The Guggenheim’s Earth Day celebrations feature artist and poet Cecilia Vicuña’s “The Quipu of Encounters” series. Here’s an example,
For anyone unfamiliar with a quipu, here’s a description from the Quipu Wikipedia entry, Note: Links have been removed,
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A quipu usually consisted of cotton or camelid fiber strings. The Inca people used quipu for collecting data and keeping records, for monitoring tax obligations, for collecting census records, for calendrical information, and for military organization.[2] The cords stored numeric and other values encoded as knots, often in a base-ten positional system. A quipu could have only a few or thousands of cords.[3] The configuration of the quipu has been “compared to string mops”.[4] Archaeological evidence has also shown the use of finely carved wood as a supplemental, and perhaps sturdier, base to which the color-coded cords could be attached.[5] A relatively small number have survived.
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Recently (and relevantly to Vicuña’s project), I came across a suggestion that quipu weren’t used for numerical storage only, from Silvia Ferrara’s March 8, 2022 article “How The Inca Used Knots To Tell Stories” for LitHub,
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Because quipu aren’t limited to numbers. A third of these knotted necklaces are narrative. It’s hard even to imagine that a story could be told using a series of colored knots that represent numbers, but it is so. Names, places, genealogies, songs—all are recited like so many zip codes, credit-card numbers, telephone numbers, yellow, green, and blue numbers. Because numbers, for the Inca, speak not only of quantity but of quality. I know, it’s not easy to grasp, but let your imagination run free a little.
The knots are 3D, so they have form, direction, relative position, color, thickness, multiple configurations. Each element carries a different meaning: far from the body, close to the body—these distances affect what quantity is recorded. A three-dimensional Sudoku. Multivalent, multi-referential, and yet at the same time precise. According to Spanish accounts from the mid-16th century, quipu were on par with the Old World’s most complex scripts. One Jesuit missionary tells of an Inca woman who brought him a quipu bearing her entire life story. In knots. Incredible.
Indeed, the details of how this could have been possible are lost to us, since we don’t have the legend that reveals the links among these elements (dimension, thickness, color, number, direction, etc.) and their precise meaning. We’re in need of a decoder, an Inca Rosetta stone to unveil the correlations. …
On April 22, Earth Day, join us online for poetry in response to the climate crisis.
“entwine / the betwixt,” writes artist and activist Cecilia Vicuña in her poem “Three Fragments of Instan.” We are interconnected in our struggle for environmental justice. Together, we seek ways to convey the reality of our current global climate emergency. The Academy of American Poets invites a community of poets to write a new collaborative poem—a choral braid of voices—presented at Poets.org on Earth Day, along with a video recording of their contributions.
Over the past six months, representatives from various arts and community organizations, along with artists, poets, writers, and musicians, participated in a series of workshops led by artist and poet Cecilia Vicuña at the Wassaic Project and the Guggenheim Museum. Conceived by Vicuña as part of her ongoing “Quipu of Encounters” series, the workshops used ritual and communion as a means to propose ways of being and acting, as individuals and within collectives, in response to the current climate crisis. Among the many themes that emerged were tools and strategies that the cultural sector might use to inspire action in others.
Explore below how our partners will be applying learnings from these workshops through public offerings with a focus on climate justice, sustainability, ecology, and Indigenous practices.
Around Town
Earth Month activities from our partners
Whitney Museum of American Art
Open Studio
Saturday, April 20
11 am
Families with kids of all ages are invited to make works of art using natural pigments found in soil and plants inspired by Whitney Biennial artist Dala Nasser.
Various branches of the Brooklyn Public Library will present programming during Earth Month, offering opportunities for folks of all ages to connect across themes of environmentalism, crafting, storytelling, and community.
Join a practicing artist for an outdoor workshop of art making, material experimentation, and play, offered in partnership with Common Ground Farm in the Hudson Valley. Designed for all ages, Saturday Studio is a family-friendly program that is most suitable for children ages five and up.
Join Our Climate and GrowNYC for a two-part series where we will come together to explore the boundless possibilities of a sustainable and equitable future for New York City through transformative policies, collective action, and joy.
Using techniques learned by the Beauty Turner Academy, a program hosted and facilitated by the National Public Housing Museum, GrowNYC’s Gardens at NYCHA program will engage various NYCHA residents in sharing their ethos for community work through Oral History as Art, highlighting environmental programming currently happening in their communities, and commemorating their stories for those seeking active and tangible change in NYCHA communities and beyond. The project will eventually result in a public film screening. GrowNYC is honored to uplift their collaborative partnership with photographer and writer J Owens, who uses words and images to explore the human experience and paint extraordinary pictures of ordinary places.
You can find out more about Earth Day here. If you scroll down there’s a worldwide map with Earth Day 2024 events marked on it. Yes, mostly featuring events in the US and Europe but other parts of the world are also represented.
My personal theme for this last year (2023) and for the coming year was and is: catching up. On the plus side, my 2023 backlog (roughly six months) to be published was whittled down considerably. On the minus side, I start 2024 with a backlog of two to three months.
2023 on this blog had a lot in common with 2022 (see my December 31, 2022 posting), which may be due to what’s going on in the world of emerging science and technology or to my personal interests or possibly a bit of both. On to 2023 and a further blurring of boundaries:
Energy, computing and the environment
The argument against paper is that it uses up resources, it’s polluting, it’s affecting the environment, etc. Somehow the part where electricity which underpins so much of our ‘smart’ society does the same thing is left out of the discussion.
Neuromorphic (brainlike) computing and lower energy
Before launching into the stories about lowering energy usage, here’s an October 16, 2023 posting “The cost of building ChatGPT” that gives you some idea of the consequences of our insatiable desire for more computing and more ‘smart’ devices,
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In its latest environmental report, Microsoft disclosed that its global water consumption spiked 34% from 2021 to 2022 (to nearly 1.7 billion gallons , or more than 2,500 Olympic-sized swimming pools), a sharp increase compared to previous years that outside researchers tie to its AI research. [emphases mine]
“It’s fair to say the majority of the growth is due to AI,” including “its heavy investment in generative AI and partnership with OpenAI,” said Shaolei Ren, [emphasis mine] a researcher at the University of California, Riverside who has been trying to calculate the environmental impact of generative AI products such as ChatGPT.
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Why it matters: Microsoft’s five WDM [West Des Moines in Iowa] data centers — the “epicenter for advancing AI” — represent more than $5 billion in investments in the last 15 years.
Yes, but: They consumed as much as 11.5 million gallons of water a month for cooling, or about 6% of WDM’s total usage during peak summer usage during the last two years, according to information from West Des Moines Water Works.
The focus is AI but it doesn’t take long to realize that all computing has energy and environmental costs. I have more about Ren’s work and about water shortages in the “The cost of building ChatGPT” posting.
This next posting would usually be included with my other art/sci postings but it touches on the issues. My October 13, 2023 posting about Toronto’s Art/Sci Salon events, in particular, there’s the Streaming Carbon Footprint event (just scroll down to the appropriate subhead). For the interested, I also found this 2022 paper “The Carbon Footprint of Streaming Media:; Problems, Calculations, Solutions” co-authored by one of the artist/researchers (Laura U. Marks, philosopher and scholar of new media and film at Simon Fraser University) who presented at the Toronto event.
I’m late to the party; Thomas Daigle posted a January 2, 2020 article about energy use and our appetite for computing and ‘smart’ devices for the Canadian Broadcasting Corporation’s online news,
For those of us binge-watching TV shows, installing new smartphone apps or sharing family photos on social media over the holidays, it may seem like an abstract predicament.
The gigabytes of data we’re using — although invisible — come at a significant cost to the environment. Some experts say it rivals that of the airline industry.
And as more smart devices rely on data to operate (think internet-connected refrigerators or self-driving cars), their electricity demands are set to skyrocket.
“We are using an immense amount of energy to drive this data revolution,” said Jane Kearns, an environment and technology expert at MaRS Discovery District, an innovation hub in Toronto.
“It has real implications for our climate.”
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Some good news
Researchers are working on ways to lower the energy and environmental costs, here’s a sampling of 2023 posts with an emphasis on brainlike computing that attest to it,
Most people are familiar with nuclear fission and some its attendant issues. There is an alternative nuclear energy, fusion, which is considered ‘green’ or greener anyway. General Fusion is a local (Vancouver area) company focused on developing fusion energy, alongside competitors from all over the planet.
Part of what makes fusion energy attractive is that salt water or sea water can be used in its production and, according to that December posting, there are other applications for salt water power,
More encouraging developments in environmental science
Again, this is a selection. You’ll find a number of nano cellulose research projects and a couple of seaweed projects (seaweed research seems to be of increasing interest).
Neuromorphic computing is a subset of neuromorphic engineering and I stumbled across an article that outlines the similarities and differences. My ‘summary’ of the main points and a link to the original article can be found here,
I included an overview of the various ‘recent’ panics (in my May 25, 2023 posting below) along with a few other posts about concerning developments but it’s not all doom and gloom..
Governments have realized that regulation might be a good idea. The European Union has a n AI act, the UK held an AI Safety Summit in November 2023, the US has been discussing AI regulation with its various hearings, and there’s impending legislation in Canada (see professor and lawyer Michael Geist’s blog for more).
A long time coming, a nanomedicine comeuppance
Paolo Macchiarini is now infamous for his untested, dangerous approach to medicine. Like a lot of people, I was fooled too as you can see in my August 2, 2011 posting, “Body parts nano style,”
In early July 2011, there were reports of a new kind of transplant involving a body part made of a biocomposite. Andemariam Teklesenbet Beyene underwent a trachea transplant that required an artificial windpipe crafted by UK experts then flown to Sweden where Beyene’s stem cells were used to coat the windpipe before being transplanted into his body.
It is an extraordinary story not least because Beyene, a patient in a Swedish hospital planning to return to Eritrea after his PhD studies in Iceland, illustrates the international cooperation that made the transplant possible.
The scaffolding material for the artificial windpipe was developed by Professor Alex Seifalian at the University College London in a landmark piece of nanotechnology-enabled tissue engineering. …
This year, Gretchen Vogel (whose work was featured in my 2016 posts) has written a June 21, 2023 update about the Macchiarini affair for Science magazine, Note: Links have been removed,
Surgeon Paolo Macchiarini, who was once hailed as a pioneer of stem cell medicine, was found guilty of gross assault against three of his patients today and sentenced to 2 years and 6 months in prison by an appeals court in Stockholm. The ruling comes a year after a Swedish district court found Macchiarini guilty of bodily harm in two of the cases and gave him a suspended sentence. After both the prosecution and Macchiarini appealed that ruling, the Svea Court of Appeal heard the case in April and May. Today’s ruling from the five-judge panel is largely a win for the prosecution—it had asked for a 5-year sentence whereas Macchiarini’s lawyer urged the appeals court to acquit him of all charges.
Macchiarini performed experimental surgeries on the three patients in 2011 and 2012 while working at the renowned Karolinska Institute. He implanted synthetic windpipes seeded with stem cells from the patients’ own bone marrow, with the hope the cells would multiply over time and provide an enduring replacement. All three patients died when the implants failed. One patient died suddenly when the implant caused massive bleeding just 4 months after it was implanted; the two others survived for 2.5 and nearly 5 years, respectively, but suffered painful and debilitating complications before their deaths.
In the ruling released today, the appeals judges disagreed with the district court’s decision that the first two patients were treated under “emergency” conditions. Both patients could have survived for a significant length of time without the surgeries, they said. The third case was an “emergency,” the court ruled, but the treatment was still indefensible because by then Macchiarini was well aware of the problems with the technique. (One patient had already died and the other had suffered severe complications.)
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A fictionalized tv series ( part of the Dr. Death anthology series) based on Macchiarini’s deceptions and a Dr. Death documentary are being broadcast/streamed in the US during January 2024. These come on the heels of a November 2023 Macchiarini documentary also broadcast/streamed on US television.
Dr. Death (anthology), based on the previews I’ve seen, is heavily US-centric, which is to be expected since Adam Ciralsky is involved in the production. Ciralsky wrote an exposé about Macchiarini for Vanity Fair published in 2016 (also featured in my 2016 postings). From a December 20, 2023 article by Julie Miller for Vanity Fair, Note: A link has been removed,
Seven years ago [2016], world-renowned surgeon Paolo Macchiarini was the subject of an ongoing Vanity Fair investigation. He had seduced award-winning NBC producer Benita Alexander while she was making a special about him, proposed, and promised her a wedding officiated by Pope Francis and attended by political A-listers. It was only after her designer wedding gown was made that Alexander learned Macchiarini was still married to his wife, and seemingly had no association with the famous names on their guest list.
Vanity Fair contributor Adam Ciralsky was in the midst of reporting the story for this magazine in the fall of 2015 when he turned to Dr. Ronald Schouten, a Harvard psychiatry professor. Ciralsky sought expert insight into the kind of fabulist who would invent and engage in such an audacious lie.
“I laid out the story to him, and he said, ‘Anybody who does this in their private life engages in the same conduct in their professional life,” recalls Ciralsky, in a phone call with Vanity Fair. “I think you ought to take a hard look at his CVs.”
That was the turning point in the story for Ciralsky, a former CIA lawyer who soon learned that Macchiarini was more dangerous as a surgeon than a suitor. …
Here’s a link to Ciralsky’s original article, which I described this way, from my April 19, 2016 posting (part 2 of the Macchiarini controversy),
For some bizarre frosting on this disturbing cake (see part 1 of the Macchiarini controversy and synthetic trachea transplants for the medical science aspects), a January 5, 2016 Vanity Fair article by Adam Ciralsky documents Macchiarini’s courtship of an NBC ([US] National Broadcasting Corporation) news producer who was preparing a documentary about him and his work.
[from Ciralsky’s article]
“Macchiarini, 57, is a magnet for superlatives. He is commonly referred to as “world-renowned” and a “super-surgeon.” He is credited with medical miracles, including the world’s first synthetic organ transplant, which involved fashioning a trachea, or windpipe, out of plastic and then coating it with a patient’s own stem cells. That feat, in 2011, appeared to solve two of medicine’s more intractable problems—organ rejection and the lack of donor organs—and brought with it major media exposure for Macchiarini and his employer, Stockholm’s Karolinska Institute, home of the Nobel Prize in Physiology or Medicine. Macchiarini was now planning another first: a synthetic-trachea transplant on a child, a two-year-old Korean-Canadian girl named Hannah Warren, who had spent her entire life in a Seoul hospital. … “
Other players in the Macchiarini story
Pierre Delaere, a trachea expert and professor of head and neck surgery at KU Leuven (a university in Belgium) was one of the first to draw attention to Macchiarini’s dangerous and unethical practices. To give you an idea of how difficult it was to get attention for this issue, there’s a September 1, 2017 article by John Rasko and Carl Power for the Guardian illustrating the issue. Here’s what they had to say about Delaere and other early critics of the work, Note: Links have been removed,
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Delaere was one of the earliest and harshest critics of Macchiarini’s engineered airways. Reports of their success always seemed like “hot air” to him. He could see no real evidence that the windpipe scaffolds were becoming living, functioning airways – in which case, they were destined to fail. The only question was how long it would take – weeks, months or a few years.
Delaere’s damning criticisms appeared in major medical journals, including the Lancet, but weren’t taken seriously by Karolinska’s leadership. Nor did they impress the institute’s ethics council when Delaere lodged a formal complaint. [emphases mine]
Support for Macchiarini remained strong, even as his patients began to die. In part, this is because the field of windpipe repair is a niche area. Few people at Karolinska, especially among those in power, knew enough about it to appreciate Delaere’s claims. Also, in such a highly competitive environment, people are keen to show allegiance to their superiors and wary of criticising them. The official report into the matter dubbed this the “bandwagon effect”.
With Macchiarini’s exploits endorsed by management and breathlessly reported in the media, it was all too easy to jump on that bandwagon.
And difficult to jump off. In early 2014, four Karolinska doctors defied the reigning culture of silence [emphasis mine] by complaining about Macchiarini. In their view, he was grossly misrepresenting his results and the health of his patients. An independent investigator agreed. But the vice-chancellor of Karolinska Institute, Anders Hamsten, wasn’t bound by this judgement. He officially cleared Macchiarini of scientific misconduct, allowing merely that he’d sometimes acted “without due care”.
For their efforts, the whistleblowers were punished. [emphasis mine] When Macchiarini accused one of them, Karl-Henrik Grinnemo, of stealing his work in a grant application, Hamsten found him guilty. As Grinnemo recalls, it nearly destroyed his career: “I didn’t receive any new grants. No one wanted to collaborate with me. We were doing good research, but it didn’t matter … I thought I was going to lose my lab, my staff – everything.”
This went on for three years until, just recently [2017], Grinnemo was cleared of all wrongdoing.
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It is fitting that Macchiarini’s career unravelled at the Karolinska Institute. As the home of the Nobel prize in physiology or medicine, one of its ambitions is to create scientific celebrities. Every year, it gives science a show-business makeover, picking out from the mass of medical researchers those individuals deserving of superstardom. The idea is that scientific progress is driven by the genius of a few.
It’s a problematic idea with unfortunate side effects. A genius is a revolutionary by definition, a risk-taker and a law-breaker. Wasn’t something of this idea behind the special treatment Karolinska gave Macchiarini? Surely, he got away with so much because he was considered an exception to the rules with more than a whiff of the Nobel about him. At any rate, some of his most powerful friends were themselves Nobel judges until, with his fall from grace, they fell too.
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The September 1, 2017 article by Rasko and Power is worth the read if you have the interest and the time. And, Delaere has written up a comprehensive analysis, which includes basic information about tracheas and more, “The Biggest Lie in Medical History” 2020, PDF, 164 pp., Creative Commons Licence).
I also want to mention Leonid Schneider, science journalist and molecular cell biologist, whose work the Macchiarini scandal on his ‘For Better Science’ website was also featured in my 2016 pieces. Schneider’s site has a page titled, ‘Macchiarini’s trachea transplant patients: the full list‘ started in 2017 and which he continues to update with new information about the patients. The latest update was made on December 20, 2023.
Promising nanomedicine research but no promises and a caveat
Most of the research mentioned here is still in the laboratory. i don’t often come across work that has made its way to clinical trials since the focus of this blog is emerging science and technology,
*If you’re interested in the business of neurotechnology, the July 17, 2023 posting highlights a very good UNESCO report on the topic.
Funky music (sound and noise)
I have couple of stories about using sound for wound healing, bioinspiration for soundproofing applications, detecting seismic activity, more data sonification, etc.
I didn’t realize how active the year was art/sciwise including events and other projects until I reviewed this year’s postings. This is a selection from 2023 but there’s a lot more on the blog, just use the search term, “art/sci,” or “art/science,” or “sciart.”
2023 featured an unusual budget where military expenditures were going to be increased, something which could have implications for our science and technology research.
Then things changed as Murray Brewster’s November 21, 2023 article for the Canadian Broadcasting Corporation’s (CBC) news online website comments, Note: A link has been removed,
There was a revelatory moment on the weekend as Defence Minister Bill Blair attempted to bridge the gap between rhetoric and reality in the Liberal government’s spending plans for his department and the Canadian military.
Asked about an anticipated (and long overdue) update to the country’s defence policy (supposedly made urgent two years ago by Russia’s full-on invasion of Ukraine), Blair acknowledged that the reset is now being viewed through a fiscal lens.
“We said we’re going to bring forward a new defence policy update. We’ve been working through that,” Blair told CBC’s Rosemary Barton Live on Sunday.
“The current fiscal environment that the country faces itself does require (that) that defence policy update … recognize (the) fiscal challenges. And so it’ll be part of … our future budget processes.”
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One policy goal of the existing defence plan, Strong, Secure and Engaged, was to require that the military be able to concurrently deliver “two sustained deployments of 500 [to] 1,500 personnel in two different theaters of operation, including one as a lead nation.”
In a footnote, the recent estimates said the Canadian military is “currently unable to conduct multiple operations concurrently per the requirements laid out in the 2017 Defence Policy. Readiness of CAF force elements has continued to decrease over the course of the last year, aggravated by decreasing number of personnel and issues with equipment and vehicles.”
Some analysts say they believe that even if the federal government hits its overall budget reduction targets, what has been taken away from defence — and what’s about to be taken away — won’t be coming back, the minister’s public assurances notwithstanding.
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10 years: Graphene Flagship Project and Human Brain Project
“Graphene and Human Brain Project win biggest research award in history (& this is the 2000th post)” on January 28, 2013 was how I announced the results of what had been a a European Union (EU) competition that stretched out over several years and many stages as projects were evaluated and fell to the wayside or were allowed onto the next stage. The two finalists received €1B each to be paid out over ten years.
As you can see, there was plenty of interesting stuff going on in 2023 but no watershed moments in the areas I follow. (Please do let me know in the Comments should you disagree with this or any other part of this posting.) Nanotechnology seems less and less an emerging science/technology in itself and more like a foundational element of our science and technology sectors. On that note, you may find my upcoming (in 2024) post about a report concerning the economic impact of its National Nanotechnology Initiative (NNI) from 2002 to 2022 of interest.
Following on the commercialization theme, I have noticed an increase of interest in commercializing brain and brainlike engineering technologies, as well as, more discussion about ethics.
Meanwhile, Australia has been producing some very interesting mind/robot research, my June 13, 2023 posting, “Mind-controlled robots based on graphene: an Australian research story.” I have more of this kind of research (mind control or mind reading) from Australia to be published in early 2024. The Australians are not alone, there’s also this April 12, 2023 posting, “Mind-reading prosthetic limbs” from Germany.
I haven’t singled it out in this end-of-year posting but there is a great deal of interest in quantum computer both here in Canada and elsewhere. There is a 2023 report from the Council of Canadian Academies on the topic of quantum computing in Canada, which I hope to comment on soon.
Final words
I have a shout out for the Canadian Science Policy Centre, which celebrated its 15th anniversary in 2023. Congratulations!
For everyone, I wish peace on earth and all the best for you and yours in 2024!
This is not the first time that I’ve come across information such as this. According to a September 28, 2023 posting by Karl Bode for the TechDirt website, companies in Silicon Valley (California, US) are hiring poets (and other writers) to help train AI (artificial intelligence), Note: Links have been removed,
… however much AI hype-men would like to pretend AI makes human beings irrelevant, they remain essential for the underlying illusion and reality to function. As such, a growing number of Silicon Valley companies are increasingly hiring poets, English PHDs, and other writers to write short stories for LLMs [language learning models] to train on in a bid to improve the quality of their electro-mimics:
“A string of job postings from high-profile training data companies, such as Scale AI and Appen, are recruiting poets, novelists, playwrights, or writers with a PhD or master’s degree. Dozens more seek general annotators with humanities degrees, or years of work experience in literary fields. The listings aren’t limited to English: Some are looking specifically for poets and fiction writers in Hindi and Japanese, as well as writers in languages less represented on the internet.”
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So it’s clear we still have a long way to go before these technologies actually get anywhere close to matching both the hype and employment apocalypse many predicted. LLMs are effectively mimics that create from what already exists. Since it’s not real artificial intelligence, it’s still not actually capable of true creativity:
“They are trained to reproduce. They are not designed to be great, they try to be as close as possible to what exists,” Fabricio Goes, who teaches informatics at the University of Leicester, told Rest of World, explaining a popular stance among AI researchers. “So, by design, many people argue that those systems are not creative.”
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The problem remains that while the underlying technology will continuously improve, the folks rushing to implement it without thinking likely won’t. Most seem dead set on using AI primarily as a bludgeon against labor in the hopes the public won’t notice the drop in quality, and professional writers, editors, and creatives won’t mind increasingly lower pay and tenuous position in the food chain.
In the last paragraph, Bode appears to be alluding to the Writers Guild of America strike (known popularly as the Hollywood writers strike), which ended on September 26, 2023 (for more details, see this September 26, 2023 article by Samantha Delouya for CNN).
Four years ago, I used this head “Ghosts, mechanical turks, and pseudo-AI (artificial intelligence)—Is it all a con game?” for a more in depth look at how AI is overhyped; see my September 24, 2019 posting.
Be careful not to fall, is a familiar stricture when applied to ‘leaning out of windows’ supplying a frisson of danger to the ‘lean’ but in German, ‘aus dem Fenster lehnen’ or ‘lean out of the window’, is an expression for interdisciplinarity. It’s a nice touch for a book about an art/physics collaboration where it can feel ‘dangerous’ to move so far out of your comfort zone. The book is described this way in its Vancouver (Canada) Public Library catalogue entry,
Art and physics collide in this expansive exploration of how knowledge can be translated across disciplinary communities to activate new aesthetic and scientific perspectives.
Leaning Out of Windows shares findings from a six-year collaboration by a group of artists and physicists exploring the connections and differences between the language they use [emphasis mine], the means by which they develop knowledge, how that knowledge is visualized, and, ultimately, how they seek to understand the universe. Physicists from TRIUMF, Canada’s particle physics accelerator, presented key concepts in the physics of Antimatter, Emergence, and In/visible Forces to artists convened by Emily Carr University of Art + Design; the participants then generated conversations, process drawings, diagrams, field notes, and works of art. The “wondrous back-and-forth” of this process allowed both scientists and artists to, as Koenig [Ingrid Koenig] and Cutler [Randy Lee Cutler] describe, “lean out of our respective fields of inquiry and inhabit the infinite spaces of not knowing.”
From this leaning into uncertainty comes a rich array of work towards furthering the shared project of artists and scientists in shaping cultural understandings of the universe: Otoniya J. Okot Bitek reflects on the invisible forces of power; Jess H. Brewer contemplates emergence, free will, and magic; Mimi Gellman looks at the resonances between Indigenous Knowledge and physics; Jeff Derksen finds Hegelian dialectics within the matter-antimatter process; Sanem Güvenç considers the possibilities of the void; Nirmal Raj ponders the universe’s “special moment of light and visibility” we happen to inhabit; Sadira Rodrigues eschews the artificiality of the lab for a “boring berm of dirt”; and Marina Roy metaphorically turns beams of stable and radioactive gold particles into art of pigments, oils, liquid plastic, and wood. Combined with additional essays, diagrams, and artworks, these texts and artworks live in the intersection of disparate fields that nonetheless share a deep curiosity of the world and our place within it, and a dedication to building and sharing knowledges.
Self-published, “Leaning Out of Windows: An Art and Physics Collaboration” and edited by Ingrid Koenig & Randy Lee Cutler (who also wrote many of the essays) was produced through an entity known as Figure 1 (located in Vancouver). It can be purchased for $45 CAD here on the Figure 1 website or $41.71 (CAD?) on Amazon. (Weirdly, if you look at the back outside cover you’ll see a price of $45 USD.)
Kind of a book
“Leaning” functions as three kinds of books in one package. First, it is documentation for a six year project funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), second, a collection of essays, and, third, a catalogue for three inter-related exhibitions. (Aside: my focus is primarily on the text for an informal book review.)
Like an art exhibition catalogue, this book is printed in a large, awkward to hold format, with shiny (coated) pages. It makes reading the essays and documentation a little challenging but perfect for a picture book/coffee table book where the images are supposed to look good.
I particularly liked the maps for the various phases of the project and the images for phase 1 showing what happens when an image is passed from one artist to the next, without explanation, asking for a new image to be produced and passed on to yet another artist and so on. There is no discussion amongst the artists about the initial impetus (the first artist in the stream of four met with physicists at a science symposium to talk about antimatter).
Unexpectedly, the documentation proved to be a highlight for me. BTW, you can find out more about the Leaning Out of Windows (LOoW) project (e.g. participants, phases, and art/science resources) on its website.
Koenig should be congratulated for getting as much publicity for the book as possible, given the topic and that there are no celebrities involved. CBC gave it a mention (May 8, 2023) on its Books: Leaning Out of Windows webpage. It also got a mention by Dana Gee in a May 12, 2023 ‘Books brief‘ posting on the Vancouver Sun website.
Plus, there were a couple of articles in an art magazine highlighting the art/science project while it was in progress featuring the few images I was about to access online for this project.
A January 6, 2020 article in Canadian Art Magazine by Randy Lee Cutler and Ingrid Koenig introduces the project (Note: I’ll revisit the “metaphor and analogy” mention in this article and throughout the LOoW book later in this post),
The disciplines of art and physics share certain critical perspectives: both deal with how metaphor and analogy inform creative processes. Additionally, artists and physicists address issues of the imagination, creative thinking and communication, and how meaning is made through theoretical research and process-based investigations. There are also important differences in these perspectives. Art brings an appreciation for abstract or non-representational practices. Physics research addresses complex problems relevant to understanding the study of matter and motion through space and time. Physicists also contribute knowledge about how the universe behaves. Together, the achievements of art and physics allow the possibility of a much richer understanding of the nature of reality than each field can contribute individually.
There’s a January 13, 2020 article in Canadian Art Magazine by Perrin Grauer featuring Mimi Gellman, Note: A link has been removed,
Artwork by artist and ECU Associate Professor Mimi Gellman was selected to appear on the cover of the current issue of Canadian Art magazine.
The gleaming, otherworldly image graces the magazine’s issue on antimatter —a subject which “presents a mirror world of abstract phenomena: time reversals, mutual annihilation, cosmic rays, cloud chambers, an infinite sea of sub-atomic particles that parallels our ‘real’ world of matter,” according to the issue’s editors.
Mimi describes her work as approaching some of the affinities between the biological, the perceptual, the cultural and the astronomical.
“My drawings do not explore the exterior world we perceive but rather what I call the ‘architecture of consciousness’ which permits us to perceive it,” she says.
“Recalling astronomical diagrams and reflecting the mixture of hybrid cultural worldviews in my background, they reveal deep similarities between the dimension explored by sub-atomic physics and the implicit interiority of contemporary art.”
…
I’m sorry I never saw any announcements for the project exhibitions, all of which seemed to have taken place at the Emily Carr University of Art + Design. There were three concepts each explored in three exhibitions, with different artists each time, titled: Antimatter, Emergence, and In/visible Forces, respectively.
A bouquet or two and a few nitpicks
Randy Lee Cutler and Ingrid Koenig have a wonderful quote from Karen Barad, physicist and philosopher, in their essay titled, “Collaborative Research between Artists and Physicists,”
Barad introduces the concept of intra-action and the fluidity of materialization through our bodily entanglements—through intra-action our bodies remain entangled with those around us. “Not only subjects but also objects are permeated through and through with their entangled kin, the other is not just in one’s skin, but in one’s bones, in one’s belly in one’s heart, in one’s nucleus, in one’s past and future.This is a true for electrons as it is for brittlestars as it is for the differentially constituted human.” As Barad asks herself, “How do I know where my physics begins and ends?” … [p. 13]
To the left of the page is a black and white photograph of entangled cables captioned, “GRIFFIN (Gamma Ray Infrastructure for Fundamental Investigations of Nuclei- TRIUMF.” It’s a nice touch and points to the difficulty of ‘illustrating’ or producing visual art in response to physics ideas such as quantum entanglement, something Einstein called, ‘spooky action at a distance’. From the Quantum entanglement Wikipedia entry, Note: Links have been removed,
Quantum entanglement is the phenomenon that occurs when a group of particles are generated, interact, or share spatial proximity in a way such that the quantum state of each particle of the group cannot be described independently of the state of the others [[emphasis mine], including when the particles are separated by a large distance [emphasis mine]. The topic of quantum entanglement is at the heart of the disparity between classical and quantum physics: entanglement is a primary feature of quantum mechanics not present in classical mechanics.[1]
Some of the essays
One essay that stood out in LOoW, was “A Boring Berm of Dirt’ (pp. 141-7) by Sadira Rodrigues. She notes that dirt and soil are not the same; one is dead (dirt) and the other is living (soil) and that the berm has an important role at TRIUMF. If you want a more specific discussion of the difference between dirt and soil, see David Beaulieu’s February 23, 2023 essay (Soil vs. Dirt: What’s the Difference?) on The Spruce website.
Rodrigues’ essay (part of the Emergence concept) situates the work physically (word play alert: physics/physically) whereas all of the other work is based on ideas.
In “Boring Berm … ,” radioactivity is mentioned, a term which is largely taboo these days due its association with poisoning, bombs, and death. The eassy goes into fascinating detail about TRIUMF’s underground facility and how the facility deals with its nuclear waste and the role that the berm plays. (On a more fanciful note, the danger in the title of the book is given another dimension in this essay focused on nuclear topics.) Regardless, the essay was definitely an eye-opener.
Aside: The institution has been rebranded from: TRIUMF (Canada’s National Laboratory for Particle and Nuclear Physics) to: TRIUMF (Canada’s national particle accelerator centre). You can find a reference to the ‘nuclear’ name in my October 2, 2018 posting although the name was already changed, probably in the early to mid-2010s. There is no mention of the ‘nuclear’ name in TRIUMF’s Wikipedia entry, accessed August 22, 2023.
Gellman and language
Mimi Gellman’s essay, “Crossing No Divide: Mapping Affinities in Art and Science” evokes unity, as can be seen in the title. She’s one of the more ‘lyrical’ writers,
There is a place in our imagination where east or west, or large or small, or any other opposites cease to be productive contradictions. As an artist and educator, I have become interested in the non-binary and resonance between Indigenous Knowledge and physics, between art and science, and between traditional ways of considering cognition and thinking with the hand. [p. 33]
This is how Gellman is described for the January 13, 2020 article in Canadian Art Magazine, which is archived on the Emily Carr University of Art + Design (ECUAD) website,
Mimi Gellman is an Anishinaabe/Ashkenazi (Ojibway-Jewish Métis) visual artist and educator with a multi-streamed practice in architectural glass and conceptual installation. She is currently an Associate Professor in the Faculty of Culture + Community at Emily Carr University of Art + Design in Vancouver, Canada, and is completing her research praxis PhD in Cultural Studies at Queen’s University on the metaphysics of Indigenous mapping.
…
She highlights some interesting observations about language and thinking,
The Ojibwe language, Anishinaabemowin, like many Indigenous languages is verb-based in contrast with Western languages’ noun-based constructions and these have deep implications for the development of one’s worldview. …
I suspect anyone who speaks more than one language can testify to the observation that language affects one’s worldview. More academically, it’s called linguistic relativity or the Sapir-Whorf hypothesis. I find it hard to believe that it’s considered a controversial idea but here goes from the Linguistic relativity Wikipedia entry, Note: Links have been removed,
The idea of linguistic relativity, also known as the Sapir–Whorf hypothesis /səˌpɪər ˈhwɔːrf/ sə-PEER WHORF, the Whorf hypothesis, or Whorfianism, is a principle suggesting that the structure of a language influences its speakers’ worldview or cognition, and thus individuals’ languages determine or shape their perceptions of the world.[1]
The hypothesis has long been controversial, and many different, often contradictory variations have existed throughout its history.[2] The strong hypothesis of linguistic relativity, now referred to as linguistic determinism, says that language determines thought and that linguistic categories limit and restrict cognitive categories. This was held by some of the early linguists before World War II,[3] but it is generally agreed to be false by modern linguists.[4] Nevertheless, research has produced positive empirical evidence supporting a weaker version of linguistic relativity:[4][3] that a language’s structures influence and shape a speaker’s perceptions, without strictly limiting or obstructing them.
…
Gettng back to Gellman, language, linguistic relativity, worldviews, and, adding physics/science, she quotes James (Sa’ke’j) Youngblood Henderson “a research fellow at the Native Law Centre of Canada, University of Saskatchewan College of Law. He was born to the Bear Clan of the Chickasaw Nation and Cheyenne Tribe in Oklahoma in 1944 and is married to Marie Battiste, a Mi’kmaw educator. In 1974, he received a juris doctorate in law from Harvard Law School,”
[at a 1993 dialogue between Western and Indigenous scientists …]
[Youngblood Henderson] We don’t have one god. You need a noun-based language to have one god. We have forces. All forces are equal and you are just the amplifier of the forces. The way you conduct your life and the dignity you give to other things gives you access to other forces. Even trees are verbs instead of nouns. The Mi’kmaq named their trees for the sound the wind makes when it blows through the trees during the autumn about an hour after the sunset, when the wind usually comes from a certain direction. So one might be like a ‘shu-shu’ something and another more like a ‘tinka-tinka’ something. Although physics in the western world has been essentially the quest for the smallest noun (which used to be a-tom, ‘that which cannot be further divided’), as they were inside the atom things weren’t acting like nouns anymore. The physicists were intrigued with the possibilities inherent in a language that didn’t depend on nouns but could move right to verbs when the circumstances were appropriate.3
…
This work from Gellman is a favourite of mine, and is featured in the January 13, 2020 article in Canadian Art Magazine and you’ll find it in the book,
There are more LOoW images embedded in the January 6, 2020 article on the Canadian Art Magazine website.
Derksen and his poem
Karl Marx, Friedrich Engels, Theodor W. Adorno, and Georg Wilhelm Friedrich Hegel were unexpected guest stars in Derksen’s essay, “From Two to Another: The Anti-Matter Series,” given that he is an award-winning poet. These days he has this on his profile page on the Department of English, Simon Fraser University website, “Dean and Associate Provost, Graduate and Postdoctoral Studies.”
From LOoW,
Karl Marx and Friedrich Engels are well known as materialists, having helped define a materialist view of history, of economics and of capitalism. And both Marx and Engels aimed to develop Marxism as a science rather than a model based on naturalizing capitalism and “man.” … [p. 89]
Derksen includes a diagram/poem, for which I can’t find a digitized copy, but here’s what he had to say about it,
My mode of looking at this [antimatter] is through poetic research —which itself does not aim to arrive at a synthesis but instead looks for relational moments. In this I also see a poetic language emerge from both discourses [artistic/scientific]—matter-antimatter thought and dialectical thinking. For my contribution to Leaning Out of Windows, I have tried to combine the scientific aspect of dialectical thinking with the poetic aspect of matter-antimatter thought and experimentation. To do this, I have taken the diagrammatic rendering of Carl Anderson’s experiment which resulted in his 1932 paper … as a model to relate the dialectical thinking at the heart of Marxism and matter-antimatter thought. …
Towards the end of his essay, Derksen notes that he’s working (on what I would call) a real poem. I sent an email to Derksen on August 21, 2023 asking,
Have you written the poem or is still in progress?
If you have written it, has it been published or is it being readied for publication? I would be happy to mention where.
If you do have it ready and would like to ‘soft launch’ the poem, could you send it to me for inclusion in the post?
No response at this time.
Flashback to Alan Storey
I think it was 2002 or 2003 when I first heard about an artist at TRIUMF, Alan Storey. The ‘residency’ was the product of a joint effort between the Canada Council for the Arts (Canada Council) and the Natural Sciences and Engineering Council of Canada (NSERC).
I spoke with Storey towards the end of his ;residency; and he was a little disappointed because nothing much had come of it. Nobody really seemed to know what to do with an artist at a nuclear facility and he didn’t really didn’t seem to know either. (Alan Storey’s work can be seen in the City of Vancouver’s collection of public art works here and on his website.)
My guess is that someone had a great idea but didn’t think past the ‘let’s give money to science institutions so they can host some artists who will magically produce wonderful things for us’ stage of thinking. While there is no longer a Canada Council/NSERC programme, it’s clear from LOoW (funded by the Social Sciences and Humanities Research Council of Canada [SSHRC]) that lessons have been learned.
Kudos to David Morissey who acted as an interface and convenor for the artists and to Nigel Smith (Director 2021 – present) and Jonathan Bagger (Director 2014 – 2020) for supporting the project from the TRIUMF side and to Ingrid Koenig and Randy Lee Cutler who organized and facilitated LOoW from the artists’ side.
Now, for the nits
“Co-thought” is mentioned a number of times. What is it? According to my searches, it has something to do with gestures. Here’s one of the few reference I could find for co-thought,
Co-thought and co-speech gestures are generated by the same action generation process by Mingyuan Chu and Sotaro Kita. Exp Psychol Learn Mem Cogn. 2016 Feb;42(2):257-70. doi: 10.1037/xlm0000168. Epub 2015 Aug 3.
Abstract
People spontaneously gesture when they speak (co-speech gestures) and when they solve problems silently (co-thought gestures) [emphasis mine]. In this study, we first explored the relationship between these 2 types of gestures and found that individuals who produced co-thought gestures more frequently also produced co-speech gestures more frequently (Experiments 1 and 2). This suggests that the 2 types of gestures are generated from the same process. We then investigated whether both types of gestures can be generated from the representational use of the action generation process that also generates purposeful actions that have a direct physical impact on the world, such as manipulating an object or locomotion (the action generation hypothesis). To this end, we examined the effect of object affordances on the production of both types of gestures (Experiments 3 and 4). We found that individuals produced co-thought and co-speech gestures more often when the stimulus objects afforded action (objects with a smooth surface) than when they did not (objects with a spiky surface). These results support the action generation hypothesis for representational gestures. However, our findings are incompatible with the hypothesis that co-speech representational gestures are solely generated from the speech production process (the speech production hypothesis).
It would have been nice if Koenig and Cutler had noted they were borrowing a word ot coining a word and explaining how it was being used in the LOoW context.
Fruit, passports, and fishing trips
The editors/writers use the words or variants, metaphor, poetry, and analogy with great abandon.
“Fruitful bridge” (top of page) and “fruitful match-ups” (bottom of page) on p. 18 seemed a bit excessive as did the “metaphorical passport” on p. 5.
I choked a bit over this on p. 19, “… these artist/scientist interactions can be seen as ‘procedural metaphors’ that enact a thought experiment … .” Procedural metaphor? It seems a bit of a stretch.
A last example and it’s a pair: “metaphorical fishing trips whereby artist and scientists received whatever they might reel in …” on p. 42 (emphases mine). Fishing trips are mentioned in a later essay too, one of the few times there’s some sort of follow through on an analogy.
Maybe someone who wasn’t involved with the project should have taken a look at the text before it was sent to the printer.
Using the words, poetry, metaphor, and analogy can be tricky and, I want to emphasize that in my opinion, those words were not often put to good use in this book.
Moving on, arts and sciences together have a longstanding history.
*ETA October 3, 2023: Ooops! I had a comment about the use of the word ‘passports’ in the book but somewhere in all my edits, I cut it out. (huff)*
Poetry and physics
One of the giants of 19th century physics, James Clerk Maxwell was also known for his poetry. and some of the most evocative (poetic) text in the LOoW book can be found in the quotes from various physicists of the 20th century. The link between physicist and poetry is explicit in a September 17, 2018 posting (12 poignant poems (and one bizarre limerick) written by physicists about physics) by Colin Hunter for the Perimeter Institute for Theoretical Physics in Waterloo, Canada.
Going back further, there’s De rerum natura, a poem in six books, by Lucretius ((c. 99 BCE– c. 55 BCE). Amongst many other philosophical concerns (e.g., the nature of mind and soul, etc.), Lucretius also discussed atomism (“… a natural philosophy proposing that the physical universe is composed of fundamental indivisible components known as atoms; from the Atomism Wikipedia entry). So, poetry and physics have a long history.
Leaving aside Derksen’s diagram/poem, there’s a dearth of poetry in the book except for a suite of seven poems from TRIUMF physicist and professor at UBC, Jess Brewer following his “Emergence, Free Will and Magic” essay,
Emergence / An extremely brief history of one universe, expressed as a series of science fiction poems by Jess H. Brewer, June 29, 2019
Inspired by Dyson Freeman’s delightful lecture series , “Time Without End: Physics and Biology in an Open Universe,” Reviews of Modern Physics (51) 1979
1. Bang Why not? For reasons known only to itself, the universe begins The quantum foam of spacetime seethes with effortless energies, entering and exiting this continuum with a turbulent intensity transcending the superficially smooth expanding cosmos and yet it kens the glacial passage of “time”, because it waits. And kens the vast reaches of “space”, because it watches, Its own experiences has taught it that from each iteration of complexity, awareness will emerge.
… [p. 149]
My thanks to Brewer for the poetry and magic and my apologies for any mistakes I’ve introduced into his piece. I was trying to be especially careful with the punctuation as that can make quite a difference to how a piece is read.
While Muriel Rukeyser is not a physicist at TRIUMF or, indeed, alive, one of her poems leads the essay “Leaning into Language or the Universe is Made of Stories,” by Randy Lee Cutler and Ingrid Koenig,
Time comes into it Say it. Say it. The universe is made of stories, not of atoms.. —Muriel Ruykeyser, Speed of Darkness, 1968
Before getting into the response that physicist, David Morrissey, had to the poem, here’s a little about the poet, from the Poetry Foundation’s Muriel Ruykeyser (1913-1980) webpage,
Muriel Rukeyser was a poet, playwright, biographer, children’s book author, and political activist. Indeed, for Rukeyser, these activities and forms of expression were linked. …
…
One of Rukeyser’s intentions behind writing biographies of nonliterary persons was to find a meeting place between science and poetry. [emphasis mine] In an analysis of Rukeyser’s The Life of Poetry, Virginia Terris argued that Rukeyser believed that in the West, poetry and science are wrongly considered to be in opposition to one another. Thus, writes Terris, “Rukeyser [set] forth her theoretical acceptance of science … [and pointed] out the many parallels between [poetry and science]—unity within themselves, symbolic language, selectivity, the use of the imagination in formulating concepts and in execution. [emphasis mine] Both, she believe[d], ultimately contribute to one another.”
…
Rokeyser’s poem raised a few questions. Is her poem a story? Or, is she using symbolic language, the poem, to poke fun at stories and atoms? Is she suggesting that atoms are really stories? I found the poem evocative especially with where it was placed in the book.
Morrissey takes a prosaic approach, from the essay “Leaning into Language or the Universe is Made of Stories,”
… [in response to Rukeyser’s claim about stories] Morrissey responded stating that “scientific theories are stories—but how we evaluate stories is important—they need to be true, but they do probe, and some are more popular than others, especially theories that we can’t measure.” He surprised us further when he said that wrong stories can also be useful—they may have elements in them that turn out to be useful for future research. … [pp. 205-6]
In general and throughout this project, it seems as if they (artists and physicists) tried but, for the most part, were never quite able to articulate in poetic, metaphoric, and analogical forms. They tended to fall back onto their preferred modes of scientific notations, prosaic language, and artworks.
Both sides of the knife blade cut
Everybody does it. Poets, academics, artists, scientists, etc. we all appropriate ideas and language, sometimes without understanding them very well. Take this for example, from the Canadian Broadcasting’s (CBC) Books “Elementary Particles” August 16, 2023 webpage,
Elementary Particles by Sneha Madhavan-Reese
A poetry collection about family history and scientific exploration
Through keen, quiet observation, Sneha Madhavan-Reese’s evocative new collection takes us from the wide expanse of rural India to the minute map of Michigan we carry on the palms of our hands. These poems contemplate ancestral language, the wonder and uncertainty of scientific discovery, the resilience of a dung beetle, the fleeting existence of frost flowers on the Arctic Ocean.
The collection is full of familiar characters, from Rosa Parks to Seamus Heaney to Corporal Nathan Cirillo, anchoring it in specific moments in time and place, but has the universality that comes from exploring the complex relationship between a child and her immigrant parents, and in turn, a mother and her children. Elementary Particles examines the building blocks of a life — the personal, family, and planetary histories, transformations, and losses we all experience. (From Brick Books)
Sneha Madhavan-Reese is a writer currently based in Ottawa. In 2015 she received Arc Poetry Magazine’s Diana Brebner Prize and was shortlisted for the Montreal International Poetry Prize. Her previous poetry collection is called Observing the Moon
As you can see, there’s no substantive mention of physics in this book description—it’s just a title. Puzzling since there’s this about the author on Asian Heritage Canada’s Sneha Madhavan-Reese webpage
Sneha Madhavan-Reese’s award winning poetry has been widely published in literary magazines in North America and Australia. She earned a bachelor’s degree in mechanical engineering from MIT in 2000, and a master’s degree in mechanical engineering from the University of Michigan in 2002. Madhavan-Reese currently lives in Ottawa, Ontario. [emphases mine]
It seems the mechanical engineer did not write up her book blurb because even though the poet’s scientific specialty is not physics as such, I’d expect a better description.
In the end, it seems art and science or poetry and science (in this case, physics) sells.
Alchemy, beauty, and Marx’s surprise connection to atomism
It was unexpected to see a TRIUMF physicist reference alchemy. The physicists haven’t turned lead into gold but they have changed one element into another. If memory holds it was one metallic atom being changed into another type of metallic atom. (Having had to return the book to the library, memory has serve.)
The few references to alchemy that I’ve stumbled across elsewhere in my readings of assorted science topics are derogatory, hence the surprise. Things may be changing; Princeton University Press published a November 7, 2018 posting by author William R. Newman about Newton and alchemy. First, here’s a bit about William Newman,
William R. Newman is Distinguished Professor and Ruth N. Halls Professor in the Department of History and Philosophy of Science and Medicine at Indiana University. His many books include Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution and Promethean Ambitions: Alchemy and the Quest to Perfect Nature. He lives in Bloomington, Indiana.
People often say that Isaac Newton was not only a great physicist, but also an alchemist. This seems astonishing, given his huge role in the development of science. Is it true, and if so, what is the evidence for it?
WN: The astonishment that Newton was an alchemist stems mostly from the derisive opinion that many moderns hold of alchemy [emphasis mine]. How could the man who discovered the law of universal gravitation, who co-invented calculus, and who was the first to realize the compound nature of white light also engage in the seeming pseudo-science of alchemy? There are many ways to answer this question, but the first thing is to consider the evidence of Newton’s alchemical undertaking. We now know that at least a million words in Newton’s hand survive in which he addresses alchemical themes. Much of this material has been edited in the last decade, and is available on the Chymistry of Isaac Newton site at www.chymistry.org. Newton wrote synopses of alchemical texts, analyzed their content in the form of reading notes and commentaries, composed florilegia or anthologies made up of snippets from his sources, kept experimental laboratory notebooks that recorded his alchemical research over a period of decades, and even put together a succession of concordances called the Index chemicus in which he compared the sayings of different authors to one another. The extent of his dedication to alchemy was almost unprecedented. Newton was not just an alchemist, he was an alchemist’s alchemist.
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Beauty
The ‘beauty’ essay by Ingrid Koenig was also a surprise. Beauty seems to be anathema to contemporary artists. I wrote this in an August 23, 2016 posting (Georgina Lohan, Bharti Kher, and Pablo Picasso: the beauty and the beastliness of art [in Vancouver]), “It seems when it comes to contemporary art, beauty is transgressive.”
Koenig describes it as irrelevant for contemporary artists and yet, beauty is an important attribute to physicists. Her thoughts on beauty in visual art and in physics were a welcome addition to the book.
Marx’s connection to atomism
This will take a minute.
De rerum natura, a six-volume poem by Lucretius (mentioned under the Poetry and physics subhead of this posting), helped to establish the concept of atomism. As it turns out, Lucretius got the idea from earlier thinkers, Epicurus and Democritus.
Karl Marx’s doctoral dissertation, which focused on Lucretius, Epicurus and more, suggests an interest in science that may have led to his desire to establish economics as a science. From Cambridge University Press’s “Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura,” Chapter 12 – A Tribute to a Hero: Marx’s Interpretation of Epicurus in his Dissertation,
Summary
This chapter turns to Karl Marx’s treatment of Epicureanism and Lucretius [emphasis mine] in his doctoral dissertation, and argues that the questions raised by Marx may be brought to bear on our own understanding of Epicurean philosophy, particularly in respect of a tension between determinism and individual self-consciousness in a universe governed by material causation. Following the contours of Marx’s dissertation [emphasis mine], the chapter focusses on three key topics: the difference between Democritus’ and Epicurus’ methods of philosophy; the swerve of the atom; and the so-called ‘meteors’, or heavenly bodies [emphasis mine]. Marx sought to develop Hegel’s understanding of Epicurus, in particular by elevating the principle of autonomous action to a first form of self-consciousness – a consideration largely mediated by Lucretius’ theorization of the atomic swerve and his poem’s overarching framework of liberating humans from the oppression of the gods.
Fascinating, eh? The rest of this is behind a paywall. For the interested, here’s a citation and link for the book,
Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura Edited by Donncha O’Rourke, University of Edinburgh
Publisher: Cambridge University Press Online publication date: June 2020 Print publication year: 2020 Online ISBN: 9781108379854
It’s a little surprising Derksen doesn’t mention the connection in his essay.
Finally
It’s an interesting book if not an easy one. (By the way, I wish they’d included an index.) You can get a preview of some of the artwork in the January 6, 2020 article on the Canadian Art Magazine website.
I can’t rid myself of the feeling that LOoW (the book) is meant to function as a ‘proof of concept’ for someone wanting to start an art/science department or programme at the Emily Carr University of Art + Design, perhaps jointly with the University of British Columbia. It is highly unusual to see this sort of material in anything other than a research journal or as a final summary to the granting agency.
Should starting an art/science programme be the intention, I hope they are successful in getting such it together and, in the meantime, thank you to the physicists and artists for their work.
We should all ‘lean out of windows’ on occasion and, if it means, falling or encountering ‘dangerous, uncomfortable ideas’ then, that’s alright too.
Some of those early scientists were pretty wild (e.g., they experimented on themselves). This March 23, 2023 essay on The Conversation by Alexis Wolf, Research Associate on the Davy Notebooks Project, Lancaster University, and Andrew Lacey, Senior Research Associate on the Davy Notebooks Project, Lancaster University, sheds some light on one of those ‘wild ones’, Note: Links have been removed,
Sir Humphry Davy (1778–1829) is usually remembered as the inventor of a revolutionary miner’s safety lamp. But his wild popularity came as much from his influence on popular culture as it did from his contributions to chemistry and applied science.
In the first few years of the 19th century, there was no hotter spectacle in London than Davy’s lectures at the Royal Institution. The carriage traffic jams caused by his keen audience led to the introduction of London’s first one-way street.
Hundreds of members of the public, many of them women, crowded into the lecture theatre to hear the charismatic Davy speak about his cutting edge research. They would watch demonstrations of his work, which often included elaborate explosions and other breathtaking displays.
In more recent times, Davy’s star has waned. Through our work on the Davy Notebooks Project, we aim to change that. Thanks to the help of thousands of volunteers, we’re creating the first digital edition of Davy’s 83 manuscript notebooks, an exciting and important collection that we’ll soon be able to share with readers all over the world.
The first lecture Davy gave at the Royal Institution was on the subject of galvanism (the electricity generated by chemical actions). The force was thought at the time to be capable of animating matter – or of bringing something dead to life.
…
That last paragraph certainly suggests the Frankenstein story as the essayists expand upon later,
…
Davy’s famous lectures on the animating power of electricity at the Royal Institution may have inspired a young Mary Shelley as she came up with the idea for Frankenstein (1818), a novel that questioned the boundaries of creation using emerging scientific ideas.
Shelley may have even modelled aspects of the charming but reckless Victor Frankenstein on Davy himself. In fact, many of the things that Davy said in his lectures were borrowed word-for-word to craft the fictional scientist’s dangerous experiments.
But, as Mary Shelley probably would have known, Davy was also a writer himself with close ties to the leading authors of his day. [Mary Shelley wrote her book on a trip to Switzerland which included Lord Byron.]
He was friends with poets Lord Byron and Robert Southey and had a hand in the creation of some of the greatest works of the Romantic period. This included editing the second edition of William Wordsworth and Samuel Taylor Coleridge’s Lyrical Ballads (1800).
And he wrote his own poetry – lots of it. The pages of Davy’s dozens of surviving notebooks are crammed full of poems, both published and obscure, which share space with the complex records of his scientific experiments, alongside the notes for Davy’s jaw-dropping lectures.
…
The Davy Notebooks Project, part of the Zooniverse (a citizen science web portal), has this from a researcher on its homepage,
As we see in his notebooks, Davy didn’t see the arts and the sciences as ‘two cultures’. In these manuscripts, we see poetry and chemical enquiry combined: both offered, for Davy, important ways of exploring the mysteries of the world around him.
According to the statistics on the site, the project is 96% complete but they appear to be still accepting volunteers.
‘Poetic meditation’ can enhance qualitative data analysis by offering researchers improved sensory experience and an ability to approach data analysis from unexpected directions, a new study reveals.
The rest of the press release (Note: A link has been removed),
The authors of the study explain that meditation allows researchers to train their body for data collection – improving their capacity to capture unexpected insights and deal with uncertainty and transformation as they incorporate novel interpretations into their research.
The skills enable researchers to understand novel cultural practices. Poetic meditations may prepare the researchers to see the world with different eyes.
Publishing their findings in Journal ofMarketing Management, researchers at the University of Birmingham and Kedge Business School, Bordeaux, France, outline a radical new process to help researchers to enhance their work.
Pilar Rojas-Gaviria, from the University of Birmingham, commented: “Scientific wonder prompts us to ask questions about the purpose of consumption, the way markets are created and extended, and how life and human experience are attached to both.
“Academics have always developed theses to resolve questions and explain events, but mindfulness practice can make our bodies an instrument of research – gathering data from different environmental sources. Poetry offers qualitative researchers a useful tool to refigure their surroundings and shed new light on the data they work with.”
Poetic meditation allows researchers to reveal unexpected or previously unnoticed features of market and consumption environments – rather than simply reproducing existing categories and theories.
By recording and presenting poetic meditations through audio media, the researchers demonstrate poetry’s potential to stimulate new ideas that can influence how academics approach data collection or analysis.
The researchers demonstrate the technique with two poetic meditations focusing on the colours green and red. These audio presentations settle the listener into a relaxed state, before taking the listener on an intellectual journey into poetry and philosophy, and ending with a period of meditation.
Robin Canniford, from Kedge Business School, commented: “We believe this technique can inspire researchers to include sound recordings and data presentations in their publications – creating a different approach to communicating and understandingtheir findings.
“Creating a poetic meditation might be a first step in a researcher’s journey that uncovers new sensations, interpretations, and questions – reaching towards unconventional and impactful responses in our research, even when answers seem to be far in the future.”
Poetry in marketing is already proven to be an effective research method to challenge conventional thinking in areas such as branding. It has helped marketers understand markets and consumers – engaging in conversations that capture how people consume products and services.
Here’s a link to and a citation for the paper (where you’ll find an audio file of this paper and supplementary audio files of poetry),
Poetic meditation: (re)presenting the mystery of the field by Pilar Rojas-Gaviria & Robin Canniford. Journal Marketing Management Volume 38, 2022 – Issue 15-16: Presenting Marketing Differently Pages 1821-1831 DOI: 10.1080/0267257X.2022.2112611 Published online: 22 Nov 2022
This paper is open access and because I quite like it, here’s the,
ABSTRACT
How does one use one’s body in qualitative research? Poetic meditation is a technique that offers to enhance researchers’ sensory capacities and embodied practices in research. By using mindfulness practice as a means to relax and focus on sensations, scholars can prepare to embody data collection so as to encounter multiple environmental features including, but not limited to the visual and textual. So too is poetic meditation intended as a tool to help researchers to encounter mysterious moments and to refigure their surroundings in ways that explicitly reframe sensemaking and representation. This companion essay to recorded poetic meditations encourages researchers to embrace mystery as a pathway to knowledge-making, and to build confidence to creatively step outside of common linguistic and theoretical modes.
Maxwell is James Clerk Maxwell, a Scottish mathematician and scientist, considered a genius for his work on electromagnetism. His ‘demon’ is a thought experiment that has influenced research for over 150 years as this November 29, 2022 news item on ScienceDaily makes clear,
A team of quantum engineers at UNSW [University of New South Wales] Sydney has developed a method to reset a quantum computer — that is, to prepare a quantum bit in the ‘0’ state — with very high confidence, as needed for reliable quantum computations. The method is surprisingly simple: it is related to the old concept of ‘Maxwell’s demon’, an omniscient being that can separate a gas into hot and cold by watching the speed of the individual molecules.
“Here we used a much more modern ‘demon’ – a fast digital voltmeter – to watch the temperature of an electron drawn at random from a warm pool of electrons. In doing so, we made it much colder than the pool it came from, and this corresponds to a high certainty of it being in the ‘0’ computational state,” says Professor Andrea Morello of UNSW, who led the team.
“Quantum computers are only useful if they can reach the final result with very low probability of errors. And one can have near-perfect quantum operations, but if the calculation started from the wrong code, the final result will be wrong too. Our digital ‘Maxwell’s demon’ gives us a 20x improvement in how accurately we can set the start of the computation.”
The research was published in Physical Review X, a journal published by the American Physical Society.
Watching an electron to make it colder
Prof. Morello’s team has pioneered the use of electron spins in silicon to encode and manipulate quantum information, and demonstrated record-high fidelity – that is, very low probability of errors – in performing quantum operations. The last remaining hurdle for efficient quantum computations with electrons was the fidelity of preparing the electron in a known state as the starting point of the calculation.
“The normal way to prepare the quantum state of an electron is go to extremely low temperatures, close to absolute zero, and hope that the electrons all relax to the low-energy ‘0’ state,” explains Dr Mark Johnson, the lead experimental author on the paper. “Unfortunately, even using the most powerful refrigerators, we still had a 20 per cent chance of preparing the electron in the ‘1’ state by mistake. That was not acceptable, we had to do better than that.”
Dr Johnson, a UNSW graduate in Electrical Engineering, decided to use a very fast digital measurement instrument to ‘watch’ the state of the electron, and use real-time decision-making processor within the instrument to decide whether to keep that electron and use it for further computations. The effect of this process was to reduce the probability of error from 20 per cent to 1 per cent.
A new spin on an old idea
“When we started writing up our results and thought about how best to explain them, we realized that what we had done was a modern twist on the old idea of the ‘Maxwell’s demon’,” Prof. Morello says.
The concept of ‘Maxwell’s demon’ dates back to 1867, when James Clerk Maxwell imagined a creature with the capacity to know the velocity of each individual molecule in a gas. He would take a box full of gas, with a dividing wall in the middle, and a door that can be opened and closed quickly. With his knowledge of each molecule’s speed, the demon can open the door to let the slow (cold) molecules pile up on one side, and the fast (hot) ones on the other.
“The demon was a thought experiment, to debate the possibility of violating the second law of thermodynamics, but of course no such demon ever existed,” Prof. Morello says.
“Now, using fast digital electronics, we have in some sense created one. We tasked him with the job of watching just one electron, and making sure it’s as cold as it can be. Here, ‘cold’ translates directly in it being in the ‘0’ state of the quantum computer we want to build and operate.”
The implications of this result are very important for the viability of quantum computers. Such a machine can be built with the ability to tolerate some errors, but only if they are sufficiently rare. The typical threshold for error tolerance is around 1 per cent. This applies to all errors, including preparation, operation, and readout of the final result.
This electronic version of a ‘Maxwell’s demon’ allowed the UNSW team to reduce the preparation errors twenty-fold, from 20 per cent to 1 per cent.
“Just by using a modern electronic instrument, with no additional complexity in the quantum hardware layer, we’ve been able to prepare our electron quantum bits within good enough accuracy to permit a reliable subsequent computation,” Dr Johnson says.
“This is an important result for the future of quantum computing. And it’s quite peculiar that it also represents the embodiment of an idea from 150 years ago!”
Hat’s off to whoever prepared the opening sequences for this informative and entertaining video from UNSW,
For years, James Clerk Maxwell’s role as a poet has fascinated me. Yes, a physicist who wrote poetry about physics and other matters as noted in my April 24, 2019 (The poetry of physics from Canada’s Perimeter Institute) where you’ll find poems by various physicists including the aforementioned Maxwell, as well as, a link to the original Perimeter Institute for Theoretical Physics (PI) posting featuring the excerpted poems even more physics poems.
There is a lot of anxiety about artificial intelligence in the arts, which can only be exacerbated by a question such as this, from a December 2, 2022 news item on ScienceDaily,
Can artificial intelligence write better poetry than humans?
The gap between human creativity and artificial intelligence seems to be narrowing. Previous studies have compared AI-generated versus human-written poems and whether people can distinguish between them.
…
The answer doesn’t seem all that comforting and a December 2, 2022 Kyoto University press release (also on EurekAlert but published December 1, 2022), which originated the news item, provides more detail, some of it disconcerting,
Now, a study led by Yoshiyuki Ueda at Kyoto University Institute for the Future of Human and Society [Japan], has shown AI’s potential in creating literary art such as haiku — the shortest poetic form in the world — rivaling that of humans without human help.
Ueda’s team compared AI-generated haiku without human intervention, also known as human out of the loop, or HOTL, with a contrasting method known as human in the loop, or HITL.
The project involved 385 participants, each of whom evaluated 40 haiku poems — 20 each of HITL and HOTL — plus 40 composed entirely by professional haiku writers.
“It was interesting that the evaluators found it challenging to distinguish between the haiku penned by humans and those generated by AI,” remarks Ueda.
From the results, HITL haiku received the most praise for their poetic qualities, whereas HOTL and human-only verses had similar scores.
“In addition, a phenomenon called algorithm aversion was observed among our evaluators. They were supposed to be unbiased but instead became influenced by a kind of reverse psychology,” explains the author.
“In other words, they tended to unconsciously give lower scores to those they felt were AI-generated.”
Ueda points out that his research has put a spotlight on algorithm aversion as a new approach to AI art.
“Our results suggest that the ability of AI in the field of haiku creation has taken a leap forward, entering the realm of collaborating with humans to produce more creative works. Realizing the existence of algorithmic aversion will lead people to re-evaluate their appreciation of AI art.”
For those unfamiliar with Matsuo Bashō, he’s considered Japan’s most famous poet from the Edo period and Japan’s greatest master of haiku according to his Wikipedia entry. You can also find out more about Basho at the Poetry Foundation.
Is there some sort of misunderstanding between Toronto’s ArtSci Salon and the Onsite Gallery at OCAD (Ontario College of Art and Design) University)?
Previously, I featured a series organized around the ‘more-than’human’ exhibition at the Onsite Gallery which included events being held by the ArtSci Salon in my February 1, 2023 posting. This morning (April 3, 2023), I received, via email, an April 2, 2023 ArtSci Salon announcement about some upcoming events for the ‘Re-situating: more-than-human’ event series (sigh), Note 1: They’ve added a poet to the Poetry Night, added more detail to the May 2023 excursion, and added a call for projects; Note 2: The Onsite Gallery continues call to it the ‘more-than-human’ exhibition,
Poetry Night Wednesday, April 5 [2023] – 7:30-9:30
An immersive poetry performance that involves three poets reading poems and a site-specific live projection mapping response created by artist Ilze Briede (Kavi). Come to this in-depth and unique event of deep listening and embodied experience!
Dr. Madhur Anand, School of Environmental Sciences, University of Guelph Dr. Karen Houle, College of arts, University of Guelph
Liz Howard, Department of English, Concordia University
Projection mapping by Ilze Briede (Kavi) PhD student, York University
Don’t forget next event of the Re-Situating series:
The rare Charitable Research Reserve is an urban land trust and environmental institute in Waterloo Region/Wellington, protecting over 1,200 acres of highly sensitive lands.
This event follows and concludes several interdisciplinary dialogues on ethics of care, ecology, symbiosis, and human-plant relations. We weave together embodied discovery and sensory experience ; listening and thinking about the ethical and material implications of recognizing non-human individuals as valuable ; as well as different disciplines, epistemologies, positionalities. Our goal is to acquire better awareness of the ecological community to which we belong, with the intention of rethinking and resituating the human within a diverse, complex, and multifaceted ecosystem of other-than-human lifeforms.
The day will begin with a panel between artists and scientists investigating the social, economic, and natural complexities affecting both human and plant-life. The afternoon events will include a 30-minute walk through the wetlands at rare (wetland as carbon sinks), a Master Class led by Dr. Alice Jarry (the design of plant-based air filtration), and a rare led walk following the ecological lichen monitoring.
IMPORTANT! Bus will leave for rare at 9 am and will return to Toronto at 5:30 pm.
Please, note: Tickets are limited. Should you not be able to attend, please let us know so we can free up the space for someone else.
We require a nominal registration fee of $5 which will be refunded on the day of the event.
PROGRAM
Sunday, May 7 [2023] – 9:00 am – 5:30 pm
Meeting place: Onsite gallery, 199 Richmond Street West.
11:00 am-12:30 pm: Panel
Sumia Ali, McMaster University
Grace Grothaus, PhD candidate, York University
Dr. Alice Jarry, Speculative Life BioLab, Concordia University
Dr. Marissa Davis, University of Waterloo
12:30-1:30pm: lunch – catered
1:30-2:15 Wetlands walk
2:30-4:15 Workshop
Dr. Alice Jarry, Speculative Life BioLab, Concordia University – Plant based filtration systems
4:30-5:15 The lichen monitoring walk. This program at rare is one of several long-term ecological monitoring programs yielding valuable baseline data and can help to identify critical changes in ecosystem dynamics.
5:30 – return to Toronto
For more information and for media inquiries please contact Roberta Buiani – ArtSci Salon, The Fields Institute roberta.buiani@utoronto.ca Jane Tingley – Slolab, York University jtingley@yorku.ca
The call
From the April 2, 2023 ArtSci Salon announcement (received via email),
call for GLAM Incubator projects for 2023 – 2024
For more information about the Call for Projects please visit the GLAM Incubator’s website For specific questions about the Incubator or this year’s call, please email me directly at p.keilty@utoronto.ca. I am happy to answer any questions you or any potential partner organizations might have.
Great idea to have this acronym for a set of institutions that don’t usually inspire fun, slang adjectives. Here’s more about GLAM (Galleries, Libraries, Archives, and Museums) incubator from its homepage on the University of Toronto website,
The GLAM Incubator is a research and support hub that connects galleries, libraries, archives, and museums with industry partners, researchers, and students to advance the development of seedling projects that benefit cultural institutions, industry, and the research and teaching goals of universities worldwide. The overarching goal of the Incubator is to provide support to experimental projects that benefit the GLAM industries and engages students. It provides the broader context and overarching structure for an ongoing series of responsive, finite, cross-sector action research collaborations. A collaboration between the Faculty of Information and the Knowledge Media Design Institute at the University of Toronto, the GLAM Incubator provides space, administrative assistance, research expertise, equipment, event facilitation, limited funding, and knowledge mobilization.
Each year, the GLAM Incubator puts out a Call for Projects from GLAM institutions for small-scale projects that experiment or incubate new programming, service models, interactive experiences, technical services, knowledge media, and user interfaces that will have an impact on GLAM institutions or professions more broadly. Please consult our Call for Projects page for more information.
The GLAM Incubator is a theory and innovation lab dedicated to launching and supporting small-scale projects focused on the development of cutting-edge programming, service models, interactive experiences, knowledge media, and user interfaces that address a specific issue or opportunity associated with emerging technologies within the GLAM sector. The themes and contents of the projects supported by the Incubator evolve in keeping with shifting technological developments and in response to the fluctuating needs and concerns of the various stakeholders involved in the cultural industry sectors (professionals, patrons, funders).
The Incubator will use its resources and infrastructure to run multiple projects concurrently. In addition to meeting the above criteria, projects will demonstrate a capacity to engage a diversity of stakeholders, as well as new and existing community partners. Projects will be “small-scale,” with a well-bounded research design (e.g. a study addressing a specific issue or timed opportunity faced by a community or industry partner) and short-term (1-3 years) duration. Active projects will be set up in a “doored lab,” either dedicated or shared. The Incubator will purchase or assist with the purchase of technological equipment and software required for the research. It will assist with administrative tasks and knowledge mobilization activities, as described in more detail below. It will provide in-kind support to help project leads secure external grants to fund other costs associated with the research (including research assistant salaries, conference travel, etc.). In exchange, project leads and their teams will ensure that a significant proportion of the research activities occur within that space.
Project teams must participate in an annual Symposium and engage their research and results in Incubator-supported knowledge mobilization activities, public or community outreach activities, and student engagement opportunities, where applicable.
Incubator projects will be selected through an application process.
Two-page description of the project that includes an explanation of the project’s purpose and impact on a GLAM industry or profession;
Resume(s) of the lead applicant(s);
A list of collaborators including brief biographies or descriptive information
Sustainability for continuing the project after incubation
A list of potential equipment, space, administrative, and funding needs.
We also welcome inquiries from potential applicants.
Enjoy the events and good luck with your submission to GLAM.
Should you be interested in an ArtSci Salon event (and part of whatever this series and exhibition is being called), titled ‘On Ethics of Care’, held in late March 2023, there’s an embedded two hour video on their ‘Re-situating: more-than-human’ webpage,
Toronto’s Art/Sci Salon’s January 30, 2023 announcement (received via email) lists information for two organizations, the Onsite Gallery’s events and the Salon’s own events.
Onsite Gallery
This gallery is located in Toronto, Ontario at 199 Richmond St. W. From the homepage, “It is the flagship professional gallery of OCAD [Ontario College of Art and Design] University and an experimental curatorial platform for art, design and new media.”
From the Onsite Gallery ‘more-than-human‘ event page. First, there’s the exhibition (Note 1: I found the gallery’s event page I’m using here more informative than the email announcement; Note 2: I have not included the images featuring the artists and their work),
more-than-human
February 01 to May 13, 2023
Curated by Jane Tingley
Core exhibition of the CONTACT Photography Festival
more-than-human presents media artworks at the intersection of art, science, Indigenous worldviews, and technology that speculatively and poetically use multimodal storytelling as a vehicle for interpreting, mattering, and embodying more-than-human ecologies. The artworks in this exhibition aim to critically and emotionally engage with the important work of decentering the human and rethinking the perspective that sees nature as a lifeless resource for exploitation. Many of the artworks use technological and scientific tools as entry points for witnessing and interacting with these more-than-human worlds, as they help visualize phenomena beyond human sensory perception while nevertheless situating us within them. Combined, the artworks in the show weave a story that tells a tale of symbiosis, intersections, and more-than-human relationality. They incorporate scientific, philosophical, and Indigenous perspectives to create an experiential tapestry that asks the viewer to reconsider, reorient, and rethink relationships with the more-than-human.
Jane Tingley is an artist, curator, Director of the SLOlab: Sympoietic Living Ontologies Lab and Associate Professor at York University. Her studio work combines traditional studio practice with new media tools – and spans responsive/interactive installation, performative robotics, and telematically connected distributed sculptures/installations. Her works is interdisciplinary in nature and explores the creation of spaces and experiences that push the boundaries between science and magic, interactivity, and playfulness, and offer an experience to the viewer that is accessible both intellectually and technologically. Using distributed technologies, her current work investigates the hidden complexity found in the natural world and explores the deep interconnections between the human and non-human relationships. As a curator her interests lie at the intersection art, science, and technology with a special interest in collaborative creativity as impetus for innovation and discovery. Recent exhibitions include Hedonistika (2014) at the Musée d’art contemporain (Mtl, CA), INTERACTION (2016) and Agentsfor Change (2020) at THE MUSEUM (Kitchener, CA). As an artist she has participated in exhibitions and festivals in the Americas, the Middle East, Asia, and Europe – including translife -International Triennial of Media Art at the National Art Museum of China, Beijing, Elektra Festival in Montréal (CA) and the Künstlerhause in Vienna (AT). She received the Kenneth Finkelstein Prize in Sculpture (CA), the first prize in the iNTERFACES – Interactive Art Competition (PT).
more-than-human artists
Ursula Biemann is an artist, author and video essayist. Her artistic practice is research oriented and involves fieldwork from Greenland to Amazonia, where she investigates climate change and the ecologies of oil, ice, forests and water. In her multi-layered videos, she interweaves vast cinematic landscapes with documentary footage, science fiction poetry and academic findings to narrate a changing planetary reality. In 2018, Biemann was commissioned by Museo de Arte, Universidad Nacional de Colombia in the co-creation of a new Indigenous University in the South of Colombia led by the Inga people in which she contributes the online platform Devenir Universidad. Her recent video installation Forest Mind (2021) emerges from this long-term collaboration. She has published numerous books, including Forest Mind (2022) and the audiovisual online monograph Becoming Earth on her ecological video works between 2011-2021. Biemann has exhibited internationally with recent solo exhibitions at MAMAC, Nice and the Centre culturel suisse, Paris. She is appointed Doctor honoris causa in Humanities by the Swedish University Umea, and has received the 2009 Prix Meret Oppenheim, the Swiss Grand Award for Art, and the 2022 Zurich Art Award.
Lindsey french (she/they) is a settler artist, educator and writer whose work engages in multi- sensory signaling within ecological and technological systems. She has exhibited widely including at the Museum of Contemporary Art (Chicago), the International Museum of Surgical Science (Chicago), Pratt Manhattan Gallery (New York), the Miller Gallery for Contemporary Art (Pittsburgh), and SixtyEight Art Institute (Copenhagen). Recent publications include chapters for Ambiguous Territory: Architecture, Landscape, and the Postnatural (Actar, 2022), Olfactory Art and The Political in an Age of Resistance (Routledge, 2021), Why Look at Plants (Brill, 2019), and poetry for the journal Forty-Five. They earned an interdisciplinary BA in Environment, Interaction, and Design (Hampshire College), and an MFA in Art and Technology Studies (School of the Art Institute of Chicago). Newly based in the prairie landscape of Treaty 4 territory in Regina, Saskatchewan, french teaches as an Assistant Professor in Creative Technologies in the Faculty of Media, Art, and Performance at the University of Regina.
Grace Grothaus Is a computational media artist whose research explores ecosystemic human and plant relationships in relation to the present global climate crisis and speculative futures. She is interested in art’s potential to foster empathy with more-than-human worlds. Frequently collaborative, Grace works with scientists, engineers, musicians and other visual and performing artists. Her research-creation is expressed as physical computing installations which take place both outdoors or in the gallery and often center around the sensing and visualization of invisible environmental phenomena. Her artworks have been exhibited widely including at the International Symposium of Electronic Art (Barcelona, ES & Durban, SA), Environmental Crisis: Art & Science (London, UK), Cité Internationale des Arts (Paris, FR), and the World Creativity Biennale (Rio de Janiero, BR). Grothaus has received numerous awards including from the United States National Foundation for Advancement in the Arts. Currently she is working towards a PhD in Digital Media from York University where she has been named a VISTA scholar and a Graduate Fellow of Academic Distinction.
Dolleen Tisawii’ashii Manning is an interdisciplinary artist and Queen’s National Scholar in Anishinaabe Language, Knowledge, and Culture (ALKC) in the Department of Philosophy and Cultural Studies at Queen’s University. Manning has expertise in Anishinaabe ontology, mnidoo interrelationality, phenomenology, and art. A member of Kettle and Stoney Point First Nation, her primary philosophical influence and source of creativity is her early childhood grounding in Anishinaabe onto- epistemology. She is Principal Investigator of Earthdiver: Land-Based Worlding (MITACS), and Co-Investigator on Pluriversal Worlding with Extended Reality. Manning co-directs the cross- institutional Peripheral Visions Co-Lab (York and Queen’s). She is an affiliate of Revision Centre for Art and Social Justice, and Fellow of The International Institute for Critical Studies in Improvisation (IICSI).
Mary Bunch is a media artist, Canada Research Chair, and Associate Professor, Cinema and Media Arts at York University. Through theoretical inquiry and collaborative research creation, Bunch mobilizes queer, feminist, disability and decolonial frameworks to better understand peripheral worldmaking imaginaries in media arts and intermedial performance. She is co-editor of a special issue on Access Aesthetics in Public, Principal Investigator on the research creation project Pluriversal Worlding with Extended Reality (SSHRC Insight) and co-investigator on Earthdiver: Land- Based Worlding (MITACS). Dr Bunch is co-director of the Peripheral Visions Co- Lab, Executive Committee member of Sensorium: Centre for Digital Arts and Technology, a core member of Vision: Science to Applications (VISTA), a Fellow at the Bonham Centre for Sexual Diversity Studies, and an Affiliate of Revision Centre for Art and Social Justice.
Suzanne Morrissette (she/her) (she/her) is an artist, curator, and scholar who is currently based out of Toronto. Her father’s parents were Michif- and Cree-speaking Metis with family histories tied to the Interlake and Red River regions and Scrip in the area now known as Manitoba. Her mother’s parents came from Canadian-born farming families descended from United Empire loyalists and Mennonites from Russia. Morrissette was born and raised in Winnipeg and is a citizen of the Manitoba Metis Federation. As an artistic researcher Suzanne’s interests include: family and community knowledge, methods of translation, the telling of in-between histories, and practices of making that support and sustain life. Her two recent solo exhibitions, What does good work look like? and translations recently opened in Toronto (Gallery 44) and Montreal (daphne art centre) respectively. Her work has appeared in numerous group exhibitions such as Lii Zoot Tayr (Other Worlds), an exhibition of Metis artists working with concepts of the unknowable, and the group exhibition of audio-based work about waterways called FLOW with imagineNATIVE Film + Media Art Festival. Morrissette holds a PhD from York University in Social and Political Thought. She currently holds the position of Assistant Professor and Graduate Program Director for the Criticism and Curatorial Practices and Contemporary Art, Design, and New Media Histories Masters programs at OCAD University.
Joel Ong (PhD, MSc.Bioart) is a media artist whose works connect scientific and artistic approaches to the environment, developed from more than a decade of explorations in sound, installation and socially conscious art. His conceptual explorations revolve around metaphors of distance, connectivity, assiduously reworking this notion of the ‘environment’ – how different tools and scales of observation reveal diverse biotic and abiotic relationalities, and how these continually oscillate between natural and computational worlds. His works have been shown at internationally at the Currents New Media Festival, Nuit Blanche Toronto, Seattle Art Museum, the Gregg Museum of Art and Design, the Penny Stamps Gallery and the Ontario Science Centre etc. Joel is Associate Professor in Computational Arts and Director of Sensorium:The Centre for Digital Arts and Technology at York University, in Toronto, Canada. His research has been funded by such as SSHRC, eCampus Ontario, Women and Gender Equality Canada.
Rasa Smite and Raitis Smits are Riga and Karlsruhe based artists and co-founders of RIXC Center for New Media Culture in Riga [Latvia], co-curators of RIXC Art and Science Festival, chief-editors of Acoustic Space, as well as co-chairs of recently founded NAIA – Naturally Artificial Intelligence Art association in Karlsruhe, Germany. Together they create visionary and networked artworks – from pioneering internet radio experiments in 1990s, to artistic investigations in electromagnetic spectrum and collaborations with radio astronomers, and more recent “techno-ecological” explorations. Their projects have been nominated (Purvitis Prize 2019, 2021, International Public Arts Award – Euroasia region 2021), awarded (Ars Electronica 1998, Falling Walls – Science Breakthrough 2021) and shown widely including at the Venice Architecture Biennale, Latvian National Museum of Arts, House of Electronic Arts in Basel, Ars Electronica Festival in Linz, and other venues, exhibitions and festivals in Europe, US, Canada and Asia. More recently they both also have been lecturers in MIT ACT – Art Culture Technology program (2018-2021), Boston.
Rasa Smite holds a PhD in sociology of media and culture; her thesis Creative Networks. In the Rear-View Mirror of Eastern European History (11) has been published by The Amsterdam Institute for Network Cultures. Currently she is a Professor of New Media Art at Liepaja University, and Senior Researcher at FHNW Academy of Art and Design in Basel, Switzerland.
Raitis Smits holds his doctoral degree in arts, and he is a Professor at the Art Academy of Latvia. In 2017 Raitis was a Fulbright Researcher in the Graduate Center of NYC.
Artists Rasa Smite & Raitis Smits, Grace Grothaus, Suzanne Morrissette and Lindsey french introduce their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Jane Tingley.
Join Dr Karen Houle for an introductory talk on basic premises of Cartesian humanism followed by an exhibition tour discussion of the artworks in that context with Jane Tingley.
Forest Mind (31 minutes) tackles the underlying concepts that distinguish the Indigenous knowledge systems from that of modern science, gauging the limits of rationalism which has dominated Western thinking for the last 200 years.
Artists Joel Ong, Jane Tingley, Dolleen Tisawii’ashii Manning and Mary Bunch introduce their artworks their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Lisa Deanne Smith.
Join us for a slow paced, sensory-based guided walk that connects you with the healing power of the natural world. Space is limited, advance registration required.
Registration is limited, free tickets will be released on 1 April [2023] at 12 p.m.: https://bit.ly/3XlyOga
There’s more.
Art/Sci Salon February 28 – May 7, 2023 events
From the January 30, 2023 Art/Sci Salon announcement (received via email), Note: Most of the in-person events take place in Toronto,Ontario,
Mark your calendar for the following events (more details coming up soon)
Artsci Dialogues
Ecology, Symbiosis, Human/Plant Relations
Feb 25 [2023], 3:00-5:00 pm, The Fields Institute for Research in Mathematical Sciences [222 College Street · Toronto, Ontario] In person and Online
Ethics of Care
March 25 [2023], 3:00-5:00 pm The Fields Institute for Research in Mathematical sciences In person and Online