I got a bit of a jolt from this September 12, 2024 essay by Peter A Noble, affiliate professor of microbiology at the University of Washington, and Alex Pozhitkov, senior technical lead of bioinformatics, Irell & Manella Graduate School of Biological Sciences at City of Hope, for The Conversation (h/t Sept. 12, 2024 item on phys.org), Note: Links have been removed,
Life and death are traditionally viewed as opposites. But the emergence of new multicellular life-forms from the cells of a dead organism introduces a “third state” that lies beyond the traditional boundaries of life and death.
Usually, scientists consider death to be the irreversible halt of functioning of an organism as a whole. However, practices such as organ donation highlight how organs, tissues and cells can continue to function even after an organism’s demise. This resilience raises the question: What mechanisms allow certain cells to keep working after an organism has died?
We are researchers who investigate what happens within organisms after they die. In our recently published review, we describe how certain cells – when provided with nutrients, oxygen, bioelectricity or biochemical cues – have the capacity to transform into multicellular organisms with new functions after death.
Life, death and emergence of something new
The third state challenges how scientists typically understand cell behavior. While caterpillars metamorphosing into butterflies, or tadpoles evolving into frogs, may be familiar developmental transformations, there are few instances where organisms change in ways that are not predetermined. Tumors, organoids and cell lines that can indefinitely divide in a petri dish, like HeLa cells [cervical cancer cells taken from Henrietta Lacks without her knowledge], are not considered part of the third state because they do not develop new functions.
However, researchers found that skin cells extracted from deceased frog embryos were able to adapt to the new conditions of a petri dish in a lab, spontaneously reorganizing into multicellular organisms called xenobots [emphasis mine]. These organisms exhibited behaviors that extend far beyond their original biological roles. Specifically, these xenobots use their cilia – small, hair-like structures – to navigate and move through their surroundings, whereas in a living frog embryo, cilia are typically used to move mucus.
Xenobots are also able to perform kinematic self-replication, meaning they can physically replicate their structure and function without growing. This differs from more common replication processes that involve growth within or on the organism’s body.
Researchers have also found that solitary human lung cells can self-assemble into miniature multicellular organisms that can move around. These anthrobots [emphasis mine] behave and are structured in new ways. They are not only able to navigate their surroundings but also repair both themselves and injured neuron cells placed nearby.
Taken together, these findings demonstrate the inherent plasticity of cellular systems and challenge the idea that cells and organisms can evolve only in predetermined ways. The third state suggests that organismal death may play a significant role in how life transforms over time.
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I had not realized that xenobots are derived from dead frog embryos something I missed when mentioning or featuring them in previous stories, the latest in a September 13, 2024 posting, which also mentions anthrobots. Previous stories were published in a June 21, 2021 posting about xenobots 2.0 and their ability to move and a June 8, 2022 posting about their ability to reproduce. Thank you to the authors for relieving me of some of my ignorance.
For some reason I was expecting mention, brief or otherwise, of ethical or social implications but the authors offered this instead, from their September 12, 2024 essay, Note: Links have been removed,
Implications for biology and medicine
The third state not only offers new insights into the adaptability of cells. It also offers prospects for new treatments.
For example, anthrobots could be sourced from an individual’s living tissue to deliver drugs without triggering an unwanted immune response. Engineered anthrobots injected into the body could potentially dissolve arterial plaque in atherosclerosis patients and remove excess mucus in cystic fibrosis patients.
Importantly, these multicellular organisms have a finite life span, naturally degrading after four to six weeks. This “kill switch” prevents the growth of potentially invasive cells.
A better understanding of how some cells continue to function and metamorphose into multicellular entities some time after an organism’s demise holds promise for advancing personalized and preventive medicine.
I look forward to hearing about the third state and about any ethical or social issues that may arise from it.
Louis Minion provides an overview of a newly published book, “Nano Comes to Life: How Nanotechnology is Transforming Medicine and the Future of Biology”by Sonia Contera, in a December 5, 2022 article for Physics World and notes this in his final paragraph,
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Nano Comes to Life is aimed at both the general readeras well as scientists [emphasis mine], emphasizing and encouraging the democratization of science and its relationship to human culture. Ending on an inspiring note, Contera encourages us to throw off our fear of technology and use science to make a fairer and more prosperous future.
Minion notes elsewhere in his article (Note: Links have been removed),
Part showcase, part manifesto, Sonia Contera’s Nano Comes to Life makes the ambitious attempt to convey the wonder of recent advances in biology and nanoscience while at the same time also arguing for a new approach to biological and medical research.
Contera – a biological physicist at the University of Oxford – covers huge ground, describing with clarity a range of pioneering experiments, including building nanoscale robots and engines from self-assembled DNA strands, and the incremental but fascinating work towards artificially grown organs.
But throughout this interesting survey of nanoscience in biology, Contera weaves a complex argument for the future of biology and medicine. For me, it is here the book truly excels. In arguing for the importance of physics and engineering in biology, the author critiques the way in which the biomedical industry has typically carried out research, instead arguing that we need an approach to biology that respects its properties at all scales, not just the molecular.
What is the significance of the title of the book? What is the relationship between biology and nanotechnology?
SC: Nanotechnology—the capacity to visualize, manipulate, and interact with matter at the nanometer scale—has been engaged with and inspired by biology from its inception in the 1980s. This is primarily because the molecular players in biology, and the main drug and treatment targets in medicine—proteins and DNA—are nanosize. Since the early days of the field, a main mission of nanotechnologists has been to create tools that allow us to interact with key biological molecules one at a time, directly in their natural medium. They strive to understand and even mimic in their artificial nanostructures the mechanisms that underpin the function of biological nanomachines (proteins). In the last thirty years nanomicroscopies (primarily, the atomic force microscope) have unveiled the complex dynamic nature of proteins and the vast numbers of tasks that they perform. Far from being the static shapes featured in traditional biochemistry books, proteins rotate to work as nanomotors; they literally perform walks to transport cargo around the cell. This enables an understanding of molecular biology that departs quite radically from traditional biochemical methods developed in the last fifty years. Since the main tools of nanotechnology were born in physics labs, the scientists who use them to study biomolecules interrogate those molecules within the framework of physics. Everyone should have the experience of viewing atomic force microscopy movies of proteins in action. It really changes the way we think about ourselves, as I try to convey in my book.
And how does physics change the study of biology at the nanoscale?
SC: In its widest sense the physics of life seeks to understand how the rules that govern the whole universe led to the emergence of life on Earth and underlie biological behaviour. Central to this study are the molecules (proteins, DNA, etc. that underpin biological processes. Nanotechnology enables the investigation of the most basic mechanisms of their functions, their engineering principles, and ultimately mathematical models that describe them. Life on Earth probably evolved from nanosize molecules that became complex enough to enable replication, and evolution on Earth over billions of years has created the incredibly sophisticated nanomachines whose complex interactions constitute the fabric of the actions, perceptions, and senses of all living creatures. Combining the tools of nanotech with physics to study the mechanisms of biology is also inspiring the development of new materials, electronic devices, and applications in engineering and medicine.
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What consequences will this have for the future of biology?
SC: The incorporation of biology (including intelligence) into the realm of physics facilitates a profound and potentially groundbreaking cultural shift, because it places the study of life within the widest possible context: the study of the rules that govern the cosmos. Nano Comes to Life seeks to reveal this new context for studying life and the potential for human advancement that it enables. The most powerful message of this book is that in the twenty-first century life can no longer be considered just the biochemical product of an algorithm written in genes (one that can potentially be modified at someone’s convenience); it must be understood as a complex and magnificent (and meaningful) realization of the laws that created the universe itself. The biochemical/genetic paradigm that dominated most of the twentieth century has been useful for understanding many biological processes, but it is insufficient to explain life in all its complexity, and to unblock existing medical bottlenecks. More broadly, as physics, engineering, computer science, and materials science merge with biology, they are actually helping to reconnect science and technology with the deep questions that humans have asked themselves from the beginning of civilization: What is life? What does it mean to be human when we can manipulate and even exploit our own biology? We have reached a point in history where these questions naturally arise from the practice of science, and this necessarily changes the sciences’ relationship with society.
We are entering a historic period of scientific convergence, feeling an urge to turn our heads to the past even as we walk toward the future, seeking to find, in the origin of the ideas that brought us here, the inspiration that will allow us to move forward. Nano Comes to Life focuses on the science but attempts to call attention to the potential for a new intellectual framework to emerge at the convergence of the sciences, one that scientists, engineers, artists, and thinkers should tap to create narratives and visions of the future that midwife our coming of age as a technological species. This might be the most important role of the physics of life that emerges from our labs: to contribute to the collective construction of a path to the preservation of human life on Earth.
I am also interested in the relation of physics with power, imperialism/nationalism, politics and social identities in the XIX, XX and XXI centuries, and I am starting to write about it, like in this piece for Nature Review Materials : “Communication is central to the mission of science” which explores science comms in the context of the pandemic and global warming. In a recent talk at Fundacion Telefonica, I explored the relation of national, “East-West”, and gender identity and physics, from colonialism to the Manhattan Project and the tech companies of the Silicon Valley of today, can be watched in Spanish and English (from min 17). Here I explore the future of Spanish science and world politics at Fundacion Rafael del Pino (Spanish).
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The woman has some big ideas! Good, we need them.
BTW, I’ve posted a few items that might be of interest with regard to some of her ideas.
“Perimeter Institute (PI) presents: The Jazz of Physics with Stephon Alexander,” this April 5, 2023 posting features physicist Stephon Alexander’s upcoming April 14, 2023 presentation (you can get on the waiting list or find a link to the livestream) and mentions his 2021 book “Fear of a Black Universe; An Outsider’s Guide to the Future of Physics.”
A May 13, 2022 article by Philip Drost for the Canadian Broadcasting Corporation’s (CBC) As It Happens radio programme highlights the “From funky fungi to melodious mangos, this artist makes music out of nature” segment of the show, Note: Links have been removed,
At the intersection of biology and electronic music, you can find Tarun Nayar plugging his synthesizer equipment into mushrooms and other forms of plant life, hoping to capture their invisible bioelectric rhythms and build them into tranquil soundscapes.
“What I’m really doing is trying to stimulate joy and wonder and create these little sketches or vignettes using the plants themselves, so I like to think of it as definitely a collaboration,” Nayar told As It Happens guest host Helen Mann.
Nayar is an electronic musician and former biologist in Vancouver who uses his TikTok account and Youtube page, Modern Biology, to show off his serenading spores. And his videos have millions of views.
To make his fungi sing, Nayar uses little jumper cables to connect the vegetation with his synthesizer and measure their biological energy, or bioelectricity, which has an effect on the notes.
“The mushroom is contributing the pitch changes and the rhythm, and the synthesizer, which I have the mushroom plugged into, is contributing the timbre or the quality of the sound,” Nayar said.
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You may be familiar with Nayar’s work (from a Creative Mornings Vancouver About The Speaker webpage for a talk given on July 3, 2020), Note: Links have been removed,
Tarun Nayar has built his world at intersections. Of east and west. Of music and business. Of science and art. Born to a white Canadian mother and an immigrant Indian father in French Canada, he has always lived in multiple worlds. He is comfortable in discomfort and fascinated with helping people find common ground, opening doors, and equalling the playing field. He is passionate about changing perceptions and championing unheard stories and talent.
rained formally in Indian Classical Music from the age of seven, Tarun’s involvement in Vancouver’s underground electronic music scene in his early 20s led to the formation of well-known Canadian band Delhi 2 Dublin [emphasis mine] in 2006. He has since led the band to Glastonbury (UK), Hardly Strictly Bluegrass (US), Woodford (AUS) and hundreds of other club and festival gigs around the world. Tarun is passionate about creating opportunities in the arts for people of colour. He is Executive Director of 5X Festival [emphasis mine], one of North America’s largest South Asian festivals. He is on the board of Vancouver’s New Forms Festival, the Canadian Live Music Association, and a member of BC’s Ministry of Education Advisory Committee, Vancouver’s Music City Task Force, and Vancouver’s 2018 Juno Host City Committee. Tarun manages emerging Pakistani-Canadian electronic artist Khanvict, and is the co-founder and owner of digital label Snakes x Ladders [emphasis mine] which focuses on the new wave of hybrid South Asian artists.
As best I can determine after looking at the Modern Biology YouTube channel and Tik Tok account, Nayar seems to have started his project or made it public about 10 months ago (August 2021?). There’s lots of mushroom music along with fruit music, and flower music in either location although Tik Tok seems have a more complete collection.
There’s also a Modern Biology page on linktree.ee where you can sign up for an email list. It also features a link to PlantWave, (Note: This is not a product endorsement),
$299.00 USD
Listen to the music of plants. Tune into Nature with PlantWave!
PlantWave allows you to wirelessly connect from your plant to your phone, making it easier than ever to listen to nature’s song.
Pre-orders will ship June of 2022. We sold out of our January run of devices before shipping. Thank you for your patience as we do our best to meet demand for this experience.
Teaching grammar and syntax to artificial intelligence (AI) algorithms (specifically natural language processing (NLP) algorithms) has helped researchers understand and predict viral mutations more speedily. This facility is especially useful at a time when the Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) virus seems to be mutating into more easily transmissible variants.
Will Douglas Heaven’s Jan. 14, 2021 article for the Massachusetts Institute of Technology’s MIT Technology Review describes the work that links AI, grammar, and mutating viruses (Note: Links have been removed),
Galileo once observed that nature is written in math. Biology might be written in words. Natural-language processing (NLP) algorithms are now able to generate protein sequences and predict virus mutations, including key changes that help the coronavirus evade the immune system.
The key insight making this possible is that many properties of biological systems can be interpreted in terms of words and sentences. “We’re learning the language of evolution,” says Bonnie Berger, a computational biologist at the Massachusetts Institute of Technology [MIT].
In the last few years, a handful of researchers—including teams from geneticist George Church’s [Professor of Health Sciences and Technology at Harvard University and MIT, etc.] lab and Salesforce [emphasis mine]—have shown that protein sequences and genetic codes can be modeled using NLP techniques.
In a study published in Science today, Berger and her colleagues pull several of these strands together and use NLP to predict mutations that allow viruses to avoid being detected by antibodies in the human immune system, a process known as viral immune escape. The basic idea is that the interpretation of a virus by an immune system is analogous to the interpretation of a sentence by a human.
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Berger’s team uses two different linguistic concepts: grammar and semantics (or meaning). The genetic or evolutionary fitness of a virus—characteristics such as how good it is at infecting a host—can be interpreted in terms of grammatical correctness. A successful, infectious virus is grammatically correct; an unsuccessful one is not.
Similarly, mutations of a virus can be interpreted in terms of semantics. Mutations that make a virus appear different to things in its environment—such as changes in its surface proteins that make it invisible to certain antibodies—have altered its meaning. Viruses with different mutations can have different meanings, and a virus with a different meaning may need different antibodies to read it.
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Instead of millions of sentences, they trained the NLP model on thousands of genetic sequences taken from three different viruses: 45,000 unique sequences for a strain of influenza, 60,000 for a strain of HIV, and between 3,000 and 4,000 for a strain of Sars-Cov-2, the virus that causes covid-19. “There’s less data for the coronavirus because there’s been less surveillance,” says Brian Hie, a graduate student at MIT, who built the models.
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The overall aim of the approach is to identify mutations that might let a virus escape an immune system without making it less infectious—that is, mutations that change a virus’s meaning without making it grammatically incorrect.
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But it’s also just the beginning. Treating genetic mutations as changes in meaning could be applied in different ways across biology. “A good analogy can go a long way,” says Bryson [Bryan Bryson, a biologist at MIT].
If you have time, I recommend reading Heaven’s Jan. 14, 2021 article in its entirety as it’s well written with clear explanations. As for the article’s mentions of George Church and Salesforce, the former could be expected while the latter is not (by me, I speak for no one else).
I find it fascinating that a company which describes itself (from What is Salesforce?) as providing “… customer relationship management, or CRM. It gives all your departments — including marketing, sales, commerce, and service — a shared view of your customers … ” seems to be conducting investigations into one (or more?) areas of biology.
For those who’d like to dive into the science as described in Heaven’s article, here’s a link to and a citation for the paper,
Caption: Forward burrowers use pointed snouts and powerful forelimbs bolstered by strong pectoral muscles to scrabble into the earth. They’re often orb-shaped to improve their ability to hold water. Credit: Rachel Keeffe
It’s always enjoyable to see the scientific community indulge in a little fun and I’m using that as an excuse for including a frog story here.
You might think the buffest frogs would be high jumpers, but if you want shredded pecs, you should train like a burrowing frog. Though famously round, these diggers are the unsung bodybuilders of the frog world. We bring you tips from frog expert Rachel Keeffe, a doctoral student at the University of Florida, and physical therapist Penny Goldberg to help you get the burrowing body of your dreams.
But first, a caveat: According to Keeffe, no workout regimen can help you train your way into a highly specialized frog physique honed by 200 million years of evolution. To better understand burrowing frog anatomy, Keeffe and her adviser David Blackburn, Florida Museum of Natural History curator of herpetology, analyzed CT scans from all 54 frog families to show these frogs boast a robust and quirky skeleton that is more variable than previously thought.
“People think about frogs as being clean and smooth and slimy, or the classic ‘green frog on a lily pad,’ but a lot of them are dirty – they like to scoot around and be in the dirt,” Keeffe said. “Burrowing frogs are really diverse and can do a lot of cool things. And when you look at the skeletons of known burrowers, they’re very different from what you would call a ‘normal frog.'”
Burrowing frogs are found all over the world from deserts to swamps, but their underground lifestyle makes them difficult to study, Keeffe said. Most tunnel hind end-first with their back legs. But a few species are forward burrowers, using pointed snouts and powerful forelimbs bolstered by strong pectoral muscles to scrabble into the earth.
Keeffe’s sample of 89 frog species revealed radical differences in burrowing bone structure, from clavicles the size of eyelashes to other bones that are unusually thick.
“They’re so diverse that it’s challenging to think about even comparing them. It’s almost a black hole of work that we can do with forward burrowers because we tend to focus on the legs,” she said.
Some burrow to seek refuge, whether from arid temperatures or predators, and underground habitats can be hunting grounds or secluded hiding places. Other burrowing frogs can spend months at a time as deep as 3 feet belowground, surviving on a high-protein diet of termites and ants. The takeaway: If you want to compete for resources with the pros, don’t be afraid to put in the work.
Get the burly burrowing body
To train like a burrowing frog, Goldberg, assistant director of ReQuest Physical Therapy in Gainesville, recommended dedicating time to strengthening your upper back.
“In humans, the most important muscle group to focus on if you were to train like one of these frogs would be the scapular stabilizers,” she said. “These include 17 muscles, such as the lats and rotator cuff, with attachments all the way down to the pelvis that allow the upper back to generate power. To burrow like a forward burrower, you need to strengthen this entire region.”
One strengthening move Goldberg recommended is the “Prone W.” Lie facedown with elbows bent and palms on the floor. Squeeze your shoulder blades down and toward your spine as you lift your arms to the ceiling for a couple seconds at a time.
Like any elite athlete, burrowing frogs also maintain an optimal form. They’re often orb-shaped to improve their ability to hold water.
“Personally, if I were a sphere, I think it would be hard for me to dig, but it doesn’t seem to affect these frogs at all,” Keeffe said. “However, frogs with stumpy legs are definitely worse at jumping, and they tend to stagger when they walk.”
For these frogs, time away from the tunnels might be spent swimming instead, Keeffe said. To compete here, Goldberg recommends the breaststroke, adding that her top training tips for getting the upper back and pecs of a forward burrower would include pullups and pushups to develop the shoulder blade area.
“In my world, we would use resistance bands and pushing or pulling motions to train this area,” Goldberg said. “Anything focusing predominantly on building strength in the upper back region.”
If resistance bands are part of your workout routine, try grasping one with both hands and extending your arms while keeping your elbows straight. For best results, Goldberg recommended starting with three sets of 10.
Burrowing frogs might also hold key answers to gaps in scientists’ understanding of amphibian evolution at large. Keeffe’s analysis also found that forward-burrowing behavior evolved independently at least eight times in about one-fifth of frog families, and the trait’s persistence in the frog family tree suggests it’s a beneficial adaptation. Keeffe also found that forward burrowers tended to have a highly contoured humerus, the bone that connects the shoulder to the elbow in humans.
Understanding how bone shape relates to musculature can help scientists identify which frogs, both modern and extinct, are forward burrowers, a helpful tool given their covert behavior.
“Even though it can be frustrating, I like them because they’re secretive,” Keeffe said. “But the whole thing underlying this study is that frogs can do a lot of cool things – they don’t just jump and they’re not just green.”
CT scans were generated from the National Science Foundation-funded oVert project.
Do take a look at the August 31, 2020 Florida Museum of Natural History news release as the researchers have provided pictures of real ‘forward burrowing frogs’ along with more cartoons and other other images that have been embedded in Marchese’s release.
Depending on how you feel about bodily fluids, sex, orgasms, and beauty care products being discussed as part of an event that is both workshop and performance, you may feel you’ve read enough now.
What follows is not especially graphic but it’s not for everybody. First, here’s more about the Oct. 29, 2020 event followed by a call for participants (it’s open until Oct. 15, 2020).
ArtSci Salon’s Beauty Kit – eco-erogenous para-pharmaceutics; a workshop/performance
Beauty Kit is part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach [sic] program supported by the Fiends [sic;] Institute for Research in Mathematical Science.
In this workshop /performance, Isabel Burr Raty explores the energetic potentials of bodily fluids. Modern culture tends to consider bodily fluids as superfluous and wasteful, as unholy and unspeakable taboos, as something that should be discarded because it has no apparent use except in the personal sphere of intimacy.
By revealing the chemical, biological and nutritional potentials of a variety of bodily fluids and by encouraging the participants to explore and harvest their own, Burr Raty engages in a fierce critique of consumption and industrial mass production, and in a clever journey to cross many boundaries: she breaks the taboo that prevents us from speaking about bodily fluids; she shows how bodily fluids are profoundly entangled with the body and its surrounding environment; she demonstrates how far from waste they are, and how they participate in a never-ending cycle of growth, decay and renewal. By crossing the boundaries of art, biology, technology and agriculture, Burr Raty offers spaces of liberation that incite new living habits by means of alternative cultural arrangements, which propose circular economy models such as the one based on fluid bio-transaction and pleasure. Speaking of and practicing boundary crossing, especially the idea of bodily fluids’ ecological entanglements, is crucial in today’s increased fear of touching and physical isolation due to COVID19’s hygiene theatre.
During this workshop-performance, registered participants will join the online audience from various remote locations. They will be asked to answer a number of questions reflecting their relation with bodily fluids from a variety of perspectives – personal, scientific or philosophical – and will be invited to test and give feedback on a series of special Beauty Kit (BK) transpersonal and gender neutral skin and care lines that will be delivered via mail to their homes. Finally, they will be encouraged to inquire on the product’s formulas and agro-cultural technology employed in this project.
The workshop-performance will take place on October 29 [2020] 3:00-5:00 pm [presumably this is on Eastern Daylight Time]
I believe “Fiends Institute for Research in Mathematical Science” should be “Fields Institute for Research in Mathematical Science.”
Isabel Burr Raty currently runs a mobile Farm that harvests human female erotic juices to manufacture Para-pharmaceutical bio-products with them, that will evolve into an Eco-erogenous Village of entanglements, where every-BODY will harvest each other.
We are looking for participants to take part in this unique online/distributed workshop-performance
Beauty Kit – eco-erogenous para-pharmaceutics
On Oct 29, 2020,
3:00-5:00 pm EDT
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How many types of female ejaculations do you know about? Can a brain orgasm be transformed into a source of renewable energy? Can the orgasmic body be a territory for sustainable agricultural development? Could engaging in and speaking of bodily fluids and intimate relations help us overcome current fears of the unknown and the microscopic and open up a new culture of care and sharing, mutual aid and solidarity?
These are some (but not all!) of the questions that this workshop/performance seeks to explore.
The joint participation of the online public is very important. Pointing out gaps in scientific perspectives about the body’s orgasmic agency, she exposes allopathic and ancestral perspectives on the faculty of sexual fluids to replace the components of beauty and wellbeing products that we find in the market. An invited audience of participants is warmly welcome to test the BK transpersonal and gender neutral skin and care lines that they will receive via the post to their homes, as well as to inquire on the product’s formulas and agro-cultural technology employed in this project.
To run this workshop, we are looking for volunteers to:
1. Participate in the workshop/performance remotely online
2. Try some Beauty Kit (BK) products
3. Engage in a public discussion with Burr Raty and the general audience
4. Agree to make themselves visible, as avatars, as themselves, as masked characters or by wearing a color that gives them pleasure
This is an inclusive workshop which seeks to address intimate, scientific and political topics with respect and care.
If you wish to be part of this experience, please, send us your intent to participate: RSVP to the workshop by Oct 15, 2020 by sending an email to artscisalon@gmail.com with a couple of sentences explaining why you are interested in being part of it.
We will ask you to provide a home address where we can send you the material.
We care about your privacy and we will do anything we can to respect your preferences. If you live in Toronto, arrangements can be made for physically distanced pickup.
This workshop is performative and participants are encouraged to impersonate their alter-ego, to play their avatar, to wear a costume etc…
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ABOUT ISABEL BURR RATY
Isabel Burr Raty is an independent filmmaker, artist, teacher and sexual Kunfu coach exploring the interstices between the organic and the artificial, between the unlicensed knowledge of minority groups and the official facts. In so doing, she aims to dig up chapters left out of history books, blur the limits between fiction/reality and re-think the memory of the future.
In her artistic work she interweaves performance and new media installation proposing hybrid narratives and bio-autonomy practices that invite the public to queer production understandings and embody SF in real time, such as the Beauty Kit Farm.
Isabel teaches Media art history in École de Recherche Graphique and is researcher in WAB IV nadine Brussels. In 2018 she was granted a bio-art & design deal by the AFK (Amsterdams Fonds voor de Kunst), which partnered her to: The Waag, Mediamatic and Prof. Toby Kiers (VU Amsterdam).
Burr Raty has shown her works and collaborations internationally, in venues such as: KVS (Royal Flemish Theater), Beursschouwburg, Constant_V, ZSeene Art Lab, Limal (Brussels); Palais de Tokyo Paris, ISEA Hong Kong and Cultivamos Cultura Portugal; presented her work in festivals and conferences such as: Enter Through The Void, Exit Through The Giftshop, Campo Victoria, Ghent (BE), Ecofutures at Queen Mary’s University London (GB), FEMeeting (PT), Taboo Transgression Transcendence in Art and Science (GR/AU), Human Enhancement Clinic at Border Sessions (NL), Science Friction at the Aki Institute in Enchede University (NL) and FACTT at Humbolt University Berlin (DE); and given workshops at the University of the Arts Berlin (DE) and Rampa Lab Ljubljana (SI).
Beauty Kit is part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic; Fields] Institute for Research in Mathematical Science
Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states.
This event is curated by ArtSci Salon with support from Sensorium: Centre for Digital Arts and Technology, York University
I believe this or something like it is what you’ll be receiving,
I’m not sure how mathematics relates to Beauty Kit but it is definitely boundary-crossing.
There seems to have been some lively debate among biologists about matters most of us treat as invisible: naming, establishing, and classifying categories. These activities can become quite visible when learning a new language, e.g., French which divides nouns into two genders or German which classifies nouns with any of three genders.
A July 26, 2020 essay by Stephen Garnett (Professor of Conservation and Sustainable Livelihoods, Charles Darwin University, Australia), Les Christidis (Professor, Southern Cross University, Australia), Richard L. Pyle (Associate lecturer, University of Hawaii, US), and Scott Thomson (Research associate, Universidade de São Paulo, Brazil) for The Conversation (also on phys.org but published July 27, 2020) describes a very heated debate over taxonomy,
Taxonomy, or the naming of species, is the foundation of modern biology. It might sound like a fairly straightforward exercise, but in fact it’s complicated and often controversial.
Why? Because there’s no one agreed list of all the world’s species. Competing lists exist for organisms such as mammals and birds, while other less well-known groups have none. And there are more than 30 definitions of what constitutes a species [emphasis mine]. This can make life difficult for biodiversity researchers and those working in areas such as conservation, biosecurity and regulation of the wildlife trade.
In the past few years, a public debate erupted among global taxonomists, including those who authored and contributed to this article, about whether the rules of taxonomy should be changed. Strongly worded ripostes were exchanged. A comparison to Stalin [emphasis mine] was floated.
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Here’s how it started,
In May 2017 two of the authors, Stephen Garnett and Les Christidis, published an article in Nature. They argued taxonomy needed rules around what should be called a species, because currently there are none. They wrote:
” … for a discipline aiming to impose order on the natural world, taxonomy (the classification of complex organisms) is remarkably anarchic […] There is reasonable agreement among taxonomists that a species should represent a distinct evolutionary lineage. But there is none about how a lineage should be defined.
‘Species’ are often created or dismissed arbitrarily, according to the individual taxonomist’s adherence to one of at least 30 definitions. Crucially, there is no global oversight of taxonomic decisions — researchers can ‘split or lump’ species with no consideration of the consequences.”
Garnett and Christidis proposed that any changes to the taxonomy of complex organisms be overseen by the highest body in the global governance of biology, the International Union of Biological Sciences (IUBS), which would “restrict […] freedom of taxonomic action.”
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… critics rejected the description of taxonomy as “anarchic”. In fact, they argued there are detailed rules around the naming of species administered by groups such as the International Commission on Zoological Nomenclature and the International Code of Nomenclature for algae, fungi, and plants. For 125 years, the codes have been almost universally adopted by scientists.
So in March 2018, 183 researchers – led by Scott Thomson and Richard Pyle – wrote an animated response to the Nature article, published in PLoS Biology [PLoS is Public Library of Science; it is an open access journal].
They wrote that Garnett and Christidis’ IUBS proposal was “flawed in terms of scientific integrity […] but is also untenable in practice”. They argued:
“Through taxonomic research, our understanding of biodiversity and classifications of living organisms will continue to progress. Any system that restricts such progress runs counter to basic scientific principles, which rely on peer review and subsequent acceptance or rejection by the community, rather than third-party regulation.”
In a separate paper, another group of taxonomists accused Garnett and Christidis of trying to suppress freedom of scientific thought, likening them to Stalin’s science advisor Trofim Lysenko.
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The various parties did come together,
We hope by 2030, a scientific debate that began with claims of anarchy might lead to a clear governance system – and finally, the world’s first endorsed global list of species.
Understanding the concept of zero—I still remember climbing that mountain, so to speak. It took the teacher quite a while to convince me that representing ‘nothing’ as a zero was worthwhile. In fact, it took the combined efforts of both my parents and the teacher to convince me to use zeroes as I was prepared to go without. The battle is long since over and I have learned to embrace zero.
I don’t think bees have to be convinced but they too may have a concept of zero. More about that later, here’s the latest abut bees and math from an October 10, 2019 news item on phys.org,
Start thinking about numbers and they can become large very quickly. The diameter of the universe is about 8.8×1023 km and the largest known number—googolplex, 1010100—outranks it enormously. Although that colossal concept was dreamt up by brilliant mathematicians, we’re still pretty limited when it comes to assessing quantities at a glance. ‘Humans have a threshold limit for instantly processing one to four elements accurately’, says Adrian Dyer from RMIT University, Australia; and it seems that we are not alone. Scarlett Howard from RMIT and the Université de Toulouse, France, explains that guppies, angelfish and even honeybees are capable of distinguishing between quantities of three and four, although the trusty insects come unstuck at finer differences; they fail to differentiate between four and five, which made her wonder. According to Howard, honeybees are quite accomplished mathematicians. ‘Recently, honeybees were shown to learn the rules of “less than” and “greater than” and apply these rules to evaluate numbers from zero to six’, she says. Maybe numeracy wasn’t the bees’ problem; was it how the question was posed? The duo publishes their discovery that bees can discriminate between four and five if the training procedure is correct in Journal of Experimental Biology.
Dyer explains that when animals are trained to distinguish between colours and objects, some training procedures simply reward the animals when they make the correct decision. In the case of the honeybees that could distinguish three from four, they received a sip of super-sweet sugar water when they made the correct selection but just a taste of plain water when they got it wrong. However, Dyer, Howard and colleagues Aurore Avarguès-Weber, Jair Garcia and Andrew Greentree knew there was an alternative strategy. This time, the bees would be given a bitter-tasting sip of quinine-flavoured water when they got the answer wrong. Would the unpleasant flavour help the honeybees to focus better and improve their maths?
‘[The] honeybees were very cooperative, especially when I was providing sugar rewards’, says Howard, who moved to France each April to take advantage the northern summer during the Australian winter, when bees are dormant. Training the bees to enter a Y-shaped maze, Howard presented the insects with a choice; a card featuring four shapes in one arm and a card featuring a different number of shapes (ranging from one to 10) in the other. During the first series of training sessions, Howard rewarded the bees with a sugary sip when they alighted correctly before the card with four shapes, in contrast to a sip of water when they selected the wrong card. However, when Howard trained a second set of bees she reproved them with a bitter-tasting sip of quinine when they chose incorrectly, rewarding the insects with sugar when they selected the card with four shapes. Once the bees had learned to pick out the card with four shapes, Howard tested whether they could distinguish the card with four shapes when offered a choice between it and cards with eight, seven, six or – the most challenging comparison – five shapes.
Not surprisingly, the bees that had only been rewarded during training struggled; they couldn’t even differentiate between four and eight shapes. However, when Howard tested the honeybees that had been trained more rigorously – receiving a quinine reprimand – their performance was considerably better, consistently picking the card with four shapes when offered a choice between it and cards with seven or eight shapes. Even more impressively, the bees succeeded when offered the more subtle choice between four and five shapes.
So, it seems that honeybees are better mathematicians than had been credited. Unlocking their ability was simply a matter of asking the question in the right way and Howard is now keen to find out just how far counting bees can go.
I’ll get to the link to and citation for the paper in a minute but first, I found more about bees and math (including zero) in this February 7, 2019 article by Jason Daley for The Smithsonian (Note: Links have been removed),
Bees are impressive creatures, powering entire ecosystems via pollination and making sweet honey at the same time, one of the most incredible substances in nature. But it turns out the little striped insects are also quite clever. A new study suggests that, despite having tiny brains, bees understand the mathematical concepts of addition and subtraction.
To test the numeracy of the arthropods, researchers set up unique Y-shaped math mazes for the bees to navigate, according to Nicola Davis at the The Guardian. Because the insects can’t read, and schooling them to recognize abstract symbols like plus and minus signs would be incredibly difficult, the researchers used color to indicate addition or subtraction. …
Fourteen bees spent between four and seven hours completing 100 trips through the mazes during training exercises with the shapes and numbers chosen at random. All of the bees appeared to learn the concept. Then, the bees were tested 10 times each using two addition and two subtraction scenarios that had not been part of the training runs. The little buzzers got the correct answer between 64 and 72 percent of the time, better than would be expected by chance.
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Last year, the same team of researchers published a paper suggesting that bees could understand the concept of zero, which puts them in an elite club of mathematically-minded animals that, at a minimum, have the ability to perceive higher and lower numbers in different groups. Animals with this ability include frogs, lions, spiders, crows, chicken chicks, some fish and other species. And these are not the only higher-level skills that bees appear to possess. A 2010 study that Dyer [Adrian Dyer of RMIT University in Australia] also participated in suggests that bees can remember human faces using the same mechanisms as people. Bees also use a complex type of movement called the waggle dance to communicate geographical information to one other, another sophisticated ability packed into a brain the size of a sesame seed.
If researchers could figure out how bees perform so many complicated tasks with such a limited number of neurons, the research could have implications for both biology and technology, such as machine learning. …
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Then again, maybe the honey makers are getting more credit than they deserve. Clint Perry, who studies invertebrate intelligence at the Bee Sensory and Behavioral Ecology Lab at Queen Mary University of London tells George Dvorsky at Gizmodo that he’s not convinced by the research, and he had similar qualms about the study that suggested bees can understand the concept of zero. He says the bees may not be adding and subtracting, but rather are simply looking for an image that most closely matches the initial one they see, associating it with the sugar reward. …
If you have the time and the interest, definitely check out Daley’s article.
Here’s a link to and a citation for the latest paper about honeybees and math,
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.
… on June 12th, 2019 at the Italian Cultural Centre. ARPICO is proud to host Dr. Silvia Scorza, who will be presenting on the topic of underground science (literally underground) at SNOLAB, where research is conducted in fields of fundamental science that require shielding from external radiation such as cosmic rays. SNOLAB (SNO stands for Sudbury Neutrino Observatory) is a Canadian research laboratory located 2 km underground in Sudbury, Ontario. This presentation will give a unique and interesting perspective into the research that is conducted mostly out of the public view and discussion, but contributes critically to our scientific advances. Applications found in medicine, national security, industry, computing, science, and workforce development, illustrate a long and growing list of beneficial practical applications with contributions from particle physics.
Please read below to learn more about our speaker and topic.
Ahead of the speaking event, ARPICO will be holding its 2019 Annual General Meeting in the same location. We encourage everyone to participate in the AGM, have their say on ARPICO’s matters and possibly volunteer for the Board of Directors. ARPICO is made by all of its members, not just the Board, and it is therefore paramount that you all come, let us know what your wishes are for the Society and tell us how we can do better together as we go forward.
If you are driving to the venue, there is plenty of free parking space. Please refer to the attached parking map for information on where not to park however, just to be sure.
We look forward to seeing everyone there.
The evening agenda is as follows: 6:00 pm to 6:45 pm – Annual General Meeting [ Doors Open for Registration at 5:50 pm ] 7:00 pm – Start of the evening event with introductions & lecture by Dr. Silvia Scorza [ Doors Open for Registration at 6:45 pm ] ~8:00 pm – Q & A Period to follow – Mingling & Refreshments until about 9:30 pm If you have not already done so, please register for the event by visiting the EventBrite link or RSVPing to info@arpico.ca.
Whispering in the Dark: Updates from Underground Scienc
Based at a depth of 2 km in the Vale Creighton mine near Sudbury, Ontario, SNOLAB is an underground scientific environment that provides the conditions necessary for experiments dealing with rare interactions that have to be shielded from external radiation. The lab hosts an international community involved in a number of fundamental physics (neutrino and dark matter) as well as new biology and genomic experiments making use of the unique facility. In this lecture, Dr. Scorza will offer an overview on the life of an “underground scientist” and the immense possibilities of discovery that facilities like SNOLAB make available to our society.
Dr. Silvia Scorza was born and raised in Genoa, Italy. She received her B.Sc. and M.Sc. in Physics from the University of Genoa in 2003 and 2006, respectively. She then moved to the University Claude Bernard Lyon1 (UCBL1), France, where she obtained her Ph.D. in 2009. She has then held postdoctoral positions in France at the Institut de Physique Nucléaire de Lyon, in the U.S. at the Southern Methodist University in Dallas (TX) and later in Germany at the Karlsruhe Institute of Technology. Silvia is currently a research scientist at SNOLAB and adjunct professor at Laurentian University working on the SuperCDMS SNOLAB direct dark matter search experiment and the cryogenic test facility CUTE.
WHEN (AGM): Wednesday, June 12th, 2019 at 6:00pm (doors open at 5:50pm) WHEN (EVENT): Wednesday, June 12th, 2019 at 7:00pm (doors open at 6:45pm) WHERE: Italian Cultural Centre – Museum & Art Gallery – 3075 Slocan St, Vancouver, BC, V5M 3E4
RSVP: Please RSVP at EventBrite (http://whispersinthedark.eventbrite.ca/) or email info@arpico.ca
Tickets are Neede
Tickets are FREE, but all individuals are requested to obtain “free-admission” tickets on EventBrite site due to limited seating at the venue. Organizers need accurate registration numbers to manage wait lists and prepare name tags.
All ARPICO events are 100% staffed by volunteer organizers and helpers, however, room rental, stationery, and guest refreshments are costs incurred and underwritten by members of ARPICO. Therefore to be fair, all audience participants are asked to donate to the best of their ability at the door or via EventBrite to “help” defray costs of the event.
FAQs Where can I contact the organizer with any questions? info@arpico.ca Do I have to bring my printed ticket to the event? No, you do not. Your name will be on our Registration List at the Check-in Desk. Is my registration/ticket transferrable? If you are unable to attend, another person may use your ticket. Please send us an email at info@arpico.ca of this substitution to correct our audience Registration List and to prepare guest name tags. Can I update my registration information? Yes. If you have any questions, contact us at info@arpico.ca I am having trouble using EventBrite and cannot reserve my ticket(s). Can someone at ARPICO help me with my ticket reservation? Of course, simply send your ticket request to us at info@arpico.ca so we help you.
What are my transport/parking options? Bus/Train: The Millenium Line Renfrew Skytrain station is a 5 minute walk from the Italian Cultural Centre. Parking: Free Parking is vastly available at the ICC’s own parking lot. …
