The report was launched by 221 A, a Vancouver (Canada)-based arts and culture organization and funded by the Canada Council for the Arts through their Digital Strategy Fund. Here’s more from the BACP report in the voice of its research leader, Jesse McKee,
… The blockchain is the openly readable and unalterable ledger technology, which is most broadly known for supporting such applications as bitcoin and other cryptocurrencies. This report documents the first research phase in a three-phased approach to establishing our digital strategy [emphasis mine], as we [emphasis mine] learn from the blockchain development communities. This initiative’s approach is an institutional one, not one that is interpreting the technology for individuals, artists and designers alone. The central concept of the blockchain is that exchanges of value need not rely on centralized authentication from institutions such as banks, credit cards or the state, and that this exchange of value is better programmed and tracked with metadata to support the virtues, goals and values of a particular network. This concept relies on a shared, decentralized and trustless ledger. “Trustless” in the blockchain community is an evolution of the term trust, shifting its signification as a contract usually held between individuals, managed and upheld by a centralized social institution, and redistributing it amongst the actors in a blockchain network who uphold the platform’s technical operational codes and can access ledgers of exchange. All parties involved in the system are then able to reach a consensus on what the canonical truth is regarding the holding and exchange of value within the system.
… [from page 6 of the report]
McKee manages to keep the report from floating away in a sea of utopian bliss with some cautionary notes. Still, as a writer I’m surprised he didn’t notice that ‘blockchain‘ which (in English) is supposed to ‘unlock padlocks’ poses a linguistic conundrum if nothing else.
This looks like an interesting report but it’s helpful to have some ‘critical theory’ jargon. That said, the bulk of the report is relatively accessible reading although some of the essays (at the end) from the artist-researchers are tough going.
One more thought, the report does present many exciting and transformative possibilities and I would dearly love to see much of this come to pass. I am more hesitant than McKee and his colleagues and that hesitation is beautifully described in an essay (The Vampire Problem: Illustrating the Paradox of Transformative Experience) first published September 3, 2017 by Maria Popova (originally published on Brain Pickings),
To be human is to suffer from a peculiar congenital blindness: On the precipice of any great change, we can see with terrifying clarity the familiar firm footing we stand to lose, but we fill the abyss of the unfamiliar before us with dread at the potential loss rather than jubilation over the potential gain of gladnesses and gratifications we fail to envision because we haven’t yet experienced them. …
Arts and blockchain events in Vancouver
The 221 A launch event for the report kicked off a series of related events, here’s more from a 221 A May 17, 2021 news release (Note: the first and second events have already taken place),
Please join us for a live stream events series bringing together key contributors of the Blockchains & Cultural Padlocks Research Report alongside a host of leading figures across academic, urbanism, media and blockchain development communities.
The Vancouver Biennale folks first sent me information about Voxel Bridge in 2018 but this new material is the most substantive description yet, even without an opening date. From a June 6, 2021 article by Kevin Griffin for the Vancouver Sun (Note: Links have been removed),
The underside of the Cambie Bridge is about to be transformed into the unique digital world of Voxel Bridge. Part of the Vancouver Biennale, Voxel Bridge will exist both as a physical analogue art work and an online digital one.
The public art installation is by Jessica Angel. When it’s fully operational, Voxel Bridge will have several non-fungible tokens called NFTs that exist in an interactive 3-D world that uses blockchain technology. The intention is to create a fully immersive installation. Voxel Bridge is being described as the largest digital public art installation of its kind.
“To my knowledge, nothing has been done at this scale outdoors that’s fully interactive,” said Sammi Wei, the Vancouver Biennale‘s operations director. “Once the digital world is built in your phone, you’ll be able to walk around objects. When you touch one, it kind of vibrates.”
Just as a pixel refers to a point in a two-dimensional world, voxel refers to a similar unit in a 3-D world.
Voxel Bridge will be about itself: it will tell the story of what it means to use new decentralized technology called blockchain to create Voxel Bridge.
There are a few more Voxel Bridge details in a June 7, 2021 article by Vincent Plana for the Daily Hive,
… Voxel Bridge draws parallels between blockchain technology and the structural integrity of the underpass itself. The installation will be created by using adhesive vinyl and augmented reality technology.
Gfiffin’s description in his June 6, 2021 article gives you a sense of what it will be like to become immersed in Voxel Bridge,
Starting Monday [June 14, 2021], a crew will begin installing a vinyl overlay directly on the architecture on the underside of the bridge deck, around the columns, and underfoot on the sidewalk from West 2nd to the parking-lot road. Enclosing a space of about 18,000 square feet, the vinyl layer will be visible without any digital enhancement. It will look like an off-kilter circuit board.
“It’ll be like you’re standing in the middle of a circuit board,” [emphasis mine] she said. “At the same time, the visual perception will be slightly off. It’s like an optical illusion. You feel the ground is not quite where it’s supposed to be.”
Since posting about Science Odyssey, I have received a number of emails announcing event and not all of them are part of the Odyssey experience.
From the looks of things, May 2021 is going to be a very busy month. Given how early it is in the month I expect to receive another batch of notices and most likely will post another May 2021 events roundup.
At this point, there’s a heavy emphasis on architecture (human and other) and design.
Proximal Spaces on May 3, 2021
This is one of those event within an event notices. There’s a festival: FACTT 20/21 – Improbable Times. Trans-disciplinary & Trans-national Festival of Art & Science in Portugal and within the festival there is Proximal Spaces in Toronto, Canada. Here’s more from the ArtScience Salon (ArtSci Salon) May 1, 2021 announcement (received via email),
May 3, 2021 – 3.00 PM (EST) [12 pm PST]
Join us at this poetry reading by six Canadian artists responding to the work of eight bioartists. Event with be streamed on Facebook Live.
Please note that you don’t need to sign up in order to access the streaming as it is public.
Proximal Spaces’ is a multi-modal exhibition that explores the environment at multiple scales in concentric circles of proximity to the body. Inspired by Edward Hall’s [Edward Twitchell Hall or E. T. Hall] 1961 notation of intimate (1.5ft), personal (4ft), social (12ft) and public (25ft) spaces in his “Proxemics” diagrams, the installation portion presents similar diagrams of his concentric circles affixed to the wall of the gallery space, as well as developed in Augmented Reality around the venue. Each of these diagrams is a montage of microscopic and sub-microscopic images of the everyday environment as experienced by a collaborative team of international bioartists, and arrayed in a fractal form. In addition, an AR-enabled application explores the invisible environments of computer generated bioaerosols suspended in the air of virtual space.
This work visualizes the variegated response of the biological environment to unprecedented levels of physical distancing and self-isolation and recent developments in vaccine design that impact our understanding of interpersonal and interspecies ‘messaging’. What continues to thrive in the 6ft ‘dead spaces’ between us? What invisible particles linger on and create a biological archive through our movements through space? The artwork presents an interesting mode of interspecies engagement through hybrid virtual and physical interaction.
In the spring of 2021, six Canadian poets – Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart – came together to pursue a lyric response to Proximal Spaces. They were challenged and inspired by the virtual exhibition with its combination of art, science, and proxemics. The focus of the artworks – what inhabits and thrives in the spaces and environments where we live, work, and breathe—generated six distinctive poems.
Poets: Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart
Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya
This project is part of FACTT-Improbable Times (http://factt.arteinstitute.org/), a project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM [National Autonomous University of Mexico], Arte+Ciência and Bioscénica (Mexico), and Central Academy of Fine Arts (China). Together we will work and bring into being our ideas and actions for this during the year of 2021!
Morphogenesis: Geometry, Physics, and Biology on May 5, 2021
i love this image, he seems so delighted to show off the bug (?),
Here’s more from the Perimeter Institute for Theoretical Physics (PI) April 30, 2021 announcement (received via email),
Earth is home to millions of different species – from simple plants and unicellular organisms to trees and whales and humans. The incredible diversity of life on Earth led Charles Darwin to lament that it is “enough to drive the sanest man mad.”
How can we make sense of this diversity of form, which arises from the process of morphogenesis that links molecular- and cellular-level processes to conspire and lead to the emergence of “endless forms most beautiful,” as Darwin said?
In his May 5  lecture webcast, Harvard professor L. Mahadevan [Lakshminarayanan Mahadevan] will take viewers on a journey into the mathematical, physical, and biological workings of morphogenesis to demonstrate how scientists are beginning to unlock many of the secrets that have vexed scientists since Darwin.
Possible Worlds: “How Will We Live Together?” on May 6, 2021
For those who are interested in human architecture, there’s this from a May 3, 3021 Berggruen institute announcement (received via email) about a talk by Chilean architect and 2016 Pritzker Prize winner, Alejandro Gastón Aravena Mori (Alejandro Aravena),
Possible Worlds: How Will We Live Together
May 6, 2021
11am — Virtual
Possible Worlds: The UCLA [University of California at Los Angeles] – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute.
Please click here to submit a question to Alejandro Aravena
About Alejandro Aravena Alejandro Aravena is an architect, founder and executive director of the firm Elemental. His works include the “Siamese Towers” at the Catholic University of Chile and the Novartis office campus in Shanghai. In 2016, the New York Times named Aravena one of the world’s “creative geniuses” who had helped define culture. He and Elemental have received numerous honors, including the 2016 Pritzker Architecture Prize, the 2015 London Design Museum’s Design of the Year award and the 2011 Index Award. Aravena currently serves as the president of the Pritzker Prize jury. Aravena’s lecture title, “How Will We Live Together?” echoes the theme of the upcoming international architecture exhibition, Biennale Architettura, in which Elemental will be participating.
Featuring a discussion with moderator Dana Cuff
Dana Cuff is Professor of Architecture and Urban Design at UCLA, where she is also Director of cityLAB, an award-winning think tank that advances goals of spatial justice through experimental urbanism and architecture (www.cityLAB.aud.ucla.edu). Since receiving her Ph.D. in Architecture from Berkeley, Cuff has published and lectured widely about affordable housing, the architectural profession, and Los Angeles’ urban history. She is author of several books, including The Provisional City about postwar housing in L.A., and a co-authored book called Urban Humanities: New Practices for Reimagining the City, documenting her collaborative, crossdisciplinary research and teaching at UCLA funded by the Mellon Foundation. Based on cityLAB’s design research, Cuff co-authored landmark legislation that permits “backyard homes” on some 8.1 million single-family properties, doubling the density of suburbs across California (AB 2299, Bloom-2016). In 2019, cityLAB opened a satellite center in the MacArthur Park/Westlake neighborhood where a deep, multi-year exchange with community organizations is already demonstrating ways that humanistic design of the public realm can create more compassionate cities. Cuff recently received three awards that describe her career: Women in Architecture Activist of the Year (2019, Architectural Record); Distinguished Leadership in Architectural Research (2020, ARCC); and Educator of the Year (2021, American Institute of Architects Los Angeles).
About the Series Possible Worlds: The UCLA – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute. This semiannual series will bring some of today’s most imaginative intellectual leaders and creators to deliver public talks on the future of humanity. Through the lens of their singular achievements and experiences, these trailblazers in creativity, innovation, philosophy and politics will lecture on provocative topics that explore current challenges and transformations in human progress.
UCLA faculty and students have long been at the forefront of interpreting the world’s legacy of language, literature, art and science. UCLA Humanities serves a vital role in readying future leaders to articulate their thoughts with clarity and imagination, to interpret the world of ideas, and to live as informed citizens in an increasingly complex world. We are proud to be partnering in this lecture series with the Berggruen Institute, whose work addresses the “Great Transformations” taking place in technology and culture, politics and economics, global power arrangements, and even how we perceive ourselves as humans. The Institute seeks to connect deep thought in the human sciences — philosophy and culture — to the pursuit of practical improvements in governance.
A selection committee comprising representatives of UCLA and the Berggruen Institute has been formed to make recommendations for lecturers. The committee includes:
• Ursula Heise, Professor and Chair, Department of English; Professor, UCLA Institute of the Environment and Sustainability; Marcia H. Howard Term Chair in Literary Studies • Pamela Hieronymi, Professor of Philosophy • Anastasia Loukaitou-Sideris, Professor of Urban Planning; Associate Provost for Academic Planning • Todd Presner, Associate Dean, Digital Initiatives; Chair of the Digital Humanities Program; Michael and Irene Ross Endowed Chair of Yiddish Studies; Professor of Germanic Languages and Comparative Literature • Lynn Vavreck, Professor, Department of Political Science; Marvin Hoffenberg Professor of American Politics and Public Policy • David Schaberg, Senior Dean of the UCLA College; Dean of Humanities; Professor, Asian Languages & Cultures • Nils Gilman, Vice President of Programs, the Berggruen Institute
Generative Art and Computational Creativity starts May 7, 2021
A Spring 2021 MetaCreation Lab (Simon Fraser University; SFU) newsletter (received via email on April 23, 2021) highlights a number of festival submissions and papers along with some news about a free introductory course. First, the video introduction to the course,
This first course in the two-part program, Generative Art and Computational Creativity [there’s a fee for part two], proposes an introduction and overview of the history and practice of generative arts and computational creativity with an emphasis on the formal paradigms and algorithms used for generation. The full program will be taught by Associate Professor from the School of Interactive Arts and Technology at Simon Fraser University and multi-disciplinary researcher, Philippe Pasquier.
On the technical side, we will study core techniques from mathematics, artificial intelligence, and artificial life that are used by artists, designers and musicians across the creative industry. We will start with processes involving chance operations, chaos theory and fractals and move on to see how stochastic processes, and rule-based approaches can be used to explore creative spaces. We will study agents and multi-agent systems and delve into cellular automata, and virtual ecosystems to explore their potential to create novel and valuable artifacts and aesthetic experiences.
The presentation is illustrated by numerous examples from past and current productions across creative practices such as visual art, new media, music, poetry, literature, performing arts, design, architecture, games, robot-art, bio-art and net-art. Students get to practice these algorithms first hand and develop new generative pieces through assignments and projects in MAX. Finally, the course addresses relevant philosophical, and societal debates associated with the automation of creative tasks.
Music for this course was composed with the StyleMachineLite Max for Live engine of Metacreative Inc.
Artistic direction: Philippe Pasquier, Programmation: Arne Eigenfeldt, Sound Production: Philippe Bertrand
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: Introduction and Typology of Generative Art (May 7, 2021) To start off this course, we define generative art and computational creativity and discuss how these relate through the study of prominent examples. We establish a typology of generative systems based on levels of autonomy and agency.
Session 2: History Of Generative Art, Chance Operations, and Chaos Theory (May 14, 2021) Generative art is nothing new, and this session goes through the history of the field from pre-history to the popularization of computers. We study chance, noise, fractals, chaos theory, and their applications in visual art and music.
Session 3: Rule-Based Systems, Grammars and Markov Chains (May 21, 2021) This session introduces and illustrate the generative potential of rule-based and expert systems. We study generative grammars through the Chomsky hierarchy, and introduce L-systems, shape grammars, and Markov chains. We discuss how these have been applied in visual art, music, design, architecture, and electronic literature.
Session 4: Cognitive Agents And Multiagent Systems (May 28, 2021) This session introduces the concepts underlying the notion of artificial agents. We study the belief, desire, and intention (BDI) cognitive architecture, and message based agent communication resting on the speech act theory. We discuss musical agents, conversational agents, chat bots and twitter bots and their artistic potential.
Session 5: Reactive Agents And Multiagent Systems (June 4, 2021) In this session, we introduce reactive agents and the subsumption architecture. We study boids, and detail how complex behaviors can emerge from a distributed population of simple artificial agents. We look at a myriad of applications from ant painting to swarm music and we discuss artistic approaches to virtual ecosystems.
Session 6: A-Life And Cellular Automaton (June 11, 2021) In this concluding session, we introduce artificial life (A-life). We study cellular automaton, multi-agent ecosystems for music, visual art, non-photorealistic rendering, and gaming. The session also concludes the class by reflecting on the state of the art in the field and its consequences on creative practices.
The human being – so fragile, so ethereal, speaking a sweet language. A piece of architecture – so physically imminent, so solid, speaking a language of hardness.
Photo by Oliviero Godi – Frantoio Ipogeo nel Salento
Join photographer & architect Oliviero Godi as he explores the relationship between the body & the material, the transient & the permanent, in search of the correct balance where neither element prevails.
To make your donation, please send an e-transfer to firstname.lastname@example.org. Thank you!
Learn More [about this other upcoming Cultural Events]
Respiration and the Brain on May 25, 2021
Before getting to the April 29, 2021 BrainTalks announcement, here’s a little bit about BrainTalks from their webspace on the University of British Columbia (UBC) website,
BrainTalks is a series of talks inviting you to contemplate emerging research about the brain. Researchers studying the brain, from various disciplines including psychiatry, neuroscience, neuroimaging, and neurology, gather to discuss current leading edge topics on the mind.
As an audience member, you join the discussion at the end of the talk, both in the presence of the entire audience, and with an opportunity afterwards to talk with the speaker more informally in a catered networking session. The talks also serve as a connecting place for those interested in similar topics, potentially launching new endeavours or simply connecting people in discussions on how to approach their research, their knowledge, or their clinical practice.
For the general public, these talks serve as a channel where by knowledge usually sequestered in inaccessible journals or university classrooms, is now available, potentially allowing people to better understand their brains and minds, how they work, and how to optimize brain health.
[UBC School of Medicine Department of Psychiatry]
Onto the April 29, 2021 BrainTalks announcement (received via email),
BrainTalks: Respiration and the Brain
Tuesday, May 25th, 2021 from 6:00 PM – 7:30 PM [PT]
Join us for a series of online talks exploring questions of respiration and the brain. Emerging empirical research will be presented on ventilation-associated brain injury and breathing-based interventions for the treatment of stress and anxiety disorders. We presenters will include Dr. Thiago Bassi, Dr. Lloyd Lalande and Taylor Willi, MSc.
Dr. Thiago Bassi will address the biological connection between the brain and lungs, exploring the potential adverse effects of mechanical ventilation on the brain. Dr. Bassi is a neurosurgeon and neuroscientist, who worked clinically for more than ten years in Brazil. He joined the Lungpacer Medical team and C2B2 lab in 2017, and is currently completing his doctorate in Biomedicine Physiology at Simon Fraser University.
Dr. Lloyd Lalande will describe Guided Respiration Mindfulness Therapy (GRMT), as an emerging clinical breathwork intervention for its effectiveness in reducing depression, anxiety and stress, and in increasing mindfulness and sense of wellbeing. Dr. Lalonde is an Assistant Professor teaching psychology at the Buddhist TzuChi University of Science and Technology, and the developer of GRMT. His current research is based out of the TzuChi Buddhist General Hospital, investigating GRMT as an evidence-based treatment for a variety of outcomes.
Mr. Taylor Willi will present the findings of his dissertation research comparing the effect of performing daily brief relaxation techniques on measures of stress and anxiety. Mr. Willi completed a Masters Degree of Neuroscience at the University of British Columbia, and is currently completing his doctorate in Clinical Psychology at Simon Fraser University.
Each of the speakers will present an overview of their research findings investigating respiration in three unique ways. Following their presentations, the speakers will be available for an audience-drive panel discussion.
Plans for last year’s FACTT (Festival of Art and Science) 2020 had to be revised at the last minute due to COVID-19. This year, organizers were prepared so no in person sessions have to be cancelled or turned into virtual events. Here’s more from the Jan. 25, 2021 announcement I received (via email) from one of the festival partners, the ArtSci Salon at the University of Toronto,
Join us! Opening of FACTT 20-21 Improbable Times!
Thursday, January 28, 2021 at 3:30 PM EST – 5:30 PM EST Public · Anyone on or off Facebook – link will be disseminated closer to the event.
The Arte Institute and the RHI Initiative, in partnership with Cultivamos Cultura, have the pleasure to present the FACTT 2021 – Festival Art & Science. The festival opens on January 28, at 8.30 PM (GMT), and will be exhibited online on RHI Stage.
This year we are reshaping FACTT! Come join us for the kick-off of this amazing project!
A project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM, Arte+Ciência and Bioscenica (Mexico), and Central Academy of Fine Arts (China).
Together we will work and bring into being our ideas and actions for this during the year of 2021!
FACTT 20/21 – Improbable Times presents a series of exceptional artworks jointly curated by Cultivamos Cultura and our partners. The challenge of a translation from the physical space that artworks occupy typically, into an exhibition that lives as a hybrid experience, involves rethinking the materiality of the work itself. It also questions whether we can live and interact with each other remotely and in person producing creative effective collaborative outcomes to immerse ourselves in. Improbable Times brings together a collection of works that reflect the times we live in, the constraints we are faced with, the drive to rethink what tomorrow may bring us, navigate it and build a better future, beyond borders.
January 28, 2021 | 8:30 PM (GMT)Program: – Introduction – Performance Toronto: void * ambience : Latency, with Joel Ong, Michael Palumbo and Kavi – Performance Mexico “El Tercero Cuerpo Sonoro” (Third Sonorous Body), by Arte+Ciência. – Q&A
The performance series void * ambience experiments with sound and video content that is developed through a focus on the topographies and networks through which these flow. Initiated during the time of COVID and social distancing, this project explores processes of information sharing, real-time performance and network communication protocols that contribute to the sustenance of our digital communities, shared experiences and telematic intimacies.
“El Tercero Cuerpo Sonoro” project is a digital drift that explores different relationships with the environment, nature, humans and non-humans from the formulation of an intersubjective body. Its main search is to generate resonances with and among the others.
In these complicated times in which it seems that our existence unfolds in front of the screen, confined to the space of the black mirror, it becomes urgent to challenge the limits and scopes of digital life. We need to rethink the way in which we inhabit the others as well as our own subjectivity.
Program: – Introduction – Performance Toronto: Proximal Spaces Artistic Directors: Joel Ong, Elaine Whittaker Graphic Designer: Natalie Plociennik Bhavesh Kakwani AR [augmented reality] development : Sachin Khargie, Ryan Martin Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya – Performance Mexico Tercero Cuerpo Sonoro (Third Sonorous Body) by Arte+Ciência
FACTT team: Marta de Menezes, Suzanne Anker, Maria Antonia Gonzalez Valerio, Roberta Buiani, Jo Wei, Dalila Honorato, Joel Ong, Lena Lee and Minerva Ortiz.
For FACTT20/21 we propose to put together an exhibition where the virtual and the physical share space, a space that is hybrid from its conception, a space that desires to break the limits of access to culture, to collaboration, to the experience of art. A place where we can think deeply and creatively together about the adaptive moves we had and have to develop to the rapid and sudden changes our lives and environment are going through.
A new software system developed by Brown University [US] researchers turns cell phones into augmented reality portals, enabling users to place virtual building blocks, furniture and other objects into real-world backdrops, and use their hands to manipulate those objects as if they were really there.
The developers hope the new system, called Portal-ble, could be a tool for artists, designers, game developers and others to experiment with augmented reality (AR). The team will present the work later this month at the ACM Symposium on User Interface Software and Technology (UIST 2019) in New Orleans. The source code for Andriod is freely available for download on the researchers’ website, and iPhone code will follow soon.
“AR is going to be a great new mode of interaction,” said Jeff Huang, an assistant professor of computer science at Brown who developed the system with his students. “We wanted to make something that made AR portable so that people could use anywhere without any bulky headsets. We also wanted people to be able to interact with the virtual world in a natural way using their hands.”
Huang said the idea for Portal-ble’s “hands-on” interaction grew out of some frustration with AR apps like Pokemon GO. AR apps use smartphones to place virtual objects (like Pokemon characters) into real-world scenes, but interacting with those objects requires users to swipe on the screen.
“Swiping just wasn’t a satisfying way of interacting,” Huang said. “In the real world, we interact with objects with our hands. We turn doorknobs, pick things up and throw things. So we thought manipulating virtual objects by hand would be much more powerful than swiping. That’s what’s different about Portal-ble.”
The platform makes use of a small infrared sensor mounted on the back of a phone. The sensor tracks the position of people’s hands in relation to virtual objects, enabling users to pick objects up, turn them, stack them or drop them. It also lets people use their hands to virtually “paint” onto real-world backdrops. As a demonstration, Huang and his students used the system to paint a virtual garden into a green space on Brown’s College Hill campus.
Huang says the main technical contribution of the work was developing the right accommodations and feedback tools to enable people to interact intuitively with virtual objects.
“It turns out that picking up a virtual object is really hard if you try to apply real-world physics,” Huang said. “People try to grab in the wrong place, or they put their fingers through the objects. So we had to observe how people tried to interact with these objects and then make our system able accommodate those tendencies.”
To do that, Huang enlisted students in a class he was teaching to come up with tasks they might want to do in the AR world — stacking a set of blocks, for example. The students then asked other people to try performing those tasks using Portal-ble, while recording what people were able to do and what they couldn’t. They could then adjust the system’s physics and user interface to make interactions more successful.
“It’s a little like what happens when people draw lines in Photoshop,” Huang said. “The lines people draw are never perfect, but the program can smooth them out and make them perfectly straight. Those were the kinds of accommodations we were trying to make with these virtual objects.”
The team also added sensory feedback — visual highlights on objects and phone vibrations — to make interactions easier. Huang said he was somewhat surprised that phone vibrations helped users to interact. Users feel the vibrations in the hand they’re using to hold the phone, not in the hand that’s actually grabbing for the virtual object. Still, Huang said, vibration feedback still helped users to more successfully interact with objects.
In follow-up studies, users reported that the accommodations and feedback used by the system made tasks significantly easier, less time-consuming and more satisfying.
Huang and his students plan to continue working with Portal-ble — expanding its object library, refining interactions and developing new activities. They also hope to streamline the system to make it run entirely on a phone. Currently the infrared sensor requires an infrared sensor and external compute stick for extra processing power.
Huang hopes people will download the freely available source code and try it for themselves. “We really just want to put this out there and see what people do with it,” he said. “The code is on our website for people to download, edit and build off of. It will be interesting to see what people do with it.
Co-authors on the research paper were Jing Qian, Jiaju Ma, Xiangyu Li, Benjamin Attal, Haoming Lai, James Tompkin and John Hughes. The work was supported by the National Science Foundation (IIS-1552663) and by a gift from Pixar.
This is the first time I’ve seen an augmented reality system that seems accessible, i.e., affordable. You can find out more on the Portal-ble ‘resource’ page where you’ll also find a link to the source code repository. The researchers, as noted in the news release, have an Android version available now with an iPhone version to be released in the future.
The dates are November 7 -9, 2018 and as the opening draws closer I’m getting more ‘breathlessly enthusiastic’ announcements. Here are a few highlights from an October 23, 2018 announcement received via email,
CSPC 2018 is honoured to announce that the Honourable Kirsty Duncan, Minister of Science and Sport, will be delivering the keynote speech of the Gala Dinner on Thursday, November 8 at 7:00 PM. Minister Duncan will also hand out the 4th Science Policy Award of Excellence to the winner of this year’s competition.
CSPC 2018 features 250 speakers, a record number, and above is the breakdown of the positions they hold, over 43% of them being at the executive level and 57% of our speakers being women.
*All information as of October 15, 2018
If you think that you will not meet any new people at CSPC and all of the registrants are the same as last year, think again!
Over 57% of registrants are attending the conference for the FIRST TIME!
Secure your spot today!
*All information as of October 15, 2018
Here’s more from an October 31, 2018 announcement received via email,
One year after her appointment as Canada’s Chief Science Advisor, Dr. Mona Nemer will discuss her experience with the community. Don’t miss this opportunity.
[Canadian Science Policy Centre editorials in advance of conference]
Role Title: Director of Communications
Deadline: November 5, 2018
Salary: $115,000 to $165,000
About the Council of Canadian Academies
The Council of Canadian Academies (CCA) is a not-for-profit organization that conducts assessments of evidence on scientific topics of public interest to inform decision-making in Canada.
The CCA is seeking an experienced communications professional to join its senior management team as Director of Communications. Reporting to the President and CEO, the Director is responsible for developing and implementing a communications plan for the organization that promotes and highlights the CCA’s work, brand, and overall mission to a variety of potential users and stakeholders; overseeing the publication and dissemination of high-quality hard copy and online products; and providing strategic advice to the President and CCA’s Board, Committees, and Panels. In fulfilling these responsibilities, the Director of Communications is expected to work with a variety of interested groups including the media, the broad policy community, government, and non-governmental organizations.
Key Responsibilities and Accountabilities
Under the direction of the President and CEO, the Director leads a small team of communications and publishing professionals to meet the responsibilities and accountabilities outlined below.
Strategy Development and External Communications
• Develop and execute an overall strategic communications plan for the organization that promotes and highlights the CCA’s work, brand, and overall mission.
• Oversee the CCA’s presence and influence on digital and social platforms including the development and execution of a comprehensive content strategy for linking CCA’s work with the broader science and policy ecosystem with a focus on promoting and disseminating the findings of the CCA’s expert panel reports.
• Provide support, as needed for relevant government relations activities including liaising with communications counterparts, preparing briefing materials, responding to requests to share CCA information, and coordinating any appearances before Parliamentary committees or other bodies.
• Harness opportunities for advancing the uptake and use of CCA assessments, including leveraging the strengths of key partners particularly the founding Academies.
Publication and Creative Services
• Oversee the creative services, quality control, and publication of all CCA’s expert panel reports including translation, layout, quality assurance, graphic design, proofreading, and printing processes.
• Oversee the creative development and publication of all CCA’s corporate materials including the Annual Report and Corporate Plan through content development, editing, layout, translation, graphic design, proofreading, and printing processes.
Advice and Issues Management
• Provide strategic advice and support to the President’s Office, Board of Directors, Committees, and CCA staff about increasing the overall impact of CCA expert panel reports, brand awareness, outreach opportunities, and effective science communication.
• Provide support to the President by anticipating project-based or organizational issues, understanding potential implications, and suggesting strategic management solutions.
• Ensure consistent messages, style, and approaches in the delivery of all internal and external communications across the organization.
• Mentor, train, and advise up to five communications and publishing staff on a day-to-day basis and complete annual performance reviews and planning.
• Lead the development and implementation of all CCA-wide policy and procedures relating to all aspects of communications and publishing.
• Represent the issues, needs, and ongoing requirements for the communications and publishing staff as a member of the CCA senior management team.
The Director of Communications requires:
• Superior knowledge of communications and public relations principles – preferably as it applies in a non-profit or academic setting;
• Extensive experience in communications planning and issues management;
• Knowledge of current research, editorial, and publication production standards and procedures including but not limited to: translation, copy-editing, layout/design, proofreading and publishing;
• Knowledge of evaluating impact of reports and assessments;
• Knowledge in developing content strategy, knowledge mobilization techniques, and creative services and design;
• Knowledge of human resource management techniques and experience managing a team;
• Experience in coordinating, organizing and implementing communications activities including those involving sensitive topics;
• Knowledge of the relationships and major players in Canada’s intramural and extramural science and public policy ecosystem, including awareness of federal science departments and Parliamentary committees, funding bodies, and related research groups;
• Knowledge of Microsoft Office Suite, Adobe Creative Suite, WordPress and other related programs;
• Knowledge of a variety of social media platforms and measurement tools.
The Director of Communications must have:
• Superior time and project management skills
• Superior writing skills
• Superior ability to think strategically regarding how best to raise the CCA’s profile and ensure impact of the CCA’s expert panel reports
• Ability to be flexible and adaptable; able to respond quickly to unanticipated demands
• Strong advisory, negotiation, and problem-solving skills
• Strong skills in risk mitigation
• Superior ability to communicate in both written and oral forms, effectively and diplomatically
• Ability to mentor, train, and provide constructive feedback to direct reports
Education and Experience
This knowledge and skillset is typically obtained through the completion of a post-secondary degree in Journalism, Communications, Public Affairs or a related field, and/or a minimum of 10
years of progressive and related experience. Experience in an organization that has addressed topics in public policy would be valuable.
Language Requirements: This position is English Essential. Fluency in French is a strong asset.
To apply to this position please send your CV and cover letter to email@example.com before November 5, 2018. The cover letter should answer the following questions in 1,000 words or less:
1. How does your background and work experience make you well-suited for the position of Director of Communications at CCA?
2. What trends do you see emerging in the communications field generally, and in science and policy communications more specifically? How might CCA take advantage of these trends and developments?
3. Knowing that CCA is in the business of conducting assessments of evidence on important policy topics, how do you feel communicating this type of science differs from communicating other types of information and knowledge?
While research is world-class and technology start-ups are thriving, few companies grow and mature in Canada. This cycle — invent and sell, invent and sell — allows other countries to capture much of the economic and social benefits of Canadian-invented products, processes, marketing methods, and business models. …
So, the problem is ‘invent and sell’. Leaving aside the questionable conclusion that other countries are reaping the benefits of Canadian innovation (I’ll get back to that shortly), what questions could you ask about how to break the ‘invent and sell, invent and sell’ cycle? Hmm, maybe we should ask, How do we break the ‘invent and sell’ cycle in Canada?
… Escaping this cycle may be aided through education and training of innovation managers who can systematically manage ideas for commercial success and motivate others to reimagine innovation in Canada.
To understand how to better support innovation management in Canada, Innovation, Science and Economic Development Canada (ISED) asked the CCA two critical questions: What are the key skills required to manage innovation? And, what are the leading practices for teaching these skills in business schools, other academic departments, colleges/polytechnics, and industry?
As lawyers, journalists, scientists, doctors, librarians, and anyone who’s ever received misinformation can tell you, asking the right questions can make a big difference.
As for the conclusion that other countries are reaping the benefits of Canadian innovation, is there any supporting data? We enjoy a very high standard of living and have done so for at least a couple of generations. The Organization for Economic Cooperation and Development (OECD) has a Better Life Index, which ranks well-being on these 11 dimensions (from the OECD Better Life Index entry on Wikipedia), Note: Links have been removed,
Housing: housing conditions and spendings (e.g. real estate pricing)
Income: household income and financial wealth
Jobs: earnings, job security and unemployment
Community: quality of social support network
Education: education and what you get out of it
Environment: quality of environment (e.g. environmental health)
This notion that other countries are profiting from Canadian innovation while we lag behind has been repeated so often that it’s become an article of faith and I never questioned it until someone else challenged me. This article of faith is repeated internationally and sometimes seems that every country in the world is worried that someone else will benefit from their national innovation.
Getting back to the Canadian situation, we’ve decided to approach the problem by not asking questions about our article of faith or how to break the ‘invent and sell’ cycle. Instead of questioning an assumption and producing an open-ended question, we have these questions (1) What are the key skills required to manage innovation? (2) And, what are the leading practices for teaching these skills in business schools, other academic departments, colleges/polytechnics, and industry?
in my world that first question, would be a second tier question, at best. The second question, presupposes the answer: more training in universities and colleges. I took a look at the report’s Expert Panel webpage and found it populated by five individuals who are either academics or have strong ties to academe. They did have a workshop and the list of participants does include people who run businesses, from the Improving Innovation Through Better Management‘ report (Note: Formatting has not been preserved),
Former President and Vice-Chancellor of
Wilfrid Laurier University (Waterloo, ON)
Richard Boudreault, FCAE,
Chairman, Sigma Energy
Storage (Montréal, QC)
Judy Fairburn, FCAE,
Past Board Chair, Alberta Innovates;
retired EVP Business Innovation & Chief Digital Officer,
Cenovus Energy Inc. (Calgary, AB)
Tom Jenkins, O.C., FCAE,
Chair of the Board, OpenText
Director of the Institute for Gender and the
Economy and Distinguished Professor, Rotman School of
Management, University of Toronto (Toronto, ON)
Senior Vice President of Engineering,
Shopify Inc. (Ottawa, ON)
Academic Director and Professor, i2I, Beedie
School of Business, Simon Fraser University (Vancouver, BC)
John L. Mann, FCAE,
Owner, Mann Consulting
CEO, Volta Labs (Halifax, NS)
Professor of Higher Education and Director of
the Centre for the Study of Canadian and International
Higher Education, Ontario Institute for Studies in Education,
University of Toronto (Toronto, ON)
Professor and Chair, J. Herbert Smith
Centre for Technology Management & Entrepreneurship,
Faculty of Engineering, University of New Brunswick
Senior Executive, Innovation, IBM Canada
J. Mark Weber,
Eyton Director, Conrad School of
Entrepreneurship & Business, University of Waterloo
I am a little puzzled by the IBM executive’s presence (Dan Sinai) on this list. Wouldn’t Canadians holding onto their companies be counterproductive to IBM’s interests? As for John L. Mann, I’ve not been able to find him or his consulting company online. it’s unusual not to find any trace of an individual or company online these days.
In all there were nine individuals representing academic or government institutions in this list. The gender balance is 10 males and five females for the workshop participants and three males and two females for the expert panel. There is no representation from the North or from Manitoba, Saskatchewan, Prince Edward Island, or Newfoundland.
If they’re serious about looking at how to use innovation to drive higher standards of living, why aren’t there any people from Asian countries where they have been succeeding at that very project? South Korea and China come to mind.
I’m sure there are some excellent ideas in the report, I just wish they’d taken their topic to heart and actually tried to approach innovation in Canada in an innovative fashion.
Meanwhile, Vancouver gets another technology hub, from an October 30, 2018 article by Kenneth Chan for the Daily Hive (Vancouver [Canada]), Note: Links have been removed,
Vancouver’s rapidly growing virtual reality (VR) and augmented reality (AR) tech sectors will greatly benefit from a new VR and AR hub created by Launch Academy.
The technology incubator has opened a VR and AR hub at its existing office at 300-128 West Hastings Street in downtown, in partnership with VR/AR Association Vancouver. Immersive tech companies have access to desk space, mentorship programs, VR/AR equipment rentals, investor relations connected to Silicon Valley [emphasis mine], advisory services, and community events and workshops.
Within the Vancouver tech industry, the immersive sector has grown from 15 companies working in VR and AR in 2015 to 220 organizations today.
Globally, the VR and AR market is expected to hit a value of $108 billion by 2021, with tech giants like Amazon, Apple, Facebook, Google, and Microsoft [emphasis mine] investing billions into product development.
In the Vancouver region, the ‘invent and sell’ cycle can be traced back to the 19th century.
One more thing, as I was writing this piece I tripped across this news: “$7.7-billion pact makes Encana more American than Canadian‘ by Geoffrey Morgan. It’s in the Nov. 2, 2018 print edition of the Vancouver Sun’s front page for business. “Encana Corp., the storied Canadian company that had been slowly transitioning away from Canada and natural gas over the past few years under CEO [Chief Executive Officer] Doug Suttles, has pivoted aggressively to US shale basins. … Suttles, formerly as BP Plc. executive, moved from Calgary [Alberta, Canada] to Denver [Colorado, US], though the company said that was for personal reasons and not a precursor to relocation of Encana’s headquarters.” Yes, that’s quite believable. By the way, Suttles has spent* most of his life in the US (Wikipedia entry).
In any event, it’s not just Canadian emerging technology companies that get sold or somehow shifted out of Canada.
So, should we break the cycle and, if so, how are we going to do it?
*’spend’ corrected to ‘spent’ on November 6, 2018.
Flexible transparent conducting electrodes (FTCEs) are an essential element of flexible optoelectronics for next-generation wearable displays, augmented reality (AR), and the Internet of Things (IoTs). Silver nanowires (Ag NWs) have received a great deal of attention as future FTCEs due to their great flexibility, material stability, and large-scale productivity. Despite these advantages, Ag NWs have drawbacks such as high wire-to-wire contact resistance and poor adhesion to substrates, resulting in severe power consumption and the delamination of FTCEs.
A Korean research team led by Professor Keon Jae Lee of the Materials Science and Engineering Department at KAIST and Dr. Hong-Jin Park from BSP Inc., has developed high-performance Ag NWs (sheet resistance ~ 5 Ω /sq, transmittance 90 % at λ = 550 nm) with strong adhesion on plastic (interfacial energy of 30.7 J m-2) using flash light-material interactions.
The broad ultraviolet (UV) spectrum of a flash light enables the localized heating at the junctions of nanowires (NWs), which results in the fast and complete welding of Ag NWs. Consequently, the Ag NWs demonstrate six times higher conductivity than that of the pristine NWs. In addition, the near-infrared (NIR) of the flash lamp melted the interface between the Ag NWs and a polyethylene terephthalate (PET) substrate, dramatically enhancing the adhesion force of the Ag NWs to the PET by 310 %.
Professor Lee said, “Light interaction with nanomaterials is an important field for future flexible electronics since it can overcome thermal limit of plastics, and we are currently expanding our research into light-inorganic interactions.”
Meanwhile, BSP Inc., a laser manufacturing company and a collaborator of this work, has launched new flash lamp equipment for flexible applications based on the Prof. Lee’s research.
The results of this work entitled “Flash-Induced Self-Limited Plasmonic Welding of Ag NW Network for Transparent Flexible Energy Harvester (DOI: 10.1002/adma.201603473)”(http://onlinelibrary.wiley.com/doi/10.1002/adma.201603473/pdf) were published in the February 2, 2017 issue of Advanced Materials as the cover article.
Professor Lee also contributed an invited review in the same journal of the April 3 2017 online issue, “Laser-Material Interaction for Flexible Applications,” overviewing the recent advances in light interactions with flexible nanomaterials.
Lately, It seems I’ve stumbled across quite a few stories about wearable technologies and research to improve them.