Tag Archives: Simon Fraser University (SFU)

Soundscapes comprised of underground acoustics can help amplify soil health

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For anyone who doesn’t like cartoons, this looks a lot cuter than the information it conveys,

An August 16, 2024 news item on ScienceDaily announces the work,

Barely audible to human ears, healthy soils produce a cacophony of sounds in many forms—a bit like an underground rave concert of bubble pops and clicks.

Special recordings made by Flinders University ecologists in Australia show that this chaotic mixture of soundscapes can be a measure of the diversity of tiny living animals in the soil, which create sounds as they move and interact with their environment.

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An August 16, 2024 Flinders University press release (also on EurekAlert), which originated the news item, describes a newish (more about newish later) field of research ‘eco-acoustics’ and technical details about the researchers’ work, Note: A link has been removed,

With 75% of the world’s soils degraded, the future of the teeming community of living species that live underground face a dire future without restoration, says microbial ecologist Dr Jake Robinson, from the Frontiers of Restoration Ecology Lab in the College of Science and Engineering at Flinders University.

This new field of research aims to investigate the vast, teeming hidden ecosystems where almost 60% of the Earth’s species live, he says.

“Restoring and monitoring soil biodiversity has never been more important.

“Although still in its early stages, ‘eco-acoustics’ is emerging as a promising tool to detect and monitor soil biodiversity and has now been used in Australian bushland and other ecosystems in the UK.

“The acoustic complexity and diversity are significantly higher in revegetated and remnant plots than in cleared plots, both in-situ and in sound attenuation chambers.

“The acoustic complexity and diversity are also significantly associated with soil invertebrate abundance and richness.”

The latest study, including Flinders University expert Associate Professor Martin Breed and Professor Xin Sun from the Chinese Academy of Sciences, compared results from acoustic monitoring of remnant vegetation to degraded plots and land that was revegetated 15 years ago. 

The passive acoustic monitoring used various tools and indices to measure soil biodiversity over five days in the Mount Bold region in the Adelaide Hills in South Australia. A below-ground sampling device and sound attenuation chamber were used to record soil invertebrate communities, which were also manually counted.   

“It’s clear acoustic complexity and diversity of our samples are associated with soil invertebrate abundance – from earthworms, beetles to ants and spiders – and it seems to be a clear reflection of soil health,” says Dr Robinson.

“All living organisms produce sounds, and our preliminary results suggest different soil organisms make different sound profiles depending on their activity, shape, appendages and size.

“This technology holds promise in addressing the global need for more effective soil biodiversity monitoring methods to protect our planet’s most diverse ecosystems.”

This is a copy of the research paper’s graphical abstract,

Caption: Acoustic monitoring was carried out on soil in remnant vegetation as well as degraded plots and land that was revegetated 15 years ago. Credit: Flinders University

Here’s a link to and a citation for the paper,

Sounds of the underground reflect soil biodiversity dynamics across a grassy woodland restoration chronosequence by Jake M. Robinson, Alex Taylor, Nicole Fickling, Xin Sun, Martin F. Breed. Journal of Applied Ecology Volume 61, Issue 9 September 2024 Pages 2047-2060 DOI: https://doi.org/10.1111/1365-2664.14738 First published online: 15 August 2024

This paper is open access.

‘Newish’ eco-acoustics

Like a lot of newish scientific terms, eco-acoustics, appears to be evolving. A search for the term led me to the Acoustic ecology entry on Wikipedia, Note: Links have been removed,

Acoustic ecology, sometimes called ecoacoustics or soundscape studies, is a discipline studying the relationship, mediated through sound, between human beings and their environment.[1] Acoustic ecology studies started in the late 1960s with R. Murray Schafer a musician, composer and former professor of communication studies at Simon Fraser University (Vancouver, British Columbia, Canada) with the help of his team there[2] as part of the World Soundscape Project. The original WSP team included Barry Truax and Hildegard Westerkamp, Bruce Davies and Peter Huse, among others. The first study produced by the WSP was titled The Vancouver Soundscape. This innovative study raised the interest of researchers and artists worldwide, creating enormous growth in the field of acoustic ecology. In 1993, the members of the by now large and active international acoustic ecology community formed the World Forum for Acoustic Ecology.[3]

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Soundscapes are composed of the anthrophony, geophony and biophony of a particular environment. They are specific to location and change over time.[12] Acoustic ecology aims to study the relationship between these things, i.e. the relationship between humans, animals and nature, within these soundscapes. These relationships are delicate and subject to disruption by natural or man-made means.[9]

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The acoustic niche hypothesis, as proposed by acoustic ecologist Bernie Krause in 1993,[23] refers to the process in which organisms partition the acoustic domain, finding their own niche in frequency and/or time in order to communicate without competition from other species. The theory draws from the ideas of niche differentiation and can be used to predict differences between young and mature ecosystems. Similar to how interspecific competition can place limits on the number of coexisting species that can utilize a given availability of habitats or resources, the available acoustic space in an environment is a limited resource that is partitioned among those species competing to utilize it.[24]

In mature ecosystems, species will sing at unique bandwidths and specific times, displaying a lack of interspecies competition in the acoustic environment. Conversely, in young ecosystems, one is more likely to encounter multiple species using similar frequency bandwidths, which can result in interference between their respective calls, or a complete lack of activity in uncontested bandwidths. Biological invasions can also result in interference in the acoustic niche, with non-native species altering the dynamics of the native community by producing signals that mask or degrade native signals. This can cause a variety of ecological impacts, such as decreased reproduction, aggressive interactions, and altered predator-prey dynamics.[25] The degree of partitioning in an environment can be used to indicate ecosystem health and biodiversity.

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Earlier bioacoustic research at Flinders University has been mentioned in a June 14, 2023 posting “The sound of dirt.” Finally, whether you spell it eco-acoustics or ecoacoustics or call it acoustic ecology, it is a fascinating way of understanding the natural and not-so-natural world we live in.

Highlights from Simon Fraser University’s (SFU) July 2024 Metacreation Lab newsletter

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There’s some exciting news for people interested in Ars Electronica (see more below the newsletter excerpt) and for people who’d like to explore some of the same work from the Metacreation Lab in a locale that may be closer to their homes, there’s an exhibition on Saltspring Island, British Columbia. Here are details from SFU’s Metacreation Lab newsletter, which hit my mailbox on July 22, 2024,

Metacreation Lab at Ars Electronica 2024

We are delighted to announce that the Metacreation Lab for Creative AI will be part of the prestigious Ars Electronica Festival. This year’s festival, titled “HOPE – who will turn the tide,” will take place in Linz [Austria’ from September 4 to 8.[2024]

Representing the School of Interactive Arts and Technology (SIAT), we will showcase four innovative artworks. “Longing + Forgetting” by Philippe Pasquier, Matt Gingold, and Thecla Schiphorst explores pathfinding algorithms as metaphors for our personal and collective searches for solutions. “Autolume Mzton” by Jonas Kraasch and Philippe Pasquier examines the concept of birth through audio-reactive generative visuals. “Dreamscape” [emphasis mine] by Erica Lapadat-Janzen and Philippe Pasquier utilizes the Autolume system to train AI models with the artist’s own works, creating unique stills and video loops. “Ensemble” by Arshia Sobhan and Philippe Pasquier melds traditional Persian calligraphy with AI to create dynamic calligraphic forms.

We look forward to seeing you there!

More Information

MMM4Live Official Release; Generative MIDI in Ableton Live

We are ecstatic to release our Ableton plugin for computer-assisted music composition! Meet MMM4Live, our flexible and generic multi-track music AI generator. MMM4Live embeds our state-of-the-art music transformer model that allows generating fitting original musical patterns in any style! When generating, the AI model considers the request parameters, your instrument choice, and the existing musical MIDI content within your Ableton Live project to deliver relevant material. With this infilling approach, your music is the prompt!

We, at the Metacreation Lab for Creative AI at Simon Fraser University (SFU), are excited about democratizing and pushing the boundaries of musical creativity through academic research and serving diverse communities of creatives.

For additional inquiries, please do not hesitate to reach out to pasquier@sfu.ca

Try it out!

“Dreamscape” at the Provocation Exhibition

We are excited to announce that “Dreamscape,” a collaboration between Erica Lapadat-Janzen and Philippe Pasquier, will be exhibited at the Provocation exhibition from July 6th to August 10th, 2024.

In response to AI-generated art based on big data, the Metacreation Lab developed Autolume, a no-coding environment that allows artists to train AI models using their chosen works. For “Dreamscape,” the Metacreation Lab collaborated with Vancouver-based visual artist Erica Lapadat-Janzen. Using Autolume, they hand-picked and treated 12 stills and 9 video loops, capturing her unique aesthetic. Lapadat-Janzen’s media artworks, performances, and installations draw viewers into a world of equilibrium, where moments punctuate daily events to clarify our existence and find poetic meaning.

Provocation exhibition brings artists and audiences together to celebrate and provoke conversations about contemporary living. The exhibition is at 215 Baker Rd, Salt Spring Island, BC, and is open to the public (free admission) every Saturday and Sunday from 12-4 pm.

More Information

Ars Electronica

It is both an institute and a festival, from the Ars Electronica Wikipedia entry, Note: Links have been removed,

Ars Electronica Linz GmbH is an Austrian cultural, educational and scientific institute active in the field of new media art, founded in Linz in 1979. It is based at the Ars Electronica Center (AEC), which houses the Museum of the Future, in the city of Linz. Ars Electronica’s activities focus on the interlinkages between art, technology and society. It runs an annual festival, and manages a multidisciplinary media arts R&D facility known as the Futurelab. It also confers the Prix Ars Electronica awards.

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Ars Electronica began with its first festival in September 1979. …

The 2024 festival, as noted earlier, has the theme of ‘Hope’, from the Ars Electronica 2024 festival theme page,

HOPE

Optimism is not the belief that things will somehow work out, but rather the confidence in our ability to influence and bring about improvement. And that perhaps best describes the essence of the principle of hope, not as a passive position, but as an active force that motivates us to keep going despite adversity.

But don’t worry, this year’s festival will not be an examination of the psychological or even evolutionary foundations of the principle of hope, nor will it be a reflection on our unsteady fluctuation between hope and pessimism.

“HOPE” as a festival theme is not a resigned statement that all we can do is hope that someone or something will solve our problems, but rather a manifestation that there are actually many reasons for hope. This is expressed in the subtitle “who will turn the tide”, which does not claim to know how the turnaround can be achieved, but rather focuses on who the driving forces behind this turnabout are.

The festival’s goal is to spotlight as many people as possible who have already set out on their journey and whose activities—no matter how big or small—are a very concrete reason to have hope.

Believing in the possibility of change is the prerequisite for bringing about positive change, especially when all signs point to the fact that the paths we are currently taking are often dead ends.

But belief alone will not be enough; it requires a combination of belief, vision, cooperation, and a willingness to take concrete action. A willingness that we need, even if we are not yet sure how we will turn the tide, how we will solve the problems, and how we will deal with the effects of the problems that we are (no longer) able to solve.

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Earlier, I highlighted ‘Dreamscape’ which can be seen at Ars Electronica 2024 or at the “Provocation” exhibition on Salt Spring Island. Hopefully, you have an opportunity to visit one of the locations. As for the Metacreation Lab for Creative AI, you can find out more here.

Highlights from Simon Fraser University’s (SFU) June 2024 Metacreation Lab newsletter

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The latest newsletter from the Metacreation Lab for Creative AI (at Simon Fraser University [SFU]), features a ‘first’. From the June 2024 Metacreation Lab newsletter (received via email),

“Longing + Forgetting” at the 2024 Currents New Media Festival in Santa Fe

We are thrilled to announce that Longing + Forgetting has been invited to the esteemed Currents New Media Festival in Santa Fe, New Mexico. Longing + Forgetting is a generative audio-video installation that explores the relationship between humans and machines. This media art project, created by Canadian artists Philippe Pasquier and Thecla Schiphorst alongside Australian artist Matt Gingold, has garnered international acclaim since its inception. Initially presented in Canada in 2013, the piece has journeyed through multiple international festivals, captivating audiences with its exploration of human expression through movement.

Philippe Pasquier will be on-site for the festival, overseeing the site-specific installation at El Museo Cultural de Santa Fe. This marks the North American premiere of the redeveloped version of “Longing + Forgetting,” featuring a new soundtrack by Pasquier based solely on the close-mic recording of dancers.

Currents New Media Festival runs June 14–23, 2024 and brings together the work of established and emerging new media artists from around the world across various disciplines, with an expected 9,000 visitors during the festival’s run.

More Information

Discover “Longing + Forgetting” at Bunjil Place in Melbourne

We are excited to announce that “Longing + Forgetting” is being featured at Bunjil Place in Melbourne, Australia. As part of the Art After Dark Program curated by Angela Barnett, this outdoor screening will run from June 1 to June 28, illuminating the night from 5 pm to 7 pm.

More Information

Presenting “Unveiling New Artistic Dimensions in Calligraphic Arabic Script with GANs” at SIGGRAPH 2024

We are pleased to share that our paper, “Unveiling New Artistic Dimensions in Calligraphic Arabic Script with Generative Adversarial Networks,” will be presented at SIGGRAPH 2024, the premier conference on computer graphics and interactive techniques. The event will take place from July 28 to August 1, 2024, in Denver, Colorado.

This paper delves into the artistic potential of Generative Adversarial Networks (GANs) to create and innovate within the realm of calligraphic Arabic script, particularly the nastaliq style. By developing two custom datasets and leveraging the StyleGAN2-ada architecture, we have generated high-quality, stylistically coherent calligraphic samples. Our work bridges the gap between traditional calligraphy and modern technology and offers a new mode of creative expression for this artform.

SIGGRAPH’24

For those unfamiliar with the acronym, SIGGRAPH stands for special interest group for computer graphics and interactive techniques. SIGGRAPH is huge and it’s a special interest group (SIG) of the ACM (Association for Computing Machinery).

If memory serves, this is the first time I’ve seen the Metacreation Lab make a request for volunteers, from the June 2024 Metacreation Lab newsletter,

Are you interested in music-making and AI technology?

The Metacreation Lab for Creative AI at Simon Fraser University (SFU), is conducting a research study in partnership with Steinberg Media Technologies GmbH. We are testing and evaluating MMM-Cubase v2, a creative AI system for assisting composing music. The system is based on our best music transformer, the multitrack music machine (MMM), which can generate, re-generate or complete new musical content based on existing content.

There is no prerequisite for this study beyond a basic knowledge of DAW and MIDI. So everyone is welcome even if you do not consider yourself a composer, but are interested in trying the system. The entire study should take you around 3 hours, and you must be 19+ years old. Basic interest and familiarity with digital music composition will help, but no experience with making music is required.

We seek to better evaluate the potential for adoption of such systems for novice/beginner as well as for seasoned composers. More specifically, you will be asked to install and use the system to compose a short 4-track musical composition and to fill out a survey questionnaire at the end.

Participation in this study is rewarded with one free Steinberg software license of your choice among Cubase Element, Dorico Element or Wavelab Element.

For any question or further inquiry, please contact researcher Renaud Bougueng Tchemeube directly at rbouguen@sfu.ca.

Enroll in the Study

You can find the Metacreation Lab for Creative AI website here.

Maxwell’s demon at Simon Fraser University (Vancouver, Canada)

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James Clerk Maxwell (1831 – 1879), a Scottish physicist, is famous for many scientific breakthroughs (see Maxwell’s Wikipedia entry) and also for a thought experiment known as Maxwell’s demon. This graphical abstract illustrates a paper from three Simon Fraser University (SFU) physicists that advances the ‘demon’s’ possibiliteis,

Graphical Abstract: Energy flows in conventional and information engines used to displace a bead. Credit: Advances in Physics: X (2024). DOI: 10.1080/23746149.2024.2352112

A June 6, 2024 news item on phys.org describes Maxwell’s thought experiment and announces a possible breakthrough, Note: Links have been removed,

The molecules that make up the matter around us are in constant motion. What if we could harness that energy and put it to use?

Over 150 years ago, Maxwell theorized that if molecules’ motion could be measured accurately, this information could be used to power an engine. Until recently this was a thought experiment, but technological breakthroughs have made it possible to build working information engines in the lab.

SFU Physics professors John Bechhoefer and David Sivak teamed up to build an information engine and test its limits. Their work has greatly advanced our understanding of how these engines function, and a paper led by postdoctoral fellow Johan du Buisson and published recently in Advances in Physics: X summarizes the findings made during their collaboration.

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A June 5, 2024 SFU news release (also on EurekAlert but published June 6, 2024) by Erin Brown-John, which originated the news item, describes the breakthrough in more detail,

“We live in a world full of extra unused energy that potentially could be used,” says Bechhoefer. Understanding how information engines function can not only help us put that energy to work, it can also suggest ways that existing engines could be redesigned to use energy more efficiently, and help us learn how biological motors work in organisms and the human body.

The team’s information engine consists of a tiny bead in a water bath that is held in place with an optical trap. When fluctuations in the water cause the bead to move in the desired direction, the trap can be adjusted to prevent the bead from returning to the place where it was before. By taking accurate measurements of the bead’s location and using that information to adjust the trap, the engine is able to convert the heat energy of the water into work.

To understand how fast and efficient the engine could be, the team tested multiple variables such as the mass of the bead and sampling frequency, and developed algorithms to reduce the uncertainty of their measurements.

“Stripped down to its simplest essence, we can systematically understand how things like temperature and the size of the system changes the things we can take advantage of,” Sivak says. “What are the strategies that work best? How do they change with all those different properties?”

The team was able to achieve the fastest speed recorded to date for an information engine, approximately ten times faster than the speed of E. coli, and comparable to the speed of motile bacteria found in marine environments.

Next, the team wanted to learn if an information engine could harvest more energy than it costs to run. “In equilibrium, that’s always a losing game,” Bechhoefer says. “The costs of gathering the information and processing it will always exceed what you’re getting out of it, but when you have an environment that has extra energy, [molecules doing] extra jiggling around, then that can change the balance if it’s strong enough.”

They found that in a non-equilibrium environment, where the engine was in a heat bath with a higher temperature than the measuring apparatus, it could output significantly more power than it cost to run.

All energy on Earth comes from the sun, and it eventually radiates out into space. That directional flow of energy manifests itself in many different ways, such as wind or ocean currents that can be harvested. Understanding the principles behind information engines can help us make better use of that energy.

“We’re coming at [energy harvesting] from a very different point of view, and we hope that this different perspective can lead to some different insights about how to be more efficient,” Bechhoefer says.

The pair is looking forward to working together on other projects in the future. “We were lucky to get a joint grant together. That really helped with the collaboration,” says Bechhoefer.

Sivak, a theorist, and Bechhoefer, an experimentalist, bring complementary approaches to their work, and they have been able to attract trainees who want to work with both. “We have different styles in terms of how we go about mentoring and leading a group,” says Sivak. “Our students and post-docs can benefit from both approaches.”

Here’s a link to and a citation for the paper,

Performance limits of information engines by Johan du Buisson, David A. Sivak, & John Bechhoefer. Advances in Physics: X Volume 9, 2024 – Issue 1 Article: 2352112 DOI: https://doi.org/10.1080/23746149.2024.2352112 Published online: 21 May 2024

This paper is open access.

Simon Fraser University’s (SFU; Vancouver, Canada) Café Scientifique: last Spring 2024 event & Science Rendezvous on May 11, 2024

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I have posted about this April 30, 2024 event on Zoom previously (see my January 16, 2024 post) so this constitutes a reminder. From an April 23, 2024 Simon Fraser University (SFU) Café Scientifique announcement (received via email),

SFU CAFÉ SCIENTIFIQUE: Overtraining and the Everyday Athlete

Tuesday, April 30 [2024], 5:00 – 6:30 pm over Zoom

What happens when we train too hard, don’t take enough time to recover, or underfuel while exercising? Join SFU Biomedical Physiology and Kinesiology professor Alexandra Coates for a discussion about overtraining and and how it affects both elite and “everyday athletes.”

Register here: https://www.eventbrite.ca/e/763521010897 to receive the Zoom invite

Joint SFU and Science Rendezvous May 11, 2024 events

From an April 23, 2024 Simon Fraser University (SFU) Café Scientifique announcement (received via email),

Science Rendezvous and International Astronomy Day returns IN-PERSON on Saturday, May 11 [2024], at SFU Burnaby with fun for the entire family. Peep through our telescope at the Trottier Observatory, dissect a digital cadaver, have fun with our Superconducting train, learn more about forensic science, create your own LED card and so much more!

Check out event details and register for the Magic Chemistry show! https://www.sfu.ca/science/community/science-rendezvous-2024.html 

This event is hosted with our friends from the Royal Astronomical Society of Canada, Vancouver in celebration of International Astronomy Day.

Science Rendezvous is now the largest science festival in Canada. (The Canadian government has funded national science events off and on with the Science Odyssey being the most recent iteration. As happens from time to time, whichever agency is organizing the government’s national event either loses funding or can’t commit resources to the event. The Natural Sciences and Engineering Research Council of Canada [NSERC] announced its withdrawal as the organizing agency with the 2023 iteration of the event.)

You can find more events more May 11, 2024 Science Rendezvous events across Canada here. So far this year, they have events in Alberta, British Columbia, Manitoba, Newfoundland & Labrador, Northwest Territories, Ontario, and Québec.

Interweave: A multi-sensory show (March 21, 2024 in Vancouver, Canada) where fashion, movement, & music come together though wearable instruments.

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Interweave is a free show at The Kent in the gallery in downtown Vancouver, Canada. Here’s more from a Simon Fraser University (SFU) announcement (received via email),

SFU School for the Contemporary Arts (SCA) alumnus, Kimia Koochakzadeh-Yazdi, is hosting Interweave, a multi-sensory show where fashion, movement, and music come together though wearable instruments.

Embrace the fusion of creativity and expression alongside your fellow alumni in a setting that celebrates innovation and the uncharted synergy between fashion, music, and movement. This is a great opportunity to mingle and reconnect with your peers.

Event Details:

Date: March 21, 2024
Time: Doors 7:30pm, Show 8:00pm
Location: The Kent Vancouver, 534 Cambie Street
Free Entry, RSVP required

Interweave is the first event from Fashion x Electronics (FXE), a collective created by Kimia Koochakzadeh-Yazdi, SCA alumnus, composer, and performer, and designer Kayla Yazdi. FXE is an interdisciplinary collective that is building multi-sensory experiences for their community, bridging together a diverse range of disciplines.

This is a 19+ event. ID will be checked at the door.

RSVP Now!

I wasn’t able to discern much more about the event or the Yazdi sisters from their Fashion x Electronics (FXE) website but there is this about Kayla Yazdi on her FXE profile,

Kayla Yazdi

Designer / Co-Producer

Kayla Yazdi is an Iranian-Canadian designer based in Vancouver, Canada. Her upbringing in Iran immersed her in a world of culture, art, and color. Holding a diploma in painting and a bachelor’s degree in design with a specialization in fashion and technology, Kayla has cultivated the skill set that merges her artistic sensibilities with innovative design concepts.

Kayla is dedicated to the creation of “almost” zero-waste garments. With design, technology, and experimentation, Kayla seeks to minimize environmental impacts while delivering unique styles.

Kimia Koochakzadeh-Yazdi’s FXE profile has this,

Kimia Koochakzadeh-Yazdi

Sound Artist / Co-Producer

Kimia Koochakzadeh-Yazdi(b. 1997 Tehran, Iran) is a California/Vancouver-based composer and performer. She writes for hybrid instrumental/electronic ensembles, creates electroacoustic and audiovisual works, and performs electronic music. Kimia explores the unfamiliar familiar while constantly being driven by the concepts of motion, interaction, and growth in both human life and in the sonic world. Being a cross-disciplinary artist, she has actively collaborated on projects evolving around dance, film, and theatre. Kimia’s work has been showcased by organizations such as Iranian Female Composer Association, Music on Main, Western Front, Vancouver New Music, and Media Arts Committee. She has been featured in The New York Times, Georgia Straight, MusicWorks Magazine, Vancouver Sun, and Sequenza 21. Her work has been performed at festivals around the world including Ars Electronica Festival, Festival Ecos Urbanos, Tehran Contemporary Sounds, AudioVisual Frontiers Virtual Exhibition, The New York City Electroacoustic Music Festival, Yarn/Wire Institute, Ensemble Evolution, New Music on the Point, wasteLAnd Summer Academy, EQ: Evolution of the String Quartet, Modulus Festival, and SALT New Music Festival. She holds a BFA in Music Composition from Simon Fraser University’s Interdisciplinary School for the Contemporary Arts, having studied with Sabrina Schroeder and Mauricio Pauly. Kimia is currently pursuing her DMA in Music Composition at Stanford University.

For more details about the sisters and the performance, Marilyn R. Wilson has written up a February 21, 2024 interview with both sisters for her Olio blog,

Can you share a little bit about your background, the life, work, experiences that led you to who you are today?
Kayla: I’m a visual artist with a focus on fashion design, and textile development. I like to explore ways to create wearable art with minimal waste produced in the process. I studied painting at Azadehgan School of Art in Iran and fashion design & technology at Wilson School of Design in Vancouver. My interest in fashion is rooted in creating functional art. I enjoy the business aspect of fashion however, I want to push boundaries of how fashion can be seen as art rather than solely as production.

Kimia: I’m a composer of acoustic and electronic music, I perform and build instruments, and a lot of times I combine these components together. Working with various disciplines is also an important part of my practice. I studied piano performance at Tehran Music School before moving to Vancouver to study composition at Simon Fraser University. I am currently a doctorate candidate in music composition at Stanford University. I love electronic music, food, and sports! My family, partner, and friends are a huge part of my life!

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You have your premier event called “Interweave” coming up on March 21st at The Kent Gallery in Vancouver. What can guests attending expect this evening?

Kayla & Kimia: Interweave is a multidisciplinary performance that bridges fashion, music, technology, and dance. Our dancers will be performing in garments designed by Kayla, that are embedded with microcontrollers and sensors developed by Kimia. The dancers control various musical parameters through their movements and their interaction with the sensors that are incorporated within the garments. Along with works for movement and dance, there will be a live electronic music performance made for costume-made instruments. So far we have received an amazing amount of support and RSVP’s from the art industry in Vancouver and look forward to welcoming many local creative individuals.

We’d love to know about the team of professionals who are working hard to create this unique experience. 

Kayla & Kimia: We are working with the amazing choreographers/dancers Anya Saugstad and Daria Mikhailiuk. We are thankful for Laleh Zandi’s help for creating a sculpture for one of our instruments which will be performed by Kimia. Celeste Betancur and Richard Lee have been our amazing audio tech assistants. We are very appreciative of everyone involved in FXE’s premiere and can’t wait to showcase our hard work.

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I have a bit more about Kimia Koochakzadeh-Yazdi and her work in music from a February 27, 2024 profile on the SFU School for the Contemporary Arts website, Note: Links have been removed,

Please introduce yourself.

I’m a composer of acoustic and electronic music, I perform and build instruments, and a lot of times, I combine these components together. Working with various disciplines is also an important part of my practice. I studied piano performance at Tehran Music School before moving to Vancouver to study composition at Simon Fraser University, graduating from the SCA in 2020. I am currently a doctoral student in music composition at Stanford University, where I spend most of my time.

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Tell us about your current studies.

I’m in the third year of the DMA (Doctor of Musical Arts) program at Stanford University. I do the majority of my work at the Center for Computer Research in Music and Acoustics (CCRMA). I’m currently trying to learn and to experiment as much as possible! The amount of resources and ideas that I have been exposed to during the last couple of years has been quite significant and wonderful. I have been taking courses in subjects that I never thought I would study, from classes in the computer science and the mechanical engineering departments, to ones in education and theatre. I’m grateful to have been given a supportive platform to truly experiment and to learn.

As for my compositions, they are more melodic than before, and that currently makes me happy. I have started to perform more again (piano and electronics), and it makes me question: why did I ever stop…?

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Koochakzadeh-Yazdi’s mention of building instruments reminded me of Icelandic musician, Bjork and Biophilia, which was an album, various art projects, and a film (Biophilia Live), which featured a number of musical instruments she created.

Getting back to Interweave, it’ s on March 21, 2024 at The Kent, specifically the gallery, which has,

… 14 foot ceilings boasts 50 track lights with the ability to transform the vacuous hall from candlelight to daylight. The lights are fully dimmable in an array of playful hues, according to your whim.   A full array of DMX Lighting and control systems live alongside the track light system and our recently installed (Vancouvers only) immersive projection system [emphasis mine] is ready for your vision.  This is your show.

I wonder if ‘multi-sensory’ includes an immersive experience.

Don’t forget, you have to RSVP for Interweave, which is free.

Noise pollution in the ocean and the Canadian military

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A December 1, 2023 news item on phys.org highlights noise pollution research from Simon Fraser University (SFU) based in Vancouver, British Columbia, Canada,

A new study from Simon Fraser University researchers examines the Canadian military’s efforts to reduce the impacts of underwater noise pollution on species during training exercises in the Pacific Ocean but caveat that more can still be done.

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Kieran Cox, Liber Ero and NSERC Fellow from Simon Fraser University, prepares to dive into kelp forests. Photo by Kiara Kattler

A December 11, 2023 SFU news release (also on EurekAlert but published December 1, 2023), which originated the news item, delves further into the research,

The paper, published today [online December 1 or 11, 2023] in Marine Policy, takes aim at a report commissioned by the Canadian Department of National Defence (DND) to reduce the effects of noise pollution from military small-arms munitions training within “Whiskey Hotel”, a 330-square-kilometre area in the Strait of Juan de Fuca off the British Columbia coast.

The military commissioned the report after it committed to pausing exercises in the area for three years to examine the risk in-air and underwater training noises pose to marine mammals, such as the endangered Southern Resident Killer Whales.

With the report complete, the military has indicated it plans to resume training activities in Whiskey Hotel and will implement measures to reduce the impact of noise pollution, such as mitigation avoidance zones, cease-fire procedures, and marine species awareness training.

While researchers acknowledge the report and the mitigation measures as a positive step forward, the SFU-led paper analyzing the original report found several limitations.

For example, the report only looked at the noise pollution created by small arms fire and didn’t consider the significant noise created by the military vessels themselves. The report also focused on marine mammals and didn’t take into account the impact noise pollution also has on local populations of fish, such as salmon, and invertebrates in the area.  

Researchers say more can be done in the future to protect fish and invertebrates from noise pollution, especially as the federal government continues to develop a national plan to manage and mitigate the impacts of underwater vessel noise on marine species and their ecosystems.

“It’s important to be clear: this report is a step in the right direction. The government is developing an ocean noise strategy, so legislation on this topic is currently lacking, and activities that pertain to national security will be largely exempt from regulations. Commissioning an investigation and implementing mitigation measures is a conservation success story, one that I’m keen to see this improved upon and used in the future,” says SFU biological sciences postdoctoral fellow Kieran Cox, the lead author of the study. 

“I am hopeful that this framework can be adapted to consider all marine life and sources of noise pollution noise, which is needed as we move towards an Ocean Noise Strategy that can inform the coming decades.”

Here’s a link to and a citation for the paper,

Military training in the Canadian Pacific: Taking aim at critical habitat or sufficient mitigation of noise pollution impacts? by Kieran D. Cox, Audrey Looby, Hailey L. Davies, Kelsie A. Murchy, Brittnie Spriel, Aaron N. Rice, Francis Juanes, Isabelle M. Côté. Marine Policy Volume 160, February 2024, 105945 DOI: https://doi.org/10.1016/j.marpol.2023.105945

This paper is behind a paywall.

March 6, 2024 Simon Fraser University (SFU) event “The Planetary Politics of AI: Past, Present, and Future” in Vancouver, Canada

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*Unsurprisingly, this event has been cancelled. More details at the end of this posting.* This is not a free event; they’ve changed the information about fees/no fees and how the fees are being assessed enough times for me to lose track; check the eventbrite registration page for the latest. Also, there will not be a publicly available recording of the event. (For folks who can’t afford the fees, there’s a contact listed later in this posting.)

First, here’s the “The Planetary Politics of AI: Past, Present, and Future” event information (from a January 10, 2024 Simon Fraser University (SFU) Public Square notice received via email),

The Planetary Politics of AI: Past, Present, and Future

Wednesday, March 6 [2024] | 7:00pm | In-person | Free [Note: This was an error.]

Generative AI has dominated headlines in 2023, but these new technologies rely on a dramatic increase in the extraction of data, human labor, and natural resources. With increasing media manipulation, polarizing discourse, and deep fakes, regulators are struggling to manage new AI.

On March 6th [2024], join renowned author and digital scholar Kate Crawford, as she sits in conversation with SFU’s Wendy Hui Kyong Chun. Together, they will discuss the planetary politics of AI, how we got here, and where it might be going.

…

A January 11, 2024 SFU Public Square notice (received via email) updates the information about how this isn’t a free event and offers an option for folks who can’t afford the price of a ticket, Note Links have been removed,

The Planetary Politics of AI: Past, Present, and Future

Wednesday, March 6 | 7:00pm | In-person | Paid

Good morning,

We’ve been made aware that yesterday’s newsletter had a mistake, and we thank those who brought it to our attention. The March 6th [2024] event, The Planetary Politics of AI: Past, Present, and Future, is not a free event and has an admission fee for attendance. We apologize for the confusion.

Whenever possible, SFU Public Square’s events are free and open to all, to ensure that the event is as accessible as possible. For this event, there is a paid admission, with a General and Student/Senior Admission option. That being said, if the admission fees are a barrier to access, please email us at psqevent@sfu.ca. Exceptions can be made. [emphasis mine]

Thank you for your understanding!

“The Planetary Politics of AI: Past, Present, and Future” registration webpage on eventbrite offers more information about the speakers and logistics,

Date and time

Starts on Wed, Mar 6, 2024 7:00 PM PST

Location

Djavad Mowafaghian Cinema (SFU Vancouver — Woodward’s Building) 149 W Hastings Street Vancouver, BC V6B 1H7

[See registration page for link to map]

Refund Policy

Refunds up to 7 days before event

About the speakers

Kate Crawfordis a leading international scholar of the social implications of artificial intelligence. She is a Research Professor at USC Annenberg in Los Angeles, a Senior Principal Researcher at MSR in New York, an Honorary Professor at the University of Sydney, and the inaugural Visiting Chair for AI and Justice at the École Normale Supérieure in Paris. Her latest book, Atlas of AI (Yale, 2021), won the Sally Hacker Prize from the Society for the History of Technology, the ASSI&T Best Information Science Book Award, and was named one of the best books in 2021 by New Scientist and the Financial Times.

Over her twenty-year research career, she has also produced groundbreaking creative collaborations and visual investigations. Her project Anatomy of an AI System with Vladan Joler is in the permanent collection of the Museum of Modern Art in New York and the V&A in London, and was awarded with the Design of the Year Award in 2019 and included in the Design of the Decades by the Design Museum of London. Her collaboration with the artist Trevor Paglen, Excavating AI, won the Ayrton Prize from the British Society for the History of Science. She has advised policy makers in the United Nations, the White House, and the European Parliament, and she currently leads the Knowing Machines Project, an international research collaboration that investigates the foundations of machine learning. And in 2023, Kate Crawford was named on of the TIME100 list as one of the most influential people in AI.

Wendy Hui Kyong Chun is Simon Fraser University’s Canada 150 Research Chair in New Media, Professor in the School of Communication, and Director of the Digital Democracies Institute. At the Institute, she leads the Mellon-funded Data Fluencies Project, which combines the interpretative traditions of the arts and humanities with critical work in the data sciences to express, imagine, and create innovative engagements with (and resistances to) our data-filled world.

She has studied both Systems Design Engineering and English Literature, which she combines and mutates in her research on digital media. She is author many books, including: Control and Freedom: Power and Paranoia in the Age of Fiber Optics (MIT, 2006), Programmed Visions: Software and Memory (MIT 2011), Updating to Remain the Same: Habitual New Media (MIT 2016), and Discriminating Data: Correlation, Neighborhoods, and the New Politics of Recognition (2021, MIT Press). She has been Professor and Chair of the Department of Modern Culture and Media at Brown University, where she worked for almost two decades and is currently a Visiting Professor. She is a Fellow of the Royal Society of Canada, and has also held fellowships from: the Guggenheim, ACLS, American Academy of Berlin, Radcliffe Institute for Advanced Study at Harvard.

I’m wondering if the speakers will be discussing how visual and other arts impact their views on AI and vice versa. Both academics have an interest in the arts as you can see in Crawford’s event bio. As for Wendy Hui Kyong Chun, in my April 23, 2021 posting where if you scroll down to her name, (about 30% of the way down), you’ll see she was involved with “Multimedia & Electronic Music Experiments (MEME),” History of Art and Architecture,” and “Theatre Arts and Performance Studies” at Brown University.

A February 12, 2024 SFU Public Square announcement (received via email), which includes a link to this Speaker’s Spotlight webpage (scroll down), suggests my speculation is incorrect,

For over two decades, Kate Crawford’s work has focused on understanding large scale data systems, machine learning and AI in the wider contexts of history, politics, labor, and the environment.

Her latest book,  Atlas of AI (2021) explores artificial intelligence as the extractive industry of the 21st century, relying on vast amounts of data, human labour, and natural resources. …

One more biographical note about Crawford, she was mentioned here in an April 17, 2015 posting, scroll down to the National Film Board of Canada subhead, then down to Episode 5 ‘Big Data and its Algorithms’ of the Do Not Track documentary; she is one of the interviewees. I’m not sure if that documentary is still accessible online.

Back to the event, to get more details and/or buy a ticket, go to: “The Planetary Politics of AI: Past, Present, and Future” registration webpage.

Or, SFU is hosting its free 2023 Nobel Prize-themed lecture at Science World on March 6, 2024 (see my January 16, 2024 posting and scroll down about 30% of the way for more details).

*March 4, 2024: I found a cancellation notice on the SFU’s The Planetary Politics of AI: Past, Present, and Future event page,,

Unfortunately, this event has been cancelled due to extenuating circumstances. If you have questions or concerns, please email us at psqevent@sfu.ca. We apologize for any inconvenience this may cause and we thank you for your understanding.

My guess? They didn’t sell enough tickets. My assessment? Poor organization (e.g., the confusion over pricing), and poor marketing (e.g., no compelling reason to buy a ticket, (e.g.,, neither participant is currently a celebrity or a hot property, the presentation was nothing unique or special, it was just a talk; the title was mildly interesting but not exciting or provocative, etc.).

Simon Fraser University’s (SFU; Vancouver, Canada) Café Scientifique Winter/Spring 2024 events + a 2023 Nobel-themed lecture

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There are three upcoming Simon Fraser University (SFU) Café Scientifique events (Zoom) and one upcoming Nobel=themed lecture (in person) according to a January 15, 2024 notice (received via email), Note: All the events are free,

Hello SFU Cafe Scientifique friends!

We are back with a brand new line up for our Cafe Scientifique discussion series.  Zoom invites will be sent closer to the event dates [emphasis mine].  We hope you can join us.

All event information and registration links on this page: https://www.sfu.ca/science/community.html

…

Café Scientifique: Why Do Babies Get Sick? A Systems Biology Approach to Developing Diagnostics and Therapeutics for Neonatal Sepsis. 

Tuesday, January 30, 5:00-6:30pm over Zoom 

Around the world five newborn babies die each second from life-threatening infections. Unfortunately there is no fast or easy way to tell which microbes are involved. Molecular Biology and Biochemistry assistant professor Amy Lee will share how we can use genomics and machine learning approaches to tackle this challenge.
Register here. https://events.sfu.ca/event/38235-cafe-scientifique-january-why-do-babies-get-sick?

Cafe Scientifique: From data to dollars: A journey through financial modelling
Tuesday, February 27, 5:00-6:30 pm over Zoom 

Financial modelling involves using mathematical and statistical techniques to understand future financial scenarios, helping individuals and businesses make informed decisions about their investments. Join Dr. Jean-François Bégin as he explores how these models can empower us to navigate the complexities of financial markets.

Register here: https://www.eventbrite.ca/e/763521010897

Cafe Scientifique: Overtraining and the Everyday Athlete
Tuesday, April 30, 5:00-6:30 pm over Zoom 

What happens when we train too hard, don’t take enough time to recover, or underfuel while exercising, and how that applies to both elite athletes and just your “everyday athlete.” Join Dr. Alexandra Coates from our Biomedical Physiology and Kinesiology Department in this interesting discussion.

Register here: https://www.eventbrite.ca/e/763521010897

Missed our last Café Scientifique talk [Decoding how life senses and responds to carbon dioxide gas] with Dustin King? [SFU Molecular Biology and Biochemistry Assistant Professor Dustin King’s Indigenous background is central to his work and relationship with the biochemical research he conducts. He brings Indigenous ways of knowing and a two-eye seeing approach to critical questions about humanity’s impact upon the natural world …] Watch it on YouTube: https://www.youtube.com/watch?v=xCHTSbF3RVs&list=PLTMt9gbqLurAMfSHQqVAHu7YbyOFq81Ix&index=10

The ‘2023 Nobel Prize Lectures’ being presented by SFU do not feature the 2023 winners but rather, SFU experts in the relevant field, from the January 15, 2024 SFU Café Scientifique notice (received via email),

BACK IN-PERSON AT THE SCIENCE WORLD THEATRE!

Location: Science World Theatre 1455 Quebec Street Vancouver, BC V6A 3Z7

NOBEL PRIZE LECTURES  

Wednesday, March 6, 2024 

6:30-7:30 pm Refreshments, 7:30-9:30 pm Lectures 

Celebrate the 2023 Nobel awardees in Chemistry, Physics, Physiology or Medicine!

SFU experts will explain Nobel laureates’ award-winning research and its significance to our everyday lives. 

Featured presenters are

*Mark Brockman from Molecular Biology and Biochemistry for the Nobel Prize in Medicine and Physiology;

*Byron Gates from Chemistry for the Nobel Prize in Chemistry; and

*Shawn Sederberg from the School of Engineering Science for the Nobel Prize in Physics.

Register here: https://www.eventbrite.ca/e/nobel-prize-lectures-tickets-773387301237

For anyone who has trouble remembering who and why the winners were awarded a 2023 Nobel Prize, here’s a nobleprize.org webpage devoted to the 2023 winners.