For the first time, people with arm amputations can experience sensations of touch in a mind-controlled arm prosthesis that they use in everyday life. A study in the New England Journal of Medicine reports on three Swedish patients who have lived, for several years, with this new technology – one of the world’s most integrated interfaces between human and machine.
The advance is unique: the patients have used a mind-controlled prosthesis in their everyday life for up to seven years. For the last few years, they have also lived with a new function – sensations of touch in the prosthetic hand. This is a new concept for artificial limbs, which are called neuromusculoskeletal prostheses – as they are connected to the user’s nerves, muscles, and skeleton.
The research was led by Max Ortiz Catalan, Associate Professor at Chalmers University of Technology, in collaboration with Sahlgrenska University Hospital, University of Gothenburg, and Integrum AB, all in Gothenburg, Sweden. Researchers at Medical University of Vienna in Austria and the Massachusetts Institute of Technology in the USA were also involved.
“Our study shows that a prosthetic hand, attached to the bone and controlled by electrodes implanted in nerves and muscles, can operate much more precisely than conventional prosthetic hands. We further improved the use of the prosthesis by integrating tactile sensory feedback that the patients use to mediate how hard to grab or squeeze an object. Over time, the ability of the patients to discern smaller changes in the intensity of sensations has improved,” says Max Ortiz Catalan.
“The most important contribution of this study was to demonstrate that this new type of prosthesis is a clinically viable replacement for a lost arm. No matter how sophisticated a neural interface becomes, it can only deliver real benefit to patients if the connection between the patient and the prosthesis is safe and reliable in the long term. Our results are the product of many years of work, and now we can finally present the first bionic arm prosthesis that can be reliably controlled using implanted electrodes, while also conveying sensations to the user in everyday life”, continues Max Ortiz Catalan.
Since receiving their prostheses, the patients have used them daily in all their professional and personal activities.
The new concept of a neuromusculoskeletal prosthesis is unique in that it delivers several different features which have not been presented together in any other prosthetic technology in the world:
[1] It has a direct connection to a person’s nerves, muscles, and skeleton.
[2] It is mind-controlled and delivers sensations that are perceived by the user as arising from the missing hand.
[3] It is self-contained; all electronics needed are contained within the prosthesis, so patients do not need to carry additional equipment or batteries.
[4] It is safe and stable in the long term; the technology has been used without interruption by patients during their everyday activities, without supervision from the researchers, and it is not restricted to confined or controlled environments.
The newest part of the technology, the sensation of touch, is possible through stimulation of the nerves that used to be connected to the biological hand before the amputation. Force sensors located in the thumb of the prosthesis measure contact and pressure applied to an object while grasping. This information is transmitted to the patients’ nerves leading to their brains. Patients can thus feel when they are touching an object, its characteristics, and how hard they are pressing it, which is crucial for imitating a biological hand.
“Currently, the sensors are not the obstacle for restoring sensation,” says Max Ortiz Catalan. “The challenge is creating neural interfaces that can seamlessly transmit large amounts of artificially collected information to the nervous system, in a way that the user can experience sensations naturally and effortlessly.” The implantation of this new technology took place at Sahlgrenska University Hospital, led by Professor Rickard Brånemark and Doctor Paolo Sassu. Over a million people worldwide suffer from limb loss, and the end goal for the research team, in collaboration with Integrum AB, is to develop a widely available product suitable for as many of these people as possible.
“Right now, patients in Sweden are participating in the clinical validation of this new prosthetic technology for arm amputation,” says Max Ortiz Catalan. “We expect this system to become available outside Sweden within a couple of years, and we are also making considerable progress with a similar technology for leg prostheses, which we plan to implant in a first patient later this year.”
More about: How the technology works:
The implant system for the arm prosthesis is called e-OPRA and is based on the OPRA implant system created by Integrum AB. The implant system anchors the prosthesis to the skeleton in the stump of the amputated limb, through a process called osseointegration (osseo = bone). Electrodes are implanted in muscles and nerves inside the amputation stump, and the e-OPRA system sends signals in both directions between the prosthesis and the brain, just like in a biological arm.
The prosthesis is mind-controlled, via the electrical muscle and nerve signals sent through the arm stump and captured by the electrodes. The signals are passed into the implant, which goes through the skin and connects to the prosthesis. The signals are then interpreted by an embedded control system developed by the researchers. The control system is small enough to fit inside the prosthesis and it processes the signals using sophisticated artificial intelligence algorithms, resulting in control signals for the prosthetic hand’s movements.
The touch sensations arise from force sensors in the prosthetic thumb. The signals from the sensors are converted by the control system in the prosthesis into electrical signals which are sent to stimulate a nerve in the arm stump. The nerve leads to the brain, which then perceives the pressure levels against the hand.
The neuromusculoskeletal implant can connect to any commercially available arm prosthesis, allowing them to operate more effectively.
More about: How the artificial sensation is experienced:
People who lose an arm or leg often experience phantom sensations, as if the missing body part remains although not physically present. When the force sensors in the prosthetic thumb react, the patients in the study feel that the sensation comes from their phantom hand. Precisely where on the phantom hand varies between patients, depending on which nerves in the stump receive the signals. The lowest level of pressure can be compared to touching the skin with the tip of a pencil. As the pressure increases, the feeling becomes stronger and increasingly ‘electric’.
I have read elsewhere that one of the most difficult aspects of dealing with a prosthetic is the loss of touch. This has to be exciting news for a lot of people. Here’s a link to and a citation for the paper,
Self-Contained Neuromusculoskeletal Arm Prostheses by Max Ortiz-Catalan, Enzo Mastinu, Paolo Sassu, Oskar Aszmann, and Rickard Brånemark. N Engl J Med 2020; 382:1732-1738 DOI: 10.1056/NEJMoa1917537 Published: April 30, 2020
An August 29, 2019 news item on phys.org broke the news about breaking a record for transferring quantum entanglement between matter and light ,
The quantum internet promises absolutely tap-proof communication and powerful distributed sensor networks for new science and technology. However, because quantum information cannot be copied, it is not possible to send this information over a classical network. Quantum information must be transmitted by quantum particles, and special interfaces are required for this. The Innsbruck-based experimental physicist Ben Lanyon, who was awarded the Austrian START Prize in 2015 for his research, is investigating these important intersections of a future quantum Internet.
Now his team at the Department of Experimental Physics at the University of Innsbruck and at the Institute of Quantum Optics and Quantum Information of the Austrian Academy of Sciences has achieved a record for the transfer of quantum entanglement between matter and light. For the first time, a distance of 50 kilometers was covered using fiber optic cables. “This is two orders of magnitude further than was previously possible and is a practical distance to start building inter-city quantum networks,” says Ben Lanyon.
Lanyon’s team started the experiment with a calcium atom trapped in an ion trap. Using laser beams, the researchers write a quantum state onto the ion and simultaneously excite it to emit a photon in which quantum information is stored. As a result, the quantum states of the atom and the light particle are entangled. But the challenge is to transmit the photon over fiber optic cables. “The photon emitted by the calcium ion has a wavelength of 854 nanometers and is quickly absorbed by the optical fiber”, says Ben Lanyon. His team therefore initially sends the light particle through a nonlinear crystal illuminated by a strong laser. Thereby the photon wavelength is converted to the optimal value for long-distance travel: the current telecommunications standard wavelength of 1550 nanometers. The researchers from Innsbruck then send this photon through a 50-kilometer-long optical fiber line. Their measurements show that atom and light particle are still entangled even after the wavelength conversion and this long journey.
Even greater distances in sight
As a next step, Lanyon and his team show that their methods would enable entanglement to be generated between ions 100 kilometers apart and more. Two nodes send each an entangled photon over a distance of 50 kilometers to an intersection where the light particles are measured in such a way that they lose their entanglement with the ions, which in turn would entangle them. With 100-kilometer node spacing now a possibility, one could therefore envisage building the world’s first intercity light-matter quantum network in the coming years: only a handful of trapped ion-systems would be required on the way to establish a quantum internet between Innsbruck and Vienna, for example.
Lanyon’s team is part of the Quantum Internet Alliance, an international project within the Quantum Flagship framework of the European Union. The current results have been published in the Nature journal Quantum Information. Financially supported was the research among others by the Austrian Science Fund FWF and the European Union.
Here’s a link to and a citation for the paper,
Light-matter entanglement over 50 km of optical fibre by V. Krutyanskiy, M. Meraner, J. Schupp, V. Krcmarsky, H. Hainzer & B. P. Lanyon. npj Quantum Information volume 5, Article number: 72 (2019) DOI: https://doi.org/10.1038/s41534-019-0186-3 Published: 27 August 2019
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.
I was able to find out more in a November 6, 2019 article at broadwayworld.com (Note: Some of this is repetitive),
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.
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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
Tickets are also available in person at UBC concert box-office locations: – Old Auditorium – Freddie Wood Theatre – The Chan Centre for the Performing Art
General admission: $10.00 Free seating for UBC students Purchase tickets for both President’s Concert Series events to make it a package, and save 10% on both performances
Transportation Public and Bike Transportation Please visit Translink for bike and transit information. Parking Suggested parking in the Rose Garden Parkade.
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),
I’ve already written about October 2019 science and art/science events in Canada (see my Sept. 26, 2019 posting), but more event notices for Octoberhave come my way. These events are all art/science (or sciart as it’s sometimes called).
… on the future of life forms … a two-night (Oct./Nov.) discussion in Toronto, Canada
Here’s more from the ArtSci Salon’s October 3, 2019 announcement (received via email)
“…now they were perfecting a pigoon that could grow five or six kidneys at a time. Such a host animal could be reaped of its extra kidneys; then, rather than being destroyed, it could keep on living and grow more organs, much as a lobster could grow another claw to replace a missing one. That would be less wasteful, as it took a lot of food and care to grow a pigoon. A great deal of investment money had gone into OrganInc Farms…” (Margaret Atwood – Oryx & Crake 2003)
In Oryx and Crake Margaret Atwood describes a not-too-distant future where humans have perfected the art of fabricating and modifying a variety of creatures to improve and prolongue their own lives and wellbeing.
As Atwood has stated in various occasions, this is not science fiction.
It is in fact already happening. New forms of life appear not only as the product of lab fabrication or gene editing, but also as the result of toxic pollutants and climate change induced adaptation.
what to make of them?
how to cope with a world where extinction, adaptation and mutation risk to make traditional categories and taxonomies obsolete?
or not?
Join us to this two-parts series to discuss the ethics and implications of these transformations with artists, scientists and bioethicists.
this is a “double date”! Please, note the two dates please, RSVP here https://bit.ly/2AH1Pe8
Part 1 Thursday, October 17, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Altered Inheritance: extinction, recreation or transformation? a dialogue and discussion on the implications of genome editing on humans and other organisms
with Francoise Baylis – Research Professor, Bioethicist, Dalhousie University
Karen Maxwell – Dept. of Biochemistry, Maxwell Lab, University of Toronto
emergent artists from OCADU [Ontario College of Art and Design University] and YorkU [York University, Toronto]
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Part 2 Thursday, November 21, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Classifying the new? why do we classify? what is it good for? what is the limit of taxonomy and classification in a transforming world?
with Richard Pell – Centre for PostNatural History, Pittsburgh, PA
Laurence Packer – Mellitologist, Professor of biology and environmental studies, York University
Stefan Herda – earth science artist
Cole Swanson – artist and educator (Art Foundation and Visual and Digital Arts, Humber college)
Anna Marie O’Brien – Frederickson, Rochman, and Sinton labs, University of Toronto
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BIOS
Françoise Baylis is University Research Professor at Dalhousie University. She is a member of the Order of Canada and the Order of Nova Scotia, as well as a fellow of the Royal Society of Canada and of the Canadian Academy of Health Sciences. Baylis was one of the organizers of, and a key participant in, the 2015 International Summit on Human Gene Editing. She is a member of the WHO expert advisory committee on Developing Global Standards for Governance and Oversight of Human Genome Editing. Her new book “Altered Inheritance. CRISPR and the Ethics of Human Genome Editing” is published by Harvard University Press
Karen Maxwell is a research professor in the dept of biochemistry at the university of toronto, where she runs the Maxwell Lab. Among other topics, the lab’s three branches “Anti-CRISPR”, “Phage morons” and “Anti-Phage defences” study the interplay of phages with their bacterial hosts, with a focus on phage mediated bacterial virulence mechanisms and inhibitors of anti-phage bacterial defenses.
Richard Pell works at the intersections of science, engineering, and culture. He has worked in a variety of electronic media from documentary video to robotics to bioart to museum exhibition. He is the founder and director of the Center for PostNatural History (CPNH), an organization dedicated to the collection and exposition of life-forms that have been intentionally and heritably altered through domestication, selective breeding, tissue culture or genetic engineering. The CPNH operates a permanent museum in Pittsburgh, Pennsylvania, and produces traveling exhibitions that have appeared in science and art museums throughout Europe and the United States, including being the subject of a major exhibition at the Wellcome Collection in London.
Laurence Packer is a mellitologist, ie a scholar whose main subject of study is wild bees. his research primarily involves the systematics of the bee subfamily Xeromelissinae – an obscure, but fascinating group of bees, restricted to the New World south of central Mexico. he has also expended considerable energy leading the global campaign to barcode the bees of the world. his work is concerned with promulgating the importance of bees: for genetic reasons, it seems that bees are more extinction prone than are almost all other organisms
Stefan Herda‘s practice explores our troubling relationship to the natural world through drawing, sculpture and video. Inspired by the earth sciences, Herda’s work navigates the space between truth and fiction. His material and process-based investigations fuse elements of authenticity, façade, the natural and the manufactured together. He received his BAH from the University of Guelph in 2010. His work in both sculpture and video has been included in exhibitions nationally and has been featured by CBC Arts and Daily VICE. Recently, Stefan has held solo shows at Patel Projects (Toronto) and Wil Kucey Gallery (Toronto), participated in group shows such as Cultivars: Possible Worlds at InterAccess (Toronto) and was featured as one of 12 artists in the Cabinet Project at the University of Toronto
Cole Swanson is an artist and educator based in Toronto, Canada. He has exhibited in solo and group exhibitions across Canada and throughout international venues in North America, South America, Europe, and Asia. At the heart of recent work is a cross-disciplinary exploration of materials and their sociocultural and biological histories. Embedded within art media and commonplace resources are complex relations between nature and culture, humans and other agents, consumers and the consumed. Swanson has engaged in a broad material practice using sound, installation, painting, and sculpture to explore interspecies relationships.
Anna Marie O’Brien is a post doc in the Frederickson, Rochman, and Sinton labs at University of Toronto, working on duckweeds, microbes, urban contaminants, and phenotypes.her PhD work was at Davis, with thesis advisors Dr. Jeffrey Ross-Ibarra and Dr. Sharon Strauss. she also collaborated closely with Dr. Ruairidh Sawers at LANGEBIO-CINVESTAV in Guanajuato, Mexico.
The first highlighted speaker, Françoise Baylis, has been mentioned here twice before, in a May 17, 2019 posting (scroll down to the ‘Global plea for moratorium on heritable genome editing’ subheading) and in an April 26, 2019 posting (scroll down to the ‘Finally’ subheading, the second paragraph). Both postings touch on the topic of CRISPR (clustered regularly interspaced short palindromic repeats) and germline editing (genetic editing that will affect all of your descendents).
Cartooney in New Westminster (near Vancouver, Canada) starting October 18, 2019
I like physics but I love cartoons Stephen Hawking
There you have it from one of the 20th/early 21st century’s most famous physicists. The quote is the opening line for the New Westminster (near Vancouver, Canada) New Media Gallery’s latest event webpage, Cartooney,
The impact of animated cartoons has been profound. In the early 20th century, we began exploiting the possibilities of the animated frame. The seven artists in this exhibition don’t create cartoons, they deconstruct those that already exist; from Looney Tunes, to The Simpsons to Charlie Brown. They exploit this potent material to reveal the inner and outer workings of our human world. The original cartoon is ever-present, haunting us with suggestive content.
The artists in this exhibition reframe our world. Here we are asked to consider the laws, systems and iconographies of the cartoon world while drawing parallels with our human world; physical laws, the laws of gravitation, matter + light, the physics of motion, and societal psychologies & behaviours. We are presented with fascinating catalogues and overlaying systems of symbolic language. The purposeful demolition of expectation in these works, mirrors the instabilities and dreams of modern life. They remind us that the pervasive medium of the cartoon can reflect and influence how we navigate the world. If there is a paradox here, it might be that dismantling a cartoon can throw open the doors of perception.
Artist Andy Holden becomes a cartoon avatar in Laws of Motion in a Cartoon Landscape.
Photograph By contributed [downloaded from https://www.newwestrecord.ca/entertainment/what-can-cartoons-tell-us-about-the-state-of-the-universe-find-out-in-new-west-1.23969740]
An Oct. 7, 2019 article in the New Westminster Record provides a few more details about the show,
The New Westminster New Media Gallery’s next exhibition is exploring the impact of animated cartoons.
Cartooney opens at the gallery on Friday, Oct. 18 and runs until Dec. 8 [2019], then again from Jan. 7 to Feb. 2 [2020].
Artist Kevin McCoy, one-half of the duo of Jennifer and Kevin McCoy, will be on hand for an artist talk on opening night, Friday, Oct. 18. The talk will run from 6:30 to 7:30 p.m., with a reception and open exhibition from 7:30 to 9 p.m.
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Laws of Motion in a Cartoon Landscape, by Andy Holden (U.K.):
In his two-channel audiovisual installation, 57 minutes long, Holden becomes a cartoon avatar, giving both a lecture on cartoons and a cartoon lecture, describing how our world is best now understood as a cartoon. The project incorporates Greek philosophy, Stephen Hawking, critical theory, physics, art, the financial crisis and Donald Trump, while adapting 10 laws of cartoon physics to create a theory of the world and a prophetic glimpse of the world we live in.
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CB-MMXVIII (I’ve been thinking of giving sleeping lessons), by Patten (U.K.):
In this multi-screen audiovisual installation, the artist duo Patten subjects Charlie Brown to all the digital stresses, distortions and manipulations available in 2018, testing his plasticity.
“Sampled texts from philosophy, science and critical theory criss-cross the screens and are linked with scrolling images related to the natural world, DNA, systems, multiples; all serving to influence our reading of the cartoon character and the texts,” says the release. The ambient soundtrack is a dramatically slowed down Linus and Lucy theme.
You can find the New Westminster New Media Gallery on the third floor at the Anvil Centre, 777 Columbia St. See www.newmediagallery.ca for more details.
Collisions Festival: Invasive Systems in Vancouver, November 2019
Curiosity Collider, a Vancouver-based not-for-profit organization, will be hosting its inaugural art-science Collisions Festival: Invasive Systems at the VIVO Media Arts Centre from November 8 to 10, 2019. The festival features an art-science exhibition showcasing independent works and collaborative works by artist/scientist pairs, a hands-on DNA sonification workshop, an opening reception with performances, and guided discussions and tours.
Curated by Curiosity Collider’s Creative Director Char Hoyt, the theme of the festival focuses on the “invasive systems” that surround us – from technology and infections, to pollution and invasive species. “We want to create a space to explore the influence of the invasive aspects of our world on our inner and outer lives” said Char. “We will examine our observations from both scientific and artistic perspectives- are these influences beneficial, inevitable, or preventable?” Attendees can anticipate a deep dive into the delicate and complicated nature of how both living and inanimate things redefine our lives and environments – through visual art, multimedia installations, and interactive experiences.
“I am not a scientist and do not come from a family of scientists, but I have always appreciated knowing how things work, how things are connected and how things evolve – collaboration between art and science feel natural to me,” said Vancouver artist Dzee Lousie. “Both artists and scientists are curious, perform experiments and are driven by questions.” Dzee’s work Crossing, an interactive puzzle painting that examines how microbial colonies can impact our behaviours and processes in our body, is the result of a collaboration with UBC PhD candidate Linda Horianopoulos. “As scientists, we often want people to take notice of our work and engage with it. I think that art attracts people to do exactly that,” said Linda.
The sculptural work Invasion by Prince George artist Twyla Exner explores the remnants of technology. “My artworks propose hybrids of technological structures and living organisms. They take form as abandoned technologies that have sprouted with new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-so-distant future,” Twyla shared. Like Dzee, she feels that artists and scientists share the sense of curiosity, experimentation, and creative problem solving. “Both art and science have the ability to tell stories and shape how people see and interpret the world around them.”
The festival is hosted in collaboration with the VIVO Media Arts Centre (2625 Kaslo Street, Vancouver, BC V5M 3G9). It will open on the evening of November 8th, with a reception and a live performance by local sound artist Edzi’u, during which her sculptural installation Moose are Life will be brought to life. On Saturday, artist Laara Cerman will co-host a DNA sonification workshop with scientist Scott Pownall. Their work Flora’s Song No. 1 in C Major – a hand-cranked music box that plays a tune created from the DNA of local invasive plants – will be on exhibit during the festival. The festival will also include tours by the curator at 3:30pm and guided discussions at 4pm on both Saturday and Sunday. Visit https://collisionsfestival2019.eventbrite.ca for festival tickets and http://bit.ly/collisionsfestival2019 for festival information.
Other participating artists and collaborating scientists include: Christian Dahlberg (Photography/ Painting / New Media Artist), Chris Dunnett (Multidisciplinary Artist), Garth Covernton (PhD Candidate, University of Victoria), Joanne Hastie (Artist / Mechanical Engineer), Kathryn Wadel (Interdisciplinary Mixed Media Artist), and Katrina Vera Wong (Artist / Writer / Editor).
Curiosity Collider and VIVO Media Arts Centre gratefully acknowledge the support of BC Arts Council, Canada Council for the Arts, City of Vancouver, Metro Vancouver Regional Cultural Project Grants Program, UBC Faculty of Science, and our printing sponsor Jukebox, for making Collisions Festival: Invasive Systems possible.
About Curiosity Collider Art-Science Foundation
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.
Are you curious about data sonification? Wondering how music theory and DNA sequences could converge to create a work of art and science? Join us to explore more!
In this DNA sonification workshop, participants will learn the process of DNA barcoding of invasive plant species, and how to sonify DNA sequences with basic music theory and MIDI freeware. Participants will also get hands-on experience in amplying specific genetic regions in plants through polymerase chain reaction (PCR), a step necessary in preparing samples for DNA barcoding.
This workshop will be led by artist Laara Cerman and scientist Scott Pownall, whose art-science collaborative work “Flora’s Song No. 1 in C Major” will be on exhibit during Collisions Festival: Invasive Systems. Laara and Scott will also share their process of working together, and how decisions were made to arrive at their collaborative work of art and science.
We acknowledge that Collisions Festival and its events take place on the traditional, ancestral, unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil- Waututh) Nations. We are grateful for the opportunity to live and work on this land.
I asked the Curiosity Collider folks (@CCollider on Twitter) if you needed to bring any equipment or have any knowledge of music. The answer was: no, you don’t need to bring anything (unless you want to) and you don’t need to know about music.
Uncorked at Science World at TELUS World of Science in Vancouver on November 14, 2019
This is not a cheap night out. An October 10, 2019 article by Lindsay William-Ross for the Daily Hive website gives you reasons to go anyway (Note: Links have been removed),
A new wine-themed event will have Vancouverites swirling with nerdy glee. Uncorked: A Celebration of the Science of Wine is an evening of sipping and learning that will bring together world-renown winemakers, chefs, and science experts for an unforgettable event.
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Participating wineries are:
Mission Hill Family Estate CedarCreek Estate Winery CheckMate Artisanal Winery Martin’s Lane Winery Road 13 Vineyards
The wines will be paired with bites from Chef Patrick Gayler from Mission Hill’s Terrace Restaurant and Chef Neil Taylor from CedarCreek’s new Home Block Restaurant.
Programming for the evening includes seminars on the science of blending wine, the science of aging wine, the role of technology at modern vineyards, and the science of soil and terroir.
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Proceeds from Uncorked will support Science World’s On the Road program, which last year brought live science performances to 41,500 students throughout B.C. who otherwise might not have had a chance to visit TELUS World of Science.
Tickets are $89 and can be purchased here. You may also want to reserve some money for the silent auction. Don’t forget, it’s November 14, 2019 from 7 pm to 10 pm at Science World in Vancouver. You can find directions and a map here.
Spend enough time reading about emerging technologies and, at some point, you will find yourself questioning some of your dearly held beliefs. It gives a whole new meaning to term, mind altering (also, mind blowing or mind expanding), which in the 1960s was used to refer to the effects of LSD and other hallucinogens. Today <September 1, 2019 (Labour Day in Canada and elsewhere), I have two news bits that could be considered mind expanding, sans hallucinogens.
Gold-embroidered computers
The Embroidered Computer. Artists: Irene Posch and Ebru Kurbak .[downloaded from http://www.ireneposch.net/the-embroidered-computer/]
If you look closely, you’ll see the beads shift position and that’s how the ones and zeroes make themselves known on this embroidered computer. An August 23, 2019 article (updated from a March 8, 2019 article) on the CBC’s (Canadian Broadcasting Corporation) Radio, Spark programme web space, provides insight into the work,
A beautiful ’embroidered computer’ may explode our categories of what computers are supposed to look like.
After all, we may think the design of a computer is permanent, but what a computer ‘looks like’ depends a lot on what era it’s from.
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“We use gold-coloured copper wire to form a coil, in a donut shape” Posch told Spark host Nora Young. “Then we have a magnetic bead that sits in the middle of this coil, and when this coil is [connected to] power, the magnetic bead is either attracted or pushed away….
Depending on how we power… the embroidered coil, we can direct the magnetic bead in different positions.”
More gold embroidery on top of the bead will flip one way or another, based on the bead [above].
The process is analogous to the zeros and ones of computation.
As well as being an artist, Posch is a professor at the University for Art and Industrial Design in Linz, Austria. Much of her work and research uses textile art to explore digital technology.
In this case, it’s not like Irene expects people to start doing today’s heavy-duty computing on a two-metre-long, eight-bit golden embroidered fabric computer. But The Embroidered Computer project opens up space to question the design of computers in particular, but also our technologies in general
“I understand The Embroidered Computer as an alternative, as an example, but also a critique of what we assume a computer to be today, and how it technically could be different,” Posch said. “If this is actually what we want is a whole different question, but I think it’s interesting to propose an alternative.”
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Bringing together textiles and electronics, which are normally seen as worlds apart, can bring new insights. “Going into the history of computing we very soon become aware that they’re not that apart as we sometimes think they are, if you think of the Jacquard weaving loom as one of the predecessors of computing today.”
OrBItaly (Organic BIoelectronics Italy) is an international conference, organized by the Italian Scientific Community and attended by scientists of the highest reputation, dedicated to the most recent results in the field of bioelectronics, with a particular focus on the employment of organic materials.
OrBItaly has attracted in the years a growing interest by scientists coming from all over the world. The 2019 edition is the fifth one of this cross-disciplinary conference, and will be held in Naples, on October 21st-23rd, 2019, at the Congress Center of the University Federico II
This year the conference will be preceded by the first edition of the Graduate School in Organic Bioelectronics, that will be held at the Congress Center of the University of Naples Federico II in Naples (Italy), on October 20th, 2019. The school is mainly targeted to PhD students, post-docs and young researchers as well as to senior scientists and industry-oriented researchers, giving them the opportunity to attend an overview of the latest advances in the fields of organic bioelectronics presented by leading scientists of the highest international repute. Invited lecturers will provide highly stimulating lessons at advanced levels in their own field of research, and closely interact with the attendees during platform discussions, outreach events and informal meetings.
Organizing Committee
Mario Barra, CNR – SPIN, mario.barra@spin.cnr.it Irene Bonadies, CNR – IPCB, irene.bonadies@ipcb.cnr.it Antonio Cassinese, Univ. Napoli Federico II, cassinese@na.infn.it Valeria Criscuolo, IIT, valeria.criscuolo@iit.it Claudia Lubrano, IIT, claudia.lubrano@iit.it Maria Grazia Maglione, ENEA, mariagrazia.maglione@enea.it Paola Manini, Univ. Napoli Federico II, paola.manini@unina.it Alessandro Pezzella, Univ. Napoli Federico II, alessandro.pezzella@unina.it Maria Grazia Raucci, CNR – IPCB, mariagrazia.raucci@cnr.it Francesca Santoro, IIT, francesca.santoro@iit.it Paolo Tassini, ENEA, paolo.tassini@enea.it
So, the conference runs from the 21st to the 23rd of October 2019 and there’s a one-day graduate school programme being held one day prior to the conference on the 20th of October 2019.
Regular readers may notice that some of the ORBITALY 2019 organizers have recently been mentioned here in an August 25, 2019 posting titled, Cyborgs based on melanin circuits.
Caption: Light hits the 3-D printed nanostructures from below. After it is transmitted through, the viewer sees only green light — the remaining colors are redirected. Credit: Thomas Auzinger [downloaded from http://visualcomputing.ist.ac.at/publications/2018/StructCol/]
Most of the objects we see are colored by pigments, but using pigments has disadvantages: such colors can fade, industrial pigments are often toxic, and certain color effects are impossible to achieve. The natural world, however, also exhibits structural coloration, where the microstructure of an object causes various colors to appear. Peacock feathers, for instance, are pigmented brown, but — because of long hollows within the feathers — reflect the gorgeous, iridescent blues and greens we see and admire. Recent advances in technology have made it practical to fabricate the kind of nanostructures that result in structural coloration, and computer scientists from the Institute of Science and Technology Austria (IST Austria) and the King Abdullah University of Science and Technology (KAUST) have now created a computational tool that automatically creates 3D-print templates for nanostructures that correspond to user-defined colors. Their work demonstrates the great potential for structural coloring in industry, and opens up possibilities for non-experts to create their own designs. This project will be presented at this year’s top computer graphics conference, SIGGRAPH 2018, by first author and IST Austria postdoc Thomas Auzinger. This is one of five IST Austria presentations at the conference this year.
SIGGRAPH 2018, now ended, was mentioned in my Aug. 9, 2018 posting.but since this presentation is accompanied by a paper, it rates its own posting. For one more excuse, there’s my fascination with structural colour.
The changing colors of a chameleon and the iridescent blues and greens of the morpho butterfly, among many others in nature, are the result of structural coloration, where nanostructures cause interference effects in light, resulting in a variety of colors when viewed macroscopically. Structural coloration has certain advantages over coloring with pigments (where particular wavelengths are absorbed), but until recently, the limits of technology meant fabricating such nanostructures required highly specialized methods. New “direct laser writing” set-ups, however, cost about as much as a high-quality industrial 3D printer, and allow for printing at the scale of hundreds of nanometers (hundred to thousand time thinner than a human hair), opening up possibilities for scientists to experiment with structural coloration.
So far, scientists have primarily experimented with nanostructures that they had observed in nature, or with simple, regular nanostructural designs (e.g. row after row of pillars). Thomas Auzinger and Bernd Bickel of IST Austria, together with Wolfgang Heidrich of KAUST, however, took an innovative new approach that differs in several key ways. First, they solve the inverse design task: the user enters the color they want to replicate, and then the computer creates a nanostructure pattern that gives that color, rather than attempting to reproduce structures found in nature. Moreover, “our design tool is completely automatic,” says Thomas Auzinger. “No extra effort is required on the part of the user.”
Second, the nanostructures in the template do not follow a particular pattern or have a regular structure; they appear to be randomly composed—a radical break from previous methods, but one with many advantages. “When looking at the template produced by the computer I cannot tell by the structure alone, if I see a pattern for blue or red or green,” explains Auzinger. “But that means the computer is finding solutions that we, as humans, could not. This free-form structure is extremely powerful: it allows for greater flexibility and opens up possibilities for additional coloring effects.” For instance, their design tool can be used to print a square that appears red from one angle, and blue from another (known as directional coloring).
Finally, previous efforts have also stumbled when it came to actual fabrication: the designs were often impossible to print. The new design tool, however, guarantees that the user will end up with a printable template, which makes it extremely useful for the future development of structural coloration in industry. “The design tool can be used to prototype new colors and other tools, as well as to find interesting structures that could be produced industrially,” adds Auzinger. Initial tests of the design tool have already yielded successful results. “It’s amazing to see something composed entirely of clear materials appear colored, simply because of structures invisible to the human eye,” says Bernd Bickel, professor at IST Austria, “we’re eager to experiment with additional materials, to expand the range of effects we can achieve.”
“It’s particularly exciting to witness the growing role of computational tools in fabrication,” concludes Auzinger, “and even more exciting to see the expansion of ‘computer graphics’ to encompass physical as well as virtual images.”
It seems sound is becoming more prominent as a means of science data communication (data sonification) and in this upcoming case, data transfer. From a June 5, 2018 news item on ScienceDaily,
Quantum physics is on the brink of a technological breakthrough: new types of sensors, secure data transmission methods and maybe even computers could be made possible thanks to quantum technologies. However, the main obstacle here is finding the right way to couple and precisely control a sufficient number of quantum systems (for example, individual atoms).
A team of researchers from TU Wien and Harvard University has found a new way to transfer the necessary quantum information. They propose using tiny mechanical vibrations. The atoms are coupled with each other by ‘phonons’ — the smallest quantum mechanical units of vibrations or sound waves.
“We are testing tiny diamonds with built-in silicon atoms – these quantum systems are particularly promising,” says Professor Peter Rabl from TU Wien. “Normally, diamonds are made exclusively of carbon, but adding silicon atoms in certain places creates defects in the crystal lattice where quantum information can be stored.” These microscopic flaws in the crystal lattice can be used like a tiny switch that can be switched between a state of higher energy and a state of lower energy using microwaves.
Together with a team from Harvard University, Peter Rabl’s research group has developed a new idea to achieve the targeted coupling of these quantum memories within the diamond. One by one they can be built into a tiny diamond rod measuring only a few micrometres in length, like individual pearls on a necklace. Just like a tuning fork, this rod can then be made to vibrate – however, these vibrations are so small that they can only be described using quantum theory. It is through these vibrations that the silicon atoms can form a quantum-mechanical link to each other.
“Light is made from photons, the quantum of light. In the same way, mechanical vibrations or sound waves can also be described in a quantum-mechanical manner. They are comprised of phonons – the smallest possible units of mechanical vibration,” explains Peter Rabl. As the research team has now been able to show using simulation calculations, any number of these quantum memories can be linked together in the diamond rod thanks to these phonons. The individual silicon atoms are “switched on and off” using microwaves. During this process, they emit or absorb phonons. This creates a quantum entanglement of different silicon defects, thus allowing quantum information to be transferred.
The road to a scalable quantum network
Until now it was not clear whether something like this was even possible: “Usually you would expect the phonons to be absorbed somewhere, or to come into contact with the environment and thus lose their quantum mechanical properties,” says Peter Rabl. “Phonons are the enemy of quantum information, so to speak. But with our calculations, we were able to show that, when controlled appropriately using microwaves, the phonons are in fact useable for technical applications.”
The main advantage of this new technology lies in its scalability: “There are many ideas for quantum systems that, in principle, can be used for technological applications. The biggest problem is that it is very difficult to connect enough of them to be able to carry out complicated computing operations,” says Peter Rabl. The new strategy of using phonons for this purpose could pave the way to a scalable quantum technology.
Here’s a link to and a citation for the paper,
Phonon Networks with Silicon-Vacancy Centers in Diamond Waveguides by M.-A. Lemonde, S. Meesala, A. Sipahigil, M. J. A. Schuetz, M. D. Lukin, M. Loncar, and P. Rabl. Phys. Rev. Lett. 120 (21), 213603 DOI:https://doi.org/10.1103/PhysRevLett.120.213603 Published 25 May 2018
Can we? Should we? Is this really a good idea? I believe those ships have sailed where sexbots are concerned since the issue is no longer whether we can or should but rather what to do now that we have them. My Oct. 17, 2017 posting: ‘Robots in Vancouver and in Canada (one of two)’ features Harmony, the first (I believe) commercial AI (artificial intelligence)-enhanced sex robot n the US. They were getting ready to start shipping the bot either for Christmas 2017 or in early 2018.
Ethical quandaries?
Things have moved a little more quickly that I would have expected had I thought ahead. An April 5, 2018 essay (h/t phys.org) by Victoria Brooks, lecturer in law at the University of Westminster (UK) for The Conversation lays out some of ethical issues (Note: Links have been removed),
Late in 2017 at a tech fair in Austria, a sex robot was reportedly “molested” repeatedly and left in a “filthy” state. The robot, named Samantha, received a barrage of male attention, which resulted in her sustaining two broken fingers. This incident confirms worries that the possibility of fully functioning sex robots raises both tantalising possibilities for human desire (by mirroring human/sex-worker relationships), as well as serious ethical questions.
So what should be done? The campaign to “ban” sex robots, as the computer scientist Kate Devlin has argued, is only likely to lead to a lack of discussion. Instead, she hypothesises that many ways of sexual and social inclusivity could be explored as a result of human-robot relationships.
To be sure, there are certain elements of relationships between humans and sex workers that we may not wish to repeat. But to me, it is the ethical aspects of the way we think about human-robot desire that are particularly key.
Why? Because we do not even agree yet on what sex is. Sex can mean lots of different things for different bodies – and the types of joys and sufferings associated with it are radically different for each individual body. We are only just beginning to understand and know these stories. But with Europe’s first sex robot brothel open in Barcelona and the building of “Harmony”, a talking sex robot in California, it is clear that humans are already contemplating imposing our barely understood sexual ethic upon machines.
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I think that most of us will experience some discomfort on hearing Samantha’s story. And it’s important that, just because she’s a machine, we do not let ourselves “off the hook” by making her yet another victim and heroine who survived an encounter, only for it to be repeated. Yes, she is a machine, but does this mean it is justifiable to act destructively towards her? Surely the fact that she is in a human form makes her a surface on which human sexuality is projected, and symbolic of a futuristic human sexuality. If this is the case, then Samatha’s [sic] case is especially sad.
It is Devlin who has asked the crucial question: whether sex robots will have rights. “Should we build in the idea of consent,” she asks? In legal terms, this would mean having to recognise the robot as human – such is the limitation of a law made by and for humans.
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Suffering is a way of knowing that you, as a body, have come out on the “wrong” side of an ethical dilemma. [emphasis mine] This idea of an “embodied” ethic understood through suffering has been developed on the basis of the work of the famous philosopher Spinoza and is of particular use for legal thinkers. It is useful as it allows us to judge rightness by virtue of the real and personal experience of the body itself, rather than judging by virtue of what we “think” is right in connection with what we assume to be true about their identity.
This helps us with Samantha’s case, since it tells us that in accordance with human desire, it is clear she would not have wanted what she got. The contact Samantha received was distinctly human in the sense that this case mirrors some of the most violent sexual offences cases. While human concepts such as “law” and “ethics” are flawed, we know we don’t want to make others suffer. We are making these robot lovers in our image and we ought not pick and choose whether to be kind to our sexual partners, even when we choose to have relationships outside of the “norm”, or with beings that have a supposedly limited consciousness, or even no (humanly detectable) consciousness.
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Brooks makes many interesting points not all of them in the excerpts seen here but one question not raised in the essay is whether or not the bot itself suffered. It’s a point that I imagine proponents of ‘treating your sex bot however you like’ are certain to raise. It’s also a question Canadians may need to answer sooner rather than later now that a ‘sex doll brothel’ is about to open Toronto. However, before getting to that news bit, there’s an interview with a man, his sexbot, and his wife.
The sexbot at home
In fact, I have two interviews the first I’m including here was with CBC (Canadian Broadcasting Corporation) radio and it originally aired October 29, 2017. Here’s a part of the transcript (Note: A link has been removed),
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“She’s [Samantha] quite an elegant kind of girl,” says Arran Lee Squire, who is sales director for the company that makes her and also owns one himself.
And unlike other dolls like her, she’ll resist sex if she isn’t in the mood.
“If you touch her, say, on her sensitive spots on the breasts, for example, straight away, and you don’t touch her hands or kiss her, she might say, ‘Oh, I’m not ready for that,'” Arran says.
He says she’ll even synchronize her orgasm to the user’s.
But Arran emphasized that her functions go beyond the bedroom.
Samantha has a “family mode,” in which she can can talk about science, animals and philosophy. She’ll give you motivational quotes if you’re feeling down.
At Arran’s house, Samantha interacts with his two kids. And when they’ve gone to bed, she’ll have sex with him, but only with his wife involved.
I can imagine that if I were a child in that household I’d be tempted to put the sexbot into ‘sexy mode’, preferably unsupervised by my parents. Also, will the parents be using it, at some point, for sex education?
Canadian perspective 1: Sure, it could be good for your marriage
Prior to the potential sex doll brothel in Toronto (more about that coming up), there was a flurry of interest in Marina Adshade’s contribution to the book, Robot Sex: Social and Ethical Implications, from an April 18, 2018 news item on The Tyee,
Sex robots may soon be a reality. However, little research has been done on the social, philosophical, moral and legal implications of robots specifically designed for sexual gratification.
In a chapter written for the book Robot Sex: Social and Ethical Implications, Marina Adshade, professor in the Vancouver School of Economics at the University of British Columbia, argues that sex robots could improve marriage by making it less about sex and more about love.
In this Q&A, Adshade discusses her predictions.
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Could sex robots really be a viable replacement for marriage with a human? Can you love a robot?
I don’t see sex robots as substitutes for human companionship but rather as complements to human companionship. Just because we might enjoy the company of robots doesn’t mean that we cannot also enjoy the company of humans, or that having robots won’t enhance our relationships with humans. I see them as very different things — just as one woman (or one man) is not a perfect substitute for another woman (or man).
Is there a need for modern marriage to improve?
We have become increasingly demanding in what we want from the people that we marry. There was a time when women were happy to have a husband that supported the family and men were happy to have a caring mother to his children. Today we still want those things, but we also want so much more — we want lasting sexual compatibility, intense romance, and someone who is an amazing co-parent. That is a lot to ask of one person. …
Adshade adapted part of her text “Sexbot-Induced Social Change: An Economic Perspective” in Robot Sex: Social and Ethical Implications edited by John Danaher and Neil McArthur for an August 14, 2018 essay on Slate.com,
Technological change invariably brings social change. We know this to be true, but rarely can we make accurate predictions about how social behavior will evolve when new technologies are introduced. …we should expect that the proliferation of robots designed specifically for human sexual gratification means that sexbot-induced social change is on the horizon.
Some elements of that social change might be easier to anticipate than others. For example, the share of the young adult population that chooses to remain single (with their sexual needs met by robots) is very likely to increase. Because social change is organic, however, adaptations in other social norms and behaviors are much more difficult to predict. But this is not virgin territory [I suspect this was an unintended pun]. New technologies completely transformed sexual behavior and marital norms over the second half of the 20th century. Although getting any of these predictions right will surely involve some luck, we have decades of technology-induced social change to guide our predictions about the future of a world confronted with wholesale access to sexbots.
The reality is that marriage has always evolved alongside changes in technology. Between the mid-1700s and the early 2000s, the role of marriage between a man and a woman was predominately to encourage the efficient production of market goods and services (by men) and household goods and services (by women), since the social capacity to earn a wage was almost always higher for husbands than it was for wives. But starting as early as the end of the 19th century, marriage began to evolve as electrification in the home made women’s work less time-consuming, and new technologies in the workplace started to decrease the gender wage gap. Between 1890 and 1940, the share of married women working in the labor force tripled, and over the course of the century, that share continued to grow as new technologies arrived that replaced the labor of women in the home. By the early 1970s, the arrival of microwave ovens and frozen foods meant that a family could easily be fed at the end of a long workday, even when the mother worked outside of the home.
Some elements of that social change might be easier to anticipate than others. For example, the share of the young adult population that chooses to remain single (with their sexual needs met by robots) is very likely to increase. Because social change is organic, however, adaptations in other social norms and behaviors are much more difficult to predict. But this is not virgin territory. New technologies completely transformed sexual behavior and marital norms over the second half of the 20th century. Although getting any of these predictions right will surely involve some luck, we have decades of technology-induced social change to guide our predictions about the future of a world confronted with wholesale access to sexbots.
The reality is that marriage has always evolved alongside changes in technology. Between the mid-1700s and the early 2000s, the role of marriage between a man and a woman was predominately to encourage the efficient production of market goods and services (by men) and household goods and services (by women), since the social capacity to earn a wage was almost always higher for husbands than it was for wives. But starting as early as the end of the 19th century, marriage began to evolve as electrification in the home made women’s work less time-consuming, and new technologies in the workplace started to decrease the gender wage gap. Between 1890 and 1940, the share of married women working in the labor force tripled, and over the course of the century, that share continued to grow as new technologies arrived that replaced the labor of women in the home. By the early 1970s, the arrival of microwave ovens and frozen foods meant that a family could easily be fed at the end of a long workday, even when the mother worked outside of the home.
There are those who argue that men only “assume the burden” of marriage because marriage allows men easy sexual access, and that if men can find sex elsewhere they won’t marry. We hear this prediction now being made in reference to sexbots, but the same argument was given a century ago when the invention of the latex condom (1912) and the intrauterine device (1909) significantly increased people’s freedom to have sex without risking pregnancy and (importantly, in an era in which syphilis was rampant) sexually transmitted disease. Cosmopolitan magazine ran a piece at the time by John B. Watson that asked the blunt question, will men marry 50 years from now? Watson’s answer was a resounding no, writing that “we don’t want helpmates anymore, we want playmates.” Social commentators warned that birth control technologies would destroy marriage by removing the incentives women had to remain chaste and encourage them to flood the market with nonmarital sex. Men would have no incentive to marry, and women, whose only asset is sexual access, would be left destitute.
Canadian perspective 2: What is a sex doll brothel doing in Toronto?
Sometimes known as Toronto the Good (although not recently; find out more about Toronto and its nicknames here) and once a byword for stodginess, the city is about to welcome a sex doll brothel according to an August 28, 2018 CBC Radio news item by Katie Geleff and John McGill,
On their website, Aura Dolls claims to be, “North America’s first known brothel that offers sexual services with the world’s most beautiful silicone ladies.”
Nestled between a massage parlour, nail salon and dry cleaner, Aura Dolls is slated to open on Sept. 8 [2018] in an otherwise nondescript plaza in Toronto’s north end.
The company plans to operate 24 hours a day, seven days a week, and will offer customers six different silicone dolls. The website describes the life-like dolls as, “classy, sophisticated, and adventurous ladies.” …
They add that, “the dolls are thoroughly sanitized to meet your expectations.” But that condoms are still “highly recommended.”
Toronto city councillor John Filion says people in his community are concerned about the proposed business.
Filion spoke to As It Happensguest host Helen Mann. Here is part of their conversation.
Councillor Filion, Aura Dolls is urging people to have “an open mind” about their business plan. Would you say that you have one?
Well, I have an open mind about what sort of behaviours people want to do, as long as they don’t harm anybody else. It’s a totally different matter once you bring that out to the public. So I think I have a fairly closed mind about where people should be having sex with [silicone] dolls.
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So, what’s wrong with a sex doll brothel?
It’s where it is located, for one thing. Where it’s being proposed happens to be near an intersection where about 25,000 people live, all kinds of families, four elementary schools are very near by. And you know, people shouldn’t really need to be out on a walk with their families and try to explain to their kids why someone is having sex with a [silicone] doll.
But Aura Dolls says that they are going to be doing this very discreetly, that they won’t have explicit signage, and that they therefore won’t be bothering anyone.
They’ve hardly been discreet. They were putting illegal posters all over the neighbourhood. They’ve probably had a couple of hundred of thousands of dollars of free publicity already. I don’t think there’s anything at all discreet about what they are doing. They’re trying to be indiscreet to drum up business.
Can you be sure that there aren’t constituents in your area that think this is a great idea?
I can’t be sure that there aren’t some people who might think, “Oh great, it’s just down the street from me. Let me go there.” I would say that might be a fraction of one per cent of my constituents. Most people are appalled by this.
And it’s not a narrow-minded neighbourhood. Whatever somebody does in their home, I don’t think we’re going to pass moral judgment on it, again, as long as it’s not harming anyone else. But this is just kind of scuzzy. ..
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Aura Dolls says that it’s doing nothing illegal. They say that they are being very clear that the dolls they are using represent adult women and that they are actually providing a service. Do you agree that they are doing this legally?
No, they’re not at all legal. It’s an illegal use. And if there’s any confusion about that, they will be getting a letter from the city very soon. It is clearly not a legal use. It’s not permitted under the zoning bylaw and it fits the definition of adult entertainment parlour, for which you require a license — and they certainly would not get one. They would not get a license in this neighbourhood because it’s not a permitted use.
The audio portion runs for 5 mins. 31 secs.
I believe these dolls are in fact sexbots, likely enhanced with AI. An August 29, 2018 article by Karlton Jahmal for hotnewhiphop.com describes the dolls as ‘fembots’ and provides more detail (Note: Links have been removed),
Toronto has seen the future, and apparently, it has to do with sex dolls. The Six [another Toronto nickname] is about to get blessed with the first legal sex doll brothel, and the fembots look too good to be true. If you head over to Aura Dolls website, detailed biographies for the six available sex dolls are on full display. You can check out the doll’s height, physical dimensions, heritage and more.
Aura plans to introduce more dolls in the future, according to a statement in the Toronto Star by Claire Lee, a representative for the compnay. At the moment, the ethnicities of the sex dolls feature Japanese, Caucasian American, French Canadian, Irish Canadian, Colombian, and Korean girls. Male dolls will be added in the near future. The sex dolls look remarkably realistic. Aura’s website writes, “Our dolls are made from the highest quality of TPE silicone which mimics the feeling of natural human skin, pores, texture and movement giving the user a virtually identical experience as being with a real partner.”
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There are a few more details about the proposed brothel and more comments from Toronto city councillor John Filion in an August 28, 2018 article by Claire Floody and Jenna Moon with Alexandra Jones and Melanie Green for thestar.com,
Toronto will soon be home to North America’s [this should include Canada, US, and Mexico] first known sex doll brothel, offering sexual services with six silicone-made dolls.
According to the website for Aura Dolls, the company behind the brothel, the vision is to bring a new way to achieve sexual needs “without the many restrictions and limitations that a real partner may come with.”
The brothel is expected to open in a shopping plaza on Yonge St., south of Sheppard Ave., on Sept. 8 [2018]. The company doesn’t give the exact location on its website, stating it’s announced upon booking.
Spending half an hour with one doll costs $80, with two dolls running $160. For an hour, the cost is $120 with one doll. The maximum listed time is four hours for $480 per doll.
Doors at the new brothel for separate entry and exit will be used to ensure “maximum privacy for customers.” While the business does plan on having staff on-site, they “should not have any interaction,” Lee said.
“The reason why we do that is to make sure that everyone feels comfortable coming in and exiting,” she said, noting that people may feel shy or awkward about visiting the site.
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… Lee said that the business is operating within the law. “The only law stating with anything to do with the dolls is that it has to meet a height requirement. It can’t resemble a child,” she said. …
Councillor John Filion, Ward 23 Willowdale, said his staff will be “throwing the book at (Aura Dolls) for everything they can.”
“I’ve still got people studying to see what’s legal and what isn’t,” Filion said. He noted that a bylaw introduced in North York in the ’90s prevents retail sex shops operating outside of industrial areas. Filion said his office is still confirming that the bylaw is active following harmonization, which condensed the six boroughs’ bylaws after amalgamation in 1998.
“If the bylaw that I brought in 20 years ago still exists, it would prohibit this,” Filion said.
“There’s legal issues,” he said, suggesting that people interested in using the sex dolls might consider doing so at home, rather than at a brothel.
The councillor said he’s received complaints from constituents about the business. “The phone’s ringing off the hook today,” Filion said.
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It should be an interesting first week at school for everyone involved. I wonder what Ontario Premier, Doug Ford who recently rolled back the sex education curriculum for the province by 20 years will make of these developments.
As for sexbots/fembots/sex dolls or whatever you want to call them, they are here and it’s about time Canadians had a frank discussion on the matter. Also, I’ve been waiting for quite some time for any mention of male sexbots (malebots?). Personally, I don’t think we’ll be seeing male sexbots appear in either brothels or homes anytime soon.
The research focus for the NanoFARM consortium is on pesticides according to an October 19, 2017 news item on Nanowerk,
The answer to the growing, worldwide food production problem may have a tiny solution—nanoparticles, which are being explored as both fertilizers and fungicides for crops.
NanoFARM – research consortium formed between Carnegie Mellon University [US], the University of Kentucky [US], the University of Vienna [Austria], and Aveiro University in Prague [Czech Republic] – is studying the effects of nanoparticles on agriculture. The four universities received grants from their countries’ respective National Science Foundations to discover how these tiny particles – some just 4 nanometers in diameter – can revolutionize how farmers grow their food.
“What we’re doing is getting a fundamental understanding of nanoparticle-to-plant interactions to enable future applications,” says Civil and Environmental Engineering (CEE) Professor Greg Lowry, the principal investigator for the nanoFARM project. “With pesticides, less than 5% goes into the crop—the rest just goes into the environment and does harmful things. What we’re trying to do is minimize that waste and corresponding environmental damage by doing a better job of targeting the delivery.”
The teams are looking at related questions: How much nanomaterial is needed to help crops when it comes to driving away pests and delivering nutrients, and how much could potentially hurt plants or surrounding ecosystems?
Applied pesticides and fertilizers are vulnerable to washing away—especially if there’s a rainstorm soon after application. But nanoparticles are not so easily washed off, making them extremely efficient for delivering micronutrients like zinc or copper to crops.
“If you put in zinc oxide nanoparticles instead, it might take days or weeks to dissolve, providing a slow, long-term delivery system.”
Gao researches the rate at which nanoparticles dissolve. His most recent finding is that nanoparticles of copper oxide take up to 20-30 days to dissolve in soil, meaning that they can deliver nutrients to plants at a steady rate over that time period.
“In many developing countries, a huge number of people are starving,” says Gao. “This kind of technology can help provide food and save energy.”
But Gao’s research is only one piece of the NanoFARM puzzle. Lowry recently traveled to Australia with Ph.D. student Eleanor Spielman-Sun to explore how differently charged nanoparticles were absorbed into wheat plants.
They learned that negatively charged particles were able to move into the veins of a plant—making them a good fit for a farmer who wanted to apply a fungicide. Neutrally charged particles went into the tissue of the leaves, which would be beneficial for growers who wanted to fortify a food with nutritional value.
Lowry said they are still a long way from signing off on a finished product for all crops—right now they are concentrating on tomato and wheat plants. But with the help of their university partners, they are slowly creating new nano-enabled agrochemicals for more efficient and environmentally friendly agriculture.
That headline is a teensy bit laboured but I couldn’t resist the levels of wordplay available to me. They’re working on a cathedral close to the leaning Tower of Pisa in this video about the latest in stone preservation in Europe.
*ETA August 7, 2019: Video reinserted today.*
I have covered the topic of preserving stone monuments before (most recently in my Oct. 21, 2014 posting). The action in this field seems to be taking place mostly in Europe, specifically Italy, although other countries are also quite involved.
Finally, getting to the European Commission’s latest stone monument preservation project, Nano-Cathedral, a Sept. 26, 2017 news item on Nanowerk announces the latest developments,
Just a few meters from Pisa’s famous Leaning Tower, restorers are defying scorching temperatures to bring back shine to the city’s Cathedral.
Ordinary restoration techniques like laser are being used on much of the stonework that dates back to the 11th century. But a brand new technique is also being used: a new material made of innovative nanoparticles. The aim is to consolidate the inner structure of the stones. It’s being applied mainly on marble.
A March 7, 2017 item on the Euro News website, which originated the Nanowerk news item, provides more detail,
“Marble has very low porosity, which means we have to use nanometric particles in order to go deep inside the stone, to ensure that the treatment is both efficient while still allowing the stone to breathe,” explains Roberto Cela, civil engineer at Opera Della Primaziale Pisana.
The material developed by the European research team includes calcium carbonate, which is a mix of calcium oxide, water and carbon dioxide.
The nano-particles penetrate the stone cementing its decaying structure.
“It is important that these particles have the same chemical nature as the stones that are being treated, so that the physical and mechanical processes that occur over time don’t lead to the break-up of the stones,” says Dario Paolucci, chemist at the University of Pisa.
Vienna’s St Stephen’s is another of the five cathedrals where the new restoration materials are being tested.
The first challenge for researchers is to determine the mechanical characteristics of the cathedral’s stones. Since there are few original samples to work on, they had to figure out a way of “ageing” samples of stones of similar nature to those originally used.
“We tried different things: we tried freeze storage, we tried salts and acids, and we decided to go for thermal ageing,” explains Matea Ban, material scientist at the University of Technology in Vienna. “So what happens is that we heat the stone at certain temperatures. Minerals inside then expand in certain directions, and when they expand they build up stresses to neighbouring minerals and then they crack, and we need those cracks in order to consolidate them.”
Consolidating materials were then applied on a variety of limestones, sandstones and marble – a selection of the different types of stones that were used to build cathedrals around Europe.
What researchers are looking for are very specific properties.
“First of all, the consolidating material has to be well absorbed by the stone,” says petrologist Johannes Weber of the University of Applied Arts in Vienna. “Then, as it evaporates, it has to settle properly within the stone structure. It should not shrink too much. All materials shrink when drying, including consolidating materials. They should adhere to the particles of the stone but shouldn’t completely obstruct its pores.”
Further tests are underway in cathedrals across Europe in the hope of better protecting our invaluable cultural heritage.
There’s a bit more detail about Nano-Cathedral on the Opera della Primaziale Pisana (O₽A) website (from their Nano-Cathedral project page),
With the meeting of June 3 this year the Nano Cathedral project kicked off, supported by the European Union within the nanotechnology field applied to Horizon 2020 cultural heritage with a fund of about 6.5 million euro.
A total of six monumental buildings will be for three years under the eyes and hands of petrographers, geologists, chemists and restorers of the institutes belonging to the Consortium: five cathedrals have been selected to represent the cultural diversity within Europe from the perspective of developing shared values and transnational identity, and a contemporary monumental building entirely clad in Carrara marble, the Opera House of Oslo.
Purpose: the testing of nanomaterials for the conservation of marble and the outer surfaces of our ‘cathedrals’.
The field of investigation to check degradation, testing new consolidating and protective products is the Cathedral of Pisa together with the Cathedrals of Cologne, Vienna, Ghent and Vitoria.
For the selection of case studies we have crosschecked requirements for their historical and architectural value but also for the different types of construction materials – marble, limestone and sandstone – as well as the relocation of six monumental buildings according to European climates.
The Cathedral of Pisa is the most southern, fully positioned in Mediterranean climate, therefore subject to degradation and very different from those which the weather conditions of the Scandinavian peninsula recorded; all the intermediate climate phases are modulated through Ghent, Vitoria, Cologne and Vienna.
At the conclusion of the three-year project, once the analysis in situ and in the laboratory are completed and all the experiments are tested on each different identified portion in each monumental building, an intervention protocol will be defined in detail in order to identify the mineralogical and petrographic characteristics of stone materials and of their degradation, the assessment of the causes and mechanisms of associated alteration, including interactions with factors of environmental pollution. Then we will be able to identify the most appropriate method of restoration and testing of nanotechnology products for the consolidation and protection of different stone materials.
In 2018 we hope to have new materials to protect and safeguard the ‘skin’ of our historic buildings and monuments for a long time.
Back to my headline and the second piece of wordplay, ‘lift’ as in ‘skin lift’ in that last sentence.
I realize this is a bit off topic but it’s worth taking a look at ORA’s home page,
Gabriele D’Annunzio effectively condenses the wonder and admiration that catch whoever visits the Duomo Square of Pisa.
The Opera della Primaziale Pisana (O₽A) is a non-profit organisation which was established in order to oversee the first works for the construction of the monuments in the Piazza del Duomo, subject to its own charter which includes the protection, promotion and enhancement of its heritage, in order to pass the religious and artistic meaning onto future generations.
«L’Ardea roteò nel cielo di Cristo, sul prato dei Miracoli.»
Gabriele d’Annunzio in Forse che sì forse che no (1910)
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If you go to the home page, you can buy tickets to visit the monuments surrounding the square and there are other notices including one for a competition (it’s too late to apply but the details are interesting) to construct four stained glass windows for the Pisa cathedral.
