Tag Archives: storytelling

Kerry James Marshall: a ‘song’ of racism in multiple media

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Racism and social justice are two themes often found in the works featured at the Rennie Museum (formerly Rennie Collection). Local real estate marketer, Bob Rennie has been showing works there from his collection since at least 2009 when I wrote my first commentary about it (December 4, 2009).

Kerry James Marshall, the latest artist to have his work featured (June 2 – November 3, 2018), carries on the tradition while making those artistic ‘themes’ his own n a breathtaking (in both its positive and negative meanings) range of styles and media.

Here’s a brief description of some of the works, from an undated Rennie Museum press release,

Rennie Museum presents a survey of works by Kerry James Marshall spanning thirty-two years of the artist’s career. Kerry James Marshall: Collected Works features pieces from the artist’s complex body of work, which interrogates the sparse historical presence of African-Americans through painting, sculpture, drawing and other media. …

The sculptural installation Untitled (Black Power Stamps) (1998) [emphasis mine], Marshall’s very first work acquired by Bob Rennie, aptly sets the tone of the exhibition. Five colossal stamps and their corresponding ink pads are dispersed over the floor of the museum’s four-story high gallery space. Inscribed on each stamp, and reiterated on the walls, are phrases of power dating back to the Civil Rights Movement: ‘Black is Beautiful’, ‘Black Power’, ‘We Shall Overcome’, ‘By Any Means Necessary’, and ‘Burn Baby Burn’. The sentiment reverberates through the three 18 feet (5.5 metre) wide paintings installed in the same room, respectively titled Untitled (Red) (2011), Untitled (Black) and Untitled (Green) (2012). Exhibited together for the first time in North America, the imposing paintings with their colours saluting the Pan African flag echo the form of Barnett Newman’s Who’s Afraid of Red, Yellow and Blue III (1967).

Commanding attention in the center of another room is Wake (2003-2005) [emphasis mine], a sculptural work that focuses on the collective trauma of slavery. Draped atop a blackened model sailboat is a web of medallions featuring portraits of descendants of the approximately twenty African slaves who first landed in Jamestown, Virginia in 1607. Atop a polished black base evoking the deep seas, the medallions cascade over and behind the mourning vessel in a gilded procession, cast out in the boat’s wake. The work commemorates an entire lineage of people whose lives have been irrevocably affected by the traumatic history of slavery in the United States, while simultaneously celebrating the resilience and vivacity of the culture that flourished from it.

Garden Party (2004-2013) [emphasis mine] is a long-coveted painting that Marshall re-worked over the course of almost ten years. Created in a style that harkens 19th century impressionist paintings, the work depicts a scene of leisure – an array of multi-ethnic friends and neighbours casually gathered in a backyard of a social housing project. Painted on a flat canvas tarp and hung barely off the floor, the image highlights an often-overlooked perspective of the vibrant everyday life in the projects and invites its viewers to join in the gathering.

In a dimmed room is Invisible Man (1986) [emphasis mine] – a historic work and one of the first to feature Marshall’s now iconic black on black tonal painting. Referencing Ralph Ellison’s 1952 novel of the same title, Marshall’s work literalizes the premise of black invisibility. Only distinguishable by his bright-white eyes and teeth, and the subtle warmth that delineates black body from black background, Marshall’s figure, like Ellison’s protagonist, subverts his own invisibility, using colour as an emblem of power rather than of submission. The work’s presentation at Rennie Museum provides an opportunity for viewers to explore the full mastery with which Kerry James Marshall layers his various shades of black.

…

As always, you book a tour or claim a space on a tour (here) to see the latest exhibition and are guided through the gallery spaces. What follows is a series of pictures depicting the Marshall pieces in that first room (from the Rennie Museum’s photographic documentation for Marshall’s work), Note: There are five pages of documentation and I encourage you to look at all five,

Installation View. Courtesy:: Rennie Museum

Blot, 2014. acrylic on pvc panel 84 × 119 5/8 × 3 3/8 inches (213 × 304 × 9 cm). Courtesy: Rennie Museum

Sculpture (Ibeji), 2006. wood, fabric, beads 24 × 12 × 14 inches (61 × 30 × 36 cm) Courtesy: Rennie Museum

Heirlooms and Accessories, 2002. 3 inkjet prints on wove paper, rhinestone encrusted wooden artist’s frames each: 56 5/8 × 53 3/4 inches (144 × 137 cm) Courtesy: Rennie Museum

I’ve placed the pieces in the order in which I viewed them. Being at the opening event on June 2, 2018 meant that rather than having a tour, we were ‘invited’ to look at the pieces and ask questions of various ‘attendants’ standing nearby. The ‘Blot’, with all that colour, immediate drew my attention and not having read the title of the piece, I commented on its resemblance to a Rorschach Inkblot. It was my only successful guess of the visit and I continue to bask in it.

According to the attendant, in addition to resembling said inkblot, this piece also addresses abstract expressionism and the absence of African American visual artists from the movement. In this piece as with many others, Marshall finds a way to depict absence despite the paradox (a picture of absence) in terms.

‘Heirlooms and Accessories’ is an example of Marshall’s talent for depicting absence. At first glance the piece seems benign. There is a kind of double frame. The outermost frame is white and inside (abutting the artwork) a diamante braid has been added all around it to create a double frame. The braid is very pretty and accentuates the lockets depicted in the image. There are three white women pictured in their lockets and beneath those lockets and the white paint lay images of African Americans being lynched. The women, by the way, were complicit in the lynchings. It was deeply unsettling to learn this as my friend and I had just moments before been admiring the diamante braid.

Marshall’s work seems designed to force the viewer to look beneath the surface, which means stripping away layers, which with ‘Heirlooms’ means that you strip away the whitewashing.

As a white woman, the show is a profoundly disturbing  experience. Marshall’s range of materials and mastery are breathtaking (in the positive sense) and the way he seduces the (white) viewer into coming closer and experiencing the painting, metaphorically speaking, as a mirror rather than a picture. Marshall has flipped the viewer’s experience making it impossible (or very difficult) to blame racism on other people while failing to recognize your own sins.

The third piece in the room, the sculpture is a representation of a standard of beauty still not often seen in popular culture in North America. Weirdly, it reminded me of something from a December 21, 2017 posting on the LaineyGossip blog,

[downloaded from http://www.laineygossip.com/princess-michael-of-kent-racist-jewelry-greets-meghan/48728]

I don’t know well you can see this, but it’s an example of ‘Blackamoor jewellery’. The woman wearing it is Princess Michael of Kent and at the time the picture was taken she was on her to a Christmas 2017 lunch with the Queen of England. The lunch is where she was to meet Meghan Markle who describes herself as a woman of mixed race and is now the Duchess of Sussex and married to the Queen’s grandson, Harry. For anyone unfamiliar with ‘Blackmoor art’ here’s a July 31, 2015 essay by Anneke Rautenbach for New York University,

… Blackamoors—a trope in Italian decorative art especially common in pieces of furniture, but also appearing in paintings, jewelry, and textiles. The motif emerged as an artistic response to the European encounter with the Moors—dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe during the Middle Ages. Commonly fixed in positions of servitude—as footmen or waiters, for example—the figures personify fantasies of racial conquest.

I trust Princess Michael was made to remove her brooch before entering the palace.

The contrast between Marshall’s sculpture emphasizing the dignity and beauty of the figure and the ‘jewellery’ is striking. The past, as Marshall reminds us, is always with us. From Rautenback’s July 31, 2015 essay (Note: A link has been removed),

Gaudy by nature, and uncomfortably dated—a bit like the American lawn jockey, or Aunt Jemima doll— … Blackamoors are still a thriving industry, with the United States as their no. 1 importer. (In fact, the figurines are especially popular in Texas and Connecticut—search “Blackamoor” online and you’ll find countless listings on eBay, Etsy, and elsewhere.) Unlike their American counterparts, which focus mostly on romanticizing scenes from the era of slavery, these European ornaments often depict black bodies as exotic noblemen. And not everyone considers them passé: As recently as September 2012, the Italian fashion house Dolce & Gabbana invited outrage when it included a caricatured black woman figurine on an earring as part of its spring/summer collection.

Encountering bias and (conscious or unconscious) racism in one’s self is both deeply  chastening and a priceless gift.  It’s one that comedienne Roseanne Barr seems determined to refuse (from a June 14, 2018 article by Marissa Martinelli for Slate.com (Note: Link have been removed),

Barr […] suggested on Thursday [June 14, 2018] that it is only “low IQ” people who would interpret describing a black woman as “Muslim Brotherhood & planet of the apes had a baby” as racist. The real explanation is apparently much deeper:

Roseanne Barr‏Verified account @therealroseanne

Rod Serling wrote Planet of The Apes. It was about anti-semitism. That is what my tweet referred to-the anti semitism of the Iran deal. Low IQ ppl can think whatever they want.

8:08 PM – 13 Jun 2018

…

Low IQ people and Rod Serling’s screenwriting join Ambien and Memorial Day on the growing list of entities that Barr has used to justify the racist tweet over the past two weeks. The one person whose name you will not find on that list of people responsible for what Roseanne Barr said is Roseanne Barr herself.

…

Even with such an obvious tweet, Barr can’t (consistently) admit to and (consistently) apologize for her comment. It may not seem like a gift to her but it is. Facing up to one’s sins and making reparation can help heal the extraordinary wounds that Marshall is making visible.

You may have noticed that I called this show ‘a song of racism’. It’s a reference to poetry which in ancient times was sometimes referred to as a song (Song of Solomon, anyone?). It was also a narrative instrument, i. e., used for storytelling for an active, participatory audience.

Marshall tells a story in allusive language (like poetry) and tricks/seduces you into participating.

On that note, I have one last story to tell and it’s about the placement of Marshall’s artworks in the first floor room. It’s my story, yours and Marshall’s might be different but he has inspired me and so …

The ‘Blot’ or Rorschach Inkblot is a test, which tells a psychologist something about you and how you apprehend the world. It’s the first piece you see when you enter the Rennie Museum space and it sets the tone for all that is to come.  What you see says much about you.

The women, in the sculpture and the lockets, provide contrast and, depending on your race, hold a mirror to you. What is ‘other’ and what is ‘you’?

There was religious imagery in much of Marshall’s work elsewhere and I was particularly struck with the hearts that appeared in some of his paintings. I was reminded of the ‘sacred heart’, a key piece of religious iconography usually associated with Roman Catholicism although other religions also use the imagery.

It is a symbol of love and compassion although I’ve always associated it more with guilt. (My mother favoured the version featuring the heart pierced with a crown of thorns.)

Getting back to “What is ‘other’ and what is ‘you’?” Marshall seems to be hinting that after guilt and suffering, forgiveness is possible.

That’s my story and I’m sticking to it.

As for Marshall, he is a thoughtful artist asking some difficult questions. I hope you’ll get a chance to see his work at the Rennie Museum. As I write this, every tour through June is completely booked and first set of July tours is getting booked fast. You’d best keep an eagle eye on the Visit page.

ETA June18, 2018: Kerry James Marshall was in Vancouver and gave this talk about his work just prior to the show’s opening: https://vimeo.com/274179397 (It runs for roughly 1 hr. and 49 minutes.)

Narrating neuroscience in Toronto (Canada) on Oct. 20, 2017 and knitting a neuron

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What is it with the Canadian neuroscience community? First, there’s The Beautiful Brain an exhibition of the extraordinary drawings of Santiago Ramón y Cajal (1852–1934) at the Belkin Gallery on the University of British Columbia (UBC) campus in Vancouver and a series of events marking the exhibition (for more see my Sept. 11, 2017 posting ; scroll down about 30% for information about the drawings and the events still to come).

I guess there must be some money floating around for raising public awareness because now there’s a neuroscience and ‘storytelling’ event (Narrating Neuroscience) in Toronto, Canada. From a Sept. 25, 2017 ArtSci Salon announcement (received via email),

With NARRATING NEUROSCIENCE we plan to initiate a discussion on the  role and the use of storytelling and art (both in verbal and visual  forms) to communicate abstract and complex concepts in neuroscience to  very different audiences, ranging from fellow scientists, clinicians and patients, to social scientists and the general public. We invited four guests to share their research through case studies and experiences stemming directly from their research or from other practices they have adopted and incorporated into their research, where storytelling and the arts have played a crucial role not only in communicating cutting edge research in neuroscience, but also in developing and advancing it.

OUR GUESTS

MATTEO FARINELLA, PhD, Presidential Scholar in Society and Neuroscience – Columbia University

SHELLEY WALL , AOCAD, MSc, PhD – Assistant professor, Biomedical Communications Graduate Program and Department of Biology, UTM

ALFONSO FASANO, MD, PhD, Associate Professor – University of Toronto Clinician Investigator – Krembil Research Institute Movement Disorders Centre – Toronto Western Hospital

TAHANI BAAKDHAH, MD, MSc, PhD candidate – University of Toronto

DATE: October 20, 2017
TIME: 6:00-8:00 pm
LOCATION: The Fields Institute for Research in Mathematical Sciences
222 College Street, Toronto, ON

Events Facilitators: Roberta Buiani and Stephen Morris (ArtSci Salon) and Nina Czegledy (Leonardo Network)

TAHANI BAAKDHAH is a PhD student at the University of Toronto studying how the stem cells built our retina during development, the mechanism by which the light sensing cells inside the eye enable us to see this beautiful world and how we can regenerate these cells in case of disease or injury.

MATTEO FARINELLA combines a background in neuroscience with a lifelong passion for drawing, making comics and illustrations about the brain. He is the author of _Neurocomic_ (Nobrow 2013) published with the support of the Wellcome Trust, _Cervellopoli_ (Editoriale Scienza 2017) and he has collaborated with universities and educational institutions around
the world to make science more clear and accessible. In 2016 Matteo joined Columbia University as a Presidential Scholar in Society and Neuroscience, where he investigates the role of visual narratives in science communication. Working with science journalists, educators and cognitive neuroscientists he aims to understand how these tools may
affect the public perception of science and increase scientific literacy (cartoonscience.org [2]).

ALFONSO FASANO graduated from the Catholic University of Rome, Italy, in 2002 and became a neurologist in 2007. After a 2-year fellowship at the University of Kiel, Germany, he completed a PhD in neuroscience at the Catholic University of Rome. In 2013 he joined the Movement Disorder Centre at Toronto Western Hospital, where he is the co-director of the
surgical program for movement disorders. He is also an associate professor of medicine in the Division of Neurology at the University of Toronto and clinician investigator at the Krembil Research Institute. Dr. Fasano’s main areas of interest are the treatment of movement  disorders with advanced technology (infusion pumps and neuromodulation), pathophysiology and treatment of tremor and gait disorders. He is author of more than 170 papers and book chapters. He is principal investigator of several clinical trials.

SHELLEY WALL is an assistant professor in the University of Toronto’s Biomedical Communications graduate program, a certified medical illustrator, and inaugural Illustrator-in-Residence in the Faculty of Medicine, University of Toronto. One of her primary areas of research, teaching, and creation is graphic medicine—the intersection of comics with illness, medicine, and caregiving—and one of her ongoing projects is a series of comics about caregiving and young onset Parkinson’s disease.

You can register for this free Toronto event here.

One brief observation, there aren’t any writers (other than academics) or storytellers included in this ‘storytelling’ event. The ‘storytelling’ being featured is visual. To be blunt I’m not of the ‘one picture is worth a thousand words’ school of thinking (see my Feb. 22, 2011 posting). Yes, sometimes pictures are all you need but that tiresome aphorism which suggests  communication can be reduced to one means of communication really needs to be retired. As for academic writing, it’s not noted for its storytelling qualities or experimentation. Academics are not judged on their writing or storytelling skills although there are some who are very good.

Getting back to the Toronto event, they seem to have the visual part of their focus  ” … discussion on the  role and the use of storytelling and art (both in verbal and visual  forms) … ” covered. Having recently attended a somewhat similar event in Vancouver, which was announced n my Sept. 11, 2017 posting, there were some exciting images and ideas presented.

The ArtSci Salon folks also announced this (from the Sept. 25, 2017 ArtSci Salon announcement; received via email),

ATTENTION ARTSCI SALONISTAS AND FANS OF ART AND SCIENCE!!
CALL FOR KNITTING AND CROCHET LOVERS!

In addition to being a PhD student at the University of Toronto, Tahani Baakdhah is a prolific knitter and crocheter and has been the motor behind two successful Knit-a-Neuron Toronto initiatives. We invite all Knitters and Crocheters among our ArtSci Salonistas to pick a pattern
(link below) and knit a neuron (or 2! Or as many as you want!!)

http://bit.ly/2y05hRR

BRING THEM TO OUR OCTOBER 20 ARTSCI SALON!
Come to the ArtSci Salon and knit there!
You can’t come?
Share a picture with @ArtSci_Salon @SciCommTO #KnitANeuronTO [3] on
social media
Or…Drop us a line at artscisalon@gmail.com !

I think it’s been a few years since my last science knitting post. No, it was Oct. 18, 2016. Moving on, I found more neuron knitting while researching this piece. Here’s the Neural Knitworks group, which is part of Australia’s National Science Week (11-19 August 2018) initiative (from the Neural Knitworks webpage),

Neural Knitworks is a collaborative project about mind and brain health.

Whether you’re a whiz with yarn, or just discovering the joy of craft, now you can crochet wrap, knit or knot—and find out about neuroscience.

During 2014 an enormous number of handmade neurons were donated (1665 in total!) and used to build a giant walk-in brain, as seen here at Hazelhurst Gallery [scroll to end of this post]. Since then Neural Knitworks have been held in dozens of communities across Australia, with installations created in Queensland, the ACT, Singapore, as part of the Cambridge Science Festival in the UK and in Philadelphia, USA.

In 2017, the Neural Knitworks team again invites you to host your own home-grown Neural Knitwork for National Science Week*. Together we’ll create a giant ‘virtual’ neural network by linking your displays visually online.

* If you wish to host a Neural Knitwork event outside of National Science Week or internationally we ask that you contact us to seek permission to use the material, particularly if you intend to create derivative works or would like to exhibit the giant brain. Please outline your plans in an email.

Your creation can be big or small, part of a formal display, or simply consist of neighbourhood neuron ‘yarn-bombings’. Knitworks can be created at home, at work or at school. No knitting experience is required and all ages can participate.

See below for how to register your event and download our scientifically informed patterns.

What is a neuron?

Neurons are electrically excitable cells of the brain, spinal cord and peripheral nerves. The billions of neurons in your body connect to each other in neural networks. They receive signals from every sense, control movement, create memories, and form the neural basis of every thought.

Check out the neuron microscopy gallery for some real-world inspiration.

What happens at a Neural Knitwork?

Neural Knitworks are based on the principle that yarn craft, with its mental challenges, social connection and mindfulness, helps keep our brains and minds sharp, engaged and healthy.

Have fun as you

  • design your own woolly neurons, or get inspired by our scientifically-informed knitting, crochet or knot patterns;
  • natter with neuroscientists and teach them a few of your crafty tricks;
  • contribute to a travelling textile brain exhibition;
  • increase your attention span and test your memory.

Calm your mind and craft your own brain health as you

  • forge friendships;
  • solve creative and mental challenges;
  • practice mindfulness and relaxation;
  • teach and learn;
  • develop eye-hand coordination and fine motor dexterity.

Interested in hosting a Neural Knitwork?

  1. Log your event on the National Science Week calendar to take advantage of multi-channel promotion.
  2. Share the link^ for this Neural Knitwork page on your own website or online newsletter and add information your own event details.
  3. Use this flyer template (2.5 MB .docx) to promote your event in local shop windows and on noticeboards.
  4. Read our event organisers toolbox for tips on hosting a successful event.
  5. You’ll need plenty of yarn, needles, copies of our scientifically-based neuron crafting pattern books (3.4 MB PDF) and a comfy spot in which to create.
  6. Gather together a group of friends who knit, crochet, design, spin, weave and anyone keen to give it a go. Those who know how to knit can teach others how to do it, and there’s even an easy no knit pattern that you can knot.
  7. Download a neuroscience podcast to listen to, and you’ve got a Neural Knitwork!
  8. Join the Neural Knitworks community on Facebook  to share and find information about events including public talks featuring neuroscientists.
  9. Tweet #neuralknitworks to show us your creations.
  10. Find display ideas in the pattern book and on our Facebook page.

Finally,, the knitted neurons from Australia’s 2014 National Science Week brain exhibit,

[downloaded from https://www.scienceweek.net.au/neural-knitworks/]

ETA Oct. 24, 2017: If you’re interested on how the talk was received, there’s an Oct. 24, 2017 posting by Magosia Pakulska for the Research2Reality blog.

Bill Nye saving science ?; a Blackout Night Sky Festival; and Eclipse: Total Alignment (science events in Vancouver Canada)

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During August (2017), science in Vancouver (Canada) seems to be mostly about the night sky. The one exception is an event featuring American science communicator, Bill Nye. Here, in the order in which they occur, are the three science events mentioned in the head (scroll down to the third event [Eclipse: Total Alignment] if you are interested in Early Bird tickets, which are available until Aug. 4, 2017).

Bill Nye speaks

Billed as ‘An Evening With Bill Nye & George Stroumboulopoulos’, the event takes place at the Orpheum Theatre on Friday, August 11, 2017. Here’s more from the event page on brownpapertickets.com,

An Evening With Bill Nye & George Stroumboulopoulos
presented by Pangburn Philosophy

Friday, August 11, 2017
Doors: 7pm
Show: 8pm Sharp!

Bill Nye is one of the worlds most eminent promoters of science. He is a scientist, engineer, comedian, author, and inventor. His mission: to help foster a scientifically literate society, to help people everywhere understand and appreciate the science that makes our world work. Making science entertaining and accessible is something Bill has been doing most of his life. He will grace the stage on August 11th at the Orpheum Theatre in Vancouver to exchange dialogue with one of Canada’s most beloved public figures and tv personalities. George Stroumboulopoulos is a six-time Gemini Award and Canadian Screen Award winner for best host in a talk series, George Stroumboulopoulos has interviewed a who’s who of entertainment icons, world leaders and respected thinkers. George has also taken an active role in global initiatives and is a strong advocate for social issues.Special Note:

All PREMIUM ticket purchases grant you a copy of Bill Nye’s new book “Everything All at Once” plus fast-pass access to Bill’s book signing, taking place directly after the event.

All STUDENT discounted tickets are Will Call only at the Box Office, on the evening of the event. Student & Photo ID must be shown. No exceptions.

Service Charges Disclaimer
Note that all tickets are subject to an additional $3.50 for the Facility Fee and $5.00 for the Ticketing Fee.
Friday Aug 11, 2017 8:00 PM – Friday Aug 11, 2017 11:00 PM | CA$60.00 – CA$150.00

I got a message saying ‘sales are ended’, which suggests the event is sold out but organizers usually trumpet that detail right away so I don’t know. It might be an idea to try the Buy Tickets button on this page for yourself.

For anyone unfamiliar with the event organizers, Pangburn Philosophy, there’s their home page and this video,

While I’m quite interested in science and art, singly and together, the discussion about science, religion, and/or god, discussed in the video, leaves me cold. I notice the Pangburn Philosophy organization has a series of events titled ‘Science and Reason’ and all of them feature Richard Dawkins who (as I understand it) has been very involved in the debate about science/reason and religion/god. The debate gets more attention in the UK than it has here in Canada.

Getting back to Bill Nye, there was a provocative essay about Nye, his new television programme, and the debate regarding science/reason and anti-science/alternative facts (which can also touch on religion/god). From an April 25, 2017 essay (titled: Can Bill Nye – or any other science show – really save the world?) by Heather Akin, Bruce W. Hardy, Dietram A. Scheufele, and Dominique Brossard for The Conversation.com (h/t May 1, 2017 republication on salon.com; Note: Links have been removed)

Netflix’s new talk show, “Bill Nye Saves the World,” debuted the night before people around the world joined together to demonstrate and March for Science. Many have lauded the timing and relevance of the show, featuring the famous “Science Guy” as its host, because it aims to myth-bust and debunk anti-scientific claims in an alternative-fact era.

But are more facts really the kryptonite that will rein in what some suggest is a rapidly spreading “anti-science” sentiment in the U.S.?

“With the right science and good writing,” Nye hopes, “we’ll do our best to enlighten and entertain our audience. And, perhaps we’ll change the world a little.” In an ideal world, a show like this might attract a broad and diverse audience with varying levels of science interest and background. By entertaining a wide range of viewers, the thinking goes, the show could effectively dismantle enduring beliefs that are at odds with scientific evidence. Significant parts of the public still aren’t on board with the scientific consensus on climate change and the safety of vaccines and genetically modified foods, for instance.

But what deserves to be successful isn’t always what ends up winning hearts and minds in the real world. In fact, empirical data we collected suggest that the viewership of such shows – even heavily publicized and celebrity-endorsed ones – is small and made up of people who are already highly educated, knowledgeable about science and receptive to scientific evidence.

…

Engaging scientific programming could still be an antidote to waning public interest in science, especially where formal science education is falling short. But it is revealing that “Cosmos” – a heavily marketed, big-budget show backed by Fox Networks and “Family Guy” creator Seth McFarlane – did not reach the audience who need quality science information the most. “Bill Nye Saves the World” might not either. Its streaming numbers are not yet available.

Today’s fragmented and partisan media environment fosters selective exposure and motivated reasoning – that is, viewers typically tune in to programming that confirms their existing worldview. There are few opportunities or incentives for audiences to engage with scientific evidence in the media. All of this can propagate misleading claims and deter audiences from accepting the conclusions of sound science. And adoption of misinformation and alternative facts is not a partisan problem. Policy debates questioning or ignoring scientific consensus on vaccines, climate change and GMOs have cut across different political camps.

None of this is meant to downplay the huge potential of entertainment media to reach diverse audiences beyond the proverbial choir. We know from decades of research that our mental images of science and its impact on society are shaped heavily by (sometimes stereotypical) portrayals of science and scientists in shows like “The Big Bang Theory” or “Orphan Black.”

But successful scientific entertainment programming needs to accomplish two goals: First, draw in a diverse audience well beyond those already interested in science; second, present scientific issues in a way that unites audiences around shared values rather than further polarizing by presenting science in ways that seems at odds with specific political or religious worldviews.

…

And social science research suggests that complex information can reach audiences via the most unlikely of places, including the satirical fake news program “The Colbert Report.” In fact, a University of Pennsylvania study showed that a series of “Colbert Report” episodes about Super PACs and 501(c)(4) groups during the 2012 presidential election did a better job educating viewers than did mainstream programming in traditional news formats.

Social science can help us learn from our mistakes and better understand how to connect with hard-to-reach audiences via new formats and outlets. None of these shows by themselves will save the world. But if done right, they each might get us closer, one empirical step at a time.

I encourage you to read the essay in its entirety and, in particular, to read the comments.

The tickets for the Aug. 11, 2017 event seem a bit expensive but as they appear to be sold out, it proves I know very little about marketing science celebrities. I guess Stroumboulopoulos’ name recognition due to his CBC (Canadian Broadcasting Corporation) experience was part of the sales strategy since he doesn’t seem to have any science background. That said, good interviewers take the time to research and often unearth questions that someone with more expertise might not think to ask. I’ve been favourably impressed the few times I’ve caught one of Stroumboulopoulos’ interviews.

Blackout: Night Sky Festival

The day after Bill Nye, on Saturday, August 12, 2017, there’s a special event at the Museum of Anthropology on the University of British Columbia grounds in Vancouver. Cecilia Lu in a July 24, 2017 posting on The Daily Hive (Vancouver edition) writes up the event,

With the Perseid meteor shower returning next month, the Museum of Anthropology is putting on a unique stargazing festival for the occasion.

On Saturday, August 12 [2017], at the peak of meteor shower viewing season, Blackout: Night Sky Festival will see the MOA transform into an all-ages arts and astronomy celebration.

The museum will remain open until midnight, as stargazers enjoy the night sky amidst Indigenous storytelling, special musical performances, and lantern making.

…

The Museum of Anthropology’s Blackout event page provides more information,

Saturday, August 12 [2017] | 5 pm – Midnight | All-Ages + Licensed |
Adults $10 | Youth + Students Free | Tickets available at the door
Join the event on Facebook
Explore our connection to the stars during an evening of arts and astronomy.
Inspired by the global dark sky movement, Blackout brings together storytellers, musicians, artists and astronomers to share their relationships to the skies. Join us to witness the peak of the Perseid meteor shower and explore the museum until midnight during this all-ages event.
You’ll have the chance to peer into telescopes, make your own star lantern and experience an experimental art installation that reimagines the constellations. Bring a chair or blanket and enjoy stargazing to a soundtrack of downtempo and ambient beats, punctuated by live music and throat singing.
Co-hosted with the UBC Astronomy Club, in association with Hfour and the Secret Lantern Society. Performers include Bronson Charles, Jerry DesVoignes, You’re Me, Andrew Kim the musical scientist and the Secret Lantern Society musicians.

Blackout Night Sky Festival Schedule

Indigenous Sky Stories | 5–6 pm
Join us in the Great Hall for celestial storytelling by Margaret Grenier and learn about what you’ll see in the skies that night from the UBC Astronomy Club.
Planets and Pulsations: The New Keplerian Revolution | 6–7 pm
Does Earth harbour the only life in the universe? Astrophysicist Don Kurtz examines how the Kepler Space Mission has revolutionized our view in an animated multimedia performance.
Late Night Gallery Viewing | 5 pm – midnight
Explore MOA all night long — including our brand new Gallery of Northwest Coast Masterworks.
Bar + BBQ + Music | 7 pm – midnight
Grab a bite to eat or drink from our licensed bar and enjoy the music that runs all night. Vegetarian and non-alcoholic options available.
Lantern Making Workshop | 7–9 pm
Make your own pinhole lantern inspired by constellations from around the world in this drop-in workshop hosted by the Secret Lantern Society.
Reclaiming the Night Skies | 8:30 pm – midnight
Experimental artists Hfour and the MOA’s Native Youth Program present an immersive, projected art installation that brings to life a series of new constellations, featuring soundscapes by Adham Shaikh.
Lantern Procession | 9 pm
Join the procession of freshly built lanterns and roving musicians as we make our way across the Museum Grounds and up the hill for a night of stargazing!
Stargazing + Meteor Shower | 9:30 pm – midnight
How many meteors can you find? Expand your knowledge of the night sky with the telescopes and expertise of the UBC Astronomy Club and HR MacMillan Space Centre, set to a background of live and electronic music. On view that night: Moon, Saturn, Jupiter, M13, M15, Ring Nebula, Lagoon Nebula, Dumbbell Nebula and the Perseid meteor shower.

…

There are two eclipses during August 2017 (Aug. 7, 2017 and Aug. 21, 2017) and I find it odd that neither are mentioned in this astronomy-focused event at the Museum of Anthropology.  The Aug. 21, 2017 astronomical event is a total eclipse of the sun.. There’s more about it on this NASA (US National Aeronautics Space Administration) eclipse website.

Curiosity Collider and the Eclipse

[downloaded from http://www.curiositycollider.org/events/]

Vancouver’s art/sci organization (they have a wordier description here). Curiosity Collider is holding an event that celebrates the upcoming eclipse. From a July 28, 2017 notice (received via email),

Join Curiosity Collider and H.R. MacMillan Centre for this one night
only event

…

ART & SCIENCE EXPLORE THE MOMENTARY DARKNESS
ON AUGUST 17TH [2017], FOR ONE NIGHT ONLY, CURIOSITY COLLIDER AND THE H.R.
MACMILLAN SPACE CENTRE WILL HOST ECLIPSE: TOTAL ALIGNMENT where artists
and scientists interpret the rare alignment of the sun, earth, and moon
during a total solar eclipse. The event includes a performance show in
the planetarium theatre, and interactive multi and mixed media art
installations on the main level Cosmic Courtyard. Highlights include:

* a soundtrack of the solar system created by data sonification
* a dance piece that plays with alignment, light, and shadow
* scientific narration about the of the upcoming total solar eclipse
(on August 21st) and the phases of the moon
* spectacular custom planetarium dome visuals
* meeting the artists and scientists behind one-of-a-kind interactive
and multimedia art projects

This event is 19+ only. Beer and wine available for purchase, light
snacks included.

WHEN: 6:30pm on Thursday, August 17th 2017.
WHERE: H. R. MacMillan Space Centre (1100 Chestnut Street, Vancouver, BC
…

COST: $25-30. Each ticket includes entrance to the Space Centre and one
planetarium show (7:30pm or 9pm). LIMITED EARLY BIRD TICKETS AVAILABLE
BEFORE AUGUST 4 [2017].

…

…

Interested in observing the partial solar eclipse in Vancouver on
Monday, August 21st [2017]? Check out the two observation events hosted by H.R.
MacMillan Space Centre [5] and UBC Department of Physics & Astronomy
[6].

You can find information about the H.R. MacMillan Space Centre’s eclipse viewing event here and the UBC Department of Physics & Astronomy’s eclipse viewing event here. Both event will have eclipse viewers for safety purposes. For instructions on how to view an eclipse safely, there’s NASA.

Curiosity Collider’s event page (it’s a scrolling page so there are other events there as well) provides details about participants,

This show is curated by Curiosity Collider’s Creative Director Char Hoyt, and developed in collaboration with the H.R. MacMillan Space Centre. Participating artists and scientists:

I have not tried all of the links but at least one (Maren Lisac’s) is for a Twitter feed and it’s not particularly informative.

You can find the Eclipse event’s Facebook page here and information about tickets here.

Happy Canada Day!

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This will be a short one. My recent paper, ‘Nanotechnology, storytelling, sensing, and materiality‘, gave me a chance to explore the impact that various sensing technologies used for the nanoscale might have on storytelling. In one of those happy coincidences that can occur, I came across a new sensing technique (although strictly speaking it’s not applied at the nanoscale) that incorporates light and sound on Nanowerk News here. The new technique has allowed researchers to create three-dimensional whole body visualizations of zebra fish. From Nanowerk News,

The real power of the technique, however, lies in specially developed mathematical formulas used to analyze the resulting acoustic patterns. An attached computer uses these formulas to evaluate and interpret the specific distortions caused by scales, muscles, bones and internal organs to generate a three-dimensional image. The result of this “multi-spectral opto-acoustic tomography”, or MSOT, is an image with a striking spatial resolution better than 40 micrometers (four hundredths of a millimeter). And best of all, the sedated fish wakes up and recovers without harm following the procedure.

This new technique, MSOT, has applications for medical research.

In tangentially related news, Rob Annan’s posting on the ‘Don’t leave Canada behind‘ blog (June 30, 2009) features a few comments about a recent article in the New York Times that suggests current funding structures inhibit innovative cancer research. The report was written about US funding but Annan offers some thoughts on the matter and points the way to more Canadian commentary as well as the New York Times article.

That’s it. Happy Canada Day.

Nano as per story, communication, and 4-D microscopy

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It’s been a very slow week but I finally found a few good things. First, a 4-D microscope has been developed by researchers at CalTech. The breakthrough was compared to Eadweard Muybridge’s breakthrough photographic work (he was the first to photograph proof that all four of a horse’s hooves left the ground while galloping) in the 19th Century. Ahmed Zewail, 1999 winner of Nobel Prize in Chemistry and Linus Pauling Professor of Chemistry at the California Institute of Technology (CalTech) and his colleagues have published their findings in the November 21, 2008 issue of Science. With this equipment, scientists will now be able to observe the behaviour of atoms and molecules over space and time. There’s a more detailed article here.

In March 2009, there’s going to be an international advanced communication course regarding nanotechnology at Oxford University. It’s called ‘Public Communication and Applied Ethics of Nanotechnology’ but it seems more like a standard course on how a nonprofessional communicator should get their message out to the public, government agencies, and other interested parties. Oddly, they haven’t listed anyone’s credentials and most of this presenters seem to be academics. With session titles like “How do the media work,” Reviewing participants’ prepared press releases,” etc., I’d expect a few less academics to be presenting and more practitioners. If you’re interested, there’s a description of the event here and a brochure here.

The National Academy of Sciences in the US has a new initiative where they will ‘matchmake’ between filmmakers, scriptwriters, and other creative types with scientists in a bid for scientific accuracy in products from the entertainment industry. They had a symposium in Los Angeles this last Wednesday, Nov. 19, 2008. I find the idea interesting although I had an experience last year which points to at least one pitfall.

Before I get to the pitfall, I need to lead up to it. During last year’s national Science and Technology Week (Canada), Genome BC had an event where they invited the producers and actors from a tv programme called ‘Regenesis’ to a public dialogue. We sat at tables of about 8 – 10 people and listened to what they had to say about the science represented in the show. The lead played a geneticist who solved the week’s story crisis with his understanding of genetics. We watched a clip from the show and then proceeded to discuss it. Here’s my best description of the clip (memory may not be exact),

The lead researcher geneticist meets an adolescent male who’s in trouble. The geneticists run a DNA profile of this troubled adolescent and presents information in a courtroom science. We’re told that there are certain genetic markers that can indicate if someone is predisposed to addiction (and I think he also included violence). Apparently the average person will show 8 out of 40 (I think) potential markers, the troubled adolescent had 32 of the markers which was dramatically revealed to the court in an image of his DNA test results.

As we all should be, everyone at the table was concerned about the ethics but, surprisingly, no one questioned the science.  I don’t mean that the science was necessarily incorrect just that nothing is ever that cut and dried. I did pipe up and luckily there was a geneticist beside me who concurred although most of the people didn’t seem that convinced.

From a storytelling perspective, the problem is that the writer needs to heighten the tension for the demands of the story and most scientific results should be qualified in a nuanced fashion which does lend itself to dramatic tension. So, I’m glad they’re working towards more scientific authenticity but there is a limit to what they can do and still have an interesting story to tell.