The gold sheets in question are effectively 2D. I’m surprised they haven’t named them ‘goldene’ as everything else that’s 2D seems to have an ‘ene’ suffix (e.g. graphene, germanene, tellurene).
Of course, these gold sheets are not composed of single atoms but of two according to an August 6, 2019 news item on Nanowerk,
Scientists at the University of Leeds [UK] have created a new form of gold which is just two atoms thick – the thinnest unsupported gold ever created.
The researchers measured the thickness of the gold to be 0.47 nanometres – that is one million times thinner than a human finger nail. The material is regarded as 2D because it comprises just two layers of atoms sitting on top of one another. All atoms are surface atoms – there are no ‘bulk’ atoms hidden beneath the surface.
I’m pretty sure they’ve added colour to those images and not just in the background; they’ve likely added a gold colour to the gold.
The material could have wide-scale applications in the medical device and electronics industries – and also as a catalyst to speed up chemical reactions in a range of industrial processes.
Laboratory tests show that the ultra-thin gold is 10 times more efficient as a catalytic substrate than the currently used gold nanoparticles, which are 3D materials with the majority of atoms residing in the bulk rather than at the surface.
Scientists believe the new material could also form the basis of artificial enzymes that could be applied in rapid, point-of-care medical diagnostic tests and in water purification systems.
The announcement that the ultra-thin metal had been successfully synthesised was made in the journal Advanced Science.
The lead author of the paper, Dr Sunjie Ye, from Leeds’ Molecular and Nanoscale Physics Group and the Leeds Institute of Medical Research, said: “This work amounts to a landmark achievement.
“Not only does it open up the possibility that gold can be used more efficiently in existing technologies, it is providing a route which would allow material scientists to develop other 2D metals.
“This method could innovate nanomaterial manufacturing.”
The research team are looking to work with industry on ways of scaling-up the process.
Synthesising the gold nanosheet takes place in an aqueous solution and starts with chloroauric acid, an inorganic substance that contains gold. It is reduced to its metallic form in the presence of a ‘confinement agent’ – a chemical that encourages the gold to form as a sheet, just two atoms thick.
Because of the gold’s nanoscale dimensions, it appears green in water – and given its shape, the researchers describe it as gold nanoseaweed.
Professor Stephen Evans, head of the Leeds’ Molecular and Nanoscale Research Group who supervised the research, said the considerable gains that could be achieved from using these ultra-thin gold sheets are down to their high surface-area to volume ratio.
He said: “Gold is a highly effective catalyst. Because the nanosheets are so thin, just about every gold atom plays a part in the catalysis. It means the process is highly efficient.”
Standard benchmark tests revealed that gold nanoscale sheets were ten times more efficient than the gold nanoparticles conventionally used in industry.
Professor Evans said: “Our data suggests that industry could get the same effect from using a smaller amount of gold, and this has economic advantages when you are talking about a precious metal.”
Similar benchmark tests revealed that the gold sheets could act as highly effective artificial enzymes.
The flakes are also flexible, meaning they could form the basis of electronic components for bendable screens, electronic inks and transparent conducting displays.
Professor Evans thinks there will inevitably be comparisons made between the 2D gold and the very first 2D material ever created – graphene, which was fabricated at the University of Manchester in 2004.
He said: “The translation of any new material into working products can take a long time and you can’t force it to do everything you might like to. With graphene, people have thought that it could be good for electronics or for transparent coatings – or as carbon nanotubes that could make an elevator to take us into space because of its super strength.
“I think with 2D gold we have got some very definite ideas about where it could be used, particularly in catalytic reactions and enzymatic reactions. We know it will be more effective than existing technologies – so we have something that we believe people will be interested in developing with us.”
Here’s a link to and a citation for the paper,
Sub‐Nanometer Thick Gold Nanosheets as Highly Efficient Catalysts by Sunjie Ye, Andy P. Brown, Ashley C. Stammers, Neil H. Thomson, Jin Wen, Lucien Roach, Richard J. Bushby, Patricia Louise Coletta, Kevin Critchley, Simon D. Connell, Alexander F. Markham, Rik Brydson, Stephen D. Evans. Advnaced Science https://doi.org/10.1002/advs.201900911 First published: 06 August 2019
Hamster Productions 154K subscribers Our LEGO insulator paper: https://nature.com/articles/s41598-01… A world leading team of ultra-low temperature physicists at Lancaster University decided to place a LEGO figure and four LEGO blocks inside their record-breaking dilution refrigerator. This machine – specially made at the University – is the most effective refrigerator in the world, capable of reaching 1.6 millidegrees above absolute zero (minus 273.15 Centigrade), which is about 200,000 times colder than room temperature and 2,000 times colder than deep space. This research was lead by Low Temperature Physicist Dr. Dmitry Zmeev https://twitter.com/dmitry_zmeev ——————————- TRANSLATORS: Chinese (Traditional) – Hsin Hui Chang Russian – Dmitry Zmeev Dutch – Ruben Leenders Spanish – Marta San Juan Mucientes Italian – Leonardo Forcieri Polish – Veronica Letka ——————————– …
For the first time, LEGO ® has been cooled to the lowest temperature possible in an experiment which reveals a new use for the popular toy.
Its special properties mean it could be useful in the development of quantum computing.
A world leading team of ultra-low temperature physicists at Lancaster University decided to place a LEGO ® figure and four LEGO ® blocks inside their record-breaking dilution refrigerator.
This machine — specially made at the University — is the most effective refrigerator in the world, capable of reaching 1.6 millidegrees above absolute zero (minus 273.15 Centigrade), which is about 200,000 times colder than room temperature and 2,000 times colder than deep space.
The results — published in the journal Scientific Reports — were surprising.
Dr Dmitry Zmeev, who led the research team, said: “”Our results are significant because we found that the clamping arrangement between the LEGO ® blocks causes the LEGO ® structures to behave as an extremely good thermal insulator at cryogenic temperatures.
“This is very desirable for construction materials used for the design of future scientific equipment like dilution refrigerators.”
Invented 50 years ago, the dilution refrigerator is at the centre of a global multi-billion dollar industry and is crucial to the work of modern experimental physics and engineering, including the development of quantum computers.
The use of ABS plastic structures, such as LEGO ®, instead of the solid materials currently in use, means that any future thermal insulator could be produced at a significantly reduced cost.
Researchers say the next step is to design and 3D print a new thermal insulator for the next generation of dilution refrigerators.
A July 26, 2019 news item on Nanowerk takes us into the world of quantum physics and graphene (Note: Links have been removed),
A team of researchers from the Universities of Manchester, Nottingham and Loughborough have discovered quantum phenomena that helps to understand the fundamental limits of graphene electronics.
As published in Nature Communications (“Strong magnetophonon oscillations in extra-large graphene”), the work describes how electrons in a single atomically-thin sheet of graphene scatter off the vibrating carbon atoms which make up the hexagonal crystal lattice.
By applying a magnetic field perpendicular to the plane of graphene, the current-carrying electrons are forced to move in closed circular “cyclotron” orbits. In pure graphene, the only way in which an electron can escape from this orbit is by bouncing off a “phonon” in a scattering event. These phonons are particle-like bundles of energy and momentum and are the “quanta” of the sound waves associated with the vibrating carbon atom. The phonons are generated in increasing numbers when the graphene crystal is warmed up from very low temperatures.
By passing a small electrical current through the graphene sheet, the team were able to measure precisely the amount of energy and momentum that is transferred between an electron and a phonon during a scattering event.
Their experiment revealed that two types of phonon scatter the electrons: transverse acoustic (TA) phonons in which the carbon atoms vibrate perpendicular to the direction of phonon propagation and wave motion (somewhat analogous to surface waves on water) and longitudinal acoustic (LA) phonons in which the carbon atoms vibrate back and forth along the direction of the phonon and the wave motion; (this motion is somewhat analogous to the motion of sound waves through air).
The measurements provide a very accurate measure of the speed of both types of phonons, a measurement which is otherwise difficult to make for the case of a single atomic layer. An important outcome of the experiments is the discovery that TA phonon scattering dominates over LA phonon scattering.
The observed phenomena, commonly referred to as “magnetophonon oscillations”, was measured in many semiconductors years before the discovery of graphene. It is one of the oldest quantum transport phenomena that has been known for more than fifty years, predating the quantum Hall effect. Whereas graphene possesses a number of novel, exotic electronic properties, this rather fundamental phenomenon has remained hidden.
Laurence Eaves & Roshan Krishna Kumar, co-authors of the work said: “We were pleasantly surprised to find such prominent magnetophonon oscillations appearing in graphene. We were also puzzled why people had not seen them before, considering the extensive amount of literature on quantum transport in graphene.”
Their appearance requires two key ingredients. First, the team had to fabricate high quality graphene transistors with large areas at the National Graphene Institute. If the device dimensions are smaller than a few micrometres the phenomena could not be observed.
Piranavan Kumaravadivel from The University of Manchester, lead author of the paper said: “At the beginning of quantum transport experiments, people used to study macroscopic, millimetre sized crystals. In most of the work on quantum transport on graphene, the studied devices are typically only a few micrometres in size. It seems that making larger graphene devices is not only important for applications but now also for fundamental studies.”
The second ingredient is temperature. Most graphene quantum transport experiments are performed at ultra-cold temperatures in-order to slow down the vibrating carbon atoms and “freeze-out” the phonons that usually break quantum coherence. Therefore, the graphene is warmed up as the phonons need to be active to cause the effect.
Mark Greenaway, from Loughborough University, who worked on the quantum theory of this effect said: “This result is extremely exciting – it opens a new route to probe the properties of phonons in two-dimensional crystals and their heterostructures. This will allow us to better understand electron-phonon interactions in these promising materials, understanding which is vital to develop them for use in new devices and applications.”
Here’s a link to and a citation for the paper,
Strong magnetophonon oscillations in extra-large graphene by P. Kumaravadivel, M. T. Greenaway, D. Perello, A. Berdyugin, J. Birkbeck, J. Wengraf, S. Liu, J. H. Edgar, A. K. Geim, L. Eaves & R. Krishna Kumar. ature Communicationsvolume 10, Article number: 3334 (2019) DOI: https://doi.org/10.1038/s41467-019-11379-3 Published 26 July 2019
A team of scientists are seeking to kick-start a wearable technology revolution by creating flexible fibres and adding acids from red wine.
Extracting tannic acid from red wine, coffee or black tea, led a team of scientists from The University of Manchester to develop much more durable and flexible wearable devices. The addition of tannins improved mechanical properties of materials such as cotton to develop wearable sensors for rehabilitation monitoring, drastically increasing the devices lifespan.
The team have developed wearable devices such as capacitive breath sensors and artificial hands for extreme conditions by improving the durability of flexible sensors. Previously, wearable technology has been subject to fail after repeated bending and folding which can interrupt the conductivity of such devices due to tiny micro cracks. Improving this could open the door to more long-lasting integrated technology.
Dr Xuqing Liu who led the research team said: “We are using this method to develop new flexible, breathable, wearable devices. The main research objective of our group is to develop comfortable wearable devices for flexible human-machine interface.
“Traditional conductive material suffers from weak bonding to the fibers which can result in low conductivity. When red wine, or coffee, or black tea, is spilled on a dress, it’s difficult to get rid of these stains. The main reason is that they all contain tannic acid, which can firmly adsorb the material on the surface of the fiber. This good adhesion is exactly what we need for durable wearable, conductive devices.”
The new research published in the journal Small demonstrated that without this layer of tannic acid, the conductivity is several hundred times, or even thousands of times, less than traditional conductive material samples as the conductive coating becomes easily detached from the textile surface through repeated bending and flexing.
There’s a very good November 11, 2019 article by Natalie Angier for the New York Times on carbon nanotubes (CNTs) and the colour black,
On a laboratory bench at the National Institute of Standards and Technology was a square tray with two black disks inside, each about the width of the top of a Dixie cup. Both disks were undeniably black, yet they didn’t look quite the same.
Solomon Woods, 49, a trim, dark-haired, soft-spoken physicist, was about to demonstrate how different they were, and how serenely voracious a black could be.
“The human eye is extraordinarily sensitive to light,” Dr. Woods said. Throw a few dozen photons its way, a few dozen quantum-sized packets of light, and the eye can readily track them.
Dr. Woods pulled a laser pointer from his pocket. “This pointer,” he said, “puts out 100 trillion photons per second.” He switched on the laser and began slowly sweeping its bright beam across the surface of the tray.
On hitting the white background, the light bounced back almost unimpeded, as rude as a glaring headlight in a rearview mirror.
The beam moved to the first black disk, a rondel of engineered carbon now more than a decade old. The light dimmed significantly, as a sizable tranche of the incident photons were absorbed by the black pigment, yet the glow remained surprisingly strong.
Finally Dr. Woods trained his pointer on the second black disk, and suddenly the laser’s brilliant beam, its brash photonic probe, simply — disappeared. Trillions of light particles were striking the black disk, and virtually none were winking back up again. It was like watching a circus performer swallow a sword, or a husband “share” your plate of French fries: Hey, where did it all go?
N.I.S.T. disk number two was an example of advanced ultra-black technology: elaborately engineered arrays of tiny carbon cylinders, or nanotubes, designed to capture and muzzle any light they encounter. Blacker is the new black, and researchers here and abroad are working to create ever more efficient light traps, which means fabricating materials that look ever darker, ever flatter, ever more ripped from the void.
The N.I.S.T. ultra-black absorbs at least 99.99 percent of the light that stumbles into its nanotube forest. But scientists at the Massachusetts Institute of Technology reported in September the creation of a carbon nanotube coating that they claim captures better than 99.995 of the incident light.
… The more fastidious and reliable the ultra-black, the more broadly useful it will prove to be — in solar power generators, radiometers, industrial baffles and telescopes primed to detect the faintest light fluxes as a distant planet traverses the face of its star.
Psychology and metaphors
It’s not all technical, Angier goes on to mention the psychological and metaphorical aspects,
Psychologists have gathered evidence that black is among the most metaphorically loaded of all colors, and that we absorb our often contradictory impressions about black at a young age.
Reporting earlier this year in the Quarterly Journal of Experimental Psychology, Robin Kramer and Joanne Prior of the University of Lincoln in the United Kingdom compared color associations in a group of 104 children, aged 5 to 10, with those of 100 university students.
The researchers showed subjects drawings in which a lineup of six otherwise identical images differed only in some aspect of color. The T-shirt of a boy taking a test, for example, was switched from black to blue to green to red to white to yellow. The same for a businessman’s necktie, a schoolgirl’s dress, a dog’s collar, a boxer’s gloves.
Participants were asked to link images with traits. Which boy was likeliest to cheat on the test? Which man was likely to be in charge at work? Which girl was the smartest in her class, which dog the scariest?
Again and again, among both children and young adults, black pulled ahead of nearly every color but red. Black was the color of cheating, and black was the color of cleverness. A black tie was the mark of a boss, a black collar the sign of a pit bull. Black was the color of strength and of winning. Black was the color of rage.
Then, there is the world of art,
For artists, black is basal and nonnegotiable, the source of shadow, line, volume, perspective and mood. “There is a black which is old and a black which is fresh,” Ad Reinhardt, the abstract expressionist artist, said. “Lustrous black and dull black, black in sunlight and black in shadow.”
So essential is black to any aesthetic act that, as David Scott Kastan and Stephen Farthing describe in their scholarly yet highly entertaining book, “On Color,” modern artists have long squabbled over who pioneered the ultimate visual distillation: the all-black painting.
Was it the Russian Constructivist Aleksandr Rodchenko, who in 1918 created a series of eight seemingly all-black canvases? No, insisted the American artist Barnett Newman: Those works were very dark brown, not black. He, Mr. Newman, deserved credit for his 1949 opus, “Abraham,” which in 1966 he described as “the first and still the only black painting in history.”
But what about Kazimir Malevich’s “Black Square” of 1915? True, it was a black square against a white background, but the black part was the point. Then again, the English polymath Robert Fludd had engraved a black square in a white border back in 1617.
Clearly, said Alfred H. Barr, Jr., the first director of the Museum of Modern Art, “Each generation must paint its own black square.”
Solomon and his NIST colleagues and the MIT scientists are all trying to create materials with structural colour, in this case, black. Angier goes on to discuss structural colour in nature mentioning bird feathers and spiders as examples of where you might find superblacks. For anyone unfamiliar with structural colour, the colour is not achieved with pigment or dye but with tiny structures, usually measured at the nanoscale, on a bird’s wing, a spider’s belly, a plant leaf, etc. Structural colour does not fade or change . Still, it’s possible to destroy the structures, i.e., the colour, but light and time will not have any effect since it’s the tiny structures and their optical properties which are producing the colour . (Even after all these years, my favourite structural colour story remains a Feb. 1, 2013 article, Color from Structure, by Cristina Luiggi for The Scientist magazine. For a shorter version, I excerpted parts of Luiggi’s story for my February 7, 2013 posting.)
The examples of structural colour in Angier’s article were new to me. However, there are many, many examples elsewhere,. You can find some here by using the terms ‘structural colour’ or ‘structural color’ in the blog’s search engine.
Angier’s is a really good article and I strongly recommend reading it if you have time but I’m a little surprised she doesn’t mention Vantablack and the artistic feud. More about that in a moment,
Massachusetts Institute of Technology and a ‘blacker black’
According to MIT (Massachusetts Institute of Technology), they have the blackest black. It too is courtesy of carbon nanotubes.
What you see in the above ‘The Redemption of Vanity’ was on show at the New York Stock Exchange (NYSE) from September 13 – November 29, 2019. It’s both an art piece and a demonstration of MIT’s blackest black.
With apologies to “Spinal Tap,” it appears that black can, indeed, get more black.
MIT engineers report today that they have cooked up a material that is 10 times blacker than anything that has previously been reported. The material is made from vertically aligned carbon nanotubes, or CNTs — microscopic filaments of carbon, like a fuzzy forest of tiny trees, that the team grew on a surface of chlorine-etched aluminum foil. The foil captures at least 99.995 percent* of any incoming light, making it the blackest material on record.
The researchers have published their findings today in the journal ACS-Applied Materials and Interfaces. They are also showcasing the cloak-like material as part of a new exhibit today at the New York Stock Exchange, titled “The Redemption of Vanity.”
The artwork, conceived by Diemut Strebe, an artist-in-residence at the MIT Center for Art, Science, and Technology, in collaboration with Brian Wardle, professor of aeronautics and astronautics at MIT, and his group, and MIT Center for Art, Science, and Technology artist-in-residence Diemut Strebe, features a 16.78-carat natural yellow diamond from LJ West Diamonds, estimated to be worth $2 million, which the team coated with the new, ultrablack CNT material. The effect is arresting: The gem, normally brilliantly faceted, appears as a flat, black void.
Wardle says the CNT material, aside from making an artistic statement, may also be of practical use, for instance in optical blinders that reduce unwanted glare, to help space telescopes spot orbiting exoplanets.
“There are optical and space science applications for very black materials, and of course, artists have been interested in black, going back well before the Renaissance,” Wardle says. “Our material is 10 times blacker than anything that’s ever been reported, but I think the blackest black is a constantly moving target. Someone will find a blacker material, and eventually we’ll understand all the underlying mechanisms, and will be able to properly engineer the ultimate black.”
Wardle’s co-author on the paper is former MIT postdoc Kehang Cui, now a professor at Shanghai Jiao Tong University.
Into the void
Wardle and Cui didn’t intend to engineer an ultrablack material. Instead, they were experimenting with ways to grow carbon nanotubes on electrically conducting materials such as aluminum, to boost their electrical and thermal properties.
But in attempting to grow CNTs on aluminum, Cui ran up against a barrier, literally: an ever-present layer of oxide that coats aluminum when it is exposed to air. This oxide layer acts as an insulator, blocking rather than conducting electricity and heat. As he cast about for ways to remove aluminum’s oxide layer, Cui found a solution in salt, or sodium chloride.
At the time, Wardle’s group was using salt and other pantry products, such as baking soda and detergent, to grow carbon nanotubes. In their tests with salt, Cui noticed that chloride ions were eating away at aluminum’s surface and dissolving its oxide layer.
“This etching process is common for many metals,” Cui says. “For instance, ships suffer from corrosion of chlorine-based ocean water. Now we’re using this process to our advantage.”
Cui found that if he soaked aluminum foil in saltwater, he could remove the oxide layer. He then transferred the foil to an oxygen-free environment to prevent reoxidation, and finally, placed the etched aluminum in an oven, where the group carried out techniques to grow carbon nanotubes via a process called chemical vapor deposition.
By removing the oxide layer, the researchers were able to grow carbon nanotubes on aluminum, at much lower temperatures than they otherwise would, by about 100 degrees Celsius. They also saw that the combination of CNTs on aluminum significantly enhanced the material’s thermal and electrical properties — a finding that they expected.
What surprised them was the material’s color.
“I remember noticing how black it was before growing carbon nanotubes on it, and then after growth, it looked even darker,” Cui recalls. “So I thought I should measure the optical reflectance of the sample.
“Our group does not usually focus on optical properties of materials, but this work was going on at the same time as our art-science collaborations with Diemut, so art influenced science in this case,” says Wardle.
Wardle and Cui, who have applied for a patent on the technology, are making the new CNT process freely available to any artist to use for a noncommercial art project.
“Built to take abuse”
Cui measured the amount of light reflected by the material, not just from directly overhead, but also from every other possible angle. The results showed that the material absorbed at least 99.995 percent of incoming light, from every angle. In other words, it reflected 10 times less light than all other superblack materials, including Vantablack. If the material contained bumps or ridges, or features of any kind, no matter what angle it was viewed from, these features would be invisible, obscured in a void of black.
The researchers aren’t entirely sure of the mechanism contributing to the material’s opacity, but they suspect that it may have something to do with the combination of etched aluminum, which is somewhat blackened, with the carbon nanotubes. Scientists believe that forests of carbon nanotubes can trap and convert most incoming light to heat, reflecting very little of it back out as light, thereby giving CNTs a particularly black shade.
“CNT forests of different varieties are known to be extremely black, but there is a lack of mechanistic understanding as to why this material is the blackest. That needs further study,” Wardle says.
The material is already gaining interest in the aerospace community. Astrophysicist and Nobel laureate John Mather, who was not involved in the research, is exploring the possibility of using Wardle’s material as the basis for a star shade — a massive black shade that would shield a space telescope from stray light.
“Optical instruments like cameras and telescopes have to get rid of unwanted glare, so you can see what you want to see,” Mather says. “Would you like to see an Earth orbiting another star? We need something very black. … And this black has to be tough to withstand a rocket launch. Old versions were fragile forests of fur, but these are more like pot scrubbers — built to take abuse.”
[Note] An earlier version of this story stated that the new material captures more than 99.96 percent of incoming light. That number has been updated to be more precise; the material absorbs at least 99.995 of incoming light.
Here’s an August 29, 2019 news release from MIT announcing the then upcoming show. Usually I’d expect to see a research paper associated with this work but this time it seems to an art exhibit only,
The MIT Center for Art, Science &Technology (CAST) and the New York Stock Exchange (NYSE) will present The Redemption of Vanity,created by artist Diemut Strebe in collaboration with MIT scientist Brian Wardle and his lab, on view at the New York Stock Exchange September 13, 2019 -November 25, 2019. For the work, a 16.78 carat natural yellow diamond valued at $2 million from L.J.West was coated using a new procedure of generating carbon nanotubes (CNTs), recently measured to be the blackest black ever created, which makes the diamond seem to disappear into an invisible void. The patented carbon nanotube technology (CNT) absorbs more than 99.96% of light and was developed by Professor Wardle and his necstlablab at MIT.
“Any object covered with this CNT material loses all its plasticity and appears entirely flat, abbreviated/reduced to a black silhouette. In outright contradiction to this we see that a diamond,while made of the very same element (carbon) performs the most intense reflection of light on earth.Because of the extremely high light absorbtive qualities of the CNTs, any object, in this case a large diamond coated with CNT’s, becomes a kind of black hole absent of shadows,“ explains Strebe.“The unification of extreme opposites in one object and the particular aesthetic features of the CNTs caught my imagination for this art project.”
“Strebe’s art-science collaboration caused us to look at the optical properties of our new CNT growth, and we discovered that these particular CNTs are blacker than all other reported materials by an order of magnitude across the visible spectrum”, says Wardle. The MIT team is offering the process for any artist to use. “We do not believe in exclusive ownership of any material or idea for any artwork and have opened our method to any artist,” say Strebe and Wardle.“
The project explores material and immaterial value attached to objects and concepts in reference to luxury, society and to art. We are presenting the literal devaluation of a diamond, which is highly symbolic and of high economic value.It presents a challenge to art market mechanisms on the one hand, while expressing at the same time questions of the value of art in a broader way. In this sense it manifests an inquiry into the significance of the value of objects of art and the art market,” says Strebe. “We are honored to present this work at The New York Stock Exchange, which I believe to be a most fitting location to consider the ideas embedded in The Redemption of Vanity.”
“The New York Stock Exchange, a center of financial and technological innovation for 227 years, is the perfect venue to display Diemut Strebe and Professor Brian Wardle’s collaboration. Their work brings together cutting-edge nanotube technology and a natural diamond, which is a symbol of both value and longevity,” said John Tuttle, NYSE Group Vice Chairman & Chief Commercial Officer.
“We welcome all scientists and artists to venture into the world of natural color diamonds. The Redemption of Vanity exemplifies the bond between art, science, and luxury. The 16-carat vivid yellow diamond in the exhibit spent millions of years in complete darkness, deep below the earth’s surface. It was only recently unearthed —a once-in-a-lifetime discovery of exquisite size and color. Now the diamond will relive its journey to darkness as it is covered in the blackest of materials. Once again, it will become a reminder that something rare and beautiful can exist even in darkness,”said Larry West.
The “disappearing” diamond in The Redemption of Vanity is a $2 Million Fancy Vivid Yellow SI1 (GIA), Radiant shape, from color diamond specialist, L.J. West Diamonds Inc. of New York.
The Redemption of Vanity, conceived by Diemut Strebe, has been realized with Brian L. Wardle, Professor of Aeronautics and Astronautics and Director of necstlab and Nano-Engineered Composite aerospace STructures (NECST) Consortium and his team Drs. Luiz Acauan and Estelle Cohen, in conjunction with Strebe’s residency at MIT supported by the Center for Art, Science & Technology (CAST).
ABOUT THE ARTISTS
Diemut Strebe is a conceptual artist based in Boston, MA and a MIT CAST Visiting Artist. She has collaborated with several MIT faculty, including Noam Chomsky and Robert Langer on Sugababe (2014), Litmus (2014) and Yeast Expression(2015); Seth Lloyd and Dirk Englund on Wigner’s Friends(2014); Alan Guth on Plötzlich! (2018); researchers in William Tisdale’s Lab on The Origin of the Works of Art(2018); Regina Barzilay and Elchanan Mossel on The Prayer (2019); and Ken Kamrin and John Brisson on The Gymnast (2019). Strebe is represented by the Ronald Feldman Gallery.
Brian L. Wardle is a Professor of Aeronautics and Astronautics at MIT and the director of the necstlab research group and MIT’s Nano-Engineered Composite aerospace STructures (NECST) Consortium. Wardle previously worked with CAST Visiting Artist Trevor Paglen on The Last Picturesproject (2012).
ABOUT THE MIT CENTER FOR ART, SCIENCE & TECHNOLOGY
A major cross-school initiative, the MIT Center for Art, Science & Technology (CAST) creates new opportunities for art, science and technology to thrive as interrelated, mutually informing modes of exploration, knowledge and discovery. CAST’s multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposia, classes, workshops, design studios, lectures and publications. The Center is funded in part by a generous grant from the Andrew W. Mellon Foundation. Evan Ziporyn is the Faculty Director and Leila W. Kinney is the Executive Director.Since its inception in 2012, CAST has been the catalyst for more than 150 artist residencies and collaborative projects with MIT faculty and students, including numerous cross-disciplinary courses, workshops, concert series, multimedia projects, lectures and symposia. The visiting artists program is a cornerstone of CAST’s activities, which encourages cross-fertilization among disciplines and intensive interaction with MIT’s faculty and students. More info at https://arts.mit.edu/cast/ .
HISTORY OF VISITING ARTISTS AT MIT
Since the late 1960s, MIT has been a leader in integrating the arts and pioneering a model for collaboration among artists, scientists and engineers in a research setting. CAST’s Visiting Artists Program brings internationally acclaimed artists to engage with MIT’s creative community in ways that are mutually enlightening for the artists and for faculty, students and research staff at the Institute. Artists who have worked extensively at MIT include Mel Chin, Olafur Eliasson, Rick Lowe, Vik Muniz, Trevor Paglen, Tomás Saraceno, Maya Beiser, Agnieszka Kurant, and Anicka Yi.
ABOUT L.J. WEST DIAMONDS
L.J. West Diamonds is a three generation natural color diamond whole sale rfounded in the late 1970’s by Larry J. West and based in New York City. L.J. West has established itself as one of the world’s prominent houses for some of the most rare and important exotic natural fancy color diamonds to have ever been unearthed. This collection includes a vast color spectrum of rare pink, blue, yellow, green, orange and red diamonds. L.J. West is an expert in every phase of the jewelry process –from sourcing to the cutting, polishing and final design. Each exceptional jewel is carefully set to become a unique work of art.The Redemption of Vanity is on view at the New York Stock Exchange by appointment only.
Press viewing: September 13, 2019 at 3pmNew York Stock Exchange, 11 Wall Street, New York, NY 10005RSVP required. Please check-in at the blue tent at 2 Broad Street(at the corner of Wall and Broad Streets). All guests are required to show a government issued photo ID and go through airport-like security upon entering the NYSE.NYSE follows a business casual dress code -jeans & sneakers are not permitted.
No word yet if there will be other showings.
An artistic feud (of sorts)
Earlier this year, I updated a story on Vantablack. It was the blackest black, blocking 99.8% of light when I featured it in a March 14, 2016 posting. The UK company making the announcement, Surrey NanoSystems, then laid the groundwork for an artistic feud when it granted exclusive rights to their carbon nanotube-based coating, Vantablack, to Sir Anish Kapoor mentioned here in an April 16, 2016 posting.
This exclusivity outraged some artists notably, Stuart Semple. In his first act of defiance, he created the pinkest pink. Next, came a Kickstarter campaign to fund Semple’s blackest black, which would be available to all artists except Anish Kapoor. You can read all about the pinkest pink and blackest black as per Semple in my February 21, 2019 posting. You can also get a bit of an update in an Oct. 17, 2019 Stuart Semple proffile by Berenice Baker for Verdict,
… so I managed to hire a scientist, Jemima, to work in the studio with me. She got really close to a super black, and we made our own pigment to this recipe and it was awesome, but we couldn’t afford to put it into manufacture because it cost £25,000.”
Semple launched a Kickstarter campaign and was amazed to raise half a million pounds, making it the second most-supported art Kickstarter of all time.
The ‘race to the blackest’ is well underway, with MIT researchers recently announcing a carbon nanotube-based black whose light absorption they tested by coasting a diamond. But Semple is determined that his black should be affordable by all artists and work like a paint, not only perform in laboratory conditions. He’s currently working with Jemima and two chemists to upgrade the recipe for Black 3.2.
I don’t know how Semple arrived at his blackest black. I think it’s unlikely that he achieved the result by working with carbon nanotubes since my understanding is that CNTs aren’t that easy to produce.
Interesting, eh? In just a few years scientists have progressed from achieving a 99.8% black to 99.999%. It doesn’t seem like that big a difference to me but with Solomon Woods, at the beginning of this post, making the point that our eyes are very sensitive to light, an artistic feud, and a study uncovering deep emotions, getting the blackest black is a much more artistically fraught endeavour than I had imagined.
We’re back on the cyborg trail or what I sometimes refer to as machine/flesh. A July 3, 2019 news item on ScienceDaily describes the latest attempts to join machine with flesh,
Machine enhanced humans — or cyborgs as they are known in science fiction — could be one step closer to becoming a reality, thanks to new research Lieber Group at Harvard University, as well as scientists from University of Surrey and Yonsei University.
Researchers have conquered the monumental task of manufacturing scalable nanoprobe arrays small enough to record the inner workings of human cardiac cells and primary neurons.
The ability to read electrical activities from cells is the foundation of many biomedical procedures, such as brain activity mapping and neural prosthetics. Developing new tools for intracellular electrophysiology (the electric current running within cells) that push the limits of what is physically possible (spatiotemporal resolution) while reducing invasiveness could provide a deeper understanding of electrogenic cells and their networks in tissues, as well as new directions for human-machine interfaces.
The Lieber Group at Harvard University provided this image illustrating the work,
In a paper published by Nature Nanotechnology, scientists from Surrey’s Advanced Technology Institute (ATI) and Harvard University detail how they produced an array of the ultra-small U-shaped nanowire field-effect transistor probes for intracellular recording. This incredibly small structure was used to record, with great clarity, the inner activity of primary neurons and other electrogenic cells, and the device has the capacity for multi-channel recordings.
Dr Yunlong Zhao from the ATI at the University of Surrey said: “If our medical professionals are to continue to understand our physical condition better and help us live longer, it is important that we continue to push the boundaries of modern science in order to give them the best possible tools to do their jobs. For this to be possible, an intersection between humans and machines is inevitable.
“Our ultra-small, flexible, nanowire probes could be a very powerful tool as they can measure intracellular signals with amplitudes comparable with those measured with patch clamp techniques; with the advantage of the device being scalable, it causes less discomfort and no fatal damage to the cell (cytosol dilation). Through this work, we found clear evidence for how both size and curvature affect device internalisation and intracellular recording signal.”
Professor Charles Lieber from the Department of Chemistry and Chemical Biology at Harvard University said: “This work represents a major step towards tackling the general problem of integrating ‘synthesised’ nanoscale building blocks into chip and wafer scale arrays, and thereby allowing us to address the long-standing challenge of scalable intracellular recording.
“The beauty of science to many, ourselves included, is having such challenges to drive hypotheses and future work. In the longer term, we see these probe developments adding to our capabilities that ultimately drive advanced high-resolution brain-machine interfaces and perhaps eventually bringing cyborgs to reality.”
Professor Ravi Silva, Director of the ATI at the University of Surrey, said: “This incredibly exciting and ambitious piece of work illustrates the value of academic collaboration. Along with the possibility of upgrading the tools we use to monitor cells, this work has laid the foundations for machine and human interfaces that could improve lives across the world.”
Dr Yunlong Zhao and his team are currently working on novel energy storage devices, electrochemical probing, bioelectronic devices, sensors and 3D soft electronic systems. Undergraduate, graduate and postdoc students with backgrounds in energy storage, electrochemistry, nanofabrication, bioelectronics, tissue engineering are very welcome to contact Dr Zhao to explore the opportunities further.
I’ve already written about October 2019 science and art/science events in Canada (see my Sept. 26, 2019 posting), but more event notices for Octoberhave come my way. These events are all art/science (or sciart as it’s sometimes called).
… on the future of life forms … a two-night (Oct./Nov.) discussion in Toronto, Canada
Here’s more from the ArtSci Salon’s October 3, 2019 announcement (received via email)
“…now they were perfecting a pigoon that could grow five or six kidneys at a time. Such a host animal could be reaped of its extra kidneys; then, rather than being destroyed, it could keep on living and grow more organs, much as a lobster could grow another claw to replace a missing one. That would be less wasteful, as it took a lot of food and care to grow a pigoon. A great deal of investment money had gone into OrganInc Farms…” (Margaret Atwood – Oryx & Crake 2003)
In Oryx and Crake Margaret Atwood describes a not-too-distant future where humans have perfected the art of fabricating and modifying a variety of creatures to improve and prolongue their own lives and wellbeing.
As Atwood has stated in various occasions, this is not science fiction.
It is in fact already happening. New forms of life appear not only as the product of lab fabrication or gene editing, but also as the result of toxic pollutants and climate change induced adaptation.
what to make of them?
how to cope with a world where extinction, adaptation and mutation risk to make traditional categories and taxonomies obsolete?
Join us to this two-parts series to discuss the ethics and implications of these transformations with artists, scientists and bioethicists.
Part 1 Thursday, October 17, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Altered Inheritance: extinction, recreation or transformation? a dialogue and discussion on the implications of genome editing on humans and other organisms
with Francoise Baylis – Research Professor, Bioethicist, Dalhousie University
Karen Maxwell – Dept. of Biochemistry, Maxwell Lab, University of Toronto
emergent artists from OCADU [Ontario College of Art and Design University] and YorkU [York University, Toronto]
Part 2 Thursday, November 21, 6:00-8:00 pm The Fields Institute for Research in Mathematical Sciences
Classifying the new? why do we classify? what is it good for? what is the limit of taxonomy and classification in a transforming world?
with Richard Pell – Centre for PostNatural History, Pittsburgh, PA
Laurence Packer – Mellitologist, Professor of biology and environmental studies, York University
Stefan Herda – earth science artist
Cole Swanson – artist and educator (Art Foundation and Visual and Digital Arts, Humber college)
Anna Marie O’Brien – Frederickson, Rochman, and Sinton labs, University of Toronto
Françoise Baylis is University Research Professor at Dalhousie University. She is a member of the Order of Canada and the Order of Nova Scotia, as well as a fellow of the Royal Society of Canada and of the Canadian Academy of Health Sciences. Baylis was one of the organizers of, and a key participant in, the 2015 International Summit on Human Gene Editing. She is a member of the WHO expert advisory committee on Developing Global Standards for Governance and Oversight of Human Genome Editing. Her new book “Altered Inheritance. CRISPR and the Ethics of Human Genome Editing” is published by Harvard University Press
Karen Maxwell is a research professor in the dept of biochemistry at the university of toronto, where she runs the Maxwell Lab. Among other topics, the lab’s three branches “Anti-CRISPR”, “Phage morons” and “Anti-Phage defences” study the interplay of phages with their bacterial hosts, with a focus on phage mediated bacterial virulence mechanisms and inhibitors of anti-phage bacterial defenses.
Richard Pell works at the intersections of science, engineering, and culture. He has worked in a variety of electronic media from documentary video to robotics to bioart to museum exhibition. He is the founder and director of the Center for PostNatural History (CPNH), an organization dedicated to the collection and exposition of life-forms that have been intentionally and heritably altered through domestication, selective breeding, tissue culture or genetic engineering. The CPNH operates a permanent museum in Pittsburgh, Pennsylvania, and produces traveling exhibitions that have appeared in science and art museums throughout Europe and the United States, including being the subject of a major exhibition at the Wellcome Collection in London.
Laurence Packer is a mellitologist, ie a scholar whose main subject of study is wild bees. his research primarily involves the systematics of the bee subfamily Xeromelissinae – an obscure, but fascinating group of bees, restricted to the New World south of central Mexico. he has also expended considerable energy leading the global campaign to barcode the bees of the world. his work is concerned with promulgating the importance of bees: for genetic reasons, it seems that bees are more extinction prone than are almost all other organisms
Stefan Herda‘s practice explores our troubling relationship to the natural world through drawing, sculpture and video. Inspired by the earth sciences, Herda’s work navigates the space between truth and fiction. His material and process-based investigations fuse elements of authenticity, façade, the natural and the manufactured together. He received his BAH from the University of Guelph in 2010. His work in both sculpture and video has been included in exhibitions nationally and has been featured by CBC Arts and Daily VICE. Recently, Stefan has held solo shows at Patel Projects (Toronto) and Wil Kucey Gallery (Toronto), participated in group shows such as Cultivars: Possible Worlds at InterAccess (Toronto) and was featured as one of 12 artists in the Cabinet Project at the University of Toronto
Cole Swanson is an artist and educator based in Toronto, Canada. He has exhibited in solo and group exhibitions across Canada and throughout international venues in North America, South America, Europe, and Asia. At the heart of recent work is a cross-disciplinary exploration of materials and their sociocultural and biological histories. Embedded within art media and commonplace resources are complex relations between nature and culture, humans and other agents, consumers and the consumed. Swanson has engaged in a broad material practice using sound, installation, painting, and sculpture to explore interspecies relationships.
Anna Marie O’Brien is a post doc in the Frederickson, Rochman, and Sinton labs at University of Toronto, working on duckweeds, microbes, urban contaminants, and phenotypes.her PhD work was at Davis, with thesis advisors Dr. Jeffrey Ross-Ibarra and Dr. Sharon Strauss. she also collaborated closely with Dr. Ruairidh Sawers at LANGEBIO-CINVESTAV in Guanajuato, Mexico.
The first highlighted speaker, Françoise Baylis, has been mentioned here twice before, in a May 17, 2019 posting (scroll down to the ‘Global plea for moratorium on heritable genome editing’ subheading) and in an April 26, 2019 posting (scroll down to the ‘Finally’ subheading, the second paragraph). Both postings touch on the topic of CRISPR (clustered regularly interspaced short palindromic repeats) and germline editing (genetic editing that will affect all of your descendents).
Cartooney in New Westminster (near Vancouver, Canada) starting October 18, 2019
I like physics but I love cartoons Stephen Hawking
There you have it from one of the 20th/early 21st century’s most famous physicists. The quote is the opening line for the New Westminster (near Vancouver, Canada) New Media Gallery’s latest event webpage, Cartooney,
The impact of animated cartoons has been profound. In the early 20th century, we began exploiting the possibilities of the animated frame. The seven artists in this exhibition don’t create cartoons, they deconstruct those that already exist; from Looney Tunes, to The Simpsons to Charlie Brown. They exploit this potent material to reveal the inner and outer workings of our human world. The original cartoon is ever-present, haunting us with suggestive content.
The artists in this exhibition reframe our world. Here we are asked to consider the laws, systems and iconographies of the cartoon world while drawing parallels with our human world; physical laws, the laws of gravitation, matter + light, the physics of motion, and societal psychologies & behaviours. We are presented with fascinating catalogues and overlaying systems of symbolic language. The purposeful demolition of expectation in these works, mirrors the instabilities and dreams of modern life. They remind us that the pervasive medium of the cartoon can reflect and influence how we navigate the world. If there is a paradox here, it might be that dismantling a cartoon can throw open the doors of perception.
The New Westminster New Media Gallery’s next exhibition is exploring the impact of animated cartoons.
Cartooney opens at the gallery on Friday, Oct. 18 and runs until Dec. 8 , then again from Jan. 7 to Feb. 2 .
Artist Kevin McCoy, one-half of the duo of Jennifer and Kevin McCoy, will be on hand for an artist talk on opening night, Friday, Oct. 18. The talk will run from 6:30 to 7:30 p.m., with a reception and open exhibition from 7:30 to 9 p.m.
Laws of Motion in a Cartoon Landscape, by Andy Holden (U.K.):
In his two-channel audiovisual installation, 57 minutes long, Holden becomes a cartoon avatar, giving both a lecture on cartoons and a cartoon lecture, describing how our world is best now understood as a cartoon. The project incorporates Greek philosophy, Stephen Hawking, critical theory, physics, art, the financial crisis and Donald Trump, while adapting 10 laws of cartoon physics to create a theory of the world and a prophetic glimpse of the world we live in.
CB-MMXVIII (I’ve been thinking of giving sleeping lessons), by Patten (U.K.):
In this multi-screen audiovisual installation, the artist duo Patten subjects Charlie Brown to all the digital stresses, distortions and manipulations available in 2018, testing his plasticity.
“Sampled texts from philosophy, science and critical theory criss-cross the screens and are linked with scrolling images related to the natural world, DNA, systems, multiples; all serving to influence our reading of the cartoon character and the texts,” says the release. The ambient soundtrack is a dramatically slowed down Linus and Lucy theme.
You can find the New Westminster New Media Gallery on the third floor at the Anvil Centre, 777 Columbia St. See www.newmediagallery.ca for more details.
Collisions Festival: Invasive Systems in Vancouver, November 2019
Curiosity Collider, a Vancouver-based not-for-profit organization, will be hosting its inaugural art-science Collisions Festival: Invasive Systems at the VIVO Media Arts Centre from November 8 to 10, 2019. The festival features an art-science exhibition showcasing independent works and collaborative works by artist/scientist pairs, a hands-on DNA sonification workshop, an opening reception with performances, and guided discussions and tours.
Curated by Curiosity Collider’s Creative Director Char Hoyt, the theme of the festival focuses on the “invasive systems” that surround us – from technology and infections, to pollution and invasive species. “We want to create a space to explore the influence of the invasive aspects of our world on our inner and outer lives” said Char. “We will examine our observations from both scientific and artistic perspectives- are these influences beneficial, inevitable, or preventable?” Attendees can anticipate a deep dive into the delicate and complicated nature of how both living and inanimate things redefine our lives and environments – through visual art, multimedia installations, and interactive experiences.
“I am not a scientist and do not come from a family of scientists, but I have always appreciated knowing how things work, how things are connected and how things evolve – collaboration between art and science feel natural to me,” said Vancouver artist Dzee Lousie. “Both artists and scientists are curious, perform experiments and are driven by questions.” Dzee’s work Crossing, an interactive puzzle painting that examines how microbial colonies can impact our behaviours and processes in our body, is the result of a collaboration with UBC PhD candidate Linda Horianopoulos. “As scientists, we often want people to take notice of our work and engage with it. I think that art attracts people to do exactly that,” said Linda.
The sculptural work Invasion by Prince George artist Twyla Exner explores the remnants of technology. “My artworks propose hybrids of technological structures and living organisms. They take form as abandoned technologies that have sprouted with new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-so-distant future,” Twyla shared. Like Dzee, she feels that artists and scientists share the sense of curiosity, experimentation, and creative problem solving. “Both art and science have the ability to tell stories and shape how people see and interpret the world around them.”
The festival is hosted in collaboration with the VIVO Media Arts Centre (2625 Kaslo Street, Vancouver, BC V5M 3G9). It will open on the evening of November 8th, with a reception and a live performance by local sound artist Edzi’u, during which her sculptural installation Moose are Life will be brought to life. On Saturday, artist Laara Cerman will co-host a DNA sonification workshop with scientist Scott Pownall. Their work Flora’s Song No. 1 in C Major – a hand-cranked music box that plays a tune created from the DNA of local invasive plants – will be on exhibit during the festival. The festival will also include tours by the curator at 3:30pm and guided discussions at 4pm on both Saturday and Sunday. Visit https://collisionsfestival2019.eventbrite.ca for festival tickets and http://bit.ly/collisionsfestival2019 for festival information.
Curiosity Collider and VIVO Media Arts Centre gratefully acknowledge the support of BC Arts Council, Canada Council for the Arts, City of Vancouver, Metro Vancouver Regional Cultural Project Grants Program, UBC Faculty of Science, and our printing sponsor Jukebox, for making Collisions Festival: Invasive Systems possible.
About Curiosity Collider Art-Science Foundation
Curiosity Collider Art-Science Foundation is a Vancouver based non-profit organization that is committed to providing opportunities for artists whose work expresses scientific concepts and scientists who collaborate with artists. We challenge the perception and experience of science in our culture, break down the walls between art and science, and engage our growing community to bringing life to the concepts that describe our world.
In this DNA sonification workshop, participants will learn the process of DNA barcoding of invasive plant species, and how to sonify DNA sequences with basic music theory and MIDI freeware. Participants will also get hands-on experience in amplying specific genetic regions in plants through polymerase chain reaction (PCR), a step necessary in preparing samples for DNA barcoding.
This workshop will be led by artist Laara Cerman and scientist Scott Pownall, whose art-science collaborative work “Flora’s Song No. 1 in C Major” will be on exhibit during Collisions Festival: Invasive Systems. Laara and Scott will also share their process of working together, and how decisions were made to arrive at their collaborative work of art and science.
We acknowledge that Collisions Festival and its events take place on the traditional, ancestral, unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil- Waututh) Nations. We are grateful for the opportunity to live and work on this land.
I asked the Curiosity Collider folks (@CCollider on Twitter) if you needed to bring any equipment or have any knowledge of music. The answer was: no, you don’t need to bring anything (unless you want to) and you don’t need to know about music.
Uncorked at Science World at TELUS World of Science in Vancouver on November 14, 2019
This is not a cheap night out. An October 10, 2019 article by Lindsay William-Ross for the Daily Hive website gives you reasons to go anyway (Note: Links have been removed),
A new wine-themed event will have Vancouverites swirling with nerdy glee. Uncorked: A Celebration of the Science of Wine is an evening of sipping and learning that will bring together world-renown winemakers, chefs, and science experts for an unforgettable event.
Participating wineries are:
Mission Hill Family Estate CedarCreek Estate Winery CheckMate Artisanal Winery Martin’s Lane Winery Road 13 Vineyards
The wines will be paired with bites from Chef Patrick Gayler from Mission Hill’s Terrace Restaurant and Chef Neil Taylor from CedarCreek’s new Home Block Restaurant.
Programming for the evening includes seminars on the science of blending wine, the science of aging wine, the role of technology at modern vineyards, and the science of soil and terroir.
Proceeds from Uncorked will support Science World’s On the Road program, which last year brought live science performances to 41,500 students throughout B.C. who otherwise might not have had a chance to visit TELUS World of Science.
Tickets are $89 and can be purchased here. You may also want to reserve some money for the silent auction. Don’t forget, it’s November 14, 2019 from 7 pm to 10 pm at Science World in Vancouver. You can find directions and a map here.
Sense about Science, headquartered in the UK, is in its own words (from its homepage)
Sense about Science is an independent campaigning charity that challenges the misrepresentation of science and evidence in public life. …
According to an October 1, 2019 announcement from Sense about Science (received via email), the organization has published a new guide,
Our director warned yesterday [September 30, 2019] that data science is being given a free pass on quality in too many arenas. From flood predictions to mortgage offers to the prediction of housing needs, we are not asking enough about whether AI solutions and algorithms can bear the weight we want to put on them.
It was the UK launch of our ‘Data Science: a guide for society’ at the Institute of Physics, where we invited representatives from different sectors to take up the challenge of creating a more questioning culture. Tracey Brown said the situation was like medicine 50 years ago: it seems that some people have become too clever to explain and the rest of us are feeling too dumb to ask.
At the end of the event we had a lot of proposals for how to make different communities aware of the guide’s three fundamental questions from the people who attended. There are many hundreds of people among our friends who could do something along these lines:
* Publicise the guide * Incorporate it into your own work * Send it to people who are involved in procurement, licensing or reporting or decision making at community, national and international levels * Undertake a project with us to equip particular groups such as parliamentary advisers, journalists and small charities.
There are launches planned in other countries over the rest of this year and into 2020. We are drawing up a map of offers to reach different communities. I’ll share all your suggestions with my colleague Errin Riley at the end of this week and we will get back to you quickly.
In recent years, phrases like ‘big data’, ‘machine learning’, ‘algorithms’ and ‘pattern recognition’ have started slipping into everyday discussion. We’ve worked with researchers and experts to generate an open and informed public discussion on patterns in data across a wide range of projects.
Data Science: A guide for society
According to the headlines, we’re in the middle of a ‘data revolution: large, detailed datasets and complex algorithms allow us to make predictions on anything from who will win the league to who is likely to commit a crime. Our ability to question the quality of evidence – as the public, journalists, politicians or decision makers – needs to be expanded to meet this. To know the questions to ask and how to press for clarity about the strengths and weaknesses of using analysis from data models to make decisions. This is a guide to having more of those conversations, regardless of how much you don’t know about data science.
This is a scattering of events, which I’m sure will be augmented as we properly start the month of October 2019.
October 2, 2019 in Waterloo, Canada (Perimeter Institute)
If you want to be close enough to press the sacred flesh (Sir Martin Rees), you’re out of luck. However, there are still options ranging from watching a live webcast from the comfort of your home to watching the lecture via closed circuit television with other devoted fans at a licensed bistro located on site at the Perimeter Institute (PI) to catching the lecture at a later date via YouTube.
That said, here’s why you might be interested,
Here’s more from a September 11, 2019 Perimeter Institute (PI) announcement received via email,
Surviving the Century MOVING TOWARD A POST-HUMAN FUTURE Martin Rees, UK Astronomer Royal Wednesday, Oct. 2 at 7:00 PM ET
Advances in technology and space exploration could, if applied wisely, allow a bright future for the 10 billion people living on earth by the end of the century.
But there are dystopian risks we ignore at our peril: our collective “footprint” on our home planet, as well as the creation and use of technologies so powerful that even small groups could cause a global catastrophe.
Martin Rees, the UK Astronomer Royal, will explore this unprecedented moment in human history during his lecture on October 2, 2019. A former president of the Royal Society and master of Trinity College, Cambridge, Rees is a cosmologist whose work also explores the interfaces between science, ethics, and politics. Read More.
Didn’t get tickets for the lecture? We’ve got more ways to watch. Join us at Perimeter on lecture night to watch live in the Black Hole Bistro. Catch the live stream on Inside the Perimeter or watch it on Youtube the next day Become a member of our donor thank you program! Learn more.
In his October 2  talk – which kicks off the 2019/20 season of the Perimeter Institute Public Lecture Series – Rees will discuss the outlook for humans (or their robotic envoys) venturing to other planets. Humans, Rees argues, will be ill-adapted to new habitats beyond Earth, and will use genetic and cyborg technology to transform into a “post-human” species.
Straddling Sept. and Oct. at the movies in Vancouver
The Vancouver International Film Festival (VIFF) opened today, September 26, 2019. During its run to October 11, 2019 there’ll be a number of documentaries that touch on science. Here are three of the documentaries most closely adhere to the topics I’m most likely to address on this blog. There is a fourth documentary included here as it touches on ecology in a more hopeful fashion than is the current trend.
One of the most significant scientific breakthroughs in history, the discovery of CRISPR has made it possible to manipulate human DNA, paving the path to a future of great possibilities.
The implications of this could mean the eradication of disease or, more controversially, the possibility of genetically pre-programmed children.
Breaking away from scientific jargon, Human Nature pieces together a complex account of bio-research for the layperson as compelling as a work of science-fiction. But whether the gene-editing powers of CRISPR (described as “a word processor for DNA”) are used for good or evil, they’re reshaping the world as we know it. As we push past the boundaries of what it means to be human, Adam Bolt’s stunning work of science journalism reaches out to scientists, engineers, and people whose lives could benefit from CRISPR technology, and offers a wide-ranging look at the pros and cons of designing our futures.
Tickets Friday, September 27, 2019 at 11:45 AM Vancity Theatre
Saturday, September 28, 2019 at 11:15 AM International Village 10
Thursday, October 10, 2019 at 6:45 PM SFU Goldcorp
According to VIFF, the tickets for the Sept. 27, 2019 show are going fast.
Since mass-production in the 1940s, antibiotics have been nothing less than miraculous, saving countless lives and revolutionizing modern medicine. It’s virtually impossible to imagine hospitals or healthcare without them. But after years of abuse and mismanagement by the medical and agricultural communities, superbugs resistant to antibiotics are reaching apocalyptic proportions. The ongoing rise in multi-resistant bacteria – unvanquishable microbes, currently responsible for 700,000 deaths per year and projected to kill 10 million yearly by 2050 if nothing changes – and the people who fight them are the subjects of Michael Wech’s stunning “science-thriller.”
Peeling back the carefully constructed veneer of the medical corporate establishment’s greed and complacency to reveal the world on the cusp of a potential crisis, Resistance Fighters sounds a clarion call of urgency. It’s an all-out war, one which most of us never knew we were fighting, to avoid “Pharmageddon.” Doctors, researchers, patients, and diplomats testify about shortsighted medical and economic practices, while Wech offers refreshingly original perspectives on environment, ecology, and (animal) life in general. As alarming as it is informative, this is a wake-up call the world needs to hear.
Sunday, October 6, 2019 at 5:45 PM International Village 8
Thursday, October 10, 2019 at 2:15 PM SFU Goldcorp
According to VIFF, the tickets for the Oct. 6, 2019 show are going fast.
Trust Machine: The Story of Blockchain
Strictly speaking this is more of a technology story than science story but I have written about blockchain and cryptocurrencies before so I’m including this. From the VIFF 2019 film description and ticket page,
For anyone who has questions about cryptocurrencies like Bitcoin (and who doesn’t?), Alex Winter’s thorough documentary is an excellent introduction to the blockchain phenomenon. Trust Machine offers a wide range of expert testimony and a variety of perspectives that explicate the promises and the risks inherent in this new manifestation of high-tech wizardry. And it’s not just money that blockchains threaten to disrupt: innovators as diverse as UNICEF and Imogen Heap make spirited arguments that the industries of energy, music, humanitarianism, and more are headed for revolutionary change.
A propulsive and subversive overview of this little-understood phenomenon, Trust Machine crafts a powerful and accessible case that a technologically decentralized economy is more than just a fad. As the aforementioned experts – tech wizards, underground activists, and even some establishment figures – argue persuasively for an embrace of the possibilities offered by blockchains, others criticize its bubble-like markets and inefficiencies. Either way, Winter’s film suggests a whole new epoch may be just around the corner, whether the powers that be like it or not.
Tuesday, October 1, 2019 at 11:00 AM Vancity Theatre
Thursday, October 3, 2019 at 9:00 PM Vancity Theatre
Monday, October 7, 2019 at 1:15 PM International Village 8
According to VIFF, tickets for all three shows are going fast
“We must dare to invent the future.” In 2007, the African Union officially began a massively ambitious environmental project planned since the 1970s. Stretching through 11 countries and 8,000 km across the desertified Sahel region, on the southern edges of the Sahara, The Great Green Wall – once completed, a mosaic of restored, fertile land – would be the largest living structure on Earth.
Malian musician-activist Inna Modja embarks on an expedition through Senegal, Mali, Nigeria, Niger, and Ethiopia, gathering an ensemble of musicians and artists to celebrate the pan-African dream of realizing The Great Green Wall. Her journey is accompanied by a dazzling array of musical diversity, celebrating local cultures and traditions as they come together into a community to stand against the challenges of desertification, drought, migration, and violent conflict.
An unforgettable, beautiful exploration of a modern marvel of ecological restoration, and so much more than a passive source of information, The Great Green Wall is a powerful call to take action and help reshape the world.
Sunday, September 29, 2019 at 11:15 AM International Village 10
Wednesday, October 2, 2019 at 6:00 PM International Village 8 Standby – advance tickets are sold out but a limited number are likely to be released at the door
Wednesday, October 9, 2019 at 11:00 AM International Village 9
As you can see, one show is already offering standby tickets only and the other two are selling quickly.
For venue locations, information about what ‘standby’ means and much more go here and click on the Festival tab. As for more information the individual films, you’ll links to trailers, running times, and more on the pages for which I’ve supplied links.
Brain Talks on October 16, 2019 in Vancouver
From time to time I get notices about a series titled Brain Talks from the Dept. of Psychiatry at the University of British Columbia. A September 11, 2019 announcement (received via email) focuses attention on the ‘guts of the matter’,
YOU ARE INVITED TO ATTEND:
BRAINTALKS: THE BRAIN AND THE GUT
WEDNESDAY, OCTOBER 16TH, 2019 FROM 6:00 PM – 8:00 PM
Join us on Wednesday October 16th  for a series of talks exploring the relationship between the brain, microbes, mental health, diet and the gut. We are honored to host three phenomenal presenters for the evening: Dr. Brett Finlay, Dr. Leslie Wicholas, and Thara Vayali, ND.
DR. BRETT FINLAY  is a Professor in the Michael Smith Laboratories at the University of British Columbia. Dr. Finlay’s research interests are focused on host-microbe interactions at the molecular level, specializing in Cellular Microbiology. He has published over 500 papers and has been inducted into the Canadian Medical Hall of Fame. He is the co-author of the books: Let Them Eat Dirt and The Whole Body Microbiome.
DR. LESLIE WICHOLAS  is a psychiatrist with an expertise in the clinical understanding of the gut-brain axis. She has become increasingly involved in the emerging field of Nutritional Psychiatry, exploring connections between diet, nutrition, and mental health. Currently, Dr. Wicholas is the director of the Food as Medicine program at the Mood Disorder Association of BC.
THARA VAYALI, ND  holds a BSc in Nutritional Sciences and a MA in Education and Communications. She has trained in naturopathic medicine and advocates for awareness about women’s physiology and body literacy. Ms. Vayali is a frequent speaker and columnist that prioritizes engagement, understanding, and community as pivotal pillars for change.
Our event on Wednesday, October 16th  will start with presentations from each of the three speakers, and end with a panel discussion inspired by audience questions. After the talks, at 7:30 pm, we host a social gathering with a rich spread of catered healthy food and non-alcoholic drinks. We look forward to seeing you there!
Vancouver General Hospital; Jim Pattison Pavilion, Vancouver, BC
The European Union’s Human Brain Project was announced in January 2013. It, along with the Graphene Flagship, had won a multi-year competition for the extraordinary sum of one million euros each to be paid out over a 10-year period. (My January 28, 2013 posting gives the details available at the time.)
At a little more than half-way through the project period, Ed Yong, in his July 22, 2019 article for The Atlantic, offers an update (of sorts),
Ten years ago, a neuroscientist said that within a decade he could simulate a human brain. Spoiler: It didn’t happen.
On July 22, 2009, the neuroscientist Henry Markram walked onstage at the TEDGlobal conference in Oxford, England, and told the audience that he was going to simulate the human brain, in all its staggering complexity, in a computer. His goals were lofty: “It’s perhaps to understand perception, to understand reality, and perhaps to even also understand physical reality.” His timeline was ambitious: “We can do it within 10 years, and if we do succeed, we will send to TED, in 10 years, a hologram to talk to you.” …
It’s been exactly 10 years. He did not succeed.
One could argue that the nature of pioneers is to reach far and talk big, and that it’s churlish to single out any one failed prediction when science is so full of them. (Science writers joke that breakthrough medicines and technologies always seem five to 10 years away, on a rolling window.) But Markram’s claims are worth revisiting for two reasons. First, the stakes were huge: In 2013, the European Commission awarded his initiative—the Human Brain Project (HBP)—a staggering 1 billion euro grant (worth about $1.42 billion at the time). Second, the HBP’s efforts, and the intense backlash to them, exposed important divides in how neuroscientists think about the brain and how it should be studied.
Markram’s goal wasn’t to create a simplified version of the brain, but a gloriously complex facsimile, down to the constituent neurons, the electrical activity coursing along them, and even the genes turning on and off within them. From the outset, the criticism to this approach was very widespread, and to many other neuroscientists, its bottom-up strategy seemed implausible to the point of absurdity. The brain’s intricacies—how neurons connect and cooperate, how memories form, how decisions are made—are more unknown than known, and couldn’t possibly be deciphered in enough detail within a mere decade. It is hard enough to map and model the 302 neurons of the roundworm C. elegans, let alone the 86 billion neurons within our skulls. “People thought it was unrealistic and not even reasonable as a goal,” says the neuroscientist Grace Lindsay, who is writing a book about modeling the brain. And what was the point? The HBP wasn’t trying to address any particular research question, or test a specific hypothesis about how the brain works. The simulation seemed like an end in itself—an overengineered answer to a nonexistent question, a tool in search of a use. …
Markram seems undeterred. In a recent paper, he and his colleague Xue Fan firmly situated brain simulations within not just neuroscience as a field, but the entire arc of Western philosophy and human civilization. And in an email statement, he told me, “Political resistance (non-scientific) to the project has indeed slowed us down considerably, but it has by no means stopped us nor will it.” He noted the 140 people still working on the Blue Brain Project, a recent set of positive reviews from five external reviewers, and its “exponentially increasing” ability to “build biologically accurate models of larger and larger brain regions.”
No time frame, this time, but there’s no shortage of other people ready to make extravagant claims about the future of neuroscience. In 2014, I attended TED’s main Vancouver conference and watched the opening talk, from the MIT Media Lab founder Nicholas Negroponte. In his closing words, he claimed that in 30 years, “we are going to ingest information. …
I’m happy to see the update. As I recall, there was murmuring almost immediately about the Human Brain Project (HBP). I never got details but it seemed that people were quite actively unhappy about the disbursements. Of course, this kind of uproar is not unusual when great sums of money are involved and the Graphene Flagship also had its rocky moments.
As for Yong’s contribution, I’m glad he’s debunking some of the hype and glory associated with the current drive to colonize the human brain and other efforts (e.g. genetics) which they often claim are the ‘future of medicine’.
To be fair. Yong is focused on the brain simulation aspect of the HBP (and Markram’s efforts in the Blue Brain Project) but there are other HBP efforts, as well, even if brain simulation seems to be the HBP’s main interest.
In 2013, the European Union funded the Human Brain Project, led by Markram, to the tune of $1.3 billion. Markram claimed that the project would create a simulation of the entire human brain on a supercomputer within a decade, revolutionising the treatment of Alzheimer’s disease and other brain disorders. Less than two years into it, the project was recognised to be mismanaged and its claims overblown, and Markram was asked to step down.
On 8 October 2015, the Blue Brain Project published the first digital reconstruction and simulation of the micro-circuitry of a neonatal rat somatosensory cortex.
I also looked up the Human Brain Project and, talking about their other efforts, was reminded that they have a neuromorphic computing platform, SpiNNaker (mentioned here in a January 24, 2019 posting; scroll down about 50% of the way). For anyone unfamiliar with the term, neuromorphic computing/engineering is what scientists call the effort to replicate the human brain’s ability to synthesize and process information in computing processors.
In fact, there was some discussion in 2013 that the Human Brain Project and the Graphene Flagship would have some crossover projects, e.g., trying to make computers more closely resemble human brains in terms of energy use and processing power.
The Human Brain Project’s (HBP) Silicon Brains webpage notes this about their neuromorphic computing platform,
Neuromorphic computing implements aspects of biological neural networks as analogue or digital copies on electronic circuits. The goal of this approach is twofold: Offering a tool for neuroscience to understand the dynamic processes of learning and development in the brain and applying brain inspiration to generic cognitive computing. Key advantages of neuromorphic computing compared to traditional approaches are energy efficiency, execution speed, robustness against local failures and the ability to learn.
Neuromorphic Computing in the HBP
In the HBP the neuromorphic computing Subproject carries out two major activities: Constructing two large-scale, unique neuromorphic machines and prototyping the next generation neuromorphic chips.
The large-scale neuromorphic machines are based on two complementary principles. The many-core SpiNNaker machine located in Manchester [emphasis mine] (UK) connects 1 million ARM processors with a packet-based network optimized for the exchange of neural action potentials (spikes). The BrainScaleS physical model machine located in Heidelberg (Germany) implements analogue electronic models of 4 Million neurons and 1 Billion synapses on 20 silicon wafers. Both machines are integrated into the HBP collaboratory and offer full software support for their configuration, operation and data analysis.
The most prominent feature of the neuromorphic machines is their execution speed. The SpiNNaker system runs at real-time, BrainScaleS is implemented as an accelerated system and operates at 10,000 times real-time. Simulations at conventional supercomputers typical run factors of 1000 slower than biology and cannot access the vastly different timescales involved in learning and development ranging from milliseconds to years.
Recent research in neuroscience and computing has indicated that learning and development are a key aspect for neuroscience and real world applications of cognitive computing. HBP is the only project worldwide addressing this need with dedicated novel hardware architectures.
I’ve highlighted Manchester because that’s a very important city where graphene is concerned. The UK’s National Graphene Institute is housed at the University of Manchester where graphene was first isolated in 2004 by two scientists, Andre Geim and Konstantin (Kostya) Novoselov. (For their effort, they were awarded the Nobel Prize for physics in 2010.)
Getting back to the HBP (and the Graphene Flagship for that matter), the funding should be drying up sometime around 2023 and I wonder if it will be possible to assess the impact.