Category Archives: Vancouver

Simon Fraser University’s (SFU; Canada) Café Scientifique Fall 2023 events: first event is Sept. 26, 2023

From a September 7, 2023 SFU Café Scientifique announcement of their Fall 2023 event schedule (received via email),

We hope you had a great summer and are all excited for a brand new fall line-up:

SFU Café Scientifique lectures and discussions on Zoom 

Tuesdays from 5:00-6:30pm, Zoom invites are sent to those who register.

Email cafe_scientifique@sfu.ca for inquires.

Sept 26, 2023 Vance Williams, Chemistry

Title: (Un)Natural Beauty: Art, Science and Technology

Description: While art is often described in opposition to science and technology, in reality, these disciplines are mutually supporting and reinforcing explorations of the natural and constructed world. In this presentation, I will examine the intersection of art and science and the often blurry distinction between the scientist and the artist.

[Register here for September 26, 2023 event]

October 24, 2023 Ailene MacPherson, Mathematics

Title: Who, What, Where, When, and Why: the power of genomics in public health

Description: Within days of first being identified the full genome sequence of SARS Cov-2 was published online. Here we discuss the extraordinary power and limitations of genomics for understanding disease spread and for designing effective public health interventions.

[Register here for October 24, 2023 event]

November 28, 2023 Dustin King, Molecular Biology and Biochemistry

Title: Decoding how life senses and responds to carbon dioxide gas.

Description: Dustin King’s Indigenous background is central to his work and relationship with the biochemical research he conducts. He brings Indigenous ways of knowing and a two-eye seeing approach to critical questions about humanity’s impact upon the natural world. 

Join Dr. King on a microscopic journey into intricate cellular systems, which make use of CO2 in incredible ways. The presence of CO2 on Earth has given rise to a diverse evolutionary tree, with plants and animals developing ingenious methods for harnessing and using CO2 in their unique habitats. We travel from the depths of the ocean floor to the air we breathe, to understand the implications of increasing CO2 levels in nature and in daily human life.

[Register here for November 28, 2023 event]

I wouldn’t have thought art/science or, as it sometimes called, sciart was a particularly obscure concept these days but it’s a good reminder that much depends on the community from which you draw your audience.

Leaning Out of Windows (LOoW): An Art and Physics Collaboration (2023 book) in Vancouver (Canada)

Be careful not to fall, is a familiar stricture when applied to ‘leaning out of windows’ supplying a frisson of danger to the ‘lean’ but in German, ‘aus dem Fenster lehnen’ or ‘lean out of the window’, is an expression for interdisciplinarity. It’s a nice touch for a book about an art/physics collaboration where it can feel ‘dangerous’ to move so far out of your comfort zone. The book is described this way in its Vancouver (Canada) Public Library catalogue entry,

Art and physics collide in this expansive exploration of how knowledge can be translated across disciplinary communities to activate new aesthetic and scientific perspectives.

Leaning Out of Windows shares findings from a six-year collaboration by a group of artists and physicists exploring the connections and differences between the language they use [emphasis mine], the means by which they develop knowledge, how that knowledge is visualized, and, ultimately, how they seek to understand the universe. Physicists from TRIUMF, Canada’s particle physics accelerator, presented key concepts in the physics of Antimatter, Emergence, and In/visible Forces to artists convened by Emily Carr University of Art + Design; the participants then generated conversations, process drawings, diagrams, field notes, and works of art. The “wondrous back-and-forth” of this process allowed both scientists and artists to, as Koenig [Ingrid Koenig] and Cutler [Randy Lee Cutler] describe, “lean out of our respective fields of inquiry and inhabit the infinite spaces of not knowing.”

From this leaning into uncertainty comes a rich array of work towards furthering the shared project of artists and scientists in shaping cultural understandings of the universe: Otoniya J. Okot Bitek reflects on the invisible forces of power; Jess H. Brewer contemplates emergence, free will, and magic; Mimi Gellman looks at the resonances between Indigenous Knowledge and physics; Jeff Derksen finds Hegelian dialectics within the matter-antimatter process; Sanem Güvenç considers the possibilities of the void; Nirmal Raj ponders the universe’s “special moment of light and visibility” we happen to inhabit; Sadira Rodrigues eschews the artificiality of the lab for a “boring berm of dirt”; and Marina Roy metaphorically turns beams of stable and radioactive gold particles into art of pigments, oils, liquid plastic, and wood. Combined with additional essays, diagrams, and artworks, these texts and artworks live in the intersection of disparate fields that nonetheless share a deep curiosity of the world and our place within it, and a dedication to building and sharing knowledges.

Self-published, “Leaning Out of Windows: An Art and Physics Collaboration” and edited by Ingrid Koenig & Randy Lee Cutler (who also wrote many of the essays) was produced through an entity known as Figure 1 (located in Vancouver). It can be purchased for $45 CAD here on the Figure 1 website or $41.71 (CAD?) on Amazon. (Weirdly, if you look at the back outside cover you’ll see a price of $45 USD.)

Kind of a book

“Leaning” functions as three kinds of books in one package. First, it is documentation for a six year project funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), second, a collection of essays, and, third, a catalogue for three inter-related exhibitions. (Aside: my focus is primarily on the text for an informal book review.)

Like an art exhibition catalogue, this book is printed in a large, awkward to hold format, with shiny (coated) pages. It makes reading the essays and documentation a little challenging but perfect for a picture book/coffee table book where the images are supposed to look good.

I particularly liked the maps for the various phases of the project and the images for phase 1 showing what happens when an image is passed from one artist to the next, without explanation, asking for a new image to be produced and passed on to yet another artist and so on. There is no discussion amongst the artists about the initial impetus (the first artist in the stream of four met with physicists at a science symposium to talk about antimatter).

Ingrid Koenig, Antimatter Process Design (detail), 2017. This diagram shows the process design of five different streams of interactions, mapping out routes for 26 artists and 26 physicists, as well as an experimental class taught by Koenig at Emily Carr University of Art and Design. [downloaded from https://canadianart.ca/features/searching-for-the-language-of-the-universe/]

Unexpectedly, the documentation proved to be a highlight for me. BTW, you can find out more about the Leaning Out of Windows (LOoW) project (e.g. participants, phases, and art/science resources) on its website.

Koenig should be congratulated for getting as much publicity for the book as possible, given the topic and that there are no celebrities involved. CBC gave it a mention (May 8, 2023) on its Books: Leaning Out of Windows webpage. It also got a mention by Dana Gee in a May 12, 2023 ‘Books brief‘ posting on the Vancouver Sun website.

Plus, there were a couple of articles in an art magazine highlighting the art/science project while it was in progress featuring the few images I was about to access online for this project.

A January 6, 2020 article in Canadian Art Magazine by Randy Lee Cutler and Ingrid Koenig introduces the project (Note: I’ll revisit the “metaphor and analogy” mention in this article and throughout the LOoW book later in this post),

The disciplines of art and physics share certain critical perspectives: both deal with how metaphor and analogy inform creative processes. Additionally, artists and physicists address issues of the imagination, creative thinking and communication, and how meaning is made through theoretical research and process-based investigations. There are also important differences in these perspectives. Art brings an appreciation for abstract or non-representational practices. Physics research addresses complex problems relevant to understanding the study of matter and motion through space and time. Physicists also contribute knowledge about how the universe behaves. Together, the achievements of art and physics allow the possibility of a much richer understanding of the nature of reality than each field can contribute individually.

There’s a January 13, 2020 article in Canadian Art Magazine by Perrin Grauer featuring Mimi Gellman, Note: A link has been removed,

Artwork by artist and ECU Associate Professor Mimi Gellman was selected to appear on the cover of the current issue of Canadian Art magazine.

The gleaming, otherworldly image graces the magazine’s issue on antimatter —a subject which “presents a mirror world of abstract phenomena: time reversals, mutual annihilation, cosmic rays, cloud chambers, an infinite sea of sub-atomic particles that parallels our ‘real’ world of matter,” according to the issue’s editors.

Mimi describes her work as approaching some of the affinities between the biological, the perceptual, the cultural and the astronomical.

“My drawings do not explore the exterior world we perceive but rather what I call the ‘architecture of consciousness’ which permits us to perceive it,” she says.

“Recalling astronomical diagrams and reflecting the mixture of hybrid cultural worldviews in my background, they reveal deep similarities between the dimension explored by sub-atomic physics and the implicit interiority of contemporary art.”

I’m sorry I never saw any announcements for the project exhibitions, all of which seemed to have taken place at the Emily Carr University of Art + Design. There were three concepts each explored in three exhibitions, with different artists each time, titled: Antimatter, Emergence, and In/visible Forces, respectively.

A bouquet or two and a few nitpicks

Randy Lee Cutler and Ingrid Koenig have a wonderful quote from Karen Barad, physicist and philosopher, in their essay titled, “Collaborative Research between Artists and Physicists,”

Barad introduces the concept of intra-action and the fluidity of materialization through our bodily entanglements—through intra-action our bodies remain entangled with those around us. “Not only subjects but also objects are permeated through and through with their entangled kin, the other is not just in one’s skin, but in one’s bones, in one’s belly in one’s heart, in one’s nucleus, in one’s past and future.This is a true for electrons as it is for brittlestars as it is for the differentially constituted human.” As Barad asks herself, “How do I know where my physics begins and ends?” … [p. 13]

To the left of the page is a black and white photograph of entangled cables captioned, “GRIFFIN (Gamma Ray Infrastructure for Fundamental Investigations of Nuclei- TRIUMF.” It’s a nice touch and points to the difficulty of ‘illustrating’ or producing visual art in response to physics ideas such as quantum entanglement, something Einstein called, ‘spooky action at a distance’. From the Quantum entanglement Wikipedia entry, Note: Links have been removed,

Quantum entanglement is the phenomenon that occurs when a group of particles are generated, interact, or share spatial proximity in a way such that the quantum state of each particle of the group cannot be described independently of the state of the others [[emphasis mine], including when the particles are separated by a large distance [emphasis mine]. The topic of quantum entanglement is at the heart of the disparity between classical and quantum physics: entanglement is a primary feature of quantum mechanics not present in classical mechanics.[1]

Some of the essays

One essay that stood out in LOoW, was “A Boring Berm of Dirt’ (pp. 141-7) by Sadira Rodrigues. She notes that dirt and soil are not the same; one is dead (dirt) and the other is living (soil) and that the berm has an important role at TRIUMF. If you want a more specific discussion of the difference between dirt and soil, see David Beaulieu’s February 23, 2023 essay (Soil vs. Dirt: What’s the Difference?) on The Spruce website.

Rodrigues’ essay (part of the Emergence concept) situates the work physically (word play alert: physics/physically) whereas all of the other work is based on ideas.

In “Boring Berm … ,” radioactivity is mentioned, a term which is largely taboo these days due its association with poisoning, bombs, and death. The eassy goes into fascinating detail about TRIUMF’s underground facility and how the facility deals with its nuclear waste and the role that the berm plays. (On a more fanciful note, the danger in the title of the book is given another dimension in this essay focused on nuclear topics.) Regardless, the essay was definitely an eye-opener.

Aside: The institution has been rebranded from: TRIUMF (Canada’s National Laboratory for Particle and Nuclear Physics) to: TRIUMF (Canada’s national particle accelerator centre). You can find a reference to the ‘nuclear’ name in my October 2, 2018 posting although the name was already changed, probably in the early to mid-2010s. There is no mention of the ‘nuclear’ name in TRIUMF’s Wikipedia entry, accessed August 22, 2023.

Gellman and language

Mimi Gellman’s essay, “Crossing No Divide: Mapping Affinities in Art and Science” evokes unity, as can be seen in the title. She’s one of the more ‘lyrical’ writers,

There is a place in our imagination where east or west, or large or small, or any other opposites cease to be productive contradictions. As an artist and educator, I have become interested in the non-binary and resonance between Indigenous Knowledge and physics, between art and science, and between traditional ways of considering cognition and thinking with the hand. [p. 33]

This is how Gellman is described for the January 13, 2020 article in Canadian Art Magazine, which is archived on the Emily Carr University of Art + Design (ECUAD) website,

Mimi Gellman is an Anishinaabe/Ashkenazi (Ojibway-Jewish Métis) visual artist and educator with a multi-streamed practice in architectural glass and conceptual installation. She is currently an Associate Professor in the Faculty of Culture + Community at Emily Carr University of Art + Design in Vancouver, Canada, and is completing her research praxis PhD in Cultural Studies at Queen’s University on the metaphysics of Indigenous mapping.

She highlights some interesting observations about language and thinking,

The Ojibwe language, Anishinaabemowin, like many Indigenous languages is verb-based in contrast with Western languages’ noun-based constructions and these have deep implications for the development of one’s worldview. …

I suspect anyone who speaks more than one language can testify to the observation that language affects one’s worldview. More academically, it’s called linguistic relativity or the Sapir-Whorf hypothesis. I find it hard to believe that it’s considered a controversial idea but here goes from the Linguistic relativity Wikipedia entry, Note: Links have been removed,

The idea of linguistic relativity, also known as the Sapir–Whorf hypothesis /səˌpɪər ˈhwɔːrf/ sə-PEER WHORF, the Whorf hypothesis, or Whorfianism, is a principle suggesting that the structure of a language influences its speakers’ worldview or cognition, and thus individuals’ languages determine or shape their perceptions of the world.[1]

The hypothesis has long been controversial, and many different, often contradictory variations have existed throughout its history.[2] The strong hypothesis of linguistic relativity, now referred to as linguistic determinism, says that language determines thought and that linguistic categories limit and restrict cognitive categories. This was held by some of the early linguists before World War II,[3] but it is generally agreed to be false by modern linguists.[4] Nevertheless, research has produced positive empirical evidence supporting a weaker version of linguistic relativity:[4][3] that a language’s structures influence and shape a speaker’s perceptions, without strictly limiting or obstructing them.

Gettng back to Gellman, language, linguistic relativity, worldviews, and, adding physics/science, she quotes James (Sa’ke’j) Youngblood Henderson “a research fellow at the Native Law Centre of Canada, University of Saskatchewan College of Law. He was born to the Bear Clan of the Chickasaw Nation and Cheyenne Tribe in Oklahoma in 1944 and is married to Marie Battiste, a Mi’kmaw educator. In 1974, he received a juris doctorate in law from Harvard Law School,”

[at a 1993 dialogue between Western and Indigenous scientists …]

[Youngblood Henderson] We don’t have one god. You need a noun-based language to have one god. We have forces. All forces are equal and you are just the amplifier of the forces. The way you conduct your life and the dignity you give to other things gives you access to other forces. Even trees are verbs instead of nouns. The Mi’kmaq named their trees for the sound the wind makes when it blows through the trees during the autumn about an hour after the sunset, when the wind usually comes from a certain direction. So one might be like a ‘shu-shu’ something and another more like a ‘tinka-tinka’ something. Although physics in the western world has been essentially the quest for the smallest noun (which used to be a-tom, ‘that which cannot be further divided’), as they were inside the atom things weren’t acting like nouns anymore. The physicists were intrigued with the possibilities inherent in a language that didn’t depend on nouns but could move right to verbs when the circumstances were appropriate.3

This work from Gellman is a favourite of mine, and is featured in the January 13, 2020 article in Canadian Art Magazine and you’ll find it in the book,

Image courtesy Mimi Gellman. Mimi Gellman, ‘Invisible Landscapes,’ 2017. Conte on Japanese Obonai paper, 63.5 x 48.3 cm. [downloaded from https://www.ecuad.ca/news/2020/canadian-art-magazine-features-cover-artwork-by-mimi-gellman]

There are more LOoW images embedded in the January 6, 2020 article on the Canadian Art Magazine website.

Derksen and his poem

Karl Marx, Friedrich Engels, Theodor W. Adorno, and Georg Wilhelm Friedrich Hegel were unexpected guest stars in Derksen’s essay, “From Two to Another: The Anti-Matter Series,” given that he is an award-winning poet. These days he has this on his profile page on the Department of English, Simon Fraser University website, “Dean and Associate Provost, Graduate and Postdoctoral Studies.”

From LOoW,

Karl Marx and Friedrich Engels are well known as materialists, having helped define a materialist view of history, of economics and of capitalism. And both Marx and Engels aimed to develop Marxism as a science rather than a model based on naturalizing capitalism and “man.” … [p. 89]

Derksen includes a diagram/poem, for which I can’t find a digitized copy, but here’s what he had to say about it,

My mode of looking at this [antimatter] is through poetic research —which itself does not aim to arrive at a synthesis but instead looks for relational moments. In this I also see a poetic language emerge from both discourses [artistic/scientific]—matter-antimatter thought and dialectical thinking. For my contribution to Leaning Out of Windows, I have tried to combine the scientific aspect of dialectical thinking with the poetic aspect of matter-antimatter thought and experimentation. To do this, I have taken the diagrammatic rendering of Carl Anderson’s experiment which resulted in his 1932 paper … as a model to relate the dialectical thinking at the heart of Marxism and matter-antimatter thought. …

Towards the end of his essay, Derksen notes that he’s working (on what I would call) a real poem. I sent an email to Derksen on August 21, 2023 asking,

  • Have you written the poem or is still in progress?
  • If you have written it, has it been published or is it being readied for publication? I would be happy to mention where.
  • If you do have it ready and would like to ‘soft launch’ the poem, could you send it to me for inclusion in the post?

No response at this time.

Flashback to Alan Storey

I think it was 2002 or 2003 when I first heard about an artist at TRIUMF, Alan Storey. The ‘residency’ was the product of a joint effort between the Canada Council for the Arts (Canada Council) and the Natural Sciences and Engineering Council of Canada (NSERC).

I spoke with Storey towards the end of his ;residency; and he was a little disappointed because nothing much had come of it. Nobody really seemed to know what to do with an artist at a nuclear facility and he didn’t really didn’t seem to know either. (Alan Storey’s work can be seen in the City of Vancouver’s collection of public art works here and on his website.)

My guess is that someone had a great idea but didn’t think past the ‘let’s give money to science institutions so they can host some artists who will magically produce wonderful things for us’ stage of thinking. While there is no longer a Canada Council/NSERC programme, it’s clear from LOoW (funded by the Social Sciences and Humanities Research Council of Canada [SSHRC]) that lessons have been learned.

Kudos to David Morissey who acted as an interface and convenor for the artists and to Nigel Smith (Director 2021 – present) and Jonathan Bagger (Director 2014 – 2020) for supporting the project from the TRIUMF side and to Ingrid Koenig and Randy Lee Cutler who organized and facilitated LOoW from the artists’ side.

Now, for the nits

“Co-thought” is mentioned a number of times. What is it? According to my searches, it has something to do with gestures. Here’s one of the few reference I could find for co-thought,

Co-thought and co-speech gestures are generated by the same action generation process by Mingyuan Chu and Sotaro Kita. Exp Psychol Learn Mem Cogn. 2016 Feb;42(2):257-70. doi: 10.1037/xlm0000168. Epub 2015 Aug 3.

Abstract

People spontaneously gesture when they speak (co-speech gestures) and when they solve problems silently (co-thought gestures) [emphasis mine]. In this study, we first explored the relationship between these 2 types of gestures and found that individuals who produced co-thought gestures more frequently also produced co-speech gestures more frequently (Experiments 1 and 2). This suggests that the 2 types of gestures are generated from the same process. We then investigated whether both types of gestures can be generated from the representational use of the action generation process that also generates purposeful actions that have a direct physical impact on the world, such as manipulating an object or locomotion (the action generation hypothesis). To this end, we examined the effect of object affordances on the production of both types of gestures (Experiments 3 and 4). We found that individuals produced co-thought and co-speech gestures more often when the stimulus objects afforded action (objects with a smooth surface) than when they did not (objects with a spiky surface). These results support the action generation hypothesis for representational gestures. However, our findings are incompatible with the hypothesis that co-speech representational gestures are solely generated from the speech production process (the speech production hypothesis).

It would have been nice if Koenig and Cutler had noted they were borrowing a word ot coining a word and explaining how it was being used in the LOoW context.

Fruit, passports, and fishing trips

The editors/writers use the words or variants, metaphor, poetry, and analogy with great abandon.

“Fruitful bridge” (top of page) and “fruitful match-ups” (bottom of page) on p. 18 seemed a bit excessive as did the “metaphorical passport” on p. 5.

I choked a bit over this on p. 19, “… these artist/scientist interactions can be seen as ‘procedural metaphors’ that enact a thought experiment … .” Procedural metaphor? It seems a bit of a stretch.

A last example and it’s a pair: “metaphorical fishing trips whereby artist and scientists received whatever they might reel in …” on p. 42 (emphases mine). Fishing trips are mentioned in a later essay too, one of the few times there’s some sort of follow through on an analogy.

Maybe someone who wasn’t involved with the project should have taken a look at the text before it was sent to the printer.

Using the words, poetry, metaphor, and analogy can be tricky and, I want to emphasize that in my opinion, those words were not often put to good use in this book.

Moving on, arts and sciences together have a longstanding history.

Poetry and physics

One of the giants of 19th century physics, James Clerk Maxwell was also known for his poetry. and some of the most evocative (poetic) text in the LOoW book can be found in the quotes from various physicists of the 20th century. The link between physicist and poetry is explicit in a September 17, 2018 posting (12 poignant poems (and one bizarre limerick) written by physicists about physics) by Colin Hunter for the Perimeter Institute for Theoretical Physics in Waterloo, Canada.

Going back further, there’s De rerum natura, a poem in six books, by Lucretius ((c. 99 BCE– c. 55 BCE). Amongst many other philosophical concerns (e.g., the nature of mind and soul, etc.), Lucretius also discussed atomism (“… a natural philosophy proposing that the physical universe is composed of fundamental indivisible components known as atoms; from the Atomism Wikipedia entry). So, poetry and physics have a long history.

Leaving aside Derksen’s diagram/poem, there’s a dearth of poetry in the book except for a suite of seven poems from TRIUMF physicist and professor at UBC, Jess Brewer following his “Emergence, Free Will and Magic” essay,

Emergence / An extremely brief history of one universe, expressed as a series of science fiction poems by Jess H. Brewer, June 29, 2019

Inspired by Dyson Freeman’s delightful lecture series , “Time Without End: Physics and Biology in an Open Universe,” Reviews of Modern Physics (51) 1979

1. Bang
Why not?
For reasons known only to itself,
the universe begins
The quantum foam of spacetime seethes
with effortless energies,
entering and exiting this continuum
with a turbulent intensity
transcending the superficially smooth
expanding cosmos
and yet it kens the glacial passage of “time”,
because it waits.
And kens the vast reaches of “space”,
because it watches,
Its own experiences has taught it that
from each iteration of complexity,
awareness will emerge.

… [p. 149]

My thanks to Brewer for the poetry and magic and my apologies for any mistakes I’ve introduced into his piece. I was trying to be especially careful with the punctuation as that can make quite a difference to how a piece is read.

While Muriel Rukeyser is not a physicist at TRIUMF or, indeed, alive, one of her poems leads the essay “Leaning into Language or the Universe is Made of Stories,” by Randy Lee Cutler and Ingrid Koenig,

Time comes into it
Say it. Say it.
The universe is made of stories,
not of atoms..
—Muriel Ruykeyser, Speed of Darkness, 1968

Before getting into the response that physicist, David Morrissey, had to the poem, here’s a little about the poet, from the Poetry Foundation’s Muriel Ruykeyser (1913-1980) webpage,

Muriel Rukeyser was a poet, playwright, biographer, children’s book author, and political activist. Indeed, for Rukeyser, these activities and forms of expression were linked. …

One of Rukeyser’s intentions behind writing biographies of nonliterary persons was to find a meeting place between science and poetry. [emphasis mine] In an analysis of Rukeyser’s The Life of Poetry, Virginia Terris argued that Rukeyser believed that in the West, poetry and science are wrongly considered to be in opposition to one another. Thus, writes Terris, “Rukeyser [set] forth her theoretical acceptance of science … [and pointed] out the many parallels between [poetry and science]—unity within themselves, symbolic language, selectivity, the use of the imagination in formulating concepts and in execution. [emphasis mine] Both, she believe[d], ultimately contribute to one another.”

Rokeyser’s poem raised a few questions. Is her poem a story? Or, is she using symbolic language, the poem, to poke fun at stories and atoms? Is she suggesting that atoms are really stories? I found the poem evocative especially with where it was placed in the book.

Morrissey takes a prosaic approach, from the essay “Leaning into Language or the Universe is Made of Stories,”

… [in response to Rukeyser’s claim about stories] Morrissey responded stating that “scientific theories are stories—but how we evaluate stories is important—they need to be true, but they do probe, and some are more popular than others, especially theories that we can’t measure.” He surprised us further when he said that wrong stories can also be useful—they may have elements in them that turn out to be useful for future research. … [pp. 205-6]

In general and throughout this project, it seems as if they (artists and physicists) tried but, for the most part, were never quite able to articulate in poetic, metaphoric, and analogical forms. They tended to fall back onto their preferred modes of scientific notations, prosaic language, and artworks.

Both sides of the knife blade cut

Everybody does it. Poets, academics, artists, scientists, etc. we all appropriate ideas and language, sometimes without understanding them very well. Take this for example, from the Canadian Broadcasting’s (CBC) Books “Elementary Particles” August 16, 2023 webpage,

Elementary Particles by Sneha Madhavan-Reese

A poetry collection about family history and scientific exploration

Through keen, quiet observation, Sneha Madhavan-Reese’s evocative new collection takes us from the wide expanse of rural India to the minute map of Michigan we carry on the palms of our hands. These poems contemplate ancestral language, the wonder and uncertainty of scientific discovery, the resilience of a dung beetle, the fleeting existence of frost flowers on the Arctic Ocean.

The collection is full of familiar characters, from Rosa Parks to Seamus Heaney to Corporal Nathan Cirillo, anchoring it in specific moments in time and place, but has the universality that comes from exploring the complex relationship between a child and her immigrant parents, and in turn, a mother and her children. Elementary Particles examines the building blocks of a life — the personal, family, and planetary histories, transformations, and losses we all experience. (From Brick Books)

Sneha Madhavan-Reese is a writer currently based in Ottawa. In 2015 she received Arc Poetry Magazine’s Diana Brebner Prize and was shortlisted for the Montreal International Poetry Prize. Her previous poetry collection is called Observing the Moon

As you can see, there’s no substantive mention of physics in this book description—it’s just a title. Puzzling since there’s this about the author on Asian Heritage Canada’s Sneha Madhavan-Reese webpage

Sneha Madhavan-Reese’s award winning poetry has been widely published in literary magazines in North America and Australia. She earned a bachelor’s degree in mechanical engineering from MIT in 2000, and a master’s degree in mechanical engineering from the University of Michigan in 2002. Madhavan-Reese currently lives in Ottawa, Ontario. [emphases mine]

It seems the mechanical engineer did not write up her book blurb because even though the poet’s scientific specialty is not physics as such, I’d expect a better description.

In the end, it seems art and science or poetry and science (in this case, physics) sells.

Alchemy, beauty, and Marx’s surprise connection to atomism

It was unexpected to see a TRIUMF physicist reference alchemy. The physicists haven’t turned lead into gold but they have changed one element into another. If memory holds it was one metallic atom being changed into another type of metallic atom. (Having had to return the book to the library, memory has serve.)

The few references to alchemy that I’ve stumbled across elsewhere in my readings of assorted science topics are derogatory, hence the surprise. Things may be changing; Princeton University Press published a November 7, 2018 posting by author William R. Newman about Newton and alchemy. First, here’s a bit about William Newman,

William R. Newman is Distinguished Professor and Ruth N. Halls Professor in the Department of History and Philosophy of Science and Medicine at Indiana University. His many books include Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution and Promethean Ambitions: Alchemy and the Quest to Perfect Nature. He lives in Bloomington, Indiana.

Now for Newman’s comments, from the November 7, 2018 posting,

People often say that Isaac Newton was not only a great physicist, but also an alchemist. This seems astonishing, given his huge role in the development of science. Is it true, and if so, what is the evidence for it?

WN: The astonishment that Newton was an alchemist stems mostly from the derisive opinion that many moderns hold of alchemy [emphasis mine]. How could the man who discovered the law of universal gravitation, who co-invented calculus, and who was the first to realize the compound nature of white light also engage in the seeming pseudo-science of alchemy? There are many ways to answer this question, but the first thing is to consider the evidence of Newton’s alchemical undertaking. We now know that at least a million words in Newton’s hand survive in which he addresses alchemical themes. Much of this material has been edited in the last decade, and is available on the Chymistry of Isaac Newton site at www.chymistry.org. Newton wrote synopses of alchemical texts, analyzed their content in the form of reading notes and commentaries, composed florilegia or anthologies made up of snippets from his sources, kept experimental laboratory notebooks that recorded his alchemical research over a period of decades, and even put together a succession of concordances called the Index chemicus in which he compared the sayings of different authors to one another. The extent of his dedication to alchemy was almost unprecedented. Newton was not just an alchemist, he was an alchemist’s alchemist. 

… 

Beauty

The ‘beauty’ essay by Ingrid Koenig was also a surprise. Beauty seems to be anathema to contemporary artists. I wrote this in an August 23, 2016 posting (Georgina Lohan, Bharti Kher, and Pablo Picasso: the beauty and the beastliness of art [in Vancouver]), “It seems when it comes to contemporary art, beauty is transgressive.”

Koenig describes it as irrelevant for contemporary artists and yet, beauty is an important attribute to physicists. Her thoughts on beauty in visual art and in physics were a welcome addition to the book.

Marx’s connection to atomism

This will take a minute.

De rerum natura, a six-volume poem by Lucretius (mentioned under the Poetry and physics subhead of this posting), helped to establish the concept of atomism. As it turns out, Lucretius got the idea from earlier thinkers, Epicurus and Democritus.

Karl Marx’s doctoral dissertation, which focused on Lucretius, Epicurus and more, suggests an interest in science that may have led to his desire to establish economics as a science. From Cambridge University Press’s “Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura,” Chapter 12 – A Tribute to a Hero: Marx’s Interpretation of Epicurus in his Dissertation,

Summary

This chapter turns to Karl Marx’s treatment of Epicureanism and Lucretius [emphasis mine] in his doctoral dissertation, and argues that the questions raised by Marx may be brought to bear on our own understanding of Epicurean philosophy, particularly in respect of a tension between determinism and individual self-consciousness in a universe governed by material causation. Following the contours of Marx’s dissertation [emphasis mine], the chapter focusses on three key topics: the difference between Democritus’ and Epicurus’ methods of philosophy; the swerve of the atom; and the so-called ‘meteors’, or heavenly bodies [emphasis mine]. Marx sought to develop Hegel’s understanding of Epicurus, in particular by elevating the principle of autonomous action to a first form of self-consciousness – a consideration largely mediated by Lucretius’ theorization of the atomic swerve and his poem’s overarching framework of liberating humans from the oppression of the gods.

Fascinating, eh? The rest of this is behind a paywall. For the interested, here’s a citation and link for the book,

Approaches to Lucretius; Traditions and Innovations in Reading the De Rerum Natura
Edited by Donncha O’Rourke, University of Edinburgh

Publisher: Cambridge University Press
Online publication date: June 2020
Print publication year: 2020
Online ISBN: 9781108379854

DOI: https://doi.org/10.1017/9781108379854

32.99 (USD) Digital access

It’s a little surprising Derksen doesn’t mention the connection in his essay.

Finally

It’s an interesting book if not an easy one. (By the way, I wish they’d included an index.) You can get a preview of some of the artwork in the January 6, 2020 article on the Canadian Art Magazine website.

I can’t rid myself of the feeling that LOoW (the book) is meant to function as a ‘proof of concept’ for someone wanting to start an art/science department or programme at the Emily Carr University of Art + Design, perhaps jointly with the University of British Columbia. It is highly unusual to see this sort of material in anything other than a research journal or as a final summary to the granting agency.

Should starting an art/science programme be the intention, I hope they are successful in getting such it together and, in the meantime, thank you to the physicists and artists for their work.

We should all ‘lean out of windows’ on occasion and, if it means, falling or encountering ‘dangerous, uncomfortable ideas’ then, that’s alright too.

AI art threatens your humanity according to a study

This August 21, 2023 University of British Columbia news release (also received via email) offers a provocative take on art produced by artificial intelligence (AI) from the university’s Sauder School of Business.

Intriguingly they used this image for the news release without a caption (I added the one you see) and no attribution/credit,

Courtesy: University of British Columbia

Now for the text, Note: A link has been removed,

AI-generated writing, photography, art and music have been skyrocketing in popularity, but that surging success has also triggered an enormous backlash, with many rejecting AI art — and even asserting that its proliferation marks the beginning of the end for humanity.

So why do some people react so negatively to art made by artificial intelligence? According to a new study from the UBC Sauder School of Business, it’s because for some, it challenges what it is to be human.

For the study, which appears in the June 2023 edition of Computers in Human Behavior, researchers led a series of psychology experiments involving AI art. In one, participants were shown two paintings, and were told that one was generated by AI and the other was human-made; in another, they listened to two pieces of music, one supposedly created by humans and the other by AI.

In reality, however, both pieces of artwork that participants were asked to evaluate were created by either AI or by a human. The researchers randomly labeled one of them as AI-made and the other one as human-made. Still, participants showed an overwhelming preference for artwork they thought was made by people.

“We found that there is a very pervasive bias against work made by AI artists,” says UBC Sauder PhD student Guanzhong Du (he/him), who co-authored the study with Kobe Millet and Michail D. Kokkoris from Vrije Universiteit Amsterdam and Florian Buehler at Vorarlberg University of Applied Sciences in Dornbirn, Austria.

“No matter which one is actually made by the human artist, people prefer the artwork that is labelled as human. They think it is more creative — and when they listen to music or look at paintings made by human artists, they think they are more awe-inspiring.”

To find out what’s driving the bias, the researchers tested whether the anti-AI sentiment was more pronounced in people with stronger “anthropocentric creativity beliefs” — that is, the belief that creativity is a uniquely human characteristic and distinguishes Homo sapiens from other species. They also measured the value of the artworks by asking participants which ones they would be willing to buy.

The results showed the bias against AI art is more pronounced in people who believe that creativity is a uniquely human characteristic, and that they were willing to pay more for works they believed were generated by humans.

“For those people, learning that AI can also be creative may be very threatening, because it challenges their worldview about what human beings are,” says Du. And the bias isn’t a matter of personal taste, he adds.

“It’s not like some people prefer Coke and some prefer Pepsi. It represents a deeper philosophical question about our understanding of human identity,” says Du. “What makes human beings unique as a species? What differentiates us from others? And what is our place in the universe?”

Artificial intelligence is already woven into everyday life, found in everything from chatbots to autocorrect to digital assistants like Siri and Alexa.

More recently, works made by AI art generators have swept social media. AI art also made headlines when a song featuring vocals by what sounded like music megastars Drake and The Weeknd went viral, raising alarm bells about creativity and ownership for artists and record companies.

The study is the first of its kind to link people’s aversion to AI art with speciesism and anthropocentrism, and their view that digital works threaten “the last fortress of human supremacy arguments, artistic creation.”

Du predicts that in the future, we will encounter more and more AI art. He also believes we should be aware of the human bias the study exposes, and embrace AI-generated art rather than resist it.

“We should learn to appreciate the beauty and the creativity of AI. Because if we leverage AI, if we work with AI, maybe we can better develop our own creativity. Maybe we can collaborate with AI, and achieve something we cannot achieve alone,” he says. “But if we are unaware of our bias against AI, that is not possible.”

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

Defending humankind: Anthropocentric bias in the appreciation of AI art by Kobe Millet, Florian Buehler, Guanzhong Du, Michail D. Kokkoris. Computers in Human Behavior Volume 143, June 2023, 107707 DOI: https://doi.org/10.1016/j.chb.2023.107707

This paper is open access.

Wearable screen (flexible display) from the University of British Columbia (UBC)

If I read this correctly, the big selling point for UBC’s flexible, wearable display screen is energy efficiency. From a July 10, 2023 University of British Columbia (UBC) news release on EurekAlert,

Imagine a wearable patch that tracks your vital signs through changes in the colour display, or shipping labels that light up to indicate changes in temperature or sterility of food items.

These are among the potential uses for a new flexible display created by UBC researchers and announced recently in ACS Applied Materials and Interfaces.

“This device is capable of fast, realtime and reversible colour change,” says researcher Claire Preston, who developed the device as part of her master’s in electrical and computer engineering at UBC. “It can stretch up to 30 per cent without losing performance. It uses a colour-changing technology that can be used for visual monitoring. And it is relatively cheap to manufacture.”

Previous attempts at creating stretchable displays have involved complex designs and materials, limiting their stretchability and optical quality. In this new research, scientists leaned on electrochromic displays—which are able to reversibly change colour, while requiring low power consumption—to overcome these limitations. [emphasis mine]

“We used PEDOT:PSS, an electrochromic material that consists of a conductive polymer combined with an ionic liquid, resulting in a stretchable electrode that acts as both the electrochromic element and the ion storage layer. This simplifies the device’s architecture and eliminates the need for a separate stretchable conductor,” says Ms. Preston.

The display is transparent and feels like a stiff rubber band. To support the thin layers of PEDOT and allow them to elongate without breaking, the team added a solid polymer electrolyte and a stretchable encapsulation material called styrene-ethylene-butylene-styrene (SEBS).

“The potential uses for this stretchable display are significant. It could be integrated into wearable devices for biometric monitoring, allowing for real-time visual feedback on vital signs. The displays could also be used in robotic skin, enabling robots to display information and interact more intuitively with humans,” noted senior author Dr. John Madden, a professor of electrical and computer engineering who supervised the work.

Additionally, the low power consumption and cost-effectiveness of this technology make it attractive for use in disposable applications such as indicator patches for medical purposes or smart packaging labels for sensitive shipments. It could also be used to actively change the colour of jackets, hats and other garments.

“While there is need for more work to integrate this device into everyday devices, this breakthrough brings us one step closer to a future where flexible and stretchable displays are a common part of our daily lives,” Dr. Madden added.

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

Intrinsically Stretchable Integrated Passive Matrix Electrochromic Display Using PEDOT:PSS Ionic Liquid Composite by Claire Preston, Yuta Dobashi, Ngoc Tan Nguyen, Mirza Saquib Sarwar, Daniel Jun, Cédric Plesse, Xavier Sallenave, Frédéric Vidal, Pierre-Henri Aubert, and John D. W. Madden. ACS Appl. Mater. Interfaces 2023, 15, 23, 28288–28299 DOI: https://doi.org/10.1021/acsami.3c02902 Publication Date: June 5, 2023 Copyright © 2023 The Authors. Published by American Chemical Society

This paper is open access.

encou(n)ters and more at the University of British Columbia (Vancouver, Canada) on May 15, 2023

I have one upcoming art/science event being held on the University of British Columbia’s (UBC) Vancouver campus. At the very end of this post, there’s a brief mention of two art/climate events to be held at the Peter Wall Institute on campus.

Ars Scientia draws to a close?

Ars Scientia was initially announced in 2021 as a two year initiative between Stewart Blusson Quantum Matter Institute (Blusson QMI), the Morris & Helen Belkin Art Gallery (the Belkin) and UBC’s Department of Physics and Astronomy (UBC PHAS). In other words, physicists and artists collaborating to do something over a two-year period.

There’ve been a number of Ars Scientia talks (use the search term “Ars Scientia” to find them on this blog) and now there’s going to be second (presumably final) symposium, “encou(n)ters.” From a May 9, 2023 Belkin Gallery notice (received via email),

SYMPOSIUM: ENCOU(N)TERS

Monday, May 15 [2023] from 2-6 pm at UBC Botanical Garden [2]

The Ars Scientia research cluster launched a collaborative residency
program in 2021, bringing together artists and physicists to interrogate
the intersections of art and science. Join us at UBC Botanical Garden
for our second annual research symposium, _encou(n)ters_, to learn more
about residency experiences and engage in interdisciplinary discussions
with our participating artist and physicist investigators. Alongside
presentations from Ars Scientia collaborators, we are honoured to invite
Kavita Philip for a keynote lecture. UBC’s Research Excellence Cluster
program seeded Ars Scientia with the objective of creating programming
that fuses the practices of art and science in the emerging [emphasis mine] field of
interdisciplinary research.

Interdisciplinary research is emerging? From the Interdisciplinarity Wikipedia entry, Note: Links have been removed,

Although “interdisciplinary” and “interdisciplinarity” are frequently viewed as twentieth century terms, the concept has historical antecedents, most notably Greek philosophy.[2] Julie Thompson Klein attests that “the roots of the concepts lie in a number of ideas that resonate through modern discourse—the ideas of a unified science, general knowledge, synthesis and the integration of knowledge”,[3] while Giles Gunn says that Greek historians and dramatists took elements from other realms of knowledge (such as medicine or philosophy) to further understand their own material.[4]

For an example of art and science from ancient times, “De rerum natura” or on the “Nature of Things” is a six book poem devoted to physics according to its Wikipedia entry, Note: Links have been removed,

De rerum natura (Latin: [deː ˈreːrʊn naːˈtuːraː]; On the Nature of Things) is a first-century BC didactic poem by the Roman poet and philosopher Lucretius (c. 99 BC – c. 55 BC) with the goal of explaining Epicurean philosophy to a Roman audience. The poem, written in some 7,400 dactylic hexameters, is divided into six untitled books, and explores Epicurean physics through poetic language and metaphors.[1] Namely, Lucretius explores the principles of atomism [emphases mine]; the nature of the mind and soul; explanations of sensation and thought; the development of the world and its phenomena; and explains a variety of celestial and terrestrial phenomena. The universe described in the poem operates according to these physical principles, guided by fortuna (“chance”),[2] and not the divine intervention of the traditional Roman deities.

In 2011, the historian and literary scholar Stephen Greenblatt wrote a popular history book about the poem, entitled The Swerve: How the World Became Modern. In the work, Greenblatt argues that Poggio Bracciolini’s discovery of De rerum natura reintroduced important ideas that sparked the modern age.[98][99][100] The book was well-received, and later earned the 2012 Pulitzer Prize for General Non-Fiction and the 2011 National Book Award for Nonfiction.[101][102]

More recently than Lucretius, Richard Holmes’ 2008 book “The Age of Wonder; How the Romantic Generation Discovered the Beauty and Terror of Science” explores the relationship 19th century English romantic poets had with science.

Getting back to “encou(n)ters,” here are some details from the Belkin Gallery’s event page,

[second annual research symposium, encou(n)ters]

Monday, May 15 [2023] from 2-6 pm at UBC Botanical Garden

The symposium is free and open to the public, but space is limited; RSVP here.

Symposium Program

Building Momentum, 2-3 pm

Opening remarks by Ars Scientia research leads Shelly Rosenblum, Jeremy Heyl and Andrea Damascelli; Artist talks by jg mair with Alannah Hallas and Timothy Taylor

Experiments in Real Space, 3:15-4:30 pm

Introduction and audience participation experience by James Day; Artist talks by Josephine Lee, Kelly Lycan and Justine Chambers, and Scott Billings

Keynote Address: Kavita Philip, 5-6 pm

Introduction by Susan Sechrist; Keynote address by Kavita Philip

Please join us for a reception following the panels to continue the conversation and enjoy the garden

The keynote speaker, Kavita Philip, joined the University of British Columbia in 2020 according to an October 1, 2020 UBC announcement, Note: Links have been removed,

Dr. Kavita Philip has commenced her appointment as the President’s Excellence Chair in Network Cultures, joining UBC as Professor of English with the UBC Department of English Language and Literatures.

Dr. Philip received her Ph.D. in Science and Technology Studies from Cornell University in 1996. Her research and teaching in Global South histories and sociologies of science, computational technologies, environment, network cultures, media, and politics crosses geographic boundaries and ranges across scholarly disciplines. For 25 years, Dr. Philip has been engaged not only in the intellectual task of forging methods to connect techno-scientific, social scientific, and humanistic inquiry, but also in the institutional task of building these collaborative spaces. She seeks to develop public humanities research that acknowledges the intertwined material and social contexts of cultural production. These networked commitments make her the ideal candidate for this chair.

Dr. Philip most recently taught in the History department at the University of California, Irvine. In addition, she has taught in Literature programs as well as Media and Communication Studies, beginning her career at Georgia Tech’s School of Literature, Communication, and Culture (formerly an English Department). There, she participated in the creation of a Bachelor of Science degree in Science, Technology and Culture. Dr. Philip expanded and bridged legacy English department curricula from the 1980s with approaches from STS, eco-criticism, speculative fiction, and media studies. In addition, she founded and ran the “Science, Technology, and Race” project, which was heralded for its exemplary pedagogy and outreach. At Georgia Tech, she received the E. Roe Stamps award for excellence in teaching.

At UC Irvine, in addition to her role as a Professor in History, Dr. Philip was also an affiliated Faculty in Informatics, and the Director and co-founder (with Du Bois scholar Dr. Nahum Chandler) of the research group in Science, Technology and Race at the University of California, Irvine. During her time at UC Irvine, she also served as the Director of the Critical Theory Institute, Director of the Graduate Feminist Emphasis, and Director of Graduate Studies in History.

Susan Sechrist, the scholar, who is introducing Dr. Philip, has this to say about herself on her eponymous blog, Note: Links have been removed,

I write literary and speculative fiction as well as critical essays at the intersection of fiction, science, and mathematics. My feature, Go Figure, is a column about mathematical metaphor in fiction, for the online literary blog Bloom. My math-curious short story, A Desirable Middle, was published by the eclectic Journal of Humanistic Mathematics.

I live in Vancouver, Canada, on the unceded, ancestral territories of the xʷməθkʷəy̓əm (Musqueam Indian Band), Sḵwx̱wú7mesh (Squamish Nation), and səlilwətaɬ (Tsleil-Waututh Nation). I’m a Creative Writing MFA student at the University of British Columbia (UBC) and a Public Scholar, awarded when I was working on a PhD in Interdisciplinary Studies. Before returning to graduate school, I worked as a technical writer and editor for over 20 years, freelancing for clients as varied as high-tech research organizations, academic institutions, software and hardware companies, and technology start-ups.

At a Society for Technical Communication (STC) conference in Las Vegas, I presented a paper on an idea that would become the core of my scholarly research: what if technical writers used figurative and metaphorical language to explicate difficult, complex, scientific ideas? What if technical documentation was actually… interesting? That question led to a Master of Arts in Liberal Studies at Skidmore College, where my thesis was about the connections between literature and mathematical breakthroughs.

There are two other upcoming research events (art and climate change) that you can check out on this Belkin Gallery page (just scroll down past the symposium).

Celebrating Italian Research in the World Day at The Age of Immunotherapy, an April 12th, 2023 event in Vancouver (Canada)

ARPICO (Society of Italian Researchers and Professionals in Western Canada) is co-presenting an event with the Consulate General of Italy in Vancouver to celebrate Italian Research in World Day.

From a March 21, 2023 ARPICO notice (received via email), Note: i have reformatted parts of the text,

It is our pleasure, with the Consulate General of Italy in Vancouver, to invite you to ARPICO’s next public event “The Age of Immunotherapy” to be held on Wednesday, April 12th, 2023 at 7:00 PM at the Museum of Vancouver, History Room & Garden Patio, 1100 Chestnut Street, Vancouver, BC.

The event is in celebration of Italian Research in the World Day instituted in 2018 to value the quality and competencies of Italian researchers abroad and promote concrete actions and investments to allow Italian researchers to continue pursuing their careers in their homeland as well as make Italy an attractive environment for foreign researchers.

Main Event Details

The Age of Immunotherapy, a lecture by Dr. Gregorio Aversa

The Immune system has evolved primarily to protect the body against foreign pathogens such as viruses, bacteria and fungi but sparing the body, recognizing it as “self”. However, sometimes the immune system can also can attack the body’s own tissues, as in autoimmune diseases, or react against harmless molecules, as in allergies. It is now clear that the immune system can also recognize cancer cells, but their elimination can be challenging as the cancer deploys sophisticated mechanisms to evade the immune surveillance. The deeper understanding of the immune system, the key molecules involved in cancer-immune cell interactions and advances in antibody and cell engineering accumulated over the past three decades, have resulted in the recent development of novel and effective immunotherapeutic treatments for cancer. For example, antibodies that target suppressive signals in immune cells are now used to “awaken” the immune system to kill a variety of tumors, resulting in often curative therapies for previously lethal cancers. Multiple new immunotherapeutic approaches and combinations are currently being developed and clinically tested for a variety of cancers and other diseases such as autoimmune diseases, transplant rejection, allergies and viral infections, thus paving the way for potential cures for currently challenging diseases.

About Our Speaker

Dr. Gregorio Aversa is an experienced immunologist and industrial scientist. He has made significant contributions to the discovery of novel monoclonal antibodies and molecules involved in immune regulation in allergies, autoimmune diseases and transplant rejection. Over the past 25 years Dr. Aversa has held executive leadership positions in global Pharmaceutical companies, Biotech, and a Translational Research Institute. These positions include Senior Vice President of the Centre for Drug Research and Development (CDRD) on UBC campus, Unit Head of the Autoimmune Diseases, Biology and Cellular and Molecular Biology Units at Novartis (Vienna, Austria) and Vice President of Research at Inflazyme Pharmaceuticals. He also previously held positions at the DNAX Research Institute in Palo Alto, California (now Merck), and has been an Adjunct Professor in the Department of Microbiology and Immunology at UBC. Dr. Aversa is currently President of his own private biotechnology business, Abimmune Technologies Inc., in Vancouver, Canada, focusing on the development and commercialization of monoclonal antibodies for research and clinical use. [Note: Dr. Aversa is listed as Principal for Abmedix Biomedical {as of March 24, 2023} on his LinkedIn profile; I cannot websites for either Abmedix or Abimmune.] Dr. Aversa did his Ph.D. work in Transplantation Immunology at the University of Sydney and Stanford University and received his Ph.D. from the University of Sydney School of Medicine in Australia. Dr. Aversa has over 60 publications in international scientific journals and is an inventor on several patents.

Evening Program

  • 6:30 PM – Doors open for registration.
  • 7:00 PM – Start of the event with introductions by the Consul General of Italy, Fabio Messineo, and ARPICO’s president, Nicola Fameli.
  • 7:15 PM – Talk “The Age of Immunotherapy” by Dr. Gregorio Aversa, immunologist and industrial scientist.
  • 8:00 PM – Q & A Period
  • 8:15 PM – Mediterranean refreshments catered by Bottles and Bottega offered by the Consulate General of Italy.

We look forward to seeing everyone there.

RSVP: Tickets for this event are required, but FREE; all wishing to attend are requested to obtain “free-admission” tickets on EventBrite

Further details are also available at arpico.ca, arpico facebook, and EventBrite.

If participants wish to donate to ARPICO, this can be done within EventBrite or in person at the event; this would be greatly appreciated in order to help us continue our public lecture program and to build upon our scholarship fund.

FAQ

  • Where can I contact the organizer with any questions?
  • info@arpico.ca
  • Can I update my registration information?
  • Yes. If you have any questions, contact us at info@arpico.ca
  • I am having trouble using EventBrite and cannot reserve my ticket(s). Can someone at ARPICO help me with my ticket reservation?
  • Of course, simply send your ticket request to us at info@arpico.ca so we can help you.

Happy Italian Research in the World Day!

Frog Finders

Joelle Krol has a March 24, 2023 article in The Tyee (an online publication named after a type of salmon) about a frog project in British Columbia’s Fraser Valley (Canada),

As a junior biologist working for the Fraser Valley Conservancy, I’ve been working on putting together a map of our frog and salamander observations. So much of this data is collected by citizen scientists, who submit their photos or videos to programs like iNaturalist or Fraser Valley Conservancy’s Frog Finders program.

The conservancy focuses a lot of our efforts on amphibians. We do annual surveys in the spring, searching wetlands for frogs and salamanders. We also make efforts to protect and enhance their habitat. But before any of these activities can happen, we need to know where they are. That’s where all these amphibian observations come in.

Thousands of the points on the map started as photos, videos and audio clips that were submitted by citizens — and I’m hoping that if you live in Metro Vancouver, I can convince you to do some citizen science, too. Looking through all the data, you learn how much of an impact a single photo can have.

I found that huge portions of the Fraser Valley are lacking amphibian observations, but other portions are rich with amphibians. From here, I was able to identify “amphibian observation hot spots.” These are areas where many amphibians have been sighted and reported. I also identified areas of interest — where there haven’t been many observations but could be great for amphibians. Many of the hot spots surround public parks or protected areas. Whereas many of the areas of interest contain private land.

[downloaded from https://thetyee.ca/Opinion/2023/03/23/Frog-Finders-Fraser-Valley/]

Here’s the request or call to action from a March 9, 2023 Fraser Valley Conservancy (FVC) news release by Joelle Krol, which originated the article in The Tyee,

Ryder Lake provides a great example of how a picture can make a big difference. Residents of the community noticed toads dying on the roadways that sit between the forest and the wetland. They reported these sightings and reached out for help, which got the conservancy involved.

Because of these reports from the community, the FVC was able to tell which location along the road would be the best place to build a tunnel for the toads. Projects like this make a huge difference for the toads’ survival and wouldn’t be possible without those initial citizen reports.

So many strategies for protecting wildlife begin with citizen science data. While there are a decent number of observations in parks and protected wildlife areas, there are shockingly few on private land. It’s not that amphibians aren’t there, but that they aren’t being reported. That’s where you and your photos come in. Submitting photos to citizen science programs helps to fill the map and can result in real change.

You can find a form on the FVC’s home page so you can submit your sighting. If you want to preview the form, you can find it here.

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

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

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

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

Ars Scientia

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

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

Artist Talk with Scott Billings

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

Artist Talk with Timothy Taylor

Monday, May 15 [2023]

Symposium with keynote by Kavita Philip

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

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

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

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

For more information on this event, please click here.

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

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

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

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

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

Ars Scientia Artist Talks

Room 311, Brimacombe Building, 2355 East Mall, UBC

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

Tuesday, February 21 [2023] at 2 pm

JG Mair

Tuesday, March 28 [2023] at 1 pm

Scott Billings

Tuesday, April 2 [2023] at 2 pm

Timothy Taylor

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

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

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

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

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

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

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

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

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