Reader question: I am 59 years old, and in reasonably good health. Is it possible that I will live long enough to put my brain into a computer? [from] Richard Dixon.
We often imagine that human consciousness is as simple as input and output of electrical signals within a network of processing units – therefore comparable to a computer. Reality, however, is much more complicated. For starters, we don’t actually know how much information the human brain can hold.
Guillaume Thierry’s (Professor of Cognitive Neuroscience, Bangor University in Bangor, Wales, UK) June 9, 2022 essay (on The Conversation) provides the rest of this fascinating answer (Note: Links have been removed),
Two years ago, a team at the Allen Institute for Brain Science in Seattle, US, mapped the 3D structure of all the neurons (brain cells) comprised in one cubic millimetre of the brain of a mouse – a milestone considered extraordinary.
Within this minuscule cube of brain tissue, the size of a grain of sand, the researchers counted more than 100,000 neurons and more than a billion connections between them. They managed to record the corresponding information on computers, including the shape and configuration of each neuron and connection, which required two petabytes, or two million gigabytes of storage. And to do this, their automated microscopes had to collect 100 million images of 25,000 slices of the minuscule sample continuously over several months.
Now if this is what it takes to store the full physical information of neurons and their connections in one cubic millimetre of mouse brain, you can perhaps imagine that the collection of this information from the human brain is not going to be a walk in the park.
Data extraction and storage, however, is not the only challenge. For a computer to resemble the brain’s mode of operation, it would need to access any and all the stored information in a very short amount of time: the information would need to be stored in its random access memory (RAM), rather than on traditional hard disks. But if we tried to store the amount of data the researchers gathered in a computer’s RAM, it would occupy 12.5 times the capacity of the largest single-memory computer (a computer that is built around memory, rather than processing) ever built.
… If you were paying attention when I described the extraordinary achievement of researchers who managed to fully store the 3D structure of the network of neurons in a tiny bit of mouse brain, you will know that this was done from 25,000 (extremely thin) slices of tissue.
The same technique would have to be applied to your brain, because only very coarse information can be retrieved from brain scans. Information in the brain is stored in every detail of its physical structure of the connections between neurons: their size and shape, as well as the number and location of connections between them. But would you consent to your brain being sliced in that way?
Even if [you] would agree that we slice your brain into extremely thin slices, it is highly unlikely that the full volume of your brain could ever be cut with enough precision and be correctly “reassembled”. The brain of a man has a volume of about 1.26 million cubic millimetres.
There are more technical problems according to Thierry (Note: Links have been removed),
After we die, our brains quickly undergo major changes that are both chemical and structural. When neurons die they soon lose their ability to communicate, and their structural and functional properties are quickly modified – meaning that they no longer display the properties that they exhibit when we are alive. But even more problematic is the fact that our brain ages.
From the age of 20, we lose 85,000 neurons a day. But don’t worry (too much), we mostly lose neurons that have not found their use, they have not been solicited to get involved in any information processing. This triggers a programme to self-destruction (called apoptosis). In other words, several tens of thousands of our neurons kill themselves every day. Other neurons die because of exhaustion or infection.
This isn’t too much of an issue, though, because we have almost 100 billion neurons at the age of 20, and with such an attrition rate, we have merely lost 2-3% of our neurons by the age of 80. And provided we don’t contract a neurodegenerative disease, our brains can still represent our lifelong thinking style at that age. But what would be the right age to stop, scan and store?
Would you rather store an 80-year-old mind or a 20-year-old one? Attempting the storage of your mind too early would miss a lot of memories and experiences that would have defined you later. But then, attempting the transfer to a computer too late would run the risk of storing a mind with dementia, one that doesn’t quite “work” as well.
There are other technical issues but this is my favourite set of issues,
I may have a useful, albeit unexpected, answer to give you after all. I shall assume that you would want to transfer your mind to a computer in the hope of existing beyond your lifespan, that you’d like to continue existing inside a machine once your body can no longer implement your mind in your living brain.
If this hypothesis is correct, however, I must object. Imagining that all the impossible things listed above were one day resolved and your brain could literally be “copied” into a computer – allowing a complete simulation of the functioning of your brain – at the moment you decide to transfer, Richard Dixon would have ceased to exist. The mind image transferred to the computer would therefore not be any more alive than the computer hosting it.
That’s because living things such as humans and animals exist because they are alive. You may think that I just stated something utterly trivial, verging on stupidity, but if you think about it there is more to it than meets the eye. A living mind receives input from the world through the senses. It is attached to a body that feels based on physical sensations. This results in physical manifestations such as changes in heart rate, breathing and sweating, which in turn can be felt and contribute to the inner experience. How would this work for a computer without a body?
All such input and output isn’t likely to be easy to model, especially if the copied mind is isolated and there is no system to sense the environment and act in response to input. The brain seamlessly and constantly integrates signals from all the senses to produce internal representations, makes predictions about these representations, and ultimately creates conscious awareness (our feeling of being alive and being ourselves) in a way that is still a total mystery to us.
Without interaction with the world, however subtle and unconscious, how could the mind function even for a minute? And how could it evolve and change? If the mind, artificial or not, has no input or output, then it is devoid of life, just like a dead brain.
So no, no and no. I have tried to give you my (scientifically grounded) take on your question and even though it is a definite no from me, I hope to have helped alleviate your desire to ever have your brain put into a computer.
I wish you a long and healthy life, Richard, because that definitely is where your mind will exist and thrive for as long as it is implemented by your brain. May it bring you joy and dreams – something androids will never have.
I recommend reading the essay (if you have time) or even going to Thierry’s June 9, 2022 essay to view the embedded video about the mouse brain work mentioned at the beginning.
As to where this ‘reader question’ came from, this is a special ‘The Conversation’ series,
This article is part of Life’s Big Questions The Conversation’s series, co-published with BBC Future, seeks to answer our readers’ nagging questions about life, love, death and the universe. We work with professional researchers who have dedicated their lives to uncovering new perspectives on the questions that shape our lives.
This new book has been published by an organization with an organizational history that started in the United Kingdom (UK). Founded in 1910, it was called the Entomological Research Committee (Tropical Africa).
(Then, tor many years, CABI was known as the Commonwealth Agricultural Bureaux, the Commonwealth Institute of Entomology, and the Commonwealth Mycological Institute before melding themselves together into to CAB, and more recently with the addition of the word international, as CABI or CAB International.)
Script’s new book aimed at helping to improve the communication of science in Africa has now been published. The book is available for free electronically and to buy in paperback in the CABI Digital Library.
‘Science Communication Skills for Journalists: A Resource Book for Universities in Africa,’ is edited and authored by Dr Charles Wendo who is himself a qualified vet and science journalist as well as Training Coordinator for SciDev.Net.
Further contributors to the book include Dr Abraham Kiprop Mulwo (Moi University, Kenya), Dr Darius Mukiza (University of Dar es Salaam, Tanzania), and Dr Aisha Sembatya Nakiwala, Dr Samuel George Okech and Dr William Tayeebwa – the latter of whom are all from Makerere University in Uganda.
Future of science journalism
In the book Dr Abraham Kiprop Mulwo, Dean of the School of Information Sciences at Moi University, Kenya, reviews the current status and future of science journalism and communication in Africa.
Dr Wendo uses his detailed knowledge and experience in the field to package engaging and informative content for journalists, students of science journalism and communication, and educators.
The book, that was recently launched at a science journalism conference at Moi University, provides hands-on advice on the practice of science journalism. It also includes learning activities and discussion questions to deepen the readers’ understanding of the topic.
With 22 chapters of engaging content, the book is divided into two parts. Part 1 lays down the theoretical foundation of science communication while Part 2 has 16 chapters of hands-on advice about science journalism.
Real life experiences
Five academic papers are also included that identify, review and synthesize available literature and experiences on science journalism and communication issues in Africa.
The book also includes a case study detailing the experience of Makerere University in introducing science journalism and communication into their undergraduate and post-graduate curricula.
This is after some of the content of the book was tried and tested by lecturers at Makerere University, Nasarawa State University in Nigeria, Moi University and University of Dar es Salaam.
Samuel Musungu Muturi, a third-year student of journalism and media studies at Moi University, said science journalism training and the book will increase the relevance of journalists.
Bridging gaps in communication
Mr Muturi said, “This book is part of a training that will enable us to claim our position as journalists who are vital in the science communication process, bridging the gap between scientists, the public, and policymakers.”
‘Science Communication Skills for Journalists: A Resource Book for Universities in Africa,’ is published as part of SciDev.Net’s Script science communication training programme.
Script was funded by the Robert Bosch Stiftung. This is a free training and networking resource. It is aimed at journalists, scientists and anyone who wants to communicate science in an engaging and accurate way. The programme was launched in 2018 to bridge the gap in science communication in sub-Saharan Africa.
Emanuel Dandaura, Professor of Development Communication and Performance Aesthetics at the Nasarawa State University, Keffi, Nigeria, said, “Part of the challenge for scientists is to communicate often complex science to journalists who then help analyse and disseminate that information to a range of stakeholders including the general public.
“This new resource will go a long way towards bridging the gap in Africa between science communication and audiences, such as policymakers, who we hope will take heed of our findings for the betterment of society.”
Accurate and ethical reporting
At the launch event, Dr Wendo, who is also SciDev.Net’s Training Coordinator, discussed a paper on reporting science in a local language. He also chaired a session on the ethical reporting of science.
Dr Wendo said, “Science Communication Skills for Journalists: A Resource Book for Universities in Africa,’ equips the reader to not only understand often complex scientific findings but also to communicate research in layman’s terms.
“The book also highlights the need to take a critical and analytical viewpoint of new scientific endeavours to ensure that reporting is accurate, fair and balanced. This is particularly important in our age of ‘fake news’ and misleading information.”
You can view the book online for free here or order a paperback version for $65 (USD?) when it’s available.
Nakkazi (2012) reports on the growth of science journalism in Africa from the early 2000s. Whereas science journalism in the Global North was experiencing a crisis during this period, with science desks shutting down and science journalists changing to other news beats, the reverse was true in Africa [emphasis mine]. Editors in African countries cited an improvement in the number of journalists reporting science stories, the quality of stories and the number of media outlets with dedicated science space. Nakkazi attributes the growth of science journalism in Africa to the activities of professional associations: for example, SjCOOP, a science journalism training and mentoring programme run by the World Federation of Science Journalists. About 100 African journalists benefited from the programme between 2006 and 2012. During the same period several new science journalism associations were formed in Africa, and scientists’ trust in journalism increased. Lugalambi et al. (2011) also reported an improvement in the trust and engagement between scientists and journalists over time, with scientists being more willing than before to share information with journalists.
This positive outlook of science journalism in Africa was confirmed by the Global Science Journalism Report (Massarani et al., 2021). According to the report, science journalists in Africa were more satisfied with their work than those in most other parts of the world, even though most of them worked as freelancers, as opposed to being staff reporters.
You’ll find the excerpt above in the chapter titled: Current Status and Future of Science Journalism and Communication in Africa by Dr Abraham Kip.
The book offer a good basic grounding on science journalism and communication in Africa. Perhaps future editions will see the addition of South Africa; that omission was surprising to me since that country is the one that pops up most often on my radar. As for data visualization and other graphic arts as they relate science communication and journalism, that’s, in all probability, another book.
The first show to arrive will be Marvel Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network) in March 2023 then, Bill Nye arrives with his new show in June 2023.
Marvel Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network)
H/t to Rebecca Bollwitt’s November 23, 2022 posting on her Miss604 blog for information about this upcoming show (Note: A link has been removed),
After sold out runs and millions of fans in London, New York, Seoul, Paris, Singapore, China, Las Vegas, Toronto and India, Avengers: S.T.A.T.I.O.N., an interactive experience, is on its way to thrill audiences across BC. Guests will step into the world of the Avengers, discovering intelligence and cutting-edge science inspired by the Marvel Studios’ films. After completing their training, participants only have one thing left to do: Assemble!
AVENGERS S.T.A.T.I.O.N. (Scientific Training and Tactical Intelligence Operative Network) is a world-class interactive experience for the whole family based on the global phenomenon, Marvel’s Avengers.
The exhibition has traveled the world with its exclusive storyline steeped in the Marvel Cinematic Universe, integrating science and modern technology with movie based props and augmented reality. [emphasis mine]
Are you ready to join S.T.A.T.I.O.N., the scientific combat support network [emphasis mine] for the Avengers?
Start as a new recruit and delve into the history, science, engineering, genetics, [emphasis mine] and profiles of your favourite Avengers, including Captain America, Iron Man, Black Panther, Captain Marvel, Black Widow, the Hulk, Thor, and more. Then, complete your training to become an integral member of the Avengers S.T.A.T.I.O.N.
It seems the Vancouver stop is the only Canadian one on this tour but that could change.
(1) This company’s branding has proved a bit of a challenge for me but here goes: the corporate parent is currently known as NEON or neon (located in Singapore) but it was founded as Cityneon (the name they’ve used on the Canadian Avengers website),
A Global Leader In Immersive & Epic Experiences
We specialize in unique, experiential and large scale epic experiences for fans & families. With strategically located entertainment spaces in key markets around the world, neon is uniquely positioned to bring communities together, and closer to what they love.
Founded in April 14, 1956, Cityneon was guided by the principles of excellence coupled with an unwavering commitment to deliver on our promises. Since then, we have grown from strength to strength.
In October 2022, we have repositioned ourselves as neon, a portal & platform for communities to Get CloserTM to what they love. We are committed to helping communities forge new relationships with each other and with the object of their passion, inspiring new stories to be told for decades to come.
(2) Victory Hill Exhibitions is based Las Vegas, Nevada and is a subsidiary of Cityneon (as noted on its LinkedIn profile page).
(3) Paquin Entertainment Group doesn’t seem to have corporate headquarters but they do have offices in Toronto and Winnipeg, as well as, contact email addresses for Vancouver and Nashville. (I’m guessing it’s a Canadian company since Winnipeg is not often mentioned when entertainment enterprises are discussed and there’s a dearth of US offices). Paquin Entertainment Group was last mentioned here, in passing, in a November 30, 2020 posting about the immersive “Imagine Van Gogh” exhibit then due to open.
The Marvel Avengers S.T.A.T.I.O.N. experience looks like fun although I’m not sure how educational it will be given that all three exhibition companies seem to be almost exclusively entertainment oriented.
After returning to screens earlier this year with new series The End Is Nye, Bill Nye has announced plans to take the show on the road in 2023.
Ticketmaster listings point to the beloved Science Guy rolling through Canada on live tour “The End is Nye! An Evening with Nye the Science Guy” with four dates revealed for 2023 at present.
In March of next year , Nye will bring the show to Hamilton’s FirstOntario Concert Hall (March 28) and Toronto’s Meridian Hall (March 29), ahead of Western Canadian stops set for June at Vancouver’s Queen Elizabeth Theatre (June 20) and Calgary’s Southern Alberta Jubilee Auditorium (June 21).
Nye’s The End Is Nye series, which premiered with a six-episode season in August  via American streaming service Peacock, finds the scientist exploring natural and unnatural disasters with a focus on prevention, mitigation and survival.
Slingerland’s November 16, 2022 article includes a trailer for The End is Nye series, which may offer some hints about what you might see in Nye’s live show.
Daniel Chai’s November 15, 2022 news item offers a link to where you can purchase tickets, as well as, a few more details. Ticket prices start at $77CAD including all taxes and they add a $3CAD processing fee.
Research communication attracts funders, increases opportunities formulti-institutional collaborations and multi-continent projects, and enhances scientific reputation. India lags behind other nations in actively promoting science. These are the findings of a white paper titled ‘Enriching the Indian Scientific Landscape with Research Communication’ byImpact Science, a Cactus Communications brand that specializes in science communication strategy and tactics. The comprehensive report emphasizes the importance of research communication and high-profile work in terms of publications and patents which allow the scientific community to reach out to a worldwide audience and raise awareness about Indian research. To continue this endeavor, the white paper highlights the need for sustained and increased funding from both private and public sectors.
Research has great potential in enhancing national pride, improving problem-solving capabilities, training the younger generation of scientists, and occasional commercialization. Abhishek Goel, CEO & Co-founder, CACTUS said, “Apart from the fact that it is a public good and that it is needed to inspire the next generation of scientists, the main reason for communicating science and scientific research is to obtain more funding for research. The west has been quite good at attracting philanthropic funding, whereas this remains extremely limited in India. In the west, entire departments or laboratories are funded by endowments and philanthropic money for a long time and we recommend the same for India, especially in the new age of private universities. Such funding would help attract the best of domestic and global minds, working to solve India’s and the world’s problems, from India.”
The white paper addresses the major gap between content portrayal for the academics, scientific communities, and non-scientific audience. It is crucial as limited people have the flair for understanding the language and technicalities of a research paper. Efforts should be invested in opening channels to use the science background and merge it with writing and communication skills that can be understood by the larger audience. Prof. K. VijayRaghavan, Former Principal Scientific Adviser to the Government of India, said, “One point which everyone agrees is that there is no point in doing science unless and until it is written up and communicated to your peers. Communication is at the heart of all our science.”
Over the years, academic institutions, governments, researchers, and those funding research projects have been concerned about the struggles faced by scientists and researchers’ way of engagement with the larger non-scientific audience. Conveying their research to this set of non-scientific audience needs to be simplified and requires an adequate skillset due to the complexity of the subject matter.
Adding to the perspective, Prof. V. Ramgopal Rao, Former Director, IIT Delhi said, “Being able to communicate your research to a wider audience is essential. There are times wherein researchers hesitate to explain their work due to technical constraints on the receiving end. Internationally, researchers have showcased perfect combinations of being excellent writers, authors, and effective communicators. The same needs to be inculcated in India. Institutes now have to identify and motivate good communicators among all their researchers and scientists. I believe merely publishing papers will not create an impact in the long run until we generate the knowledge and use that knowledge to create wealth later.”
The white paper further talks about how gradually the government and other research institutes are working toward propagating research and popularising the work through newspaper articles or even blogs and social media posts. Researchers prefer Twitter and LinkedIn over other social media platforms. Engagement on these platforms has led to successful collaborations, increased funding, and award nomination possibilities. Leading institutes and scientists are attempting to reach out to a larger audience by preparing videos on popular and current topics such as vaccines, artificial intelligence, and machine learning. They are creating material in regional languages and uploading them on the Internet which is helping them reach out to a much larger audience than before.
Founded in 2002, Cactus Communications (cactusglobal.com) is a technology company accelerating scientific advancement. CACTUS solves problems for researchers, universities, publishers, academic societies, and life science organisations through innovative products and services developed under the brands Editage, Cactus Life Sciences, Researcher.Life, Impact Science, UNSILO, Paperpal and Cactus Labs. CACTUS has offices in Princeton, London, Aarhus, Singapore, Beijing, Shanghai, Seoul, Tokyo, and Mumbai; a global workforce of over 3,000 experts; and customers from over 190 countries. CACTUS is considered a pioneer in its workplace best practices and has been consistently ranked a great place to work over the last several years. To find out more, visit www.cactusglobal.com
About Impact Science
Founded in 2019, Impact Science (impact.science) offers solutions for science dissemination and engagement with peers, public, and policymakers for wider research outreach. Impact Science is a brand of Cactus Communications (cactusglobal.com), a technology company accelerating scientific advancement. Few [sic] key clienteles [sic] Impact Science engages with are Kings College London, Willey, Emerald publishing, Abbott, ASCO, Royal Society of Chemistry, etc.
Before you download the white paper, you will need to give them your name, your institution, your email, etc.
In September next year , 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
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.
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.
Submissions open: Thursday 1 September 2022
Submission closes: Friday 9 December 2022 [emphasis mine]
Free tickets to the event are available as of 9 am ET, today (October 17, 2022). And, if you need more information before you commit, there’s this from the Perimeter Institute’s October 14, 2022 announcement (received via email; Note: I appreciate the wordplay in the title),
An Enlightening Evening of Dark Matter WEDNESDAY, OCTOBER 26 at 7:30 pm ET Katie Mack and Ken Clark
Dark Matter Night is a live webcast brought to you by Perimeter Institute and the McDonald Institute. Starting at 7:30 pm ET, Katie Mack will discuss the theoretical and observational foundations of dark matter at Perimeter Institute, where she holds the Hawking Chair in Cosmology and Science Communication. Next, Ken Clark, an associate professor at the Arthur B. McDonald Canadian Astroparticle Physics Research Institute, will share experimental approaches that could help solve the riddle of dark matter. We’ll also get a guided video tour of SNOLAB, the state-of-the-art underground laboratory two kilometres beneath Sudbury.
Katie Mack is a theoretical astrophysicist exploring a range of questions in cosmology, the study of the universe from beginning to end. She currently holds the position of Hawking Chair in Cosmology and Science Communication at the Perimeter Institute for Theoretical Physics, where she carries out research on dark matter and the early universe and works to make physics more accessible to the general public. She is the author of the book The End of Everything (Astrophysically Speaking) and has written for a number of popular publications, such as Scientific American, Slate, Sky & Telescope, Time, and Cosmos magazine. She can be found on Twitter as @AstroKatie.
Ken Clark is an experimental astroparticle physicist whose research focuses on understanding the universe at the most fundamental level through rare event searches targeting dark matter and neutrinos. He is one of the leads for the Particle Astrophysics group at Queen’s University, a member of the Arthur B. McDonald Canadian Astroparticle Physics Research Institute (McDonald Institute), an affiliated scientist with TRIUMF, and the Canadian spokesperson for the Scintilating Bubble Chamber Collaboration.
I love this image. Unfortunately, it heralds what seems to be the last Ada Lovelace Day (ALD) according to the Women’s Tech Hub ~ Bristol,
Posted on by serrie
Happy Ada Lovelace Day – sadly the last!
This year, Ada Lovelace Day was celebrated on October 11, 2022 as Sue Gee notes in her ALD post on programmer.info (Note: Links have been removed),
Last Ever Ada Lovelace Day
Today [October 11, 2022] sees the final ever Ada Lovelace Day, an event which aims to raise the profile of women in science, technology, engineering and maths. The flagship event, combining science and comedy from an all-female line up takes place online starting at 8:00pm London time
Ada Lovelace Day (ALD) was founded by Suw Charman-Anderson in 2009 and became an international event celebrating the achievements of women in science, technology, engineering and maths (STEM).
So why was a nineteenth century aristocrat chosen to be the symbol of an effort to inspire women to pursue careers in science, technology, engineering and maths, STEM?
The answer is that, due to her involvement with Charles Babbage, she is widely regarded as the person who wrote the first computer program, for more on this theme see our history article, Ada Lovelace, The First Programmer. This achievement has been widely popularized, including in children’s books, making hers a name that girls might recognize.
While the Finding Ada Network, which provides one-to-one mentorship for women in STEM and advocates who work towards gender equality, appears to be continuing, this year’s Ada Lovelace Day is the final such event due to lack of financial backing. Suw Charman-Anderson told the BBC the reason it was now coming to an end was:
“incredibly simple – we just couldn’t raise the funding to continue”.
Seneca’s Science Communication Executive Certificate program is the only one of its kind in Ontario. Learn about it in this info session.
Date and time Thu, 20 October 2022, 1:00 PM – 2:00 PM EDT
Join Dr. Burke Cullen from Seneca to learn about their brand new program designed to enhance the communication skills of scientists and science professionals in leadership roles.
Seneca’s Science Communication Executive Certificate program is the only one of its kind in Ontario. It will equip you with the key knowledge and skills you need for effective science communication across a variety of platforms.
This program is for research scientists, managers in science-based fields or for those with a background in research science, regulatory affairs or other science-based fields. It will also be of interest to you if you’re a scientist working at a hospital and want to become a better writer, storyteller or digitally-engaged communicator.
Dr. Burke Cullen has been involved in Seneca’s Science Communication initiatives for the past 10 years. He remains an active member of the Science Writers and Communicators of Canada Association. At Seneca, Burke has served as Academic Liaison for the York-Seneca Professional Writing program. He has also written six different science and technical communication courses in four separate disciplines, including software development, informatics and security, bioinformatics, and most recently, clinical research. Burke holds a BA (Honours) from Carleton University, an MA from the University of British Columbia, and a PhD from the University of Toronto.
Photo and Video Consent
By registering for the event, you understand that the session may be video recorded and/ or photos will be taken for use in SCWIST digital communication platforms, including but not limited to the SCWIST website, e-newsletter, Twitter, Facebook, Instagram, Youtube, and others. You therefore are providing consent for your image and voice to be used by SCWIST for free and in perpetuity.
If you do not want your image to be captured in video or photographically, please ensure that your camera is off during the session.
Questions and Feedback
For questions about the event, or to sign up as a speaker, please contact the Communications and Events team, by email at firstname.lastname@example.org.
I got a notice (via email) from Toronto’s ArtSci Salon about Sensoria: The Art and Science of Our Senses 2022. This looks interesting and it is confusing as to which site is hosting which installations/art pieces. It starts nice and easy and then … Here’s more from the notice,
Sensoria: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada.
Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition component is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong. Czegledy brings together an international network of artists and scholars who explore the intersection of art, science and the senses. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The event will be complemented by a workshop by Csenge Kolozsvari.
Kolozsvari brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynski [I believe this is the correct spellling: Ryszard Kluszczyński], Chris Salter and David Howse, as well as roundtables between artists and scientists, and performances by Csenge Kolozsvari and York University’s DisPerSions Lab (led by Doug Van Nort). All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
Now for details about the Gdansk portion, from the LAZNIA Centre for Contemporary Art (LCCA) event page, (Note 1: This is quite lengthy. Note 2: If you follow the link to the LCCA event page, you may need to click the English language option [upper right hand corner of the screen] and, then, scroll down to click MORE at the bottom of the left text column.)
Dates of the exhibition: 16 September–30 October 2022 Location: CCA Laznia 1 oraz CCA Laznia 2 Curator: Nina Czegledy
Exhibition: September 16-October 30, 2022 Places: Laznia 1 ( Jaskółcza 1) and Laznia 2 (Strajku Dokerów 5), Gdańsk
Opening: September 16, 2022 – time. 19.00 (Laznia 1, Dolne Miasto) – time. 20.30 (Laznia 2, Nowy Port)
During the vernissage, we provide transport by bus from Łaźnia 1 to Łaźnia 2 and back.
Artists: Guy van Belle | Karolina Hałatek | Csenge Kolozsvari | Hilda Kozari | Agnes Meyer-Brandis | Gayil Nalls | Raewyn Turner and Brian Harris | Artur Żmijewski
Sensoria, The Art & Science of Our Senses
Sensoria, The Art & Science of Our Senses a multi-site project is focused on multisensory perception in the arts and the sciences. The cross-disciplinary initiative explores our sensory world through scientific, social, cultural and scholastic interpretations. The exhibitions, performances and the symposium link LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland (1) and Sensorium: Centre for Digital Art and Technology at York University, Toronto, Canada (2) in a cross-institutional and inter-cultural collaboration. The participation of international artists in the exhibition and symposium span the globe from New Zealand to Finland to the Czech Republic and reflect on the effects of recent ecological and socio-cultural alterations on sensory organisms in humans and other species.
We perceive the world through our senses, yet for a long time the senses were treated as independent perceptual modules. Contemporary research confirmed that our senses are fundamentally interrelated and interact with each other (3). Moreover, our perception of visual, auditory or tactile events change as a result of information exchange between receptors (4). The impact of radical changes such as the constraints of the COVID 19 Pandemic caused extensive psycho-emotional stress and has affected every aspect of our life from geopolitics to economies to the arts and sciences including sensory awareness (5). Considering implications of COVID-19 for the human senses Derek Victor Byrne noted that initial work has shown short- and likely longer-term negative effects on the human senses (6). Curatorial reflection of these issues presented in the last years became essential.
The way that we perceive our environment via our sensory systems has been frequently a source of controversy concerning one of the basic characteristics of our existence. (7).
As David Howes observed ”The perceptual is cultural and political, and not simply (as psychologists and neuroscientists would have it) a matter of cognitive processes or neurological mechanisms located in the individual subject” (8)
With the changing notions of the constitution of sentient beings a revision of knowledge – led to a closer engagement with the traditional experience by indigenous peoples. The benefits of Nature on our sensorial being are well known, however it is important to remember that our attitude to, and representation of Nature is always closely linked to political, religious, environmental and social considerations. In investigating sensory awareness the impact of the geographical, cultural and social context on individual sensory perception cannot be underestimated (9).
Curatorial research and development of the Sensoria project since 2019 was aimed to present the theme in an unconventional way. International artist residencies, workshops, presentations and thematically related round table discussions in collaboration with local Polish academic and corporate research institutions were offered before the Pandemic in 2019 and 2020. Strategically, the exhibitions now focus on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience.
While the estrangement of the senses have been exacerbated by technologies in the way media elements have contributed to the dissociation of the senses from one another and a subsequent bias of audio-visual content in our digital and virtual environments, the SENSORIA exhibition adapt what Caroline Jones (10) has described as the “creatively dissociated self”. In her landmark exhibition “Sensorium” of 2006 , she considers the dissociative potential of contemporary technologies on the senses as an invitation to engage in creative play and experimentations around this prospect. In this way, SENSORIA builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries.
The exhibition’s primary goal is to create a broad visibility for the wide variety of art project concerning sensory perception. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways. In Poland, the exhibition linked established European artists with local Polish ones; the Toronto hub similarly links international artists in the main hubs with local artists. In this way, the exhibition forges networks across continents and ideas, bringing a range of different perspectives together to explore how our globalized world has both linked and disconnected us from one another. In addition, being situated simultaneously in both sites, Sensoria also builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries. Sensoria artists, curated through a collaborative process with the project’s lead curators and team members, have been invited to considered site-specific adaptations of their internationally renowned artworks. In this way, the goal of the project is to revitalize our sensory connections to our immediate surroundings, through and despite technological tools, networks and latencies; and to share in a collective experience and discussion of them. In addition, the symposium component hosted by Sensorium at York University focuses on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience. The constraints of the Pandemic have precipitated our current estrangement from our sensuous surroundings, and with the gradual and tentative reopening of regulations in North America, Europe and the world this Spring, we expect a resurgence in a desire for people to engage once again with the multi-sensory sensorium, prioritizing the senses of smell, touch and taste that have broadly been neglected in collective experience. The Sensoria symposium will feature artists, curators and theorists through a series of keynote lectures, performances and artist panels.
Sincere thanks to the LAZNIA Team, especially Lila Bosowska and Aleksandra Ksiezopolska for our curatorial collaboration in the difficult times of the last three years. Sincere thanks to Ryszard Kluszczyński for advising the Sensoria project.
Respectful acknowledgements to Jadwiga Charzynska Director of Laznia.
Last but not least deepest thanks to Prof. Yu-Zhi Joel Ong for his role in expanding Sensoria into an international cross-institutional collaboration.
2 Sensorium: Centre for Digital Art and Technology at York University (Sensorium) Toronto, Canada. https://sensorium.ampd.yorku.ca/
3 Burston, D and Cohen J. 2015 Perceptual Integration, Modularity, and Cognitive Penetration In: Cognitive Influences on Perception: Implications for Philosophy of Mind, Epistemology, and Philosophy of Action (pp.123-143). Oxford University Press
4 Masrour F, Nirshberg, G, Schon Nm Leardi J and Barrett Emily Revisiting the empirical case against perceptual modularity Front Psychol. 2015; 6: 1676. Published online 2015 Nov 4. doi: 10.3389/fpsyg.2015.01676
5. Tasha R Stanton, T,R and Spence Charles. The Influence of Auditory Cues on Bodily and Movement Perception. Front. Psychol., 17 January 2020 Sec. Perception Science https://doi.org/10.3389/fpsyg.2019.03001
6. Byrne, V Effects and Implications of COVID-19 for the Human Senses, Consumer Preferences, Appetite and Eating Behaviour: Volume I Foods. 2022 Jun; 11(12): 1738. Published online 2022 Jun 14. doi: 10.3390/foods11121738
7. Mc Cann, H. Our sensory experience of the pandemic https://pursuit.unimelb.edu.au/
8 Howes, D Architecture of the Senses. https://www.david-howes.com/DH-research-sampler-arch-senses.htm
9 D B Rose Val Plumwood’s Philosophical Animism: Attentive Inter-actions in the Sentient World Environmental Humanities 3(1):93-19
10 Jones C. The Mediated Sensorium. https://citythroughthebody.files.wordpress.com/2013/08/sensorium.pdf
Descriptions of the artworks presented at Sensoria:
Agnes Meyer Brandis Berlin based artist contributes One Tree ID and Have a tea with a Tree“ to the Sensoria exhibition. One Tree ID is a biochemical and Biopoetic Odour Communication Installation The project One Tree ID transforms the ID of a specific tree into a perfume that can then be applied to the human body. By applying it, a person can invisibly wear not just characteristics of the tree he/she is standing next to, but also use parts of its communication system and potentially have a conversation that – although invisible and inaudible by nature – might still take place on the biochemical level plants use for information exchange. VOC and Have a tea with a Tree provides a booking link to a personal video conference with up to 16 trees. The trees will participate in real time. Address for conference booking: www.teawithatree.com. The internet protocol is secured.
Polish artist Karolina Hałatek will present “Ascent” – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.
Bodylandscapes by Csenge Kolozsvari is a single channel video piece feeling-with the fascial planes (connective tissues) of bodies; thinking them beyond human scales and temporalities, as constantly emerging fields. The camera is a listening device for the softness of skin-talk; a composition of detailed skin-textures and close-ups of body parts that are imperceptibly transitioning into one another, following creases and swellings, creating landscapes in-the-making. The video is a proposition for remembering the ecological ways of our belonging, of other ways of knowing, connecting into the vastness that surrounds us and moves across us, of becoming-environment once again.
Artur Zmijewski a Polish artist asked a group of visually impaired people to paint the world as they see it. The result is compiled in Blindly a video with sound. Some of the volunteers were congenitally disabled; others became blind in their lifetime. In the film they draw self-portraits and landscapes, occasionally asking the artist for instructions or giving verbal explanation for their decisions. Their paintings are clumsy and abstract. It is however not the resulting works but the process of making them that is at the core of the film.
Hilda Kozari leads a 3 hour-long memory workshop with visually impaired participants and Emilia Leszkowicz a local neuroscientist coordinated with the Education Department of LAZNIA. The workshop is focused on, triggering smell memories and discussions of the scents and the memories triggered by them. Tactility is also a theme of this workshop for the visually impaired participants which is conveyed via felt discs in various sizes. From the different sizes of the discs it is possible to form the Braille verbs and messages.
The findings and results of the workshop material to be transferred on the Sensoria exhibition walls. The multisensory installation is accessible for visually impaired visitors during the exhibition. For other visitors for rethinking perception, enjoying the smell and touch of the installation and seeing the Braille signs as spatial, visually fascinating structure. It is hoped that this is an opportunity recognising the visually impaired as active members of the community.
Gayil Nalls from New York city brings her World Sensorium project to Sensoria World Sensorium which was officially part of New York City’s millennium event “Times Square 2000: The Global Celebration at the Crossroads of the World,” where for 24 hours around New Year’s Eve, the peoples and cultures of nations around the world were celebrated through sight, sound, and—with World Sensorium— scent. World Sensorium is a large-scale, transdisciplinary, olfactory artwork comprised of botanical substances formulated by country population percentages into a single global essence. The phytoconstituents are those most valued by humanity since ancient times, plants established through ethnobotanical research and a global survey process with world governments. Discussion of the World Sensorium link between psychology and olfaction, and the phenomena of odor-evoked memory follows. Individuals attending are invited to participate in ‘Experience World Sensorium:Poland “ and have a chance to dive beneath the insightful a fragmentary memoir of their own experience at a future date.
Raewyn Turner & Brian Harris, New Zealand based artists present Read Reed at Sensoria. Read Reed proceeds from the mythological story of the discretion of Midas’s hairdresser who, feeling that he may betray Midas’s trust, dug a hole in the earth and spoke into it whereby he laid his secret, only to have the secret broadcast to the world via the whispering reeds which grew over the hole. ReedRead relates to data misinterpretation, hidden secrets and the desire for vast wealth. The artists are using the story of secrets whispered into a hole in the earth and the inevitable leakage and exposure of secrets as a starting point. Data from any source including reeds swishing in the wind may be formed into letters and words that relate to digital capitalism and the obscuring of knowledge through the unknowns of ambiguity, uncertainty and risk. Both the clandestine nature of pervasive monitoring and the authorization for increasing the scope and breadth of collected information originates with NSA’s aspiration to sniff it all, know it all, exploit it all etc., and is part of creating the conditions for digital capitalism.
Guy Van Belle in collaboration with Krzysztof Topolski and the Gdansk University Choir present Fanfara Gdansk performance using a simple and open setup for the participatory visitors/performers. For centuries the arts were rather interested in the non-human expressions around or communication and phenomena that we faintly or hardly understand. To quote Paul Demarinis “Music is sound to my ears”. The sound score gives an indication of discrete and continuous time, pitches and amplitudes, complexities and silences, some combinatory ideas, etc. in the form of sounds you can listen to, sing/play along with it or counter, imitate and enrich it… The expressivity and performativity aims at providing a real time interpretation of the sound score.
The Fanfara Gdansk performance consists of a backtrack with recorded and computer generated birdsongs, which is transmitted over local FM, and received by the musicians on headsets from their phones, tables, portable radio receivers. All musicians are ‘singing’ along with the birdsongs, but they can also bring additional small handheld objects that produce sound: battery operated electronics; resonating objects, … some megaphones and small amplifiers will be available, but all wearable. The singers from the choir move slowly in formation together with the additional musicians and participatory audience, towards the entrance of the exhibition. Any single movement from the musicians and the audience influences the position of the others.
There’s more about the Toronto portion of the exhibitions, etc. on York University’s Sensorium Centre for Digital Arts and Technologies’ events page, Note: This is where it gets a little confusing as it seems that some of these artists are displaying the same pieces in two different cities at the same time: World Sensorium has a version in Poland and a version in Toronto; Read Reed is in Poland and ReedRead is in Toronto; I’m not sure about One Tree ID, which seems to be in two places at once,
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
September 26 – October 14, 2022 Gales Gallery, York University 105 Accolade West Building, 86 Fine Arts Road, Toronto, ON
Held at the Gales Gallery, the Sensoria exhibition will feature the works:
One Tree ID. Agnes Meyer-Brandis, SunEaters. Grace Grothaus, World Sensorium. Gayil Nalls, Emergent: A Mobile Gallery featuring “The Connection”, Michaela Pňaček, Roberta Buiani, Lorella Di Cintio and Kavi ReedRead. Raewyn Turner/ Brian Harris Kinetic Shadows. Hrysovalanti Maheras Marching Choir Guy Van Belle
Running from Oct. 4–5 (9am – 12noon EST), The symposium will feature keynote lectures by Ryszard Kluszcynski , Chris Salter and David Howse; roundtable discussions by the artists/theorists/scientists Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari [a web search suggests that Kozari is a more correct spelling] and Agnieszka Sorokowska.
In addition, Csenge Kolozsvari will be leading the Schizo-Somatic Workshop on Oct. 3, 2022. Please click on the hyperlinks for separate registration.
Tuesday, Oct. 4: 9am – 130pm EST 9:00 : Introductions and land acknowledgement (Joel Ong) 9:05 : Introduction from Sensoria Curator (Nina Czegledy) 9:10 : Introduction from LAZNIA (Jadwiga Charzynska, Director) 9:30 : Keynote 1 —Professor Ryszard Kluszcynski 10:30 : Sensoria Panel 1 — Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 1 — Csenge Kolozsvari [Sensorium Flex Space] + Q&A 1:30 : End
Wednesday Oct 5th 9am – 130pm EST
9:00 : Introductions and land acknowledgement 9:10 : Curatorial presentation (Toronto curatorial team) 9:30 : Keynote 2 — Professors Chris Salter and David Howse 10:30 : Sensoria Panel 2 — Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari, Agnieszka Sorokowska, Hrysovalanti Maheras (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 2 — Doug Van Nort Telematic Orchestra [DisPerSions Lab] + Q&A 1:30 : Ending Notes
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. Sensoria explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynsk [Kluszcynski]i, Chris Salter and David Howse, as well as roundtables between artists and scientists: Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Hilda Kosari [Kozari], Agnieszka Sorokowska, Hrysovalanti Maheras, Raewyn Turner and Brian Harris. All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
The event will be complemented by a workshop byCsenge Kolozsvari. Kolozsvari’s Schizo-Somatic Session brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
Csenge Kolozsvari’s performance The Power of the Spill is a multidisciplinary live performance working at the intersection of digital and imaginary technologies. It uses live video feedback, algorithmic processes of image (Hydra), sound as well as a movement-choreography informed by somatic practices. This project is a study on visual perception and how it affects our ways of making sense of the world, aiming to create an alternative lens that acknowledges the vitality of objects, a topology that is cross-species, the ways seemingly separate entities are in constant exchange, towards a more ecological way of being. The performance is in collaboration with Kieran Maraj, with original live coding by Rodrigo Velasco. Performance will be followed by a Q&A with the artist.
Doug Van Nort’s performance The Telematic Orchestra
The sense of touch (or tactility) is not highlighted in the image for the poster but there are some workshops which incorporate that sense.
I apologize for the redundancies and for not correcting or noting the errors in the various texts and with people’s names.
One final note, York University’s Sensorium Centre for Digital Arts and Technologies was last mentioned here in an October 26, 2020 posting about an ArtSci Salon event.
Late last week (at the end of Friday, Sept. 16, 2022) I saw a notice about a Science Summit at the 77th United Nations (UN) General Assembly. (BTW, Canadians may want to check out the Special note further down this posting.) Here’s more about the 8th edition of the Science Summit from the UN Science Summit webpage (Note: I have made some formatting changes),
ISC [International Science Council] and its partners will organise the 8th edition of the Science Summit around the 77th United Nations General Assembly (UNGA77) on 13-30 September 2022.
The role and contribution of science to attaining the United Nations Sustainable Development Goals (SDGs) will be the central theme of the Summit. The objective is to develop and launch science collaborations to demonstrate global science mechanisms and activities to support the attainment of the UN SDGs, Agenda 2030 and Local2030. The meeting will also prepare input for the United Nations Summit of the Future, which will take place during UNGA78 beginning on 12 September 2023.
The UN General Assembly (UNGA) has elected, by acclamation, Csaba Kőrösi, Director of Environmental Sustainability at the Office of the President of Hungary, to serve as President of its 77th session. In his acceptance speech, Kőrösi said his presidency’s efforts will be guided by the motto, ‘Solutions through Solidarity, Sustainability and Science.’ He will succeed Abdulla Shahid of Maldives, current UNGA President, assuming the presidency on 13 September 2022
The Summit will examine what enabling policy, regulatory and financial environments are needed to implement and sustain the science mechanisms required to support genuinely global scientific collaborations across continents, nations and themes. Scientific discovery through the analysis of massive data sets is at hand. This data-enabled approach to science, research and development will be necessary if the SDGs are to be achieved.
SSUNGA77 builds on the successful Science Summit at UNGA76, which brought together over 460 speakers from all continents in more than 80 sessions.
SSUNGA77 will bring together thought leaders, scientists, technologists, innovators, policymakers, decision-makers, regulators, financiers, philanthropists, journalists and editors, and community leaders to increase health science and citizen collaborations across a broad spectrum of themes ICT, nutrition, agriculture and the environment.
Present key science initiatives in a series of workshops, presentations, seminars, roundtables and plenary sessions addressing each UN SDG.
Promote collaboration by enabling researchers, scientists and civil society organisations to become aware of each other and work to understand and address critical challenges.
Promote inclusive science, including increasing access to scientific data by lower and middle-income countries.
Focus meetings will be organised around each of the UN SDGs, bringing key stakeholders together to understand and advance global approaches.
Priority will be given to developing science capacity globally to implement the SDGs.
Demonstrate how research infrastructures work as a driver for international cooperation.
Promote awareness of data-enabled science and related capacities and infrastructures.
Understand how key UN initiatives, including The Age of Digital Interdependence, LOCAL 2030, and the Summit of the Future,can provide a basis for increasing science cooperation globally to address global challenges.
Two days of meetings on Wall Street at the New York Stock Exchange while highlighting the theme of science contribution to the SDGs and launching a series of meetings with corporate financiers on science funding.
Science and ICT [Information and Communications Technology]/Digital ministers in the world will be approached for their engagement and support, to have their respective missions at the United Nations host individual meetings and to request the participation of their Prime Minister.
A powerful youth programme for children, teens and students. This includes a space-related initiative currently involving some 60 countries, and this number is; very likely to increase. To inspire the world’s youth to come together and lead regional inter-generation projects to attain the “moonshots” of the 21st century – the first in this series would be the 2030 SDGs.
13-30 September 2022: Thematic Sessions and Scientific Sessions: approximately 400 sessions are planned: approximately 100 hybrid events will take place in New York City, with the remainder taking place online;
20 Keynote Lectures by eminent scientists and innovative thinkers;
Dr. Mona Nemer, Chief Science Advisor of Canada, is presenting at 4 pm EDT (1 pm PDT) today, on Monday, September 19, 2022. Here’s more from the session page (keep scrolling down past the registration button)
(REF 19052 – Hybrid) Keynote Speech: Dr Mona Nemer, Chief Science Advisor of Canada (In-Person)
“Science knows no country, because knowledge belongs to humanity,” Pasteur famously said nearly 150 years ago. In the time since, the world has seen an enormous increase in the pace of scientific discovery and consequent need for collaboration, as our challenges become both more urgent and more complex. From climate change and food security to pandemic preparedness and building the societies of tomorrow, science has a major role to play in guiding us toward a peaceful, healthy and sustainable future, and getting there requires that we work together.
In this talk, Canada’s Chief Science Advisor, Dr. Mona Nemer, shares her insights on the importance of a global science culture that promotes openness, diversity and collaboration, and how growing our science advisory systems will help to both frame the emerging issues that the world faces and provide the evidence needed to solve them.
“Science knows no country …” Really?
One final bit, it’s regarding the second highlight (Science and ICT [Information and Communications Technology]/Digital ministers …), Canada did have a Minister of Digital Government and, sometimes, has a Minister of Science. Currently, neither position exists. For the nitpicky, there is Innovation, Science and Economic Development Canada (ISED) which seems to be largely dedicated to monetizing science rather than the pursuit of science.