Having been brought up in a somewhat dogmatic religion, I was a bit resistant when I saw ‘religion’ mentioned in the news release but it seems I am being dogmatic. Here’s a definition from the Religion Wikipedia entry (Note: Links have been removed),
Religion is a social-cultural system of designated behaviors and practices, morals, worldviews, texts, sanctified places, prophecies, ethics, or organizations, that relates humanity to supernatural, transcendental, or spiritual elements. However, there is no scholarly consensus over what precisely constitutes a religion.
Most Americans believe science and religion are incompatible, but a recent study suggests that scientific engagement can actually promote belief in God.
Researchers from the Arizona State University Department of Psychology found that scientific information can create a feeling of awe, which leads to belief in more abstract views of God. The work will be published in the September 2019 issue of the Journal of Experimental Social Psychology and is now available online.
“There are many ways of thinking about God. Some see God in DNA, some think of God as the universe, and others think of God in Biblical, personified terms,” said Kathryn Johnson, associate research professor at ASU and lead author on the study. “We wanted to know if scientific engagement influenced beliefs about the existence or nature of God.”
Though science is often thought of in terms of data and experiments, ASU psychology graduate student Jordan Moon, who was a coauthor on the paper, said science might be more to some people. To test how people connect with science and the impact it had on their beliefs about God, the researchers looked at two types of scientific engagement: logical thinking or experiencing the feeling of awe.
The team first surveyed participants about how interested they were in science, how committed they were to logical thinking and how often they felt awe. Reporting a commitment to logic was associated with unbelief. The participants who reported both a strong commitment to logic and having experienced awe, or a feeling of overwhelming wonder that often leads to open-mindedness, were more likely to report believing in God. The most common description of God given by those participants was not what is commonly found in houses of worship: They reported believing in an abstract God described as mystical or limitless.
“When people are awed by the complexity of life or the vastness of the universe, they were more inclined to think in more spiritual ways,” Johnson said. “The feeling of awe might make people more open to other ways of conceptualizing God.”
In another experiment, the research team had the participants engage with science by watching videos. While a lecture about quantum physics led to unbelief or agnosticism, watching a music video about how atoms are both particles and waves led people to report feeling awe. Those who felt awe also were more likely to believe in an abstract God.
“A lot of people think science and religion do not go together, but they are thinking about science in too simplistic a way and religion in too simplistic a way,” said Adam Cohen, professor of psychology and senior author on the paper. “Science is big enough to accommodate religion, and religion is big enough to accommodate science.”
Cohen added that the work could lead to broader views of both science and religion.
Morris Okun, Matthew Scott and Holly O’Rourke from ASU and Joshua Hook from the University of North Texas also contributed to the work. The study was funded by the John Templeton Foundation.
Marcelo Gleiser, a 60-year-old Brazil-born theoretical physicist at Dartmouth College and prolific science popularizer, has won this year’s Templeton Prize. Valued at just under $1.5 million, the award from the John Templeton Foundation annually recognizes an individual “who has made an exceptional contribution to affirming life’s spiritual dimension.” [emphasis mine] Its past recipients include scientific luminaries such as Sir Martin Rees and Freeman Dyson, as well as religious or political leaders such as Mother Teresa, Desmond Tutu and the Dalai Lama.
Across his 35-year scientific career, Gleiser’s research has covered a wide breadth of topics, ranging from the properties of the early universe to the behavior of fundamental particles and the origins of life. But in awarding him its most prestigious honor, the Templeton Foundation chiefly cited his status as a leading public intellectual revealing “the historical, philosophical and cultural links between science, the humanities and spirituality.” He is also the first Latin American to receive the prize.
Scientific American spoke with Gleiser about the award, how he plans to advance his message of consilience, the need for humility in science, why humans are special, and the fundamental source of his curiosity as a physicist.
You’ve written and spoken eloquently about nature of reality and consciousness, the genesis of life, the possibility of life beyond Earth, the origin and fate of the universe, and more. How do all those disparate topics synergize into one, cohesive message for you
To me, science is one way of connecting with the mystery of existence. And if you think of it that way, the mystery of existence is something that we have wondered about ever since people began asking questions about who we are and where we come from. So while those questions are now part of scientific research, they are much, much older than science. I’m not talking about the science of materials, or high-temperature superconductivity, which is awesome and super important, but that’s not the kind of science I’m doing. I’m talking about science as part of a much grander and older sort of questioning about who we are in the big picture of the universe. To me, as a theoretical physicist and also someone who spends time out in the mountains, this sort of questioning offers a deeply spiritual connection with the world, through my mind and through my body. Einstein would have said the same thing, I think, with his cosmic religious feeling.
If you’re interested, this is a wide ranging profile touching on one of the big questions in physics, Is there a theory of everything?
The conference itself will be held from May 22 – 24, 2019 at Arizona State University (ASU) and the deadline for abstracts is January 31, 2019. Here’s the news straight from the January 8, 2019 email announcement,
The Seventh Annual Conference on Governance of Emerging Technologies & Science (GETS)
May 22-24, 2019 / ASU / Sandra Day O’Connor College of Law 111 E. Taylor St., Phoenix, AZ The conference will consist of plenary and session presentations and discussions on regulatory, governance, legal, policy, social and ethical aspects of emerging technologies, including nanotechnology, synthetic biology, gene editing, biotechnology, genomics, personalized medicine, digital health, human enhancement, artificial intelligence, virtual reality, internet of things (IoT), blockchain and much, much more! Submit Your Abstract Here: 2019 Abstract or Conference Website
Call for abstracts:
The co-sponsors invite submission of abstracts for proposed presentations. Submitters of abstracts need not provide a written paper, although provision will be made for posting and possible post-conference publication of papers for those who are interested. Abstracts are invited for any aspect or topic relating to the governance of emerging technologies, including any of the technologies listed above.
· Abstracts should not exceed 500 words and must contain your name and email address. · Abstracts must be submitted by January 31, 2019 to be considered. · The sponsors will pay for the conference registration (including all conference meals and events) for one presenter for each accepted abstract. In addition, we will have limited funds available for travel subsidies (application included in submission form). For more informationcontact our Executive Director Josh Abbott at Josh.Abbott@asu.edu.
Beauty products aren’t usually the first applications that come to mind when discussing graphene or any other research and development (R&D) as I learned when teaching a course a few years ago. But research and development in that field are imperative as every company is scrambling for a short-lived competitive advantage for a truly new products or a perceived competitive advantage in a field where a lot of products are pretty much the same.
Graphene, a naturally black material, could provide a new strategy for dyeing hair in difficult-to-create dark shades. And because it’s a conductive material, hair dyed with graphene might also be less prone to staticky flyaways. Now, researchers have put it to the test. In an article published March 15  in the journal Chem, they used sheets of graphene to make a dye that adheres to the surface of hair, forming a coating that is resistant to at least 30 washes without the need for chemicals that open up and damage the hair cuticle.
Most permanent hair dyes used today are harmful to hair. “Your hair is covered in these cuticle scales like the scales of a fish, and people have to use ammonia or organic amines to lift the scales and allow dye molecules to get inside a lot quicker,” says senior author Jiaxing Huang, a materials scientist at Northwestern University. But lifting the cuticle makes the strands of the hair more brittle, and the damage is only exacerbated by the hydrogen peroxide that is used to trigger the reaction that synthesizes the dye once the pigment molecules are inside the hair.
These problems could theoretically be solved by a dye that coats rather than penetrates the hair. “However, the obvious problem of coating-based dyes is that they tend to wash out very easily,” says Huang. But when he and his team coated samples of human hair with a solution of graphene sheets, they were able to turn platinum blond hair black and keep it that way for at least 30 washes–the number necessary for a hair dye to be considered “permanent.”
This effectiveness has to do with the structure of graphene: it’s made of up thin, flexible sheets that can adapt to uneven surfaces. “Imagine a piece of paper. A business card is very rigid and doesn’t flex by itself. But if you take a much bigger sheet of newspaper–if you still can find one nowadays–it can bend easily. This makes graphene sheets a good coating material,” he says. And once the coating is formed, the graphene sheets are particularly good at keeping out water during washes, which keeps the water from eroding both the graphene and the polymer binder that the team also added to the dye solution to help with adhesion.
The graphene dye has additional advantages. Each coated hair is like a little wire in that it is able to conduct heat and electricity. This means that it’s easy for graphene-dyed hair to dissipate static electricity, eliminating the problem of flyaways on dry winter days. The graphene flakes are large enough that they won’t absorb through the skin like other dye molecules. And although graphene is typically black, its precursor, graphene oxide, is light brown. But the color of graphene oxide can be gradually darkened with heat or chemical reactions, meaning that this dye could be used for a variety of shades or even for an ombre effect.
What Huang thinks is particularly striking about this application of graphene is that it takes advantage of graphene’s most obvious property. “In many potential graphene applications, the black color of graphene is somewhat undesirable and something of a sore point,” he says. Here, though, it’s applied to a field where creating dark colors has historically been a problem.
The graphene used for hair dye also doesn’t need to be of the same high quality as it does for other applications. “For hair dye, the most important property is graphene being black. You can have graphene that is too lousy for higher-end electronic applications, but it’s perfectly okay for this. So I think this application can leverage the current graphene product as is, and that’s why I think that this could happen a lot sooner than many of the other proposed applications,” he says.
Making it happen is his next goal. He hopes to get funding to continue the research and make these dyes a reality for the people whose lives they would improve. “This is an idea that was inspired by curiosity. It was very fun to do, but it didn’t sound very big and noble when we started working on it,” he says. “But after we deep-dived into studying hair dyes, we realized that, wow, this is actually not at all a small problem. And it’s one that graphene could really help to solve.”
Northwestern University’s Amanda Morris also wrote a March 15, 2018 news release (it’s repetitive but there are some interesting new details; Note: Links have been removed),
It’s an issue that has plagued the beauty industry for more than a century: Dying hair too often can irreparably damage your silky strands.
Now a Northwestern University team has used materials science to solve this age-old problem. The team has leveraged super material graphene to develop a new hair dye that is less harmful [emphasis mine], non-damaging and lasts through many washes without fading. Graphene’s conductive nature also opens up new opportunities for hair, such as turning it into in situ electrodes or integrating it with wearable electronic devices.
Dying hair might seem simple and ordinary, but it’s actually a sophisticated chemical process. Called the cuticle, the outermost layer of a hair is made of cells that overlap in a scale-like pattern. Commercial dyes work by using harsh chemicals, such as ammonia and bleach, to first pry open the cuticle scales to allow colorant molecules inside and then trigger a reaction inside the hair to produce more color. Not only does this process cause hair to become more fragile, some of the small molecules are also quite toxic.
Huang and his team bypassed harmful chemicals altogether by leveraging the natural geometry of graphene sheets. While current hair dyes use a cocktail of small molecules that work by chemically altering the hair, graphene sheets are soft and flexible, so they wrap around each hair for an even coat. Huang’s ink formula also incorporates edible, non-toxic polymer binders to ensure that the graphene sticks — and lasts through at least 30 washes, which is the commercial requirement for permanent hair dye. An added bonus: graphene is anti-static, so it keeps winter-weather flyaways to a minimum.
“It’s similar to the difference between a wet paper towel and a tennis ball,” Huang explained, comparing the geometry of graphene to that of other black pigment particles, such as carbon black or iron oxide, which can only be used in temporary hair dyes. “The paper towel is going to wrap and stick much better. The ball-like particles are much more easily removed with shampoo.”
This geometry also contributes to why graphene is a safer alternative. Whereas small molecules can easily be inhaled or pass through the skin barrier, graphene is too big to enter the body. “Compared to those small molecules used in current hair dyes, graphene flakes are humongous,” said Huang, who is a member of Northwestern’s International Institute of Nanotechnology.
Ever since graphene — the two-dimensional network of carbon atoms — burst onto the science scene in 2004, the possibilities for the promising material have seemed nearly endless. With its ultra-strong and lightweight structure, graphene has potential for many applications in high-performance electronics, high-strength materials and energy devices. But development of those applications often require graphene materials to be as structurally perfect as possible in order to achieve extraordinary electrical, mechanical or thermal properties.
The most important graphene property for Huang’s hair dye, however, is simply its color: black. So Huang’s team used graphene oxide, an imperfect version of graphene that is a cheaper, more available oxidized derivative.
“Our hair dye solves a real-world problem without relying on very high-quality graphene, which is not easy to make,” Huang said. “Obviously more work needs to be done, but I feel optimistic about this application.”
Still, future versions of the dye could someday potentially leverage graphene’s notable properties, including its highly conductive nature.
“People could apply this dye to make hair conductive on the surface,” Huang said. “It could then be integrated with wearable electronics or become a conductive probe. We are only limited by our imagination.”
So far, Huang has developed graphene-based hair dyes in multiple shades of brown and black. Next, he plans to experiment with more colors.
Interestingly, the tiny note of caution”less harmful” doesn’t appear in the Cell Press news release. Never fear, Dr. Andrew Maynard (Director Risk Innovation Lab at Arizona State University) has written a March 20, 2018 essay on The Conversation suggesting a little further investigation (Note: Links have been removed),
Northwestern University’s press release proudly announced, “Graphene finds new application as nontoxic, anti-static hair dye.” The announcement spawned headlines like “Enough with the toxic hair dyes. We could use graphene instead,” and “’Miracle material’ graphene used to create the ultimate hair dye.”
From these headlines, you might be forgiven for getting the idea that the safety of graphene-based hair dyes is a done deal. Yet having studied the potential health and environmental impacts of engineered nanomaterials for more years than I care to remember, I find such overly optimistic pronouncements worrying – especially when they’re not backed up by clear evidence.
Tiny materials, potentially bigger problems
Engineered nanomaterials like graphene and graphene oxide (the particular form used in the dye experiments) aren’t necessarily harmful. But nanomaterials can behave in unusual ways that depend on particle size, shape, chemistry and application. Because of this, researchers have long been cautious about giving them a clean bill of health without first testing them extensively. And while a large body of research to date doesn’t indicate graphene is particularly dangerous, neither does it suggest it’s completely safe.
A quick search of scientific papers over the past few years shows that, since 2004, over 2,000 studies have been published that mention graphene toxicity; nearly 500 were published in 2017 alone.
This growing body of research suggests that if graphene gets into your body or the environment in sufficient quantities, it could cause harm. A 2016 review, for instance, indicated that graphene oxide particles could result in lung damage at high doses (equivalent to around 0.7 grams of inhaled material). Another review published in 2017 suggested that these materials could affect the biology of some plants and algae, as well as invertebrates and vertebrates toward the lower end of the ecological pyramid. The authors of the 2017 study concluded that research “unequivocally confirms that graphene in any of its numerous forms and derivatives must be approached as a potentially hazardous material.”
These studies need to be approached with care, as the precise risks of graphene exposure will depend on how the material is used, how exposure occurs and how much of it is encountered. Yet there’s sufficient evidence to suggest that this substance should be used with caution – especially where there’s a high chance of exposure or that it could be released into the environment.
Unfortunately, graphene-based hair dyes tick both of these boxes. Used in this way, the substance is potentially inhalable (especially with spray-on products) and ingestible through careless use. It’s also almost guaranteed that excess graphene-containing dye will wash down the drain and into the environment.
Undermining other efforts?
I was alerted to just how counterproductive such headlines can be by my colleague Tim Harper, founder of G2O Water Technologies – a company that uses graphene oxide-coated membranes to treat wastewater. Like many companies in this area, G2O has been working to use graphene responsibly by minimizing the amount of graphene that ends up released to the environment.
Yet as Tim pointed out to me, if people are led to believe “that bunging a few grams of graphene down the drain every time you dye your hair is OK, this invalidates all the work we are doing making sure the few nanograms of graphene on our membranes stay put.” Many companies that use nanomaterials are trying to do the right thing, but it’s hard to justify the time and expense of being responsible when someone else’s more cavalier actions undercut your efforts.
Overpromising results and overlooking risk
This is where researchers and their institutions need to move beyond an “economy of promises” that spurs on hyperbole and discourages caution, and think more critically about how their statements may ultimately undermine responsible and beneficial development of a technology. They may even want to consider using guidelines, such as the Principles for Responsible Innovation developed by the organization Society Inside, for instance, to guide what they do and say.
If you have time, I encourage you to read Andrew’s piece in its entirety.
Here’s a link to and a citation for the paper,
Multifunctional Graphene Hair Dye by Chong Luo, Lingye Zhou, Kevin Chiou, and Jiaxing Huang. Chem DOI: https://doi.org/10.1016/j.chempr.2018.02.02 Publication stage: In Press Corrected Proof
This paper appears to be open access.
*Two paragraphs (repetitions) were deleted from the excerpt of Dr. Andrew Maynard’s essay on August 14, 2018
In no particular order, here are some Frankenstein bits and bobs in celebration of the 200th anniversary of the publication of Mary Shelley’s book.
The Frankenstein Bicentennial Project
This project at Arizona State University has been featured here a few times and most recently in a October 26, 2016 posting about an artist using a Roomba (robotic vacuum cleaner) in an artistic query and about the Frankenstein at 200 online exhibition.
A free, interactive, multiplatform experience for kids designed to inspire deeper engagement with STEM topics and promote the development of 21st century skills related to creative collaboration and critical thinking.
A collaborative, multimedia reading experiment with Mary Shelley’s timeless tale examining the the scientific, technological, political, and ethical dimensions of the novel, its historical context, and its enduring legacy.
A set of hands-on STEM making activities that use the Frankenstein story to inspire deeper conversations about scientific and technological creativity and social responsibility.
How to Make a Monster
Kathryn Harkup in a February 22, 2018 article about her recent book for the Guardian delves into the science behind Mary Shelley’s Frankenstein (Note: Links have been removed),
The bicentenary of the publication of Mary Shelley’s Frankenstein: or the Modern Prometheus has meant a lot of people are re-examining this brilliant work of science fiction. My particular interest is the science fact behind the science fiction. How much real science influenced Mary Shelley? Could a real-life Victor Frankenstein have constructed a creature?
In terms of the technical aspects of building a creature from scraps, many people focus on the collecting of the raw materials and reanimation stages. It’s understandable as there are many great stories about grave-robbers and dissection rooms as well as electrical experiments that were performed on recently executed murderers. But there quite a few stages between digging up dead bodies and reanimating a creature.
The months of tedious and fiddly surgery to bring everything together are often glossed over, but what virtually no one mentions is how difficult it would have been to keep the bits and pieces in a suitable state of preservation while Victor worked on his creation. Making a monster takes time, and bodies rot very quickly.
Preservation of anatomical material was of huge interest when Frankenstein was written, as it is now, though for very different reasons. Today the interest is in preserving organs and tissues suitable for transplant. Some individuals even want to cryogenically freeze their entire body in case future scientists are able to revive them and cure whatever disease caused their original death. In that respect the aims are not so different from what the fictional Victor Frankenstein was attempting two hundred years ago.
At the time Frankenstein is set, the late 18th century, few people were really thinking about organ transplant. Instead, tissue preservation was of concern for anatomy professors who wanted to maintain collections of interesting, unusual or instructive specimens to use as teaching aids for future students.
She provides fascinating insight into preservation techniques of the 18th century and their dangers,
To preserve soft tissues, various substances were injected into or used to coat or soak the dissected specimen. The substance in question had to be toxic enough to destroy mould and bacteria that could decompose the sample, but not corrosive or damaging to the tissues of the specimen itself.
Substances such as turpentine, mercury metal and mercury salts (which are even more toxic than the pure element) were all employed stop the decay process in its tracks. Killing off bacteria and mould means that some vital process within them has been stopped; however, many processes that are critical to mould and bacteria are also necessary for humans, making these substances toxic to us.
Working in cramped, poorly ventilated conditions with minimal regard for health and safety, the substances anatomical curators were using day in and day out took a serious toll on their health. Anatomical curators were described as emaciated, prematurely aged and with a hacking cough. …
One of the most successful techniques for tissue preservation was bottling in alcohol. …
In the 18th century the University of Edinburgh handed over twelve gallons of whisky annually to the anatomy museum for the preservation of specimens. Possible not all of those twelve gallons made it into the specimen jars. The nature of the curator’s work – the smell, the problems with vermin and toxic fumes – must have made the odd sip of whisky very tempting. Indeed, more than one curator was dismissed for being drunk on the job.
Shelley described Frankenstein working in a small attic room using candlelight to illuminate his work. Small rooms, toxic vapours, alcohol fumes and naked flames are not a healthy combination. No wonder Shelley wrote the work took such a toll on Frankenstein’s health.
The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: Or, Modern Prometheus by Mary Shelley had a huge impact on gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe’en costumes. Even the name ‘Frankenstein’ has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for an extraordinary novel such as Frankenstein?
Clues are dotted throughout Georgian science and popular culture. The years before the book’s publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists.
Making the Monster explores the scientific background behind Mary Shelley’s book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, ‘monsters’ and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation.
The Frankenstein 2018 project is based at Volda University College in Norway, but aims to engage and include people from elsewhere in Norway and around the world.
The project is led by Timothy Saunders, an Associate Professor of English Literature and Culture at Volda University College.
If you would like to get in touch, either to offer comments on the website, to provide information about related projects or activities taking place around the world, or even to offer relevant material of your own, please write to me at email@example.com.
What a great idea and I wish the folks at Volda University College all the best.
The Monster Challenge
Washington University in St. Louis (WUSL; Missouri, US) is hosting a competition to create a ‘new Frankenstein’, from WUSL’s The Monster Challenge webpage,
On June 16, 1816, a 19-year-old woman sat quietly listening as her lover (the poet Percy Bysshe Shelley) and a small group of friends — including celebrated poet Lord Byron — discussed conducting a ghost-story contest. The couple was spending their holiday in a beautiful mansion on the banks of scenic Lake Geneva in Switzerland. As the conversation about ghost stories heated up, a discussion arose about the principle of life. Not surprisingly, the ensuing talk of graves and corpses led to a sleepless night filled with horrific nightmares for Mary Shelley. Later, she recalled her own contest entry began with eight words; “It was on a dreary night in November…” Just two years later, in 1818, that young woman, Mary Shelley, published her expanded submission as the novel Frankenstein, not only a classic of 19th-century fiction, but a work that has enjoyed immense influence on popular culture, science, medicine, philosophy and the arts all the way up to the present day.
THE MONSTER CHALLENGE
Commemorating the 200th anniversary of the novel’s publication in 1818, Washington University is hosting a competition open to WU students (full time and registered in fall 2018), both undergraduate and graduate. The submission deadline is October 15, 2018.
The prompt for our own WU “Monster Challenge” is “The New Frankenstein”:
If you learned of a contest today, similar to the one that inspired the publication of Mary Shelley’s Frankenstein in 1818, what new Frankenstein would you create? Winning entries will be those best exemplifying the spirit, tone and feeling of Frankenstein for our age.
Submissions are eligible in two categories: written (including poetry, fiction, nonfiction and theater; 5000 word limit) and visual (including new media, experimental media, sound art, performance art, and design). Only one submission is allowed per student or student collaboration group. The winners will be determined by a jury of faculty members and announced in the fall 2018 semester. Winning entries will also be featured on the Frankenstein Bicentennial website (frankenstein200.wustl.edu).
Through the generosity of Provost Holden Thorpe’s office, winners will receive a cash prize as well as the opportunity to have their submission read, exhibited, and/or performed during the fall 2018 semester. Prizes are as follows:
WRITTEN CATEGORY VISUAL CATEGORY
Grand Prize: $1000 Grand Prize: $1000
2nd Prize: $500 2nd Prize: $500
3rd Prize: $250 3rd Prize: $250
HOW TO SUBMIT
Please review the guidelines below and download the appropriate submission form … for your project.
All submissions are due by 3 pm on October 15, 2018.
Only one submission is allowed per student or student collaboration group.
Electronic submissions should be emailed to firstname.lastname@example.org along with the appropriate submission form (right).
Non-electronic submissions should be dropped off at the Performing Arts Department in Mallinckrodt Center, Room 312 (specific dates and times to be determined). All applicants submitting work here must also send an email to email@example.com with a digital image of the work and the appropriate submission form (right). Entries should fit into a case 74″ w x 87″ h x 23″ d. For exceptions, please contact Professor Patricia Olynyk (firstname.lastname@example.org).
For additional information about the contest, please contact the Interdisciplinary Project in the Humanities: email@example.com.
One of the most famous literary works of the last two centuries, Mary Shelley’s Frankenstein (1818) permeates our cultural imagination. A man of science makes dead matter live yet abandons his own creation. A creature is composed of human body parts yet denied a place in human society. The epic struggle that ensues between creator and creature poses enduring questions to all of us. What do we owe our non-human creations? How might the pursuit of scientific knowledge endanger or empower humanity? How do we combine social responsibility with our technological power to alter living matter? These moral quandaries drive the novel as well as our own hopes and fears about modernity.
Over the last 200 years, Frankenstein has also become one of our most culturally productive myths. The Black Frankenstein became a potent metaphor for racial otherness in the 19th century and remains so to this day. From Boris Karloff as the iconic Monster of 1931 to the transvestite Dr. Frank-N-Furter in The Rocky Horror Picture Show of 1975, the novel has inspired dozens of films and dramatizations. Female poets from Margaret Atwood to Liz Lochhead and Laurie Sheck continue to wrestle with the novel’s imaginative possibilities. And Frankenstein, of course, permeates our material culture. Think no further than Franken Berry cereal, Frankenstein action figures, and Frankenstein bed pillows.
Please join us at Washington University in St. Louis as we celebrate Mary Shelley’s iconic novel and its afterlives with a series of events organized by faculty, students and staff from across the arts, humanities and life sciences. Highlights include the conference Frankenstein at 200, sponsored by the Center for the Humanities; a special Frankenstein issue of The Common Reader; a staging of Nick Dear’s play Frankenstein; the symposium The Curren(t)cy of Frankenstein, sponsored by the Medical School; a film series; several lectures; and exhibits designed to showcase the university’s museum and library collections.
This site aggregates all events related to the celebration. Please visit again for updates!
They do have a page for Global Celebrations and while the listing isn’t really global at this point (I’m sure they’re hoping that will change) it does open up a number of possibilities for Frankenstein aficionados, experts, and enthusiasts,
Technologies of Frankenstein
Stevens Institute of Technology, College of Arts and Letters and IEEE History Center
The 200th anniversary year of the first edition of Mary Shelley’s Frankenstein: Or, The Modern Prometheus has drawn worldwide interest in revisiting the novel’s themes. What were those themes and what is their value to us in the early twenty-first century? In what ways might our tools of science and communication serve as an “elixir of life” since the age of Frankenstein?
Frankenstein@200 is a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today..
San Jose State University, Santa Clara University, and University of San Francisco
During 2018, the San Francisco Bay area partners will host The Frankenstein Bicentennial. The novel brings together STEM fields with humanities & the arts in such a way to engage almost every discipline and major. The project’s events will address timely issues of our world in Silicon Valley and the advent of technology – a critical topic with questions important to our academic, regional and world communities. The novel, because it has been so popular for 200 years, lives on in discussions about what it means to be human in a digital world.
Next performance: Monday Feb. 26, 2018; 7 PM
Extended through 2018!
“..it is a success of a show that should be considered
something great in the realm of musical theater.”
“A musical love letter”
– Local Theatre NY
“…infused with enough emotion to send chills down the spine…”
– Local Theatre NY
““ an ambitious theater piece that is refreshingly buoyed up by its music””
– Theater Scene
a new Off-Broadway musical by Eric B. Sirota
based on Mary Shelley’s classic novel
Presented by John Lant, Tamra Pica & Write Act Repertory
at St. Luke’s Theater in the heart of the theatre district
. . . a sweeping romantic musical, about the human need for love and companionship,
which honors its source material.
Performances Monday nights at 7 PM
tickets to performances into March currently on sale
(scroll down for performance schedule)
Contact us for Special Group Sales and Buyouts at: info@TheFrankensteinMusical.com
St. Luke’s Theatre
an Off-Broadway venue in the heart of the theatre district on “Restaurant Row”
308 West 46th Street (btwn. 8th and 9th Ave.)
– Book, Music & Lyrics: Eric B. Sirota
-Additional lyrics: Julia Sirota
– Director: Clint Hromsco
– Music Director: Austin Nuckols
(original music direction by Anessa Marie)
– Producer: John Lant, Tamra Pica and Write Act Repertory
– CAST: Jon Rose, Erick Sanchez-Canahuate, Gabriella Marzetta, Stephan Amenta, Cait Kiley, Adam Kee, Samantha Collette, Amy Londyn, Stephanie Lourenco Viegas, Bryan S. Walton
Eric Sirota developed Frankenstein under the working title of “Day of Wrath”, an Official Selection of the 2015 New York Musical Theatre Festival’s Reading Series
Feb 26, Mon; 7 PM
Mar 5, Mon; 7 PM
Tickets to later dates on sale soon. . .
March 12, 19, 24
April 2, 9, 16, 23, 30
May . . .
Jun . . .
running though 2018
2018 – Frankenstein bicentennial year!
The Purgatory Press*
The Purgatory Press blog’s* John Culbert (author and lecturer at the University of British Columbia) wrote a January 1, 2018 essay celebrating and examining Mary Shelley’s classic,
She was born in 1797, toward the end of the Little Ice Age. Wolves had been extirpated from the country, but not so long ago that one could forget. Man’s only predator in the British Isles was now a mental throwback. Does the shadow of extinction fall on the children of perpetrators? What strange gap is left in the mind of men suddenly raised from the humble status of prey?
In the winter of her sixteenth year, the river Thames froze in London for the last time. The final “Frost Fair,” a tradition dating back centuries, was held February 1814 on the river’s hard surface.
The following year, a volcano in present-day Indonesia erupted. It was the most powerful and destructive event of its kind in recorded history. Fallout caused a “volcanic winter” across the Northern Hemisphere. In 1816 – “the year without a summer” – she was in Switzerland, where she began writing her first novel, Frankenstein, published 200 years ago today — on January 1st, 1818.
Fascinating, yes? I encourage you to read the whole piece.
3–8 April (with special events on 28 March and 27–28 April)
The Science Museum is celebrating the 200th anniversary of Mary Shelley’s Frankenstein or the Modern Prometheus with a free festival exploring the science behind this cultural phenomenon.
Through immersive theatre, experimental storytelling and hands-on activities visitors can examine the ethical and scientific questions surrounding the artificial creation of life. Families can step in Doctor Frankenstein’s shoes, creating a creature and bringing it to life using stop motion animation at our drop-in workshops.
In the Mystery at Frankenstein’s Lab visitors can solve puzzles and conduct experiments in an escape room-like interactive experience. Visitors are also invited to explore the Science Museum as you’ve never heard it before in It’s Alive, an immersive Frankenstein-themed audio tour. Both these activities have limited availability so pre-booking is advised.
In Pandemic, you decide how far Dr Victor should go to tackle a virus sweeping the world. Is it right to create new life to save others? You decide where to draw the line in this choose-your-own-adventure experience. Visitors can also see Humanity 2.0, a play created and performed by actor Emily Carding. Set in a post-apocalyptic future, the play examines what could happen if a benevolent AI recreated humanity.
As part of the festival, visitors will meet researchers at the cutting-edge of science—from bio chemists who manipulate DNA to engineers creating artificial intelligence—and discover fascinating scientific objects with our curators which could have influenced Shelley.
The Frankenstein Festival will run daily from 3–8 April at the Science Museum and is supported by players of People’s Postcode Lottery. Tickets for activities with limited availability are available from sciencemuseum.org.uk/Frankenstein.
Our free adult-only Frankenstein Lates on 28 March will focus on the darker themes of Shelley’s iconic novel, with the Promethean Tales Weekend on 27–28 April, featuring panel discussions and special screenings of Terminator 2: Judgement Day and The Curse of Frankenstein in our IMAX cinema.
Frankenstein Festival activities include:
An immersive audio tour created by Cmd+Shift in collaboration with the Science Museum. The tour takes 45 minutes and is limited to 15 people per session. Recommended for ages 8+. Tickets cost £3 and are available here.
Mystery at Frankenstein’s Lab
This interactive, theatrical puzzle experience has been created by Atomic Force Productions, in collaboration with the Science Museum. Each session lasts 45 minutes and is limited to 10 people per session. Recommended for ages 12+, under 16s must be accompanied by an adult. Tickets cost £10 and are available here.
Create Your Own Creature
Get hands on at our drop-in workshops and create your very own creature. Then bring your creature to life with stop motion animation. This activity takes approximately 20 minutes and is suitable for all ages.
Humanity 2.0 (3–5 April)
Step into a dystopian future and help shape the future of humanity in this unique interactive play created and performed by Emily Carding. Her full body make-up was created by award winning body painter Victoria Gugenheim in collaboration with the Science Museum. The play has a run time of 45 minutes and is recommended for ages 12+.
Pandemic (5–8 April)
This choose-your-own-adventure film puts you in control of a psychological thriller. Your decisions will guide Dr Victor on their quest to create artificial life.
Pandemic was created by John Bradburn in collaboration with the Science Museum. The film contains moderate psychological threat and horror sequences that some people may find disturbing. The experiences lasts 45 minutes and is recommended for ages 14+. Tickets are free and are available here.
Frankenstein Festival events include:
Wednesday 28 March, 18.45–22.00
Join us for a fun free evening of events, workshops and screenings as we ask the question ‘should we create life’.
Lates is a free themed-event for adults at the Science Museum on the last Wednesday of each month. Find out more about Lates at sciencemuseum.org.uk/Lates.
Artificial Life: Should We, Could We, Will We?
Wednesday 28 March as part of the Frankenstein Lates
A panel of expert scientists and researchers will discuss artificial life. Just how close are we to creating fully synthetic life and will this be achieved by biological or digital means?
Discussing those questions will be Professor of Cognitive Robotics at Imperial College and scientific advisor for the hit movie Ex Machina Murray Shanahan, Vice President of the International Society for Artificial Life Susan Stepney and Lead Curator of the Science Museum’s acclaimed 2017 exhibition Robots Ben Russell. Further speakers to be announced.
Promethean Tales Weekend
Terminator 2: Judgement Day + Panel Discussion
Friday 27 April, 19.30–22.35 (Doors open 19.00)
Tickets: £8, £6 Concessions
Age 15 and above
In part one of our Promethean Tales Weekend celebrating the 200th anniversary of Mary Shelley’s Frankenstein, we will be joined by a panel of experts in science, film and literature to discuss the topic of ‘Promethean Tales through the ages’ ahead of a screening of Terminator 2: Judgement Day.
The Curse of Frankenstein and Q&A with Sir Christopher Frayling
Saturday 28 April, 18.00–20.30 (Doors open 17.30)
Tickets: £8, £6 Concessions
In part two of our Promethean Tales Weekend, we are joined by Sir Christopher Frayling, author of Frankenstein: The First Two Hundred Years, to discuss the life and work of Shelley, the origins of her seminal story and its cultural impact.
The screening of The Curse of Frankenstein will be followed by a book signing with copies of Sir Christopher’s book available to purchase on the night.
You can find out more about the festival and get tickets to events, here.
This initiative seems like a lot of fun, from the Frankenreads homepage,
Frankenreads is an NEH [US National Endowment for the Humanitities]-funded initiative of the Keats-Shelley Association of America and partners to hold a series of events and initiatives in honor of the 200th anniversary of Mary Shelley’s Frankenstein, featuring especially an international series of readings of the full text of the novel on Halloween 2018.
They have a very open approach as their FAQs webpage attests to,
Why host a Frankenreads event?
Frankenstein, or, The Modern Prometheus appeals to both novice and expert readers alike and is a work that remains highly relevant to contemporary issues. Thus it is perhaps no surprise that (according to the Open Syllabus project) Frankenstein is the most frequently taught work of literature in college English courses and the fifth most frequently taught book in college courses in all disciplines. It is certainly one of the most read British novels in the world. Hosting a Frankenreads event is an easy way both to celebrate the 200th anniversary of this important work and to foster discussion about issues such as ethics in science and the human tendency to demonize the unfamiliar. By participating in Frankenreads, you can make sure that your thoughts about Frankenstein are part of a global conversation.
What kind of event can I host?
You can host any kind of event you like! Below are some suggestions. Click on the event type for further guidance.
Complete Reading — A live, all-day reading (about 9 hours) of the full text of Frankenstein
Viewing — A community viewing on Halloween 2018 of the livestream of the NEH reading or other online events
Other — Whatever other kind of in-person or online event you can think of!
Should I hold in-person events or online events?
Either or both! We encourage you to record in-person events and upload video to our YouTube channel. We will also be providing advice on holding events via Google Hangouts.
When should I hold the event?
You can hold a Frankenreads event any time you like, but we encourage you to schedule an event during Frankenweek: October 24-31, 2018.
Why post my event on the Frankenreads website?
Posting your event on the Frankenreads website enables the Frankenreads team to publicize your event widely, to give you help with your event, and to connect you with others who are holding nearby or similar events.
How do I post my event on the Frankenreads website?