Category Archives: science

Teeny adventures, Latent Life, and photonic writing—a March 28, 2023 talk at 1 pm PT at the University of British Columbia

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After reading the latest newsletter (received via email on March 20, 2023), featuring Scott Billings’ talk ‘Latest Life’, from the University of British Columbia’s (UBC) Belkin Gallery I was reminded of a book produced at the nanoscale back in 2009 (May 21, 2009 posting; scroll down to the final paragraph) and which I wrote about again in 2012 (October 12, 2012 posting) when ‘Teeny Ted from Turnip Town’ was added to the Guinness Book of Records as the world’s smallest book. (‘Teeny Ted’ also has a Wikipedia entry.)

The March 20, 2023 Belkin Gallery (also known as the Morris and Helen Belkin Art Gallery) newsletter is promoting the next Ars Scientia events (the information can also be found on this webpage),

We hope you’ll join us this spring for talks and presentations related
to our ongoing research projects in art and science, and the
Anthropocene. Over the past years, we have developed a deep and
abiding interdisciplinary research practice related to these themes,
working with diverse disciplines that are fortified through oppositions,
collaborations and the celebration of new perspectives. We have shared
our different fields of experience, expertise and resources to catalyze
meaningful responses to research, pedagogy, communication and outreach,
and in doing so build responses that are more than the sum of their
parts. This methodology of bringing the unique perspectives and
practices of artists and curators to academic units presents an
opportunity to foster new modes of knowledge exchange. In this spirit,
we hope you’ll join us in thinking through these critical areas of
inquiry.

Ars Scientia

Building on exhibitions like The Beautiful Brain and Drift, the Ars Scientia research project connects artists with physicists to explore the intersections between the disciplines of art and science. A collaboration between the Belkin, the Department of Physics and Astronomy, and the Blusson Quantum Matter Institute [QMI], [emphases mine] this spring’s artists’ residencies culminate in a series of talks by JG Mair, Scott Billings and Timothy Taylor, followed by a symposium in May with keynote speaker Kavita Philip.

Tuesday, March 28 [2023] at 1 pm [PT]

Artist Talk with Scott Billings

Tuesday, April 4 [2023] at 2 pm [PT]

Artist Talk with Timothy Taylor

Monday, May 15 [2023]

Symposium with keynote by Kavita Philip

…

I have more details (logistics in particular) about the Scott Billings talk, from the QMI Ars Scientia Artist Talks 2023: Latent Life by Scott Billings events page,

Please join Scott Billings for Latent Life, a presentation based on his recent research in the Ars Scientia residency. Drawing from a 1933 lecture in which Neils Bohr asserts that the impossibility of using a physical explanation for the phenomenon of life is analogous to the insufficiency of using a mechanical analysis to understand phenomena of the atom, Billings will discuss his seemingly conflicting dual practice as both visual artist and mechanical engineer. Reflecting upon a preoccupation with the animality of cinematic machine, among (many) other things, Billings will relay his recent direct experience with photonic writing [emphasis mine] at QMI’s NanoFab Lab and the wonderful new conundrum of making and exhibiting micro-sculptures that are far too small to see with the naked eye.

…

Date & time: March 28 [2023], 1:00-2:00pm [PT]

Location: 311, Brimacombe Building (2355 East Mall, Vancouver, BC V6T 1Z4)

For more information on this event, please click here.

Photonic writing and sculpture? I’m guessing the word ‘writing’ in this context doesn’t mean what it usually means. Still, it did bring back memories of the world’s smallest book. I always did wonder about the point of producing book that couldn’t be read without expensive equipment. And now, there’s sculpture that can’t be seen.

I hope Billings’s talk will shed some light on this phenomenon of artists and writers creating objects than cannot be seen with the naked eye. Scientists do this sort of thing for fun but the motivation for writers and artists seems to be about proving something and not at all about play.

Public can now vote for 2023 Morgridge (Institute for Research) Ethics Cartooning Competition

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A February 21, 2023 Morgridge Institute for Research news release on EurekAlert announced open voting in their ethics cartooning competition,

Eighteen cartoons have been selected as finalists in the 2023 Ethics Cartooning Competition, an annual contest sponsored by the Morgridge Institute for Research. 

Participants from the University of Wisconsin-Madison and affiliated biomedical centers or institutes submitted their work, then a panel of judges selected the final cartoons for display to the public, who is invited to vote and help determine the 2023 winners.

This year’s cartoons depict a variety of research ethics topics, such as the ethics of scientific publishing, research funding and environments, questionable research practices, drug pricing, the ethics of experimenting on animals, social impacts of scientific research, and scientists as responsible members of society.

The Morgridge Ethics Cartooning Competition, developed by Morgridge Bioethics Scholar in Residence Pilar Ossorio, encourages scientists to shed light on timely or recurring issues that arise in scientific research.

“Ethical issues are all around us,” says Ossorio. “An event like the competition encourages people to identify some of those issues, perhaps talk about them with friends and colleagues, and think about how to communicate about those issues with a broader community of people.”

Public voting is open until March 10, 2023: https://morgridge.org/story/ethics-cartooning-contest-vote-2023/

Some of the cartoons feature biting commentary,

https://morgridge.org/wp-content/uploads/2023-R.png

The one above hit home as I commented on a local (Vancouver, Canada) billionaire’s (Chip Wilson of Lululemon) announcement that he was spending $100M on research to treat a rare disease (facio-scapulo-humeral muscular dystrophy [FSHD]) he has. (See my April 5, 2022 posting, scroll down about 80% of the way to the subhead, Money makes the world go around.)

And this too caught my eye,

https://morgridge.org/wp-content/uploads/2023-G.png

It reminds me that I’ve been meaning to do a piece on science and racism for the last few years. Maybe this year, eh?

In the meantime, go vote, there’s another 16 to choose from and you have until March 10, 2023: https://morgridge.org/story/ethics-cartooning-contest-vote-2023/

Ars Scientia talks at the University of British Columbia (UBC) in February, March, and April 2023

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The University of British Columbia (UBC; Vancouver, Canada) partnership between its Stewart Blusson Quantum Matter Institute (Blusson QMI), its Morris & Helen Belkin Art Gallery (the Belkin), and its Department of Physics and Astronomy (UBC PHAS) is known as Ars Scientia. (See my September 6, 2021 posting for more; scroll down to the Ars Scientia subhead.)

It’s been a while since I’ve seen any notices about Ars Scientia events but the Belkin Gallery announced three in a February 15, 2023 notice (received via email),

Ars Scientia Artist Talks

Room 311, Brimacombe Building, 2355 East Mall, UBC

Join us for a series of artist talks hosted at UBC’s Stewart Blusson Quantum Matter Institute (Blusson QMI). Our current cohort of Ars Scientia artists-in-residence have formed collaborative partnerships with scientists and engineers while embedded at Blusson QMI.

Tuesday, February 21 [2023] at 2 pm

JG Mair

Tuesday, March 28 [2023] at 1 pm

Scott Billings

Tuesday, April 2 [2023] at 2 pm

Timothy Taylor

IMAGE (ABOVE): AN ARS SCIENTIA COLLABORATION BETWEEN VISUAL ARTIST JG MAIR AND PHYSICIST ALANNAH HALLAS AT BLUSSON QMI; THE TWO WORKED TOGETHER IN HALLAS’S LAB TO TURN “INSIGHTFUL FAILURES” OF HIGH-ENTROPY OXIDES (A TYPE OF QUANTUM MATERIAL) INTO AN ARTIST’S MEDIUM – PAINT. PHOTO: RACHEL TOPHAM PHOTOGRAPHY.

I have found more details about the upcoming talk here on the Belkin Gallery’s Artist Talks: JG Mair, Scott Billings and Timothy Taylor events page,

Artist Talk with JG Mair, Tuesday, 21 February [2023] at 2 pm

Please join visual and media artist JG Mair for a discussion about his art practice and experiences as a collaborative participant in the Ars Scientia residency. As part of his talk, Mair will present one of his major works, Chroma Chamber, a web-based new media art installation that investigates human expectations of vision and machine algorithms by programmatically collating real-time Google image results to surround the viewer with the distilled colour of the words they speak. Visit Blusson QMI for more details. [Note 1: On the Blusson QMI page, the talk is titled: Algorithmic allegories by JG Mair; Note 2: You’ll find a map showing the Brimacombe building location.]

I wasn’t able to find out more about the other talks but I did get more information about the three artists, Belkin Gallery’s Artist Talks: JG Mair, Scott Billings and Timothy Taylor events page.

JG Mair is a Vancouver-based multidisciplinary artist and media designer specializing in mixed media, web and audio. He has a BFA from the University of Victoria and a BEd from the University of British Columbia. Mair has been working in the areas of both traditional and digital contemporary art and as a sound designer for various game studios developing titles for publishers including Apple, Electronic Arts, Microsoft and Netflix. Mair has had exhibitions and residencies in Canada, USA, South Korea and Japan.

Scott Billings is a visual artist, industrial designer and engineer based in Vancouver. His sculptures and video installations have been described as existing somewhere between cinema and automata. Centering on issues of animality, mobility and spectatorship, Billings’s work examines the mimetic relationship between the physical apparatus and the virtual motion it delivers. In what ways does the apparatus itself reveal both the mechanisms of causality and its own dormant animal quality? Billings addresses this question under the pursuit of the technological conundrum and a preoccupation with precise geometry and logic. Billings holds an MFA from the University of British Columbia, a BFA from Emily Carr University and a BASc in Mechanical Engineering from the University of Waterloo. He teaches at UBC and Emily Carr as a sessional instructor. Billings is represented by Wil Aballe Art Projects.

Timothy Taylor is an Associate Professor and Graduate Advisor at the School of Creative Writing. He is also a bestselling and award-winning author of eight book-length works of fiction and nonfiction, a prolific journalist, and creative nonfiction writer. In addition to his writing and teaching at UBC, Taylor travels widely, having in recent years spent time on assignment in China, Tibet, Japan, Dubai, Brazil, the Canadian arctic and other places. He lives in Point Grey Vancouver with his wife, his son, and a pair of Brittany Spaniels named Keaton and Murphy.

Hopefully, the talk is a little more accessible than its description.

It’s not just the sound, it’s the vibration too (a red-eyed treefrog calls for a mate)

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This is an exceptionally pretty image of a frog that sometimes seems to be everywhere,,

Credit: Pixabay/CC0 Public Domain [downloaded from https://phys.org/news/2022-09-red-eyed-treefrogs-vibration-aggression.html]

I usually try to include one or two postings a year about frogs on this blog in honour of its name. The first one in 2022 was titled, “Got a photo of a frog being bitten by flies? There’s a research study …” (a June 24, 2022 post).

This year (2023; I’m a bit late), I have a September 14, 2022 news item on phys.org focused on mating calls, aggression, and vibrations,

One would be hard-pressed to take a walk outside without hearing the sounds of calling animals. During the day, birds chatter back and forth, and as night falls, frogs and insects call to defend territories and to attract potential mates. For several decades, biologists have studied these calls with great interest, taking away major lessons about the evolution of animal displays and the processes of speciation. But there may be a lot more to animal calls than we have realized.

A new study appearing in the Journal of Experimental Biology by Dr. Michael Caldwell and student researchers at Gettysburg College demonstrates that the calls of red-eyed treefrogs don’t just send sounds through the air, but also send vibrations through the plants. What’s more, these plant vibrations change the message that other frogs receive in major ways. The researchers played sound and vibrations produced by calling males to other red-eyed treefrogs surrounding a rainforest pond in Panama. They found that female frogs are over twice as likely to choose the calls of a potential mate if those calls include both sound and vibrations, and male frogs are far more aggressive and show a greater range of aggressive displays when they can feel the vibrations generated by the calls of their rivals.

“This really changes how we look at things,” says Caldwell. “If we want to know how a call functions, we can’t just look at the sound it makes anymore. We need to at least consider the roles that its associated vibrations play in getting the message across.”

A September 14, 2022 Gettysburg College news release, which originated the news item, delves further into vibrations,

Because vibrations are unavoidably excited in any surface a calling animal is touching, the authors of the new study suggest it is likely that many more species communicate using similar ‘bimodal acoustic calls’ that function simultaneously through both airborne sound and plant-, ground-, or water-borne vibrations. “There is zero reason to suspect that bimodal acoustic calls are limited to red-eyed treefrogs. In fact, we know they aren’t,” says Caldwell, who points out that researchers at UCLA [University of California at Los Angeles] and the University of Texas are reporting similar results with distantly related frog species, and that elephants and several species of insect have been shown to communicate this way. “For decades,” says Caldwell, “..we just didn’t know what to look for, but with a growing scientific interest in vibrational communication, all of that is rapidly changing.”

This new focus on animal calls as functioning through both sound and vibration could set the stage for major advances in the study of signal evolution. One potential implication highlighted by the team at Gettysburg College is that “we may even learn new things about sound signals we thought we understood.” This is because both the sound and the vibrational components of bimodal acoustic signals are generated together by the same organs. So, selection acting either call component will also necessarily shape the evolution of the other. 

The red-eyed treefrog is one of the most photographed species on the planet, which makes these findings all the more unexpected. “It just goes to show, we still have a lot to learn about animal behavior,” reports Dr. Caldwell. “We hear animal calls so often that we tune most of them out, but when we make a point to look at the world from the perspective of a frog, species that are far more sensitive to vibrations than humans, it quickly becomes clear that we have been overlooking a major part of what they are saying to one another.”

This research was performed at the Smithsonian Tropical Research Institute and Gettysburg College, with funding from the Smithsonian Institution and the Cross-disciplinary Science Institute at Gettysburg College.

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

Beyond sound: bimodal acoustic calls used in mate-choice and aggression by red-eyed treefrogs by Michael S. Caldwell, Kayla A. Britt, Lilianna C. Mischke, Hannah I. Collins. Journal of Experimental Biology Volume 225, Issue 16 August 2022 DOI:
https://doi.org/10.1242/jeb.244460 Published August 25, 2022

This paper is behind a paywall. But, researchers have made some video clips available for viewing,

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” from Jan. 27 to July 9, 2023 at The Block Museum of Art (Northwestern University, Chicago, Illinois)

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I’m sorry to be late. Thankfully this show extends into July 2023, so, there’s still plenty of time to get to Chicago’s The Block Museum of Art (at Northwestern University) art/science exhibition. I found this on the museum’s exhibition page for “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” show,

What do we owe to the memories of one another’s hearts?

For American artist Dario Robleto (b. 1972), artists and scientists share a common aspiration: to increase the sensitivity of their observations. Throughout the history of scientific invention, instruments like the cardiograph and the telescope have extended the reach of perception from the tiniest stirrings of the human body to the farthest reaches of space. In his prints, sculptures, and video and sound installations, Robleto contemplates the emotional significance of these technologies, bringing us closer to the latent traces of life buried in the scientific record.

The Heart’s Knowledge concentrates on the most recent decade of Robleto’s creative practice, a period of deepening engagement with histories of medicine, biomedical engineering, sound recording, and space exploration. The exhibition organizes the artist’s conceptually ambitious, elegantly wrought artworks as a series of multisensory encounters between art and science.  Each work seeks to attune viewers to the material traces of life at scales ranging from the intimate to the universal, returning always to the question: Does empathy extend beyond the boundaries of time and space?

…

Banner image for “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” exhibition page. Courtesy of The Block Museum of Art (Northwestern University) and artist, Dario Robleto

Here’s more from a January 27, 2023 Northwestern University news release (received via email),

Exhibition searches for meaning at the limits of science and perception

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” is on view Jan. 27 to July 9 [2023] at The Block Museum of Art

  • Works are informed by dialogue with Northwestern Engineering researchers during five-year residency  
  • Exhibition a tribute to NASA Golden Record creator, ‘whose heart has left the solar system’
  • Opening conversation with the artist will take place at 2 p.m. on [Saturday] Feb. 4 [2023]

American artist Dario Robleto (b. 1972) believes artists and scientists share a common aspiration: to increase the sensitivity of their observations.

From understanding the human body’s pulses and brainwaves to viewing the faintest glimmers of light from the edge of the observable universe, groundbreaking science pushes the limits of perception. Similarly, the perceptive work of artists can extend the boundaries of empathy and understanding.

Since 2018, Robleto served as an artist-at-large at the McCormick School of Engineering. This unique partnership between The Block Museum and McCormick gave the artist an open “hall pass” to learn from, collaborate with and question scientists, engineers and experts from across the University.

Robleto’s five-year residency concludes with the exhibition “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto.” Co-presented by The Block Museum and McCormick, the exhibition is on view from Jan. 27 to July 9 [2023] at The Block Museum, 40 Arts Circle Drive on Northwestern’s Evanston campus. [emphasis mine]

A free opening conversation with the artist will take place at 2 p.m. on Saturday, Feb. 4 [2023], in Norris University Center’s McCormick Auditorium, 1999 Campus Drive in Evanston.

About the Exhibition: “The Heart’s Knowledge”

Throughout the history of scientific invention, instruments like the cardiograph and the telescope have extended the reach of perception from the tiniest stirrings of the human body to the farthest reaches of space.

Robleto’s prints, sculptures and video and sound installations contemplate the emotional significance of these technologies, bringing viewers closer to the latent traces of life buried in the scientific record.

“The Heart’s Knowledge” represents a decade of Robleto’s creative practice, from 2012 to 2022, a period marked by a deepening engagement with science, including astronomy, synthetic biology and exobiology, and a widening embrace of new materials and creative forms, from 3D-printed objects to film.

Robleto dedicates the exhibition to Ann Druyan, the creative director of NASA’s Golden Record for the Voyager 1 and 2 projects. The record includes Druyan’s brainwaves and heartbeats, recorded as she reflected on her secret love for famed astronomer and future husband Carl Sagan. The act of sneaking “love on board the Voyager” inspired Robleto to compose a love letter to the only human whose “heart has left the solar system.”

Robleto sees Druyan’s act to include her emotions on the record as the central inspiration of his work. “I consider it the greatest work of subversive, avant-garde art not yet given its due,” Robleto said. “The Golden Record and Ann’s radical act brought us all together to think about what it means to be human — to one another and to unknown beings on other worlds.”

The exhibition organizes the artist’s conceptually ambitious, elegantly wrought artworks as a series of multisensory encounters between art and science. Each asks viewers to seek out the material traces of life in scales ranging from the intimate to the universal, and to question: Does empathy extend beyond the boundaries of time and space?

“Whether he’s addressing the most minute phenomena of the body or the horizons of the known universe, Robleto binds the rigor of scientific inquiry with artistic expression,” said exhibition curator Michael Metzger, The Block’s Pick-Laudati Curator of Media Arts.

“Straining at the bounds of observation, Robleto discovers unity at the limits; the common endeavor of art and science to achieve a form of knowledge that language alone cannot speak,” Metzger said.

The exhibition includes three sections:

“Heartbeats“
Rooted in the artist’s longstanding fascination with the clinical and cultural history of the human heart, “Heartbeats” draws inspiration from 19th-century pioneers of cardiography, whose instruments graphically measured heart activity for the first time, leaving behind poignant records of human subjectivity. In “The First Time, the Heart (A Portrait of Life 1854-1913)” (2017), Robleto transforms early measurements of heartbeats into photolithographs executed on paper hand-sooted with candle flames. For the installation “The Pulse Armed with a Pen (An Unknown History of the Human Heartbeat)” (2014), Robleto collaborated with sound historian Patrick Feaster to digitally resurrect these heartbeats in audio form, giving visitors access to intimate pulses of life recorded before the invention of sound playback.

“Wavelengths“
Robleto has recently embraced digital video to create works that narrate transformational episodes in the recording and study of wave phenomena. “Wavelengths” comprises two hour-long immersive video installations. “The Boundary of Life is Quietly Crossed” (2019) is inspired by NASA’s Voyager Golden Record, a gold-plated phonographic disc launched into space onboard the Voyager I and II space probes in 1977. In “The Aorta of an Archivist” (2020-2021), Robleto investigates three breakthroughs in the history of recording: the first recording of a choral performance made with an Edison wax cylinder, the first heartbeat captured while listening to music and the first effort to transcribe the brain wave activity of a dreaming subject.

“Horizons“
In the final section, “Horizons,” Robleto evokes the spirit of the Hubble telescope and the search for extraterrestrial life, gazing out at the boundaries of the observable universe. Inspired by his time as an artist-in-residence at the SETI Institute (Search for Extraterrestrial Intelligence) and as artistic consultant to the Breakthrough Initiatives, his intricate sculptures, such as “Small Crafts on Sisyphean Seas” (2018), give shape to the speculative search for intelligent life in the universe. Other works like “The Computer of Jupiter” (2019) are framed as “gifts for extraterrestrials” offering an alternative view of the best way to begin a dialogue with alien intelligences.

The Artist-at-Large Program at Northwestern

Lisa Corrin, the Ellen Philips Katz Executive Director of The Block Museum of Art, and Julio M. Ottino, dean of McCormick School of Engineering, envisioned the possibilities of this unconventional partnership between scientist and artist when they launched the artist-at-large initiative together. The work is part of an ongoing Art + Engineering initiative and a part of the whole-brain engineering philosophy at Northwestern Engineering.

“Here, a university’s school of engineering and its art museum come together in the shared belief that transformative innovation can happen at the intersections of usually distinct academic disciplines and modes of creativity and inquiry,” Corrin said. “We had faith that something meaningful would emerge organically if we merely provided structures in which informal interactions might take place.”

“We wanted to model for young engineers the value of embracing uncertainty as part of the journey that leads to innovation and opens pathways within the imagination — as artists do,” Ottino said. “We are grateful to Dario Robleto for accepting our invitation to come to Northwestern and to enter the unknown with us. He has taught us that our shared future resides in our capacity for compassion and for empathy, the ethos at the heart of his work that holds the most promise for those at the forefront of science in the interest of humankind.”

More information about Robleto’s residency can be found in the article “Dario is our Socrates” on the Block Museum website and by viewing the Northwestern Engineering video “Artist-at-Large Program: Dario Robleto.”

Exhibition Events

“The Heart’s Knowledge” will include six months of events and dialogues that will illuminate the intersections in Robleto’s practice. All events are free and open to the public. For current program information, visit The Block Museum website.

Program highlights for February and March include:

Science, Art and the Search for Meaning: Opening Conversation with Dario Robleto
Saturday, Feb. 4 [2023], 2 p.m.
Norris University Center, McCormick Auditorium
1999 Campus Drive

The Block Museum hosts a discussion that reaches across boundaries to examine the shared pursuit that binds artists and scientists. The conversation features artist Dario Robleto; Jennifer Roberts, professor of the humanities at Harvard University; Lucianne Walkowicz, astronomer and co-founder of the JustSpace Alliance; and Michael Metzger, Pick-Laudati Curator of Media Arts and curator of “The Heart’s Knowledge.”

“X: The Man with the X-Ray Eyes” (1963)
Friday, Feb. 10 [2023], 7 p.m.
Block Cinema
40 Arts Circle Drive

A Science on Screen program with Catherine Belling, associate professor of medical education at Northwestern University Feinberg School of Medicine.

“First Man” (2018)
Saturday Feb. 18 [2023], 1 p.m.
Block Cinema
40 Arts Circle Drive

A Science on Screen program featuring history researcher Jordan Bimm of the University of Chicago, who will discuss the military origins of “space medicine.”

Exhibition Conversation: Interstellar Aesthetics and Acts of Translation in Art and Science
Wednesday, Feb. 22 [2023], 6 p.m.
Block Museum

Joining artist Dario Robleto in conversation are Elizabeth Kessler, exhibition publication contributor and a lecturer in American Studies at Stanford University, and Shane Larson, research professor of physics and astronomy and associate director of CIERA (Center for Interdisciplinary Exploration and Research in Astrophysics) at Northwestern.

Gallery Talk: Stillness, Wonder and Gifts for Extraterrestrials
Thursday, Feb. 23 [2023], 12:30 p.m.
Block Museum

Elizabeth Kessler of Stanford University will discuss Robleto’s “gifts for extraterrestrials” series.

Online Conversation: Ann Druyan, The Golden Record and the Memory of Our Hearts
Wednesday, March 8 [2023], 6 p.m. [ET]
Block Cinema

Ann Druyan, creative director for NASA’s Voyager Interstellar Messaging Project and writer and producer of the PBS television series “Cosmos,” joins Robleto and art historian Jennifer Roberts for a conversation about the Golden Record and the heart’s memory.

Exhibition Publication

In conjunction with the exhibition, The Block Museum of Art and the McCormick School of Engineering are proud to announce the publication of “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto,” (Artbook, D.A.P., 2023).

The publication is edited by Michael Metzger with contributions by Metzger, Robert M. Brain, Daniel K. L. Chua, Patrick Feaster, Stefan Helmreich, Elizabeth A. Kessler ,Julius B. Lucks, Elizabeth Kathleen Mitchell, Alexander Rehding, Jennifer L. Roberts, Claire Isabel Webb and Dario Robleto.

About Dario Robleto

Dario Robleto was born in San Antonio, Texas, in 1972 and received his BFA from the University of Texas at San Antonio in 1997. He lives and works in Houston, Texas. The artist has had numerous solo exhibitions since 1997, most recently at the Spencer Museum of Art, Lawrence, Kansas (2021); the Radcliffe Institute for Advanced Study at Harvard University (2019); the McNay Museum, San Antonio, Texas (2018); Menil Collection, Houston, Texas (2014); the Baltimore Museum of Art (2014); the New Orleans Museum of Art (2012); and the Museum of Contemporary Art, Denver (2011).

He is currently working on his first book, “Life Signs: The Tender Science of the Pulsewave,” co-authored with art historian Jennifer Roberts, the Elizabeth Cary Agassiz Professor of the Humanities at Harvard (University of Chicago Press).

Exhibition Credits

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” exhibition is made possible through a partnership with the Robert R. McCormick School of Engineering and Applied Science at Northwestern University. Major support also was provided by the National Endowment for the Arts. Additional support is contributed by the Dorothy J. Speidel Fund; the Bernstein Family Contemporary Art Fund; the Barry and Mary Ann MacLean Fund for Art and Engineering; the Illinois Arts Council Agency; and the Alumnae of Northwestern University. The exhibition publication is made possible in part by the Sandra L. Riggs Publications Fund.

Should you be in the Chicago area and interested in the exhibit, you can find all the information for your visit here.

more-than-human, an art/sci exhibition and series of events starting February 1, 2023

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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. 

more-than-human Online Exhibition Publication

more-than-human curator and artist 

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 Agents for 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. 

www.geobodies.org 

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. 

www.lindseyfrench.com 

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. 

www.suzannemorrissette.com 

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. 

www.smitesmits.com | www.rixc.org 

Now, for the free public events (From the Onsite Gallery ‘more-than-human‘ event page), Note: Some events are being live streamed,

Opening Reception  – Wednesday, February 01 [2023], 6 p.m. to 9 p.m., at Onsite Gallery, 199 Richmond Street West   

Join us for the public launch of the exhibition, with a land acknowledgement and opening remarks.   

more-than human Artists Panel Discussion Part 1  – Thursday, February 02 [2023], 4 p.m. to 6 p.m.  at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

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.

Register here: https://bit.ly/3G7xJ65

Multiplicities and plurality: Curator Jane Tingley in Conversation with Dr. Karen Houle  – Thursday, March 23 [2023], 4 p.m. to 6 p.m. at Onsite Gallery, 199 Richmond Street West   

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.   

Register here: https://bit.ly/3ZFhVPI

Screening of Forest Mind followed by Q+A with Ursula Biemann – Friday, April 07 [2023], 12 p.m. to 2 p.m. at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

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.  

Register here: https://bit.ly/3ipAWVC

more-than human Artists Panel Discussion Part 2  – Saturday, April 29 [2023], 1 p.m. to 3 p.m.   at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

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.

Register Here: https://bit.ly/3QwLRsW

Guided Nature and Forest Therapy Walk– Saturday, May 13 [2023], 12 p.m. to 3 p.m.  at High Park, 1873 Bloor Street West  

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

Immersive Poetry Performance
Madhur Anand, Karen Houle
animated by Ilze (Kavi) Briede

Apr 5 [2023], 7:30-9:00 pm
The Fields Institute for Research in Mathematical Sciences

Day at rare Charitable Reserve
Panel with artists and scientists,
Workshop led by Dr. Alice Jarry
Guided walk by rare staff and affiliated scientists 

May 7th [2023], rare Charitable [Research] Reserve

[1679 Blair Rd, Cambridge ON]

Should you be curious, you can view the contents of the email here, as of February 1, 2023 (not sure how long this page will be available).

Five 2023 events: SCWIST (Society for Canadian Women in Science and Technology) and SFU’s (Simon Fraser University) Café Scientifique

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I have one January 2023 event for the Society for Canadian Women in Science and Technology (SCWIST) and four Simon Fraser University (SFU) Café Scientifique events, one each month, for January through April 2023.

SCWIST and Canada’s Department of National Defence

From a January 2023 SCWIST newsletter (received via email),

Defense [sic] is a Place for STEM [science, technology, engineering, and mathematics] Women

Have you always wondered about where STEM fits within the area of defense? Or are you curious about where a STEM career can lead you within defense?

SCWIST and the Department of National Defense [sic] have partnered to bring you an exciting panel presentation and discussion on these questions and more. Join our speakers as they highlight the challenges and accomplishments of being STEM women in the area of National Defense [sic]. Online seats available [emphasis mine]

Based on that last phrase, I believe this is a hybrid event.

Here is logistical and biographical information for the event and its speakers and moderators from the Event registration page, Note 1: The event is being held on one of the city of Vancouver campuses (and possibly online), Note 2: I have made some changes to the formatting.

Date and time

Tue, 24 January 2023, 3:30 PM – 5:00 PM PST

Location

SFU VentureLabs 555 West Hastings Street #Suite #1200 Vancouver, BC V6B 4N6

SPEAKERS

Captain Kalina Yurick joined the military in 2011 and attended the Royal Military College of Canada to earn her degree in Aeronautical Engineering. Throughout her time at school, Kalina fenced for the RMC varsity team. Some highlights included captaining for her last two years and representing Canada at the World Military games in South Korea.

After school Kalina began her flight training in Moose Jaw, Saskatchewan. She completed her Phase 3 training on the CT-140 Harvard II and transitioned to Qualified Flight Instructor at the school for her first posting. Kalina earned her Masters of Science in Aeronautics education throughout her instructor tour.

Kalina’s current posting is with 407 Long Range Patrol Squadron in Comox, British Columbia. She currently flies the CP-140 Aurora, which is a platform used for anti-submarine warfare and surveillance.

Kalina’s husband is also a pilot at 407 Squadron, where they are fortunate to work and fly together. They tackle the challenges of maintaining a healthy work-life balance as a team while progressing through their careers.

Lieutenant-Colonel Melissa Reyes has served over thirty-three years as a Canadian Armed Forces (CAF) officer, and is now specializing in space-related capabilities and tasks for the CAF. Her various military experiences, around the world and Canada, have given her a sound knowledge of satellites and space systems, operations, and management.

Among her many assignments, Melissa has worked at the Canadian Space Agency, 12th Space Warning Squadron Greenland, North American Aerospace Defense (NORAD) Headquarters, and Kandahar Air Field (Afghanistan). She is presently employed as the Section Head for Intelligence, Surveillance, and Reconnaissance Space Systems, within the Royal Canadian Air Force.

Melissa received her Master of Sciences Degree, specializing in Remote Sensing, from the University of Colorado (2008), and completed the International Space University / Space Studies Program (2012). Melissa has been involved in various Science, Technology, Engineering and Mathematics (STEM) initiatives and employment equity groups throughout her career and is honoured to be part of this event for the Society for Canadian Women in Science and Technology.

Lieutenant Commander Calley Gray has served 18 years in the Royal Canadian Navy as a Marine Systems Engineer. She has a degree in Mechanical Engineering from the Royal Military College of Canada and a double masters from the Massachusetts Institute of Technology in Mechanical Engineering and Naval Architecture.

LCdr Gray spent 4 years serving onboard various Canadian Patrol Frigates culminating in her appointment as Head of the Marine Systems Engineering Department on HMCS WINNIPEG. She deployed with the Canadian Navy to South America and South-East Asia, participating in detection and monitoring operations to facilitate the interdiction of illicit drug trafficking. Her naval deployments also included conducting training, exercises and engagements with foreign navies and other international security partners, and providing security for the Vancouver 2010 Olympics.

As a strong advocate for women in engineering, she championed institutional change within the naval engineering occupation by helping to remove barriers for women’s career progression. In December 2020, she deployed to Iraq as the Gender Advisor for NATO Mission Iraq. During her 9 month deployment, she contributed to advancements in Iraq’s Second National Action Plan on Women, Peace and Security by working with international experts and the Iraqi Ministry of Defence to open various educational and professional development opportunities to women.

Now back in Canada, LCdr Gray is the Gender Advisor for Chief Professional Conduct and Culture which has been stood up to lead a fundamental transformation in the way in which system misconduct (sexual misconduct, hateful conduct, systemic barriers, harassment, violence, discrimination, employment inequity, unconscious biases, and abuse of power in the workplace) is understood and addressed in the Canadian Department of National Defence and the Canadian Armed Forces.

CO-MODERATORS

Dr. Poh Tan, SCWIST President (co-moderator) is an entrepreneur, stem cell scientist, educator, 2x TEDx speaker, and mother of two boys. With a Ph.D in stem cell biology, Poh is currently completing a second PhD with a focus in science education. She is the founder and CEO of STEMedge Academy where she creates programs to support high school students develop research capacity in STEM. She returns to the Board of Directors as SCWIST’s President.

Ms. Avneet Sandhu (co-moderator) works as a communications officer for the Department of National Defence and is responsible for assisting with diversity and inclusion files. She supports the Advisory Council on Diversity to Commander of the Royal Canadian Navy Maritime Forces Pacific Formation (MARPAC) and Joint Task Force Pacific (JTFP), and the Advisory Group on Intersectionality to the Commander of Military Personnel Generation.

Avneet also supports announcements and engagements for senior officers and connects women-led organizations, university faculty, and students with the Department of National Defence and the Canadian Armed Forces. Avneet graduated from Simon Fraser University in 2019 with a Bachelor of Arts degree in International Studies and a minor in Education. Avneet is an incoming JD candidate and is the co-founder, vice-president, and director of external relations for She Connects – a nationwide mentorship program for girls in high school.

Simon Fraser University’s (SFU) Café Scientifique January – April 2023 events

I received (via email) a January 12, 2023 notice from Simon Fraser University’s (SFU) Café Scientifique about their Winter/Spring 2023 events, Note: I have made some changes to the formatting by adding descriptive text from the event pages,

Welcome to a brand new year of SFU Cafe Scientifique discussions.  We have put together an amazing line-up of speakers and topics for January-April 2023.  Below are some details and registrations links.  Zoom invites will be sent to those who register.  We look forward to engaging with you then.

All sessions are on Tuesdays 5:00-6:30pm PST over Zoom

January 31, 2023

So you think you can forge? with Dr. Nabyl Merbouh, SFU Chemistry

[Join Dr. Nabyl Merbouh as he discusses how to spot art forgeries using electron microscopy and X-ray spectroscopy tools and techniques.

Forgeries are often only discernible by the keen eye of a trained expert. Sometimes, even a keen eye cannot be adequate. Join Dr. Nabyl Merbouh as he discusses how electron microscopy-based and X-ray spectroscopy-based tools and techniques are being used for identifying microscopic to atomic-scale differences in samples to identify real vs. fake art.]

*ETA January 30, 2023: Dr. Byron Gates, Associate Chair, Department of Chemistry
Canada Research Chair, Tier II in Surface Chemistry (2005-2014) will be co-presenting.*

February 21, 2023

Watermelon Snow: Science, Art and a lone polar bear with Dr. Lynne Quarmby, SFU Molecular Biology and Biochemistry

[Dr. Lynne Quarmby speaks on her personal journey and concerns about climate change that led to her interest in watermelon snow.

Watermelon-red snow is a tell-tale sign of springtime blooms of microscopic algae on alpine and arctic snow. Under the microscope, the algae are stunningly beautiful, but still, why study them? Dr. Lynne Quarmby will take us on a journey from molecular biology to the high Arctic and home again, illuminating the science of cells, of the climate, and of snow algae, while offering a reminder that much about the human experience is beyond reason. In this talk, we will hear about one scientist’s search for what it means to live a good life at a time of increasing desperation about the future.]

March 28, 2023

What should we know about Quantum Technologies? with Dr. Kero Lau, SFU Physics

[Join Dr. Kero Lau as he explains how quantum technologies work and how we use them in our daily lives

About two decades ago scientists realized that using the quantum properties of fundamental particles has the potential to dramatically improve the performance of our technology. Since then, significant progress has been made towards using quantum systems, and we are now very close to realizing practical quantum devices. In this talk, Dr. Kero Lau will give us a scientific overview of the principle behind quantum technologies, and how they could impact our day-to-day life.]

April 25, 2023

The Pathways from our DNA to our Brain with Dr. Lloyd Elliott, SFU Statistics and Actuarial Science

[Dr. Lloyd Elliott explains how our DNA affects brain function and neurodegenerative diseases.]

Quite a start to 2023!

A CRISPR (clustered regularly interspaced short palindromic repeats) anniversary

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June 2022 was the 10th anniversary of the publication of a study the paved the way for CRISPR-Cas9 gene editing and Sophie Fessl’s June 28, 2022 article for The Scientist offers a brief history (Note: Links have been removed),

Ten years ago, Emmanuelle Charpentier and Jennifer Doudna published the study that paved the way for a new kind of genome editing: the suite of technologies now known as CRISPR. Writing in [the journal] Science, they adapted an RNA-mediated bacterial immune defense into a targeted DNA-altering system. “Our study . . . highlights the potential to exploit the system for RNA-programmable genome editing,” they conclude in the abstract of their paper—a potential that, in the intervening years, transformed the life sciences. 

From gene drives to screens, and diagnostics to therapeutics, CRISPR nucleic acids and the Cas enzymes with which they’re frequently paired have revolutionized how scientists tinker with DNA and RNA. … altering the code of life with CRISPR has been marred by ethical concerns. Perhaps the most prominent example was when Chinese scientist He Jiankui created the first gene edited babies using CRISPR/Cas9 genome editing. Doudna condemned Jiankui’s work, for which he was jailed, as “risky and medically unnecessary” and a “shocking reminder of the scientific and ethical challenges raised by this powerful technology.” 

There’s also the fact that legal battles over who gets to claim ownership of the system’s many applications have persisted almost as long as the technology has been around. Both Doudna and Charpentier’s teams from the University of California, Berkeley, and the University of Vienna and a team led by the Broad Institute’s Feng Zhang claim to be the first to have adapted CRISPR-Cas9 for gene editing in complex cells (eukaryotes). Patent offices in different countries have reached varying decisions, but in the US, the latest rulings say that the Broad Institute of MIT [Massachusetts Institute of Technology] and Harvard retains intellectual property of using CRISPR-Cas9 in eukaryotes, while Emmanuelle Charpentier, the University of California, and the University of Vienna maintain their original patent over using CRISPR-Cas9 for editing in vitro and in prokaryotes. 

Still, despite the controversies, the technique continues to be explored academically and commercially for everything from gene therapy to crop improvement. Here’s a look at seven different ways scientists have utilized CRISPR.

…

Fessl goes on to give a brief overview of CRISPR and gene drives, genetic screens, diagnostics, including COVID-19 tests, gene therapy, therapeutics, crop and livestock improvement, and basic research.

For anyone interested in the ethical issues (with an in depth look at the Dr. He Jiankui story), I suggest reading either or both Eben Kirksey’s 2020 book, “The Mutant Project; Inside the Global Race to Genetically Modify Humans,”

An anthropologist visits the frontiers of genetics, medicine, and technology to ask: Whose values are guiding gene editing experiments? And what does this new era of scientific inquiry mean for the future of the human species?

“That rare kind of scholarship that is also a page-turner.”
—Britt Wray, author of Rise of the Necrofauna

At a conference in Hong Kong in November 2018, Dr. He Jiankui announced that he had created the first genetically modified babies—twin girls named Lulu and Nana—sending shockwaves around the world. A year later, a Chinese court sentenced Dr. He to three years in prison for “illegal medical practice.”

As scientists elsewhere start to catch up with China’s vast genetic research program, gene editing is fueling an innovation economy that threatens to widen racial and economic inequality. Fundamental questions about science, health, and social justice are at stake: Who gets access to gene editing technologies? As countries loosen regulations around the globe, from the U.S. to Indonesia, can we shape research agendas to promote an ethical and fair society?

Eben Kirksey takes us on a groundbreaking journey to meet the key scientists, lobbyists, and entrepreneurs who are bringing cutting-edge genetic engineering tools like CRISPR—created by Nobel Prize-winning biochemists Jennifer Doudna and Emmanuelle Charpentier—to your local clinic. He also ventures beyond the scientific echo chamber, talking to disabled scholars, doctors, hackers, chronically-ill patients, and activists who have alternative visions of a genetically modified future for humanity.

…

and/or Kevin Davies’s 2020 book, “Editing Humanity: The CRISPR Revolution and the New Era of Genome Editing,”

One of the world’s leading experts on genetics unravels one of the most important breakthroughs in modern science and medicine. 

If our genes are, to a great extent, our destiny, then what would happen if mankind could engineer and alter the very essence of our DNA coding? Millions might be spared the devastating effects of hereditary disease or the challenges of disability, whether it was the pain of sickle-cell anemia to the ravages of Huntington’s disease.

But this power to “play God” also raises major ethical questions and poses threats for potential misuse. For decades, these questions have lived exclusively in the realm of science fiction, but as Kevin Davies powerfully reveals in his new book, this is all about to change.

Engrossing and page-turning, Editing Humanity takes readers inside the fascinating world of a new gene editing technology called CRISPR, a high-powered genetic toolkit that enables scientists to not only engineer but to edit the DNA of any organism down to the individual building blocks of the genetic code.

Davies introduces readers to arguably the most profound scientific breakthrough of our time. He tracks the scientists on the front lines of its research to the patients whose powerful stories bring the narrative movingly to human scale.

Though the birth of the “CRISPR babies” in China made international news, there is much more to the story of CRISPR than headlines seemingly ripped from science fiction. In Editing Humanity, Davies sheds light on the implications that this new technology can have on our everyday lives and in the lives of generations to come.

…

Kevin Davies is the executive editor of The CRISPR Journal and the founding editor of Nature Genetics. He holds an MA in biochemistry from the University of Oxford and a PhD in molecular genetics from the University of London. He is the author of Cracking the Genome, The $1,000 Genome, and co-authored a new edition of DNA: The Story of the Genetic Revolution with Nobel Laureate James D. Watson and Andrew Berry. In 2017, Kevin was selected for a Guggenheim Fellowship in science writing.

I’ve read both books and while some of the same ground is covered, the perspectives diverge somewhat. Both authors offer a more nuanced discussion of the issues than was the case in the original reporting about Dr. He’s work.

‘Ghost’ nannofossils and resilience

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Here are the ‘ghosts’,

Microscopic plankton cell-wall coverings preserved as “ghost” fossil impressions, pressed into the surface of ancient organic matter (183 million years old). The images show the impressions of a collapsed cell-wall covering (a coccosphere) on the surface of a fragment of ancient organic matter (left) with the individual plates (coccoliths) enlarged to show the exquisite preservation of sub-micron-scale structures (right). The blue image is inverted to give a virtual fossil cast, i.e., to show the original three-dimensional form. The original plates have been removed from the sediment by dissolution, leaving behind only the ghost imprints. S.M. Slater, P. Bown et al / Science journal

A May 19, 2022 news item on phys.org makes the announcement (Note: A link has been removed),

An international team of scientists from UCL (University College London), the Swedish Museum of Natural History, Natural History Museum (London) and the University of Florence have found a remarkable type of fossilization that has remained almost entirely overlooked until now.

The fossils are microscopic imprints, or “ghosts”, of single-celled plankton, called coccolithophores, that lived in the seas millions of years ago, and their discovery is changing our understanding of how plankton in the oceans are affected by climate change.

Coccolithophores are important in today’s oceans, providing much of the oxygen we breathe, supporting marine food webs, and locking carbon away in seafloor sediments. They are a type of microscopic plankton that surround their cells with hard calcareous plates, called coccoliths, and these are what normally fossilize in rocks.

Declines in the abundance of these fossils have been documented from multiple past global warming events, suggesting that these plankton were severely affected by climate change and ocean acidification. However, a study published today in the journal Science presents new global records of abundant ghost fossils from three Jurassic and Cretaceous warming events (94, 120 and 183 million years ago), suggesting that coccolithophores were more resilient to past climate change than was previously thought.

….

A May 20, 2022 UCL press release (also on EurekAlert but published May 19, 2022), which originated the news item, provides more detail and quotes from some very excited academics,

“The discovery of these beautiful ghost fossils was completely unexpected”, says Dr. Sam Slater from the Swedish Museum of Natural History. “We initially found them preserved on the surfaces of fossilized pollen, and it quickly became apparent that they were abundant during intervals where normal coccolithophore fossils were rare or absent – this was a total surprise!”

Despite their microscopic size, coccolithophores can be hugely abundant in the present ocean, being visible from space as cloud-like blooms. After death, their calcareous exoskeletons sink to the seafloor, accumulating in vast numbers, forming rocks such as chalk.

“The preservation of these ghost nannofossils is truly remarkable,” says Professor Paul Bown (UCL). “The ghost fossils are extremely small ‒ their length is approximately five thousandths of a millimetre, 15 times narrower than the width of a human hair! ‒ but the detail of the original plates is still perfectly visible, pressed into the surfaces of ancient organic matter, even though the plates themselves have dissolved away”.

The ghost fossils formed while the sediments at the seafloor were being buried and turned into rock. As more mud was gradually deposited on top, the resulting pressure squashed the coccolith plates and other organic remains together, and the hard coccoliths were pressed into the surfaces of pollen, spores and other soft organic matter. Later, acidic waters within spaces in the rock dissolved away the coccoliths, leaving behind just their impressions – the ghosts.

“Normally, palaeontologists only search for the fossil coccoliths themselves, and if they don’t find any then they often assume that these ancient plankton communities collapsed,” explains Professor Vivi Vajda (Swedish Museum of Natural History). “These ghost fossils show us that sometimes the fossil record plays tricks on us and there are other ways that these calcareous nannoplankton may be preserved, which need to be taken into account when trying to understand responses to past climate change”.

Professor Silvia Danise (University of Florence) says: “Ghost nannofossils are likely common in the fossil record, but they have been overlooked due to their tiny size and cryptic mode of preservation. We think that this peculiar type of fossilization will be useful in the future, particularly when studying geological intervals where the original coccoliths are missing from the fossil record”.

The study focused on the Toarcian Oceanic Anoxic Event (T-OAE), an interval of rapid global warming in the Early Jurassic (183 million years ago), caused by an increase in CO2-levels in the atmosphere from massive volcanism in the Southern Hemisphere. The researchers found ghost nannofossils associated with the T-OAE from the UK, Germany, Japan and New Zealand, but also from two similar global warming events in the Cretaceous: Oceanic Anoxic Event 1a (120 million years ago) from Sweden, and Oceanic Anoxic Event 2 (94 million years ago) from Italy.

“The ghost fossils show that nannoplankton were abundant, diverse and thriving during past warming events in the Jurassic and Cretaceous, where previous records have assumed that plankton collapsed due to ocean acidification,” explains Professor Richard Twitchett (Natural History Museum, London). “These fossils are rewriting our understanding of how the calcareous nannoplankton respond to warming events.”

Finally, Dr. Sam Slater explains: “Our study shows that algal plankton were abundant during these past warming events and contributed to the expansion of marine dead zones, where seafloor oxygen-levels were too low for most species to survive. These conditions, with plankton blooms and dead zones, may become more widespread across our globally warming oceans.”

For the curious, there is also a May 19, 2022 American Association for the Advanced of Science (AAAS) news release about this discovery in Science, the journal they publish.

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

Global record of “ghost” nannofossils reveals plankton resilience to high CO2 and warming by Sam M. Slater, Paul Bown, Richard J. Twitchett, Silvia Danise, and Vivi Vajda. Science 19 May 2022 Vol 376, Issue 6595 pp. 853-856 DOI: 10.1126/science.abm7330

This paper is behind a paywall.

September 2023: Auckland, Aotearoa New Zealand set to welcome women in STEM (science, technology, engineering, and mathematics)

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An October 31, 2022 Association for Women in the Sciences (AWIS) press release on EurekAlert announces a meeting for women in STEM being held in September 2023,

In September next year [2023], Aotearoa New Zealand will welcome women from across the globe to discuss how science, engineering and technology can help create a better, more equitable world.

The 19th International Conference of Women Engineers and Scientists (ICWES19) will take place in Auckland, Aotearoa New Zealand’s largest city, 3-6 September 2023. The conference theme – Shaping the Future – will offer examples of and insights for women studying and working in STEM (science, technology, engineering and mathematics), and their advocates, and showcase the potential of science and engineering to change the world for the better.

Women from around the world are invited to submit their work – from fundamental research projects to examples of how science and engineering is being applied in the real world – to be considered for the programme. Abstract submission is open until December 2022, with the full programme confirmed in early 2023.

Organisations are encouraged to support their teams’ personal and professional development by challenging their female staff to submit an abstract on a recent project or piece of research, and by providing opportunities for them to attend the conference in person.

The conference programme will focus on nine areas of STEM:

  • Protecting and restoring the natural environment
  • Enhancing liveability through urban transformation
  • Improving transportation by revolutionising mobility
  • Transitioning to clean energy
  • Improving health and healthcare
  • Providing food security
  • Advancing technology
  • Protecting people from natural hazards and other threats
  • Ensuring STEM diversity and equality.

The programme will also feature keynote speakers from Aotearoa New Zealand and around the world, panel discussions, interactive workshops, and opportunities for networking with like-minded individuals. Following the conference, attendees are invited to join field trips to see Aotearoa New Zealand STEM in action.

“Women are still under-represented in many areas of science and engineering, particularly at more senior levels,” says Emma Timewell, co-Chair of ICWES19 on behalf of the Association for Women in the Sciences (AWIS). “Being able to bring women together to discuss not only the amazing work that they do, but also to find ways to improve the global engagement of women in STEM, is a privilege.”

“Aotearoa New Zealand is a country built on innovation in science and engineering,” says Bryony Lane, co-Chair on behalf of Engineering New Zealand. “We’re excited to be able to showcase Aotearoa New Zealand to the rest of the world.”

ICWES is the flagship triennial conference of the International Network of Women Engineers and Scientists (INWES). ICWES19 is being hosted by the New Zealand Association for Women in the Sciences (AWIS) and Engineering New Zealand.

For more information on the conference, including details for abstract submission or sponsoring the conference, go to icwes19.com or follow @icwes19 on Facebook or Twitter.

In addition to the AWIS website here, there’s an AWIS New Zealand website.

The Call for Abstracts (from the ICWES 19 conference website), includes this,

Abstracts for all three formats (15 minute oral, 30 minute oral or electronic posters) must be clearly written in English and be a maximum of 300 words excluding the title and authors.

Title (maximum 30 words)

Which programme theme(s) best suits your abstract?

Author(s) FAMILY/SURNAMES should be in capitals, no qualifications, or titles. Note the presenting author(s) should be bold and underlined

Affiliations and city/town

Summary of your presentation

The exact length of oral presentations will be made clear to you at the time of acceptance and will depend upon the number of accepted oral presentations. Detailed instructions on how electronic posters should be presented will also be provided at the time of abstract acceptance.

Key dates

Submissions open: Thursday 1 September 2022

Submission closes: Friday 9 December 2022 [emphasis mine]

Notification of acceptance: Friday 31 March 2023

Good luck!