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.
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.
This event is being organized by the folks at Simon Fraser University (SFU) and I have more details from the March 14, 2023 SFU Café Scientifique announcement, which includes a reminder about two upcoming Café events (received via email; Note: I have made some formatting changes),
Dear SFU Café Scientifique friends,
Join us for our next events this March/April! Zoom invites will be sent to those who register. All these events occur online via Zoom Webinar.
NEW: If you have any questions related to the topic, please reply to this email and send these to us in advance. We will include your questions in the discussion. We hope to see you then!
SFU Nobel Lectures 2023
Wednesday, March 22, 2023, 5:00-6:30 pm, over Zoom
Celebrate the 2022 Nobel Prize awardees and their impressive research work and engage with us in meaningful conversations about research. SFU experts will recognize the contribution of the 2022 Nobel Prize awardees in chemistry, physics and medicine/physiology and will highlight the impacts of these prizes. This event is suitable for ages 14 and up.
Tuesday March 28, 2023, 5:00-6:30 pm, over Zoom What Should We Know About Quantum Technologies? Dr. Kero Lau, Physics Join Dr. Lau as he explains how quantum technologies work and how we use them in our daily lives.
Tuesday April 25, 2023, 5:00-6:30 pm, over Zoom The Pathways From Our DNA to Our Brain Dr. Lloyd Elliott, Statistics and Actuarial Science Dr. Elliott explains how our DNA affects brain function and neurodegenerative diseases.
I have a few more details about the SFU Nobel Lectures on March 22, 2023 (from the event registration page),
We recognize the contribution of the 2022 Nobel Prize awardees in chemistry, physics and medicine/physiology. Experts from these fields will highlight the impact of these prizes and the connection between fundamental and applied research.
This is a chance for even our aspiring scientists to grow their understanding of our world through scientific pursuits and conversations with a community of professors, researchers, and students at SFU.
This year’s presenters include:
Dr. Corina Andreoiu, Professor, Department of Chemistry – faculty host/emcee
Dr. David Vocadlo, Professor, SFU Department of Chemistry
‘Chemistry in a snap: simple yet powerful chemistry for everyone’
Chemical reactions used to make molecules are typically performed by expert chemists in highly controlled conditions. But revolutionary “click chemistry” now makes it possible to easily snap together two molecules in nearly any environment – transforming research into the discovery of new drugs and materials.
Dr. Kero Lau, Assistant Professor, SFU Department of Physics
‘Quantum 1: Einstein 0. The quantum world is indeed strange.’
The uncertainty principle of quantum mechanics left many people, including Einstein, wondering if our understanding of the sub-atomic world is faulty. The seminal experiments conducted by this year’s Nobel laureates show us that quantum uncertainty is, surprisingly, not a result of ignorance but a fundamental property of our nature.
Dr. Michael Richards, Professor, SFU Department of Archaeology
’Neanderthal DNA’
Professor Richards will lead discussion of Nobel Prize winner Svante Pääbo’s contributions to the field of ancient DNA studies and, in particular, his and his teams’ research into Neanderthal genomes.
Important registration information:
• This event is suitable for ages 14 and up
• Admission is FREE, but registration is required
• Registration closes on March 22, 2023 at 4 pm
• A Zoom link will be provided to registrants
If you have questions or inquiries, please email sfuscienceoutreach@sfu.ca.
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.
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.]
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.
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
[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.*
[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.]
[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.]
I look forward to 2023 and hope it will be as stimulating as 2022 proved to be. Here’s an overview of the year that was on this blog:
Sounds of science
It seems 2022 was the year that science discovered the importance of sound and the possibilities of data sonification. Neither is new but this year seemed to signal a surge of interest or maybe I just happened to stumble onto more of the stories than usual.
This is not an exhaustive list, you can check out my ‘Music’ category for more here. I have tried to include audio files with the postings but it all depends on how accessible the researchers have made them.
Aliens on earth: machinic biology and/or biological machinery?
When I first started following stories in 2008 (?) about technology or machinery being integrated with the human body, it was mostly about assistive technologies such as neuroprosthetics. You’ll find most of this year’s material in the ‘Human Enhancement’ category or you can search the tag ‘machine/flesh’.
However, the line between biology and machine became a bit more blurry for me this year. You can see what’s happening in the titles listed below (you may recognize the zenobot story; there was an earlier version of xenobots featured here in 2021):
Are the aliens going to come from outer space or are we becoming the aliens?
Brains (biological and otherwise), AI, & our latest age of anxiety
As we integrate machines into our bodies, including our brains, there are new issues to consider:
Going blind when your neural implant company flirts with bankruptcy (long read) April 5, 2022 posting
US National Academies Sept. 22-23, 2022 workshop on techno, legal & ethical issues of brain-machine interfaces (BMIs) September 21, 2022 posting
I hope the US National Academies issues a report on their “Brain-Machine and Related Neural Interface Technologies: Scientific, Technical, Ethical, and Regulatory Issues – A Workshop” for 2023.
Meanwhile the race to create brainlike computers continues and I have a number of posts which can be found under the category of ‘neuromorphic engineering’ or you can use these search terms ‘brainlike computing’ and ‘memristors’.
On the artificial intelligence (AI) side of things, I finally broke down and added an ‘artificial intelligence (AI) category to this blog sometime between May and August 2021. Previously, I had used the ‘robots’ category as a catchall. There are other stories but these ones feature public engagement and policy (btw, it’s a Canadian Science Policy Centre event), respectively,
“How AI-designed fiction reading lists and self-publishing help nurture far-right and neo-Nazi novelists” December 6, 2022 posting
While there have been issues over AI, the arts, and creativity previously, this year they sprang into high relief. The list starts with my two-part review of the Vancouver Art Gallery’s AI show; I share most of my concerns in part two. The third post covers intellectual property issues (mostly visual arts but literary arts get a nod too). The fourth post upends the discussion,
“Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (1 of 2): The Objects” July 28, 2022 posting
“Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (2 of 2): Meditations” July 28, 2022 posting
“AI (artificial intelligence) and art ethics: a debate + a Botto (AI artist) October 2022 exhibition in the Uk” October 24, 2022 posting
Should AI algorithms get patents for their inventions and is anyone talking about copyright for texts written by AI algorithms? August 30, 2022 posting
Interestingly, most of the concerns seem to be coming from the visual and literary arts communities; I haven’t come across major concerns from the music community. (The curious can check out Vancouver’s Metacreation Lab for Artificial Intelligence [located on a Simon Fraser University campus]. I haven’t seen any cautionary or warning essays there; it’s run by an AI and creativity enthusiast [professor Philippe Pasquier]. The dominant but not sole focus is art, i.e., music and AI.)
There is a ‘new kid on the block’ which has been attracting a lot of attention this month. If you’re curious about the latest and greatest AI anxiety,
Peter Csathy’s December 21, 2022 Yahoo News article (originally published in The WRAP) makes this proclamation in the headline “Chat GPT Proves That AI Could Be a Major Threat to Hollywood Creatives – and Not Just Below the Line | PRO Insight”
Mouhamad Rachini’s December 15, 2022 article for the Canadian Broadcasting Corporation’s (CBC) online news overs a more generalized overview of the ‘new kid’ along with an embedded CBC Radio file which runs approximately 19 mins. 30 secs. It’s titled “ChatGPT a ‘landmark event’ for AI, but what does it mean for the future of human labour and disinformation?” The chat bot’s developer, OpenAI, has been mentioned here many times including the previously listed July 28, 2022 posting (part two of the VAG review) and the October 24, 2022 posting.
Opposite world (quantum physics in Canada)
Quantum computing made more of an impact here (my blog) than usual. it started in 2021 with the announcement of a National Quantum Strategy in the Canadian federal government budget for that year and gained some momentum in 2022:
“Quantum Mechanics & Gravity conference (August 15 – 19, 2022) launches Vancouver (Canada)-based Quantum Gravity Institute and more” July 26, 2022 posting Note: This turned into one of my ‘in depth’ pieces where I comment on the ‘Canadian quantum scene’ and highlight the appointment of an expert panel for the Council of Canada Academies’ report on Quantum Technologies.
“Bank of Canada and Multiverse Computing model complex networks & cryptocurrencies with quantum computing” July 25, 2022 posting
There’s a Vancouver area company, General Fusion, highlighted in both postings and the October posting includes an embedded video of Canadian-born rapper Baba Brinkman’s “You Must LENR” [L ow E nergy N uclear R eactions or sometimes L attice E nabled N anoscale R eactions or Cold Fusion or CANR (C hemically A ssisted N uclear R eactions)].
BTW, fusion energy can generate temperatures up to 150 million degrees Celsius.
Ukraine, science, war, and unintended consequences
These are the unintended consequences (from Rachel Kyte’s, Dean of the Fletcher School, Tufts University, December 26, 2022 essay on The Conversation [h/t December 27, 2022 news item on phys.org]), Note: Links have been removed,
…
Russian President Vladimir Putin’s war on Ukraine has reverberated through Europe and spread to other countries that have long been dependent on the region for natural gas. But while oil-producing countries and gas lobbyists are arguing for more drilling, global energy investments reflect a quickening transition to cleaner energy. [emphasis mine]
Call it the Putin effect – Russia’s war is speeding up the global shift away from fossil fuels.
In December [2022?], the International Energy Agency [IEA] published two important reports that point to the future of renewable energy.
First, the IEA revised its projection of renewable energy growth upward by 30%. It now expects the world to install as much solar and wind power in the next five years as it installed in the past 50 years.
The second report showed that energy use is becoming more efficient globally, with efficiency increasing by about 2% per year. As energy analyst Kingsmill Bond at the energy research group RMI noted, the two reports together suggest that fossil fuel demand may have peaked. While some low-income countries have been eager for deals to tap their fossil fuel resources, the IEA warns that new fossil fuel production risks becoming stranded, or uneconomic, in the next 20 years.
…
Kyte’s essay is not all ‘sweetness and light’ but it does provide a little optimism.
Kudos, nanotechnology, culture (pop & otherwise), fun, and a farewell in 2022
Sometimes I like to know where the money comes from and I was delighted to learn of the Ărramăt Project funded through the federal government’s New Frontiers in Research Fund (NFRF). Here’s more about the Ărramăt Project from the February 14, 2022 posting,
…
“The Ărramăt Project is about respecting the inherent dignity and interconnectedness of peoples and Mother Earth, life and livelihood, identity and expression, biodiversity and sustainability, and stewardship and well-being. Arramăt is a word from the Tamasheq language spoken by the Tuareg people of the Sahel and Sahara regions which reflects this holistic worldview.” (Mariam Wallet Aboubakrine)
Over 150 Indigenous organizations, universities, and other partners will work together to highlight the complex problems of biodiversity loss and its implications for health and well-being. The project Team will take a broad approach and be inclusive of many different worldviews and methods for research (i.e., intersectionality, interdisciplinary, transdisciplinary). Activities will occur in 70 different kinds of ecosystems that are also spiritually, culturally, and economically important to Indigenous Peoples.
The project is led by Indigenous scholars and activists …
Kudos to the federal government and all those involved in the Salmon science camps, the Ărramăt Project, and other NFRF projects.
There are many other nanotechnology posts here but this appeals to my need for something lighter at this point,
“Say goodbye to crunchy (ice crystal-laden) in ice cream thanks to cellulose nanocrystals (CNC)” August 22, 2022 posting
The following posts tend to be culture-related, high and/or low but always with a science/nanotechnology edge,
“When poetry feels like colour, posture or birdsong plus some particle fiction” July 13, 2022 posting
“STEM (science, technology, engineering and math) brings life to the global hit television series “The Walking Dead” and a Canadian AI initiative for women and diversity” July 12, 2022 posting
Sadly, it looks like 2022 is the last year that Ada Lovelace Day is to be celebrated.
… this year’s Ada Lovelace Day is the final such event due to lack of financial backing. Suw Charman-Anderson told the BBC [British Broadcasting Corporation] the reason it was now coming to an end was:
A few things that didn’t fit under the previous heads but stood out for me this year. Science podcasts, which were a big feature in 2021, also proliferated in 2022. I think they might have peaked and now (in 2023) we’ll see what survives.
Nanotechnology, the main subject on this blog, continues to be investigated and increasingly integrated into products. You can search the ‘nanotechnology’ category here for posts of interest something I just tried. It surprises even me (I should know better) how broadly nanotechnology is researched and applied.
If you want a nice tidy list, Hamish Johnston in a December 29, 2022 posting on the Physics World Materials blog has this “Materials and nanotechnology: our favourite research in 2022,” Note: Links have been removed,
“Inherited nanobionics” makes its debut
The integration of nanomaterials with living organisms is a hot topic, which is why this research on “inherited nanobionics” is on our list. Ardemis Boghossian at EPFL [École polytechnique fédérale de Lausanne] in Switzerland and colleagues have shown that certain bacteria will take up single-walled carbon nanotubes (SWCNTs). What is more, when the bacteria cells split, the SWCNTs are distributed amongst the daughter cells. The team also found that bacteria containing SWCNTs produce a significantly more electricity when illuminated with light than do bacteria without nanotubes. As a result, the technique could be used to grow living solar cells, which as well as generating clean energy, also have a negative carbon footprint when it comes to manufacturing.
…
Getting to back to Canada, I’m finding Saskatchewan featured more prominently here. They do a good job of promoting their science, especially the folks at the Canadian Light Source (CLS), Canada’s synchrotron, in Saskatoon. Canadian live science outreach events seeming to be coming back (slowly). Cautious organizers (who have a few dollars to spare) are also enthusiastic about hybrid events which combine online and live outreach.
After what seems like a long pause, I’m stumbling across more international news, e.g. “Nigeria and its nanotechnology research” published December 19, 2022 and “China and nanotechnology” published September 6, 2022. I think there’s also an Iran piece here somewhere.
With that …
Making resolutions in the dark
Hopefully this year I will catch up with the Council of Canadian Academies (CCA) output and finally review a few of their 2021 reports such as Leaps and Boundaries; a report on artificial intelligence applied to science inquiry and, perhaps, Powering Discovery; a report on research funding and Natural Sciences and Engineering Research Council of Canada.
Given what appears to a renewed campaign to have germline editing (gene editing which affects all of your descendants) approved in Canada, I might even reach back to a late 2020 CCA report, Research to Reality; somatic gene and engineered cell therapies. it’s not the same as germline editing but gene editing exists on a continuum.
For anyone who wants to see the CCA reports for themselves they can be found here (both in progress and completed).
I’m also going to be paying more attention to how public relations and special interests influence what science is covered and how it’s covered. In doing this 2022 roundup, I noticed that I featured an overview of fusion energy not long before the breakthrough. Indirect influence on this blog?
My post was precipitated by an article by Alex Pasternak in Fast Company. I’m wondering what precipitated Alex Pasternack’s interest in fusion energy since his self-description on the Huffington Post website states this “… focus on the intersections of science, technology, media, politics, and culture. My writing about those and other topics—transportation, design, media, architecture, environment, psychology, art, music … .”
He might simply have received a press release that stimulated his imagination and/or been approached by a communications specialist or publicists with an idea. There’s a reason for why there are so many public relations/media relations jobs and agencies.
Que sera, sera (Whatever will be, will be)
I can confidently predict that 2023 has some surprises in store. I can also confidently predict that the European Union’s big research projects (1B Euros each in funding for the Graphene Flagship and Human Brain Project over a ten year period) will sunset in 2023, ten years after they were first announced in 2013. Unless, the powers that be extend the funding past 2023.
I expect the Canadian quantum community to provide more fodder for me in the form of a 2023 report on Quantum Technologies from the Council of Canadian academies, if nothing else otherwise.
I’ve already featured these 2023 science events but just in case you missed them,
2023 Preview: Bill Nye the Science Guy’s live show and Marvel Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network) coming to Vancouver (Canada) November 24, 2022 posting
September 2023: Auckland, Aotearoa New Zealand set to welcome women in STEM (science, technology, engineering, and mathematics) November 15, 2022 posting
Getting back to this blog, it may not seem like a new year during the first few weeks of 2023 as I have quite the stockpile of draft posts. At this point I have drafts that are dated from June 2022 and expect to be burning through them so as not to fall further behind but will be interspersing them, occasionally, with more current posts.
Most importantly: a big thank you to everyone who drops by and reads (and sometimes even comments) on my posts!!! it’s very much appreciated and on that note: I wish you all the best for 2023.
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!
Here are logistical details (from Bollwitt’s November 23, 2022 posting), Note: Links have been removed,
When: March 3 – May 28, 2023
Mon to Wed & Sunday 10:00am to 7:00pm
Thurs to Sat 10:00am to 9:00pm final entry 1 hour before close
Where: The Amazing Brentwood (4567 Lougheed Hwy, Burnaby)
Tickets: On sale November 24, 2022. Prices start at $29 for adults and $23 for children (plus ticketing fees), with discounts for students, seniors, and groups. VIP packages are also available.
Special Early Bird discount pricing is available until November 28 only. This is bound to be on someone’s holiday wish-list so make sure you buy early and save!
Bollwitt has a family pack to tickets to give away. Instructions for how to win are in her posting. Good luck!
I have tried to find more information about the exhibit since it is described as educational. Here’s the best I can do (from the Marvel Avengers S.T.A.T.I.O.N. website),
About
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),
About Neon
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.
Bill Nye in Vancouver on June 20, 2023
Details about this show come courtesy of Daniel Chai’s November 15, 2022 news item on the Daily Hive (Note: A link has been removed),
Beloved scientist Bill Nye the Science Guy is coming to Vancouver in 2023, and he just might inspire local fans to help save the world.
Science World has announced that The End is Nye! An Evening with Bill Nye the Science Guy! is taking place on Tuesday, June 20, 2023 [8 pm], at Queen Elizabeth Theatre.
Nye will be presenting his new live multimedia show based on his Peacock series, The End is Nye. Science World promises that it will be “an eye-opening, funny, informative, incredible evening.”
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 [2023], 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 [2022] 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.
This information about these events and papers comes courtesy of the Metacreation Lab for Creative AI (artificial intelligence) at Simon Fraser University and, as usual for the lab, the emphasis is on music.
Music + AI Reading Group @ Mila x Vector Institute
Philippe Pasquier, Metacreation Lab director and professor, is giving a presentation on Friday, August 12, 2022 at 11 am PST (2 pm EST). Here’s more from the August 10, 2022 Metacreation Lab announcement (received via email),
Metacreaton Lab director Philippe Pasquier and PhD researcher Jeff Enns will be presenting next week [tomorrow on August 12 ,2022] at the Music + AI Reading Group hosted by Mila. The presentation will be available as a Zoom meeting.
Mila is a community of more than 900 researchers specializing in machine learning and dedicated to scientific excellence and innovation. The institute is recognized for its expertise and significant contributions in areas such as modelling language, machine translation, object recognition and generative models.
Getting back to the Music + AI Reading Group @ Mila x Vector Institute, there is an invitation to join the group which meets every Friday at 2 pm EST, from the Google group page,
…
unread,Feb 24, 2022, 2:47:23 PMto Community Announcements🎹🧠🚨Online Music + AI Reading Group @ Mila x Vector Institute 🎹🧠🚨
Dear members of the ISMIR [International Society for Music Information Retrieval] Community,
Together with fellow researchers at Mila (the Québec AI Institute) in Montréal, canada [sic], we have the pleasure of inviting you to join the Music + AI Reading Group @ Mila x Vector Institute. Our reading group gathers every Friday at 2pm Eastern Time. Our purpose is to build an interdisciplinary forum of researchers, students and professors alike, across industry and academia, working at the intersection of Music and Machine Learning.
During each meeting, a speaker presents a research paper of their choice during 45’, leaving 15 minutes for questions and discussion. The purpose of the reading group is to : – Gather a group of Music+AI/HCI [human-computer interface]/others people to share their research, build collaborations, and meet peer students. We are not constrained to any specific research directions, and all people are welcome to contribute. – People share research ideas and brainstorm with others. – Researchers not actively working on music-related topics but interested in the field can join and keep up with the latest research in the area, sharing their thoughts and bringing in their own backgrounds.
Our topics of interest cover (beware : the list is not exhaustive !) : 🎹 Music Generation 🧠 Music Understanding 📇 Music Recommendation 🗣 Source Separation and Instrument Recognition 🎛 Acoustics 🗿 Digital Humanities … 🙌 … and more (we are waiting for you :]) !
— If you wish to attend one of our upcoming meetings, simply join our Google Group : https://groups.google.com/g/music_reading_group. You will automatically subscribe to our weekly mailing list and be able to contact other members of the group. —
Bravo to the two student organizers for putting this together!
Calliope Composition Environment for music makers
From the August 10, 2022 Metacreation Lab announcement,
Calling all music makers! We’d like to share some exciting news on one of the latest music creation tools from its creators, and .
Calliope is an interactive environment based on MMM for symbolic music generation in computer-assisted composition. Using this environment, the user can generate or regenerate symbolic music from a “seed” MIDI file by using a practical and easy-to-use graphical user interface (GUI). Through MIDI streaming, the system can interface with your favourite DAW (Digital Audio Workstation) such as Ableton Live, allowing creators to combine the possibilities of generative composition with their preferred virtual instruments sound design environments.
The project has now entered an open beta-testing phase, and inviting music creators to try the compositional system on their own! Head to the metacreation website to learn more and register for the beta testing.
You can also listen to a Calliope piece “the synthrider,” an Italo-disco fantasy of a machine, by Philippe Pasquier and Renaud Bougueng Tchemeube for the 2022 AI Song Contest.
3rd Conference on AI Music Creativity (AIMC 2022)
This in an online conference and it’s free but you do have to register. From the August 10, 2022 Metacreation Lab announcement,
Registration has opened for the 3rd Conference on AI Music Creativity (AIMC 2022), which will be held 13-15 September, 2022. The conference features 22 accepted papers, 14 music works, and 2 workshops. Registered participants will get full access to the scientific and artistic program, as well as conference workshops and virtual social events.
The conference theme is “The Sound of Future Past — Colliding AI with Music Tradition” and I noticed that a number of the organizers are based in Japan. Often, the organizers’ home country gets some extra time in the spotlight, which is what makes these international conferences so interesting and valuable.
Autolume Live
This concerns generative adversarial networks (GANs) and a paper proposing “… Autolume-Live, the first GAN-based live VJing-system for controllable video generation.”
Here’s more from the August 10, 2022 Metacreation Lab announcement,
Jonas Kraasch & Phiippe Pasquier recently presented their latest work on the Autolume system at xCoAx, the 10th annual Conference on Computation, Communication, Aesthetics & X. Their paper is an in-depth exploration of the ways that creative artificial intelligence is increasingly used to generate static and animated visuals.
While there are a host of systems to generate images, videos and music videos, there is a lack of real-time video synthesisers for live music performances. To address this gap, Kraasch and Pasquier propose Autolume-Live, the first GAN-based live VJing-system for controllable video generation.
As these things go, the paper is readable even by nonexperts (assuming you have some tolerance for being out of your depth from time to time). Here’s an example of the text and an installation (in Kelowna, BC) from the paper, Autolume-Live: Turning GANsinto a Live VJing tool,
Due to the 2020-2022 situation surrounding COVID-19, we were unable to use our system to accompany live performances. We have used different iterations of Autolume-Live to create two installations. We recorded some curated sessions and displayed them at the Distopya sound art festival in Istanbul 2021 (Dystopia Sound and Art Festival 2021) and Light-Up Kelowna 2022 (ARTSCO 2022) [emphasis mine]. In both iterations, we let the audio mapping automatically generate the video without using any of the additional image manipulations. These installations show that the system on its own is already able to generate interesting and responsive visuals for a musical piece.
For the installation at the Distopya sound art festival we trained a Style-GAN2 (-ada) model on abstract paintings and rendered a video using the de-scribed Latent Space Traversal mapping. For this particular piece we ran a super-resolution model on the final video as the original video output was in 512×512 and the wanted resolution was 4k. For our piece at Light-Up Kelowna [emphasis mine] we ran Autolume-Live with the Latent Space Interpolation mapping. The display included three urban screens, which allowed us to showcase three renders at the same time. We composed a video triptych using a dataset of figure drawings, a dataset of medical sketches and to tie the two videos together a model trained on a mixture of both datasets.
…
I found some additional information about the installation in Kelowna (from a February 7, 2022 article in The Daily Courier),
…
The artwork is called ‘Autolume Acedia’.
“(It) is a hallucinatory meditation on the ancient emotion called acedia. Acedia describes a mixture of contemplative apathy, nervous nostalgia, and paralyzed angst,” the release states. “Greek monks first described this emotion two millennia ago, and it captures the paradoxical state of being simultaneously bored and anxious.”
Algorithms created the set-to-music artwork but a team of humans associated with Simon Fraser University, including Jonas Kraasch and Philippe Pasquier, was behind the project.
…
These are among the artistic images generated by a form of artificial intelligence now showing nightly on the exterior of the Rotary Centre for the Arts in downtown Kelowna. [downloaded from https://www.kelownadailycourier.ca/news/article_6f3cefea-886c-11ec-b239-db72e804c7d6.html]
You can find the videos used in the installation and more information on the Metacreation Lab’s Autolume Acedia webpage.
Movement and the Metacreation Lab
Here’s a walk down memory lane: Tom Calvert, a professor at Simon Fraser University (SFU) and deceased September 28, 2021, laid the groundwork for SFU’s School of Interactive Arts & Technology (SIAT) and, in particular studies in movement. From SFU’s In memory of Tom Calvert webpage,
…
As a researcher, Tom was most interested in computer-based tools for user interaction with multimedia systems, human figure animation, software for dance, and human-computer interaction. He made significant contributions to research in these areas resulting in the Life Forms system for human figure animation and the DanceForms system for dance choreography. These are now developed and marketed by Credo Interactive Inc., a software company of which he was CEO.
…
While the Metacreation Lab is largely focused on music, other fields of creativity are also studied, from the August 10, 2022 Metacreation Lab announcement,
MITACS Accelerate award – partnership with Kinetyx
We are excited to announce that the Metacreation Lab researchers will be expanding their work on motion capture and movement data thanks to a new MITACS Accelerate research award.
The project will focus on body pose estimation using Motion Capture data acquisition through a partnership with Kinetyx, a Calgary-based innovative technology firm that develops in-shoe sensor-based solutions for a broad range of sports and performance applications.
Movement Database – MoDa
On the subject of motion data and its many uses in conjunction with machine learning and AI, we invite you to check out the extensive Movement Database (MoDa), led by transdisciplinary artist and scholar Shannon Cyukendall, and AI Researcher Omid Alemi.
Spanning a wide range of categories such as dance, affect-expressive movements, gestures, eye movements, and more, this database offers a wealth of experiments and captured data available in a variety of formats.
MITACS (originally a federal government mathematics-focused Network Centre for Excellence) is now a funding agency (most of the funds they distribute come from the federal government) for innovation.
As for the Calgary-based company (in the province of Alberta for those unfamiliar with Canadian geography), here they are in their own words (from the Kinetyx About webpage),
Kinetyx® is a diverse group of talented engineers, designers, scientists, biomechanists, communicators, and creators, along with an energy trader, and a medical doctor that all bring a unique perspective to our team. A love of movement and the science within is the norm for the team, and we’re encouraged to put our sensory insoles to good use. We work closely together to make movement mean something.
…
We’re working towards a future where movement is imperceptibly quantified and indispensably communicated with insights that inspire action. We’re developing sensory insoles that collect high-fidelity data where the foot and ground intersect. Capturing laboratory quality data, out in the real world, unlocking entirely new ways to train, study, compete, and play. The insights we provide will unlock unparalleled performance, increase athletic longevity, and provide a clear path to return from injury. We transform lives by empowering our growing community to remain moved.
…
We believe that high quality data is essential for us to have a meaningful place in the Movement Metaverse [1]. Our team of engineers, sport scientists, and developers work incredibly hard to ensure that our insoles and the insights we gather from them will meet or exceed customer expectations. The forces that are created and experienced while standing, walking, running, and jumping are inferred by many wearables, but our sensory insoles allow us to measure, in real-time, what’s happening at the foot-ground intersection. Measurements of force and power in addition to other traditional gait metrics, will provide a clear picture of a part of the Kinesome [2] that has been inaccessible for too long. Our user interface will distill enormous amounts of data into meaningful insights that will lead to positive behavioral change.
[1] The Movement Metaverse is the collection of ever-evolving immersive experiences that seamlessly span both the physical and virtual worlds with unprecedented interoperability.
[2] Kinesome is the dynamic characterization and quantification encoded in an individual’s movement and activity. Broadly; an individual’s unique and dynamic movement profile. View the kinesome nft. [Note: Was not able to successfully open link as of August 11, 2022)
“… make movement mean something … .” Really?
The reference to “… energy trader …” had me puzzled but an August 11, 2022 Google search at 11:53 am PST unearthed this,
An energy trader is a finance professional who manages the sales of valuable energy resources like gas, oil, or petroleum. An energy trader is expected to handle energy production and financial matters in such a fast-paced workplace.May 16, 2022
I thought it best to break this up a bit. There are a couple of ‘objects’ still to be discussed but this is mostly the commentary part of this letter to you. (Here’s a link for anyone who stumbled here but missed Part 1.)
Ethics, the natural world, social justice, eeek, and AI
Dorothy Woodend in her March 10, 2022 review for The Tyee) suggests some ethical issues in her critique of the ‘bee/AI collaboration’ and she’s not the only one with concerns. UNESCO (United Nations Educational, Scientific and Cultural Organization) has produced global recommendations for ethical AI (see my March 18, 2022 posting). More recently, there’s “Racist and sexist robots have flawed AI,” a June 23, 2022 posting, where researchers prepared a conference presentation and paper about deeply flawed AI still being used in robots.
Ultimately, the focus is always on humans and Woodend has extended the ethical AI conversation to include insects and the natural world. In short, something less human-centric.
My friend, this reference to the de Young exhibit may seem off topic but I promise it isn’t in more ways than one. The de Young Museum in San Francisco (February 22, 2020 – June 27, 2021) also held and AI and art show called, “Uncanny Valley: Being Human in the Age of AI”), from the exhibitions page,
In today’s AI-driven world, increasingly organized and shaped by algorithms that track, collect, and evaluate our data, the question of what it means to be human [emphasis mine] has shifted. Uncanny Valley is the first major exhibition to unpack this question through a lens of contemporary art and propose new ways of thinking about intelligence, nature, and artifice. [emphasis mine]
Courtesy: de Young Museum [downloaded from https://deyoung.famsf.org/exhibitions/uncanny-valley]
As you can see, it hinted (perhaps?) at an attempt to see beyond human-centric AI. (BTW, I featured this ‘Uncanny Valley’ show in my February 25, 2020 posting where I mentioned Stephanie Dinkins [featured below] and other artists.)
Social justice
While the VAG show doesn’t see much past humans and AI, it does touch on social justice. In particular there’s Pod 15 featuring the Algorithmic Justice League (AJL). The group “combine[s] art and research to illuminate the social implications and harms of AI” as per their website’s homepage.
In Pod 9, Stephanie Dinkins’ video work with a robot (Bina48), which was also part of the de Young Museum ‘Uncanny Valley’ show, addresses some of the same issues.
Still of Stephanie Dinkins, “Conversations with Bina48,” 2014–present. Courtesy of the artist [downloaded from https://deyoung.famsf.org/stephanie-dinkins-conversations-bina48-0]
From the the de Young Museum’s Stephanie Dinkins “Conversations with Bina48” April 23, 2020 article by Janna Keegan (Dinkins submitted the same work you see at the VAG show), Note: Links have been removed,
Transdisciplinary artist and educator Stephanie Dinkins is concerned with fostering AI literacy. The central thesis of her social practice is that AI, the internet, and other data-based technologies disproportionately impact people of color, LGBTQ+ people, women, and disabled and economically disadvantaged communities—groups rarely given a voice in tech’s creation. Dinkins strives to forge a more equitable techno-future by generating AI that includes the voices of multiple constituencies …
The artist’s ongoing Conversations with Bina48 takes the form of a series of interactions with the social robot Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second). The machine is the brainchild of Martine Rothblatt, an entrepreneur in the field of biopharmaceuticals who, with her wife, Bina, cofounded the Terasem Movement, an organization that seeks to extend human life through cybernetic means. In 2007 Martine commissioned Hanson Robotics to create a robot whose appearance and consciousness simulate Bina’s. The robot was released in 2010, and Dinkins began her work with it in 2014.
…
Part psychoanalytical discourse, part Turing test, Conversations with Bina48 also participates in a larger dialogue regarding bias and representation in technology. Although Bina Rothblatt is a Black woman, Bina48 was not programmed with an understanding of its Black female identity or with knowledge of Black history. Dinkins’s work situates this omission amid the larger tech industry’s lack of diversity, drawing attention to the problems that arise when a roughly homogenous population creates technologies deployed globally. When this occurs, writes art critic Tess Thackara, “the unconscious biases of white developers proliferate on the internet, mapping our social structures and behaviors onto code and repeating imbalances and injustices that exist in the real world.” One of the most appalling and public of these instances occurred when a Google Photos image-recognition algorithm mislabeled the faces of Black people as “gorillas.”
…
Eeek
You will find as you go through the ‘imitation game’ a pod with a screen showing your movements through the rooms in realtime on a screen. The installation is called “Creepers” (2021-22). The student team from Vancouver’s Centre for Digital Media (CDM) describes their project this way, from the CDM’s AI-driven Installation Piece for the Vancouver Art Gallery webpage,
Project Description
Kaleidoscope [team name] is designing an installation piece that harnesses AI to collect and visualize exhibit visitor behaviours, and interactions with art, in an impactful and thought-provoking way.
There’s no warning that you’re being tracked and you can see they’ve used facial recognition software to track your movements through the show. It’s claimed on the pod’s signage that they are deleting the data once you’ve left.
‘Creepers’ is an interesting approach to the ethics of AI. The name suggests that even the student designers were aware it was problematic.
In recovery from an existential crisis (meditations)
There’s something greatly ambitious about “The Imitation Game: Visual Culture in the Age of Artificial Intelligence” and walking up the VAG’s grand staircase affirms that ambition. Bravo to the two curators, Grenville and Entis for an exhibition.that presents a survey (or overview) of artificial intelligence, and its use in and impact on creative visual culture.
I’ve already enthused over the history (specifically Turing, Lovelace, Ovid), admitted to being mesmerized by Scott Eaton’s sculpture/AI videos, and confessed to a fascination (and mild repulsion) regarding Oxman’s honeycombs.
It’s hard to remember all of the ‘objects’ as the curators have offered a jumble of work, almost all of them on screens. Already noted, there’s Norbert Wiener’s The Moth (1949) and there are also a number of other computer-based artworks from the 1960s and 1970s. Plus, you’ll find works utilizing a GAN (generative adversarial network), an AI agent that is explained in the exhibit.
It’s worth going more than once to the show as there is so much to experience.
Why did they do that?
Dear friend, I’ve already commented on the poor flow through the show and It’s hard to tell if the curators intended the experience to be disorienting but this is to the point of chaos, especially when the exhibition is crowded.
I’ve seen Grenville’s shows before. In particular there was “MashUp: The Birth of Modern Culture, a massive survey documenting the emergence of a mode of creativity that materialized in the late 1800s and has grown to become the dominant model of cultural production in the 21st century” and there was “KRAZY! The Delirious World of Anime + Manga + Video Games + Art.” As you can see from the description, he pulls together disparate works and ideas into a show for you to ‘make sense’ of them.
One of the differences between those shows and the “imitation Game: …” is that most of us have some familiarity, whether we like it or not, with modern art/culture and anime/manga/etc. and can try to ‘make sense’ of it.
By contrast, artificial intelligence (which even experts have difficulty defining) occupies an entirely different set of categories; all of them associated with science/technology. This makes for a different kind of show so the curators cannot rely on the audience’s understanding of basics. It’s effectively an art/sci or art/tech show and, I believe, the first of its kind at the Vancouver Art Gallery. Unfortunately, the curators don’t seem to have changed their approach to accommodate that difference.
AI is also at the centre of a current panic over job loss, loss of personal agency, automated racism and sexism, etc. which makes the experience of viewing the show a little tense. In this context, their decision to commission and use ‘Creepers’ seems odd.
Where were Ai-Da and Dall-E-2 and the others?
Oh friend, I was hoping for a robot. Those roomba paintbots didn’t do much for me. All they did was lie there on the floor
To be blunt I wanted some fun and perhaps a bit of wonder and maybe a little vitality. I wasn’t necessarily expecting Ai-Da, an artisitic robot, but something three dimensional and fun in this very flat, screen-oriented show would have been nice.
Ai-Da was at the Glastonbury Festival in the U from 23-26th June 2022. Here’s Ai-Da and her Billie Eilish (one of the Glastonbury 2022 headliners) portrait. [downloaded from https://www.ai-darobot.com/exhibition]
Ai-Da was first featured here in a December 17, 2021 posting about performing poetry that she had written in honour of the 700th anniversary of poet Dante Alighieri’s death.
Named in honour of Ada Lovelace, Ai-Da visited the 2022 Venice Biennale as Leah Henrickson and Simone Natale describe in their May 12, 2022 article for Fast Company (Note: Links have been removed),
Ai-Da sits behind a desk, paintbrush in hand. She looks up at the person posing for her, and then back down as she dabs another blob of paint onto the canvas. A lifelike portrait is taking shape. If you didn’t know a robot produced it, this portrait could pass as the work of a human artist.
Ai-Da is touted as the “first robot to paint like an artist,” and an exhibition of her work, called Leaping into the Metaverse, opened at the Venice Biennale.
Ai-Da produces portraits of sitting subjects using a robotic hand attached to her lifelike feminine figure. She’s also able to talk, giving detailed answers to questions about her artistic process and attitudes toward technology. She even gave a TEDx talk about “The Intersection of Art and AI” in Oxford a few years ago. While the words she speaks are programmed, Ai-Da’s creators have also been experimenting with having her write and perform her own poetry.
DALL-E 2 is a new neural network [AI] algorithm that creates a picture from a short phrase or sentence that you provide. The program, which was announced by the artificial intelligence research laboratory OpenAI in April 2022, hasn’t been released to the public. But a small and growing number of people – myself included – have been given access to experiment with it.
As a researcher studying the nexus of technology and art, I was keen to see how well the program worked. After hours of experimentation, it’s clear that DALL-E – while not without shortcomings – is leaps and bounds ahead of existing image generation technology. It raises immediate questions about how these technologies will change how art is made and consumed. It also raises questions about what it means to be creative when DALL-E 2 seems to automate so much of the creative process itself.
…
A July 4, 2022 article “DALL-E, Make Me Another Picasso, Please” by Laura Lane for The New Yorker has a rebuttal to Ada Lovelace’s contention that creativity is uniquely human (Note: A link has been removed),
…
“There was this belief that creativity is this deeply special, only-human thing,” Sam Altman, OpenAI’s C.E.O., explained the other day. Maybe not so true anymore, he said. Altman, who wore a gray sweater and had tousled brown hair, was videoconferencing from the company’s headquarters, in San Francisco. DALL-E is still in a testing phase. So far, OpenAI has granted access to a select group of people—researchers, artists, developers—who have used it to produce a wide array of images: photorealistic animals, bizarre mashups, punny collages. Asked by a user to generate “a plate of various alien fruits from another planet photograph,” DALL-E returned something kind of like rambutans. “The rest of mona lisa” is, according to DALL-E, mostly just one big cliff. Altman described DALL-E as “an extension of your own creativity.”
AI artists first hit my radar in August 2018 when Christie’s Auction House advertised an art auction of a ‘painting’ by an algorithm (artificial intelligence). There’s more in my August 31, 2018 posting but, briefly, a French art collective, Obvious, submitted a painting, “Portrait of Edmond de Belamy,” that was created by an artificial intelligence agent to be sold for an estimated to $7000 – $10,000. They weren’t even close. According to Ian Bogost’s March 6, 2019 article for The Atlantic, the painting sold for $432,500 In October 2018.
…
That posting also included AI artist, AICAN. Both artist-AI agents (Obvious and AICAN) are based on GANs (generative adversarial networks) for learning and eventual output. Both artist-AI agents work independently or with human collaborators on art works that are available for purchase.
As might be expected not everyone is excited about AI and visual art. Sonja Drimmer, Professor of Medieval Art, University of Massachusetts at Amherst, provides another perspective on AI, visual art, and, her specialty, art history in her November 1, 2021 essay for The Conversation (Note: Links have been removed),
Over the past year alone, I’ve come across articles highlighting how artificial intelligence recovered a “secret” painting of a “lost lover” of Italian painter Modigliani, “brought to life” a “hidden Picasso nude”, “resurrected” Austrian painter Gustav Klimt’s destroyed works and “restored” portions of Rembrandt’s 1642 painting “The Night Watch.” The list goes on.
As an art historian, I’ve become increasingly concerned about the coverage and circulation of these projects.
They have not, in actuality, revealed one secret or solved a single mystery.
What they have done is generate feel-good stories about AI.
…
Take the reports about the Modigliani and Picasso paintings.
These were projects executed by the same company, Oxia Palus, which was founded not by art historians but by doctoral students in machine learning.
In both cases, Oxia Palus relied upon traditional X-rays, X-ray fluorescence and infrared imaging that had already been carried out and published years prior – work that had revealed preliminary paintings beneath the visible layer on the artists’ canvases.
The company edited these X-rays and reconstituted them as new works of art by applying a technique called “neural style transfer.” This is a sophisticated-sounding term for a program that breaks works of art down into extremely small units, extrapolates a style from them and then promises to recreate images of other content in that same style.
…
As you can ‘see’ my friend, the topic of AI and visual art is a juicy one. In fact, I have another example in my June 27, 2022 posting, which is titled, “Art appraised by algorithm.” So, Grenville’s and Entis’ decision to focus on AI and its impact on visual culture is quite timely.
Visual culture: seeing into the future
The VAG Imitation Game webpage lists these categories of visual culture “animation, architecture, art, fashion, graphic design, urban design and video games …” as being represented in the show. Movies and visual art, not mentioned in the write up, are represented while theatre and other performing arts are not mentioned or represented. That’ s not a surprise.
In addition to an area of science/technology that’s not well understood even by experts, the curators took on the truly amorphous (and overwhelming) topic of visual culture. Given that even writing this commentary has been a challenge, I imagine pulling the show together was quite the task.
Grenville often grounds his shows in a history of the subject and, this time, it seems especially striking. You’re in a building that is effectively a 19th century construct and in galleries that reflect a 20th century ‘white cube’ aesthetic, while looking for clues into the 21st century future of visual culture employing technology that has its roots in the 19th century and, to some extent, began to flower in the mid-20th century.
Chung’s collaboration is one of the only ‘optimistic’ notes about the future and, as noted earlier, it bears a resemblance to Wiener’s 1949 ‘Moth’
Overall, it seems we are being cautioned about the future. For example, Oxman’s work seems bleak (bees with no flowers to pollinate and living in an eternal spring). Adding in ‘Creepers’ and surveillance along with issues of bias and social injustice reflects hesitation and concern about what we will see, who sees it, and how it will be represented visually.
Learning about robots, automatons, artificial intelligence, and more
I wish the Vancouver Art Gallery (and Vancouver’s other art galleries) would invest a little more in audience education. A couple of tours, by someone who may or may not know what they’re talking, about during the week do not suffice. The extra material about Stephanie Dinkins and her work (“Conversations with Bina48,” 2014–present) came from the de Young Museum’s website. In my July 26, 2021 commentary on North Vancouver’s Polygon Gallery 2021 show “Interior Infinite,” I found background information for artist Zanele Muholi on the Tate Modern’s website. There is nothing on the VAG website that helps you to gain some perspective on the artists’ works.
It seems to me that if the VAG wants to be considered world class, it should conduct itself accordingly and beefing up its website with background information about their current shows would be a good place to start.
Robots, automata, and artificial intelligence
Prior to 1921, robots were known exclusively as automatons. These days, the word ‘automaton’ (or ‘automata’ in the plural) seems to be used to describe purely mechanical representations of humans from over 100 years ago whereas the word ‘robot’ can be either ‘humanlike’ or purely machine, e.g. a mechanical arm that performs the same function over and over. I have a good February 24, 2017 essay on automatons by Miguel Barral for OpenMind BBVA*, which provides some insight into the matter,
The concept of robot is relatively recent. The idea was introduced in 1921 by the Czech writer Karel Capek in his work R.U.R to designate a machine that performs tasks in place of man. But their predecessors, the automatons (from the Greek automata, or “mechanical device that works by itself”), have been the object of desire and fascination since antiquity. Some of the greatest inventors in history, such as Leonardo Da Vinci, have contributed to our fascination with these fabulous creations:
The Al-Jazari automatons
The earliest examples of known automatons appeared in the Islamic world in the 12th and 13th centuries. In 1206, the Arab polymath Al-Jazari, whose creations were known for their sophistication, described some of his most notable automatons: an automatic wine dispenser, a soap and towels dispenser and an orchestra-automaton that operated by the force of water. This latter invention was meant to liven up parties and banquets with music while floating on a pond, lake or fountain.
As the water flowed, it started a rotating drum with pegs that, in turn, moved levers whose movement produced different sounds and movements. As the pegs responsible for the musical notes could be exchanged for different ones in order to interpret another melody, it is considered one of the first programmable machines in history.
…
If you’re curious about automata, my friend, I found this Sept. 26, 2016 ABC news radio news item about singer Roger Daltrey’s and his wife, Heather’s auction of their collection of 19th century French automata (there’s an embedded video showcasing these extraordinary works of art). For more about automata, robots, and androids, there’s an excellent May 4, 2022 article by James Vincent, ‘A visit to the human factory; How to build the world’s most realistic robot‘ for The Verge; Vincent’s article is about Engineered Arts, the UK-based company that built Ai-Da.
AI is often used interchangeably with ‘robot’ but they aren’t the same. Not all robots have AI integrated into their processes. At its simplest AI is an algorithm or set of algorithms, which may ‘live’ in a CPU and be effectively invisible or ‘live’ in or make use of some kind of machine and/or humanlike body. As the experts have noted, the concept of artificial intelligence is a slippery concept.
*OpenMind BBVA is a Spanish multinational financial services company, Banco Bilbao Vizcaya Argentaria (BBVA), which runs the non-profit project, OpenMind (About us page) to disseminate information on robotics and so much more.*
You can’t always get what you want
My friend,
I expect many of the show’s shortcomings (as perceived by me) are due to money and/or scheduling issues. For example, Ai-Da was at the Venice Biennale and if there was a choice between the VAG and Biennale, I know where I’d be.
Even with those caveats in mind, It is a bit surprising that there were no examples of wearable technology. For example, Toronto’s Tapestry Opera recently performed R.U.R. A Torrent of Light (based on the word ‘robot’ from Karel Čapek’s play, R.U.R., ‘Rossumovi Univerzální Roboti’), from my May 24, 2022 posting,
I have more about tickets prices, dates, and location later in this post but first, here’s more about the opera and the people who’ve created it from the Tapestry Opera’s ‘R.U.R. A Torrent of Light’ performance webpage,
“This stunning new opera combines dance, beautiful multimedia design, a chamber orchestra including 100 instruments creating a unique electronica-classical sound, and wearable technology [emphasis mine] created with OCAD University’s Social Body Lab, to create an immersive and unforgettable science-fiction experience.”
And, from later in my posting,
“Despite current stereotypes, opera was historically a launchpad for all kinds of applied design technologies. [emphasis mine] Having the opportunity to collaborate with OCAD U faculty is an invigorating way to reconnect to that tradition and foster connections between art, music and design, [emphasis mine]” comments the production’s Director Michael Hidetoshi Mori, who is also Tapestry Opera’s Artistic Director.
That last quote brings me back to the my comment about theatre and performing arts not being part of the show. Of course, the curators couldn’t do it all but a website with my hoped for background and additional information could have helped to solve the problem.
The absence of the theatrical and performing arts in the VAG’s ‘Imitation Game’ is a bit surprising as the Council of Canadian Academies (CCA) in their third assessment, “Competing in a Global Innovation Economy: The Current State of R&D in Canada” released in 2018 noted this (from my April 12, 2018 posting),
Canada, relative to the world, specializes in subjects generally referred to as the humanities and social sciences (plus health and the environment), and does not specialize as much as others in areas traditionally referred to as the physical sciences and engineering. Specifically, Canada has comparatively high levels of research output in Psychology and Cognitive Sciences, Public Health and Health Services, Philosophy and Theology, Earth and Environmental Sciences, and Visual and Performing Arts. [emphasis mine] It accounts for more than 5% of world research in these fields. Conversely, Canada has lower research output than expected in Chemistry, Physics and Astronomy, Enabling and Strategic Technologies, Engineering, and Mathematics and Statistics. The comparatively low research output in core areas of the natural sciences and engineering is concerning, and could impair the flexibility of Canada’s research base, preventing research institutions and researchers from being able to pivot to tomorrow’s emerging research areas. [p. xix Print; p. 21 PDF]
US-centric
My friend,
I was a little surprised that the show was so centered on work from the US given that Grenville has curated ate least one show where there was significant input from artists based in Asia. Both Japan and Korea are very active with regard to artificial intelligence and it’s hard to believe that their artists haven’t kept pace. (I’m not as familiar with China and its AI efforts, other than in the field of facial recognition, but it’s hard to believe their artists aren’t experimenting.)
The Americans, of course, are very important developers in the field of AI but they are not alone and it would have been nice to have seen something from Asia and/or Africa and/or something from one of the other Americas. In fact, anything which takes us out of the same old, same old. (Luba Elliott wrote this (2019/2020/2021?) essay, “Artificial Intelligence Art from Africa and Black Communities Worldwide” on Aya Data if you want to get a sense of some of the activity on the African continent. Elliott does seem to conflate Africa and Black Communities, for some clarity you may want to check out the Wikipedia entry on Africanfuturism, which contrasts with this August 12, 2020 essay by Donald Maloba, “What is Afrofuturism? A Beginner’s Guide.” Maloba also conflates the two.)
As it turns out, Luba Elliott presented at the 2019 Montréal Digital Spring event, which brings me to Canada’s artificial intelligence and arts scene.
I promise I haven’t turned into a flag waving zealot, my friend. It’s just odd there isn’t a bit more given that machine learning was pioneered at the University of Toronto. Here’s more about that (from Wikipedia entry for Geoffrey Hinston),
Geoffrey Everest HintonCCFRSFRSC[11] (born 6 December 1947) is a British-Canadian cognitive psychologist and computer scientist, most noted for his work on artificial neural networks.
…
Hinton received the 2018 Turing Award, together with Yoshua Bengio [Canadian scientist] and Yann LeCun, for their work on deep learning.[24] They are sometimes referred to as the “Godfathers of AI” and “Godfathers of Deep Learning“,[25][26] and have continued to give public talks together.[27][28]
…
Some of Hinton’s work was started in the US but since 1987, he has pursued his interests at the University of Toronto. He wasn’t proven right until 2012. Katrina Onstad’s February 29, 2018 article (Mr. Robot) for Toronto Life is a gripping read about Hinton and his work on neural networks. BTW, Yoshua Bengio (co-Godfather) is a Canadian scientist at the Université de Montréal and Yann LeCun (co-Godfather) is a French scientist at New York University.
Then, there’s another contribution, our government was the first in the world to develop a national artificial intelligence strategy. Adding those developments to the CCA ‘State of Science’ report findings about visual arts and performing arts, is there another word besides ‘odd’ to describe the lack of Canadian voices?
You’re going to point out the installation by Ben Bogart (a member of Simon Fraser University’s Metacreation Lab for Creative AI and instructor at the Emily Carr University of Art + Design (ECU)) but it’s based on the iconic US scifi film, 2001: A Space Odyssey. As for the other Canadian, Sougwen Chung, she left Canada pretty quickly to get her undergraduate degree in the US and has since moved to the UK. (You could describe hers as the quintessential success story, i.e., moving from Canada only to get noticed here after success elsewhere.)
In 2019, Bruce Grenville, Senior Curator at Vancouver Art Gallery, approached [the] Centre for Digital Media to collaborate on several industry projects for the forthcoming exhibition. Four student teams tackled the project briefs over the course of the next two years and produced award-winning installations that are on display until October 23 [2022].
…
Basically, my friend, it would have been nice to see other voices or, at the least, an attempt at representing other voices and visual cultures informed by AI. As for Canadian contributions, maybe put something on the VAG website?
Playing well with others
it’s always a mystery to me why the Vancouver cultural scene seems comprised of a set of silos or closely guarded kingdoms. Reaching out to the public library and other institutions such as Science World might have cost time but could have enhanced the show
For example, one of the branches of the New York Public Library ran a programme called, “We are AI” in March 2022 (see my March 23, 2022 posting about the five-week course, which was run as a learning circle). The course materials are available for free (We are AI webpage) and I imagine that adding a ‘visual culture module’ wouldn’t be that difficult.
There is one (rare) example of some Vancouver cultural institutions getting together to offer an art/science programme and that was in 2017 when the Morris and Helen Belkin Gallery (at the University of British Columbia; UBC) hosted an exhibition of Santiago Ramon y Cajal’s work (see my Sept. 11, 2017 posting about the gallery show) along with that show was an ancillary event held by the folks at Café Scientifique at Science World and featuring a panel of professionals from UBC’s Faculty of Medicine and Dept. of Psychology, discussing Cajal’s work.
In fact, where were the science and technology communities for this show?
On a related note, the 2022 ACM SIGGRAPH conference (August 7 – 11, 2022) is being held in Vancouver. (ACM is the Association for Computing Machinery; SIGGRAPH is for Special Interest Group on Computer Graphics and Interactive Techniques.) SIGGRAPH has been holding conferences in Vancouver every few years since at least 2011.
This is both an international conference and an exhibition (of art) and the whole thing seems to have kicked off on July 25, 2022. If you’re interested, the programme can be found here and registration here.
Last time SIGGRAPH was here the organizers seemed interested in outreach and they offered some free events.
In the end
It was good to see the show. The curators brought together some exciting material. As is always the case, there were some missed opportunities and a few blind spots. But all is not lost.
July 27, 2022, the VAG held a virtual event with an artist,
… Gwenyth Chao to learn more about what happened to the honeybees and hives in Oxman’s Synthetic Apiary project. As a transdisciplinary artist herself, Chao will also discuss the relationship between art, science, technology and design. She will then guide participants to create a space (of any scale, from insect to human) inspired by patterns found in nature.
Hopefully there will be more more events inspired by specific ‘objects’. Meanwhile, August 12, 2022, the VAG is hosting,
… in partnership with the Canadian Music Centre BC, New Music at the Gallery is a live concert series hosted by the Vancouver Art Gallery that features an array of musicians and composers who draw on contemporary art themes.
Highlighting a selection of twentieth- and twenty-first-century music compositions, this second concert, inspired by the exhibition The Imitation Game: Visual Culture in the Age of Artificial Intelligence, will spotlight The Iliac Suite (1957), the first piece ever written using only a computer, and Kaija Saariaho’s Terra Memoria (2006), which is in a large part dependent on a computer-generated musical process.
…
It would be lovely if they could include an Ada Lovelace Day event. This is an international celebration held on October 11, 2022.
Sougwen Chung, Omnia per Omnia, 2018, video (excerpt), Courtesy of the Artist
*A Roomba is a robot vacuum cleaner produced and sold by iRobot.
As far as I know, this is the Vancouver Art Gallery’s first art/science or art/technology exhibit and it is an alternately fascinating, exciting, and frustrating take on artificial intelligence and its impact on the visual arts. Curated by Bruce Grenville, VAG Senior Curator, and Glenn Entis, Guest Curator, the show features 20 ‘objects’ designed to both introduce viewers to the ‘imitation game’ and to challenge them. From the VAG Imitation Game webpage,
The Imitation Game surveys the extraordinary uses (and abuses) of artificial intelligence (AI) in the production of modern and contemporary visual culture around the world. The exhibition follows a chronological narrative that first examines the development of artificial intelligence, from the 1950s to the present [emphasis mine], through a precise historical lens. Building on this foundation, it emphasizes the explosive growth of AI across disciplines, including animation, architecture, art, fashion, graphic design, urban design and video games, over the past decade. Revolving around the important roles of machine learning and computer vision in AI research and experimentation, The Imitation Game reveals the complex nature of this new tool and demonstrates its importance for cultural production.
…
And now …
As you’ve probably guessed, my friend, you’ll find a combination of both background information and commentary on the show.
I’ve initially focused on two people (a scientist and a mathematician) who were seminal thinkers about machines, intelligence, creativity, and humanity. I’ve also provided some information about the curators, which hopefully gives you some insight into the show.
As for the show itself, you’ll find a few of the ‘objects’ highlighted with one of them being investigated at more length. The curators devoted some of the show to ethical and social justice issues, accordingly, the Vancouver Art Gallery hosted the University of British Columbia’s “Speculative Futures: Artificial Intelligence Symposium” on April 7, 2022,
Presented in conjunction with the exhibition The Imitation Game: Visual Culture in the Age of Artificial Intelligence, the Speculative Futures Symposium examines artificial intelligence and the specific uses of technology in its multifarious dimensions. Across four different panel conversations, leading thinkers of today will explore the ethical implications of technology and discuss how they are working to address these issues in cultural production.”
So, you’ll find more on these topics here too.
And for anyone else reading this (not you, my friend who is ‘strong’ AI and not similar to the ‘weak’ AI found in this show), there is a description of ‘weak’ and ‘strong’ AI on the avtsim.com/weak-ai-strong-ai webpage, Note: A link has been removed,
There are two types of AI: weak AI and strong AI.
Weak, sometimes called narrow, AI is less intelligent as it cannot work without human interaction and focuses on a more narrow, specific, or niched purpose. …
Strong AI on the other hand is in fact comparable to the fictitious AIs we see in media like the terminator. The theoretical Strong AI would be equivalent or greater to human intelligence.
….
My dear friend, I hope you will enjoy.
The Imitation Game and ‘mad, bad, and dangerous to know’
In some circles, it’s better known as ‘The Turing Test;” the Vancouver Art Gallery’s ‘Imitation Game’ hosts a copy of Alan Turing’s foundational paper for establishing whether artificial intelligence is possible (I thought this was pretty exciting).
Here’s more from The Turing Test essay by Graham Oppy and David Dowe for the Stanford Encyclopedia of Philosophy,
The phrase “The Turing Test” is most properly used to refer to a proposal made by Turing (1950) as a way of dealing with the question whether machines can think. According to Turing, the question whether machines can think is itself “too meaningless” to deserve discussion (442). However, if we consider the more precise—and somehow related—question whether a digital computer can do well in a certain kind of game that Turing describes (“The Imitation Game”), then—at least in Turing’s eyes—we do have a question that admits of precise discussion. Moreover, as we shall see, Turing himself thought that it would not be too long before we did have digital computers that could “do well” in the Imitation Game.
The phrase “The Turing Test” is sometimes used more generally to refer to some kinds of behavioural tests for the presence of mind, or thought, or intelligence in putatively minded entities. …
Next to the display holding Turing’s paper, is another display with an excerpt of an explanation from Turing about how he believed Ada Lovelace would have responded to the idea that machines could think based on a copy of some of her writing (also on display). She proposed that creativity, not thinking, is what set people apart from machines. (See the April 17, 2020 article “Thinking Machines? Has the Lovelace Test Been Passed?’ on mindmatters.ai.)
It’s like a dialogue between two seminal thinkers who lived about 100 years apart; Lovelace, born in 1815 and dead in 1852, and Turing, born in 1912 and dead in 1954. Both have fascinating back stories (more about those later) and both played roles in how computers and artificial intelligence are viewed.
Adding some interest to this walk down memory lane is a 3rd display, an illustration of the ‘Mechanical Turk‘, a chess playing machine that made the rounds in Europe from 1770 until it was destroyed in 1854. A hoax that fooled people for quite a while it is a reminder that we’ve been interested in intelligent machines for centuries. (Friend, Turing and Lovelace and the Mechanical Turk are found in Pod 1.)
Back story: Turing and the apple
Turing is credited with being instrumental in breaking the German ENIGMA code during World War II and helping to end the war. I find it odd that he ended up at the University of Manchester in the post-war years. One would expect him to have been at Oxford or Cambridge. At any rate, he died in 1954 of cyanide poisoning two years after he was arrested for being homosexual and convicted of indecency. Given the choice of incarceration or chemical castration, he chose the latter. There is, to this day, debate about whether or not it was suicide. Here’s how his death is described in this Wikipedia entry (Note: Links have been removed),
On 8 June 1954, at his house at 43 Adlington Road, Wilmslow,[150] Turing’s housekeeper found him dead. He had died the previous day at the age of 41. Cyanide poisoning was established as the cause of death.[151] When his body was discovered, an apple lay half-eaten beside his bed, and although the apple was not tested for cyanide,[152] it was speculated that this was the means by which Turing had consumed a fatal dose. An inquest determined that he had committed suicide. Andrew Hodges and another biographer, David Leavitt, have both speculated that Turing was re-enacting a scene from the Walt Disney film Snow White and the Seven Dwarfs (1937), his favourite fairy tale. Both men noted that (in Leavitt’s words) he took “an especially keen pleasure in the scene where the Wicked Queen immerses her apple in the poisonous brew”.[153] Turing’s remains were cremated at Woking Crematorium on 12 June 1954,[154] and his ashes were scattered in the gardens of the crematorium, just as his father’s had been.[155]
Philosopher Jack Copeland has questioned various aspects of the coroner’s historical verdict. He suggested an alternative explanation for the cause of Turing’s death: the accidental inhalation of cyanide fumes from an apparatus used to electroplate gold onto spoons. The potassium cyanide was used to dissolve the gold. Turing had such an apparatus set up in his tiny spare room. Copeland noted that the autopsy findings were more consistent with inhalation than with ingestion of the poison. Turing also habitually ate an apple before going to bed, and it was not unusual for the apple to be discarded half-eaten.[156] Furthermore, Turing had reportedly borne his legal setbacks and hormone treatment (which had been discontinued a year previously) “with good humour” and had shown no sign of despondency prior to his death. He even set down a list of tasks that he intended to complete upon returning to his office after the holiday weekend.[156] Turing’s mother believed that the ingestion was accidental, resulting from her son’s careless storage of laboratory chemicals.[157] Biographer Andrew Hodges theorised that Turing arranged the delivery of the equipment to deliberately allow his mother plausible deniability with regard to any suicide claims.[158]
…
The US Central Intelligence Agency (CIA) also has an entry for Alan Turing dated April 10, 2015 it’s titled, The Enigma of Alan Turing.
Back story: Ada Byron Lovelace, the 2nd generation of ‘mad, bad, and dangerous to know’
A mathematician and genius in her own right, Ada Lovelace’s father George Gordon Byron, better known as the poet Lord Byron, was notoriously described as ‘mad, bad, and dangerous to know’.
Lovelace too could have been been ‘mad, bad, …’ but she is described less memorably as “… manipulative and aggressive, a drug addict, a gambler and an adulteress, …” as mentioned in my October 13, 20215 posting. It marked the 200th anniversary of her birth, which was celebrated with a British Broadcasting Corporation (BBC) documentary and an exhibit at the Science Museum in London, UK.
She belongs in the Vancouver Art Gallery’s show along with Alan Turing due to her prediction that computers could be made to create music. She also published the first computer program. Her feat is astonishing when you know only one working model {1/7th of the proposed final size) of a computer was ever produced. (The machine invented by Charles Babbage was known as a difference engine. You can find out more about the Difference engine on Wikipedia and about Babbage’s proposed second invention, the Analytical engine.)
(Byron had almost nothing to do with his daughter although his reputation seems to have dogged her. You can find out more about Lord Byron here.)
Bruce Grenville, VAG Chief/Senior Curator, seems to specialize in pulling together diverse materials to illustrate ‘big’ topics. His profile for Emily Carr University of Art + Design (where Grenville teaches) mentions these shows ,
… He has organized many thematic group exhibitions including, MashUp: The Birth of Modern Culture [emphasis mine], a massive survey documenting the emergence of a mode of creativity that materialized in the late 1800s and has grown to become the dominant model of cultural production in the 21st century; KRAZY! The Delirious World [emphasis mine] of Anime + Manga + Video Games + Art, a timely and important survey of modern and contemporary visual culture from around the world;Home and Away: Crossing Cultures on the Pacific Rim [emphasis mine] a look at the work of six artists from Vancouver, Beijing, Ho Chi Minh City, Seoul and Los Angeles, who share a history of emigration and diaspora. …
Glenn Entis, Guest Curator and founding faculty member of Vancouver’s Centre for Digital Media (CDM) is Grenville’s co-curator, from Entis’ CDM profile,
“… an Academy Award-winning animation pioneer and games industry veteran. The former CEO of Dreamworks Interactive, Glenn worked with Steven Spielberg and Jeffrey Katzenberg on a number of video games …,”
Steve Newton in his March 4, 2022 preview does a good job of describing the show although I strongly disagree with the title of his article which proclaims “The Vancouver Art Gallery takes a deep dive into artificial intelligence with The Imitation Game.” I think it’s more of a shallow dive meant to cover more distance than depth,
… The exhibition kicks off with an interactive introduction inviting visitors to actively identify diverse areas of cultural production influenced by AI.
“That was actually one of the pieces that we produced in collaboration with the Centre for Digital Media,” Grenville notes, “so we worked with some graduate-student teams that had actually helped us to design that software. It was the beginning of COVID when we started to design this, so we actually wanted a no-touch interactive. So, really, the idea was to say, ‘Okay, this is the very entrance to the exhibition, and artificial intelligence, this is something I’ve heard about, but I’m not really sure how it’s utilized in ways. But maybe I know something about architecture; maybe I know something about video games; maybe I know something about the history of film.
“So you point to these 10 categories of visual culture [emphasis mine]–video games, architecture, fashion design, graphic design, industrial design, urban design–so you point to one of those, and you might point to ‘film’, and then when you point at it that opens up into five different examples of what’s in the show, so it could be 2001: A Space Odyssey, or Bladerunner, or World on a Wire.”
After the exhibition’s introduction—which Grenville equates to “opening the door to your curiosity” about artificial intelligence–visitors encounter one of its main categories, Objects of Wonder, which speaks to the history of AI and the critical advances the technology has made over the years.
“So there are 20 Objects of Wonder [emphasis mine],” Grenville says, “which go from 1949 to 2022, and they kind of plot out the history of artificial intelligence over that period of time, focusing on a specific object. Like [mathematician and philosopher] Norbert Wiener made this cybernetic creature, he called it a ‘Moth’, in 1949. So there’s a section that looks at this idea of kind of using animals–well, machine animals–and thinking about cybernetics, this idea of communication as feedback, early thinking around neuroscience and how neuroscience starts to imagine this idea of a thinking machine.
“It’s interesting,” Grenville ponders, “artificial intelligence is virtually unregulated. [emphasis mine] You know, if you think about the regulatory bodies that govern TV or radio or all the types of telecommunications, there’s no equivalent for artificial intelligence, which really doesn’t make any sense. And so what happens is, sometimes with the best intentions [emphasis mine]—sometimes not with the best intentions—choices are made about how artificial intelligence develops. So one of the big ones is facial-recognition software [emphasis mine], and any body-detection software that’s being utilized.
In addition to it being the best overview of the show I’ve seen so far, this is the only one where you get a little insight into what the curators were thinking when they were developing it.
A deep dive into AI?
it was only while searching for a little information before the show that I realized I don’t have any definitions for artificial intelligence! What is AI? Sadly, there are no definitions of AI in the exhibit.
It seems even experts don’t have a good definition. Take a look at this,
The definition of AI is fluid [emphasis mine] and reflects a constantly shifting landscape marked by technological advancements and growing areas of application. Indeed, it has frequently been observed that once AI becomes capable of solving a particular problem or accomplishing a certain task, it is often no longer considered to be “real” intelligence [emphasis mine] (Haenlein & Kaplan, 2019). A firm definition was not applied for this report [emphasis mine], given the variety of implementations described above. However, for the purposes of deliberation, the Panel chose to interpret AI as a collection of statistical and software techniques, as well as the associated data and the social context in which they evolve — this allows for a broader and more inclusive interpretation of AI technologies and forms of agency. The Panel uses the term AI interchangeably to describe various implementations of machine-assisted design and discovery, including those based on machine learning, deep learning, and reinforcement learning, except for specific examples where the choice of implementation is salient. [p. 6 print version; p. 34 PDF version]
Sometimes a show will take you in an unexpected direction. I feel a lot better ‘not knowing’. Still, I wish the curators had acknowledged somewhere in the show that artificial intelligence is a slippery concept. Especially when you add in robots and automatons. (more about them later)
21st century technology in a 19th/20th century building
Void stairs inside the building. Completed in 1906, the building was later designated as a National Historic Site in 1980 [downloaded from https://en.wikipedia.org/wiki/Vancouver_Art_Gallery#cite_note-canen-7]
Just barely making it into the 20th century, the building where the Vancouver Art Gallery currently resides was for many years the provincial courthouse (1911 – 1978). In some ways, it’s a disconcerting setting for this show.
They’ve done their best to make the upstairs where the exhibit is displayed look like today’s galleries with their ‘white cube aesthetic’ and strong resemblance to the scientific laboratories seen in movies.
(For more about the dominance, since the 1930s, of the ‘white cube aesthetic’ in art galleries around the world, see my July 26, 2021 posting; scroll down about 50% of the way.)
It makes for an interesting tension, the contrast between the grand staircase, the cupola, and other architectural elements and the sterile, ‘laboratory’ environment of the modern art gallery.
20 Objects of Wonder and the flow of the show
It was flummoxing. Where are the 20 objects? Why does it feel like a maze in a laboratory? Loved the bees, but why? Eeeek Creepers! What is visual culture anyway? Where am I?
The objects of the show
It turns out that the curators have a more refined concept for ‘object’ than I do. There weren’t 20 material objects, there were 20 numbered ‘pods’ with perhaps a screen or a couple of screens or a screen and a material object or two illustrating the pod’s topic.
Looking up a definition for the word (accessed from a June 9, 2022 duckduckgo.com search). yielded this, (the second one seems à propos),
objectŏb′jĭkt, -jĕkt″
noun
1. Something perceptible by one or more of the senses, especially by vision or touch; a material thing.
2. A focus of attention, feeling, thought, or action.
3. A limiting factor that must be considered.
The American Heritage® Dictionary of the English Language, 5th Edition.
Each pod = a focus of attention.
The show’s flow is a maze. Am I a rat?
The pods are defined by a number and by temporary walls. So if you look up, you’ll see a number and a space partly enclosed by a temporary wall or two.
It’s a very choppy experience. For example, one minute you can be in pod 1 and, when you turn the corner, you’re in pod 4 or 5 or ? There are pods I’ve not seen, despite my two visits, because I kept losing my way. This led to an existential crisis on my second visit. “Had I missed the greater meaning of this show? Was there some sort of logic to how it was organized? Was there meaning to my life? Was I a rat being nudged around in a maze?” I didn’t know.
Thankfully, I have since recovered. But, I will return to my existential crisis later, with a special mention for “Creepers.”
The fascinating
My friend, you know I appreciated the history and in addition to Alan Turing, Ada Lovelace and the Mechanical Turk, at the beginning of the show, they included a reference to Ovid (or Pūblius Ovidius Nāsō), a Roman poet who lived from 43 BCE – 17/18 CE in one of the double digit (17? or 10? or …) in one of the pods featuring a robot on screen. As to why Ovid might be included, this excerpt from a February 12, 2018 posting on the cosmolocal.org website provides a clue (Note. Links have been removed),
The University of King’s College [Halifax, Nova Scotia] presents Automatons! From Ovid to AI, a nine-lecture series examining the history, issues and relationships between humans, robots, and artificial intelligence [emphasis mine]. The series runs from January 10 to April 4 [2018], and features leading scholars, performers and critics from Canada, the US and Britain.
“Drawing from theatre, literature, art, science and philosophy, our 2018 King’s College Lecture Series features leading international authorities exploring our intimate relationships with machines,” says Dr. Gordon McOuat, professor in the King’s History of Science and Technology (HOST) and Contemporary Studies Programs.
…
“From the myths of Ovid [emphasis mine] and the automatons [emphasis mine] of the early modern period to the rise of robots, cyborgs, AI and artificial living things in the modern world, the 2018 King’s College Lecture Series examines the historical, cultural, scientific and philosophical place of automatons in our lives—and our future,” adds McOuat.
…
I loved the way the curators managed to integrate the historical roots for artificial intelligence and, by extension, the world of automatons, robots, cyborgs, and androids. Yes, starting the show with Alan Turing and Ada Lovelace could be expected but Norbert Wiener’s Moth (1949) acts as a sort of preview for Sougwen Chung’s “Omnia per Omnia, 2018” (GIF seen at the beginning of this post). Take a look for yourself (from the cyberneticzoo.com September 19, 2009 posting by cyberne1. Do you see the similarity or am I the only one?
[sourced from Google images, Source:life) & downloaded from https://cyberneticzoo.com/cyberneticanimals/1949-wieners-moth-wiener-wiesner-singleton/]
Sculpture
This is the first time I’ve come across an AI/sculpture project. The VAG show features Scott Eaton’s sculptures on screens in a room devoted to his work.
Scott Eaton: Entangled II, 2019
4k video (still) Courtesy of the Artist [downloaded from https://www.vanartgallery.bc.ca/exhibitions/the-imitation-game]
This looks like an image of a piece of ginger root and It’s fascinating to watch the process as the AI agent ‘evolves’ Eaton’s drawings into onscreen sculptures. It would have enhanced the experience if at least one of Eaton’s ‘evolved’ and physically realized sculptures had been present in the room but perhaps there were financial and/or logistical reasons for the absence.
Both Chung and Eaton are collaborating with an AI agent. In Chung’s case the AI is integrated into the paintbots with which she interacts and paints alongside and in Eaton’s case, it’s via a computer screen. In both cases, the work is mildly hypnotizing in a way that reminds me of lava lamps.
One last note about Chung and her work. She was one of the artists invited to present new work at an invite-only April 22, 2022 Embodied Futures workshop at the “What will life become?” event held by the Berrgruen Institute and the University of Southern California (USC),
Embodied Futures invites participants to imagine novel forms of life, mind, and being through artistic and intellectual provocations on April 22 [2022].
Beginning at 1 p.m., together we will experience the launch of five artworks commissioned by the Berggruen Institute. We asked these artists: How does your work inflect how we think about “the human” in relation to alternative “embodiments” such as machines, AIs, plants, animals, the planet, and possible alien life forms in the cosmos? [emphases mine] Later in the afternoon, we will take provocations generated by the morning’s panels and the art premieres in small breakout groups that will sketch futures worlds, and lively entities that might dwell there, in 2049.
…
This leads to (and my friend, while I too am taking a shallow dive, for this bit I’m going a little deeper):
Bees and architecture
Neri Oxman’s contribution (Golden Bee Cube, Synthetic Apiary II [2020]) is an exhibit featuring three honeycomb structures and a video featuring the bees in her synthetic apiary.
Neri Oxman and the MIT Mediated Matter Group, Golden Bee Cube, Synthetic Apiary II, 2020, beeswax, acrylic, gold particles, gold powder Courtesy of Neri Oxman and the MIT Mediated Matter Group
Neri Oxman (then a faculty member of the Mediated Matter Group at the Massachusetts Institute of Technology) described the basis for the first and all other iterations of her synthetic apiary in Patrick Lynch’s October 5, 2016 article for ‘ArchDaily; Broadcasting Architecture Worldwide’, Note: Links have been removed,
Designer and architect Neri Oxman and the Mediated Matter group have announced their latest design project: the Synthetic Apiary. Aimed at combating the massive bee colony losses that have occurred in recent years, the Synthetic Apiary explores the possibility of constructing controlled, indoor environments that would allow honeybee populations to thrive year-round.
…
“It is time that the inclusion of apiaries—natural or synthetic—for this “keystone species” be considered a basic requirement of any sustainability program,” says Oxman.
In developing the Synthetic Apiary, Mediated Matter studied the habits and needs of honeybees, determining the precise amounts of light, humidity and temperature required to simulate a perpetual spring environment. [emphasis mine] They then engineered an undisturbed space where bees are provided with synthetic pollen and sugared water and could be evaluated regularly for health.
…
In the initial experiment, the honeybees’ natural cycle proved to adapt to the new environment, as the Queen was able to successfully lay eggs in the apiary. The bees showed the ability to function normally in the environment, suggesting that natural cultivation in artificial spaces may be possible across scales, “from organism- to building-scale.”
“At the core of this project is the creation of an entirely synthetic environment enabling controlled, large-scale investigations of hives,” explain the designers.
…
Mediated Matter chose to research into honeybees not just because of their recent loss of habitat, but also because of their ability to work together to create their own architecture, [emphasis mine] a topic the group has explored in their ongoing research on biologically augmented digital fabrication, including employing silkworms to create objects and environments at product, architectural, and possibly urban, scales.
“The Synthetic Apiary bridges the organism- and building-scale by exploring a “keystone species”: bees. Many insect communities present collective behavior known as “swarming,” prioritizing group over individual survival, while constantly working to achieve common goals. Often, groups of these eusocial organisms leverage collaborative behavior for relatively large-scale construction. For example, ants create extremely complex networks by tunneling, wasps generate intricate paper nests with materials sourced from local areas, and bees deposit wax to build intricate hive structures.”
…
This January 19, 2022 article by Crown Honey for its eponymous blog updates Oxman’s work (Note 1: All emphases are mine; Note 2: A link has been removed),
…
Synthetic Apiary II investigates co-fabrication between humans and honey bees through the use of designed environments in which Apis mellifera colonies construct comb. These designed environments serve as a means by which to convey information to the colony. The comb that the bees construct within these environments comprises their response to the input information, enabling a form of communication through which we can begin to understand the hive’s collective actions from their perspective.
Some environments are embedded with chemical cues created through a novel pheromone 3D-printing process, while others generate magnetic fields of varying strength and direction. Others still contain geometries of varying complexity or designs that alter their form over time.
When offered wax augmented with synthetic biomarkers, bees appear to readily incorporate it into their construction process, likely due to the high energy cost of producing fresh wax. This suggests that comb construction is a responsive and dynamic process involving complex adaptations to perturbations from environmental stimuli, not merely a set of predefined behaviors building toward specific constructed forms. Each environment therefore acts as a signal that can be sent to the colony to initiate a process of co-fabrication.
Characterization of constructed comb morphology generally involves visual observation and physical measurements of structural features—methods which are limited in scale of analysis and blind to internal architecture. In contrast, the wax structures built by the colonies in Synthetic Apiary II are analyzed through high-throughput X-ray computed tomography (CT) scans that enable a more holistic digital reconstruction of the hive’s structure.
Geometric analysis of these forms provides information about the hive’s design process, preferences, and limitations when tied to the inputs, and thereby yields insights into the invisible mediations between bees and their environment. Developing computational tools to learn from bees can facilitate the very beginnings of a dialogue with them. Refined by evolution over hundreds of thousands of years, their comb-building behaviors and social organizations may reveal new forms and methods of formation that can be applied across our human endeavors in architecture, design, engineering, and culture.
Further, with a basic understanding and language established, methods of co-fabrication together with bees may be developed, enabling the use of new biocompatible materials and the creation of more efficient structural geometries that modern technology alone cannot achieve.
In this way, we also move our built environment toward a more synergistic embodiment, able to be more seamlessly integrated into natural environments through material and form, even providing habitats of benefit to both humans and nonhumans. It is essential to our mutual survival for us to not only protect but moreover to empower these critical pollinators – whose intrinsic behaviors and ecosystems we have altered through our industrial processes and practices of human-centric design – to thrive without human intervention once again.
In order to design our way out of the environmental crisis that we ourselves created, we must first learn to speak nature’s language. …
The three (natural, gold nanoparticle, and silver nanoparticle) honeycombs in the exhibit are among the few physical objects (the others being the historical documents and the paintbots with their canvasses) in the show and it’s almost a relief after the parade of screens. It’s the accompanying video that’s eerie. Everything is in white, as befits a science laboratory, in this synthetic apiary where bees are fed sugar water and fooled into a spring that is eternal.
Courtesy: Massachusetts Institute of Technology Copyright: Mediated Matter [downloaded from https://www.media.mit.edu/projects/synthetic-apiary/overview/]
(You may want to check out Lynch’s October 5, 2016 article or Crown Honey’s January 19, 2022 article as both have embedded images and the Lynch article includes a Synthetic Apiary video. The image above is a still from the video.)
As I asked a friend, where are the flowers? Ron Miksha, a bee ecologist working at the University of Calgary, details some of the problems with Oxman’s Synthetic Apiary this way in his October 7, 2016 posting on his Bad Beekeeping Blog,
In a practical sense, the synthetic apiary fails on many fronts: Bees will survive a few months on concoctions of sugar syrup and substitute pollen, but they need a natural variety of amino acids and minerals to actually thrive. They need propolis and floral pollen. They need a ceiling 100 metres high and a 2-kilometre hallway if drone and queen will mate, or they’ll die after the old queen dies. They need an artificial sun that travels across the sky, otherwise, the bees will be attracted to artificial lights and won’t return to their hive. They need flowery meadows, fresh water, open skies. [emphasis mine] They need a better holodeck.
Dorothy Woodend’s March 10, 2022 review of the VAG show for The Tyee poses other issues with the bees and the honeycombs,
…
When AI messes about with other species, there is something even more unsettling about the process. American-Israeli artist Neri Oxman’s Golden Bee Cube, Synthetic Apiary II, 2020 uses real bees who are proffered silver and gold [nanoparticles] to create their comb structures. While the resulting hives are indeed beautiful, rendered in shades of burnished metal, there is a quality of unease imbued in them. Is the piece akin to apiary torture chambers? I wonder how the bees feel about this collaboration and whether they’d like to renegotiate the deal.
…
There’s no question the honeycombs are fascinating and disturbing but I don’t understand how artificial intelligence was a key factor in either version of Oxman’s synthetic apiary. In the 2022 article by Crown Honey, there’s this “Developing computational tools to learn from bees can facilitate the very beginnings of a dialogue with them [honeybees].” It’s probable that the computational tools being referenced include AI and the Crown Honey article seems to suggest those computational tools are being used to analyze the bees behaviour after the fact.
Yes, I can imagine a future where ‘strong’ AI (such as you, my friend) is in ‘dialogue’ with the bees and making suggestions and running the experiments but it’s not clear that this is the case currently. The Oxman exhibit contribution would seem to be about the future and its possibilities whereas many of the other ‘objects’ concern the past and/or the present.
Friend, let’s take a break, shall we? Part 2 is coming up.
I received (via email) a July 21, 2022 news release about the launch of a quantum science initiative in Vancouver (BTW, I have more about the Canadian quantum scene later in this post),
World’s top physicists unite to tackle one of Science’s greatest mysteries
Vancouver-based Quantum Gravity Society leads international quest to discover Theory of Quantum Gravity
Vancouver, B.C. (July 21, 2022): More than two dozen of the world’s top physicists, including three Nobel Prize winners, will gather in Vancouver this August for a Quantum Gravity Conference that will host the launch a Vancouver-based Quantum Gravity Institute (QGI) and a new global research collaboration that could significantly advance our understanding of physics and gravity and profoundly change the world as we know it.
For roughly 100 years, the world’s understanding of physics has been based on Albert Einstein’s General Theory of Relativity (GR), which explored the theory of space, time and gravity, and quantum mechanics (QM), which focuses on the behaviour of matter and light on the atomic and subatomic scale. GR has given us a deep understanding of the cosmos, leading to space travel and technology like atomic clocks, which govern global GPS systems. QM is responsible for most of the equipment that runs our world today, including the electronics, lasers, computers, cell phones, plastics, and other technologies that support modern transportation, communications, medicine, agriculture, energy systems and more.
While each theory has led to countless scientific breakthroughs, in many cases, they are incompatible and seemingly contradictory. Discovering a unifying connection between these two fundamental theories, the elusive Theory of Quantum Gravity, could provide the world with a deeper understanding of time, gravity and matter and how to potentially control them. It could also lead to new technologies that would affect most aspects of daily life, including how we communicate, grow food, deliver health care, transport people and goods, and produce energy.
“Discovering the Theory of Quantum Gravity could lead to the possibility of time travel, new quantum devices, or even massive new energy resources that produce clean energy and help us address climate change,” said Philip Stamp, Professor, Department of Physics and Astronomy, University of British Columbia, and Visiting Associate in Theoretical Astrophysics at Caltech [California Institute of Technology]. “The potential long-term ramifications of this discovery are so incredible that life on earth 100 years from now could look as miraculous to us now as today’s technology would have seemed to people living 100 years ago.”
The new Quantum Gravity Institute and the conference were founded by the Quantum Gravity Society, which was created in 2022 by a group of Canadian technology, business and community leaders, and leading physicists. Among its goals are to advance the science of physics and facilitate research on the Theory of Quantum Gravity through initiatives such as the conference and assembling the world’s leading archive of scientific papers and lectures associated with the attempts to reconcile these two theories over the past century.
Attending the Quantum Gravity Conference in Vancouver (August 15-19 [2022]) will be two dozen of the world’s top physicists, including Nobel Laureates Kip Thorne, Jim Peebles and Sir Roger Penrose, as well as physicists Baron Martin Rees, Markus Aspelmeyer, Viatcheslav Mukhanov and Paul Steinhardt. On Wednesday, August 17, the conference will be open to the public, providing them with a once-in-a-lifetime opportunity to attend keynote addresses from the world’s pre-eminent physicists. … A noon-hour discussion on the importance of the research will be delivered by Kip Thorne, the former Feynman Professor of physics at Caltech. Thorne is well known for his popular books, and for developing the original idea for the 2014 film “Interstellar.” He was also crucial to the development of the book “Contact” by Carl Sagan, which was also made into a motion picture.
“We look forward to welcoming many of the world’s brightest minds to Vancouver for our first Quantum Gravity Conference,” said Frank Giustra, CEO Fiore Group and Co-Founder, Quantum Gravity Society. “One of the goals of our Society will be to establish Vancouver as a supportive home base for research and facilitate the scientific collaboration that will be required to unlock this mystery that has eluded some of the world’s most brilliant physicists for so long.”
“The format is key,” explains Terry Hui, UC Berkley Physics alumnus and Co-Founder, Quantum Gravity Society [and CEO of Concord Pacific]. “Like the Solvay Conference nearly 100 years ago, the Quantum Gravity Conference will bring top scientists together in salon-style gatherings. The relaxed evening format following the conference will reduce barriers and allow these great minds to freely exchange ideas. I hope this will help accelerate the solution of this hundred-year bottleneck between theories relatively soon.”
“As amazing as our journey of scientific discovery has been over the past century, we still have so much to learn about how the universe works on a macro, atomic and subatomic level,” added Paul Lee, Managing Partner, Vanedge Capital, and Co-Founder, Quantum Gravity Society. “New experiments and observations capable of advancing work on this scientific challenge are becoming increasingly possible in today’s physics labs and using new astronomical tools. The Quantum Gravity Society looks forward to leveraging that growing technical capacity with joint theory and experimental work that harnesses the collective expertise of the world’s great physicists.”
About Quantum Gravity Society
Quantum Gravity Society was founded in Vancouver, Canada in 2020 by a group of Canadian business, technology and community leaders, and leading international physicists. The Society’s founding members include Frank Giustra (Fiore Group), Terry Hui (Concord Pacific), Paul Lee and Moe Kermani (Vanedge Capital) and Markus Frind (Frind Estate Winery), along with renowned physicists Abhay Ashtekar, Sir Roger Penrose, Philip Stamp, Bill Unruh and Birgitta Whaley. For more information, visit Quantum Gravity Society. About the Quantum Gravity Conference (Vancouver 2022)
The inaugural Quantum Gravity Conference (August 15-19 [2022]) is presented by Quantum Gravity Society, Fiore Group, Vanedge Capital, Concord Pacific, The Westin Bayshore, Vancouver and Frind Estate Winery. For conference information, visit conference.quantumgravityinstitute.ca. To register to attend the conference, visit Eventbrite.com.
Viatcheslav Mukhanov – Theoretical Physicist and Cosmologist, University of Munich
Paul Steinhardt – Theoretical Physicist, Princeton University
Session 2: History of the Universe
Jim Peebles, 2019 Nobel Laureate, Princeton University
Baron Martin Rees – Cosmologist and Astrophysicist, University of Cambridge
Sir Roger Penrose, 2020 Nobel Laureate, University of Oxford (via zoom)
12:30 p.m. VIP Lunch Session: Quantum Gravity — Why Should We Care?
Kip Thorne – 2017 Nobel Laureate, Executive Producer of blockbuster film “Interstellar”
2:30 p.m. Session 3: What do Experiments Say?
Markus Aspelmeyer – Experimental Physicist, Quantum Optics and Optomechanics Leader, University of Vienna
Sir Roger Penrose – 2020 Nobel Laureate (via zoom)
Session 4: Time Travel
Kip Thorne – 2017 Nobel Laureate, Executive Producer of blockbuster film “Interstellar”
Event Partners
Quantum Gravity Society
Westin Bayshore
Fiore Group
Concord Pacific
VanEdge Capital
Frind Estate Winery
Marketing Partners
BC Business Council
Greater Vancouver Board of Trade
Please note that Sir Roger Penrose will be present via Zoom but all the others will be there in the room with you.
Given that Kip Thorne won his 2017 Nobel Prize in Physics (with Rainer Weiss and Barry Barish) for work on gravitational waves, it’s surprising there’s no mention of this in the publicity for a conference on quantum gravity. Finding gravitational waves in 2016 was a very big deal (see Josh Fischman’s and Steve Mirsky’s February 11, 2016 interview with Kip Thorne for Scientific American).
Some thoughts on this conference and the Canadian quantum scene
This conference has a fascinating collection of players. Even I recognized some of the names, e.g., Penrose, Rees, Thorne.
The academics were to be expected and every presenter is an academic, often with their own Wikipedia page. Weirdly, there’s no one from the Perimeter Institute Institute for Theoretical Physics or TRIUMF (a national physics laboratory and centre for particle acceleration) or from anywhere else in Canada, which may be due to their academic specialty rather than an attempt to freeze out Canadian physicists. In any event, the conference academics are largely from the US (a lot of them from CalTech and Stanford) and from the UK.
The business people are a bit of a surprise. The BC Business Council and the Greater Vancouver Board of Trade? Frank Giustra who first made his money with gold mines, then with Lionsgate Entertainment, and who continues to make a great deal of money with his equity investment company, Fiore Group? Terry Hui, Chief Executive Office of Concord Pacific, a real estate development company? VanEdge Capital, an early stage venture capital fund? A winery? Missing from this list is D-Wave Systems, Canada’s quantum calling card and local company. While their area of expertise is quantum computing, I’d still expect to see them present as sponsors. *ETA December 6, 2022: I just looked at the conference page again and D-Wave is now listed as a sponsor.*
The academics? These people are not cheap dates (flights, speaker’s fees, a room at the Bayshore, meals). This is a very expensive conference and $129 for lunch and a daypass is likely a heavily subsidized ticket.
Another surprise? No government money/sponsorship. I don’t recall seeing another academic conference held in Canada without any government participation.
As evidence of action, the Natural Science and Engineering Research Council of Canada (NSERC) announced new grant programmes made possible by the National Quantum Strategy in a March 15, 2022 news release,
Quantum science and innovation are giving rise to promising advances in communications, computing, materials, sensing, health care, navigation and other key areas. The Government of Canada is committed to helping shape the future of quantum technology by supporting Canada’s quantum sector and establishing leadership in this emerging and transformative domain.
Today [March 15, 2022], the Honourable François-Philippe Champagne, Minister of Innovation, Science and Industry, is announcing an investment of $137.9 million through the Natural Sciences and Engineering Research Council of Canada’s (NSERC) Collaborative Research and Training Experience (CREATE) grants and Alliance grants. These grants are an important next step in advancing the National Quantum Strategy and will reinforce Canada’s research strengths in quantum science while also helping to develop a talent pipeline to support the growth of a strong quantum community.
…
Quick facts
Budget 2021 committed $360 million to build the foundation for a National Quantum Strategy, enabling the Government of Canada to build on previous investments in the sector to advance the emerging field of quantum technologies. The quantum sector is key to fuelling Canada’s economy, long-term resilience and growth, especially as technologies mature and more sectors harness quantum capabilities.
Development of quantum technologies offers job opportunities in research and science, software and hardware engineering and development, manufacturing, technical support, sales and marketing, business operations and other fields.
The Government of Canada also invested more than $1 billion in quantum research and science from 2009 to 2020—mainly through competitive granting agency programs, including Natural Sciences and Engineering Research Council of Canada programs and the Canada First Research Excellence Fund—to help establish Canada as a global leader in quantum science.
In addition, the government has invested in bringing new quantum technologies to market, including investments through Canada’s regional development agencies, the Strategic Innovation Fund and the National Research Council of Canada’s Industrial Research Assistance Program.
Bank of Canada, cryptocurrency, and quantum computing
Multiverse Computing, a global leader in quantum computing solutions for the financial industry and beyond with offices in Toronto and Spain, today announced it has completed a proof-of-concept project with the Bank of Canada through which the parties used quantum computing to simulate the adoption of cryptocurrency as a method of payment by non-financial firms.
“We are proud to be a trusted partner of the first G7 central bank to explore modelling of complex networks and cryptocurrencies through the use of quantum computing,” said Sam Mugel, CTO [Chief Technical Officer] at Multiverse Computing. “The results of the simulation are very intriguing and insightful as stakeholders consider further research in the domain. Thanks to the algorithm we developed together with our partners at the Bank of Canada, we have been able to model a complex system reliably and accurately given the current state of quantum computing capabilities.”
…
Multiverse Computing conducted its innovative work related to applying quantum computing for modelling complex economic interactions in a research project with the Bank of Canada. The project explored quantum computing technology as a way to simulate complex economic behaviour that is otherwise very difficult to simulate using traditional computational techniques.
By implementing this solution using D-Wave’s annealing quantum computer, the simulation was able to tackle financial networks as large as 8-10 players, with up to 2^90 possible network configurations. Note that classical computing approaches cannot solve large networks of practical relevance as a 15-player network requires as many resources as there are atoms in the universe.
…
Quantum Technologies and the Council of Canadian Academies (CCA)
In a May 26, 2022 blog posting the CCA announced its Expert Panel on Quantum Technologies (they will be issuing a Quantum Technologies report),
The emergence of quantum technologies will impact all sectors of the Canadian economy, presenting significant opportunities but also risks. At the request of the National Research Council of Canada (NRC) and Innovation, Science and Economic Development Canada (ISED), the Council of Canadian Academies (CCA) has formed an Expert Panel to examine the impacts, opportunities, and challenges quantum technologies present for Canadian industry, governments, and Canadians. Raymond Laflamme, O.C., FRSC, Canada Research Chair in Quantum Information and Professor in the Department of Physics and Astronomy at the University of Waterloo, will serve as Chair of the Expert Panel.
“Quantum technologies have the potential to transform computing, sensing, communications, healthcare, navigation and many other areas,” said Dr. Laflamme. “But a close examination of the risks and vulnerabilities of these technologies is critical, and I look forward to undertaking this crucial work with the panel.”
As Chair, Dr. Laflamme will lead a multidisciplinary group with expertise in quantum technologies, economics, innovation, ethics, and legal and regulatory frameworks. The Panel will answer the following question:
In light of current trends affecting the evolution of quantum technologies, what impacts, opportunities and challenges do these present for Canadian industry, governments and Canadians more broadly?
…
The Expert Panel on Quantum Technologies:
Raymond Laflamme, O.C., FRSC (Chair), Canada Research Chair in Quantum Information; the Mike and Ophelia Lazaridis John von Neumann Chair in Quantum Information; Professor, Department of Physics and Astronomy, University of Waterloo
Sally Daub, Founder and Managing Partner, Pool Global Partners
Shohini Ghose, Professor, Physics and Computer Science, Wilfrid Laurier University; NSERC Chair for Women in Science and Engineering
Paul Gulyas, Senior Innovation Executive, IBM Canada
Mark W. Johnson, Senior Vice-President, Quantum Technologies and Systems Products, D-Wave Systems
Elham Kashefi, Professor of Quantum Computing, School of Informatics, University of Edinburgh; Directeur de recherche au CNRS, LIP6 Sorbonne Université
Mauritz Kop, Fellow and Visiting Scholar, Stanford Law School, Stanford University
Dominic Martin, Professor, Département d’organisation et de ressources humaines, École des sciences de la gestion, Université du Québec à Montréal
Darius Ornston, Associate Professor, Munk School of Global Affairs and Public Policy, University of Toronto
Barry Sanders, FRSC, Director, Institute for Quantum Science and Technology, University of Calgary
Eric Santor, Advisor to the Governor, Bank of Canada
Christian Sarra-Bournet, Quantum Strategy Director and Executive Director, Institut quantique, Université de Sherbrooke
Stephanie Simmons, Associate Professor, Canada Research Chair in Quantum Nanoelectronics, and CIFAR Quantum Information Science Fellow, Department of Physics, Simon Fraser University
Jacqueline Walsh, Instructor; Director, initio Technology & Innovation Law Clinic, Dalhousie University
You’ll note that both the Bank of Canada and D-Wave Systems are represented on this expert panel.
The CCA Quantum Technologies report (in progress) page can be found here.
Does it mean anything?
Since I only skim the top layer of information (disparagingly described as ‘high level’ by the technology types I used to work with), all I can say is there’s a remarkable level of interest from various groups who are self-organizing. (The interest is international as well. I found the International Society for Quantum Gravity [ISQG], which had its first meeting in 2021.)
I don’t know what the purpose is other than it seems the Canadian focus seems to be on money. The board of trade and business council have no interest in primary research and the federal government’s national quantum strategy is part of Innovation, Science and Economic Development (ISED) Canada’s mandate. You’ll notice ‘science’ is sandwiched between ‘innovation’, which is often code for business, and economic development.
The Bank of Canada’s monetary interests are quite obvious.
The Perimeter Institute mentioned earlier was founded by Mike Lazaridis (from his Wikipedia entry) Note: Links have been removed,
… a Canadian businessman [emphasis mine], investor in quantum computing technologies, and founder of BlackBerry, which created and manufactured the BlackBerry wireless handheld device. With an estimated net worth of US$800 million (as of June 2011), Lazaridis was ranked by Forbes as the 17th wealthiest Canadian and 651st in the world.[4]
…
In 2000, Lazaridis founded and donated more than $170 million to the Perimeter Institute for Theoretical Physics.[11][12] He and his wife Ophelia founded and donated more than $100 million to the Institute for Quantum Computing at the University of Waterloo in 2002.[8]
That Institute for Quantum Computing? There’s an interesting connection. Raymond Laflamme, the chair for the CCA expert panel, was its director for a number of years and he’s closely affiliated with the Perimeter Institute. (I’m not suggesting anything nefarious or dodgy. It’s a small community in Canada and relationships tend to be tightly interlaced.) I’m surprised he’s not part of the quantum mechanics and gravity conference but that could have something to do with scheduling.
One last interesting bit about Laflamme, from his Wikipedia entry, Note: Links have been removed)
…
As Stephen Hawking’s PhD student, he first became famous for convincing Hawking that time does not reverse in a contracting universe, along with Don Page. Hawking told the story of how this happened in his famous book A Brief History of Time in the chapter The Arrow of Time.[3] Later on Laflamme made a name for himself in quantum computing and quantum information theory, which is what he is famous for today.