Fro anyone who needs a shot of happiness, this is a very happy scientist,
A July 14, 2021 news item on ScienceDaily describes the source of assistant professor (Steve) Cuong Dang’s happiness,
Shells of tamarind, a tropical fruit consumed worldwide, are discarded during food production. As they are bulky, tamarind shells take up a considerable amount of space in landfills where they are disposed as agricultural waste.
However, a team of international scientists led by Nanyang Technological University, Singapore (NTU Singapore) has found a way to deal with the problem. By processing the tamarind shells which are rich in carbon, the scientists converted the waste material into carbon nanosheets, which are a key component of supercapacitors – energy storage devices that are used in automobiles, buses, electric vehicles, trains, and elevators.
The study reflects NTU’s commitment to address humanity’s grand challenges on sustainability as part of its 2025 strategic plan, which seeks to accelerate the translation of research discoveries into innovations that mitigate our impact on the environment.
he team, made up of researchers from NTU Singapore, the Western Norway University of Applied Sciences in Norway, and Alagappa University in India, believes that these nanosheets, when scaled up, could be an eco-friendly alternative to their industrially produced counterparts, and cut down on waste at the same time.
Assistant Professor (Steve) Cuong Dang, from NTU’s School of Electrical and Electronic Engineering, who led the study, said: “Through a series of analysis, we found that the performance of our tamarind shell-derived nanosheets was comparable to their industrially made counterparts in terms of porous structure and electrochemical properties. The process to make the nanosheets is also the standard method to produce active carbon nanosheets.”
Professor G. Ravi, Head, Department of Physics, who co-authored the study with Asst Prof Dr R. Yuvakkumar, who are both from Alagappa University, said: “The use of tamarind shells may reduce the amount of space required for landfills, especially in regions in Asia such as India, one of the world’s largest producers of tamarind, which is also grappling with waste disposal issues.”
The study was published in the peer-reviewed scientific journal Chemosphere in June .
The step-by-step recipe for carbon nanosheets
To manufacture the carbon nanosheets, the researchers first washed tamarind fruit shells and dried them at 100°C for around six hours, before grinding them into powder.
The scientists then baked the powder in a furnace for 150 minutes at 700-900 degrees Celsius in the absence of oxygen to convert them into ultrathin sheets of carbon known as nanosheets.
Tamarind shells are rich in carbon and porous in nature, making them an ideal material from which to manufacture carbon nanosheets.
A common material used to produce carbon nanosheets are industrial hemp fibres. However, they require to be heated at over 180°C for 24 hours – four times longer than that of tamarind shells, and at a higher temperature. This is before the hemp is further subjected to intense heat to convert them into carbon nanosheets.
Professor Dhayalan Velauthapillai, Head of the research group for Advanced Nanomaterials for Clean Energy and Health Applications at Western Norway University of Applied Sciences, who participated in the study, said: “Carbon nanosheets comprise of layers of carbon atoms arranged in interconnecting hexagons, like a honeycomb. The secret behind their energy storing capabilities lies in their porous structure leading to large surface area which help the material to store large amounts of electric charges.”
The tamarind shell-derived nanosheets also showed good thermal stability and electric conductivity, making them promising options for energy storage.
The researchers hope to explore larger scale production of the carbon nanosheets with agricultural partners. They are also working on reducing the energy needed for the production process, making it more environmentally friendly, and are seeking to improve the electrochemical properties of the nanosheets.
The team also hopes to explore the possibility of using different types of fruit skins or shells to produce carbon nanosheets.
My September 26, 2021 Art/Sci Salon notice (received via email) provides these details,
Naturalization = The ecological phenomenon in which a species, taxon, or population of exotic (as opposed to native) origin integrates into a given ecosystem, becoming capable of reproducing and growing in it, and proceeds to disseminate spontaneously. In some instances, the presence of a species in a given ecosystem is so ancient that it cannot be presupposed whether it is native or introduced How does adaptation through naturalization occur? What happens to the native population? How does coexistence happen?
Our first event will revolve around the Solanum Melongena, a plant species in the nightshade family Solanaceae commonly known as the eggplant. This plant (and the many different names it goes by Aubergine, Melanzana, Brinjal, Berenjena, باذنجان, vânătă, 茄子,بادمجان) uncertain origins, grown worldwide for its edible fruit. Eggplants exist in many shapes, sizes and colors.
Our event will be a harvest potluck, with dialogues, storytelling, and exchanges about and beyond food. Our guests will engage in creative interventions to reflect on the many ways food, and food mobility affects all sentient beings, both humans and non-humans; peoples and civilizations; individuals’ health and collective traditions. Food is nourishment, care, medicine, and art. Food is political. Food is ultimately about our survival.
This is the first of a series of networked meals titled “FOLLOW THE SPREAD,” which will be staged around the world and across time zones throughout Fall 2021-Spring 2022 in Canada (October 3, Spring 2022), Norway (October 7), the Netherlands and Taiwan (Spring 2022).
Join us online to meet 10 Canadian artists and scholars as they launch the series in Toronto and engage in a nourishing and inspiring feast
Amira Alamary TBA
Antje Budde Antje Budde is a conceptual, queer-feminist, interdisciplinary experimental scholar-artist and an Associate Professor of Theatre Studies, Cultural Communication and Modern Chinese Studies at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Antje has created multi-disciplinary artistic works in Germany, China and Canada and works tri-lingually in German, English and Mandarin. She is the founder of a number of queerly feminist performing art projects including most recently the (DDL)2 or (Digital Dramaturgy Lab)Squared – a platform for experimental explorations of digital culture, creative labor, integration of arts and science, and technology in performance. She is interested in the intersections of natural sciences, the arts, engineering and computer science.
Charmaine Lurch Charmaine Lurch is a multidisciplinary artist whose painting, sculpture, and social engagement reveal the intricacies and complexities of the relationships between us and our environments. Her sculptures, installations, and interventions produce enchantment as she skillfully contends with what is visible and present in conjunction with what remains unsaid or unnoticed. Lurch applies her experience in community arts and education to create inviting entry points into overwhelmingly complex and urgent racial, ecological, and historical reckonings.
Lurch’s work contends with both spatiality and temporality, enchanting her subject matter with multiple possibilities for engagement. This can be seen in the interplay between light, wire, and space in her intricate wire sculptures of bees and pollen grains, and in what scholar Tiffany Lethabo King refers to as the “open edgelessness” of Sycorax. A sensuous dynamism belies the everyday tasks reflected in her charcoal-on-parchment series Being, Belonging and Grace. Lurch’s particular evocations and explorations of space and time invite an analysis of their own, and her work has been engaged with by academics. These include King, who chose Sycorax Gesture, a charcoal illustration for the cover of her book The Black Shoals: Offshore Formations of Black and Native Studies, in which King discusses Lurch’s work in depth. Scholar Katherine McKittrick both inserted and engaged with Lurch’s work in her latest notable book, Dear Science & Other Stories.
Dave Kemp Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess, Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank.
Dolores Steinman Dolores Steinman is a trained pediatrician who holds a Ph.D. from the University of Toronto. She is very active in several Art/Science communities locally and internationally.
Elaine Whittaker Elaine Whittaker is a Canadian visual artist working at the intersection of art, science, medicine, and ecology. She considers biology as contemporary art practice and as the basis for her installations, sculptures, paintings, drawings, and digital images. Whittaker has exhibited in art and science galleries and museums in Canada, France, Italy, UK, Ireland, Latvia, China, South Korea, Australia, Mexico, and the U.S. Artwork created as Artist-in-Residence with the Pelling Laboratory for Augmented Biology (University of Ottawa) was exhibited in La Fabrique du Vivant at the Pompidou Centre, Paris in 2019. She was one of the first Artists-in-Residence with the Ontario Science Centre in partnership with the Museum of Contemporary Art Toronto. Her work has also been featured in art, literary, and medical magazines, and books, including Bio Art: Altered Realities by William Myers (2015).
Elizabeth Littlejohn Elizabeth Littlejohn is a communications professor, human rights activist, photojournalist, and documentary film-maker. She has written for Rabble.ca for the past thirteen years on social movements, sustainable urban planning, and climate change. As a running gun social movement videographer, she has filmed internationally. Her articles, photojournalism, and videos have documented Occupy, Idle No More, and climate change movements, and her photographs have been printed in NOW Magazine, the Toronto Star, and Our Times.
Recently Elizabeth Littlejohn has completed ‘The City Island’, a feature-length documentary she directed about the razing of homes on the Toronto Islands and the islanders’ stewardship of the park system, with the support of the Canada Council. Currently, Elizabeth is developing the Toronto Island Puzzle Tour, an augmented-reality smartphone application with five locales depicting hidden history of the Toronto Island, and funded by the City of Toronto’s Artworx Grant.
Gita Hashemi Gita Hashemi works in visual and performance art, digital and net art, and language-based art including live embodied writing, and in publishing. Her transdisciplinary, multi-platform and often site-responsive projects explore historical, trans-border and marginalized narratives and their traces in contemporary contexts. She has received numerous project grants from Canadian arts councils, and won awards from Toronto Community Foundation, Baddeck International New Media Festival, American Ad Federation, and Ontario Association of Art Galleries among others. Hashemi is an Ontario Heritage Trust’s Doris McCarthy Artist in Residence in 2021 with a land-based project. Her work has been exhibited at many international venues including SIGGRAPH, Los Angeles; Center for Book Arts, New York; Yerba Buena Center for the Arts, San Francisco; Plug-In, Basel; Casoria Museum of Contemporary Art, Naples; Al Kahf Art Gallery, Bethlehem; Red House Centre for Culture, Sofia; Museo de Arte Contemporaneo de Yucatan, Merida; National Museum of Contemporary Art, Bucharest; Worth Ryder Gallery, Berkeley; Museo de Arte Contemporaneo de Santa Fe, Argentina; Museum of Movements, Malmo; and JolibaZWO, Berlin among others. In Canada her work has been presented at A Space Gallery, York Quay Gallery, YYZ, MAI, and Carlton University Art Gallery. She has exhibited in numerous festivals including Electroshock, France; VI Salon y coloquio internacional de art digital, Havana; New Media Art Festival, Bangkok; Biennale of Electronic Art, Perth; and New Music and Art Festival, Bowling Green and others.
Nina Czegledy Toronto based artist, curator, educator, works internationally on collaborative art, science & technology projects. The changing perception of the human body and its environment, as well as paradigm shifts in the arts, inform her projects. She has exhibited and published widely, won awards for her artwork and has initiated, led and participated in workshops, forums and festivals worldwide at international events.
Roberta Buiani Artistic Director of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto). Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centers and galleries (the Free Gallery Toronto; Immigrant Movement International, Queens, Museum of Toronto), and scientific institutions (RPI; the Fields Institute). She is a research associate at the Centre for Feminist Research and a Scholar in Residence at Sensorium: Centre for Digital Arts and Technology, at York University.
Tune in on Oct 3  at 10:30 AM EDT; 4:30 PM CET; 10:30 PM CST [Note: For those of us on the West Coast, that will 7:30 am PDT]
It seems counter-intuitive but societies where women have achieved greater equality see less participation by women in STEM (science, technology, engineering and mathematics) than countries where women are treated differently. This rather stunning research was released on February 14, 2018 (yes, Valentine’s Day).
Countries with greater gender equality see a smaller proportion of women taking degrees in science, technology, engineering and mathematics (STEM), a new study by Leeds Beckett has found.
Dubbed the ‘gender equality paradox’, the research found that countries such as Albania and Algeria have a greater percentage of women amongst their STEM graduates than countries lauded for their high levels of gender equality, such as Finland, Norway or Sweden.
The researchers, from Leeds Beckett’s School of Social Sciences and the University of Missouri, believe this might be because countries with less gender equality often have little welfare support, making the choice of a relatively highly-paid STEM career more attractive.
The study, published in Psychological Science, also looked at what might motivate girls and boys to choose to study STEM subjects, including overall ability, interest or enjoyment in the subject and whether science subjects were a personal academic strength.
Using data on 475,000 adolescents across 67 countries or regions, the researchers found that while boys’ and girls’ achievement in STEM subjects was broadly similar, science was more likely to be boys’ best subject.
Girls, even when their ability in science equalled or excelled that of boys, were often likely to be better overall in reading comprehension, which relates to higher ability in non-STEM subjects.
Girls also tended to register a lower interest in science subjects. These differences were near-universal across all the countries and regions studied.
This could explain some of the gender disparity in STEM participation, according to Leeds Beckett Professor in Psychology Gijsbert Stoet.
“The further you get in secondary and then higher education, the more subjects you need to drop until you end with just one.
“We are inclined to choose what we are best at and also enjoy. This makes sense and matches common school advice.
“So, even though girls can match boys in terms of how well they do at science and mathematics in school, if those aren’t their best subjects and they are less interested in them, then they’re likely to choose to study something else.”
The researchers also looked at how many girls might be expected to choose further study in STEM based on these criteria.
They took the number of girls in each country who had the necessary ability in STEM and for whom it was also their best subject and compared this to the number of women graduating in STEM.
They found there was a disparity in all countries, but with the gap once again larger in more gender equal countries.
In the UK, 29 per cent of STEM graduates are female, whereas 48 per cent of UK girls might be expected to take those subjects based on science ability alone. This drops to 39 per cent when both science ability and interest in the subject are taken into account.
Countries with higher gender equality tend also to be welfare states, providing a high level of social security for their citizens.
Professor Stoet said: “STEM careers are generally secure and well-paid but the risks of not following such a path can vary.
“In more affluent countries where any choice of career feels relatively safe, women may feel able to make choices based on non-economic factors.
“Conversely, in countries with fewer economic opportunities, or where employment might be precarious, a well-paid and relatively secure STEM career can be more attractive to women.”
Despite extensive efforts to increase participation of women in STEM, levels have remained broadly stable for decades, but these findings could help target interventions to make them more effective, say the researchers.
“It’s important to take into account that girls are choosing not to study STEM for what they feel are valid reasons, so campaigns that target all girls may be a waste of energy and resources,” said Professor Stoet.
“If governments want to increase women’s participation in STEM, a more effective strategy might be to target the girls who are clearly being ‘lost’ from the STEM pathway: those for whom science and maths are their best subjects and who enjoy it but still don’t choose it.
“If we can understand their motivations, then interventions can be designed to help them change their minds.”
The underrepresentation of girls and women in science, technology, engineering and mathematics (STEM) fields occurs globally. Although women currently are well represented in life sciences, they continue to be underrepresented in inorganic sciences, such as computer science and physics. Now, researchers from the University of Missouri and Leeds Beckett University in the United Kingdom have found that as societies become wealthier and more gender equal, women are less likely to obtain degrees in STEM. The researchers call this a “gender-equality paradox.” Researchers also discovered a near-universal sex difference in academic strengths and weaknesses that contributes to the STEM gap. Findings from the study could help refine education efforts and policies geared toward encouraging girls and women with strengths in science or math to participate in STEM fields.
The researchers found that, throughout the world, boys’ academic strengths tend to be in science or mathematics, while girls’ strengths are in reading. Students who have personal strengths in science or math are more likely to enter STEM fields, whereas students with reading as a personal strength are more likely to enter non-STEM fields, according to David Geary, Curators Professor of Psychological Sciences in the MU College of Arts and Science. These sex differences in academic strengths, as well as interest in science, may explain why the sex differences in STEM fields has been stable for decades, and why current approaches to address them have failed.
“We analyzed data on 475,000 adolescents across 67 countries or regions and found that while boys’ and girls’ achievements in STEM subjects were broadly similar in all countries, science was more likely to be boys’ best subject,” Geary said. “Girls, even when their abilities in science equaled or excelled that of boys, often were likely to be better overall in reading comprehension, which relates to higher ability in non-STEM subjects. As a result, these girls tended to seek out other professions unrelated to STEM fields.”
Surprisingly, this trend was larger for girls and women living in countries with greater gender equality. The authors call this a “gender-equality paradox,” because countries lauded for their high levels of gender equality, such as Finland, Norway or Sweden, have relatively few women among their STEM graduates. In contrast, more socially conservative countries such as Turkey or Algeria have a much larger percentage of women among their STEM graduates.
“In countries with greater gender equality, women are actively encouraged to participate in STEM; yet, they lose more girls because of personal academic strengths,” Geary said. “In more liberal and wealthy countries, personal preferences are more strongly expressed. One consequence is that sex differences in academic strengths and interests become larger and have a stronger influence college and career choices than in more conservative and less wealthy countries, creating the gender-equality paradox.”
The combination of personal academic strengths in reading, lower interest in science, and broader financial security explains why so few women choose a STEM career in highly developed nations.
“STEM careers are generally secure and well-paid but the risks of not following such a path can vary,” said Gijsbert Stoet, Professor in Psychology at Leeds Beckett University. “In more affluent countries where any choice of career feels relatively safe, women may feel able to make choices based on non-economic factors. Conversely, in countries with fewer economic opportunities, or where employment might be precarious, a well-paid and relatively secure STEM career can be more attractive to women.”
Findings from this study could help target interventions to make them more effective, say the researchers. Policymakers should reconsider failing national policies focusing on decreasing the gender imbalance in STEM, the researchers add.
The University of Missouri also produced a brief video featuring Professor David Geary discussing the work,
Though their numbers are growing, only 27 percent of all students taking the AP Computer Science exam in the United States are female. The gender gap only grows worse from there: Just 18 percent of American computer-science college degrees go to women. This is in the United States, where many college men proudly describe themselves as “male feminists” and girls are taught they can be anything they want to be.
Meanwhile, in Algeria, 41 percent of college graduates in the fields of science, technology, engineering, and math—or “STEM,” as its known—are female. There, employment discrimination against women is rife and women are often pressured to make amends with their abusive husbands.
According to a report I covered a few years ago, Jordan, Qatar, and the United Arab Emirates were the only three countries in which boys are significantly less likely to feel comfortable working on math problems than girls are. In all of the other nations surveyed, girls were more likely to say they feel “helpless while performing a math problem.”
… this line of research, if it’s replicated, might hold useful takeaways for people who do want to see more Western women entering STEM fields. In this study, the percentage of girls who did excel in science or math was still larger than the number of women who were graduating with STEM degrees. That means there’s something in even the most liberal societies that’s nudging women away from math and science, even when those are their best subjects. The women-in-STEM advocates could, for starters, focus their efforts on those would-be STEM stars.
This work upends notions (mine anyway) about equality and STEM with regard to women’s participation in countries usually described as ‘developed’ as opposed to ‘developing’. I am thankful to have my ideas shaken up and being forced to review my assumptions about STEM participation and equality of opportunity.
… The countries where the science-degree gender gap is smaller tend to be less socially secure. The researchers suggest that the economic security provided by fields like engineering may have a stronger draw in these countries, pulling more women into the field.
They attempt to use a statistical pathway analysis to see if the data is consistent with this being the case, but the results are inconclusive. It may be right, but there would be at least one other strong factor that they have not identified involved.
Timmer’s piece is well worth reading.
For some reason the discussion about a lack of social safety nets and precarious conditions leading women to greater STEM participation reminds me of a truism about the arts. Constraints can force you into greater creativity. Although balance is necessary as you don’t want to destroy what you’re trying to encourage. In this case, it seems that comfortable lifestyles can lead women to pursue that which comes more easily whereas women trying to make a better life in difficult circumstance will pursue a more challenging path.
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 email@example.com.
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 firstname.lastname@example.org 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 email@example.com 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 (firstname.lastname@example.org).
For additional information about the contest, please contact the Interdisciplinary Project in the Humanities: email@example.com.
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?
That headline is a teensy bit laboured but I couldn’t resist the levels of wordplay available to me. They’re working on a cathedral close to the leaning Tower of Pisa in this video about the latest in stone preservation in Europe.
*ETA August 7, 2019: Video reinserted today.*
I have covered the topic of preserving stone monuments before (most recently in my Oct. 21, 2014 posting). The action in this field seems to be taking place mostly in Europe, specifically Italy, although other countries are also quite involved.
Just a few meters from Pisa’s famous Leaning Tower, restorers are defying scorching temperatures to bring back shine to the city’s Cathedral.
Ordinary restoration techniques like laser are being used on much of the stonework that dates back to the 11th century. But a brand new technique is also being used: a new material made of innovative nanoparticles. The aim is to consolidate the inner structure of the stones. It’s being applied mainly on marble.
A March 7, 2017 item on the Euro News website, which originated the Nanowerk news item, provides more detail,
“Marble has very low porosity, which means we have to use nanometric particles in order to go deep inside the stone, to ensure that the treatment is both efficient while still allowing the stone to breathe,” explains Roberto Cela, civil engineer at Opera Della Primaziale Pisana.
The material developed by the European research team includes calcium carbonate, which is a mix of calcium oxide, water and carbon dioxide.
The nano-particles penetrate the stone cementing its decaying structure.
“It is important that these particles have the same chemical nature as the stones that are being treated, so that the physical and mechanical processes that occur over time don’t lead to the break-up of the stones,” says Dario Paolucci, chemist at the University of Pisa.
Vienna’s St Stephen’s is another of the five cathedrals where the new restoration materials are being tested.
The first challenge for researchers is to determine the mechanical characteristics of the cathedral’s stones. Since there are few original samples to work on, they had to figure out a way of “ageing” samples of stones of similar nature to those originally used.
“We tried different things: we tried freeze storage, we tried salts and acids, and we decided to go for thermal ageing,” explains Matea Ban, material scientist at the University of Technology in Vienna. “So what happens is that we heat the stone at certain temperatures. Minerals inside then expand in certain directions, and when they expand they build up stresses to neighbouring minerals and then they crack, and we need those cracks in order to consolidate them.”
Consolidating materials were then applied on a variety of limestones, sandstones and marble – a selection of the different types of stones that were used to build cathedrals around Europe.
What researchers are looking for are very specific properties.
“First of all, the consolidating material has to be well absorbed by the stone,” says petrologist Johannes Weber of the University of Applied Arts in Vienna. “Then, as it evaporates, it has to settle properly within the stone structure. It should not shrink too much. All materials shrink when drying, including consolidating materials. They should adhere to the particles of the stone but shouldn’t completely obstruct its pores.”
Further tests are underway in cathedrals across Europe in the hope of better protecting our invaluable cultural heritage.
With the meeting of June 3 this year the Nano Cathedral project kicked off, supported by the European Union within the nanotechnology field applied to Horizon 2020 cultural heritage with a fund of about 6.5 million euro.
A total of six monumental buildings will be for three years under the eyes and hands of petrographers, geologists, chemists and restorers of the institutes belonging to the Consortium: five cathedrals have been selected to represent the cultural diversity within Europe from the perspective of developing shared values and transnational identity, and a contemporary monumental building entirely clad in Carrara marble, the Opera House of Oslo.
Purpose: the testing of nanomaterials for the conservation of marble and the outer surfaces of our ‘cathedrals’.
The field of investigation to check degradation, testing new consolidating and protective products is the Cathedral of Pisa together with the Cathedrals of Cologne, Vienna, Ghent and Vitoria.
For the selection of case studies we have crosschecked requirements for their historical and architectural value but also for the different types of construction materials – marble, limestone and sandstone – as well as the relocation of six monumental buildings according to European climates.
The Cathedral of Pisa is the most southern, fully positioned in Mediterranean climate, therefore subject to degradation and very different from those which the weather conditions of the Scandinavian peninsula recorded; all the intermediate climate phases are modulated through Ghent, Vitoria, Cologne and Vienna.
At the conclusion of the three-year project, once the analysis in situ and in the laboratory are completed and all the experiments are tested on each different identified portion in each monumental building, an intervention protocol will be defined in detail in order to identify the mineralogical and petrographic characteristics of stone materials and of their degradation, the assessment of the causes and mechanisms of associated alteration, including interactions with factors of environmental pollution. Then we will be able to identify the most appropriate method of restoration and testing of nanotechnology products for the consolidation and protection of different stone materials.
In 2018 we hope to have new materials to protect and safeguard the ‘skin’ of our historic buildings and monuments for a long time.
Back to my headline and the second piece of wordplay, ‘lift’ as in ‘skin lift’ in that last sentence.
I realize this is a bit off topic but it’s worth taking a look at ORA’s home page,
Gabriele D’Annunzio effectively condenses the wonder and admiration that catch whoever visits the Duomo Square of Pisa.
The Opera della Primaziale Pisana (O₽A) is a non-profit organisation which was established in order to oversee the first works for the construction of the monuments in the Piazza del Duomo, subject to its own charter which includes the protection, promotion and enhancement of its heritage, in order to pass the religious and artistic meaning onto future generations.
«L’Ardea roteò nel cielo di Cristo, sul prato dei Miracoli.»
Gabriele d’Annunzio in Forse che sì forse che no (1910)
If you go to the home page, you can buy tickets to visit the monuments surrounding the square and there are other notices including one for a competition (it’s too late to apply but the details are interesting) to construct four stained glass windows for the Pisa cathedral.
Café Scientifique Vancouver sent me an announcement (via email) about their upcoming event,
We are pleased to announce our next café which will happen on TUESDAY,
NOVEMBER 28TH at 7:30PM in the back room of YAGGER'S DOWNTOWN (433 W
JELLYFISH – FRIEND, FOE, OR FOOD?
Did you know that in addition to stinging swimmers, jellyfish also cause
extensive damage to fisheries and coastal power plants? As threats such
as overfishing, pollution, and climate change alter the marine
environment, recent media reports are proclaiming that jellyfish are
taking over the oceans. Should we hail to our new jellyfish overlords or
do we need to examine the evidence behind these claims? Join Café
Scientifique on Nov. 28, 2017 to learn everything you ever wanted to
know about jellyfish, and find out if jelly burgers are coming soon to a
menu near you.
Our speaker for the evening will be DR. LUCAS BROTZ, a Postdoctoral
Research Fellow with the Sea Around Us at UBC’s Institute for the
Oceans and Fisheries. Lucas has been studying jellyfish for more than a
decade, and has been called “Canada’s foremost jellyfish
researcher” by CBC Nature of Things host Dr. David Suzuki. Lucas has
participated in numerous international scientific collaborations, and
his research has been featured in more than 100 media outlets including
Nature News, The Washington Post, and The New York Times. He recently
received the Michael A. Bigg award for highly significant student
research as part of the Coastal Ocean Awards at the Vancouver Aquarium.
For anyone who’s curious about the jellyfish ‘issue’, there’s a November 8, 2017 Norwegian University of Science and Technology press release on AlphaGallileo or on EurekAlert, which provides insight into the problems and the possibilities,
Jellyfish could be a resource in producing microplastic filters, fertilizer or fish feed. A new 6 million euro project called GoJelly, funded by the EU and coordinated by the GEOMAR Helmholtz Centre for Ocean Research, Germany and including partners at the Norwegian University of Science and Technology (NTNNU) and SINTEF [headquartered in Trondheim, Norway, is the largest independent research organisation in Scandinavia; more about SINTEF in its Wikipedia entry], hopes to turn jellyfish from a nuisance into a useful product.
Global climate change and the human impact on marine ecosystems has led to dramatic decreases in the number of fish in the ocean. It has also had an unforseen side effect: because overfishing decreases the numbers of jellyfish competitors, their blooms are on the rise.
The GoJelly project, coordinated by the GEOMAR Helmholtz Centre for Ocean Research, Germany, would like to transform problematic jellyfish into a resource that can be used to produce microplastic filter, fertilizer or fish feed. The EU has just approved funding of EUR 6 million over 4 years to support the project through its Horizon 2020 programme.
Rising water temperatures, ocean acidification and overfishing seem to favour jellyfish blooms. More and more often, they appear in huge numbers that have already destroyed entire fish farms on European coasts and blocked cooling systems of power stations near the coast. A number of jellyfish species are poisonous, while some tropical species are even among the most toxic animals on earth.
“In Europe alone, the imported American comb jelly has a biomass of one billion tons. While we tend to ignore the jellyfish there must be other solutions,” says Jamileh Javidpour of GEOMAR, initiator and coordinator of the GoJelly project, which is a consortium of 15 scientific institutions from eight countries led by the GEOMAR Helmholtz Centre for Ocean Research in Kiel.
The project will first entail exploring the life cycle of a number of jellyfish species. A lack of knowledge about life cycles makes it is almost impossible to predict when and why a large jellyfish bloom will occur. “This is what we want to change so that large jellyfish swarms can be caught before they reach the coasts,” says Javidpour.
At the same time, the project partners will also try to answer the question of what to do with jellyfish once they have been caught. One idea is to use the jellyfish to battle another, man-made threat.
“Studies have shown that mucus of jellyfish can bind microplastic. Therefore, we want to test whether biofilters can be produced from jellyfish. These biofilters could then be used in sewage treatment plants or in factories where microplastic is produced,” the GoJelly researchers say.
Jellyfish can also be used as fertilizers for agriculture or as aquaculture feed. “Fish in fish farms are currently fed with captured wild fish, which does not reduce the problem of overfishing, but increases it. Jellyfish as feed would be much more sustainable and would protect natural fish stocks,” says the GoJelly team.
Another option is using jellyfish as food for humans. “In some cultures, jellyfish are already on the menu. As long as the end product is no longer slimy, it could also gain greater general acceptance,” said Javidpour. Finally yet importantly, jellyfish contain collagen, a substance very much sought after in the cosmetics industry.
Project partners from the Norwegian University of Science and Technology, led by Nicole Aberle-Malzahn, and SINTEF Ocean, led by Rachel Tiller, will analyse how abiotic (hydrography, temperature), biotic (abundance, biomass, ecology, reproduction) and biochemical parameters (stoichiometry, food quality) affect the initiation of jellyfish blooms.
Based on a comprehensive analysis of triggering mechanisms, origin of seed populations and ecological modelling, the researchers hope to be able to make more reliable predictions on jellyfish bloom formation of specific taxa in the GoJelly target areas. This knowledge will allow sustainable harvesting of jellyfish communities from various Northern and Southern European populations.
This harvest will provide a marine biomass of unknown potential that will be explored by researchers at SINTEF Ocean, among others, to explore the possible ways to use the material.
A team from SINTEF Ocean’s strategic program Clean Ocean will also work with European colleagues on developing a filter from the mucus of the jellyfish that will catch microplastics from household products (which have their source in fleece sweaters, breakdown of plastic products or from cosmetics, for example) and prevent these from entering the marine ecosystem.
Finally, SINTEF Ocean will examine the socio-ecological system and games, where they will explore the potentials of an emerging international management regime for a global effort to mitigate the negative effects of microplastics in the oceans.
“Jellyfish can be used for many purposes. We see this as an opportunity to use the potential of the huge biomass drifting right in front of our front door,” Javidpour said.
I have three news bits about legal issues that are arising as a consequence of emerging technologies.
Deep neural networks, art, and copyright
Caption: The rise of automated art opens new creative avenues, coupled with new problems for copyright protection. Credit: Provided by: Alexander Mordvintsev, Christopher Olah and Mike Tyka
Presumably this artwork is a demonstration of automated art although they never really do explain how in the news item/news release. An April 26, 2017 news item on ScienceDaily announces research into copyright and the latest in using neural networks to create art,
In 1968, sociologist Jean Baudrillard wrote on automatism that “contained within it is the dream of a dominated world […] that serves an inert and dreamy humanity.”
With the growing popularity of Deep Neural Networks (DNN’s), this dream is fast becoming a reality.
Dr. Jean-Marc Deltorn, researcher at the Centre d’études internationales de la propriété intellectuelle in Strasbourg, argues that we must remain a responsive and responsible force in this process of automation — not inert dominators. As he demonstrates in a recent Frontiers in Digital Humanities paper, the dream of automation demands a careful study of the legal problems linked to copyright.
For more than half a century, artists have looked to computational processes as a way of expanding their vision. DNN’s are the culmination of this cross-pollination: by learning to identify a complex number of patterns, they can generate new creations.
These systems are made up of complex algorithms modeled on the transmission of signals between neurons in the brain.
DNN creations rely in equal measure on human inputs and the non-human algorithmic networks that process them.
Inputs are fed into the system, which is layered. Each layer provides an opportunity for a more refined knowledge of the inputs (shape, color, lines). Neural networks compare actual outputs to expected ones, and correct the predictive error through repetition and optimization. They train their own pattern recognition, thereby optimizing their learning curve and producing increasingly accurate outputs.
The deeper the layers are, the higher the level of abstraction. The highest layers are able to identify the contents of a given input with reasonable accuracy, after extended periods of training.
Creation thus becomes increasingly automated through what Deltorn calls “the arcane traceries of deep architecture”. The results are sufficiently abstracted from their sources to produce original creations that have been exhibited in galleries, sold at auction and performed at concerts.
The originality of DNN’s is a combined product of technological automation on one hand, human inputs and decisions on the other.
DNN’s are gaining popularity. Various platforms (such as DeepDream) now allow internet users to generate their very own new creations . This popularization of the automation process calls for a comprehensive legal framework that ensures a creator’s economic and moral rights with regards to his work – copyright protection.
Form, originality and attribution are the three requirements for copyright. And while DNN creations satisfy the first of these three, the claim to originality and attribution will depend largely on a given country legislation and on the traceability of the human creator.
Legislation usually sets a low threshold to originality. As DNN creations could in theory be able to create an endless number of riffs on source materials, the uncurbed creation of original works could inflate the existing number of copyright protections.
Additionally, a small number of national copyright laws confers attribution to what UK legislation defines loosely as “the person by whom the arrangements necessary for the creation of the work are undertaken.” In the case of DNN’s, this could mean anybody from the programmer to the user of a DNN interface.
Combined with an overly supple take on originality, this view on attribution would further increase the number of copyrightable works.
The risk, in both cases, is that artists will be less willing to publish their own works, for fear of infringement of DNN copyright protections.
In order to promote creativity – one seminal aim of copyright protection – the issue must be limited to creations that manifest a personal voice “and not just the electric glint of a computational engine,” to quote Deltorn. A delicate act of discernment.
DNN’s promise new avenues of creative expression for artists – with potential caveats. Copyright protection – a “catalyst to creativity” – must be contained. Many of us gently bask in the glow of an increasingly automated form of technology. But if we want to safeguard the ineffable quality that defines much art, it might be a good idea to hone in more closely on the differences between the electric and the creative spark.
The Fifth Annual Conference on Governance of Emerging Technologies:
Law, Policy and Ethics held at the new
Beus Center for Law & Society in Phoenix, AZ
May 17-19, 2017!
Call for Abstracts – Now Closed
The conference will consist of plenary and session presentations and discussions on regulatory, governance, legal, policy, social and ethical aspects of emerging technologies, including (but not limited to) nanotechnology, synthetic biology, gene editing, biotechnology, genomics, personalized medicine, human enhancement technologies, telecommunications, information technologies, surveillance technologies, geoengineering, neuroscience, artificial intelligence, and robotics. The conference is premised on the belief that there is much to be learned and shared from and across the governance experience and proposals for these various emerging technologies.
Gillian Hadfield, Richard L. and Antoinette Schamoi Kirtland Professor of Law and Professor of Economics USC [University of Southern California] Gould School of Law
Shobita Parthasarathy, Associate Professor of Public Policy and Women’s Studies, Director, Science, Technology, and Public Policy Program University of Michigan
Stuart Russell, Professor at [University of California] Berkeley, is a computer scientist known for his contributions to artificial intelligence
Craig Shank,Vice President for Corporate Standards Group in Microsoft’s Corporate, External and Legal Affairs (CELA)
Innovation – Responsible and/or Permissionless
Ellen-Marie Forsberg,Senior Researcher/Research Manager at Oslo and Akershus University College of Applied Sciences
Adam Thierer,Senior Research Fellow with the Technology Policy Program at the Mercatus Center at George Mason University
Andrew Maynard,Senior Sustainability Scholar, Julie Ann Wrigley Global Institute of Sustainability Director, Risk Innovation Lab, School for the Future of Innovation in Society Professor, School for the Future of Innovation in Society, Arizona State University
Gary Marchant,Regents’ Professor of Law, Professor of Law Faculty Director and Faculty Fellow, Center for Law, Science & Innovation, Arizona State University
Anupam Chander,Martin Luther King, Jr. Professor of Law and Director, California International Law Center, UC Davis School of Law
Pilar Ossorio,Professor of Law and Bioethics, University of Wisconsin, School of Law and School of Medicine and Public Health; Morgridge Institute for Research, Ethics Scholar-in-Residence
George Poste,Chief Scientist, Complex Adaptive Systems Initiative (CASI) (http://www.casi.asu.edu/), Regents’ Professor and Del E. Webb Chair in Health Innovation, Arizona State University
Emily Shuckburgh, climate scientist and deputy head of the Polar Oceans Team at the British Antarctic Survey, University of Cambridge
Responsible Development of AI
Spring Berman,Ira A. Fulton Schools of Engineering, Arizona State University
John Havens, The IEEE [Institute of Electrical and Electronics Engineers] Global Initiative for Ethical Considerations in Artificial Intelligence and Autonomous Systems
Subbarao Kambhampati,Senior Sustainability Scientist, Julie Ann Wrigley Global Institute of Sustainability, Professor, School of Computing, Informatics and Decision Systems Engineering, Ira A. Fulton Schools of Engineering, Arizona State University
Wendell Wallach, Consultant, Ethicist, and Scholar at Yale University’s Interdisciplinary Center for Bioethics
*Current Student / ASU Law Alumni Registration: $50.00
^Cybsersecurity sessions only (May 19): $100 CLE / $50 General / Free for students (registration info coming soon)
There you have it.
Neuro-techno future laws
I’m pretty sure this isn’t the first exploration of potential legal issues arising from research into neuroscience although it’s the first one I’ve stumbled across. From an April 25, 2017 news item on phys.org,
New human rights laws to prepare for advances in neurotechnology that put the ‘freedom of the mind’ at risk have been proposed today in the open access journal Life Sciences, Society and Policy.
The authors of the study suggest four new human rights laws could emerge in the near future to protect against exploitation and loss of privacy. The four laws are: the right to cognitive liberty, the right to mental privacy, the right to mental integrity and the right to psychological continuity.
Marcello Ienca, lead author and PhD student at the Institute for Biomedical Ethics at the University of Basel, said: “The mind is considered to be the last refuge of personal freedom and self-determination, but advances in neural engineering, brain imaging and neurotechnology put the freedom of the mind at risk. Our proposed laws would give people the right to refuse coercive and invasive neurotechnology, protect the privacy of data collected by neurotechnology, and protect the physical and psychological aspects of the mind from damage by the misuse of neurotechnology.”
Advances in neurotechnology, such as sophisticated brain imaging and the development of brain-computer interfaces, have led to these technologies moving away from a clinical setting and into the consumer domain. While these advances may be beneficial for individuals and society, there is a risk that the technology could be misused and create unprecedented threats to personal freedom.
Professor Roberto Andorno, co-author of the research, explained: “Brain imaging technology has already reached a point where there is discussion over its legitimacy in criminal court, for example as a tool for assessing criminal responsibility or even the risk of reoffending. Consumer companies are using brain imaging for ‘neuromarketing’, to understand consumer behaviour and elicit desired responses from customers. There are also tools such as ‘brain decoders’ which can turn brain imaging data into images, text or sound. All of these could pose a threat to personal freedom which we sought to address with the development of four new human rights laws.”
The authors explain that as neurotechnology improves and becomes commonplace, there is a risk that the technology could be hacked, allowing a third-party to ‘eavesdrop’ on someone’s mind. In the future, a brain-computer interface used to control consumer technology could put the user at risk of physical and psychological damage caused by a third-party attack on the technology. There are also ethical and legal concerns over the protection of data generated by these devices that need to be considered.
International human rights laws make no specific mention to neuroscience, although advances in biomedicine have become intertwined with laws, such as those concerning human genetic data. Similar to the historical trajectory of the genetic revolution, the authors state that the on-going neurorevolution will force a reconceptualization of human rights laws and even the creation of new ones.
Marcello Ienca added: “Science-fiction can teach us a lot about the potential threat of technology. Neurotechnology featured in famous stories has in some cases already become a reality, while others are inching ever closer, or exist as military and commercial prototypes. We need to be prepared to deal with the impact these technologies will have on our personal freedom.”
Researchers at the Norwegian University of Science and Technology pose an interesting question in a Dec. 8, 2016 news item on Nanowerk,
Does it really help to drive an electric car if the electricity you use to charge the batteries come from a coal mine in Germany, or if the batteries were manufactured in China using coal?
Researchers at the Norwegian University of Science and Technology’s Industrial Ecology Programme have looked at all of the environmental costs of electric vehicles to determine the cradle-to-grave environmental footprint of building and operating these vehicles.
In the 6 December  issue of Nature Nanotechnology, the researchers report on a model that can help guide developers as they consider new nanomaterials for batteries or fuel cells. The goal is to create the most environmentally sustainable vehicle fleet possible, which is no small challenge given that there are already an estimated 1 billion cars and light trucks on the world’s roads, a number that is expected to double by 2035.
With this in mind, the researchers created an environmental life-cycle screening framework that looked at the environmental and other impacts of extraction, refining, synthesis, performance, durability and recyclablility of materials.
This allowed the researchers to evaluate the most promising nanomaterials for lithium-ion batteries (LIB) and proton exchange membrane hydrogen fuel cells (PEMFC) as power sources for electric vehicles. “Our analysis of the current situation clearly outlines the challenge,” the researchers wrote. “The materials with the best potential environmental profiles during the material extraction and production phase…. often present environmental disadvantages during their use phase… and vice versa.”
The hope is that by identifying all the environmental costs of different materials used to build electric cars, designers and engineers can “make the right design trade-offs that optimize LIB and PEMFC nanomaterials for EV usage towards mitigating climate change,” the authors wrote.
They encouraged material scientists and those who conduct life-cycle assessments to work together so that electric cars can be a key contributor to mitigating the effects of transportation on climate change.
Here’s a link to and a citation for the paper,
Nanotechnology for environmentally sustainable electromobility by Linda Ager-Wick Ellingsen, Christine Roxanne Hung, Guillaume Majeau-Bettez, Bhawna Singh, Zhongwei Chen, M. Stanley Whittingham, & Anders Hammer Strømman. Nature Nanotechnology 11, 1039–1051 (2016) doi:10.1038/nnano.2016.237 Published online 06 December 2016 Corrected online 14 December 2016
The Society for the Study of New and Emerging Technologies, formerly Society for the Study of Nanoscience and Emerging Technologies, (S.NET) is holding its eighth annual conference in 2016 in Bergen, Norway.
A call for proposals was sent out recently (Jan. 28, 2016 via email),
The Co-Production of Emerging Bodies, Politics and Technologies
The 8th annual S.Net meeting will take place from the 12th to the 14th of October 2016 in Bergen, Norway.
In spirit of the previous meetings it will continue to provide room for reflections on emerging technologies,
this time with a special (though not exclusive) focus on politics.
Former discussions at S.Net have often examined politics in the sense of governance of new and emerging technologies;
regulation; RRI; research policies; sustainability. The S.Net 2016 conference also invites papers and other contributions that
explore other and broader meanings of the “politics of new and emerging technologies”:
How do emerging technologies such as nanotechnology, synthetic biology or ICTs shape institutions,
citizen organizations and other political agencies? And, vice versa; how are these emerging technologies shaped by politics?
In what new ways are the bodies of citizens’ subjected to technological intervention and what are
the political effects of such interventions? What new forms of politics can be seen to emerge together with technological emergence?
We will dedicate a number of sessions to talks, workshops and other formats that examine new and emerging configurations
of human nature, ethics (the good life) and politics (the good society) in the context of new and emerging technologies.
Confirmed speakers January 2016:
Sheila Jasanoff, Pforzheimer Professor of Science and Technology Studies, Harvard Kennedy School
Silvio Funtowicz, Adjunct Professor Centre for the Study of the Sciences and the Humanities
Joseph Dumit, Professor of Anthropology, Director of the Institute for Social Sciences (ISS),University of California
Deadline for submission of proposal: March 10th Notification of accepted proposals: March 31st
Registration deadline: August 15th
Conference: October 12 -14.
The S.Net 2016 Conference will invite the submission of abstracts to explore these topics relating to emerging technologies, tentatively organized around the following themes:
Innovation policies, imaginaries and practices
Narratives and imaginaries of emerging and future technologies
Public engagement, citizenship and emerging forms of expertise
Politics in the era of emerging technologies
Safety and security
Emerging technologies and human nature
Cancer: Emerging technologies, bodies and politics
Visualization in science and technology
Here’s some information about the presentation formats,
1) Paper presentation sessions:
a) Individual papers.
Please submit abstract (maximum 300 words) and indicate relevant themes (A-H); you may choose more than one.
Presentations will typically be 20 minutes, followed by a 10 minutes question period.
b) Thematic session:
Please submit abstract (maximum 1000 words) and indicate relevant themes (A-H); you may choose more than one.
Sessions should include 3-4 presentations. All session participants must be confirmed.
Please specify the length of the contribution and, if applicable, how many participants can be included in the event.
2) Special format sessions:
We encourage experimental formats beyond the usual paper based-presentations. All types of alternative audio-visual and art-oriented formats (e.g. theatre, movies, photography and installations) can be proposed. Interactive formats such as story-telling fora, ‘hands-on workshops’ and similar are also welcome. Please submit abstract (maximum 600 words) and indicate relevant themes (A-H); you may choose more than one.
Please specify the length of the contribution and, if applicable, how many participants can be included in the event.
The claim in a Sept. 9, 2015 news item on Nanowerk is that ‘natural’ nanoparticles are being used to remove perfluorinated compounds (PFC) from soil,
Perfluorinated compounds (PFC) are a new type of pollutants found in contaminated soils from industrial sites, airports and other sites worldwide.
In Norway, The Environment Agency has published a plan to eliminate PFOS [perfluorooctanesulfonic acid or perfluorooctane sulfonate] from the environment by 2020. In other countries such as China and the United States, the levels are far higher, and several studies show accumulation of PFOS in fish and animals, however no concrete measures have been taken.
The Norwegian company, Fjordforsk AS, which specializes in nanosciences and environmental methods, has developed a method to remove PFOS from soil by binding them to natural minerals. This method can be used to extract PFOS from contaminated soil and prevent leakage of PFOS to the groundwater.
Electron microscopy images show that the minerals have the ability to bind PFOS on the surface of the natural nanoparticles. [emphasis mine] The proprietary method does not contaminate the treated grounds with chemicals or other parts from remediation process and uses only natural components.
Electron microscopy images and more detail can be found in the Nanowerk news item.
Collaborators: Prof Lutz Ahrens. Swedish Agricultural University. Prof David van der Spoel, Uppsala University.
Perfluorinated compounds (PFCs) are emerging pollutants used in flame retardants on a large scale on airports and other sites of heavy industrial activity. Perfluroinated compounds are toxic and represent an ultra-persistent class of chemicals which can accumulate in animals and humans and have been found to remain in the body for over 5 years after uptake. Perfluorinated compounds can also affect the nerve-system and have recently been associated with high- priority pollutants to be discontinued and to be removed from the environment. Using non-toxic methods, this project develops an approach to sediment perfluorinated compounds from contaminated soil samples using nanoparticles, in order to remove the ecotoxic and ground-water contaminating potential of PFCs from afflicted sites and environments.
The only mineral that I know is used for soil remediation is nano zero-valent iron (nZVI). A very fast search for more information yielded a 2010 EMPA [Swiss Federal Laboratories for Materials Science and Technology] report titled “Nano zero valent iron – THE solution for water and soil remediation? ” (32 pp. pdf) published by ObservatoryNANO.
As for the claim that the company is using ‘natural’ nanoparticles for their remediation efforts, it’s not clear what they mean by that. I suspect they’re using the term ‘natural’ to mean that engineered nanoparticles are being derived from a naturally occurring material, e.g. iron.