Thanks to my August 8, 2024 Google alert I found information on an event being held in London, UK. It’s being held at the London Centre for Nanotechnology (part of Imperial College London) and is called Nano for Humanity – Nanoday 2024, from the event page,
Nano for Humanity – Nanoday 2024
10 September 2024 17:00 to 20:00 [5 pm to 8 pm] Imperial College London, South Kensington Campus, London
Nanoscience underpins the technologies of tomorrow. Researchers across the London Centre for Nanotechnology (LCN) use nanoscience to make breakthroughs for applications in medicine and healthcare, energy generation and storage, and for future transport and computing systems.
Nanoday is an annual LCN celebration on or around September 10 to raise awareness of nanoscience, how we use nanoscience in our everyday lives, and how nanoscience will transform our futures. This date (10/9) is a tribute to the nanometer scale (10^–9). The LCN celebrate the very, very small on September 10th in recognition of the nanometer (10^–9)
Join LCN researchers to learn about:
Connecting Life and Technology: See how tiny tech is improving the way living things and man-made materials work together.
Quantum Technologies: Find out about the future of super powerful computers, ultra precise sensors and more secure ways to communicate.
Nano Energy: Learn about the new tech that is helping to generate and store clean energy.
What will I find at Nanoday?
Interactive Demos: Experience hands-on science activities and demonstrations from our not-so Nano researchers.
Live Performances: Enjoy artistic performances that shine a light on the nanoworld.
Engaging Talks: Hear from researchers as they share stories from their lives and labs, showcasing the incredible potential of nanotechnologies.
…
There’s more on the event page including a registration button and directions to the London Centre for Nanotechnology. Unfortunately, there are no details about the artistic performances or the talks.
Onto breakdancing (or breaking), which for the first time will be an official event at the 2024 Paris Summer Olympics. Amy Pope, principal lecturer, physics and astronomy, Clemson University (South Carolina, US), has written a June 12, 2024 essay for The Conversation that describes breakdancing as physics in action, (h/t June 13, 2024 news item in phys.org), Note: Links have been removed,
Two athletes square off for an intense dance battle. The DJ starts spinning tunes, and the athletes begin twisting, spinning and seemingly defying gravity, respectfully watching each other and taking turns showing off their skill.
The athletes converse through their movements, speaking through a dance that celebrates both athleticism and creativity. While the athletes probably aren’t consciously thinking about the physics behind their movements, these complex and mesmerizing dances demonstrate a variety of different scientific principles.
Breaking, also known as breakdancing, originated in the late 1970s in the New York City borough of the Bronx. Debuting as an Olympic sport in the 2024 Summer Olympics, breaking will showcase its dynamic moves on a global stage. This urban dance style combines hip-hop culture, acrobatic moves and expressive footwork.
Since its inception, breaking has evolved into a competitive art form. An MC narrates the movements, while a DJ mixes songs to create a dynamic atmosphere. The Olympics will feature two events: one for men, called B-boys, and one for women, called B-girls. In these events, athletes will face off in dance battles.
… Success in this sport requires combining dance moves from three basic categories: top rock, down rock and freeze.
…
And now for the physics of it all, from Pope’s June 12, 2024 essay, Note: Links have been removed,
…
Top rock moves [emphasis mine] are performed while standing up, focusing on fancy footwork and hand movements. These movements are reminiscent of hip-hop dancing.
Top rock moves rely on having lots of friction between an athlete’s shoes and the floor. Friction is the force [emphasis miine] that resists when you slide something across a surface.
This friction allows the athlete to take very quick steps and to stop abruptly. The dancers must intuitively understand inertia, or the fact that their bodies will continue in the direction they’re moving unless they are acted upon by an external force. To stop abruptly, athletes need to engage their muscles, getting their shoes to grip the ground to stop themselves from continuing forward.
…
Down rock moves [emphasis mine] are performed while on the floor. Athletes may spin in circles with their head, back, elbows or shoulders touching the ground and their feet in the air. B-boys and B-girls rely heavily on an internal knowledge of physics to complete these moves.
Consider the physics of a backspin. A backspin occurs when the athlete is on their back with their feet lifted in the air, rotating around a specific area of their back.
Sitting on the floor, the athlete’s left foot stays in contact with the floor while they spread their right leg wide, gathering linear momentum [emphasis mine] as they sweep their right leg toward their left foot in a wide arc. Then, they release their left leg from contact with the ground and roll onto their back.
Now that only their back is in contact with the ground, the linear momentum from their leg turns into angular momentum [emphasis mine], which rotates the athlete around an axis that extends upward from their back’s contact point with the ground. This move turns magical when they bring their legs and arms inward, toward the axis of rotation. This principal is called conservation of angular momentum.
When an athlete brings their mass in more closely to the axis of rotation, the athlete’s rotations speed up. Extending their legs and arms once again and moving their mass away from the axis of rotation will cause the competitor to slow their rotation speed down. Once they slow down, they can transition to another move.
…
Freeze [emphasis mine] occurs when athletes come to a stop in a funky pose, often occurring in time to the music and in an upside-down position. To freeze effectively, the athlete must have full control over their center of mass, placing it right above the point of their body that is in contact with the floor. The center of mass is the average position of all the parts of an athlete, weighted according to their masses. The “balance point” where the entire mass of the athlete seems to be concentrated is the center of mass.
Athletes are most stable when their center of mass is as close to the ground as possible. You will see many competitors freeze with arms bent in an effort to lower their center of mass. This lowered center of mass reduces their distance from the floor and minimizes the tendency of their body to rock to one side or the other due to torque.
Torque is a twisting force [emphasis mine], like the force used to turn a wrench. The torque depends on two things: the amount of force you apply, and how far from the pivot point you apply the force. With an athlete’s center of mass closer to the ground, the athlete decreases the distance between the pivot point – the ground – and where the force of gravity is applied – the athlete’s center of mass.
Athletes need great strength to halt their motion mid-movement because they have to apply a force to resist the change in inertia.
…
It’s not just about the moves, clothing is a factor, Pope’s June 12, 2024 essay,
Many sports require a specific uniform. Breaking doesn’t – an athlete can wear whatever they want – but the right outfit will maximize their chance of success.
The athlete wants a shirt that minimizes the friction between their body and the ground during a spin. Lettering or images on the back of the shirt will add friction, which hinders an athlete’s ability to perform some down rock moves. An athlete may choose to wear long sleeves if they plan to slide on their elbows, as bare skin in contact with the floor provides more friction.
Athletes also have to think about the headgear they wear. …
There’s a bit more information about the breakdancing competition on the 2024 Olympics website.I cannot find a full list of athletes for the August 9, 2024 (B-Girls) and August 10, 2024 (B-Boys) competitions. There is this June 2, 2024 article (from the Associated Press) on the CBC (Canadian Broadcasting Corporation) online news website,
…
Victor Montalvo (B-boy Victor), United States: A breaker who describes himself as a student of old school b-boys from the founding era of hip-hop, the 30-year-old Montalvo, who is from Kissimmee, Florida, qualified for Paris by besting all other b-boys at the 2023 WDSF World Breaking Championship in Belgium.
Sunny Choi (B-girl Sunny), United States: The 35-year-old Choi, a cheerful Queens, New York-bred breaker, has long been an ambassador for b-girls globally. She qualified for the Paris Games with her win at the 2023 Pan American Games in Chile.
Philip Kim (B-boy Phil Wizard), Vancouver, Canada: Consistently ranked in the top three b-boys in the international breaking competitive community, Kim secured a spot for Paris when he came out on top at last year’s Pan American Games.
Dominika Banevič (B-girl Nicka), Lithuania: Banevič was the youngest in her category at last year’s WDSF World Breaking Championship, when she punched her ticket to Paris. Banevič turns 17 this month.
…
I thought the competition would be dominated by Americans and certainly wasn’t expecting to see a Lithuanian (Dominika Banevič or ‘Nicka’) listed as a competitor to watch. The Canadian (Philip Kim or ‘Phil Wizard’) is also a surprise. Who knew Vancouver was home to a leading B-boy?
Two comments: heat and mosquitoes (dengue and other fevers)
The organizers of the Paris 2024 Summer Olympics are to be complimented for their work towards making the games ‘green’ but that is a complex process.
Heat
For example, the Canadian Broadcasting Corporation (CBC) ran a news item on The National news telecast on June 17, 2024 (see telecast for embedded video clip) regarding concerns about and preparations for heat,
Preparing for extreme heat at the Paris Olympics
Paris Olympic organizers plan to make this summer’s games the greenest ever, but that includes offering less air conditioning to cut down on energy use. [emphases mine] As temperatures rise globally, some suggest the organizers should take extreme heat into account when awarding cities with the next big Olympic games.
Leading athletes are warning that intense heat at the Paris Olympics in July-August 2024 could lead to competitors collapsing and in worst case scenarios dying during the Games. [emphasis mine]
Eleven Olympians, including winners of five World Championships and six Olympic medals, have come together with climate scientists and leading heat physiologists Professor Mike Tipton and Dr Jo Corbett from the University of Portsmouth to unpack the serious threat extreme heat poses for athletes in a new Rings of Fire report.
Dr Corbett, Associate Professor of Environmental Physiology in the School of Sport, Health and Exercise Science at the University of Portsmouth, said: “A warming planet will present an additional challenge to athletes, which can adversely impact on their performance and diminish the sporting spectacle of the Olympic Games,. Hotter conditions also increase the potential for heat illness amongst all individuals exposed to high thermal stress, including officials and spectators, as well as athletes.”
“For athletes, from smaller performance-impacting issues like sleep disruption and last-minute changes to event timings, to exacerbated health impacts and heat related stress and injury, the consequences can be varied and wide-ranging. With global temperatures continuing to rise, climate change should increasingly be viewed as an existential threat to sport,” said Lord Sebastian Coe, President of World Athletics and four-time Olympic medallist.
The Tokyo Games became known as the “hottest in history,” with temperatures exceeding 34°C and humidity reaching nearly 70 per cent, leading to severe health risks for competitors. The Paris Games have the potential to surpass that, with climate change driven by the burning of fossil fuels contributing to record heat streaks during the past months.
2023 was the hottest year on record according to the EU’s [European Union] Copernicus Climate Change Service and 2024 has continued this streak. April 2024 was warmer globally than any previous April in the record books, said experts at Copernicus.
The Rings of Fire report discusses the deadly heatwave in France in 2003 – which killed over 14,000 people – and subsequent years of record-breaking temperatures, exceeding 42°C. It underscores the heightened risk of extreme heat during the Paris Olympics, especially considering the significant rise in the region’s temperatures since the city last hosted the Games a century ago.
Olympics: how many days does it take for mosquitoes in Greater Paris to transmit arboviruses, and what preventive measures are needed?
The number of imported cases of dengue in the Greater Paris region increased significantly in the first few months of 2024. In the run-up to the Olympic Games, with huge numbers of international visitors set to come to Paris – especially from endemic dengue countries –, we need to be vigilant. Scientists from the Institut Pasteur, in collaboration with the Regional Mosquito Control Agency (ARD) and the National Reference Center for Arboviruses (Inserm-Irba), have demonstrated that the tiger mosquito, now present in Greater Paris, is capable of transmitting five viruses (West Nile, chikungunya, Usutu, Zika and dengue) within different time frames ranging from 3 to 21 days, at an external temperature of 28°C. These results highlight the importance of stepping up surveillance of imported cases of arboviruses this summer. The study was published on May 16 [2024] in Eurosurveillance.
Between January 1 and April 19, 2024, 1,679 imported dengue cases were reported in mainland France, 13 times more than the number reported over the same period the previous year (source SPF). It is likely that this number will increase during the Olympic Games, as more people come to Paris from countries that are endemic regions for other arboviruses. The vector for dengue transmission is Aedes albopictus, more commonly known as the tiger mosquito. Arboviruses are transmitted when a female mosquito bites a virus carrier and ingests viral particles. One particular feature of arboviruses is that they can replicate in mosquitoes (unlike other viruses such as influenza, which are destroyed when ingested by mosquitoes). The viral particles multiply and spread within the mosquito, reaching the salivary glands in a few days. When the female mosquito bites another human, she injects the virus while taking her blood meal.
The tiger mosquito is now present in 78 départements in mainland France, and this together with other climate change-related factors is facilitating vector-borne transmission. Scientists from the Institut Pasteur’s Arboviruses and Insect Vectors Unit, in collaboration with the Regional Vector Control Agency (ARD) and the National Reference Center for Arboviruses (Inserm-Irba), therefore decided to analyze the ability of Aedes albopictus in Greater Paris to transmit five arboviruses at a temperature of 28°C, which is likely in the region at this time of year, and counted the number of days between initial infection and the possibility of the virus being transmitted through a further mosquito bite. As well as the dengue, chikungunya and Zika viruses, which we already know can be transmitted by the tiger mosquito, the scientists studied the Usutu and West Nile viruses, which are naturally transmitted by another mosquito species, Culex pipiens (known as the “common mosquito”). Culex pipiens mosquitoes transmit viruses to humans after feeding on birds, which act as viral reservoirs.
Tiger mosquito susceptible to five arboviruses
Working in a BSL3 laboratory, the scientists studied the ability of tiger mosquitoes to transmit these five viruses and determined the extrinsic incubation period required for the virus to reach the mosquito’s salivary glands in sufficient quantities to infect a human. At 28°C, West Nile virus needs three days before it can be transmitted to humans by mosquitoes. The incubation period is 3 to 7 days for chikungunya and Usutu, and 14 to 21 days for dengue and Zika.(1)
This information is crucial to gage the additional risk represented by the upcoming Olympic Games in Paris, which will see significant intermingling of populations combined with the return of travelers from endemic regions and a season conducive to mosquito proliferation. The findings can also be used to develop suitable control strategies.
“If a case of dengue is detected in the Greater Paris region, we now know that disinsection is required within 21 days. We can use these results to adjust our time frame for action and optimize our approach,” explains Anna-Bella Failloux, Head of the Institut Pasteur’s Arboviruses and Insect Vectors Unit, who led the study. “Depending on the temperatures we experience in and around Paris this summer, our findings will be essential for adjusting control measures as needed.”
What precautions should be taken in the run-up to the Olympics?
Health care professionals are trained to detect the symptoms of arboviruses if people indicate that they have recently been to an endemic country. The difficulty of surveillance is that many cases are asymptomatic: although dengue is a notifiable disease, up to 80% of cases lead to few or no symptoms. If a diagnosis of one of these diseases is confirmed, an inquiry is carried out by France’s Regional Health Agencies to determine where the individuals live or spent time in the days before the diagnosis, so that they can identify the areas where disinsection is needed. Anyone coming back from a foreign trip who experiences fever or aches is advised to see their family physician immediately and indicate the region they recently returned from.
“The alert system in France is effective. The applicable procedure and measures are already well established because France’s overseas territories in endemic regions have provided us with expertise in these diseases and know-how on epidemiological monitoring. My team is affiliated with the Arbo-France network, and we are contacted as soon as an arbovirus is detected,” continues Anna-Bella Failloux.
Since 2006, vector control measures in France have led to increased surveillance of tiger mosquitoes between May 1 and November 30 each year. This involves monitoring mosquito populations in areas where they are likely to be present; disease surveillance coordinated by Santé publique France based on reporting of viruses such as dengue, chikungunya and Zika by health care professionals; and raising awareness among people living in areas where mosquitoes have been reported. France’s Regional Health Agencies (ARS) and their operators are responsible for managing reporting, monitoring the presence of mosquitoes and taking rapid action in response to human cases of infection (vector control).
This research, which focused on mosquitoes in the Greater Paris region for this first study, will soon be extended to the rest of mainland France. Extrinsic incubation periods vary from one tiger mosquito population to the next because of differences in their genetic makeup and in local temperatures.
It is important to point out that for Usutu and West Nile, the ability of tiger mosquitoes to transmit these viruses to humans in real-life conditions, outside the experimental setting, is yet to be demonstrated, as they are naturally transmitted by Culex pipiens, another mosquito species.
I covered the movement of dengue fever and malaria into the Northern Hemisphere in an August 10, 2023 posting,
…
The World Health Organization (WHO) notes that dengue fever cases have increased exponentially since 2000 (from the March 17, 2023 version of the WHO’s “Dengue and severe dengue” fact sheet),
Global burden
The incidence of dengue has grown dramatically around the world in recent decades, with cases reported to WHO increased from 505 430 cases in 2000 to 5.2 million in 2019. A vast majority of cases are asymptomatic or mild and self-managed, and hence the actual numbers of dengue cases are under-reported. Many cases are also misdiagnosed as other febrile illnesses (1).
One modelling estimate indicates 390 million dengue virus infections per year of which 96 million manifest clinically (2). Another study on the prevalence of dengue estimates that 3.9 billion people are at risk of infection with dengue viruses.
The disease is now endemic in more than 100 countries in the WHO Regions of Africa, the Americas, the Eastern Mediterranean, South-East Asia and the Western Pacific. The Americas, South-East Asia and Western Pacific regions are the most seriously affected, with Asia representing around 70% of the global disease burden.
Dengue is spreading to new areas including Europe, [emphasis mine] and explosive outbreaks are occurring. Local transmission was reported for the first time in France and Croatia in 2010 [emphasis mine] and imported cases were detected in 3 other European countries.
…
The researchers from the University of Central Florida (UCF) couldn’t have known when they began their project to study mosquito bites and disease that Florida would register its first malaria cases in 20 years this summer, …
…
It seems pretty clear that there’s increasing concern about mosquito-borne diseases no matter where you live.
It looks like mega-sports events attract more visitors than you might expect.
Given that it was Earth Day yesterday (April 22, 2024), this seems like a good second act. From an April 18, 2024 news item on phys.org,
A geo-environmental scientist from Japan has composed a string quartet using sonified climate data. The 6-minute-long composition—titled “String Quartet No. 1 “Polar Energy Budget”—is based on over 30 years of satellite-collected climate data from the Arctic and Antarctic and aims to garner attention on how climate is driven by the input and output of energy at the poles.
…
This is a little longer video than I usually like to embed here at 6 mins. 29 secs. and it is one of the more aesthetically pleasing I’ve heard,
An April 18, 2024 Cell Press press release, which originated the news item, describes the data sonification work and its application to art/science projects, Note: A link has been removed,
“I strongly hope that this manuscript marks a significant turning point, transitioning from an era where only scientists handle data to one where artists can freely leverage data to craft their works,” writes author and composer Hiroto Nagai, a geo-environmental scientist at Rissho University.
Scientist-composer Hiroto Nagai asserts that music, as opposed to sound, evokes an emotional response and posits that “musification” (as opposed to sonification) of data requires some intervention by the composer to build tension and add dynamics. For this reason, Nagai was more liberal in adding a “human touch” compared to previous data-based musical compositions, aiming to meld sonification with traditional music composition.
“As a fundamental principle in music composition, it is necessary to combine temporal sequences from tension-building to resolution in various scales, from harmonic progressions to entire movements,” Nagai writes. “So far, there haven’t been published attempts and open discussion on sonification-based music composition, nor attempts to demonstrate the methodology required to intentionally affect the audience’s emotions with an artistic piece.”
To do this, he first used a program to sonify environmental data by assigning sounds to different data values. The publicly available data was collected from four polar locations between 1982 and 2022: an ice-core drilling site in the Greenland ice sheet, a satellite station in Norway’s Svalbard archipelago, and two Japanese-owned research stations in the Antarctic (Showa Station and Dome Fuji Station). For each of the sites, Nagai used data on monthly measurements of short- and longwave radiation, precipitation, surface temperature, and cloud thickness.
In the next step, he transformed this collection of sounds into a musical composition to be played by two violins, a viola, and a cello. This process involved many steps, including manipulating the pitch of different datapoints and assigning sections of data to the different instruments, overlaying passages created from different data, and introducing musical playing techniques such as pizzicato and staccato. Nagai also intervened in more artistic ways by introducing rhythm, deliberately removing certain sounds, and introducing handwritten (non-data derived) parts into the composition.
The quartet’s premiere live performance was shared at Waseda University in Tokyo in March 2023 followed by a panel discussion. A filmed performance of the piece by PRT Quartet, a Japanese professional string quartet, was also released on YouTube in March 2023.
“Upon listening, my initial reaction was like, ‘What is this?’ It felt like a typical contemporary piece,” said Haruka Sakuma, the professional violinist who performed 2nd violin. “The flow of the music was a bit hard to memorize quickly, and it was quite challenging at first.”
Nagai says that, in contrast to graphical representations of data, music elicits emotion before intellectual curiosity and suggests that using graphical and music representations of data in conjunction might be even more powerful.
“It grabs the audiences’ attention forcefully, while graphical representations require active and conscious recognition instead,” Nagai writes. “This reveals the potential for outreach in the Earth sciences through music.”
Throughout the festive season, countless individuals delight in the enchantment of ballet spectacles such as “The Nutcracker.” Though the stories of timeless performances are widely known, general audiences often miss the subtle narratives and emotions dancers seek to convey through body movements—and they miss even more when the narratives are not based on well-known stories.
This prompts the question: how can dance performances become more accessible for people who are not specialists? [emphasis mine]
Researchers think they have the answer, which involves putting dancers in sensor suits.
…
Putting dancers into sensor suits would not have been my first answer to that question.
Loughborough University academics are working with the English National Ballet and the University of Bremen [Germany] to develop software that will allow people to understand the deeper meanings of performances by watching annotated CGI [computer-generated imagery] videos of different dances.
Leading this endeavour is former professional ballerina Dr Arianna Maiorani, an expert in ‘Kinesemiotics – the study of meaning conveyed through movement – and the creator of the ‘Functional Grammar of Dance’ (FGD), a model that deciphers meaning from dance movements.
Dr Maiorani believes the FGD – which is informed by linguistics and semiotics (the study of sign-based communication) theories – can help create visualisations of ‘projections’ happening during dance performances to help people understand what the dance means.
“Projections are like speech bubbles made by movement”, explains Dr Maiorani, “They are used by dancers to convey messages and involve extending body parts towards significant areas within the performance space.
“For example, a dancer is moving towards a lake, painted on the backdrop of a stage. They extend an arm forward towards the lake and a leg backwards towards a stage prop representing a shed. The extended arm means they are going to lake, while the leg means they are coming from shed.
“Using the Functional Grammar of Dance, we can annotate dances –filling the projection speech bubbles with meaning that people can understand without having background knowledge of dance.”
Dr Maiorani and a team of computer science and technology experts – including Loughborough’s Professor Massimiliano Zecca, Dr Russell Lock, and Dr Chun Liu – have been creating CGI videos of English National Ballet dancers to use with the FGD.
This involved getting dancers – including First Soloist Junor Souza and First Artist Rebecca Blenkinsop – to perform individual movements and phrases while wearing sensors on their head, torso, and limbs.
Using the FGD, they decoded the conveyed meanings behind different movements and annotated the CGI videos accordingly.
The researchers are now investigating how these videos can facilitate engagement for audiences with varying levels of dance familiarity, aiming to eventually transform this research into software for the general public.
Of the ultimate goal for the research, Dr Maiorani said: “We hope that our work will improve our understanding of how we all communicate with our body movement, and that this will bring more people closer to the art of ballet.”
The Loughborough team worked with expertsfrom the University of Bremen including Professor John Bateman and Ms Dayana Markhabayeva, and experts from English National Ballet. The research was funded by the AHRC-DFG and supported by the LU Institute of Advanced Studies.
They are also looking at how the FDG can be used in performance and circus studies, as well as analysing character movements within video games to determine any gender biases.
You can find the Kinesemiotic Body here, where you’ll find this academic project description, Note: Links have been removed,
The Kinesemiotic Body is a joint research project funded by Deutsche Forschungsgemeinschaft (DFG) and Arts & Humanities Research Council (AHRC) in cooperation with the English National Ballet (ENB). The project brings together an interdisciplinary group of researchers with the aim of evaluating whether a description of dance discourse informed by multimodal discourse analysis and visualised through enriched videos can capture the way dance communicates through a flow of choreographed sequences in space, and whether this description can support the interpretative process of nonexpert audiences. The theoretical framework of the research project is based on an extended dynamic theory called segmented discourse representation theory (SDRT) and on the Functional Grammar of Dance Movement created by Project Investigator Maiorani. Project’s long-term goal is to develop an interdisciplinary area of research focusing on movement-based communication that can extend beyond the study of dance to other movement-based forms of communication and performance and foster the creation of partnerships between the academia and the institutions that host and promote such disciplines.
It’s been a while since I’ve had a piece that touches on multimodal discourse.
*March 20, 2024 1630: Head changed from “How can ballet performances become more accessible? Put on a sensor suit on the dancers*” to “How can ballet performances become more accessible? Put a sensor suit on the dancers”
“Geist’s handmade robots made movements as simple as a ping-pong table flapping or coiling up to shoot, but the contact microphones and sound processing documented a percussive, electro, mini symphony.” – Austin Chronicle
There’s mystery in Geist’s music. It’s heady, ASMR-infused dance music — there’s something special happening here, but it’s not immediately clear what.” –– Engadget
“For Geist, the instruments represent not just a new way to make music, but a new way to experience it. The instruments each have a visual component, which makes it possible to watch the sounds as Geist creates them.” – Wired
The performance is fascinating and bewildering, but the music itself provokes one to want to dance in a dimly lit nightclub.” – MixMag
“It doesn’t get geekier than this” – New York Times.
“These robots play electrifying techno music.”– CNET
German sonic artist Moritz Simon Geist will showcase his latest work “Don’t Look At Me” at the Central Presbyterian Church March 15th. With his new robotic instrument Geist is presenting a contemplative ambient performance around the themes attention economy, spatial sound and sine waves. “Don’t Look at Me” was developed as an interactive installation in 2023 in South Korea and uses resonator tubes, light, and vibrato elements to create a fascinating ever-changing soundscape. For the SXSW event, Geist is showcasing his latest compositions with this instrument.
Moritz is returning to SXSW 2024 with a handful of performances and robotic interventions. His works and performances revolve around the questions: How do machines, algorithms and humans interact? How can we find a playful way to interact with non-human music players? And can robots play techno?
Moritz and his team have been developing sound machines and kinetic installations for more than 10 years already, and his works and performances have been shown at festivals and stages around the world. For this SXSW, Moritz is bringing both performances for several techno shows as well as a contemplative ambient show at the Central Presbyterian Church on March 15th [2024]. Here he will present compositions for his latest work “Don’t Look At Me”.
Geist is well known for his performances and self-developed instruments using robots and mechanics as the main sound source. His works have been shown internationally and have been awarded numerous awards in the last years.
Of his return to SXSW, Moritz says, “SXSW 2024 is only the second time I’m playing ‘Don’t Look at Me’ with my new robotic instrument! Playing with a new instrument this complex is always like this first walk outside with a toddler: You never know where you end up: manic laughter at the playground or existential crying in the supermarket.” Regarding his ongoing fascination with machines as instruments, Moritz muses, “When I was younger, I played in a punk rock band, but at some point, I got really annoyed by my fellow musicians, so I swore to myself that I would never play with human musicians again. Jokes aside, I think robotics is a wonderful tool to give a body back to the normally electronically generated sound of techno. The main reason why I’m using robotics as a musical instrument is that the computer is, in my opinion, not the best tool for creating electronic sounds.”
Should you be considering a ticket purchase for the April 15 – 19, 2024 TED event in Vancouver, the cheap ($6250 [USD?]) seats are sold out. Tickets at the next level up are $12,500 and after that, they are $25,000. Should you have more money to burn, you are of course free to become a patron.
A look at the 2024 list of speakers will tell you it is an eclectic list with a significant proportion of speakers focused on the topic of artificial intelligence/robotics.
The three speakers being highlighted here are not focused on artificial intelligence/robotics and have nothing in common with each other (topic wise).
First up, Bill Ackman, a very, very wealthy man, has a messy backstory. Here’s the short description followed by the long one,
Bill Ackman
Founder and CEO, Pershing Square Capital Management
TALK TOPIC
The activist investor playbook (in conversation with Alison Taylor)
Bill Ackman is founder and CEO of the hedge fund Pershing Square Capital Management and a storied activist investor. He is the chairman of Howard Hughes Holdings, a real estate development and management company based in Texas, and a member of the board of Universal Music Group. He is also the co-trustee of The Pershing Square Foundation, a family foundation supporting those tackling important social issues worldwide. At TED2024, Ackman will be interviewed by business professor Alison Taylor.
Mr. Ackman is not entirely self-made, from his Wikipedia entry, Note: Links have been removed,
…
Ackman was raised in Chappaqua, New York, the son of Ronnie I. (née Posner) and Lawrence David Ackman, the former chairman of a New York real estate financing firm, Ackman-Ziff Real Estate Group. [emphases mine] [10][11][12] He is of Ashkenazi Jewish descent.[13][14][15] In 1988, he received a Bachelor of Arts degree magna cum laude in social studies from Harvard College. His thesis was titled Scaling the Ivy Wall: The Jewish and Asian American Experience in Harvard Admissions.[16] In 1992, he received a Master of Business Administration degree from Harvard Business School.[17]
As for the messiness, there’s this from from his Wikipedia entry, Note 1: Links have been removed, Note 2: All emphases are mine,
…
In October 2023, following the onset of the 2023 Israel–Hamas war after the October 7 attack, several Harvard undergraduate student groups signed a letter condemning the Israeli state. The statement held the “Israeli regime entirely responsible for all unfolding violence,” declared that millions of Palestinians in Gaza have been “forced to live in an open-air prison,” and called on Harvard to “take action to stop the ongoing annihilation of Palestinians.”
In response, Ackman called for the publication of the names of all students involved in signing the letter so that he could ensure his company and others do not “inadvertently hire” any of the signatories. Ackman posted, “One should not be able to hide behind a corporate shield when issuing statements supporting the actions of terrorists,” and the names “should be made public so their views are publicly known”.[83] Ackman’s stance was supported by other CEOs such as Jonathan Neman, David Duel and Jake Wurzak.[84] Former Harvard president Lawrence Summers, though agreeing with Ackman on the need to look at employees’ political views, called Ackman’s request for a list of names “the stuff of Joe McCarthy”.[85]
In November 2023, Ackman defended Elon Musk after the latter expressed agreement with a user who asserted that “Jewish communities” supported “hordes of minorities flooding their country” and pushed “dialectical hatred against whites”, describing it as “shoot from the hip commentary”.[86][87]
Ackman also engaged in a campaign to remove Claudine Gay from her position as Harvard’s president. He argued that her response to antisemitism was insufficient and amplified allegations by conservative media that she engaged in plagiarism.[88][89]
On January 3, 2024, Business Insider published an article alleging that Ackman’s wife, Neri Oxman*, plagiarized portions of her dissertation. A day after the article’s publication, Oxman apologized for plagiarizing portions of her dissertation.[90][91]Ackman, in response to the article, pledged to conduct a plagiarism review of all MIT [Massachusetts Institute of Technology] faculty, including MIT’s president, Sally Kornbluth, who, alongside Gay, attended a congressional hearing on antisemitism in higher education.[90]
…
In 2018, Ackman became engaged to Neri Oxman.[94] In January 2019, Oxman and Ackman married at the Central Synagogue in Manhattan,[13] and they had their first child together in spring 2019.[95] In August 2019, Ackman wrote to MIT Media Lab director Joi Ito to discourage him from mentioning Oxman when discussing convicted sex offender Jeffrey Epstein, who had donated $125,000 to Oxman’s lab.[96]
…
*There are more complications where Neri Oxman is concerned. She is an Israeli-American who came to the US in 2005 where she commenced PhD studies at MIT. After graduation she became a professor at MIT, a position she has left to found Oxman Architects in 2020. Despite the company name, the business seems more focused on art installations and experimental work. (sourced from Oxman’s Wikipedia entry)*
I wonder how Mr. Ackman characterizes the difference between activism and actions, which result in the destruction of other people’s careers because you disagree with them.
Ackman’s interviewer, Alison Taylor is an interesting choice given that she is a business professor at New York University’s Stern School of Business and author of a February 6, 2024 article (Corporate Advocacy in a Time of Social Outrage; Businesses can’t weigh in on every issue that employees care about. But they can create a culture of open dialogue and ethical transparency [emphasis mine]) for the Harvard Business Review, The article is excerpted from Taylor’s book, “Higher Ground: How Business Can Do the Right Thing in a Turbulent World,” published by Harvard Business Review Press, Feb. 13 2024.
This talk looks like an attempt to rehabilitate Mr. Ackman’s reputation while giving Ms. Taylor publicity for her newly published book in an environment where neither is likely to be strongly challenged.
The two speakers I’m most excited about are Tammy Ma, fusion physicist, and Brian Stokes Mitchell, actor and singer.
As there is a local company known as General Fusion, the topic of fusion energy has been covered here a number of times including a relevant to Ms. Ma’s TED appearance December 13, 2022 posting, “US announces fusion energy breakthrough.”
Tammy Ma is the lead for the Inertial Fusion Energy Initiative at Lawrence Livermore National Laboratory, where she creates miniature stars in order to develop ways to harness their power as a clean, limitless energy source for the future. She was a member of the team at the National Ignition Facility that achieved fusion ignition in December 2022 — a reaction that, for the first time in history, released more energy than it consumed. [emphasis mine] A fellow of the American Physical Society, she serves on the Fusion Energy Sciences Advisory Committee, advising the US Department of Energy’s Office of Science on issues related to fusion energy and plasma research.
Brian Stokes Mitchell is a Tony-winning actor, singer and music producer. A veteran of 11 Broadway shows and a member of the Theatre Hall of Fame, he has performed iconic roles including Frasier’s snarky upstairs neighbor Cam, Hillary’s bungie-jumping boyfriend on the Fresh Prince of Bel-Air, The Prince of Egypt (singing “Through Heaven’s Eyes”) and, most recently, Stanley Townsend in the 2024 feature film Shirley with Regina King. He has performed twice at the White House, serves on the board of Americans for the Arts and is one of the founding members of Black Theatre United.
Stokes Mitchell performed at the Library of Congress Gershwin Prize for Popular Song ceremony in 2017 when Tony Bennett was the honoree. The performances were top notch but something happened when Stokes Mitchell took the stage for his first number. The audience was electrified as was every performer who came after him, some of them giving their second performance of the evening. There is no guarantee that Mr. Stoke Mitchell can do that at his 2024 TED talk but that is the blessing and the curse of live performances.
I can’t resist the dance. First, the submission for the American Association for the Advancement of Science (AAAS) Dance Your Ph.D. competition on Youtube and then, the video,
Science and Artistic Rationale:
In our 2024 AAAS [American Association for the Advancement of Science]/Science Magazine Dance Your Ph.D. Contest submission, we explore kangaroo behavior through dance and promote diversity. The performance, titled “Kangaroo Time”, is based on my [Weliton Menário Costa] Ph.D. field research at Wilsons Promontory National Park, Australia, conducted at the Australian National University in collaboration with the University of Sherbrooke, Canada. My thesis, “Personality, Social Environment, and Maternal-Level Effects: Insights from a Wild Kangaroo Population”, is accessible here: https://openresearch-repository.anu.e…. I am honored to have worked under the expert supervision of Prof Loeske Kruuk and Prof Marco Festa-Bianchet. We delve into animal personality, defined as consistent behavior that distinguishes individuals, and social plasticity, the extent to which behavior changes in response to the social environment. We explain how both personality traits and social environment influence kangaroo behavior, including responses to stimuli like a remote-controlled car, and we demonstrate the role of personality on social dynamics. The diversity of the dancers, ranging from classical to urban styles, reflects the variations in kangaroo personality, e.g. bolder to shier. These dancers, unchoreographed, improvise their movements, responding to cues and interacting with each other. The dance thus serves as a visual narrative, capturing how kangaroos react based not only on their instincts but also on their social context. This approach demonstrates that kangaroo decisions are a complex interplay of intrinsic tendencies (personality) and social awareness leading to adjustment (plasticity). I hope this performance makes the scientific concepts both accessible and engaging for the audience. I completed my Ph.D. at the Australian National University, Canberra, in 2021, and worked as a Research Officer. Now, I’m pursuing music, having released my debut EP “Yours Academically, Dr. WELI” and the single “Kangaroo Time (Club Edit),” featured in the video. This project represents a fusion of my scientific work and my foray into performance and creative arts, combining animal behavior with artistic expression.
Dr Weliton Menário Costa, a PhD graduate from The Australian National University (ANU), has been announced the overall winner of the 2024 global Dance Your PhD contest after wowing judges with his wickedly creative and quirky dance submission, ‘Kangaroo Time (Club Edit)’.
One of the world’s leading researchers in kangaroo behaviour, he is the first person from ANU to win the Dance Your PhD competition, and just the fourth person from an Australian institution to do so since its inception in 2008. Better known as ‘WELI’, the singer-songwriter, creator and biologist weaves together a funky beat, original songwriting, drag queens and Brazilian funk dancers to create something that’s both entertaining and educational; the final product is something that looks like it’s been plucked straight out of The Adventures of Priscilla, Queen of the Desert.
WELI stars in and directs the music video, which draws on his Brazilian roots to illustrate the distinct and varying personality traits of kangaroos using the powerful mediums of song and dance. The original and club mixes have been played more than 7,000 times on Spotify, and the song has already featured in clubs, festivals, dance classes and radio stations.
“Winning this contest is the equivalent of winning Eurovision for me. I think it not only shows the incredible might of the research conducted here in Australia, but also how creative we are as a nation. Even us scientists!” he said.
Reflecting on the success of ‘Kangaroo Time’ and the global mark it’s made on the scientific community and further afield, WELI notes that at the core of his video is a message of inclusivity and diversity – something he hopes will be one of the main takeaways that viewers hold onto.
“As a queer immigrant from a linguistically diverse developing country, I understand the challenges of feeling disconnected in certain environments,” he said.
“One of the main messages I wanted to convey through this piece of work is that differences lead to diversity, and this is evident throughout the entire video. It’s evident with the different dancers that herald from various cultures and backgrounds.
“I think it’s extremely important that we celebrate diversity and creating a video explaining kangaroo personality was an excellent medium for me to do this.”
In 2017, WELI relocated from his home country of Brazil to Canberra to undertake a PhD in animal behaviour at the ANU Research School of Biology, which he finished in 2021.
Armed with a remote-controlled car, the ANU graduate spent more than three years studying the spectrum of behavioural differences of a group of more than 300 wild eastern grey kangaroos in Victoria.
“We found that kangaroos like to socialise in groups but prefer smaller social circles. Like humans, kangaroo personalities manifest early in life. Mothers and their offspring have similar personalities, and so do siblings,” he said.
“Kangaroos are very socially aware and will adjust their behaviour based off cues from other roos.
“The diversity of the dancers, from classical ballet to twerking, and the urban street dancers to the Brazilian dancing styles, reflect the variations in kangaroo personality across the full spectrum, from bolder types to shier roos.”
On the surface, ‘Kangaroo Time’ is an effective display of science communication that expertly utilises the creative arts medium. It’s engaging, quirky and niche. But WELI admits the decision to incorporate the words kangaroo time into the video’s title acts as a double entendre of sorts.
“The use of kangaroo time is not just to explain my research studying kangaroo personality – it’s also about my time living and studying in Australia as a whole,” he said.
“It’s been a time of exploration for me, a time where I’ve been able to reconnect with and grow my passion for music, dance and the creative arts.
“Working on this project was the spark I needed to encourage me to take that next step with my music. It’s made me realise I want to focus on my music for the next little while and put my scientific career on the backburner.
“Speaking of which, I’m about to release a new EP called ‘Yours Academically, Dr WELI’!”
WELI will continue working at ANU as a Visiting Fellow until early 2025.
The Dance Your PhD contest challenges researchers from across the globe to explain their PhD in a simple, effective and engaging way – bridging the gap between the scientific community and the general public.
There’s more about WELI in George Booth’s February 27, 2024 article (‘It’s like winning Eurovision’: an ANU graduate’s journey from kangaroo whisperer to global dance sensation) for ANU Reporter.
It was nice to stumble across a ‘Dance your PhD contest’ story. Unfortunately, that doesn’t happen often. I have two previous postings (from 2011and 2018) about the contest. Strangely, both are Canadian-centric,
I stumbled across this image in a December 20, 2023 article by Dorothy Woodend for The Tyee where she is the culture editor,
Instead of new material goods this holiday season, I’m searching for something more elusive and ultimately sustaining. And it may help us grow our appreciation for the natural world and its mysteries. Illustrations for The Tyee by Dorothy Woodend.
À propos given the name for this blog and the time of year. Thank you, Ms. Woodend!
I try not to do too many of these stories since the focus for this blog is new and emerging science and technology but I can’t resist including these frog stories (and one dog story). Plus, there may be some tap dancing.
A new (!) fanged frog in Indonesia
This is not the tiny Indonesian fanged frog but it does show you what a fanged frog looks like, from the December 21, 2023 “What Are Fanged Frogs?” posting on the Vajiram and Ravi IAS Study Center website,
Not an Indonesian fanged frog. h/t Vajiram and Ravi IAS Study Center [downloaded from https://vajiramias.com/current-affairs/what-are-fanged-frogs/658416a9f0e178517404afda/]
If you don’t have much time and are interested in the latest fanged frog, check out the December 21, 2023 “What Are Fanged Frogs?” posting as they have relevant information in bullet point form.
In general, frogs’ teeth aren’t anything to write home about — they look like pointy little pinpricks lining the upper jaw. But one group of stream-dwelling frogs in Southeast Asia has a strange adaptation: two bony “fangs” jutting out of their lower jawbone. They use these fangs to battle with each other over territory and mates, and sometimes even to hunt tough-shelled prey like giant centipedes and crabs. In a new study, published in the journal PLOS [Public Library of Science] ONE, researchers have described a new species of fanged frog: the smallest one ever discovered.
“This new species is tiny compared to other fanged frogs on the island where it was found, about the size of a quarter,” says Jeff Frederick, a postdoctoral researcher at the Field Museum in Chicago and the study’s lead author, who conducted the research as a doctoral candidate at the University of California, Berkeley.
“Many frogs in this genus are giant, weighing up to two pounds. At the large end, this new species weighs about the same as a dime.”
In collaboration with the Bogor Zoology Museum, a team from the McGuire Lab at Berkeley found the frogs on Sulawesi, a rugged, mountainous island that makes up part of Indonesia. “It’s a giant island with a vast network of mountains, volcanoes, lowland rainforest, and cloud forests up in the mountains. The presence of all these different habitats mean that the magnitude of biodiversity across many plants and animals we find there is unreal – rivaling places like the Amazon,” says Frederick.
While trekking through the jungle, members of the joint US-Indonesia amphibian and reptile research team noticed something unexpected on the leaves of tree saplings and moss-covered boulders: nests of frog eggs.
Frogs are amphibians, and they lay eggs that are encapsulated by jelly, rather than a hard, protective shell. To keep their eggs from drying out, most amphibians lay their eggs in water. To the research team’s surprise, they kept spotting the terrestrial egg masses on leaves and mossy boulders several feet above the ground. Shortly after, they began to see the small, brown frogs themselves.
“Normally when we’re looking for frogs, we’re scanning the margins of stream banks or wading through streams to spot them directly in the water,” Frederick says. “After repeatedly monitoring the nests though, the team started to find attending frogs sitting on leaves hugging their little nests.” This close contact with their eggs allows the frog parents to coat the eggs with compounds that keep them moist and free from bacterial and fungal contamination.
Closer examination of the amphibian parents revealed not only that they were tiny members of the fanged frog family, complete with barely-visible fangs, but that the frogs caring for the clutches of eggs were all male. “Male egg guarding behavior isn’t totally unknown across all frogs, but it’s rather uncommon,” says Frederick.
Frederick and his colleagues hypothesize that the frogs’ unusual reproductive behaviors might also relate to their smaller-than-usual fangs. Some of the frogs’ relatives have bigger fangs, which help them ward off competition for spots along the river to lay their eggs in the water. Since these frogs evolved a way to lay their eggs away from the water, they may have lost the need for such big imposing fangs. (The scientific name for the new species is Limnonectes phyllofolia; phyllofolia means “leaf-nester.”)
“It’s fascinating that on every subsequent expedition to Sulawesi, we’re still discovering new and diverse reproductive modes,” says Frederick. “Our findings also underscore the importance of conserving these very special tropical habitats. Most of the animals that live in places like Sulawesi are quite unique, and habitat destruction is an ever-looming conservation issue for preserving the hyper-diversity of species we find there. Learning about animals like these frogs that are found nowhere else on Earth helps make the case for protecting these valuable ecosystems.”
Bob Yirka in a November 28, 2023 article published on phys.org describes research into some unusual mosquito behaviour, Note: Links have been removed,
A pair of environmental and life scientists, one with the University of Newcastle, in Australia, the other the German Center for Integrative Biodiversity Research, has found that one species of mosquito native to Australia targets only the noses of frogs for feeding. In their paper published in the journal Ethology, John Gould and Jose Valdez describe their three-year study of frogs and Mimomyia elegans, a species of mosquito native to Australia
As part of their study of frogs living in a pond on Kooragang Island, the pair took a lot of photographs of the amphibians in their native environment. It was upon returning to their lab and laying out the photographs that they noticed something unique—any mosquito feeding on a frog’s blood was always atop its nose. This spot, they noted, seemed precarious, as mosquitos are part of the frog diet.
A species of Australian mosquito, Mimomyia elegans, appears to have a predilection for the nostrils of tree frogs, according to new observations published in the journal Ethology. (John Gould) [downloaded from https://www.cbc.ca/radio/asithappens/mosquitoes-on-frog-noses-1.7058168]
Sheena Goodyear posted a December 13, 2023 article containing an embedded Canadian Broadcasting Corporation (CBC) As It Happens radio programme audio file of an interview with researcher John Gould, Note: A link has been removed,
…
So why risk landing on the nose of something that wants to eat you, when there are so many other targets walking around full of delicious blood?
“In all of the occasions that we observed, it seems as if the frog didn’t realize that it had a mosquito on top of it…. They were actually quite happy, just sitting idly, while these mosquitoes were feeding on them,” Gould said.
“So it might be that the area between the eyes is a bit of a blind spot for the frogs.”
It’s also something of a sneak attack by the mosquitoes.
“Some of the mosquitoes first initially landed on the backs of the frogs,” Gould said. “They might avoid being eaten by the frogs by landing away from the head and then walking up to the nostrils to feed.
It’s a plausible theory, says amphibian expert Lea Randall, a Calgary Zoo and Wilder Institute ecologist who wasn’t involved in the research.
“Frogs have amazing vision, and any mosquito that approached from the front would likely end up as a tasty snack for a frog,” she said.
“Landing on the back and making your way undetected to the nostrils is a good strategy.”
And the reward may just be worth the risk.
“I could also see the nostrils as being a good place to feed as the skin is very thin and highly vascularized, and thus provides a ready source of blood for a hungry mosquito,” Randall said.
…
Gould admits his friends and loved ones have likely grown weary of hearing him “talking about frogs and nostrils.” But for him, it’s more than a highly specific scientific obsession; it’s about protecting frogs.
His earlier research has suggested that mosquitoes may be a vector for transmitting amphibian chytrid fungus, which is responsible for declines in frog populations worldwide.
That’s why he had been amassing photos of frogs and mosquitoes in the first place.
“Now that we know where the mosquito is more likely to land, it might give us a better impression about how the infection spreads along the skin of the frog,” he said.
…
But more work needs to be done. His frog nostril research, while it encompasses three years’ of fieldwork, is a natural history observation, not a laboratory study with controlled variables.
“It would be quite interesting to know whether this particular type of mosquito is transferring the chytrid fungus, and also how the fungus spreads once the mosquito has landed,” Gould said.
…
Gould describes himself as a ‘vampire scientist’ who stays up all night studying nocturnal tree frogs in Australia. ‘They’re so soft and timid a lot of the times,’ he said. ‘They’re quite a special little, little animal.’ (Submitted by John Gould)
Vampire scientist, eh? You can find the embedded 6 mins. 28 secs. audio file in the December 13, 2023 article on the CBC website.
Here’s a link to and a citation for the research paper,
Caption: Shira, 6 -year-old, female, Border Collie mix, that was rescued at a young age. She lives in New Jersey, and knows the names of 125 toys. Credit Photo: Tres Hanley-Millman
All dog owners think that their pups are special. Science now has documented that some rare dogs are even more special. They have a talent for learning hundreds of names of dog toys. Due to the extreme rarity of this phenomenon, until recently, very little was known about these dogs, as most of the studies that documented this ability included only a small sample of one or two dogs.
In a previous study, the scientists found that only very few dogs could learn the names of object, mostly dog toys. The researchers wanted to understand this phenomenon better and, so they needed to find more dogs with this ability. But finding dogs with this rare talent was a challenge! For five years, the researchers tirelessly searched across the world for these unique Gifted Word Learner (GWL) dogs. As part of this search, in 2020, they launched a social media campaign and broadcasted their experiments with GWL dogs, in the hope of finding more GWL dogs.
“This was a citizen science project” explains Dr. ClaudiaFugazza, team leader. “When a dog owner told us they thought their dog knew toy names, we gave them instructions on how to self-test their dog and asked them to send us the video of the test”. The researchers then held an online meeting with the owners to test the dog’s vocabulary under controlled conditions and, if the dog showed he knew the names of his toys, the researchers asked the owners to fill out a questionnaire. “In the questionnaire, we asked the owners about their dog’s life experience, their own experience in raising and training dogs, and about the process by which the dog came to learn the names of his/her toys” explains Dr. AndreaSommese, co-author.
The researchers found 41 dogs from 9 different countries: the US, the UK, Brazil, Canada, Norway, Netherlands, Spain, Portugal and Hungary. Most of the previous studies on this topic included Border collies. So, while object label learning is very rare even in Border collies, it was not surprising that many of the dogs participating in the current study (56%) belonged to this breed. However, the study documented the ability to learn toy names in a few dogs from non-working breeds, such as two Pomeranians, one Pekingese, one Shih Tzu, a Corgi, a Poodle, and a few mixed breeds.
“Surprisingly, most owners reported that they did not intentionally teach their dogs toy names, but rather that the dogs just seemed to spontaneously pick up the toy names during unstructured play sessions,” says ShanyDror, lead researcher. In addition, the vast majority of owners participating in the study had no professional background in dog training and the researchers found no correlations between the owners’ level of experience in handling and training dogs, and the dogs’ ability to select the correct toys when hearing its names.
“In our previous studies we have shown that GWL dogs learn new object names very fast” explains Dror. “So, it is not surprising that when we conducted the test with the dogs, the average number of toys known by the dogs was 29, but when we published the results, more than 50% of the owners reported that their dogs had already acquired a vocabulary of over 100 toy names”.
“Because GWL dogs are so rare, until now there were only anecdotes about their background” explains Prof. AdamMiklósi, Head of the Ethology Department at ELTE and co-author. “The rare ability to learn object names is the first documented case of talent in a non-human species. The relatively large sample of dogs documented in this study, helps us to identify the common characteristics that are shared among these dogs, and brings us one step closer in the quest of understanding their unique ability”.
This research is part of the Genius Dog Challenge research project which aims to understand the unique talent that Gifted Word Learner dogs have. The researchers encourage dog owners who believe their dogs know multiple toy names, to contact them via the Genius Dog Challenge website.
Here’s a link to and a citation for the research paper,
The End with an origin story NORAD’s Santa Tracker and some tap dancing
At the height of Cold War tensions between the US and Russia, the red phone (to be used only by the US president or a four star genera) rang at the North American Aerospace Defense Command (NORAD). Before the conversation ended, the colonel in charge had driven a child to tears and put in motion the start of a beloved Christmas tradition.
There’s a short version and a long version and if you want all the details read both,
“Irish Dancers Face Off Against American Tap Dancers To Deliver EPIC Performance!” is an embedded 8 mins. dance off video (scroll down past a few paragraphs) in Erin Perri’s September 1, 2017 posting for themix.net. And, if you scroll further down to the bottom of Perri’s post, you’ll see an embedded video of Sammy Davis Jr.
…
In the video …, along with his dad and uncle, Sammy performs at an unbelievable pace. In the last 30 seconds of this routine, Sammy demonstrates more talent than other dancers are able to cram into a lifelong career! You can see these three were breakdancing long before it became a thing in the 1980s and they did it wearing tap shoes!
The World Cultural Council is soliciting nominations for two awards, one for science and one for the arts. Before giving a few details about the call for awards nominations, here’s a few about the organization, from the World Cultural Council’s About Us webpage,
The World Cultural Council is a non-profit international organization, founded in Mexico, whose objectives are to promote culture, values and goodwill throughout the world. One of the means by which it strives to do so is by granting the Albert Einstein World Award of Science, the José Vasconcelos World Award of Education and the Leonardo da Vinci World Award of Arts to outstanding personalities whose work has had a significantly positive impact on the cultural legacy of mankind. The members of the Council include several Nobel laureates.
It was in 1982, on the inspiration of 124 distinguished scholars, university presidents and organization executives from the world over, that the WCC was founded and, in 1984, the first Award Ceremony took place.
The World Cultural Council is composed of a directing body headed by an Honorary President, Vice-president, Executive Director, Secretary General and an Interdisciplinary Committee made up of outstanding scientific, artistic and educational personalities.
The Interdisciplinary Committee evaluates annually the candidates nominated to participate in the “Albert Einstein“, the “José Vasconcelos” and the “Leonardo da Vinci” Awards
The World Cultural Council (WCC) is now accepting nominations for the “Albert Einstein” World Award of Science and the “Leonardo da Vinci” World Awards of Arts.
Nominations must be submitted by 26 January, 2024. NOMINATE NOW: To nominate online or for further details of the awards visit the WCC website Nominations page.
Ideal candidates for the “Albert Einstein” World Award of Science are scientists whose achievements can serve as an inspiration for future generations. This award is granted each year. Consideration will be given to individuals or institutions in one of the Life Sciences, such as Neuroscience, Earth Science, Biology, Biochemistry, Medicine or Chemistry; or in one of the Natural Sciences such as Physics, Mathematics or Astronomy.
A candidate for the “Leonardo da Vinci” World Awards of Arts should be a renowned artist, sculptor, painter, writer, poet, cinematographer, photographer, architect, musician or other performing, creative or visionary artist, whose work constitutes a significant contribution to the artistic legacy of the world. The prize is awarded every second year.
Apart from evaluating the nominee´s breakthrough achievements, the jury will also assess the service which each has made to mankind and his/her qualities as a role model who inspires future generations to contribute to a better world.
The World Cultural Council is an international organization that promotes cultural, educational, and scientific exchanges among individuals, universities and institutions. Its mission is to foster peace, social justice, and sustainable development through the advancement of culture, science, and education.
The WCC accomplishes its mission primarily through the recognition of outstanding individuals and their achievements in the fields of science, education, and culture. Every year the WCC awards the Albert Einstein World Award of Science. In addition, in even years it presents the Leonardo da Vinci World Award of Arts and in odd years it grants the José Vasconcelos World Award of Education. The annual WCC award ceremony is hosted each autumn by a different institute across the globe providing a platform for cultural exchange and dialogue.
The 39th WCC Award Ceremony will be hosted by take place at the McGill University, Montreal, Canada, 22-23 October, 2024. For further information on the 2024 Award Ceremony please visit:https://www.mcgill.ca/world-cultural-council-2024/
Candidates for the awards may be selected and proposed only through the following authorities in any country:
* The President or the Prime Minister of a country * Ministers of Science and Technology or Culture and Education * Directors of institutes and organizations * University leaders: Rector, President, Provost or Dean * Members of the World Cultural Council
…
Good luck!
You can find out more about the World Cultural Council here and McGill University has produced a welcome video for the 39th WCC Award Ceremony talking place October 22-23, 2024,
*November 30, 2023 12:16 pm PT: Headline shortened from “Call for Nominations for [the] 2024 [for the] “Albert Einstein” World Award of Science and [the] “Leonardo da Vinci” World Award of Arts”, i.e., words in square brackets removed.
I got a notice (via email) from Toronto’s ArtSci Salon about Sensoria: The Art and Science of Our Senses 2022. This looks interesting and it is confusing as to which site is hosting which installations/art pieces. It starts nice and easy and then … Here’s more from the notice,
Sensoria: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada.
Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition component is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong. Czegledy brings together an international network of artists and scholars who explore the intersection of art, science and the senses. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The event will be complemented by a workshop by Csenge Kolozsvari.
Kolozsvari brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynski [I believe this is the correct spellling: Ryszard Kluszczyński], Chris Salter and David Howse, as well as roundtables between artists and scientists, and performances by Csenge Kolozsvari and York University’s DisPerSions Lab (led by Doug Van Nort). All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
Now for details about the Gdansk portion, from the LAZNIA Centre for Contemporary Art (LCCA) event page, (Note 1: This is quite lengthy. Note 2: If you follow the link to the LCCA event page, you may need to click the English language option [upper right hand corner of the screen] and, then, scroll down to click MORE at the bottom of the left text column.)
Dates of the exhibition: 16 September–30 October 2022 Location: CCA Laznia 1 oraz CCA Laznia 2 Curator: Nina Czegledy
Exhibition: September 16-October 30, 2022 Places: Laznia 1 ( Jaskółcza 1) and Laznia 2 (Strajku Dokerów 5), Gdańsk
Opening: September 16, 2022 – time. 19.00 (Laznia 1, Dolne Miasto) – time. 20.30 (Laznia 2, Nowy Port)
During the vernissage, we provide transport by bus from Łaźnia 1 to Łaźnia 2 and back.
Artists: Guy van Belle | Karolina Hałatek | Csenge Kolozsvari | Hilda Kozari | Agnes Meyer-Brandis | Gayil Nalls | Raewyn Turner and Brian Harris | Artur Żmijewski
Sensoria, The Art & Science of Our Senses
Curatorial Statement
Nina Czegledy
Introduction
Sensoria, The Art & Science of Our Senses a multi-site project is focused on multisensory perception in the arts and the sciences. The cross-disciplinary initiative explores our sensory world through scientific, social, cultural and scholastic interpretations. The exhibitions, performances and the symposium link LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland (1) and Sensorium: Centre for Digital Art and Technology at York University, Toronto, Canada (2) in a cross-institutional and inter-cultural collaboration. The participation of international artists in the exhibition and symposium span the globe from New Zealand to Finland to the Czech Republic and reflect on the effects of recent ecological and socio-cultural alterations on sensory organisms in humans and other species.
We perceive the world through our senses, yet for a long time the senses were treated as independent perceptual modules. Contemporary research confirmed that our senses are fundamentally interrelated and interact with each other (3). Moreover, our perception of visual, auditory or tactile events change as a result of information exchange between receptors (4). The impact of radical changes such as the constraints of the COVID 19 Pandemic caused extensive psycho-emotional stress and has affected every aspect of our life from geopolitics to economies to the arts and sciences including sensory awareness (5). Considering implications of COVID-19 for the human senses Derek Victor Byrne noted that initial work has shown short- and likely longer-term negative effects on the human senses (6). Curatorial reflection of these issues presented in the last years became essential.
The way that we perceive our environment via our sensory systems has been frequently a source of controversy concerning one of the basic characteristics of our existence. (7).
As David Howes observed ”The perceptual is cultural and political, and not simply (as psychologists and neuroscientists would have it) a matter of cognitive processes or neurological mechanisms located in the individual subject” (8)
With the changing notions of the constitution of sentient beings a revision of knowledge – led to a closer engagement with the traditional experience by indigenous peoples. The benefits of Nature on our sensorial being are well known, however it is important to remember that our attitude to, and representation of Nature is always closely linked to political, religious, environmental and social considerations. In investigating sensory awareness the impact of the geographical, cultural and social context on individual sensory perception cannot be underestimated (9).
Curatorial research and development of the Sensoria project since 2019 was aimed to present the theme in an unconventional way. International artist residencies, workshops, presentations and thematically related round table discussions in collaboration with local Polish academic and corporate research institutions were offered before the Pandemic in 2019 and 2020. Strategically, the exhibitions now focus on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience.
While the estrangement of the senses have been exacerbated by technologies in the way media elements have contributed to the dissociation of the senses from one another and a subsequent bias of audio-visual content in our digital and virtual environments, the SENSORIA exhibition adapt what Caroline Jones (10) has described as the “creatively dissociated self”. In her landmark exhibition “Sensorium” of 2006 , she considers the dissociative potential of contemporary technologies on the senses as an invitation to engage in creative play and experimentations around this prospect. In this way, SENSORIA builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries.
The exhibition’s primary goal is to create a broad visibility for the wide variety of art project concerning sensory perception. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways. In Poland, the exhibition linked established European artists with local Polish ones; the Toronto hub similarly links international artists in the main hubs with local artists. In this way, the exhibition forges networks across continents and ideas, bringing a range of different perspectives together to explore how our globalized world has both linked and disconnected us from one another. In addition, being situated simultaneously in both sites, Sensoria also builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries. Sensoria artists, curated through a collaborative process with the project’s lead curators and team members, have been invited to considered site-specific adaptations of their internationally renowned artworks. In this way, the goal of the project is to revitalize our sensory connections to our immediate surroundings, through and despite technological tools, networks and latencies; and to share in a collective experience and discussion of them. In addition, the symposium component hosted by Sensorium at York University focuses on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience. The constraints of the Pandemic have precipitated our current estrangement from our sensuous surroundings, and with the gradual and tentative reopening of regulations in North America, Europe and the world this Spring, we expect a resurgence in a desire for people to engage once again with the multi-sensory sensorium, prioritizing the senses of smell, touch and taste that have broadly been neglected in collective experience. The Sensoria symposium will feature artists, curators and theorists through a series of keynote lectures, performances and artist panels.
Sincere thanks to the LAZNIA Team, especially Lila Bosowska and Aleksandra Ksiezopolska for our curatorial collaboration in the difficult times of the last three years. Sincere thanks to Ryszard Kluszczyński for advising the Sensoria project.
Respectful acknowledgements to Jadwiga Charzynska Director of Laznia.
Last but not least deepest thanks to Prof. Yu-Zhi Joel Ong for his role in expanding Sensoria into an international cross-institutional collaboration.
2 Sensorium: Centre for Digital Art and Technology at York University (Sensorium) Toronto, Canada. https://sensorium.ampd.yorku.ca/
3 Burston, D and Cohen J. 2015 Perceptual Integration, Modularity, and Cognitive Penetration In: Cognitive Influences on Perception: Implications for Philosophy of Mind, Epistemology, and Philosophy of Action (pp.123-143). Oxford University Press
4 Masrour F, Nirshberg, G, Schon Nm Leardi J and Barrett Emily Revisiting the empirical case against perceptual modularity Front Psychol. 2015; 6: 1676. Published online 2015 Nov 4. doi: 10.3389/fpsyg.2015.01676
5. Tasha R Stanton, T,R and Spence Charles. The Influence of Auditory Cues on Bodily and Movement Perception. Front. Psychol., 17 January 2020 Sec. Perception Science https://doi.org/10.3389/fpsyg.2019.03001
6. Byrne, V Effects and Implications of COVID-19 for the Human Senses, Consumer Preferences, Appetite and Eating Behaviour: Volume I Foods. 2022 Jun; 11(12): 1738. Published online 2022 Jun 14. doi: 10.3390/foods11121738
7. Mc Cann, H. Our sensory experience of the pandemic https://pursuit.unimelb.edu.au/
8 Howes, D Architecture of the Senses. https://www.david-howes.com/DH-research-sampler-arch-senses.htm
9 D B Rose Val Plumwood’s Philosophical Animism: Attentive Inter-actions in the Sentient World Environmental Humanities 3(1):93-19
10 Jones C. The Mediated Sensorium. https://citythroughthebody.files.wordpress.com/2013/08/sensorium.pdf
Descriptions of the artworks presented at Sensoria:
Agnes Meyer Brandis Berlin based artist contributes One Tree ID and Have a tea with a Tree“ to the Sensoria exhibition. One Tree ID is a biochemical and Biopoetic Odour Communication Installation The project One Tree ID transforms the ID of a specific tree into a perfume that can then be applied to the human body. By applying it, a person can invisibly wear not just characteristics of the tree he/she is standing next to, but also use parts of its communication system and potentially have a conversation that – although invisible and inaudible by nature – might still take place on the biochemical level plants use for information exchange. VOC and Have a tea with a Tree provides a booking link to a personal video conference with up to 16 trees. The trees will participate in real time. Address for conference booking: www.teawithatree.com. The internet protocol is secured.
Polish artist Karolina Hałatek will present “Ascent” – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.
Bodylandscapes by Csenge Kolozsvari is a single channel video piece feeling-with the fascial planes (connective tissues) of bodies; thinking them beyond human scales and temporalities, as constantly emerging fields. The camera is a listening device for the softness of skin-talk; a composition of detailed skin-textures and close-ups of body parts that are imperceptibly transitioning into one another, following creases and swellings, creating landscapes in-the-making. The video is a proposition for remembering the ecological ways of our belonging, of other ways of knowing, connecting into the vastness that surrounds us and moves across us, of becoming-environment once again.
Artur Zmijewski a Polish artist asked a group of visually impaired people to paint the world as they see it. The result is compiled in Blindly a video with sound. Some of the volunteers were congenitally disabled; others became blind in their lifetime. In the film they draw self-portraits and landscapes, occasionally asking the artist for instructions or giving verbal explanation for their decisions. Their paintings are clumsy and abstract. It is however not the resulting works but the process of making them that is at the core of the film.
Hilda Kozari leads a 3 hour-long memory workshop with visually impaired participants and Emilia Leszkowicz a local neuroscientist coordinated with the Education Department of LAZNIA. The workshop is focused on, triggering smell memories and discussions of the scents and the memories triggered by them. Tactility is also a theme of this workshop for the visually impaired participants which is conveyed via felt discs in various sizes. From the different sizes of the discs it is possible to form the Braille verbs and messages.
The findings and results of the workshop material to be transferred on the Sensoria exhibition walls. The multisensory installation is accessible for visually impaired visitors during the exhibition. For other visitors for rethinking perception, enjoying the smell and touch of the installation and seeing the Braille signs as spatial, visually fascinating structure. It is hoped that this is an opportunity recognising the visually impaired as active members of the community.
Gayil Nalls from New York city brings her World Sensorium project to Sensoria World Sensorium which was officially part of New York City’s millennium event “Times Square 2000: The Global Celebration at the Crossroads of the World,” where for 24 hours around New Year’s Eve, the peoples and cultures of nations around the world were celebrated through sight, sound, and—with World Sensorium— scent. World Sensorium is a large-scale, transdisciplinary, olfactory artwork comprised of botanical substances formulated by country population percentages into a single global essence. The phytoconstituents are those most valued by humanity since ancient times, plants established through ethnobotanical research and a global survey process with world governments. Discussion of the World Sensorium link between psychology and olfaction, and the phenomena of odor-evoked memory follows. Individuals attending are invited to participate in ‘Experience World Sensorium:Poland “ and have a chance to dive beneath the insightful a fragmentary memoir of their own experience at a future date.
Raewyn Turner & Brian Harris, New Zealand based artists present Read Reed at Sensoria. Read Reed proceeds from the mythological story of the discretion of Midas’s hairdresser who, feeling that he may betray Midas’s trust, dug a hole in the earth and spoke into it whereby he laid his secret, only to have the secret broadcast to the world via the whispering reeds which grew over the hole. ReedRead relates to data misinterpretation, hidden secrets and the desire for vast wealth. The artists are using the story of secrets whispered into a hole in the earth and the inevitable leakage and exposure of secrets as a starting point. Data from any source including reeds swishing in the wind may be formed into letters and words that relate to digital capitalism and the obscuring of knowledge through the unknowns of ambiguity, uncertainty and risk. Both the clandestine nature of pervasive monitoring and the authorization for increasing the scope and breadth of collected information originates with NSA’s aspiration to sniff it all, know it all, exploit it all etc., and is part of creating the conditions for digital capitalism.
Guy Van Belle in collaboration with Krzysztof Topolski and the Gdansk University Choir present Fanfara Gdansk performance using a simple and open setup for the participatory visitors/performers. For centuries the arts were rather interested in the non-human expressions around or communication and phenomena that we faintly or hardly understand. To quote Paul Demarinis “Music is sound to my ears”. The sound score gives an indication of discrete and continuous time, pitches and amplitudes, complexities and silences, some combinatory ideas, etc. in the form of sounds you can listen to, sing/play along with it or counter, imitate and enrich it… The expressivity and performativity aims at providing a real time interpretation of the sound score.
The Fanfara Gdansk performance consists of a backtrack with recorded and computer generated birdsongs, which is transmitted over local FM, and received by the musicians on headsets from their phones, tables, portable radio receivers. All musicians are ‘singing’ along with the birdsongs, but they can also bring additional small handheld objects that produce sound: battery operated electronics; resonating objects, … some megaphones and small amplifiers will be available, but all wearable. The singers from the choir move slowly in formation together with the additional musicians and participatory audience, towards the entrance of the exhibition. Any single movement from the musicians and the audience influences the position of the others.
There’s more about the Toronto portion of the exhibitions, etc. on York University’s Sensorium Centre for Digital Arts and Technologies’ events page, Note: This is where it gets a little confusing as it seems that some of these artists are displaying the same pieces in two different cities at the same time: World Sensorium has a version in Poland and a version in Toronto; Read Reed is in Poland and ReedRead is in Toronto; I’m not sure about One Tree ID, which seems to be in two places at once,
Courtesy: York University
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
September 26 – October 14, 2022 Gales Gallery, York University 105 Accolade West Building, 86 Fine Arts Road, Toronto, ON
Held at the Gales Gallery, the Sensoria exhibition will feature the works:
One Tree ID. Agnes Meyer-Brandis, SunEaters. Grace Grothaus, World Sensorium. Gayil Nalls, Emergent: A Mobile Gallery featuring “The Connection”, Michaela Pňaček, Roberta Buiani, Lorella Di Cintio and Kavi ReedRead. Raewyn Turner/ Brian Harris Kinetic Shadows. Hrysovalanti Maheras Marching Choir Guy Van Belle
Running from Oct. 4–5 (9am – 12noon EST), The symposium will feature keynote lectures by Ryszard Kluszcynski , Chris Salter and David Howse; roundtable discussions by the artists/theorists/scientists Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari [a web search suggests that Kozari is a more correct spelling] and Agnieszka Sorokowska.
In addition, Csenge Kolozsvari will be leading the Schizo-Somatic Workshop on Oct. 3, 2022. Please click on the hyperlinks for separate registration.
Symposium Schedule:
Tuesday, Oct. 4: 9am – 130pm EST 9:00 : Introductions and land acknowledgement (Joel Ong) 9:05 : Introduction from Sensoria Curator (Nina Czegledy) 9:10 : Introduction from LAZNIA (Jadwiga Charzynska, Director) 9:30 : Keynote 1 —Professor Ryszard Kluszcynski 10:30 : Sensoria Panel 1 — Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 1 — Csenge Kolozsvari [Sensorium Flex Space] + Q&A 1:30 : End
Wednesday Oct 5th 9am – 130pm EST
9:00 : Introductions and land acknowledgement 9:10 : Curatorial presentation (Toronto curatorial team) 9:30 : Keynote 2 — Professors Chris Salter and David Howse 10:30 : Sensoria Panel 2 — Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari, Agnieszka Sorokowska, Hrysovalanti Maheras (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 2 — Doug Van Nort Telematic Orchestra [DisPerSions Lab] + Q&A 1:30 : Ending Notes
Description:
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. Sensoria explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynsk [Kluszcynski]i, Chris Salter and David Howse, as well as roundtables between artists and scientists: Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Hilda Kosari [Kozari], Agnieszka Sorokowska, Hrysovalanti Maheras, Raewyn Turner and Brian Harris. All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
The event will be complemented by a workshop byCsenge Kolozsvari. Kolozsvari’s Schizo-Somatic Session brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
Csenge Kolozsvari’s performance The Power of the Spill is a multidisciplinary live performance working at the intersection of digital and imaginary technologies. It uses live video feedback, algorithmic processes of image (Hydra), sound as well as a movement-choreography informed by somatic practices. This project is a study on visual perception and how it affects our ways of making sense of the world, aiming to create an alternative lens that acknowledges the vitality of objects, a topology that is cross-species, the ways seemingly separate entities are in constant exchange, towards a more ecological way of being. The performance is in collaboration with Kieran Maraj, with original live coding by Rodrigo Velasco. Performance will be followed by a Q&A with the artist.
Doug Van Nort’s performance The Telematic Orchestra
The sense of touch (or tactility) is not highlighted in the image for the poster but there are some workshops which incorporate that sense.
I apologize for the redundancies and for not correcting or noting the errors in the various texts and with people’s names.
One final note, York University’s Sensorium Centre for Digital Arts and Technologies was last mentioned here in an October 26, 2020 posting about an ArtSci Salon event.
As always these days, the in person portion of the conference is in Ottawa and, if you’re looking for the supersaver discount, you’d best rush to register for the Nov. 16 – 18, 2022 Canadian Science Policy Conference before September 3rd [2022], 11:59PM EST. Here are a few details from the Registration page,
Registration includes 3 Lunches, 3 breakfasts, refreshment breaks, and one reception, and zoom pre-conference sessions.
Gala Dinner is included in the Standard registration category. Gala dinner for students and non-profit pricing is $99
Registration Label Name
SuperSaver Rate All summer – Sept 3rd
Early Bird Rate Sept. 4th – Oct 1st
Regular Rate From Oct 5th
Standard (Gala dinner included)
$990
$1100
$1250
Academic / Non-Profit / Retired / Diplomat
$550
$650
$750
Student / Postdoctoral Fellow / Trainee
$200
$250
$300
I’m not sure why there’s a gap (Oct. 2 – 4, 2022) between the dates for the Early Bird Rage and the Regular Rate but I assume that will be addressed at some point.
The programme doesn’t seem all that exciting (YMMV). So, I’ve done the best I can with the choices at hand, here’s the description for one of the pre-conference Zoom sessions followed by a conference session description,
If the current pandemic has taught us anything, we need to find a way to avoid, or, at minimum, mitigate the effects of disease and environmental emergencies, including future pandemics propagated in human and animal populations. A One Health approach, which focuses on the perfect storm of health challenges at the intersection of human, animal, and environmental health, must be at the centre of preparedness; these events have the potential to cause massive suffering, disrupt food systems, derail our economies, and lead to huge inequities and political unrest. Although this call to action may seem daunting, there are many examples of successful One Health initiatives and policy approaches around the globe. This panel will consider One Health’s success stories and how they chart a course for putting a strategy in place to prepare us best for future national and global health threats. Our panellists will present their stories of how they initiated positive change utilizing a One Health approach and the important lessons they have learned.
Artificial intelligence (AI) has the potential to transform healthcare, addressing long-standing problems of safety, quality and access. Yet, AI itself also raises concerns relating, for instance, to algorithmic bias, apportionment of liability, safety, privacy and informed consent. Are our existing legal structures, across Canada, sufficient to meet these 21st century challenges? Our panel will discuss their research program of work shopping case studies with a multidisciplinary group (legal, clinical, computer science, engineering, ethics) of a range of health-related AI across healthcare settings. In doing so they will illuminate the heterogeneity of challenges AI presents and the needs we have for adroit law reform [emphasis mine].
…
It’s nice to see that lawyers care about our health.
Organizers have spiced things up a bit with two performances (November 15 and November 16, 2022) of a play,
Panel Organized by: CSPC [Canadian Science Policy Centre/Conference], ISSP [Institute for Science, Society and Policy], Faculty of Art University of Ottawa RSVP required
The Anniversary: A play
Ottawa lawyer Evelyn Carlyle married the perfect man and created her ideal family. But when her three adult children return home to celebrate their parents’ 30th anniversary, her creation starts to look like a failed lab experiment.
Choice, identity and the nature of connection collide in a gripping exploration of the intimate role of science and technology in our lives. How does technology shape our deepest familial relationships in ways we don’t even recognize?
An alt-present family drama that gets at the ancient roots of what it is to be human, or not.
A special arts-science collaboration from the Institute for Science, Society and Policy, University of Ottawa.
As for sustainability, there’s this session amongst others,
Panel Organized by: Future Earth/Sustainability in the Digital Age
Nature-based Solutions (NbS) could help Canada meet 2030 carbon reduction commitments while protecting biodiversity and providing multiple ecosystem services that improve the well-being of humanity; but their long-term impacts are still poorly understood and they don’t engage all stakeholders for an equitable and effective approach forward. The panel’s objective is to discuss preliminary Canadian NbS trends and data needs. We also assess the co-creation of NbS, centering these solutions around Indigenous Peoples and Local Communities. This panel also explores recent gatherings towards strengthening Indigenous Carbon Rights as a crucial pillar of NbS success in Canada and globally.
Here’s one last tidbit from the conference programme,
Panel Organized by: Visions of Science Network for Learning
In our current crises of vaccine hesitancy, the digital divide, health inequities, misinformation, and climate change denial, we have seen the dire consequences of approaching STEM separately from society, equity, and community. This session brings together community-focused science experts who have played pivotal roles working with marginalized communities in the context of the pandemic and digital shift. Panelists will share their insights and calls to action to break down the elitism in science, embed humility and curiosity about diverse expertise and lived experiences, and foster inclusion, integrity, and accountability to communities to restore trust in science institutions.
