence of order at a macro level and chaos at the micro level.

The evening will also feature three original contemporary dance performances and a visual art and music presentation that were all inspired by themes in psychology and the intersection with physics.

There will be time between performances to enjoy a drink, take part in interactive art activities, watch physics demonstrations, and chat with physicists, artists, and psychologists. The evening will end with a question and answer period with all of the performers and speakers.

Here are logistics and additional details,

Quantum Inkblot will take place at the H.R. MacMillan Space Centre Thursday, July 12th.

This is a 19+ event.

6:30pm doors open, 7:00pm show starts in the Planetarium Star Theatre

$25 for tickets

Tickets available online through Eventbrite,[clicking on this link will give you a map to the location] in person, or by phone at 604.738.7827.

Find the Quantum Inkblot event on Facebook for sneak peeks at the art work being created, learn more about the process of collaboration between artists and scientists, and more!

The H.R. MacMillan Space Centre is a non-profit community resource that brings the wonders of space to Earth, while providing a personal sense of ongoing discovery. Through innovative programming, exhibits and activities, our goal is to inspire sustained interest in the fields of Earth science, space science and astronomy from a Canadian perspective.

Voirelia is a Vancouver-based Dance, Psychology, and Philosophy Hub. Its main purpose is to create original dance and art works inspired by ideas in psychology and philosophy. Voirelia also organizes talks, workshops, and events relevant to the intersection between dance, psychology, & philosophy, such as talks on philosophy of science. Our aim is “movement with meaning.”

BC Psychological Association has provided support for this event and BCPA representatives will be available to chat with the guests.

Voirelia provides a few more information and pictures on its Upcoming Projects webpage,

There will be several dance works presented during Quantum Inkblot. Here are the latest shots from one of the rehearsals, with physicists Dr. Jaymie Matthews and Dr. Ewan Hill joining us for a transdisciplinary open-rehearsal style session.

Photographs: Jason Kirkness. Dancers: Sophie Brassard, Michael Demski. Rehearsal direction/choreography: Alina Sotskova. [Not all the images have been included in this excerpt.]

 

We wanted to document our artistic and creative process as we put together this unique event. Below you will see examples of original art works and how artistic creation progresses. In the dance photographs below (by Jason Kirkness), we had a brainstorming session that included people with backgrounds in physics, psychology, dance, and theater. We spent about an hour talking about concepts from quantum physics that people often find “weird” – such as the concepts of waves, particles, wave-particle duality, and the uncertainty principle. We touched on how quantum physics influences our perception of science, the world, and ourselves. We discussed topics of identity and searching for meaning and why the quantum world is so different from what we see with our senses. Then we took our brainstorming to the dance studio. Here, using prompts suggested by physicists and her own knowledge as a psychologist and dancer, Alina Sotskova facilitated improvisational movement exploration. This yielded a great deal [sic] of ideas about parallels between physics and psychology, and we will use these ideas a spring board as we begin to develop specific dance works for the event. You can also check out short videos of the improvisational movement research session on our Facebook page, in the Videos section. [Not all the images have been included in this excerpt.]

The team who was part of the brainstorming session […] included: Andrew Elias (Graduate Student working in the field of quantum physics, UBC); Jason Kirkness (Co-lead for the Quantum Inkblot Event and; background: physics and computer science); Alina Sotskova (Co-lead for the Quantum Inkblot Event and; background: psychology and dance). Our dancers were: Angelo Moroni, Michael Demski, Carolyn Schmidt, Alejandra Miranda Caballero, Alina Sotskova.

The images below are samples of original art works by Andrew Short, one of Voirelia’s Core Consultants. Inspired by topics in quantum physics, psychology, and cosmology, Andrew is working on preparing a very special presentation especially for Quantum Inkblot. [There are more images at Voirelia.]

 

Interestingly, this does not seem to be a ‘sister’ event to Toronto’s ‘Out Of This World; Art inspired by all things astronomical’ exhibition and talks being held July 4 – 22, 2018 in honour of the Royal Astronomical Society of Canada’s (RASC) sesquicentennial (150th anniversary). There’s more about Toronto’s astronomical art/science event in my July 2, 2018 posting.

May 16, 2018: UNESCO’s (United Nations Educational, Scientific and Cultural Organization) First International Day of Light

Courtesy: UNESCO

From a May 11, 2018 United Nations Educational, Scientific and Cultural Organization (UNESCO) press release (received via email),

UNESCO will welcome leading scientists on 16 May 2018 for the 1st edition of the International Day of Light (02:30-08:00 pm) to celebrate the role light plays in our daily lives. Researchers and intellectuals will examine how light-based technologies can contribute to meet pressing challenges in diverse areas, such as medicine, education, agriculture and energy.

            UNESCO Director-General Audrey Azoulay will open this event, which will count with the participation of renowned scientists, including:

  • Kip Thorne, 2017 Nobel Prize in Physics, California Institute of Technology (United States of America).
  • Claude Cohen-Tannoudji, 1997 Nobel Prize in Physics, Collège de France.
  • Khaled Toukan, Director of the Synchrotron-light for Experimental Science and Applications in the Middle East (SESAME) based in Allan, Jordan.

The programme of keynotes and roundtables will address many key issues including science policy, our perception of the universe, and international cooperation, through contributions from experts and scientists from around the world.

The programme also includes cultural events, an illumination of UNESCO Headquarters, a photonics science show and an exhibit on the advances of light-based technologies and art.

            The debates that flourished in 2015, in the framework of the International Year of Light, highlighted the importance of light sciences and light-based technologies in achieving the United Nations Sustainable Development Goals. Several thousand events were held in 147 countries during the Year placed under the auspices of UNESCO.  

The proclamation of 16 May as the International Day of Light was supported by UNESCO’s Executive Board following a proposal by Ghana, Mexico, New Zealand and the Russian Federation, and approved by the UNESCO General Conference in November 2017.

More information:

I have taken a look at the programme which is pretty interesting. Unfortunately, I can’t excerpt parts of it for inclusion here as very odd things happen when I attempt to ‘copy and paste’. On the plus side. there’s a bit more information about this ‘new day’ on its event page,

Light plays a central role in our lives. On the most fundamental level, through photosynthesis, light is at the origin of life itself. The study of light has led to promising alternative energy sources, lifesaving medical advances in diagnostics technology and treatments, light-speed internet and many other discoveries that have revolutionized society and shaped our understanding of the universe. These technologies were developed through centuries of fundamental research on the properties of light – starting with Ibn Al-Haytham’s seminal work, Kitab al-Manazir (Book of Optics), published in 1015 and including Einstein’s work at the beginning of the 20th century, which changed the way we think about time and light.

The International Day of Light celebrates the role light plays in science, culture and art, education, and sustainable development, and in fields as diverse as medicine, communications, and energy. The will allow many different sectors of society worldwide to participate in activities that demonstrates how science, technology, art and culture can help achieve the goals of UNESCO – building the foundation for peaceful societies.

The International Day of Light is celebrated on 16 May each year, the anniversary of the first successful operation of the laser in 1960 by physicist and engineer, Theodore Maiman. This day is a call to strengthen scientific cooperation and harness its potential to foster peace and sustainable development.

Happy International Day of Light on Wednesday, May 16, 2018!

Curiosity Collider event: May 16, 2018 and exhibit: June 8 – 22, 2018 in Vancouver (Canada)

I have two bits of news from the Curiosity Collider folks. One event is part of their regular Collider Cafe series and the other is a special event.

Collider Cafe: Art. Science. Chronicles.

From the Curiosity Collider May 16, 2018 event page,

Collider Cafe: Art. Science. Chronicles.

Map Unavailable

Date/Time
Date(s) – 16/05/2018
8:00 pm – 9:30 pm

Location
Café Deux Soleils

 

#ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet. Discover. Connect. Create.

Are you curious? Join us at “Collider Cafe: Art. Science. Chronicles.” to explore how art and science intersect in the exploration of curiosity.

  • Armin Mortazavi (science cartoonist): Scientooning Adventures
  • Cheryl Hamilton (conceptual artist): Image Analysis – inspirations from cancer research
  • Kayla Glynn (science communicator and researcher): True, Personal Stories About Science
  • Marlene Swidzinski (comedian, humorist, and technical writer/editor): Travelling at the Speed of Oy / That Joke Would Kill at a Physics Convention
  • Rachel Rozanski (artist): In Between Tides

The event starts promptly at 8pm (doors open at 7:30pm). $5.00-10.00 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization.

Visit our Facebook page to let us know you are coming, and see event updates and speaker profiles.

Interstitial

This upcoming exhibit was first mentioned here in a March 27, 2018 posting in the context of a call for submissions. I’m glad to see they have moved onto the exhibit phase, from the Curiosity Collider ‘Interstitial’ event page,

Interstitial: Science Innovations by Canadian Women

Date/Time
Date(s) – 08/06/2018 – 22/06/2018
12:00 pm – 5:00 pm

Location
Beaumont Gallery

 

Interstitial: Science Innovations by Canadian Women is an exhibition with events in June 2018, showcasing 2D work by female artists featuring women in Science, Technology, Engineering, and Mathematics (STEM, or STEAM when Arts is included). Our approach intends to challenge the public as to how they think of women in STEM. What does it take for a woman to be “in” with the science community?

The importance of storytelling, and using art in the dissemination of scientific information, has grown in the past few years. The Sci/Art and STEAM movements have rapidly gained momentum. Creative outlets are critical to sharing science and stories of science, and to connecting with people on an personal level. We are establishing new connections in the community, and presenting women in STEM through a different experience.

This exhibition and associated events are created by women, feature women, and highlight the achievements of women in STEM. We seek to encourage girls and young women to see themselves as eligible for the opportunities available in STEAM industries, to connect with them beyond what is written in the books or taught in school. We present women as capable participants within the STEAM community. It is important that as women, we tell our own stories, support, and celebrate each other.

This event is curated by Larissa Blokhuis, Exhibitions Director, Curiosity Collider.

Opening Night: June 8, 2018 from 7pm till late

Art+Science Workshops on June 9 / 16. More information to come.

Artists

Cheryl Hamilton (oil paint on wood panel)

Cheryl Hamilton is a conceptual artist with a penchant for visual ingenuity.  A stickler for perfection, Cheryl imbues her design work with a kineticism inspired by her education as an animator at Vancouver’s Emily Carr Institute.  Her recent training in the techniques of glass blowing at Alberta’s Red Deer College and Pilchuck Glass School coupled with her metal-working expertise now enable her to animate light and colour within her monumental steel structures.  Cheryl also draws and paints and exhibits internationally. Her goal as an artist is to render an accessible beauty that withstands the test of time.

Ele Willoughby (linocut prints (water based inks) on Japanese paper)

Artist Ele Willoughby is a modern Renaissance woman.  After pursuing her doctorate in physics, she built her portfolio while working as an ocean-going marine geophysicist by day and printmaker by night.  Her hand-pulled block prints reflect her love of science and the natural world with a hint of humour and whimsy. Many of her works focus on the history of science and scientists.  She also makes interactive multimedia work, incorporating colour-changing or electrically conductive inks and electronics, which straddle the art/science divide. She lives and works in Toronto with her husband, and young son.

Paige Blumer (digital painting with photoshop printed on canvas)

Paige was born in Montreal Quebec where she had a competing passion for art and science.  She chose to pursue science and graduated with a bachelor’s degree in Kinesiology. Upon graduation, she decided to follow her yearning to pursue art, specifically cartoons, and applied to the Art Fundamentals program at Sheridan College in Ontario.  It was there that she developed a love for illustration. A professor told her that there were five specialized graduate programs in North America where she could combine her art skills with her passion for health and the human body. It took three years for her to polish her portfolio and finally get accepted into the Biomedical Visualization program at the University of Illinois at Chicago.

In Chicago, she learned how to visually represent health and scientific concepts through traditional, digital, and technical media. She get to use these skills everyday at the University of British Columbia where she is a Biomedical Visualization Specialist in the Faculty of Medicine.  She loves telling the stories of the human body at a physiological level and this affinity is inspiring me to write a graphic novel about the life of two red blood cells.

Acknowledgement

We would like to thank eng.cite and WWEST for their generous support for this exhibition and associated events.

There you have it.