Category Archives: performing arts

Overall winner of the 2024 global Dance Your PhD: Kangaroo Time (Club Edit)

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.

A February 26, 2024 Australian National University (ANU) press release on EurekAlert provides more detail about the researcher and about his work with kangaroos, Note: Links have been removed,

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,

Enjoy!

Poinsettia frogs and a Merry 2023 Christmas

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.

On to the specifics about the ‘new’ fanged frog from a December 21, 2023 news item on ScienceDaily,

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.

A December 20, 2023 Field Museum news release (also on EurrekAlert), which originated the news item, adds more detail,

“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.”

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

A new species of terrestrially-nesting fanged frog (Anura: Dicroglossidae) from Sulawesi Island, Indonesia by Jeffrey H. Frederick, Djoko T. Iskanda, Awal Riyanto, Amir Hamidy, Sean B. Reilly, Alexander L. Stubbs, Luke M. Bloch, Bryan Bach, Jimmy A. McGuire. PLOS ONE 18(12): e0292598 DOI: https://doi.org/10.1371/journal.pone.0292598 Published: December 20, 2023

This paper is open access and online only.

Fatal attraction to … frog noses?

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 mosquito perches on the nose of a green and yellow frog perched on a branch.
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.

A man in a bright yellow jacket and a light strapped to his forehead poses outside at night with a tiny frog perched on his hand.
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,

A little on the nose: A mosquito targets the nostrils of tree frogs for a blood meal by John Gould, Jose W. Valdez. Ethology DOI: https://doi.org/10.1111/eth.13424 First published: 21 November 2023

This paper is open access.

Gifted dogs

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

A December 14, 2023 news item on phys.org describes some intriguing research from Hungary,

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.

A December 18,2023 Eötvös Loránd University (ELTE) press release (also on EurekAlert but published December 14, 2023), which originated the news item, delves further into the research,

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. Claudia Fugazza, 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. Andrea Sommese, co-author.

VIDEO ABSTRACT ABOUT THE RESEARCH

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 Shany Dror, 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. Adam Miklósi, 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,

A citizen science model turns anecdotes into evidence by revealing similar characteristics among Gifted Word Learner dogs by Shany Dror, Ádám Miklósi, Andrea Sommese & Claudia Fugazza. Scientific Reports volume 13, Article number: 21747 (2023) DOI: https://doi.org/10.1038/s41598-023-47864-5 Published: 14 December 2023

This paper is open access.

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,

As for the tap dancing, I have three links:

  1. 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!

..

2. “Legendary Nicholas Brothers Dance Routine Was Unrehearsed and Filmed in One Take” embedded at the end of Emma Taggart’s October 4, 2019 posting on mymodernmet.com

3. Finally, there’s “Jill Biden releases extravagant dance video to celebrate Christmas at the White House” with a video file embedded (wait for it to finish loading and scroll down a few paragraphs) in Kate Fowler’s December 15, (?) 2023 article for MSN. It’s a little jazz, a little tap, and a little Christmas joy.

Joyeux Noël!

Call for Nominations for 2024 “Albert Einstein” World Award of Science and “Leonardo da Vinci” World Award of Arts*

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

Details for the 2024 call for two of the awards can be found in the November 29, 2023 Consejo Cultural Mundial (World Cultural Council) press release on EurekAlert,

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, 2024NOMINATE 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/

No self-nominations, the Council has a very specific type of nominator in mind, from the World Cultural Council’s Nominations webpage,

Nominating Authorities for the Prizes

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.

Two art/sci exhibitions, one name: Sensoria from Sept. 16 – Oct. 30, 2022 in Gdansk, Poland and in Toronto, Canada

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.

Reference

1 LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland

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.

Register for the symposium Oct. 4–5, 2022: https://www.eventbrite.ca/e/symposium-sensoria-the-art-and-science-of-our-senses-tickets-418241681127.   

The symposium will also feature 2 keynote performances from 12:45pm EST each day:  The Power of the Spill by Csenge Kolozsvari Oct. 4, 2022, and Doug Van Nort Electro-Acoustic Orchestra Oct. 5, 2022. 

EXHIBITION

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  

The exhibition is also open during Nuit Blanche as part of the AGYU’s Streams” project.

In addition, Csenge Kolozsvari will be leading the Schizo-Somatic Workshop on Oct. 3, 2022. Please click on the hyperlinks for separate registration. 

SYMPOSIUM

SENSORIA: The Art and Science of Our Senses symposium presents keynote lectures, discussions and performances around the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborations. Registration link : https://www.eventbrite.ca/e/symposium-sensoria-the-art-and-science-of-our-senses-tickets-418241681127

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.

The symposium will also feature 2 keynote performances from 12:45pm EST each day:  The Power of the Spill by Csenge Kolozsvari Oct. 4, 2022, and Doug Van Nort Electro-Acoustic Orchestra Oct. 5, 2022. 

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.

AI & creativity events for August and September 2022 (mostly)

This information about these events and papers comes courtesy of the Metacreation Lab for Creative AI (artificial intelligence) at Simon Fraser University and, as usual for the lab, the emphasis is on music.

Music + AI Reading Group @ Mila x Vector Institute

Philippe Pasquier, Metacreation Lab director and professor, is giving a presentation on Friday, August 12, 2022 at 11 am PST (2 pm EST). Here’s more from the August 10, 2022 Metacreation Lab announcement (received via email),

Metacreaton Lab director Philippe Pasquier and PhD researcher Jeff Enns will be presenting next week [tomorrow on August 12 ,2022] at the Music + AI Reading Group hosted by Mila. The presentation will be available as a Zoom meeting. 

Mila is a community of more than 900 researchers specializing in machine learning and dedicated to scientific excellence and innovation. The institute is recognized for its expertise and significant contributions in areas such as modelling language, machine translation, object recognition and generative models.

I believe it’s also possible to view the presentation from the Music + AI Reading Group at MILA: presentation by Dr. Philippe Pasquier webpage on the Simon Fraser University website.

For anyone curious about Mila – Québec Artificial Intelligence Institute (based in Montréal) and the Vector Institute for Artificial Intelligence (based in Toronto), both are part of the Pan-Canadian Artificial Intelligence Strategy (a Canadian federal government funding initiative).

Getting back to the Music + AI Reading Group @ Mila x Vector Institute, there is an invitation to join the group which meets every Friday at 2 pm EST, from the Google group page,

unread,Feb 24, 2022, 2:47:23 PMto Community Announcements🎹🧠🚨Online Music + AI Reading Group @ Mila x Vector Institute 🎹🧠🚨

Dear members of the ISMIR [International Society for Music Information Retrieval] Community,

Together with fellow researchers at Mila (the Québec AI Institute) in Montréal, canada [sic], we have the pleasure of inviting you to join the Music + AI Reading Group @ Mila x Vector Institute. Our reading group gathers every Friday at 2pm Eastern Time. Our purpose is to build an interdisciplinary forum of researchers, students and professors alike, across industry and academia, working at the intersection of Music and Machine Learning. 

During each meeting, a speaker presents a research paper of their choice during 45’, leaving 15 minutes for questions and discussion. The purpose of the reading group is to :
– Gather a group of Music+AI/HCI [human-computer interface]/others people to share their research, build collaborations, and meet peer students. We are not constrained to any specific research directions, and all people are welcome to contribute.
– People share research ideas and brainstorm with others.
– Researchers not actively working on music-related topics but interested in the field can join and keep up with the latest research in the area, sharing their thoughts and bringing in their own backgrounds.

Our topics of interest cover (beware : the list is not exhaustive !) :
🎹 Music Generation
🧠 Music Understanding
📇 Music Recommendation
🗣  Source Separation and Instrument Recognition
🎛  Acoustics
🗿 Digital Humanities …
🙌  … and more (we are waiting for you :]) !


If you wish to attend one of our upcoming meetings, simply join our Google Group : https://groups.google.com/g/music_reading_group. You will automatically subscribe to our weekly mailing list and be able to contact other members of the group.

Here is the link to our Youtube Channel where you’ll find recordings of our past meetings : https://www.youtube.com/channel/UCdrzCFRsIFGw2fiItAk5_Og.
Here are general information about the reading group (presentation slides) : https://docs.google.com/presentation/d/1zkqooIksXDuD4rI2wVXiXZQmXXiAedtsAqcicgiNYLY/edit?usp=sharing.

Finally, if you would like to contribute and give a talk about your own research, feel free to fill in the following spreadhseet in the slot of your choice ! —> https://docs.google.com/spreadsheets/d/1skb83P8I30XHmjnmyEbPAboy3Lrtavt_jHrD-9Q5U44/edit?usp=sharing

Bravo to the two student organizers for putting this together!

Calliope Composition Environment for music makers

From the August 10, 2022 Metacreation Lab announcement,

Calling all music makers! We’d like to share some exciting news on one of the latest music creation tools from its creators, and   .

Calliope is an interactive environment based on MMM for symbolic music generation in computer-assisted composition. Using this environment, the user can generate or regenerate symbolic music from a “seed” MIDI file by using a practical and easy-to-use graphical user interface (GUI). Through MIDI streaming, the  system can interface with your favourite DAW (Digital Audio Workstation) such as Ableton Live, allowing creators to combine the possibilities of generative composition with their preferred virtual instruments sound design environments.

The project has now entered an open beta-testing phase, and inviting music creators to try the compositional system on their own! Head to the metacreation website to learn more and register for the beta testing.

Learn More About Calliope Here

You can also listen to a Calliope piece “the synthrider,” an Italo-disco fantasy of a machine, by Philippe Pasquier and Renaud Bougueng Tchemeube for the 2022 AI Song Contest.

3rd Conference on AI Music Creativity (AIMC 2022)

This in an online conference and it’s free but you do have to register. From the August 10, 2022 Metacreation Lab announcement,

Registration has opened  for the 3rd Conference on AI Music Creativity (AIMC 2022), which will be held 13-15 September, 2022. The conference features 22 accepted papers, 14 music works, and 2 workshops. Registered participants will get full access to the scientific and artistic program, as well as conference workshops and virtual social events. 

The full conference program is now available online

Registration, free but mandatory, is available here:

Free Registration for AIMC 2022 

The conference theme is “The Sound of Future Past — Colliding AI with Music Tradition” and I noticed that a number of the organizers are based in Japan. Often, the organizers’ home country gets some extra time in the spotlight, which is what makes these international conferences so interesting and valuable.

Autolume Live

This concerns generative adversarial networks (GANs) and a paper proposing “… Autolume-Live, the first GAN-based live VJing-system for controllable video generation.”

Here’s more from the August 10, 2022 Metacreation Lab announcement,

Jonas Kraasch & Phiippe Pasquier recently presented their latest work on the Autolume system at xCoAx, the 10th annual Conference on Computation, Communication, Aesthetics & X. Their paper is an in-depth exploration of the ways that creative artificial intelligence is increasingly used to generate static and animated visuals. 

While there are a host of systems to generate images, videos and music videos, there is a lack of real-time video synthesisers for live music performances. To address this gap, Kraasch and Pasquier propose Autolume-Live, the first GAN-based live VJing-system for controllable video generation.

Autolume Live on xCoAx proceedings  

As these things go, the paper is readable even by nonexperts (assuming you have some tolerance for being out of your depth from time to time). Here’s an example of the text and an installation (in Kelowna, BC) from the paper, Autolume-Live: Turning GANsinto a Live VJing tool,

Due to the 2020-2022 situation surrounding COVID-19, we were unable to use
our system to accompany live performances. We have used different iterations
of Autolume-Live to create two installations. We recorded some curated sessions
and displayed them at the Distopya sound art festival in Istanbul 2021 (Dystopia
Sound and Art Festival 2021) and Light-Up Kelowna 2022 (ARTSCO 2022) [emphasis mine]. In both iterations, we let the audio mapping automatically generate the video without using any of the additional image manipulations. These installations show
that the system on its own is already able to generate interesting and responsive
visuals for a musical piece.

For the installation at the Distopya sound art festival we trained a Style-GAN2 (-ada) model on abstract paintings and rendered a video using the de-scribed Latent Space Traversal mapping. For this particular piece we ran a super-resolution model on the final video as the original video output was in 512×512 and the wanted resolution was 4k. For our piece at Light-Up Kelowna [emphasis mine] we ran Autolume-Live with the Latent Space Interpolation mapping. The display included three urban screens, which allowed us to showcase three renders at the same time. We composed a video triptych using a dataset of figure drawings, a dataset of medical sketches and to tie the two videos together a model trained on a mixture of both datasets.

I found some additional information about the installation in Kelowna (from a February 7, 2022 article in The Daily Courier),

The artwork is called ‘Autolume Acedia’.

“(It) is a hallucinatory meditation on the ancient emotion called acedia. Acedia describes a mixture of contemplative apathy, nervous nostalgia, and paralyzed angst,” the release states. “Greek monks first described this emotion two millennia ago, and it captures the paradoxical state of being simultaneously bored and anxious.”

Algorithms created the set-to-music artwork but a team of humans associated with Simon Fraser University, including Jonas Kraasch and Philippe Pasquier, was behind the project.

These are among the artistic images generated by a form of artificial intelligence now showing nightly on the exterior of the Rotary Centre for the Arts in downtown Kelowna. [downloaded from https://www.kelownadailycourier.ca/news/article_6f3cefea-886c-11ec-b239-db72e804c7d6.html]

You can find the videos used in the installation and more information on the Metacreation Lab’s Autolume Acedia webpage.

Movement and the Metacreation Lab

Here’s a walk down memory lane: Tom Calvert, a professor at Simon Fraser University (SFU) and deceased September 28, 2021, laid the groundwork for SFU’s School of Interactive Arts & Technology (SIAT) and, in particular studies in movement. From SFU’s In memory of Tom Calvert webpage,

As a researcher, Tom was most interested in computer-based tools for user interaction with multimedia systems, human figure animation, software for dance, and human-computer interaction. He made significant contributions to research in these areas resulting in the Life Forms system for human figure animation and the DanceForms system for dance choreography. These are now developed and marketed by Credo Interactive Inc., a software company of which he was CEO.

While the Metacreation Lab is largely focused on music, other fields of creativity are also studied, from the August 10, 2022 Metacreation Lab announcement,

MITACS Accelerate award – partnership with Kinetyx

We are excited to announce that the Metacreation Lab researchers will be expanding their work on motion capture and movement data thanks to a new MITACS Accelerate research award. 

The project will focus on ​​body pose estimation using Motion Capture data acquisition through a partnership with Kinetyx, a Calgary-based innovative technology firm that develops in-shoe sensor-based solutions for a broad range of sports and performance applications.

Movement Database – MoDa

On the subject of motion data and its many uses in conjunction with machine learning and AI, we invite you to check out the extensive Movement Database (MoDa), led by transdisciplinary artist and scholar Shannon Cyukendall, and AI Researcher Omid Alemi. 

Spanning a wide range of categories such as dance, affect-expressive movements, gestures, eye movements, and more, this database offers a wealth of experiments and captured data available in a variety of formats.

Explore the MoDa Database

MITACS (originally a federal government mathematics-focused Network Centre for Excellence) is now a funding agency (most of the funds they distribute come from the federal government) for innovation.

As for the Calgary-based company (in the province of Alberta for those unfamiliar with Canadian geography), here they are in their own words (from the Kinetyx About webpage),

Kinetyx® is a diverse group of talented engineers, designers, scientists, biomechanists, communicators, and creators, along with an energy trader, and a medical doctor that all bring a unique perspective to our team. A love of movement and the science within is the norm for the team, and we’re encouraged to put our sensory insoles to good use. We work closely together to make movement mean something.

We’re working towards a future where movement is imperceptibly quantified and indispensably communicated with insights that inspire action. We’re developing sensory insoles that collect high-fidelity data where the foot and ground intersect. Capturing laboratory quality data, out in the real world, unlocking entirely new ways to train, study, compete, and play. The insights we provide will unlock unparalleled performance, increase athletic longevity, and provide a clear path to return from injury. We transform lives by empowering our growing community to remain moved.

We believe that high quality data is essential for us to have a meaningful place in the Movement Metaverse [1]. Our team of engineers, sport scientists, and developers work incredibly hard to ensure that our insoles and the insights we gather from them will meet or exceed customer expectations. The forces that are created and experienced while standing, walking, running, and jumping are inferred by many wearables, but our sensory insoles allow us to measure, in real-time, what’s happening at the foot-ground intersection. Measurements of force and power in addition to other traditional gait metrics, will provide a clear picture of a part of the Kinesome [2] that has been inaccessible for too long. Our user interface will distill enormous amounts of data into meaningful insights that will lead to positive behavioral change. 

[1] The Movement Metaverse is the collection of ever-evolving immersive experiences that seamlessly span both the physical and virtual worlds with unprecedented interoperability.

[2] Kinesome is the dynamic characterization and quantification encoded in an individual’s movement and activity. Broadly; an individual’s unique and dynamic movement profile. View the kinesome nft. [Note: Was not able to successfully open link as of August 11, 2022)

“… make movement mean something … .” Really?

The reference to “… energy trader …” had me puzzled but an August 11, 2022 Google search at 11:53 am PST unearthed this,

An energy trader is a finance professional who manages the sales of valuable energy resources like gas, oil, or petroleum. An energy trader is expected to handle energy production and financial matters in such a fast-paced workplace.May 16, 2022

Perhaps a new meaning for the term is emerging?

AI and visual art show in Vancouver (Canada)

The Vancouver Art Gallery’s (VAG) latest exhibition, “The Imitation Game: Visual Culture in the Age of Artificial Intelligence” is running March 5, 2022 – October 23, 2022. Should you be interested in an exhaustive examination of the exhibit and more, I have a two-part commentary: Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (1 of 2): The Objects and Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (2 of 2): Meditations.

Enjoy the show and/or the commentary, as well as, any other of the events and opportunities listed in this post.

Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (2 of 2): Meditations

Dear friend,

I thought it best to break this up a bit. There are a couple of ‘objects’ still to be discussed but this is mostly the commentary part of this letter to you. (Here’s a link for anyone who stumbled here but missed Part 1.)

Ethics, the natural world, social justice, eeek, and AI

Dorothy Woodend in her March 10, 2022 review for The Tyee) suggests some ethical issues in her critique of the ‘bee/AI collaboration’ and she’s not the only one with concerns. UNESCO (United Nations Educational, Scientific and Cultural Organization) has produced global recommendations for ethical AI (see my March 18, 2022 posting). More recently, there’s “Racist and sexist robots have flawed AI,” a June 23, 2022 posting, where researchers prepared a conference presentation and paper about deeply flawed AI still being used in robots.

Ultimately, the focus is always on humans and Woodend has extended the ethical AI conversation to include insects and the natural world. In short, something less human-centric.

My friend, this reference to the de Young exhibit may seem off topic but I promise it isn’t in more ways than one. The de Young Museum in San Francisco (February 22, 2020 – June 27, 2021) also held and AI and art show called, “Uncanny Valley: Being Human in the Age of AI”), from the exhibitions page,

In today’s AI-driven world, increasingly organized and shaped by algorithms that track, collect, and evaluate our data, the question of what it means to be human [emphasis mine] has shifted. Uncanny Valley is the first major exhibition to unpack this question through a lens of contemporary art and propose new ways of thinking about intelligence, nature, and artifice. [emphasis mine]

Courtesy: de Young Museum [downloaded from https://deyoung.famsf.org/exhibitions/uncanny-valley]

As you can see, it hinted (perhaps?) at an attempt to see beyond human-centric AI. (BTW, I featured this ‘Uncanny Valley’ show in my February 25, 2020 posting where I mentioned Stephanie Dinkins [featured below] and other artists.)

Social justice

While the VAG show doesn’t see much past humans and AI, it does touch on social justice. In particular there’s Pod 15 featuring the Algorithmic Justice League (AJL). The group “combine[s] art and research to illuminate the social implications and harms of AI” as per their website’s homepage.

In Pod 9, Stephanie Dinkins’ video work with a robot (Bina48), which was also part of the de Young Museum ‘Uncanny Valley’ show, addresses some of the same issues.

Still of Stephanie Dinkins, “Conversations with Bina48,” 2014–present. Courtesy of the artist [downloaded from https://deyoung.famsf.org/stephanie-dinkins-conversations-bina48-0]

From the the de Young Museum’s Stephanie Dinkins “Conversations with Bina48” April 23, 2020 article by Janna Keegan (Dinkins submitted the same work you see at the VAG show), Note: Links have been removed,

Transdisciplinary artist and educator Stephanie Dinkins is concerned with fostering AI literacy. The central thesis of her social practice is that AI, the internet, and other data-based technologies disproportionately impact people of color, LGBTQ+ people, women, and disabled and economically disadvantaged communities—groups rarely given a voice in tech’s creation. Dinkins strives to forge a more equitable techno-future by generating AI that includes the voices of multiple constituencies …

The artist’s ongoing Conversations with Bina48 takes the form of a series of interactions with the social robot Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second). The machine is the brainchild of Martine Rothblatt, an entrepreneur in the field of biopharmaceuticals who, with her wife, Bina, cofounded the Terasem Movement, an organization that seeks to extend human life through cybernetic means. In 2007 Martine commissioned Hanson Robotics to create a robot whose appearance and consciousness simulate Bina’s. The robot was released in 2010, and Dinkins began her work with it in 2014.

Part psychoanalytical discourse, part Turing test, Conversations with Bina48 also participates in a larger dialogue regarding bias and representation in technology. Although Bina Rothblatt is a Black woman, Bina48 was not programmed with an understanding of its Black female identity or with knowledge of Black history. Dinkins’s work situates this omission amid the larger tech industry’s lack of diversity, drawing attention to the problems that arise when a roughly homogenous population creates technologies deployed globally. When this occurs, writes art critic Tess Thackara, “the unconscious biases of white developers proliferate on the internet, mapping our social structures and behaviors onto code and repeating imbalances and injustices that exist in the real world.” One of the most appalling and public of these instances occurred when a Google Photos image-recognition algorithm mislabeled the faces of Black people as “gorillas.”

Eeek

You will find as you go through the ‘imitation game’ a pod with a screen showing your movements through the rooms in realtime on a screen. The installation is called “Creepers” (2021-22). The student team from Vancouver’s Centre for Digital Media (CDM) describes their project this way, from the CDM’s AI-driven Installation Piece for the Vancouver Art Gallery webpage,

Project Description

Kaleidoscope [team name] is designing an installation piece that harnesses AI to collect and visualize exhibit visitor behaviours, and interactions with art, in an impactful and thought-provoking way.

There’s no warning that you’re being tracked and you can see they’ve used facial recognition software to track your movements through the show. It’s claimed on the pod’s signage that they are deleting the data once you’ve left.

‘Creepers’ is an interesting approach to the ethics of AI. The name suggests that even the student designers were aware it was problematic.

For the curious, there’s a description of the other VAG ‘imitation game’ installations provided by CDM students on the ‘Master of Digital Media Students Develop Revolutionary Installations for Vancouver Art Gallery AI Exhibition‘ webpage.

In recovery from an existential crisis (meditations)

There’s something greatly ambitious about “The Imitation Game: Visual Culture in the Age of Artificial Intelligence” and walking up the VAG’s grand staircase affirms that ambition. Bravo to the two curators, Grenville and Entis for an exhibition.that presents a survey (or overview) of artificial intelligence, and its use in and impact on creative visual culture.

I’ve already enthused over the history (specifically Turing, Lovelace, Ovid), admitted to being mesmerized by Scott Eaton’s sculpture/AI videos, and confessed to a fascination (and mild repulsion) regarding Oxman’s honeycombs.

It’s hard to remember all of the ‘objects’ as the curators have offered a jumble of work, almost all of them on screens. Already noted, there’s Norbert Wiener’s The Moth (1949) and there are also a number of other computer-based artworks from the 1960s and 1970s. Plus, you’ll find works utilizing a GAN (generative adversarial network), an AI agent that is explained in the exhibit.

It’s worth going more than once to the show as there is so much to experience.

Why did they do that?

Dear friend, I’ve already commented on the poor flow through the show and It’s hard to tell if the curators intended the experience to be disorienting but this is to the point of chaos, especially when the exhibition is crowded.

I’ve seen Grenville’s shows before. In particular there was “MashUp: The Birth of Modern Culture, a massive survey documenting the emergence of a mode of creativity that materialized in the late 1800s and has grown to become the dominant model of cultural production in the 21st century” and there was “KRAZY! The Delirious World of Anime + Manga + Video Games + Art.” As you can see from the description, he pulls together disparate works and ideas into a show for you to ‘make sense’ of them.

One of the differences between those shows and the “imitation Game: …” is that most of us have some familiarity, whether we like it or not, with modern art/culture and anime/manga/etc. and can try to ‘make sense’ of it.

By contrast, artificial intelligence (which even experts have difficulty defining) occupies an entirely different set of categories; all of them associated with science/technology. This makes for a different kind of show so the curators cannot rely on the audience’s understanding of basics. It’s effectively an art/sci or art/tech show and, I believe, the first of its kind at the Vancouver Art Gallery. Unfortunately, the curators don’t seem to have changed their approach to accommodate that difference.

AI is also at the centre of a current panic over job loss, loss of personal agency, automated racism and sexism, etc. which makes the experience of viewing the show a little tense. In this context, their decision to commission and use ‘Creepers’ seems odd.

Where were Ai-Da and Dall-E-2 and the others?

Oh friend, I was hoping for a robot. Those roomba paintbots didn’t do much for me. All they did was lie there on the floor

To be blunt I wanted some fun and perhaps a bit of wonder and maybe a little vitality. I wasn’t necessarily expecting Ai-Da, an artisitic robot, but something three dimensional and fun in this very flat, screen-oriented show would have been nice.

This image has an empty alt attribute; its file name is image-asset.jpeg
Ai-Da was at the Glastonbury Festival in the U from 23-26th June 2022. Here’s Ai-Da and her Billie Eilish (one of the Glastonbury 2022 headliners) portrait. [downloaded from https://www.ai-darobot.com/exhibition]

Ai-Da was first featured here in a December 17, 2021 posting about performing poetry that she had written in honour of the 700th anniversary of poet Dante Alighieri’s death.

Named in honour of Ada Lovelace, Ai-Da visited the 2022 Venice Biennale as Leah Henrickson and Simone Natale describe in their May 12, 2022 article for Fast Company (Note: Links have been removed),

Ai-Da sits behind a desk, paintbrush in hand. She looks up at the person posing for her, and then back down as she dabs another blob of paint onto the canvas. A lifelike portrait is taking shape. If you didn’t know a robot produced it, this portrait could pass as the work of a human artist.

Ai-Da is touted as the “first robot to paint like an artist,” and an exhibition of her work, called Leaping into the Metaverse, opened at the Venice Biennale.

Ai-Da produces portraits of sitting subjects using a robotic hand attached to her lifelike feminine figure. She’s also able to talk, giving detailed answers to questions about her artistic process and attitudes toward technology. She even gave a TEDx talk about “The Intersection of Art and AI” in Oxford a few years ago. While the words she speaks are programmed, Ai-Da’s creators have also been experimenting with having her write and perform her own poetry.

She has her own website.

If not Ai-Da, what about Dall-E-2? Aaron Hertzmann’s June 20, 2022 commentary, “Give this AI a few words of description and it produces a stunning image – but is it art?” investigates for Salon (Note: Links have been removed),

DALL-E 2 is a new neural network [AI] algorithm that creates a picture from a short phrase or sentence that you provide. The program, which was announced by the artificial intelligence research laboratory OpenAI in April 2022, hasn’t been released to the public. But a small and growing number of people – myself included – have been given access to experiment with it.

As a researcher studying the nexus of technology and art, I was keen to see how well the program worked. After hours of experimentation, it’s clear that DALL-E – while not without shortcomings – is leaps and bounds ahead of existing image generation technology. It raises immediate questions about how these technologies will change how art is made and consumed. It also raises questions about what it means to be creative when DALL-E 2 seems to automate so much of the creative process itself.

A July 4, 2022 article “DALL-E, Make Me Another Picasso, Please” by Laura Lane for The New Yorker has a rebuttal to Ada Lovelace’s contention that creativity is uniquely human (Note: A link has been removed),

“There was this belief that creativity is this deeply special, only-human thing,” Sam Altman, OpenAI’s C.E.O., explained the other day. Maybe not so true anymore, he said. Altman, who wore a gray sweater and had tousled brown hair, was videoconferencing from the company’s headquarters, in San Francisco. DALL-E is still in a testing phase. So far, OpenAI has granted access to a select group of people—researchers, artists, developers—who have used it to produce a wide array of images: photorealistic animals, bizarre mashups, punny collages. Asked by a user to generate “a plate of various alien fruits from another planet photograph,” DALL-E returned something kind of like rambutans. “The rest of mona lisa” is, according to DALL-E, mostly just one big cliff. Altman described DALL-E as “an extension of your own creativity.”

There are other AI artists, in my August 16, 2019 posting, I had this,

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

That posting also included AI artist, AICAN. Both artist-AI agents (Obvious and AICAN) are based on GANs (generative adversarial networks) for learning and eventual output. Both artist-AI agents work independently or with human collaborators on art works that are available for purchase.

As might be expected not everyone is excited about AI and visual art. Sonja Drimmer, Professor of Medieval Art, University of Massachusetts at Amherst, provides another perspective on AI, visual art, and, her specialty, art history in her November 1, 2021 essay for The Conversation (Note: Links have been removed),

Over the past year alone, I’ve come across articles highlighting how artificial intelligence recovered a “secret” painting of a “lost lover” of Italian painter Modigliani, “brought to life” a “hidden Picasso nude”, “resurrected” Austrian painter Gustav Klimt’s destroyed works and “restored” portions of Rembrandt’s 1642 painting “The Night Watch.” The list goes on.

As an art historian, I’ve become increasingly concerned about the coverage and circulation of these projects.

They have not, in actuality, revealed one secret or solved a single mystery.

What they have done is generate feel-good stories about AI.

Take the reports about the Modigliani and Picasso paintings.

These were projects executed by the same company, Oxia Palus, which was founded not by art historians but by doctoral students in machine learning.

In both cases, Oxia Palus relied upon traditional X-rays, X-ray fluorescence and infrared imaging that had already been carried out and published years prior – work that had revealed preliminary paintings beneath the visible layer on the artists’ canvases.

The company edited these X-rays and reconstituted them as new works of art by applying a technique called “neural style transfer.” This is a sophisticated-sounding term for a program that breaks works of art down into extremely small units, extrapolates a style from them and then promises to recreate images of other content in that same style.

As you can ‘see’ my friend, the topic of AI and visual art is a juicy one. In fact, I have another example in my June 27, 2022 posting, which is titled, “Art appraised by algorithm.” So, Grenville’s and Entis’ decision to focus on AI and its impact on visual culture is quite timely.

Visual culture: seeing into the future

The VAG Imitation Game webpage lists these categories of visual culture “animation, architecture, art, fashion, graphic design, urban design and video games …” as being represented in the show. Movies and visual art, not mentioned in the write up, are represented while theatre and other performing arts are not mentioned or represented. That’ s not a surprise.

In addition to an area of science/technology that’s not well understood even by experts, the curators took on the truly amorphous (and overwhelming) topic of visual culture. Given that even writing this commentary has been a challenge, I imagine pulling the show together was quite the task.

Grenville often grounds his shows in a history of the subject and, this time, it seems especially striking. You’re in a building that is effectively a 19th century construct and in galleries that reflect a 20th century ‘white cube’ aesthetic, while looking for clues into the 21st century future of visual culture employing technology that has its roots in the 19th century and, to some extent, began to flower in the mid-20th century.

Chung’s collaboration is one of the only ‘optimistic’ notes about the future and, as noted earlier, it bears a resemblance to Wiener’s 1949 ‘Moth’

Overall, it seems we are being cautioned about the future. For example, Oxman’s work seems bleak (bees with no flowers to pollinate and living in an eternal spring). Adding in ‘Creepers’ and surveillance along with issues of bias and social injustice reflects hesitation and concern about what we will see, who sees it, and how it will be represented visually.

Learning about robots, automatons, artificial intelligence, and more

I wish the Vancouver Art Gallery (and Vancouver’s other art galleries) would invest a little more in audience education. A couple of tours, by someone who may or may not know what they’re talking, about during the week do not suffice. The extra material about Stephanie Dinkins and her work (“Conversations with Bina48,” 2014–present) came from the de Young Museum’s website. In my July 26, 2021 commentary on North Vancouver’s Polygon Gallery 2021 show “Interior Infinite,” I found background information for artist Zanele Muholi on the Tate Modern’s website. There is nothing on the VAG website that helps you to gain some perspective on the artists’ works.

It seems to me that if the VAG wants to be considered world class, it should conduct itself accordingly and beefing up its website with background information about their current shows would be a good place to start.

Robots, automata, and artificial intelligence

Prior to 1921, robots were known exclusively as automatons. These days, the word ‘automaton’ (or ‘automata’ in the plural) seems to be used to describe purely mechanical representations of humans from over 100 years ago whereas the word ‘robot’ can be either ‘humanlike’ or purely machine, e.g. a mechanical arm that performs the same function over and over. I have a good February 24, 2017 essay on automatons by Miguel Barral for OpenMind BBVA*, which provides some insight into the matter,

The concept of robot is relatively recent. The idea was introduced in 1921 by the Czech writer Karel Capek in his work R.U.R to designate a machine that performs tasks in place of man. But their predecessors, the automatons (from the Greek automata, or “mechanical device that works by itself”), have been the object of desire and fascination since antiquity. Some of the greatest inventors in history, such as Leonardo Da Vinci, have contributed to our fascination with these fabulous creations:

The Al-Jazari automatons

The earliest examples of known automatons appeared in the Islamic world in the 12th and 13th centuries. In 1206, the Arab polymath Al-Jazari, whose creations were known for their sophistication, described some of his most notable automatons: an automatic wine dispenser, a soap and towels dispenser and an orchestra-automaton that operated by the force of water. This latter invention was meant to liven up parties and banquets with music while floating on a pond, lake or fountain.

As the water flowed, it started a rotating drum with pegs that, in turn, moved levers whose movement produced different sounds and movements. As the pegs responsible for the musical notes could be exchanged for different ones in order to interpret another melody, it is considered one of the first programmable machines in history.

If you’re curious about automata, my friend, I found this Sept. 26, 2016 ABC news radio news item about singer Roger Daltrey’s and his wife, Heather’s auction of their collection of 19th century French automata (there’s an embedded video showcasing these extraordinary works of art). For more about automata, robots, and androids, there’s an excellent May 4, 2022 article by James Vincent, ‘A visit to the human factory; How to build the world’s most realistic robot‘ for The Verge; Vincent’s article is about Engineered Arts, the UK-based company that built Ai-Da.

AI is often used interchangeably with ‘robot’ but they aren’t the same. Not all robots have AI integrated into their processes. At its simplest AI is an algorithm or set of algorithms, which may ‘live’ in a CPU and be effectively invisible or ‘live’ in or make use of some kind of machine and/or humanlike body. As the experts have noted, the concept of artificial intelligence is a slippery concept.

*OpenMind BBVA is a Spanish multinational financial services company, Banco Bilbao Vizcaya Argentaria (BBVA), which runs the non-profit project, OpenMind (About us page) to disseminate information on robotics and so much more.*

You can’t always get what you want

My friend,

I expect many of the show’s shortcomings (as perceived by me) are due to money and/or scheduling issues. For example, Ai-Da was at the Venice Biennale and if there was a choice between the VAG and Biennale, I know where I’d be.

Even with those caveats in mind, It is a bit surprising that there were no examples of wearable technology. For example, Toronto’s Tapestry Opera recently performed R.U.R. A Torrent of Light (based on the word ‘robot’ from Karel Čapek’s play, R.U.R., ‘Rossumovi Univerzální Roboti’), from my May 24, 2022 posting,

I have more about tickets prices, dates, and location later in this post but first, here’s more about the opera and the people who’ve created it from the Tapestry Opera’s ‘R.U.R. A Torrent of Light’ performance webpage,

“This stunning new opera combines dance, beautiful multimedia design, a chamber orchestra including 100 instruments creating a unique electronica-classical sound, and wearable technology [emphasis mine] created with OCAD University’s Social Body Lab, to create an immersive and unforgettable science-fiction experience.”

And, from later in my posting,

“Despite current stereotypes, opera was historically a launchpad for all kinds of applied design technologies. [emphasis mine] Having the opportunity to collaborate with OCAD U faculty is an invigorating way to reconnect to that tradition and foster connections between art, music and design, [emphasis mine]” comments the production’s Director Michael Hidetoshi Mori, who is also Tapestry Opera’s Artistic Director. 

That last quote brings me back to the my comment about theatre and performing arts not being part of the show. Of course, the curators couldn’t do it all but a website with my hoped for background and additional information could have helped to solve the problem.

The absence of the theatrical and performing arts in the VAG’s ‘Imitation Game’ is a bit surprising as the Council of Canadian Academies (CCA) in their third assessment, “Competing in a Global Innovation Economy: The Current State of R&D in Canada” released in 2018 noted this (from my April 12, 2018 posting),

Canada, relative to the world, specializes in subjects generally referred to as the
humanities and social sciences (plus health and the environment), and does
not specialize as much as others in areas traditionally referred to as the physical
sciences and engineering. Specifically, Canada has comparatively high levels
of research output in Psychology and Cognitive Sciences, Public Health and
Health Services, Philosophy and Theology, Earth and Environmental Sciences,
and Visual and Performing Arts. [emphasis mine] It accounts for more than 5% of world research in these fields. Conversely, Canada has lower research output than expected in Chemistry, Physics and Astronomy, Enabling and Strategic Technologies,
Engineering, and Mathematics and Statistics. The comparatively low research
output in core areas of the natural sciences and engineering is concerning,
and could impair the flexibility of Canada’s research base, preventing research
institutions and researchers from being able to pivot to tomorrow’s emerging
research areas. [p. xix Print; p. 21 PDF]

US-centric

My friend,

I was a little surprised that the show was so centered on work from the US given that Grenville has curated ate least one show where there was significant input from artists based in Asia. Both Japan and Korea are very active with regard to artificial intelligence and it’s hard to believe that their artists haven’t kept pace. (I’m not as familiar with China and its AI efforts, other than in the field of facial recognition, but it’s hard to believe their artists aren’t experimenting.)

The Americans, of course, are very important developers in the field of AI but they are not alone and it would have been nice to have seen something from Asia and/or Africa and/or something from one of the other Americas. In fact, anything which takes us out of the same old, same old. (Luba Elliott wrote this (2019/2020/2021?) essay, “Artificial Intelligence Art from Africa and Black Communities Worldwide” on Aya Data if you want to get a sense of some of the activity on the African continent. Elliott does seem to conflate Africa and Black Communities, for some clarity you may want to check out the Wikipedia entry on Africanfuturism, which contrasts with this August 12, 2020 essay by Donald Maloba, “What is Afrofuturism? A Beginner’s Guide.” Maloba also conflates the two.)

As it turns out, Luba Elliott presented at the 2019 Montréal Digital Spring event, which brings me to Canada’s artificial intelligence and arts scene.

I promise I haven’t turned into a flag waving zealot, my friend. It’s just odd there isn’t a bit more given that machine learning was pioneered at the University of Toronto. Here’s more about that (from Wikipedia entry for Geoffrey Hinston),

Geoffrey Everest HintonCCFRSFRSC[11] (born 6 December 1947) is a British-Canadian cognitive psychologist and computer scientist, most noted for his work on artificial neural networks.

Hinton received the 2018 Turing Award, together with Yoshua Bengio [Canadian scientist] and Yann LeCun, for their work on deep learning.[24] They are sometimes referred to as the “Godfathers of AI” and “Godfathers of Deep Learning“,[25][26] and have continued to give public talks together.[27][28]

Some of Hinton’s work was started in the US but since 1987, he has pursued his interests at the University of Toronto. He wasn’t proven right until 2012. Katrina Onstad’s February 29, 2018 article (Mr. Robot) for Toronto Life is a gripping read about Hinton and his work on neural networks. BTW, Yoshua Bengio (co-Godfather) is a Canadian scientist at the Université de Montréal and Yann LeCun (co-Godfather) is a French scientist at New York University.

Then, there’s another contribution, our government was the first in the world to develop a national artificial intelligence strategy. Adding those developments to the CCA ‘State of Science’ report findings about visual arts and performing arts, is there another word besides ‘odd’ to describe the lack of Canadian voices?

You’re going to point out the installation by Ben Bogart (a member of Simon Fraser University’s Metacreation Lab for Creative AI and instructor at the Emily Carr University of Art + Design (ECU)) but it’s based on the iconic US scifi film, 2001: A Space Odyssey. As for the other Canadian, Sougwen Chung, she left Canada pretty quickly to get her undergraduate degree in the US and has since moved to the UK. (You could describe hers as the quintessential success story, i.e., moving from Canada only to get noticed here after success elsewhere.)

Of course, there are the CDM student projects but the projects seem less like an exploration of visual culture than an exploration of technology and industry requirements, from the ‘Master of Digital Media Students Develop Revolutionary Installations for Vancouver Art Gallery AI Exhibition‘ webpage, Note: A link has been removed,

In 2019, Bruce Grenville, Senior Curator at Vancouver Art Gallery, approached [the] Centre for Digital Media to collaborate on several industry projects for the forthcoming exhibition. Four student teams tackled the project briefs over the course of the next two years and produced award-winning installations that are on display until October 23 [2022].

Basically, my friend, it would have been nice to see other voices or, at the least, an attempt at representing other voices and visual cultures informed by AI. As for Canadian contributions, maybe put something on the VAG website?

Playing well with others

it’s always a mystery to me why the Vancouver cultural scene seems comprised of a set of silos or closely guarded kingdoms. Reaching out to the public library and other institutions such as Science World might have cost time but could have enhanced the show

For example, one of the branches of the New York Public Library ran a programme called, “We are AI” in March 2022 (see my March 23, 2022 posting about the five-week course, which was run as a learning circle). The course materials are available for free (We are AI webpage) and I imagine that adding a ‘visual culture module’ wouldn’t be that difficult.

There is one (rare) example of some Vancouver cultural institutions getting together to offer an art/science programme and that was in 2017 when the Morris and Helen Belkin Gallery (at the University of British Columbia; UBC) hosted an exhibition of Santiago Ramon y Cajal’s work (see my Sept. 11, 2017 posting about the gallery show) along with that show was an ancillary event held by the folks at Café Scientifique at Science World and featuring a panel of professionals from UBC’s Faculty of Medicine and Dept. of Psychology, discussing Cajal’s work.

In fact, where were the science and technology communities for this show?

On a related note, the 2022 ACM SIGGRAPH conference (August 7 – 11, 2022) is being held in Vancouver. (ACM is the Association for Computing Machinery; SIGGRAPH is for Special Interest Group on Computer Graphics and Interactive Techniques.) SIGGRAPH has been holding conferences in Vancouver every few years since at least 2011.

At this year’s conference, they have at least two sessions that indicate interests similar to the VAG’s. First, there’s Immersive Visualization for Research, Science and Art which includes AI and machine learning along with other related topics. There’s also, Frontiers Talk: Art in the Age of AI: Can Computers Create Art?

This is both an international conference and an exhibition (of art) and the whole thing seems to have kicked off on July 25, 2022. If you’re interested, the programme can be found here and registration here.

Last time SIGGRAPH was here the organizers seemed interested in outreach and they offered some free events.

In the end

It was good to see the show. The curators brought together some exciting material. As is always the case, there were some missed opportunities and a few blind spots. But all is not lost.

July 27, 2022, the VAG held a virtual event with an artist,

Gwenyth Chao to learn more about what happened to the honeybees and hives in Oxman’s Synthetic Apiary project. As a transdisciplinary artist herself, Chao will also discuss the relationship between art, science, technology and design. She will then guide participants to create a space (of any scale, from insect to human) inspired by patterns found in nature.

Hopefully there will be more more events inspired by specific ‘objects’. Meanwhile, August 12, 2022, the VAG is hosting,

… in partnership with the Canadian Music Centre BC, New Music at the Gallery is a live concert series hosted by the Vancouver Art Gallery that features an array of musicians and composers who draw on contemporary art themes.

Highlighting a selection of twentieth- and twenty-first-century music compositions, this second concert, inspired by the exhibition The Imitation Game: Visual Culture in the Age of Artificial Intelligence, will spotlight The Iliac Suite (1957), the first piece ever written using only a computer, and Kaija Saariaho’s Terra Memoria (2006), which is in a large part dependent on a computer-generated musical process.

It would be lovely if they could include an Ada Lovelace Day event. This is an international celebration held on October 11, 2022.

Do go. Do enjoy, my friend.

Drag artists making science more accessible

I can remember kids describing science (and mathematics too) as a drag never imagining this, “Meet The Drag Artists Who Are Making Science More Accessible,” a 17 – 20 min. segment on the Science Friday (SciFri ) radio programme (broadcast on US National Public Radio).

Luckily, there’s a webpage devoted to the segment where you’ll find all kinds of interesting tidbits like this (Note: Links have been removed),

Each generation has had science communicators who brought a sometimes stuffy, siloed subject into homes, inspiring minds young and old. Scientists like Don Herbert, Carl Sagan, and Bill Nye are classic examples. But our modern age of social media has brought more diverse communicators into the forefront of science communication, including the wild, wonderful world of STEM [science, technology, engineering, and mathematics] drag stars.

These are queer folk who mix the flashy fashions of the drag world with science education. Some, like Kyne, use TikTok as a medium to teach concepts like math. Others, like Pattie Gonia, use drag to attract more people to the great outdoors. The accessibility of the internet has made these personalities available to a wide audience.

Kyne and Pattie Gonia join Ira [SciFri host Ira Flatow] to talk about the magic drag can bring to science education, and why they think the future of SciComm looks more diverse than the past.

You’ll find images similar to this one of Pattie Gonia in the SciFri article,

This dress is trash—in a good way. With the help of recycling, one queen’s trash is Pattie Gonia’s treasure. Credit: Pattie Gonia [downloaded from https://www.wnycstudios.org/podcasts/science-friday/segments/science-advisor-resigns-covid-drug-treatments-science-drag-artists-feb-11-2022-part-1]

You can listen to the segment, read transcripts, watch videos, and find more information on the “Meet The Drag Artists Who Are Making Science More Accessible” webpage.

Research communicated by puppets

Yes, there’s protein folding as explained by puppets,

An April 25, 2019 article by Madeleine O’Keefe for BU (Boston University) Today describes both the course “Thinking through Puppets and Performing Objects: Using Theatrical Tools to Communicate the Complex, the Abstract, and the Technical” and a then upcoming Puppet Slam performance (Note: Links have been removed),

Thinking through Puppets is the brainchild of Felice Amato, a College of Fine Arts assistant professor of art education and a Pardee Center for the Study of the Longer-Range Future faculty associate, and Anna Panszczyk (CAS’97), a College of Arts & Sciences Writing Program senior lecturer.

The course is part of the BU Cross-College Challenge (XCC), the Hub’s signature project-based, one-semester four-credit elective course open to juniors and seniors from all 10 undergraduate schools and colleges. It fulfills four Hub units: Creativity/Innovation, Oral Communication, Research and Information Literacy, and Teamwork/Collaboration.

Amato previously taught K-12 art in public schools and focused her doctoral work on puppetry. Panszczyk focuses on children’s literature and culture in her writing, and says she was interested in working with Amato to see how a puppet project could help students develop the aforementioned four Hub skills.

The course attracted six undergraduates, … . Suddenly, they were thrust into a world of cutting, crafting, sewing, gluing, shaping, and molding. They worked with fabric, wood, paper, everyday trash, and more—even M&Ms.

“It was definitely challenging,” Kasanaa [Vinamre Kasanaa. senior at BU] acknowledges. “Taking the leap from our passive classes, which are information-intensive—you get the information, you regurgitate it out on paper, you write, you debate—it’s all abstract.…Tapping your fingers on the screen is not a replacement for craftsmanship, where you’re using your hands. So that’s the one thing that we all were able to learn, because most of us made our own puppets and made these things by ourselves.”

An important aspect of the XCC courses is working on real-world projects with a variety of on-campus and community clients. As the culmination of Thinking through Puppets, Amato, Panszczyk, and their students produced puppet slams …

What exactly is a puppet slam? Amato defines it as “a series of short experimental pieces,” each typically about three minutes long. Puppet slams got their launch at Puppet Showplace Theater, but have become so popular that they now are held all over the world. Heather Henson, daughter of Jim Henson, the Emmy-winning creator of the Muppets, supports a national Puppet Slam Network.

Devyani Chhetri’s March 26, 2020 article for BU Hub updates the story with a description of the 2020 class’s Puppet Slam,

They say that actions speak louder than words. Nothing was more true when XCC students took the stage last Friday to reveal the anxieties of the world borne from issues such as climate change, sexual harassment and immigration— through puppets.

In …, “Puppets against Climate Change”, two puppets are seated in a car and driving around puppet city when they ignore a sign that said ‘no dumping’ and throw trash out of the car.

With Rindner’s [Alexis Rindner, BU student] exaggerated puppet voice leaving the audience in splits, the two puppets are struck soon after by a ‘trash’ comet that decimates the puppet planet.

The humor of the moment gives way to a grim montage of a destroyed planet when the ghosts of the puppets go over the years of excesses where deforestation and pollution in the name of progress led to global warming and the puppet planet’s eventual demise.

You can find the Puppet Slam Network here. The homepage includes a map of various Puppet Slam members.

There are three network members in Canada: Vancouver International Puppet Festival (VIPF) in British Columbia, Calgary Animated Objects Society (CAOS) in Alberta, and the Winnipeg Puppet Slam in Manitoba.

As far as I’m aware, none of the three Canadian members are focused on explicitly communicating research in the manner of the Boston University programme.