The Massachusetts Institute of Technology (MIT) Museum is hosting its annual Cambridge Science Festival according to a September 18, 2024 news release (received via email),
The MIT Museum has released the full program guide for this year’s Cambridge Science Festival, an annual week-long celebration of ingenuity, creativity and innovation featuring more than 300 free programs across Cambridge and Greater Boston between Monday, September 23 and Sunday, September 29, 2024.
“Cambridge Science Festival is a touchpoint for everyone to find joy, meaning, and human connections” said Keelin Caldwell, Director of Engagement and Cambridge Science Festival at the MIT Museum. “Take the time to explore the many options for free programming all across Cambridge and find your inner scientist, no matter what your background is.”
Michael John Gorman, the new Mark R. Epstein (Class of 1963) Director of the MIT Museum, and Yi-An Huang, Cambridge City Manager, recently met at the MIT Museum to reflect on the importance of Cambridge Science Festival throughout the community.
“The Cambridge Science Festival represents an opportunity for inquisitive visitors of all ages to celebrate our diverse, creative community and experience our rich innovation,” said Yi-An Huang, Cambridge City Manager. “This has become one of Cambridge’s signature events of the year and we are thrilled to once again partner with the MIT Museum for this special week-long showcase.”
The Cambridge Science Festival showcases the newest ideas and innovations in science, art, technology, engineering, design, and more, that spark conversations about the role of science and innovation in our society and for all humankind. The festival includes four thematic days as well as a slate of one-time events that are presented by organizations and venues across Greater Boston and are designed for a wide range of audiences. All Cambridge Science Festival events are free of charge, and in addition, the MIT Museum will also provide free admission to all during the week of the festival.
FESTIVAL SERIES & EVENTS
Below are a sampling of some of our exciting programs; explore the full list of 300 programs here.
Monday, September 23 – Sunday, September 29 | City-wide
100+ festival events taking place in neighborhoods across the city, in local libraries, open labs and a whole host of public spaces. Workshops, panels, lectures and more. Highlights include:
There has been widespread discussion of the potential dangers posed by AI to our democratic processes, but are there ways in which AI could actually help democracy? Hear from global experts Former Minister of Digital Affairs of Taiwan Audrey Tang, Professor of Media Arts and Sciences Deb Roy and Founder and CEO of DemocracyNext Claudia Chwalisz in conversation with MIT Museum Director Michael John Gorman and experience the promise of shared listening and deliberation.
Wednesday, September 25, 6pm | Broad Discovery Center
You are invited to a night of discovery, celebration, and scientific wonders at “Discovery After Dark,” brought to you by the Broad Discovery Center and BroadIgnite. This is an exclusive, after-hours party during the week of the Cambridge Science Festival. Space is limited. Pre-registration is required. This year’s party is celebrating the 20th anniversary of the Broad Institute.
Bitesize lunchtime events throughout the city. Topics range from renewable energy to medical science, AR experiences to digital music, astrophysics and more. Highlights include:
Monday, September 23, 12pm | Harvard Museum of the Ancient Near East
Step into history with The Art of Intimidation: Journey to Ancient Assyria – an augmented-reality Snapchat lens that brings to life the royal palaces of ancient Nineveh and Nimrud (in what is now Iraq). Witness a variety of scenes, from the celebratory to the violent: all designed to demonstrate the political landscape around 640 BC. Use your phone to try the app in the galleries, then meet the curator to discuss this unique blend of science, history, and creativity.
Tuesday, September 24, 12pm | Marlar Lounge, MIT Building 37
At this Lunch and Learn event, come listen to researchers and post-docs from the MIT Kavli Institute for Astrophysics and Space Sciences share short and interesting stories about their research! Each presenter will give a 5-10 minute talk on their research covering topics from exoplanets to stars to galaxies and beyond. There will be an opportunity for attendees to ask questions of any/all of the presenters.
Join an experiential after-hours session at the MIT Museum, offering the full spectrum of game-related activities, from the scientific to the downright silly. Meet Tik-Tok bio-engineers Malik and Miles George, enjoy a performance from MIT’s innovative laptop orchestra, try out a giant size strategy game and more.
Thursday, September 26, 6-7pm | MIT List Visual Arts Center
Join artist Jeremy Couillard and researcher Mikael Jakobsson for an exciting and timely conversation on the social value of play. Their conversation will explore why games are important, from both a critical and design point of view, and delve into the anthropological consequences of gamified technology.
Two days of space-themed events and activities for all ages, co-curated by The Space Consortium, organizers of Massachusetts Space Week. From lab tours to book signings, panel discussions to star-gazing, opportunities to ‘ask-an-astronaut’ and more. Highlights include:
Friday, September 27, 6pm | Aeronaut Brewery and Taproom
Visit the Aeronaut for an entertaining evening of space-themed activities. Enjoy a captivating talk and Q&A session with former astronaut Jeffrey Hoffman on the possibility of life on Mars with Happy Hour from 6-7pm, followed by a Space Trivia event from 8-9pm. Co-hosted by Astronomy on Tap Boston and The Boston Space Network. Age 21+.
This expert panel explores the latest research and theories about the existence of extraterrestrial life, the tools we use to search for it, and what discovering life beyond Earth could mean for humanity. Featuring Sara Seager from MIT AeroAstro, Kim Arcand from the Harvard-Smithsonian Center for Astrophysics, and Michael Hecht from the MIT Haystack Observatory. Moderated by Alissa J. Haddaji, planetary protection expert and founder/director of The Space Consortium and Massachusetts Space Week.
CSF teams up with Boston Fashion Week and AFFOA – Advanced Functional Fabrics of America to co-curate an exploratory day of discovery and demonstration. Join industry leaders from the fashion, fabric and wearable-tech worlds, meet the next generation of artists, designers and engineers, and experience the cutting-edge innovations that will define what we wear in the coming decades.Highlights include:
Generating imagery, video and music with AI is already commonplace, but how are garment designers using AI tools to enhance their creative process? This inspiring panel introduces the leading-edge in AI-assisted fashion design, exploring the many possibilities presented by generative technology. Find out how AI is already influencing artists and creators, and join the discussion about what’s coming next.
Moderated by Fiorenzo Omenetto (Tufts, Silklab). Panelists include: Norma Kamali (Designer), Behnaz Farahi (MIT Media Lab), Onur Yüce Gün (New Balance), Zoey Zhu (IDEO).
Join leading thinkers, designers and engineers as they imagine the future of fashion. Will climate conditions dictate the evolving priorities of the fashion and fabric industries? Will wearable tech enter the mainstream? Will fast-fashion fall out of favor, and will AI contribute to new models and ways of thinking?
Moderated by MIT Museum Director Michael John Gorman. Panelists include: Sasha Stolyarov (AFFOA), Petra Slinkard (Peabody Essex Museum), Norma Kamali (Designer), Randall Harward (Reju), Diana Jaye Coluntino (UMass Lowell Fabric Discovery Center).
Sunday, September 29, 12-4pm | Kendall/MIT Open Space
A family-friendly science extravaganza, Carnival is a beloved regular fixture of CSF and annually attracts more than 15,000 visitors. Featuring over 100 activity booths, demonstrations, live music and events, Carnival is a STEAM-themed playground for inquisitive visitors of all ages – we can’t wait to see you there and celebrate our diverse, creative community together.
There’s some exciting news for people interested in Ars Electronica (see more below the newsletter excerpt) and for people who’d like to explore some of the same work from the Metacreation Lab in a locale that may be closer to their homes, there’s an exhibition on Saltspring Island, British Columbia. Here are details from SFU’s Metacreation Lab newsletter, which hit my mailbox on July 22, 2024,
Metacreation Lab at Ars Electronica 2024
We are delighted to announce that the Metacreation Lab for Creative AI will be part of the prestigious Ars Electronica Festival. This year’s festival, titled “HOPE – who will turn the tide,” will take place in Linz [Austria’ from September 4 to 8.[2024]
Representing the School of Interactive Arts and Technology (SIAT), we will showcase four innovative artworks. “Longing + Forgetting” by Philippe Pasquier, Matt Gingold, and Thecla Schiphorst explores pathfinding algorithms as metaphors for our personal and collective searches for solutions. “Autolume Mzton” by Jonas Kraasch and Philippe Pasquier examines the concept of birth through audio-reactive generative visuals. “Dreamscape” [emphasis mine] by Erica Lapadat-Janzen and Philippe Pasquier utilizes the Autolume system to train AI models with the artist’s own works, creating unique stills and video loops. “Ensemble” by Arshia Sobhan and Philippe Pasquier melds traditional Persian calligraphy with AI to create dynamic calligraphic forms.
MMM4Live Official Release; Generative MIDI in Ableton Live
We are ecstatic to release our Ableton plugin for computer-assisted music composition! Meet MMM4Live, our flexible and generic multi-track music AI generator. MMM4Live embeds our state-of-the-art music transformer model that allows generating fitting original musical patterns in any style! When generating, the AI model considers the request parameters, your instrument choice, and the existing musical MIDI content within your Ableton Live project to deliver relevant material. With this infilling approach, your music is the prompt!
We, at the Metacreation Lab for Creative AI at Simon Fraser University (SFU), are excited about democratizing and pushing the boundaries of musical creativity through academic research and serving diverse communities of creatives.
For additional inquiries, please do not hesitate to reach out to pasquier@sfu.ca
We are excited to announce that “Dreamscape,” a collaboration between Erica Lapadat-Janzen and Philippe Pasquier, will be exhibited at the Provocation exhibition from July 6th to August 10th, 2024.
In response to AI-generated art based on big data, the Metacreation Lab developed Autolume, a no-coding environment that allows artists to train AI models using their chosen works. For “Dreamscape,” the Metacreation Lab collaborated with Vancouver-based visual artist Erica Lapadat-Janzen. Using Autolume, they hand-picked and treated 12 stills and 9 video loops, capturing her unique aesthetic. Lapadat-Janzen’s media artworks, performances, and installations draw viewers into a world of equilibrium, where moments punctuate daily events to clarify our existence and find poetic meaning.
Provocation exhibition brings artists and audiences together to celebrate and provoke conversations about contemporary living. The exhibition is at 215 Baker Rd, Salt Spring Island, BC, and is open to the public (free admission) every Saturday and Sunday from 12-4 pm.
Ars Electronica Linz GmbH is an Austrian cultural, educational and scientific institute active in the field of new media art, founded in Linz in 1979. It is based at the Ars Electronica Center (AEC), which houses the Museum of the Future, in the city of Linz. Ars Electronica’s activities focus on the interlinkages between art, technology and society. It runs an annual festival, and manages a multidisciplinary media arts R&D facility known as the Futurelab. It also confers the Prix Ars Electronica awards.
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Ars Electronica began with its first festival in September 1979. …
Optimism is not the belief that things will somehow work out, but rather the confidence in our ability to influence and bring about improvement. And that perhaps best describes the essence of the principle of hope, not as a passive position, but as an active force that motivates us to keep going despite adversity.
But don’t worry, this year’s festival will not be an examination of the psychological or even evolutionary foundations of the principle of hope, nor will it be a reflection on our unsteady fluctuation between hope and pessimism.
“HOPE” as a festival theme is not a resigned statement that all we can do is hope that someone or something will solve our problems, but rather a manifestation that there are actually many reasons for hope. This is expressed in the subtitle “who will turn the tide”, which does not claim to know how the turnaround can be achieved, but rather focuses on who the driving forces behind this turnabout are.
The festival’s goal is to spotlight as many people as possible who have already set out on their journey and whose activities—no matter how big or small—are a very concrete reason to have hope.
Believing in the possibility of change is the prerequisite for bringing about positive change, especially when all signs point to the fact that the paths we are currently taking are often dead ends.
But belief alone will not be enough; it requires a combination of belief, vision, cooperation, and a willingness to take concrete action. A willingness that we need, even if we are not yet sure how we will turn the tide, how we will solve the problems, and how we will deal with the effects of the problems that we are (no longer) able to solve.
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Earlier, I highlighted ‘Dreamscape’ which can be seen at Ars Electronica 2024 or at the “Provocation” exhibition on Salt Spring Island. Hopefully, you have an opportunity to visit one of the locations. As for the Metacreation Lab for Creative AI, you can find out more here.
The latest newsletter from the Metacreation Lab for Creative AI (at Simon Fraser University [SFU]), features a ‘first’. From the June 2024 Metacreation Lab newsletter (received via email),
“Longing + Forgetting” at the 2024 Currents New Media Festival in Santa Fe
We are thrilled to announce that Longing + Forgetting has been invited to the esteemed Currents New Media Festival in Santa Fe, New Mexico. Longing + Forgetting is a generative audio-video installation that explores the relationship between humans and machines. This media art project, created by Canadian artists Philippe Pasquier and Thecla Schiphorst alongside Australian artist Matt Gingold, has garnered international acclaim since its inception. Initially presented in Canada in 2013, the piece has journeyed through multiple international festivals, captivating audiences with its exploration of human expression through movement.
Philippe Pasquier will be on-site for the festival, overseeing the site-specific installation at El Museo Cultural de Santa Fe. This marks the North American premiere of the redeveloped version of “Longing + Forgetting,” featuring a new soundtrack by Pasquier based solely on the close-mic recording of dancers.
Currents New Media Festival runs June 14–23, 2024 and brings together the work of established and emerging new media artists from around the world across various disciplines, with an expected 9,000 visitors during the festival’s run.
Discover “Longing + Forgetting” at Bunjil Place in Melbourne
We are excited to announce that “Longing + Forgetting” is being featured at Bunjil Place in Melbourne, Australia. As part of the Art After Dark Program curated by Angela Barnett, this outdoor screening will run from June 1 to June 28, illuminating the night from 5 pm to 7 pm.
Presenting “Unveiling New Artistic Dimensions in Calligraphic Arabic Script with GANs” at SIGGRAPH 2024
We are pleased to share that our paper, “Unveiling New Artistic Dimensions in Calligraphic Arabic Script with Generative Adversarial Networks,” will be presented at SIGGRAPH 2024, the premier conference on computer graphics and interactive techniques. The event will take place from July 28 to August 1, 2024, in Denver, Colorado.
This paper delves into the artistic potential of Generative Adversarial Networks (GANs) to create and innovate within the realm of calligraphic Arabic script, particularly the nastaliq style. By developing two custom datasets and leveraging the StyleGAN2-ada architecture, we have generated high-quality, stylistically coherent calligraphic samples. Our work bridges the gap between traditional calligraphy and modern technology and offers a new mode of creative expression for this artform.
For those unfamiliar with the acronym, SIGGRAPH stands for special interest group for computer graphics and interactive techniques. SIGGRAPH is huge and it’s a special interest group (SIG) of the ACM (Association for Computing Machinery).
If memory serves, this is the first time I’ve seen the Metacreation Lab make a request for volunteers, from the June 2024 Metacreation Lab newsletter,
Are you interested in music-making and AI technology?
The Metacreation Lab for Creative AI at Simon Fraser University (SFU), is conducting a research study in partnership with Steinberg Media Technologies GmbH. We are testing and evaluating MMM-Cubase v2, a creative AI system for assisting composing music. The system is based on our best music transformer, the multitrack music machine (MMM), which can generate, re-generate or complete new musical content based on existing content.
There is no prerequisite for this study beyond a basic knowledge of DAW and MIDI. So everyone is welcome even if you do not consider yourself a composer, but are interested in trying the system. The entire study should take you around 3 hours, and you must be 19+ years old. Basic interest and familiarity with digital music composition will help, but no experience with making music is required.
We seek to better evaluate the potential for adoption of such systems for novice/beginner as well as for seasoned composers. More specifically, you will be asked to install and use the system to compose a short 4-track musical composition and to fill out a survey questionnaire at the end.
Participation in this study is rewarded with one free Steinberg software license of your choice among Cubase Element, Dorico Element or Wavelab Element.
For any question or further inquiry, please contact researcher Renaud Bougueng Tchemeube directly at rbouguen@sfu.ca.
So the United Nations (UN) organization is moving onto virtual worlds in addition to our current world? It makes a kind of sense when you realize the International Telecommunications Union (ITU) is a UN agency. Also, in my opinion, the UN has shown increasing interest in emerging technology and science over the last few years.
Here’s more about the UN’s interest in virtual worlds and their potential role in city life in a June 14, 2024 ITU press release (also received via email),
First UN Virtual Worlds Day launches international effort on the CitiVerse
Geneva, 14 June 2024
A global initiative for virtual worlds to support sustainable development and enhance city life was announced today at the first UN Virtual Worlds Day at ITU headquarters in Geneva, Switzerland.
Led by the International Telecommunication Union (ITU), the UN International Computing Centre (UNICC) and Digital Dubai, the initiative will drive capacity development, facilitate sharing of best practices, and develop a sandbox environment for cities to simulate virtual world scenarios.
“By harnessing the transformative power of virtual worlds, we can accelerate progress on the UN Sustainable Development Goals, [SDGs]” said ITU Secretary-General Doreen Bogdan-Martin. “The virtual worlds initiative is an essential step on the path of metaverse innovation that can enrich the lives of people in cities around the world.”
Advancing progress on virtual worlds
UN Virtual Worlds Day highlights the transformative power of virtual worlds, including the metaverse and spatial computing, to accelerate the achievement of the UN Sustainable Development Goals (SDGs).
The new initiative launched at the event builds on the work of ITU’s Focus Group on metaverse, which has laid the groundwork for international standards to support an open, inclusive metaverse that drives progress towards the SDGs.
Established in late 2022, the focus group has identified compelling opportunities for the metaverse to support smart cities.
In urban planning and management, city leaders could simulate their innovations before implementation at scale. A virtual city space can also advance education and training, improve access to public services, and support participatory governance.
The Global Initiative on Virtual Worlds will complement the work of ITU’s standardization expert group for the Internet of Things and smart cities and communities, ITU-T Study Group 20. It will also work alongside United for Smart Sustainable Cities, a UN initiative supported by ITU together with 19 UN partners.
The initiative rests on three pillars that will bring the CitiVerse from concept to community:
Bringing the CitiVerse to Life: Developing expert guidance, raising awareness around CitiVerse opportunities and challenges, and developing and adopting key performance indicators.
Connecting Cities with the Virtual and Real Worlds: Advancing cities’ integration of emerging technologies, curating CitiVerse use cases, and developing a sandbox environment and related technical tools.
Tunneling the CitiVerse: Fostering a community of practice to encourage collaboration among cities, organizing urban problem-solving competitions, and implementing training programmes to boost CitiVerse expertise.
Virtual worlds adding real value to city life
The launch of Global Initiative on Virtual Worlds – Discovering the CitiVerse, comes alongside a new UN Executive Briefing developed by ITU, the UN Agency for Digital Technologies, together with 17 UN partners, on the relevance of virtual worlds and the metaverse to the SDGs.
The UN Executive Briefing also stresses the essential factors – such as responsible technology governance, ethical considerations, and privacy and security concerns – that need to be addressed to ensure that the benefits of virtual worlds are fully realized.
Some thoughts about Vancouver (Canada) and ‘Discovering the CitiVerse’
What follows is pure self indulgence:
I hope there’s interest from Vancouver in this initiative especially given this description from the ITU Webinars Digital Transformation Episode no. 35,
Description
The citiverse is a concept for a network of interconnected virtual worlds that are synchronized with their physical counterparts. It is envisioned as a way to create more inclusive, sustainable, and participatory cities. [emphasis mine]
Smart city initiatives have often focused on technology for its own sake, rather than on how technology can be used to improve the lives of people. This has led to some smart city projects being expensive, inefficient, and even harmful. It is important that we develop a people-centered citiverse, which is one that uses technology to solve real-world problems and improve the quality of life for all residents. This means that people should be at the heart of the city planning and development process. For example, smart city platforms can allow residents to submit feedback on city services or vote on proposed projects. It can also improve the quality of life for residents in a number of ways, such as by reducing traffic congestion, improving air quality, and making it easier to access essential services. Also, it can help to attract new businesses and industries to the city, and they can also help to create new jobs in the citiverse related sector. Overall, people-centered citiverse have the potential to make cities more livable, sustainable, and equitable for all residents.
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I’m not too hopeful since Vancouver City Council (other municipalities have expressed opposition) recently voted in favour of a plan that provoked outrage over erosion of local democracy and serious concerns about the rush to build. Ostensibly, the initiative [mandated by the province of British Columbia] is intended to solve the homelessness crisis although there are doubts about the proposed solution. (If you’re curious, see this June 13, 2024 article by Elizabeth Murphy, formerly with the City of Vancouver’s housing and properties department,,for The Tyee: “Why BC’s Forced Rush to Rezone Neighbourhoods Is Wrong; The province’s push fails to promote democracy, local planning and once vibrant co-op funding.”)
Not present for the city council vote was Vancouver’s mayor Ken Sim who has a spotty attendance record for city council meetings, from a March 14, 2024 article by Lisa Steacy for CTV news online,
Vancouver’s mayor has been absent for nearly a third of votes at public council meetings since taking office, data shows.
The City of Vancouver’s database on voting records shows that members have voted on 777 items since being sworn in on Nov. 7, 2022. Mayor Ken Sim has been marked absent 222 times, including during the vote on one of his most significant campaign promises.
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With a supermajority on council, the mayor’s vote isn’t needed to push forward the agenda that his ABC slate was elected on. However, Prest [Stewart Prest, a lecturer in political science at the University of British Columbia] says voting in and of itself is only a very small part of public meetings, which are opportunities for the mayor to hear feedback from constituents, debate with the opposition, and to tell the public and his colleagues where he stands on an issue and why.
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“The mayor is still elected to represent constituents, to voice opinions and to exercise a leadership role at council. And to take that for granted, to assume other members of ABC can do it just as well in his absence, at a certain point, the question becomes: Well, why do we need Mayor Sim?” [quote from Stewart Prest]
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Apparently, mayor Ken Sim was in London, England, from a June 13, 2024 article by Mike Howell for vancouverisawesome.com, Note: A link has been removed,
Council was scheduled to discuss June 11 [2024; the same day as the new rezoning/planning report was up for a vote] what a city staff report described as a “reallocation” of $80,000 from the city clerk’s department to Sim’s office budget, so he can hire an administrative assistant.
Postponement came after Coun. Peter Meiszner successfully moved a motion to defer debate to June 25. Meiszner’s rationale was that Sim was in London, England at a tech conference and would not be available to respond to questions.
London Tech Week is the global tech ecosystem – where visionaries and entrepreneurs, investors and enterprise tech leaders come together in the right balance to accelerate the infinite cycle of tech innovation.
it’s not clear to me what value attending this event would have for the mayor of Vancouver who is not a technology entrepreneurr. For the record, Ken Sim is an accountant and the owner of a nursing business and a bagel business.
Fingers crossed, he made time to attend the’ UN Virtual Worlds Day’ on June 14, 2024 in Switzerland where they were considering issues that affect cities.
“Geist’s handmade robots made movements as simple as a ping-pong table flapping or coiling up to shoot, but the contact microphones and sound processing documented a percussive, electro, mini symphony.” – Austin Chronicle
There’s mystery in Geist’s music. It’s heady, ASMR-infused dance music — there’s something special happening here, but it’s not immediately clear what.” –– Engadget
“For Geist, the instruments represent not just a new way to make music, but a new way to experience it. The instruments each have a visual component, which makes it possible to watch the sounds as Geist creates them.” – Wired
The performance is fascinating and bewildering, but the music itself provokes one to want to dance in a dimly lit nightclub.” – MixMag
“It doesn’t get geekier than this” – New York Times.
“These robots play electrifying techno music.”– CNET
German sonic artist Moritz Simon Geist will showcase his latest work “Don’t Look At Me” at the Central Presbyterian Church March 15th. With his new robotic instrument Geist is presenting a contemplative ambient performance around the themes attention economy, spatial sound and sine waves. “Don’t Look at Me” was developed as an interactive installation in 2023 in South Korea and uses resonator tubes, light, and vibrato elements to create a fascinating ever-changing soundscape. For the SXSW event, Geist is showcasing his latest compositions with this instrument.
Moritz is returning to SXSW 2024 with a handful of performances and robotic interventions. His works and performances revolve around the questions: How do machines, algorithms and humans interact? How can we find a playful way to interact with non-human music players? And can robots play techno?
Moritz and his team have been developing sound machines and kinetic installations for more than 10 years already, and his works and performances have been shown at festivals and stages around the world. For this SXSW, Moritz is bringing both performances for several techno shows as well as a contemplative ambient show at the Central Presbyterian Church on March 15th [2024]. Here he will present compositions for his latest work “Don’t Look At Me”.
Geist is well known for his performances and self-developed instruments using robots and mechanics as the main sound source. His works have been shown internationally and have been awarded numerous awards in the last years.
Of his return to SXSW, Moritz says, “SXSW 2024 is only the second time I’m playing ‘Don’t Look at Me’ with my new robotic instrument! Playing with a new instrument this complex is always like this first walk outside with a toddler: You never know where you end up: manic laughter at the playground or existential crying in the supermarket.” Regarding his ongoing fascination with machines as instruments, Moritz muses, “When I was younger, I played in a punk rock band, but at some point, I got really annoyed by my fellow musicians, so I swore to myself that I would never play with human musicians again. Jokes aside, I think robotics is a wonderful tool to give a body back to the normally electronically generated sound of techno. The main reason why I’m using robotics as a musical instrument is that the computer is, in my opinion, not the best tool for creating electronic sounds.”
Should you be considering a ticket purchase for the April 15 – 19, 2024 TED event in Vancouver, the cheap ($6250 [USD?]) seats are sold out. Tickets at the next level up are $12,500 and after that, they are $25,000. Should you have more money to burn, you are of course free to become a patron.
A look at the 2024 list of speakers will tell you it is an eclectic list with a significant proportion of speakers focused on the topic of artificial intelligence/robotics.
The three speakers being highlighted here are not focused on artificial intelligence/robotics and have nothing in common with each other (topic wise).
First up, Bill Ackman, a very, very wealthy man, has a messy backstory. Here’s the short description followed by the long one,
Bill Ackman
Founder and CEO, Pershing Square Capital Management
TALK TOPIC
The activist investor playbook (in conversation with Alison Taylor)
Bill Ackman is founder and CEO of the hedge fund Pershing Square Capital Management and a storied activist investor. He is the chairman of Howard Hughes Holdings, a real estate development and management company based in Texas, and a member of the board of Universal Music Group. He is also the co-trustee of The Pershing Square Foundation, a family foundation supporting those tackling important social issues worldwide. At TED2024, Ackman will be interviewed by business professor Alison Taylor.
Mr. Ackman is not entirely self-made, from his Wikipedia entry, Note: Links have been removed,
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Ackman was raised in Chappaqua, New York, the son of Ronnie I. (née Posner) and Lawrence David Ackman, the former chairman of a New York real estate financing firm, Ackman-Ziff Real Estate Group. [emphases mine] [10][11][12] He is of Ashkenazi Jewish descent.[13][14][15] In 1988, he received a Bachelor of Arts degree magna cum laude in social studies from Harvard College. His thesis was titled Scaling the Ivy Wall: The Jewish and Asian American Experience in Harvard Admissions.[16] In 1992, he received a Master of Business Administration degree from Harvard Business School.[17]
As for the messiness, there’s this from from his Wikipedia entry, Note 1: Links have been removed, Note 2: All emphases are mine,
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In October 2023, following the onset of the 2023 Israel–Hamas war after the October 7 attack, several Harvard undergraduate student groups signed a letter condemning the Israeli state. The statement held the “Israeli regime entirely responsible for all unfolding violence,” declared that millions of Palestinians in Gaza have been “forced to live in an open-air prison,” and called on Harvard to “take action to stop the ongoing annihilation of Palestinians.”
In response, Ackman called for the publication of the names of all students involved in signing the letter so that he could ensure his company and others do not “inadvertently hire” any of the signatories. Ackman posted, “One should not be able to hide behind a corporate shield when issuing statements supporting the actions of terrorists,” and the names “should be made public so their views are publicly known”.[83] Ackman’s stance was supported by other CEOs such as Jonathan Neman, David Duel and Jake Wurzak.[84] Former Harvard president Lawrence Summers, though agreeing with Ackman on the need to look at employees’ political views, called Ackman’s request for a list of names “the stuff of Joe McCarthy”.[85]
In November 2023, Ackman defended Elon Musk after the latter expressed agreement with a user who asserted that “Jewish communities” supported “hordes of minorities flooding their country” and pushed “dialectical hatred against whites”, describing it as “shoot from the hip commentary”.[86][87]
Ackman also engaged in a campaign to remove Claudine Gay from her position as Harvard’s president. He argued that her response to antisemitism was insufficient and amplified allegations by conservative media that she engaged in plagiarism.[88][89]
On January 3, 2024, Business Insider published an article alleging that Ackman’s wife, Neri Oxman*, plagiarized portions of her dissertation. A day after the article’s publication, Oxman apologized for plagiarizing portions of her dissertation.[90][91]Ackman, in response to the article, pledged to conduct a plagiarism review of all MIT [Massachusetts Institute of Technology] faculty, including MIT’s president, Sally Kornbluth, who, alongside Gay, attended a congressional hearing on antisemitism in higher education.[90]
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In 2018, Ackman became engaged to Neri Oxman.[94] In January 2019, Oxman and Ackman married at the Central Synagogue in Manhattan,[13] and they had their first child together in spring 2019.[95] In August 2019, Ackman wrote to MIT Media Lab director Joi Ito to discourage him from mentioning Oxman when discussing convicted sex offender Jeffrey Epstein, who had donated $125,000 to Oxman’s lab.[96]
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*There are more complications where Neri Oxman is concerned. She is an Israeli-American who came to the US in 2005 where she commenced PhD studies at MIT. After graduation she became a professor at MIT, a position she has left to found Oxman Architects in 2020. Despite the company name, the business seems more focused on art installations and experimental work. (sourced from Oxman’s Wikipedia entry)*
I wonder how Mr. Ackman characterizes the difference between activism and actions, which result in the destruction of other people’s careers because you disagree with them.
Ackman’s interviewer, Alison Taylor is an interesting choice given that she is a business professor at New York University’s Stern School of Business and author of a February 6, 2024 article (Corporate Advocacy in a Time of Social Outrage; Businesses can’t weigh in on every issue that employees care about. But they can create a culture of open dialogue and ethical transparency [emphasis mine]) for the Harvard Business Review, The article is excerpted from Taylor’s book, “Higher Ground: How Business Can Do the Right Thing in a Turbulent World,” published by Harvard Business Review Press, Feb. 13 2024.
This talk looks like an attempt to rehabilitate Mr. Ackman’s reputation while giving Ms. Taylor publicity for her newly published book in an environment where neither is likely to be strongly challenged.
The two speakers I’m most excited about are Tammy Ma, fusion physicist, and Brian Stokes Mitchell, actor and singer.
As there is a local company known as General Fusion, the topic of fusion energy has been covered here a number of times including a relevant to Ms. Ma’s TED appearance December 13, 2022 posting, “US announces fusion energy breakthrough.”
Tammy Ma is the lead for the Inertial Fusion Energy Initiative at Lawrence Livermore National Laboratory, where she creates miniature stars in order to develop ways to harness their power as a clean, limitless energy source for the future. She was a member of the team at the National Ignition Facility that achieved fusion ignition in December 2022 — a reaction that, for the first time in history, released more energy than it consumed. [emphasis mine] A fellow of the American Physical Society, she serves on the Fusion Energy Sciences Advisory Committee, advising the US Department of Energy’s Office of Science on issues related to fusion energy and plasma research.
Brian Stokes Mitchell is a Tony-winning actor, singer and music producer. A veteran of 11 Broadway shows and a member of the Theatre Hall of Fame, he has performed iconic roles including Frasier’s snarky upstairs neighbor Cam, Hillary’s bungie-jumping boyfriend on the Fresh Prince of Bel-Air, The Prince of Egypt (singing “Through Heaven’s Eyes”) and, most recently, Stanley Townsend in the 2024 feature film Shirley with Regina King. He has performed twice at the White House, serves on the board of Americans for the Arts and is one of the founding members of Black Theatre United.
Stokes Mitchell performed at the Library of Congress Gershwin Prize for Popular Song ceremony in 2017 when Tony Bennett was the honoree. The performances were top notch but something happened when Stokes Mitchell took the stage for his first number. The audience was electrified as was every performer who came after him, some of them giving their second performance of the evening. There is no guarantee that Mr. Stoke Mitchell can do that at his 2024 TED talk but that is the blessing and the curse of live performances.
I wonder if Vancouver’s Mayor Ken Sim will be joining the folks at the giant culture/tech event known as South by Southwest® (SxSW) later in 2024. Our peripatetic mayor seems to enjoy traveling to sports events (FIFA 2023 in Qatar), to Los Angeles to convince producers of a hit television series, “The Last of Us,” that they film the second season in Vancouver, and, to Austin, Texas for SxSW 2023. Note: FIFA is Fédération internationale de football association or ‘International Association Football Federation’.
It’s not entirely clear why Mayor Sim’s presence was necessary at any of these events. In October 2023, he finished his first year in office; a business owner and accountant, Sim is best known for his home care business, “Nurse Next Door” and his bagel business, “Rosemary Rocksalt,” meaning he wouldn’t seem to have much relevant experience with sports and film events.
I gather Mayor Sim’s presence was part of the 2023 hype (for those who don’t know, it’s from ‘hyperbole’) where SxSW was concerned, from the Vancouver Day at SxSW 2023 event page,
Vancouver Day
Past(03/12/2023) 12:00PM – 6:00PM
FREE W/ RSVP | ALL AGES
Swan Dive
The momentum and vibrancy of Vancouver’s innovation industry can’t be stopped!
The full day event will see the Canadian city’s premier technology innovators, creative tech industries, and musical artists show why Vancouver is consistently voted one of the most desirable places to live in the world.
We will have talks/panels with the biggest names in VR/AR/Metaverse, AI, Web3, premier technology innovators, top startups, investors and global thought-leaders. We will keep Canada House buzzing throughout the day with activations/demos from top companies from Vancouver and based on our unique culture of wellness and adventure will keep guests entertained, and giveaways will take place across the afternoon.
The Canadian city is showing why Vancouver has become the second largest AR/VR/Metaverse ecosystem globally (with the highest concentration of 3D talent than anywhere in the world), a leader in Web3 with companies like Dapper Labs leading the way and becoming a hotbed in technology like artificial intelligence.
The Frontier Collective’s Vancouver’s Takeover of SXSW is a signature event that will enhance Vancouver as the Innovation and Creative Tech leader on the world stage.It is an opportunity for the global community to encounter cutting-edge ideas, network with other professionals who share a similar appetite for a forward focused experience and define their next steps.
Some of our special guests include City of Vancouver Mayor Ken Sim [emphasis mine], Innovation Commissioner of the Government of BC- Gerri Sinclair, Amy Peck of Endeavor XR, Tony Parisi of Lamina1 and many more.
In the evening, guests can expect a special VIP event with first-class musical acts, installations, wellness activations and drinks, and the chance to mingle with investors, top brands, and top business leaders from around the world.
To round out the event, a hand-picked roster of Vancouver musicians will keep guests dancing late into the night.
This is from Mayor Sim’s Twitter (now X) feed, Note: The photographs have not been included,
Mayor Ken Sim@KenSimCity Another successful day at #SXSW2023 showcasing Vancouver and British Columbia while connecting with creators, innovators, and entrepreneurs from around the world! #vanpoli#SXSW
2024 hype at SxSW and Vancouver’s Frontier Collective
New year and same hype but no Mayor Sim? From a January 22, 2024 article by Daniel Chai for the Daily Hive, Note: A link has been removed,
Frontier Collective, a coalition of Vancouver business leaders, culture entrepreneurs, and community builders, is returning to the South by Southwest (SXSW) Conference next month to showcase the city’s tech innovation on the global stage.
The first organization to formally represent and promote the region’s fastest-growing tech industries, Frontier Collective is hosting the Vancouver Takeover: Frontiers of Innovation from March 8 to 12 [2024].
According to Dan Burgar, CEO and co-founder of Frontier Collective, the showcase is not just about presenting new advancements but is also an invitation to the world to be part of a boundary-transcending journey.
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“This year’s Vancouver Takeover is more than an event; it’s a beacon for the brightest minds and a celebration of the limitless possibilities that emerge when we dare to innovate together.”
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Speakers lined up for the SXSW Vancouver Takeover in Austin, Texas, include executives from Google, Warner Bros, Amazon, JP Morgan, Amazon, LG, NTT, Newlab, and the Wall Street Journal.
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“The Frontier Collective is excited to showcase a new era of technological innovation at SXSW 2024, building on the success of last year’s Takeover,” added Natasha Jaswal, VP of operations and events of Frontier Collective, in a statement. “Beyond creating a captivating event; its intentional and curated programming provides a great opportunity for local companies to gain exposure on an international stage, positioning Vancouver as a global powerhouse in frontier tech innovation.
Join us for a curated experience of music, art, frontier technologies and provocative panel discussions. We are organizing three major events, designed to ignite conversation and turn ideas into action.
We’re excited to bring together leaders from Vancouver and around the world to generate creative thinking at the biggest tech festival.
Let’s create the future together!
You have a choice of two parties and a day long event. Enjoy!
Who is the Frontier Collective?
The group announced itself in 2022, from a February 17, 2022 article in techcouver, Note: Links have been removed,
The Frontier Collective is the first organization to formally represent and advance the interests of the region’s fastest-growing industries, including Web3, the metaverse, VR/AR [virtual reality/augmented reality], AI [artificial intelligence], climate tech, and creative industries such as eSports [electronic sports], NFTs [non-fungible tokens], VFX [visual effects], and animation.
Did you know the Vancouver area currently boasts the world’s second largest virtual and augmented reality sector and hosts the globe’s biggest cluster of top VFX, video games and animation studios, as well as the highest concentration of 3D talent?
Did you know NFT technology was created in Vancouver and the city remains a top destination for blockchain and Web3 development?
Frontier Collective’s coalition of young entrepreneurs and business leaders wants to raise awareness of Vancouver’s greatness by promoting the region’s innovative tech industry on the world stage, growing investment and infrastructure for early-stage companies, and attracting diverse talent to Vancouver.
“These technologies move at an exponential pace. With the right investment and support, Vancouver has an immense opportunity to lead the world in frontier tech, ushering in a new wave of transformation, economic prosperity and high-paying jobs. Without backing from governments and leaders, these companies may look elsewhere for more welcoming environments.” said Dan Burgar, Co-founder and Head of the Frontier Collective. Burgar heads the local chapter of the VR/AR Association.
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Their plan includes the creation of a 100,000-square-foot innovation hub in Vancouver to help incubate startups in Web3, VR/AR, and AI, and to establish the region as a centre for metaverse technology.
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Frontier Collective’s team includes industry leaders at the Vancouver Economic Commission [emphasis mine; Under Mayor Sim and his majority City Council, the commission has been dissolved; see September 21, 2023 Vancouver Sun article “Vancouver scraps economic commission” by Tiffany Crawford], Collision Conference, Canadian incubator Launch, Invest Vancouver, and the BDC Deep Tech Fund. These leaders continue to develop and support frontier technology in their own organizations and as part of the Collective.
Interestingly, a February 7, 2023 article by the editors of BC Business magazine seems to presage the Vancouver Economic Commission’s demise. Note: Links have been removed,
Last year, tech coalition Frontier Collective announced plans to position Vancouver as Canada’s tech capital by 2030. Specializing in subjects like Web3, the metaverse, VR/AR, AI and animation, it seems to be following through on its ambition, as the group is about to place Vancouver in front of a global audience at SXSW 2023, a major conference and festival celebrating tech, innovation and entertainment.
Taking place in Austin, Texas from March 10-14 [2023], Vancouver Takeover is going to feature speakers, stories and activations, as well as opportunities for companies to connect with industry leaders and investors. Supported by local businesses like YVR Airport, Destination Vancouver, Low Tide Properties and others, Frontier is also working with partners from Trade and Invest BC, Telefilm and the Canadian Consulate. Attendees will spot familiar faces onstage, including the likes of Minister of Jobs, Economic Development and Innovation Brenda Bailey, Vancouver mayor Ken Sim [emphasis mine] and B.C. Innovation Commissioner Gerri Sinclair.
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That’s right, no mention of the Vancouver Economic Commission.
As for the Frontier Collective Team (accessed January 29, 2024), the list of ‘industry leaders’ (18 people with a gender breakdown that appears to be 10 male and 8 female) and staff members (a Senior VP who appears to be male and the other seven staff members who appear to be female) can be found here. (Should there be a more correct way to do the gender breakdown, please let me know in the Comments.)
i find the group’s name a bit odd, ‘frontier’ is something I associate with the US. Americans talk about frontiers, Canadians not so much.
If you are interested in attending the daylong (11 am – 9 pm) Vancouver Takeover at SxSW 2024 event on March 10, 2024, just click here.
Aside: swagger at Vancouver City Hall, economic prosperity, & more?
What follows is not germane to the VR/AR community, SxSW of any year, or the Frontier Collective but it may help to understand why the City of Vancouver’s current mayor is going to events where he would seem to have no useful role to play.
Matt O’Grady’s October 4, 2023 article for Vancouver Magazine offers an eyeopening review of Mayor Ken Sim’s first year in office.
Ken Sim swept to power a year ago promising to reduce waste, make our streets safer and bring Vancouver’s “swagger” back. But can his open-book style win over the critics?
I’m sitting on a couch in the mayor’s third-floor offices, and Ken Sim is walking over to his turntable to put on another record. “How about the Police? I love this album.”
With the opening strains of “Every Breath You Take” crackling to life, Sim is explaining his approach to conflict resolution, and how he takes inspiration from the classic management tome Getting to Yes: Negotiating Agreement Without Giving In.
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Odd choice for a song to set the tone for an interview. Here’s more about the song and its origins according to the song’s Wikipedia entry,
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To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming’s writing desk on the Goldeneye estate in Oracabessa, Jamaica.[14] The lyrics are the words of a possessive lover who is watching “every breath you take; every move you make”. Sting recalled:
“I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.”[15][emphasis mine]
Suddenly, the office door swings open and Sim’s chief of staff, Trevor Ford, pokes his head in (for the third time in the past 10 minutes). “We have to go. Now.”
“Okay, okay,” says Sim, turning back to address me. “Do you mind if I change while we’re talking?” And so the door closes again—and, without further ado, the Mayor of Vancouver drops trou [emphasis mine] and goes in search of a pair of shorts, continuing with a story about how some of his west-side friends are vocally against the massive Jericho Lands development promising to reshape their 4th and Alma neighbourhood.
“And I’m like, ‘Let me be very clear: I 100-percent support it, this is why—and we’ll have to agree to disagree,’” he says, trading his baby-blue polo for a fitted charcoal grey T-shirt. Meanwhile, as Sim does his wardrobe change, I’m doing everything I can to keep my eyes on my keyboard—and hoping the mayor finds his missing shorts.
It’s fair to assume that previous mayors weren’t in the habit of getting naked in front of journalists. At least, I can’t quite picture Kennedy Stewart doing so, or Larry or Gordon Campbell either.
But it also fits a pattern that’s developing with Ken Sim as a leader entirely comfortable in his own skin. He’s in a hurry to accomplish big things—no matter who’s watching and what they might say (or write). And he eagerly embraces the idea of bringing Vancouver’s “swagger” back—outlined in his inaugural State of the City address, and underlined when he shotgunned a beer at July’s [2023] Khatsahlano Street Party.
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O’Grady’s October 4, 2023 article goes on to mention some of the more practical initiatives undertaken by Mayor Sim and his supermajority of ABC (Sim’s party, A Better City) city councillors in their efforts to deal with some of the city’s longstanding and intractable problems,
For a reminder of Sim’s key priorities, you need only look at the whiteboard in the mayor’s office. At the top, there’s a row labelled “Daily Focus (Top 4)”—which are, in order, 3-3-3-1 (ABC’s housing program); Chinatown; Business Advocacy; and Mental Health/Safety.
On some files, like Chinatown, there have been clear advances: council unanimously approved the Uplifting Chinatown Action Plan in January, which devotes more resources to cleaning and sanitation services, graffiti removal, beautification and other community supports. The plan also includes a new flat rate of $2 per hour for parking meters throughout Chinatown (to encourage more people to visit and shop in the area) and a new satellite City Hall office, to improve representation. And on mental health and public safety, the ABC council moved quickly in November to take action on its promise to fund 100 new police officers and 100 new mental health professionals [emphasis mine]—though the actual hiring will take time.
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O’Grady likely wrote his article a few months before its October 2023 publication date (a standard practice for magazine articles), which may explain why he didn’t mention this, from an October 10, 2023 article by Michelle Gamage and Jen St. Denis for The Tyee,
100 Cops, Not Even 10 Nurses
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One year after Mayor Ken Sim and the ABC party swept into power on a promise to hire 100 cops and 100 mental health nurses to address fears about crime and safety in Vancouver, only part of that campaign pledge has been fulfilled.
At a police board meeting in September, Chief Adam Palmer announced that 100 new police officers have now joined the Vancouver Police Department.
But just 9.5 full-time equivalent positions have been filled to support the mental health [emphasis mine] side of the promise.
In fact, Vancouver Coastal Health says it’s no longer aiming [emphasis mine] to hire 100 nurses. Instead, it’s aiming for 58 staff and specialists [emphasis mine], including social workers, community liaison workers and peers, as well as other disciplines alongside nurses to deliver care.
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At the police board meeting on Sept. 21 [2023], Palmer said the VPD has had no trouble recruiting new police officers and has now hired 70 new recruits who are first-time officers, as well as at least 24 experienced officers from other police services.
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In contrast, it’s been a struggle for VCH to recruit nurses specializing in mental health.
BC Nurses’ Union president Adriane Gear said she remembers wondering where Sim was planning on finding 100 nurses [emphasis mine] when he first made the campaign pledge. In B.C. there are around 5,000 full-time nursing vacancies, she said. Specialized nurses are an even more “finite resource,” she added.
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I haven’t seen any information as to why the number was reduced from 100 mental health positions to 58. I’m also curious as to how Mayor Ken Sim whose business is called ‘Nurse Next Door’ doesn’t seem to know there’s a shortage of nurses in the province and elsewhere.
Last year, the World Economic Forum in collaboration with Quartz published a January 28, 2022 article by Aurora Almendral about the worldwide nursing shortage and the effects of COVID pandemic,
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The report’s [from the International Council of Nurses (ICN)] survey of nurse associations around the world painted a grim picture of strained workforce. In Spain, nurses reported a chronic lack of PPE, and 30% caught covid. In Canada, 52% of nurses reported inadequate staffing, and 47% met the diagnostic cut-off for potential PTSD [emphasis mine].
Burnout plagued nurses around the world: 40% in Uganda, 60% in Belgium, and 63% in the US. In Oman, 38% nurses said they were depressed, and 73% had trouble sleeping. Fifty-seven percent of UK nurses planned to leave their jobs in 2021, up from 36% in 2020. Thirty-eight percent of nurses in Lebanon did not want to be nurses anymore, but stayed in their jobs because their families needed the money.
In Australia, 17% of nurses had sought mental health support. In China, 6.5% of nurses reported suicidal thoughts.
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Moving on from Mayor Sim’s odd display of ignorance (or was it cynical calculation from a candidate determined to win over a more centrist voting population?), O’Grady’s October 4, 2023 article ends on this note,
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When Sim runs for reelection in 2026, as he promises to do, he’ll have a great backdrop for his campaign—the city having just hosted several games for the FIFA World Cup, which is expected to bring in $1 billion and 900,000 visitors over five years.
The renewed swagger of Sim’s city will be on full display for the world to see. So too—if left unresolved—will some of Vancouver’s most glaring and intractable social problems.
I was born in Vancouver and don’t recall the city as having swagger, at any time. As for the economic prosperity that’s always promised with big events like the FIFA world cup, I’d like to see how much the 2010 Olympic Games held in Vancouver cost taxpayers and whether or not there were long lasting economic benefits. From a July 9, 2022 posting on Bob Mackin’s thebreaker.news,
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The all-in cost to build and operate the Vancouver 2010 Games was as much as $8 billion, but the B.C. Auditor General never conducted a final report. The organizing committee, VANOC, was not covered by the freedom of information law and its records were transferred to the Vancouver Archives after the Games with restrictions not to open the board minutes and financial ledgers before fall 2025.
Mayor Sim will have two more big opportunities to show off his swagger in 2025 . (1) The Invictus Games come to Vancouver and Whistler in February 2025 and will likely bring Prince Harry and the Duchess of Sussex, Meghan Markle to the area (see the April 22, 2022 Associated Press article by Gemma Karstens-Smith on the Canadian Broadcasting Corporation website) and (2) The 2025 Junos (the Canadian equivalent to the Grammys) from March 26 – 30, 2025 with the awards show being held on March 30, 2025 (see the January 25, 2024 article by Daniel Chai for the Daily Hive website).
While he waits, Sim may have a ‘swagger’ opportunity later this month (February 2024) when Prince Harry and the Duchess of Sussex (Meghan Markle) visit the Vancouver and Whistler for a “a three-day Invictus Games’ One Year to Go event in Vancouver and Whistler,” see Daniel Chai’s February 2, 2024 article for more details.
Don’t forget, should you be in Austin, Texas for the 2024 SxSW, the daylong (11 am – 9 pm) Vancouver Takeover at SxSW 2024 event is on March 10, 2024, just click here to register. Who knows? You might get to meet Vancouver’s, Mayor Ken Sim. Or, if you can’t make it to Austin, Texas, O’Grady’s October 4, 2023 article offer an unusual political profile.
My personal theme for this last year (2023) and for the coming year was and is: catching up. On the plus side, my 2023 backlog (roughly six months) to be published was whittled down considerably. On the minus side, I start 2024 with a backlog of two to three months.
2023 on this blog had a lot in common with 2022 (see my December 31, 2022 posting), which may be due to what’s going on in the world of emerging science and technology or to my personal interests or possibly a bit of both. On to 2023 and a further blurring of boundaries:
Energy, computing and the environment
The argument against paper is that it uses up resources, it’s polluting, it’s affecting the environment, etc. Somehow the part where electricity which underpins so much of our ‘smart’ society does the same thing is left out of the discussion.
Neuromorphic (brainlike) computing and lower energy
Before launching into the stories about lowering energy usage, here’s an October 16, 2023 posting “The cost of building ChatGPT” that gives you some idea of the consequences of our insatiable desire for more computing and more ‘smart’ devices,
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In its latest environmental report, Microsoft disclosed that its global water consumption spiked 34% from 2021 to 2022 (to nearly 1.7 billion gallons , or more than 2,500 Olympic-sized swimming pools), a sharp increase compared to previous years that outside researchers tie to its AI research. [emphases mine]
“It’s fair to say the majority of the growth is due to AI,” including “its heavy investment in generative AI and partnership with OpenAI,” said Shaolei Ren, [emphasis mine] a researcher at the University of California, Riverside who has been trying to calculate the environmental impact of generative AI products such as ChatGPT.
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Why it matters: Microsoft’s five WDM [West Des Moines in Iowa] data centers — the “epicenter for advancing AI” — represent more than $5 billion in investments in the last 15 years.
Yes, but: They consumed as much as 11.5 million gallons of water a month for cooling, or about 6% of WDM’s total usage during peak summer usage during the last two years, according to information from West Des Moines Water Works.
The focus is AI but it doesn’t take long to realize that all computing has energy and environmental costs. I have more about Ren’s work and about water shortages in the “The cost of building ChatGPT” posting.
This next posting would usually be included with my other art/sci postings but it touches on the issues. My October 13, 2023 posting about Toronto’s Art/Sci Salon events, in particular, there’s the Streaming Carbon Footprint event (just scroll down to the appropriate subhead). For the interested, I also found this 2022 paper “The Carbon Footprint of Streaming Media:; Problems, Calculations, Solutions” co-authored by one of the artist/researchers (Laura U. Marks, philosopher and scholar of new media and film at Simon Fraser University) who presented at the Toronto event.
I’m late to the party; Thomas Daigle posted a January 2, 2020 article about energy use and our appetite for computing and ‘smart’ devices for the Canadian Broadcasting Corporation’s online news,
For those of us binge-watching TV shows, installing new smartphone apps or sharing family photos on social media over the holidays, it may seem like an abstract predicament.
The gigabytes of data we’re using — although invisible — come at a significant cost to the environment. Some experts say it rivals that of the airline industry.
And as more smart devices rely on data to operate (think internet-connected refrigerators or self-driving cars), their electricity demands are set to skyrocket.
“We are using an immense amount of energy to drive this data revolution,” said Jane Kearns, an environment and technology expert at MaRS Discovery District, an innovation hub in Toronto.
“It has real implications for our climate.”
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Some good news
Researchers are working on ways to lower the energy and environmental costs, here’s a sampling of 2023 posts with an emphasis on brainlike computing that attest to it,
Most people are familiar with nuclear fission and some its attendant issues. There is an alternative nuclear energy, fusion, which is considered ‘green’ or greener anyway. General Fusion is a local (Vancouver area) company focused on developing fusion energy, alongside competitors from all over the planet.
Part of what makes fusion energy attractive is that salt water or sea water can be used in its production and, according to that December posting, there are other applications for salt water power,
More encouraging developments in environmental science
Again, this is a selection. You’ll find a number of nano cellulose research projects and a couple of seaweed projects (seaweed research seems to be of increasing interest).
Neuromorphic computing is a subset of neuromorphic engineering and I stumbled across an article that outlines the similarities and differences. My ‘summary’ of the main points and a link to the original article can be found here,
I included an overview of the various ‘recent’ panics (in my May 25, 2023 posting below) along with a few other posts about concerning developments but it’s not all doom and gloom..
Governments have realized that regulation might be a good idea. The European Union has a n AI act, the UK held an AI Safety Summit in November 2023, the US has been discussing AI regulation with its various hearings, and there’s impending legislation in Canada (see professor and lawyer Michael Geist’s blog for more).
A long time coming, a nanomedicine comeuppance
Paolo Macchiarini is now infamous for his untested, dangerous approach to medicine. Like a lot of people, I was fooled too as you can see in my August 2, 2011 posting, “Body parts nano style,”
In early July 2011, there were reports of a new kind of transplant involving a body part made of a biocomposite. Andemariam Teklesenbet Beyene underwent a trachea transplant that required an artificial windpipe crafted by UK experts then flown to Sweden where Beyene’s stem cells were used to coat the windpipe before being transplanted into his body.
It is an extraordinary story not least because Beyene, a patient in a Swedish hospital planning to return to Eritrea after his PhD studies in Iceland, illustrates the international cooperation that made the transplant possible.
The scaffolding material for the artificial windpipe was developed by Professor Alex Seifalian at the University College London in a landmark piece of nanotechnology-enabled tissue engineering. …
This year, Gretchen Vogel (whose work was featured in my 2016 posts) has written a June 21, 2023 update about the Macchiarini affair for Science magazine, Note: Links have been removed,
Surgeon Paolo Macchiarini, who was once hailed as a pioneer of stem cell medicine, was found guilty of gross assault against three of his patients today and sentenced to 2 years and 6 months in prison by an appeals court in Stockholm. The ruling comes a year after a Swedish district court found Macchiarini guilty of bodily harm in two of the cases and gave him a suspended sentence. After both the prosecution and Macchiarini appealed that ruling, the Svea Court of Appeal heard the case in April and May. Today’s ruling from the five-judge panel is largely a win for the prosecution—it had asked for a 5-year sentence whereas Macchiarini’s lawyer urged the appeals court to acquit him of all charges.
Macchiarini performed experimental surgeries on the three patients in 2011 and 2012 while working at the renowned Karolinska Institute. He implanted synthetic windpipes seeded with stem cells from the patients’ own bone marrow, with the hope the cells would multiply over time and provide an enduring replacement. All three patients died when the implants failed. One patient died suddenly when the implant caused massive bleeding just 4 months after it was implanted; the two others survived for 2.5 and nearly 5 years, respectively, but suffered painful and debilitating complications before their deaths.
In the ruling released today, the appeals judges disagreed with the district court’s decision that the first two patients were treated under “emergency” conditions. Both patients could have survived for a significant length of time without the surgeries, they said. The third case was an “emergency,” the court ruled, but the treatment was still indefensible because by then Macchiarini was well aware of the problems with the technique. (One patient had already died and the other had suffered severe complications.)
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A fictionalized tv series ( part of the Dr. Death anthology series) based on Macchiarini’s deceptions and a Dr. Death documentary are being broadcast/streamed in the US during January 2024. These come on the heels of a November 2023 Macchiarini documentary also broadcast/streamed on US television.
Dr. Death (anthology), based on the previews I’ve seen, is heavily US-centric, which is to be expected since Adam Ciralsky is involved in the production. Ciralsky wrote an exposé about Macchiarini for Vanity Fair published in 2016 (also featured in my 2016 postings). From a December 20, 2023 article by Julie Miller for Vanity Fair, Note: A link has been removed,
Seven years ago [2016], world-renowned surgeon Paolo Macchiarini was the subject of an ongoing Vanity Fair investigation. He had seduced award-winning NBC producer Benita Alexander while she was making a special about him, proposed, and promised her a wedding officiated by Pope Francis and attended by political A-listers. It was only after her designer wedding gown was made that Alexander learned Macchiarini was still married to his wife, and seemingly had no association with the famous names on their guest list.
Vanity Fair contributor Adam Ciralsky was in the midst of reporting the story for this magazine in the fall of 2015 when he turned to Dr. Ronald Schouten, a Harvard psychiatry professor. Ciralsky sought expert insight into the kind of fabulist who would invent and engage in such an audacious lie.
“I laid out the story to him, and he said, ‘Anybody who does this in their private life engages in the same conduct in their professional life,” recalls Ciralsky, in a phone call with Vanity Fair. “I think you ought to take a hard look at his CVs.”
That was the turning point in the story for Ciralsky, a former CIA lawyer who soon learned that Macchiarini was more dangerous as a surgeon than a suitor. …
Here’s a link to Ciralsky’s original article, which I described this way, from my April 19, 2016 posting (part 2 of the Macchiarini controversy),
For some bizarre frosting on this disturbing cake (see part 1 of the Macchiarini controversy and synthetic trachea transplants for the medical science aspects), a January 5, 2016 Vanity Fair article by Adam Ciralsky documents Macchiarini’s courtship of an NBC ([US] National Broadcasting Corporation) news producer who was preparing a documentary about him and his work.
[from Ciralsky’s article]
“Macchiarini, 57, is a magnet for superlatives. He is commonly referred to as “world-renowned” and a “super-surgeon.” He is credited with medical miracles, including the world’s first synthetic organ transplant, which involved fashioning a trachea, or windpipe, out of plastic and then coating it with a patient’s own stem cells. That feat, in 2011, appeared to solve two of medicine’s more intractable problems—organ rejection and the lack of donor organs—and brought with it major media exposure for Macchiarini and his employer, Stockholm’s Karolinska Institute, home of the Nobel Prize in Physiology or Medicine. Macchiarini was now planning another first: a synthetic-trachea transplant on a child, a two-year-old Korean-Canadian girl named Hannah Warren, who had spent her entire life in a Seoul hospital. … “
Other players in the Macchiarini story
Pierre Delaere, a trachea expert and professor of head and neck surgery at KU Leuven (a university in Belgium) was one of the first to draw attention to Macchiarini’s dangerous and unethical practices. To give you an idea of how difficult it was to get attention for this issue, there’s a September 1, 2017 article by John Rasko and Carl Power for the Guardian illustrating the issue. Here’s what they had to say about Delaere and other early critics of the work, Note: Links have been removed,
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Delaere was one of the earliest and harshest critics of Macchiarini’s engineered airways. Reports of their success always seemed like “hot air” to him. He could see no real evidence that the windpipe scaffolds were becoming living, functioning airways – in which case, they were destined to fail. The only question was how long it would take – weeks, months or a few years.
Delaere’s damning criticisms appeared in major medical journals, including the Lancet, but weren’t taken seriously by Karolinska’s leadership. Nor did they impress the institute’s ethics council when Delaere lodged a formal complaint. [emphases mine]
Support for Macchiarini remained strong, even as his patients began to die. In part, this is because the field of windpipe repair is a niche area. Few people at Karolinska, especially among those in power, knew enough about it to appreciate Delaere’s claims. Also, in such a highly competitive environment, people are keen to show allegiance to their superiors and wary of criticising them. The official report into the matter dubbed this the “bandwagon effect”.
With Macchiarini’s exploits endorsed by management and breathlessly reported in the media, it was all too easy to jump on that bandwagon.
And difficult to jump off. In early 2014, four Karolinska doctors defied the reigning culture of silence [emphasis mine] by complaining about Macchiarini. In their view, he was grossly misrepresenting his results and the health of his patients. An independent investigator agreed. But the vice-chancellor of Karolinska Institute, Anders Hamsten, wasn’t bound by this judgement. He officially cleared Macchiarini of scientific misconduct, allowing merely that he’d sometimes acted “without due care”.
For their efforts, the whistleblowers were punished. [emphasis mine] When Macchiarini accused one of them, Karl-Henrik Grinnemo, of stealing his work in a grant application, Hamsten found him guilty. As Grinnemo recalls, it nearly destroyed his career: “I didn’t receive any new grants. No one wanted to collaborate with me. We were doing good research, but it didn’t matter … I thought I was going to lose my lab, my staff – everything.”
This went on for three years until, just recently [2017], Grinnemo was cleared of all wrongdoing.
…
It is fitting that Macchiarini’s career unravelled at the Karolinska Institute. As the home of the Nobel prize in physiology or medicine, one of its ambitions is to create scientific celebrities. Every year, it gives science a show-business makeover, picking out from the mass of medical researchers those individuals deserving of superstardom. The idea is that scientific progress is driven by the genius of a few.
It’s a problematic idea with unfortunate side effects. A genius is a revolutionary by definition, a risk-taker and a law-breaker. Wasn’t something of this idea behind the special treatment Karolinska gave Macchiarini? Surely, he got away with so much because he was considered an exception to the rules with more than a whiff of the Nobel about him. At any rate, some of his most powerful friends were themselves Nobel judges until, with his fall from grace, they fell too.
…
The September 1, 2017 article by Rasko and Power is worth the read if you have the interest and the time. And, Delaere has written up a comprehensive analysis, which includes basic information about tracheas and more, “The Biggest Lie in Medical History” 2020, PDF, 164 pp., Creative Commons Licence).
I also want to mention Leonid Schneider, science journalist and molecular cell biologist, whose work the Macchiarini scandal on his ‘For Better Science’ website was also featured in my 2016 pieces. Schneider’s site has a page titled, ‘Macchiarini’s trachea transplant patients: the full list‘ started in 2017 and which he continues to update with new information about the patients. The latest update was made on December 20, 2023.
Promising nanomedicine research but no promises and a caveat
Most of the research mentioned here is still in the laboratory. i don’t often come across work that has made its way to clinical trials since the focus of this blog is emerging science and technology,
*If you’re interested in the business of neurotechnology, the July 17, 2023 posting highlights a very good UNESCO report on the topic.
Funky music (sound and noise)
I have couple of stories about using sound for wound healing, bioinspiration for soundproofing applications, detecting seismic activity, more data sonification, etc.
I didn’t realize how active the year was art/sciwise including events and other projects until I reviewed this year’s postings. This is a selection from 2023 but there’s a lot more on the blog, just use the search term, “art/sci,” or “art/science,” or “sciart.”
2023 featured an unusual budget where military expenditures were going to be increased, something which could have implications for our science and technology research.
Then things changed as Murray Brewster’s November 21, 2023 article for the Canadian Broadcasting Corporation’s (CBC) news online website comments, Note: A link has been removed,
There was a revelatory moment on the weekend as Defence Minister Bill Blair attempted to bridge the gap between rhetoric and reality in the Liberal government’s spending plans for his department and the Canadian military.
Asked about an anticipated (and long overdue) update to the country’s defence policy (supposedly made urgent two years ago by Russia’s full-on invasion of Ukraine), Blair acknowledged that the reset is now being viewed through a fiscal lens.
“We said we’re going to bring forward a new defence policy update. We’ve been working through that,” Blair told CBC’s Rosemary Barton Live on Sunday.
“The current fiscal environment that the country faces itself does require (that) that defence policy update … recognize (the) fiscal challenges. And so it’ll be part of … our future budget processes.”
…
One policy goal of the existing defence plan, Strong, Secure and Engaged, was to require that the military be able to concurrently deliver “two sustained deployments of 500 [to] 1,500 personnel in two different theaters of operation, including one as a lead nation.”
In a footnote, the recent estimates said the Canadian military is “currently unable to conduct multiple operations concurrently per the requirements laid out in the 2017 Defence Policy. Readiness of CAF force elements has continued to decrease over the course of the last year, aggravated by decreasing number of personnel and issues with equipment and vehicles.”
Some analysts say they believe that even if the federal government hits its overall budget reduction targets, what has been taken away from defence — and what’s about to be taken away — won’t be coming back, the minister’s public assurances notwithstanding.
…
10 years: Graphene Flagship Project and Human Brain Project
“Graphene and Human Brain Project win biggest research award in history (& this is the 2000th post)” on January 28, 2013 was how I announced the results of what had been a a European Union (EU) competition that stretched out over several years and many stages as projects were evaluated and fell to the wayside or were allowed onto the next stage. The two finalists received €1B each to be paid out over ten years.
As you can see, there was plenty of interesting stuff going on in 2023 but no watershed moments in the areas I follow. (Please do let me know in the Comments should you disagree with this or any other part of this posting.) Nanotechnology seems less and less an emerging science/technology in itself and more like a foundational element of our science and technology sectors. On that note, you may find my upcoming (in 2024) post about a report concerning the economic impact of its National Nanotechnology Initiative (NNI) from 2002 to 2022 of interest.
Following on the commercialization theme, I have noticed an increase of interest in commercializing brain and brainlike engineering technologies, as well as, more discussion about ethics.
Meanwhile, Australia has been producing some very interesting mind/robot research, my June 13, 2023 posting, “Mind-controlled robots based on graphene: an Australian research story.” I have more of this kind of research (mind control or mind reading) from Australia to be published in early 2024. The Australians are not alone, there’s also this April 12, 2023 posting, “Mind-reading prosthetic limbs” from Germany.
I haven’t singled it out in this end-of-year posting but there is a great deal of interest in quantum computer both here in Canada and elsewhere. There is a 2023 report from the Council of Canadian Academies on the topic of quantum computing in Canada, which I hope to comment on soon.
Final words
I have a shout out for the Canadian Science Policy Centre, which celebrated its 15th anniversary in 2023. Congratulations!
For everyone, I wish peace on earth and all the best for you and yours in 2024!
An October 16, 2023 notice (received via email) from Toronto’s ArtSci Salon makes this performance announcement,
PATTERNS FROM NATURE Saturday, November 4th, 2023 Isabel Bader Theatre 93 Charles St West Toronto 8pm Free admission
An ambitious new project is set to captivate audiences with a mesmerizing fusion of physics, film, and music.
Physicist Stephen Morris, filmmakers Udo Prinsen, Gita Blak, Lee Hutzulak, Tina de Groot, and composer/saxophonist Quinsin Nachoff are joining forces to explore Morris’ area of research Emergent Patterns in Nature through a captivating multimedia experience.
The centerpiece of this innovative project is a four-movement, 40-minute work. Each filmmaker will delve into a specific research area within Emergent Patterns in Nature, exploring Branches, Flow, Cracks, and Ripples. Collaborating closely, the team will draw inspiration from one another’s progress into the composition and filmmaking processes. These areas were inspired, in part, by the books about Patterns in Nature by Philip Ball.
Blending jazz and classical elements, the composition will be performed by a chamber ensemble featuring woodwinds, brass, percussion, piano, string quartet, bass, drum set, and conductor. Renowned soloists, including clarinetist François Houle, the Molinari String Quartet, pianists Matt Mitchell and Santiago Leibson, bassist Carlo De Rosa, drummer Satoshi Takeishi, trombonist Ryan Keberle, and saxophonist Quinsin Nachoff, will contribute their virtuosity to the performance.
This groundbreaking collaboration promises to transport audiences on an immersive journey through the wonders of Emergent Patterns in Nature. The result will be an unforgettable multimedia experience that pushes the boundaries of creativity and innovation.
Toronto ensemble: Camille Watts (flute), François Houle (clarinet), Quinsin Nachoff (tenor saxophone), Peter Lutek (bassoon), Jason Logue (trumpet), David Quackenbush (french horn), Ryan Keberle (trombone), Mark Duggan (percussion), Santiago Leibson (piano), Carlo De Rosa (bass), Satoshi Takeishi (drums), Molinari String Quartet (Olga Ranzenhofer – violin I, Antoine Bareil – violin II, Frédéric Lambert – viola, Pierre-Alain Bouvrette – cello), JC Sanford (conductor)
In co-presentation with Art-Sci Salon at the Fields Institute for Research in Mathematical Sciences and the University of Toronto Department of Physics
Made possible, in part, through the generous support of The Canada Council for the Arts, the Fields Institute for Research in Mathematical Sciences and the Conseil des Arts et des Lettres du Québec
Just Register here and/or there’s a roundtable discussion scheduled for the next day,
Let’s talk it up
An October 20, 2023 notice (received via email) from Toronto’s ArtSci Salon makes this related event announcement,
Patterns from Nature is a new project intersecting physics, film, and music. Physicist Stephen Morris, filmmakers Udo Prinsen, Gita Blak, Lee Hutzulak, Tina de Groot, and composer/saxophonist Quinsin Nachoff joined forces to explore Morris’ area of research Emergent Patterns in Nature through a captivating multimedia experience.
The transdisciplinary collaborations that led to this complex multimedia and multidimensional work raises many questions:
Why and in what way did science, film and music come to converge in this work?
What role did each participant play?
How did they interpret the scientific findings informing the project?
What were the inspirations, the concerns, the questions that each participant brought into this work?
Come with your questions and curiosity, share your experience and feedback with the protagonists
For those who can’t get to the Toronto events, there is a recently published (2023) book about an art/physics collaboration, Leaning Out of Windows (see September 11, 2023 post/book review).
Join us to welcome Cerpina and Stenslie as they introduce us to their book and discuss the future cuisine of humanity. To sustain the soon-to-be 9 billion global population we cannot count on Mother Earth’s resources anymore. The project explores innovative and speculative ideas about new foods in the field of arts, design, science & technology, rethinking eating traditions and food taboos, and proposing new recipes for survival in times of ecological catastrophes.
To match the topic of their talk, attendees will be presented with “anthropocene snacks” and will be encouraged to discuss food alternatives and new networks of solidarity to fight food deserts, waste, and unsustainable consumption.
This is a Hybrid event: our guests will join us virtually on zoom. Join us in person at Glendon Campus, rm YH190 (the studio next to the Glendon Theatre) for a more intimate community experience and some anthropocene snacks. If you wish to join us on Zoom, please
This event is part of a series on Emergent Practices in Communication, featuring explorations on interspecies communication and digital networks; land-based justice and collective care. The full program can be found here
This initiative is supported by York University’s Teaching Commons Academic Innovation Fund
Zane Cerpina is a multicultural and interdisciplinary female author, curator, artist, and designer working with the complexity of socio-political and environmental issues in contemporary society and in the age of the Anthropocene. Cerpina earned her master’s degree in design from AHO – The Oslo School of Architecture and Design and a bachelor’s degree in Art and Technology from Aalborg University. She resides in Oslo and is a project manager/curator at TEKS (Trondheim Electronic Arts Centre). She is also a co-founder and editor of EE: Experimental Emerging Art Journal. From 2015 to 2019, Cerpina was a creative manager and editor at PNEK (Production Network for Electronic Art, Norway).
Stahl Stenslie works as an artist, curator and researcher specializing in experimental media art and interaction experiences. His aesthetic focus is on art and artistic expressions that challenge ordinary ways of perceiving the world. Through his practice he asks the questions we tend to avoid – or where the answers lie in the shadows of existence. Keywords of his practice are somaesthetics, unstable media, transgression and numinousness. The technological focus in his works is on the art of the recently possible – such as i) panhaptic communication on Smartphones, ii) somatic and immersive soundspaces, and iii) design of functional and lethal artguns, 3D printed in low-cost plastic material.He has a PhD on Touch and Technologies from The School of Architecture and Design, Oslo, Norway. Currently he heads the R&D department at Arts for Young Audiences Norway.
If you’re interested in the book, there’s the anthropocenecookbook.com, which has more about the book and purchase information,
The Anthropocene Cookbook is by far the most comprehensive collection of ideas about future food from the perspective of art, design, and science. It is a thought-provoking book about art, food, and eating in the Anthropocene –The Age of Man– and the age of catastrophes.
Published by The MIT Press [MIT = Massachusetts Institute of Technology] | mitpress.mit.edu
Supported by TEKS Trondheim Electronic Arts Centre | www.teks.no
*Date changed* Streaming Carbon Footprint on October 27, 2023
Keep scrolling down to Date & location changed for Streaming Carbon Footprint subhead.
From the Toronto ArtSci Salon October 5, 2023 announcement,
Oct 27, [2023] 5:00-7:00 PM [ET] Streaming Carbon Footprint
with Laura U. Marks and David Rokeby – Room 230 The Fields Institute for Research in Mathematical Sciences 222 College Street, Toronto
We are thrilled to announce this dialogue between media Theorist Laura U. Marks and Media Artist David Rokeby. Together, they will discuss a well known elephant in the room of media and digital technologies: their carbon footprint. As social media and streaming media usage increases exponentially, what can be done to mitigate their impact? are there alternatives?
This is a live event: our guests will join us in person.
if you wish to join us on Zoom instead, a link will be circulated on our website and on social media a few days before the event. The event will be recorded
Laura U. Marks works on media art and philosophy with an intercultural focus, and on small-footprint media. She programs experimental media for venues around the world. As Grant Strate University Professor, she teaches in the School for the Contemporary Arts at Simon Fraser University in Vancouver, Canada. Her upcoming book The Fold: From Your Body to the Cosmos will be published I March 2024 by Duke University Press.
David Rokeby is an installation artist based in Toronto, Canada. He has been creating and exhibiting since 1982. For the first part of his career he focussed on interactive pieces that directly engage the human body, or that involve artificial perception systems. In the last decade, his practice has expanded to included video, kinetic and static sculpture. His work has been performed / exhibited in shows across Canada, the United States, Europe and Asia.
Awards include the first BAFTA (British Academy of Film and Television Arts) award for Interactive Art in 2000, a 2002 Governor General’s award in Visual and Media Arts and the Prix Ars Electronica Golden Nica for Interactive Art 2002. He was awarded the first Petro-Canada Award for Media Arts in 1988, the Prix Ars Electronica Award of Distinction for Interactive Art (Austria) in 1991 and 1997.
I haven’t been able to dig up any information about registration but it will be added here should I stumble across any in the next few weeks. I did, however, find more information about Marks’s work and a festival in Vancouver (Canada).
Fourth Annual Small File Media Festival (October 20 -21, 2023) and the Streaming Carbon Footprint
When was the last time you watched a DVD? If you’re like most people, your DVD collection has been gathering dust as you stream movies and TV from a variety of on-demand services. But have you ever considered the impact of streaming video on the environment?
School for the Contemporary Arts professor Laura Marks and engineering professor Stephen Makonin, with engineering student Alejandro Rodriguez-Silva and media scholar Radek Przedpełski, worked together for over a year to investigate the carbon footprint of streaming media supported by a grant from the Social Sciences and Humanities Research Council of Canada.
“Stephen and Alejandro were there to give us a reality check and to increase our engineering literacy, and Radek and I brought the critical reading to it,” says Marks. “It was really a beautiful meeting of critical media studies and engineering.”
After combing through studies on Information and Communication Technologies (ICT) and making their own calculations, they confirmed that streaming media (including video on demand, YouTube, video embedded in social media and websites, video conferences, video calls and games) is responsible for more than one per cent of greenhouse gas emissions worldwide. And this number is only projected to rise as video conferencing and streaming proliferate.
“One per cent doesn’t sound like a lot, but it’s significant if you think that the airline industry is estimated to be 1.9 per cent,” says Marks. “ICT’s carbon footprint is growing fast, and I’m concerned that because we’re all turning our energy to other obvious carbon polluters, like fossil fuels, cars, the airline industry, people are not going to pay attention to this silent, invisible carbon polluter.”
One thing that Marks found surprising during their research is how politicized this topic is.
Their full report includes a section detailing the International Energy Association’s attack on French think tank The Shift Project after they published a report on streaming media’s carbon footprint in 2019. They found that some ICT engineers state that the carbon footprint of streaming is not a concern because data centres and networks are very efficient, while others say the fast-rising footprint is a serious problem that needs to be addressed. Their report includes comparisons of the divergent figures in engineering studies in order to get a better understanding of the scope of this problem.
The No. 1 thing Marks and Makonin recommend to reduce streaming’s carbon footprint is to ensure that our electricity comes from renewable sources. At an individual level, they offer a list of recommendations to reduce energy consumption and demand for new ICT infrastructure including: stream less, watch physical media including DVDs, decrease video resolution, use audio-only mode when possible, and keep your devices longer—since production of devices is very carbon-intensive.
Promoting small files and low resolution, Marks founded the Small File Media Festival [link leads to 2023 programme], which will present its second annual program [2021] of 5-megabyte films Aug. 10 – 20. As the organizers say, movies don’t have to be big to be binge-worthy.
And now for 2023, here’s a video promoting the upcoming fourth annual festival,
The Streaming Carbon Footprint webpage on the SFU website includes information about the final report and the latest Small File Media Festival. Although I found the Small File Media Festival website also included a link for purchasing tickets,
The Small File Media Festival returns for its fourth iteration! We are delighted to partner with The Cinematheque to present over sixty jewel-like works from across the globe. These movies are small in file size, but huge in impact: by embracing the aesthetics of compression and low resolution (glitchiness, noise, pixelation), they lay the groundwork for a new experimental film movement in the digital age. This year, six lovingly curated programs traverse brooding pixelated landscapes, textural paradises, and crystalline infinities.
Join us Friday, October 20 [2023] for the opening-night program followed by a drinks reception in the lobby and a dance party in the cinema, featuring music by Vancouver electronic artist SAN. We’ll announce the winner of the coveted Small-File Golden Mini Bear during Saturday’s [October 21, 2023] award ceremony! As always, the festival will stream online at smallfile.ca after the live events.
We’re most grateful to our future-forward friends at the Social Sciences and Humanities Research Council of Canada, Canada Council for the Arts, and SFU Contemporary Arts. Thanks to VIVO Media Arts, Cairo Video Festival, and The Hmm for generous distribution and exhibition awards, and to UKRAïNATV, a partner in small-file activism.
Cosmically healthy, community-building, and punk AF, small-file ecomedia will heal the world, one pixel at a time.
Featuring more than 100 artworks, manuscripts, sound recordings and books, many on display for the first time, Animals: Art, Science and Sound explores how animals have been documented across the world over the last 2,000 years
Season of events includes musicians Cosmo Sheldrake and Cerys Matthews, wildlife photographer Hamza Yassin and ornithologist Mya-Rose Craig, also known as Birdgirl, and more
Complemented by two free displays featuring newly acquired material from animal rights activist Kim Stallwood and award-winning photographer Levon Biss
Animals: Art, Science and Sound(21 April – 28 August 2023) at the British Library reveals how the intersection of science, art and sound has been instrumental in our understanding of the natural world and continues to evolve today.
From an ancient Greek papyrus detailing the mating habits of dogs to the earliest photographs of Antarctic animals and a recording of the last Kauaʻi ʻōʻō songbird, this is the first major exhibition to explore the different ways in which animals have been written about, visualised and recorded.
Journeying through darkness, water, land and air, visitors will encounter striking artworks, handwritten manuscripts, sound recordings and printed publications that speak to contemporary debates around discovery, knowledge, conservation, climate change and extinction. Each zone also includes a bespoke, atmospheric soundscape created using recordings from the Library’s sound archive.
Featuring over 120 exhibits, highlights include:
Earliest known illustrated Arabic scientific work documenting the characteristics of animals alongside their medical uses (c. 1225)
Earliest use of the word ‘shark’ in printed English (1569) on public display for the first time
One of the earliest works on the microscopic world, Micrographia (1665) by Robert Hooke, alongside three insect portraits by photographer Levon Biss (2021) recently acquired by the British Library, which use a combination of microscopy and photography to magnify specimens collected by Charles Darwin in 1836 and Alfred Russell Wallace circa 1859
Leonardo da Vinci’s notes (1500-08) on the impact of wind on a bird in flight, on public display for the first time
One of the rarest ichthyology publications ever produced, The Fresh-Water Fishes of Great Britain (1828-38), with hand painted illustrations by Sarah Bowdich
First commercially published recording of an animal from 1910 titled Actual Bird Record Made by a Captive Nightingale (No. I) by The Gramophone Company Limited
One of the earliest examples of musical notation being used to represent the songs and calls of birds from 1650 by Athanasius Kircher
One of the earliest portable bat detectors, the Holgate Mk VI, used by amateur naturalist John Hooper during the 1960s-70s to capture some of the first sound recordings of British bats
Cam Sharp Jones, Visual Arts Curator at the British Library, said: ‘Animals have fascinated people for as long as human records exist and the desire to study and understand other animals has taken many forms, including textual and artistic works. This exhibition is a great opportunity to showcase some of the earliest textual descriptions of animals ever produced, as well as some of the most beautiful, unique and strange records of animals that are cared for by the British Library.’
Cheryl Tipp, Curator of Wildlife and Environmental Sound at the British Library, said: ‘Sound recording has allowed us to uncover aspects of animal lives that just would not have been possible using textual or visual methods alone. It has been used to reclassify species, locate previously unknown populations and allowed us to eavesdrop on worlds that would otherwise be inaudible to our ears. It is such an emotive medium and I hope visitors will be inspired to explore the Library’s collections, as well as tune in to the sounds of the natural world in their everyday lives.’
[Note: All of the events have taken place.] There is a season of in-person and online events inspired by the exhibition, such as a Late at the Library with musician, composer and producer Cosmo Sheldrake hosted by musician, author and broadcaster Cerys Matthews and Animal Magic: A Night of Wild Enchantment where five speakers, including wildlife cameraman, ornithologist and Strictly Come Dancing winner Hamza Yassin and birder, environmentalist and diversity activist, Mya-Rose Craig, each have 15 minutes to tell a story. There is a family event on Earth Day 22 April where Art Fund’s The Wild Escape epic-scale digital landscape featuring children’s images of animals will be unveiled. A selection of these works are included in an outdoor exhibition around Kings Cross.
A richly illustrated publication by the British Library with interactive QR technology allowing readers to listen to sound recordings and a free trail for families and groups also accompanies the exhibition.
The exhibition is made possible with support from Getty through The Paper Project initiative and PONANT. With thanks to The American Trust for the British Library and The B.H. Breslauer Fund of the American Trust for the British Library. Audio soundscapes created by Greg Green with support from the Unlocking our Sound Heritage project, made possible by the National Lottery Heritage Fund. Scientific advice provided by ZSL (the Zoological Society of London).
Animals: Art, Science and Sound is complemented by two free displays at the British Library. Animal Rights: From the Margins to the Mainstream (7 May – 9 July 2023) in the Treasures Gallery draws on published, handwritten and ephemeral works from the Library’s collection relating to animal welfare. It features newly acquired material collected by animal rights activist Kim Stallwood who will be in conversation at the Library about the history of animal welfare legislation. Microsculpture (12 May – 20 November 2023) showcases nine portraits by photographer Levon Biss that capture the microscopic form and evolutionary adaptions of insects in striking large-format, high-resolution detail.
Animals: Art, Science and Sound draws on the British Library’s role as home to the UK’s national sound archive, one of the largest collections of sound recordings in the world. With over 6.5 million items of speech, music and wildlife, this includes audio from the advent of recording to the present day, and over 70,000 recordings are freely available online at sounds.bl.uk and in the British Library’s Sound Gallery in St Pancras.
Opening on 2 June [2023], Digital Storytelling features publications that use new technologies to reimagine reading experiences
Visitors will discover a range of digital stories, on display together for the first time, including four-time BAFTA nominated 80 Days, an interactive adaptation of Jules Verne’s Around the World in Eighty Days, and the exclusive public preview of Windrush Tales, the world’s first interactive narrative game based on the experiences of Caribbean immigrants in post-war Britain
Also on display will be interactive media providing insights into the lived stories behind historical events, from the 2011 Egyptian uprising in A Dictionary of the Revolution to a moving account of the loss of a relative in the Manchester Arena Bombing in c ya laterrrr.
The British Library has announced it will be opening a new exhibition, Digital Storytelling(2 June – 15 October 2023), that explores how evolving online technologies have changed how writers write, and readers read.
The narratives featured in the exhibition will prompt visitors to consider what new possibilities emerge when they are invited as readers to become a part of the story themselves. Visitors will get to discover how technology can be used to enhance their reading experience, from Zombies, Run!, the widely popular audio fiction fitness app, to Breathe, a ghost story that “follows the reader around”, reacting to users’ real-time location data.
On display for the first time is a playable preview of Windrush Tales,the world’s first interactive narrative game based on the lived experiences of Caribbean immigrants in post-World War II Britain. The game is still in development; the preview is its first public launch, and is made exclusively available for the exhibition by 3-Fold Presents. The exhibition also premieres a new edition of This is a Picture of Wind, with a new sequence of poems inspired by Derek Jarman’s writing about his garden. This is a Picture of Wind was originally written in response to severe storms in the South West of England in 2014. [I found the attribution a little puzzling; hopefully, I haven’t added to the confusion. Note 1: This is a Picture … is a web-based project from J.R. Carpenter, see more in this January 22, 2018 posting on the IOTA Institute website ; Note 2: As for Derek Jarman, there’s this “… if modern gardening has a patron saint, it must be the English artist, filmmaker, and LGBT rights activist Derek Jarman (January 31, 1942–February 19, 1994)”; as for writing about his garden, “The record of this healing creative adventure became Jarman’s Modern Nature (public library)— part memoir and part memorial, …” both Jarman excerpts are from Maria Popova’s April 4, 2021 posting on the marginalian; Note 3: There are accounts of the 2014 storms mentioned in the IOTA posting but sources are not specified]
Items on display will also explore how writers and artists can provide an empathetic look into the lived realities behind the news. Digital Storytelling illustrates this throughA Dictionary of the Revolution, which charts the evolution of political language in Egypt during the uprising in 2011. Another work, c ya laterrrr, is an intimate autobiographical hypertext account of the loss of author Dan Hett’s brother in the 2017 Manchester Arena terrorist attack.
Visitors will also get to experience the wide-ranging possibilities of historical immersion and alternate story-worlds through these emerging formats. The exhibition will feature Astrologaster, an award-winning interactive comedy based on the archival casebooks of Elizabethan medical astrologer Simon Forman, and Clockwork Watch, a transmedia collaborative story set in a steampunk Victorian England.
Giulia Carla Rossi, Curator for Digital Publications in Contemporary British Published Collections and co-curator of the exhibition, says:
“In 2023 we’re celebrating the 50th anniversary of the British Library. Over the last half a century, digital technologies have transformed how we communicate, research and consume media – and this shift is reflected in the growth of digital stories in the Library’s ever-growing collection. In recognition of this evolution in communication, we are thrilled to present Digital Storytelling, the first exhibition of its kind at the British Library. Working closely with artists and creators, the exhibition draws on the Library’s expertise in collecting and preserving innovative online publications and reflects the rapidly evolving concept of interactive writing. At the core of all the items on display are rich narratives that are dynamic, responsive, personalised and evoke for readers the experience of getting lost in a truly immersive story.”
A season of in-person events inspired by the exhibition will feature writers, creators and academics:
Late at the Library: Digital Steampunk. Immerse yourself in the Clockwork Watch story world, party with Professor Elemental and explore 19th century London in Minecraft, Friday 13th October 2023.
As you can see two of the Digital Storytelling events have yet to take place.
This exhibit too has a fee.
You can find the British Library website here. (Click on Visit for the address and other details.) Some exhibits are free and others require a fee. I cannot find information about an all access pass, so, it looks like you’ll have to pay individual fees for the exhibits that require them. Members get free access to all exhibits.