Tag Archives: Ryerson University

Coming soon: Responsible AI at the 35th Canadian Conference on Artificial Intelligence (AI) from 30 May to 3 June, 2022

35 years? How have I not stumbled on this conference before? Anyway, I’m glad to have the news (even if I’m late to the party), from the 35th Canadian Conference on Artificial Intelligence homepage,

The 35th Canadian Conference on Artificial Intelligence will take place virtually in Toronto, Ontario, from 30 May to 3 June, 2022. All presentations and posters will be online, with in-person social events to be scheduled in Toronto for those who are able to attend in-person. Viewing rooms and isolated presentation facilities will be available for all visitors to the University of Toronto during the event.

The event is collocated with the Computer and Robot Vision conferences. These events (AI·CRV 2022) will bring together hundreds of leaders in research, industry, and government, as well as Canada’s most accomplished students. They showcase Canada’s ingenuity, innovation and leadership in intelligent systems and advanced information and communications technology. A single registration lets you attend any session in the two conferences, which are scheduled in parallel tracks.

The conference proceedings are published on PubPub, an open-source, privacy-respecting, and open access online platform. They are submitted to be indexed and abstracted in leading indexing services such as DBLP, ACM, Google Scholar.

You can view last year’s [2021] proceedings here: https://caiac.pubpub.org/ai2021.

The 2021 proceedings appear to be open access.

I can’t tell if ‘Responsible AI’ has been included as a specific topic in previous conferences but 2022 is definitely hosting a couple of sessions based on that theme, from the Responsible AI activities webpage,

Keynote speaker: Julia Stoyanovich

New York University

“Building Data Equity Systems”

Equity as a social concept — treating people differently depending on their endowments and needs to provide equality of outcome rather than equality of treatment — lends a unifying vision for ongoing work to operationalize ethical considerations across technology, law, and society.  In my talk I will present a vision for designing, developing, deploying, and overseeing data-intensive systems that consider equity as an essential objective.  I will discuss ongoing technical work, and will place this work into the broader context of policy, education, and public outreach.

Biography: Julia Stoyanovich is an Institute Associate Professor of Computer Science & Engineering at the Tandon School of Engineering, Associate Professor of Data Science at the Center for Data Science, and Director of the Center for Responsible AI at New York University (NYU).  Her research focuses on responsible data management and analysis: on operationalizing fairness, diversity, transparency, and data protection in all stages of the data science lifecycle.  She established the “Data, Responsibly” consortium and served on the New York City Automated Decision Systems Task Force, by appointment from Mayor de Blasio.  Julia developed and has been teaching courses on Responsible Data Science at NYU, and is a co-creator of an award-winning comic book series on this topic.  In addition to data ethics, Julia works on the management and analysis of preference and voting data, and on querying large evolving graphs. She holds M.S. and Ph.D. degrees in Computer Science from Columbia University, and a B.S. in Computer Science and in Mathematics & Statistics from the University of Massachusetts at Amherst.  She is a recipient of an NSF CAREER award and a Senior Member of the ACM.

Panel on ethical implications of AI

Panelists

Luke Stark, Faculty of Information and Media Studies, Western University

Luke Stark is an Assistant Professor in the Faculty of Information and Media Studies at Western University in London, ON. His work interrogating the historical, social, and ethical impacts of computing and AI technologies has appeared in journals including The Information Society, Social Studies of Science, and New Media & Society, and in popular venues like Slate, The Globe and Mail, and The Boston Globe. Luke was previously a Postdoctoral Researcher in AI ethics at Microsoft Research, and a Postdoctoral Fellow in Sociology at Dartmouth College; he holds a PhD from the Department of Media, Culture, and Communication at New York University, and a BA and MA from the University of Toronto.

Nidhi Hegde, Associate Professor in Computer Science and Amii [Alberta Machine Intelligence Institute] Fellow at the University of Alberta

Nidhi is a Fellow and Canada CIFAR [Canadian Institute for Advanced Research] AI Chair at Amii and an Associate Professor in the Department of Computing Science at the University of Alberta. Before joining UAlberta, she spent many years in industry research labs. Most recently, she was a Research team lead at Borealis AI (a research institute at Royal Bank of Canada), where her team worked on privacy-preserving methods for machine learning models and other applied problems for RBC. Prior to that, she spent many years in research labs in Europe working on a variety of interesting and impactful problems. She was a researcher at Bell Labs, Nokia, in France from January 2015 to March 2018, where she led a new team focussed on Maths and Algorithms for Machine Learning in Networks and Systems, in the Maths and Algorithms group of Bell Labs. She also spent a few years at the Technicolor Paris Research Lab working on social network analysis, smart grids, privacy, and recommendations. Nidhi is an associate editor of the IEEE/ACM Transactions on Networking, and an editor of the Elsevier Performance Evaluation Journal.

Karina Vold, Assistant Professor, Institute for the History and Philosophy of Science and Technology, University of Toronto

Dr. Karina Vold is an Assistant Professor at the Institute for the History and Philosophy of Science and Technology at the University of Toronto. She is also a Faculty Affiliate at the U of T Schwartz Reisman Institute for Technology and Society, a Faculty Associate at the U of T Centre for Ethics, and an Associate Fellow at the University of Cambridge’s Leverhulme Centre for the Future of Intelligence. Vold specialises in Philosophy of Cognitive Science and Philosophy of Artificial Intelligence, and her recent research has focused on human autonomy, cognitive enhancement, extended cognition, and the risks and ethics of AI.

Elissa Strome, Executive Director, Pan-Canadian Artificial Intelligence Strategy at CIFAR

Elissa is Executive Director, Pan-Canadian Artificial Intelligence Strategy at CIFAR, working with research leaders across the country to implement Canada’s national research strategy in AI.  Elissa completed her PhD in Neuroscience from the University of British Columbia in 2006. Following a post-doc at Lund University, in Sweden, she decided to pursue a career in research strategy, policy and leadership. In 2008, she joined the University of Toronto’s Office of the Vice-President, Research and Innovation and was Director of Strategic Initiatives from 2011 to 2015. In that role, she led a small team dedicated to advancing the University’s strategic research priorities, including international institutional research partnerships, the institutional strategy for prestigious national and international research awards, and the establishment of the SOSCIP [Southern Ontario Smart Computing Innovation Platform] research consortium in 2012. From 2015 to 2017, Elissa was Executive Director of SOSCIP, leading the 17-member industry-academic consortium through a major period of growth and expansion, and establishing SOSCIP as Ontario’s leading platform for collaborative research and development in data science and advanced computing.

Tutorial on AI and the Law

Prof. Maura R. Grossman, University of Waterloo, and

Hon. Paul W. Grimm, United States District Court for the District of Maryland

AI applications are becoming more and more ubiquitous in almost every field of endeavor, and the same is true as to the legal industry. This panel, consisting of an experienced lawyer and computer scientist, and a U.S. federal trial court judge, will discuss how AI is currently being used in the legal profession, what adoption has been like since the introduction of AI to law in about 2009, what legal and ethical issues AI applications have raised in the legal system, and how a sitting trial court judge approaches AI evidence, in particular, the determination of whether to admit that AI evidence or not, when they are a non-expert.

How is AI being used in the legal industry today?

What has the legal industry’s reaction been to legal AI applications?

What are some of the biggest legal and ethical issues implicated by legal and other AI applications?

How does a sitting trial court judge evaluate AI evidence when making a determination of whether to admit that AI evidence or not?

What considerations go into the trial judge’s decision?

What happens if the judge is not an expert in AI?  Do they recuse?

You may recognize the name, Julia Stoyanovich, as she was mentioned here in my March 23, 2022 posting titled, The “We are AI” series gives citizens a primer on AI, a series of peer-to-peer workshops aimed at introducing the basics of AI to the public. There’s also a comic book series associated with it and all of the materials are available for free. It’s all there in the posting.

Getting back to the Responsible AI activities webpage,, there’s one more activity and this seems a little less focused on experts,

Virtual Meet and Greet on Responsible AI across Canada

Given the many activities that are fortunately happening around the responsible and ethical aspects of AI here in Canada, we are organizing an event in conjunction with Canadian AI 2022 this year to become familiar with what everyone is doing and what activities they are engaged in.

It would be wonderful to have a unified community here in Canada around responsible AI so we can support each other and find ways to more effectively collaborate and synergize. We are aiming for a casual, discussion-oriented event rather than talks or formal presentations.

The meet and greet will be hosted by Ebrahim Bagheri, Eleni Stroulia and Graham Taylor. If you are interested in participating, please email Ebrahim Bagheri (bagheri@ryerson.ca).

Thank you to the co-chairs for getting the word out about the Responsible AI topic at the conference,

Responsible AI Co-chairs

Ebrahim Bagheri
Professor
Electrical, Computer, and Biomedical Engineering, Ryerson University
Website

Eleni Stroulia
Professor, Department of Computing Science
Acting Vice Dean, Faculty of Science
Director, AI4Society Signature Area
University of Alberta
Website

The organization which hosts these conference has an almost palindromic abbreviation, CAIAC for Canadian Artificial Intelligence Association (CAIA) or Association Intelligence Artificiel Canadien (AIAC). Yes, you do have to read it in English and French and the C at either end gets knocked depending on which language you’re using, which is why it’s almost.

The CAIAC is almost 50 years old (under various previous names) and has its website here.

*April 22, 2022 at 1400 hours PT removed ‘the’ from this section of the headline: “… from 30 May to 3 June, 2022.” and removed period from the end.

Data Meditation and three roundtables: a collection of Who Cares? March 2022 events

You can find out more about Toronto’s Art/Sci Salon’s Who Cares? speaker series in my February 9, 2022 posting. For this posting, I’m focusing on the upcoming March 2022 events, which are being offered online. From a March 7, 2022 Art/Sci Salon announcement (received via email),

We’re pleased to announce our next two events from our “Who Cares?” Speaker Series

Nous sommes heureux d’annoncer notre deuxième événement de notre “Who Cares?” Série de conferences

March 10 [2022], 2:00-3:00 pm [ET]

Data Meditation: Salvatore Iaconesi and Oriana Persico

HER – She Loves Data 

Nuovo Abitare

Join us for a discussion about questions like: 

Why does data have to be an extractive process?

What can we learn about ourselves through the data we generate everyday?

How can we use them as an expressive form to represent ourselves?

Data Meditations is the first ritual designed with the new approach of HER: She Loves Data, which addresses data as existential and cultural phenomena, and the need of creating experience (contemporary rituals) that allow societies and individuals to come together around data generating meaning, new forms of solidarity, empathy, interconnection and knowledge.

Rejoignez-nous pour une discussion basée sur des questions telles que : 

Pourquoi les données doivent-elles être un processus d’extraction ?

Que pouvons-nous apprendre par rapport à nous, grâce aux données que nous générons chaque jour ?

Comment pouvons-nous les utiliser comme une forme expressive pour nous représenter ?

Data Méditations est le premier rituel conçu avec la nouvelle approche de HER [elle] : She loves Data , qui parle des données en tant que phénomènes existentiels et culturels , mais également , la nécessité de créer des expériences [ rituels contemporains ] qui permettent aux sociétés et aux individus de se réunir autour de données générant du sens , de nouvelles formes de solidarité , empathie ,  d’interconnexion et de connaissance. 

Register HERE/Inscrivez-vous ici

[Beyond triage and data culture roundtable]

March 11, 5:00-7:00 pm [ET]

Maria Antonia Gonzalez-Valerio,
Professor of Philosophy and Literature, UNAM, Mexico City.
Sharmistha Mishra,
Infectious Disease Physician and Mathematical Modeller, St Michael’s Hospital
Madhur Anand,
Ecologist, School of Environmental Sciences, University of Guelph
Salvatore Iaconesi and Oriana Persico,
Independent Artists, HER, She Loves Data

One lesson we have learnt in the past two years is that the pandemic has not single-handedly created a global health crisis, but has exacerbated and made visible one that was already in progress. The roots of this crisis are as cultural as they are economic and environmental.  Among the factors contributing to the crisis is a dominant orientation towards healthcare that privileges a narrow focus on data-centered technological fixes and praises the potentials of technological delegation. An unsustainable system has culminated in the passive acceptance and even the cold justification of triage as an inevitable evil in a time of crisis and scarcity.

What transdisciplinary practices can help ameliorate the atomizing pitfalls of turning the patient into data?
How can discriminatory practices such as triage, exclusion based on race, gender, and class, vaccine hoarding etc.. be addressed and reversed?
What strategies can we devise to foster genuine transdisciplinary approaches and move beyond the silo effects of specialization, address current uncritical trends towards technological delegation, and restore the centrality of human relations in healthcare delivery?

L’une des leçons que nous avons apprises au cours des deux dernières années est que la pandémie n’a pas créé à elle seule une crise sanitaire mondiale, mais qu’elle en a exacerbé et rendu visible une qui était déjà en cours. Les racines de cette crise sont aussi bien culturelles qu’économiques et environnementales. Parmi les facteurs qui contribuent à la crise figure une orientation dominante en matière de soins de santé, qui privilégie une vision étroite des solutions technologiques centrées sur les données et fait l’éloge du potentiel de la délégation technologique. Un système non durable a abouti à l’acceptation passive et même à la justification froide du triage comme un mal inévitable en temps de crise et de pénurie.

Quelles pratiques transdisciplinaires peuvent contribuer à améliorer les pièges de l’atomisation qui consiste à transformer le patient en données ?
Comment les pratiques discriminatoires telles que le triage, l’exclusion fondée sur la race, le sexe et la classe sociale, la thésaurisation des vaccins, etc. peuvent-elles être abordées et inversées ?
Quelles stratégies pouvons-nous concevoir pour favoriser de véritables approches transdisciplinaires et dépasser les effets de silo de la spécialisation, pour faire face aux tendances actuelles non critiques à la délégation technologique, et pour restaurer la centralité des relations humaines dans la prestation des soins de santé ?

Register HERE/Inscrivez-vous ici

We wish to thank/ nous [sic] the generous support of the Social Science and Humanities Research Council of Canada, New College at the University of Toronto and The Faculty of Liberal Arts and Professional Studies at York University; the Centre for Feminist Research, Sensorium Centre for Digital Arts and Technology, The Canadian Language Museum, the Departments of English and the School of Gender and Women’s Studies at York University; the D.G. Ivey Library and the Institute for the History and Philosophy of Science and Technology at the University of Toronto; We also wish to thank the support of The Fields Institute for Research in Mathematical Sciences

There are two more online March 2022 roundtable discussions, from the Who Cares? events webpage,

2. Friday, March 18 – 6:00 to 8:00 pm [ET]
Critical care and sustainable care

Suvendrini Lena, MD, Playwright and Neurologist at CAMH and Centre for Headache, Women’s College Hospital, Toronto
Adriana Ieraci, Roboticist and PhD candidate in Computer Science, Ryerson University
Lucia Gagliese – Pain Aging Lab, York University

(online)

3. Friday, March 25 – 5:00 to 7:00 pm [ET]
Building communities and technologies of care

Camille Baker, University for the Creative Arts, School of Film media and Performing Arts
Alanna Kibbe, independent artist, Toronto

(online)

There will also be some events in April 2022 and there are two ongoing exhibitions, which you can see here.

Who Cares? a series of Art/Sci Salon talks and exhibitions in February and March 2022

COVID-19 has put health care workers in a more than usually interesting position and the Art/Sci Salon in Toronto, Canada is ‘creatively’ addressing the old, new, and emerging stresses. From the Who Cares? events webpage (also in a February 8, 2022 notice received via email),

“Who Cares?” is a Speaker Series dedicated to fostering transdisciplinary conversations between doctors, writers, artists, and researchers on contemporary biopolitics of care and the urgent need to move towards more respectful, creative, and inclusive social practices of care in the wake of the systemic cracks made obvious by the pandemic.

About the Series

Critiques of the health care sector are certainly not new and have been put forward by workers and researchers in the medical sector and in the humanities alike. However, critique alone fails to consider the systemic issues that prevent well-meaning practitioners to make a difference. The goal of this series is to activate practical conversations between people who are already engaged in transforming the infrastructures and cultures of care but have few opportunities to speak to each other. These interdisciplinary dialogues will enable the sharing of emerging epistemologies, new material approaches and pedagogies that could take us beyond the current crisis. By engaging with the arts as research, our guests use the generative insights of poetic and artistic practices to zoom in on the crucial issues undermining holistic, dynamic and socially responsible forms of care. Furthermore, they champion transdisciplinary dialogues and multipronged approaches directed at changing the material and discursive practices of care. 

Who cares? asks the following important questions:

How do we lay the groundwork for sustainable practices of care, that is, care beyond ‘just-in-time’ interventions?

What strategies can we devise to foster genuine transdisciplinary approaches that move beyond the silo effects of specialization, address current uncritical trends towards technological delegation, and restore the centrality responsive/responsible human relations in healthcare delivery?

What practices can help ameliorate the atomizing pitfalls of turning the patient into data?

What pathways can we design to re-direct attention to long lasting care focused on a deeper understanding of the manifold relationalities between doctors, patients, communities, and the socio-environmental context?

How can the critically creative explorations of artists and writers contribute to building resilient communities of care that cultivate reciprocity, respect for the unpredictable temporalities of healing, and active listening?

How to build a capacious infrastructure of care able to address and mend the damages caused by ideologies of ultimate cure that pervade corporate approaches to healthcare funding and delivery?

The first event starts on February 14, 2022 (from the On care, beauty, and Where Things Touch webpage),

On care, beauty, and Where Things Touch

Bahar Orang (University of Toronto, Psychiatry)

Feb. 14 [2022], 10:30 am – 12-30 pm [ET]

This event will be online, please register HERE to participate. After registering, you will receive a confirmation email containing information about joining the meeting. 

A Conversation with Bahar Orang, author of Where Things Touch, on staying attuned to the fragile intimacies of care beyond the stifling demands of institutional environments. 

This short presentation will ask questions about care that move it beyond the carceral logics of hospital settings, particularly in psychiatry. Drawing from questions raised in my first book Where Things Touch, and my work with Doctors for Defunding Police (DFDP), I hope to pose the question of how to do the work of health care differently. As the pandemic has laid bare so much violence, it becomes imperative to engage in forms of political imaginativeness that proactively ask what are the forms that care can take, and does already take, in places other than the clinic or the hospital? 

Bahar Orang is a writer and clinician scholar in the Department of Psychiatry at the University of Toronto. Her creative and clinical work seeks to engage with ways of imagining care beyond the carcerality that medical institutions routinely reproduce

Here’s the full programme from the Who Cares? events webpage,

Opening dialogue
February 14, 10:30-12:30 pm [ET]
On care, beauty, and Where Things Touch

Bahar Orang, University of Toronto, Psychiatry

( Online)

Keynote
Thursday March 10, 1:00-3:00 pm [ET]
Keynote and public reveal of Data meditation

Salvatore Iaconesi and Oriana Persico
independent artists, HER, She Loves Data

(Online)

Roundtables
1. Friday, March 11 – 5:00 to 7:00 pm [ET]
Beyond triage and data culture

Maria Antonia Gonzalez-Valerio, Professor of Philosophy and Literature, UNAM, Mexico City.
Sharmistha Mishra, Infectious Disease Physician and Mathematical Modeller, St Michael’s Hospital
Madhur Anand, Ecologist, School of Environmental Sciences, University of Guelph
Salvatore Iaconesi and Oriana Persico, independent artists, HER, She Loves Data

(Online)

2. Friday, March 18 – 6:00 to 8:00 pm [ET]
Critical care and sustainable care

Suvendrini Lena, MD, Playwright and Neurologist at CAMH and Centre for Headache, Women’s College Hospital, Toronto
Adriana Ieraci, Roboticist and PhD candidate in Computer Science, Ryerson University
Lucia Gagliese – Pain Aging Lab, York University

(online)

3. Friday, March 25 – 5:00 to 7:00 pm [ET]
Building communities and technologies of care

Camille Baker, University for the Creative Arts, School of Film media and Performing Arts
Alanna Kibbe, independent artist, Toronto

(online)

Keynote Conversation
Friday, April 1, 5:00-7:00 pm [ET]
Seema Yasmin,  Director of Research and Education, Stanford Health Communication Initiative [Stanford University]
Bayo Akomolafe,  Chief Curator of The Emergence Network

(hybrid) William Doo Auditorium, 45 Willcox Street, Toronto

Exhibitions
March 24 – April 30

Alanna Kibbe – TRANSFORM: Exploring Languages of Healing. Opening March 31, 5 pm 
Canadian Language Museum, 2275 Bayview Avenue, York University Glendon Campus

(Hybrid event. Limited in person visits by appointment)

Camille Baker INTER/her. Opening April 7, 4 pm [ET]
Ivey Library, 20 Willcox Street, New College, University of Toronto

(Hybrid event. Limited in person visits by appointment)

Closing Presentation and Interactive Session
Karolina Żyniewicz – Signs of the time, Collecting
Biological Traces and Memories

Artist talk: April 8, 4:00-6:00 [ET]
Memory Collection: Apr 9, 2:00-4:00

* The format of this program and access might change with the medical situation

We wish to thank the generous support of the Social Science and Humanities Research Council of Canada,  New College, the D.G. Ivey Library, and the Institute for the History and Philosophy of Science and Technology at the University of Toronto; the Centre for Feminist Research, Sensorium Centre for Digital Arts and Technology, The Canadian Language Museum, the Departments of English and the School of Gender and Women’s Studies at York University. We also wish to thank the support of The Fields Institute for Research in Mathematical Sciences

This series is co-produced in collaboration with the ArtSci Salon

Hopefully, one of those times works for you.

Online symposium (April 27 – 28, 2021) on Canada’s first federal budget in two years

The Canadian federal budget is due to be announced/revealed on April 19, 2021—the first budget we’ve seen since 2019.

The Canadian Science Policy Centre (CSPC)is hosting an April 27 -28, 2021 symposium online and the main focus will be on science and funding. Before moving onto the symposium details, I think a quick refresher is in order.

No oversight, WE Charity scandal

While the Liberal government has done much which is laudable by supporting people and businesses through this worldwide COVID-19 pandemic, there have been at least two notable missteps with regard to fiscal responsibility. This March 24, 2020 article in The Abbotsford News outlines the problem,

Conservative Finance critic Pierre Poilievre says there’s no deal yet between the Liberal government and Opposition over a proposed emergency aid bill to spend billions of dollars to fight the COVID-19 pandemic and cushion some of its damage to the economy.

The opposition parties had said they would back the $82 billion in direct spending and deferred taxes Prime Minister Justin Trudeau promised to put up to prepare the country for mass illness and help Canadians cope with lost jobs and wages.

Yet a draft of the bill circulated Monday suggested it was going to give cabinet, not MPs, extraordinary power over taxes and spending, so ministers could act without Parliament’s approval for months.

The Conservatives will support every one of the aid measures contained in bill with no debate, Poilievre said. The only issue is whether the government needs to be given never before seen powers to tax and spend. [emphasis mine]

When there’s a minority government like the one Trudeau leads, the chance to bring the government down on a spending bill is what gives the opposition its power.

The government did not receive that approval in Parliament—but they tried. That was in March 2020; a few weeks later, there’s this (from the WE Charity scandal entry on Wikipedia),, Note: Links have been removed

On April 5, 2020 amidst the COVID-19 Pandemic, the Prime Minister of Canada, Justin Trudeau, and his then-Finance Minister Bill Morneau, held a telephone conversation discussing measures to financially assist the country’s student population.[14] The Finance Department was tasked with devising a series of measures to address these issues. This would begin a chain of events involving numerous governmental agencies.

Through a no-bid selection process [emphasis mine], WE Charity was chosen to administer the CSSG [Canada Student Service Grant], which would have created grants for students who volunteered during the COVID-19 pandemic.[15][13] The contract agreement was signed with WE Charity Foundation,[16] a corporation affiliated with WE Charity, on June 23, 2020. It was agreed that WE Charity, which had already begun incurring eligible expenses for the project on May 5 at their own risk,[17][18] would be paid $43.53 million[19] to administer the program; $30 million of which was paid to WE Charity Foundation on June 30, 2020.[18] This was later fully refunded.[17] A senior bureaucrat would note that “ESDC thinks that ‘WE’ might be able to be the volunteer matching third party … The mission of WE is congruent with national service and they have a massive following on social media.”[20]

Concurrent to these events, and prior to the announcement of the CSSG on June 25, 2020, WE Charity was simultaneously corresponding with the same government agencies ultimately responsible for choosing the administrator of the program.[8] WE Charity would submit numerous proposals in April, beginning on April 9, 2020, on the topic of youth volunteer award programs.[9] These were able to be reformed into what became the CSSG.[8]

On June 25, 2020 Justin Trudeau announced a series of relief measures for students. Among them was the Canada Student Service Grant program; whereby students would be eligible to receive $1000 for every 100 hours of volunteer activities, up to $5,000.[21]

The structure of the program, and the selection of WE Charity as its administrator, immediately triggered condemnation amongst the Official Opposition,[22] as well as numerous other groups, such as the Public Service Alliance of Canada,[7] Democracy Watch,[23] and Volunteer Canada[24] who argued that WE Charity:

  • Was not the only possible administrator as had been claimed
  • Had been the beneficiary of cronyism
  • Had experienced significant disruption due to the COVID-19 pandemic and required a bailout
  • Had illegally lobbied the government
  • Was unable to operate in French-speaking regions of Canada
  • Was potentially in violation of labour laws
  • Had created hundreds of volunteer positions with WE Charity itself as part of the program, doing work generally conducted by paid employees, representing a conflict of interests. …

In a July 13, 2020 article about the scandal on BBC (British Broadcasting Corporation) online, it’s noted that Trudeau was about to undergo his third ethics inquiry since first becoming Prime Minister in 2015. His first ethics inquiry took place in 2017, the second in 2019, and again in 2020.

None of this has anything to do with science funding (as far as I know) but it does set the stage for questions about how science funding is determined and who will be getting it. There are already systems in place for science funding through various agencies but the federal budget often sets special priorities such as the 2017 Pan-Canadian Artificial Intelligence Strategy with its attendant $125M. As well,Prime Minister Justin Trudeau likes to use science as a means of enhancing his appeal. See my March 16, 2018 posting for a sample of this, scroll down to the “Sunny ways: a discussion between Justin Trudeau and Bill Nye” subhead.

Federal Budget 2021 Symposium

From the CSPC’s Federal Budget 2021 Symposium event page, Note: Minor changes have been made due to my formatting skills, or lack thereof,

Keynote talk by David Watters entitled: “Canada’s Performance in R&D and Innovation Ecosystem in the Context of Health and Economic Impact of COVID-19 and Investments in the Budget“ [sic]

Tentative Event Schedule

Tuesday April 27
12:00 – 4:30 pm EDT

12:00 – 1:00 Session I: Keynote Address: The Impact of Budget 2021 on the Performance of Canada’s National R&D/Innovation Ecosystem 

David Watters, President & CEO, Global Advantage Consulting

1:15 – 1:45 Session II: Critical Analysis 

Robert Asselin, Senior Vice President, Policy, Business Council of Canada
Irene Sterian, Founder, President & CEO, REMAP (Refined Manufacturing Acceleration Process); Director, Technology & Innovation, Celestica
David Wolfe, Professor of Political Science, UTM [University of Toronto Mississauga], Innovation Policy Lab, Munk School of Global Affairs and Public Policy

2:00 – 3:00 Session III: Superclusters 

Bill Greuel, CEO, Protein Industries Canada
Kendra MacDonald, CEO, Canada’s Ocean Supercluster
Angela Mondou, President & CEO, TECHNATION
Jayson Myers, CEO, Next Generation Manufacturing Canada (NGen)

3:30 – 4:30 Session IV: Business & Industry 3:30 – 4:30

Namir Anani, President & CEO, Information and Communications Technology Council [ICTC]
Karl Blackburn, President & CEO, Conseil du patronat du Québec
Tabatha Bull, President & CEO, Canadian Council for Aboriginal Business [CCAB]
Karen Churchill, President & CEO, Ag-West Bio Inc.
Karimah Es Sabar, CEO & Partner of Quark Venture LP; Chair, Health/Biosciences Economic Strategy Table

Wednesday April 28
2:00 – 4:30 pm EDT

2:00 – 3:00 Session V: Universities and Colleges

Steven Liss, Vice-President, Research and Innovation & Professor of Chemistry and Biology, Faculty of Science, Ryerson University
Madison Rilling, Project Manager, Optonique, Québec’s Optics & Photonics Cluster; Youth Council Member, Office of the Chief Science Advisor of Canada

3:30 – 4:30 Session VI: Non-Governmental Organizations 

Genesa M. Greening, President & CEO, BC Women’s Health Foundation
Maya Roy, CEO, YWCA Canada
Gisèle Yasmeen, Executive Director, Food Secure Canada
Jayson Myers, CEO, Next Generation Manufacturing Canada (NGen)

Register Here

Enjoy!

PS: I expect the guests at the Canadian Science Policy Centre’s (CSPC) April 27 – 28, 2021 Federal Budget Symposium to offer at least some commentary that boils down to ‘we love getting more money’ or ‘we’re not getting enough money’ or a bit of both.

I also expect the usual moaning over our failure to support industrial research and/or home grown companies E.g., Element AI (Canadian artificial intelligence company formerly headquartered in Montréal) was sold to a US company in November 2020 (see the Wikipedia entry). The US company doesn’t seem to have kept any of the employees but it seems to have acquired the intellectual property.

How do viruses and physics go together? Find out at a Nov. 4, 2020 Perimeter Institute (PI) virtual lecture

I got this announcement from an Oct. 29, 2020 Perimeter Institute (PI) Emmy Noether newsletter (received via email),

Catherne Beauchemin

A Physicist’s Adventures in Virology WEDNESDAY, NOVEMBER 4 at 7 pm ET [4 pm PT]

In recent years, there has been a rise in cynicism about many traditionally well-respected institutions – science, academia, news reporting, and even the concepts of experts and expertise more generally. Many people’s primary – or only – exposure to science is through biological or health science, especially during the COVID-19 pandemic.

In health research, rising cynicism has spawned the anti-vaccine movement, and a growing reliance on advice from peer networks rather than experts. In part, such movements are fuelled by several examples of provably false, so-called “scientific results,” coming about either through fraud or incompetence. While skepticism is crucial to science, cynicism rooted in a lack of trust can devalue scientific contributions.

In her lecture webcast, physicist Catherine Beauchemin will explore the erosion of trust in health research, presenting examples from influenza and COVID-19. …

I went to the A Physicist’s Adventures in Virology event and livestrream page to find this,

Two essential ingredients of the scientific method are skepticism and independent confirmation – the ability to glean for oneself whether an established theory or a new hypothesis is true or false. But not everyone has the capacity to perform the experiments to obtain such a confirmation.

Consider, for example, the costs of constructing your own Large Hadron Collider, or your ability as a non-expert to critically read and understand a scientific publication. In practice, acceptance of scientific theories is more often based on trust than on independent confirmation. When that trust is eroded, issues emerge.

Catherine Beauchemin is a Professor of Physics at Ryerson University and a Deputy Program Director in the RIKEN Interdisciplinary Theoretical and Mathematical Sciences Program in Japan. For the last 18 years, she has been developing mathematical and computational descriptions of how viruses spread from cell to cell, a field she calls “virophysics.”

In her November 4 [2020] Perimeter Public Lecture webcast, Beauchemin will highlight some of the issues that have eroded trust in health research, presenting examples from influenza and COVID-19. She will show why she believes many of these issues have their root in the fact that hypotheses in health research are formulated as words rather than mathematical expressions – and why a dose of physics may be just the prescription we need.

Enjoy!

Toronto’s ArtSci Salon and its Kaleidoscopic Imaginations on Oct 27, 2020 – 7:30 pm (EDT)

The ArtSci Salon is getting quite active these days. Here’s the latest from an Oct. 22, 2020 ArtSci Salon announcement (received via email), which can also be viewed on their Kaleidoscope event page,

Kaleidoscopic Imaginations

Performing togetherness in empty spaces

An experimental  collaboration between the ArtSci Salon, the Digital Dramaturgy Lab_squared/ DDL2 and Sensorium: Centre for Digital Arts and Technology, York University (Toronto, Ontario, Canada)

Tuesday, October 27, 2020

7:30 pm [EDT]

Join our evening of live-streamed, multi-media  performances, following a kaleidoscopic dramaturgy of complexity discourses as inspired by computational complexity theory gatherings.

We are presenting installations, site-specific artistic interventions and media experiments, featuring networked audio and video, dance and performances as we repopulate spaces – The Fields Institute and surroundings – forced to lie empty due to the pandemic. Respecting physical distance and new sanitation and safety rules can be challenging, but it can also open up new ideas and opportunities.

NOTE: DDL2  contributions to this event are sourced or inspired by their recent kaleidoscopic performance “Rattling the the Curve – Paradoxical ECODATA performances of A/I (artistic intelligence), and facial recognition of humans and trees

Virtual space/live streaming concept and design: DDL2  Antje Budde, Karyn McCallum and Don Sinclair

Virtual space and streaming pilot: Don Sinclair

Here are specific programme details (from the announcement),

  1. Signing the Virus – Video (2 min.)
    Collaborators: DDL2 Antje Budde, Felipe Cervera, Grace Whiskin
  2. Niimi II – – Performance and outdoor video projection (15 min.)
    (Nimii means in Anishinaabemowin: s/he dances) Collaborators: DDL2 Candy Blair, Antje Budde, Jill Carter, Lars Crosby, Nina Czegledy, Dave Kemp
  3. Oracle Jane (Scene 2) – A partial playreading on the politics of AI (30 min.)
    Playwright: DDL2 Oracle Collaborators: DDL2 Antje Budde, Frans Robinow, George Bwannika Seremba, Amy Wong and AI ethics consultant Vicki Zhang
  4. Vriksha/Tree – Dance video and outdoor projection (8 min.)
    Collaborators: DDL2 Antje Budde, Lars Crosby, Astad Deboo, Dave Kemp, Amit Kumar
  5. Facial Recognition – Performing a Plate Camera from a Distance (3 min.)
    Collaborators: DDL2 Antje Budde, Jill Carter, Felipe Cervera, Nina Czegledy, Karyn McCallum, Lars Crosby, Martin Kulinna, Montgomery C. Martin, George Bwanika Seremba, Don Sinclair, Heike Sommer
  6. Cutting Edge – Growing Data (6 min.)
    DDL2 A performance by Antje Budde
  7. “void * ambience” – Architectural and instrumental acoustics, projection mapping Concept: Sensorium: The Centre for Digital Art and Technology, York University Collaborators: Michael Palumbo, Ilze Briede [Kavi], Debashis Sinha, Joel Ong

This performance is part of a series (from the announcement),

These three performances are part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic] Institute for Research in Mathematical Science. Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states. Our goal is to cross these boundaries by proposing new narratives to show how the distinctions, and the barriers that science, technology, society and the state have created can in fact be re-interpreted as porous and woven together.

This event is curated and produced by ArtSci Salon; Digital Dramaturgy Lab_squared/ DDL2; Sensorium: Centre for Digital Arts and Technology, York University; and Ryerson University; it is supported by The Fields Institute for Research in Mathematical Sciences

Streaming Link 

Finally, the announcement includes biographical information about all of the ‘boundary-crossers’,

Candy Blair (Tkaron:to/Toronto)
Candy Blair/Otsίkh:èta (they/them) is a mixed First Nations/European,
2-spirit interdisciplinary visual and performing artist from Tio’tía:ke – where the group split (“Montreal”) in Québec.

While continuing their work as an artist they also finished their Creative Arts, Literature, and Languages program at Marianopolis College (cégep), their 1st year in the Theatre program at York University, and their 3rd year Acting Conservatory Program at the Centre For Indigenous Theatre in Tsí Tkaròn:to – Where the trees stand in water (Toronto”).

Some of Candy’s noteable performances are Jill Carter’s Encounters at the Edge of the Woods, exploring a range of issues with colonization; Ange Loft’s project Talking Treaties, discussing the treaties of the “Toronto” purchase; Cheri Maracle’s The Story of Six Nations, exploring Six Nation’s origin story through dance/combat choreography, and several other performances, exploring various topics around Indigenous language, land, and cultural restoration through various mediums such as dance,
modelling, painting, theatre, directing, song, etc. As an activist and soon to be entrepreneur, Candy also enjoys teaching workshops around promoting Indigenous resurgence such as Indigenous hand drumming, food sovereignty, beading, medicine knowledge, etc..

Working with their collectives like Weave and Mend, they were responsible for the design, land purification, and installation process of the four medicine plots and a community space with their 3 other members. Candy aspires to continue exploring ways of decolonization through healthy traditional practices from their mixed background and the arts in the hopes of eventually supporting Indigenous relations
worldwide.

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.

Roberta Buiani
Roberta Buiani (MA; PhD York University) is the 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 centres and galleries (the Free Gallery Toronto; Immigrant Movement
International, Queens, Myseum of Toronto), and science institutions (RPI; the Fields Institute). Her writing has appeared on Space and Culture, Cultural Studies and The Canadian Journal of Communication_among others. With the ArtSci Salon she has launched a series of experiments in “squatting academia”, by re-populating abandoned spaces and cabinets across university campuses with SciArt installations.

Currently, 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 [Toronto, Ontario, Canada].

Jill Carter (Tkaron:to/ Toronto)
Jill (Anishinaabe/Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto. She works with many members of Tkaron:to’s Indigenous theatre community to support the development of new works and to disseminate artistic objectives, process, and outcomes through community- driven research projects. Her scholarly research,
creative projects, and activism are built upon ongoing relationships with Indigenous Elders, Artists and Activists, positioning her as witness to, participant in, and disseminator of oral histories that speak to the application of Indigenous aesthetic principles and traditional knowledge systems to contemporary performance.The research questions she pursues revolve around the mechanics of story creation,
the processes of delivery and the manufacture of affect.

More recently, she has concentrated upon Indigenous pedagogical models for the rehearsal studio and the lecture hall; the application of Indigenous [insurgent] research methods within performance studies; the politics of land acknowledgements; and land – based dramaturgies/activations/interventions.

Jill also works as a researcher and tour guide with First Story Toronto; facilitates Land Acknowledgement, Devising, and Land-based Dramaturgy Workshops for theatre makers in this city; and performs with the Talking Treaties Collective (Jumblies Theatre, Toronto).

In September 2019, Jill directed Encounters at the Edge of the Woods. This was a devised show, featuring Indigenous and Settler voices, and it opened Hart House Theatre’s 100th season; it is the first instance of Indigenous presence on Hart House Theatre’s stage in its 100 years of existence as the cradle for Canadian theatre.

Nina Czegledy
(Toronto) 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, lead and participated in workshops, forums and festivals worldwide at international events.

Astad Deboo (Mumbai, India)
Astad Deboo is a contemporary dancer and choreographer who employs his
training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him. He has become a pioneer of modern dance in India. Astad describes his style as “contemporary in vocabulary and traditional in restraints.” Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alis on Becker Chase and Pink Floyd and performed in many parts of the world. He has been awarded the Sangeet Natak Akademi Award (1996) and Padma Shri (2007), awarded by the Government of India. In January 2005 along with 12 young women with hearing impairment supported by the Astad Deboo Dance Foundation, he performed at the 20th Annual Deaf Olympics at Melbourne, Australia. Astad has a long record of working with disadvantaged youth.

Ilze Briede [Kavi]
Ilze Briede [artist name: Kavi] is a Latvian/Canadian artist and researcher with broad and diverse interests. Her artistic practice, a hybrid of video, image and object making, investigates the phenomenon of perception and the constraints and boundaries between the senses and knowing. Kavi is currently pursuing a PhD degree in Digital Media at York University with a research focus on computational creativity and generative art. She sees computer-generated systems and algorithms as a potentiality for co-creation and collaboration between human and machine. Kavi has previously worked and exhibited with Fashion Art Toronto, Kensington Market Art Fair, Toronto Burlesque Festival, Nuit Blanche, Sidewalk Toronto and the Toronto Symphony Orchestra.

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.

Stephen Morris
Stephen Morris is Professor of experimental non-linear Physics in the faculty of Physics at the University of Toronto. He is the scientific Director of the ArtSci salon at the Fields Institute for Research in Mathematical Sciences. He often collaborates with artists and has himself performed and produced art involving his own scientific instruments and experiments in non-linear physics and pattern formation

Michael Palumbo
Michael Palumbo (MA, BFA) is an electroacoustic music improviser, coder, and researcher. His PhD research spans distributed creativity and version control systems, and is expressed through “git show”, a distributed electroacoustic music composition and design experiment, and “Mischmasch”, a collaborative modular synthesizer in virtual reality. He studies with Dr. Doug Van Nort as a researcher in the Distributed
Performance and Sensorial Immersion Lab, and Dr. Graham Wakefield at the Alice Lab for Computational Worldmaking. His works have been presented internationally, including at ISEA, AES, NIME, Expo ’74, TIES, and the Network Music Festival. He performs regularly with a modular synthesizer, runs the Exit Points electroacoustic improvisation series, and is an enthusiastic gardener and yoga practitioner.

Joel Ong (PhD. Digital Arts and Experimental Media (DXARTS, University
of Washington)

Joel Ong is a media artist whose works connect scientific and artistic approaches to the environment, particularly with respect to sound and physical space.  Professor Ong’s work explores the way objects and spaces can function as repositories of ‘frozen sound’, and in elucidating these, he is interested in creating what systems theorist Jack Burnham (1968) refers to as “art (that) does not reside in material entities, but in relations between people and between people and the components of their environment”.

A serial collaborator, Professor Ong is invested in the broader scope of Art-Science collaborations and is engaged constantly in the discourses and processes that facilitate viewing these two polemical disciplines on similar ground.  His graduate interdisciplinary work in nanotechnology and sound was conducted at SymbioticA, the Center of Excellence for Biological Arts at the University of Western Australia and supervised by BioArt pioneers and TCA (The Tissue Culture and Art Project) artists Dr Ionat Zurr and Oron Catts.

George Bwanika Seremba
George Bwanika Seremba,is an actor, playwright and scholar. He was born
in Uganda. George holds an M. Phil, and a Ph.D. in Theatre Studies, from Trinity
College Dublin. In 1980, having barely survived a botched execution by the Military Intelligence, he fled into exile, resettling in Canada (1983). He has performed in numerous plays including in his own, “Come Good Rain”, which was awarded a Dora award (1993). In addition, he published a number of edited play collections including “Beyond the pale: dramatic writing from First Nations writers & writers of colour” co-edited by Yvette Nolan, Betty Quan, George Bwanika Seremba. (1996).

George was nominated for the Irish Times’ Best Actor award in Dublin’s Calypso Theatre’s for his role in Athol Fugard’s “Master Harold and the boys”. In addition to theatre he performed in several movies and on television. His doctoral thesis (2008) entitled “Robert Serumaga and the Golden Age of Uganda’s Theatre (1968-1978): (Solipsism, Activism, Innovation)” will be published as a monograph by CSP (U.K) in 2021.

Don Sinclair (Toronto)
Don is Associate Professor in the Department of Computational Arts at York University. His creative research areas include interactive performance, projections for dance, sound art, web and data art, cycling art, sustainability, and choral singing most often using code and programming. Don is particularly interested in processes of artistic creation that integrate digital creative coding-based practices with performance in dance and theatre. As well, he is an enthusiastic cyclist.

Debashis Sinha
Driven by a deep commitment to the primacy of sound in creative expression, Debashis Sinha has realized projects in radiophonic art, music, sound art, audiovisual performance, theatre, dance, and music across Canada and internationally. Sound design and composition credits include numerous works for Peggy Baker Dance Projects and productions with Canada’s premiere theatre companies including The Stratford Festival, Soulpepper, Volcano Theatre, Young People’s Theatre, Project Humanity, The Theatre Centre, Nightwood Theatre, Why Not Theatre, MTC Warehouse and Necessary Angel. His live sound practice on the concert stage has led to appearances at MUTEK Montreal, MUTEK Japan, the Guelph Jazz Festival, the Banff Centre, The Music Gallery, and other venues. Sinha teaches sound design at York University and the National Theatre School, and is currently working on a multi-part audio/performance work incorporating machine learning and AI funded by the Canada Council for the Arts.

Vicki (Jingjing) Zhang (Toronto)
Vicki Zhang is a faculty member at University of Toronto’s statistics department. She is the author of Uncalculated Risks (Canadian Scholar’s Press, 2014). She is also a playwright, whose plays have been produced or stage read in various festivals and venues in Canada including Toronto’s New Ideas Festival, Winnipeg’s FemFest, Hamilton Fringe Festival, Ergo Pink Fest, InspiraTO festival, Toronto’s Festival of Original Theatre (FOOT), Asper Center for Theatre and Film, Canadian Museum for Human Rights, Cultural Pluralism in the Arts Movement Ontario (CPAMO), and the Canadian Play Thing. She has also written essays and short fiction for Rookie Magazine and Thread.

If you can’t attend this Oct. 27, 2020 event, there’s still the Oct. 29, 2020 Boundary-Crossings event: Beauty Kit (see my Oct. 12, 2020 posting for more).

As for Kaleidoscopic Imaginations, you can access the Streaming Link On Oct. 27, 2020 at 7:30 pm EDT (4 pm PDT).

Baroness Elsa von Freytag-Loringhoven, Marcel Duchamp, and the Fountain

There is a controversy over one of the important pieces (it’s considered foundational) of modern art, “Fountain.” (ETA April 29, 2020: If you have time, please take a look at a rejoinder in the comments, which includes links to material debunking the theory that follows.)

The original Fountain by Marcel Duchamp photographed by Alfred Stieglitz at the 291 (Art Gallery) after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The entry tag is clearly visible. [downloaded from https://en.wikipedia.org/wiki/Fountain_%28Duchamp%29

Elsa von Freytag-Loringhoven the real artist behind the ‘Fountain’

According to Theo Paijmans in his June 2018 article (abstract) on See All This, the correct attribution is not Marcel Duchamp,

In 1917, when the United States was about to enter the First World War and women in the United Kingdom had just earned their right to vote, a different matter occupied the sentiments of the small, modernist art scene in New York. It had organised an exhibit where anyone could show his or her art against a small fee, but someone had sent in a urinal for display. This was against even the most avant-garde taste of the organisers of the exhibit. The urinal, sent in anonymously, without title and only signed with the enigmatic ‘R. Mutt’, quickly vanished from view. Only one photo of the urinal remains.

Theo Paijmans, June 2018

In 1935 famous surrealist artist André Breton attributed the urinal to Marcel Duchamp. Out of this grew the consensus that Duchamp was its creator. Over time Duchamp commissioned a number of replicas of the urinal that now had a name: Fountain – coined by a reviewer who briefly visited the exhibit in 1917. The original urinal had since long disappeared. In all probability it had been unceremoniously dumped on the trash heap, but ironically it was destined to become one of the most iconic works of modern art. In 2004, some five hundred artists and art experts heralded Fountain as the most influential piece of modern art, even leaving Picasso’s Les Demoiselles d’Avignon behind. Once again it cemented the reputation of Duchamp as one of the towering geniuses in the history of modern art.

But then things took a turn

Portrait of Elsa von Freytag-Loringhoven

In 1982 a letter written by Duchamp came to light. Dated 11 April 1917, it was written just a few days after that fateful exhibit. It contains one sentence that should have sent shockwaves through the world of modern art: it reveals the true creator behind Fountain – but it was not Duchamp. Instead he wrote that a female friend using a male alias had sent it in for the New York exhibition. Suddenly a few other things began to make sense. Over time Duchamp had told two different stories of how he had created Fountain, but both turned out to be untrue. An art historian who knew Duchamp admitted that he had never asked him about Fountain, he had published a standard-work on Fountain nevertheless. The place from where Fountain was sent raised more questions. That place was Philadelphia, but Duchamp had been living in New York.

Female friend

Who was living in Philadelphia? Who was this ‘female friend’ that had sent the urinal using a pseudonym that Duchamp mentions? That woman was, as Duchamp wrote, the future. Art history knows her as Elsa von Freytag-Loringhoven. She was a brilliant pioneering New York dada artist, and Duchamp knew her well. This glaring truth has been known for some time in the art world, but each time it has to be acknowledged, it is met with indifference and silence.

You have to pay to read the rest but See All This does include a video with the abstract for the article,

You may want to know one other thing, the magazine appears to be available only in Dutch. Taking that into account, here’s a link to the magazine along with some details about the experts who consulted with Paijmans,

This is an abstract from the Dutch article ‘Het urinoir is niet van Duchamp’ that is published in See All This art magazine’s summer issue. For his research, the author interviewed Irene Gammel (biographer of Elsa von Freytag-Loringhoven and professor at the Ryerson University in Toronto), Glyn Thompson (art historian, curator and writer), Julian Spalding (art critic and former director of Glasgow museums and galleries), and John Higgs (cultural historian and journalist).

The [2018] summer issue of See All This magazine is dedicated to 99 genius women in the art world, to celebrate the voice of women and the 100th anniversary of women’s right to vote in the Netherlands in 2019. Buy this issue online.

It’s certainly a provocative thesis and it seems there’s a fair degree of evidence to support it. Although there is an alternative attribution, also female. From the Baroness Elsa von Freytag-Loringhoven Wikipedia entry (Note: Links have been removed),

In a letter written by Marcel Duchamp to his sister Suzanne dated April 11, 1917 he refers to his famous ready-made, Fountain (1917) and states: “One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture.”[33] Some have claimed that the friend in question was the Baroness, but Francis Naumann, the New York-based critic and expert on Dada who put together a compilation of Duchamp’s letters and organized Making Mischief: Dada Invades New York for the Whitney Museum of American Art in 1997, explains this “female friend” is Louise Norton who contributed an essay to The Blind Man discussing Fountain. Norton was living at 110 West 88th Street in New York City and this address is partially discernible (along with “Richard Mutt”) on the paper entry ticket attached to the object, as seen in Stieglitz’s photograph of Fountain.[emphases mine]

Or is it Louise Norton?

The “Fountain” Wikipedia entry does not clarify matters (Note: Links have been removed),

Marcel Duchamp arrived in the United States less than two years prior to the creation of Fountain and had become involved with Dada, an anti-rational, anti-art cultural movement, in New York City. According to one version, the creation of Fountain began when, accompanied by artist Joseph Stella and art collector Walter Arensberg, he purchased a standard Bedfordshire model urinal from the J. L. Mott Iron Works, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its normal position of use, and wrote on it, “R. Mutt 1917”.[3][4]

According to another version, Duchamp did not create Fountain, but rather assisted in submitting the piece to the Society of Independent Artists for a female friend. In a letter dated 11 April 1917 Duchamp wrote to his sister Suzanne telling her about the circumstances around Fountain’s submission: “Une de mes amies sous un pseudonyme masculin, Richard Mutt, avait envoyé une pissotière [urinal] en porcelaine comme sculpture” (“One of my female friends, who had adopted the male pseudonym, Richard Mutt, sent me a porcelain urinal as a sculpture.”)[5][6] Duchamp never identified his female friend, but two candidates have been proposed: the Dadaist Elsa von Freytag-Loringhoven[7][8] whose scatological aesthetic echoed that of Duchamp, or Louise Norton, who contributed an essay to The Blind Man discussing Fountain. Norton, who recently had separated from her husband, was living at the time in an apartment owned by her parents at 110 West 88th Street in New York City, and this address is partially discernible (along with “Richard Mutt”) on the paper entry ticket attached to the object, as seen in Stieglitz’s photograph.[9]

Rhonda Roland Shearer in the online journal Tout-Fait (2000) has concluded that the photograph is a composite of different photos, while other scholars such as William Camfield have never been able to match the urinal shown in the photo to any urinals found in the catalogues of the time period.[10] [emphases mine]

Attributing “Fountain” to a woman changes my understanding of the work. It seems to me. After all, it’s a woman submitting a urinal (plumbing designed specifically for the male anatomy) as a work of art.What was she (whichever she) is saying?

It’s tempting to read a commentary on patriarchy and art into the piece but von Freytag-Loringhoven (I’ll get to Norton next) may have had other issues in mind, from her Wikipedia entry (Note: Links have been removed),

There has been substantial new research indicating that some artworks attributed to other artists of the period can now either be attributed to the Baroness, or raise the possibility that she may have created the works. One work, called God (1917) had for a number of years been attributed to the artist Morton Livingston Schamberg. The Philadelphia Museum of Art, whose collection includes God, now credits the Baroness as a co-artist of this piece. Amelia Jones idenitified that this artwork’s concept and title was created by the Baroness, however, it was constructed by both Shamberg and the Baroness.[30] This sculpture, God (1917), involved a cast iron pumbing trap and a wooden mitre box, assembled in a phallic-like manner. [31] Her concept behind the shape and choice of materials is indicative of her commentary on the worship and love that Americans have for plumbing that trumps all else; additionally, it is revealing of the Baroness’s rejection of technology. [emphases mine]

As for Norton, unfortunately I’m not familiar with her work and this is the only credible reference to her that I’ve been able to find (Note: The link is in an essay on Duchamp and the “Fountain” on the Phaidon website [scroll down to the ninth paragraph]),

Allen Norton was an American poet and literary editor of the 1910s and 20s. He and his wife Louise Norton [emphasis mine] edited the little magazine Rogue, published from March 1915 to December 1916.

There is another Louise Norton, an artist who has a Wikipedia entry but that suggests this is an entirely different ‘Louise’.

Of the two and for what it’s worth, I find von Freytag-Loringhoven to be the more credible candidate. Nell Frizzell in her Nov. 7, 2014 opinion piece for the Guardian has absolutely no doubts on the matter (Note: Links have been removed),

Men may fill them, but it takes a woman to take the piss out of a urinal. Or so Julian Spalding, the former director of Glasgow Museums, and the academic Glyn Thompson have claimed. The argument, which has been swooshing around the cistern of contemporary art criticism since the 1980s, is that Duchamp’s famous artwork Fountain – a pissoir laid on its side – was actually the creation of the poet, artist and wearer of tin cans, Baroness Elsa von Freytag-Loringhoven.

That Von Freytag-Loringhoven has been written out of the story is not only a great injustice, it is also a formidable loss to art history. This was a woman, after all, whose idea of getting gussied-up for a private view was to scatter her outfit liberally with flattened tin cans and stuffed parrots. A woman who danced on verandas in little more than a pair of stockings, some feathers and enough bangles to shake out the percussion track from Walk Like an Egyptian. A woman who draped her way through several open marriages, including one to Oscar Wilde’s translator Felix Paul Greve (who faked his own suicide to escape his creditors and flee with her to America)….

Mind you, there is a difference between theft and misattribution. While Valerie Solanas, the somewhat troubled feminist and writer of the Scum manifesto, openly accused Andy Warhol of stealing her script Up Your Ass and even attempted to murder him, other works exist in a more complicated, murky grey area. Matisse certainly directed the creation of his gouaches découpées – large collage works made by pasting torn-off pieces of gouache-painted paper – yet it is impossible to draw the line between where his creativity ends and that of his assistants intention begins. Similarly, while John Milton’s daughters ostensibly simply transcribed their father’s work, how can we say that in the act of writing they were not also editing, questioning, suggesting imagery and offering phrasing?

Art historians and academics have pointed out that in 1917 Duchamp wrote to his sister, recounting how “one of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture”. Duchamp revealed that this model of urinal wasn’t even in production at the factory where he claimed to have picked it up; and that this artwork bore a more than passing similarity to the Elsa von Freytag-Loringhoven readymade sculpture called God, both in appearance and concept.

Here is “God,”

“God” By Baroness Elsa von Freytag-Loringhoven and Morton Schamberg (1917)Museum of Fine Arts, Houston Blue pencil.svg wikidata:Q1565911  Source/Photographer: TgGFztK3lZWxdg at Google Cultural Institute, zoom level maximum

The “Fountain” graced this blog previously in a March 8, 2016 posting about an exhibition titled: “Mashup: The Birth of Modern Culture” at the Vancouver Art Gallery where I did not have an inkling as to this controversy.  Given the zeitgeist surrounding women and their issues, it’s an interesting time to learn of it.

The Royal Bank of Canada reports ‘Humans wanted’ and some thoughts on the future of work, robots, and artificial intelligence

It seems the Royal Bank of Canada ((RBC or Royal Bank) wants to weigh in and influence what is to come with regard to what new technologies will bring us and how they will affect our working lives.  (I will be offering my critiques of the whole thing.)

Launch yourself into the future (if you’re a youth)

“I’m not planning on being replaced by a robot.” That’s the first line of text you’ll see if you go to the Royal Bank of Canada’s new Future Launch web space and latest marketing campaign and investment.

This whole endeavour is aimed at ‘youth’ and represents a $500M investment. Of course, that money will be invested over a 10-year period which works out to $50M per year and doesn’t seem quite so munificent given how much money Canadian banks make (from a March 1, 2017 article by Don Pittis for the Canadian Broadcasting Corporation [CBC] news website),

Yesterday [February 28, 2017] the Bank of Montreal [BMO] said it had made about $1.5 billion in three months.

That may be hard to put in context until you hear that it is an increase in profit of nearly 40 per cent from the same period last year and dramatically higher than stock watchers had been expecting.

Not all the banks have done as well as BMO this time. The Royal Bank’s profits were up 24 per cent at $3 billion. [emphasis mine] CIBC [Canadian Imperial Bank of Commerce] profits were up 13 per cent. TD [Toronto Dominion] releases its numbers tomorrow.

Those numbers would put the RBC on track to a profit of roughly $12B n 2017. This means  $500M represents approximately 4.5% of a single year’s profits which will be disbursed over a 10 year period which makes the investment work out to approximately .45% or less than 1/2 of one percent. Paradoxically, it’s a lot of money and it’s not that much money.

Advertising awareness

First, there was some advertising (in Vancouver at least),

[downloaded from http://flinflononline.com/local-news/356505]

You’ll notice she has what could be described as a ‘halo’. Is she an angel or, perhaps, she’s an RBC angel? After all, yellow and gold are closely associated as colours and RBC sports a partially yellow logo. As well, the model is wearing a blue denim jacket, RBC’s other logo colour.

Her ‘halo’ is intact but those bands of colour bend a bit and could be described as ‘rainbow-like’ bringing to mind ‘pots of gold’ at the end of the rainbow.  Free association is great fun and allows people to ascribe multiple and/or overlapping ideas and stories to the advertising. For example, people who might not approve of imagery that hearkens to religious art might have an easier time with rainbows and pots of gold. At any rate, none of the elements in images/ads are likely to be happy accidents or coincidence. They are intended to evoke certain associations, e.g., anyone associated with RBC will be blessed with riches.

The timing is deliberate, too, just before Easter 2018 (April 1), suggesting to some us, that even when the robots arrive destroying the past, youth will rise up (resurrection) for a new future. Or, if you prefer, Passover and its attendant themes of being spared and moving to the Promised Land.

Enough with the semiotic analysis and onto campaign details.

Humans Wanted: an RBC report

It seems the precursor to Future Launch, is an RBC report, ‘Humans Wanted’, which itself is the outcome of still earlier work such as this Brookfield Institute for Innovation + Entrepreneurship (BII+E) report, Future-proof: Preparing young Canadians for the future of work, March 2017 (authors: Creig Lamb and Sarah Doyle), which features a quote from RBC’s President and CEO (Chief Executive Officer) David McKay,

“Canada’s future prosperity and success will rely on us harnessing the innovation of our entire talent pool. A huge part of our success will depend on how well we integrate this next generation of Canadians into the workforce. Their confidence, optimism and inspiration could be the key to helping us reimagine traditional business models, products and ways of working.”  David McKay, President and CEO, RBC

There are a number of major trends that have the potential to shape the future of work, from climate change and resource scarcity to demographic shifts resulting from an aging population and immigration. This report focuses on the need to prepare Canada’s youth for a future where a great number of jobs will be rapidly created, altered or made obsolete by technology.

Successive waves of technological advancements have rocked global economies for centuries, reconfiguring the labour force and giving rise to new economic opportunities with each wave. Modern advances, including artificial intelligence and robotics, once again have the potential to transform the economy, perhaps more rapidly and more dramatically than ever before. As past pillars of Canada’s economic growth become less reliable, harnessing technology and innovation will become increasingly important in driving productivity and growth. 1, 2, 3

… (p. 2 print; p. 4 PDF)

The Brookfield Institute (at Ryerson University in Toronto, Ontario, Canada) report is worth reading if for no other reason than its Endnotes. Unlike the RBC materials, you can find the source for the information in the Brookfield report.

After Brookfield, there was the RBC Future Launch Youth Forums 2017: What We Learned  document (October 13, 2017 according to ‘View Page Info’),

In this rapidly changing world, there’s a new reality when it comes to work. A degree or diploma no longer guarantees a job, and some of the positions, skills and trades of today won’t exist – or be relevant – in the future.

Through an unprecedented 10-year, $500 million commitment, RBC Future LaunchTM  is focused on driving real change and preparing today’s young people for the future world of work, helping them access the skills, job experience and networks that will enable their success.

At the beginning of this 10-year journey RBC® wanted to go beyond research and expert reports to better understand the regional issues facing youth across Canada and to hear directly from young people and organizations that work with them. From November 2016 to May 2017, the RBC Future Launch team held 15 youth forums across the country, bringing together over 430 partners, including young people, to uncover ideas and talk through solutions to address the workforce gaps Canada’s youth face today.

Finally,  a March 26, 2018 RBC news release announces the RBC report: ‘Humans Wanted – How Canadian youth can thrive in the age of disruption’,

Automation to impact at least 50% of Canadian jobs in the next decade: RBC research

Human intelligence and intuition critical for young people and jobs of the future

  • Being ‘human’ will ensure resiliency in an era of disruption and artificial intelligence
  • Skills mobility – the ability to move from one job to another – will become a new competitive advantage

TORONTO, March 26, 2018 – A new RBC research paper, Humans Wanted – How Canadian youth can thrive in the age of disruption, has revealed that 50% of Canadian jobs will be disrupted by automation in the next 10 years.

As a result of this disruption, Canada’s Gen Mobile – young people who are currently transitioning from education to employment – are unprepared for the rapidly changing workplace. With 4 million Canadian youth entering the workforce over the next decade, and the shift from a jobs economy to a skills economy, the research indicates young people will need a portfolio of “human skills” to remain competitive and resilient in the labour market.

“Canada is at a historic cross-roads – we have the largest generation of young people coming into the workforce at the very same time technology is starting to impact most jobs in the country,” said Dave McKay, President and CEO, RBC. “Canada is on the brink of a skills revolution and we have a responsibility to prepare young people for the opportunities and ambiguities of the future.”

‘There is a changing demand for skills,” said John Stackhouse, Senior Vice-President, RBC. “According to our findings, if employers and the next generation of employees focus on foundational ‘human skills’, they’ll be better able to navigate a new age of career mobility as technology continues to reshape every aspect of the world around us.”

Key Findings:

  • Canada’s economy is on target to add 2.4 million jobs over the next four years, virtually all of which will require a different mix of skills.
  • A growing demand for “human skills” will grow across all job sectors and include: critical thinking, co-ordination, social perceptiveness, active listening and complex problem solving.
  • Rather than a nation of coders, digital literacy – the ability to understand digital items, digital technologies or the Internet fluently – will be necessary for all new jobs.
  • Canada’s education system, training programs and labour market initiatives are inadequately designed to help Canadian youth navigate the new skills economy, resulting in roughly half a million 15-29 year olds who are unemployed and another quarter of a million who are working part-time involuntarily.
  • Canadian employers are generally not prepared, through hiring, training or retraining, to recruit and develop the skills needed to ensure their organizations remain competitive in the digital economy.

“As digital and machine technology advances, the next generation of Canadians will need to be more adaptive, creative and collaborative, adding and refining skills to keep pace with a world of work undergoing profound change,” said McKay. “Canada’s future prosperity depends on getting a few big things right and that’s why we’ve introduced RBC Future Launch.”

RBC Future Launch is a decade-long commitment to help Canadian youth prepare for the jobs of tomorrow. RBC is committed to acting as a catalyst for change, bringing government, educators, public sector and not-for-profits together to co-create solutions to help young people better prepare for the future of the work through “human skills” development, networking and work experience.

Top recommendations from the report include:

  • A national review of post-secondary education programs to assess their focus on “human skills” including global competencies
  • A national target of 100% work-integrated learning, to ensure every undergraduate student has the opportunity for an apprenticeship, internship, co-op placement or other meaningful experiential placement
  • Standardization of labour market information across all provinces and regions, and a partnership with the private sector to move skills and jobs information to real-time, interactive platforms
  • The introduction of a national initiative to help employers measure foundational skills and incorporate them in recruiting, hiring and training practices

Join the conversation with Dave McKay and John Stackhouse on Wednesday, March 28 [2018] at 9:00 a.m. to 10:00 a.m. EDT at RBC Disruptors on Facebook Live.

Click here to read: Humans Wanted – How Canadian youth can thrive in the age of disruption.

About the Report
RBC Economics amassed a database of 300 occupations and drilled into the skills required to perform them now and projected into the future. The study groups the Canadian economy into six major clusters based on skillsets as opposed to traditional classifications and sectors. This cluster model is designed to illustrate the ease of transition between dissimilar jobs as well as the relevance of current skills to jobs of the future.

Six Clusters
Doers: Emphasis on basic skills
Transition: Greenhouse worker to crane operator
High Probability of Disruption

Crafters: Medium technical skills; low in management skills
Transition: Farmer to plumber
Very High Probability of Disruption

Technicians: High in technical skills
Transition: Car mechanic to electrician
Moderate Probability of Disruption

Facilitators: Emphasis on emotional intelligence
Transition: Dental assistant to graphic designer
Moderate Probability of Disruption

Providers: High in Analytical Skills
Transition: Real estate agent to police officer
Low Probability of Disruption

Solvers: Emphasis on management skills and critical thinking
Transition: Mathematician to software engineer
Minimal Probability of Disruption

About RBC
Royal Bank of Canada is a global financial institution with a purpose-driven, principles-led approach to delivering leading performance. Our success comes from the 81,000+ employees who bring our vision, values and strategy to life so we can help our clients thrive and communities prosper. As Canada’s biggest bank, and one of the largest in the world based on market capitalization, we have a diversified business model with a focus on innovation and providing exceptional experiences to our 16 million clients in Canada, the U.S. and 34 other countries. Learn more at rbc.com.‎

We are proud to support a broad range of community initiatives through donations, community investments and employee volunteer activities. See how at http://www.rbc.com/community-sustainability/.

– 30 – 

The report features a lot of bulleted points, airy text (large fonts and lots of space between the lines), inoffensive graphics, and human interest stories illustrating the points made elsewhere in the text.

There is no bibliography or any form of note telling you where to find the sources for the information in the report. The 2.4M jobs mentioned in the news release are also mentioned in the report on p. 16 (PDF) and is credited in the main body of the text to the EDSC. I’m not up-to-date on my abbreviations but I’m pretty sure it does not stand for East Doncaster Secondary College or East Duplin Soccer Club. I’m betting it stands for Employment and Social Development Canada. All that led to visiting the EDSC website and trying (unsuccessfully) to find the report or data sheet used to supply the figures RBC quoted in their report and news release.

Also, I’m not sure who came up with or how they developed the ‘crafters, ‘doers’, ‘technicians’, etc. categories.

Here’s more from p. 2 of their report,

CANADA, WE HAVE A PROBLEM. [emphasis mine] We’re hurtling towards the 2020s with perfect hindsight, not seeing what’s clearly before us. The next generation is entering the workforce at a time of profound economic, social and technological change. We know it. [emphasis mine] Canada’s youth know it. And we’re not doing enough about it.

RBC wants to change the conversation, [emphasis mine] to help Canadian youth own the 2020s — and beyond. RBC Future Launch is our 10-year commitment to that cause, to help young people prepare for and navigate a new world of work that, we believe, will fundamentally reshape Canada. For the better. If we get a few big things right.

This report, based on a year-long research project, is designed to help that conversation. Our team conducted one of the biggest labour force data projects [emphasis mine] in Canada, and crisscrossed the country to speak with students and workers in their early careers, with educators and policymakers, and with employers in every sector.

We discovered a quiet crisis — of recent graduates who are overqualified for the jobs they’re in, of unemployed youth who weren’t trained for the jobs that are out there, and young Canadians everywhere who feel they aren’t ready for the future of work.

Sarcasm ahead

There’s nothing like starting your remarks with a paraphrased quote from a US movie about the Apollo 13 spacecraft crisis as in, “Houston, we have a problem.” I’ve always preferred Trudeau (senior) and his comment about ‘keeping our noses out of the nation’s bedrooms’. It’s not applicable but it’s more amusing and a Canadian quote to boot.

So, we know we’re having a crisis which we know about but RBC wants to tell us about it anyway (?) and RBC wants to ‘change the conversation’. OK. So how does presenting the RBC Future Launch change the conversation? Especially in light of the fact, that the conversation has already been held, “a year-long research project … Our team conducted one of the biggest labour force data projects [emphasis mine] in Canada, and crisscrossed the country to speak with students and workers in their early careers, with educators and policymakers, and with employers in every sector.” Is the proposed change something along the lines of ‘Don’t worry, be happy; RBC has six categories (Doers, Crafters, Technicians, Facilitators, Providers, Solvers) for you.’ (Yes, for those who recognized it, I’m referencing I’m referencing Bobby McFerrin’s hit song, Don’t Worry, Be Happy.)

Also, what data did RBC collect and how do they collect it? Could Facebook and other forms of social media have been involved? (My March 29, 2018 posting mentions the latest Facebook data scandal; scroll down about 80% of the way.)

There are the people leading the way and ‘changing the conversation’ as it were and they can’t present logical, coherent points. What kind of conversation could they possibly have with youth (or anyone else for that matter)?

And, if part of the problem is that employers are not planning for the future, how does Future Launch ‘change that part of the conversation’?

RBC Future Launch

Days after the report’s release,there’s the Future Launch announcement in an RBC March 28, 2018 news release,

TORONTO, March 28, 2017 – In an era of unprecedented economic and technological change, RBC is today unveiling its largest-ever commitment to Canada’s future. RBC Future Launch is a 10-year, $500-million initiative to help young people gain access and opportunity to the skills, job experience and career networks needed for the future world of work.

“Tomorrow’s prosperity will depend on today’s young people and their ability to take on a future that’s equally inspiring and unnerving,” said Dave McKay, RBC president and CEO. “We’re sitting at an intersection of history, as a massive generational shift and unprecedented technological revolution come together. And we need to ensure young Canadians are prepared to help take us forward.”

Future Launch is a core part of RBC’s celebration of Canada 150, and is the result of two years of conversations with young Canadians from coast to coast to coast.

“Young people – Canada’s future – have the confidence, optimism and inspiration to reimagine the way our country works,” McKay said. “They just need access to the capabilities and connections to make the 21st century, and their place in it, all it should be.”

Working together with young people, RBC will bring community leaders, industry experts, governments, educators and employers to help design solutions and harness resources for young Canadians to chart a more prosperous and inclusive future.

Over 10 years, RBC Future Launch will invest in areas that help young people learn skills, experience jobs, share knowledge and build resilience. The initiative will address the following critical gaps:

  • A lack of relevant experience. Too many young Canadians miss critical early opportunities because they’re stuck in a cycle of “no experience, no job.” According to the consulting firm McKinsey & Co., 83 per cent of educators believe youth are prepared for the workforce, but only 34 per cent of employers and 44 per cent of young people agree. RBC will continue to help educators and employers develop quality work-integrated learning programs to build a more dynamic bridge between school and work.
  • A lack of relevant skills. Increasingly, young people entering the workforce require a complex set of technical, entrepreneurial and social skills that cannot be attained solely through a formal education. A 2016 report from the World Economic Forum states that by 2020, more than a third of the desired core skill-sets of most occupations will be different from today — if that job still exists. RBC will help ensure young Canadians gain the skills, from critical thinking to coding to creative design, that will help them integrate into the workplace of today, and be more competitive for the jobs of tomorrow.
  • A lack of knowledge networks. Young people are at a disadvantage in the job market if they don’t have an opportunity to learn from others and discover the realities of jobs they’re considering. Many have told RBC that there isn’t enough information on the spectrum of jobs that are available. From social networks to mentoring programs, RBC will harness the vast knowledge and goodwill of Canadians in guiding young people to the opportunities that exist and will exist, across Canada.
  • A lack of future readiness. Many young Canadians know their future will be defined by disruption. A new report, Future-proof: Preparing young Canadians for the future of work, by the Brookfield Institute for Innovation + Entrepreneurship, found that 42 per cent of the Canadian labour force is at a high risk of being affected by automation in the next 10 to 20 years. Young Canadians are okay with that: they want to be the disruptors and make the future workforce more creative and productive. RBC will help to create opportunities, through our education system, workplaces and communities at large to help young Canadians retool, rethink and rebuild as the age of disruption takes hold.

By helping young people unlock their potential and launch their careers, RBC can assist them with building a stronger future for themselves, and a more prosperous Canada for all. RBC created The Launching Careers Playbook, an interactive, digital resource focused on enabling young people to reach their full potential through three distinct modules: I am starting my career; I manage interns and I create internship programs. The Playbook shares the design principles, practices, and learnings captured from the RBC Career Launch Program over three years, as well as the research and feedback RBC has received from young people and their managers.

More information on RBC Future Launch can be found at www.rbc.com/futurelaunch.

Weirdly, this news release is the only document which gives you sources for some of RBC’s information. If you should be inclined, you can check the original reports as cited in the news release and determine if you agree with the conclusions the RBC people drew from them.

Cynicism ahead

They are planning to change the conversation, are they? I can’t help wondering what return they’re (RBC)  expecting to make on their investment ($500M over10 years). The RBC is prominently displayed not only on the launch page but in several of the subtopics listed on the page.

There appears to be some very good and helpful information although much of it leads you to using a bank for one reason or another. For example, if you’re planning to become an entrepreneur (and there is serious pressure from the government of Canada on this generation to become precisely that), then it’s very handy that you have easy access to RBC from any of the Future Launch pages. As well, you can easily apply for a job at or get a loan from RBC after you’ve done some of the exercises on the website and possibly given RBC a lot of data about yourself.

For anyone who believes I’m being harsh about the bank, you might want to check out a March 15, 2017 article by Erica Johnson for the Canadian Broadcasting Corporation’s Go Public website. It highlights just how ruthless Canadian banks can be,

Employees from all five of Canada’s big banks have flooded Go Public with stories of how they feel pressured to upsell, trick and even lie to customers to meet unrealistic sales targets and keep their jobs.

The deluge is fuelling multiple calls for a parliamentary inquiry, even as the banks claim they’re acting in customers’ best interests.

In nearly 1,000 emails, employees from RBC, BMO, CIBC, TD and Scotiabank locations across Canada describe the pressures to hit targets that are monitored weekly, daily and in some cases hourly.

“Management is down your throat all the time,” said a Scotiabank financial adviser. “They want you to hit your numbers and it doesn’t matter how.”

CBC has agreed to protect their identities because the workers are concerned about current and future employment.

An RBC teller from Thunder Bay, Ont., said even when customers don’t need or want anything, “we need to upgrade their Visa card, increase their Visa limits or get them to open up a credit line.”

“It’s not what’s important to our clients anymore,” she said. “The bank wants more and more money. And it’s leading everyone into debt.”

A CIBC teller said, “I am expected to aggressively sell products, especially Visa. Hit those targets, who cares if it’s hurting customers.”

….

Many bank employees described pressure tactics used by managers to try to increase sales.

An RBC certified financial planner in Guelph, Ont., said she’s been threatened with pay cuts and losing her job if she doesn’t upsell enough customers.

“Managers belittle you,” she said. “We get weekly emails that highlight in red the people who are not hitting those sales targets. It’s bullying.”

Some TD Bank employees told CBC’s Go Public they felt they had to break the law to keep their jobs. (Aaron Harris/Reuters)

Employees at several RBC branches in Calgary said there are white boards posted in the staff room that list which financial advisers are meeting their sales targets and which advisers are coming up short.

A CIBC small business associate who quit in January after nine years on the job said her district branch manager wasn’t pleased with her sales results when she was pregnant.

While working in Waterloo, Ont., she says her manager also instructed staff to tell all new international students looking to open a chequing account that they had to open a “student package,” which also included a savings account, credit card and overdraft.

“That is unfair and not the law, but we were told to do it for all of them.”

Go Public requested interviews with the CEOs of the five big banks — BMO, CIBC, RBC, Scotiabank and TD — but all declined.

If you have the time, it’s worth reading Johnson’s article in its entirety as it provides some fascinating insight into Canadian banking practices.

Final comments and an actual ‘conversation’ about the future of work

I’m torn, It’s good to see an attempt to grapple with the extraordinary changes we are likely to see in the not so distant future. It’s hard to believe that this Future Launch initiative is anything other than a self-interested means of profiting from fears about the future and a massive public relations campaign designed to engender good will. Doubly so since the very bad publicity the banks including RBC garnered last year (2017), as mentioned in the Johnson article.

Also, RBC and who knows how many other vested interests appear to have gathered data and information which they’ve used to draw any number of conclusions. First, I can’t find any information about what data RBC is gathering, who else might have access, and what plans, if any, they have to use it. Second, RBC seems to have predetermined how this ‘future of work’ conversation needs to be changed.

I suggest treading as lightly as possible and keeping in mind other ‘conversations’ are possible. For example, Mike Masnick at Techdirt has an April 3, 2018 posting about a new ‘future of work’ initiative,

For the past few years, there have been plenty of discussions about “the future of work,” but they tend to fall into one of two camps. You have the pessimists, who insist that the coming changes wrought by automation and artificial intelligence will lead to fewer and fewer jobs, as all of the jobs of today are automated out of existence. Then, there are the optimists who point to basically every single past similar prediction of doom and gloom due to innovation, which have always turned out to be incorrect. People in this camp point out that technology is more likely to augment than replace human-based work, and vaguely insist that “the jobs will come.” Whether you fall into one of those two camps — or somewhere in between or somewhere else entirely — one thing I’d hope most people can agree on is that the future of work will be… different.

Separately, we’re also living in an age where it is increasingly clear that those in and around the technology industry must take more responsibility in thinking through the possible consequences of the innovations they’re bringing to life, and exploring ways to minimize the harmful results (and hopefully maximizing the beneficial ones).

That brings us to the project we’re announcing today, Working Futures, which is an attempt to explore what the future of work might really look like in the next ten to fifteen years. We’re doing this project in partnership with two organizations that we’ve worked with multiples times in the past: Scout.ai and R Street.

….

The key point of this project: rather than just worry about the bad stuff or hand-wave around the idea of good stuff magically appearing, we want to really dig in — figure out what new jobs may actually appear, look into what benefits may accrue as well as what harms may be dished out — and see if there are ways to minimize the negative consequences, while pushing the world towards the beneficial consequences.

To do that, we’re kicking off a variation on the classic concept of scenario planning, bringing together a wide variety of individuals with different backgrounds, perspectives and ideas to run through a fun and creative exercise to imagine the future, while staying based in reality. We’re adding in some fun game-like mechanisms to push people to think about where the future might head. We’re also updating the output side of traditional scenario planning by involving science fiction authors, who obviously have a long history of thinking up the future, and who will participate in this process and help to craft short stories out of the scenarios we build, making them entertaining, readable and perhaps a little less “wonky” than the output of more traditional scenario plans.

There you have it; the Royal Bank is changing the conversation and Techdirt is inviting you to join in scenario planning and more.

A SciArt Gallery @ Science Rendezvous call for artists and a SciFi and Fantasy screenplay contest and

I’ve got two ‘creativity’ opportunities, one for people working on an art/sci (sciart) project and another for people with scripts,

SciArt Gallery @ Science Rendezvous

This notice arrived in a January 31, 2018 email from the ArtSci Salon people in Toronto (Ontario, Canada),

Science Rendezvous is a free Canada‐wide outreach festival that spurs interest in scientific research among the general public and last year at U of T, we attracted over 30,000 guests! This year we are hosting our first science-inspired art gallery called the SciArt Gallery! We are actively recruiting artists for the gallery to display their science-inspired works! Painting, design, music, dance, theatre, textiles, ceramics: We welcome all artists to apply!

To apply and for more information, please visit: http://bit.ly/SciArtGallery2018

The open call deadline is Friday, February 23rd, 2018 at 11:59pm!

To learn more about Science Rendezvous and this year’s festival on Saturday, May 12th, please visit www.ScienceRendezvousUofT.ca.

So you know what you might be getting into, the About Science Rendezvous webpage has this to say about what the organization does and about its origins,

We work with Canada’s top research institutes to present a coast-to-coast open house and festival that is FREE for everyone. With over 300 events across 30 cities and 1000’s of mind-blowing activities, Science Rendezvous is Canada’s largest celebration of the amazing feats of science and engineering happening right here at home.

In 2017, more than 210,000 attendees participated in our unique brand of hands-on science, a new landmark for such events in Canada. Science Rendezvous is the only organization that generates this level of public engagement with science, and direct face-to-face involvement with those at the very frontiers of innovation.

This SATURDAY, MAY 12th 2018 [emphasis mine] over 6,000 of Canada’s greatest innovators, researchers, engineers, and scientists from 125 partner organizations will open their doors and close city streets to present exciting demonstrations, hands-on activities, and explosive experiments. From the physics of rock and roll to the chemistry of ice-cream, Science Rendezvous has something for everyone!

History

Science Rendezvous began as a joint program between the University of Toronto, Ryerson University, York University and the University of Ontario Institute of Technology (UOIT) in 2008. These founding partners saw the need to work together in order to launch an event of great enough scale and exciting content to engage the public in the vast wonders of science and engineering. Since that time, Science Rendezvous has grown to include 40 of Canada’s top research institutions and over 85 community partnerships across 30 cities in 10 provinces and 2 territories. Today, it is a marquee event and signature partner of Science Odyssey [Note: This is a government of Canada annual national “celebration of science, technology, engineering and mathematics, featuring fun and inspiring experiences in museums, research centres, laboratories and classrooms from coast to coast” which will run from May 11 – 20, 2018 this year], and is the single largest science festival in Canada.

Science Rendezvous is a science outreach pioneer in Canada. Offering direct engagement with 6,000 of Canada’s top researchers and scientists at 300 simultaneous events and 1000’s of hands-on experiments for the public to try themselves.

The Science Rendezvous head office acts as an umbrella organization that coordinates the efforts of all participating institutions, reinvents public engagement with science through festival programming, and offers direction for event organizers all while promoting both the festival and Canadian science on a national level.

To be clear, the call for sciart projects is from the physics department at the University of Toronto (U of T) and the deadline is February 23, 2018. I went to the U of T Science Rendezvous SciArt Gallery artist application page and found more details about the call,

The theme for SR 2018 is “Full S.T.E.A.M. Ahead!” – We’re placing an emphasis on the Art in S.T.E.M. [science, technology, engineering, and mathematics] this year and hosting our first and hopefully annual SciArt Gallery! We want to create a gallery full of science-inspired art and showcase the talent of our local Toronto artists! We hope that artists will be able to share their enthusiasm and teach visitors about how science inspired you to create and the science behind the art!

Artists will be permitted to sell their wares and will be provided with tents, chairs, volunteers, t-shirts, and lunch if accepted to the gallery. SR2018 is currently accepting applications for its SciArt Gallery taking place on Saturday, May 12, 2018 from 11am to 5pm.

There will be a $20 table deposit fee that will be refunded upon your attendance at SR. SR hopes to showcase science-inspired works of art and host workshops to allow artists to inspire kids and adults about their art medium.

*** Applications will close on Friday, February 23rd, 2018 at 11:59pm! ***

If you have any questions or concerns, please do not hesitate to contact us at uoftsr.sciartgallery@gmail.com

For more information and to keep up-to-date about the SciArt Gallery, please visit our:

Website: http://www.sciencerendezvousuoft.ca/
Facebook: https://www.facebook.com/UofTSR/

The name and photo associated with your Google account will be recorded when you upload files and submit this form.

I don’t know if you noticed but the application page specifies Toronto artists while the email did not. You may want to contact the organizers for more details. At a guess, they don’t want to fund any trips or accommodation for out-of-town artists but if you’re willing to self-fund they’ll consider your application.

One final thing worth mentioning, there may be opportunities in your home community. So, it may be worthwhile to check out the Science Rendezvous website.

SciFi and fantasy screenplay contest

I got this January 31, 2018 withoutabox.com announcement via email,

… the 4th Annual ScreenCraft Sci-Fi & Fantasy Screenplay Contest, an out of this world screenplay competition set to discover talented writers. The 2018 contest judges are Steven Douglas-Craig, Development at Sony Pictures, the studio behind Passengers, Ghostbusters, Men In Black, Resident Evil, and Spider-Man; Jonathan Wu, Development Executive at 20th Century Fox, the studio behind Avatar, X-Men, Another Earth, Rise Of The Planet Of The Apes, and Prometheus ; and Michael Doven, CEO of United Pictures, producer of such celebrated movies as Mission: Impossible, Vanilla Sky, Minority Report, and The Last Samurai.

The Grand Prize winner will receive a $1,000 USD cash award and personal introductions to producers, managers, agents and studio executives. Additionally, the top finalists will be circulated to ScreenCraft’s vetted network of over 60 producers, studio executives, managers and agents. Whether you’re writing a contained science fiction drama or an epic fantasy saga, ScreenCraft wants to read your sci-fi or fantasy feature film screenplay. Great science fiction explores the human condition against the backdrop of a heightened imagined world, impacted by technology and human creativity and imagination.

Past ScreenCraft winners have optioned their projects and signed with top representatives at top Hollywood companies including WME, CAA, 3Arts Entertainment, Anonymous Content, Paradigm Talent Agency, ICM, Bellevue Productions Zero Gravity Management, Kaplan/Perrone and many more.

UPCOMING DEADLINE
February 9, 2018 – Earlybird Deadline [March 30,2018 final deadline]

View submission details

MISSION AND OBJECTIVE
ScreenCraft’s screenwriting contests are dedicated to discovering talented screenwriters and connecting them with producers, agents and managers.

MORE ABOUT THE FESTIVAL
ScreenCraft runs a suite of screenwriting competitions that have a long history of getting writers represented and working. The secret is that ScreenCraft actually determines the winners with judges who work in the particular genre or space – real industry executives (not just readers). The winners get actual meetings with actual executives, so that a relationship forms beyond just a great script.

I checked for more details and found this (from the withoutabox.com 4th Annual ScreenCraft Sci-Fi & Fantasy Screenplay Contest Submission webpage),

RULES:
Submissions are accepted via electronic submission only, between January 10, 2018 and March 30, 2018.
Entry fee for each feature film screenplay is $49 until the early deadline on February 9, 2018, then $69 until the final deadline on March 30, 2018.
Optional feedback from a professional reader may be requested at the time of entry. Requests for feedback after an entry is submitted will not be accepted.
Screenplays must be a minimum of 75 pages and a maximum of 150 pages.
There is no limit to the number of projects you may submit.
Entries must be received on or before the deadline dates by 11:59PM Pacific Time, and submission fee payment must be made in full at time of the submission. All entry fees are non-refundable.
All submitted material must be original, and all rights must be wholly owned by the writer(s).
Material must be submitted by the writer. Material written by writing teams must be submitted by one of the writers, with consent of the other(s). All writers must be credited on title page.
If a writing team is chosen as a winner, prizes will be given to the person who submits the project. Each team is responsible for dividing or sharing the prize money.
Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time with a $5 reentry fee through Coverfly. Please proofread your script carefully before submitting.
It is recommended that original material be registered with the WGA or The Library of Congress before submitting to any competition, however we do not require registration.
Contact info may be included on the cover page of the screenplay, however it is not required.
All ownership and rights to the scripts submitted to this contest remains with the original rights holders.

ELIGIBILITY:
All writers at least 18 years of age are eligible. However, a writer who has earned more than $50,000 (or equivalent currency) from professional writing services for film or TV in the preceding year is not. (Contest winnings not included.)
All persons from anywhere in the world are eligible; however the material submitted must be in English (occasional dialogue in other languages is acceptable, if subtitle translation is provided).
All material submitted to other competitions or contests are eligible for this contest.
There are no requirements as to when the material was written.
Screenplay and intellectual property must be wholly owned and submitted by the writer(s).
Material should be submitted in standard screenplay format, font, spacing and margin.
We have no preferences regarding title page content. Title and name of writer would suffice.
Entries for this competition are managed on the submission platform Coverfly.
Adaptations are ineligible unless the underlying rights are owned by the writer or the work is in the public domain.
Feature screenplays longer than 150 pages will not be eligible.
All material must be submitted electronically as a PDF or it will not be eligible.

You can find out more about ScreenCraft here.

To everyone: good luck!

Art/science events in Vancouver, Canada (Nov. 22, 2017) and Toronto (Dec. 1, 2017)

The first event I’m highlighting is the Curiosity Collider Cafe’s Nov. 22, 2017 event in Vancouver (Canada), from a November 14, 2017 announcement received via email,

Art, science, & neuroscience. Visualizing/sonifying particle collisions. Colors from nature. Sci-art career adventure. Our #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science.

Meet, discover, connect, create. Are you curious?

Join us at “Collider Cafe: Art. Science. Interwoven.” to explore how art and science intersect in the exploration of curiosity.

When: 8:00pm on Wednesday, November 22, 2017.

Doors open at 7:30pm.

Where: Café Deux Soleils.. 2096 Commercial Drive, Vancouver, BC (Google Map).

Cost: $5-10 (sliding scale) cover at the door.

Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

With speakers:

Caitlin Ffrench (painter, writer, and textile artist) – Colours from Nature

Claudia Krebs (neuroanatomy professor) – Does the brain really differentiate between science and art?

Derek Tan (photographer, illustrator, and multimedia designer) – Design for Science: How I Got My Job E

Eli York (neuroscience researcher) – Imaging the brain’s immune system

Leó Stefánsson (multimedia artist) – Experiencing Data: Visualizing and Sonifying Particle Collisions

Follow updates on twitter via @ccollider or #ColliderCafe.

Head to the Facebook event page – let us know you are coming and share this event with others!

Then in Toronto, there’s the ArtSci Salon with an event about what they claim is one of the hottest topics today: STEAM. For the uninitiated, the acronym is for Science, Technology, Engineering, Art, and Mathematics which some hope will supersede STEM (Science, Technology, Engineering, and Mathematics). Regardless, here’s more from a November 13, 2017 Art/Sci Salon announcement received via email,

The ArtSci Salon presents:

What does A stand for in STEAM?

Date: December 1, 2017

Time: 5:30-7:30 pm

Location: The Fields Institute for Research in Mathematical Sciences
222 College Street, Toronto, ON

Please, RSVP here
http://bit.ly/2zH8nrN

Grouping four broadly defined disciplinary clusters –– Science, Technology, Engineering and Mathematics –– STEM has come to stand for governments’ and institutions’ attempt to champion ambitious programs geared towards excellence and innovation while providing hopeful students with “useful” education leading to “real jobs”. But in recent years education advocates have reiterated the crucial role of the arts in achieving such excellence. A has been added to STEM…

But what does A stand for in STEAM? What is its role? and how is it interpreted by those involved in STEM education, by arts practitioners and educators and by science communicators? It turns out that A has different roles, meanings, applications, interpretations…

Please, join us for an intriguing discussion on STEAM education and STEAM approaches. Our guests represent different experiences, backgrounds and areas of research. Your participation will make their contributions even richer

With:

Linda Duvall (Visual and Media Artist)

Richard Lachman (Associate Professor, RTA School of Media, Ryerson University)

Jan McMillin (Teacher/Librarian, Queen Victoria P.S.)

Jenn Stroud Rossmann (Professor, Mechanical Engineering – Lafayette College)

Lauren Williams (Special Collections Librarian – Thomas Fisher Rare Book Library

Bios

Linda Duvall is a Saskatoon-based visual artist whose work exists at the intersection of collaboration, performance and conversation. Her hybrid practice addresses recurring themes of connection to place, grief and loss, and the many meanings of exclusion and absence.

Richard Lachman directs the Zone Learning network of incubators for Ryerson University, Research Development for the Faculty of Communication and Design, and the Experiential Media Institute. His research interests include transmedia storytelling, digital documentaries, augmented/locative/VR experiences, mixed realities, and collaborative design thinking.

Jan McMillin is a Teacher Librarian at the TDSB. Over the last 3 years she has led a team to organize a S.T.E.A.M. Conference for approximately 180 Intermediate students from Queen Victoria P.S. and Parkdale Public. The purpose of the conference is to inspire these young people and to show them what they can also aspire to. Queen Victoria has a history of promoting the Arts in Education and so the conference was also partly to expand the notion of STEM to incorporate the Arts and creativity

Jenn Stroud Rossmann is a professor of mechanical engineering at Lafayette College. Her research interests include cardiovascular and respiratory fluid mechanics and interdiscplinary pedagogies. She co-authored an innovative textbook, Introduction to Engineering Mechanics: A Continuum Approach (CRC Press, Second Edition, 2015), and writes the essay series “An Engineer Reads a Novel” for Public Books. She is also a fiction writer whose work (in such journals as Cheap Pop, Literary Orphans, Tahoma Literary Review) has earned several Pushcart Prize nominations and other honors; her first novel is forthcoming in Fall 2018 from 7.13 Books.

Lauren Williams is Special Collections Librarian in the Department of Rare Books and Special Collections, Thomas Fisher Rare Book Library. Lauren is a graduate of the University of Toronto iSchool, where she specialized in Library and Information Science and participated in the Book History and Print Culture Collaborative Program.

Enjoy!