Tag Archives: Simon Fraser University (SFU)

Art, sound, AI, & the Metacreation Lab’s Spring 2021 newsletter

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The Metacreation Lab’s Spring 2021 newsletter (received via email) features a number of events either currently taking place or about to take place.

2021 AI Song Contest

2021 marks the 2nd year for this international event, an artificial intelligence/AI Song Contest 2021. The folks at Simon Fraser University’s (SFU) Metacreation Lab have an entry for the 2021 event, A song about the weekend (and you can do whatever you want). Should you click on the song entry, you will find an audio file, a survey/vote consisting of four questions and, if you keep scrolling down, more information about the creative, team, the song and more,

Driven by collaborations involving scientists, experts in artificial intelligence, cognitive sciences, designers, and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, whether these are embedded in interactive experiences or automating workflows integrated into cutting-edge creative software.

Team:

Cale Plut (Composer and musician) is a PhD Student in the Metacreation lab, researching AI music applications in video games.

Philippe Pasquier (Producer and supervisor) is an Associate Professor, and leads the Metacreation Lab. 

Jeff Ens (AI programmer) is a PhD Candidate in the Metacreation lab, researching AI models for music generation.

Renaud Tchemeube (Producer and interaction designer) is a PhD Student in the Metacreation Lab, researching interaction software design for creativity.

Tara Jadidi (Research Assistant) is an undergraduate student at FUM, Iran, working with the Metacreation lab.

Dimiter Zlatkov (Research Assistant) is an undergraduate student at UBC, working with the Metacreation lab.

ABOUT THE SONG

A song about the weekend (and you can do whatever you want) explores the relationships between AI, humans, labour, and creation in a lighthearted and fun song. It is co-created with the Multi-track Music Machine (MMM). 

Through the history of automation and industrialization, the relationship between the labour magnification power of automation and the recipients of the benefits of that magnification have been in contention. While increasing levels of automation are often accompanied by promises of future leisure increases, this rarely materializes for the workers whose labour is multiplied. By primarily using automated methods to create a “fun” song about leisure, we highlight both the promise of AI-human cooperation as well as the disparities in its real-world deployment. 

As for the competition itself, here’s more from the FAQs (frequently asked questions),

What is the AI Song Contest?

AI Song Contest is an international creative AI contest. Teams from all over the world try to create a 4-minute pop song with the help of artificial intelligence.

When and where does it take place?

Between June 1, 2021 and July 1, 2021 voting is open for the international public. On July 6 there will be multiple online panel sessions, and the winner of the AI Song Contest 2021 will be announced in an online award ceremony. All sessions on July 6 are organised in collaboration with Wallifornia MusicTech.

How is the winner determined?

Each participating team will be awarded two sets of points: one a public vote by the contest’s international audience, the other the determination of an expert jury.

Anyone can evaluate as many songs as they like: from one, up to all thirty-eight. Every song can be evaluated only once. Even though it won’t count in the grand total, lyrics can be evaluated too; we do like to determine which team wrote the best accoring to the audience.

Can I vote multiple times for the same team?

No, votes are controlled by IP address. So only one of your votes will count.

Is this the first time the contest is organised?

This is the second time the AI Song Contest is organised. The contest was first initiated in 2020 by Dutch public broadcaster VPRO together with NPO Innovation and NPO 3FM. Teams from Europe and Australia tried to create a Eurovision kind of song with the help of AI. Team Uncanny Valley from Australia won the first edition with their song Beautiful the World. The 2021 edition is organised independently.

What is the definition of artificial intelligence in this contest?

Artificial intelligence is a very broad concept. For this contest it will mean that teams can use techniques such as -but not limited to- machine learning, such as deep learning, natural language processing, algorithmic composition or combining rule-based approaches with neural networks for the creation of their songs. Teams can create their own AI tools, or use existing models and algorithms.  

What are possible challenges?

Read here about the challenges teams from last year’s contest faced.

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As an AI researcher, can I collaborate with musicians?

Yes – this is strongly encouraged!

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For the 2020 edition, all songs had to be Eurovision-style. Is that also the intention for 2021 entries?

Last year, the first year the contest was organized, it was indeed all about Eurovision. For this year’s competition, we are trying to expand geographically, culturally, and musically. Teams from all over the world can compete, and songs in all genres can be submitted.

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If you’re not familiar with Eurovision-style, you can find a compilation video with brief excerpts from the 26 finalists for Eurovision 2021 here (Bill Young’s May 23, 2021 posting on tellyspotting.kera.org; the video runs under 10 mins.). There’s also the “Eurovision Song Contest: The Story of Fire Saga” 2020 movie starring Rachel McAdams, Will Ferrell, and Dan Stevens. It’s intended as a gentle parody but the style is all there.

ART MACHINES 2: International Symposium on Machine Learning and Art 2021

The symposium, Art Machines 2, started yesterday (June 10, 2021 and runs to June 14, 2021) in Hong Kong and SFU’s Metacreation Lab will be represented (from the Spring 2021 newsletter received via email),

On Sunday, June 13 [2021] at 21:45 Hong Kong Standard Time (UTC +8) as part of the Sound Art Paper Session chaired by Ryo Ikeshiro, the Metacreation Lab’s Mahsoo Salimi and Philippe Pasquier will present their paper, Exploiting Swarm Aesthetics in Sound Art. We’ve included a more detailed preview of the paper in this newsletter below.

Concurrent with ART MACHINES 2 is the launch of two exhibitions – Constructing Contexts and System Dreams. Constructing Contexts, curated by Tobias Klein and Rodrigo Guzman-Serrano, will bring together 27 works with unique approaches to the question of contexts as applied by generative adversarial networks. System Dreams highlights work from the latest MFA talent from the School of Creative Media. While the exhibitions take place in Hong Kong, the participating artists and artwork are well documented online.

Liminal Tones: Swarm Aesthetics in Sound Art

Applications of swarm aesthetics in music composition are not new and have already resulted in volumes of complex soundscapes and musical compositions. Using an experimental approach, Mahsoo Salimi and Philippe Pasquier create a series of sound textures know as Liminal Tones (B/ Rain Dream) based on swarming behaviours

Findings of the Liminal Tones project will be presented in papers for the Art Machines 2: International Symposium on Machine Learning (June 10-14 [2021]) and the International Conference on Swarm Intelligence (July 17-21 [2021]).

Talk about Creative AI at the University of British Columbia

This is the last item I’m excerpting from the newsletter. (Should you be curious about what else is listed, you can go to the Metacreation Lab’s contact page and sign up for the newsletter there.) On June 22, 2021 at 2:00 PM PDT, there will be this event,

Creative AI: on the partial or complete automation of creative tasks @ CAIDA

Philippe Pasquier will be giving a talk on creative applications of AI at CAIDA: UBC ICICS Centre for Artificial Intelligence Decision-making and Action. Overviewing the state of the art of computer-assisted creativity and embedded systems and their various applications, the talk will survey the design, deployment, and evaluation of generative systems.

Free registration for the talk is available at the link below.

Register for Creative AI @ CAIDA

Remember, if you want to see the rest of the newsletter, you can sign up at the Metacreation Lab’s contact page.

Exotic magnetism: a quantum simulation from D-Wave Sytems

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Vancouver (Canada) area company, D-Wave Systems is trumpeting itself (with good reason) again. This 2021 ‘milestone’ achievement builds on work from 2018 (see my August 23, 2018 posting for the earlier work). For me, the big excitement was finding the best explanation for quantum annealing and D-Wave’s quantum computers that I’ve seen yet (that explanation and a link to more is at the end of this posting).

A February 18, 2021 news item on phys.org announces the latest achievement,

D-Wave Systems Inc. today [February 18, 2021] published a milestone study in collaboration with scientists at Google, demonstrating a computational performance advantage, increasing with both simulation size and problem hardness, to over 3 million times that of corresponding classical methods. Notably, this work was achieved on a practical application with real-world implications, simulating the topological phenomena behind the 2016 Nobel Prize in Physics. This performance advantage, exhibited in a complex quantum simulation of materials, is a meaningful step in the journey toward applications advantage in quantum computing.

…

A February 18, 2021 D-Wave Systems press release (also on EurekAlert), which originated the news item, describes the work in more detail,

The work by scientists at D-Wave and Google also demonstrates that quantum effects can be harnessed to provide a computational advantage in D-Wave processors, at problem scale that requires thousands of qubits. Recent experiments performed on multiple D-Wave processors represent by far the largest quantum simulations carried out by existing quantum computers to date.

The paper, entitled “Scaling advantage over path-integral Monte Carlo in quantum simulation of geometrically frustrated magnets”, was published in the journal Nature Communications (DOI 10.1038/s41467-021-20901-5, February 18, 2021). D-Wave researchers programmed the D-Wave 2000Q™ system to model a two-dimensional frustrated quantum magnet using artificial spins. The behavior of the magnet was described by the Nobel-prize winning work of theoretical physicists Vadim Berezinskii, J. Michael Kosterlitz and David Thouless. They predicted a new state of matter in the 1970s characterized by nontrivial topological properties. This new research is a continuation of previous breakthrough work published by D-Wave’s team in a 2018 Nature paper entitled “Observation of topological phenomena in a programmable lattice of 1,800 qubits” (Vol. 560, Issue 7719, August 22, 2018). In this latest paper, researchers from D-Wave, alongside contributors from Google, utilize D-Wave’s lower noise processor to achieve superior performance and glean insights into the dynamics of the processor never observed before.

“This work is the clearest evidence yet that quantum effects provide a computational advantage in D-Wave processors,” said Dr. Andrew King, principal investigator for this work at D-Wave. “Tying the magnet up into a topological knot and watching it escape has given us the first detailed look at dynamics that are normally too fast to observe. What we see is a huge benefit in absolute terms, with the scaling advantage in temperature and size that we would hope for. This simulation is a real problem that scientists have already attacked using the algorithms we compared against, marking a significant milestone and an important foundation for future development. This wouldn’t have been possible today without D-Wave’s lower noise processor.”

“The search for quantum advantage in computations is becoming increasingly lively because there are special problems where genuine progress is being made. These problems may appear somewhat contrived even to physicists, but in this paper from a collaboration between D-Wave Systems, Google, and Simon Fraser University [SFU], it appears that there is an advantage for quantum annealing using a special purpose processor over classical simulations for the more ‘practical’ problem of finding the equilibrium state of a particular quantum magnet,” said Prof. Dr. Gabriel Aeppli, professor of physics at ETH Zürich and EPF Lausanne, and head of the Photon Science Division of the Paul Scherrer Institute. “This comes as a surprise given the belief of many that quantum annealing has no intrinsic advantage over path integral Monte Carlo programs implemented on classical processors.”

“Nascent quantum technologies mature into practical tools only when they leave classical counterparts in the dust in solving real-world problems,” said Hidetoshi Nishimori, Professor, Institute of Innovative Research, Tokyo Institute of Technology. “A key step in this direction has been achieved in this paper by providing clear evidence of a scaling advantage of the quantum annealer over an impregnable classical computing competitor in simulating dynamical properties of a complex material. I send sincere applause to the team.”

“Successfully demonstrating such complex phenomena is, on its own, further proof of the programmability and flexibility of D-Wave’s quantum computer,” said D-Wave CEO Alan Baratz. “But perhaps even more important is the fact that this was not demonstrated on a synthetic or ‘trick’ problem. This was achieved on a real problem in physics against an industry-standard tool for simulation–a demonstration of the practical value of the D-Wave processor. We must always be doing two things: furthering the science and increasing the performance of our systems and technologies to help customers develop applications with real-world business value. This kind of scientific breakthrough from our team is in line with that mission and speaks to the emerging value that it’s possible to derive from quantum computing today.”

The scientific achievements presented in Nature Communications further underpin D-Wave’s ongoing work with world-class customers to develop over 250 early quantum computing applications, with a number piloting in production applications, in diverse industries such as manufacturing, logistics, pharmaceutical, life sciences, retail and financial services. In September 2020, D-Wave brought its next-generation Advantage™ quantum system to market via the Leap™ quantum cloud service. The system includes more than 5,000 qubits and 15-way qubit connectivity, as well as an expanded hybrid solver service capable of running business problems with up to one million variables. The combination of Advantage’s computing power and scale with the hybrid solver service gives businesses the ability to run performant, real-world quantum applications for the first time.

That last paragraph seems more sales pitch than research oriented. It’s not unexpected in a company’s press release but I was surprised that the editors at EurekAlert didn’t remove it.

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

Scaling advantage over path-integral Monte Carlo in quantum simulation of geometrically frustrated magnets by Andrew D. King, Jack Raymond, Trevor Lanting, Sergei V. Isakov, Masoud Mohseni, Gabriel Poulin-Lamarre, Sara Ejtemaee, William Bernoudy, Isil Ozfidan, Anatoly Yu. Smirnov, Mauricio Reis, Fabio Altomare, Michael Babcock, Catia Baron, Andrew J. Berkley, Kelly Boothby, Paul I. Bunyk, Holly Christiani, Colin Enderud, Bram Evert, Richard Harris, Emile Hoskinson, Shuiyuan Huang, Kais Jooya, Ali Khodabandelou, Nicolas Ladizinsky, Ryan Li, P. Aaron Lott, Allison J. R. MacDonald, Danica Marsden, Gaelen Marsden, Teresa Medina, Reza Molavi, Richard Neufeld, Mana Norouzpour, Travis Oh, Igor Pavlov, Ilya Perminov, Thomas Prescott, Chris Rich, Yuki Sato, Benjamin Sheldan, George Sterling, Loren J. Swenson, Nicholas Tsai, Mark H. Volkmann, Jed D. Whittaker, Warren Wilkinson, Jason Yao, Hartmut Neven, Jeremy P. Hilton, Eric Ladizinsky, Mark W. Johnson, Mohammad H. Amin. Nature Communications volume 12, Article number: 1113 (2021) DOI: https://doi.org/10.1038/s41467-021-20901-5 Published: 18 February 2021

This paper is open access.

Quantum annealing and more

Dr. Andrew King, one of the D-Wave researchers, has written a February 18, 2021 article on Medium explaining some of the work. I’ve excerpted one of King’s points,

…

Insight #1: We observed what actually goes on under the hood in the processor for the first time

Quantum annealing — the approach adopted by D-Wave from the beginning — involves setting up a simple but purely quantum initial state, and gradually reducing the “quantumness” until the system is purely classical. This takes on the order of a microsecond. If you do it right, the classical system represents a hard (NP-complete) computational problem, and the state has evolved to an optimal, or at least near-optimal, solution to that problem.

What happens at the beginning and end of the computation are about as simple as quantum computing gets. But the action in the middle is hard to get a handle on, both theoretically and experimentally. That’s one reason these experiments are so important: they provide high-fidelity measurements of the physical processes at the core of quantum annealing. Our 2018 Nature article introduced the same simulation, but without measuring computation time. To benchmark the experiment this time around, we needed lower-noise hardware (in this case, we used the D-Wave 2000Q lower noise quantum computer), and we needed, strangely, to slow the simulation down. Since the quantum simulation happens so fast, we actually had to make things harder. And we had to find a way to slow down both quantum and classical simulation in an equitable way. The solution? Topological obstruction.

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If you have time and the inclination, I encourage you to read King’s piece.

Council of Canadian Academies and its expert panel for the AI for Science and Engineering project

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There seems to be an explosion (metaphorically and only by Canadian standards) of interest in public perceptions/engagement/awareness of artificial intelligence (see my March 29, 2021 posting “Canada launches its AI dialogues” and these dialogues run until April 30, 2021 plus there’s this April 6, 2021 posting “UNESCO’s Call for Proposals to highlight blind spots in AI Development open ’til May 2, 2021” which was launched in cooperation with Mila-Québec Artificial Intelligence Institute).

Now there’s this, in a March 31, 2020 Council of Canadian Academies (CCA) news release, four new projects were announced. (Admittedly these are not ‘public engagement’ exercises as such but the reports are publicly available and utilized by policymakers.) These are the two projects of most interest to me,

Public Safety in the Digital Age

Information and communications technologies have profoundly changed almost every aspect of life and business in the last two decades. While the digital revolution has brought about many positive changes, it has also created opportunities for criminal organizations and malicious actors to target individuals, businesses, and systems.

This assessment will examine promising practices that could help to address threats to public safety related to the use of digital technologies while respecting human rights and privacy.

Sponsor: Public Safety Canada

AI for Science and Engineering

The use of artificial intelligence (AI) and machine learning in science and engineering has the potential to radically transform the nature of scientific inquiry and discovery and produce a wide range of social and economic benefits for Canadians. But, the adoption of these technologies also presents a number of potential challenges and risks.

This assessment will examine the legal/regulatory, ethical, policy and social challenges related to the use of AI technologies in scientific research and discovery.

Sponsor: National Research Council Canada [NRC] (co-sponsors: CIFAR [Canadian Institute for Advanced Research], CIHR [Canadian Institutes of Health Research], NSERC [Natural Sciences and Engineering Research Council], and SSHRC [Social Sciences and Humanities Research Council])

…

For today’s posting the focus will be on the AI project, specifically, the April 19, 2021 CCA news release announcing the project’s expert panel,

The Council of Canadian Academies (CCA) has formed an Expert Panel to examine a broad range of factors related to the use of artificial intelligence (AI) technologies in scientific research and discovery in Canada. Teresa Scassa, SJD, Canada Research Chair in Information Law and Policy at the University of Ottawa, will serve as Chair of the Panel.  

“AI and machine learning may drastically change the fields of science and engineering by accelerating research and discovery,” said Dr. Scassa. “But these technologies also present challenges and risks. A better understanding of the implications of the use of AI in scientific research will help to inform decision-making in this area and I look forward to undertaking this assessment with my colleagues.”

As Chair, Dr. Scassa will lead a multidisciplinary group with extensive expertise in law, policy, ethics, philosophy, sociology, and AI technology. The Panel will answer the following question:

What are the legal/regulatory, ethical, policy and social challenges associated with deploying AI technologies to enable scientific/engineering research design and discovery in Canada?

“We’re delighted that Dr. Scassa, with her extensive experience in AI, the law and data governance, has taken on the role of Chair,” said Eric M. Meslin, PhD, FRSC, FCAHS, President and CEO of the CCA. “I anticipate the work of this outstanding panel will inform policy decisions about the development, regulation and adoption of AI technologies in scientific research, to the benefit of Canada.”

The CCA was asked by the National Research Council of Canada (NRC), along with co-sponsors CIFAR, CIHR, NSERC, and SSHRC, to address the question. More information can be found here.

The Expert Panel on AI for Science and Engineering:

Teresa Scassa (Chair), SJD, Canada Research Chair in Information Law and Policy, University of Ottawa, Faculty of Law (Ottawa, ON)

Julien Billot, CEO, Scale AI (Montreal, QC)

Wendy Hui Kyong Chun, Canada 150 Research Chair in New Media and Professor of Communication, Simon Fraser University (Burnaby, BC)

Marc Antoine Dilhac, Professor (Philosophy), University of Montreal; Director of Ethics and Politics, Centre for Ethics (Montréal, QC)

B. Courtney Doagoo, AI and Society Fellow, Centre for Law, Technology and Society, University of Ottawa; Senior Manager, Risk Consulting Practice, KPMG Canada (Ottawa, ON)

Abhishek Gupta, Founder and Principal Researcher, Montreal AI Ethics Institute (Montréal, QC)

Richard Isnor, Associate Vice President, Research and Graduate Studies, St. Francis Xavier University (Antigonish, NS)

Ross D. King, Professor, Chalmers University of Technology (Göteborg, Sweden)

Sabina Leonelli, Professor of Philosophy and History of Science, University of Exeter (Exeter, United Kingdom)

Raymond J. Spiteri, Professor, Department of Computer Science, University of Saskatchewan (Saskatoon, SK)

Who is the expert panel?

Putting together a Canadian panel is an interesting problem especially so when you’re trying to find people of expertise who can also represent various viewpoints both professionally and regionally. Then, there are gender, racial, linguistic, urban/rural, and ethnic considerations.

Statistics

Eight of the panelists could be said to be representing various regions of Canada. Five of those eight panelists are based in central Canada, specifically, Ontario (Ottawa) or Québec (Montréal). The sixth panelist is based in Atlantic Canada (Nova Scotia), the seventh panelist is based in the Prairies (Saskatchewan), and the eighth panelist is based in western Canada, (Vancouver, British Columbia).

The two panelists bringing an international perspective to this project are both based in Europe, specifically, Sweden and the UK.

(sigh) It would be good to have representation from another part of the world. Asia springs to mind as researchers in that region are very advanced in their AI research and applications meaning that their experts and ethicists are likely to have valuable insights.

Four of the ten panelists are women, which is closer to equal representation than some of the other CCA panels I’ve looked at.

As for Indigenous and BIPOC representation, unless one or more of the panelists chooses to self-identify in that fashion, I cannot make any comments. It should be noted that more than one expert panelist focuses on social justice and/or bias in algorithms.

Network of relationships

As you can see, the CCA descriptions for the individual members of the expert panel are a little brief. So, I did a little digging and In my searches, I noticed what seems to be a pattern of relationships among some of these experts. In particular, take note of the Canadian Institute for Advanced Research (CIFAR) and the AI Advisory Council of the Government of Canada.

Individual panelists

Teresa Scassa (Ontario) whose SJD designation signifies a research doctorate in law chairs this panel. Offhand, I can recall only one or two other panels being chaired by women of the 10 or so I’ve reviewed. In addition to her profile page at the University of Ottawa, she hosts her own blog featuring posts such as “How Might Bill C-11 Affect the Outcome of a Clearview AI-type Complaint?” She writes clearly (I didn’t seen any jargon) for an audience that is somewhat informed on the topic.

Along with Dilhac, Teresa Scassa is a member of the AI Advisory Council of the Government of Canada. More about that group when you read Dilhac’s description.

Julien Billot (Québec) has provided a profile on LinkedIn and you can augment your view of M. Billot with this profile from the CreativeDestructionLab (CDL),

Mr. Billot is a member of the faculty at HEC Montréal [graduate business school of the Université de Montréal] as an adjunct professor of management and the lead for the CreativeDestructionLab (CDL) and NextAi program in Montreal.

Julien Billot has been President and Chief Executive Officer of Yellow Pages Group Corporation (Y.TO) in Montreal, Quebec. Previously, he was Executive Vice President, Head of Media and Member of the Executive Committee of Solocal Group (formerly PagesJaunes Groupe), the publicly traded and incumbent local search business in France. Earlier experience includes serving as CEO of the digital and new business group of Lagardère Active, a multimedia branch of Lagardère Group and 13 years in senior management positions at France Telecom, notably as Chief Marketing Officer for Orange, the company’s mobile subsidiary.

…

Mr. Billot is a graduate of École Polytechnique (Paris) and from Telecom Paris Tech. He holds a postgraduate diploma (DEA) in Industrial Economics from the University of Paris-Dauphine.

Wendy Hui Kyong Chun (British Columbia) has a profile on the Simon Fraser University (SFU) website, which provided one of the more interesting (to me personally) biographies,

Wendy Hui Kyong Chun is the Canada 150 Research Chair in New Media at Simon Fraser University, and leads the Digital Democracies Institute which was launched in 2019. The Institute aims to integrate research in the humanities and data sciences to address questions of equality and social justice in order to combat the proliferation of online “echo chambers,” abusive language, discriminatory algorithms and mis/disinformation by fostering critical and creative user practices and alternative paradigms for connection. It has four distinct research streams all led by Dr. Chun: Beyond Verification which looks at authenticity and the spread of disinformation; From Hate to Agonism, focusing on fostering democratic exchange online; Desegregating Network Neighbourhoods, combatting homophily across platforms; and Discriminating Data: Neighbourhoods, Individuals and Proxies, investigating the centrality of race, gender, class and sexuality [emphasis mine] to big data and network analytics.

…

I’m glad to see someone who has focused on ” … the centrality of race, gender, class and sexuality to big data and network analytics.” Even more interesting to me was this from her CV (curriculum vitae),

Professor, Department of Modern Culture and Media, Brown University, July 2010-June 2018

.•Affiliated Faculty, Multimedia & Electronic Music Experiments (MEME), Department of Music,2017.

•Affiliated Faculty, History of Art and Architecture, March 2012-

.•Graduate Field Faculty, Theatre Arts and Performance Studies, Sept 2008-.[sic]

….

[all emphases mine]

And these are some of her credentials,

Ph.D., English, Princeton University, 1999.
•Certificate, School of Criticism and Theory, Dartmouth College, Summer 1995.

M.A., English, Princeton University, 1994.

B.A.Sc., Systems Design Engineering and English, University of Waterloo, Canada, 1992.
•first class honours and a Senate Commendation for Excellence for being the first student to graduate from the School of Engineering with a double major

It’s about time the CCA started integrating some of kind of arts perspective into their projects. (Although, I can’t help wondering if this was by accident rather than by design.)

Marc Antoine Dilhac, an associate professor at l’Université de Montréal, he, like Billot, graduated from a French university, in his case, the Sorbonne. Here’s more from Dilhac’s profile on the Mila website,

Marc-Antoine Dilhac (Ph.D., Paris 1 Panthéon-Sorbonne) is a professor of ethics and political philosophy at the Université de Montréal and an associate member of Mila – Quebec Artificial Intelligence Institute. He currently holds a CIFAR [Canadian Institute for Advanced Research] Chair in AI ethics (2019-2024), and was previously Canada Research Chair in Public Ethics and Political Theory 2014-2019. He specialized in theories of democracy and social justice, as well as in questions of applied ethics. He published two books on the politics of toleration and inclusion (2013, 2014). His current research focuses on the ethical and social impacts of AI and issues of governance and institutional design, with a particular emphasis on how new technologies are changing public relations and political structures.

In 2017, he instigated the project of the Montreal Declaration for a Responsible Development of AI and chaired its scientific committee. In 2020, as director of Algora Lab, he led an international deliberation process as part of UNESCO’s consultation on its recommendation on the ethics of AI.

In 2019, he founded Algora Lab, an interdisciplinary laboratory advancing research on the ethics of AI and developing a deliberative approach to the governance of AI and digital technologies. He is co-director of Deliberation at the Observatory on the social impacts of AI and digital technologies (OBVIA), and contributes to the OECD Policy Observatory (OECD.AI) as a member of its expert network ONE.AI.

He sits on the AI Advisory Council of the Government of Canada and co-chair its Working Group on Public Awareness.

Formerly known as Mila only, Mila – Quebec Artificial Intelligence Institute is a beneficiary of the 2017 Canadian federal budget’s inception of the Pan-Canadian Artificial Intelligence Strategy, which named CIFAR as an agency that would benefit as the hub and would also distribute funds for artificial intelligence research to (mainly) three agencies: Mila in Montréal, the Vector Institute in Toronto, and the Alberta Machine Intelligence Institute (AMII; Edmonton).

Consequently, Dilhac’s involvement with CIFAR is not unexpected but when added to his presence on the AI Advisory Council of the Government of Canada and his role as co-chair of its Working Group on Public Awareness, one of the co-sponsors for this future CCA report, you get a sense of just how small the Canadian AI ethics and public awareness community is.

Add in CIFAR’s Open Dialogue: AI in Canada series (ongoing until April 30, 2021) which is being held in partnership with the AI Advisory Council of the Government of Canada (see my March 29, 2021 posting for more details about the dialogues) amongst other familiar parties and you see a web of relations so tightly interwoven that if you could produce masks from it you’d have superior COVID-19 protection to N95 masks.

These kinds of connections are understandable and I have more to say about them in my final comments.

B. Courtney Doagoo has a profile page at the University of Ottawa, which fills in a few information gaps,

As a Fellow, Dr. Doagoo develops her research on the social, economic and cultural implications of AI with a particular focus on the role of laws, norms and policies [emphasis mine]. She also notably advises Dr. Florian Martin-Bariteau, CLTS Director, in the development of a new research initiative on those topical issues, and Dr. Jason Millar in the development of the Canadian Robotics and Artificial Intelligence Ethical Design Lab (CRAiEDL).

Dr. Doagoo completed her Ph.D. in Law at the University of Ottawa in 2017. In her interdisciplinary research, she used empirical methods to learn about and describe the use of intellectual property law and norms in creative communities. Following her doctoral research, she joined the World Intellectual Property Organization’s Coordination Office in New York as a legal intern and contributed to developing the joint initiative on gender and innovation in collaboration with UNESCO and UN Women. She later joined the International Law Research Program at the Centre for International Governance Innovation as a Post-Doctoral Fellow, where she conducted research in technology and law focusing on intellectual property law, artificial intelligence and data governance.

Dr. Doagoo completed her LL.L. at the University of Ottawa, and LL.M. in Intellectual Property Law at the Benjamin N. Cardozo School of Law [a law school at Yeshiva University in New York City].  In between her academic pursuits, Dr. Doagoo has been involved with different technology start-ups, including the one she is currently leading aimed at facilitating access to legal services. She’s also an avid lover of the arts and designed a course on Arts and Cultural Heritage Law taught during her doctoral studies at the University of Ottawa, Faculty of Law.

It’s probably because I don’t know enough but this “the role of laws, norms and policies” seems bland to the point of meaningless. The rest is more informative and brings it back to the arts with Wendy Hui Kyong Chun at SFU.

Doagoo’s LinkedIn profile offers an unexpected link to this expert panel’s chairperson, Teresa Scassa (in addition to both being lawyers whose specialties are in related fields and on faculty or fellow at the University of Ottawa),

Soft-funded Research Bursary

Dr. Teresa Scassa

2014

I’m not suggesting any conspiracies; it’s simply that this is a very small community with much of it located in central and eastern Canada and possible links into the US. For example, Wendy Hui Kyong Chun, prior to her SFU appointment in December 2018, worked and studied in the eastern US for over 25 years after starting her academic career at the University of Waterloo (Ontario).

Abhishek Gupta provided me with a challenging search. His LinkedIn profile yielded some details (I’m not convinced the man sleeps), Note: I have made some formatting changes and removed the location, ‘Montréal area’ from some descriptions

Experience

Microsoft Graphic
Software Engineer II – Machine Learning
Microsoft

Jul 2018 – Present – 2 years 10 months

Machine Learning – Commercial Software Engineering team

Serves on the CSE Responsible AI Board

Founder and Principal Researcher
Montreal AI Ethics Institute

May 2018 – Present – 3 years

Institute creating tangible and practical research in the ethical, safe and inclusive development of AI. For more information, please visit https://montrealethics.ai

Visiting AI Ethics Researcher, Future of Work, International Visitor Leadership Program
U.S. Department of State

Aug 2019 – Present – 1 year 9 months

Selected to represent Canada on the future of work

Responsible AI Lead, Data Advisory Council
Northwest Commission on Colleges and Universities

Jun 2020 – Present – 11 months

Faculty Associate, Frankfurt Big Data Lab
Goethe University

Mar 2020 – Present – 1 year 2 months

Advisor for the Z-inspection project

Associate Member
LF AI Foundation

May 2020 – Present – 1 year

Author
MIT Technology Review

Sep 2020 – Present – 8 months

Founding Editorial Board Member, AI and Ethics Journal
Springer Nature

Jul 2020 – Present – 10 months

…

Education

McGill University Bachelor of Science (BS)Computer Science

2012 – 2015

…

Exhausting, eh? He also has an eponymous website and the Montreal AI Ethics Institute can found here where Gupta and his colleagues are “Democratizing AI ethics literacy.” My hat’s off to Gupta getting on an expert panel for CCA is quite an achievement for someone without the usual academic and/or industry trappings.

Richard Isnor, based in Nova Scotia and associate vice president of research & graduate studies at St. Francis Xavier University (StFX), seems to have some connection to northern Canada (see the reference to Nunavut Research Institute below); he’s certainly well connected to various federal government agencies according to his profile page,

Prior to joining StFX, he was Manager of the Atlantic Regional Office for the Natural Sciences and Engineering Research Council of Canada (NSERC), based in Moncton, NB.  Previously, he was Director of Innovation Policy and Science at the International Development Research Centre in Ottawa and also worked for three years with the National Research Council of Canada [NRC] managing Biotechnology Research Initiatives and the NRC Genomics and Health Initiative.

Richard holds a D. Phil. in Science and Technology Policy Studies from the University of Sussex, UK; a Master’s in Environmental Studies from Dalhousie University [Nova Scotia]; and a B. Sc. (Hons) in Biochemistry from Mount Allison University [New Burnswick].  His primary interest is in science policy and the public administration of research; he has worked in science and technology policy or research administrative positions for Environment Canada, Natural Resources Canada, the Privy Council Office, as well as the Nunavut Research Institute. [emphasis mine]

I don’t know what Dr. Isnor’s work is like but I’m hopeful he (along with Spiteri) will be able to provide a less ‘big city’ perspective to the proceedings.

(For those unfamiliar with Canadian cities, Montreal [three expert panelists] is the second largest city in the country, Ottawa [two expert panelists] as the capital has an outsize view of itself, Vancouver [one expert panelist] is the third or fourth largest city in the country for a total of six big city representatives out of eight Canadian expert panelists.)

Ross D. King, professor of machine intelligence at Sweden’s Chalmers University of Technology, might be best known for Adam, also known as, Robot Scientist. Here’s more about King, from his Wikipedia entry (Note: Links have been removed),

King completed a Bachelor of Science degree in Microbiology at the University of Aberdeen in 1983 and went on to study for a Master of Science degree in Computer Science at the University of Newcastle in 1985. Following this, he completed a PhD at The Turing Institute [emphasis mine] at the University of Strathclyde in 1989[3] for work on developing machine learning methods for protein structure prediction.[7]

…

King’s research interests are in the automation of science, drug design, AI, machine learning and synthetic biology.[8][9] He is probably best known for the Robot Scientist[4][10][11][12][13][14][15][16][17] project which has created a robot that can:

hypothesize to explain observations

devise experiments to test these hypotheses

physically run the experiments using laboratory robotics

interpret the results from the experiments

repeat the cycle as required

…

The Robot Scientist Wikipedia entry has this to add,

… a laboratory robot created and developed by a group of scientists including Ross King, Kenneth Whelan, Ffion Jones, Philip Reiser, Christopher Bryant, Stephen Muggleton, Douglas Kell and Steve Oliver.[2][6][7][8][9][10]

…

… Adam became the first machine in history to have discovered new scientific knowledge independently of its human creators.[5][17][18]

…

Sabina Leonelli, professor of philosophy and history of science at the University of Exeter, is the only person for whom I found a Twitter feed (@SabinaLeonelli). Here’s a bit more from her Wikipedia entry Note: Links have been removed),

…

Originally from Italy, Leonelli moved to the UK for a BSc degree in History, Philosophy and Social Studies of Science at University College London and a MSc degree in History and Philosophy of Science at the London School of Economics. Her doctoral research was carried out in the Netherlands at the Vrije Universiteit Amsterdam with Henk W. de Regt and Hans Radder. Before joining the Exeter faculty, she was a research officer under Mary S. Morgan at the Department of Economic History of the London School of Economics.

Leonelli is the Co-Director of the Exeter Centre for the Study of the Life Sciences (Egenis)[3] and a Turing Fellow at the Alan Turing Institute [emphases mine] in London.[4] She is also Editor-in-Chief of the international journal History and Philosophy of the Life Sciences[5] and Associate Editor for the Harvard Data Science Review.[6] She serves as External Faculty for the Konrad Lorenz Institute for Evolution and Cognition Research.[7]

…

Notice that Ross King and Sabina Leonelli both have links to The Alan Turing Institute (“We believe data science and artificial intelligence will change the world”), although the institute’s link to the University of Strathclyde (Scotland) where King studied seems a bit tenuous.

Do check out Leonelli’s profile at the University of Exeter as it’s comprehensive.

Raymond J. Spiteri, professor and director of the Centre for High Performance Computing, Department of Computer Science at the University of Saskatchewan, has a profile page at the university the likes of which I haven’t seen in several years perhaps due to its 2013 origins. His other university profile page can best be described as minimalist.

His Canadian Applied and Industrial Mathematics Society (CAIMS) biography page could be described as less charming (to me) than the 2013 profile but it is easier to read,

…

Raymond Spiteri is a Professor in the Department of Computer Science at the University of Saskatchewan. He performed his graduate work as a member of the Institute for Applied Mathematics at the University of British Columbia. He was a post-doctoral fellow at McGill University and held faculty positions at Acadia University and Dalhousie University before joining USask in 2004. He serves on the Executive Committee of the WestGrid High-Performance Computing Consortium with Compute/Calcul Canada. He was a MITACS Project Leader from 2004-2012 and served in the role of Mitacs Regional Scientific Director for the Prairie Provinces between 2008 and 2011.

Spiteri’s areas of research are numerical analysis, scientific computing, and high-performance computing. His area of specialization is the analysis and implementation of efficient time-stepping methods for differential equations. He actively collaborates with scientists, engineers, and medical experts of all flavours. He also has a long record of industry collaboration with companies such as IBM and Boeing.

Spiteri has been lifetime member of CAIMS/SCMAI since 2000. He helped co-organize the 2004 Annual Meeting at Dalhousie and served on the Cecil Graham Doctoral Dissertation Award Committee from 2005 to 2009, acting as chair from 2007. He has been an active participant in CAIMS, serving several times on the Scientific Committee for the Annual Meeting, as well as frequently attending and organizing mini-symposia. Spiteri believes it is important for applied mathematics to play a major role in the efforts to meet Canada’s most pressing societal challenges, including the sustainability of our healthcare system, our natural resources, and the environment.

A last look at Spiteri’s 2013 profile gave me this (Note: Links have been removed),

…

Another biographical note: I obtained my B.Sc. degree in Applied Mathematics from the University of Western Ontario [also known as, Western University] in 1990. My advisor was Dr. M.A.H. (Paddy) Nerenberg, after whom the Nerenberg Lecture Series is named. Here is an excerpt from the description, put here is his honour, as a model for the rest of us:

The Nerenberg Lecture Series is first and foremost about people and ideas. Knowledge is the true treasure of humanity, accrued and passed down through the generations. Some of it, particularly science and its language, mathematics, is closed in practice to many because of technical barriers that can only be overcome at a high price. These technical barriers form part of the remarkable fractures that have formed in our legacy of knowledge. We are so used to those fractures that they have become almost invisible to us, but they are a source of profound confusion about what is known.

The Nerenberg Lecture is named after the late Morton (Paddy) Nerenberg, a much-loved professor and researcher born on 17 March– hence his nickname. He was a Professor at Western for more than a quarter century, and a founding member of the Department of Applied Mathematics there. A successful researcher and accomplished teacher, he believed in the unity of knowledge, that scientific and mathematical ideas belong to everyone, and that they are of human importance. He regretted that they had become inaccessible to so many, and anticipated serious consequences from it. [emphases mine] The series honors his appreciation for the democracy of ideas. He died in 1993 at the age of 57.

So, we have the expert panel.

Thoughts about the panel and the report

As I’ve noted previously here and elsewhere, assembling any panels whether they’re for a single event or for a longer term project such as producing a report is no easy task. Looking at the panel, there’s some arts representation, smaller urban centres are also represented, and some of the members have experience in more than one region in Canada. I was also much encouraged by Spiteri’s acknowledgement of his advisor’s, Morton (Paddy) Nerenberg, passionate commitment to the idea that “scientific and mathematical ideas belong to everyone.”

Kudos to the Council of Canadian Academies (CCA) organizers.

That said, this looks like an exceptionally Eurocentric panel. Unusually, there’s no representation from the US unless you count Chun who has spent the majority of her career in the US with only a little over two years at Simon Fraser University on Canada’s West Coast.

There’s weakness to a strategy (none of the ten or so CCA reports I’ve reviewed here deviates from this pattern) that seems to favour international participants from Europe and/or the US (also, sometimes, Australia/New Zealand). This leaves out giant chunks of the international community and brings us dangerously close to an echo chamber.

The same problem exists regionally and with various Canadian communities, which are acknowledged more in spirit than in actuality, e.g., the North, rural, indigenous, arts, etc.

Getting back to the ‘big city’ emphsais noted earlier, two people from Ottawa and three from Montreal; half of the expert panel lives within a two hour train ride of each other. (For those who don’t know, that’s close by Canadian standards. For comparison, a train ride from Vancouver to Seattle [US] is about four hours, a short trip when compared to a 24 hour train trip to the closest large Canadian cities.)

I appreciate that it’s not a simple problem but my concern is that it’s never acknowledged by the CCA. Perhaps they could include a section in the report acknowledging the issues and how the expert panel attempted to address them , in other words, transparency. Coincidentally, transparency, which has been related to trust, have both been identified as big issues with artificial intelligence.

As for solutions, these reports get sent to external reviewers and, prior to the report, outside experts are sometimes brought in as the panel readies itself. That would be two opportunities afforded by their current processes.

Anyway, good luck with the report and I look forward to seeing it.

DEBBY FRIDAY’s LINK SICK, an audio play+, opens March 29, 2021 (online)

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[downloaded from https://debbyfriday.com/link-sick]

This is an artistic work, part of the DEBBY FRIDAY enterprise, and an MFA (Master of Fine Arts) project. Here’s the description from the Simon Fraser University (SFU) Link Sick event page,

LINK SICK

DEBBY FRIDAY’S MFA Project
Launching Monday, March 29, 2021 | debbyfriday.com/link-sick

Set against the backdrop of an ambiguous dystopia and eternal rave, LINK SICK is a tale about the threads that bind us together.  

LINK SICK is DEBBY FRIDAY’S graduate thesis project – an audio-play written, directed and scored by the artist herself. The project is a science-fiction exploration of the connective tissue of human experience as well as an experiment in sound art; blurring the lines between theatre, radio, music, fiction, essay, and internet art. Over 42-minutes, listeners are invited to gather round, close their eyes, and open their ears; submerging straight into a strange future peppered with blink-streams, automated protests, disembodied DJs, dancefloor orgies, and only the trendiest S/S 221 G-E two-piece club skins.

Starring 

DEBBY FRIDAY as Izzi/Narrator
Chino Amobi as Philo
Sam Rolfes as Dj GODLESS
Hanna Sam as ABC Inc. Announcer
Storm Greenwood as Diana Deviance
Alex Zhang Hungtai as Weaver
Allie Stephen as Numee
Soukayna as Katz
AI Voice Generated Protesters via Replica Studios

Presented in partial fulfillment of the requirements of the Degree of Master of Fine Arts in the School for the Contemporary Arts at Simon Fraser University.

No time is listed but I’m assuming FRIDAY is operating on PDT, so, you might want to take that into account when checking.

FRIDAY seems to favour full caps for her name and everywhere on her eponymous website (from her ABOUT page),

DEBBY FRIDAY is an experimentalist.

Born in Nigeria, raised in Montreal, and now based in Vancouver, DEBBY FRIDAY’s work spans the spectrum of the audio-visual, resisting categorizations of genre and artistic discipline. She is at once sound theorist and musician, performer and poet, filmmaker and PUNK GOD. …

Should you wish to support the artist financially, she offers merchandise.

Getting back to the play, I look forward to the auditory experience. Given how much we are expected to watch and the dominance of images, creating a piece that requires listening is an interesting choice.

Artificial Intelligence (AI), musical creativity conference, art creation, ISEA 2020 (Why Sentience?) recap, and more

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I have a number of items from Simon Fraser University’s (SFU) Metacreation Lab January 2021 newsletter (received via email on Jan. 5, 2020).

29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence! or IJCAI-PRICAI2020 being held on Jan. 7 – 15, 2021

This first excerpt features a conference that’s currently taking place,,

Musical Metacreation Tutorial at IIJCAI – PRICAI 2020 [Yes, the 29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence or IJCAI-PRICAI2020 is being held in 2021!]

As part of the International Joint Conference on Artificial Intelligence (IJCAI – PRICAI 2020, January 7-15), Philippe Pasquier will lead a tutorial on Musical Metacreation. This tutorial aims at introducing the field of musical metacreation and its current developments, promises, and challenges.

The tutorial will be held this Friday, January 8th, from 9 am to 12:20 pm JST ([JST = Japanese Standard Time] 12 am to 3:20 am UTC [or 4 pm – 7:30 pm PST]) and a full description of the syllabus can be found here. For details about registration for the conference and tutorials, click below.

Register for IJCAI – PRICAI 2020

The conference will be held at a virtual venue created by Virtual Chair on the gather.town platform, which offers the spontaneity of mingling with colleagues from all over the world while in the comfort of your home. The platform will allow attendees to customize avatars to fit their mood, enjoy a virtual traditional Japanese village, take part in plenary talks and more.

Two calls for papers

These two excerpts from SFU’s Metacreation Lab January 2021 newsletter feature one upcoming conference and an upcoming workshop, both with calls for papers,

2nd Conference on AI Music Creativity (MuMe + CSMC)

The second Conference on AI Music Creativity brings together two overlapping research forums: The Computer Simulation of Music Creativity Conference (est. 2016) and The International Workshop on Musical Metacreation (est. 2012). The objective of the conference is to bring together scholars and artists interested in the emulation and extension of musical creativity through computational means and to provide them with an interdisciplinary platform in which to present and discuss their work in scientific and artistic contexts.

The 2021 Conference on AI Music Creativity will be hosted by the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts of Graz, Austria and held online. The five-day program will feature paper presentations, concerts, panel discussions, workshops, tutorials, sound installations and two keynotes.

AIMC 2021 Info & CFP

AIART  2021

The 3rd IEEE Workshop on Artificial Intelligence for Art Creation (AIART) workshop has been announced for 2021. to bring forward cutting-edge technologies and most recent advances in the area of AI art in terms of enabling creation, analysis and understanding technologies. The theme topic of the workshop will be AI creativity, and will be accompanied by a Special Issue of the renowned SCI journal.

AIART is inviting high-quality papers presenting or addressing issues related to AI art, in a wide range of topics. The submission due date is January 31, 2021, and you can learn about the wide range of topics accepted below:

AIART 2021 Info & CFP

Toying with music

SFU’s Metacreation Lab January 2021 newsletter also features a kind of musical toy,

MMM : Multi-Track Music Machine

One of the latest projects at the Metacreation Lab is MMM: a generative music generation system based on Transformer architecture, capable of generating multi-track music, developed by Jeff Enns and Philippe Pasquier.

Based on an auto-regressive model, the system is capable of generating music from scratch using a wide range of preset instruments. Inputs from one or several tracks can condition the generation of new tracks, resampling MIDI input from the user or adding further layers of music.

To learn more about the system and see it in action, click below and watch the demonstration video, hear some examples, or try the program yourself through Google Colab.

Explore MMM: Multi-Track Music Machine

Why Sentience?

Finally, for anyone who was wondering what happened at the 2020 International Symposium of Electronic Arts (ISEA 2020) held virtually in Montreal in the fall, here’s some news from SFU’s Metacreation Lab January 2021 newsletter,

ISEA2020 Recap // Why Sentience? 

As we look back at one of the most unprecedented years, some of the questions explored at ISEA2020 are more salient now than ever. This recap video highlights some of the most memorable moments from last year’s virtual symposium.

ISEA2020 // Why Sentience? Recap Video

The Metacreation Lab’s researchers explored some of these guiding questions at ISEA2020 with two papers presented at the symposium: Chatterbox: an interactive system of gibberish agents and Liminal Scape, An Interactive Visual Installation with Expressive AI. These papers, and the full proceedings from ISEA2020 can now be accessed below. 

ISEA2020 Proceedings

The video is a slick, flashy, and fun 15 minutes or so. In addition to the recap for ISEA 2020, there’s a plug for ISEA 2022 in Barcelona, Spain.

The proceedings took my system a while to download (there are approximately 700 pp.). By the way, here’s another link to the proceedings or rather to the archives for the 2020 and previous years’ ISEA proceedings.

Large Interactive Virtual Environment Laboratory (LIVELab) located in McMaster University’s Institute for Music & the Mind (MIMM) and the MetaCreation Lab at Simon Fraser University

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Both of these bits have a music focus but they represent two entirely different science-based approaches to that form of art and one is solely about the music and the other is included as one of the art-making processes being investigated..

Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University

Laurel Trainor and Dan J. Bosnyak both of McMaster University (Ontario, Canada) have written an October 27, 2019 essay about the LiveLab and their work for The Conversation website (Note: Links have been removed),

The Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University is a research concert hall. It functions as both a high-tech laboratory and theatre, opening up tremendous opportunities for research and investigation.

As the only facility of its kind in the world, the LIVELab is a 106-seat concert hall equipped with dozens of microphones, speakers and sensors to measure brain responses, physiological responses such as heart rate, breathing rates, perspiration and movements in multiple musicians and audience members at the same time.

Engineers, psychologists and clinician-researchers from many disciplines work alongside musicians, media artists and industry to study performance, perception, neural processing and human interaction.

In the LIVELab, acoustics are digitally controlled so the experience can change instantly from extremely silent with almost no reverberation to a noisy restaurant to a subway platform or to the acoustics of Carnegie Hall.

…

Real-time physiological data such as heart rate can be synchronized with data from other systems such as motion capture, and monitored and recorded from both performers and audience members. The result is that the reams of data that can now be collected in a few hours in the LIVELab used to take weeks or months to collect in a traditional lab. And having measurements of multiple people simultaneously is pushing forward our understanding of real-time human interactions.

Consider the implications of how music might help people with Parkinson’s disease to walk more smoothly or children with dyslexia to read better.

…

[…] area of ongoing research is the effectiveness of hearing aids. By the age of 60, nearly 49 per cent of people will suffer from some hearing loss. People who wear hearing aids are often frustrated when listening to music because the hearing aids distort the sound and cannot deal with the dynamic range of the music.

The LIVELab is working with the Hamilton Philharmonic Orchestra to solve this problem. During a recent concert, researchers evaluated new ways of delivering sound directly to participants’ hearing aids to enhance sounds.

Researchers hope new technologies can not only increase live musical enjoyment but alleviate the social isolation caused by hearing loss.

Imagine the possibilities for understanding music and sound: How it might help to improve cognitive decline, manage social performance anxiety, help children with developmental disorders, aid in treatment of depression or keep the mind focused. Every time we conceive and design a study, we think of new possibilities.

The essay also includes an embedded 12 min. video about LIVELab and details about studies conducted on musicians and live audiences. Apparently, audiences experience live performance differently than recorded performances and musicians use body sway to create cohesive performances. You can find the McMaster Institute for Music & the Mind here and McMaster’s LIVELab here.

Capturing the motions of a string quartet performance. Laurel Trainor, Author provided [McMaster University]

Metacreation Lab at Simon Fraser University (SFU)

I just recently discovered that there’s a Metacreation Lab at Simon Fraser University (Vancouver, Canada), which on its homepage has this ” Metacreation is the idea of endowing machines with creative behavior.” Here’s more from the homepage,

As the contemporary approach to generative art, Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning to develop software that partially or completely automates creative tasks. Through the collaboration between scientists, experts in artificial intelligence, cognitive sciences, designers and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, be they embedded in interactive experiences or integrated into current creative software. Scientific research in the Metacreation Lab explores how various creative tasks can be automated and enriched. These tasks include music composition [emphasis mine], sound design, video editing, audio/visual effect generation, 3D animation, choreography, and video game design.

Besides scientific research, the team designs interactive and generative artworks that build upon the algorithms and research developed in the Lab. This work often challenges the social and cultural discourse on AI.

Much to my surprise I received the Metacreation Lab’s inaugural email newsletter (received via email on Friday, November 15, 2019),

Greetings,

We decided to start a mailing list for disseminating news, updates, and announcements regarding generative art, creative AI and New Media. In this newsletter: 

  1. ISEA 2020: The International Symposium on Electronic Art. ISEA return to Montreal, check the CFP bellow and contribute!
  2. ISEA 2015: A transcription of Sara Diamond’s keynote address “Action Agenda: Vancouver’s Prescient Media Arts” is now available for download. 
  3. Brain Art, the book: we are happy to announce the release of the first comprehensive volume on Brain Art. Edited by Anton Nijholt, and published by Springer.

Here are more details from the newsletter,

ISEA2020 – 26th International Symposium on Electronic Arts

Montreal, September 24, 2019
Montreal Digital Spring (Printemps numérique) is launching a call for participation as part of ISEA2020 / MTL connect to be held from May 19 to 24, 2020 in Montreal, Canada. Founded in 1990, ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. For 2020, ISEA Montreal turns towards the theme of sentience.

ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
CALL FOR PARTICIPATION: WHY SENTIENCE? ISEA2020 invites artists, designers, scholars, researchers, innovators and creators to participate in the various activities deployed from May 19 to 24, 2020. To complete an application, please fill in the forms and follow the instructions.

The final submissions deadline is NOVEMBER 25, 2019. Submit your application for WORKSHOP and TUTORIAL Submit your application for ARTISTIC WORK Submit your application for FULL / SHORT PAPER Submit your application for PANEL Submit your application for POSTER Submit your application for ARTIST TALK Submit your application for INSTITUTIONAL PRESENTATION
Find Out More
You can apply for several categories. All profiles are welcome. Notifications of acceptance will be sent around January 13, 2020.

Important: please note that the Call for participation for MTL connect is not yet launched, but you can also apply to participate in the programming of the other Pavilions (4 other themes) when registrations are open (coming soon): mtlconnecte.ca/en TICKETS

Registration is now available to assist to ISEA2020 / MTL connect, from May 19 to 24, 2020. Book today your Full Pass and get the early-bird rate!
Buy Now

More from the newsletter,

ISEA 2015 was in Vancouver, Canada, and the proceedings and art catalog are still online. The news is that Sara Diamond released her 2015 keynote address as a paper: Action Agenda: Vancouver’s Prescient Media Arts. It is never too late so we thought we would let you know about this great read. See The 2015 Proceedings Here

The last item from the inaugural newsletter,

The first book that surveys how brain activity can be monitored and manipulated for artistic purposes, with contributions by interactive media artists, brain-computer interface researchers, and neuroscientists. View the Book Here

As per the Leonardo review from Cristina Albu:

“Another seminal contribution of the volume is the presentation of multiple taxonomies of “brain art,” which can help art critics develop better criteria for assessing this genre. Mirjana Prpa and Philippe Pasquier’s meticulous classification shows how diverse such works have become as artists consider a whole range of variables of neurofeedback.” Read the Review

For anyone not familiar with the ‘Leonardo’ cited in the above, it’s Leonardo; the International Society for the Arts, Sciences and Technology.

Should this kind of information excite and motivate you do start metacreating, you can get in touch with the lab,

Our mailing address is:
Metacreation Lab for Creative AI
School of Interactive Arts & Technology
Simon Fraser University
250-13450 102 Ave.
Surrey, BC V3T 0A3
Web: http://metacreation.net/
Email: metacreation_admin (at) sfu (dot) ca

Nanocellulose sensors: 3D printed and biocompatible

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I do like to keep up with nanocellulose doings, especially when there’s some Canadian involvement, and an October 8, 2019 news item on Nanowerk alerted me to a newish application for the product,

Physiological parameters in our blood can be determined without painful punctures. Empa researchers are currently working with a Canadian team to develop flexible, biocompatible nanocellulose sensors that can be attached to the skin. The 3D-printed analytic chips made of renewable raw materials will even be biodegradable in future.

The idea of measuring parameters that are relevant for our health via the skin has already taken hold in medical diagnostics. Diabetics, for example, can painlessly determine their blood sugar level with a sensor instead of having to prick their fingers.

…

An October 8, 2019 Empa (Swiss Federal Laboratories for Materials Science and Technology) press release, which originated the news item, provides more detail,

A transparent foil made of wood

Nanocellulose is an inexpensive, renewable raw material, which can be obtained in form of crystals and fibers, for example from wood. However, the original appearance of a tree no longer has anything to do with the gelatinous substance, which can consist of cellulose nanocrystals and cellulose nanofibers. Other sources of the material are bacteria, algae or residues from agricultural production. Thus, nanocellulose is not only relatively easy and sustainable to obtain. Its mechanical properties also make the “super pudding” an interesting product. For instance, new composite materials based on nanocellulose can be developed that could be used as surface coatings, transparent packaging films or even to produce everyday objects like beverage bottles.

Researchers at Empa’s Cellulose & Wood Materials lab and Woo Soo Kim from the Simon Fraser University [SFU] in Burnaby, Canada, are also focusing on another feature of nanocellulose: biocompatibility. Since the material is obtained from natural resources, it is particularly suitable for biomedical research.

With the aim of producing biocompatible sensors that can measure important metabolic values, the researchers used nanocellulose as an “ink” in 3D printing processes. To make the sensors electrically conductive, the ink was mixed with silver nanowires. The researchers determined the exact ratio of nanocellulose and silver threads so that a three-dimensional network could form.

Just like spaghetti – only a wee bit smaller

It turned out that cellulose nanofibers are better suited than cellulose nanocrystals to produce a cross-linked matrix with the tiny silver wires. “Cellulose nanofibers are flexible similar to cooked spaghetti, but with a diameter of only about 20 nanometers and a length of just a few micrometers,” explains Empa researcher Gilberto Siqueira.

The team finally succeeded in developing sensors that measure medically relevant metabolic parameters such as the concentration of calcium, potassium and ammonium ions. The electrochemical skin sensor sends its results wirelessly to a computer for further data processing. The tiny biochemistry lab on the skin is only half a millimeter thin.

While the tiny biochemistry lab on the skin – which is only half a millimeter thin – is capable of determining ion concentrations specifically and reliably, the researchers are already working on an updated version. “In the future, we want to replace the silver [nano] particles with another conductive material, for example on the basis of carbon compounds,” Siqueira explains. This would make the medical nanocellulose sensor not only biocompatible, but also completely biodegradable.

I like the images from Empa better than the ones from SFU,

Using a 3D printer, the nanocellulose “ink” is applied to a carrier plate. Silver particles provide the electrical conductivity of the material. Image: Empa
Empa researcher Gilberto Siqueira demonstrates the newly printed nanocellulose circuit. After a subsequent drying, the material can be further processed. Image: Empa

SFU produced a news release about this work back in February 2019. Again, I prefer what the Swiss have done because they’re explaining/communicating the science, as well as , communicating benefits. From a February 13, 2019 SFU news release (Note: Links have been removed),

Simon Fraser University and Swiss researchers are developing an eco-friendly, 3D printable solution for producing wireless Internet-of-Things (IoT) sensors that can be used and disposed of without contaminating the environment. Their research has been published as the cover story in the February issue of the journal Advanced Electronic Materials.

SFU professor Woo Soo Kim is leading the research team’s discovery, which uses a wood-derived cellulose material to replace the plastics and polymeric materials currently used in electronics.

Additionally, 3D printing can give flexibility to add or embed functions onto 3D shapes or textiles, creating greater functionality.

“Our eco-friendly, 3D-printed cellulose sensors can wirelessly transmit data during their life, and then can be disposed without concern of environmental contamination,” says Kim, a professor in the School of Mechatronic Systems Engineering. The SFU research is being carried out at PowerTech Labs in Surrey, which houses several state-of-the-art 3D printers used to advance the research.

“This development will help to advance green electronics. For example, the waste from printed circuit boards is a hazardous source of contamination to the environment. If we are able to change the plastics in PCB to cellulose composite materials, recycling of metal components on the board could be collected in a much easier way.”

Kim’s research program spans two international collaborative projects, including the latest focusing on the eco-friendly cellulose material-based chemical sensors with collaborators from the Swiss Federal Laboratories for Materials Science.

He is also collaborating with a team of South Korean researchers from the Daegu Gyeongbuk Institute of Science and Technology’s (DGIST)’s department of Robotics Engineering, and PROTEM Co Inc, a technology-based company, for the development of printable conductive ink materials.

In this second project, researchers have developed a new breakthrough in the embossing process technology, one that can freely imprint fine circuit patterns on flexible polymer substrate, a necessary component of electronic products.

Embossing technology is applied for the mass imprinting of precise patterns at a low unit cost. However, Kim says it can only imprint circuit patterns that are imprinted beforehand on the pattern stamp, and the entire, costly stamp must be changed to put in different patterns.

The team succeeded in developing a precise location control system that can imprint patterns directly resulting in a new process technology. The result will have widespread implications for use in semiconductor processes, wearable devices and the display industry.

This paper was made available online back in December 2018 and then published in print in February 2019. As to why there’d be such large gaps between the paper’s publication dates and the two institution’s news/press releases, it’s a mystery to me. In any event, here’s a link to and a citation for the paper,

3D Printed Disposable Wireless Ion Sensors with Biocompatible Cellulose Composites by Taeil Kim, Chao Bao, Michael Hausmann, Gilberto Siqueira, Tanja Zimmermann, Woo Soo Kim. Advanced Electronic Materials DOI: https://doi.org/10.1002/aelm.201970007 First published online December 19, 2018. First published in print: 08 February 2019 (Adv. Electron. Mater. 2/2109) Volume 5, Issue 2 February 2019 1970007

This paper is behind a paywall.