Monthly Archives: February 2023

Trying to understand how neural networks work

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It seems no one (not even the experts) really understands how ‘artificial intelligence that learns’ actually works. This is the second time I’ve stumbled onto a similar statement made by experts. Last time (see my July 28, 2022 posting [part 1 of 2] and scroll down to the “A deep dive into AI?” subhead for a quote from a recent Council of Canadian Academies report on AI for Science and Engineering) they were unable to gave a stable definition for artificial intelligence.

Researchers at Los Alamos are looking at new ways to compare neural networks. This image was created with an artificial intelligence software called Stable Diffusion, using the prompt “Peeking into the black box of neural networks.” Courtesy: Los Alamos National Laboratorory

A September 13, 2022 Los Alamos National Laboratory (LANL) news release (also on EurekAlert) provides detail about how researchers are addressing the problem,

A team at Los Alamos National Laboratory has developed a novel approach for comparing neural networks that looks within the “black box” of artificial intelligence to help researchers understand neural network behavior. Neural networks recognize patterns in datasets; they are used everywhere in society, in applications such as virtual assistants, facial recognition systems and self-driving cars.

“The artificial intelligence research community doesn’t necessarily have a complete understanding of what neural networks are doing; they give us good results, but we don’t know how or why,” said Haydn Jones, a researcher in the Advanced Research in Cyber Systems group at Los Alamos. “Our new method does a better job of comparing neural networks, which is a crucial step toward better understanding the mathematics behind AI.”

Jones is the lead author of the paper “If You’ve Trained One You’ve Trained Them All: Inter-Architecture Similarity Increases With Robustness,” which was presented recently at the Conference on Uncertainty in Artificial Intelligence. In addition to studying network similarity, the paper is a crucial step toward characterizing the behavior of robust neural networks.

Neural networks are high performance, but fragile. For example, self-driving cars use neural networks to detect signs. When conditions are ideal, they do this quite well. However, the smallest aberration — such as a sticker on a stop sign — can cause the neural network to misidentify the sign and never stop.

To improve neural networks, researchers are looking at ways to improve network robustness. One state-of-the-art approach involves “attacking” networks during their training process. Researchers intentionally introduce aberrations and train the AI to ignore them. This process is called adversarial training and essentially makes it harder to fool the networks.

Jones, Los Alamos collaborators Jacob Springer and Garrett Kenyon, and Jones’ mentor Juston Moore, applied their new metric of network similarity to adversarially trained neural networks, and found, surprisingly, that adversarial training causes neural networks in the computer vision domain to converge to very similar data representations, regardless of network architecture, as the magnitude of the attack increases.

“We found that when we train neural networks to be robust against adversarial attacks, they begin to do the same things,” Jones said.

There has been extensive effort in industry and in the academic community searching for the “right architecture” for neural networks, but the Los Alamos team’s findings indicate that the introduction of adversarial training narrows this search space substantially. As a result, the AI research community may not need to spend as much time exploring new architectures, knowing that adversarial training causes diverse architectures to converge to similar solutions.

“By finding that robust neural networks are similar to each other, we’re making it easier to understand how robust AI might really work. We might even be uncovering hints as to how perception occurs in humans and other animals,” Jones said.

Should you be curious about future events, the Association for Uncertainty in Artificial Intelligence (AUAI), a non-profit, organizes an annual conference.

It’s not just the sound, it’s the vibration too (a red-eyed treefrog calls for a mate)

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This is an exceptionally pretty image of a frog that sometimes seems to be everywhere,,

Credit: Pixabay/CC0 Public Domain [downloaded from https://phys.org/news/2022-09-red-eyed-treefrogs-vibration-aggression.html]

I usually try to include one or two postings a year about frogs on this blog in honour of its name. The first one in 2022 was titled, “Got a photo of a frog being bitten by flies? There’s a research study …” (a June 24, 2022 post).

This year (2023; I’m a bit late), I have a September 14, 2022 news item on phys.org focused on mating calls, aggression, and vibrations,

One would be hard-pressed to take a walk outside without hearing the sounds of calling animals. During the day, birds chatter back and forth, and as night falls, frogs and insects call to defend territories and to attract potential mates. For several decades, biologists have studied these calls with great interest, taking away major lessons about the evolution of animal displays and the processes of speciation. But there may be a lot more to animal calls than we have realized.

A new study appearing in the Journal of Experimental Biology by Dr. Michael Caldwell and student researchers at Gettysburg College demonstrates that the calls of red-eyed treefrogs don’t just send sounds through the air, but also send vibrations through the plants. What’s more, these plant vibrations change the message that other frogs receive in major ways. The researchers played sound and vibrations produced by calling males to other red-eyed treefrogs surrounding a rainforest pond in Panama. They found that female frogs are over twice as likely to choose the calls of a potential mate if those calls include both sound and vibrations, and male frogs are far more aggressive and show a greater range of aggressive displays when they can feel the vibrations generated by the calls of their rivals.

“This really changes how we look at things,” says Caldwell. “If we want to know how a call functions, we can’t just look at the sound it makes anymore. We need to at least consider the roles that its associated vibrations play in getting the message across.”

A September 14, 2022 Gettysburg College news release, which originated the news item, delves further into vibrations,

Because vibrations are unavoidably excited in any surface a calling animal is touching, the authors of the new study suggest it is likely that many more species communicate using similar ‘bimodal acoustic calls’ that function simultaneously through both airborne sound and plant-, ground-, or water-borne vibrations. “There is zero reason to suspect that bimodal acoustic calls are limited to red-eyed treefrogs. In fact, we know they aren’t,” says Caldwell, who points out that researchers at UCLA [University of California at Los Angeles] and the University of Texas are reporting similar results with distantly related frog species, and that elephants and several species of insect have been shown to communicate this way. “For decades,” says Caldwell, “..we just didn’t know what to look for, but with a growing scientific interest in vibrational communication, all of that is rapidly changing.”

This new focus on animal calls as functioning through both sound and vibration could set the stage for major advances in the study of signal evolution. One potential implication highlighted by the team at Gettysburg College is that “we may even learn new things about sound signals we thought we understood.” This is because both the sound and the vibrational components of bimodal acoustic signals are generated together by the same organs. So, selection acting either call component will also necessarily shape the evolution of the other. 

The red-eyed treefrog is one of the most photographed species on the planet, which makes these findings all the more unexpected. “It just goes to show, we still have a lot to learn about animal behavior,” reports Dr. Caldwell. “We hear animal calls so often that we tune most of them out, but when we make a point to look at the world from the perspective of a frog, species that are far more sensitive to vibrations than humans, it quickly becomes clear that we have been overlooking a major part of what they are saying to one another.”

This research was performed at the Smithsonian Tropical Research Institute and Gettysburg College, with funding from the Smithsonian Institution and the Cross-disciplinary Science Institute at Gettysburg College.

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

Beyond sound: bimodal acoustic calls used in mate-choice and aggression by red-eyed treefrogs by Michael S. Caldwell, Kayla A. Britt, Lilianna C. Mischke, Hannah I. Collins. Journal of Experimental Biology Volume 225, Issue 16 August 2022 DOI:
https://doi.org/10.1242/jeb.244460 Published August 25, 2022

This paper is behind a paywall. But, researchers have made some video clips available for viewing,

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” from Jan. 27 to July 9, 2023 at The Block Museum of Art (Northwestern University, Chicago, Illinois)

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I’m sorry to be late. Thankfully this show extends into July 2023, so, there’s still plenty of time to get to Chicago’s The Block Museum of Art (at Northwestern University) art/science exhibition. I found this on the museum’s exhibition page for “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” show,

What do we owe to the memories of one another’s hearts?

For American artist Dario Robleto (b. 1972), artists and scientists share a common aspiration: to increase the sensitivity of their observations. Throughout the history of scientific invention, instruments like the cardiograph and the telescope have extended the reach of perception from the tiniest stirrings of the human body to the farthest reaches of space. In his prints, sculptures, and video and sound installations, Robleto contemplates the emotional significance of these technologies, bringing us closer to the latent traces of life buried in the scientific record.

The Heart’s Knowledge concentrates on the most recent decade of Robleto’s creative practice, a period of deepening engagement with histories of medicine, biomedical engineering, sound recording, and space exploration. The exhibition organizes the artist’s conceptually ambitious, elegantly wrought artworks as a series of multisensory encounters between art and science.  Each work seeks to attune viewers to the material traces of life at scales ranging from the intimate to the universal, returning always to the question: Does empathy extend beyond the boundaries of time and space?

…

Banner image for “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” exhibition page. Courtesy of The Block Museum of Art (Northwestern University) and artist, Dario Robleto

Here’s more from a January 27, 2023 Northwestern University news release (received via email),

Exhibition searches for meaning at the limits of science and perception

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” is on view Jan. 27 to July 9 [2023] at The Block Museum of Art

  • Works are informed by dialogue with Northwestern Engineering researchers during five-year residency  
  • Exhibition a tribute to NASA Golden Record creator, ‘whose heart has left the solar system’
  • Opening conversation with the artist will take place at 2 p.m. on [Saturday] Feb. 4 [2023]

American artist Dario Robleto (b. 1972) believes artists and scientists share a common aspiration: to increase the sensitivity of their observations.

From understanding the human body’s pulses and brainwaves to viewing the faintest glimmers of light from the edge of the observable universe, groundbreaking science pushes the limits of perception. Similarly, the perceptive work of artists can extend the boundaries of empathy and understanding.

Since 2018, Robleto served as an artist-at-large at the McCormick School of Engineering. This unique partnership between The Block Museum and McCormick gave the artist an open “hall pass” to learn from, collaborate with and question scientists, engineers and experts from across the University.

Robleto’s five-year residency concludes with the exhibition “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto.” Co-presented by The Block Museum and McCormick, the exhibition is on view from Jan. 27 to July 9 [2023] at The Block Museum, 40 Arts Circle Drive on Northwestern’s Evanston campus. [emphasis mine]

A free opening conversation with the artist will take place at 2 p.m. on Saturday, Feb. 4 [2023], in Norris University Center’s McCormick Auditorium, 1999 Campus Drive in Evanston.

About the Exhibition: “The Heart’s Knowledge”

Throughout the history of scientific invention, instruments like the cardiograph and the telescope have extended the reach of perception from the tiniest stirrings of the human body to the farthest reaches of space.

Robleto’s prints, sculptures and video and sound installations contemplate the emotional significance of these technologies, bringing viewers closer to the latent traces of life buried in the scientific record.

“The Heart’s Knowledge” represents a decade of Robleto’s creative practice, from 2012 to 2022, a period marked by a deepening engagement with science, including astronomy, synthetic biology and exobiology, and a widening embrace of new materials and creative forms, from 3D-printed objects to film.

Robleto dedicates the exhibition to Ann Druyan, the creative director of NASA’s Golden Record for the Voyager 1 and 2 projects. The record includes Druyan’s brainwaves and heartbeats, recorded as she reflected on her secret love for famed astronomer and future husband Carl Sagan. The act of sneaking “love on board the Voyager” inspired Robleto to compose a love letter to the only human whose “heart has left the solar system.”

Robleto sees Druyan’s act to include her emotions on the record as the central inspiration of his work. “I consider it the greatest work of subversive, avant-garde art not yet given its due,” Robleto said. “The Golden Record and Ann’s radical act brought us all together to think about what it means to be human — to one another and to unknown beings on other worlds.”

The exhibition organizes the artist’s conceptually ambitious, elegantly wrought artworks as a series of multisensory encounters between art and science. Each asks viewers to seek out the material traces of life in scales ranging from the intimate to the universal, and to question: Does empathy extend beyond the boundaries of time and space?

“Whether he’s addressing the most minute phenomena of the body or the horizons of the known universe, Robleto binds the rigor of scientific inquiry with artistic expression,” said exhibition curator Michael Metzger, The Block’s Pick-Laudati Curator of Media Arts.

“Straining at the bounds of observation, Robleto discovers unity at the limits; the common endeavor of art and science to achieve a form of knowledge that language alone cannot speak,” Metzger said.

The exhibition includes three sections:

“Heartbeats“
Rooted in the artist’s longstanding fascination with the clinical and cultural history of the human heart, “Heartbeats” draws inspiration from 19th-century pioneers of cardiography, whose instruments graphically measured heart activity for the first time, leaving behind poignant records of human subjectivity. In “The First Time, the Heart (A Portrait of Life 1854-1913)” (2017), Robleto transforms early measurements of heartbeats into photolithographs executed on paper hand-sooted with candle flames. For the installation “The Pulse Armed with a Pen (An Unknown History of the Human Heartbeat)” (2014), Robleto collaborated with sound historian Patrick Feaster to digitally resurrect these heartbeats in audio form, giving visitors access to intimate pulses of life recorded before the invention of sound playback.

“Wavelengths“
Robleto has recently embraced digital video to create works that narrate transformational episodes in the recording and study of wave phenomena. “Wavelengths” comprises two hour-long immersive video installations. “The Boundary of Life is Quietly Crossed” (2019) is inspired by NASA’s Voyager Golden Record, a gold-plated phonographic disc launched into space onboard the Voyager I and II space probes in 1977. In “The Aorta of an Archivist” (2020-2021), Robleto investigates three breakthroughs in the history of recording: the first recording of a choral performance made with an Edison wax cylinder, the first heartbeat captured while listening to music and the first effort to transcribe the brain wave activity of a dreaming subject.

“Horizons“
In the final section, “Horizons,” Robleto evokes the spirit of the Hubble telescope and the search for extraterrestrial life, gazing out at the boundaries of the observable universe. Inspired by his time as an artist-in-residence at the SETI Institute (Search for Extraterrestrial Intelligence) and as artistic consultant to the Breakthrough Initiatives, his intricate sculptures, such as “Small Crafts on Sisyphean Seas” (2018), give shape to the speculative search for intelligent life in the universe. Other works like “The Computer of Jupiter” (2019) are framed as “gifts for extraterrestrials” offering an alternative view of the best way to begin a dialogue with alien intelligences.

The Artist-at-Large Program at Northwestern

Lisa Corrin, the Ellen Philips Katz Executive Director of The Block Museum of Art, and Julio M. Ottino, dean of McCormick School of Engineering, envisioned the possibilities of this unconventional partnership between scientist and artist when they launched the artist-at-large initiative together. The work is part of an ongoing Art + Engineering initiative and a part of the whole-brain engineering philosophy at Northwestern Engineering.

“Here, a university’s school of engineering and its art museum come together in the shared belief that transformative innovation can happen at the intersections of usually distinct academic disciplines and modes of creativity and inquiry,” Corrin said. “We had faith that something meaningful would emerge organically if we merely provided structures in which informal interactions might take place.”

“We wanted to model for young engineers the value of embracing uncertainty as part of the journey that leads to innovation and opens pathways within the imagination — as artists do,” Ottino said. “We are grateful to Dario Robleto for accepting our invitation to come to Northwestern and to enter the unknown with us. He has taught us that our shared future resides in our capacity for compassion and for empathy, the ethos at the heart of his work that holds the most promise for those at the forefront of science in the interest of humankind.”

More information about Robleto’s residency can be found in the article “Dario is our Socrates” on the Block Museum website and by viewing the Northwestern Engineering video “Artist-at-Large Program: Dario Robleto.”

Exhibition Events

“The Heart’s Knowledge” will include six months of events and dialogues that will illuminate the intersections in Robleto’s practice. All events are free and open to the public. For current program information, visit The Block Museum website.

Program highlights for February and March include:

Science, Art and the Search for Meaning: Opening Conversation with Dario Robleto
Saturday, Feb. 4 [2023], 2 p.m.
Norris University Center, McCormick Auditorium
1999 Campus Drive

The Block Museum hosts a discussion that reaches across boundaries to examine the shared pursuit that binds artists and scientists. The conversation features artist Dario Robleto; Jennifer Roberts, professor of the humanities at Harvard University; Lucianne Walkowicz, astronomer and co-founder of the JustSpace Alliance; and Michael Metzger, Pick-Laudati Curator of Media Arts and curator of “The Heart’s Knowledge.”

“X: The Man with the X-Ray Eyes” (1963)
Friday, Feb. 10 [2023], 7 p.m.
Block Cinema
40 Arts Circle Drive

A Science on Screen program with Catherine Belling, associate professor of medical education at Northwestern University Feinberg School of Medicine.

“First Man” (2018)
Saturday Feb. 18 [2023], 1 p.m.
Block Cinema
40 Arts Circle Drive

A Science on Screen program featuring history researcher Jordan Bimm of the University of Chicago, who will discuss the military origins of “space medicine.”

Exhibition Conversation: Interstellar Aesthetics and Acts of Translation in Art and Science
Wednesday, Feb. 22 [2023], 6 p.m.
Block Museum

Joining artist Dario Robleto in conversation are Elizabeth Kessler, exhibition publication contributor and a lecturer in American Studies at Stanford University, and Shane Larson, research professor of physics and astronomy and associate director of CIERA (Center for Interdisciplinary Exploration and Research in Astrophysics) at Northwestern.

Gallery Talk: Stillness, Wonder and Gifts for Extraterrestrials
Thursday, Feb. 23 [2023], 12:30 p.m.
Block Museum

Elizabeth Kessler of Stanford University will discuss Robleto’s “gifts for extraterrestrials” series.

Online Conversation: Ann Druyan, The Golden Record and the Memory of Our Hearts
Wednesday, March 8 [2023], 6 p.m. [ET]
Block Cinema

Ann Druyan, creative director for NASA’s Voyager Interstellar Messaging Project and writer and producer of the PBS television series “Cosmos,” joins Robleto and art historian Jennifer Roberts for a conversation about the Golden Record and the heart’s memory.

Exhibition Publication

In conjunction with the exhibition, The Block Museum of Art and the McCormick School of Engineering are proud to announce the publication of “The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto,” (Artbook, D.A.P., 2023).

The publication is edited by Michael Metzger with contributions by Metzger, Robert M. Brain, Daniel K. L. Chua, Patrick Feaster, Stefan Helmreich, Elizabeth A. Kessler ,Julius B. Lucks, Elizabeth Kathleen Mitchell, Alexander Rehding, Jennifer L. Roberts, Claire Isabel Webb and Dario Robleto.

About Dario Robleto

Dario Robleto was born in San Antonio, Texas, in 1972 and received his BFA from the University of Texas at San Antonio in 1997. He lives and works in Houston, Texas. The artist has had numerous solo exhibitions since 1997, most recently at the Spencer Museum of Art, Lawrence, Kansas (2021); the Radcliffe Institute for Advanced Study at Harvard University (2019); the McNay Museum, San Antonio, Texas (2018); Menil Collection, Houston, Texas (2014); the Baltimore Museum of Art (2014); the New Orleans Museum of Art (2012); and the Museum of Contemporary Art, Denver (2011).

He is currently working on his first book, “Life Signs: The Tender Science of the Pulsewave,” co-authored with art historian Jennifer Roberts, the Elizabeth Cary Agassiz Professor of the Humanities at Harvard (University of Chicago Press).

Exhibition Credits

“The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto” exhibition is made possible through a partnership with the Robert R. McCormick School of Engineering and Applied Science at Northwestern University. Major support also was provided by the National Endowment for the Arts. Additional support is contributed by the Dorothy J. Speidel Fund; the Bernstein Family Contemporary Art Fund; the Barry and Mary Ann MacLean Fund for Art and Engineering; the Illinois Arts Council Agency; and the Alumnae of Northwestern University. The exhibition publication is made possible in part by the Sandra L. Riggs Publications Fund.

Should you be in the Chicago area and interested in the exhibit, you can find all the information for your visit here.

Tattoo yourself painlessly

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This is all at the microscale (for those who don’t know what micro means in this context, it’s one-millionth; specifically, the needles are measured in miilionths of a meter).

Caption: A magnified view of a microneedle patch with green tattoo ink. Credit: Georgia Tech

From a September 14, 2022 Georgia Institute of Technology (Georgia Tech) news release (also on EurekAlert),

Instead of sitting in a tattoo chair for hours enduring painful punctures, imagine getting tattooed by a skin patch containing microscopic needles. Researchers at the Georgia Institute of Technology have developed low-cost, painless, and bloodless tattoos that can be self-administered and have many applications, from medical alerts to tracking neutered animals to cosmetics.

“We’ve miniaturized the needle so that it’s painless, but still effectively deposits tattoo ink in the skin,” said Mark Prausnitz, principal investigator on the paper. “This could be a way not only to make medical tattoos more accessible, but also to create new opportunities for cosmetic tattoos because of the ease of administration.”

Prausnitz, Regents’ Professor and J. Erskine Love Jr. Chair in the School of Chemical and Biomolecular Engineering, presented the research in the journal iScience, with former Georgia Tech postdoctoral fellow Song Li as co-author.

Tattoos are used in medicine to cover up scars, guide repeated cancer radiation treatments, or restore nipples after breast surgery. Tattoos also can be used instead of bracelets as medical alerts to communicate serious medical conditions such as diabetes, epilepsy, or allergies.

Various cosmetic products using microneedles are already on the market — mostly for anti-aging — but developing microneedle technology for tattoos is new. Prausnitz, a veteran in this area, has studied microneedle patches for years to painlessly administer drugs and vaccines to the skin without the need for hypodermic needles.

“We saw this as an opportunity to leverage our work on microneedle technology to make tattoos more accessible,” Prausnitz said. “While some people are willing to accept the pain and time required for a tattoo, we thought others might prefer a tattoo that is simply pressed onto the skin and does not hurt.” 

Transforming Tattooing

Tattoos typically use large needles to puncture repeatedly into the skin to get a good image, a time-consuming and painful process. The Georgia Tech team has developed microneedles that are smaller than a grain of sand and are made of tattoo ink encased in a dissolvable matrix.

“Because the microneedles are made of tattoo ink, they deposit the ink in the skin very efficiently,” said Li, the lead author of the study.

In this way, the microneedles can be pressed into the skin just once and then dissolve, leaving the ink in the skin after a few minutes without bleeding.  

Tattooing Technique

Although most microneedle patches for pharmaceuticals or cosmetics have dozens or hundreds of microneedles arranged in a square or circle, microneedle patch tattoos imprint a design that can include letters, numbers, symbols, and images. By arranging the microneedles in a specific pattern, each microneedle acts like a pixel to create a tattoo image in any shape or pattern.

The researchers start with a mold containing microneedles in a pattern that forms an image. They fill the microneedles in the mold with tattoo ink and add a patch backing for convenient handling. The resulting patch is then applied to the skin for a few minutes, during which time the microneedles dissolve and release the tattoo ink. Tattoo inks of various colors can be incorporated into the microneedles, including black-light ink that can only be seen when illuminated with ultraviolet light.

Prausnitz’s lab has been researching microneedles for vaccine delivery for years and realized they could be equally applicable to tattoos. With support from the Alliance for Contraception in Cats and Dogs, Prausnitz’s team started working on tattoos to identify spayed and neutered pets, but then realized the technology could be effective for people, too.

The tattoos were also designed with privacy in mind. The researchers even created patches sensitive to environmental factors such as light or temperature changes, where the tattoo will only appear with ultraviolet light or higher temperatures. This provides patients with privacy, revealing the tattoo only when desired.

The study showed that the tattoos could last for at least a year and are likely to be permanent, which also makes them viable cosmetic options for people who want an aesthetic tattoo without risk of infection or the pain associated with traditional tattoos. Microneedle tattoos could alternatively be loaded with temporary tattoo ink to address short-term needs in medicine and cosmetics.

Microneedle patch tattoos can also be used to encode information in the skin of animals. Rather than clipping the ear or applying an ear tag to animals to indicate sterilization status, a painless and discreet tattoo can be applied instead.

“The goal isn’t to replace all tattoos, which are often works of beauty created by tattoo artists,” Prausnitz said. “Our goal is to create new opportunities for patients, pets, and people who want a painless tattoo that can be easily administered.”

Prausnitz has co-founded a company called Micron Biomedical that is developing microneedle patch technology, bringing it further into clinical trials, commercializing it, and ultimately making it available to patients. 

Prausnitz and several other Georgia Tech researchers are inventors of the microneedle patch technology used in this study and have ownership interest in Micron Biomedical. They are entitled to royalties derived from Micron Biomedical’s future sales of products related to the research. These potential conflicts of interest have been disclosed and are overseen by Georgia Institute of Technology. 

You can see what they mean when they claim this is not competitive with the work you’ll see from a tattoo artist,

Heart tattoo: microneedle patch (above) and tattoo on skin (below).Credit: Song Li, Georgia Tech

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

Microneedle patch tattoos by Song Li, Youngeun Kim, Jeong Woo Lee, Mark R. Prausnitz. iScience DOI:https://doi.org/10.1016/j.isci.2022.105014 Published: September 14, 2022

This paper is open access.

The company mentioned in the news release, Micron Biomedical can be found here.

Living photovoltaics with carbon nanotubes (CNTs)?

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A September 12, 2022 news item on phys.org has an interesting lede,

“We put nanotubes inside of bacteria,” says Professor Ardemis Boghossian at EPFL’s School of Basic Sciences. “That doesn’t sound very exciting on the surface, but it’s actually a big deal. Researchers have been putting nanotubes in mammalian cells that use mechanisms like endocytosis, that are specific to those kinds of cells. Bacteria, on the other hand, don’t have these mechanisms and face additional challenges in getting particles through their tough exterior. Despite these barriers, we’ve managed to do it, and this has very exciting implications in terms of applications.”

…

A September 16, 2022 Ecole Polytechnique Fédérale de Lausanne (EPFL) press release (also on EurekAlert but published September 12, 2022), which originated the news item, goes on to describe this work in the field of ‘nanobionics,

Boghossian’s research focuses on interfacing artificial nanomaterials with biological constructs, including living cells. The resulting “nanobionic” technologies combine the advantages of both the living and non-living worlds. For years, her group has worked on the nanomaterial applications of single-walled carbon nanotubes (SWCNTs), tubes of carbon atoms with fascinating mechanical and optical properties.

These properties make SWCNTs [single-walled carbon nanotubes] ideal for many novel applications in the field of nanobiotechnology. For example, SWCNTs have been placed inside mammalian cells to monitor their metabolisms using near-infrared imaging. The insertion of SWCNTs in mammalian cells has also led to new technologies for delivering therapeutic drugs to their intracellular targets, while in plant cells they have been used for genome editing. SWCNTs have also been implanted in living mice to demonstrate their ability to image biological tissue deep inside the body.

Fluorescent nanotubes in bacteria: A first

In an article published in Nature Nanotechnology, Boghossian’s group with their international colleagues were able to “convince” bacteria to spontaneously take up SWCNTs by “decorating” them with positively charged proteins that are attracted by the negative charge of the bacteria’s outer membrane. The two types of bacteria explored in the study, Synechocystis and Nostoc, belong to the Cyanobacteria phylum, an enormous group of bacteria that get their energy through photosynthesis – like plants. They are also “Gram-negative”, which means that their cell wall is thin, and they have an additional outer membrane that “Gram-positive” bacteria lack.

The researchers observed that the cyanobacteria internalized SWCNTs through a passive, length-dependent and selective process. This process allowed the SWCNTs to spontaneously penetrate the cell walls of both the unicellular Synechocystis and the long, snake-like, multicellular Nostoc.

Following this success, the team wanted to see if the nanotubes can be used to image cyanobacteria – as is the case with mammalian cells. “We built a first-of-its-kind custom setup that allowed us to image the special near-infrared fluorescence we get from our nanotubes inside the bacteria,” says Boghossian.

Alessandra Antonucci, a former PhD student at Boghossian’s lab adds: “When the nanotubes are inside the bacteria, you could very clearly see them, even though the bacteria emit their own light. This is because the wavelengths of the nanotubes are far in the red, the near-infrared. You get a very clear and stable signal from the nanotubes that you can’t get from any other nanoparticle sensor. We’re excited because we can now use the nanotubes to see what is going on inside of cells that have been difficult to image using more traditional particles or proteins. The nanotubes give off a light that no natural living material gives off, not at these wavelengths, and that makes the nanotubes really stand out in these cells.”

“Inherited nanobionics”

The scientists were able to track the growth and division of the cells by monitoring the bacteria in real-time. Their findings revealed that the SWCNTs were being shared by the daughter cells of the dividing microbe.  “When the bacteria divide, the daughter cells inherent the nanotubes along with the properties of the nanotubes,” says Boghossian. “We call this ‘inherited nanobionics.’ It’s like having an artificial limb that gives you capabilities beyond what you can achieve naturally. And now imagine that your children can inherit its properties from you when they are born. Not only did we impart the bacteria with this artificial behavior, but this behavior is also inherited by their descendants. It’s our first demonstration of inherited nanobionics.”

Living photovoltaics

“Another interesting aspect is when we put the nanotubes inside the bacteria, the bacteria show a significant enhancement in the electricity it produces when it is illuminated by light,” says Melania Reggente, a postdoc with Boghossian’s group. “And our lab is now working towards the idea of using these nanobionic bacteria in a living photovoltaic.”

“Living” photovoltaics are biological energy-producing devices that use photosynthetic microorganisms. Although still in the early stages of development, these devices represent a real solution to our ongoing energy crisis and efforts against climate change.

“There’s a dirty secret in photovoltaic community,” says Boghossian. “It is green energy, but the carbon footprint is really high; a lot of CO2 is released just to make most standard photovoltaics. But what’s nice about photosynthesis is not only does it harness solar energy, but it also has a negative carbon footprint. Instead of releasing CO2, it absorbs it. So it solves two problems at once: solar energy conversion and CO2 sequestration. And these solar cells are alive. You do not need a factory to build each individual bacterial cell; these bacteria are self-replicating. They automatically take up CO2 to produce more of themselves.  This is a material scientist’s dream.”

Boghossian envisions a living photovoltaic device based on cyanobacteria that have automated control over electricity production that does not rely on the addition of foreign particles. “In terms of implementation, the bottleneck now is the cost and environmental effects of putting nanotubes inside of cyanobacteria on a large scale.”

With an eye towards large-scale implementation, Boghossian and her team are looking to synthetic biology for answers: “Our lab is now working towards bioengineering cyanobacteria that can produce electricity without the need for nanoparticle additives. Advancements in synthetic biology allow us to reprogram these cells to behave in totally artificial ways. We can engineer them so that producing electricity is literally in their DNA.”

Other contributors

University of Freiburg
Swiss Center for Electronics and Microtechnology
University of Salento
Sapienza University of Rome

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

Carbon nanotube uptake in cyanobacteria for near-infrared imaging and enhanced bioelectricity generation in living photovoltaics by Alessandra Antonucci, Melania Reggente, Charlotte Roullier, Alice J. Gillen, Nils Schuergers, Vitalijs Zubkovs, Benjamin P. Lambert, Mohammed Mouhib, Elisabetta Carata, Luciana Dini & Ardemis A. Boghossian. Nature Nanotechnology (2022) DOI: https://doi.org/10.1038/s41565-022-01198-x Published: 12 September 2022

This paper is behind a paywall.

Skin-like computing device analyzes health data with brain-mimicking artificial intelligence (a neuromorphic chip)

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The wearable neuromorphic chip, made of stretchy semiconductors, can implement artificial intelligence (AI) to process massive amounts of health information in real time. Above, Asst. Prof. Sihong Wang shows a single neuromorphic device with three electrodes. (Photo by John Zich)

Does everything have to be ‘brainy’? Read on for the latest on ‘brainy’ devices.

An August 4, 2022 University of Chicago news release (also on EurekAlert) describes work on a stretchable neuromorphic chip, Note: Links have been removed,

It’s a brainy Band-Aid, a smart watch without the watch, and a leap forward for wearable health technologies. Researchers at the University of Chicago’s Pritzker School of Molecular Engineering (PME) have developed a flexible, stretchable computing chip that processes information by mimicking the human brain. The device, described in the journal Matter, aims to change the way health data is processed.

“With this work we’ve bridged wearable technology with artificial intelligence and machine learning to create a powerful device which can analyze health data right on our own bodies,” said Sihong Wang, a materials scientist and Assistant Professor of Molecular Engineering.

Today, getting an in-depth profile about your health requires a visit to a hospital or clinic. In the future, Wang said, people’s health could be tracked continuously by wearable electronics that can detect disease even before symptoms appear. Unobtrusive, wearable computing devices are one step toward making this vision a reality. 

A Data Deluge
The future of healthcare that Wang—and many others—envision includes wearable biosensors to track complex indicators of health including levels of oxygen, sugar, metabolites and immune molecules in people’s blood. One of the keys to making these sensors feasible is their ability to conform to the skin. As such skin-like wearable biosensors emerge and begin collecting more and more information in real-time, the analysis becomes exponentially more complex. A single piece of data must be put into the broader perspective of a patient’s history and other health parameters.

Today’s smart phones are not capable of the kind of complex analysis required to learn a patient’s baseline health measurements and pick out important signals of disease. However, cutting-edge artificial intelligence platforms that integrate machine learning to identify patterns in extremely complex datasets can do a better job. But sending information from a device to a centralized AI location is not ideal.

“Sending health data wirelessly is slow and presents a number of privacy concerns,” he said. “It is also incredibly energy inefficient; the more data we start collecting, the more energy these transmissions will start using.”

Skin and Brains
Wang’s team set out to design a chip that could collect data from multiple biosensors and draw conclusions about a person’s health using cutting-edge machine learning approaches. Importantly, they wanted it to be wearable on the body and integrate seamlessly with skin.

“With a smart watch, there’s always a gap,” said Wang. “We wanted something that can achieve very intimate contact and accommodate the movement of skin.”

Wang and his colleagues turned to polymers, which can be used to build semiconductors and electrochemical transistors but also have the ability to stretch and bend. They assembled polymers into a device that allowed the artificial-intelligence-based analysis of health data. Rather than work like a typical computer, the chip— called a neuromorphic computing chip—functions more like a human brain, able to both store and analyze data in an integrated way.

Testing the Technology
To test the utility of their new device, Wang’s group used it to analyze electrocardiogram (ECG) data representing the electrical activity of the human heart. They trained the device to classify ECGs into five categories—healthy or four types of abnormal signals. Then, they tested it on new ECGs. Whether or not the chip was stretched or bent, they showed, it could accurately classify the heartbeats.

More work is needed to test the power of the device in deducing patterns of health and disease. But eventually, it could be used either to send patients or clinicians alerts, or to automatically tweak medications.

“If you can get real-time information on blood pressure, for instance, this device could very intelligently make decisions about when to adjust the patient’s blood pressure medication levels,” said Wang. That kind of automatic feedback loop is already used by some implantable insulin pumps, he added.

He already is planning new iterations of the device to both expand the type of devices with which it can integrate and the types of machine learning algorithms it uses.

“Integration of artificial intelligence with wearable electronics is becoming a very active landscape,” said Wang. “This is not finished research, it’s just a starting point.”

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

Intrinsically stretchable neuromorphic devices for on-body processing of health data with artificial intelligence by Shilei Dai, Yahao Dai, Zixuan Zhao, Jie Xu, Jia Huang, Sihong Wang. Matter DOI:https://doi.org/10.1016/j.matt.2022.07.016 Published: August 04, 2022

This paper is behind a paywall.

more-than-human, an art/sci exhibition and series of events starting February 1, 2023

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Toronto’s Art/Sci Salon’s January 30, 2023 announcement (received via email) lists information for two organizations, the Onsite Gallery’s events and the Salon’s own events.

Onsite Gallery

This gallery is located in Toronto, Ontario at 199 Richmond St. W. From the homepage, “It is the flagship professional gallery of OCAD [Ontario College of Art and Design] University and an experimental curatorial platform for art, design and new media.”

From the Onsite Gallery ‘more-than-human‘ event page. First, there’s the exhibition (Note 1: I found the gallery’s event page I’m using here more informative than the email announcement; Note 2: I have not included the images featuring the artists and their work),

more-than-human

February 01 to May 13, 2023 

Curated by Jane Tingley 

Core exhibition of the CONTACT Photography Festival 

more-than-human presents media artworks at the intersection of art, science, Indigenous worldviews, and technology that speculatively and poetically use multimodal storytelling as a vehicle for interpreting, mattering, and embodying more-than-human ecologies. The artworks in this exhibition aim to critically and emotionally engage with the important work of decentering the human and rethinking the perspective that sees nature as a lifeless resource for exploitation. Many of the artworks use technological and scientific tools as entry points for witnessing and interacting with these more-than-human worlds, as they help visualize phenomena beyond human sensory perception while nevertheless situating us within them. Combined, the artworks in the show weave a story that tells a tale of symbiosis, intersections, and more-than-human relationality. They incorporate scientific, philosophical, and Indigenous perspectives to create an experiential tapestry that asks the viewer to reconsider, reorient, and rethink relationships with the more-than-human. 

more-than-human Online Exhibition Publication

more-than-human curator and artist 

Jane Tingley is an artist, curator, Director of the SLOlab: Sympoietic Living Ontologies Lab and Associate Professor at York University. Her studio work combines traditional studio practice with new media tools – and spans responsive/interactive installation, performative robotics, and telematically connected distributed sculptures/installations. Her works is interdisciplinary in nature and explores the creation of spaces and experiences that push the boundaries between science and magic, interactivity, and playfulness, and offer an experience to the viewer that is accessible both intellectually and technologically. Using distributed technologies, her current work investigates the hidden complexity found in the natural world and explores the deep interconnections between the human and non-human relationships. As a curator her interests lie at the intersection art, science, and technology with a special interest in collaborative creativity as impetus for innovation and discovery. Recent exhibitions include Hedonistika (2014) at the Musée d’art contemporain (Mtl, CA), INTERACTION (2016) and Agents for Change (2020) at THE MUSEUM (Kitchener, CA). As an artist she has participated in exhibitions and festivals in the Americas, the Middle East, Asia, and Europe – including translife -International Triennial of Media Art at the National Art Museum of China, Beijing, Elektra Festival in Montréal (CA) and the Künstlerhause in Vienna (AT). She received the Kenneth Finkelstein Prize in Sculpture (CA), the first prize in the iNTERFACES – Interactive Art Competition (PT). 

more-than-human artists

Ursula Biemann is an artist, author and video essayist. Her artistic practice is research oriented and involves fieldwork from Greenland to Amazonia, where she investigates climate change and the ecologies of oil, ice, forests and water. In her multi-layered videos, she interweaves vast cinematic landscapes with documentary footage, science fiction poetry and academic findings to narrate a changing planetary reality. In 2018, Biemann was commissioned by Museo de Arte, Universidad Nacional de Colombia in the co-creation of a new Indigenous University in the South of Colombia led by the Inga people in which she contributes the online platform Devenir Universidad. Her recent video installation Forest Mind (2021) emerges from this long-term collaboration. She has published numerous books, including Forest Mind (2022) and the audiovisual online monograph Becoming Earth on her ecological video works between 2011-2021. Biemann has exhibited internationally with recent solo exhibitions at MAMAC, Nice and the Centre culturel suisse, Paris. She is appointed Doctor honoris causa in Humanities by the Swedish University Umea, and has received the 2009 Prix Meret Oppenheim, the Swiss Grand Award for Art, and the 2022 Zurich Art Award. 

www.geobodies.org 

Lindsey french (she/they) is a settler artist, educator and writer whose work engages in multi- sensory signaling within ecological and technological systems. She has exhibited widely including at the Museum of Contemporary Art (Chicago), the International Museum of Surgical Science (Chicago), Pratt Manhattan Gallery (New York), the Miller Gallery for Contemporary Art (Pittsburgh), and SixtyEight Art Institute (Copenhagen). Recent publications include chapters for Ambiguous Territory: Architecture, Landscape, and the Postnatural (Actar, 2022), Olfactory Art and The Political in an Age of Resistance (Routledge, 2021), Why Look at Plants (Brill, 2019), and poetry for the journal Forty-Five. They earned an interdisciplinary BA in Environment, Interaction, and Design (Hampshire College), and an MFA in Art and Technology Studies (School of the Art Institute of Chicago). Newly based in the prairie landscape of Treaty 4 territory in Regina, Saskatchewan, french teaches as an Assistant Professor in Creative Technologies in the Faculty of Media, Art, and Performance at the University of Regina. 

www.lindseyfrench.com 

Grace Grothaus Is a computational media artist whose research explores ecosystemic human and plant relationships in relation to the present global climate crisis and speculative futures. She is interested in art’s potential to foster empathy with more-than-human worlds. Frequently collaborative, Grace works with scientists, engineers, musicians and other visual and performing artists. Her research-creation is expressed as physical computing installations which take place both outdoors or in the gallery and often center around the sensing and visualization of invisible environmental phenomena. Her artworks have been exhibited widely including at the International Symposium of Electronic Art (Barcelona, ES & Durban, SA), Environmental Crisis: Art & Science (London, UK), Cité Internationale des Arts (Paris, FR), and the World Creativity Biennale (Rio de Janiero, BR). Grothaus has received numerous awards including from the United States National Foundation for Advancement in the Arts. Currently she is working towards a PhD in Digital Media from York University where she has been named a VISTA scholar and a Graduate Fellow of Academic Distinction. 

Dolleen Tisawii’ashii Manning is an interdisciplinary artist and Queen’s National Scholar in Anishinaabe Language, Knowledge, and Culture (ALKC) in the Department of Philosophy and Cultural Studies at Queen’s University. Manning has expertise in Anishinaabe ontology, mnidoo interrelationality, phenomenology, and art. A member of Kettle and Stoney Point First Nation, her primary philosophical influence and source of creativity is her early childhood grounding in Anishinaabe onto- epistemology. She is Principal Investigator of Earthdiver: Land-Based Worlding (MITACS), and Co-Investigator on Pluriversal Worlding with Extended Reality. Manning co-directs the cross- institutional Peripheral Visions Co-Lab (York and Queen’s). She is an affiliate of Revision Centre for Art and Social Justice, and Fellow of The International Institute for Critical Studies in Improvisation (IICSI). 

Mary Bunch is a media artist, Canada Research Chair, and Associate Professor, Cinema and Media Arts at York University. Through theoretical inquiry and collaborative research creation, Bunch mobilizes queer, feminist, disability and decolonial frameworks to better understand peripheral worldmaking imaginaries in media arts and intermedial performance. She is co-editor of a special issue on Access Aesthetics in Public, Principal Investigator on the research creation project Pluriversal Worlding with Extended Reality (SSHRC Insight) and co-investigator on Earthdiver: Land- Based Worlding (MITACS). Dr Bunch is co-director of the Peripheral Visions Co- Lab, Executive Committee member of Sensorium: Centre for Digital Arts and Technology, a core member of Vision: Science to Applications (VISTA), a Fellow at the Bonham Centre for Sexual Diversity Studies, and an Affiliate of Revision Centre for Art and Social Justice. 

Suzanne Morrissette (she/her) (she/her) is an artist, curator, and scholar who is currently based out of Toronto. Her father’s parents were Michif- and Cree-speaking Metis with family histories tied to the Interlake and Red River regions and Scrip in the area now known as Manitoba. Her mother’s parents came from Canadian-born farming families descended from United Empire loyalists and Mennonites from Russia. Morrissette was born and raised in Winnipeg and is a citizen of the Manitoba Metis Federation. As an artistic researcher Suzanne’s interests include: family and community knowledge, methods of translation, the telling of in-between histories, and practices of making that support and sustain life. Her two recent solo exhibitions, What does good work look like? and translations recently opened in Toronto (Gallery 44) and Montreal (daphne art centre) respectively. Her work has appeared in numerous group exhibitions such as Lii Zoot Tayr (Other Worlds), an exhibition of Metis artists working with concepts of the unknowable, and the group exhibition of audio-based work about waterways called FLOW with imagineNATIVE Film + Media Art Festival. Morrissette holds a PhD from York University in Social and Political Thought. She currently holds the position of Assistant Professor and Graduate Program Director for the Criticism and Curatorial Practices and Contemporary Art, Design, and New Media Histories Masters programs at OCAD University. 

www.suzannemorrissette.com 

Joel Ong (PhD, MSc.Bioart) is a media artist whose works connect scientific and artistic approaches to the environment, developed from more than a decade of explorations in sound, installation and socially conscious art. His conceptual explorations revolve around metaphors of distance, connectivity, assiduously reworking this notion of the ‘environment’ – how different tools and scales of observation reveal diverse biotic and abiotic relationalities, and how these continually oscillate between natural and computational worlds. His works have been shown at internationally at the Currents New Media Festival, Nuit Blanche Toronto, Seattle Art Museum, the Gregg Museum of Art and Design, the Penny Stamps Gallery and the Ontario Science Centre etc. Joel is Associate Professor in Computational Arts and Director of Sensorium:The Centre for Digital Arts and Technology at York University, in Toronto, Canada. His research has been funded by such as SSHRC, eCampus Ontario, Women and Gender Equality Canada.   

Rasa Smite and Raitis Smits are Riga and Karlsruhe based artists and co-founders of RIXC Center for New Media Culture in Riga [Latvia], co-curators of RIXC Art and Science Festival, chief-editors of Acoustic Space, as well as co-chairs of recently founded NAIA – Naturally Artificial Intelligence Art association in Karlsruhe, Germany. Together they create visionary and networked artworks – from pioneering internet radio experiments in 1990s, to artistic investigations in electromagnetic spectrum and collaborations with radio astronomers, and more recent “techno-ecological” explorations. Their projects have been nominated (Purvitis Prize 2019, 2021, International Public Arts Award – Euroasia region 2021), awarded (Ars Electronica 1998, Falling Walls – Science Breakthrough 2021) and shown widely including at the Venice Architecture Biennale, Latvian National Museum of Arts, House of Electronic Arts in Basel, Ars Electronica Festival in Linz, and other venues, exhibitions and festivals in Europe, US, Canada and Asia. More recently they both also have been lecturers in MIT ACT – Art Culture Technology program (2018-2021), Boston.

Rasa Smite holds a PhD in sociology of media and culture; her thesis Creative Networks. In the Rear-View Mirror of Eastern European History (11) has been published by The Amsterdam Institute for Network Cultures. Currently she is a Professor of New Media Art at Liepaja University, and Senior Researcher at FHNW Academy of Art and Design in Basel, Switzerland. 

Raitis Smits holds his doctoral degree in arts, and he is a Professor at the Art Academy of Latvia. In 2017 Raitis was a Fulbright Researcher in the Graduate Center of NYC. 

www.smitesmits.com | www.rixc.org 

Now, for the free public events (From the Onsite Gallery ‘more-than-human‘ event page), Note: Some events are being live streamed,

Opening Reception  – Wednesday, February 01 [2023], 6 p.m. to 9 p.m., at Onsite Gallery, 199 Richmond Street West   

Join us for the public launch of the exhibition, with a land acknowledgement and opening remarks.   

more-than human Artists Panel Discussion Part 1  – Thursday, February 02 [2023], 4 p.m. to 6 p.m.  at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

Artists Rasa Smite & Raitis Smits, Grace Grothaus, Suzanne Morrissette and Lindsey french introduce their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Jane Tingley.

Register here: https://bit.ly/3G7xJ65

Multiplicities and plurality: Curator Jane Tingley in Conversation with Dr. Karen Houle  – Thursday, March 23 [2023], 4 p.m. to 6 p.m. at Onsite Gallery, 199 Richmond Street West   

Join Dr Karen Houle for an introductory talk on basic premises of Cartesian humanism followed by an exhibition tour discussion of the artworks in that context with Jane Tingley.   

Register here: https://bit.ly/3ZFhVPI

Screening of Forest Mind followed by Q+A with Ursula Biemann – Friday, April 07 [2023], 12 p.m. to 2 p.m. at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

Forest Mind (31 minutes) tackles the underlying concepts that distinguish the Indigenous knowledge systems from that of modern science, gauging the limits of rationalism which has dominated Western thinking for the last 200 years.  

Register here: https://bit.ly/3ipAWVC

more-than human Artists Panel Discussion Part 2  – Saturday, April 29 [2023], 1 p.m. to 3 p.m.   at Onsite Gallery (199 Richmond Street West) and Live Streamed Online   

Artists Joel Ong, Jane Tingley, Dolleen Tisawii’ashii Manning and Mary Bunch introduce their artworks their works exhibited in more-than-human and engage in a discussion about their practice. Moderated by Lisa Deanne Smith.

Register Here: https://bit.ly/3QwLRsW

Guided Nature and Forest Therapy Walk– Saturday, May 13 [2023], 12 p.m. to 3 p.m.  at High Park, 1873 Bloor Street West  

Join us for a slow paced, sensory-based guided walk that connects you with the healing power of the natural world. Space is limited, advance registration required.   

Registration is limited, free tickets will be released on 1 April [2023] at 12 p.m.: https://bit.ly/3XlyOga

There’s more.

Art/Sci Salon February 28 – May 7, 2023 events

From the January 30, 2023 Art/Sci Salon announcement (received via email), Note: Most of the in-person events take place in Toronto,Ontario,

Mark your calendar for the following events 
(more details coming up soon)

Artsci Dialogues

Ecology, Symbiosis, Human/Plant Relations 

Feb 25 [2023], 3:00-5:00 pm,
The Fields Institute for Research in Mathematical Sciences
[222 College Street · Toronto, Ontario]
In person and Online

Ethics of Care

March 25 [2023], 3:00-5:00 pm
The Fields Institute for Research in Mathematical sciences
In person and Online

Immersive Poetry Performance
Madhur Anand, Karen Houle
animated by Ilze (Kavi) Briede

Apr 5 [2023], 7:30-9:00 pm
The Fields Institute for Research in Mathematical Sciences

Day at rare Charitable Reserve
Panel with artists and scientists,
Workshop led by Dr. Alice Jarry
Guided walk by rare staff and affiliated scientists 

May 7th [2023], rare Charitable [Research] Reserve

[1679 Blair Rd, Cambridge ON]

Should you be curious, you can view the contents of the email here, as of February 1, 2023 (not sure how long this page will be available).