Currently, the deadline is July 26, 2019. For information about the call, there’s a July 6, 2019 ArtSci Salon announcement (received via email) about the call). Note: Both the Art/Sci Salon and CQAM are located in Toronto, Ontario but this is not limited to Canadian artists as far as I can tell,
Please, see this quick call!! this is for existing artworks: do you have any math-related digital work/photography/drawing/ in high res? please consider submitting!!!
Call for Artworks Fields CQAM – ArtSci Salon deadline: July 26, 2019
The Fields Centre for Quantitative Analysis and Modeling and ArtSci Salon are looking for Mathematically related, Mathematically inspired, or Mathematically informed artworks to feature on a limited series of cards and small prints.
Fields CQAM (CQAM https://www.cqam.ca/ … is a research centre comprised of 11 labs pairing leading researchers and industry from across Ontario, simultaneously training a new pool of quantitative scientists while enabling rapid translation of innovations from idea to implementation. Mathematical modeling data analytics and visualization, geometry processing and fabrication, health analytics, and human machine interaction are only a few of the diverse research fields the centre is engaged in. Please, check their website …for more information.
The artwork will be printed on cards. A limited number of bigger prints will be distributed to volunteers who have made an outstanding contribution to Fields CQAM. The selected artist will receive an honorarium of $300 – $500 [CAD].
– Artworks can engage with a variety of topics in mathematics. For instance, they can complement themes explored by CQAM labs.
– Acceptable formats are: Black & White or Color digitally generated artworks (like visualizations, or digitally produced illustrations); reproductions of paintings and other canvas-based work; photographic work; drawings and other illustrations etc. Artworks must be high res (see below)
– Size can vary (5X7in, 4X6in, 5x5in, 3×3 etc., keep in mind that the artwork must fit a rectangular or squared-shaped – card).
If you’re in Ottawa on May 18, 2019 and available from 1 – 1:30 pm and have paid your entry fee to the Canada Science and Technology Museum, there’s a special talk. From a ‘Curiosity on Stage’ event page,
Have you ever wondered what it’s like to work in the fields of science, technology, engineering, and math? Curiosity on Stage is a series of short, interactive presentations that brings you face-to-face with researchers and innovators. Each week, a featured speaker delivers an engaging presentation followed by an interactive Q-and-A session. Curiosity on Stage invites you to learn directly from people working in the science and technology-related fields. Find out what they do and why it matters – and leave inspired by their stories of curiosity, overcoming obstacles, and innovation.
While everyone is welcome on the Demo Stage, this program is recommended for ages 10+.
This week: Juan Geuer: The Science of Art
[Speaker:] Wendy Moir, Ottawa Art Gallery
Wendy Moir earned her Master’s degree in art history from Carleton University and a Bachelor of Arts in art history and English literature at Queen’s University. She is passionate about art education and has taught visual literacy at galleries in Kingston, Halifax, and Ottawa since 2003. Wendy currently teaches Canadian art history in the diploma program at the Ottawa School of Art and is an educator at the Ottawa Art Gallery.
This week, Wendy will be showcasing the work of Juan Geuer. Juan Geuer’s art, along with seven other artists he either collaborated with, influenced, or worked with in parallel, is showcased in the Ottawa Art Gallery exhibition Carbon + Light: Juan Geuer’s Luminous Precision. This presentation discusses his life in the National Capital Region and his ground-breaking artwork that sits at the threshold between science and art.
I’d never heard of Juan Geuer before but the title for the current exhibition of his work at the Ottawa Art Gallery immediately caught my attention, CARBON + LIGHT JUAN GEUER’S LUMINOUS PRECISION. Here’s the description from the exhibition webpage,
March 9 – August 18, 2019
Canadian artist Juan Geuer’s groundbreaking work sits in the threshold between science and art.
It bridges the human condition, in all its various states, and the carbon-based ecosystems and oxygenated atmospheres upon which we depend.
The exhibition Carbon + Light celebrates this artist’s significant legacy as a fearless truth seeker. Through his inventive approach to installation, he pointed out the onset of the Anthropocene long before the term emerged to denote the geological period in which we now find ourselves embedded. Here, Geuer’s work will be in dialogue with artists with whom he either collaborated, influenced, or worked with in parallel, from Michael Snow to Catherine Richards.
The exhibition will also showcase the importance of Ottawa as the site within which Geuer’s surprising practice emerged, suggesting that time and location were instrumental to his ability to develop his unique investigation.
The National Gallery of Canada (also in Ottawa) Has collected some of Geuer’s work and has a biography,
Juan Geuer’s goal is “to study our perception beyond science and art and to investigate our creative ability for adapting new visions”.
For Juan Geuer science is an activity as creative, inspired, and dependent upon perception as art. He is interested in the parallels between scientists and artists and their respective involvements with observation — their attempts to view nature in ways ever more complete, the scientist with apparatus, formulae and statistics, the artist by attention and understanding of the filters that colour perception.
Juan Geuer was brought up in a family of Dutch artists and became himself an artist, working first in glass in the 1940s and later turning to easel painting and murals. He left Holland with his family just before the beginning of World War II and immigrated to Bolivia.
By the time he came to Canada in 1954, he had traveled widely and tried his hand at several professions. In Canada, he worked as a draftsman at the Dominion Observatory of the National Research Council through the late 50s, the 60s and the70s, where he was exposed daily to the beauties and intricacies of science. Having only a little academic background in science, he learned from the scientists and, always an independent thinker, drew his own conclusions. Geuer maintains that both science and art are creative endeavours requiring of their practitioners an open-mindedness and a willingness to accept nature’s surprises.
By the 1960s, Geuer had become disenchanted with the idea of producing art as a commodity for sale to a limited public; he began to seek alternatives that might better reflect the creativity in everyday life. Eventually he began to view his scientific activity as inseparable from his art. He turned from painting to making more conceptual work in the early 1970s. Juan Geuer’s interest in finding a meeting ground between science and art is clearly stated as a mission of his company, The Truth-Seeker Company, formed in 1973. Geuer sees science as a theoretical network of systems that can only be verified by referral to the real world, or nature. But that which we know as nature is still only a concept based on the perceptions of our senses. Science can extend sensory perception by instruments that enable us to observe and analyze nature, thereby enriching our understanding of it.
Conversely, art for Geuer requires an open attitude to nature, a willingness to accept what is given, if the artist is to act “as the mirror which transmutes itself into as many colours as exist in the things placed before it,” (Leonardo da Vinci’s quote on an artist’s purpose). Geuer reaffirms in his art the necessity of humanity maintaining an honest dialogue with nature.
Some of Geuer’s works incorporate scientific apparatus. Other works use or analyze natural phenomena, like the colours of polarized light or earthquake activity. For Geuer, the equipment and methods of science can be useful to the artist who cares to understand them and to use them to allow the ordinary person entry into the universes that science can reveal.
In Karonhia, 1990, a work owned by the National Gallery, a simple scientific device is at work in aid of the observation of nature – mirrors. The mirrors are positioned with precision to reflect the sky, providing an opportunity for observation of its changing colours and weather conditions. Designed in response to the conditions of the architecture, Karonhia which means “sky” in the Mohawk language, frames and reflects the sky in four directions from four observation points, providing a constant daytime show of natural visual phenomena that draws visitors’ attention to an aspect of nature that is sometimes taken for granted.
H20, another work in the Gallery’s collection incorporates sophisticated and original equipment used for the observation of another natural phenomenon, water. Laser light is passed through a drop of water as it forms, swells and falls from a controlled source. The water drop acts as both lens and image. Its image is projected onto a wall by the laser light passing through it, where the viewer can watch it, large-scale. The magnification is itself fascinating – one can see the surface tension of the drop, a force that for Geuer is a dynamic and mysterious force, believed to be based on hydrogen bonding, that permeates all biological processes. One might also see bacteria and other matter if they are present – each drop becomes a unique microcosm, observable for the duration of its existence. In H20, Geuer brings the unimaginable into a form that can be perceived and contemplated.
Geuer has extensively exhibited his work both within Canada and internationally, in solo and group exhibitions. Key among his exhibitions were his showing of several pieces at the List Visual Arts Centre of MIT in 1986 and his solo exhibition in Rotterdam at the Museum Boymans-van Beuningen in 1985.
I’m going to end this post with a link to a film made by Ed Folger about one of Geuer’s most seminal works, WIS (Water in Suspense) but first, there’s this excerpt from a May 7, 2009 obituary on Canadian Broadcasting Corporation (CBC) online news,
Ed Folger, who is finishing a video that documents one of Geuer’s pieces, said Geuer was intent on showing people the underlying rhythms of the earth and making the imperceptible visible.
Geuer saw art in lasers and swinging pendulums and used them, along with mirrors, in many of his creations.
“If you just look at a drop of water, you can’t see the movement of the molecules, but if you put a laser through it, these fabulous patterns are projected out,” said Folger.
One of Geuer’s seminal pieces — a seismometer that records motion — is permanently installed at the Ottawa Art Gallery.
“Wonderment! He kept using that word over and over again. Wonderment. It’s what people should feel,” said Folger.
Unfortunately, much of Geuer’s work is too complicated to be shown often, said Folger.
Geuer’s website describes one creation, Hellot Glasses, made in 1996, as small mirrors that allow viewers to “live vicariously in one another’s gaze.”
In an interview he gave at the age of 91, Geuer gave a hint of how it might feel to look through his own gaze.
“Every day, I get up with this wonderful feeling, and I think I can do something new today, something nobody else has done. I will find something,” he said.
We live in strange times. We mourn for the countless lives we are losing to extinction, famine, severe weather and disease; we celebrate the possibility that science may assist us in preserving what we have and in regenerating what is no more. We aspire to re-create long gone species and proceed to create new one. Biotechnologies both terrify and invigorate us. We are torn between creating risk free futures and taking exciting Promethean risks. We claim that biotech can create a more democratic society; yet, we are increasingly racist, sexist and classist.
What’s at stake? How can life unfold from here? How do we reinterpret and re-imagine it? Join us for a series of brief presentations and a following juicy discussion. There will be refreshments. …And juice
Joana Magalhães Institute of Biomedical Research, A Coruña (INIBIC)
Polona Tratnik Research Institute for Humanities, Alma Mater Europaea, Ljubljana
Roberta Buiani Centre for Feminist Research, York University, Toronto
Dolores Steinman Biomedical Simulation Lab (BSL)
Tuesday, April 30 5.30 pm OCADU (Ontario College of Art and Design University) DF Salon, Room 701K (7th floor) 205 Richmond St W
Roberta Buiani (PhD Communication and Culture, YorkU) is an interdisciplinary artist, media scholar and curator based in Toronto. She is the co-founder of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto) and co-organizer of LASER Toronto. Her recent SSHRC-funded research creation project draws on feminist technoscience and on collaborative encounters across the sciences and the arts to investigate emerging life forms exceeding the categories defined by traditional methods of classification. Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centres and galleries (the Free Gallery Toronto; Immigrant Movement International, Queens, Myseum of Toronto), and science institutions (RPI; the Fields Institute). Her writing has appeared on Space and Culture, Cultural Studies and The Canadian Journal of Communication among others. With the ArtSci Salon she has launched a series of experiments in “squatting academia”, by re-populating abandoned spaces and cabinets across university campuses with SciArt installations. Currently, she is a research associate at the Centre for Feminist Research at York University. ArtSci Salon website: https://artscisalon.com Personal http://atomarborea.net
Joana Magalhães holds a B.Sc. in Biology and a Ph.D. in Biochemistry and Molecular Biology. She is a Postdoctoral Researcher at the Institute of Biomedical Research of A Coruña, Spain, working in the field of regenerative medicine strategies for osteoarthritis. Previous positions include a Postdoctoral Fellowship at the Spanish Networking Biomedical Center and a Marie Curie PhD Fellowship at the Spanish Council for Scientific Research. In parallel with her scientific career, she develops STEAM-for-health media strategies from a gender perspective that received several national and international awards (Science on Stage 2017 for Radio, Press and TV or SCI-DOC Festival Mention of honour Women in Science Category 2018). Currently, she is Correspondent for “Women in Science” at Efervesciencia Radio Program. Moreover, she was a scientist-in-residence at Fundación Luis Seoane and Artesacía Theatrical Company for “TRANSCÉNICA” – I Transmedia Creators Meeting (2015). She is the Spanish Representative at the Young Scientist Forum – European Society of Biomaterials and Board Member of the Association of Women in Science and Technology (AMIT) – Galician Node. http://jomagellan.tumblr.com
Dolores Steinman Biomedical Simulation Lab, University of Toronto.
Dr. Steinman’s involvement with the Biomedical Simulation Laboratory
(BSL), at the University of Toronto, is based on her experience as an MD
(Romania) and PhD in Cell Biology (Canada) that led her to contribute
in situating the BSL’s “patient-specific” computer-based simulations in
the socio-historical, ethical and aesthetic context of medical imaging
Polona Tratnik, Ph.D., is Dean of Alma Mater Europaea – Institutum Studiorum Humanitatis, Faculty and Research Institute for Humanities, Ljubljana [Slovenia], where she is a Professor and Head of Research as well. She also teaches courses at the Faculty for Media and Communication at Singidunum University in Serbia, at the Academy of Fine Arts and Design of the University of Ljubljana, at the Faculty of Education of the University of Maribor and at the Faculty for Design of the University of Primorska. She used to be the Head of the Department for Cultural Studies at the Faculty for Humanities of the University of Primorska. In 2012 she was a Fulbright Visiting Scholar, as well as a Guest Professor at the University of California Santa Cruz. She was a Guest Professor also at the Capital Normal University Bejing (China), at the Faculty for Art and Design Helsinki TAIK (Finland), and at the Universidad Nacional Autónoma de México(Mexico City). She is president of the Slovenian Society of Aesthetics (since 2011) and an Executive Committee Member of the International Association of Aesthetics. She has authored seven monographs and one proceeding as single author, including the Hacer-vivir más allá del cuerpo y del medio (Mexico City: Herder, 2013), Art as Intervention(Sophia, 2017) and Conquest of Body. Biopower with Biotechnology (Springer, 2017). Polona Tratnik is a pioneer bio artist exhibiting worldwide at shows such as Ars Electronica festival and BEAP festival in Perth .http://www.polona-tratnik.si
It should be a stimulating discussion although I am curious as to about omission from this list: “… biotech can create a more democratic society; yet, we are increasingly racist, sexist and classist. ” What about age or, more specifically, ageism? Maybe next time, eh?
A new performance that explores the world of quantum physics will feature the music of the Jupiter String Quartet, a fire juggler and a fantastical “Alice in Quantumland” scene.
“Quantum Rhapsodies,” the vision of physics professor Smitha Vishveshwara, looks at the foundational developments in quantum physics, the role it plays in our world and in technology such as the MRI, and the quantum mysteries that remain unanswered.
“The quantum world is a world that inspires awe, but it’s also who we are and what we are made of,” said Vishveshwara, who wrote the piece and guided the visuals.
The performance will premiere April 10  as part of the 30th anniversary celebration of the Beckman Institute for Advanced Science and Technology. The event begins with a 5 p.m. reception, followed by the performance at 6 p.m. and a meet-and-greet with the show’s creators at 7 p.m. The performance will be in the atrium of the Beckman Institute, 405 N. Mathews Ave., Urbana, [emphases mine] and it is free and open to the public. While the available seating is filling up, the atrium space will allow for an immersive experience in spite of potentially restricted viewing.
The production is a sister piece to “Quantum Voyages,” a performance created in 2018 by Vishveshwara and theatre professor Latrelle Bright to illustrate the basic concepts of quantum physics. It was performed at a quantum physics conference celebrating Nobel Prize-winning physicist Anthony Leggett’s 80th birthday in 2018.
While “Quantum Voyages” was a live theater piece, “Quantum Rhapsodies” combines narration by Bright, video images and live music from the Jupiter String Quartet. It ponders the wonder of the cosmos, the nature of light and matter, and the revolutionary ideas of quantum physics. A central part of the narrative involves the theory of Nobel Prize-winning French physicist Louis de Broglie that matter, like light, can behave as a wave.
The visuals – a blend of still images, video and animation – were created by a team consisting of the Beckman Visualization Laboratory; Steven Drake, a video producer at Beckman; filmmaker Nic Morse of Protagonist Pizza Productions; and members of a class Vishveshwara teaches, Where the Arts Meet Physics.
The biggest challenge in illustrating the ideas in the script was conveying the scope of the piece, from the galactic scale of the cosmos to the subatomic scale of the quantum world, Drake said. The concepts of quantum physics “are not something you can see. It’s theoretical or so small you can’t put it under a microscope or go out into the real world and film it,” he said.
Much of the work involved finding images, both scientific and artistic, that would help illustrate the concepts of the piece and complement the poetic language that Vishveshwara used, as well as the music.
Students and teaching assistant Danielle Markovich from Vishveshwara’s class contributed scientific images and original paintings. Drake used satellite images from the Hubble Space Telescope and other satellites, as well as animation created by the National Center for Supercomputing Applications in its work with NASA, for portions of the script talking about the cosmos. The Visualization Laboratory provided novel scientific visualizations.
“What we’re good at doing and have done for years is taking research content and theories and visualizing that information. We do that for a very wide variety of research and data. We’re good at coming up with images that represent these invisible worlds, like quantum physics,” said Travis Ross, the director of the lab.
Some ideas required conceptual images, such as footage by Morse of a fire juggler at Allerton Park to represent light and of hands moving to depict the rotational behavior of water-based hydrogen within a person in an MRI machine.
Motion was incorporated into a painting of a lake to show water rippling and light flickering across it to illustrate light waves. In the “Alice in Quantumland” sequence, a Mad Hatter’s tea party filmed at the Illini Union was blended with cartoonlike animated elements into the fantasy sequence by Jose Vazquez, an illustrator and concept artist who works in the Visualization Lab.
“Our main objective is making sure we’re representing it in a believable way that’s also fun and engaging,” Ross said. “We’ve never done anything quite like this. It’s pretty unique.”
In addition to performing the score, members of the Jupiter String Quartet were the musical directors, creating the musical narrative to mesh with the script. The music includes contemplative compositions by Beethoven to evoke the cosmos and playful modern compositions that summon images of the movements of particles and waves.
“I was working with such talented people and creative minds, and we had fun and came up with these seemingly absurd ideas. But then again, it’s like that with the quantum world as well,” Vishveshwara said.
“My hope is not necessarily for people to understand everything, but to infuse curiosity and to feel the grandness and the beauty that is part of who we are and the cosmos that we live in,” she said..
Here’s a preview of this free public performance,
How to look at SciArt (also known as, art/science depending on your religion)
There’s an intriguing April 8, 2019 post on the Science Borealis blog by Katrina Vera Wong and Raymond Nakamura titled: How to look at (and appreciate) SciArt,
The recent #SciArt #TwitterStorm, in which participants tweeted their own sciart and retweeted that of others, illustrated the diversity of approaches to melding art and science. With all this work out there, what can we do, as advocates of art and science, to better appreciate sciart? We’d like to foster interest in, and engagement with, sciart so that its value goes beyond how much it costs or how many likes it gets.
An article by Kit Messham-Muir based on the work of art historian Erwin Panofsky outlines a three-step strategy for looking at art: Look. See. Think. Looking is observing what the elements are. Seeing draws meaning from it. Thinking links personal experience and accessible information to the piece at hand.
Looking and seeing is also part of the Visual Thinking Strategies (VTS) method originally developed for looking at art and subsequently applied to science and other subjects as a social, object-oriented learning process. It begins by asking, “What is going on here?”, followed by “What do you see that makes you think that?” This allows learners of different backgrounds to participate and encourages the pursuit of evidence to back up opinions.
Let’s see how these approaches might work on your own or in conversation. Take, for example, the following work by natural history illustrator Julius Csotonyi:
I hope some of our Vancouver-based (Canada) art critics get a look at some of this material. I read a review a few years ago and the critic seemed intimidated by the idea of looking at work that explicitly integrated and reflected on science. Since that time (Note: there aren’t that many art reviewers here), I have not seen another attempt by an art critic.
One February event previously mentioned in my February 4, 2019 posting, ‘Heart & Art—the first Anatomy Night in Canada—February 14, 2019 in Vancouver’, is sold out! If you’re feeling lucky, you could join the waitlist (click on Tickets). I think the University of British Columbia’s Heartfelt images created by medical students will be featured at the event. The image below is from Heartfelt Images 2013,
I love how the artist has integrated a salmon and Hokusai’s Great Wave, while conveying information about blood flow into and out of the heart. BTW, you might want to look at the image on its ‘homesite’ as I don’t think the aspect ratio here is quite right. Note: Heartfelt Images were copied and moved to a new website and organized with newer images into the teachingmedicine.com site’s ‘Art Gallery‘.
Onwards, I have two events and an opportunity.
Traumatic Brain Injury: a Brain Talks event
The Brain Talks folks at the University of British Columbia (UBC) emailed a February 8, 2019 announcement (Note: I have made a few minor formatting changes to the following),
Traumatic Brain Injury; Molecular Mechanisms to Chronic Care
Wednesday, February 20th, 2019 from 6:00 pm – 8:30 pm
Join us on February 20th for talks on Traumatic Brain Injury spanning from molecular mechanisms to chronic clinical care. We are excited to announce presenters who both practice in the community and perform high level research. Our presenters include Dr. Cheryl Wellington, director of ABI Wellness Mark Watson, and clinical rehabilitation director Heather Branscombe.
Dr. Cheryl Wellington is a professor and researcher internationally recognized for her work on lipid and lipoprotein metabolism in the brain. Her group has made key contributions to the understanding of the role of apolipoprotein E (apoE) in Alzheimer’s Disease as well as the critical role played in repair of damaged neurons after TBI.
Mark Watson is the Chief Executive Officer of ABI Wellness, a clinic specializing in providing services for patients with chronic brain injury to improve higher order cognitive functioning. Mark has worked in education and cognitive rehabilitation since 2002, having served as a teacher, administrator, Executive Director and CEO. A frequent speaker on the topic of brain injury rehabilitation Mark has presented this work to: Public health agencies, BC Cancer Agency, The NHL Alumni Assoc., NFLPA Washington State.
Heather Branscombe serves as the Clinic Director and owner of Abilities Neurological Rehabilitation. A physiotherapist by training, Heather has consulted as a clinical specialist to a rehabilitation technology company and has taught therapists, orthotists and physicians across Canada. She is involved in research projects with the University of British Columbia (FEATHER’s project) and has been asked to be the exclusive BC provider of emerging therapy practice such as the telemedicine driven ReJoyce through rehabtronics. Professionally, Heather volunteers her time as a member of the Board of Directors for the Stroke Recovery Association of B.C. and is the past-chair of the Neurosciences Division of the Canadian Physiotherapy Association.
After the talk, at 7:30 pm, we host a social gathering with healthy food and non-alcoholic drinks. For physicians, the event is CME accredited for a MOC credit of 1.5.
We are pleased to be writing to you to announce the first event of 2019. After having learned how hard-core dark matter physicists are finding out what our universe is made of, we’ll next have the pleasure to hear from a scholar in a humanistic discipline. Mark Turin will be talking on the topic of language diversity and its importance in our time. In a city with some of the highest levels of cultural variety in the nation, we believe this topic is very relevant and timely. Please, read on for details on the lecture by Dr. Turin in a few weeks.
The first event of ARPICO’s winter 2019 activity will take place on Wednesday, March 6th, 2019 at the Italian Cultural Centre (see the attached map for parking and location). Our speaker will be Dr. Mark Turin, an Associate Professor of Anthropology and First Nations Languages at the University of British Columbia in Vancouver. Trained in anthropology and linguistics, he has worked in collaborative partnership with Indigenous peoples in the Himalayas for over 20 years and more recently with First Nations communities in the Pacific Northwest. He is a committed advocate for the enduring role of Indigenous and minority languages, online, in print and on air through his BBC radio series.
We look forward to seeing everyone there. The evening agenda is as follows: 6:30 pm – Doors Open for Registration 7:00 pm – Introduction by Nicola Fameli and Lucio Sacchetti 7:15 pm – Start of the evening event with introductions & lecture by Dr. Mark Turin ~8:00 pm – Q & A Period to follow – Mingling & Refreshments until about 9:30 pm If you have not already done so, please register for the event by visiting the EventBrite link or RSVPing to firstname.lastname@example.org. ..
Also included in the announcement is more detail about the March 6, 2019 talk along with some logistical information,
Rising Voices: Linguistic diversity in a Globalized World
The linguistic diversity of our species is under extreme stress, as are the communities who speak increasingly endangered speech forms. Of the world’s living languages, currently numbering around 7,000, around half will cease to be spoken as everyday vernaculars by the end of this century.
For communities around the world, local languages function as vehicles for the transmission of unique traditional knowledge and cultural heritage that become threatened when elders die and livelihoods are disrupted. As globalisation and rapid socio-economic change exert complex pressures on smaller communities, cultural and linguistic diversity is being transformed through assimilation to more dominant ways of life.
In 2016, the United Nations General Assembly adopted a resolution proclaiming 2019 as the International Year of Indigenous Languages to help promote and protect Indigenous languages. This celebration of linguistic vitality and resilience is welcome, but is it enough? And in an increasingly and often uncomfortably interconnected world, what is the role for the ‘heritage’ languages that migrants bring with them when they move and settle in new places?
In this richly illustrated lecture, I will draw on contemporary examples from North America, Asia and Europe to explore the enduring importance and compelling value of linguistic diversity in the 21st century.
WHEN: Wednesday, March 6th, 2019 at 7:00pm (doors open at 6:30pm) WHERE:Italian Cultural Centre – Museum & Art Gallery – 3075 Slocan St, Vancouver, BC, V5M 3E4 RSVP: Please RSVP at EventBrite (https://linguisticdiversity.eventbrite.ca/) or email email@example.com
Tickets are Needed Tickets are FREE, but all individuals are requested to obtain “free-admission” tickets on EventBrite site due to limited seating at the venue. Organizers need accurate registration numbers to manage wait lists and prepare name tags.
All ARPICO events are 100% staffed by volunteer organizers and helpers, however, room rental, stationery, and guest refreshments are costs incurred and underwritten by members of ARPICO. Therefore to be fair, all audience participants are asked to donate to the best of their ability at the door or via EventBrite to “help” defray costs of the event.
Should you attend, read the parking signs carefully. Not all the areas adjacent (that includes parts of the parking lot) to the Italian Cultural Centre are open to public parking.
Her Story: an art/sci opportunity for filmmakers and scientists in Metro Vancouver
Her Story: Canadian Women Scientists will be a series of artist-created narrative videos in which local women scientists tell us stories of Canadian women who came before them in their field of study. Through these stories, we will also learn about the narrating scientists themselves. We are looking for several filmmakers to each create one 5 – 6 minute short film that features a mixture of live action, animation, and narration. Download this call in pdf.
Each film is a collaboration between a film artist and a scientist. The final product will be a storytelling artwork rather than a documentary style presentation. We encourage teams to incorporate unique complementary visuals that will enhance the scientist’s story and bring it to life.
Filmmakers are submitting an application to work with a scientist, and after being paired with one by Curiosity Collider, the scientist and filmmaker will choose a historical figure and create the content for the film in collaboration. Filmmakers may indicate a scientific field of interest, or propose their own Canadian woman scientist who would be interested in participating, however overall scientists will be selected with consideration for diversity of subject matter. Deadline for submission is 25 March 2019.
Your film will premiere as part of this project at an in-person viewing event in a Vancouver theatre in September 2019. The event will include an interactive component such as a panel discussion on art, science, and gender. After the premiere event, the videos will be available through Curiosity Colllider’s social media channels including YouTube and our website(s). We will also pursue subsequent opportunities as they arise, such as film festivals, University screenings, and Women in Science conferences. We envision this first series as the beginning of a collection that we will promote and grow over several years. This is an opportunity to get involved early, to join our growing community, and to be paid for your work.
We are expecting concept-driven independent freelancers with experience in directing, cinematography, shooting, editing, and animating of short films. $1300 is allocated to each film, which must feature live action, animation, and narration. Filmmakers are welcome to propose independent work or collaborative work (as a filmmaking team). If submitting a proposal as a team, the proposal must clarify team member responsibility and breakdown of fee; a team leader who will be responsible for contract and distribution of funds must be specified. The fee will be paid out only upon completion of the film. There is no additional funding for equipment rental.
Any animation style will be considered. The following National Film Board examples show a combination of live action, animation, and narration: 1. https://bit.ly/2xJTAwz, 2. https://bit.ly/2DDqvbw. And this YouTube example shows another animation style (although it is lacking the narration and should be considered a visual example only): 3. https://youtu.be/I62CwxUKuGA?t=54 Animation styles not shown in the examples are welcome. If you have any questions please contact firstname.lastname@example.org. All complete submissions will be reviewed and considered. We will add you to our database of creators and contact you if we feel you are a great fit for any of our other events
Eligibility: Your submitted materials must fit within our mandate. You may submit applications for other Collider projects in addition to this one. Applications will be accepted from everywhere, however filming will take place in Metro Vancouver, BC. At this time we are unable to cover travel expenses
In your submission package (scroll down to access submission form), include: A statement (500 word max) about how you will approach collaboration with the scientist. Tell us about your scientific fields of interest, inspirations, and observations. Include information about your team if applicable. A bio (200 word max) A CV (3 page max) Submit a link to a single video or reel of up to 7 minutes total to represent your work A list of works included in your video submission, and any brief pertinent details (1 page max) A link to your website Your name, address, email, and any other contact information. If you have any questions about this call for submissions, contact us at email@example.com.
This project is funded by: Westcoast Women in Engineering and Science (WWEST) and eng•cite The Goldcrop Professorship for Women in Engineering at the University of British Columbia
During this special event we will explore the heart, a spectacular organ, through art, dissection, illustration, and discussion with UBC professor Claudia Krebs, MD/graduate student Najah Adreak, associate professor Carol-Ann Courneya, and medical illustrator Paige Blumer.
Anatomy Nights started out in Hull, UK as a public outreach event to bring anatomy knowledge to the general public. During an anatomy night, an anatomist talks about a specific organ and then performs a live dissection of that organ – not human: in this case it will be a bovine heart. This year the event is expanding to a new frontier with a global anatomy night – this will be the beginning of the Canadian series of events.
About the event This event is open to all ages but minors must be accompanied by adults. Event venue is wheelchair accessible. Refreshments are available by donation. Proceeds will be used to cover the cost of running the event; profits will be donated to the Heart and Stroke Foundation.
The Curiosity Collider folks have decided to ring in the new year with an event focused on optics. Here’s more from their January 15, 2019 announcement (received via email),
FROM CONTEMPORARY ART TO SCIENCE ILLUSTRATION, IS “SEEING” REALLY “BELIEVING”? OR IS THERE MORE TO IT THAN THERE SEEMS? HOW CAN WE EXPLORE THE POSSIBILITIES THROUGH ART AND SCIENCE?
OUR #COLLIDERCAFE IS A SPACE FOR ARTISTS, SCIENTISTS, MAKERS, AND ANYONE INTERESTED IN ART+SCIENCE. MEET, DISCOVER, CONNECT, CREATE. Are you curious? Join us at “Collider Cafe: Art. Science. Optics.” to explore how art and science intersect in the exploration of curiosity.
When: 8:00pm on Wednesday, January 23, 2019 Doors open at 7:30pm. Where:Café Deux Soleils. 2096 Commercial Drive, Vancouver, BC (Google Map). Cost: $5-10 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.
Annie Briard, Contemporary Artist : What our eyes perceive but we do not see Catherine Stewart, Visual Artist: The Museum as Muse: natural history collections as a resource for artistic exploration Vicky Earle, Medical and Scientific Illustrator: The Art of Science & Medical Illustration Ramey Newell, Photographer/Film Maker/Artist: Manifest Obscura: Reimagining/reimaging landscape through microbial collaboration Julius T. Csotonyi, Paleoart, Natural History and Science Illustrator: A Mutualism of Endeavors
The announcement also includes other art/science events currently happening in Vancouver,
Looking for more Art+Science in Vancouver?
The work by one of our Collider Cafe speaker Catherine Stewart is on exhibition at the UBC Beaty Biodiversity Museum! “Skin & Bones” until August 13, 2019.
Another exhibition at the Beaty Biodiversity Museum: The Wild Creative by Asher Jay until April 28, 2019. “Examine biodiversity loss during the Anthropocene – the Age of Man – through compelling artworks and thought-provoking narratives.”
That last event (Wild Things at the Museum of Vancouver) is going to be available for viewing with a $5 Winter Wander ticket on February 2, 2019. A January 14, 2019 posting on the Miss604 blog has more,
Experience unique waterfront attractions showcasing art, history, crafts, science and performances during Winter Wander at Vanier Park on February 2, 2019. Enjoy local food vendors, enter to win great prizes, and get to know your local museum, space centre, archives, and more during this affordable, family-friendly event
Winter Wander at Vanier Park
When: Saturday, February 2, 2019 10:00am to 5:00pm Venues include
Museum of Vancouver The Museum of Vancouver inspires deeper understanding of the city through stories, objects and shared experiences. Check out their latest exhibits and their permanent collections and exhibition halls.
H.R. MacMillan Space Centre The Space Centre is BC’s top space science attraction, inspiring visitors with shows, exhibits and some of Vancouver’s most unique special events
Vancouver Maritime Museum Make some maritime-themed origami 10:00am to 4:30pm, visit with Parks Canada interpreters 10:00am to 4:30pm, climb on-board the St. Roch and celebrate 90 years of adventure, enjoy music from a string quartet onboard the St. Roch, and more
City of Vancouver Archives The City Archives houses over 4 km of documents about the history of Vancouver, containing both government and public collections
Vancouver Academy of Music Vancouver Academy of Music (“VAM”) is the city’s premiere centre of music education, serving aspiring musicians from early childhood to collegiate levels
An undated posting at Vancouver’s Best Places gives you a sense of what to expect along with some handy tips,
At Winter Wander, expect lots of people, fair-sized lineups, and an event schedule with a list of entertainment and special activities throughout the day.
Live entertainment doesn’t happen all over the place. There is a set schedule and different things happen at specific times. The museums are open constantly all day. If you want to be entertained by the Bard on the Beach crew, however, you’ll need to check the schedule and be at a certain place at a certain time.
Although crowded, Winter Wander isn’t insanely busy. The venues are indeed crowded, but, surprisingly, not as bad as one might expect, or at least they weren’t when we’ve been. There is a pretty big lineup to get in before the doors even open in the morning, true, and you do need to wait your turn to get photos of your child in the model astronaut suit at the Planetarium, or to board the St. Roch police boat at the Maritime Museum.
Tips and Advic
Below are some tips and advice to help you make the most out of your experience at the Vanier Park museums on Winter Wander day
TIP #1: Go expecting the museums to be insanely crowded, and then hope to be pleasantly surprised. Go expecting small lineups and not too many people, however, and you’ll likely be disappointed
TIP #2: If you haven’t been to the museums at Vanier Park for a long time, you don’t mind crowds and you have children or guests from out of town, then definitely check out Winter Wander. For just $5, it’s a fabulous deal
TIP #3: Some venues and museum exhibit areas will be more popular and consequently more crowded than others. If a lineup for something is too long, simply move along to something else. There’s lots to see, so don’t fret if you don’t get to see everything
TIP #4: The best thing about the HR MacMillan Space Centre is the Planetarium and its shows about the stars and space. Chances are they’ll be busy, so don’t be disappointed if it’s not worth the wait. If you can get in to see a show though, do
TIP #5: Entertainment at Winter Wander happens at specific times and at certain places over the course of the day. When you arrive, check the schedule and decide what you want to see (including possible shows at the Planetarium). Then, plan your visit accordingly
TIP #6: Expect to spend between about an hour and all day at the event, but likely all morning or all afternoon. The length of your stay will depend on your level of interest in museums, model ships, history and space, but also on the crowds and the interest level and tolerance of crowds of the people you’re with
TIP #7: While at Vanier Park, go for a walk and explore. There is a beautiful walking trail all along the waterfront with views of the city. Especially if the museums are crowded, a break for some fresh air can be nice.
I received an email (Dec. 19, 2018) from the ArtSci Salon folks in Toronto (Canada) about this call for submissions. It’s a bit late but there’s still time (Jan. 14, 2019) to make the deadline, From a December 19, 2018 ArtSci Salon announcement,
Tech Art Fair
February 16 – 18, 2019 at the Ontario Science Centre
Juried Competition: Call for Applications to Participate in the Tech Art Fair
you a tech-focused artist who wants to showcase your work in a diverse
and dynamic public venue? Do you enjoy face-to-face conversations about
what you do? Would you like to expand your network and generate new
synergies within a global like-minded community? The Tech Art Fair at
the Ontario Science Centre in Toronto will highlight creative processes
and provide an opportunity for participants to launch and test-drive
creative ideas during a three-day winter holiday event, anticipated to
attract up to 10,000 visitors. The Tech Art Fair will be complemented by
an online exhibition hosted by the New York-based SciArt Center.
This is a call for applications to participate in the Tech Art Fair to be held in the Great Hall of the Ontario Science Centre from February 16 through to February 18, 2019. Up to 20 applicants will be selected through a juried competition to demonstrate and exhibit work and sell affordable items at the Tech Art Fair. In addition to participation in the Tech Art Fair, participants will be considered for the art studio residences at MOCA Toronto [Museum of Contemporary Art Toronto], leading to an exhibition at the Ontario Science Centre.
Eligible Art and Selection Criteria
call is open to artists, artist collectives, innovative entrepreneurs
and interdisciplinary makers. Original art projects made in classic or
digital media will be considered. This could include installations,
immersive 3D works, innovative craft projects, electronics, Internet of
Things projects and wearables, decorative arts, furniture, functional
glass, ceramics and textiles.
We’re seeking provocative and unconventional art with a connection to science and technology that reveals your creative
process, inspires awe and excitement and sparks dialogue. We’ll also be
looking for work which facilitates interaction, collaboration and
creation with our visitors.
will be provided with a designated space containing one 6-foot table,
two chairs and electrical power. Additional vertical supports (up to 6
feet in height) will be available for a limited number of works.
Opportunities for displaying large-scale art pieces, hanging
installations or video projections will be limited. Applicants selected
by the jury will be required to sign a participation agreement with the
Ontario Science Centre to participate in the Tech Art Fair. Please
review the agreement:
your agreement to execute and fulfill the terms of this agreement is a
pre-condition to consideration by the jury. As set out in the agreement,
you must be in attendance at the Ontario Science Centre during the
Centre’s working hours for the duration of the Tech Art Fair.
Rachel Birnberg and Cecilia Garcia, North York Arts
October 31, 2018, 9 a.m. – Call for Applications opens January 14, 2019, 11:59 p.m. – Call for applications closes January 14 – 17, 2019 – Juried competition underway January 18, 2019 – The Centre begins notifying successful applicants January 26, 2019 – Due date for signed participant agreements February 15, 2019, 7 a.m. to 10 a.m. – Participant set-up complete February 16, 2019, 10 a.m. – Tech Art Fair opens to the public February 18, 2019, 5 p.m. – Tech Art Fair closes to the public
I have looked at the ‘agreement’ and given the constraints and apparent lack of any funding for travel, this call is probably more suitable for artists based in Ontario and/or in close proximity to Toronto. You can find the original call for submissions here on the Ontario Science Centre’s site.
Here’s the latest from a November 20, 2018 ArtSci Salon announcement received via email,
Paint to Programming: exploring the role of algorithms in SciArt
What is the role of programming in artwork creation? is programming preliminary a Medium to be hidden to an audience more interested in the interface rather than in its algorithmic content ? or is it both medium and content, revealing the inner working, the politics, and the tactical/strategic uses of code and algorithmic complexity in a culture increasingly withdrawn from its crucial implications?
Thanks to a collaboration between Art the Science and ArtSci Salon, this event is meant to initiate a conversation to understand the many uses of algorithms in artistic and scientific research, from ways to solve problems in fluid mechanics by drawing inspiration from the dripping technique of Jackson Pollock, to exploring and making visible the complex dynamics of the blockchain, to using algorithms to process and display data for science communication.
Join ArtSci Salon and Art the Science at Fields for an evening of presentation and discussion with:
Julia Krolik is the founder and Chief Executive Officer of Art the Science, an organization dedicated to uniting and empowering artists and scientists to collectively advance scientific knowledge. As an exhibiting artist, focusing on science, art and new media, Julia has created works for CBC, the Ontario Science Centre, the Toronto Urban Film Festival and the Scotia Bank Photography Festival.
Sarah Friend is an artist and software engineer working at a large blockchain development studio. When not doing that, she creates games and other interactive experiences. Her practice investigates murky dichotomies – like those between privacy and transparency, centralization and decentralization, and the environment and technology – with playfulness and absurdist humour.
Bernardo Palacios Muñiz is a mechanical engineer and a researcher from Mexico City. His thesis at UNAM “Descifrando a Pollock: Arte y Mecánica de Fluidos” explored the technique inplemented by Jackson POllock through the perspective of fluid mechanics
Like so many of the events from the ArtSci salon, this is very timely. On a somewhat related note, there’s an art/AI emergence mentioned in my August 31, 2018 posting (scroll down about 70% of the way to this subhead ‘Artworks generated by an AI system are to be sold at Christie’s auction house’).
I’ve also mentioned ArtSci Salon’s presentation partner, Art the Science, in an October 23, 2017 posting. Amongst other programmes, they advertise and promote artist residencies. I notice that their events are held exclusively in Ontario and the descriptions for participants in their 2018 online gallery exhibit feature a preponderance of Ontario-based artists. I’m sure they’d like to get more participation from across the country but that takes extra time and effort and volunteer organizations such as this one don’t have much of either to spare. Their three year life (they were founded in 2015) is quite an accomplishment.
As for a more national art/sci or sciart network, maybe it’s time to organize something, eh?
I have two art/sci (or sciart) announcements, one concerns an event and the other is a news update.
Toronto’s ArtSci Salon and the Society of Literature, Science & the Arts (SLSA) 2018 Meeting
How could I not have stumbled across SLSA until now? Better late than never but the 2018 meeting/conference in Toronto, Canada is the 32nd of this annual event. (sigh)
Getting on to the important points, the ArtSci Salon is hosting a special roundtable as part of the conference (from a November 14, 2018 announcement received via email),
ArtSci Salon has organized a special roundtable at the annual SLSA
(Society for Science Literature and the Arts) which will take place in
Toronto this week.
The roundtable is public and will be held at OCADU [Ontario College of Art and Design University] in the gallery on 49 McCaul Street.
Re-locating the rational: on the re-making of categories through art and science (or: the artist is out of mind!)
A roundtable and a mobile/pop-up exhibition organized by ArtSci Salon
The world always exceeds our conception of it (Shotwell, 2016)
Coinciding with this year’s SLSA “Out of Mind” conference in Toronto, ArtSci Salon is proposing a panel/roundtable on “out-of-mindedness” as a way to re-think categories, and to disrupt the disciplinary and methodological status quo through which we normally see science and the humanities unfolding in academic contexts. We plan to do it through a pop-up exhibition featuring the works of local artists and members of SLSA.
What to do when the sciences and the humanities loose [sic] their ability to fully grasp, and sometimes even speak of, phenomena that have inevitably become too complex, too diffuse to be simplified through a model or a formula, or to be seized and summarized by one discipline?
This initiative is not designed to propose a set of new categories, but to pose a series of open questions, highlighting the necessity to conduct collaborative research between artistic practices and scientific research. We interpret the idea of “out of mind” as a strategy. In fact, using the arts as our preferred mode of expression, we believe that we ought to step out of the traditional mind configurations and fixed wiring in order to seize new ways to come to term with the multiplicities characterizing current environmental transformations. These occurrences have proved to be connected with nature, culture, and society in too many intricate ways, to the extent that neither science, nor technological methods are able to fully comprehend them.
Roberta Buiani (Chair)
Here’s the poster:
One more logistical detail,
[T]he roundtable will be at 10:30-12:00 noon [Friday, November 16, 2018] followed by a small tour of the mobile pop-up exhibition[.]
For the curious, here’s the SLSA website and the SLSA 2018 [Meeting]—Out of Your Mind website. Unexpectedly, the University of Toronto is not one of the conference hosts, instead we have the University of Waterloo [Waterloo, Ontario] and York University [Toronto, Ontario] as joint hosts with OCAD University—Canada’s oldest art and design institution—partnering with the Rochester Institute of Technology (New York state, US).
Vancouver’s Curiosity Collider
Coincidentally on the same day I received the ArtSci Salon event information, I received a November 14, 2018 update for Vancouver’s art/sci (or sciart) organization, Curiosity Collider. From the update received via email,
Next events (save-the-date), call for submissions, and other art+science in town
Meet Up & Hang Out
Are you an artist working in the sci/art genre? A scientist interested in collaborating with artists? Or one who wears both hats?
In the fall of 2019, the Curiosity Collider will be hosting our inaugural Sci-Art festival The Collisions Festival; the first theme will be Invasive Systems. The call for submission will be open in spring, 2019. The theme is meant to be broad in scope and not limited to any specific scientific subject/discipline; participants are encouraged to suggest various interpretation of the theme.
We would like to invite all artists and scientists who are interested in participating or potentially submitting a proposal to join us at this meet up event, chat about possible collaborations, and learn more about projects and details on “collaborative work” proposals we are looking for.
In the old days a ‘development director’ was a ‘fundraiser’. That RSVP? Likely, they’re trying to establish the size of their potential audience so they can get government grants. Audience size is important to corporate or ‘other’ funders but if you want a government grant you need numbers.
Getting back to the update, this is a grouping of Curiosity Collider’s latest hits,
Et al 3: Collaboration Process for Quantum Futures
Nerd Nite, Science Slam, and Curiosity Collider joined forces for the 3rd edition of Et al: the ultimate bar science night event. During the event, Quantum Physicist James Day and our Creative Managing Director Char Hoyt gave attendees an overview of the collaboration process that made Night shift: Quantum Futures, an event curated by CC and hosted at the Museum of Anthropology, possible.
While they don’t seem to have any details, there is a date for the next Collider Cafe,
Save the Date:
Next Collider Cafe
Our next Collider Cafe will be on Wednesday, January 23 at Cafe Deux Soleils. #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet. Discover. Connect. Create.
Are you curious? Join us to explore how art and science intersect in the exploration of curiosity.
Finally, a miscellaneous listing of related events being held in Vancouver, mostly, this November,
November 15-18 CC friend Dzee Louise will open her studio during the East Side Cultural Crawl! Drop by at studio #5 just at the top of the stairs of the William Clark Building at 1310 William Street (on the corner of Clark).
Until December 15 Vancouver Biennale’s CURIOUS IMAGININGS continues…check out the exhibition that will “challenge us to explore the social impacts of emerging biotechnology and our ethical limits in an age where genetic engineering and digital technologies are already pushing the boundaries of humanity.”
I did write a preview (June 18, 2018) for the last event on the list, Curious Imaginings, which included some of the latest science on xenotransplantation and chimeras (i.e., examples of emerging biotechnology). That’s all folks!