Ada Lovelace was the daughter of the poet Lord Byron and mathematician Annabella Milbanke.
Her [Ada Lovelace’s] foresight was so extraordinary that it would take another hundred years and Alan Turing to recognise the significance of her work. But it was an achievement that was probably as much a product of her artistic heritage as her scientific training.
Hard to believe that 2015 was the last time I stumbled across information about the day. ’nuff said. This year I was lucky enough to see this Oct. 13, 2020 article by Zoe Kleinman for British Broadcasting Corporation (BBC) news online,
From caravans [campers] to kitchen tables, and podcast production to pregnancy, I’ve been speaking to many women in and around the technology sector about how they have adapted to the challenges of working during the coronavirus pandemic.
Research suggests women across the world have shouldered more family and household responsibilities than men as the coronavirus pandemic continues, alongside their working lives.
And they share their inspirations, frustrations but also their optimism.
“I have a new business and a new life,” says Clare Muscutt, who lost work, her relationship and her flatmate as lockdown hit.
This Tuesday [Oct. 13, 2020] is Ada Lovelace Day – an annual celebration of women working in the male-dominated science, technology, engineering and maths (Stem) sectors.
And, this year, it has a very different vibe.
Claire Broadley, technical writer, Leeds
Before lockdown, my husband and I ran our own company, producing user guides and written content for websites.
Business income dropped by about two-thirds during lockdown.
We weren’t eligible for any government grants. And because we still had a small amount of work, we couldn’t furlough ourselves.
It felt like we were slowly marching our family towards a cliff edge.
In May , to my astonishment and relief, I was offered my dream job, remote writing about the internet and technology.
Working from home with the children has been the most difficult thing we’ve ever done.
My son is seven. He is very scared.
Sometimes, we can’t spend the time with him that we would like to. And most screen-time rules have gone completely out of the window.
The real issue for us now is testing.
My young daughter caught Covid in July . And she recently had a temperature again. But it took six days to get a test result, so my son was off school again. And my husband was working until midnight to fit everything in.
Nancy Doyle’s October 13, 2020 article for Forbes tends to an expected narrative about women in science, technology, engineering, and mathematics (STEM),
“21st century science has a problem. It is short of scientists. Technological innovations mean that the world needs many more specialists in the STEM (Science, Technology, Engineering and Maths) subjects than it is currently training. And this problem is compounded by the fact that women, despite clear evidence of aptitude and ability for science subjects, are not choosing to study STEM subjects, are not being recruited into the STEM workforce, are not staying in the STEM workplace.”
Why Don’t Women Do Science?
Professor Rippon [Gina Rippon, Professor of Neuroscience at Aston University in the UK] walked me through the main “neurotrash” arguments about the female brain and its feebleness.
“There is a long and fairly well-rehearsed ‘blame the brain’ story, with essentialist or biology-is-destiny type arguments historically asserting that women’s brains were basically inferior (thanks, Gustave le Bon and Charles Darwin!) or too vulnerable to withstand the rigours of higher education. A newer spin on this is that female brains do not endow their owners with the appropriate cognitive skills for science. Specifically, they are poor at the kind of spatial thinking that is core to success in science or, more generally, are not ‘hard-wired’ for the necessary understanding of systems fundamental to the theory and practice of science.
The former ‘spatial deficit’ description has been widely touted as one of the most robust of sex differences, quite possibly present from birth. But updated and more nuanced research has not been able to uphold this claim; spatial ability appears to be more a function of spatial experience (think toys, videogames, hobbies, sports, occupations) than sex. And it is very clearly trainable (in both sexes), resulting in clearly measurable brain changes as well as improvements in skill.”
You can find out more about women in STEM, Ada Lovelace, and events (year round) to celebrate her at the Ada Lovelace Day website.
Plus, I found this on Twitter about a new series of films about women in science from a Science Friday (a US National Public Radio podcast) tweet,
Celebrate #WomenInScience with a brand new season of #BreakthroughFilms, dropping today [October 14, 2020]! Discover the innovative research & deeply personal stories of six women working at the forefront of their STEM fields.
In no particular order, here are some Frankenstein bits and bobs in celebration of the 200th anniversary of the publication of Mary Shelley’s book.
The Frankenstein Bicentennial Project
This project at Arizona State University has been featured here a few times and most recently in a October 26, 2016 posting about an artist using a Roomba (robotic vacuum cleaner) in an artistic query and about the Frankenstein at 200 online exhibition.
A free, interactive, multiplatform experience for kids designed to inspire deeper engagement with STEM topics and promote the development of 21st century skills related to creative collaboration and critical thinking.
A collaborative, multimedia reading experiment with Mary Shelley’s timeless tale examining the the scientific, technological, political, and ethical dimensions of the novel, its historical context, and its enduring legacy.
A set of hands-on STEM making activities that use the Frankenstein story to inspire deeper conversations about scientific and technological creativity and social responsibility.
How to Make a Monster
Kathryn Harkup in a February 22, 2018 article about her recent book for the Guardian delves into the science behind Mary Shelley’s Frankenstein (Note: Links have been removed),
The bicentenary of the publication of Mary Shelley’s Frankenstein: or the Modern Prometheus has meant a lot of people are re-examining this brilliant work of science fiction. My particular interest is the science fact behind the science fiction. How much real science influenced Mary Shelley? Could a real-life Victor Frankenstein have constructed a creature?
In terms of the technical aspects of building a creature from scraps, many people focus on the collecting of the raw materials and reanimation stages. It’s understandable as there are many great stories about grave-robbers and dissection rooms as well as electrical experiments that were performed on recently executed murderers. But there quite a few stages between digging up dead bodies and reanimating a creature.
The months of tedious and fiddly surgery to bring everything together are often glossed over, but what virtually no one mentions is how difficult it would have been to keep the bits and pieces in a suitable state of preservation while Victor worked on his creation. Making a monster takes time, and bodies rot very quickly.
Preservation of anatomical material was of huge interest when Frankenstein was written, as it is now, though for very different reasons. Today the interest is in preserving organs and tissues suitable for transplant. Some individuals even want to cryogenically freeze their entire body in case future scientists are able to revive them and cure whatever disease caused their original death. In that respect the aims are not so different from what the fictional Victor Frankenstein was attempting two hundred years ago.
At the time Frankenstein is set, the late 18th century, few people were really thinking about organ transplant. Instead, tissue preservation was of concern for anatomy professors who wanted to maintain collections of interesting, unusual or instructive specimens to use as teaching aids for future students.
She provides fascinating insight into preservation techniques of the 18th century and their dangers,
To preserve soft tissues, various substances were injected into or used to coat or soak the dissected specimen. The substance in question had to be toxic enough to destroy mould and bacteria that could decompose the sample, but not corrosive or damaging to the tissues of the specimen itself.
Substances such as turpentine, mercury metal and mercury salts (which are even more toxic than the pure element) were all employed stop the decay process in its tracks. Killing off bacteria and mould means that some vital process within them has been stopped; however, many processes that are critical to mould and bacteria are also necessary for humans, making these substances toxic to us.
Working in cramped, poorly ventilated conditions with minimal regard for health and safety, the substances anatomical curators were using day in and day out took a serious toll on their health. Anatomical curators were described as emaciated, prematurely aged and with a hacking cough. …
One of the most successful techniques for tissue preservation was bottling in alcohol. …
In the 18th century the University of Edinburgh handed over twelve gallons of whisky annually to the anatomy museum for the preservation of specimens. Possible not all of those twelve gallons made it into the specimen jars. The nature of the curator’s work – the smell, the problems with vermin and toxic fumes – must have made the odd sip of whisky very tempting. Indeed, more than one curator was dismissed for being drunk on the job.
Shelley described Frankenstein working in a small attic room using candlelight to illuminate his work. Small rooms, toxic vapours, alcohol fumes and naked flames are not a healthy combination. No wonder Shelley wrote the work took such a toll on Frankenstein’s health.
The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: Or, Modern Prometheus by Mary Shelley had a huge impact on gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe’en costumes. Even the name ‘Frankenstein’ has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for an extraordinary novel such as Frankenstein?
Clues are dotted throughout Georgian science and popular culture. The years before the book’s publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists.
Making the Monster explores the scientific background behind Mary Shelley’s book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, ‘monsters’ and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation.
The Frankenstein 2018 project is based at Volda University College in Norway, but aims to engage and include people from elsewhere in Norway and around the world.
The project is led by Timothy Saunders, an Associate Professor of English Literature and Culture at Volda University College.
If you would like to get in touch, either to offer comments on the website, to provide information about related projects or activities taking place around the world, or even to offer relevant material of your own, please write to me at firstname.lastname@example.org.
What a great idea and I wish the folks at Volda University College all the best.
The Monster Challenge
Washington University in St. Louis (WUSL; Missouri, US) is hosting a competition to create a ‘new Frankenstein’, from WUSL’s The Monster Challenge webpage,
On June 16, 1816, a 19-year-old woman sat quietly listening as her lover (the poet Percy Bysshe Shelley) and a small group of friends — including celebrated poet Lord Byron — discussed conducting a ghost-story contest. The couple was spending their holiday in a beautiful mansion on the banks of scenic Lake Geneva in Switzerland. As the conversation about ghost stories heated up, a discussion arose about the principle of life. Not surprisingly, the ensuing talk of graves and corpses led to a sleepless night filled with horrific nightmares for Mary Shelley. Later, she recalled her own contest entry began with eight words; “It was on a dreary night in November…” Just two years later, in 1818, that young woman, Mary Shelley, published her expanded submission as the novel Frankenstein, not only a classic of 19th-century fiction, but a work that has enjoyed immense influence on popular culture, science, medicine, philosophy and the arts all the way up to the present day.
THE MONSTER CHALLENGE
Commemorating the 200th anniversary of the novel’s publication in 1818, Washington University is hosting a competition open to WU students (full time and registered in fall 2018), both undergraduate and graduate. The submission deadline is October 15, 2018.
The prompt for our own WU “Monster Challenge” is “The New Frankenstein”:
If you learned of a contest today, similar to the one that inspired the publication of Mary Shelley’s Frankenstein in 1818, what new Frankenstein would you create? Winning entries will be those best exemplifying the spirit, tone and feeling of Frankenstein for our age.
Submissions are eligible in two categories: written (including poetry, fiction, nonfiction and theater; 5000 word limit) and visual (including new media, experimental media, sound art, performance art, and design). Only one submission is allowed per student or student collaboration group. The winners will be determined by a jury of faculty members and announced in the fall 2018 semester. Winning entries will also be featured on the Frankenstein Bicentennial website (frankenstein200.wustl.edu).
Through the generosity of Provost Holden Thorpe’s office, winners will receive a cash prize as well as the opportunity to have their submission read, exhibited, and/or performed during the fall 2018 semester. Prizes are as follows:
WRITTEN CATEGORY VISUAL CATEGORY
Grand Prize: $1000 Grand Prize: $1000
2nd Prize: $500 2nd Prize: $500
3rd Prize: $250 3rd Prize: $250
HOW TO SUBMIT
Please review the guidelines below and download the appropriate submission form … for your project.
All submissions are due by 3 pm on October 15, 2018.
Only one submission is allowed per student or student collaboration group.
Electronic submissions should be emailed to email@example.com along with the appropriate submission form (right).
Non-electronic submissions should be dropped off at the Performing Arts Department in Mallinckrodt Center, Room 312 (specific dates and times to be determined). All applicants submitting work here must also send an email to firstname.lastname@example.org with a digital image of the work and the appropriate submission form (right). Entries should fit into a case 74″ w x 87″ h x 23″ d. For exceptions, please contact Professor Patricia Olynyk (email@example.com).
For additional information about the contest, please contact the Interdisciplinary Project in the Humanities: firstname.lastname@example.org.
One of the most famous literary works of the last two centuries, Mary Shelley’s Frankenstein (1818) permeates our cultural imagination. A man of science makes dead matter live yet abandons his own creation. A creature is composed of human body parts yet denied a place in human society. The epic struggle that ensues between creator and creature poses enduring questions to all of us. What do we owe our non-human creations? How might the pursuit of scientific knowledge endanger or empower humanity? How do we combine social responsibility with our technological power to alter living matter? These moral quandaries drive the novel as well as our own hopes and fears about modernity.
Over the last 200 years, Frankenstein has also become one of our most culturally productive myths. The Black Frankenstein became a potent metaphor for racial otherness in the 19th century and remains so to this day. From Boris Karloff as the iconic Monster of 1931 to the transvestite Dr. Frank-N-Furter in The Rocky Horror Picture Show of 1975, the novel has inspired dozens of films and dramatizations. Female poets from Margaret Atwood to Liz Lochhead and Laurie Sheck continue to wrestle with the novel’s imaginative possibilities. And Frankenstein, of course, permeates our material culture. Think no further than Franken Berry cereal, Frankenstein action figures, and Frankenstein bed pillows.
Please join us at Washington University in St. Louis as we celebrate Mary Shelley’s iconic novel and its afterlives with a series of events organized by faculty, students and staff from across the arts, humanities and life sciences. Highlights include the conference Frankenstein at 200, sponsored by the Center for the Humanities; a special Frankenstein issue of The Common Reader; a staging of Nick Dear’s play Frankenstein; the symposium The Curren(t)cy of Frankenstein, sponsored by the Medical School; a film series; several lectures; and exhibits designed to showcase the university’s museum and library collections.
This site aggregates all events related to the celebration. Please visit again for updates!
They do have a page for Global Celebrations and while the listing isn’t really global at this point (I’m sure they’re hoping that will change) it does open up a number of possibilities for Frankenstein aficionados, experts, and enthusiasts,
Technologies of Frankenstein
Stevens Institute of Technology, College of Arts and Letters and IEEE History Center
The 200th anniversary year of the first edition of Mary Shelley’s Frankenstein: Or, The Modern Prometheus has drawn worldwide interest in revisiting the novel’s themes. What were those themes and what is their value to us in the early twenty-first century? In what ways might our tools of science and communication serve as an “elixir of life” since the age of Frankenstein?
Frankenstein@200 is a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today..
San Jose State University, Santa Clara University, and University of San Francisco
During 2018, the San Francisco Bay area partners will host The Frankenstein Bicentennial. The novel brings together STEM fields with humanities & the arts in such a way to engage almost every discipline and major. The project’s events will address timely issues of our world in Silicon Valley and the advent of technology – a critical topic with questions important to our academic, regional and world communities. The novel, because it has been so popular for 200 years, lives on in discussions about what it means to be human in a digital world.
Next performance: Monday Feb. 26, 2018; 7 PM
Extended through 2018!
“..it is a success of a show that should be considered
something great in the realm of musical theater.”
“A musical love letter”
– Local Theatre NY
“…infused with enough emotion to send chills down the spine…”
– Local Theatre NY
““ an ambitious theater piece that is refreshingly buoyed up by its music””
– Theater Scene
a new Off-Broadway musical by Eric B. Sirota
based on Mary Shelley’s classic novel
Presented by John Lant, Tamra Pica & Write Act Repertory
at St. Luke’s Theater in the heart of the theatre district
. . . a sweeping romantic musical, about the human need for love and companionship,
which honors its source material.
Performances Monday nights at 7 PM
tickets to performances into March currently on sale
(scroll down for performance schedule)
Contact us for Special Group Sales and Buyouts at: info@TheFrankensteinMusical.com
St. Luke’s Theatre
an Off-Broadway venue in the heart of the theatre district on “Restaurant Row”
308 West 46th Street (btwn. 8th and 9th Ave.)
– Book, Music & Lyrics: Eric B. Sirota
-Additional lyrics: Julia Sirota
– Director: Clint Hromsco
– Music Director: Austin Nuckols
(original music direction by Anessa Marie)
– Producer: John Lant, Tamra Pica and Write Act Repertory
– CAST: Jon Rose, Erick Sanchez-Canahuate, Gabriella Marzetta, Stephan Amenta, Cait Kiley, Adam Kee, Samantha Collette, Amy Londyn, Stephanie Lourenco Viegas, Bryan S. Walton
Eric Sirota developed Frankenstein under the working title of “Day of Wrath”, an Official Selection of the 2015 New York Musical Theatre Festival’s Reading Series
Feb 26, Mon; 7 PM
Mar 5, Mon; 7 PM
Tickets to later dates on sale soon. . .
March 12, 19, 24
April 2, 9, 16, 23, 30
May . . .
Jun . . .
running though 2018
2018 – Frankenstein bicentennial year!
The Purgatory Press*
The Purgatory Press blog’s* John Culbert (author and lecturer at the University of British Columbia) wrote a January 1, 2018 essay celebrating and examining Mary Shelley’s classic,
She was born in 1797, toward the end of the Little Ice Age. Wolves had been extirpated from the country, but not so long ago that one could forget. Man’s only predator in the British Isles was now a mental throwback. Does the shadow of extinction fall on the children of perpetrators? What strange gap is left in the mind of men suddenly raised from the humble status of prey?
In the winter of her sixteenth year, the river Thames froze in London for the last time. The final “Frost Fair,” a tradition dating back centuries, was held February 1814 on the river’s hard surface.
The following year, a volcano in present-day Indonesia erupted. It was the most powerful and destructive event of its kind in recorded history. Fallout caused a “volcanic winter” across the Northern Hemisphere. In 1816 – “the year without a summer” – she was in Switzerland, where she began writing her first novel, Frankenstein, published 200 years ago today — on January 1st, 1818.
Fascinating, yes? I encourage you to read the whole piece.
3–8 April (with special events on 28 March and 27–28 April)
The Science Museum is celebrating the 200th anniversary of Mary Shelley’s Frankenstein or the Modern Prometheus with a free festival exploring the science behind this cultural phenomenon.
Through immersive theatre, experimental storytelling and hands-on activities visitors can examine the ethical and scientific questions surrounding the artificial creation of life. Families can step in Doctor Frankenstein’s shoes, creating a creature and bringing it to life using stop motion animation at our drop-in workshops.
In the Mystery at Frankenstein’s Lab visitors can solve puzzles and conduct experiments in an escape room-like interactive experience. Visitors are also invited to explore the Science Museum as you’ve never heard it before in It’s Alive, an immersive Frankenstein-themed audio tour. Both these activities have limited availability so pre-booking is advised.
In Pandemic, you decide how far Dr Victor should go to tackle a virus sweeping the world. Is it right to create new life to save others? You decide where to draw the line in this choose-your-own-adventure experience. Visitors can also see Humanity 2.0, a play created and performed by actor Emily Carding. Set in a post-apocalyptic future, the play examines what could happen if a benevolent AI recreated humanity.
As part of the festival, visitors will meet researchers at the cutting-edge of science—from bio chemists who manipulate DNA to engineers creating artificial intelligence—and discover fascinating scientific objects with our curators which could have influenced Shelley.
The Frankenstein Festival will run daily from 3–8 April at the Science Museum and is supported by players of People’s Postcode Lottery. Tickets for activities with limited availability are available from sciencemuseum.org.uk/Frankenstein.
Our free adult-only Frankenstein Lates on 28 March will focus on the darker themes of Shelley’s iconic novel, with the Promethean Tales Weekend on 27–28 April, featuring panel discussions and special screenings of Terminator 2: Judgement Day and The Curse of Frankenstein in our IMAX cinema.
Frankenstein Festival activities include:
An immersive audio tour created by Cmd+Shift in collaboration with the Science Museum. The tour takes 45 minutes and is limited to 15 people per session. Recommended for ages 8+. Tickets cost £3 and are available here.
Mystery at Frankenstein’s Lab
This interactive, theatrical puzzle experience has been created by Atomic Force Productions, in collaboration with the Science Museum. Each session lasts 45 minutes and is limited to 10 people per session. Recommended for ages 12+, under 16s must be accompanied by an adult. Tickets cost £10 and are available here.
Create Your Own Creature
Get hands on at our drop-in workshops and create your very own creature. Then bring your creature to life with stop motion animation. This activity takes approximately 20 minutes and is suitable for all ages.
Humanity 2.0 (3–5 April)
Step into a dystopian future and help shape the future of humanity in this unique interactive play created and performed by Emily Carding. Her full body make-up was created by award winning body painter Victoria Gugenheim in collaboration with the Science Museum. The play has a run time of 45 minutes and is recommended for ages 12+.
Pandemic (5–8 April)
This choose-your-own-adventure film puts you in control of a psychological thriller. Your decisions will guide Dr Victor on their quest to create artificial life.
Pandemic was created by John Bradburn in collaboration with the Science Museum. The film contains moderate psychological threat and horror sequences that some people may find disturbing. The experiences lasts 45 minutes and is recommended for ages 14+. Tickets are free and are available here.
Frankenstein Festival events include:
Wednesday 28 March, 18.45–22.00
Join us for a fun free evening of events, workshops and screenings as we ask the question ‘should we create life’.
Lates is a free themed-event for adults at the Science Museum on the last Wednesday of each month. Find out more about Lates at sciencemuseum.org.uk/Lates.
Artificial Life: Should We, Could We, Will We?
Wednesday 28 March as part of the Frankenstein Lates
A panel of expert scientists and researchers will discuss artificial life. Just how close are we to creating fully synthetic life and will this be achieved by biological or digital means?
Discussing those questions will be Professor of Cognitive Robotics at Imperial College and scientific advisor for the hit movie Ex Machina Murray Shanahan, Vice President of the International Society for Artificial Life Susan Stepney and Lead Curator of the Science Museum’s acclaimed 2017 exhibition Robots Ben Russell. Further speakers to be announced.
Promethean Tales Weekend
Terminator 2: Judgement Day + Panel Discussion
Friday 27 April, 19.30–22.35 (Doors open 19.00)
Tickets: £8, £6 Concessions
Age 15 and above
In part one of our Promethean Tales Weekend celebrating the 200th anniversary of Mary Shelley’s Frankenstein, we will be joined by a panel of experts in science, film and literature to discuss the topic of ‘Promethean Tales through the ages’ ahead of a screening of Terminator 2: Judgement Day.
The Curse of Frankenstein and Q&A with Sir Christopher Frayling
Saturday 28 April, 18.00–20.30 (Doors open 17.30)
Tickets: £8, £6 Concessions
In part two of our Promethean Tales Weekend, we are joined by Sir Christopher Frayling, author of Frankenstein: The First Two Hundred Years, to discuss the life and work of Shelley, the origins of her seminal story and its cultural impact.
The screening of The Curse of Frankenstein will be followed by a book signing with copies of Sir Christopher’s book available to purchase on the night.
You can find out more about the festival and get tickets to events, here.
This initiative seems like a lot of fun, from the Frankenreads homepage,
Frankenreads is an NEH [US National Endowment for the Humanitities]-funded initiative of the Keats-Shelley Association of America and partners to hold a series of events and initiatives in honor of the 200th anniversary of Mary Shelley’s Frankenstein, featuring especially an international series of readings of the full text of the novel on Halloween 2018.
They have a very open approach as their FAQs webpage attests to,
Why host a Frankenreads event?
Frankenstein, or, The Modern Prometheus appeals to both novice and expert readers alike and is a work that remains highly relevant to contemporary issues. Thus it is perhaps no surprise that (according to the Open Syllabus project) Frankenstein is the most frequently taught work of literature in college English courses and the fifth most frequently taught book in college courses in all disciplines. It is certainly one of the most read British novels in the world. Hosting a Frankenreads event is an easy way both to celebrate the 200th anniversary of this important work and to foster discussion about issues such as ethics in science and the human tendency to demonize the unfamiliar. By participating in Frankenreads, you can make sure that your thoughts about Frankenstein are part of a global conversation.
What kind of event can I host?
You can host any kind of event you like! Below are some suggestions. Click on the event type for further guidance.
Complete Reading — A live, all-day reading (about 9 hours) of the full text of Frankenstein
Viewing — A community viewing on Halloween 2018 of the livestream of the NEH reading or other online events
Other — Whatever other kind of in-person or online event you can think of!
Should I hold in-person events or online events?
Either or both! We encourage you to record in-person events and upload video to our YouTube channel. We will also be providing advice on holding events via Google Hangouts.
When should I hold the event?
You can hold a Frankenreads event any time you like, but we encourage you to schedule an event during Frankenweek: October 24-31, 2018.
Why post my event on the Frankenreads website?
Posting your event on the Frankenreads website enables the Frankenreads team to publicize your event widely, to give you help with your event, and to connect you with others who are holding nearby or similar events.
How do I post my event on the Frankenreads website?
The Frankenstein Bicentennial celebration is in process as various events and projects are now being launched. In a Nov. 12, 2015 posting I made mention of the Frankenstein Bicentennial Project 1818-2018 at Arizona State University (ASU; scroll down about 15% of the way),
No work of literature has done more to shape the way people imagine science and its moral consequences than Frankenstein; or The Modern Prometheus, Mary Shelley’s enduring tale of creation and responsibility. The novel’s themes and tropes—such as the complex dynamic between creator and creation—continue to resonate with contemporary audiences. Frankenstein continues to influence the way we confront emerging technologies, conceptualize the process of scientific research, imagine the motivations and ethical struggles of scientists, and weigh the benefits of innovation with its unforeseen pitfalls.
The Frankenstein Bicentennial Project will infuse science and engineering endeavors with considerations of ethics. It will use the power of storytelling and art to shape processes of innovation and empower public appraisal of techno-scientific research and creation. It will offer humanists and artists a new set of concerns around research, public policy, and the ramifications of exploration and invention. And it will inspire new scientific and technological advances inspired by Shelley’s exploration of our inspiring and terrifying ability to bring new life into the world. Frankenstein represents a landmark fusion of science, ethics, and literary expression.
The bicentennial provides an opportunity for vivid reflection on how science is culturally framed and understood by the public, as well as our ethical limitations and responsibility for nurturing the products of our creativity. It is also a moment to unveil new scientific and technological marvels, especially in the areas of synthetic biology and artificial intelligence. Engaging with Frankenstein allows scholars and educators, artists and writers, and the public at large to consider the history of scientific invention, reflect on contemporary research, and question the future of our technological society. Acting as a network hub for the bicentennial celebration, ASU will encourage and coordinate collaboration across institutions and among diverse groups worldwide.
2016 Frankenstein events
Now, there’s an exhibition in Switzerland where Frankenstein was ‘born’ according to a May 12, 2016 news item on phys.org,
Frankenstein, the story of a scientist who brings to life a cadaver and causes his own downfall, has for two centuries given voice to anxiety surrounding the unrelenting advance of science.
To mark the 200 years since England’s Mary Shelley first imagined the ultimate horror story during a visit to a frigid, rain-drenched Switzerland, an exhibit opens in Geneva Friday called “Frankenstein, Creation of Darkness”.
In the dimly-lit, expansive basement at the Martin Bodmer Foundation, a long row of glass cases holds 15 hand-written, yellowed pages from a notebook where Shelley in 1816 wrote the first version of what is considered a masterpiece of romantic literature.
The idea for her “miserable monster” came when at just 18 she and her future husband, English poet Percy Bysshe Shelley, went to a summer home—the Villa Diodati—rented by literary great Lord Byron on the outskirts of Geneva.
The current private owners of the picturesque manor overlooking Lake Geneva will also open their lush gardens to guided tours during the nearby exhibit which runs to October 9 [May 13 – Oct. 9, 2016].
While the spot today is lovely, with pink and purple lilacs spilling from the terraces and gravel walkways winding through rose-covered arches, in the summer of 1816 the atmosphere was more somber.
A massive eruption from the Tambora volcano in Indonesia wreaked havoc with the global climate that year, and a weather report for Geneva in June on display at the exhibit mentions “not a single leaf” had yet appeared on the oak trees.
To pass the time, poet Lord Byron challenged the band of literary bohemians gathered at the villa to each invent a ghost story, resulting in several famous pieces of writing.
English doctor and author John Polidori came up with the idea for “The Vampyre”, which was published three years later and is considered to have pioneered the romantic vampyre genre, including works like Bram Stoker’s “Dracula”.
That book figures among a multitude of first editions at the Geneva exhibit, including three of Mary Shelley’s “Frankenstein, or the Modern Prometheus”—the most famous story to emerge from the competition.
To celebrate the 200th anniversary of the writing of this historically influential work of literature, the Martin Bodmer Foundation presents a major exhibition on the origins of Frankenstein, the perspectives it opens and the questions it raises.
A best seller since its first publication in 1818, Mary Shelley’s novel continues to demand attention. The questions it raises remain at the heart of literary and philosophical concerns: the ethics of science, climate change, the technologisation of the human body, the unconscious, human otherness, the plight of the homeless and the dispossessed.
The exposition Frankenstein: Creation of Darkness recreates the beginnings of the novel in its first manuscript and printed forms, along with paintings and engravings that evoke the world of 1816. A variety of literary and scientific works are presented as sources of the novel’s ideas. While exploring the novel’s origins, the exhibition also evokes the social and scientific themes of the novel that remain important in our own day.
For what it’s worth, I have come across analyses which suggest science and technology may not have been the primary concern at the time. There are interpretations which suggest issues around childbirth (very dangerous until modern times) and fear of disfigurement and disfigured individuals. What makes Frankenstein and the book so fascinating is how flexible interpretations can be. (For more about Frankenstein and flexibility, read Susan Tyler Hitchcock’s 2009 book, Frankenstein: a cultural history.)
On June 14 and 15, 2016, the Brocher Foundation, Arizona State University, Duke University, and the University of Lausanne will host “Frankenstein’s Shadow,” a symposium in Geneva, Switzerland to commemorate the origin of Frankenstein and assess its influence in different times and cultures, particularly its resonance in debates about public policy governing biotechnology and medicine. These dates place the symposium almost exactly 200 years after Mary Shelley initially conceived the idea for Frankenstein on June 16, 1816, and in almost exactly the same geographical location on the shores of Lake Geneva.
If you’re interested in details such as the programme schedule, there’s this PDF,
Ada Lovelace Day! Yes, it’s today, Tuesday, Oct. 13, 2015, the day after Thanksgiving. (You can check out my Oct. 14, 2014 posting for a brief Ada Lovelace history and information about an opera based on her life.)
Ada Lovelace Day was founded in 2009 by Suw Charman-Anderson and 2015 seems to have been a banner year for Lovelace where 200th anniversary of her birth is being celebrated not only with a Day featuring events around the world but also with an exhibit in the Science Museum (London, UK) and a documentary on the BBC (British Broadcasting Corporation). An Oct. 12, 2015 article by Zoe Kleinman for BBC news online features both the exhibit and the documentary (Note: A link has been removed),
An exhibition showcasing the work and life of Victorian mathematician Ada Lovelace opens at the Science Museum in London this week [on Oct. 13, 2015].
The small exhibition includes a working model of the machine, which was never built because of funding issues.
Also on display is a lock of her hair.
Ada Lovelace was often unwell and was prescribed the opiate laudanum, to be taken with wine, by her doctor.
Ada Lovelace was the daughter of the poet Lord Byron and mathematician Annabella Milbanke.
“Intelligent she might have been, but she was also manipulative and aggressive, a drug addict, a gambler and an adulteress,” said mathematician Hannah Fry, who made a BBC documentary about her.
Hannah Fry has written an essay about Lovelace and what she discovered while making the documentary that can be found here,
I need to make a confession. Before starting this film, intrigued as I was by her story, I questioned if Ada Lovelace truly deserved the pedestal on which she has been placed by modern scientists and mathematicians. I wondered if she is really worthy of standing as a symbol for our subject. One thing is in little doubt. Ada’s story is a captivating tale.
The 19th century amateur mathematician, best known for her detailed notes on Charles Babbage’s Analytical Engine, is often held up as a symbol for women in science. Never more so now than in the 200th anniversary of her birth.
Alongside the character flaws, there are also some who still debate the validity of Ada’s accomplishments.
The machine which Ada prophesised could create music was Babbage’s invention after all – surely he must have known it’s potential?
Although she certainly published the world’s first computer programme, can we be sure she was its author. In any case, the machine was never built. Her work ultimately had no tangible impact on the world whatsoever.
For me, Doron [Doron Swade – an expert in the history of computing and, while a curator at the Science Museum in London, the man responsible for bringing Babbage’s Difference Engine to life] also put an end to the discussion of Lovelace’s contribution. Her notes and letters to Babbage make it clear that Ada understood the potential of computers in a way that he never did, and that nobody ever had. In Doron’s words:
“This is not a suggestive hint. This is not a backwards projection. This is Lovelace thumping the table saying this is what is significant about this machine “
Her foresight was so extraordinary that it would take another hundred years and Alan Turing to recognise the significance of her work. But it was an achievement that was probably as much a product of her artistic heritage as her scientific training.
Fry experienced a revelation while working on the documentary,
I think I’d become so used to expecting my role models to be unnaturally perfect people and elevating them to unachievably high levels that I couldn’t see why Ada deserved to be there.
But in making this programme I’ve realised that I was thinking about things in the wrong way.
Ada was very, very far from perfect, but perfection is not a pre-requisite to accomplishing something impressive. Our science role models shouldn’t always be there to celebrate the unachievable.
We should also be normalising the mundane and the ordinary – embracing our flaws and our failures. And that’s exactly why she is the ideal inspirational figure.
… if I’m honest with myself, I would be lying if I didn’t say there was an element of wanting to be liked that influenced my decision to close the deal without a real fight. I didn’t want to seem “difficult” or “spoiled.” At the time, that seemed like a fine idea, until I saw the payroll on the Internet and realized every man I was working with definitely didn’t worry about being “difficult” or “spoiled.” This could be a young-person thing. It could be a personality thing. I’m sure it’s both. But this is an element of my personality that I’ve been working against for years, and based on the statistics, I don’t think I’m the only woman with this issue. Are we socially conditioned to behave this way? We’ve only been able to vote for what, 90 years? I’m seriously asking — my phone is on the counter and I’m on the couch, so a calculator is obviously out of the question. Could there still be a lingering habit of trying to express our opinions in a certain way that doesn’t “offend” or “scare” men?
She acknowledges that she’s well paid by any standard but she’s pointing out that her male colleagues don’t have to worry about whether or not they’ll be liked or viewed as difficult when they negotiate or even when they express an opinion,
A few weeks ago at work, I spoke my mind and gave my opinion in a clear and no-bullshit way; no aggression, just blunt. The man I was working with (actually, he was working for me) said, “Whoa! We’re all on the same team here!” As if I was yelling at him. I was so shocked because nothing that I said was personal, offensive, or, to be honest, wrong. All I hear and see all day are men speaking their opinions, and I give mine in the same exact manner, and you would have thought I had said something offensive.
… Jeremy Renner, Christian Bale, and Bradley Cooper all fought and succeeded in negotiating powerful deals for themselves. If anything, I’m sure they were commended for being fierce and tactical, while I was busy worrying about coming across as a brat and not getting my fair share.
Bringing it back to the topic of science, how often does a male scientist get described as “a difficult person to like.” It would take more than drug addiction, adultery, stating an opinion in a forthright fashion, and/or being manipulative for a man to earn that label.
Getting back to Ada and the celebrations, there’s an Oct. 12, 2015 preview of her Science Museum exhibit by Nicola Davis for the Guardian (Note: A link has been removed),
In the bowels of London’s Science Museum, Dr Tilly Blyth gingerly opens an envelope. Inside is a lock of long, dark hair tied with a green ribbon. It’s a curiously poignant moment. The lively, intelligent woman to whom it belonged died young, but her mathematical work with computer pioneer Charles Babbage has seen her become a paragon for women in science and technology. Gazing down at the tresses, the centuries seem to shrink away. Ladies and gentlemen, Ada Lovelace is in the room.
The exhibit opens today, October 13, 2015 and runs until March 31, 2016. You can find out more here.
Here’s my favourite Ada Lovelace image; it’s being used in the exhibit’s promotional materials,
Courtesy Science Museum (London, UK)
You can find out more about Ada Lovelace Day 2015 events such as the annual flagship event on the findingada.com website,
Tomorrow you can celebrate Ada Lovelace Day 2014. A remarkable thinker, Lovelace (1815 – 1852) suggested computers could be used to create music and art, as well as, other practical activities. By the way, Her father was the ‘mad, bad, and dangerous to know’ poet, Lord Byron who called her mother, Anna Isabelle Millbank (she had a complex set of names and titles), the ‘princess of parallelograms’ due to her (Millbank’s) interest in mathematics.
Thanks to David Bruggeman and an Oct. 8, 2014 post on his Pasco Phronesis blog, I’ve found out about some events planned for this year’s Ada Lovelace Day before the fact rather than the ‘day of’ as I did last year (Oct. 15, 2013 post).
In New York City, one of the commemorations of Ada Lovelace Day involves an opera on her life. Called Ada, selections will be performed on October 14 .
You can find out more about the opera and the performance on David’s blog post, which also includes video clips from a rehearsal for the opera and comments from the librettist and the composer.
Ada Lovelace Day was founded in 2009 by Suw Charman-Anderson and it’s been gaining momentum ever since. While Charman-Anderson’s Ada Lovelace website doesn’t offer an up-to-date history of the event, there is this about the 2012 celebration (from the History of Ada Lovelace Day page),
… In all, there were 25 independently-organised grassroots events in the UK, Brazil, Canada, Colombia, Italy, Slovenia, Sweden and the USA, as well as online.
This year’s event includes:
Tuesday 14 October 2014
Ada Lovelace Day is an international celebration of the achievements of women in science, technology, engineering and maths (STEM).
Write about an inspiring woman in STEM
Every year we encourage you to take part, no matter where you are, by writing something about a woman, or women, in STEM whose achievements you admire. When your blog post is ready, you can add it to our list, and once we’re properly underway, you’ll be able to browse our list to see who inspires other people!
Ada Lovelace Day Live!
Tickets are now on sale for our amazing evening event [in London, England], featuring mathematician Dr Hannah Fry, musician Caro C, structural engineer Roma Agrawal, geneticist Dr Turi King, TV presenter Konnie Huq, artist Naomi Kashiwagi, technologists Steph Troeth, physicist Dr Helen Czerski and hosted by our inimitable ALD [Ada Lovelace Day] Live producer, Helen Arney!
The support of the Ri has this year allowed us to put together an afternoon event for 11 – 16 year olds, exploring the role and work of women in STEM. Speakers include sustainability innovator Rachel Armstrong, neuroscientist Sophie Scott, mathematician Hannah Fry, roboticist and theremin player Sarah Angliss, engineer Roma Agrawal, and dwarf mammoth expert Victoria Herridge, and is hosted by our very own Helen Arney! Tickets cost £3 per person, and are on sale now! [London, England] Find out more about the event or see accessibility information for the venue.
The organizers are currently running an indiegogo crowdfunding campaign (Ada Lovelace Day Live! 2014) to raise £2,000 to cover costs for videography and photography of the events in London, England. They have progressed to a little over 1/2 way towards their goal. The last day to contribute is Oct. 27, 2014.
One last tidbit, James Essinger’s book, Ada’s Algorithm, is being released on Oct. 14, 2014 in the US. The book was published last year in the UK. Sophia Stuart, in an Oct. 10, 2014 article for PC Magazine about the upcoming US release of Essinger’s book, wrote this,
A natural affinity for computer programming requires an unusual blend of arts and sciences; from appreciating the beauty of mathematics and the architectural composition of language via a vision for engineering, coupled with a meticulous attention to detail (and an ability to subsist on little sleep).
Ada Lovelace, considered to be the world’s first computer programmer, fits the profile perfectly, and is the subject of James Essinger’s book Ada’s Algorithm. Ada’s mother was a gifted mathematician and her father was the poet Lord Byron. In 1828, at the age of 12, Ada was multi-lingual while also teaching herself geometry, sketching plans for self-powered flight by studying birds and their wingspan, and imagining the future of aviation 75 years before the Wright Brothers’ first flight.
“In the form of a horse with a steamengine in the inside so contrived as to move an immense pair of wings,” she wrote in an April 7, 1828 letter to her mother.
Don’t forget, Ada Lovelace Day is tomorrow and perhaps in honour of her you can give your imagination permission to fly free for at least a moment or two.
Happy Thanksgiving today, Oct. 13, 2014 for Canadians of all stripes, those who were born here, those who are citizens (past and present), and those who choose to be Canadian in spirit for a day.