I missed a few science journalists (part 1 of this series, under the Science Communication subhead; Mainstream Media, sub subhead) as the folks at the Science Media Centre of Canada (SMCC) noted on Twitter,
Thanks for the mention. But I think poor @katecallen at the Toronto Star would be dismayed to read that @IvanSemeniuk is the only science reporter on a Canadian newspaper. And @row1960 Bob Weber at Canadian Press is carried in every newspaper in the country.
In addition, @mle_chung at CBC News Online (#1 news source in Canada) is read more than any other science writer in the country, as is her colleague @NebulousNikki
***ETA April 29, 2020 at 0910 PT: Yesterday, April 28, 2020, Postmedia announced that it was closing 15 community newspapers and a number of jobs elsewhere in the organization. Earlier in the month on April 7, 2020 Postmedia announced that 85 positions were being eliminated, including 11 in the editorial department of TorStar (Toronto Star). I hope they keep a position for a science writer at the Toronto Star.***
Alice Major, a poet mentioned in Part 3 under The word subhead; Poetry sub subhead, wrote with news of two other poets who focus on science in their work.
Christian Bök[needs IPA] (born August 10, 1966 in Toronto, Canada) is an experimental Canadian poet. He is the author of Eunoia, which won the Canadian Griffin Poetry Prize.
On April 4, 2011 Bök announced a significant break-through in his 9-year project to engineer “a life-form so that it becomes not only a durable archive for storing a poem, but also an operant machine for writing a poem”. On the previous day (April 3) Bök said he received confirmation from the laboratory at the University of Calgary that my poetic cipher, gene X-P13, has in fact caused E. coli to fluoresce red in our test-runs—meaning that, when implanted in the genome of this bacterium, my poem (which begins “any style of life/ is prim…”) does in fact cause the bacterium to write, in response, its own poem (which begins “the faery is rosy/ of glow…”).”
The project has continued for over fifteen years at a cost exceeding $110,000 and he hopes to finish the project in 2014. He published “Book I” of the resulting Xenotext in 2015.
Internationally best-sellling poet Christian Bök has spent more than ten years writing what promises to be the first example of ‘living poetry.’ After successfully demonstrating his concept in a colony of E. coli, Bök is on the verge of enciphering a beautiful, anomalous poem into the genome of an unkillable bacterium (Deinococcus radiodurans), which can, in turn, “read” his text, responding to it by manufacturing a viable, benign protein, whose sequence of amino acids enciphers yet another poem. The engineered organism might conceivably serve as a post-apocalyptic archive, capable of outlasting our civilization.
Book I of The Xenotext constitutes a kind of ‘demonic grimoire,’ providing a scientific framework for the project with a series of poems, texts, and illustrations. A Virgilian welcome to the Inferno, Book I is the “orphic” volume in a diptych, addressing the pastoral heritage of poets, who have sought to supplant nature in both beauty and terror. The book sets the conceptual groundwork for the second volume, which will document the experiment itself. The Xenotext is experimental poetry in the truest sense of the term.
Adam Dickinson is a poet and an associate professor at Brock University (Ontario). He describes himself and his work this way (from the Brock University bio page),
Adam Dickinson is a poet and a professor of poetry. His creative and academic writing has primarily focused on intersections between poetry and science as a way of exploring new ecocritical perspectives and alternative modes of poetic composition. His latest book, Anatomic (Coach House Books), involves the results of chemical and microbial testing on his body, and was shortlisted for The Raymond Souster Award. Sections of it were also shortlisted for the Canadian Broadcasting Corporation (CBC) Poetry Prize. His book, The Polymers (House of Anansi ), which is an imaginary science project that combines the discourses, theories, and experimental methods of the science of plastic materials with the language and culture of plastic behaviour, was a finalist for both the Governor General’s Award for Poetry and the Trillium Book Award for Poetry. He has published two previous books, Kingdom, Phylum (also nominated for the Trillium Book Award for Poetry) and Cartography and Walking (nominated for an Alberta Book Award). His scholarly work (supported by SSHRC [Social Sciences and Humanities Research Council of Canada]) brings together research in innovative poetics, biosemiotics, pataphysics, and Anthropocene studies.
His current research-creation project, “Metabolic Poetics,” (also supported by SSHRC) is concerned with the potential of expanded modes of reading and writing to shift the frames and scales of conventional forms of signification in order to bring into focus the often inscrutable biological and cultural writing intrinsic to the Anthropocene, especially as this is reflected in the inextricable link between the metabolic processes of human and nonhuman bodies and the global metabolism of energy and capital.
He has been featured at prominent international literary festivals, such as Poetry International in Rotterdam, The Harbourfront International Festival of Authors in Toronto, and the Oslo International Poetry Festival in Norway. Adam has also been a finalist for the K.M. Hunter Artist Award in Literature, Administered by the Ontario Arts Council. Adam welcomes potential student supervisions on topics in poetry and poetics, environmental writing, science and literature, and creative writing.
This last addition may seen a little offbeat but ARPICO (Society of Italian Researchers & Professionals in Western Canada) has hosted a surprisingly large number of science events in Vancouver. Two recent examples include: The Eyes are the Windows to The Mind; Implications for Artificial Intelligence (AI) -driven Personalized Interaction on March 4, 2020 and, the relatively recent, Whispers in the Dark: Underground Science on June 12, 2019.
Hopefully, I’ll be able to resist the impulse to make any more additions.
***ETA April 30, 2020: Research2Reality (R2R) was launched in 2015 as a social media initiative featuring a series of short video interviews with Canadian scientists (see more in my May 11, 2015 posting). Almost five years later, the website continues to feature interviews and it also hosts news about Canadian science and research. R2R was founded by Molly Shoichet (pronounced shoyquette) and Mike MacMillan.***
For anyone who stumbled across this addendum first, it fits on to the end of a 5-part series:
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.
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.
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.
Expose a hitherto largely Eurocentric scholarly community in Canada to widening international perspectives and methods,
Build on past successes at border-crossings and exchanges between the participants,
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,
Open up new perspectives on the genesis and place of globalized science, and thereby
Offer alternative ways to conceptualize and engage globalization itself, and especially the globalization of knowledge and science.
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. …
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.
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.
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.
Dr. Brian Eameshosts 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.
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.
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.
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.
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.
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.
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.
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:
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.
CSP announced (on Twitter) a new annual contest in 2016,
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.)
I recently stumbled across ‘un balados’ (podcast), titled, 20%. Started in January 2019 by the magazine, Québec 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 “Québec 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’Oréal 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-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,
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!
I was hoping this would be the concluding part of this series but there was much more than I dreamed. (I know that’s repetitive but I’m truly gobsmacked.)
Astronomy and bird watching (ornithology) are probably the only two scientific endeavours that have consistently engaged nonexperts/amateurs/citizen scientists right from the earliest days through the 21st century. Medical research, physics, chemistry, and others have, until recently and despite their origins in ‘amateur’ (or citizen) science, become the exclusive domain of professional experts.
This situation seems to be changing both here in Canada and elsewhere. One of the earliest postings about citizen science on this blog was in 2010 and, one of the most amusing to me personally, was this March 21, 2013 posting titled: Comparing techniques, citizen science to expert science. It’s about a study by scientists at the University of East Anglia (UK) comparing data collection by citizen scientists with experts. In this particular project where undersea data was being collected and people with diving skills needed, the citizen scientists did a better job than the expert scientists of collecting data. (I’m not trying to suggest that experts can be replaced by amateurs but do suggest that there are advantages to working together.)
Take a look at your car. The bus you take to work. The smart phone you tap on during your commute. They all have one thing in common: science. Science is all around us. It shapes the way we live, the meals we grab on the go and the commute that takes us to school and work.
That is why the Government of Canada is encouraging young Canadians’ interest in science. Research and innovation lead to breakthroughs in agriculture, transit, medicine, green technology and service delivery, improving the quality of life for all Canadians. The outcomes of research also create jobs, strengthen the economy and support a growing middle class.
The Honourable Kirsty Duncan, Minister of Science and Minister of Sport and Persons with Disabilities, carried that message to an audience of young students during her first citizen science Google Hangout today. The Hangout, run by Exploring by the Seat of Your Pants, a not-for-profit organization, featured frog exhibits from the Toronto Zoo and a demonstration of the FrogWatch citizen science project by Dr. Nancy Kingsbury of Environment and Climate Change Canada. Toronto Zoo frog expert Katherine Wright joined Minister Duncan at the zoo to share information about frogs that are local to Ontario.
Minister Duncan, Dr. Kingsbury and Ms. Wright then engaged with elementary school children across Canada in a live Q&A session about the frogs in their own backyards. The Minister highlighted the importance of getting young Canadians interested in science fields and talked about ways they can take part in citizen science projects in their communities. Citizen scientists can share their observations on social media using the hashtag #ScienceAroundMe.
“Science is for everyone, and it is important that we encourage today’s youth to be curious. Young Canadians who engage in citizen science today will become the highly skilled workers—engineers, scientists, mathematicians, technology experts and entrepreneurs—of tomorrow. Through citizen science, children can nurture an interest in the natural world. These young people will then go on to discover, to innovate and to find solutions that will help us build a better Canada.” – The Honourable Kirsty Duncan, Minister of Science and Minister of Sport and Persons with Disabilities
“The Toronto Zoo is proud to participate in and encourage citizen science programs, such as FrogWatch, within the community. The Toronto Zoo’s Adopt-A-Pond Wetland Conservation Programme works to engage citizen scientists and deliver impactful conservation-focused research, restoration and outreach that highlight the importance of saving Canada’s sensitive wetland species and their habitats.” – Robin Hale, Interim Chief Executive Officer, Toronto Zoo
NatureWatch, of which FrogWatch is a component, is a community program that engages all Canadians in collecting scientific information on nature to understand our changing environment.
Exploring by the Seat of Your Pants aims to inspire the next generation of scientists, explorers and conservationists by bringing science, exploration, adventure and conservation into classrooms through virtual field trips run by programs like Google Hangout.
The Government of Canada’s Citizen Science Portal is a one-stop shop for science in the community. It showcases science programs, including NatureWatch programs, across the country.
The portal is not nearly as Ontario-centric as the projects mentioned in the news release (in case you were wondering).
Aside: In part 2 of this series, Jesse Hildebrand, founder of Science Literacy Week was mentioned as also being the founder of Exploring by the Seat of Your Pants.
Going to the birds
While bird watching and ornithological studies are not new to the Canadian science culture scene, there were some interesting developments in the 2010-19 period.
Canadian Geographic (magazine) sponsored a contest in 2015, the National Bird Project, where almost 50,000 people submitted suggestions for a national bird. Voting online ensued and on August 31, 2016 popular voting was closed. Five birds attracted the top votes and in September 2016, the Royal Canadian Geographical Society put together an expert panel to debate and decide which would be Canada’s national bird. The choice was announced in November 2016 (Canadian Geographic National Bird Project).
The gray jay (Perisoreus canadensis in Latin, Mésangeai du Canada in French) lives in all 13 provinces and territories — the friendly spirit in Canada’s wild northern boreal and mountain forests. It remains in Canada year-round, is neither hunted nor endangered, and from the Atlantic provinces to the West is an indicator of the health of the boreal and mountain forests and climate change, inspiring a conservation philosophy for all kinds of northern land uses. The gray jay has long been important to Indigenous Peoples, and will draw all Canadians to their national and provincial/territorial parks, yet unlike the loon and snowy owl, it is not already a provincial or territorial bird.
Gray jay is a passerine bird belonging to the family Corvidae. It is mostly found in the boreal forest of North America. The bird is fairly large and has pale gray underparts and dark grey upperpart. Gray jay is a friendly bird and often approach human for food. It is also popularly known as the camp robber, whisky jack, and venison-hawk. Gray jay is listed as Least Concern by the IUCN [International Union for Conservation of Nature]. However, the anthropogenic climate change in the southern range may adversely affect its population. In some Fist Nation cultures, the bird is associated with mythological figures including Wisakedjak who was anglicized to Whiskyjack.
For approximately 200 years, the gray jay was known as “Canadian Jay” to the English speakers. The bird was renamed the “gray jay” in 1957 by the American Ornithologists’ Union. However, scientifically the bird is referred to as Perisoreus Canadensis. The bird is found in almost all the provinces of territories of Canada. the preferred habitat for the species is Canada’s boreal and mountain forests. Gray jay is also one of the smartest birds in the world and has almost the same body-to-brain ratio as human beings.
Canadian Georgraphic offers more depth (and a map) in a November 16, 2016 article, by Nick Walker, titled, Canada, meet your national bird (Note: Links have been removed),
With 450 species in the country to choose from, Canadian Geographic’s decision was made neither lightly nor quickly.
This national debate has been running since January 2015, in fact. But after weighing the opinions and preferences of tens of thousands of Canadians, as well as the expertise of our National Conservation Partners at Bird Studies Canada and other ornithologists and conservationists, as well as cultural experts and Indigenous Peoples, that list was narrowed to five birds. And one finalist best met all reasonable criteria.
We give you the gray jay. …
Not only has the gray jay never been recorded outside of North America, the vast majority of its range is in Canada, with only a small percentage crossing into Alaska and the western mountains of the United States. The species’ preferred habitat is Canada’s boreal and mountain forests — ecozones that stretch from coast to coast and into the North, blanketing nearly two-thirds of the country.
Like the Canadian flag when it was selected in 1965, the gray jay is fresh and new and fitting. To quote David Bird, ornithologist and professor emeritus of wildlife biology at Montreal’s McGill University, we cannot think of a more Canadian bird.
Three sets of bird stamps were issued by Canada Post from 2016-2018 saluting “Canada’s avian citizens.” Here’s more from a July 12, 2016 Birds of Canada blog post on the Canada Post website announcing the first series of bird stamps,
Hatched by designer Kosta Tsetsekas and illustrator Keith Martin, these stamps are the first in a three-year series celebrating Canada’s avian citizens. Our first flock includes five official birds: the Atlantic puffin (Newfoundland and Labrador), the great horned owl (Alberta), the common raven (Yukon), the rock ptarmigan (Nunavut) and the sharp-tailed grouse (Saskatchewan).
On behalf of the International Ornithologists’ Union, Vancouver is delighted to welcome ornithologists from around the world to the 27th International Ornithological Congress (IOCongress2018)! Considered the oldest and most prestigious of meetings for bird scientists, the Congress occurs every four years since first being held in Vienna, Austria, in 1884.
Canada has hosted only once previously, Ottawa in 1986, and Vancouver will be the first time the Congress has been on the Pacific Coast of the Americas. The Congress has broad national endorsement, including from the City of Vancouver, the province of British Columbia, Environment Canada, Simon Fraser University, Artists for Conservation, Tourism Vancouver plus an array of scientific societies and conservation organizations.
The convention centre’s webpage features an impressive list of events which were open to the public,
Stars of the Bird World Presentation (August 19): Dr. Rob Butler, chair of the Vancouver International Bird Festival, presents Flyways to Culture: How birds give rise to a cultural awakening, at look at how the growing interest in birds in particular and nature in general, is a foundation for a new Nature Culture in which nature becomes embedded into a west coast culture. 8:30-10 a.m. at the Vancouver Convention Centre. Admission by donation ($10 suggested).
Festival Opening Ceremony – Parade of Birds and a fanfare by Vancouver Symphony Brass Quintet (August 20): The festival begins with a Parade of Birds and a fanfare by the Vancouver Symphony Brass Quintet. The fanfare “Gathering Flock” was composed by Frederick Schipizky. 3:20 p.m. to 5:15 p.m. at the Vancouver Convention Centre.
Artists for Conservation Show (August 22): Artists for Conservation is the official visual arts partner for the festival and congress, showcasing some of the world’s best nature art through its annual juried exhibit, a collaborative mural, artist demo and lecture series and an artist booth expo. Official opening 6-10 p.m. at the Vancouver Convention Centre.
Nature & Bird Expo (until August 25): The three-day Bird Expo is the showcase of birds and nature in Canada, including exhibitors, speakers, yoga, poetry, art and more. Runs until Aug. 25 at the Vancouver Convention Centre. Check out a full event listing at www.vanbirdfest.com/calendar/nature-bird-expo.
Migration Songs – Poetry and Ornithology (August 23): Migration Songs brings together 11 contemporary poets to consider an array of bird species. Each poet was put in conversation with a particular ornithologist or scientist to consider their chosen species collaboratively. The poets involved include well-known west-coast authors, amongst them Governor General’s Award and Griffin Poetry Prize winners. A short book of these collaborations, Migration Songs, with cover art by poet, painter, and weaver Annie Ross, will be available. 6 p.m. at the Vancouver Convention Centre.
Unveiling of the Silent Skies Mural (August 23): A signature event of the week-long Artists for Conservation show is the unveiling of the Silent Skies mural made up of illustrations of the endangered birds of the world — 678 pieces, each depicting a different endangered bird, will make up the 100-foot-long installation that will form the artistic centrepiece for the 8th annual Artists for Conservation Festival, the 27th International Ornithological Congress and Vancouver International Bird Festival. The unveiling takes place at 6:30 p.m. at the Vancouver Convention Centre.
Stewardship Roundtable 2018 (August 24): A forum and showcase of innovative practices championed in B.C. province and beyond, presented by the Stewardship Centre for BC and Bird Studies Canada, in collaboration with the 27th International Ornithological Congress and Vancouver International Bird Festival. 8:30 a.m. until 9 p.m. at the Vancouver Convention Centre. For more information or to register, visit stewardshipcentrebc.ca/programs/wildife-species-risk/stewardship-roundtable.
Closing Ceremony (August 26): The closing ceremony will include remarks from officials and First Nations representatives, and a Heron Dance by the New Dance Centre from Saskatchewan. 5-6:30 p.m. at Vancouver Convention Centre.
I attended the opening ceremony where they announced the final set of stamps in the Birds of Canada series by introducing people who’d dressed for the parade as the birds in question.
The Canadian birding community has continued to create interesting new projects for science outreach. A December 19, 2019 posting by Natasha Barlow for Birds Canada (also known as Bird Studies Canada) announces a new interactive story map,
The Boreal Region is a massive expanse of forests, wetlands, and waterways covering much of the Northern Hemisphere. In Canada, this vast region stretches for 5000 kilometres from Newfoundland and Labrador through the country’s central regions and northwest to the Yukon.
Over 300 bird species regularly breed here, from tiny songbirds like kinglets and warblers to comparatively giant swans and cranes. The Boreal is home to literally billions of birds, and serves as the continent’s bird “nursery” since it is such an important breeding ground.
While extensive tracts of Canada’s northern Boreal still remain largely undisturbed from major industrial development, the human footprint is expanding and much of the southern Boreal is already being exploited for its resources.
Birds Canada, in partnership with the Nature Conservancy of Canada, has created an interactive story map that details the importance of the Boreal region for birds.
Climate change, ecology, and Indigenous knowledge (science)
There is more focus on climate change everywhere in the world and much of the latest energy and focus internationally can be traced to Swedish teenager, Greta Thunberg who turned 17 in January 2020. Her influence has galvanized a number of youth climate strikes in Canada and around the world.
There is a category of science fiction or speculative fiction known as Climate Fiction (cli-fi or clifi). Margaret Atwood (of course) has produced a trilogy in that subgenre of speculative fiction, from the Climate Fiction Wikipedia entry, Note: Links have been removed,
Margaret Atwood explored the subject in her dystopian trilogy Oryx and Crake (2003), The Year of the Flood (2009) and MaddAddam (2013). In Oryx and Crake Atwood presents a world where “social inequality, genetic technology and catastrophic climate change, has finally culminated in some apocalyptic event”. The novel’s protagonist, Jimmy, lives in a “world split between corporate compounds”, gated communities that have grown into city-states and pleeblands, which are “unsafe, populous and polluted” urban areas where the working classes live.
There is some other cli-fi literature by Canadians, notably an anthology of Canadian short stories edited by Bruce Meyer, from a March 9, 2018 review by Emilie Moorhouse published in Canada’s National Observer (review originally published in Prism magazine on March 8, 2018), Note: A link has been removed,
A woman waits in line to get her water ration. She hasn’t had a sip of water in nearly three days. Her mouth is parched; she stumbles as she waits her turn for over an hour in the hot sun. When she he finally gets to the iTap and inserts her card into the machine that controls the water flow, the light turns red and her card is rejected. Her water credits have run out.
This scenario from “The Way of Water” by Nina Munteanu is one of many contained in the recently published anthology of short stories, Cli-Fi: Canadian Tales of Climate Change. The seventeen stories in this book edited by Bruce Meyer examine how humankind might struggle with the potential devastation of climate change in the near or distant future. Soon after I finished reading the book, Cape Town—known in precolonial times as “the place where clouds gather”—announced that it was only a few months away from what it called “Day Zero,” the day the city would officially run out of water, making the similarities between fiction and reality more than unsettling. Munteanu’s story is set in a futuristic Canada that has been mined of all its water by thirsty corporations who have taken over control of the resource. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation preventing rain clouds from going anywhere north of the Canada-US border.
Indigenous knowledge (science)
The majority of Canada’s coastline is in the Arctic and climate change in that region is progressing at a disturbing pace. Weather, Climate Change, and Inuit Communities in the Western Canadian Arctic, a September 30, 2017 blog posting, by Dr. Laura Eerkes-Medrano at the University of Victoria (British Columbia) for Historical Climatology describes it this way (Note: A link has been removed),
Global climate change brings with it local weather that communities and cultures have difficulty anticipating. Unpredictable and socially impactful weather is having negative effects on the subsistence, cultural activities, and safety of indigenous peoples in Arctic communities. Since 2013, Professor David Atkinson and his team at the University of Victoria have been working with Inuvialuit communities in Tuktoyaktuk, Ulukhaktok, and Sachs Harbour. The main goal is to understand how impactful weather is affecting residents’ subsistence activities, particularly when they are on the water. The project involves site visits, interviews, and regular phone calls with residents.
Inuvialuit residents regularly observe the waves, winds, snow, and ice conditions that interfere with their hunting, fishing, camping, and other subsistence and cultural activities. In this project, communities identify specific weather events that impact their activities. These events are then linked to the broader atmospheric patterns that cause them. Summaries of the events will be provided to Environment Canada to hopefully assist with the forecasting process.
By taking this approach, the project links Western scientific knowledge and traditional knowledge to generate insights [emphasis mine] into how climate change is affecting Inuvialuit activities in the Canadian Arctic. An oversight committee has been established in each community to give direction to the project. This oversight committee includes representatives from each of the main community organizations, which ensures that the respective organizations provide direction to the project and advise on how to engage residents and communities.
Western science learning from and taking from traditional knowledge is not new. For example, many modern medicines are still derived from traditional remedies. Unfortunately, traditional practitioners have not benefited from sharing their knowledge.
It is to be hoped things are changing with projects like Atkinson’s and another one I mentioned in a December 2, 2019 posting featuring a discovery about ochre (a red dye used for rock art). The dye being examined was produced (in a manner that appears to be unique) in the Babine Lake region of British Columbia and the research may have applications for industrial use leading to economic benefits for the indigenous folks of that region. As important as the benefits, the science team worked closely with the indigenous communities in that area.
Canada will finally have its first Arctic university.
This past week [of December 1, 2019], the Yukon legislature passed a bill to make Yukon College a university. It will be an institution with an Indigenous flavour that will make it as unique as the region it is to serve.
“Everybody knows we’re moving toward something big and something special,” said Tom Ullyett, chairman of the board of governors.
The idea of a northern university has been kicked around since at least 2007 when a survey in all three territories found residents wanted more influence over Arctic research. Northern First Nations have been asking for one for 50 years.
Research is to centre on issues around environmental conservation and sustainable resource development. It will be conducted in a new, $26-million science building funded by Ottawa and currently being designed.
Indigenous content will be baked in.
“It’s about teaching with northern examples,” said Tosh Southwick, in charge of Indigenous engagement. “Every program will have a northern component.”
Science programs will have traditional knowledge embedded in them and talk about ravens and moose instead of, say, flamingos and giraffes. Anthropology classes will teach creation stories alongside archeological evidence.
The institution will report to Yukon’s 14 First Nations as well as to the territorial legislature. More than one-quarter of its current students are Indigenous.
“Our vision is to be that first northern university that focuses on Indigenous governance, that focuses on sustainable natural resources, that focuses on northern climate, and everything that flows from that.”
Climate adaptation and/or choices
While we have participated in a number of initiatives and projects concerned with climate change, I believe there is general agreement we should have done more. That said I would prefer to remain hopeful.
A newly launched institute for climate policy research will have a Yukon connection. Brian Horton, Manager of Northern Climate ExChange at the Yukon Research Centre, has been named to the Canadian Institute for Climate Choices expert advisory panel for Climate Adaptation.
The Institute, launched Tuesday morning, aims to bring clarity to Canada’s climate policy choices. The Institute’s initial report, Charting our Course, describes the current climate landscape in Canada and provides recommendations for policy makers and governments seeking to implement more effective policy.
In order to remain grounded in issues of importance to Canadians, the Institute has appointed three Expert Advisory Panels (Adaptation, Mitigation and Clean Growth) to provide evidence-based research, analysis and engagement advice to support integrative policy decisions.
“It is exciting to have a role to play in this dynamic new network,” said Horton. “The climate is rapidly changing in the North and affecting our landscapes and lives daily. I look forward to contributing a Northern voice to this impactful pan-Canadian expert collaboration.”
At Yukon College, Horton’s research team focusses on applied research of climate impacts and adaptation in Yukon and Northwest Territories. Northern Climate ExChange works with communities, governments, and the private sector to answer questions about permafrost, hydrology, and social factors to facilitate adaptation to climate change.
January 21, 2020 | OTTAWA — Dozens of academics and policy experts today launched the Canadian Institute for Climate Choices, a new independent national research body. The Institute aims to bring clarity to the transformative challenges, opportunities and choices ahead for Canada as governments at all levels work to address climate change.
Experimental Lakes Area
This is a very special research effort originally funded and managed by the Canadian federal government. Rather controversially, Stephen Harper’s Conservative government defunded the research but that may not have been the tragedy many believed (from the Experimental Lakes Area Wikipedia entry),
IISD Experimental Lakes Area (IISD-ELA, known as ELA before 2014) is an internationally unique research station encompassing 58 formerly pristine freshwater lakes in Kenora District Ontario, Canada. Previously run by Fisheries and Oceans Canada, after being de-funded by the Canadian Federal Government, the facility is now managed and operated by the International Institute for Sustainable Development (IISD) and has a mandate to investigate the aquatic effects of a wide variety of stresses on lakes and their catchments. IISD-ELA uses the whole ecosystem approach and makes long-term, whole-lake investigations of freshwater focusing on eutrophication.
In an article published in AAAS’s well-known scientific journal Science, Eric Stokstad described ELA’s “extreme science” as the manipulation of whole lake ecosystem with ELA researchers collecting long-term records for climatology, hydrology, and limnology that address key issues in water management. The site has influenced public policy in water management in Canada, the USA, and around the world.
Minister of State for Science and Technology, Gary Goodyear, argued that “our government has been working hard to ensure that the Experimental Lakes Area facility is transferred to a non-governmental operator better suited to conducting the type of world-class research that can be undertaken at this facility” and that “[t]he federal government has been leading negotiations in order to secure an operator with an international track record.” On April 1, 2014, the International Institute for Sustainable Development announced that it had signed three agreements to ensure that it will be the long-term operator of the research facility and that the facility would henceforth be called IISD Experimental Lakes Area. Since taking over the facility, IISD has expanded the function of the site to include educational and outreach opportunities and a broader research portfolio.
Part 5 is to a large extent a grab bag for everything I didn’t fit into parts 1 -4. As for what you can expect to find in Part 5: some science podcasting, eco art, a Saskatchewan lab with an artist-in-residence, and more.
Part 1 covered some of the more formal aspects science culture in Canada, such as science communication education programmes, mainstream media, children’s science magazines, music, etc. Part 2 covered science festivals, art/sci or sciart (depending on who’s talking, informal science get togethers such ‘Cafe Sccientifque’, etc.
This became a much bigger enterprise than I anticipated and so part 3 is stuffed with the do-it-yourself (DIY) biology movement in Canada, individual art/sci or lit/sci projects, a look at what the mathematicians have done and are doing, etc. But first there’s the comedy.
Comedy, humour, and science
Weirdly, Canadians like to mix their science fiction (scifi) movies with humour. (I will touch on more scifi later in this post but it’s too big a topic to cover inadequately, let alone adequately, in this review.) I post as my evidence of the popularity of comedy science fiction films, this from the Category: Canadian science fiction films Wikipedia webpage,
As you see, comedy science fiction is the second most populated category. Also, the Wikipedia time frame is much broader than mine but I did check one Canadian science fiction comedy film, Bang Bang Baby, a 2014 film, which, as it turns out, is also a musical.
Daniel Chai is a Vancouver-based writer, comedian, actor and podcaster. He is co-host of The Fear of Science podcast, which combines his love of learning with his love of being on a microphone. Daniel is also co-founder of The Fictionals Comedy Co and the creator of Improv Against Humanity, and teaches improv at Kwantlen Polytechnic University. He is very excited to be part of Vancouver Podcast Festival, and thanks everyone for listening!
Jeff is the producer and co-host of The Fear of Science. By day, he is a graphic designer/digital developer [according to his LinkedIn profile, he works at Science World], and by night he is a cosplayer, board gamer and full-time geek. Jeff is passionate about all things science, and has been working in science communication for over 4 years. He brings a general science knowledge point of view to The Fear of Science.
Here’s more about The Fear of Science from its homepage (where you will also find links to their podcasts),
A podcast that brings together experts and comedians for an unfiltered discussion about complicated and sometimes controversial science fears in a fun and respectful way.
This podcast seems to have taken life in August 2018.(Well, that’s as far back as the Archived episodes stretch on the website.)
This is Vancolour is a podcast hosted by Mo Amir and you will find this description on the website,
THIS IS A PODCAST ABOUT VANCOUVER AND THE PEOPLE WHO MAKE THIS CITY COLOURFUL
Cartoonist, writer, and educator, Raymond Nakamura produces work for Telus Science World and the Science Borealis science aggregator. His website is known as Raymond’s Brain features this image,
Much has been happening on this front. First for anyone unfamiliar with do-it-yourself biology, here’s more from its Wikipedia entry,
Do-it-yourself biology (DIY biology, DIY bio) is a growing biotechnological social movement in which individuals, communities, and small organizations study biology and life science using the same methods as traditional research institutions. DIY biology is primarily undertaken by individuals with extensive research training from academia or corporations, who then mentor and oversee other DIY biologists with little or no formal training. This may be done as a hobby, as a not-for-profit endeavour for community learning and open-science innovation, or for profit, to start a business.
A January 21, 2020 posting here listed the second Canadian DIY Biology Summit organized by the Public Health Agency of Canada (PHAC). It was possible to attend virtually from any part of Canada. The first meeting was in 2016 (you can see the agenda here). You’ll see in the agenda for the 2nd meeting in 2020 that there have been a few changes as groups rise into and fall out of existence.
From the 2020 agenda, here’s a list representing the players in Canada’s DIYbio scene,
Most of these organizations (e.g., Victoria Makerspace, Synbiota, Bricobio, etc.) seem to be relatively new (founded in 2009 or later) which is quite exciting to think about. This March 13, 2016 article in the Vancouver Observer gives you a pretty good overview of the DIY biology scene in Canada at the time while providing a preview of the then upcoming first DIY Biology summit.
*The Open Science Network in Vancouver was formerly known as DIYbio YVR. I’m not sure when the name change occurred but this July 17, 2018 article by Emily Ng for The Ubyssey (a University of British Columbia student newspaper) gives a little history,
In 2009, a group of UBC students and staff recognized these barriers and teamed up to democratize science, increase its accessibility and create an interdisciplinary platform for idea exchange. They created the Open Science Network (OSN).
The Open Science Network is a non-profit society that serves the science and maker community through education, outreach and the provision of space. Currently, they run an open community lab out of the MakerLabs space on East Cordova and Main street, which is a compact space housing microscopes, a freezer, basic lab equipment and an impressive amount of activity.
The lab is home to a community of citizen scientists, professional scientists, artists, designers and makers of all ages who are pursuing their own science projects.
Members who are interested in lab work can receive some training in “basic microbiology techniques like pipetting, growing bacteria, using the Polymerase Chain Reaction machine (PCR) [to amplify DNA] and running gels [through a gel ectrophoresis machine to separate DNA fragments by size] from Scott Pownall, a PhD graduate from UBC and the resident microbiologist,” said Wong [ Wes Wong, a staff member of UBC Botany and a founding member of OSN].
The group has also made further efforts to serve their members by offering more advanced synthetic biology classes and workshops at their lab.
There is another organization called ‘Open Science Network’ (an ethnobiology group and not part of the Vancouver organization). Here is a link to the Vancouver-based Open Science Network (a community science lab) where they provide further links to all their activities including a regular ‘meetup’.
I have poetry, a book, a television adaptation, three plays with mathematics and/or physics themes and more.
In 2012 there was a night of poetry readings in Vancouver. What made it special was that five poets had collaborated with five scientists (later amended to four scientists and a landscape architect) according to my December 4, 2012 posting. The whole thing was conceptualized and organized by Aileen Penner who went on to produce a chapbook of the poetry. She doesn’t have any copies available currently but you can contact her on her website’s art/science page if you are interested in obtaining a copy. She doesn’t seem to have organized any art/science projects since. For more about Aileen Penner who is a writer and poet, go to her website here.
The Banff International Research Station (BIRS) it’s all about the mathematics) hosted a workshop for poets and mathematicians way back in 2011. I featured it (Mathematics: Muse, Maker, and Measure of the Arts) after the fact in my January 9, 2012 posting (scroll down about 30% of the way). If you have the time, do click on my link to Nassif Ghoussoub’s post on his blog (Piece of Mind) about mathematicians, poetry, and the arts. It’s especially interesting in retrospect as he is now the executive director for BIRS, which no longer seems to have workshops that meld any of the arts with mathematics, and science.
That sadly seems to be it for poetry and the sciences, including mathematics. If you know of any other poetry/science projects or readings, etc. in Canada during the 2010-9 decade, please let me know in the comments.
Karl Schroeder, a Canadian science fiction author, has written many books but of particular interest here are two futuristic novels for the Canadian military.The 2005 novel, Crisis in Zefra, doesn’t fit the time frame I’ve established for this review but the the 2014 novel, Crisis in Urla (scroll down) fits in nicely. His writing is considered ‘realistic’ science fiction in that it’s based on science research and his work is also associated with speculative realism (from his Wikipedia entry; Note: Links have been removed),
Karl Schroeder (born September 4, 1962) is a Canadianscience fiction author. His novels present far-future speculations on topics such as nanotechnology, terraforming, augmented reality, and interstellar travel, and are deeply philosophical.
The other author I’m mentioning here is Margaret Atwood. The television adaptation of her book, ‘The Handmaid’s Tale’ has turned a Canadian literary superstar into a supernova (an exploding star whose luminosity can be the equivalent of an entire galaxy). In 2019, she won the Booker Prize, for the second time for ‘The Testaments’ (a followup to ‘The Handmaid’s Tale’), sharing it with Bernardine Evaristo and her book ‘Girl, Woman, Other’. Atwood has described her work (The Handmaid’s Tale, and others) as speculative fiction rather than science fiction. For me, she bases her speculation on the social sciences and humanities, specifically history (read her Wikipedia entry for more).
In 2017 with the television adaptation of ‘The Handmaid’s Tale’, Atwood’s speculative fiction novel became a pop culture phenomenon. Originally published in 1985, the novel was also adapted for a film in 1990 and for an opera in 2000 before it came to television, according to its Wikipedia entry.
There’s a lot more out there, Schroeder and Atwood are just two I’ve stumbled across.
I have drama, musical comedy and acting items.
Pi Theatre’s (Vancouver) mathematically-inclined show, ‘Long Division‘, ran in April 2017 and was mentioned in my April 20, 2017 posting (scroll down about 50% of the way).
This theatrical performance of concepts in mathematics runs from April 26 – 30, 2017 (check here for the times as they vary) at the Annex at 823 Seymour St. From the Georgia Straight’s April 12, 2017 Arts notice,
“Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount” of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movement-driven piece that has a strong cast. … “
You can read more about the production here. As far as I’m aware, there are no upcoming show dates.
There seems to be some sort of affinity between theatre and mathematics, I recently featured (January 3, 2020 posting) a theatrical piece by Hannah Moscovitch titled, ‘Infinity‘, about time, physics, math and more. It had its first production in Toronto in 2015.
John Mighton, a playwright and mathematician, wrote ‘The Little Years’ which has been produced in both Vancouver and Toronto. From a May 9, 2005 article by Kathleen Oliver for the Georgia Straight,
The Little Years is a little jewel of a play: small but multifaceted, and beautifully crafted.
John Mighton’s script gives us glimpses into different stages in the life of Kate, a woman whose early promise as a mathematician is cut short. At age 13, she’s a gifted student whose natural abilities are overlooked by 1950s society, which has difficulty conceiving of women as scientists. Instead, she’s sent to vocational school while her older brother, William, grows up to become one of the most widely praised poets of his generation.
John Mighton is a successful playwright and mathematician, yet at times in his life, he’s struggled with doubt. However, he also learned there was hope, and that’s the genesis of The Little Years, which opens at the Tarragon Theatre on Nov. 16 and runs to Dec. 16 .
In keeping (more or less) with this subsection’s theme ‘The Word’, Mighton has recently had a new book published, ‘All Things Being Equal: Why Math is the Key to a Better World’, according to a January 24, 2020 article (online version) by Jamie Portman for Postmedia,
It’s more than two decades since Canadian mathematician and playwright John Mighton found himself playing a small role in the film, Good Will Hunting. What he didn’t expect when he took on the job was that he would end up making a vital contribution to a screenplay that would go on to win an Oscar for its writers, Ben Affleck and Matt Damon.
What happened on that occasion tells you a great deal about Mighton’s commitment to the belief that society grossly underestimates the intellectual capacity of human beings — a belief reiterated with quiet eloquence in his latest book, All Things Being Equal.
Mighton loved the experience but as shooting continued he became troubled over his involvement in a movie that played “heavily on the idea that geniuses like Will are born and not made.” This was anathema to his own beliefs as a mathematician and he finally summoned up the courage to ask Affleck and Damon if he could write a few extra lines for his character. This speech was the result: “Most people never get the chance to see how brilliant they can be. They don’t find teachers who believe in them. They get convinced they’re stupid.”
At a time of growing controversy across Canada over the teaching of mathematics in school and continuing evidence of diminishing student results, Mighton continues to feel gratitude to the makers of Good Will Hunting for heeding his concerns. [I will be writing a post about the latest PISA scores where Canadian students have again slipped in their mathematics scores.]
Mighton is on the phone from from Toronto, his voice soft-spoken but still edged with fervour. He pursues two successful careers — as an award-winning Canadian playwright and as a renowned mathematician and philosopher who has devoted a lifetime to developing strategies that foster the intellectual potential of all children through learning math. But even as he talks about his 2001 founding of JUMP Math, a respected charity that offers a radical alternative to conventional teaching of the subject, he’s anxious to remind you that he’s a guy who almost failed calculus at university and who once struggled to overcome his “own massive math anxiety.”
You can find out more about John Mighton in his Wikipedia entry (mostly about his academic accomplishments) and on the JUMP Math website (better overall biography).
It’s called ‘Math Out Loud’ and was first mentioned here in a January 9, 2012 posting (the same post also featured the BIRS poetry workshop),
“When Mackenzie Gray talks about the way Paul McCartney used a recursive sequence to make the song “I Want You (She’s So Heavy)” seem to last forever, you realize that part of the Beatles’ phenomenal success might have sprung from McCartney’s genius as a mathematician.
When Roger Kemp draws on a napkin to illustrate that you just have to change the way you think about numbers to come up with a binary code for pi (as in 3.14 ad infinitum), you get a sense that math can actually be a lot of fun.”
Produced by MITACS which in 2012 was known as ‘Mathematics of Information Technology and Complex Systems’, a not-for-profit research organization, the musical went on tour in the Fall of 2012 (according to my September 7, 2012 posting). Unusually, I did not embed the promotional trailer for this 2012 musical so, here it is now,
Since 2012, Mitacs has gone through some sort of rebranding process and it’s now described as a nonprofit national research organization. For more you can read its Wikipedia entry or go to its website.
Acting and storytelling
It turns out there was an acting class (five sessions) for scientists at the University of Calgary in 2017. Here’s more from the course’s information sheet,
Act Your Science: Improve Your Communication Skills with Training in Improvisation 2 hours a session, 5 sessions, every Wednesday starting November 14  …
Dr. Jeff Dunn, Faculty of Graduate Studies, Graduate Students Association, the Canadian Science Writers Association [also known as Science Writers and Communicators of Canada] and the Loose Moose Theatre have teamed together to provide training in a skill which will be useful where ever your career takes you.
The goal of this project is to improve the science communication skills of graduate students in science fields. We will improve your communication through the art of training in improvisation. Training will help with speech and body awareness. Improvisation will provide life‐long skills in communication, in a fun interactive environment.
For many years, Alan Alda, a well-known actor (originally of the “MASH” television series fame), has applied his acting skills and improvisation training to help scientists improve their communication. He developed the Alan Alda Centre for Communicating Science at Stony Brook University.
The training will involve five 2hr improvisation workshop sessions led by one of Canada’s top professional improvisation trainers, Dennis Cahill, the Artistic Director from Loose Moose Theatre. Dennis has an international reputation for developing the theatrical style of improvisation. Training involves a lot of moving around (and possibly rolling on the floor!) so dress casually. Be prepared to release your inhibitions!
The information sheet includes a link to this University of Chicago video (posted on Youtube February 24, 2014) of actor Alan Alda discussing science communication,
Victoria Bouvier, a Michif-Metis woman, is of the Red River Settlement and Boggy Creek, Manitoba, and born and raised in Calgary. She is an Assistant professor in Indigenous Studies at Mount Royal University and a doctoral candidate in Educational Research [emphasis mine] at the University of Calgary. Her research is exploring how Michif/Métis people, born and raised in urban environments, practice and express their self-understandings, both individually and collectively through using an Indigenous oral system and visual media as methodology.
In a technology-laden society, people are capturing millions of photographs and videos that document their lived experiences, followed by uploading them to social media sites. As mass amounts of media is being shared each day, the question becomes: are we utilizing photos and videos to derive meaning from our everyday lived experiences, while settling in to a deeper sense of our self-in-relation?
This session will explore how photos and videos, positioned within an Indigenous oral system, are viewed and interacted with as a third perspective in the role of storytelling.
Finally, h/t to Jennifer Bon Bernard’s April 19, 2017 article (reposted Dec. 11, 2019) about Act Your Science for the Science Writers and Communicators blog. The original date doesn’t look right to me but perhaps she participated in a pilot project.
Neuroscience, science policy, and science advice
The end of this part is almost in sight
Knitting in Toronto and drawings in Vancouver (neuroscience)
In 2017, Toronto hosted a neuroscience event which combined storytelling and knitting (from my October 12, 2017 posting (Note: the portion below is an excerpt from an ArtSci Salon announcement),
With NARRATING NEUROSCIENCE we plan to initiate a discussion on the role and the use of storytelling and art (both in verbal and visual forms) to communicate abstract and complex concepts in neuroscience to very different audiences, ranging from fellow scientists, clinicians and patients, to social scientists and the general public. We invited four guests to share their research through case studies and experiences stemming directly from their research or from other practices they have adopted and incorporated into their research, where storytelling and the arts have played a crucial role not only in communicating cutting edge research in neuroscience, but also in developing and advancing it.
The ArtSci Salon folks also announced this (from the Sept. 25, 2017 ArtSci Salon announcement; received via email),
ATTENTION ARTSCI SALONISTAS AND FANS OF ART AND SCIENCE!! CALL FOR KNITTING AND CROCHET LOVERS!
In addition to being a PhD student at the University of Toronto, Tahani Baakdhah is a prolific knitter and crocheter and has been the motor behind two successful Knit-a-Neuron Toronto initiatives. We invite all Knitters and Crocheters among our ArtSci Salonistas to pick a pattern (link below) and knit a neuron (or 2! Or as many as you want!!)
BRING THEM TO OUR OCTOBER 20 ARTSCI SALON! Come to the ArtSci Salon and knit there!
That link to the patterns is still working.
Called “The Beautiful Brain” and held in the same time frame as Toronto’s neuro event, Vancouver hosted an exhibition of Santiago Ramon y Cajal’s drawings from September 5 to December 3, 2017. In concert with the exhibition, the local ‘neuro’ community held a number of outreach events. Here’s what I had in my September 11, 2017 posting where I quoted from the promotional material for the exhibition,
The Beautiful Brain is the first North American museum exhibition to present the extraordinary drawings of Santiago Ramón y Cajal (1852–1934), a Spanish pathologist, histologist and neuroscientist renowned for his discovery of neuron cells and their structure, for which he was awarded the Nobel Prize in Physiology and Medicine in 1906. Known as the father of modern neuroscience, Cajal was also an exceptional artist. He combined scientific and artistic skills to produce arresting drawings with extraordinary scientific and aesthetic qualities.
A century after their completion, Cajal’s drawings are still used in contemporary medical publications to illustrate important neuroscience principles, and continue to fascinate artists and visual art audiences. …
Pictured: Santiago Ramón y Cajal, injured Purkinje neurons, 1914, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).
From Vancouver, the exhibition traveled to a gallery in New York City and then onto the Massachusetts Institute of Technology (MIT).
Mehrdad Hariri has done a an extraordinary job as its founder and chief executive officer. The CSPC has developed from a single annual conference to an organization that hosts different events throughout the year and publishes articles and opinion pieces on Canadian science policy and has been instrumental in the development of a Canadian science policy community.
The magnitude of Hariri’s accomplishment becomes clear when reading J.w. Grove’s [sic] article, Science Policy, in The Canadian Encyclopedia and seeing that the most recent reports on a national science policy seem to be the Science Council’s (now defunct) 4th report in 1968, Towards a National Science Policy in Canada, the OECD’s (Organization for Economic Cooperation and Development) 1969 Review of [Canada’s] Science Policy, and 3 reports from the Senate’s Lamontagne Committee (Special Committee on Science Policy). Grove’s article takes us only to 1988 but I have been unable to find any more recent reports focused on a national science policy for Canada. (If you have any information about a more recent report, please do let me know in the comments.)
A November 5, 2019 piece (#VoteScience: lessons learned and building science advocacy beyond the election cycle) on the CSPC website further illustrates how the Canadian science policy community has gained ground (Note: Links have been removed),
… on August 8, 2019, a coalition of Canadian science organizations and student groups came together to launch the #VoteScience campaign: a national, non-partisan effort to advocate for science in the federal elections, and make science an election issue.
Specifically, we — aka Evidence for Democracy, Science & Policy Exchange (SPE), and the Toronto Science Policy Network (TSPN) [emphases mine] — built a collection of tools and resources to empower Canadian scientists and science supporters to engage with their local candidates on science issues and the importance of evidence-informed decision-making. Our goal was to make it easy for as many Canadians as possible to engage with their candidates — and they did.
Over the past three months, our #VoteScience portal received over 3,600 visitors, including 600 visitors who used our email form to reach out directly to their local candidates. Collectively, we took #VoteScience selfies, distributed postcards to supporters across Canada, and even wrote postcards to every sitting Member of Parliament (in addition to candidates from all parties in each of our own ridings). Also of note, we distributed a science policy questionnaire to the federal parties, to help better inform Canadians about where the federal parties stand on relevant science issues, and received responses from all but one party. We’ve also advocated for science through various media outlets, including commenting for articles appearing in The Narwhal and Nature News, and penning op-eds for outlets such as the National Observer, University Affairs, Le Devoir, and Découvrir.
Prior to SPIN, the Council of Canadian Academies (CCA; more about them in part 4), issued a 2017 report titled, Science Policy: Considerations for Subnational Governments. The report was the outcome of a 2016 CCA workshop originally titled, Towards a Science Policy in Alberta. I gather the scope broadened.
Interesting trajectory, yes?
Chief Science advisors/scientists
In September 2017, the Canadian federal government announced that a Chief Science Advisor, Dr. Mona Nemer, had been appointed. I have more about the position and Dr. Nemer in my September 26, 2017 posting. (Prior to Dr. Nemer’s appointment a previous government had discontinued a National Science Advisor position that existed from 2004 to 2008.)
The Office of the Chief Science Advisor released it first annual report in 2019 and was covered here in a March 19, 2019 posting.
Québec is the only province (as far as I know) to have a Chief Scientist, Rémi Quirion who was appointed in 2011.
Onto Part 4 where you’ll find we’ve gone to the birds and more.
*The Canadian Science Policy Centre (CSPC) section was written sometime in February 2020. I believe they are planning to publish an editorial piece I submitted to them on April 20, 202 (in other words, before this post was published) in response to their call for submissions (see my April 1, 2020 post for details about the call). In short, I did not praise the organization with any intention of having my work published by them. (sigh) Awkward timing.
As noted in part 1, I’ve taken a very broad approach to this survey of science culture in Canada over the last 10 years. It isn’t exhaustive but part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance. Now it’s time for part 2 and the visual arts, festivals, science slams, and more..
Art/Sci or Art/Science or SciArt—take your pick
In 2005 my heart was broken. I had to give up on an event I’d conceived and tried to organize for five years, ‘Twisted: an art/science entrée’. Inspired by an art/science organization in New York, it just wasn’t the right timing for Vancouver or, it seems, for Canada, if the failure of an art/science funding collaboration between the Canada Council and the Natural Sciences and Engineering Council of Canada (NSERC) during roughly during that time period could be considered as another indicator.
The situation has changed considerably during this last decade (or so it seems). There are more performing and visual artists using scientific ideas and principles as inspiration for their work or they’re collaborating outright with scientists, or scientists are expressing themselves through artistic endeavours. Of course, of consequences of all this activity is a naming issue. (Isn’t there always?) I’m not taking sides all i want is clarity.
Part 1 featured more of the ‘inspirational’ art/science efforts. Here you’ll find the more ‘science’ inflected efforts.
ArtSci Salon located at the University of Toronto was founded in 2010 according to its About webpage,
This website documents the activity of the ArtSci Salon, a group of artists, scientists and art-sci-tech enthusiasts meeting once a month to engage in critical discussions on topics at the intersection between the arts and science.
Started in 2010 as a spin-off of the Subtle Technologies Festival, ArtSciSalon responds to the recent expansion in the GTA [Greater Toronto Area] of a community of scientists and artists increasingly seeking collaborations across disciplines to successfully accomplish their research projects and inquiries.
Based on the demographic, the requisites, and the interests of our members, the goal of ArtSci Salon is:
To provide outreach opportunities for local and international innovative research projects in the Sciences and in the Arts;
To foster critical dialogue on topics and concerns shared by the sciences and the arts;
To facilitate new forms of collaboration across fields.
Our guests deliver short presentations, demonstrations or performances on a series of shared topic of interest to artists and scientists.
Many, many ArtSci Salon events have been listed here. I mention it because the ArtSci Salon website doesn’t have a complete listing for its previous events. While I can’t guarantee completeness, you can perform an ‘ArtSci Salon’ search on the blog search engine and it should get you enough to satisfy your curiosity.
Curiosity Collider‘s first event seems to have been in April 2015 (as noted in my July 7, 2015 posting). i wonder what they’ll do to celebrate their fifth anniversary? Anyway, they describe themselves this way (from the Mandate webpage),
Curiosity Collider Art-Science Foundation is a Vancouver based non-profit organization that is committed to providing opportunities for artists whose work expresses scientific concepts and scientists who collaborate with artists. We challenge the perception and experience of science in our culture, break down the walls between art and science, and engage our growing community to bringing life to the concepts that describe our world.
You can find Curiosity Collider here. I see they don’t have anything scheduled yet for 2020 but they had a very active Fall 2019 season and I expect they needed a breather and now there’s ‘flattening the COVID-19 curve’.
Once Curiosity Collider gets started again, you’ll find they put on different kinds of events, usually evening get togethers featuring various artists and scientists in a relaxed environment or joint events with other groups such Nerd Nite, Science Slam, and others. In 2019, Curiosity Collider hosted its first festival. You’ll find more about that in the Festivals subsection further down in this posting.
ArtSci at Cape Breton University (Nova Scotia) seems to have existed from March 2017 to November 2018. At. least, that’s the period its Twitter feed was active.
… Art the Science facilitates cross-disciplinary relationships between artists and scientists with a goal of fostering Canadian science-art culture. In doing so, we aim to advance scientific knowledge communication to benefit the public, while providing opportunities for artists to exhibit their work in unconventional and technologically innovative ways. By nurturing the expression of creativity, be it in a test-tube or with the stroke of a brush, Art the Science has become one of the most beloved and popular online SciArt (science + art) communities in the world. Since 2015, it has developed numerous digital SciArt exhibitions, and has highlighted the work of both pioneering and upcoming SciArt artists internationally. The organization also promotes the role of SciArt by conducting various outreach initiatives, including delivering lectures and keynote presentations designed to foster public engagement and a deeper appreciation of science and art.
Volunteer Run: Since 2015, Art the Science has been operating with the hard work and dedication of volunteer hours from our board and supporters. We have been busy generating evidence to show the impact and reach of our initiatives. We believe this evidence will help us secure financial support as we move forward.
Their site features information about artist residencies in research laboratories, online exhibitions, and a blog focused on the artists and scientists who create.
National events, festivals, and conferences
These days it’s called Science Odyssey and takes place in May of each year. I first came across the then named National Science and Technology Week in 1993. The rebranding occurred in 2016 after the Liberals swept into victory in October 2015 federal election.
In 2020, Science Odyssey (as noted previously, prior to 2016 this was known as National Science and Technology Week and was held in October each year) it was slated to take place from May 2 to May 17. In most years, it functions as a kind of promotional hub for science events independently organized across the country. The focus is largely on children as you can see in the 2019 promotional video,
Cancelled for 2020, its events have ranged from an open house at a maker lab to lectures at universities to festivals such as Pint of Science and Science Rendezvous that occur during Science Odyssey. (I profiled Science Odyssey, Pint of Science, Science Rendezvous and more in my May 1, 2019 posting.)
Pint of Science
Beer and science is a winning combination as they know in the UK where Pint of Science was pioneered in 2012. Pint of Science Canada was started in 2016 and is scheduled for May 11 – 13, 2020,
Pint of Science Canada invites scientists to your favorite local bars to discuss their latest research and discoveries over a drink or two. This is the perfect opportunity to meet scientists and ask questions. You have no excuse not to come and share a drink with us!
Démystifier la recherche scientifique et la faire découvrir au grand public dans un cadre détendu, avec une bière à la main c’est possible. Parce que oui, la science peut être le fun!
There isn’t a cancellation notice on the website as of April 15, 2020 but I suspect that may change.
Billing itself as a free national kick-off festival for Science Odyssey and the country’s largest celebration of science and engineering, it was founded in 2008 and was confined to Toronto in that first year. In 2019, they promoted over 300 events across the country.
This year, Science Rendezvous is scheduled for May 9, 2020. Please check as it is likely cancelled for 2020.
Science Literacy Week
This week first crossed my radar in 2015 and because I love this passage, here’s an excerpt from my Sept 18, 2015 posting where it’s first mentioned,
Just as Beakerhead ends, Canada’s 2015 Science Literacy Week opens Sept. 21 – 27, 2015. Here’s more about the week from a Sept. 18, 2015 article by Natalie Samson for University Affairs,
On Nov. 12 last year , the European Space Agency landed a robot on a comet. It was a remarkable moment in the history of space exploration and scientific inquiry. The feat amounted to “trying to throw a dart and hit a fly 10 miles away,” said Jesse Hildebrand, a science educator and communicator. “The math and the physics behind that is mindboggling.”
Imagine Mr. Hildebrand’s disappointment then, as national news programs that night spent about half as much time reporting on the comet landing as they did covering Barack Obama’s gum-chewing faux pas in China. For Mr. Hildebrand, the incident perfectly illustrates why he founded Science Literacy Week, a Canada-wide public education campaign celebrating all things scientific.
From Sept. 21 to 27 , several universities, libraries and museums will highlight the value of science in our contemporary world by hosting events and exhibits on topics ranging from the lifecycle of a honeybee to the science behind Hollywood films like Jurassic World and Contact.
Mr. Hildebrand began developing the campaign last year, shortly after graduating from the University of Toronto with a bachelor’s degree in ecology and evolutionary biology. He approached the U of T Libraries for support and “it really snowballed from there,” the 23-year-old said.
In 2020, Science Literacy Week will run from September 21 – 27. (I hope they are able to go forward with this year’s event.) Here’s how the ‘Week’ has developed since 2015, from its About webpage,
The latest edition of Science Literacy Week came to include over 650 events put on by more than 300 partners in over 250 cities across Canada. From public talks to explosive chemistry demos, stargazing sessions to nature hikes, there was sure to be an interesting activity for science lovers of all ages. Science Literacy Week is powered by the Natural Sciences and Engineering Research Council of Canada (NSERC).
Beaming Science, Exploration, Adventure and Conservation into Classrooms Across North America
Guest Speakers and Virtual Field Trips with Leading Experts from Around the World
Using Technology to Broadcast Live into Classrooms from the Most Remote Regions on the Planet Since
September 2015, We’ve Run Well over 1,000 Live Events Connecting Hundreds of Thousands of Students to Scientists and Explorers in over 70 Countries
Onto another standalone festival.
Calgary’s big art/science/engineering festival, Beakerhead got its start in 2013 as a five-day event as per my December 7, 2012 post. It’s gone through a few changes since then including what appears to be a downsizing. The 2019 event was on September 21, 2019 from 5 pm to 11 pm.
According to his profile on LinkedIn, Jeff Popiel is Beakerhead’s interim CEO and has been since 2018. Mary Anne Moser (one of Breakerhead’s co-founders; the other is Jay Ingram, formerly of the Daily Planet science television show) was welcomed as the new Executive Director for Calgary’s science centre, Telus Spark, in April 2019.
Beakerhead’sr Wikipedia entry, despite being updated in December 2019, lists as its most current iteration of the festival that one that place in 2018.
All organizations experience ups and downs; I certainly hope that this represents a temporary lull. On the plus side, the Beakerhead Twitter feed is being kept current. and there is a February 18, 2020 entry on the Beakerhead’s homepage.
Invasive Species (Curiosity Collider) & Special Projects (ArtSci Salon)
The first and possibly only Collisions Festival (from the Curiosity Collider folks), Invasive Species took place in November 2019. A three-day affair, it featured a number of local (Vancouver area) artist/scientist collaborations. For a volunteer-run organization, putting on a three-day festival is quite an accomplishment. So, brava and bravo!
The ArtSci Salon in Toronto hasn’t held any festivals as such but has hosted a number of ‘special projects’ which extend over days and/or weeks and/or months such as The Cabinet Project, which opened in April 2017 (not sure how long it ran) and featured a number of artists’ talks and tours; Emergent Form from April 1 -30, 2018; EDITED (gene editing) from October 25 – November 30, 2018; and, FACTT-Evolution from March 29 – May 15, 2019.
International conferences and the Canadian art/technology scene
I am sure there are others (I’d be happy to hear about them in the comments) but these two organizations seem particularly enthused about holding conferences in Canada. I would like to spend more time on art and technology in Canada but that’s a huge topic in itself so I’m touching on it lightly.
ISEA 2015 and 2020
Formerly the Inter-Society of Electronic Arts, the organization has rebranded itself as ISEA (pronounced as a word [acronym] with a long ‘s’ like ‘z’). The acronym is used both for the organization’s name, the International Society for Electronic Arts, and its annual International Symposium of Electronic Arts, known familiarly as ISEA (year).
ISEA 2015 took place in Vancouver and was held in August of that year (you can read more about in my April 24, 2015 posting where I announced my presentation of a paper and video “Steep (1): A digital poetry of gold nanoparticles.”).
The upcoming ISEA 2020 was to take place in Montréal from May 19 – 24 but has been rescheduled for October 13 – 18. The theme remains: Why Sentience? Here’s more from the 2020 symposium About page,
Montreal Digital Spring (Printemps numérique) is proud to present ISEA2020 from October 13 to 18, 2020 in Montreal.
ISEA2020 will be the Creativity Pavilion of MTL connect; using digital intelligence as the overarching theme, this international event aims to look across the board at the main questions related to digital development, focusing on its economic, social, cultural and environmental impacts in various sectors of activity.
Montreal was awarded host of the next edition of ISEA in the closing ceremony of ISEA2019, held in Gwangju, South Korea. Soh Yeong Roh, Director of Art Center Nabi in Seoul, hand over the eternal light to Mehdi Benboubakeur, Executive Director of Montreal Digital Spring. As Benboubakeur stated: “ISEA returns to Montreal after 25 years. Back in 1995, ISEA positioned Montreal as a digital art center and brought emerging local artists into the international spotlight. In 2020, Montreal will once more welcome the international community of ISEA and will use this opportunity to build a strong momentum for the future.”
SEA 2020 turns towards the theme of “Why Sentience? Sentience describes the ability to feel or perceive. ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
I notice Philippe Pasquier of Simon Fraser University (Surrey campus, Vancouver area) is a member of the organizing committee. If memory serves, he was also on the organizing committee for ISEA 2015. He was most recently mentioned here in a November 29, 2019 where I featured his Metacreation Lab and when I mentioned the ISEA 2020 call for submissions.
… We received a total of 987 submissions from 58 countries. Thank you to those who took the time to create and submit proposals for ISEA2020 under the theme of sentience. We look forward to seeing you in Montreal from May 19 to 24, 2020 during MTL connect/ISEA2020!
Statistics by categories:
Artist talks: 121
Full papers: 108
Short papers: 96
Workshops / Tutorials: 53
Panels / Roundtables: 24
Institutional presentations: 22
Posters / Demos: 18
Good luck to everyone who made a submission. I hope you get a chance to present your work at ISEA 2020. I wonder if I can attend. I’ll have to make up my mind soon as they stop selling early bird tickets on and around March 16, 2020.
Vancouver hosted SIGGRAPH in 2011, 2014, and 2018 and will host it again in 2022. It is the only Canadian city to have hosted a SIGGRAPH conference since the conference’s inception in 1974. It is a huge meeting. In 2018, Vancouver hosted 16,637 attendees.
If you have a chance, do check out the next SIGGRAPH that you are able to attend. As inspiration you can check out the profile I wrote up for the most recent conference in Vancouver (my August 9, 2018 posting). They’re not as open to the public as I’d like but there are a few free events.
Coffee, tea, or beer with your science?
There are many ways to enjoy your science.Here are various groups (volunteer for the most part) that host regular (more or less) science nights at cafés and/or pubs and/or bars. Although I mentioned Café Scientifique Vancouver in part 1, it doesn’t really fit into either part 1 or part 2 of this review of the last decade but it’s being included (in a minor way) because the parent organization, Café Scientifique, is in a sense the progenitor for all the other ‘Café’ type efforts (listed in this subsection) throughout Canada. In addition, Café Scientifique is a truly global affair, which means if you’re traveling, it’s worth checking out the website to see if there’s any event in the city you’re visiting.
Science slams have been popular in Europe for more than a decade but have only recently gained traction in North America. Science Slam Canada was founded in 2016 and now runs regular science slams in Vancouver. Given wide interest and support, Science Slam Canada is continuing to grow, with upcoming events in Edmonton and Ottawa.
Based on the format of a poetry slam, a science slam is a competition that allows knowledge holders, including researchers, students, educators, professionals, and artists to share their science with a general audience. Competitors have five minutes to present on any science topic and are judged based on communication skills, audience engagement, and scientific accuracy. Use of a projector or slideshow is not allowed, but props and creative presentation styles are encouraged.
The slam format provides an informal medium for the public and the scientific community to connect with and learn from each other. Science slams generally take place in bars, cafes, or theaters, which remove scientists from their traditional lecture environments. The lack of projector also takes away a common presentation ‘crutch’ and forces competitors to engage with their audience more directly.
Competitors and judges are chosen through a selection process designed to support diversity and maximize the benefit to speakers and the audience. Past speakers have ranged from students and researchers to educators and actors. Judges have included professors, media personalities, comedians and improvisers. And since the event is as much about the audience as about the speakers, spectators are asked to vote for their favourite speaker.
Our dream is to create a national network of local science slams, with top competitors meeting at a national SUPER Slam to face off for the title of Canadian Science Slam Champion. This past year, we ran a regional slam in Vancouver, bringing together speakers from across BC’s Lower Mainland. Next year, we hope to extend our invitation even further.
Their last Vancouver Slam was in November 2019. I don’t see anything scheduled for 2020 either on the website or on their Twitter feed. Of course, they don’t keep a regular schedule so my suggestion is to keep checking. And, there’s their Facebook site.
Alan Shapiro who founded Science Slam Canada maintains an active Twitter feed where his focus appears to be water but he includes much more. If you’re interested in Vancouver’s science scene, check him out. By the way, his day job is at STEMCELL Technologies, which you may remember, if you read part 1, funds the Science in the City website mentioned under the Science blogging in Canada subhead (scroll down about 50% of the way).
Sometime around 2003, Chris Balakrishnan founded Nerd Nite. Today, he’s a professor with his own lab (Balakrishnan Laboratory of Evolution, Behavior and Other Fine Sciences) at East Carolina University; he also maintains an active interest in Nerd Nite.
I’m not sure when it made its way to Canada but there are several cities which host Nerd Nites (try ‘nerd nite canada’ in one of the search engines). In addition to Nerd Nite Vancouver (which got its start in 2013, if it’s existence on Twitter can be used as evidence), I found ones in Toronto, Kitchener-Waterloo, Edmonton, Calgary, and, I believe there is also one in North Vancouver.
Their events are monthly (more or less) and the last one was on February 26, 2020. You can read more about it here. They maintain an active Twitter feed listing their own events and, on occasion, other local science events.
This US organization (Story Collider; true personal stories about science) was founded in 2010 and was first featured here in a February 15, 2012 posting. Since then, it has expanded to many cities including Vancouver. Here’s more about the organization and its worldwide reach (from the Story Collider About Us webpage), Note: Links have been removed,
The Story Collider is a 501(c)3 nonprofit organization dedicated to true, personal stories about science. Since 2010, we have been working with storytellers from both inside and outside science to develop these stories, and we share them through our weekly podcast and our live shows around the world.
We bring together dedicated staff and volunteers from both science and art backgrounds to produce these shows — starting with our executive director, Liz Neeley, who has a background in marine biology and science communication, and our artistic director, Erin Barker, a writer and experienced storyteller — because we believe both have value in this space. Currently, The Story Collider has a home in fourteen cities — New York, Boston, DC, Los Angeles, St. Louis, Atlanta, Chicago, Dallas, Seattle, Milwaukee, Toronto, Vancouver, Cambridge, UK, and Wellington, New Zealand — where events organized by local producers are held on a monthly or quarterly basis. We’ve also been delighted to work with various partners — including publishers such as Springer Nature and Scientific American; conferences for organizations such as the American Geophysical Union and the Gulf of Mexico Research Initiative; and universities such as Yale University, North Carolina State University, Colorado University, and more — to produce shows in other locations. Every year, we produce between 50 and 60 live events featuring more than 250 stories in total, and we share over a hundred of these stories on our podcast.
Vancouver’s first Story Collider of 2020, ‘Misfits’ was scheduled for February 1 at The Fox Cabaret at 2321 Main Street . You can see more about the event (which in all likelihood took place) and the speakers here.
As for when Story Collider set down a few roots in Vancouver, that’s likely to be some time after February 2012. The two Vancouver Story Collider organizers, Kayla Glynn and Josh Silberg each have active Twitter feeds. Glynn is focuses mainly on local events; Silberg provides a more eclectic experience.
This is a series of neuroscience’ talks held monthly (more or less) held at Vancouver General Hospital. They served wine out of a box and cheese and crackers at the one talk (it was about robots) I attended. Here’s more about the inspiration for this series from the University of British Columbia Brain Talks Vision page
BrainTalks is a forum for academics and members of the general public to create a dialogue about the rapidly expanding information in neuroscience. The BrainTalks series, was inspired in part by the popularity of the TED Talks series. Founded by Dr. Maia Love in October 2010, the goal is for neuroscientists, neurologists, neuroradiologists, psychiatrists, and people from affiliated fields to meet and dialogue monthly, in the hopes of promoting excellence in research, facilitating research and clinician connections and discussion, and disseminating knowledge to the general public. Additionally, the hope to reduce stigma associated with mental illness, and promote compassion for those suffering with brain illnesses, be they called neurologic or psychiatric, was part of the reason to create the series.
The structure is a casual environment with brief presentations by local experts that challenge and inspire dialogue. Discussions focus on current knowledge about the mind and our understanding of how the mind works. Presentations are followed by a panel discussion, catered snacks, and networking.
BrainTalks is now part of the programming for the University of British Columbia’s Department of Psychiatry. The Department of Education, and the Department of Continuing Professional Development include BrainTalks at UBC as part of their goal to enhance public knowledge of psychiatry, enhance clinician knowledge in areas that may affect psychiatric practice, and disseminate recent research in brain science to the public.
Thanks to Alan Shapiro (founder of Science Slam Canada) and his Twitter feed for information about a new science event that may be coming to Vancouver, SoapBox Science founded in the UK in 2011 puts on events that can be found worldwide (from the homepage),
Soapbox Science is a novel public outreach platform for promoting women scientists and the science they do. Our events transform public areas into an arena for public learning and scientific debate; they follow the format of London Hyde Park’s Speaker’s Corner, which is historically an arena for public debate. With Soapbox Science, we want to make sure that everyone has the opportunity to enjoy, learn from, heckle, question, probe, interact with and be inspired by some of our leading scientists. No middle man, no PowerPoint slide, no amphitheatre – just remarkable women in science who are there to amaze you with their latest discoveries, and to answer the science questions you have been burning to ask. Look out for bat simulators, fake breasts or giant pictures of volcanoes. Or simply hear them talk about what fascinates them, and why they think they have the most fantastic job in the world!
2020 is an exciting year for us. We are running 56 events around the world, making this the biggest year yet! Since 2011 we have featured over 1500 scientists and reached 150,000 members of the public! Soapbox Science was commended by the Prime Minister in 2015, and was awarded a Silver Medal from the Zoological Society of London (ZSL) in June 2016. Both Soapbox Science co-founders were also invited to provide oral evidence at a 2016 Parliamentary inquiry on science communication.
I believe 2020 is/was to have been the first year for a SoapBox Science event in Vancouver. There aren’t any notices of cancellation for the Vancouver event that I’ve been able to find. I expect there will although with a planned June 2020 date there’s still hope, In any case, you might find it interesting to view their ‘Apply to speak’ webpage, (Note: I have rearranged the order of some of these paragraphs),
Are you a woman* who works in science and who is passionate about your research? Are you eager to talk to the general public about your work in a fun, informal setting? If so, then Soapbox Science needs YOU! We are looking for scientists in all areas of STEMM, from PhD students to Professors, and from entry-level researchers to entrepreneurs, to take part in this grassroots science outreach project.
*Soapbox Science uses an inclusive definition of ‘woman’ and welcomes applications from Non-binary and Genderqueer speakers.
The deadline for applications has now passed but you’ll find on their ‘Apply to speak’ webpage, a list of cities hosting 2020 SoapBox Science events,
Argentina: Tucumán- 12th September
Australia: Armidale- August Sydney- 15th August Queensland- August
Belgium: Brussels- 27th June
Brazil: Maceio- 22nd November Rio de Janeiro- 18th July Salvador- 5th June
Canada: Calgary- 2nd May Halifax- July Hamilton- Date TBC Ottawa- 19th September Québec- June Toronto- 27th September St John’s- 5th September Vancouver- June Waterloo- 13th June Winnipeg- May
Germany: Berlin- June Bonn- May Düsseldorf- 25th July Munich- 27th June
Ireland: Dublin- Date TBC Cork- July Galway- July
Nigeria: Lagos- August Lagos- 7th November
Malaysia: Kuala Lumpur- April
Portugal: Lisbon- 19th Sept
South Africa: Cape Town- September
Sweden: Uppsala- 16th May Gothenburg- 24th April- Closing date 31st January
Tanzania: Arusha- 8th August
UK: Aberdeen- 30th May Birmingham- Date TBC Brighton- 30th May Bristol- 4th July Cardiff- Date TBC Edinburgh- Date TBC Exeter- June Keswick- 26th May Leicester- 6th June Leeds- July London- 23rd May Milton Keynes- 27th June Newcastle- 13th June Nottingham- Date TBC Plymouth- 30th May Stoke-on-Trent, Date TBC Swansea- Date TBC York- 13th June
USA: Boulder- 26th April Denver- Date TBC Detroit- September Philadelphia- 18th April
Originally, the plan was to produce some sort of a Canadian science culture roundup for 2019 but it came to my attention that 2019 was also an end-of-decade year (sometimes I miss the obvious). I’ll do my best to make this snappy but it is a review (more or less) of the last 10 years (roughly) and with regard to science culture in Canada, I’m giving the term a wide interpretation while avoiding (for the most part) mention of traditional science communication/outreach efforts such as university rresearch, academic publishing, academic conferences, and the like.
Since writing that opening paragraph in late December 2019, COVID-19 took over the world and this review seemed irrelevant for a while but as time passed, Iit occurred to me it might serve as a reminder of past good times and as a hope for the future.
Having started this blog in 2008, I’ve had the good fortune to observe a big increase in the number and range of science outreach/communication/culture initiatives, projects, festivals, etc. It’s tempting to describe it as an explosion of popular interest but I have no idea if this is true. I spend much of my time searching out and writing up this kind of work in addition to the emerging science and technology that I follow and my perception is most likely skewed by my pursuits. What i can say is that in 2019 there was more of everything to do with science culture/outreach/communication than there was when I started in 2008.
Coincidentally, I wrote a three-part series about science communication (including science outreach/culture projects) in Canada in Sept. 2009, just months before the start of this decade. In retrospect, the series is sprawling everywhere and it looks to me like I was desperately trying to make something look bigger than it actually was.
I’m looking at the more formal aspects of science communication and so onto mainstream media and education. This is the saddest section but don’t worry it gets better as it goes on.
As I note in the following subsection, there are fewer science writers employed by mainstream media, especially in Canada. The only science writer (that I know of) who’s currently employed by a newspaper is Ivan Semeniuk. for the Globe and Mail.
Margaret Munro who was the science writer for PostMedia (publisher of most newspaper dailies in Canada) is now a freelancer. Kate Lunau, a health and science journalist for Maclean’s Magazine (Canada) until 2016 and then Motherboard/VICE (US online publication) until March 2019 now publishes her own newsletter.
Daily Planet, which was a long running science programme (under various names since 1995) on Discovery Channel Canada and which inspired iterations in other countries, was cancelled in 2018 but there is still a Twitter feed being kept up to date and a webpage with access to archived programmes.
The Canadian Broadcasting Corporation (CBC) programmes, Spark for technology and Quirks & Quarks for science on the radio side and the Nature of Things for science, wildlife, and technology on television carry on year after year and decade after decade.
A more recent addition (2019?) to the CBC lineup is a podcast that touches on science and other topics, Tai Asks Why? According to the programme’s About page, the host (Tai Poole) is in grade seven. No podcasts dated after September 2019 have been posted on Tia’s page.
Yes Magazine for children and Seed magazine (for adults) have both died since 2009. On a happier note, Canadian children’s science magazines are easier to find these days either because I got lucky on my search and/or because there are more of them to find.
Thank you to helpwevegotkids.com for their 10 Awesome Magazines for Canadian Kids webpage. First published in 2016, it is updated from time to time, most recently in October 2019 by Heather Camlot; it’s where I found many of these science/technology magazines (Note: I’m not sure how long these magazines have been published but they are all new to me),
Chickadee Magazine: ages 6-9 ( Every month, the Chickadee team creates a package of interactive stories, puzzles, animal features, and science experiments to educate and entertain readers.) It’s from the folks at owlkids.com
OWL Magazine: ages 9-13 (… highlight the elements of science and tech, engineering, art and math ) Also from the folks at owlkids.com
AdventureBox: ages 6 – 9 (… nature with beautiful photographs and fascinating scientific information … Hilarious and adventurous comic-strips, games and quizzes … An audio CD every 2 months) Also from the folks at owlkids.com
DiscoveryBox: ages 9 – 12 ( … Animals and nature, with spectacular photographs … Fascinating scientific topics, with clear explanations and experiments to carry out …) Also from the folks at owlkids.com BTW, I was not able to find out much about the Owl Kids organization.
WILD magazine ( … jam-packed with fun wildlife stories, games and pictures for youngsters of all ages. It’s a great way to get the children in your life engaged in nature and share your passion for the outdoors. Published 6 times per year) From the folks at the Canadian Wildlife Federation (enough said).
Bazoof! (… suited for ages 7-12 … nutrition, personal care, fitness, healthy lifestyles, character development, eco-education—all in a creative and zany style! Filled with short stories, comics, recipes, puzzles, games, crafts, jokes, riddles, pet care, interviews, healthy snacks, sports, true stories, fun facts, prizes and more!) Bazoof! is being brought to you by the team responsible for Zamoof! You might want to read their About page. That’s all I can dig up.
Brainspace (an augmented reality magazine for kids 8 – 14) As best I can determine they are still ‘publishing’ their interactive magazine but they make finding information about themselves or their organization a little challenging. It’s published in Ontario and its publisher Nicky Middleton had this in her LinkedIn profile: “Publisher of Brainspace interactive magazine for kids 8-12. Creating augmented reality content for teaching resources in partnership with Brock University, District School Board of Niagara.”
One more thing regarding mainstream media
While there are fewer science journalists being employed, there’s still a need for science writing and journalism. The Science Media Centre of Canada (SMCC) opened in 2010 (from its Wikipedia entry),
… to serve journalists with accurate information on scientific matters. The centre has a Research Advisory Panel of 20 Canadian scientists who will make their expertise available in a simple and understandable manner. In order to secure objectivity, the centre has an Editorial Advisory Committee of eight journalists. The centre is bilingual.
As of January 2020, the SMCC is still in operation.
The University of British Columbia’s Journalism School (Vancouver) no longer has a Science Journalism Research Group nor does Concordia University (Montréal) have its Science Journalism Project. I have checked both journalism schools and cannot find any indication there is a science programme or specific science courses of any kind for journalists or other communicators but I didn’t spend a lot of time digging. Interestingly, the chair, David Secko, of Concordia’s journalism programme is a science journalist himself and a member of the Editorial Advisory Committee of the Science Media Centre of Canada.
The lack of science journalism programmes in Canada seems to reflect on overall lack of science journalism. It’s predictable given that the newspapers that once harboured science journalists have trimmed and continue to trim back their staffs.
Science centres, museums, and the like are considered part of the informal science community with Makerspaces being a new addition. For the most part, their target audience is children but they are increasingly (since 2010, I believe) offering events aimed at adults. The Canadian Association of Science Centres (CASC) describes itself and its membership this way (from the CASC About Us webpage),
CASC members are a diverse group of organisations that support informal learning of science, technology and nature. Our common bond is that we offer creative programming and exhibitions for visitors that inspire a drive to learn, create, and innovate.
If you are a member of a Science Centres, Museums, Aquariums, Planetariums and Makerspaces [these are a 2010s phenomenon] you could benefit from our reciprocal admission agreement. Not all CASC Members are participants in the Reciprocal Admissions Agreement. Click here for more information.
You can find a full list of their members including the Ingenium museums (the federal consortium of national Canadian science museums), the Saskatchewan Science Centre, the Nunavut Research Institute, Science East, and more, here.
I’m calling what follows ‘truly informal science culture’.
Science: the informal (sometimes cultural) scene
When I first started (this blog) there was one informal science get-together (that I knew of locally) and that was Vancouver Café Scientifque and its monthly events, which are still ongoing. You can find our more about the parent organization, which was started in Leeds, England in 1998. Other Canadian cities listed as having a Café Scientifique: Ottawa, Victoria, Mississauga, and Saskatoon.
Now onto the music, the dance, and more
Sing a song of science
Baba Brinkman is well known for his science raps. The rapper and playwright (from British Columbia) lives in New York City these days with his wife and sometime performance collaborator, neuroscientist Dr. Heather Berlin and their two children (see his Wikipedia entry for more), he is still Canadian (I think).
He got his start rapping science in 2008 when I think he was still living in Vancouver (Canada) after gaining the attention of UK professor Mark Pallen who commissioned him to write a rap about evolution. The Rap Guide to Evolution premiered at the 2009 Edinburgh Fringe Festival. Here’s a video of Brinkman’s latest science rap (Data Science) posted on YouTube on October 21, 2019,
I find this one especially interesting since Brinkman’s mother is the Honourable Joyce Murray, a member of parliament and the Minister of Digital Government in Prime Minister Justin Trudeau’s latest cabinet. (My December 27, 2019 posting highlights what I believe to be the importance of the Minister of Digital Government in the context of the government’s science and technology vision. Scroll down about 25% of the way to the subhead titled “The Minister of Digital Government and a bureaucratic débacle,”) You can find out more about Baba Brinkman here.
Tim Blais of A Capella Science first attracted my notice in 2014 thanks to David Bruggeman and his Pasco Phronesis blog (btw: David, I miss your posts about science and music which are how I found out most of what I know about the Canadian science music scene).
Blais (who has a master’s degree in physics from McGill University in Québec) started producing his musical science videos in 2012. I featured one of his earliest efforts (and one of my favourites, Rolling in the Higgs [Adele parody]) in my July 18, 2014 posting.
Dating back to 2012. The Institute of Quantum Computing at the University of Waterloo held two performances of Quantum: Music at the Frontier of Science. Raymond Laflamme, then director of the institute, wrote a September 20, 2012 article (The Quantum Symphony: A Cultural Entanglement) about the performances. You can see a video (15 mins., 45 secs.,) of the February 2012 performances here.
More recently, the Life Sciences Institute at the University of British Columbia (UBC) hosted a performance of Sounds and Science – Vienna Meets Vancouver in late 2019. I covered it in a November 12, 2019 posting (scroll down to the Sounds and Science subheading). The story about how the series, which has its home base in Vienna, started is fascinating. The sold out Vancouver performance was a combination of music and lecture featuring the Vienna Philharmonic and UBC researchers. According to this Sounds and Science UBC update,
For those who missed this exceptional evening, JoyTV and its CARPe Diem show will be producing an episode focusing on the concert, to be aired in February, 2020 [emphasis mine].
There is another way to look at musical science and that’s to consider the science of music which is what they do at the Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University (Hamilton, Ontario, Canada). it’s “a research concert hall. It functions as both a high-tech laboratory and theatre, opening up tremendous opportunities for research and investigation”, you can read more about it in my November 29, 2019 posting.
One last thing, there is data sonification which means finding a way to turn data into music or a sound which can more or less be defined as musical. There may be other data sonification projects and presentations in Canada but these are the ones I’ve tripped across (Note: Some links have bee removed),
Songs of the Ottawa From the website: “Songs of the Ottawa” is the Master’s Research Project of Cristina Wood, under the co-supervision of Dr. Joanna Dean and Dr. Shawn Graham. She completed her Master’s of Arts in Public History with a Specialization in Digital Humanities at Carleton University in spring 2019. She will continue her explorations of the Ottawa River in the Ph.D. program at York University [fall 2020]. Be in touch with Cristina on Twitter or send an email to hello [at] cristinawood [dot] ca.”
The Art of Data Sonification (This January 2019 workshop at Inter/Access in Toronto is over.) From the website: “Learn how to turn data into sound! Dan Tapper will teach participants how to apply different data sonification techniques, collect and produce a variety of sonifications, and how to creatively use these sonifications in their own work. The workshop will move from looking at data sonification through the lens of Dan Tapper’s work sonifying data sets from NASA, to collecting, cleaning and using your own data for artistic creation. Participants will work with pre-gathered and cleaned data sets before collecting and working with personal data and online data sets. Tools will be provided by Tapper created in Pure Data and Processing, as well as versions for Max/MSP users. A particular focus will be placed on how to use data sets and the created sonifications in creative practice – moving beyond quantitative sonic representations to richer material. “
Sonification: Making Data Sound (This September 2019 workshop at the Peter Wall Institute for Advanced Studies at the University of British Columbia is also over.) From the website: ” Computers and music have been mingling their intimate secrets for over 50 years. These two worlds evolve in tandem, and where they intersect they spawn practices that are entirely novel. One of these is “sonification,” turning raw data into sounds and sonic streams to discover new musical relationships within the dataset. This is similar to data visualization, a strategy that reveals new insights from data when it is made for the eye to perceive as graphs or animations. A key advantage with sonification is sound’s ability to present trends and details simultaneously at multiple time scales, allowing us to absorb and integrate information in the same way we listen to music. In this workshop, Chris Chafe will lead a discussion of the practice and application of sonification in a wide array of disciplines, drawing on his own extensive experience in this field.”
I have been looking for data sonification projects in Canada for years. It’s amazing to me that all of this sprung up in the last year of this decade. If there’s more, please do let me know in the Comments section.
Science blogging in Canada
The big news for the decade was the founding and launch of Science Borealis, a Canadian science blog aggregator in 2013. Assuming I counted right in December 2019, there are 146 blogs. These are not all independent bloggers, many institutional blogs are included. Also, I’m not sure how active some of these blogs are. Regardless, that’s a pretty stunning number especially when I consider that my annual Canadian blog roundup from 2010 -2012 would have boasted 20 – 30 Canadian science blogs at most.
I’m not sure why ASAP Science (Michael Moffit and Gregory Brown) isn’t included on Science Borealis but maybe the science vloggers (video bloggers) prefer to go it alone. or they fit into another category of online science. Regardless, ASAP Science has been around since May 2012 according to their About page. In addition to the science education/information they provide, there’s music, including this Taylor Swift Acapella Parody.
One of the earliest Canadians to create a science blog,Gregor Wolbring, Associate Professor at the University of Calgary’s Cumming School of Medicine, started his in 2006. He has taken a few breaks, 2011 and August 2013 – June 2017 but he’s back at it these days. He is in a sense a progenitor for Canadian science blogging. At one time, his blog was so popular that US researchers included it in their studies on what was then ‘the blogging phenomenon’. His focus academically and on his blog is on rehabilitation and disability. This webpage on his blog is of particular interest to me: FUTUREBODY: The Future of the Body in the Light of Neurotechnology. It’s where he lists papers from himself and his colleagues’ in the ERANET NEURON ELSI/ELSA funded by the European Community. (ELSI is Ethical, Legal and Social Implications and ELSA is Ethical, Legal, and Social Aspects.)
Canada’s Favourite Science Online, a competition co-sponsored by Science Borealia and the Science Writers and Communicators of Canada (SWCC), gives a People’s Choice Award annually in two categories: blog and science site. This September 16, 2019 posting on the Science Borealis blog features the finalists in the categories and a pretty decent sampling of what available online from the Canadian science community.
Science in the City is a Canadian life sciences blog aggregator and job and event listing website. The name is an official mark of McMaster University (Ontario, Canada) and it is used and registered by STEMCELL Technologies Canada Inc. Here’s more from their AboutScienceInTheCity webpage,
As scientists ourselves, we know that science is accelerated by collaboration and connection, but that the busy, demanding lifestyle of a scientist makes this challenging. Thus, we saw the need for a central resource that connects local scientists, provides them with a platform to share their ideas, and helps them stay current with the news, events, and jobs within their local scientific community. This inspired us to launch Science in the City in our hometown of Vancouver, Canada in 2017.
Science in the City is your complete source for all the life science news and events happening in your city. The Science in the City website and weekly newsletter provide researchers and medical professionals with breaking news, in-depth articles, and insightful commentary on what is happening around them. By supplying scientists with a resource for the local news and events that affect them, Science in the City fosters learning and collaboration within scientific communities, ultimately supporting the advancement of science and medicine.
Vancouver is our hometown, so it made sense to launch this exciting initiative in our own backyard. But we’re only getting started! We’ve launched Science in the City in Seattle and Boston, and we’re currently working on bringing Science in the City to several more scientific communities across North America and Europe!
Do check their event listings as they range past life science to many other interesting ‘sciencish’ get togethers. For example, in early 2020 (in Vancouver) there was,
At a guess their funding comes from STEMCELL Technologies while Science Borealis was originally (not sure what the status is today) bankrolled by Canadian Science Publishing (CSP).
It’s just dance, dance, dance
Ranging from pigeon courtship to superconductivity, Canadian scientists have scored a number of wins in the Dance Your Ph.D. competition founded in 2008 according to its Wikipedia entry and held by Science Magazine and the American Association for the Advancement of Science (AAAS). The contest requires that the entrant dance either as a solo artist or as part of a troupe.
In 2018, a University of Alberta student won in the physics category and then went on to win overall. I covered it in a February 22, 2019 posting. Because I love the video, here is Pramodh Senarath Yapa with his Superconductivity: The Musical!, again,
BTW, John Bohannon who came up with the idea for the contest wrote this February 15, 2019 article about Yapa’s win for Science Magazine.
While searching for other Canadian Dance Your Ph.D. winners, I found some from the 2010 and 2011 contests. (If there are others, please do let me know in the Comments section.)
McConnell’s video did not win in its division but another Canadian student, Queen’s University (Ontario) biologist, Emma Ware won the 2011 social science division for ‘A Study of Social Interactivity Using Pigeon Courtship‘. For more about McConnell and Ware’s 2011 efforts, you can read Tyler Irving’s October 20, 2011 posting on his eponymous blog. (Side note: Irving is a Canadian science writer who started the blog in 2011 and took a five year hiatus from January 2015 to January 2020.)
Lesley Telford, choreographer and director of Inverso Productions based in Vancouver, seems to have started showing a dance piece inspired by Albert Einstein’s famous description of quantum entanglement as “spooky action from s a distance” in 2017.
I first wrote about it in an April 20, 2017 posting. The title, at that time, was, ‘Three Sets/Relating At A Distance; My tongue, your ear / If / Spooky Action at a Distance (phase 1‘. In 2017, Telford was artist-in-residence at the Dance Centre and TRIUMF, Canada’s national laboratory for particle and nuclear physics and accelerator-based science, both located in Vancouver.
She has continued to work with the concept and most recently her company gave performances of ‘Spooky Action’ in 2019 and will go on tour in 2020 according to her company’s homepage.
Unlike Lesley Telford who has a single science-inspired piece, Blue Ceilingdance in Toronto, is organized around the idea of art (dance) and science according to the company’s About page,
Blue Ceiling dance aims to pierce the soul through investigations at the intersection of art and science, and physical rigour provoked by the imagination. By peering into the mysterious corners of human experience and embodying the natural laws of the universe, we want to inspire empathy and curiosity. Through creation, production, commissioning and touring of new dance and multi-disciplinary works and through the Imaginative Body Classes, Blue Ceiling dance uses the poetry of the body and of scientific language to describe our experience of the world through the lens of poetic naturalism.
Blue Ceiling dance was founded by Lucy Rupert in 2004, as an umbrella for her creative endeavours. …
Our biggest project to date premieres January 23-26th, 2020 at The Theatre Centre [Toronto].
Using the length of time it takes light to travel from the Sun to Earth, we launch into 8 overlapping meditations on the physical behaviour of light, the metaphors of astrophysics, and the soul of cosmology, as they brush against a sense of our own mortality. What would you do with your last 8 minutes and 17 seconds before the lights go out?
Choreographed and conceived by Lucy Rupert with additional choreography by Karen Kaeja, Emma Kerson and Jane Alison McKinney, and Michael Caldwell. With text written by Hume Baugh.
The company’s repertoire is diverse and focused largely on science,
Animal Vegetable Mineral is a site-specific work with a naturalist-led hike. Exploring embodiments of each category of matter, the dancers form an ecosystem under stress, and highlight the interconnectedness of all species and our deep need for one another. Audiences explore their local environment and encounter human embodiments in an intimate performance setting.
Originally made for the High Park Nature Centre in Toronto, the piece is adaptable to different ecosystems and environments.
dead reckoning Perplexing, haunting and slightly mischievous, with choreography by Lucy Rupert and international ballet choreographer Peter Quanz. The launching point for this work of dance-theatre is Sir Ernest Shackleton’s ill-fated expedition to Antarctica in 1914 and the mysterious experiences surrounding his life-or-death situation. Three linked dances offer three views of an explorer pursued by an enigmatic “other”.
Bye, bye ScienceOnline Vancouver
A ScienceOnline conference and community based in the United States inspired a short-lived but exciting offshoot in Vancouver. With much ado, their first event was held on April 19, 2012. As I recall, by December 2012, it had died.
The volunteers were wildly ambitious and it’s very hard to maintain the level of dynamism and technology they established on their first night. Here’s how I described the first event in my April 20, 2012 posting, ” It was a very technology-heavy event in that there was livestreaming, multiple computers and screens, references to tweeting and Storify, etc.” That’s a lot to do on a regular basis as volunteers. By Christmas 2012, ScienceOnline was gone. It was a great and I’m thankful for it.
Now onto part 2 where you’ll find the visual arts, poetry, festivals, and more.
The Universe in Verse event (poetry, music, science, and more) has been held annually by Pioneer Works in New York City since 2017. (It’s hard to believe I haven’t covered this event in previous years but it seems that’s so.)
A ticketed event usually held in a venue, in 2020, The Universe in Verse is being held free as a livestreamed event. Here’s more from the event page on the Pioneer Works website,
A LETTER FROM THE CURATOR AND HOST:
Dear Pioneer Works community,
Since 2017, The Universe in Verse has been celebrating science and the natural world — the splendor, the wonder, the mystery of it — through poetry, that lovely backdoor to consciousness, bypassing our habitual barricades of thought and feeling to reveal reality afresh. And now here we are — “survivors of immeasurable events,” in the words of the astronomer and poet Rebecca Elson, “small, wet miracles without instruction, only the imperative of change” — suddenly scattered six feet apart across a changed world, blinking with disorientation, disbelief, and no small measure of heartache. All around us, nature stands as a selective laboratory log of only the successes in the series of experiments we call evolution — every creature alive today, from the blooming magnolias to the pathogen-carrying bat, is alive because its progenitors have survived myriad cataclysms, adapted to myriad unforeseen challenges, learned to live in unimagined worlds.
The 2020 Universe in Verse is an adaptation, an experiment, a Promethean campfire for the collective imagination, taking a virtual leap to serve what it has always aspired to serve — a broadening of perspective: cosmic, creaturely, temporal, scientific, humanistic — all the more vital as we find the aperture of our attention and anxiety so contracted by the acute suffering of this shared present. Livestreaming from Pioneer Works at 4:30PM EST on Saturday, April 25, there will be readings of Walt Whitman, Emily Dickinson, Adrienne Rich, Pablo Neruda, June Jordan, Mary Oliver, Audre Lorde, Wendell Berry, Hafiz, Rachel Carson, James Baldwin, and other titans of poetic perspective, performed by a largehearted cast of scientists and artists, astronauts and poets, Nobel laureates and Grammy winners: Physicists Janna Levin, Kip Thorne, and Brian Greene, musicians Rosanne Cash, Patti Smith, Amanda Palmer, Zoë Keating, Morley, and Cécile McLorin Salvant, poets Jane Hirshfield, Ross Gay, Marie Howe, and Natalie Diaz, astronomers Natalie Batalha and Jill Tarter, authors Rebecca Solnit, Elizabeth Gilbert, Masha Gessen, Roxane Gay, Robert Macfarlane, and Neil Gaiman, astronaut Leland Melvin, playwright and activist Eve Ensler, actor Natascha McElhone, entrepreneur Tim Ferriss, artists Debbie Millman, Dustin Yellin, and Lia Halloran, cartoonist Alison Bechdel, radio-enchanters Krista Tippett and Jad Abumrad, and composer Paola Prestini with the Young People’s Chorus. As always, there are some thrilling surprises in wait.
Every golden human thread weaving this global lifeline is donating their time and talent, diverting from their own work and livelihood, to offer this generous gift to the world. We’ve made this just because it feels important that it exist, that it serve some measure of consolation by calibration of perspective, perhaps even some joy. The Universe in Verse is ordinarily a ticketed charitable event, with all proceeds benefiting a chosen ecological or scientific-humanistic nonprofit each year. We offer this year’s livestream freely, but making the show exist and beaming it to you had significant costs. If you are so moved and able, please support this colossal labor with a donation to Pioneer Works — our doors are now physically closed to the public, but our hearts remain open to the world as we pirouette to find new ways of serving art, science, and perspective. Your donation is tax-deductible and appreciation-additive.
For anyone unfamiliar with Pioneer Works, here’s more from their About page,
Pioneer Works is an artist-run cultural center that opened its doors to the public, free of charge, in 2012. Imagined by its founder, artist Dustin Yellin, as a place in which artists, scientists, and thinkers from various backgrounds converge, this “museum of process” takes its primary inspiration from utopian visionaries such as Buckminster Fuller, and radical institutions such as Black Mountain College.
The three-story red brick building that houses Pioneer Works was built in 1866 for what was then Pioneer Iron Works. The factory, which manufactured railroad tracks and other large-scale machinery, was a local landmark after which Pioneer Street was named. Devastated by fire in 1881, the building was rebuilt, and remained in active use through World War II. Dustin Yellin acquired the building in 2011, and renovated it with Gabriel Florenz, Pioneer Works’ Founding Artistic Director, and a team of talented artists, supporters, and advisors. Together, they established Pioneer Works as a 501c3 nonprofit in 2012.
Since its inception, Pioneer Works has built science studios, a technology lab with 3-D printing, a virtual environment lab for VR and AR production, a recording studio, a media lab for content creation and dissemination, a darkroom, residency studios, galleries, gardens, a ceramics studio, a press, and a bookshop. Pioneer Works’ central hall is home to a rotating schedule of exhibitions, science talks, music performances, workshops, and innovative free public programming.
The Universe in Verse’s curator and host, Maria Popova is best known for her blog. Here’s more from her Wikipedia entry (Note: Links have been removed),
Maria Popova (Bulgarian: Мария Попова; born 28 July 1984)[not verified in body] is a Bulgarian-born, American-based writer of literary and arts commentary and cultural criticism that has found wide appeal (as of 2012, 3 million page views and more than 1 million monthly readers),[needs update] both for its writing and for the visual stylistics that accompany it.[needs update] She is most widely known for her blog, Brain Pickings [emphasis mine], an online publication that she has fought to maintain advertisement-free, which features her writing on books, and ideas from the arts, philosophy, culture, and other subjects. In addition to her writing and related speaking engagements, she has served as an MIT Futures of Entertainment Fellow,[when?] as the editorial director at the higher education social network Lore,[when?] and has written for The Atlantic, Wired UK, and other publications. As of 2012, she resided in Brooklyn, New York.[needs update]
There’s one more thing you might want to know about the event,
NOTE: For various artistic, legal, and technical reasons, the livestream will not be available in its entirety for later viewing, but individual readings will be released incrementally on Brain Pickings. As we are challenged to bend limitation into possibility as never before, may this meta-limitation too be an invitation— to be fully present, together across the space that divides us, for a beautiful and unrepeatable experience that animates a shared moment in time, all the more precious for being unrepeatable. “As if what exists, exists so that it can be lost and become precious,” in the words of the poet Lisel Mueller.
Mark Wilson announces a timely new online programme from the Massachusetts Institute of Technology (MIT) in his April 9, 2020 article for Fast Company (Note: Links have been removed).
Not every child will grow up to attend MIT, but that doesn’t mean they can’t get a jump start on its curriculum. In response to the COVID-19 pandemic, which has forced millions of students to learn from home, MIT Media Lab associate professor Cynthia Breazeal has released [April 7, 2020] a website for K-12 students to learn about one of the most important topics in STEM [science, technology, engineering, and mathematics]: artificial intelligence.
The site provides 60 activities, lesson plans, and links to interactive AI experiments that MIT and companies like Google have developed in the past. Projects include coding robots to doodle, developing an image classifier (a tool that can identify images), writing speculative fiction to tackle the murky ethics of AI, and developing a chatbot (your grade schooler cannot possibly be worse at that task than I was). Everything is free, but schools are supposed to license lesson plans from MIT before adopting them.
Various associated MIT groups are covering a wide range of topics including the already mentioned AI ethics, as well as, cyber security and privacy issues, creativity, and more. Here’s a little something from a programme for the Girl Scouts of America, which focused on data privacy and tech policy,
You can find MIT’s AI education website here. While the focus is largely on children, it seems they are inviting adults to participate as well. At least that’s what I infer from what one of the groups associated with this AI education website, the LifeLong Kindergarten group states on their webpage,
The Lifelong Kindergarten group develops new technologies and activities that, in the spirit of the blocks and finger paint of kindergarten, engage people in creative learning experiences. Our ultimate goal is to foster a world full of playfully creative people, who are constantly inventing new possibilities for themselves and their communities.
The website is a little challenging with regard to navigation but perhaps these links to the Research Projects page will help you get started quickly or, for those who like to investigate a little further before jumping in, this News page (which is a blog) might prove helpful.
That’s it for today. I wish everyone a peaceful long weekend while we all observe as joyfully and carefully as possible our various religious and seasonal traditions. From my tradition to yours, Joyeuses Pâques!
While it’s late in the season to be thinking of frostbite in the Northern Hemisphere, there’s always next year. This research from India looks quite promising, assuming you have the gel available when you first get frostbite. From a December 11, 2019 news item on Nanowerk (Note: A link has been removed),
Mountaineers and winter sports enthusiasts know the dangers of frostbite –– the tissue damage that can occur when extremities, such as the nose, ears, fingers and toes, are exposed to very cold temperatures. However, it can be difficult to get treated quickly in remote, snowbound areas.
Now, researchers reporting in ACS Biomaterials Science & Engineering (“Heparin-Encapsulated Metered-Dose Topical “Nano-Spray Gel” Liposomal Formulation Ensures Rapid On-Site Management of Frostbite Injury by Inflammatory Cytokines Scavenging”) have developed a convenient gel that could be sprayed onto frostbite injuries when they occur, helping wounds heal.
Frostbite causes fluids in the skin and underlying tissues to freeze and crystallize, resulting in inflammation, decreased blood flow and cell death. Extremities are the most affected areas because they are farther away from the body’s core and already have reduced blood flow. If frostbite is not treated soon after the injury, it could lead to gangrene and amputation of the affected parts. Conventional treatments include immersing the body part in warm water, applying topical antibiotic creams or administering vasodilators and anti-inflammatory drugs, but many of these are unavailable in isolated snowy areas, like mountaintops. Others, such as topical medications, could end up freezing themselves. Rahul Verma and colleagues at the Institute of Nano Science and Technology [India] wanted to develop a cold-stable spray gel that could be administered on-site for the immediate treatment of frostbite injuries.
To develop their spray, the researchers packaged heparin, an anticoagulant that improves blood flow by reducing clotting and aiding in blood vessel repair, into liposomes. These lipid carriers helped deliver heparin deep inside the skin. They embedded the heparin-loaded liposomes in a sprayable hydrogel that also contained ibuprofen (a painkiller and anti-inflammatory drug) and propylene glycol, which helped keep the spray from freezing at very low temperatures. When the researchers tested the spray gel on rats with frostbite, they found that the treatment completely healed the injuries within 14 days, whereas untreated injuries were only about 40% healed, and wounds treated with an antibiotic cream were about 80% healed. The spray reduced levels of inflammatory cytokines at the wound site and in the blood circulation, which likely accelerated healing, the researchers say.
Artist Joseph Nechvatal has a longstanding interest in viruses, i.e., computer viruses and that work seems strangely apt as we cope with the COVID-19 pandemic. He very kindly sent me some à propos information (received via an April 5, 2020 email),
I wanted to let you know that _viral symphOny_ (2006-2008), my 1 hour 40 minute collaborative electronic noise music symphony, created using custom artificial life C++ software based on the viral phenomenon model, is available to the world for free here:
Before you click the link and dive in you might find these bits of information interesting. BTW, I do provide the link again at the end of this post.
Origin of and concept behind the term ‘computer virus’
As I’ve learned to expect, there are two and possibly more origin stories for the term ‘computer virus’. Refreshingly, there is near universal agreement in the material I’ve consulted about John von Neuman’s role as the originator of the concept. After that, it gets more complicated; Wikipedia credits a writer for christening the term (Note: Links have been removed),
The first academic work on the theory of self-replicating computer programs was done in 1949 by John von Neumann who gave lectures at the University of Illinois about the “Theory and Organization of Complicated Automata”. The work of von Neumann was later published as the “Theory of self-reproducing automata”. In his essay von Neumann described how a computer program could be designed to reproduce itself. Von Neumann’s design for a self-reproducing computer program is considered the world’s first computer virus, and he is considered to be the theoretical “father” of computer virology. In 1972, Veith Risak directly building on von Neumann’s work on self-replication, published his article “Selbstreproduzierende Automaten mit minimaler Informationsübertragung” (Self-reproducing automata with minimal information exchange). The article describes a fully functional virus written in assembler programming language for a SIEMENS 4004/35 computer system. In 1980 Jürgen Kraus wrote his diplom thesis “Selbstreproduktion bei Programmen” (Self-reproduction of programs) at the University of Dortmund. In his work Kraus postulated that computer programs can behave in a way similar to biological viruses.
The first known description of a self-reproducing program in a short story occurs in 1970 in The Scarred Man by Gregory Benford [emphasis mine] which describes a computer program called VIRUS which, when installed on a computer with telephone modem dialing capability, randomly dials phone numbers until it hit a modem that is answered by another computer. It then attempts to program the answering computer with its own program, so that the second computer will also begin dialing random numbers, in search of yet another computer to program. The program rapidly spreads exponentially through susceptible computers and can only be countered by a second program called VACCINE.
The idea was explored further in two 1972 novels, When HARLIE Was One by David Gerrold and The Terminal Man by Michael Crichton, and became a major theme of the 1975 novel The Shockwave Rider by John Brunner.
The 1973 Michael Crichton sci-fi movie Westworld made an early mention of the concept of a computer virus, being a central plot theme that causes androids to run amok. Alan Oppenheimer’s character summarizes the problem by stating that “…there’s a clear pattern here which suggests an analogy to an infectious disease process, spreading from one…area to the next.” To which the replies are stated: “Perhaps there are superficial similarities to disease” and, “I must confess I find it difficult to believe in a disease of machinery.”
Scientific American has an October 19, 2001 article citing four different experts’ answer to the question “When did the term ‘computer virus’ arise?” Three of the experts cite academics as the source for the term (usually Fred Cohen). One of the experts does mention writers (for the most part, not the same writers cited in the Wikipedia entry quotation in the above).
One expert discusses the concept behind the term and confirms what most people will suspect. Interestingly, this expert’s origin story varies somewhat from the other three.
The concept behind the first malicious computer programs was described years ago in the Computer Recreations column of Scientific American. The metaphor of the “computer virus” was adopted because of the similarity in form, function and consequence with biological viruses that attack the human system. Computer viruses can insert themselves in another program, taking over control or adversely affecting the function of the program.
Like their biological counterparts, computer viruses can spread rapidly and self-replicate systematically. They also mimic living viruses in the way they must adapt through mutation [emphases mine] to the development of resistance within a system: the author of a computer virus must upgrade his creation in order to overcome the resistance (antiviral programs) or to take advantage of new weakness or loophole within the system.
Computer viruses also act like biologics [emphasis mine] in the way they can be set off: they can be virulent from the outset of the infection, or they can be activated by a specific event (logic bomb). But computer viruses can also be triggered at a specific time (time bomb). Most viruses act innocuous towards a system until their specific condition is met.
The computer industry has expanded the metaphor to now include terms like inoculation, disinfection, quarantine and sanitation [emphases mine]. Now if your system gets infected by a computer virus you can quarantine it until you can call the “virus doctor” who can direct you to the appropriate “virus clinic” where your system can be inoculated and disinfected and an anti-virus program can be prescribed.
More about Joseph Nechvatal and his work on viruses
The similarities between computer and biological viruses are striking and with that in mind, here’s a clip featuring part of viral symphOny,
Before giving you a second link to Nechvatal’s entire viral symphOny, here’s some context about him and his work, from the Joseph Nechvatal Wikipedia entry, (Note: Links have been removed),
He began using computers to make “paintings” in 1986  and later, in his signature work, began to employ computer viruses. These “collaborations” with viral systems positioned his work as an early contribution to what is increasingly referred to as a post-human aesthetic.
From 1991–1993 he was artist-in-residence at the Louis Pasteur Atelier in Arbois, France and at the Saline Royale/Ledoux Foundation’s computer lab. There he worked on The Computer Virus Project, which was an artistic experiment with computer viruses and computer animation. He exhibited at Documenta 8 in 1987.
In 1999 Nechvatal obtained his Ph.D. in the philosophy of art and new technology concerning immersive virtual reality at Roy Ascott’s Centre for Advanced Inquiry in the Interactive Arts (CAiiA), University of Wales College, Newport, UK (now the Planetary Collegium at the University of Plymouth). There he developed his concept of viractualism, a conceptual art idea that strives “to create an interface between the biological and the technological.” According to Nechvatal, this is a new topological space.
In 2002 he extended his experimentation into viral artificial life through a collaboration with the programmer Stephane Sikora of music2eye in a work called the Computer Virus Project II, inspired by the a-life work of John Horton Conway (particularly Conway’s Game of Life), by the general cellular automata work of John von Neumann, by the genetic programming algorithms of John Koza and the auto-destructive art of Gustav Metzger.
In 2005 he exhibited Computer Virus Project II works (digital paintings, digital prints, a digital audio installation and two live electronic virus-attack art installations) in a solo show called cOntaminatiOns at Château de Linardié in Senouillac, France. In 2006 Nechvatal received a retrospective exhibition entitled Contaminations at the Butler Institute of American Art’s Beecher Center for Arts and Technology.
Dr. Nechvatal has also contributed to digital audio work with his noise music viral symphOny [emphasis mine], a collaborative sound symphony created by using his computer virus software at the Institute for Electronic Arts at Alfred University.viral symphOny was presented as a part of nOise anusmOs in New York in 2012.