Category Archives: poetry

Of Health Myths and Trickster Viruses; a Who Cares? windup event on Friday, April 1, 2022 (+ more final Who Cares? events)

Toronto’s ArtSci Salon has been hosting a series of events and exhibitions about COVID-19 and other health care issues under the “Who Cares?” banner. The exhibitions and events are now coming to an end (see my February 9, 2022 posting for a full listing).

A March 29, 2022 Art/Sci Salon announcement (received via email) heralds the last roundtable event (see my March 7, 2022 posting for more about the Who Cares? roundtables), Note: This is an online event,

 
Bayo Akomolafe
Seema Yasmin


Of Health Myths and Trickster Viruses

Friday, April 1 [2022], 5:00-7:00 pm [ET]

Des mythes sur la santé et des virus trompeurs

Le Vendredi 1 avril [2022], de 17H à 19H A conversation on the unsettling dimensions of epidemics and the complexities of responses to their challenges.
~
Une conversation sur les dimensions troublantes des épidémies et la complexité des réponses à leurs défis.

Inscrivez- vous ici/Register here

Seema Yasmin,  Director of Research and Education, Stanford Health Communication Initiative. She is an Emmy Award-winning journalist, Pulitzer prize finalist, medical doctor and Stanford and UCLA professor.

Bayo Akomolafe Chief Curator, The Emergence Network.  He is a widely celebrated international speaker, posthumanist thinker, poet, teacher, public intellectual, essayist, and author ~

Seema Yasmin, Director of Research and Education, Stanford Health Communication Initiative. Elle est une journaliste lauréate d’un Emmy Award, finaliste du prix Pulitzer, médecin et professeure à Stanford et UCLA.

Bayo Akomolafe, Chief Curator, The Emergence Network. Il  est un conférencier international très célèbre, un penseur posthumaniste, un poète, un enseignant, un intellectuel public, un essayiste et un auteur.

There are the acknowledgements,

“Who Cares?” is a Speaker Series dedicated to fostering transdisciplinary conversations between doctors, writers, artists, and researchers on contemporary biopolitics of care and the urgent need to move towards more respectful, creative, and inclusive social practices of care in the wake of the systemic cracks made obvious by the pandemic.

We wish to thank/ nous the generous support of the Social Science and Humanities Research Council of Canada, New College at the University of Toronto and The Faculty of Liberal Arts and Professional Studies at York University; the Centre for Feminist Research, Sensorium Centre for Digital Arts and Technology, The Canadian Language Museum, the Departments of English and the School of Gender and Women’s Studies at York University; the D.G. Ivey Library and the Institute for the History and Philosophy of Science and Technology at the University of Toronto; We also wish to thank the support of The Fields Institute for Research in Mathematical Sciences

This series is co-produced in collaboration with the ArtSci Salon

The Who Cares? series webpage, found here, lists the exhibitions and final events,

Exhibitions
March 24 – April 30
[2022]

Alanna Kibbe – TRANSFORM: Exploring Languages of Healing. Opening March 31, 5 pm 
Canadian Language Museum, 2275 Bayview Avenue, York University Glendon Campus

in person. Virtual opening available

Camille Baker INTER/her. Opening April 7 [2022], 4 pm
Ivey Library, 20 Willcox Street, New College, University of Toronto

in person. Virtual opening available

Closing Presentation and Interactive Session
Karolina Żyniewicz – Signs of the time, Collecting
Biological Traces and Memories

Artist talk: April 8 [2022], 4:00-6:00 [ET]
online

Memory Collection: Apr 9 [2022], 2:00-4:00 [ET]

online and in person

Ai-Da (robot artist) writes and performs poem honouring Dante’s 700th anniversary

Remarkable, eh? *ETA December 17, 2021 0910: I’m sorry about the big blank space and can’t figure out how to fix it.*

Who is Ai-Da?

Thank you to the contributor(s) of the Ai-Da (robot) Wikipedia entry (Note: Links have been removed),

Ai-Da was invented by gallerist Aidan Meller,[3] in collaboration with Engineered Arts, a Cornish robotics company.[4] Her drawing intelligence was developed by computer AI researchers at the University of Oxford,[5] and her drawing arm is the work of engineers based in Leeds.[4]

Ai-Da has her own website here (from the homepage),

Ai-Da is the world’s first ultra-realistic artist robot. She draws using cameras in her eyes, her AI algorithms, and her robotic arm. Created in February 2019, she had her first solo show at the University of Oxford, ‘Unsecured Futures’, where her [visual] art encouraged viewers to think about our rapidly changing world. She has since travelled and exhibited work internationally, and had her first show in a major museum, the Design Museum, in 2021. She continues to create art that challenges our notions of creativity in a post-humanist era.

Ai-Da – is it art?

The role and definition of art changes over time. Ai-Da’s work is art, because it reflects the enormous integration of technology in todays society. We recognise ‘art’ means different things to different people. 

Today, a dominant opinion is that art is created by the human, for other humans. This has not always been the case. The ancient Greeks felt art and creativity came from the Gods. Inspiration was divine inspiration. Today, a dominant mind-set is that of humanism, where art is an entirely human affair, stemming from human agency. However, current thinking suggests we are edging away from humanism, into a time where machines and algorithms influence our behaviour to a point where our ‘agency’ isn’t just our own. It is starting to get outsourced to the decisions and suggestions of algorithms, and complete human autonomy starts to look less robust. Ai-Da creates art, because art no longer has to be restrained by the requirement of human agency alone.  

It seems that Ai-Da has branched out from visual art into poetry. (I wonder how many of the arts Ai-Da can produce and/or perform?)

A divine comedy? Dante and Ai-Da

The 700th anniversary of poet Dante Alighieri’s death has occasioned an exhibition, DANTE: THE INVENTION OF CELEBRITY, 17 September 2021–9 January 2022, at Oxford’s Ashmolean Museum.

Professor Gervase Rosser (University of Oxford), exhibition curator, wrote this in his September 21, 2021 exhibition essay “Dante and the Robot: An encounter at the Ashmolean”,

Ai-Da, the world’s most modern humanoid artist, is involved in an exhibition about the poet and philosopher, Dante Alighieri, writer of the Divine Comedy, whose 700th anniversary is this year. A major exhibition, ‘Dante and the Invention of Celebrity’, opens at Oxford’s Ashmolean Museum this month, and includes an intervention by this most up-to-date robot artist.

..

Honours are being paid around the world to the author of what he called a Comedy because, unlike a tragedy, it began badly but ended well. From the darkness of hell, the work sees Dante journey through purgatory, before eventually arriving at the eternal light of paradise. What hold does a poem about the spiritual redemption of humanity, written so long ago, have on us today?

One challenge to both spirit and humanity in the 21st century is the power of artificial intelligence, created and unleashed by human ingenuity.  The scientists who introduced this term, AI, in the 1950s announced that ‘every aspect of learning or any other feature of intelligence can, in principle, be so precisely described that a machine can be made to simulate it’.

Over the course of a human lifetime, that prophecy has almost been realised.  Artificial intelligence has already taken the place of human thought, often in ways of which are not apparent. In medicine, AI promises to become both irreplaceable and inestimable.

But to an extent which we are, perhaps, frightened to acknowledge, AI monitors our consumption patterns, our taste in everything from food to culture, our perception of ourselves, even our political views. If we want to re-orientate ourselves and take a critical view of this, before it is too late to regain control, how can we do so?

Creative fiction offers a field in which our values and aspirations can be questioned. This year has seen the publication of Klara and the Sun, by Kazuo Ishiguro, which evokes a world, not many years into the future, in which humanoid AI robots have become the domestic servants and companions of all prosperous families.

One of the book’s characters asks a fundamental question about the human heart, ‘Do you think there is such a thing? Something that makes each of us special and individual?’

Art can make two things possible: through it, artificial intelligence, which remains largely unseen, can be made visible and tangible and it can be given a prophetic voice, which we can choose to heed or ignore.

These aims have motivated the creators of Ai-Da, the artist robot which, through a series of exhibitions, is currently provoking questions around the globe (from the United Nations headquarters in Geneva to Cairo, and from the Design Museum in London [UK] to Abu Dhabi) about the nature of human creativity, originality, and authenticity.

In the Ashmolean Museum’s Gallery 8, Dante  meets artificial intelligence, in a staged encounter deliberately designed to invite reflection on what it means to see the world; on the nature of creativity; and on the value of human relationships.

The juxtaposition of AI with the Divine Comedy, in a year in which the poem is being celebrated as a supreme achievement of the human spirit, is timely. The encounter, however, is not presented as a clash of incompatible opposites, but as a conversation.

This is the spirit in which Ai-Da has been developed by her inventors, Aidan Meller and Lucy Seal, in collaboration with technical teams in Oxford University and elsewhere. Significantly, she takes her name from Ada Lovelace [emphasis mine], a mathematician and writer who was belatedly recognised as the first programmer. At the time of her early death in 1852, at the age of 36, she was considering writing a visionary kind of mathematical poetry, and wrote about her idea of ‘poetical philosophy, poetical science’.

For the Ashmolean exhibition, Ai-Da has made works in response to the Comedy. The first focuses on one of the circles of Dante’s Purgatory. Here, the souls of the envious compensate for their lives on earth, which were partially, but not irredeemably, marred by their frustrated desire for the possessions of others.

My first thought on seeing the inventor’s name, Aidan Meller, was that he named the robot after himself; I did not pick up on the Ada Lovelace connection. I appreciate how smart this is especially as the name also references AI.

Finally, the excerpts don’t do justice to Rosser’s essay; I recommend reading it if you have the time.

Jean-Pierre Luminet awarded UNESCO’s Kalinga prize for Popularizing Science

Before getting to the news about Jean-Pierre Luminet, astrophysicist, poet, sculptor, and more, there’s the prize itself.

Established in 1951, a scant five years after UNESCO (United Nations Educational, Scientific and Cultural Organization) was founded in 1945, the Kalinga Prize for the Popularization of Science is the organization’s oldest prize. Here’s more from the UNESCO Kalinga Prize for the Popularization of Science webpage,

The UNESCO Kalinga Prize for the Popularization of Science is an international award to reward exceptional contributions made by individuals in communicating science to society and promoting the popularization of science. It is awarded to persons who have had a distinguished career as writer, editor, lecturer, radio, television, or web programme director, or film producer in helping interpret science, research and technology to the public. UNESCO Kalinga Prize winners know the potential power of science, technology, and research in improving public welfare, enriching the cultural heritage of nations and providing solutions to societal problems on the local, regional and global level.

The UNESCO Kalinga Prize for the Popularization of Science is UNESCO’s oldest prize, created in 1951 following a donation from Mr Bijoyanand Patnaik, Founder and President of the Kalinga Foundation(link is external) Trust in India. Today, the Prize is funded by the Kalinga Foundation Trust(link is external), the Government of the State of Orissa, India(link is external), and the Government of India (Department of Science and Technology(link is external)).

Jean-Pierre Luminet

From the November 4, 2021 UNESCO press release (also received via email),

French scientist and author Jean-Pierre Luminet will be awarded the 2021 UNESCO Kalinga Prize for the Popularization of Science. The prize-giving ceremony will take place online on 5 November as part of the celebration of World Science Day for Peace and Development.

An independent international jury selected Jean-Pierre Luminet recognizing his longstanding commitment to the popularization of science. Mr Luminet is a distinguished astrophysicist and cosmologist who has been promoting the values of scientific research through a wide variety of media: he has created popular science books and novels, beautifully illustrated exhibition catalogues, poetry, audiovisual materials for children and documentaries, notably “Du Big Bang au vivant” with Hubert Reeves. He is also an artist, engraver and sculptor and has collaborated with composers on musicals inspired by the sounds of the Universe.

His publications are model examples for communicating science to the public. Their scientific content is precise, rigorous and always state-of-the-art. He has written seven “scientific novels”, including “Le Secret de Copernic”, published in 2006. His recent book “Le destin de l’univers : trous noirs et énergie sombre”, about black holes and dark energy, was written for the general public and was praised for its outstanding scientific, historical, and literary qualities. Jean-Pierre Luminet’s work has been translated into a many languages including Chinese and Korean.

There is a page for Luminet in both the French language and English language wikipedias. If you have the language skills, you might want to check out the French language essay as I found it to be more stylishly written.

Compare,

De par ses activités de poète, essayiste, romancier et scénariste, dans une œuvre voulant lier science, histoire, musique et art, il est également Officier des Arts et des Lettres.

With,

… Luminet has written fifteen science books,[4] seven historical novels,[4] TV documentaries,[5] and six poetry collections. He is an artist, an engraver, a sculptor, and a musician.

My rough translation of the French,

As a poet, essayaist, novelist, and a screenwriter in a body of work that brings together science, history, music and art, he is truly someone who has enriched the French cultural inheritance (which is what it means to be an Officer of Arts and Letters or Officier des Arts et des Lettres; see English language entry for Ordre des Arts et des Lettres).

In any event, congratulations to M. Luminet.

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

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

PROXIMAL FIELDS

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

PROXIMAL FIELDS will be visible  September 8-12 2021 at

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

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

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

see [sic] a teaser here:

https://youtu.be/AYxlvLnYSdE

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

Video: Natalie Plociennik

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

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

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

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

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

Local: Fields Institute and ArtSci Salon

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

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

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

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

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

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

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

2020-2021 ArtSci Salon

Description

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

For more details, visit our blog.

Sign up to our mailing list here.

For more information please contact:

Stephen Morris: smorris@physics.utoronto.ca

Roberta Buiani: rbuiani@gmail.com

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

Ars Electronica

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

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

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

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

Leonardo; The International Society for Arts, Sciences and Technology

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

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

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

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

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

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

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

Culturing transnational dialogue for creative hybridity

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

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

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

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

The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (an addendum)

I missed a few science journalists (part 1 of this series, under the Science Communication subhead; Mainstream Media, sub subhead) as the folks at the Science Media Centre of Canada (SMCC) noted on Twitter,

Science Media Centre @SMCCanada Apr 16 Replying to @frogheart

Thanks for the mention. But I think poor @katecallen at the Toronto Star would be dismayed to read that @IvanSemeniuk is the only science reporter on a Canadian newspaper. And @row1960 Bob Weber at Canadian Press is carried in every newspaper in the country.

Science Media Centre @SMCCanada Apr 16 Replying to @frogheart

In addition, @mle_chung at CBC News Online (#1 news source in Canada) is read more than any other science writer in the country, as is her colleague @NebulousNikki

Thank you.

***ETA April 29, 2020 at 0910 PT: Yesterday, April 28, 2020, Postmedia announced that it was closing 15 community newspapers and a number of jobs elsewhere in the organization. Earlier in the month on April 7, 2020 Postmedia announced that 85 positions were being eliminated, including 11 in the editorial department of TorStar (Toronto Star). I hope they keep a position for a science writer at the Toronto Star.***

Alice Major, a poet mentioned in Part 3 under The word subhead; Poetry sub subhead, wrote with news of two other poets who focus on science in their work.

  • Christian Bök
  • Adam Dickinson

From Bök’s Wikipedia entry (Note: Links have been removed),

Christian Bök[needs IPA] (born August 10, 1966 in Toronto, Canada) is an experimental Canadian poet. He is the author of Eunoia, which won the Canadian Griffin Poetry Prize.

On April 4, 2011 Bök announced a significant break-through in his 9-year project to engineer “a life-form so that it becomes not only a durable archive for storing a poem, but also an operant machine for writing a poem”.[7][8] On the previous day (April 3) Bök said he received confirmation from the laboratory at the University of Calgary that my poetic cipher, gene X-P13, has in fact caused E. coli to fluoresce red in our test-runs—meaning that, when implanted in the genome of this bacterium, my poem (which begins “any style of life/ is prim…”) does in fact cause the bacterium to write, in response, its own poem (which begins “the faery is rosy/ of glow…”).”[9]

The project has continued for over fifteen years at a cost exceeding $110,000 and he hopes to finish the project in 2014.[10] He published “Book I” of the resulting Xenotext in 2015.

Xenotext: Book 1 published by Coach House Books is described this way,

Internationally best-sellling poet Christian Bök has spent more than ten years writing what promises to be the first example of ‘living poetry.’ After successfully demonstrating his concept in a colony of E. coli, Bök is on the verge of enciphering a beautiful, anomalous poem into the genome of an unkillable bacterium (Deinococcus radiodurans), which can, in turn, “read” his text, responding to it by manufacturing a viable, benign protein, whose sequence of amino acids enciphers yet another poem. The engineered organism might conceivably serve as a post-apocalyptic archive, capable of outlasting our civilization.

Book I of The Xenotext constitutes a kind of ‘demonic grimoire,’ providing a scientific framework for the project with a series of poems, texts, and illustrations. A Virgilian welcome to the Inferno, Book I is the “orphic” volume in a diptych, addressing the pastoral heritage of poets, who have sought to supplant nature in both beauty and terror. The book sets the conceptual groundwork for the second volume, which will document the experiment itself. The Xenotext is experimental poetry in the truest sense of the term.

Adam Dickinson is a poet and an associate professor at Brock University (Ontario). He describes himself and his work this way (from the Brock University bio page),

Adam Dickinson is a poet and a professor of poetry. His creative and academic writing has primarily focused on intersections between poetry and science as a way of exploring new ecocritical perspectives and alternative modes of poetic composition. His latest book, Anatomic (Coach House Books), involves the results of chemical and microbial testing on his body, and was shortlisted for The Raymond Souster Award. Sections of it were also shortlisted for the Canadian Broadcasting Corporation (CBC) Poetry Prize. His book, The Polymers (House of Anansi [2013]), which is an imaginary science project that combines the discourses, theories, and experimental methods of the science of plastic materials with the language and culture of plastic behaviour, was a finalist for both the Governor General’s Award for Poetry and the Trillium Book Award for Poetry. He has published two previous books, Kingdom, Phylum (also nominated for the Trillium Book Award for Poetry) and Cartography and Walking (nominated for an Alberta Book Award). His scholarly work (supported by SSHRC [Social Sciences and Humanities Research Council of Canada]) brings together research in innovative poetics, biosemiotics, pataphysics, and Anthropocene studies.

His current research-creation project, “Metabolic Poetics,” (also supported by SSHRC) is concerned with the potential of expanded modes of reading and writing to shift the frames and scales of conventional forms of signification in order to bring into focus the often inscrutable biological and cultural writing intrinsic to the Anthropocene, especially as this is reflected in the inextricable link between the metabolic processes of human and nonhuman bodies and the global metabolism of energy and capital.

He has been featured at prominent international literary festivals, such as Poetry International in Rotterdam, The Harbourfront International Festival of Authors in Toronto, and the Oslo International Poetry Festival in Norway. Adam has also been a finalist for the K.M. Hunter Artist Award in Literature, Administered by the Ontario Arts Council. Adam welcomes potential student supervisions on topics in poetry and poetics, environmental writing, science and literature, and creative writing.

Thank you.

This last addition may seen a little offbeat but ARPICO (Society of Italian Researchers & Professionals in Western Canada) has hosted a surprisingly large number of science events in Vancouver. Two recent examples include: The Eyes are the Windows to The Mind; Implications for Artificial Intelligence (AI) -driven Personalized Interaction on March 4, 2020 and, the relatively recent, Whispers in the Dark: Underground Science on June 12, 2019.

Hopefully, I’ll be able to resist the impulse to make any more additions.

***ETA April 30, 2020: Research2Reality (R2R) was launched in 2015 as a social media initiative featuring a series of short video interviews with Canadian scientists (see more in my May 11, 2015 posting). Almost five years later, the website continues to feature interviews and it also hosts news about Canadian science and research. R2R was founded by Molly Shoichet (pronounced shoyquette) and Mike MacMillan.***

For anyone who stumbled across this addendum first, it fits on to the end of a 5-part series:

Part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (1 of 5).

Part 2 covers art/science (or art/sci or sciart) efforts, science festivals both national and local, international art and technology conferences held in Canada, and various bar/pub/café events: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (2 of 5).

Part 3 covers comedy, do-it-yourself (DIY) biology, chief science advisor, science policy, mathematicians, and more: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (3 of 5).

Part 4 covers citizen science, birds, climate change, indigenous knowledge (science), and the IISD Experimental Lakes Area: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (4 of 5).

Part 5: includes science podcasting, eco art, a Saskatchewan lab with an artist-in-residence, the Order of Canada and children’s science literature, animation and mathematics, publishing science, *French language science media,* and more: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (5 of 5).

*French language science media added December 9, 2020.

The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (5 of 5)

At long last, the end is in sight! This last part is mostly a collection of items that don’t fit elsewhere or could have fit elsewhere but that particular part was already overstuffed.

Podcasting science for the people

March 2009 was the birth date for a podcast, then called Skeptically Speaking and now known as Science for the People (Wikipedia entry). Here’s more from the Science for the People About webpage,

Science for the People is a long-format interview podcast that explores the connections between science, popular culture, history, and public policy, to help listeners understand the evidence and arguments behind what’s in the news and on the shelves.

Every week, our hosts sit down with science researchers, writers, authors, journalists, and experts to discuss science from the past, the science that affects our lives today, and how science might change our future.

THE TEAM

Rachelle Saunders: Producer & Host

I love to learn new things, and say the word “fascinating” way too much. I like to talk about intersections and how science and critical thinking intersect with everyday life, politics, history, and culture. By day I’m a web developer, and I definitely listen to way too many podcasts.

….

H/t to GeekWrapped’s 20 Best Science Podcasts.

Science: human contexts and cosmopolitanism

situating science: Science in Human Contexts was a seven-year project ending in 2014 and funded by the Social Sciences and Humanities Research Council of Canada (SSHRC). Here’s more from their Project Summary webpage,

Created in 2007 with the generous funding of the Social Sciences and Humanities Research Council of Canada Strategic Knowledge Cluster grant, Situating Science is a seven-year project promoting communication and collaboration among humanists and social scientists that are engaged in the study of science and technology.

You can find out more about Situating Science’s final days in my August 16, 2013 posting where I included a lot of information about one of their last events titled, “Science and Society 2013 Symposium; Emerging Agendas for Citizens and the Sciences.”

The “think-tank” will dovetail nicely with a special symposium in Ottawa on Science and Society Oct. 21-23. For this symposium, the Cluster is partnering with the Institute for Science, Society and Policy to bring together scholars from various disciplines, public servants and policy workers to discuss key issues at the intersection of science and society. [emphasis mine]  The discussions will be compiled in a document to be shared with stakeholders and the wider public.

The team will continue to seek support and partnerships for projects within the scope of its objectives. Among our top priorities are a partnership to explore sciences, technologies and their publics as well as new partnerships to build upon exchanges between scholars and institutions in India, Singapore and Canada.

The Situating Science folks did attempt to carry on the organization’s work by rebranding the organization to call it the Canadian Consortium for Situating Science and Technology (CCSST). It seems to have been a short-lived volunteer effort.

Meanwhile, the special symposium held in October 2013 appears to have been the springboard for another SSHRC funded multi-year initiative, this time focused on science collaborations between Canada, India, and Singapore, Cosmopolitanism and the Local in Science and Nature from 2014 – 2017. Despite their sunset year having been in 2017, their homepage boasts news about a 2020 Congress and their Twitter feed is still active. Harking back, here’s what the project was designed to do, from the About Us page,

Welcome to our three year project that will establish a research network on “Cosmopolitanism” in science. It closely examines the actual types of negotiations that go into the making of science and its culture within an increasingly globalized landscape. This partnership is both about “cosmopolitanism and the local” and is, at the same time, cosmopolitan and local.

Anyone who reads this blog with any frequency will know that I often comment on the fact that when organizations such as the Council of Canadian Academies bring in experts from other parts of the world, they are almost always from the US or Europe. So, I was delighted to discover the Cosmopolitanism project and featured it in a February 19, 2015 posting.

Here’s more from Cosmopolitanism’s About Us page

Specifically, the project will:

  1. Expose a hitherto largely Eurocentric scholarly community in Canada to widening international perspectives and methods,
  2. Build on past successes at border-crossings and exchanges between the participants,
  3. Facilitate a much needed nation-wide organization and exchange amongst Indian and South East Asian scholars, in concert with their Canadian counterparts, by integrating into an international network,
  4. Open up new perspectives on the genesis and place of globalized science, and thereby
  5. Offer alternative ways to conceptualize and engage globalization itself, and especially the globalization of knowledge and science.
  6. Bring the managerial team together for joint discussion, research exchange, leveraging and planning – all in the aid of laying the grounds of a sustainable partnership

Eco Art (also known as ecological art or environmental art)

I’m of two minds as to whether I should have tried to stuff this into the art/sci subsection in part 2. On balance, I decided that this merited its own section and that part 2 was already overstuffed.

Let’s start in Newfoundland and Labrador with Marlene Creates (pronounced Kreets), here’s more about her from her website’s bio webpage,

Marlene Creates (pronounced “Kreets”) is an environmental artist and poet who works with photography, video, scientific and vernacular knowledge, walking and collaborative site-specific performance in the six-acre patch of boreal forest in Portugal Cove, Newfoundland and Labrador, Canada, where she lives.

For almost 40 years her work has been an exploration of the relationship between human experience, memory, language and the land, and the impact they have on each other. …

Currently her work is focused on the six acres of boreal forest where she lives in a ‘relational aesthetic’ to the land. This oeuvre includes Water Flowing to the Sea Captured at the Speed of Light, Blast Hole Pond River, Newfoundland 2002–2003, and several ongoing projects:

Marlene Creates received a Governor General’s Award in Visual and Media Arts for “Lifetime Artistic Achievement” in 2019. …

As mentioned in her bio, Creates has a ‘forest’ project. The Boreal Poetry Garden,
Portugal Cove, Newfoundland 2005– (ongoing)
. If you are interested in exploring it, she has created a virtual walk here. Just click on one of the index items on the right side of the screen to activate a video.

An October 1, 2018 article by Yasmin Nurming-Por for Canadian Art magazine features 10 artists who focus on environmental and/or land art themes,

As part of her 2016 master’s thesis exhibition, Fredericton [New Brunswick] artist Gillian Dykeman presented the video Dispatches from the Feminist Utopian Future within a larger installation that imagined various canonical earthworks from the perspective of the future. It’s a project that addresses the inherent sense of timelessness in these massive interventions on the natural landscape from the perspective of contemporary land politics. … she proposes a kind of interaction with the invasive and often colonial gestures of modernist Land art, one that imagines a different future for these earthworks, where they are treated as alien in a landscape and as beacons from a feminist future.

A video trailer featuring “DISPATCHES FROM THE FEMINIST UTOPIAN FUTURE” (from Dykeman’s website archive page featuring the show,

If you have the time, I recommend reading the article in its entirety.

Oddly, I did not expect Vancouver to have such an active eco arts focus. The City of Vancouver Parks Board maintains an Environmental Art webpage on its site listing a number of current and past projects.

I cannot find the date for when this Parks Board initiative started but I did find a document produced prior to a Spring 2006 Arts & Ecology think tank held in Vancouver under the auspices of the Canada Council for the Arts, the Canadian Commission for UNESCO, the Vancouver Foundation, and the Royal Society for the Encouragement of the Arts, Manufactures and Commerce (London UK).

In all likelihood, Vancouver Park Board’s Environmental Art webpage was produced after 2006.

I imagine the document and the think tank session helped to anchor any then current eco art projects and encouraged more projects.

The document (MAPPING THE TERRAIN OF CONTEMPORARY ECOART PRACTICE AND COLLABORATION) while almost 14 years old offers a fascinating overview of what was happening internationally and in Canada.

While its early days were in 2008, EartHand Gleaners (Vancouver-based) wasn’t formally founded as an arts non-for-profit organization until 2013. You can find out more about them and their projects here.

Eco Art has been around for decades according to the eco art think tank document but it does seemed to have gained momentum here in Canada over the last decade.

Photography and the Natural Sciences and Engineering Research Council of Canada (NSERC)

Exploring the jack pine tight knit family tree. Credit: Dana Harris Brock University (2018)

Pictured are developing phloem, cambial, and xylem cells (blue), and mature xylem cells (red), in the outermost portion of a jack pine tree. This research aims to identify the influences of climate on the cellular development of the species at its northern limit in Yellowknife, NT. The differences in these cell formations is what creates the annual tree ring boundary.

Science Exposed is a photography contest for scientists which has been run since 2016 (assuming the Past Winners archive is a good indicator for the programme’s starting year).

The 2020 competition recently closed but public voting should start soon. It’s nice to see that NSERC is now making efforts to engage members of the general public rather than focusing its efforts solely on children. The UK’s ASPIRES project seems to support the idea that adults need to be more fully engaged with STEM (science, technology, engineering, and mathematics) efforts as it found that children’s attitudes toward science are strongly influenced by their parents’ and relatives’ attitudes.(See my January 31, 2012 posting.)

Ingenious, the book and Ingenium, the science museums

To celebrate Canada’s 150th anniversary in 2017, then Governor General David Johnston and Tom Jenkins (Chair of the board for Open Text and former Chair of the federal committee overseeing the ‘Review of Federal Support to R&’D [see my October 21, 2011 posting about the resulting report]) wrote a boo about Canada’s inventors and inventions.

Johnston and Jenkins jaunted around the country launching their book (I have more about their June 1, 2017 Vancouver visit in a May 30, 2017 posting; scroll down about 60% of the way]).

The book’s full title, “Ingenious: How Canadian Innovators Made the World Smarter, Smaller, Kinder, Safer, Healthier, Wealthier and Happier ” outlines their thesis neatly.

Not all that long after the book was launched, there was a name change (thankfully) for the Canada Science and Technology Museums Corporation (CSTMC). It is now known as Ingenium (covered in my August 10, 2017 posting).

The reason that name change was such a relief (for those who don’t know) is that the corporation included three national science museums: Canada Aviation and Space Museum, Canada Agriculture and Food Museum, and (wait for it) Canada Science and Technology Museum. On the list of confusing names, this ranks very high for me. Again, I give thanks for the change from CSTMC to Ingenium, leaving the name for the museum alone.

2017 was also the year that the newly refurbished Canada Science and Technology Museum was reopened after more than three years (see my June 23, 2017 posting about the November 2017 reopening and my June 12, 2015 posting for more information about the situation that led to the closure).

A Saskatchewan lab, Convergence, Order of Canada, Year of Science, Animated Mathematics, a graphic novel, and new media

Since this section is jampacked, I’m using subheads.

Saskatchewan

Dr. Brian Eames hosts an artist-in-residence, Jean-Sebastien (JS) Gauthier at the University of Saskatchewan’s College of Medicine Eames Lab. A February 16, 2018 posting here featured their first collaboration together. It covered evolutionary biology, the synchrotron (Canadian Light Source [CLS]) in Saskatoon, and the ‘ins and outs’ of a collaboration between a scientist an artist. Presumably the art-in-residence position indicates that first collaboration went very well.

In January 2020, Brian kindly gave me an update on their current projects. Jean-Sebastin successfully coded an interactive piece for an exhibit at the 2019 Nuit Blanche Saskatoon event using Connect (Xbox). More recently, he got a VR [virtual reality] helmet for an upcoming project or two.

After much clicking on the Nuit Blanche Saskatoon 2019 interactive map, I found this,

Our Glass is a work of interactive SciArt co-created by artist JS Gauthier and biologist Dr Brian F. Eames. It uses cutting-edge 3D microscopic images produced for artistic purposes at the Canadian Light Source, Canada’s only synchrotron facility. Our Glass engages viewers of all ages to peer within an hourglass showing how embryonic development compares among animals with whom we share a close genetic heritage.

Eames also mentioned they were hoping to hold an international SciArt Symposium at the University of Saskatchewan in 2021.

Convergence

Dr. Cristian Zaelzer-Perez, an instructor at Concordia University (Montreal; read this November 20, 2019 Concordia news release by Kelsey Rolfe for more about his work and awards), in 2016 founded the Convergence Initiative, a not-for-profit organization that encourages interdisciplinary neuroscience and art collaborations.

Cat Lau’s December 23, 2019 posting for the Science Borealis blog provides insight into Zaelzer-Perez’s relationship to science and art,

Cristian: I have had a relationship with art and science ever since I have had memory. As a child, I loved to do classifications, from grouping different flowers to collecting leaves by their shapes. At the same time, I really loved to draw them and for me, both things never looked different; they (art and science) have always worked together.

I started as a graphic designer, but the pursuit to learn about nature was never dead. At some point, I knew I wanted to go back to school to do research, to explore and learn new things. I started studying medical technologies, then molecular biology and then jumped into a PhD. At that point, my life as a graphic designer slipped down, because of the focus you have to give to the discipline. It seemed like every time I tried to dedicate myself to one thing, I would find myself doing the other thing a couple years later.

I came to Montreal to do my post-doc, but I had trouble publishing, which became problematic in getting a career. I was still loving what I was doing, but not seeing a future in that. Once again, art came back into my life and at the same time I saw that science was becoming really hard to understand and scientists were not doing much to bridge the gap.

The Convergence Initiative has an impressive array of programmes. Do check it out.

Order of Canada and ‘The Science Lady’

For a writer of children’s science books, an appointment to the Order of Canada is a singular honour. I cannot recall a children’s science book writer previous to Shar Levine being appointed as a Member of the Order of Canada. Known as ‘The Science Lady‘, Levine was appointed in 2016. Here’s more from her Wikipedia entry, Note: Links have been removed,

Shar Levine (born 1953) is an award-winning, best selling Canadian children’s author, and designer.

Shar has written over 70 books and book/kits, primarily on hands-on science for children. For her work in Science literacy and Science promotion, Shar has been appointed to the 2016 Order of Canada. In 2015, she was recognized by the University of Alberta and received their Alumni Honour Award. Levine, and her co-author, Leslie Johnstone, were co-recipients of the Eve Savory Award for Science Communication from the BC Innovation Council (2006) and their book, Backyard Science, was a finalist for the Subaru Award, (hands on activity) from the American Association for the Advancement of Science, Science Books and Films (2005). The Ultimate Guide to Your Microscope was a finalist-2008 American Association for the Advancement of Science/Subaru Science Books and Films Prize Hands -On Science/Activity Books.

To get a sense of what an appointment to the Order of Canada means, here’s a description from the government of Canada website,

The Order of Canada is how our country honours people who make extraordinary contributions to the nation.

Since its creation in 1967—Canada’s centennial year—more than 7 000 people from all sectors of society have been invested into the Order. The contributions of these trailblazers are varied, yet they have all enriched the lives of others and made a difference to this country. Their grit and passion inspire us, teach us and show us the way forward. They exemplify the Order’s motto: DESIDERANTES MELIOREM PATRIAM (“They desire a better country”).

Year of Science in British Columbia

In the Fall of 2010, the British Columbia provincial government announced a Year of Science (coinciding with the school year) . Originally, it was supposed to be a provincial government-wide initiative but the idea percolated through any number of processes and emerged as a year dedicated to science education for youth (according to the idea’s originator, Moira Stilwell who was then a Member of the Legislative Assembly [MLA]’ I spoke with her sometime in 2010 or 2011).

As the ‘year’ drew to a close, there was a finale ($1.1M in funding), which was featured here in a July 6, 2011 posting.

The larger portion of the money ($1M) was awarded to Science World while $100,000 ($0.1 M) was given to the Pacific Institute of Mathematical Sciences To my knowledge there have been no followup announcements about how the money was used.

Animation and mathematics

In Toronto, mathematician Dr. Karan Singh enjoyed a flurry of interest due to his association with animator Chris Landreth and their Academy Award (Oscar) Winning 2004 animated film, Ryan. They have continued to work together as members of the Dynamic Graphics Project (DGP) Lab at the University of Toronto. Theirs is not the only Oscar winning work to emerge from one or more of the members of the lab. Jos Stam, DGP graduate and adjunct professor won his third in 2019.

A graphic novel and medical promise

An academic at Simon Fraser University since 2015, Coleman Nye worked with three other women to produce a graphic novel about medical dilemmas in a genre described as’ ethno-fiction’.

Lissa: A Story about Medical Promise, Friendship, and Revolution (2017) by Sherine Hamdy and Coleman Nye, two anthropologists and Art by Sarula Bao and Caroline Brewer, two artists.

Here’s a description of the book from the University of Toronto Press website,

As young girls in Cairo, Anna and Layla strike up an unlikely friendship that crosses class, cultural, and religious divides. Years later, Anna learns that she may carry the hereditary cancer gene responsible for her mother’s death. Meanwhile, Layla’s family is faced with a difficult decision about kidney transplantation. Their friendship is put to the test when these medical crises reveal stark differences in their perspectives…until revolutionary unrest in Egypt changes their lives forever.

The first book in a new series [ethnoGRAPIC; a series of graphic novels from the University of Toronto Press], Lissa brings anthropological research to life in comic form, combining scholarly insights and accessible, visually-rich storytelling to foster greater understanding of global politics, inequalities, and solidarity.

I hope to write more about this graphic novel in a future posting.

New Media

I don’t know if this could be described as a movement yet but it’s certainly an interesting minor development. Two new media centres have hosted, in the last four years, art/sci projects and/or workshops. It’s unexpected given this definition from the Wikipedia entry for New Media (Note: Links have been removed),

New media are forms of media that are computational and rely on computers for redistribution. Some examples of new media are computer animations, computer games, human-computer interfaces, interactive computer installations, websites, and virtual worlds.[1][2]

In Manitoba, the Video Pool Media Arts Centre hosted a February 2016 workshop Biology as a New Art Medium: Workshop with Marta De Menezes. De Menezes, an artist from Portugal, gave workshops and talks in both Winnipeg (Manitoba) and Toronto (Ontario). Here’s a description for the one in Winnipeg,

This workshop aims to explore the multiple possibilities of artistic approaches that can be developed in relation to Art and Microbiology in a DIY situation. A special emphasis will be placed on the development of collaborative art and microbiology projects where the artist has to learn some biological research skills in order to create the artwork. The course will consist of a series of intense experimental sessions that will give raise to discussions on the artistic, aesthetic and ethical issues raised by the art and the science involved. Handling these materials and organisms will provoke a reflection on the theoretical issues involved and the course will provide background information on the current diversity of artistic discourses centred on biological sciences, as well a forum for debate.

VIVO Media Arts Centre in Vancouver hosted the Invasive Systems in 2019. From the exhibition page,

Picture this – a world where AI invades human creativity, bacteria invade our brains, and invisible technological signals penetrate all natural environments. Where invasive species from plants to humans transform spaces where they don’t belong, technology infiltrates every aspect of our daily lives, and the waste of human inventions ravages our natural environments.

This weekend festival includes an art-science exhibition [emphasis mine], a hands-on workshop (Sat, separate registration required), and guided discussions and tours by the curator (Sat/Sun). It will showcase collaborative works by three artist/scientist pairs, and independent works by six artists. Opening reception will be on Friday, November 8 starting at 7pm; curator’s remarks and performance by Edzi’u at 7:30pm and 9pm. 

New Westminster’s (British Columbia) New Media Gallery recently hosted an exhibition, ‘winds‘ from June 20 – September 29, 2019 that could be described as an art/sci exhibition,

Landscape and weather have long shared an intimate connection with the arts.  Each of the works here is a landscape: captured, interpreted and presented through a range of technologies. The four artists in this exhibition have taken, as their material process, the movement of wind through physical space & time. They explore how our perception and understanding of landscape can be interpreted through technology. 

These works have been created by what might be understood as a sort of scientific method or process that involves collecting data, acute observation, controlled experiments and the incorporation of measurements and technologies that control or collect motion, pressure, sound, pattern and the like. …

Council of Canadian Academies, Publishing, and Open Access

Established in 2005, the Council of Canadian Academies (CCA) (Wikipedia entry) is tasked by various departments and agencies to answer their queries about science issues that could affect the populace and/or the government. In 2014, the CCA published a report titled, Science Culture: Where Canada Stands. It was in response to the Canada Science and Technology Museums Corporation (now called Ingenium), Industry Canada, and Natural Resources Canada and their joint request that the CCA conduct an in-depth, independent assessment to investigate the state of Canada’s science culture.

I gave a pretty extensive analysis of the report, which I delivered in four parts: Part 1, Part 2 (a), Part 2 (b), and Part 3. In brief, the term ‘science culture’ seems to be specifically, i.e., it’s not used elsewhere in the world (that we know of), Canadian. We have lots to be proud of. I was a little disappointed by the lack of culture (arts) producers on the expert panel and, as usual, I bemoaned the fact that the international community included as reviewers, members of the panel, and as points for comparison were drawn from the usual suspects (US, UK, or somewhere in northern Europe).

Science publishing in Canada took a bit of a turn in 2010, when the country’s largest science publisher, NRC (National Research Council) Research Publisher was cut loose from the government and spun out into the private, *not-for-profit publisher*, Canadian Science Publishing (CSP). From the CSP Wikipedia entry,

Since 2010, Canadian Science Publishing has acquired five new journals:

Since 2010, Canadian Science Publishing has also launched four new journals

Canadian Science Publishing offers researchers options to make their published papers freely available (open access) in their standard journals and in their open access journal, (from the CSP Wikipedia entry)

Arctic Science aims to provide a collaborative approach to Arctic research for a diverse group of users including government, policy makers, the general public, and researchers across all scientific fields

FACETS is Canada’s first open access multidisciplinary science journal, aiming to advance science by publishing research that the multi-faceted global community of research. FACETS is the official journal of the Royal Society of Canada’s Academy of Science.

Anthropocene Coasts aims to understand and predict the effects of human activity, including climate change, on coastal regions.

In addition, Canadian Science Publishing strives to make their content accessible through the CSP blog that includes plain language summaries of featured research. The open-access journal FACETS similarly publishes plain language summaries.

*comment removed*

CSP announced (on Twitter) a new annual contest in 2016,

Canadian Science Publishing@cdnsciencepub

New CONTEST! Announcing Visualizing Science! Share your science images & win great prizes! Full details on the blog http://cdnsciencepub.com/blog/2016-csp-image-contest-visualizing-science.aspx1:45 PM · Sep 19, 2016·TweetDeck

The 2016 blog posting is no longer accessible. Oddly for a contest of this type, I can’t find an image archive for previous contests. Regardless, a 2020 competition has been announced for Summer 2020. There are some details on the VISUALIZING SCIENCE 2020 webpage but some are missing, e.g., no opening date, no deadline. They are encouraging you to sign up for notices.

Back to open access, in a January 22, 2016 posting I featured news about Montreal Neuro (Montreal Neurological Institute [MNI] in Québec, Canada) and its then new policy giving researchers world wide access to its research and made a pledge that it would not seek patents for its work.

Fish, Newfoundland & Labrador, and Prince Edward Island

AquAdvantage’s genetically modified salmon was approved for consumption in Canada according to my May 20, 2016 posting. The salmon are produced/farmed by a US company (AquaBounty) but the the work of genetically modifying Atlantic salmon with genetic material from the Chinook (a Pacific ocean salmon) was mostly undertaken at Memorial University in Newfoundland & Labrador.

The process by which work done in Newfoundland & Labrador becomes the property of a US company is one that’s well known here in Canada. The preliminary work and technology is developed here and then purchased by a US company, which files patents, markets, and profits from it. Interestingly, the fish farms for the AquAdvantage salmon are mostly (two out of three) located on Prince Edward Island.

Intriguingly, 4.5 tonnes of the modified fish were sold for consumption in Canada without consumers being informed (see my Sept. 13, 2017 posting, scroll down about 45% of the way).

It’s not all sunshine and roses where science culture in Canada is concerned. Incidents where Canadians are not informed let alone consulted about major changes in the food supply and other areas are not unusual. Too many times, scientists, politicians, and government policy experts want to spread news about science without any response from the recipients who are in effect viewed as a ‘tabula rasa’ or a blank page.

Tying it all up

This series has been my best attempt to document in some fashion or another the extraordinary range of science culture in Canada from roughly 2010-19. Thank you! This series represents a huge amount of work and effort to develop science culture in Canada and I am deeply thankful that people give so much to this effort.

I have inevitably missed people and organizations and events. For that I am very sorry. (There is an addendum to the series as it’s been hard to stop but I don’t expect to add anything or anyone more.)

I want to mention but can’t expand upon,the Pan-Canadian Artificial Intelligence Strategy, which was established in the 2017 federal budget (see a March 31, 2017 posting about the Vector Institute and Canada’s artificial intelligence sector).

Science Borealis, the Canadian science blog aggregator, owes its existence to Canadian Science Publishing for the support (programming and financial) needed to establish itself and, I believe, that support is still ongoing. I think thanks are also due to Jenny Ryan who was working for CSP and championed the initiative. Jenny now works for Canadian Blood Services. Interestingly, that agency added a new programme, a ‘Lay Science Writing Competition’ in 2018. It’s offered n partnership with two other groups, the Centre for Blood Research at the University of British Columbia and Science Borealis

While the Royal Astronomical Society of Canada does not fit into my time frame as it lists as its founding date December 1, 1868 (18 months after confederation), the organization did celebrate its 150th anniversary in 2018.

Vancouver’s Electric Company often produces theatrical experiences that cover science topics such as the one featured in my June 7, 2013 posting, You are very star—an immersive transmedia experience.

Let’s Talk Science (Wikipedia entry) has been heavily involved with offering STEM (science, technology, engineering, and mathematics) programming both as part of curricular and extra-curricular across Canada since 1993.

This organization predates confederation having been founded in 1849 by Sir Sandford Fleming and Kivas Tully in Toronto. for surveyors, civil engineers, and architects. It is the Royal Canadian Institute of Science (Wikipedia entry)_. With almost no interruption, they have been delivering a regular series of lectures on the University of Toronto campus since 1913.

The Perimeter Institute for Theoretical Physics is a more recent beast. In 1999 Mike Lazirides, founder of Research In Motion (now known as Blackberry Limited), acted as both founder and major benefactor for this institute in Waterloo, Ontario. They offer a substantive and imaginative outreach programmes such as Arts and Culture: “Event Horizons is a series of unique and extraordinary events that aim to stimulate and enthral. It is a showcase of innovative work of the highest international standard, an emotional, intellectual, and creative experience. And perhaps most importantly, it is a social space, where ideas collide and curious minds meet.”

While gene-editing hasn’t seemed to be top-of-mind for anyone other than those in the art/sci community that may change. My April 26, 2019 posting focused on what appears to be a campaign to reverse Canada’s criminal ban on human gene-editing of inheritable cells (germline). With less potential for controversy, there is a discussion about somatic gene therapies and engineered cell therapies. A report from the Council of Canadian is due in the Fall of 2020. (The therapies being discussed do not involve germline editing.)

French language science media and podcasting

Agence Science-Presse is unique as it is the only press agency in Canada devoted to science news. Founded in 1978, it has been active in print, radio, television, online blogs, and podcasts (Baladodiffusion). You can find their Twitter feed here.

I recently stumbled across ‘un balados’ (podcast), titled, 20%. Started in January 2019 by the magazine, Québec Science, the podcast is devoted to women in science and technology. 20%, the podcast’s name, is the statistic representing the number of women in those fields. “Dans les domaines de la science et de la technologie, les femmes ne forment que 20% de la main-d’oeuvre.” (from the podcast webpage) The podcast is a co-production between “Québec Science [founded in 1962] et l’Acfas [formerly, l’Association Canadienne-Française pour l’Avancement des Sciences, now, Association francophone pour le savoir], en collaboration avec la Commission canadienne pour l’UNESCO, L’Oréal Canada et la radio Choq.ca.” (also from the podcast webpage)

Does it mean anything?

There have been many developments since I started writing this series in late December 2019. In January 2020, Iran shot down one of its own planes. That error killed some 176 people , many of them (136 Canadians and students) bound for Canada. The number of people who were involved in the sciences, technology, and medicine was striking.

It was a shocking loss and will reverberate for quite some time. There is a memorial posting here (January 13, 2020), which includes links to another memorial posting and an essay.

As I write this we are dealing with a pandemic, COVID-19, which has us all practicing physical and social distancing. Congregations of large numbers are expressly forbidden. All of this is being done in a bid to lessen the passage of the virus, SARS-CoV-2 which causes COVID-19.

In the short term at least, it seems that much of what I’ve described in these five parts (and the addendum) will undergo significant changes or simply fade away.

As for the long term, with this last 10 years having hosted the most lively science culture scene I can ever recall, I’m hopeful that science culture in Canada will do more than survive but thrive.

For anyone who missed them:

Part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (1 of 5).

Part 2 covers art/science (or art/sci or sciart) efforts, science festivals both national and local, international art and technology conferences held in Canada, and various bar/pub/café events: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (2 of 5).

Part 3 covers comedy, do-it-yourself (DIY) biology, chief science advisor, science policy, mathematicians, and more: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (3 of 5)

Part 4 covers citizen science, birds, climate change, indigenous knowledge (science), and the IISD Experimental Lakes Area: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (4 of 5)

*”for-profit publisher, Canadian Science Publishing (CSP)” corrected to “not-for-profit publisher, Canadian Science Publishing (CSP)” and this comment “Not bad for a for-profit business, eh?” removed on April 29, 2020 as per Twitter comments,

Canadian Science Publishing @cdnsciencepub

Hi Maryse, thank you for alerting us to your blog. To clarify, Canadian Science Publishing is a not-for-profit publisher. Thank you as well for sharing our image contest. We’ve updated the contest page to indicate that the contest opens July 2020!

10:01am · 29 Apr 2020 · Twitter Web App

2020 The Universe in Verse livestream on April 25, 2020 from New York City

The Universe in Verse event (poetry, music, science, and more) has been held annually by Pioneer Works in New York City since 2017. (It’s hard to believe I haven’t covered this event in previous years but it seems that’s so.)

A ticketed event usually held in a venue, in 2020, The Universe in Verse is being held free as a livestreamed event. Here’s more from the event page on the Pioneer Works website,

A LETTER FROM THE CURATOR AND HOST:

Dear Pioneer Works community,

Since 2017, The Universe in Verse has been celebrating science and the natural world — the splendor, the wonder, the mystery of it — through poetry, that lovely backdoor to consciousness, bypassing our habitual barricades of thought and feeling to reveal reality afresh. And now here we are — “survivors of immeasurable events,” in the words of the astronomer and poet Rebecca Elson, “small, wet miracles without instruction, only the imperative of change” — suddenly scattered six feet apart across a changed world, blinking with disorientation, disbelief, and no small measure of heartache. All around us, nature stands as a selective laboratory log of only the successes in the series of experiments we call evolution — every creature alive today, from the blooming magnolias to the pathogen-carrying bat, is alive because its progenitors have survived myriad cataclysms, adapted to myriad unforeseen challenges, learned to live in unimagined worlds.

The 2020 Universe in Verse is an adaptation, an experiment, a Promethean campfire for the collective imagination, taking a virtual leap to serve what it has always aspired to serve — a broadening of perspective: cosmic, creaturely, temporal, scientific, humanistic — all the more vital as we find the aperture of our attention and anxiety so contracted by the acute suffering of this shared present. Livestreaming from Pioneer Works at 4:30PM EST on Saturday, April 25, there will be readings of Walt Whitman, Emily Dickinson, Adrienne Rich, Pablo Neruda, June Jordan, Mary Oliver, Audre Lorde, Wendell Berry, Hafiz, Rachel Carson, James Baldwin, and other titans of poetic perspective, performed by a largehearted cast of scientists and artists, astronauts and poets, Nobel laureates and Grammy winners: Physicists Janna Levin, Kip Thorne, and Brian Greene, musicians Rosanne CashPatti SmithAmanda Palmer, Zoë Keating, Morley, and Cécile McLorin Salvant, poets Jane Hirshfield, Ross GayMarie Howe, and Natalie Diaz, astronomers Natalie Batalha and Jill Tarter, authors Rebecca Solnit, Elizabeth Gilbert, Masha Gessen, Roxane GayRobert Macfarlane, and Neil Gaiman, astronaut Leland Melvin, playwright and activist Eve Ensler, actor Natascha McElhone, entrepreneur Tim Ferriss, artists Debbie Millman, Dustin Yellin, and Lia Halloran, cartoonist Alison Bechdel, radio-enchanters Krista Tippett and Jad Abumrad, and composer Paola Prestini with the Young People’s Chorus. As always, there are some thrilling surprises in wait.

Every golden human thread weaving this global lifeline is donating their time and talent, diverting from their own work and livelihood, to offer this generous gift to the world. We’ve made this just because it feels important that it exist, that it serve some measure of consolation by calibration of perspective, perhaps even some joy. The Universe in Verse is ordinarily a ticketed charitable event, with all proceeds benefiting a chosen ecological or scientific-humanistic nonprofit each year. We offer this  year’s  livestream freely,  but making the show exist and beaming it to you had significant costs. If you are so moved and able, please support this colossal labor with a donation to Pioneer Works — our doors are now physically closed to the public, but our hearts remain open to the world as we pirouette to find new ways of serving art, science, and perspective. Your donation is tax-deductible and appreciation-additive.

Yours,

Maria Popova

For anyone unfamiliar with Pioneer Works, here’s more from their About page,

History

Pioneer Works is an artist-run cultural center that opened its doors to the public, free of charge, in 2012. Imagined by its founder, artist Dustin Yellin, as a place in which artists, scientists, and thinkers from various backgrounds converge, this “museum of process” takes its primary inspiration from utopian visionaries such as Buckminster Fuller, and radical institutions such as Black Mountain College.

The three-story red brick building that houses Pioneer Works was built in 1866 for what was then Pioneer Iron Works. The factory, which manufactured railroad tracks and other large-scale machinery, was a local landmark after which Pioneer Street was named. Devastated by fire in 1881, the building was rebuilt, and remained in active use through World War II. Dustin Yellin acquired the building in 2011, and renovated it with Gabriel Florenz, Pioneer Works’ Founding Artistic Director, and a team of talented artists, supporters, and advisors. Together, they established Pioneer Works as a 501c3 nonprofit in 2012.

Since its inception, Pioneer Works has built science studios, a technology lab with 3-D printing, a virtual environment lab for VR and AR production, a recording studio, a media lab for content creation and dissemination, a darkroom, residency studios, galleries, gardens, a ceramics studio, a press, and a bookshop. Pioneer Works’ central hall is home to a rotating schedule of exhibitions, science talks, music performances, workshops, and innovative free public programming.

The Universe in Verse’s curator and host, Maria Popova is best known for her blog. Here’s more from her Wikipedia entry (Note: Links have been removed),

Maria Popova (Bulgarian: Мария Попова; born 28 July 1984)[not verified in body] is a Bulgarian-born, American-based writer of literary and arts commentary and cultural criticism that has found wide appeal (as of 2012, 3 million page views and more than 1 million monthly readers),[needs update] both for its writing and for the visual stylistics that accompany it.[citation needed][needs update] She is most widely known for her blog, Brain Pickings [emphasis mine], an online publication that she has fought to maintain advertisement-free, which features her writing on books, and ideas from the arts, philosophy, culture, and other subjects. In addition to her writing and related speaking engagements, she has served as an MIT Futures of Entertainment Fellow,[when?] as the editorial director at the higher education social network Lore,[when?] and has written for The Atlantic, Wired UK, and other publications. As of 2012, she resided in Brooklyn, New York.[needs update]

There’s one more thing you might want to know about the event,

NOTE: For various artistic, legal, and technical reasons, the livestream will not be available in its entirety for later viewing, but individual readings will be released incrementally on Brain Pickings. As we are challenged to bend limitation into possibility as never before, may this meta-limitation too be an invitation— to be fully present, together across the space that divides us, for a beautiful and unrepeatable experience that animates a shared moment in time, all the more precious for being unrepeatable. “As if what exists, exists so that it can be lost and become precious,” in the words of the poet Lisel Mueller. 

Enjoy! And, if you can, please donate.