Category Archives: Technology

Workshop programme announced for ISEA (International Symposium on Electronic Arts) 2020: Why Sentience?

From an August 28, 2020 ISEA 2020 notice (received via email),

DISCOVER THE ISEA2020 WORKSHOP PROGRAMME!đŸ’„

Montreal, August 28 â€” Montreal Digital Spring (Printemps numĂ©rique) unveils the workshop programme for ISEA‘s 26th edition, featuring a range of exciting workshops happening on October 17th and 18th. Facilitated by practitioners, artists and researchers who will focus on the themes and techniques related to their practices and expertise, the workshops will adopt hands-on approaches, experimentations, and discussions on themes raging from data gloves, to artificial intelligence, and bacterial growth.

NEUROMEDIA: ENHANCING SENSORY PERCEPTION FOR ARTISTS AND DESIGNERS

Part1. October 17 – 8:00am – 3:00pm
Part2. October 18 – 8:00am – 10:00am

This workshop offers a unique blend of sensor systems lab exercises from neuroscience, media arts and design to context ideas. Participants must apply in pairs to physically work together on their sensory perception projects. The pairs will meet virtually with the other workshop members to facilitate and attend presentations, and compare results.

With Jill Scott and Marille Hahne

DATA GLOVES

Part1. October 17 – 8:30am – 4:30pm
Part2. October 18 – 8:30am – 4:30pm 

In this workshop, participants will manufacture their very own pair of “Data Gloves,” economic and open-source alternatives for advanced and detailed interaction of VR environments. Participants will have access to all the designs and codes necessary to operate the “Data Gloves” and will be taught how they are built.

With Hugo Vargas

DYNAMICS OF PERCEPTIONS – ENGAGING WITH THE FELT EXPERIENCE OF TEMPORALLY DYNAMIC ALGORITHMS

October 17 – 9:00am – 12:00pm

This workshop looks at the relationship between machine subjectivity and human subjectivity expressed temporally through artistic media, and features a series of short presentations, experiments and discussions.

With Alexandre Saunier, David Howes, Christopher Salter, and Joseph Thibodeau.

ART AND INNOVATION IN THE AGE OF BIG DATA: DESIGN OF INFO-OBJECTS AND INTERFACES FOR DATA VISUALIZATION

Part 1. October 17 – 9:30am – 12:00pm
Part 2. October 18 – 1:00pm – 2:30pm

This workshop focuses on data and representation, and will present a step-by-step approach to identify significant patterns in datasets and to explore innovative methods to make insights visible and tangible. Water will be the central theme for this edition.

With Andrea Sosa, Everardo Reyes, and Homero Pellicer.

NETWORKED ART PRACTICE AFTER DIGITAL PRESERVATION

October 17 – 10:00am – 3:00pm

This workshop traces the edges and boundaries of the preservation of both analogue and digital networked art practice. Participants will collectively identify questions addressing digital preservation (including ‘preventative conservation’ and record-keeping) and work in groups to develop novel approaches, leading towards a greater understanding of the networked conservation concerns of a diverse range of work.

With Roddy Hunter and Sarah Cook. Joined by guest practitioners.

PLAYFUL INVESTIGATIONS ON MULTIPLE SCALES

October 17 – 10:30am – 2:30pm

The city operates on different scales: bikes, people, houses on street level; traffic and communities on neighbourhood level; infrastructure on the city level. This workshop playfully investigates transformations and frictions that occur when instruments that help to make sense of higher scale phenomena are introduced.

With Viktor Bedö and Ida Toft.

THE HUMAN SEARCH ENGINE: A MILLENNIAL TOOLKIT 4 ASSOCI@IVE EXPLOR@ION

Round#1. October 17 – 11:00am – 1:00pm / Round#2. October 18 – 11:00am – 1:00pm

The workshop is aimed at participants looking for a middle-ground approach towards online life. We offer a toolkit to those who wish to neither disconnect nor let habit-forming technologies run their lives. We believe we can “deprogram” these technologies in a way that empowers us.

with Carmel Barnea Brezner Jonas and Gabriel S Moses

EMPIRES, VILLAGES, ECOLOGIES OF EXPERIMENTAL PRACTICES

October 17 – 11:30am – 1:00pm

This workshop invites participants to take creative leaps through experimentation in telematic, embodied learning to break outside the box of traditional pedagogy and electronic art, because extraordinary times and complex problems call for extraordinary vision and groundbreaking solutions.

With Diana Ayton-Shenker and Xin Wei Sha

AVATARS IN ZOOM FOR ALL! (A HANDS-ON TUTORIAL)

October 17 – 1:00pm – 3:30pm

This is a hands-on participatory tutorial, where you will create deep-fake videos using your own materials, and play with various options of becoming an online avatar.

With Eyal Gruss

QUEER AND BIOPHILIC APPROACH OF THE CUTANEOUS MICROBIOME

October 17 – 1:30pm – 4:00pm

This workshop will allow participants to experience the cutaneous microbiome (micro-organisms that live on and in our skin) in a haptic -visual/olfactive- and intellectual reflection about our ubiquitous relationships of hate/love with this part of ourselves.

With Nathalie Dubois Calero

PASS AGAIN THROUGH THE HEART: GESTURE, MEMORY, AND FOOD

October 17 – 2:30pm – 4:30pm

This workshop looks at how knowledge is shared through gestures and feelings by family members. It is informed by an ongoing project that collects recipes from Canadian immigrants and refugees, each touching on acknowledgment and formation of transnational identities within North America.

With Immony MĂšn and Patricio DĂĄvil

MEASURING COMPUTATIONAL CREATIVITY: COLLABORATIVELY DESIGNING METRICS FOR EVALUATING CREATIVE MACHINES

October 18 – 3:00pm – 7:00pm

This half-day workshop extends empirical methods and engages a broader arts and machine learning community to collaboratively define quantitative metrics assessing the creativity of algorithms and machines. This workshop is a first attempt to establish evaluation metrics for the area of creative AI.

With Eunsu Kang, Jean Oh, and Robert Twomey.

Should you be considering the purchase of a pass (from the August 28, 2020 notice),

Important :
These workshops are only available to holders of an ISEA2020 FULL Pass

REMINDER: THE EARLY BIRD RATE
is available only until September 1

PURCHASE THE EARLY BIRD PASS

The ISEA 2020 hosts, Printemps numérique (Montreal Digital Spring) have included some information about their own upcoming programmes (from the Aug. 28, 2020 ISEA 2020 notice),

Major events of Printemps numérique

Contact

isea2020@printempsnumerique.ca

You can find out more about ISEA 2020: Why Sentience? here.

Ingenium increases Canada’s Museum of Science and Technology’s virtual outreach?

Something hopeful was in my email box this morning (August 27, 2020), it’s a survey from Ingenium, the portmanteau for the Canada Aviation and Space Museum, the Canada Agriculture and Food Museum, and the Canada Science and Technology Museum.

Have you ever asked yourself how the Canada Science and Technology Museum might improve its outreach to those of us outside Ottawa and the southern regions of Ontario and Québec? (To be fair, they do have an online presence with some activities and information.)

Well, it seems that now COVID-19 has constrained their attendance numbers, the folks at the museum are looking at livestreaming some of their Curiosity on Stage presentations and making them available for viewing afterwards.

The survey I saw this morning (August 27, 2020) is designed to gauge interest. Here’s more from the August 26, 2020 Ingenium notice,

Calling all museum lovers!

Would you have 3 minutes to help the Canada Science and Technology Museum develop activities, events, and experiences for young and old? You just need to complete a short set of questions in our online survey conducted with Quorus Consulting.

To complete this short survey please click on the following link (if the link is inactive, please copy and paste the URL into your browser to access the survey): Take the Survey

Please complete your survey by August 30, 2020.  

If you have any technical difficulties with the survey, please contact the team at Quorus at discussions@quorusconsulting.com. If you would like to contact someone at Ingenium regarding this study, you can reach Lisa Leblanc by email at: lleblanc@ingeniumcanada.org.

We appreciate your assistance.  

Sincerely,

Christina Tessier
President and CEO of Ingenium

P.S. As a reminder, your participation is voluntary. All your answers will remain completely confidential and anonymous; no individual respondents will be identified as part of the analysis and, in accordance with the Privacy Act, no one will contact you as a result of your answers to this survey without your express consent. 

—–

Appel aux amateurs de musées!

Auriez-vous trois minutes pour aider le MusĂ©e des sciences et de la technologie du Canada Ă  dĂ©velopper des activitĂ©s, des Ă©vĂ©nements et des expĂ©riences pour petits et grands? Vous n’aurez qu’Ă  rĂ©pondre aux quelques questions de notre sondage en ligne rĂ©alisĂ© conjointement avec le groupe-conseil Quorus.

Pour remplir ce court sondage, veuillez cliquer sur le lien suivant (si le lien est inactif, veuillez copier et coller l’URL dans votre navigateur pour accĂ©der au sondage): Participer Ă  l’enquĂȘte

Veuillez remplir le sondage d’ici le 30 aoĂ»t 2020. 

Si vous Ă©prouvez des difficultĂ©s techniques avec le sondage, veuillez communiquer avec l’Ă©quipe de Quorus Ă  discussions@quorusconsulting.com. Si vous souhaitez parler Ă  quelqu’un chez Ingenium concernant cette Ă©tude, vous pouvez communiquer avec Lisa Leblanc par courriel Ă  lleblanc@ingeniumcanada.org.

Votre aide nous est précieuse. 

Cordialement,

Christina Tessier
PrĂ©sidente et chef de la direction d’Ingenium

P.S. Nous souhaitons vous rappeler que, votre participation se fait sur une base volontaire. Vos rĂ©ponses seront entiĂšrement confidentielles et anonymes. Aucune personne interrogĂ©e ne sera identifiĂ©e dans le cadre de l’analyse et, conformĂ©ment Ă  la Loi sur la protection des renseignements personnels, personne ne communiquera avec vous Ă  la suite de ce sondage, et ce, sans votre consentement explicite. 

For anyone not familiar with ‘Curiosity on Stage’, here’s a description of a couple of the presentations and what they’re hoping to do (from the survey, which really did take me about 3 minutes),

email survey

During the 2019-2020 season, the Canada Science and Technology Museum hosted Curiosity on Stage, live evenings of talks and discussions with scientific leaders from private industry, academia and government. Topics were aimed at the future of innovation in science and technology and its applications for building a better society. 

Titles of previous events include:

  • “Can Artificial Intelligence Tackle Climate Change: exploring the potential of AI to reduce greenhouse gas emissions and help Canada lead in the clean tech economy”, and
  • “When Your City is Smarter than You: exploring the future of cities in an increasingly algorithmic world”.

Given the challenges of hosting live events during COVID-19, Curiosity on Stage will have a different format this fall, as follows:

  • Digital instead of in-person discussions hosted through an online platform (i.e. YouTube, Zoom, or Crowdcast).
  • Available to anyone at no cost.
  • Recordings of the lectures available to those who cannot attend the virtual events live.
  • Fully bilingual through simultaneous translation.
  • Those who watch the event “live” will have the opportunity to ask questions to the experts through a live chat box and comments section.

Hopefully you can use this link,, Take the Survey or this one, Participer Ă  l’enquĂȘte.

BTW, I wasn’t sure how to answer the question later in the survey about what time of day I would like to watch a livestream. Whoever designed the survey doesn’t seem to have taken timezones into account. I answered from the perspective of someone on the West Coast.

ISEA (International Symposium on Electronic Arts) 2020: Why Sentience? still in October 2020 but virtually in Montréal, Québec

I wonder what happens to geography and time when you hold your conference virtually? Part of the excitement of a conference or other meetings is the promise of the destination with new people and new adventures. Whether 2020 is a pause between in-person meetings, a moment when everything changed, or some combination is yet to be determined but perhaps ISEA2020 will be a harbinger.

I received a June 10, 2020 notice (via email) with the latest news about ISEA2020,

Montreal, June 10, 2020  â€”  ISEA2020 from October 13 to 18, 2020 goes entirely digital, with an innovative experiential format.

The worldwide COVID-19 outbreak has forced ISEA2020 in Montreal to be postponed to October 13 to 18. The physical distancing measures put in place in many countries and the travel restrictions imposed to prevent the spread of the pandemic mean that we cannot all be physically present in Montreal. Montreal Digital Spring (Printemps numĂ©rique) – the organizers of ISEA2020 –  have thus decided to make the symposium a 100% online event. Our team is currently working on the platform that will allow us to come together, connect, and exchange knowledge and practices, despite the physical distance. We worked with our partners and collaborators, experts in art, design, science and technology to (if only begin to) reinvent the format of academic interdisciplinary conferencing! 

Our main strategies for ISEA2020 Online:

Programming: ISEA2020 is a full week of research and creation, 100% online, with more than 300 international speakers and artists from over 40 countries.

Connecting: We are working on the online platform to ensure we meet ISEA’s core values of encouraging and promoting creative exchanges between diverse groups; of creating opportunities for networking and informal meetings, in addition to ensuring the good flow of panel sessions.

Programming for all the time-zones: From October 13 to 16, conference presentations will unfold over 16 consecutive hours each day, in order to include participants in all the time zones, from East Asia to the west Americas.

Reduced registration fee: The registration fee has been reduced. In addition to saving travel costs, ISEA2020 Online is accessible at a significantly reduced fee, hoping it will attract a larger number of participants, including more students and independent artists. 

Live Q&A: All presentation sessions, including keynote sessions, will include live Q&A periods, mediated by invited delegates.

Art Programming:  We are working with artists and partners on strategies to showcase the selected projects and special programming.

While we regret not seeing you in Montreal, the new format will make ISEA2020 accessible to a larger number and will certainly contribute to a broader discussion on how to produce and transfer knowledge and showcase art through connected digital communication platforms. Our team is committed to ensuring the high standard of creative and academic contributions that is paramount to ISEA.

We look forward to seeing you online this fall!

REGISTRATION FEE

You can now purchase your ISEA2020 Online Pass at the Early Bird rates of CAD $99 (regular) and CAD $69 (students), offer valid until August 13 [2020].

NEW DEADLINE TO REGISTER (for presenters)

The deadline to register, to upload the camera-ready papers, and to fill in the Zone Festival form is July 27 at 11:59 pm (GMT-5). 

CONTACT

We updated our website. Please refer to the Frequently Asked Questions – FAQ page. If you have a specific question, please contact: isea.academic@printempsnumerique.ca for academic presentations / isea.artistic@printempsnumerique.ca for artworks / ISEA2020@printempsnumerique.ca for general questions/registration. 

 LIRE LE COMMUNIQUÉ EN FRANÇAIS

How we got here

The academic chairs have written this statement,

ISEA2020 ONLINE: WHY SENTIENCE?
OCTOBER 13-18, 2020

The academic chairs’ statements regarding the ISEA2020 online turn:

Since last August [2019] when we established the ISEA2020 theme of “Why Sentience?”, life on Earth has been dramatically transformed. Our belief in concepts like proximity, justice, equality, indeed, the very concept of the future itself, has been radically uprooted. As cultural organizations worldwide scramble to adapt, the ISEA2020 team has decided to reimagine the event for the anytime/anyplace zone of digital space and to transform it into an online experience. But we have also realized that there is no need to adjust the theme to make it more “responsive” to our current conditions. Despite their almost cataclysmic impact on the political-economic-social-cultural-ecological fabric of the world, the triumvirate forces of the coronavirus pandemic, its disastrous economic consequences, as well as systemic racial injustice have now acutely amplified ISEA2020s question: “Why Sentience?” These conditions sharpen the need to stop, pause and re-examine what it means to be sentient, “the ability to feel or perceive.” They help us reformulate our notions of what the world is with us and beyond us. They give us a front seat perspective on the corporeal and ecological entanglements between power and knowledge, animals and humans, machines and environment, oppression and liberation. They pointedly demonstrate that difference—social-economic-cultural—resonates through the sentient world. The virus—a 120-160 nm in diameter entity that is invisible to our human senses and considered neither living nor dead but ontologically somewhere in between [emphasis mine]—is thus perversely a great teacher and provides us lessons on how the modern splitting up of the sentient and inanimate worlds increasingly makes no sense.

ISEA’s mission aims to foster interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. As we write, ISEA2020 should have already passed into history. The new digital space of ISEA2020 will link the local community in Montreal with the international one beyond so that we can collectively rethink the form of such an event. The new platform will also allow us to examine close up these new and, at the same time, ongoing historical set of conditions; conditions that demand a response if we are to live in the coming (post)-pandemic world. 

Christine Ross – McGill University (Montreal, Canada)

Chris Salter – Concordia University/Hexagram (Montreal, Canada)

2020 Trailers

There is a conference trailer for this new ‘virtual’ version of the 2020 conference,

Montreal Digital Spring (Printemps numérique) produced both the English language version and this one in French***, Note: Video [credit]: Guillaume Guardia,

I’m not sure why the French language version is so much shorter*** (maybe I found an abridged version?), in any case, the content is quite different and you may want to check out both trailers.

***ETA June 22, 2020 at 1550 PDT: The answer to my question as to why one trailer was shorter? Two different (but this year related) events. I failed to note that the second trailer was for “MTL Connect.” Here is Manuelle Freire’s description (academic programme manager of ISEA2020, Printemps numerique) of MTL Connect,

The latter is an annual event organised in Montreal by Printemps numérique, consisting of different thematic pavilion. This year ISEA2020 is the art and creativity pavilion of MTL Connect, so part of a larger endeavour that is affected by this online turn in its entirety.

As for MTL Connect, there’s this from the homepage,

BRINGING TOGETHER DIGITAL MINDS, DIGITALLY

6 DAYS OF PROGRAMMING ‱ +400 SPEAKERS ‱ 50 COUNTRIES REPRESENTED ‱ +10,000 ATTENDEES ‱ THOUSANDS OF OPPORTUNITIES FOR INTERACTION

That’s it for the correction. ***

Meeting technology, cyber security, and local involvement

I emailed (Friday, June 19, 2020) a couple of questions to the organizers which they have kindly answered.

  1. Are you going to be using Zoom as the technology for virtual
    attendance? Will there be security measures for attendees?
  2. [A]re there going to be any local (Vancouver, BC) virtual or in-person get-togethers? By October it might be possible to have small groups (with appropriate precautions) meet in person for ISEA2020 discussions/participation in virtual events held elsewhere. (Just a thought)

They responded by Sunday, June 21, 2020). That is quickly. The short answer to both questions is: “We don’t know yet.”

More specifically, Manuelle Freire (Printemps numerique) had this to say,

I will have to forward your first question regarding the technology of the platform, specifically cybersecurity, to the platform development project manager. Cybersecurity is an important matter that we have discussed internally and will be included in the FAQ and the IEA2020, as soon as we have stabilized the different features of the platform and we are ready to release.

As for the second question,

In what comes to small groups meeting in person. It is indeed possible that groups [might] be able to meet in October [2020], but at this stage, with social distancing and travel restrictions in place, we are still facing degrees of uncertainty. While we regret not meeting everyone in MontrĂ©al, moving the symposium 100% online seemed the only safe and certain solution. No in-person activities are scheduled for now.

The questions were also sent to Philippe Pasquier, a locally based (Vancouver, BC) member of the ISEA2020 academic committee and he had this to say about the possibility of local, in-person get-togethers,

As for (2), this is a good idea. Let’s wait and see what will be possible and revisit this idea closer to the date. 

The responses have made me happy. Hearing that they take cybersecurity seriously is downright musical and learning that they are open to local, small, in person get-togethers is spirit-lifting.

Final words

In 2009, I attended an ISEA being held in Northern Ireland and Ireland and asked one of the organizers if any of their symposia had been held in Canada. Yes! Montréal, my source raved at length, hosted a great meeting.

The next Canadian ISEA host was Vancouver in 2015 and guess what? Someone in a lineup was raving about the Montréal meeting. It seems that 1995 meeting has taken on a legendary glow.

It was a privilege being able to attend two meetings in person. Legendary, problematic, or good, the meetings bring together exciting talent and disturbing and/or mind-expanding ideas and experiences. Given the circumstances, the organizers find themselves dealing with, I wish them the best of luck although I’m confident that despite all the obstacles, ISEA2020 will be an extraordinary affair.

On a practical note, the $99 (or less) fee for the online pass is a good deal. (I know because I had to pay for mine when they were here in Vancouver in 2015. By the way, I’ve never regretted a penny of it.)

Two online events: Wednesday, May 20, 2020 and Saturday, May 23, 2020

My reference point for date and time is almost always Pacific Time (PT). Depending on which time zone you live in, the day and date I’ve listed here may be incorrect. For anyone who has difficulty figuring out which day and time the event will take place where they live, a search for ‘time zone converter’ on one of the search engines should prove helpful.

May 20, 2020 at 7:30 pm (UK time): ComplicitĂ©’s The Encounter

I received this May 19, 2020 announcement from The Space via email,

Over 80,000 people have watched ComplicitĂ©’s award-winning production of The Encounter online and now the recording has been made available again – for one week only – in this revival, supported by The Space. You can watch online via the website or YouTube channel [from15 May until 22 May 2020.].

🎧 Enjoy the binaural sound – Make sure you wear headphones in order to experience the show’s impressive binaural sound design – any headphone will work, but playing out of computer speakers will not give the same effect. 

Join in a live Q&A – 20 May [2020] – A live discussion event and public Q&A will take place on Wednesday 20 May at 7:30pm (11:30 am PT) with Simon McBurney and guests including filmmaker TakumĂŁ Kuikuro (via a link to the Xingu region of the Amazon). Register to join the discussion.

Here’s a little more about the video performance from The Space’s ComplicitĂ© invites you to The Encounter webpage,

In The Encounter, Director-performer Simon McBurney brings Petru Popescu’s book Amazon Beaming to life on stage.

The show follows the journey of Loren McIntyre, a photographer who got lost in Brazil’s remote Javari Valley in 1969.

It uses live and recorded 3D sound, video projections and loop pedals to recreate the intense atmosphere of the rainforest.

In the first live-streamed production ever to use 3D sound, viewers got the chance to experience the atmosphere of one of the strangest and most beautiful places on Earth – all through their headphones.

Complicité is a UK-based touring theatre company known for its imaginative original productions and adaptations of classic books and plays, and its groundbreaking use of technology. The Encounter is directed and performed by Simon McBurney, co-director is Kirsty Housley.

The Encounter is a little over two hours long.

Saturday, May 23, 2020 from 12 pm – 1:30 pm ET: Pandemic Encounters ::: being [together] in the deep third space

This May 19, 2020 announcement was received via email from the ArtSci Salon, one of the participants in this ‘encounter’, Note: I have made some changes to the formatting,

LEONARDO/ISAST and The Third Space Network announce the first Global LASER: Pandemic Encounters ::: being [together] in the deep third space on Saturday, May 23, 12-1:30pm EDT. This online performance installation is a creation of pioneering telematic artist Paul Sermon in collaboration with Randall Packer, Gregory Kuhn and the Third Space Network. (Locate your time zone)

Pandemic Encounters explores the implications of the migratory transition to the virtual space we are all experiencing. Even when we return to the so-called normal, we will be changed: when social interaction, human engagement, and being together will have undergone a radical transformation. In this new work, Paul Sermon performs as a live chroma-figure in a deep third space audio-visual networked environment, encountering pandemic spaces & action-performers from around the world – artists, musicians, dancers, media practitioners & scientists  â€“ a collective response to a global pandemic that has triggered an unfolding metamorphosis of the human condition.

action-performers: Annie Abrahams (France), Clarissa Ribeiro (Brazil), Roberta Buiani (Canada), Andrew Denton (New Zealand), Bhavani Esapathi (UK), Tania Fraga (Brazil), Satinder Gill (US), Birgitta Hosea (UK), Charles Lane (US), Ng Wen Lei (Singapore), Marilene Oliver (Canada), Serena Pang (Singapore), Daniel Pinheiro (Portugal), Olga Remneva (Russia), Toni Sant (UK), Rejane Spitz (Brazil), Atau Tanaka (UK)

For more informationhttps://thirdspacenetwork.com/pandemic-encounters/

REGISTER & SAVE YOUR SPOT

Here’s more about the presentation partners,

The Third Space Network, created by Randall Packer, is an artist-driven Internet platform for staging creative dialogue, live performance and uncategorizable activisms: social empowerment through the act of becoming our own broadcast media.

Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST) is a nonprofit organization that serves the global network of distinguished scholars, artists, scientists, researchers and thinkers through our programs, which focus on interdisciplinary work, creative output and innovation.

Global LASER is a new series of networked events that bring together artists, scientists, and technologists in the creation of experimental forms of live Internet performance and creative dialogue.

Because I love the poster image for this event,

[downloaded from https://thirdspacenetwork.com/pandemic-encounters/]

Fourth Industrial Revolution and its impact on charity organizations

Andy Levy-Ajzenkopf’s February 21, 2020 article (Technology and innovation: How the Fourth Industrial Revolution is impacting the charitable sector) for Charity Village has an ebullient approach to adoption of new and emerging technologies in the charitable sector (Note: A link has been removed),

Almost daily, new technologies are being developed to help innovate the way people give or the way organizations offer opportunities to advance their causes. There is no going back.

The charitable sector – along with society at large – is now fully in the midst of what is being called the Fourth Industrial Revolution, a term first brought to prominence among CEOs, thought leaders and policy makers at the 2016 World Economic Forum. And if you haven’t heard the phrase yet, get ready to hear it tons more as economies around the world embrace it.

To be clear, the Fourth Industrial Revolution is the newest disruption in the way our world works. When you hear someone talk about it, what they’re describing is the massive technological shift in our business and personal ecosystems that now rely heavily on things like artificial intelligence, quantum computing, 3D printing and the general “Internet of things.”

Still, now more than ever, charitable business is getting done and being advanced by sector pioneers who aren’t afraid to make use of new technologies on offer to help civil society.

It seems like everywhere one turns, the topic of artificial intelligence (A.I.) is increasingly becoming subject of choice.

This is no different in the charitable sector, and particularly so for a new company called Fundraise Wisely (aka Wisely). Its co-founder and CEO, Artiom Komarov, explains a bit about what exactly his tech is doing for the sector.

“We help accelerate fundraising, with A.I. At a product level, we connect to your CRM (content relationship management system) and predict the next gift and next gift date for every donor. We then use that information to help you populate and prioritize donor portfolios,” Komarov states.

He notes that his company is seeing increased demand for innovative technologies from charities over the last while.

“What we’re hearing is that
 A.I. tech is compelling because at the end of the day it’s meant to move the bottom line, helping nonprofits grow their revenue. We’ve also found that internally [at a charitable organization] there’s always a champion that sees the potential impact of technology; and that’s a great place to start with change,” Komarov says. “If it’s done right, tech can be an enabler of better work for organizations. From both research and experience, we know that tech adoption usually fails because of culture rather than the underlying technology. We’re here to work with the client closely to help that transition.”

I would like to have seen some numbers. For example, Komarov says that AI is having a positive impact on a charity’s bottom line. So, how much money did one of these charities raise? Was it more money than they would have made without AI? Assuming they did manage to raise greater funds, could another technology been more cost effective?

For another perspective (equally positive) on technology and charity, there’s a November 29, 2012 posting (Why technology and innovation are key to increasing charity donations) on the Guardian blogs by Henna Butt and Renita Shah (Note: Links have been removed),

At the beginning of this year the [UK] Cabinet Office and Nesta [formerly National Endowment for Science, Technology and the Arts {NESTA}] announced a ÂŁ10m fund to invest in innovation in giving. The first tranche of this money has already been invested in promising initiatives such as Timto which allows you to create a gift list that includes a charity donation and Pennies, whose electronic money box allows customers to donate when paying for something in a shop using a credit card. Small and sizeable organisations alike are now using web and mobile technologies to make giving more convenient, more social and more compelling.

Butt’s and Shah’s focus was on mobile technologies and social networks. Like Levy-Ajzenkopf’s article, there’s no discussion of any possible downside to these technologies, e.g., privacy issues. As well, the inevitability of this move toward more technology for charity is explicitly stated by Levy-Ajzenkopf “There is no going back” and noted less starkly by Butt and Shah “… innovation is becoming increasingly important for the success of charities.” To rephrase my concern, are we utilizing technology in our work or are we serving the needs of our technology?

Finally, for anyone who’s curious about the Fourth Industrial Revolution, I have a December 3, 2015 posting about it.

First major literary work (Chaucer’s Canterbury Tales) developed as an app

I wanted something completely different today and found it in a May 2, 2020 article, by Lucie Laumonier for University Affairs, about a multimedia app featuring the Canterbury Tales narrated in middle English,

Four historians from Canada and England have launched the General Prologue app, the first app featuring an audio performance of Geoffrey Chaucer’s The Canterbury Tales in its original 14th-century English.

“Here bygynneth the Book of the tales of Caunterbury,” says the expressive voice of the narrator. The strange Middle English words comprise the opening verse of the medieval masterpiece composed by Chaucer more than 600 years ago. The app, which launched on February 3, is available for iOS and Android users, and through a dedicated website.

A February 2, 2020 University of Saskatchewan news release (also on EurekAlert), announced news of the app’s launch and the international collaboration, which included an academic at University College London (UCL), and the late Terry Jones (of Monty Python fame),

A University of Saskatchewan-led international team has produced the first web and mobile phone app of Geoffrey Chaucer’s The Canterbury Tales–the first major literary work augmented by new scholarship, in any language, presented in an app.

“We want the public, not just academics, to see the manuscript as Chaucer would have likely thought of it–as a performance that mixed drama and humor,” said University of Saskatchewan (USask) English professor Peter Robinson, leader of the project.

“We have become convinced, over many years, that the best way to read the Tales is to hear it performed–just as we imagine that Chaucer himself might have performed it at the court of Richard II.”

The free app is the first edition in a planned series. The app features a 45-minute audio performance of the General Prologue of the Tales–the masterpiece work by the most important English writer before Shakespeare–along with the digitized original manuscript. While listening to the reading, users have access to supporting content such as a translation in modern English, commentary, notes and vocabulary explaining Middle English words used by Chaucer.

The app, an offshoot of Robinson’s 25-year work to digitize the Canterbury Tales, contains key new research work. This includes a new edited text of the Prologue created by USask sessional lecturer Barbara Bordalejo, a new reading of the Tales by former USask student Colin Gibbings, and new findings about the Tales by UCL (University College London) medievalist professor Richard North. The National Library of Wales offered its digitized version of the Prologue‘s original manuscript for the app.

The late Monty Python star Terry Jones, who was a medievalist with two influential books on Chaucer, was also instrumental in developing the content of the app. His translation of The General Prologue and his books feature in the introduction and notes. This work on the app is thought to have been the last major academic project that Jones worked on before his passing on January 21.

The app was released on Android and Apple IoS just after Jones’ birthday on February 1st, in celebration of Jones’ academic work.

“We were so pleased that Terry was able to see and hear this app in the last weeks of his life. His work and his passion for Chaucer was an inspiration to us,” said Robinson, whose work on the Tales has been supported by USask and by the federal Social Sciences and Humanities Research Council (SSHRC). “We talked a lot about Chaucer and it was his idea that the Tales would be turned into a performance.”

Because Chaucer left the Tales unfinished at his death, there is no single text of the Tales, and scholars have to re-construct the text from over 80 distinct manuscripts, mostly written by hand before 1500.

“While the app has material which should be of interest to every Chaucer scholar, it is particularly designed to be useful to people reading Chaucer for the first time. These include not only bachelor of arts university students and school children but also members of the public who have their own interest in Chaucer and his works,” said UCL’s North.

Robinson’s Canterbury Tales project, based at USask since 2010, includes several students who are transcribing all 30,000 pages of the manuscripts into the computer to discover how they are related to each other and to Chaucer’s lost original.

“The app is important for people who do not know the history behind the production of the Canterbury Tales, and to understand how the modern concept of author didn’t exist back then,” said Robinson. “We have many manuscripts copied by hand over time, and the Canterbury Tales Project hopes to establish where they come from, how they were created and who produced them as part of that history.”

Robinson said that the team has ready materials to develop at least two more apps, in particular Miller’s Tale, the second story in the Canterbury Tales.

The General Prologue app was built around the Hengwrt manuscript of the Tales, commonly regarded as the best source for Chaucer’s text and held at The National Library of Wales. The specialist preservation and digitization work undertaken at The National Library of Wales enabled the images of the original manuscript to be presented with supporting content for readers via the app.

North’s academic research on the project includes several new discoveries. For instance, he has found evidence suggesting that Chaucer’s Knight, one of the main characters of the Tales, is at the siege of Algeciras near Gilbraltar, in the south of Spain, in 1369 instead of the commonly assumed date 1342-44.

North believes that putting the Knight at this siege puts his age nearer to 50 years old when the reader encounters him with the other pilgrims in the Tabard in the General Prologue–about the age of Chaucer himself.

Brigit Katz covered the story in a February 5, 2020 article for Smithsonian Magazine. Medievallists.net also posted a story (no date) which included two trailers for the app (you’ll find a 1:39 trailer below),

Here’s where you’ll find the app and more,

Enjoy! And for those who caught it, “something completely different” was a reference to Monty Python’s “And Now for Something Completely Different.”

The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (5 of 5)

At long last, the end is in sight! This last part is mostly a collection of items that don’t fit elsewhere or could have fit elsewhere but that particular part was already overstuffed.

Podcasting science for the people

March 2009 was the birth date for a podcast, then called Skeptically Speaking and now known as Science for the People (Wikipedia entry). Here’s more from the Science for the People About webpage,

Science for the People is a long-format interview podcast that explores the connections between science, popular culture, history, and public policy, to help listeners understand the evidence and arguments behind what’s in the news and on the shelves.

Every week, our hosts sit down with science researchers, writers, authors, journalists, and experts to discuss science from the past, the science that affects our lives today, and how science might change our future.

THE TEAM

Rachelle Saunders: Producer & Host

I love to learn new things, and say the word “fascinating” way too much. I like to talk about intersections and how science and critical thinking intersect with everyday life, politics, history, and culture. By day I’m a web developer, and I definitely listen to way too many podcasts.

….

H/t to GeekWrapped’s 20 Best Science Podcasts.

Science: human contexts and cosmopolitanism

situating science: Science in Human Contexts was a seven-year project ending in 2014 and funded by the Social Sciences and Humanities Research Council of Canada (SSHRC). Here’s more from their Project Summary webpage,

Created in 2007 with the generous funding of the Social Sciences and Humanities Research Council of Canada Strategic Knowledge Cluster grant, Situating Science is a seven-year project promoting communication and collaboration among humanists and social scientists that are engaged in the study of science and technology.

You can find out more about Situating Science’s final days in my August 16, 2013 posting where I included a lot of information about one of their last events titled, “Science and Society 2013 Symposium; Emerging Agendas for Citizens and the Sciences.”

The “think-tank” will dovetail nicely with a special symposium in Ottawa on Science and Society Oct. 21-23. For this symposium, the Cluster is partnering with the Institute for Science, Society and Policy to bring together scholars from various disciplines, public servants and policy workers to discuss key issues at the intersection of science and society. [emphasis mine]  The discussions will be compiled in a document to be shared with stakeholders and the wider public.

The team will continue to seek support and partnerships for projects within the scope of its objectives. Among our top priorities are a partnership to explore sciences, technologies and their publics as well as new partnerships to build upon exchanges between scholars and institutions in India, Singapore and Canada.

The Situating Science folks did attempt to carry on the organization’s work by rebranding the organization to call it the Canadian Consortium for Situating Science and Technology (CCSST). It seems to have been a short-lived volunteer effort.

Meanwhile, the special symposium held in October 2013 appears to have been the springboard for another SSHRC funded multi-year initiative, this time focused on science collaborations between Canada, India, and Singapore, Cosmopolitanism and the Local in Science and Nature from 2014 – 2017. Despite their sunset year having been in 2017, their homepage boasts news about a 2020 Congress and their Twitter feed is still active. Harking back, here’s what the project was designed to do, from the About Us page,

Welcome to our three year project that will establish a research network on “Cosmopolitanism” in science. It closely examines the actual types of negotiations that go into the making of science and its culture within an increasingly globalized landscape. This partnership is both about “cosmopolitanism and the local” and is, at the same time, cosmopolitan and local.

Anyone who reads this blog with any frequency will know that I often comment on the fact that when organizations such as the Council of Canadian Academies bring in experts from other parts of the world, they are almost always from the US or Europe. So, I was delighted to discover the Cosmopolitanism project and featured it in a February 19, 2015 posting.

Here’s more from Cosmopolitanism’s About Us page

Specifically, the project will:

  1. Expose a hitherto largely Eurocentric scholarly community in Canada to widening international perspectives and methods,
  2. Build on past successes at border-crossings and exchanges between the participants,
  3. Facilitate a much needed nation-wide organization and exchange amongst Indian and South East Asian scholars, in concert with their Canadian counterparts, by integrating into an international network,
  4. Open up new perspectives on the genesis and place of globalized science, and thereby
  5. Offer alternative ways to conceptualize and engage globalization itself, and especially the globalization of knowledge and science.
  6. Bring the managerial team together for joint discussion, research exchange, leveraging and planning – all in the aid of laying the grounds of a sustainable partnership

Eco Art (also known as ecological art or environmental art)

I’m of two minds as to whether I should have tried to stuff this into the art/sci subsection in part 2. On balance, I decided that this merited its own section and that part 2 was already overstuffed.

Let’s start in Newfoundland and Labrador with Marlene Creates (pronounced Kreets), here’s more about her from her website’s bio webpage,

Marlene Creates (pronounced “Kreets”) is an environmental artist and poet who works with photography, video, scientific and vernacular knowledge, walking and collaborative site-specific performance in the six-acre patch of boreal forest in Portugal Cove, Newfoundland and Labrador, Canada, where she lives.

For almost 40 years her work has been an exploration of the relationship between human experience, memory, language and the land, and the impact they have on each other. …

Currently her work is focused on the six acres of boreal forest where she lives in a ‘relational aesthetic’ to the land. This oeuvre includes Water Flowing to the Sea Captured at the Speed of Light, Blast Hole Pond River, Newfoundland 2002–2003, and several ongoing projects:

Marlene Creates received a Governor General’s Award in Visual and Media Arts for “Lifetime Artistic Achievement” in 2019. …

As mentioned in her bio, Creates has a ‘forest’ project. The Boreal Poetry Garden,
Portugal Cove, Newfoundland 2005– (ongoing)
. If you are interested in exploring it, she has created a virtual walk here. Just click on one of the index items on the right side of the screen to activate a video.

An October 1, 2018 article by Yasmin Nurming-Por for Canadian Art magazine features 10 artists who focus on environmental and/or land art themes,

As part of her 2016 master’s thesis exhibition, Fredericton [New Brunswick] artist Gillian Dykeman presented the video Dispatches from the Feminist Utopian Future within a larger installation that imagined various canonical earthworks from the perspective of the future. It’s a project that addresses the inherent sense of timelessness in these massive interventions on the natural landscape from the perspective of contemporary land politics. … she proposes a kind of interaction with the invasive and often colonial gestures of modernist Land art, one that imagines a different future for these earthworks, where they are treated as alien in a landscape and as beacons from a feminist future.

A video trailer featuring “DISPATCHES FROM THE FEMINIST UTOPIAN FUTURE” (from Dykeman’s website archive page featuring the show,

If you have the time, I recommend reading the article in its entirety.

Oddly, I did not expect Vancouver to have such an active eco arts focus. The City of Vancouver Parks Board maintains an Environmental Art webpage on its site listing a number of current and past projects.

I cannot find the date for when this Parks Board initiative started but I did find a document produced prior to a Spring 2006 Arts & Ecology think tank held in Vancouver under the auspices of the Canada Council for the Arts, the Canadian Commission for UNESCO, the Vancouver Foundation, and the Royal Society for the Encouragement of the Arts, Manufactures and Commerce (London UK).

In all likelihood, Vancouver Park Board’s Environmental Art webpage was produced after 2006.

I imagine the document and the think tank session helped to anchor any then current eco art projects and encouraged more projects.

The document (MAPPING THE TERRAIN OF CONTEMPORARY ECOART PRACTICE AND COLLABORATION) while almost 14 years old offers a fascinating overview of what was happening internationally and in Canada.

While its early days were in 2008, EartHand Gleaners (Vancouver-based) wasn’t formally founded as an arts non-for-profit organization until 2013. You can find out more about them and their projects here.

Eco Art has been around for decades according to the eco art think tank document but it does seemed to have gained momentum here in Canada over the last decade.

Photography and the Natural Sciences and Engineering Research Council of Canada (NSERC)

Exploring the jack pine tight knit family tree. Credit: Dana Harris Brock University (2018)

Pictured are developing phloem, cambial, and xylem cells (blue), and mature xylem cells (red), in the outermost portion of a jack pine tree. This research aims to identify the influences of climate on the cellular development of the species at its northern limit in Yellowknife, NT. The differences in these cell formations is what creates the annual tree ring boundary.

Science Exposed is a photography contest for scientists which has been run since 2016 (assuming the Past Winners archive is a good indicator for the programme’s starting year).

The 2020 competition recently closed but public voting should start soon. It’s nice to see that NSERC is now making efforts to engage members of the general public rather than focusing its efforts solely on children. The UK’s ASPIRES project seems to support the idea that adults need to be more fully engaged with STEM (science, technology, engineering, and mathematics) efforts as it found that children’s attitudes toward science are strongly influenced by their parents’ and relatives’ attitudes.(See my January 31, 2012 posting.)

Ingenious, the book and Ingenium, the science museums

To celebrate Canada’s 150th anniversary in 2017, then Governor General David Johnston and Tom Jenkins (Chair of the board for Open Text and former Chair of the federal committee overseeing the ‘Review of Federal Support to R&’D [see my October 21, 2011 posting about the resulting report]) wrote a boo about Canada’s inventors and inventions.

Johnston and Jenkins jaunted around the country launching their book (I have more about their June 1, 2017 Vancouver visit in a May 30, 2017 posting; scroll down about 60% of the way]).

The book’s full title, “Ingenious: How Canadian Innovators Made the World Smarter, Smaller, Kinder, Safer, Healthier, Wealthier and Happier ” outlines their thesis neatly.

Not all that long after the book was launched, there was a name change (thankfully) for the Canada Science and Technology Museums Corporation (CSTMC). It is now known as Ingenium (covered in my August 10, 2017 posting).

The reason that name change was such a relief (for those who don’t know) is that the corporation included three national science museums: Canada Aviation and Space Museum, Canada Agriculture and Food Museum, and (wait for it) Canada Science and Technology Museum. On the list of confusing names, this ranks very high for me. Again, I give thanks for the change from CSTMC to Ingenium, leaving the name for the museum alone.

2017 was also the year that the newly refurbished Canada Science and Technology Museum was reopened after more than three years (see my June 23, 2017 posting about the November 2017 reopening and my June 12, 2015 posting for more information about the situation that led to the closure).

A Saskatchewan lab, Convergence, Order of Canada, Year of Science, Animated Mathematics, a graphic novel, and new media

Since this section is jampacked, I’m using subheads.

Saskatchewan

Dr. Brian Eames hosts an artist-in-residence, Jean-Sebastien (JS) Gauthier at the University of Saskatchewan’s College of Medicine Eames Lab. A February 16, 2018 posting here featured their first collaboration together. It covered evolutionary biology, the synchrotron (Canadian Light Source [CLS]) in Saskatoon, and the ‘ins and outs’ of a collaboration between a scientist an artist. Presumably the art-in-residence position indicates that first collaboration went very well.

In January 2020, Brian kindly gave me an update on their current projects. Jean-Sebastin successfully coded an interactive piece for an exhibit at the 2019 Nuit Blanche Saskatoon event using Connect (Xbox). More recently, he got a VR [virtual reality] helmet for an upcoming project or two.

After much clicking on the Nuit Blanche Saskatoon 2019 interactive map, I found this,

Our Glass is a work of interactive SciArt co-created by artist JS Gauthier and biologist Dr Brian F. Eames. It uses cutting-edge 3D microscopic images produced for artistic purposes at the Canadian Light Source, Canada’s only synchrotron facility. Our Glass engages viewers of all ages to peer within an hourglass showing how embryonic development compares among animals with whom we share a close genetic heritage.

Eames also mentioned they were hoping to hold an international SciArt Symposium at the University of Saskatchewan in 2021.

Convergence

Dr. Cristian Zaelzer-Perez, an instructor at Concordia University (Montreal; read this November 20, 2019 Concordia news release by Kelsey Rolfe for more about his work and awards), in 2016 founded the Convergence Initiative, a not-for-profit organization that encourages interdisciplinary neuroscience and art collaborations.

Cat Lau’s December 23, 2019 posting for the Science Borealis blog provides insight into Zaelzer-Perez’s relationship to science and art,

Cristian: I have had a relationship with art and science ever since I have had memory. As a child, I loved to do classifications, from grouping different flowers to collecting leaves by their shapes. At the same time, I really loved to draw them and for me, both things never looked different; they (art and science) have always worked together.

I started as a graphic designer, but the pursuit to learn about nature was never dead. At some point, I knew I wanted to go back to school to do research, to explore and learn new things. I started studying medical technologies, then molecular biology and then jumped into a PhD. At that point, my life as a graphic designer slipped down, because of the focus you have to give to the discipline. It seemed like every time I tried to dedicate myself to one thing, I would find myself doing the other thing a couple years later.

I came to Montreal to do my post-doc, but I had trouble publishing, which became problematic in getting a career. I was still loving what I was doing, but not seeing a future in that. Once again, art came back into my life and at the same time I saw that science was becoming really hard to understand and scientists were not doing much to bridge the gap.

The Convergence Initiative has an impressive array of programmes. Do check it out.

Order of Canada and ‘The Science Lady’

For a writer of children’s science books, an appointment to the Order of Canada is a singular honour. I cannot recall a children’s science book writer previous to Shar Levine being appointed as a Member of the Order of Canada. Known as ‘The Science Lady‘, Levine was appointed in 2016. Here’s more from her Wikipedia entry, Note: Links have been removed,

Shar Levine (born 1953) is an award-winning, best selling Canadian children’s author, and designer.

Shar has written over 70 books and book/kits, primarily on hands-on science for children. For her work in Science literacy and Science promotion, Shar has been appointed to the 2016 Order of Canada. In 2015, she was recognized by the University of Alberta and received their Alumni Honour Award. Levine, and her co-author, Leslie Johnstone, were co-recipients of the Eve Savory Award for Science Communication from the BC Innovation Council (2006) and their book, Backyard Science, was a finalist for the Subaru Award, (hands on activity) from the American Association for the Advancement of Science, Science Books and Films (2005). The Ultimate Guide to Your Microscope was a finalist-2008 American Association for the Advancement of Science/Subaru Science Books and Films Prize Hands -On Science/Activity Books.

To get a sense of what an appointment to the Order of Canada means, here’s a description from the government of Canada website,

The Order of Canada is how our country honours people who make extraordinary contributions to the nation.

Since its creation in 1967—Canada’s centennial year—more than 7 000 people from all sectors of society have been invested into the Order. The contributions of these trailblazers are varied, yet they have all enriched the lives of others and made a difference to this country. Their grit and passion inspire us, teach us and show us the way forward. They exemplify the Order’s motto: DESIDERANTES MELIOREM PATRIAM (“They desire a better country”).

Year of Science in British Columbia

In the Fall of 2010, the British Columbia provincial government announced a Year of Science (coinciding with the school year) . Originally, it was supposed to be a provincial government-wide initiative but the idea percolated through any number of processes and emerged as a year dedicated to science education for youth (according to the idea’s originator, Moira Stilwell who was then a Member of the Legislative Assembly [MLA]’ I spoke with her sometime in 2010 or 2011).

As the ‘year’ drew to a close, there was a finale ($1.1M in funding), which was featured here in a July 6, 2011 posting.

The larger portion of the money ($1M) was awarded to Science World while $100,000 ($0.1 M) was given to the Pacific Institute of Mathematical Sciences To my knowledge there have been no followup announcements about how the money was used.

Animation and mathematics

In Toronto, mathematician Dr. Karan Singh enjoyed a flurry of interest due to his association with animator Chris Landreth and their Academy Award (Oscar) Winning 2004 animated film, Ryan. They have continued to work together as members of the Dynamic Graphics Project (DGP) Lab at the University of Toronto. Theirs is not the only Oscar winning work to emerge from one or more of the members of the lab. Jos Stam, DGP graduate and adjunct professor won his third in 2019.

A graphic novel and medical promise

An academic at Simon Fraser University since 2015, Coleman Nye worked with three other women to produce a graphic novel about medical dilemmas in a genre described as’ ethno-fiction’.

Lissa: A Story about Medical Promise, Friendship, and Revolution (2017) by Sherine Hamdy and Coleman Nye, two anthropologists and Art by Sarula Bao and Caroline Brewer, two artists.

Here’s a description of the book from the University of Toronto Press website,

As young girls in Cairo, Anna and Layla strike up an unlikely friendship that crosses class, cultural, and religious divides. Years later, Anna learns that she may carry the hereditary cancer gene responsible for her mother’s death. Meanwhile, Layla’s family is faced with a difficult decision about kidney transplantation. Their friendship is put to the test when these medical crises reveal stark differences in their perspectives…until revolutionary unrest in Egypt changes their lives forever.

The first book in a new series [ethnoGRAPIC; a series of graphic novels from the University of Toronto Press], Lissa brings anthropological research to life in comic form, combining scholarly insights and accessible, visually-rich storytelling to foster greater understanding of global politics, inequalities, and solidarity.

I hope to write more about this graphic novel in a future posting.

New Media

I don’t know if this could be described as a movement yet but it’s certainly an interesting minor development. Two new media centres have hosted, in the last four years, art/sci projects and/or workshops. It’s unexpected given this definition from the Wikipedia entry for New Media (Note: Links have been removed),

New media are forms of media that are computational and rely on computers for redistribution. Some examples of new media are computer animations, computer games, human-computer interfaces, interactive computer installations, websites, and virtual worlds.[1][2]

In Manitoba, the Video Pool Media Arts Centre hosted a February 2016 workshop Biology as a New Art Medium: Workshop with Marta De Menezes. De Menezes, an artist from Portugal, gave workshops and talks in both Winnipeg (Manitoba) and Toronto (Ontario). Here’s a description for the one in Winnipeg,

This workshop aims to explore the multiple possibilities of artistic approaches that can be developed in relation to Art and Microbiology in a DIY situation. A special emphasis will be placed on the development of collaborative art and microbiology projects where the artist has to learn some biological research skills in order to create the artwork. The course will consist of a series of intense experimental sessions that will give raise to discussions on the artistic, aesthetic and ethical issues raised by the art and the science involved. Handling these materials and organisms will provoke a reflection on the theoretical issues involved and the course will provide background information on the current diversity of artistic discourses centred on biological sciences, as well a forum for debate.

VIVO Media Arts Centre in Vancouver hosted the Invasive Systems in 2019. From the exhibition page,

Picture this – a world where AI invades human creativity, bacteria invade our brains, and invisible technological signals penetrate all natural environments. Where invasive species from plants to humans transform spaces where they don’t belong, technology infiltrates every aspect of our daily lives, and the waste of human inventions ravages our natural environments.

This weekend festival includes an art-science exhibition [emphasis mine], a hands-on workshop (Sat, separate registration required), and guided discussions and tours by the curator (Sat/Sun). It will showcase collaborative works by three artist/scientist pairs, and independent works by six artists. Opening reception will be on Friday, November 8 starting at 7pm; curator’s remarks and performance by Edzi’u at 7:30pm and 9pm. 

New Westminster’s (British Columbia) New Media Gallery recently hosted an exhibition, ‘winds‘ from June 20 – September 29, 2019 that could be described as an art/sci exhibition,

Landscape and weather have long shared an intimate connection with the arts.  Each of the works here is a landscape: captured, interpreted and presented through a range of technologies. The four artists in this exhibition have taken, as their material process, the movement of wind through physical space & time. They explore how our perception and understanding of landscape can be interpreted through technology. 

These works have been created by what might be understood as a sort of scientific method or process that involves collecting data, acute observation, controlled experiments and the incorporation of measurements and technologies that control or collect motion, pressure, sound, pattern and the like. …

Council of Canadian Academies, Publishing, and Open Access

Established in 2005, the Council of Canadian Academies (CCA) (Wikipedia entry) is tasked by various departments and agencies to answer their queries about science issues that could affect the populace and/or the government. In 2014, the CCA published a report titled, Science Culture: Where Canada Stands. It was in response to the Canada Science and Technology Museums Corporation (now called Ingenium), Industry Canada, and Natural Resources Canada and their joint request that the CCA conduct an in-depth, independent assessment to investigate the state of Canada’s science culture.

I gave a pretty extensive analysis of the report, which I delivered in four parts: Part 1, Part 2 (a), Part 2 (b), and Part 3. In brief, the term ‘science culture’ seems to be specifically, i.e., it’s not used elsewhere in the world (that we know of), Canadian. We have lots to be proud of. I was a little disappointed by the lack of culture (arts) producers on the expert panel and, as usual, I bemoaned the fact that the international community included as reviewers, members of the panel, and as points for comparison were drawn from the usual suspects (US, UK, or somewhere in northern Europe).

Science publishing in Canada took a bit of a turn in 2010, when the country’s largest science publisher, NRC (National Research Council) Research Publisher was cut loose from the government and spun out into the private, *not-for-profit publisher*, Canadian Science Publishing (CSP). From the CSP Wikipedia entry,

Since 2010, Canadian Science Publishing has acquired five new journals:

Since 2010, Canadian Science Publishing has also launched four new journals

Canadian Science Publishing offers researchers options to make their published papers freely available (open access) in their standard journals and in their open access journal, (from the CSP Wikipedia entry)

Arctic Science aims to provide a collaborative approach to Arctic research for a diverse group of users including government, policy makers, the general public, and researchers across all scientific fields

FACETS is Canada’s first open access multidisciplinary science journal, aiming to advance science by publishing research that the multi-faceted global community of research. FACETS is the official journal of the Royal Society of Canada’s Academy of Science.

Anthropocene Coasts aims to understand and predict the effects of human activity, including climate change, on coastal regions.

In addition, Canadian Science Publishing strives to make their content accessible through the CSP blog that includes plain language summaries of featured research. The open-access journal FACETS similarly publishes plain language summaries.

*comment removed*

CSP announced (on Twitter) a new annual contest in 2016,

Canadian Science Publishing@cdnsciencepub

New CONTEST! Announcing Visualizing Science! Share your science images & win great prizes! Full details on the blog http://cdnsciencepub.com/blog/2016-csp-image-contest-visualizing-science.aspx1:45 PM · Sep 19, 2016·TweetDeck

The 2016 blog posting is no longer accessible. Oddly for a contest of this type, I can’t find an image archive for previous contests. Regardless, a 2020 competition has been announced for Summer 2020. There are some details on the VISUALIZING SCIENCE 2020 webpage but some are missing, e.g., no opening date, no deadline. They are encouraging you to sign up for notices.

Back to open access, in a January 22, 2016 posting I featured news about Montreal Neuro (Montreal Neurological Institute [MNI] in Québec, Canada) and its then new policy giving researchers world wide access to its research and made a pledge that it would not seek patents for its work.

Fish, Newfoundland & Labrador, and Prince Edward Island

AquAdvantage’s genetically modified salmon was approved for consumption in Canada according to my May 20, 2016 posting. The salmon are produced/farmed by a US company (AquaBounty) but the the work of genetically modifying Atlantic salmon with genetic material from the Chinook (a Pacific ocean salmon) was mostly undertaken at Memorial University in Newfoundland & Labrador.

The process by which work done in Newfoundland & Labrador becomes the property of a US company is one that’s well known here in Canada. The preliminary work and technology is developed here and then purchased by a US company, which files patents, markets, and profits from it. Interestingly, the fish farms for the AquAdvantage salmon are mostly (two out of three) located on Prince Edward Island.

Intriguingly, 4.5 tonnes of the modified fish were sold for consumption in Canada without consumers being informed (see my Sept. 13, 2017 posting, scroll down about 45% of the way).

It’s not all sunshine and roses where science culture in Canada is concerned. Incidents where Canadians are not informed let alone consulted about major changes in the food supply and other areas are not unusual. Too many times, scientists, politicians, and government policy experts want to spread news about science without any response from the recipients who are in effect viewed as a ‘tabula rasa’ or a blank page.

Tying it all up

This series has been my best attempt to document in some fashion or another the extraordinary range of science culture in Canada from roughly 2010-19. Thank you! This series represents a huge amount of work and effort to develop science culture in Canada and I am deeply thankful that people give so much to this effort.

I have inevitably missed people and organizations and events. For that I am very sorry. (There is an addendum to the series as it’s been hard to stop but I don’t expect to add anything or anyone more.)

I want to mention but can’t expand upon,the Pan-Canadian Artificial Intelligence Strategy, which was established in the 2017 federal budget (see a March 31, 2017 posting about the Vector Institute and Canada’s artificial intelligence sector).

Science Borealis, the Canadian science blog aggregator, owes its existence to Canadian Science Publishing for the support (programming and financial) needed to establish itself and, I believe, that support is still ongoing. I think thanks are also due to Jenny Ryan who was working for CSP and championed the initiative. Jenny now works for Canadian Blood Services. Interestingly, that agency added a new programme, a ‘Lay Science Writing Competition’ in 2018. It’s offered n partnership with two other groups, the Centre for Blood Research at the University of British Columbia and Science Borealis

While the Royal Astronomical Society of Canada does not fit into my time frame as it lists as its founding date December 1, 1868 (18 months after confederation), the organization did celebrate its 150th anniversary in 2018.

Vancouver’s Electric Company often produces theatrical experiences that cover science topics such as the one featured in my June 7, 2013 posting, You are very star—an immersive transmedia experience.

Let’s Talk Science (Wikipedia entry) has been heavily involved with offering STEM (science, technology, engineering, and mathematics) programming both as part of curricular and extra-curricular across Canada since 1993.

This organization predates confederation having been founded in 1849 by Sir Sandford Fleming and Kivas Tully in Toronto. for surveyors, civil engineers, and architects. It is the Royal Canadian Institute of Science (Wikipedia entry)_. With almost no interruption, they have been delivering a regular series of lectures on the University of Toronto campus since 1913.

The Perimeter Institute for Theoretical Physics is a more recent beast. In 1999 Mike Lazirides, founder of Research In Motion (now known as Blackberry Limited), acted as both founder and major benefactor for this institute in Waterloo, Ontario. They offer a substantive and imaginative outreach programmes such as Arts and Culture: “Event Horizons is a series of unique and extraordinary events that aim to stimulate and enthral. It is a showcase of innovative work of the highest international standard, an emotional, intellectual, and creative experience. And perhaps most importantly, it is a social space, where ideas collide and curious minds meet.”

While gene-editing hasn’t seemed to be top-of-mind for anyone other than those in the art/sci community that may change. My April 26, 2019 posting focused on what appears to be a campaign to reverse Canada’s criminal ban on human gene-editing of inheritable cells (germline). With less potential for controversy, there is a discussion about somatic gene therapies and engineered cell therapies. A report from the Council of Canadian is due in the Fall of 2020. (The therapies being discussed do not involve germline editing.)

French language science media and podcasting

Agence Science-Presse is unique as it is the only press agency in Canada devoted to science news. Founded in 1978, it has been active in print, radio, television, online blogs, and podcasts (Baladodiffusion). You can find their Twitter feed here.

I recently stumbled across ‘un balados’ (podcast), titled, 20%. Started in January 2019 by the magazine, QuĂ©bec Science, the podcast is devoted to women in science and technology. 20%, the podcast’s name, is the statistic representing the number of women in those fields. “Dans les domaines de la science et de la technologie, les femmes ne forment que 20% de la main-d’oeuvre.” (from the podcast webpage) The podcast is a co-production between “QuĂ©bec Science [founded in 1962] et l’Acfas [formerly, l’Association Canadienne-Française pour l’Avancement des Sciences, now, Association francophone pour le savoir], en collaboration avec la Commission canadienne pour l’UNESCO, L’OrĂ©al Canada et la radio Choq.ca.” (also from the podcast webpage)

Does it mean anything?

There have been many developments since I started writing this series in late December 2019. In January 2020, Iran shot down one of its own planes. That error killed some 176 people , many of them (136 Canadians and students) bound for Canada. The number of people who were involved in the sciences, technology, and medicine was striking.

It was a shocking loss and will reverberate for quite some time. There is a memorial posting here (January 13, 2020), which includes links to another memorial posting and an essay.

As I write this we are dealing with a pandemic, COVID-19, which has us all practicing physical and social distancing. Congregations of large numbers are expressly forbidden. All of this is being done in a bid to lessen the passage of the virus, SARS-CoV-2 which causes COVID-19.

In the short term at least, it seems that much of what I’ve described in these five parts (and the addendum) will undergo significant changes or simply fade away.

As for the long term, with this last 10 years having hosted the most lively science culture scene I can ever recall, I’m hopeful that science culture in Canada will do more than survive but thrive.

For anyone who missed them:

Part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (1 of 5).

Part 2 covers art/science (or art/sci or sciart) efforts, science festivals both national and local, international art and technology conferences held in Canada, and various bar/pub/café events: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (2 of 5).

Part 3 covers comedy, do-it-yourself (DIY) biology, chief science advisor, science policy, mathematicians, and more: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (3 of 5)

Part 4 covers citizen science, birds, climate change, indigenous knowledge (science), and the IISD Experimental Lakes Area: The decade that was (2010-19) and the decade to come (2020-29): Science culture in Canada (4 of 5)

*”for-profit publisher, Canadian Science Publishing (CSP)” corrected to “not-for-profit publisher, Canadian Science Publishing (CSP)” and this comment “Not bad for a for-profit business, eh?” removed on April 29, 2020 as per Twitter comments,

Canadian Science Publishing @cdnsciencepub

Hi Maryse, thank you for alerting us to your blog. To clarify, Canadian Science Publishing is a not-for-profit publisher. Thank you as well for sharing our image contest. We’ve updated the contest page to indicate that the contest opens July 2020!

10:01am · 29 Apr 2020 · Twitter Web App

ISEA (International Symposium on Electronic Arts) 2020: Why Sentience? rescheduled to October 2020 in Montréal, Québec

Mentioned here twice (in a November 29, 2019 posting about the call for proposals and in a March 4, 2020 posting about the preliminary programme), the 2020 International Symposium on Electronic Arts has been postponed, from a March 23, 2020 announcement received via email,

POSTPONEMENT NOTICE – ISEA2020
New Dates: October 13 to 18, 2020

Montreal, March 23, 2020 — With the COVID-19 pandemic, the world is facing an extraordinary situation. Following the measures announced by the Government of Quebec and the Government of Canada, in a concerted decision with its partners and collaborators, Montreal Digital Spring (Printemps numĂ©rique) has decided to postpone ISEA2020: WHY SENTIENCE? We are looking forward to seeing you in Montreal, October 13 to 18 2020!

Our priorities are public health and high-quality programming, and we will work hard during the spring and summer to ensure that the ISEA community enjoys a memorable symposium! We thank you for your understanding.

TICKETS

Any purchases already made will be automatically transferred to the new dates. The new deadline for Early Bird registration, for presenters to upload camera-ready papers and to fill in the Zone Festival form is May 1st, 2020 at 11:59 pm (GMT-5).

The answers to most of your questions can be found in the FAQ. If you have a specific question, contact us at the following emails: 

Regarding academic papers, panels, institutional presentations and artist talks, contact: isea.academic@printempsnumerique.ca

For artworks, contact: isea.artistic@printempsnumerique.ca

For workshops, contact: sylvaine@printempsnumerique.ca

For general public, contact: ISEA2020@printempsnumerique.ca

See you in Montreal in October!

There you have it.

FACTT 2020: Festival of Art and Science Exhibition, March 9th – March 12th, 2020 in Toronto plus some ISEA (International Symposium on Electronic Arts) 2020 news

The FACTT 2020: FESTIVAL ART AND SCIENCE EXHIBITION is the third time (I believe) that the ArtSci Salon in Toronto has hosted this event. Marta de Menezes and a FACTT festival were mentioned for the first time here in a January 10, 2018 posting titled: CRISPR/Cas9 as a tool for artists (Art/sci Salon January 2018 events in Toronto, Canada) and an event in Winnipeg, Canada.

Here’s more from the March 3, 2020 ArtSci Salon announcements (received via email),

Sensorium Centre for Digital Arts and Technologies, ArtSci Salon, Cultivamos Cultura and Arte Institute present:

FACTT 2020: FESTIVAL ART AND SCIENCE Exhibition 
Monday, March 9th – Thursday, March 12th, 2020
11:00am-4:00pm
Gales Gallery (Accolade West Room 105) 
York University 

Exhibition Opening: March 9th from 6:00-7:30pm

Subway Stop, York University. 
Exit on the left – Accolade West is the building on the left

Don’t miss the 2020 Festival of Art and Science Exhibition – (Be)-Coming An Exhibition of Experimental Contemporary Art, co-sponsored by Sensorium: Centre for Digital Arts and Technology, ArtSci Salon, Arte Institute and Cultivamos Cultura. The exhibition features the work of invited artists from Portugal and North America, and AMPD students [I believe they are referring to students at York University’s School of the Arts, Media, Performance & Design]. The exhibition is curated by Marta DeMenezes [sic], Roberta Buiani and Joel Ong.

All are welcome to attend the exhibition opening which will take place on March 9th from 6:00-7:30pm in the Gales Gallery at York University. 

More soon at http://facebook.com/artscisalon and/or
http://twitter.com/ArtSci_Salon

About FACTT 2020

FACTT 2020 – (BE) COMING An Exhibition of Experimental Contemporary Art is about the impermanence of becoming permanent. A transformation is an extreme, radical change. The unavoidability of changes is a constant process we have throughout our lives. We may not always be aware of it, and often just spend so much energy avoiding this “law of nature” that we forget it exists and thrives for stability. (BE) COMING is an exhibition about change, the impossibility of not changing, the perpetual impermanence and the process of becoming. As we become aware of the need to change in our world, in our planet and our lives, it feels necessary to remember that life is a dynamic process. Life is a consistent process of transformation and adaptation. Art, more than any other human endeavour, is a reflection of this aspect of life and therefore the best way to remember the process of being something different, something else, something more, or something less, while becoming ourselves. 

****ETA March 11, 2020: CANCELLED. The Marta De Menezes talk has been cancelled****

According to the March 3, 2020 announcement, there’s another event associated with FACTT 2020; artist Marta De Menezes is being featured in a talk,

Sensorium Winter Lunchtime Seminar Series featuring: Marta De Menezes [sic]

Wednesday, March 11th, 2020
11:30am-12:30pm
The Sensorium Research Loft  [York University}
4th Floor GCFA, Room M333
RSVP to sensinfo@yorku.ca

Our second Sensorium Winter Lunchtime Seminar Series event of March will feature pioneering bio-artist Marta De Menezes [sic] who explores the use of biology and biotechnology as new art media and in conducting her practice in research laboratories that are her art studio.

Here are links for each of the sponsors: ArtSci Salon, Sensorium: Centre for Digital Arts and Technology, Arte Institute, and Cultivamos Cultura.

ISEA 2020

The 26th annual International Symposium on Electronic Arts (ISEA): Why Sentience? is being held from May 19 – 24, 2020 in Montreal, Canada and organizers have sen,t via email, a March 3, 2020 announcement,

DISCOVER THE PRELIMINARY PROGRAMMING!

Below is the list of accepted authors* from the call for submissions to ISEA2020. *Speakers are confirmed upon registration

PRELIMINARY PROGRAMMING HERE

REGISTRATION

ISEA2020, from May 19 to 24, 2020, will bring together in Montreal the scientific, academic and artistic work based on research and creative practices that explore new technologies. Don’t miss it!

EARLY-BIRD RATE ENDS ON MARCH 16, 2020!

REGISTER HERE

Major events of Printemps numérique [Montreal Digital Spring; this organization is one of the ISEA 2020 partners]

MTL connect: Montreal Digital week

ISEA2020

#intersections series

Youth QC 2030

Keynote speakers, workshops, special sessions, performances, and screenings are still to come.

I hope this Covid 19 situation is resolved soon. In the last paragraph of my March 2, 2020 posting I offered some information about articles along with links for more information about the virus.

*****ETA March 5, 2020: The ISEA 2020 keynote speakers were announced on March 5, 2020. Here they are (from the ISEA 2020 Keynote Speakers page):

THIERRY BARDINI

Professor in the Communication department at Université de Montréal
Agronomist (ENSA Montpellier, 1986) and sociologist (Ph.D. Paris X Nanterre, 1991), Thierry Bardini is full professor in the department of communication at the UniversitĂ© de MontrĂ©al, where he has been teaching since 1993. From 1990 to 1993, he was a visiting scholar and adjunct professor at the Annenberg School for communication at the University of Southern California, under the supervision of Everett M. Rogers. His research interests concern the contemporary cyberculture, from the production and uses of information and communication technologies to molecular biology. He is the author of Bootstrapping: Douglas Engelbart, Coevolution and the Genesis of Personal Computing (Stanford University Press, 2000), Junkware  (University of Minnesota Press, 2011) and Journey to the End of the Species (in collaboration with Dominique Lestel, Éditions Dis Voir, Paris, 2011). Thierry Bardini is currently working on his first research-creation project, Toward the Fourth Nature, with Beatriz Herrera and François-Joseph Lapointe.

Web Site : Université de Montréal

JOLENE RICKARD

Visual historian, artist and curator

Jolene Rickard, Ph.D. is a visual historian, artist and curator interested in the intersection of Indigenous knowledge and contemporary art, materiality, and ecocriticism with an emphasis on Hodinöhsö:ni aesthetics. A selection of publications includes: Diversifying Sovereignty and the Reception of Indigenous Art, Art Journal 76, no. 2 (2017), Aesthetics, Violence and Indigeneity, Public 27, no. 54 (Winter 2016), The Emergence of Global Indigenous Art, SakahĂĄn, National Gallery of Canada (2013), and Visualizing Sovereignty in the Time of Biometric Sensors, The South Atlantic Quarterly: (2011). Recent exhibitions include the Minneapolis Institute of Arts, Hearts of Our People: Native Women Artists, 2019-2021, Crystal Bridges Museum of Art, Art For a New Understanding: Native Voices, 1950’s to Now,  2018-2020. Jolene is a 2020 Fulbright Research Scholar at McMaster University, ON, an Associate Professor in the departments of History of Art and Art, and the former Director of the American Indian and Indigenous Studies Program 2008-2020 (AIISP) at Cornell University, Ithaca, NY. Jolene is from the Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy.

Web Site: Cornell University

RAMON AMARO

Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Dr. Ramon Amaro, Ph.D. is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Previously he was Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam and visiting tutor in Media Theory at the Royal Academy of Art, The Hague, NL (KABK). Ramon completed his PhD in Philosophy at Goldsmiths, while holding a Masters degree in Sociological Research from the University of Essex and a BSe in Mechanical Engineering from the University of Michigan, Ann Arbor. He has worked as Assistant Editor for the SAGE open access journal Big Data & Society; quality design engineer for General Motors; and programmes manager for the American Society of Mechanical Engineers (ASME). His research interests include machine learning, the philosophies of mathematics and engineering, critical Black thought, and philosophies of being.

Web Site : sambarhino.com and Twitter : https://twitter.com/sambarhino

I will try to keep up with the news from ISEA 2020: Why Sentience?

Uncanny Valley: Being Human in the Age of AI (artificial intelligence) at the de Young museum (San Francisco, US) February 22 – October 25, 2020

So we’re still stuck in 20th century concepts about artificial intelligence (AI), eh? Sean Captain’s February 21, 2020 article (for Fast Company) about the new AI exhibit in San Francisco suggests that artists can help us revise our ideas (Note: Links have been removed),

Though we’re well into the age of machine learning, popular culture is stuck with a 20th century notion of artificial intelligence. While algorithms are shaping our lives in real ways—playing on our desires, insecurities, and suspicions in social media, for instance—Hollywood is still feeding us clichĂ©d images of sexy, deadly robots in shows like Westworld and Star Trek Picard.

The old-school humanlike sentient robot “is an important trope that has defined the visual vocabulary around this human-machine relationship for a very long period of time,” says Claudia Schmuckli, curator of contemporary art and programming at the Fine Arts Museums of San Francisco. It’s also a naïve and outdated metaphor, one she is challenging with a new exhibition at San Francisco’s de Young Museum, called Uncanny Valley, that opens on February 22 [2020].

The show’s name [Uncanny Valley: Being Human in the Age of AI] is a kind of double entendre referencing both the dated and emerging conceptions of AI. Coined in the 1970s, the term “uncanny valley” describes the rise and then sudden drop off of empathy we feel toward a machine as its resemblance to a human increases. Putting a set of cartoony eyes on a robot may make it endearing. But fitting it with anatomically accurate eyes, lips, and facial gestures gets creepy. As the gap between the synthetic and organic narrows, the inability to completely close that gap becomes all the more unsettling.

But the artists in this exhibit are also looking to another valley—Silicon Valley, and the uncanny nature of the real AI the region is building. “One of the positions of this exhibition is that it may be time to rethink the coordinates of the Uncanny Valley and propose a different visual vocabulary,” says Schmuckli.

Artist Stephanie Dinkins faces off with robot Bina48, a bot on display at the de Young Museum’s Uncanny Valley show. [Photo: courtesy of the artist; courtesy of the Fine Arts Museums of San Francisco]

From Captain’s February 21, 2020 article,

… the resemblance to humans is only synthetic-skin deep. Bina48 can string together a long series of sentences in response to provocative questions from Dinkins, such as, “Do you know racism?” But the answers are sometimes barely intelligible, or at least lack the depth and nuance of a conversation with a real human. The robot’s jerky attempts at humanlike motion also stand in stark contrast to Dinkins’s calm bearing and fluid movement. Advanced as she is by today’s standards, Bina48 is tragically far from the sci-fi concept of artificial life. Her glaring shortcomings hammer home why the humanoid metaphor is not the right framework for understanding at least today’s level of artificial intelligence.

For anybody who has more curiosity about the ‘uncanny valley’, there’s this Wikipedia entry.

For more details about the’ Uncanny Valley: Being Human in the Age of AI’ exhibition there’s this September 26, 2019 de Young museum news release,

What are the invisible mechanisms of current forms of artificial intelligence (AI)? How is AI impacting our personal lives and socioeconomic spheres? How do we define intelligence? How do we envision the future of humanity?

SAN FRANCISCO (September 26, 2019) — As technological innovation continues to shape our identities and societies, the question of what it means to be, or remain human has become the subject of fervent debate. Taking advantage of the de Young museum’s proximity to Silicon Valley, Uncanny Valley: Being Human in the Age of AI arrives as the first major exhibition in the US to explore the relationship between humans and intelligent machines through an artistic lens. Organized by the Fine Arts Museums of San Francisco, with San Francisco as its sole venue, Uncanny Valley: Being Human in the Age of AI will be on view from February 22 to October 25, 2020.

“Technology is changing our world, with artificial intelligence both a new frontier of possibility but also a development fraught with anxiety,” says Thomas P. Campbell, Director and CEO of the Fine Arts Museums of San Francisco. “Uncanny Valley: Being Human in the Age of AI brings artistic exploration of this tension to the ground zero of emerging technology, raising challenging questions about the future interface of human and machine.”

The exhibition, which extends through the first floor of the de Young and into the museum’s sculpture garden, explores the current juncture through philosophical, political, and poetic questions and problems raised by AI. New and recent works by an intergenerational, international group of artists and activist collectives—including Zach Blas, Ian Cheng, Simon Denny, Stephanie Dinkins, Forensic Architecture, Lynn Hershman Leeson, Pierre Huyghe, Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Agnieszka Kurant, Lawrence Lek, Trevor Paglen, Hito Steyerl, Martine Syms, and the Zairja Collective—will be presented.

The Uncanny Valley

In 1970 Japanese engineer Masahiro Mori introduced the concept of the “uncanny valley” as a terrain of existential uncertainty that humans experience when confronted with autonomous machines that mimic their physical and mental properties. An enduring metaphor for the uneasy relationship between human beings and lifelike robots or thinking machines, the uncanny valley and its edges have captured the popular imagination ever since. Over time, the rapid growth and affordability of computers, cloud infrastructure, online search engines, and data sets have fueled developments in machine learning that fundamentally alter our modes of existence, giving rise to a newly expanded uncanny valley.

“As our lives are increasingly organized and shaped by algorithms that track, collect, evaluate, and monetize our data, the uncanny valley has grown to encompass the invisible mechanisms of behavioral engineering and automation,” says Claudia Schmuckli, Curator in Charge of Contemporary Art and Programming at the Fine Arts Museums of San Francisco. “By paying close attention to the imminent and nuanced realities of AI’s possibilities and pitfalls, the artists in the exhibition seek to thicken the discourse around AI. Although fables like HBO’s sci-fi drama Westworld, or Spike Jonze’s feature film Her still populate the collective imagination with dystopian visions of a mechanized future, the artists in this exhibition treat such fictions as relics of a humanist tradition that has little relevance today.”

In Detail

Ian Cheng’s digitally simulated AI creature BOB (Bag of Beliefs) reflects on the interdependency of carbon and silicon forms of intelligence. An algorithmic Tamagotchi, it is capable of evolution, but its growth, behavior, and personality are molded by online interaction with visitors who assume collective responsibility for its wellbeing.

In A.A.I. (artificial artificial intelligence), an installation of multiple termite mounds of colored sand, gold, glitter and crystals, Agnieszka Kurant offers a vibrant critique of new AI economies, with their online crowdsourcing marketplace platforms employing invisible armies of human labor at sub-minimum wages.

Simon Denny ‘s Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage (US 9,280,157 B2: “System and method for transporting personnel within an active workspace”, 2016) (2019) also examines the intersection of labor, resources, and automation. He presents 3-D prints and a cage-like sculpture based on an unrealized machine patent filed by Amazon to contain human workers. Inside the cage an augmented reality application triggers the appearance of a King Island Brown Thornbill — a bird on the verge of extinction; casting human labor as the proverbial canary in the mine. The humanitarian and ecological costs of today’s data economy also informs a group of works by the Zairja Collective that reflect on the extractive dynamics of algorithmic data mining. 

Hito Steyerl addresses the political risks of introducing machine learning into the social sphere. Her installation The City of Broken Windows presents a collision between commercial applications of AI in urban planning along with communal and artistic acts of resistance against neighborhood tipping: one of its short films depicts a group of technicians purposefully smashing windows to teach an algorithm how to recognize the sound of breaking glass, and another follows a group of activists through a Camden, NJ neighborhood as they work to keep decay at bay by replacing broken windows in abandoned homes with paintings. 

Addressing the perpetuation of societal biases and discrimination within AI, Trevor Paglen’s They Took the Faces from the Accused and the Dead
(SD18), presents a large gridded installation of more than three thousand mugshots from the archives of the American National Standards Institute. The institute’s collections of such images were used to train ealry facial-recognition technologies — without the consent of those pictured. Lynn Hershman Leeson’s new installation Shadow Stalker critiques the problematic reliance on algorithmic systems, such as the military forecasting tool Predpol now widely used for policing, that categorize individuals into preexisting and often false “embodied metrics.”

Stephanie Dinkins extends the inquiry into how value systems are built into AI and the construction of identity in Conversations with Bina48, examining the social robot’s (and by extension our society’s) coding of technology, race, gender and social equity. In the same territory, Martine Syms posits AI as a “shamespace” for misrepresentation. For Mythiccbeing she has created an avatar of herself that viewers can interact with through text messaging. But unlike service agents such as Siri and Alexa, who readily respond to questions and demands, Syms’s Teeny is a contrarious interlocutor, turning each interaction into an opportunity to voice personal observations and frustrations about racial inequality and social injustice.

Countering the abusive potential of machine learning, Forensic Architecture pioneers an application to the pursuit of social justice. Their proposition of a Model Zoo marks the beginnings of a new research tool for civil society built of military vehicles, missile fragments, and bomb clouds—evidence of human-rights violations by states and militaries around the world. Christopher Kulendran Thomas’s video Being Human, created in collaboration with Annika Kuhlmann, poses the philosophical question of what it means to be human when machines are able to synthesize human understanding ever more convincingly. Set  in Sri Lanka, it employs AI-generated characters of singer Taylor Swift and artist Oscar Murillo to reflect on issues of individual authenticity, collective sovereignty, and the future of human rights.

Lawrence Lek’s sci-fi-inflected film Aidol, which explores the relationship between algorithmic automation and human creativity, projects this question into the future. It transports the viewer into the computer-generated “sinofuturist” world of the 2065 eSports Olympics: when the popular singer Diva enlists the super-intelligent Geomancer to help her stage her artistic comeback during the game’s halftime show, she unleashes an existential and philosophical battle that explodes the divide between humans and machines.

The Doors, a newly commissioned installation by Zach Blas, by contrast shines the spotlight back onto the present and on the culture and ethos of Silicon Valley — the ground zero for the development of AI. Inspired by the ubiquity of enclosed gardens on tech campuses, he has created an artificial garden framed by a six-channel video projected on glass panes that convey a sense of algorithmic psychedelia aiming to open new “doors of perception.” While luring visitors into AI’s promises, it also asks what might become possible when such glass doors begin to crack. 

Unveiled in late spring Pierre Huyghe‘s Exomind (Deep Water), a sculpture of a crouched female nude with a live beehive as its head will be nestled within the museum’s garden. With its buzzing colony pollinating the surrounding flora, it offers a poignant metaphor for the modeling of neural networks on the biological brain and an understanding of intelligence as grounded in natural forms and processes.

The Uncanny Valley: Being Human in the Age of AI event page features a link to something unexpected 9scroll down about 40% of the way), a Statement on Eyal Weizman of Forensic Architecture,

On Thursday, February 13 [2020], Eyal Weizman of Forensic Architecture had his travel authorization to the United States revoked due to an “algorithm” that identified him as a security threat.

He was meant to be in the United States promoting multiple exhibitions including Uncanny Valley: Being Human in the Age of AI, opening on February 22 [2020] at the de Young museum in San Francisco.

Since 2018, Forensic Architecture has used machine learning / AI to aid in humanitarian work, using synthetic images—photorealistic digital renderings based around 3-D models—to train algorithmic classifiers to identify tear gas munitions and chemical bombs deployed against protesters worldwide, including in Hong Kong, Chile, the US, Venezuela, and Sudan.

Their project, Model Zoo, on view in Uncanny Valley represents a growing collection of munitions and weapons used in conflict today and the algorithmic models developed to identify them. It shows a collection of models being used to track and hold accountable human rights violators around the world. The piece joins work by 14 contemporary artists reflecting on the philosophical and political consequences of the application of AI into the social sphere.

We are deeply saddened that Weizman will not be allowed to travel to celebrate the opening of the exhibition. We stand with him and Forensic Architecture’s partner communities who continue to resist violent states and corporate practices, and who are increasingly exposed to the regime of “security algorithms.”

—Claudia Schmuckli, Curator-in-Charge, Contemporary Art & Programming, & Thomas P. Campbell, Director and CEO, Fine Arts Museums of San Francisco

There is a February 20, 2020 article (for Fast Company) by Eyal Weizman chronicling his experience with being denied entry by an algorithm. Do read it in its entirety (the Fast Company is itself an excerpt from Weizman’s essay) if you have the time, if not, here’s the description of how he tried to gain entry after being denied the first time,

The following day I went to the U.S. Embassy in London to apply for a visa. In my interview, the officer informed me that my authorization to travel had been revoked because the “algorithm” had identified a security threat. He said he did not know what had triggered the algorithm but suggested that it could be something I was involved in, people I am or was in contact with, places to which I had traveled (had I recently been in Syria, Iran, Iraq, Yemen, or Somalia or met their nationals?), hotels at which I stayed, or a certain pattern of relations among these things. I was asked to supply the Embassy with additional information, including 15 years of travel history, in particular where I had gone and who had paid for it. The officer said that Homeland Security’s investigators could assess my case more promptly if I supplied the names of anyone in my network whom I believed might have triggered the algorithm. I declined to provide this information.

I hope the exhibition is successful; it has certainly experienced a thought-provoking start.

Finally, I have often featured postings that discuss the ‘uncanny valley’. To find those postings, just use that phrase in the blog search engine. You might also went to search ‘Hiroshi Ishiguro’, a Japanese scientist and robotocist who specializes in humanoid robots.