I first featured science slams in a July 17, 2013 posting when they popped up in the UK although I think they originated in Germany. As for Science Slam Canada, I think they started in 2016, (t least, that’s when they started their twitter feed).
Science Slam YVR at Fox It’s beginning to look a lot like … it’s time to have another Science Slam at the Fox!
For those of you who have never experienced the wonder of Science Slam, welcome! We are Vancouver’s most epic science showdown. Sit back, relax, and watch as our competitors battle to achieve science communication fame and glory.
What exactly is a science slam? Based on the format of a poetry slam, a science slam is a competition where speakers gather to share their science with you – the audience. Competitors have five minutes to present on any science topic without the use of a slideshow and are judged based on communication skills, audience impact and scientific content. Props and creative presentation styles are encouraged!
Whether you’re a researcher, student, educator, artist, or communicator, our stage is open to you. If you’ve got a science topic you’re researching, or just a topic you’re excited about, send in an application! If you’re not sure about an idea, just ask!
*Early Bird Tickets are $10, Regular are $12. [emphasis mine] Purchase them here: https://www.eventbrite.com/e/science-slam-at-fox-tickets-80868462749
Doors open at 7pm, event begins at 7:30pm. We’ll see you there!
Science Slam acknowledges that this event takes place on the traditional, ancestral, and unceded territory of the Squamish, Sto:lo, Musqueam, and Tsleil Waututh Nation. Many of our attendees, Science Slam included, are are guests of these territories and must act accordingly.
Science Slam is an inclusive event, as a result hate speech and abuse will not be tolerated. This includes anti-blackness, anti-indigenous, transphobia, homophobia, biphobia, islamophobia, xenophobia, fatphobia, ableism, transmisogyny, misogyny, femmephobia, cissexism, and anti-immigrant attitudes.
I went to the eventbrite website where you can purchase tickets and the prices reflect the first set in the announcement. Early bird tickets are sold out, which leaves you with General Admission at $12.
Collider Cafe in Vancouver on December 4, 2019
I think they were tired when they (CuriosityCollider.org) came up with the title for the upcoming Collider Cafe December 2019 event. Unfortunately, the description isn’t too exciting either. On the plus side, their recent Invasive Systems Collisions Festival was pretty interesting and one of the exhibits from that festival is being featured (artist: Laara Cerman; scientist: Scott Pownell)..
Here’s more about the upcoming Collider Cafe from their November 27, 2019 announcement (received via email),
Art. Science. Analogies.
Let analogies guide us through exploring the art and science in chemistry, nature, genetics, and technology.
Our #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science to meet, discover, and connect. Are you curious? Join us at “Collider Cafe: Art. Science. Analosiges.” to explore how art and science intersect in the exploration of curiosity.
When: 8:00pm on Wednesday, December 4, 2019. Doors open at 7:30pm. Where: Pizzeria Barbarella. 654 E Broadway, Vancouver, BC (Google Map). Cost: $5-10 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.
//Special thanks to Pizzeria Barbarella for hosting the upcoming Collider Cafe!//
Back to me, I’m still struggling with this hugely changed Word Press, which they claim is an ‘improvement’. In any case, for this second event, I decided that choosing a larger font size was superior to putting everything into a single block as I did for the Science Slam event. Please let me know if you have any opinions on the matter in the comments section.
Moving on, don’t expect Chris Dunnett’s presentation ‘Poetry of Technology’ to necessarily feature any poetry, if his website is any indication of his work. Also, I notice that Vance Williams is associated with 4D Labs at Simon Fraser University. At one time, 4D Labs was a ‘nanotechnology’ lab but at this time (November 29, 2019), it seems they are a revenue-producing group selling their materials expertise and access to their lab equipment to industry and other academic institutions. Still, Williams may feature some nanoscale work as part of his presentation.
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?
Join us to this two-parts series to discuss the ethics and implications of these transformations with artists, scientists and bioethicists.
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]
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
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.
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 , then again from Jan. 7 to Feb. 2 .
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.
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.
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.
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.
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.
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.
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.
During August (2017), science in Vancouver (Canada) seems to be mostly about the night sky. The one exception is an event featuring American science communicator, Bill Nye. Here, in the order in which they occur, are the three science events mentioned in the head (scroll down to the third event [Eclipse: Total Alignment] if you are interested in Early Bird tickets, which are available until Aug. 4, 2017).
Bill Nye speaks
Billed as ‘An Evening With Bill Nye & George Stroumboulopoulos’, the event takes place at the Orpheum Theatre on Friday, August 11, 2017. Here’s more from the event page on brownpapertickets.com,
An Evening With Bill Nye & George Stroumboulopoulos
presented by Pangburn Philosophy
Friday, August 11, 2017
Show: 8pm Sharp!
Bill Nye is one of the worlds most eminent promoters of science. He is a scientist, engineer, comedian, author, and inventor. His mission: to help foster a scientifically literate society, to help people everywhere understand and appreciate the science that makes our world work. Making science entertaining and accessible is something Bill has been doing most of his life. He will grace the stage on August 11th at the Orpheum Theatre in Vancouver to exchange dialogue with one of Canada’s most beloved public figures and tv personalities. George Stroumboulopoulos is a six-time Gemini Award and Canadian Screen Award winner for best host in a talk series, George Stroumboulopoulos has interviewed a who’s who of entertainment icons, world leaders and respected thinkers. George has also taken an active role in global initiatives and is a strong advocate for social issues.Special Note:
All PREMIUM ticket purchases grant you a copy of Bill Nye’s new book “Everything All at Once” plus fast-pass access to Bill’s book signing, taking place directly after the event.
All STUDENT discounted tickets are Will Call only at the Box Office, on the evening of the event. Student & Photo ID must be shown. No exceptions.
Service Charges Disclaimer
Note that all tickets are subject to an additional $3.50 for the Facility Fee and $5.00 for the Ticketing Fee.
Friday Aug 11, 2017 8:00 PM – Friday Aug 11, 2017 11:00 PM | CA$60.00 – CA$150.00
I got a message saying ‘sales are ended’, which suggests the event is sold out but organizers usually trumpet that detail right away so I don’t know. It might be an idea to try the Buy Tickets button on this page for yourself.
For anyone unfamiliar with the event organizers, Pangburn Philosophy, there’s their home page and this video,
While I’m quite interested in science and art, singly and together, the discussion about science, religion, and/or god, discussed in the video, leaves me cold. I notice the Pangburn Philosophy organization has a series of events titled ‘Science and Reason’ and all of them feature Richard Dawkins who (as I understand it) has been very involved in the debate about science/reason and religion/god. The debate gets more attention in the UK than it has here in Canada.
Getting back to Bill Nye, there was a provocative essay about Nye, his new television programme, and the debate regarding science/reason and anti-science/alternative facts (which can also touch on religion/god). From an April 25, 2017 essay (titled: Can Bill Nye – or any other science show – really save the world?) by Heather Akin, Bruce W. Hardy, Dietram A. Scheufele, and Dominique Brossard for The Conversation.com (h/t May 1, 2017 republication on salon.com; Note: Links have been removed)
Netflix’s new talk show, “Bill Nye Saves the World,” debuted the night before people around the world joined together to demonstrate and March for Science. Many have lauded the timing and relevance of the show, featuring the famous “Science Guy” as its host, because it aims to myth-bust and debunk anti-scientific claims in an alternative-fact era.
But are more facts really the kryptonite that will rein in what some suggest is a rapidly spreading “anti-science” sentiment in the U.S.?
“With the right science and good writing,” Nye hopes, “we’ll do our best to enlighten and entertain our audience. And, perhaps we’ll change the world a little.” In an ideal world, a show like this might attract a broad and diverse audience with varying levels of science interest and background. By entertaining a wide range of viewers, the thinking goes, the show could effectively dismantle enduring beliefs that are at odds with scientific evidence. Significant parts of the public still aren’t on board with the scientific consensus on climate change and the safety of vaccines and genetically modified foods, for instance.
But what deserves to be successful isn’t always what ends up winning hearts and minds in the real world. In fact, empirical data we collected suggest that the viewership of such shows – even heavily publicized and celebrity-endorsed ones – is small and made up of people who are already highly educated, knowledgeable about science and receptive to scientific evidence.
Engaging scientific programming could still be an antidote to waning public interest in science, especially where formal science education is falling short. But it is revealing that “Cosmos” – a heavily marketed, big-budget show backed by Fox Networks and “Family Guy” creator Seth McFarlane – did not reach the audience who need quality science information the most. “Bill Nye Saves the World” might not either. Its streaming numbers are not yet available.
Today’s fragmented and partisan media environment fosters selective exposure and motivated reasoning – that is, viewers typically tune in to programming that confirms their existing worldview. There are few opportunities or incentives for audiences to engage with scientific evidence in the media. All of this can propagate misleading claims and deter audiences from accepting the conclusions of sound science. And adoption of misinformation and alternative facts is not a partisan problem. Policy debates questioning or ignoring scientific consensus on vaccines, climate change and GMOs have cut across different political camps.
None of this is meant to downplay the huge potential of entertainment media to reach diverse audiences beyond the proverbial choir. We know from decades of research that our mental images of science and its impact on society are shaped heavily by (sometimes stereotypical) portrayals of science and scientists in shows like “The Big Bang Theory” or “Orphan Black.”
But successful scientific entertainment programming needs to accomplish two goals: First, draw in a diverse audience well beyond those already interested in science; second, present scientific issues in a way that unites audiences around shared values rather than further polarizing by presenting science in ways that seems at odds with specific political or religious worldviews.
And social science research suggests that complex information can reach audiences via the most unlikely of places, including the satirical fake news program “The Colbert Report.” In fact, a University of Pennsylvania study showed that a series of “Colbert Report” episodes about Super PACs and 501(c)(4) groups during the 2012 presidential election did a better job educating viewers than did mainstream programming in traditional news formats.
Social science can help us learn from our mistakes and better understand how to connect with hard-to-reach audiences via new formats and outlets. None of these shows by themselves will save the world. But if done right, they each might get us closer, one empirical step at a time.
I encourage you to read the essay in its entirety and, in particular, to read the comments.
The tickets for the Aug. 11, 2017 event seem a bit expensive but as they appear to be sold out, it proves I know very little about marketing science celebrities. I guess Stroumboulopoulos’ name recognition due to his CBC (Canadian Broadcasting Corporation) experience was part of the sales strategy since he doesn’t seem to have any science background. That said, good interviewers take the time to research and often unearth questions that someone with more expertise might not think to ask. I’ve been favourably impressed the few times I’ve caught one of Stroumboulopoulos’ interviews.
Blackout: Night Sky Festival
The day after Bill Nye, on Saturday, August 12, 2017, there’s a special event at the Museum of Anthropology on the University of British Columbia grounds in Vancouver. Cecilia Lu in a July 24, 2017 posting on The Daily Hive (Vancouver edition) writes up the event,
With the Perseid meteor shower returning next month, the Museum of Anthropology is putting on a unique stargazing festival for the occasion.
On Saturday, August 12 , at the peak of meteor shower viewing season, Blackout: Night Sky Festival will see the MOA transform into an all-ages arts and astronomy celebration.
The museum will remain open until midnight, as stargazers enjoy the night sky amidst Indigenous storytelling, special musical performances, and lantern making.
Saturday, August 12  | 5 pm – Midnight | All-Ages + Licensed |
Adults $10 | Youth + Students Free | Tickets available at the door Join the event on Facebook
Explore our connection to the stars during an evening of arts and astronomy.
Inspired by the global dark sky movement, Blackout brings together storytellers, musicians, artists and astronomers to share their relationships to the skies. Join us to witness the peak of the Perseid meteor shower and explore the museum until midnight during this all-ages event.
You’ll have the chance to peer into telescopes, make your own star lantern and experience an experimental art installation that reimagines the constellations. Bring a chair or blanket and enjoy stargazing to a soundtrack of downtempo and ambient beats, punctuated by live music and throat singing.
Co-hosted with the UBC Astronomy Club, in association with Hfour and the Secret Lantern Society. Performers include Bronson Charles, Jerry DesVoignes, You’re Me, Andrew Kim the musical scientist and the Secret Lantern Society musicians.
Blackout Night Sky Festival Schedule
Indigenous Sky Stories | 5–6 pm
Join us in the Great Hall for celestial storytelling by Margaret Grenier and learn about what you’ll see in the skies that night from the UBC Astronomy Club. Planets and Pulsations: The New Keplerian Revolution | 6–7 pm
Does Earth harbour the only life in the universe? Astrophysicist Don Kurtz examines how the Kepler Space Mission has revolutionized our view in an animated multimedia performance. Late Night Gallery Viewing | 5 pm – midnight
Explore MOA all night long — including our brand new Gallery of Northwest Coast Masterworks. Bar + BBQ + Music | 7 pm – midnight
Grab a bite to eat or drink from our licensed bar and enjoy the music that runs all night. Vegetarian and non-alcoholic options available. Lantern Making Workshop | 7–9 pm
Make your own pinhole lantern inspired by constellations from around the world in this drop-in workshop hosted by the Secret Lantern Society. Reclaiming the Night Skies | 8:30 pm – midnight
Experimental artists Hfour and the MOA’s Native Youth Program present an immersive, projected art installation that brings to life a series of new constellations, featuring soundscapes by Adham Shaikh. Lantern Procession | 9 pm
Join the procession of freshly built lanterns and roving musicians as we make our way across the Museum Grounds and up the hill for a night of stargazing! Stargazing + Meteor Shower | 9:30 pm – midnight
How many meteors can you find? Expand your knowledge of the night sky with the telescopes and expertise of the UBC Astronomy Club and HR MacMillan Space Centre, set to a background of live and electronic music. On view that night: Moon, Saturn, Jupiter, M13, M15, Ring Nebula, Lagoon Nebula, Dumbbell Nebula and the Perseid meteor shower.
There are two eclipses during August 2017 (Aug. 7, 2017 and Aug. 21, 2017) and I find it odd that neither are mentioned in this astronomy-focused event at the Museum of Anthropology. The Aug. 21, 2017 astronomical event is a total eclipse of the sun.. There’s more about it on this NASA (US National Aeronautics Space Administration) eclipse website.
Curiosity Collider and the Eclipse
[downloaded from http://www.curiositycollider.org/events/]
Vancouver’s art/sci organization (they have a wordier description here). Curiosity Collider is holding an event that celebrates the upcoming eclipse. From a July 28, 2017 notice (received via email),
Join Curiosity Collider and H.R. MacMillan Centre for this one night
ART & SCIENCE EXPLORE THE MOMENTARY DARKNESS
ON AUGUST 17TH , FOR ONE NIGHT ONLY, CURIOSITY COLLIDER AND THE H.R.
MACMILLAN SPACE CENTRE WILL HOST ECLIPSE: TOTAL ALIGNMENT where artists
and scientists interpret the rare alignment of the sun, earth, and moon
during a total solar eclipse. The event includes a performance show in
the planetarium theatre, and interactive multi and mixed media art
installations on the main level Cosmic Courtyard. Highlights include:
* a soundtrack of the solar system created by data sonification
* a dance piece that plays with alignment, light, and shadow
* scientific narration about the of the upcoming total solar eclipse
(on August 21st) and the phases of the moon
* spectacular custom planetarium dome visuals
* meeting the artists and scientists behind one-of-a-kind interactive
and multimedia art projects
This event is 19+ only. Beer and wine available for purchase, light
WHEN: 6:30pm on Thursday, August 17th 2017.
WHERE: H. R. MacMillan Space Centre (1100 Chestnut Street, Vancouver, BC
COST: $25-30. Each ticket includes entrance to the Space Centre and one
planetarium show (7:30pm or 9pm). LIMITED EARLY BIRD TICKETS AVAILABLE
BEFORE AUGUST 4 .
Interested in observing the partial solar eclipse in Vancouver on
Monday, August 21st ? Check out the two observation events hosted by H.R.
MacMillan Space Centre  and UBC Department of Physics & Astronomy
When NASA announced its discovery of the TRAPPIST-1 system back in February  it caused quite a stir, and with good reason. Three of its seven Earth-sized planets lay in the star’s habitable zone, meaning they may harbour suitable conditions for life.
But one of the major puzzles from the original research describing the system was that it seemed to be unstable.
“If you simulate the system, the planets start crashing into one another in less than a million years,” says Dan Tamayo, a postdoc at U of T Scarborough’s Centre for Planetary Science.
“This may seem like a long time, but it’s really just an astronomical blink of an eye. It would be very lucky for us to discover TRAPPIST-1 right before it fell apart, so there must be a reason why it remains stable.”
Tamayo and his colleagues seem to have found a reason why. In research published in the journal Astrophysical Journal Letters, they describe the planets in the TRAPPIST-1 system as being in something called a “resonant chain” that can strongly stabilize the system.
In resonant configurations, planets’ orbital periods form ratios of whole numbers. It’s a very technical principle, but a good example is how Neptune orbits the Sun three times in the amount of time it takes Pluto to orbit twice. This is a good thing for Pluto because otherwise it wouldn’t exist. Since the two planets’ orbits intersect, if things were random they would collide, but because of resonance, the locations of the planets relative to one another keeps repeating.
“There’s a rhythmic repeating pattern that ensures the system remains stable over a long period of time,” says Matt Russo, a post-doc at the Canadian Institute for Theoretical Astrophysics (CITA) who has been working on creative ways to visualize the system.
TRAPPIST-1 takes this principle to a whole other level with all seven planets being in a chain of resonances. To illustrate this remarkable configuration, Tamayo, Russo and colleague Andrew Santaguida created an animation in which the planets play a piano note every time they pass in front of their host star, and a drum beat every time a planet overtakes its nearest neighbour.
Because the planets’ periods are simple ratios of each other, their motion creates a steady repeating pattern that is similar to how we play music. Simple frequency ratios are also what makes two notes sound pleasing when played together.
Speeding up the planets’ orbital frequencies into the human hearing range produces an astrophysical symphony of sorts, but one that’s playing out more than 40 light years away.
“Most planetary systems are like bands of amateur musicians playing their parts at different speeds,” says Russo. “TRAPPIST-1 is different; it’s a super-group with all seven members synchronizing their parts in nearly perfect time.”
But even synchronized orbits don’t necessarily survive very long, notes Tamayo. For technical reasons, chaos theory also requires precise orbital alignments to ensure systems remain stable. This can explain why the simulations done in the original discovery paper quickly resulted in the planets colliding with one another.
“It’s not that the system is doomed, it’s that stable configurations are very exact,” he says. “We can’t measure all the orbital parameters well enough at the moment, so the simulated systems kept resulting in collisions because the setups weren’t precise.”
In order to overcome this Tamayo and his team looked at the system not as it is today, but how it may have originally formed. When the system was being born out of a disk of gas, the planets should have migrated relative to one another, allowing the system to naturally settle into a stable resonant configuration.
“This means that early on, each planet’s orbit was tuned to make it harmonious with its neighbours, in the same way that instruments are tuned by a band before it begins to play,” says Russo. “That’s why the animation produces such beautiful music.”
The team tested the simulations using the supercomputing cluster at the Canadian Institute for Theoretical Astrophysics (CITA) and found that the majority they generated remained stable for as long as they could possibly run it. This was about 100 times longer than it took for the simulations in the original research paper describing TRAPPIST-1 to go berserk.
“It seems somehow poetic that this special configuration that can generate such remarkable music can also be responsible for the system surviving to the present day,” says Tamayo.
Points to anyone who recognized the paraphrasing of the title for the well-loved, Canadian movie, “I heard the mermaids singing.” In this case, it’s all about protein folding and data sonification (from an Oct. 20, 2016 news item on phys.org),
Transforming data about the structure of proteins into melodies gives scientists a completely new way of analyzing the molecules that could reveal new insights into how they work – by listening to them. A new study published in the journal Heliyon shows how musical sounds can help scientists analyze data using their ears instead of their eyes.
The researchers, from the University of Tampere in Finland, Eastern Washington University in the US and the Francis Crick Institute in the UK, believe their technique could help scientists identify anomalies in proteins more easily.
“We are confident that people will eventually listen to data and draw important information from the experiences,” commented Dr. Jonathan Middleton, a composer and music scholar who is based at Eastern Washington University and in residence at the University of Tampere. “The ears might detect more than the eyes, and if the ears are doing some of the work, then the eyes will be free to look at other things.”
Proteins are molecules found in living things that have many different functions. Scientists usually study them visually and using data; with modern microscopy it is possible to directly see the structure of some proteins.
Using a technique called sonification, the researchers can now transform data about proteins into musical sounds, or melodies. They wanted to use this approach to ask three related questions: what can protein data sound like? Are there analytical benefits? And can we hear particular elements or anomalies in the data?
They found that a large proportion of people can recognize links between the melodies and more traditional visuals like models, graphs and tables; it seems hearing these visuals is easier than they expected. The melodies are also pleasant to listen to, encouraging scientists to listen to them more than once and therefore repeatedly analyze the proteins.
The sonifications are created using a combination of Dr. Middleton’s composing skills and algorithms, so that others can use a similar process with their own proteins. The multidisciplinary approach – combining bioinformatics and music informatics – provides a completely new perspective on a complex problem in biology.
“Protein fold assignment is a notoriously tricky area of research in molecular biology,” said Dr. Robert Bywater from the Francis Crick Institute. “One not only needs to identify the fold type but to look for clues as to its many functions. It is not a simple matter to unravel these overlapping messages. Music is seen as an aid towards achieving this unraveling.”
The researchers say their molecular melodies can be used almost immediately in teaching protein science, and after some practice, scientists will be able to use them to discriminate between different protein structures and spot irregularities like mutations.
Proteins are the first stop, but our knowledge of other molecules could also benefit from sonification; one day we may be able to listen to our genomes, and perhaps use this to understand the role of junk DNA [emphasis mine].
About 97% of our DNA (deoxyribonucleic acid) has been known for some decades as ‘junk DNA’. In roughly 2012, that was notion was challenged as Stephen S. Hall wrote in an Oct. 1, 2012 article (Hidden Treasures in Junk DNA; What was once known as junk DNA turns out to hold hidden treasures, says computational biologist Ewan Birney) for Scientific American.
Getting back to 2016, here’s a link to and a citation for ‘protein singing’,
Supplementary Audio 3 for file for Supplementary Figure 2 1r75 OHEL sonification full score. [downloaded from the previously cited Heliyon paper]
Joanna Klein has written an Oct. 21, 2016 article for the New York Times providing a slightly different take on this research (Note: Links have been removed),
“It’s used for the concert hall. It’s used for sports. It’s used for worship. Why can’t we use it for our data?” said Jonathan Middleton, the composer at Eastern Washington University and the University of Tampere in Finland who worked with Dr. Bywater.
Proteins have been around for billions of years, but humans still haven’t come up with a good way to visualize them. Right now scientists can shoot a laser at a crystallized protein (which can distort its shape), measure the patterns it spits out and simulate what that protein looks like. These depictions are difficult to sift through and hard to remember.
“There’s no simple equation like e=mc2,” said Dr. Bywater. “You have to do a lot of spade work to predict a protein structure.”
Dr. Bywater had been interested in assigning sounds to proteins since the 1990s. After hearing a song Dr. Middleton had composed called “Redwood Symphony,” which opens with sounds derived from the tree’s DNA, he asked for his help.
Using a process called sonification (which is the same thing used to assign different ringtones to texts, emails or calls on your cellphone) the team took three proteins and turned their folding shapes — a coil, a turn and a strand — into musical melodies. Each shape was represented by a bunch of numbers, and those numbers were converted into a musical code. A combination of musical sounds represented each shape, resulting in a song of simple patterns that changed with the folds of the protein. Later they played those songs to a group of 38 people together with visuals of the proteins, and asked them to identify similarities and differences between them. The two were surprised that people didn’t really need the visuals to detect changes in the proteins.
Plus, I have more about data sonification in a Feb. 7, 2014 posting regarding a duet based on data from Voyager 1 & 2 spacecraft.
Finally, I hope my next Steep project will include sonification of data on gold nanoparticles. I will keep you posted on any developments.
After receiving an ‘invitation’ from the Canadian Science Policy Centre, I wrote an opinion piece, drawing on my submission for the public consultation on Canada’s fundamental science research. It seems the invitation was more of a ‘call’ for submissions and my piece did not end up being selected for inclusion on the website. So rather than waste the piece, here it is,
Creative destruction for Canada’s fundamental science
At a time when we are dealing with the consequences of our sins and virtues, fundamental science, at heart, an exercise in imagination, can seem a waste of precious time. Pollution and climate change (sins: ill-considered uses of technology) and food security and water requirements (virtues: efforts to improve health and save more lives) would seem to demand solutions not the flights of fancy associated with basic science. After all, what does the ‘big bang’ have to do with potable water?
It’s not an unfair question despite the impatience some might feel when answering it by citing a number of practical applications which are the result of all that ‘fanciful’ or ‘blue sky’ science. The beauty and importance of the question is that it will always be asked and can never be definitively answered, rendering it a near constant goad or insurance against complacency.
In many ways Canada’s review of fundamental science (deadline for comments was Sept. 30, 2016) is not just an examination of the current funding schemes but an opportunity to introduce more ‘goads’ or ‘anti-complacency’ measures into Canada’s fundamental science efforts for a kind of ‘creative destruction’.
Introduced by economist Joseph Schumpeter, the concept is derived from Karl Marx’s work but these days is associated with disruptive, painful, and regenerative innovation of all kinds and Canadian fundamental science needs more ‘creative destruction’. There’s at least one movement in this direction (found both in Canada and internationally) which takes us beyond uncomfortable, confrontative questions and occasional funding reviews—the integration of arts and humanities as an attempt at ‘creative destruction’ of the science endeavour.
At one point in the early 2000s, Canada developed a programme where the National Research Council could get joint funding with the Canada Council for the Arts for artists to work with their scientists. It was abandoned a few years later, as a failure. But, since then, several informal attempts at combining arts, sciences, and humanities have sprung up.
For example, Curiosity Collider (founded in 2015) hosts artists and scientists presenting their art/science pieces at various events in Vancouver. Beakerhead has mashed up science, engineering, arts, and entertainment in a festival founded and held in Calgary since 2013. Toronto’s ArtSci Salon hosts events and installations for local, national, and international collaborations of artists and scientists. And, getting back to Vancouver, Anecdotal Evidence is a science storytelling series which has been appearing sporadically since 2015.
There is a tendency to dismiss these types of collaboration as a form of science outreach designed to amuse or entertain but they can be much more than that. Illustrators have taught botanists a thing or two about plants. Markus Buehler at the Massachusetts Institute of Technology has used his understanding of music to explore material science (spider’s webs). Domenico Vicinanza has sonified data from space vehicle, Voyager 1, to produce a symphony, which is also a highly compressed means of communicating data.
C. P. Snow’s ‘The Two Cultures’ (lecture and book) covered much of the same territory in 1959 noting the idea that the arts and sciences (and humanities) can and should be linked in some fashion was not new. For centuries the sciences were referred to as Natural Philosophy (humanities), albeit only chemistry and physics were considered sciences, and many universities have or had faculties of arts and sciences or colleges of arts and science (e.g., the University of Saskatchewan still has such a college).
The current art/sci or sci-art movement can be seen as more than an attempt to resuscitate a ‘golden’ period from the past. It could be a means of embedding a continuous state of regeneration or ‘creative destruction’ for fundamental science in Canada.
I imagine since the 2016 Olympic Games are over that athletes and their coaches will soon start training for the 2020 Games. Researchers at Bielefeld University (Germany) have developed a new technique for helping swimmers improve their technique (Note: The following video is German language with English language subtitles),
Since 1896, swimming has been an event in the Olympic games. Back then it was the swimmer’s physical condition that was decisive in securing a win, but today it is mostly technique that determines who takes home the title of world champion. Researchers at Bielefeld University have developed a system that professional swimmers can use to optimize their swimming technique. The system expands the athlete’s perception and feel for the water by enabling them to hear, in real time, how the pressure of the water flows created by the swimmer changes with their movements. This gives the swimmer an advantage over his competitors because he can refine the execution of his technique. This “Swimming Sonification” system was developed at the Cluster of Excellence Cognitive Interaction Technology (CITEC) of Bielefeld University. In a video, Bielefeld University’s own “research_tv” reports on the new system.
“Swimmers see the movements of their hands. They also feel how the water glides over their hands, and they sense how quickly they are moving forwards. However, the majority of swimmers are not very aware of one significant factor: how the pressure exerted by the flow of the water on their bodies changes,” says Dr. Thomas Hermann of the Cluster of Excellence Cognitive Interaction Technology (CITEC). The sound researcher is working on converting data into sounds that can be used to benefit the listener. This is called sonification, a process in which measured data values are systematically turned into audible sounds and noises. “In this project, we are using the pressure from water flows as the data source,” says Hermann, who heads CITEC research group Ambient Intelligence. “We convert into sound how the pressure of water flows changes while swimming – in real time. We play the sounds to the swimmer over headphones so that they can then adjust their movements based on what they hear,” explains Hermann.
For this research project on swimming sonification, Dr. Hermann is working together with Dr. Bodo Ungerechts of the Faculty of Psychology and Sports Science. As a biomechanist, Dr. Ungerechts deals with how human beings control their movements, particularly with swimming. “If a swimmer registers how the flow pressure changes by hearing, he can better judge, for instance, how he can produce more thrust at similar energy costs. This give the swimmer a more encompassing perception for his movements in the water,” says Dr. Ungerechts. The researcher even tested the system out for himself. “I was surprised at just how well the sonification and the effects of the water flow, which I felt myself, corresponded with one another,” he says. The system is intuitive and easy to use. “You immediately starts playing with the sounds to hear, for example, what tonal effect spreading your fingers apart or changing the position of your hand has,” says Ungerechts. The new system should open up new training possibilities for athletes. “By using this system, swimmers develop a harmony – a kind of melody. If a swimmer very quickly masters a lap, they can use the recording of the melody to mentally re-imagine and retrace the successful execution of this lap. This mental training can also help athletes perform successfully in competitions.” To this, Thomas Hermann adds “the ear is great at perceiving rhythm and changes in rhythm. In this way, swimmers can find their own rhythm and use this to orient themselves in the water.”
This system includes two gloves with thin tube ends that serve as pressure sensors and are fixed between the fingers. The swimmer wears these gloves during practice. The tubes are linked to a measuring instrument, which is currently connected to the swimmer via a line while he or she is swimming. The measuring device transmits data about water flow pressure to a laptop. A custom-made software then sonifies the data, meaning that it turns the information into sound. “During repeated hand actions, for instance, the system can make rising and sinking flow pressure audible as increasing or decreasing tonal pitches,” says Thomas Hermann. Other settings that sonify features such as symmetry or steadiness can also be activated as needed.
The sounds are transmitted to the swimmer in real time over headphones. When the swimmer modifies a movement, he hears live how this also changes the sound. With the sonification of aquatic flow pressure, the swimmer can now practice the front crawl in way that, for instance, both hands displace the water masses with the same water flow form – to do this, the swimmer just has make sure that he generates the same sound pattern with each hand. Because the coach also hears the sounds over speakers, he can base the instructions he gives to the swimmer not only on the movements he observes, but also on the sounds generated by the swimmer and their rhythm (e.g. “Move your hands so that the tonal pitch increases faster”).
For this sonification project, Thomas Hermann and Bodo Ungerechts are working with Daniel Cesarini, Ph.D., a researcher from the Department of Information Engineering at the University of Pisa in Italy. Dr. Cesarini developed the measuring device that analyzes the aquatic flow pressure data.
In a practical workshop held in September 2015, professional swimmers tested the system out and confirmed that it indeed helped them to optimize their swimming technique. Of the 10 swimmers who participated, three of them qualify for international competitions, and one of the female swimmers is competing this year at the Paralympics in Rio de Janeiro, Brazil. The workshop was funded by the Cluster of Excellence Cognitive Interaction Technology (CITEC). In addition to this, swim teams at the PSV Eindhoven (Philips Sports Union Eindhoven) in the Netherlands tested the new system out for two months, using it as part of their technique training sessions. The PSV swim club competes in the top swimming league in the Netherlands.
“It is advantageous for swimmers to receive immediate feedback on their swimming form,” says Thomas Hermann. “People learn more quickly when they get direct feedback because they can immediately test how the feedback – in this case, the sound – changes when they try out something new.”
The researchers want to continue developing their current prototype. “We are planning to develop a wearable system that can be used independently by the user, without the help of others,” says Thomas Hermann. In addition to this, the new sonification method is planned to be incorporated into long-term training programs in cooperation with swim clubs.
An April 22, 2015 news item on Nanowerk describes an acoustic imaging technique that’s been newly applied to biological cells,
Much like magnetic resonance imaging (MRI) is able to scan the interior of the human body, the emerging technique of “picosecond ultrasonics,” a type of acoustic imaging, can be used to make virtual slices of biological tissues without destroying them.
Now a team of researchers in Japan and Thailand has shown that picosecond ultrasonics can achieve micron resolution of single cells, imaging their interiors in slices separated by 150 nanometers — in stark contrast to the typical 0.5-millimeter spatial resolution of a standard medical MRI scan. This work is a proof-of-principle that may open the door to new ways of studying the physical properties of living cells by imaging them in vivo.
Picosecond ultrasonics has been used for decades as a method to explore the mechanical and thermal properties of materials like metals and semiconductors at submicron scales, and in recent years it has been applied to biological systems as well. The technique is suited for biology because it’s sensitive to sound velocity, density, acoustic impedance and the bulk modulus of cells.
This week, in a story appearing on the cover of the journal Applied Physics Letters, from AIP Publishing, researchers from Walailak University in Thailand and Hokkaido University in Japan describe the first known demonstration of 3-D cell imaging using picosecond ultrasonics.
Their work centers on imaging two types of mammalian biological tissue — a bovine aortic endothelial cell, a type of cell that lines a cow’s main artery blood vessel, and a mouse “adipose” fat cell. Endothelial cells were chosen because they play a key role in the physiology of blood cells and are useful in the study of biomechanics. Fat cells, on the other hand, were studied to provide an interesting comparison with varying cell geometries and contents.
How the Work was Done
The team accomplished the imaging by first placing a cell in solution on a titanium-coated sapphire substrate and then scanning a point source of high-frequency sound generated by using a beam of focused ultrashort laser pulses over the titanium film. This was followed by focusing another beam of laser pulses on the same point to pick up tiny changes in optical reflectance caused by the sound traveling through the cell tissue.
“By scanning both beams together, we’re able to build up an acoustic image of the cell that represents one slice of it,” explained co-author Professor Oliver B. Wright, who teaches in the Division of Applied Physics, Faculty of Engineering at Hokkaido University. “We can view a selected slice of the cell at a given depth by changing the timing between the two beams of laser pulses.”
The team’s work is particularly noteworthy because “in spite of much work imaging cells with more conventional acoustic microscopes, the time required for 3-D imaging probably remains too long to be practical,” Wright said. “Building up a 3-D acoustic image, in principle, allows you to see the 3-D relative positions of cell organelles without killing the cell. In our experiments in vitro, while we haven’t yet resolved the cell contents — possibly because cell nuclei weren’t contained within the slices we viewed — it should be possible in the future with various improvements to the technique.”
Fluorescence micrographs of fat and endothelial cells superimposed on differential-interference and phase-contrast images, respectively. The nuclei are stained blue in the micrographs. The image on the right is a picosecond-ultrasonic image of a single endothelial cell with approximately 1-micron lateral and 150-nanometer depth resolutions. Deep blue corresponds to the lowest ultrasonic amplitude.
CREDIT: O. Wright/Hokkaido University
So far, the team has used infrared light to generate sound waves within the cell, “limiting the lateral spatial resolution to about one micron,” Wright explains. “By using an ultraviolet-pulsed laser, we could improve the lateral resolution by about a factor of three — and greatly improve the image quality. And, switching to a diamond substrate instead of sapphire would allow better heat conduction away from the probed area, which, in turn, would enable us to increase the laser power and image quality.”
So lowering the laser power or using substrates with higher thermal conductivity may soon open the door to in vivo imaging, which would be invaluable for investigating the mechanical properties of cell organelles within both vegetal and animal cells.
What’s next for the team? “The method we use to image the cells now actually involves a combination of optical and elastic parameters of the cell, which can’t be easily distinguished,” Wright said. “But we’ve thought of a way to separate them, which will allow us to measure the cell mechanical properties more accurately. So we’ll try this method in the near future, and we’d also like to try our method on single-celled organisms or even bacteria.”
This research reminded me of a data sonification project that I featured in a Feb. 7, 2014 post which includes an embedded sound file of symphonic music based on data from NASA’s (US National Aeronautics and Space Administration) Voyager spacecraft.
Representing data though music is how a Jan. 31, 2014 item on the BBC news magazine describes a Voyager 1 & 2 spacecraft duet, data sonification project discussed* in a BBC Radio 4 programme,
Musician and physicist Domenico Vicinanza has described to BBC Radio 4’s Today programme the process of representing information through music, known as “sonification”. [includes a sound clip and interview with Vicinanza]
GÉANT, the pan-European data network serving 50 million research and education users at speeds of up to 500Gbps, recently demonstrated its power by sonifying 36 years’ worth of NASA Voyager spacecraft data and converting it into a musical duet.
The project is the work of Domenico Vicinanza, Network Services Product Manager at GÉANT. As a trained musician with a PhD in Physics, he also takes the role of Arts and Humanities Manager, exploring new ways for representing data and discovery through the use of high-speed networks.
“I wanted to compose a musical piece celebrating the Voyager 1 and 2 *together*, so used the same measurements (proton counts from the cosmic ray detector over the last 37 years) from both spacecrafts, at the exactly same point of time, but at several billions of Kms of distance one from the other.
I used different groups of instruments and different sound textures to represent the two spacecrafts, synchronising the measurements taken at the same time.”
The result is an up-tempo string and piano orchestral piece.
You can hear the duet, which has been made available by the folks at GÉANT,
The news release goes on to provide technical details about the composition,
To compose the spacecraft duet, 320,000 measurements were first selected from each spacecraft, at one hour intervals. Then that data was converted into two very long melodies, each comprising 320,000 notes using different sampling frequencies, from a few KHz to 44.1 kHz.
The result of the conversion into waveform, using such a big dataset, created a wide collection of audible sounds, lasting just a few seconds (slightly more than 7 seconds at 44.1kHz) to a few hours (more than 5hours using 1024Hz as a sampling frequency). A certain number of data points, from a few thousand to 44,100 were each “converted” into 1 second of sound.
Using the grid computing facilities at EGI, GÉANT was able to create the duet live at the NASA booth at Super Computing 2013 using its superfast network to transfer data to/from NASA.
I think this detail from the news release gives one a different perspective on the accomplishment,
Launched in 1977, both Voyager 1 and Voyager 2 are now decommissioned but still recording and sending live data to Earth. They continue to traverse different parts of the universe, billions of kilometres apart. Voyager 1 left our solar system last year.
The research is more than an amusing way to pass the time (from the news release),
While this project was created as a fun, accessible way to demonstrate the benefit of research and education networks to society, data sonification – representing data by means of sound signals – is increasingly used to accelerate scientific discovery; from epilepsy research to deep space discovery.
I was curious to learn more about how data represented by sound signals is being used to accelerate scientific discovery and sent that question and another to Dr. Vicinanza via Tamsin Henderson of DANTE and received these answers,
(1) How does “representing data by means of sound signals “increasingly accelerate scientific discovery; from epilepsy research to deep space discovery”? In a practical sense how does one do this research? For example, do you sit down and listen to a file and intuit different relationships for the data?
Vision and visual representation is intrinsically limited to three dimensions. We all know how amazing is 3D cinema, but in terms of representation of complex information, this is as far as it gets. There is no 4D or 5D. We live in three dimensions.
Sound, on the other hand, does not have any limitation of this kind. We can continue overlapping sound layers virtually without limits and still retain the capability of recognising and understanding them. Think of an orchestra or a pop band, even if the musicians are playing all together we can actually follow the single instrument line (bass, drum, lead guitar, voice, ….) Sound is then particularly precious when dealing with multi-dimensional data since audification techniques.
In technical terms, auditory perception of complex, structured information could have several advantages in temporal, amplitude, and frequency resolution when compared to visual representations and often opens up possibilities as an alternative or complement to visualisation techniques. Those advantages include the capability of the human ear to detect patterns (detecting regularities), recognise timbres and follow different strands at the same time (i.e. the capability of following different instrument lines). This would offer, in a natural way, the opportunity of rendering different, interdependent variables onto sounds in such a way that a listener could gain relevant insight into the represented information or data.
In particular in the medical context, there have been several investigations using data sonification as a support tool for classification and diagnosis, from working on sonification of medical images to converting EEG to tones, including real-time screening and feedback on EEG signals for epilepsy.
The idea is to use sound to aggregate many “information layers”, many more than any graph or picture can represent and support the physician giving a more comprehensive representation of the situation.
(2) I understand that as you age certain sounds disappear from your hearing, e.g., people over 25 years of age are not be able to hear above 15kHz. (Note: There seems to be some debate as to when these sounds disappear, after 30, after 20, etc.) Wouldn’t this pose an age restriction on the people who could access the research or have I misunderstood what you’re doing?
No, there is actually no sensible reduction in the advantages of sonification with ageing. The only precaution is not to use too high frequencies (above 15 KHz) in the sonification and this is something that can be avoided without limiting the benefits of audification.
It is always good practice not to use excessively high frequencies since they are not always very well and uniformly perceived by everyone.
Our hearing works at its best in the region of KHz (1200Hz-3800Hz)
Thank you Dr. Vicinanza and Tamsin Henderson for this insight into representing data in multiple dimensions using sound and its application in research. And, thank you, too, for sharing a beautiful piece of music.
I am a composer, network engineer and researcher. I received my MSc and PhD degrees in Physics and studied piano, percussion and composition.
I worked as a professor of Sound Synthesis, Acoustics and Computer Music (Algorithmic Composition) at Conservatory of Music of Salerno (Italy).
I currently work as a network engineer in DANTE (www.dante.net) and chair the ASTRA project (www.astraproject.org) for the reconstruction of musical instruments by means of computer models on GÉANT and EUMEDCONNECT.
I am also the co-founder and the technical coordinator of the Lost Sound Orchestra project (www.lostsoundsorchestra.org).
As a composer and researcher I was always fascinated by the richness of the information coming from the Nature. I worked on the introduction of the sonification of seismic signals (in particular coming from active volcanoes) as a scientific tool, co-working with geophysicists and volcanologists.
I also study applications of grid technologies for music and visual arts and as a composer I took part to several concerts, digital arts performances, festivals and webcast.
My other interests include (aside with music) Argentine Tango and watercolors.
The ASTRA project is a multi disciplinary project aiming at reconstructing the sound or timbre of ancient instruments (not existing anymore) using archaeological data as fragments from excavations, written descriptions, pictures.
The technique used is the physical modeling synthesis, a complex digital audio rendering technique which allows modeling the time-domain physics of the instrument.
In other words the basic idea is to recreate a model of the musical instrument and produce the sound by simulating its behavior as a mechanical system. The application would produce one or more sounds corresponding to different configurations of the instrument (i.e. the different notes).
Lost Sounds Orchestra
The Lost Sound Orchestra is the ASTRA project orchestra. It is a unique orchestra made by reconstructed ancient instrument coming from the ASTRA research activities. It is the first ensemble in the world composed of only reconstructed instruments of the past. Listening to it is like jumping into the past, in a sound world completely new to our ears.
Since I haven’t had occasion to mention either GÉANT or DANTE previously, here’s more about those organizations and some acknowledgements from the news release,
GÉANT is the pan-European research and education network that interconnects Europe’s National Research and Education Networks (NRENs). Together we connect over 50 million users at 10,000 institutions across Europe, supporting research in areas such as energy, the environment, space and medicine.
Operating at speeds of up to 500Gbps and reaching over 100 national networks worldwide, GÉANT remains the largest and most advanced research and education network in the world.
Co-funded by the European Commission under the EU’s 7th Research and Development Framework Programme, GÉANT is a flagship e-Infrastructure key to achieving the European Research Area – a seamless and open European space for online research – and assuring world-leading connectivity between Europe and the rest of the world in support of global research collaborations.
The network and associated services comprise the GÉANT (GN3plus) project, a collaborative effort comprising 41 project partners: 38 European NRENs, DANTE, TERENA and NORDUnet (representing the 5 Nordic countries). GÉANT is operated by DANTE on behalf of Europe’s NRENs.
DANTE (Delivery of Advanced Network Technology to Europe) is a non-profit organisation established in 1993 that plans, builds and operates large scale, advanced networks for research and education. On behalf of Europe’s National Research and Education Networks (NRENs), DANTE has built and operates GÉANT, a flagship e-Infrastructure key to achieving the European Research Area.
Working in cooperation with the European Commission and in close partnership with Europe’s NRENs and international networking partners, DANTE remains fundamental to the success of global research collaboration.
DANTE manages research and education (R&E) networking projects serving Europe (GÉANT), the Mediterranean (EUMEDCONNECT), Sub-Saharan Africa (AfricaConnect), Central Asia (CAREN) regions and coordinates Europe-China collaboration (ORIENTplus). DANTE also supports R&E networking organisations in Latin America (RedCLARA), Caribbean (CKLN) and Asia-Pacific (TEIN*CC). For more information, visit www.dante.net
NASA National Space Science Data Center and the John Hopkins University Voyager LEPC experiment.
Mariapaola Sorrentino and Giuseppe La Rocca.
I hope one of these days I’ll have a chance to ask a data visualization expert whether they think it’s possible to represent multiple dimensions visually and whether or not some types of data are better represented by sound.
* ‘described’ replaced by ‘discussed’ to avoid repetition, Feb. 10, 2014. (Sometimes I’m miffed by my own writing.)