My reference point for date and time is almost always Pacific Time (PT). Depending on which time zone you live in, the day and date I’ve listed here may be incorrect. For anyone who has difficulty figuring out which day and time the event will take place where they live, a search for ‘time zone converter’ on one of the search engines should prove helpful.
May 20, 2020 at 7:30 pm (UK time): Complicité’s The Encounter
I received this May 19, 2020 announcement from The Space via email,
Over 80,000 people have watched Complicité’s award-winning production of The Encounter online and now the recording has been made available again – for one week only – in this revival, supported by The Space. You can watch online via the website or YouTube channel [from15 May until 22 May 2020.].
🎧 Enjoy the binaural sound – Make sure you wear headphones in order to experience the show’s impressive binaural sound design – any headphone will work, but playing out of computer speakers will not give the same effect.
Join in a live Q&A – 20 May  – A live discussion event and public Q&A will take place on Wednesday 20 May at 7:30pm (11:30 am PT) with Simon McBurney and guests including filmmaker Takumã Kuikuro (via a link to the Xingu region of the Amazon). Register to join the discussion.
In The Encounter, Director-performer Simon McBurney brings Petru Popescu’s book Amazon Beaming to life on stage.
The show follows the journey of Loren McIntyre, a photographer who got lost in Brazil’s remote Javari Valley in 1969.
It uses live and recorded 3D sound, video projections and loop pedals to recreate the intense atmosphere of the rainforest.
In the first live-streamed production ever to use 3D sound, viewers got the chance to experience the atmosphere of one of the strangest and most beautiful places on Earth – all through their headphones.
Complicité is a UK-based touring theatre company known for its imaginative original productions and adaptations of classic books and plays, and its groundbreaking use of technology. The Encounter is directed and performed by Simon McBurney, co-director is Kirsty Housley.
Saturday, May 23, 2020 from 12 pm – 1:30 pm ET: Pandemic Encounters ::: being [together] in the deep third space
This May 19, 2020 announcement was received via email from the ArtSci Salon, one of the participants in this ‘encounter’, Note: I have made some changes to the formatting,
LEONARDO/ISAST and The Third Space Network announce the first Global LASER: Pandemic Encounters ::: being [together] in the deep third space on Saturday, May 23, 12-1:30pm EDT. This online performance installation is a creation of pioneering telematic artist Paul Sermon in collaboration with Randall Packer, Gregory Kuhn and the Third Space Network. (Locate your time zone)
Pandemic Encounters explores the implications of the migratory transition to the virtual space we are all experiencing. Even when we return to the so-called normal, we will be changed: when social interaction, human engagement, and being together will have undergone a radical transformation. In this new work, Paul Sermon performs as a live chroma-figure in a deep third space audio-visual networked environment, encountering pandemic spaces & action-performers from around the world – artists, musicians, dancers, media practitioners & scientists – a collective response to a global pandemic that has triggered an unfolding metamorphosis of the human condition.
action-performers: Annie Abrahams (France), Clarissa Ribeiro (Brazil), Roberta Buiani (Canada), Andrew Denton (New Zealand), Bhavani Esapathi (UK), Tania Fraga (Brazil), Satinder Gill (US), Birgitta Hosea (UK), Charles Lane (US), Ng Wen Lei (Singapore), Marilene Oliver (Canada), Serena Pang (Singapore), Daniel Pinheiro (Portugal), Olga Remneva (Russia), Toni Sant (UK), Rejane Spitz (Brazil), Atau Tanaka (UK)
The Third Space Network, created by Randall Packer, is an artist-driven Internet platform for staging creative dialogue, live performance and uncategorizable activisms: social empowerment through the act of becoming our own broadcast media.
As noted in part 1, I’ve taken a very broad approach to this survey of science culture in Canada over the last 10 years. It isn’t exhaustive but part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance. Now it’s time for part 2 and the visual arts, festivals, science slams, and more..
Art/Sci or Art/Science or SciArt—take your pick
In 2005 my heart was broken. I had to give up on an event I’d conceived and tried to organize for five years, ‘Twisted: an art/science entrée’. Inspired by an art/science organization in New York, it just wasn’t the right timing for Vancouver or, it seems, for Canada, if the failure of an art/science funding collaboration between the Canada Council and the Natural Sciences and Engineering Council of Canada (NSERC) during roughly during that time period could be considered as another indicator.
The situation has changed considerably during this last decade (or so it seems). There are more performing and visual artists using scientific ideas and principles as inspiration for their work or they’re collaborating outright with scientists, or scientists are expressing themselves through artistic endeavours. Of course, of consequences of all this activity is a naming issue. (Isn’t there always?) I’m not taking sides all i want is clarity.
Part 1 featured more of the ‘inspirational’ art/science efforts. Here you’ll find the more ‘science’ inflected efforts.
ArtSci Salon located at the University of Toronto was founded in 2010 according to its About webpage,
This website documents the activity of the ArtSci Salon, a group of artists, scientists and art-sci-tech enthusiasts meeting once a month to engage in critical discussions on topics at the intersection between the arts and science.
Started in 2010 as a spin-off of the Subtle Technologies Festival, ArtSciSalon responds to the recent expansion in the GTA [Greater Toronto Area] of a community of scientists and artists increasingly seeking collaborations across disciplines to successfully accomplish their research projects and inquiries.
Based on the demographic, the requisites, and the interests of our members, the goal of ArtSci Salon is:
To provide outreach opportunities for local and international innovative research projects in the Sciences and in the Arts;
To foster critical dialogue on topics and concerns shared by the sciences and the arts;
To facilitate new forms of collaboration across fields.
Our guests deliver short presentations, demonstrations or performances on a series of shared topic of interest to artists and scientists.
Many, many ArtSci Salon events have been listed here. I mention it because the ArtSci Salon website doesn’t have a complete listing for its previous events. While I can’t guarantee completeness, you can perform an ‘ArtSci Salon’ search on the blog search engine and it should get you enough to satisfy your curiosity.
Curiosity Collider‘s first event seems to have been in April 2015 (as noted in my July 7, 2015 posting). i wonder what they’ll do to celebrate their fifth anniversary? Anyway, they describe themselves this way (from the Mandate webpage),
Curiosity Collider Art-Science Foundation is a Vancouver based non-profit organization that is committed to providing opportunities for artists whose work expresses scientific concepts and scientists who collaborate with artists. We challenge the perception and experience of science in our culture, break down the walls between art and science, and engage our growing community to bringing life to the concepts that describe our world.
You can find Curiosity Collider here. I see they don’t have anything scheduled yet for 2020 but they had a very active Fall 2019 season and I expect they needed a breather and now there’s ‘flattening the COVID-19 curve’.
Once Curiosity Collider gets started again, you’ll find they put on different kinds of events, usually evening get togethers featuring various artists and scientists in a relaxed environment or joint events with other groups such Nerd Nite, Science Slam, and others. In 2019, Curiosity Collider hosted its first festival. You’ll find more about that in the Festivals subsection further down in this posting.
ArtSci at Cape Breton University (Nova Scotia) seems to have existed from March 2017 to November 2018. At. least, that’s the period its Twitter feed was active.
… Art the Science facilitates cross-disciplinary relationships between artists and scientists with a goal of fostering Canadian science-art culture. In doing so, we aim to advance scientific knowledge communication to benefit the public, while providing opportunities for artists to exhibit their work in unconventional and technologically innovative ways. By nurturing the expression of creativity, be it in a test-tube or with the stroke of a brush, Art the Science has become one of the most beloved and popular online SciArt (science + art) communities in the world. Since 2015, it has developed numerous digital SciArt exhibitions, and has highlighted the work of both pioneering and upcoming SciArt artists internationally. The organization also promotes the role of SciArt by conducting various outreach initiatives, including delivering lectures and keynote presentations designed to foster public engagement and a deeper appreciation of science and art.
Volunteer Run: Since 2015, Art the Science has been operating with the hard work and dedication of volunteer hours from our board and supporters. We have been busy generating evidence to show the impact and reach of our initiatives. We believe this evidence will help us secure financial support as we move forward.
Their site features information about artist residencies in research laboratories, online exhibitions, and a blog focused on the artists and scientists who create.
National events, festivals, and conferences
These days it’s called Science Odyssey and takes place in May of each year. I first came across the then named National Science and Technology Week in 1993. The rebranding occurred in 2016 after the Liberals swept into victory in October 2015 federal election.
In 2020, Science Odyssey (as noted previously, prior to 2016 this was known as National Science and Technology Week and was held in October each year) it was slated to take place from May 2 to May 17. In most years, it functions as a kind of promotional hub for science events independently organized across the country. The focus is largely on children as you can see in the 2019 promotional video,
Cancelled for 2020, its events have ranged from an open house at a maker lab to lectures at universities to festivals such as Pint of Science and Science Rendezvous that occur during Science Odyssey. (I profiled Science Odyssey, Pint of Science, Science Rendezvous and more in my May 1, 2019 posting.)
Pint of Science
Beer and science is a winning combination as they know in the UK where Pint of Science was pioneered in 2012. Pint of Science Canada was started in 2016 and is scheduled for May 11 – 13, 2020,
Pint of Science Canada invites scientists to your favorite local bars to discuss their latest research and discoveries over a drink or two. This is the perfect opportunity to meet scientists and ask questions. You have no excuse not to come and share a drink with us!
Démystifier la recherche scientifique et la faire découvrir au grand public dans un cadre détendu, avec une bière à la main c’est possible. Parce que oui, la science peut être le fun!
There isn’t a cancellation notice on the website as of April 15, 2020 but I suspect that may change.
Billing itself as a free national kick-off festival for Science Odyssey and the country’s largest celebration of science and engineering, it was founded in 2008 and was confined to Toronto in that first year. In 2019, they promoted over 300 events across the country.
This year, Science Rendezvous is scheduled for May 9, 2020. Please check as it is likely cancelled for 2020.
Science Literacy Week
This week first crossed my radar in 2015 and because I love this passage, here’s an excerpt from my Sept 18, 2015 posting where it’s first mentioned,
Just as Beakerhead ends, Canada’s 2015 Science Literacy Week opens Sept. 21 – 27, 2015. Here’s more about the week from a Sept. 18, 2015 article by Natalie Samson for University Affairs,
On Nov. 12 last year , the European Space Agency landed a robot on a comet. It was a remarkable moment in the history of space exploration and scientific inquiry. The feat amounted to “trying to throw a dart and hit a fly 10 miles away,” said Jesse Hildebrand, a science educator and communicator. “The math and the physics behind that is mindboggling.”
Imagine Mr. Hildebrand’s disappointment then, as national news programs that night spent about half as much time reporting on the comet landing as they did covering Barack Obama’s gum-chewing faux pas in China. For Mr. Hildebrand, the incident perfectly illustrates why he founded Science Literacy Week, a Canada-wide public education campaign celebrating all things scientific.
From Sept. 21 to 27 , several universities, libraries and museums will highlight the value of science in our contemporary world by hosting events and exhibits on topics ranging from the lifecycle of a honeybee to the science behind Hollywood films like Jurassic World and Contact.
Mr. Hildebrand began developing the campaign last year, shortly after graduating from the University of Toronto with a bachelor’s degree in ecology and evolutionary biology. He approached the U of T Libraries for support and “it really snowballed from there,” the 23-year-old said.
In 2020, Science Literacy Week will run from September 21 – 27. (I hope they are able to go forward with this year’s event.) Here’s how the ‘Week’ has developed since 2015, from its About webpage,
The latest edition of Science Literacy Week came to include over 650 events put on by more than 300 partners in over 250 cities across Canada. From public talks to explosive chemistry demos, stargazing sessions to nature hikes, there was sure to be an interesting activity for science lovers of all ages. Science Literacy Week is powered by the Natural Sciences and Engineering Research Council of Canada (NSERC).
Beaming Science, Exploration, Adventure and Conservation into Classrooms Across North America
Guest Speakers and Virtual Field Trips with Leading Experts from Around the World
Using Technology to Broadcast Live into Classrooms from the Most Remote Regions on the Planet Since
September 2015, We’ve Run Well over 1,000 Live Events Connecting Hundreds of Thousands of Students to Scientists and Explorers in over 70 Countries
Onto another standalone festival.
Calgary’s big art/science/engineering festival, Beakerhead got its start in 2013 as a five-day event as per my December 7, 2012 post. It’s gone through a few changes since then including what appears to be a downsizing. The 2019 event was on September 21, 2019 from 5 pm to 11 pm.
According to his profile on LinkedIn, Jeff Popiel is Beakerhead’s interim CEO and has been since 2018. Mary Anne Moser (one of Breakerhead’s co-founders; the other is Jay Ingram, formerly of the Daily Planet science television show) was welcomed as the new Executive Director for Calgary’s science centre, Telus Spark, in April 2019.
Beakerhead’sr Wikipedia entry, despite being updated in December 2019, lists as its most current iteration of the festival that one that place in 2018.
All organizations experience ups and downs; I certainly hope that this represents a temporary lull. On the plus side, the Beakerhead Twitter feed is being kept current. and there is a February 18, 2020 entry on the Beakerhead’s homepage.
Invasive Species (Curiosity Collider) & Special Projects (ArtSci Salon)
The first and possibly only Collisions Festival (from the Curiosity Collider folks), Invasive Species took place in November 2019. A three-day affair, it featured a number of local (Vancouver area) artist/scientist collaborations. For a volunteer-run organization, putting on a three-day festival is quite an accomplishment. So, brava and bravo!
The ArtSci Salon in Toronto hasn’t held any festivals as such but has hosted a number of ‘special projects’ which extend over days and/or weeks and/or months such as The Cabinet Project, which opened in April 2017 (not sure how long it ran) and featured a number of artists’ talks and tours; Emergent Form from April 1 -30, 2018; EDITED (gene editing) from October 25 – November 30, 2018; and, FACTT-Evolution from March 29 – May 15, 2019.
International conferences and the Canadian art/technology scene
I am sure there are others (I’d be happy to hear about them in the comments) but these two organizations seem particularly enthused about holding conferences in Canada. I would like to spend more time on art and technology in Canada but that’s a huge topic in itself so I’m touching on it lightly.
ISEA 2015 and 2020
Formerly the Inter-Society of Electronic Arts, the organization has rebranded itself as ISEA (pronounced as a word [acronym] with a long ‘s’ like ‘z’). The acronym is used both for the organization’s name, the International Society for Electronic Arts, and its annual International Symposium of Electronic Arts, known familiarly as ISEA (year).
ISEA 2015 took place in Vancouver and was held in August of that year (you can read more about in my April 24, 2015 posting where I announced my presentation of a paper and video “Steep (1): A digital poetry of gold nanoparticles.”).
The upcoming ISEA 2020 was to take place in Montréal from May 19 – 24 but has been rescheduled for October 13 – 18. The theme remains: Why Sentience? Here’s more from the 2020 symposium About page,
Montreal Digital Spring (Printemps numérique) is proud to present ISEA2020 from October 13 to 18, 2020 in Montreal.
ISEA2020 will be the Creativity Pavilion of MTL connect; using digital intelligence as the overarching theme, this international event aims to look across the board at the main questions related to digital development, focusing on its economic, social, cultural and environmental impacts in various sectors of activity.
Montreal was awarded host of the next edition of ISEA in the closing ceremony of ISEA2019, held in Gwangju, South Korea. Soh Yeong Roh, Director of Art Center Nabi in Seoul, hand over the eternal light to Mehdi Benboubakeur, Executive Director of Montreal Digital Spring. As Benboubakeur stated: “ISEA returns to Montreal after 25 years. Back in 1995, ISEA positioned Montreal as a digital art center and brought emerging local artists into the international spotlight. In 2020, Montreal will once more welcome the international community of ISEA and will use this opportunity to build a strong momentum for the future.”
SEA 2020 turns towards the theme of “Why Sentience? Sentience describes the ability to feel or perceive. ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
I notice Philippe Pasquier of Simon Fraser University (Surrey campus, Vancouver area) is a member of the organizing committee. If memory serves, he was also on the organizing committee for ISEA 2015. He was most recently mentioned here in a November 29, 2019 where I featured his Metacreation Lab and when I mentioned the ISEA 2020 call for submissions.
… We received a total of 987 submissions from 58 countries. Thank you to those who took the time to create and submit proposals for ISEA2020 under the theme of sentience. We look forward to seeing you in Montreal from May 19 to 24, 2020 during MTL connect/ISEA2020!
Statistics by categories:
Artist talks: 121
Full papers: 108
Short papers: 96
Workshops / Tutorials: 53
Panels / Roundtables: 24
Institutional presentations: 22
Posters / Demos: 18
Good luck to everyone who made a submission. I hope you get a chance to present your work at ISEA 2020. I wonder if I can attend. I’ll have to make up my mind soon as they stop selling early bird tickets on and around March 16, 2020.
Vancouver hosted SIGGRAPH in 2011, 2014, and 2018 and will host it again in 2022. It is the only Canadian city to have hosted a SIGGRAPH conference since the conference’s inception in 1974. It is a huge meeting. In 2018, Vancouver hosted 16,637 attendees.
If you have a chance, do check out the next SIGGRAPH that you are able to attend. As inspiration you can check out the profile I wrote up for the most recent conference in Vancouver (my August 9, 2018 posting). They’re not as open to the public as I’d like but there are a few free events.
Coffee, tea, or beer with your science?
There are many ways to enjoy your science.Here are various groups (volunteer for the most part) that host regular (more or less) science nights at cafés and/or pubs and/or bars. Although I mentioned Café Scientifique Vancouver in part 1, it doesn’t really fit into either part 1 or part 2 of this review of the last decade but it’s being included (in a minor way) because the parent organization, Café Scientifique, is in a sense the progenitor for all the other ‘Café’ type efforts (listed in this subsection) throughout Canada. In addition, Café Scientifique is a truly global affair, which means if you’re traveling, it’s worth checking out the website to see if there’s any event in the city you’re visiting.
Science slams have been popular in Europe for more than a decade but have only recently gained traction in North America. Science Slam Canada was founded in 2016 and now runs regular science slams in Vancouver. Given wide interest and support, Science Slam Canada is continuing to grow, with upcoming events in Edmonton and Ottawa.
Based on the format of a poetry slam, a science slam is a competition that allows knowledge holders, including researchers, students, educators, professionals, and artists to share their science with a general audience. Competitors have five minutes to present on any science topic and are judged based on communication skills, audience engagement, and scientific accuracy. Use of a projector or slideshow is not allowed, but props and creative presentation styles are encouraged.
The slam format provides an informal medium for the public and the scientific community to connect with and learn from each other. Science slams generally take place in bars, cafes, or theaters, which remove scientists from their traditional lecture environments. The lack of projector also takes away a common presentation ‘crutch’ and forces competitors to engage with their audience more directly.
Competitors and judges are chosen through a selection process designed to support diversity and maximize the benefit to speakers and the audience. Past speakers have ranged from students and researchers to educators and actors. Judges have included professors, media personalities, comedians and improvisers. And since the event is as much about the audience as about the speakers, spectators are asked to vote for their favourite speaker.
Our dream is to create a national network of local science slams, with top competitors meeting at a national SUPER Slam to face off for the title of Canadian Science Slam Champion. This past year, we ran a regional slam in Vancouver, bringing together speakers from across BC’s Lower Mainland. Next year, we hope to extend our invitation even further.
Their last Vancouver Slam was in November 2019. I don’t see anything scheduled for 2020 either on the website or on their Twitter feed. Of course, they don’t keep a regular schedule so my suggestion is to keep checking. And, there’s their Facebook site.
Alan Shapiro who founded Science Slam Canada maintains an active Twitter feed where his focus appears to be water but he includes much more. If you’re interested in Vancouver’s science scene, check him out. By the way, his day job is at STEMCELL Technologies, which you may remember, if you read part 1, funds the Science in the City website mentioned under the Science blogging in Canada subhead (scroll down about 50% of the way).
Sometime around 2003, Chris Balakrishnan founded Nerd Nite. Today, he’s a professor with his own lab (Balakrishnan Laboratory of Evolution, Behavior and Other Fine Sciences) at East Carolina University; he also maintains an active interest in Nerd Nite.
I’m not sure when it made its way to Canada but there are several cities which host Nerd Nites (try ‘nerd nite canada’ in one of the search engines). In addition to Nerd Nite Vancouver (which got its start in 2013, if it’s existence on Twitter can be used as evidence), I found ones in Toronto, Kitchener-Waterloo, Edmonton, Calgary, and, I believe there is also one in North Vancouver.
Their events are monthly (more or less) and the last one was on February 26, 2020. You can read more about it here. They maintain an active Twitter feed listing their own events and, on occasion, other local science events.
This US organization (Story Collider; true personal stories about science) was founded in 2010 and was first featured here in a February 15, 2012 posting. Since then, it has expanded to many cities including Vancouver. Here’s more about the organization and its worldwide reach (from the Story Collider About Us webpage), Note: Links have been removed,
The Story Collider is a 501(c)3 nonprofit organization dedicated to true, personal stories about science. Since 2010, we have been working with storytellers from both inside and outside science to develop these stories, and we share them through our weekly podcast and our live shows around the world.
We bring together dedicated staff and volunteers from both science and art backgrounds to produce these shows — starting with our executive director, Liz Neeley, who has a background in marine biology and science communication, and our artistic director, Erin Barker, a writer and experienced storyteller — because we believe both have value in this space. Currently, The Story Collider has a home in fourteen cities — New York, Boston, DC, Los Angeles, St. Louis, Atlanta, Chicago, Dallas, Seattle, Milwaukee, Toronto, Vancouver, Cambridge, UK, and Wellington, New Zealand — where events organized by local producers are held on a monthly or quarterly basis. We’ve also been delighted to work with various partners — including publishers such as Springer Nature and Scientific American; conferences for organizations such as the American Geophysical Union and the Gulf of Mexico Research Initiative; and universities such as Yale University, North Carolina State University, Colorado University, and more — to produce shows in other locations. Every year, we produce between 50 and 60 live events featuring more than 250 stories in total, and we share over a hundred of these stories on our podcast.
Vancouver’s first Story Collider of 2020, ‘Misfits’ was scheduled for February 1 at The Fox Cabaret at 2321 Main Street . You can see more about the event (which in all likelihood took place) and the speakers here.
As for when Story Collider set down a few roots in Vancouver, that’s likely to be some time after February 2012. The two Vancouver Story Collider organizers, Kayla Glynn and Josh Silberg each have active Twitter feeds. Glynn is focuses mainly on local events; Silberg provides a more eclectic experience.
This is a series of neuroscience’ talks held monthly (more or less) held at Vancouver General Hospital. They served wine out of a box and cheese and crackers at the one talk (it was about robots) I attended. Here’s more about the inspiration for this series from the University of British Columbia Brain Talks Vision page
BrainTalks is a forum for academics and members of the general public to create a dialogue about the rapidly expanding information in neuroscience. The BrainTalks series, was inspired in part by the popularity of the TED Talks series. Founded by Dr. Maia Love in October 2010, the goal is for neuroscientists, neurologists, neuroradiologists, psychiatrists, and people from affiliated fields to meet and dialogue monthly, in the hopes of promoting excellence in research, facilitating research and clinician connections and discussion, and disseminating knowledge to the general public. Additionally, the hope to reduce stigma associated with mental illness, and promote compassion for those suffering with brain illnesses, be they called neurologic or psychiatric, was part of the reason to create the series.
The structure is a casual environment with brief presentations by local experts that challenge and inspire dialogue. Discussions focus on current knowledge about the mind and our understanding of how the mind works. Presentations are followed by a panel discussion, catered snacks, and networking.
BrainTalks is now part of the programming for the University of British Columbia’s Department of Psychiatry. The Department of Education, and the Department of Continuing Professional Development include BrainTalks at UBC as part of their goal to enhance public knowledge of psychiatry, enhance clinician knowledge in areas that may affect psychiatric practice, and disseminate recent research in brain science to the public.
Thanks to Alan Shapiro (founder of Science Slam Canada) and his Twitter feed for information about a new science event that may be coming to Vancouver, SoapBox Science founded in the UK in 2011 puts on events that can be found worldwide (from the homepage),
Soapbox Science is a novel public outreach platform for promoting women scientists and the science they do. Our events transform public areas into an arena for public learning and scientific debate; they follow the format of London Hyde Park’s Speaker’s Corner, which is historically an arena for public debate. With Soapbox Science, we want to make sure that everyone has the opportunity to enjoy, learn from, heckle, question, probe, interact with and be inspired by some of our leading scientists. No middle man, no PowerPoint slide, no amphitheatre – just remarkable women in science who are there to amaze you with their latest discoveries, and to answer the science questions you have been burning to ask. Look out for bat simulators, fake breasts or giant pictures of volcanoes. Or simply hear them talk about what fascinates them, and why they think they have the most fantastic job in the world!
2020 is an exciting year for us. We are running 56 events around the world, making this the biggest year yet! Since 2011 we have featured over 1500 scientists and reached 150,000 members of the public! Soapbox Science was commended by the Prime Minister in 2015, and was awarded a Silver Medal from the Zoological Society of London (ZSL) in June 2016. Both Soapbox Science co-founders were also invited to provide oral evidence at a 2016 Parliamentary inquiry on science communication.
I believe 2020 is/was to have been the first year for a SoapBox Science event in Vancouver. There aren’t any notices of cancellation for the Vancouver event that I’ve been able to find. I expect there will although with a planned June 2020 date there’s still hope, In any case, you might find it interesting to view their ‘Apply to speak’ webpage, (Note: I have rearranged the order of some of these paragraphs),
Are you a woman* who works in science and who is passionate about your research? Are you eager to talk to the general public about your work in a fun, informal setting? If so, then Soapbox Science needs YOU! We are looking for scientists in all areas of STEMM, from PhD students to Professors, and from entry-level researchers to entrepreneurs, to take part in this grassroots science outreach project.
*Soapbox Science uses an inclusive definition of ‘woman’ and welcomes applications from Non-binary and Genderqueer speakers.
The deadline for applications has now passed but you’ll find on their ‘Apply to speak’ webpage, a list of cities hosting 2020 SoapBox Science events,
Argentina: Tucumán- 12th September
Australia: Armidale- August Sydney- 15th August Queensland- August
Belgium: Brussels- 27th June
Brazil: Maceio- 22nd November Rio de Janeiro- 18th July Salvador- 5th June
Canada: Calgary- 2nd May Halifax- July Hamilton- Date TBC Ottawa- 19th September Québec- June Toronto- 27th September St John’s- 5th September Vancouver- June Waterloo- 13th June Winnipeg- May
Germany: Berlin- June Bonn- May Düsseldorf- 25th July Munich- 27th June
Ireland: Dublin- Date TBC Cork- July Galway- July
Nigeria: Lagos- August Lagos- 7th November
Malaysia: Kuala Lumpur- April
Portugal: Lisbon- 19th Sept
South Africa: Cape Town- September
Sweden: Uppsala- 16th May Gothenburg- 24th April- Closing date 31st January
Tanzania: Arusha- 8th August
UK: Aberdeen- 30th May Birmingham- Date TBC Brighton- 30th May Bristol- 4th July Cardiff- Date TBC Edinburgh- Date TBC Exeter- June Keswick- 26th May Leicester- 6th June Leeds- July London- 23rd May Milton Keynes- 27th June Newcastle- 13th June Nottingham- Date TBC Plymouth- 30th May Stoke-on-Trent, Date TBC Swansea- Date TBC York- 13th June
USA: Boulder- 26th April Denver- Date TBC Detroit- September Philadelphia- 18th April
Here’s more from the March 3, 2020 ArtSci Salon announcements (received via email),
Sensorium Centre for Digital Arts and Technologies, ArtSci Salon, Cultivamos Cultura and Arte Institute present:
FACTT 2020: FESTIVAL ART AND SCIENCE Exhibition Monday, March 9th – Thursday, March 12th, 2020 11:00am-4:00pm Gales Gallery (Accolade West Room 105) York University
Exhibition Opening: March 9th from 6:00-7:30pm
Subway Stop, York University. Exit on the left – Accolade West is the building on the left
Don’t miss the 2020 Festival of Art and Science Exhibition – (Be)-Coming An Exhibition of Experimental Contemporary Art, co-sponsored by Sensorium: Centre for Digital Arts and Technology, ArtSci Salon, Arte Institute and Cultivamos Cultura. The exhibition features the work of invited artists from Portugal and North America, and AMPD students [I believe they are referring to students at York University’s School of the Arts, Media, Performance & Design]. The exhibition is curated by Marta DeMenezes [sic], Roberta Buiani and Joel Ong.
All are welcome to attend the exhibition opening which will take place on March 9th from 6:00-7:30pm in the Gales Gallery at York University.
FACTT 2020 – (BE) COMING An Exhibition of Experimental Contemporary Art is about the impermanence of becoming permanent. A transformation is an extreme, radical change. The unavoidability of changes is a constant process we have throughout our lives. We may not always be aware of it, and often just spend so much energy avoiding this “law of nature” that we forget it exists and thrives for stability. (BE) COMING is an exhibition about change, the impossibility of not changing, the perpetual impermanence and the process of becoming. As we become aware of the need to change in our world, in our planet and our lives, it feels necessary to remember that life is a dynamic process. Life is a consistent process of transformation and adaptation. Art, more than any other human endeavour, is a reflection of this aspect of life and therefore the best way to remember the process of being something different, something else, something more, or something less, while becoming ourselves.
****ETA March 11, 2020: CANCELLED. The Marta De Menezes talk has been cancelled****
According to the March 3, 2020 announcement, there’s another event associated with FACTT 2020; artist Marta De Menezes is being featured in a talk,
Sensorium Winter Lunchtime Seminar Series featuring: Marta De Menezes [sic]
Wednesday, March 11th, 2020 11:30am-12:30pm The Sensorium Research Loft [York University} 4th Floor GCFA, Room M333 RSVP to email@example.com
Our second Sensorium Winter Lunchtime Seminar Series event of March will feature pioneering bio-artist Marta De Menezes [sic] who explores the use of biology and biotechnology as new art media and in conducting her practice in research laboratories that are her art studio.
The 26th annual International Symposium on Electronic Arts (ISEA): Why Sentience? is being held from May 19 – 24, 2020 in Montreal, Canada and organizers have sen,t via email, a March 3, 2020 announcement,
DISCOVER THE PRELIMINARY PROGRAMMING!
Below is the list of accepted authors* from the call for submissions to ISEA2020. *Speakers are confirmed upon registration
Professor in the Communication department at Université de Montréal Agronomist (ENSA Montpellier, 1986) and sociologist (Ph.D. Paris X Nanterre, 1991), Thierry Bardini is full professor in the department of communication at the Université de Montréal, where he has been teaching since 1993. From 1990 to 1993, he was a visiting scholar and adjunct professor at the Annenberg School for communication at the University of Southern California, under the supervision of Everett M. Rogers. His research interests concern the contemporary cyberculture, from the production and uses of information and communication technologies to molecular biology. He is the author of Bootstrapping: Douglas Engelbart, Coevolution and the Genesis of Personal Computing (Stanford University Press, 2000), Junkware (University of Minnesota Press, 2011) and Journey to the End of the Species (in collaboration with Dominique Lestel, Éditions Dis Voir, Paris, 2011). Thierry Bardini is currently working on his first research-creation project, Toward the Fourth Nature, with Beatriz Herrera and François-Joseph Lapointe.
Jolene Rickard, Ph.D. is a visual historian, artist and curator interested in the intersection of Indigenous knowledge and contemporary art, materiality, and ecocriticism with an emphasis on Hodinöhsö:ni aesthetics. A selection of publications includes: Diversifying Sovereignty and the Reception of Indigenous Art, Art Journal 76, no. 2 (2017), Aesthetics, Violence and Indigeneity, Public 27, no. 54 (Winter 2016), The Emergence of Global Indigenous Art, Sakahán, National Gallery of Canada (2013), and Visualizing Sovereignty in the Time of Biometric Sensors, The South Atlantic Quarterly: (2011). Recent exhibitions include the Minneapolis Institute of Arts, Hearts of Our People: Native Women Artists, 2019-2021, Crystal Bridges Museum of Art, Art For a New Understanding: Native Voices, 1950’s to Now, 2018-2020. Jolene is a 2020 Fulbright Research Scholar at McMaster University, ON, an Associate Professor in the departments of History of Art and Art, and the former Director of the American Indian and Indigenous Studies Program 2008-2020 (AIISP) at Cornell University, Ithaca, NY. Jolene is from the Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy.
Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Dr. Ramon Amaro, Ph.D. is a Lecturer in the Department of
Visual Cultures at Goldsmiths, University of London. Previously he was
Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam
and visiting tutor in Media Theory at the Royal Academy of Art, The
Hague, NL (KABK). Ramon completed his PhD in Philosophy at Goldsmiths,
while holding a Masters degree in Sociological Research from the
University of Essex and a BSe in Mechanical Engineering from the
University of Michigan, Ann Arbor. He has worked as Assistant Editor for
the SAGE open access journal Big Data & Society; quality design
engineer for General Motors; and programmes manager for the American
Society of Mechanical Engineers (ASME). His research interests include
machine learning, the philosophies of mathematics and engineering,
critical Black thought, and philosophies of being.
I received this notice from ArtSci Salon mailing (on February 7, 2020 via email),
Geometry is Life
February 5 — 16, 2020 Opening Reception: Saturday, February 8, 2 — 5 pm
My work takes inspiration from geometry. For me the square and the circle are starting points. And ending points. The square, defined by the horizontal and the vertical: it’s all you need. The circle: a snake biting its tail; the beginning and end; the still point. Geometric archetypes. But there is no perfect circle; there is no perfect square. The beauty of Pythagoras is within our minds. Rendered by the human hand, the square becomes imperfect, and becomes a part of the human world – where imperfection reigns. The rhythm of imperfection is beauty, where order and chaos dance, and sometimes balance.
Robin Kingsburghis a trained astronomer (Ph.D. in Astronomy, 1992, University College London). Her artistic education comes from studies at University of Toronto, as well as in the U.K. and France, and has paralleled her scientific development. She currently teaches various Natural Science courses at York University, Toronto. Her scientific background influences her artwork in an indirect, subconscious way, where she employs geometric motifs as a frequent theme. She is a member of Propeller Gallery, where she shows her artwork on a regular basis. She has recently been elected to the Ontario Society of Artists.
There you have it. Have a nice weekend!
ETA February 10, 2020: I’m sorry I forgot to include the address: Propeller Gallery, 30 Abell St Toronto. Wed-Sat 12-6pm, Sun 12-5pm
In fact, I have two items about fungi and I’m starting with the essay first.
Giving thanks for fungi
Antonis Rokas, professor at Venderbilt University (Nashville, Tennessee, US), has written a November 25, 2019 essay for The Conversation (h/t phys.org Nov.26.19) featuring fungi and food, Note: Links have been removed),
I am an evolutionary biologist studying fungi, a group of microbes whose domestication has given us many tasty products. I’ve long been fascinated by two questions: What are the genetic changes that led to their domestication? And how on Earth did our ancestors figure out how to domesticate them?
The hybrids in your lager
As far as domestication is concerned, it is hard to top the honing of brewer’s yeast. The cornerstone of the baking, brewing and wine-making industries, brewer’s yeast has the remarkable ability to turn the sugars of plant fruits and grains into alcohol. How did brewer’s yeast evolve this flexibility?
By discovering new yeast species and sequencing their genomes, scientists know that some yeasts used in brewing are hybrids; that is, they’re descendants of ancient mating unions of individuals from two different yeast species. Hybrids tend to resemble both parental species – think of wholpins (whale-dolphin) or ligers (lion-tiger).
… What is still unknown is whether hybridization is the norm or the exception in the yeasts that humans have used for making fermented beverages for millennia.
To address this question, a team led by graduate student Quinn Langdon at the University of Wisconsin and another team led by postdoctoral fellow Brigida Gallone at the Universities of Ghent and Leuven in Belgium examined the genomes of hundreds of yeasts involved in brewing and wine making. Their bottom line? Hybrids rule.
For example, a quarter of yeasts collected from industrial environments, including beer and wine manufacturers, are hybrids.
The mutants in your cheese
Comparing the genomes of domesticated fungi to their wild relatives helps scientists understand the genetic changes that gave rise to some favorite foods and drinks. But how did our ancestors actually domesticate these wild fungi? None of us was there to witness how it all started. To solve this mystery, scientists are experimenting with wild fungi to see if they can evolve into organisms resembling those that we use to make our food today.
Benjamin Wolfe, a microbiologist at Tufts University, and his team addressed this question by taking wild Penicillium mold and growing the samples for one month in his lab on a substance that included cheese. That may sound like a short period for people, but it is one that spans many generations for fungi.
The wild fungi are very closely related to fungal strains used by the cheese industry in the making of Camembert cheese, but look very different from them. For example, wild strains are green and smell, well, moldy compared to the white and odorless industrial strains.
For Wolfe, the big question was whether he could experimentally recreate, and to what degree, the process of domestication. What did the wild strains look and smell like after a month of growth on cheese? Remarkably, what he and his team found was that, at the end of the experiment, the wild strains looked much more similar to known industrial strains than to their wild ancestor. For example, they were white in color and smelled much less moldy.
… how did the wild strain turn into a domesticated version? Did it mutate? By sequencing the genomes of both the wild ancestors and the domesticated descendants, and measuring the activity of the genes while growing on cheese, Wolfe’s team figured out that these changes did not happen through mutations in the organisms’ genomes. Rather, they most likely occurred through chemical alterations that modify the activity of specific genes but don’t actually change the genetic code. Such so-called epigenetic modifications can occur much faster than mutations.
Fantastic Fungi Futures (FFF) Nov. 29, Dec. 1, and Dec. 4, 2019 events in Toronto, Canada
The ArtSci Salon emailed me a November 23, 2019 announcement about a special series being presented in partnership with the Mycological Society of Toronto (MST) on the topic of fungi,
Fantastic Fungi Futures a discussion, a mini exhibition, a special screening, and a workshop revolving around Fungi and their versatile nature.
NOV 29 , 6:00-8:00 PM Fantastic Fungi Futures (FFF): a roundtable discussion and popup exhibition.
Join us for a roundtable discussion. what are the potentials of fungi? Our guests will share their research, as well as professional and artistic practice dealing with the taxonomy and the toxicology, the health benefits and the potentials for sustainability, as well as the artistic and architectural virtues of fungi and mushrooms. The Exhibition will feature photos and objects created by local and Canadian artists who have been working with mushrooms and fungi.
This discussion is in anticipation of the special screening of Fantastic Fungi at the HotDocs Cinema on Dec 1  our guests:James Scott,Occupational & Environmental Health, Dalla Lana School of Public Health, UofT; Marshall Tyler, Director of Research, Field Trip, Toronto; Rotem Petranker, PhD student, Social Psychology, York University; Nourin Aman, PhD student, fungal biology and Systematics lab, Punjab University; Sydney Gram, PhD student, Ecology & Evolutionary Biology student researcher (UofT/ROM); [and] Tosca Teran, Interdisciplinary artist.
DEC. 4 , 7:00-10:00PM Multi-species entanglements:Sculpting with Mycelium, @InterAccess, 950 Dupont St., Unit 1
This workshop is a continuation of ArtSci Salon’s Fantastic Fungi Futures event and the HotDocs screening of Fantastic Fungi.this workshop is open to public to attend, however, pre-registration is required. $5.00 to form a mycelium bowl to take home.
During this workshop Tosca Teran introduces the amazing potential of Mycelium for collaboration at the intersection of art and science. Participants learn how to transform their kitchens and closets in to safe, mini-Mycelium biolabs and have the option to leave the workshop with a live Mycelium planter/bowl form, as well as a wide array of possibilities of how they might work with this sustainable bio-material.
Nourin Aman is a PhD student at fungal biology and Systematics lab at Punjab University, Lahore, Pakistan. She is currently a visiting PhD student at the Mycology lab, Royal Ontario Museum. Her research revolves around comparison between macrofungal biodiversity of some reserve forests of Punjab, Pakistan.Her interest is basically to enlist all possible macrofungi of reserve forests under study and describe new species as well from area as our part of world still has many species to be discovered and named. She will be discussing factors which are affecting the fungal biodiversity in these reserve forests.
Sydney Gram is an Ecology & Evolutionary Biology student researcher (UofT/ROM)
Rotem Petranker- Bsc in psychology from the University of Toronto and a MA in social psychology from York University. Rotem is currently a PhD student in York’s clinical psychology program. His main research interest is affect regulation, and the way it interacts with sustained attention, mind wandering, and creativity. Rotem is a founding member oft the Psychedelic Studies Research Program at the University of Toronto, has published work on microdosing, and presented original research findings on psychedelic research in several conferences. He feels strongly that the principles of Open Science are necessary in order to do good research, and is currently in the process of starting the first lab study of microdosing in Canada.
Marshall Tyler– Director of Research, Field Trip. Marshall is a scientist with a deep interest in psychoactive molecules. His passion lies in guiding research to arrive at a deeper understanding of consciousness with the ultimate goal of enhancing wellbeing. At Field Trip, he is helping to develop a lab in Jamaica to explore the chemical and biological complexities of psychoactive fungi.
Tosca Teran, aka Nanotopia, is an Multi-disciplinary artist. Her work has been featured at SOFA New York, Culture Canada, and The Toronto Design Exchange. Tosca has been awarded artist residencies with The Ayatana Research Program in Ottawa and The Icelandic Visual Artists Association through Sím, Reykjavik Iceland and Nes artist residency in Skagaströnd, Iceland. In 2019 she was one of the first Bio-Artists in residence at the Museum of Contemporary Art Toronto in partnership with the Ontario Science Centre as part of the Alien Agencies Collective. A recipient of the 2019 BigCi Environmental Award at Wollemi National Park within the UNESCO World Heritage site in the Greater Blue Mountains. Tosca started collaborating artistically with Algae, Physarum polycephalum, and Mycelium in 2016, translating biodata from non-human organisms into music.@MothAntler @nanopodstudio www.toscateran.com www.nanotopia.net8
If you follow the link above, you’ll find this description of the talk and more,
Aesthetics and Colour Research at the University of Toronto’s Psychological Laboratory
This talk focuses on the tools and technology of colour research used in Kirschmann’s Toronto laboratory, as well as their role in supporting Kirschmann’s belief in a renewed science of aesthetics. [Between 1893 and 1908, the German-born psychologist August Kirschmann (1860-1932), led the University of Toronto’s newly founded psychological laboratory.] The talk will include a display of surviving artifacts used in the Laboratory. It will also include some colour-related artifacts from the University of Toronto Archives and Records Management Services (UTARMS), and the Fisher Rare Books Library.
Erich Weidenhammer is Curator of the University of Toronto Scientific Instruments Collection (UTSIC.org), an effort to safeguard and catalogue the material culture of research and teaching at the University of Toronto. He is also an Adjunct Curator for Scientific Processes at Ingenium: Canada’s Museums of Science & Innovation in Ottawa. Erich received his PhD in 2014 from the Institute for the History and Philosophy of Science and Technology (IHPST) of the University of Toronto for a dissertation that explored the relationship between chemistry and medicine in late eighteenth-century Britain.
It turns out that this talk at the University of Toronto is part of a larger series of talks being organized by the Colour Research Society of Canada (CRSC). Here’s more about the society from the CRSC’s About page,
The CRSC is a non-profit organisation for colour research, focused on fostering a cross-disciplinary sharing of colour knowledge. seeking to develop and support a national, cross-disciplinary network of artists and designers, scholars and practitioners, with an interest in engagements with colour, and to encourage discourse between arts, sciences and industry related to colour research and knowledge.
The Colour Research Society of Canada (CRSC) is the Canadian member organisation of the AIC (International Colour Association)
The Nov. 28, 2019 talk is part of the CRSC’s Kaleidoscope Lecture Series.
This time it’s the performing arts. I have one theatre and psychiatry production in Toronto and a music and medical science event in Vancouver.
Toronto’s Here are the Fragments opening on November 19, 2019
From a November 2, 2019 ArtSci Salon announcement (received via email),
An immersive theatre experience inspired by the psychiatric writing of Frantz Fanon
Here are the Fragments. Co-produced by The ECT Collective and The Theatre Centre November 19-December 1, 2019 Tickets: Preview $17 | Student/senior/arts worker $22 | Adult $30 Service charges may apply Book 416-538-0988 | PURCHASE ONLINE
An immigrant psychiatrist develops psychosis and then schizophrenia. He walks a long path towards reconnection with himself, his son, and humanity.
Walk with him.
Within our immersive design (a fabric of sound, video, and live actors) lean in close to the possibilities of perceptual experience.
Schizophrenics ‘hear voices’. Schizophrenics fear loss of control over their own thoughts and bodies. But how does any one of us actually separate internal and external voices? How do we trust what we see or feel? How do we know which voices are truly our own?
Within the installation find places of retreat from chaos. Find poetry. Find critical analysis.
Explore archival material, Fanon’s writings and contemporary interviews with psychiatrists, neuroscientists, artists, and people living with schizophrenia, to reflect on the relationships between identity, history, racism and mental health.
How do we trust what we see or feel? How do we know which voices are truly our own? THE THEATRE CENTRE and THE ECT COLLECTIVE are proud to Co-produce HERE ARE THE FRAGMENTS., an immersive work of theatre written by Suvendrini Lena, Theatre Centre Residency artist and CAMH [ Centre for Addiction and Mental Health] Neurologist. Based on the psychiatric writing of famed political theorist Frantz Fanon and combining narratives, sensory exploration, and scientific and historical analysis, HERE ARE THE FRAGMENTS. reflects on the relationships between identity, history, racism, and mental health. FRAGMENTS. will run November 19 to December 1 at The Theatre Centre (Opening Night November 21).
HERE ARE THE FRAGMENTS. consists of live performances within an interactive installation. The plot, told in fragments, follows a psychiatrist early in his training as he develops psychosis and ultimately, treatment resistant schizophrenia. Eduard, his son, struggles to connect with his father, while the young man must also make difficult treatment decisions.
The Theatre Centre’s Franco Boni Theatre and Gallery will be transformed into an immersive interactive installation. The design will offer many spaces for exploration, investigation, and discovery, bringing audiences into the perceptual experience of Schizophrenia. The scenes unfold around you, incorporating a fabric of sound, video, and live actors. Amidst the seeming chaos there will also be areas of retreat; whispering voices, Fanon’s own books, archival materials, interviews with psychiatrists, neuroscientists, and people living with schizophrenia all merge to provoke analysis and reflection on the intersection of racism and mental health.
Suvendrini Lena (Writer) is a playwright and neurologist. She works as the staff neurologist at the Centre for Addiction and Mental Health and at the Centre for Headache at Women’s College Hospital [Toronto]. She is an Assistant Professor of Psychiatry and Neurology at the University of Toronto where she teaches medical students, residents, and fellows. She also teaches a course called Staging Medicine, a collaboration between The Theatre Centre and University of Toronto Postgraduate Medical Education.
Frantz Fanon (1925-1961), was a French West Indian psychiatrist, political philosopher, revolutionary, and writer, whose works are influential in the fields of post-colonial studies, critical theory, and Marxism. Fanon published numerous books, including Black Skin, White Masks (1952) and The Wretched of the Earth (1961).
In addition to performances, The Theatre Centre will host a number of panels and events. Highlights include a post-show talkback with Ngozi Paul (Development Producer, Artist/Activist) and Psychiatrist Collaborator Araba Chintoh on November 22. Also of note is Our Patients and Our Selves: Experiences of Racism Among Health Care Workers with facilitator Dr. Fatimah Jackson-Best of Black Health Alliance on November 23rd and Fanon Today: A Creative Symposium on November 24th, a panel, reading, and creative discussion featuring David Austin, Frank Francis, Doris Rajan and George Elliot Clarke [formerly Toronto’s Poet Laureate and Canadian Parliamentary Poet Laureate; emphasis and link mine].
Sounds and Science: Vienna meets Vancouver on November 30, 2019
‘Sounds and Science’ originated at the Medical University of Vienna (Austria) as the November 6, 2019 event posting on the University of British Columbia’s (UBC) Faculty of Medicine website,
The University of British Columbia will host the first Canadian concert bringing leading musical talents of Vienna together with dramatic narratives from science and medicine.
“Sounds and Science: Vienna Meets Vancouver” is part of the President’s Concert Series, to be held Nov. 30, 2019 on UBC campus. The event is modeled on a successful concert series launched in Austria in 2014, in cooperation with the Medical University of Vienna.
“Basic research tends to always stay within its own box, yet research is telling the most beautiful stories,” says Dr. Josef Penninger, director of UBC’s Life Sciences Institute, a professor of medical genetics and a Canada 150 Chair. “With this concert, we are bringing science out of the ivory tower, using the music of great composers such as Mozart, Schubert or Strauss to transport stories of discovery and insight into the major diseases that affected the composers themselves, and continue to have a significant impact on our society.”
Famous composers of the past are often seen as icons of classical music, but in fact, they were human beings, living under enormous physical constraints – perhaps more than people today, according to Dr. Manfred Hecking, an associate professor of internal medicine at the Medical University of Vienna.
“But ‘Sounds and Science’ is not primarily about suffering and disease,” says Dr. Hecking, a former member of the Vienna Philharmonic Orchestra who will be playing double bass during the concert. “It is a fun way of bringing music and science together. Combining music and thought, we hope that we will reach the attendees of the ‘Sounds and Science’ concert in Vancouver on an emotional, perhaps even personal level.”
A showcase for Viennese music, played in the tradition of the Vienna Philharmonic by several of its members, as well as the world-class science being done here at UBC, “Sounds and Science” will feature talks by UBC clinical and research faculty, including Dr. Penninger. Their topics will range from healthy aging and cancer research to the historical impact of bacterial infections.
Combining music and thought, we hope that we will reach the attendees of the ‘Sounds and Science’ concert in Vancouver on an emotional, perhaps even personal level. Dr. Manfred Hecking
Faculty speaking at “Sounds and Science” will be: Dr. Allison Eddy, professor and head, department of pediatrics, and chief, pediatric medicine, BC Children’s Hospital and BC Women’s Hospital; Dr. Troy Grennan, clinical assistant professor, division of infectious diseases, UBC faculty of medicine; Dr. Poul Sorensen, professor, department of pathology and laboratory medicine, UBC faculty of medicine; and Dr. Roger Wong, executive associate dean, education and clinical professor of geriatric medicine, UBC faculty of medicine UBC President and Vice-Chancellor Santa J. Ono and Vice President Health and Dr. Dermot Kelleher, dean, faculty of medicine and vice-president, health at UBC will also speak during the evening.
The musicians include two outstanding members of the Vienna Philharmonic – violinist Prof. Günter Seifert and violist-conductor Hans Peter Ochsenhofer, who will be joined by violinist-conductor Rémy Ballot and double bassist Dr. Manfred Hecking, who serves as a regular substitute in the orchestra.
For those in whose lives intertwine music and science, the experience of cross-connection will be familiar. For Dr. Penninger, the concert represents an opportunity to bring the famous sound of the Vienna Philharmonic to UBC and British Columbia, to a new audience. “That these musicians are coming here is a fantastic recognition and acknowledgement of the amazing work being done at UBC,” he says.
“Like poetry, music is a universal language that all of us immediately understand and can relate to. Science tells the most amazing stories. Both of them bring meaning and beauty to our world.”
“Sounds and Science” – Vienna Meets Vancouver is part of the President’s Concert Series | November 30, 2019 on campus at the Old Auditorium from 6:30 to 9:30 p.m.
To learn more about the Sounds and Science concert series hosted in cooperation with the Medical University of Vienna, visit www.soundsandscience.com.
I found more information regarding logistics,
Saturday, November 30, 2019 6:30 pm The Old Auditorium, 6344 Memorial Road, UBC Box office and Lobby: Opens at 5:30 pm (one hour prior to start of performance) Old Auditorium Concert Hall: Opens at 6:00 pm
The idea of combining music and medicine into the “Sounds & Science” – scientific concert series started in 2008, when the Austrian violinist Rainer Honeck played Bach’s Chaconne in d-minor directly before a keynote lecture, held by Nobel laureate Peter Doherty, at the Austrian Society of Allergology and Immunology’s yearly meeting in Vienna. The experience at that lecture was remarkable, truly a special moment. “Sounds & Science” was then taken a step further by bringing several concepts together: Anton Neumayr’s medical histories of composers, John Brockman’s idea of a “Third Culture” (very broadly speaking: combining humanities and science), and finally, our perception that science deserves a “Red Carpet” to walk on, in front of an audience. Attendees of the “Sounds & Science” series have also described that music opens the mind, and enables a better understanding of concepts in life and thereby science in general. On a typical concert/lecture, we start with a chamber music piece, continue with the pathobiography of the composer, go back to the music, and then introduce our main speaker, whose talk should be genuinely understandable to a broad, not necessarily scientifically trained audience. In the second half, we usually try to present a musical climax. One prerequisite that “Sounds & Science” stands for, is the outstanding quality of the principal musicians, and of the main speakers. Our previous concerts/lectures have so far covered several aspects of medicine like “Music & Cancer” (Debussy, Brahms, Schumann), “Music and Heart” (Bruckner, Mahler, Wagner), and “Music and Diabetes” (Bach, Ysaÿe, Puccini). For many individuals who have combined music and medicine or music and science inside of their own lives and biographies, the experience of a cross-connection between sounds and science is quite familiar. But there is also this “fun” aspect of sharing and participating, and at the “Sounds & Science” events, we usually try to ensure that the event location can easily be turned into a meeting place.
At a guess, Science and Sounds started informally in 2008 and became a formal series in 2014.
There is a video but it’s in German. It’s enjoyable viewing with beautiful music but unless you have German language skills you won’t get the humour. Also it runs for over 9 minutes (a little longer than most of videos you’ll find here on FrogHeart),
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?
I’m not sure I’m ready to take another look at my Friday, December 28, 2018 posting; at this point, I’m feeling embarrassed at being so cranky that I forgot to note how much I have appreciated WordPress software over the years. It should also be noted that the updated ‘linki’ function in WordPress 5.0 is easier to use. Unfortunately, that’s all I can find to praise but my fingers are crossed in hope that the issues I’ve identified are resolved or on the way to resolution at some point in the next six months or so. Meanwhile, I’m going to change things here and my first thought is: less frequent posting.
To be fair, I have been considering a change in frequency for some months now and this WordPress 5.0 imbroglio may be just what I needed to kickstart my vague plan into action.
2018 in review
Rough roundup of site statistics
For some reason readership from the Ukraine has skyrocketed into one of my top five countries for readers in December 2018. Over the last few years, Canadian readership has finally cracked into the top five although it doesn’t happen every month. The French have shown an unprecedented level of interest by creeping into my top five and the Brits after being a mainstay in my top five have become a little less interested thereby sliding out of a regular spot in the top five but remaining in the top 10. China and the US readerships after intermittently competing for the top position for several months have been overtaken, as noted earlier, by the Ukrainians with the Russians in second place. Meanwhile, China has slipped to the 10th spot in this last month of 2018.
Musings on the Canadian scene
I don’t have a lot to say about the Canadian science scene other than we seem to be getting better about making news about research more publicly available. Also, the Canadian art/science (also known as sciart) community taking form. Perhaps would be that there’s a nascent community that appears to be reaching a critical mass.
A Dec. 10, 2018 posting on the Science Borealis blog lists residencies for artists who want to work with scientists.
Beakerhead is an art/science/engineering festival held in Calgary, Alberta.
ArtSci Salon at the University of Toronto has organized a number of art/sci events.
Curiosity Collider in Vancouver regularly holds art/sci events and they have a calendar of other local art/sci events. They are planning a larger than usual event, Collisions Festival (see more about the proposed festivel in my November 14, 2018 posting; scroll down)
There’s a lot more too. You can try ‘art/sci’ as a search term on this blog and there’s always Duck Duck, Bing, Google, etc. where I’d also use ‘art/sci’, ‘art/science’, ‘sciart’, and any other variant that I could imagine along with ‘Canada’ to find other Canadian organizations and events.
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.