Tag Archives: University of Edinburgh

Events: COVID-19 Collages and colour, Summer Solstice Celebration of Star Knowledge—Africa and Rapanui (Easter Island), and Tools for Catching Clouds (Biennale Architettura 2021)

Leave a reply

I have three events, two of them taking place in Canada on June 9, and June 22 2021 respectively and the third takes place in Venice, Italy.

Covid19 Collage Project on June 9, 2021

A June 7, 2019 Art/Sci Salon announcement (received via email) included this image to illustrate Ilene Sova’s COVID collages,

Pink Ruffle Credit: Ilene Sova

Here’s more from the Colour Research Society of Canada’s (CRSC) Kaleidoscope Lecture: Covid19 Collage Project by OCAD Professor Ilene Sova event page,

In this unique colour-focused artist talk, Sova will explore her Covid19 Collage Project created in direct response to the pandemic. She will take the audience through an analysis of how she utilizes the precise symbolic and aesthetic qualities of colour-choice to reflect her psychological response to our current times and amplify the intent in her artist statement: ‘Former eyes have been replaced, and the curtain pulled back on the inequities that we didn’t fully see before. Newsfeeds are full of surreal deaths and devastating condolences. Different eyes; metallic and shiny. Eyes that no longer know how to ‘look to our future” for hope and possibilities. Our Instagram lives and our vitriolic materialism now laid bare. We are left to self-reflect, face ourselves, slow down, and toss and turn at night with vivid crackling dreams alive with messages screaming from our subconscious. We thought we were separate from nature, but now we know we are one. Sequestered in our homes, our minds begin to change, fracture with confusion. We float in a sea of unknowns, covering our faces with psychological and real masks. In a sparkly shiny isolated dreamy space; how will we prophesize our new future and manifest in a new uncertain one?

Bio: Ilene Sova holds the position of Ada Slaight Chair of Contemporary Drawing and Painting in the Faculty of Art at Ontario College of Art and Design University [OCAD University]. She identifies as Mixed Race, with a white settler, Afro-Caribbean, and Black Seminole ancestry. She is also an artist who lives with the disability of Epilepsy. As such, she passionately identifies with the tenets of intersectional feminism and has dedicated her creative career to art and activism. Ilene Sova is also the founder of the Feminist Art Collective and Blank Canvases, an in-school creative arts programme for elementary school students. She holds an Honours BFA from the University of Ottawa in Painting and an MFA in Painting and Drawing from the University of Windsor. With extensive solo and group exhibitions in Canada and abroad, Sova’s work has most notably been shown at Museum of Canadian Contemporary Art, the Department of Canadian Heritage, and Mutuo Centro de Arte in Barcelona. Sova’s artwork has been featured internationally in the Journal of Psychology and Counselling, the Nigerian Arts Journal, Tabula and the Italian feminist journal, Woman’O’Clock. In her academic career, Sova has been invited to speak on diversity and equity in arts curriculum at the Art Gallery of Ontario, Pratt University and the Association of Independent Colleges of Art and Design conference in Los Angeles. A passionate public speaker, Sova was chosen to speak at the first TEDx Women event in Toronto, and Southern University New York where she gave an all University Lecture on Art and Social Change. Additionally, Sova was invited to deliver the Arthur C. Danto Memorial Keynote Lecture at the 76th Annual Meeting of the American Society for Aesthetics (ASA). Sova’s exhibitions and advocacy in education have been featured on Global Television, CBC Radio, the Toronto Star, Canada AM, The Metro, National Post, Canadian Art, and MSN News.

Register here on eventbrite

Date and time

Wed, June 9, 2021

4:00 PM – 5:00 PM PDT

A Zoom link will be emailed to registered participants approximately 1 hour before the talk, and posted on our CRSC webpage.

Summer Solstice Celebration of Star Knowledge—Africa and Rapanui (Easter Island) on June 22, 2021

Ingenium’s* Indigenous Star Knowledge Symposia series was first mentioned here in a September 18, 2020 posting: Casting your eyes upon the night heavens in advance of the Autumnal (Fall) Equinox celebration, the first in the series.

With the Summer Solstice, we have the fourth and, I believe, the last in the series. From the Summer Solstice, Celebration of Star Knowledge from Africa and Rapanui (Easter Island) event page,

June 22, 2021. 3 p.m. Eastern.

Featured Speakers: Edmundo Edwards Eastman (Rapanui) and Jarita Holbrook (African culture)

Welcome from: Anita Tenasco, Kitigan Zibi, Quebec (Algonquin)

Opening Prayer: Wilfred Buck, Manitoba (Ininew)

Moderated by: Yasmin Catricheo, Chile (Mapuche)

Presentation #1: Cosmovision of the Polynesia and Rapanui. 

Featured Speaker: Edmundo Edwards Eastman. Archeoastronomy. President Fundación
Planetario Rapanui

Abstract: Some 3,500 years ago, the ancestors of the Polynesians led the speediest human expansion of the pre-historic world, guided by nothing more than their complex astronomical observations and an understanding of natural signs. This knowledge, coupled with tremendous navigational skills and human ingenuity, allowed the Polynesians to explore the vast Pacific Ocean and develop highly sophisticated cultures on thousands of different islands.  

Bio: Edmundo’s passion for archaeology started when he was 12 years old and discovered a pre-Incan site in northern Chile, yet it was after visiting Rapa Nui in 1957, that he became enthralled by Rapanui culture and returned to the island in 1960 with archaeologist William Mulloy.  Edmundo has lived and worked in Polynesia ever since. In 1977 he co-founded the Centro de Estudios de Isla de Pascua where he carried out archaeological and ethnographic studies for the University of Chile until 1985. He then left for Tahiti, conducting archaeological surveys and leading restoration work in the Society, Marquesas, and Austral Islands until he returned to Rapa Nui in 1994. Edmundo has since then devoted himself to the scientific study and preservation of the archaeology and culture of the Pacific islands.  He is the co-founder of the Pacific Islands Research Institute (PIRI) and co-owner of Archaeological Travel Service (ATS). Edmundo is an active member of the Explorers Club and in 2011 he was honored with the Lowell Thomas Award for his exceptional contribution to human knowledge through his valuable research and discoveries in Polynesia, and in 2016 he received the Citation of Merit.

Presentation #2: Celestial Africa

Featured Speaker: Jarita Holbrook

Abstract: The continent of Africa is large and has thousands of ethnic groups living in over 50 countries. Though home to some of the biggest astronomical telescopes in the world, there remains the perception that Africans have little awareness of the celestial realm. In reality, African indigenous astronomy is rich with many cultural connections to the sky as well as many practical uses of the sky. Holbrook will share some of the African legacy of rich skylore, artistic works, and practices connected to the sky.

Bio: Jarita Holbrook is a Marie Skłowdowska Curie Fellow in Science, Technology & Innovation Studies at the University of Edinburgh. Holbrook has successfully navigated the physical science and the social sciences. Upon moving to South Africa in 2013 to the Physics department at the University of the Western Cape, Holbrook was engaged in indigenous astronomy, studying the sociocultural aspects of astrophysics education in South Africa, and making a film about the social issues connected to building the Square Kilometre Array radio telescope. Using interview based inquiry, Holbrook researches the practices of inclusion and exclusion through analyzing socioeconomic class, gender, and ethnicity among database-driven astrophysics collaborations. Holbrook’s current project, ASTROMOVES, explores these in the context of career decision making among astrophysicists.

Panellists:

Anita Tenasco is an Anishinabeg from Kitigan Zibi. She has a Bachelor’s degree in history and teaching from the University of Ottawa, as well as a First Nations leadership certificate from Saint Paul’s University, in Ottawa. She has also taken courses in public administration at ENAP (The University of Public Administration). In Kitigan Zibi, she has held various positions in the field of education and, since 2005, is director of education in her community.

Anita was an active participant in the Honouring Our Ancestors project, in which the Anishinabeg Nation of Kitigan Zibi, under Gilbert Whiteduck’s direction, was successful in the restitution of the remains of ancestors conserved at the Canadian Museum of History, in Gatineau. Anita also participated in the organizing of a conference on repatriation, in Kitigan Zibi, in 2005. She plays an important role in this research project.

http://nikanishk.ca/en/blog/project-participants/anita-tenasco-2/

Wilfred Buck is a member of the Opaskwayak Cree Nation. He obtained his B.Ed. & Post Bacc. from the University of Manitoba.

As an educator Wilfred has had the opportunity and good fortune to travel to South and Central America as well as Europe and met, shared and listened to Indigenous people from all over the world.

He is a husband, father of four, son, uncle, brother, nephew, story-teller, mad scientist, teacher, singer, pipe-carrier, sweat lodge keeper, old person and sun dance leader. Researching Ininew star stories Wilfred found a host of information which had to be interpreted and analyzed to identify if the stories were referring to the stars. The journey began… The easiest way to go about doing this, he was told, was to look up. 

“The greatest teaching that was ever given to me, other than my wife and children, is the ability to see the humor in the world”…Wilfred Buck

https://acakwuskwun.com/

Yasmin Catricheo is the STEM Education Scholar at AUI’s Office of Education and Public Engagement. She is a physics educator from Chile, and of Mapuche origin. Yasmin is passionate about the teaching of science and more recently has focused in the area of astronomy and STEM. In her professional training she has taken a range of courses in science and science education, and researched the benefits of scientific argumentation in the physics classroom, earning a master’s degree in education from the University of Bío-Bío. Yasmín is also a member of the indigenous group “Mapu Trafun”, and she works closely with the Mapuche community to recover the culture and communicate the message of the Mapuche Worldview. In 2018 Yasmín was selected as the Chilean representative for Astronomy in Chile Educator Ambassador Program (ACEAP) founded by NSF.

Associated Universities Inc.

Register for the Webinar

Note: You can also find the information on Ingenium’s French language event page: Solstice d’été : une célébration des connaissances stellaires de l’Afrique et de Rapa Nui (l’île de Pâques).

*Ingenium is the name for Canada’s Museums of Science and Innovation, which acts as an umbrella organization for the Canada Agriculture and Food Museum, the Canada Aviation and Space Museum, and the Canada Science and Technology Museum.

Tools for Catching Clouds at Venice’s Biennale Architettura 2021

This information comes from a June 8, 2021 email received from the artist himself, Lanfranco Aceti,

Tools for Catching Clouds is a new series of works of art by Lanfranco Aceti. They are a segment of Preferring Sinking to Surrender — the artist’s installation at the Venice Architecture Biennale, 2021. The installation is comprised of drawings, sculptures, paintings, videos, performances, and a vegetable garden. 

Curated by Alessandro Melis for the Italian Pavilion, Preferring Sinking to Surrender is a progression and accumulation of works of art that will be developed throughout the duration of the Venice Architecture Biennale, from May 21, 2021, to November 21, 2021. 

The artist reimagines the future in matriarchal terms and bypasses social upheavals and legacies of environmental disasters through a series of aesthetic approaches that navigate melancholia, anger, and hope. The works of art retrace the legacies of the past — back to the Italic tribes that populated the Apennines before the founding of Rome and the arrival of Greeks in southern Italy.  

The worship of the Magna Mater — or the Great Black Mediterranean Mother — by the Italic tribes is a necessary rediscovery to understand the resilience of matriarchy and its values of acceptance and inclusion within societies that have become patriarchal in nature and, de facto, hierarchical and exclusionary. Nevertheless, these values resist and persist, and have empowered entire generations who were considered ‘outsiders’ and who have found, in the embrace of the ‘Mamma Schiavona’ (another name for the Magna Mater), their strength, networks of solidarity, and empowerment. 

Aceti’s research in gender issues and alternative structures to patriarchy, developed during a one year affiliation at Art, Culture and Technology (ACT) @ MIT, inspired a continued analysis of pre-Roman matriarchal societies. This led to the conception of Preferring Sinking to Surrender as an alternative space and narrative to current capitalistic cultural frameworks. 

“I have to say that it is a pleasure working with Alessandro Melis,” said Aceti. “Not every curator is fond of process based art. For me it is particularly rewarding to have found a curator that is both empowering and supportive.” 

For more information and images of Tools for Catching Clouds, click here. 

About the Artist

Lanfranco Aceti is known for his extensive career as artist, curator, and academic. He has exhibited numerous personal projects including Car Park, a public performance in the UK at the John Hansard Gallery; Who The People?, an installation artwork acquired in its entirety by the Chetham’s Library and Museum in Manchester; Sowing and Reaping, installation artworks acquired in their entirety by the National Museum of Contemporary Art of Cyprus; Hope Coming On, a site-specific choral performance he designed for the Museum of Fine Arts, Boston and realized in front of Turner’s Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On); Shimmer, a series of sculptural, photographic, and painting works curated by Irini Papadimitriou (V&A) at the Tobazi Mansion in Hydra; a large choral performance titled Accursed for the Thessaloniki Biennial in Greece; and Knock, Knock, Knocking a public space installation in the Mediterranean Garden Pavilion of the New Sea Waterfront of Thessaloniki. Currently, he is developing a large international project, Preferring Sinking to Surrender for the Venice Architecture Biennale 2021, which includes performances in major cities around the world. 

About The Studium

The Studium is Lanfranco Aceti’s artistic studio. It has partnered with public and private organizations as well as with individuals to realize the artist’s works and to develop fora for the discussion of aesthetic approaches to public space, the role of contemporary art in the social political landscape, and themes of social and environmental justice.

For questions or information and materials, please contact The Studium’s Marketing Director, John Francescutti.

The Venice Architecture Biennale (or Biennale Architettura 2021), from May 21, 2021, to November 21, 2021.

Concerns about Zoom? Call for expressions of interest in “Zoom Obscura,” creative interventions for a data ethics of video conferencing

Leave a reply

Have you wondered about Zoom video conferencing and all that data being made available? Perhaps questioned ethical issues in addition to those associated with data security? Is so and you’d like to come up with a creative intervention that delves beyond encryption issues, there’s Zoom Obscura (on the creativeinformatics.org website),

CI [Creative Informatics] researchers Pip Thornton, Chris Elsden and Chris Speed were recently awarded funding from the Human Data Interaction Network (HDI +) Ethics & Data competition. Collaborating with researchers from Durham [Durham University] and KCL [Kings College London], the Zoom Obscura project aims to investigate creative interventions for a data ethics of video conferencing beyond encryption.

The COVID-19 pandemic has gifted video conferencing companies, such as Zoom, with a vast amount of economically valuable and sensitive data such as our facial and voice biometrics, backgrounds and chat scripts. Before the pandemic, this ‘new normal’ would be subject to scrutiny, scepticism and critique. Yet, the urgent need for remote working and socialising left us with little choice but to engage with these potentially exploitative platforms.

While much of the narrative around data security revolves around technological ‘solutions’ such as encryption, we think there are other – more creative – ways to push back against the systems of digital capitalism that continue to encroach on our everyday lives.

As part of this HDI-funded project, we seek artists, hackers and creative technologists who are interested in experimenting with creative methods to join us in a series of online workshops that will explore how to restore some control and agency in how we can be seen and heard in these newly ubiquitous online spaces. Through three half-day workshops held remotely, we will bring artists and technicians together to ideate, prototype, and exhibit various interventions into the rapidly normalising culture of video-calling in ways that do not compromise our privacy and limit the sharing of our data. We invite interventions that begin at any stage of the video-calling process – from analogue obfuscation, to software manipulation or camera trickery.

Selected artists/collectives will receive a £1000 commission to take part and contribute in three workshops, in order to design and produce one or more, individual or collaborative, creative interventions developed from the workshops. These will include both technical support from a creative technologist as well as a curator for dissemination both online and in Edinburgh and London.

If you are an artist / technologist interested in disrupting/subverting the pandemic-inspired digital status quo, please send expressions of interest of no more than 500 words to pip.thornton@ed.ac.uk , andrew.dwyer@bristol.ac.uk, celsden@ed.ac.uk and michael.duggan@kcl.ac.uk by 8th October 2020. We don’t expect fully formed projects (these will come in the workshop sessions), but please indicate any broad ideas and thoughts you have, and highlight how your past and present practice might be a good fit for the project and its aims.

The Zoom Obscura project is in collaboration with Tinderbox Lab in Edinburgh and Hannah Redler-Hawes (independent curator and codirector of the Data as Culture art programme at the Open Data Institute in London). Outputs from the project will be hosted and exhibited via the Data as Culture archive site and at a Creative Informatics event at the University of Edinburgh.

Are folks outside the UK eligible?

I asked Dr. Pip Thornton about eligibility and she kindly noted this in her Sept. 25, 2020 tweet (reply copied from my Twitter feed),

Open to all, but workshop timings may be more amenable to UK working hours. Having said that, we won’t know what the critical mass is until we review all the applications, so please do apply if you’re interested!

Who are the members of the Zoom Obscura project team?

From the Zoom Obscura webpage (on the creativeinformatics.org website),

Dr. Pip Thornton is a post-doctoral research associate in Creative Informatics at the University of Edinburgh, having recently gained her PhD in Geopolitics and Cybersecurity from Royal Holloway, University of London. Her thesis, Language in the Age of Algorithmic Reproduction: A Critique of Linguistic Capitalism, included theoretical, political and artistic critiques of Google’s search and advertising platforms. She has presented in a variety of venues including the Science Museum, the Alan Turing Institute and transmediale. Her work has featured in WIRED UK and New Scientist, and a collection from her {poem}.py intervention has been displayed at Open Data Institute in London. Her Edinburgh Futures Institute (EFI) funded installation Newspeak 2019, shown at the Edinburgh Festival Fringe (2019), was recently awarded an honourable mention in the Surveillance Studies Network biennial art competition (2020) and is shortlisted for the 2020 Lumen Prize for art and technology in the AI category.

Dr. Andrew Dwyer is a research associate  in the University of Bristol’s Cyber Security Group. Andrew gained a DPhil in Cyber Security at the University of Oxford, where he studied and questioned the role of malware – commonly known as computational viruses and worms –  through its analysis, detection, and translation into international politics and its intersection with multiple ecologies. In his doctoral thesis – Malware Ecologies: A Politics of Cybersecurity – he argued for a re-evaluation of the role of computational actors in the production and negotiation of security, and what this means for human-centred notions of weapons and warfare. Previously, Andrew has been a visiting fellow at the German ‘Dynamics of Security’ collaborative research centre based between Philipps-Universität Marburg, Justus-Liebig-Universität Gießen and the Herder Institute, Marburg and is a Research Affiliate at the Centre for Technology and Global Affairs at the University of Oxford. He will soon be starting a 3-year Addison Wheeler research fellowship in the Department of Geography at the Durham University

Dr Chris Elsden is a research associate in Design Informatics at the University of Edinburgh. Chris is primarily working on the AHRC Creative Informatics project., with specific interests in FinTech and livestreaming within the Creative Industries. He is an HCI researcher, with a background in sociology, and expertise in the human experience of a data-driven life. Using and developing innovative design research methods, his work undertakes diverse, qualitative and often speculative engagements with participants to investigate emerging relationships with technology – particularly data-driven tools and financialn technologies. Chris gained his PhD in Computer Science at Open Lab, Newcastle University in 2018, and in 2019 was a recipient of a SIGCHI Outstanding Dissertation Award.

Dr Mike Duggan is a Teaching Fellow in Digital Cultures in the Department of Digital Humanities at Kings College London. He was awarded a PhD in Cultural Geography from Royal Holloway University of London in 2017, which examined everyday digital mapping practices. This project was co-funded by the Ordnance Survey and the EPSRC. He is a member of the Living Maps network, where he is an editor for the ‘navigations’ section and previously curated the seminar series. Mike’s research is broadly interested in the digital and cultural geographies that emerge from the intersections between everyday life and digital technology.

Professor Chris Speed is Chair of Design Informatics at the University of Edinburgh where his research focuses upon the Network Society, Digital Art and Technology, and The Internet of Things. Chris has sustained a critical enquiry into how network technology can engage with the fields of art, design and social experience through a variety of international digital art exhibitions, funded research projects, books journals and conferences. At present Chris is working on funded projects that engage with the social opportunities of crypto-currencies, an internet of toilet roll holders, and a persistent argument that chickens are actually robots.  Chris is co-editor of the journal Ubiquity and co-directs the Design Informatics Research Centre that is home to a combination of researchers working across the fields of interaction design, temporal design, anthropology, software engineering and digital architecture, as well as the PhD, MA/MFA and MSc and Advanced MSc programmes.

David Chatting is a designer and technologist who works in software and hardware to explore the impact of emerging technologies in everyday lives. He is currently a PhD student in the Department of Design at Goldsmiths – University of London, a Visiting Researcher at Newcastle University’s Open Lab and has his own design practice. Previously he was a Senior Researcher at BTs Broadband Applications Research Centre. David has a Masters degree in Design Interactions from the Royal College of Art (2012) and a Bachelors degree in Computer Science from the University of Birmingham (2000). He has published papers and filed patents in the fields of HCI, psychology, tangible interfaces, computer vision and computer graphics.

Hannah Redler Hawes (Data as Culture) is an independent curator and codirector of the Data as Culture art programme at the Open Data Institute in London. Hannah specialises in emerging artistic practice within the fields of art and science and technology, with an interest in participatory process. She has previously developed projects for museums, galleries, corporate contexts, digital space and the public realm including the  Institute of Physics, Tate Modern, The Lowry, Natural History Museum, FACT Liverpool, the Digital Catapult and Science Gallery London, and has provided specialist consultancy services to the Wellcome Collection, Discover South Kensington and the Horniman Museum. Hannah enjoys projects that redraw boundaries between different disciplines. Current research is around addiction, open data, networked culture and new forms of programming beyond the gallery.

Tinderbox Collective : From grass-roots youth work to award-winning music productions, Tinderbox is building a vibrant and eclectic community of young musicians and artists in Scotland. We have a number of programmes that cross over with each other and come together wherever possible.  They are open to children and young people aged 10 – 25, from complete beginners to young professionals and all levels in between. Tinderbox Lab is our digital arts programme and shared studio maker-space in Edinburgh that brings together artists across disciplines with an interest in digital media and interactive technologies. It is a new programme that started development in 2019, leading to projects and events such as Room to Play, a 10-week course for emerging artists led by Yann Seznec; various guest artist talks & workshops; digital arts exhibitions at the V&A Dundee & Edinburgh Festival of Sound; digital/electronics workshops design/development for children & young people; and research included as part of Electronic Visualisation and the Arts (EVA) London 2019 conference.

Jack Nissan (Tinderbox) is the founder and director of the Tinderbox Collective. In 2012/13, Jack took part in a fellowship programmed called International Creative Entrepreneurs and spent several months working with community activists and social enterprises in China, primarily with families and communities on the outskirts of Beijing with an organisation called Hua Dan. Following this, he set up a number of international exchanges and cross-cultural productions that formed the basis for Tinderbox’s Journey of a Thousand Wings programme, a project bringing together artists and community projects from different countries. He is also a co-director and founding member of Hidden Door, a volunteer-run multi-arts festival, and has won a number of awards for his work across creative and social enterprise sectors. He has been invited to take part in several steering committees and advisory roles, including for Creative Scotland’s new cross-cutting theme on Creative Learning and Artworks Scotland’s peer-networks for artists working in participatory settings. Previously, Jack worked as a researcher in psychology and ageing for the multidisciplinary MRC Centre for Cognitive Ageing and Cognitive Epidemiology, specialising in areas of neuropsychology and memory.

Luci Holland (Tinderbox) is a Scottish (Edinburgh-based) composer, sound artist and radio presenter who composes and produces music and audiovisual art for film, games and concert. As a games music composer Luci wrote the original dynamic/responsive music for Blazing Griffin‘s 2018 release Murderous Pursuits, and has composed and arranged for numerous video game music collaborations, such as orchestrating and producing an arrangement of Jessica Curry‘s Disappearing with label Materia Collective’s bespoke cover album Pattern: An Homage to Everybody’s Gone to the Rapture. Currently she has also been composing custom game music tracks for Skyrim mod Lordbound and a variety of other film and game music projects. Luci also builds and designs interactive sonic art installations for festivals and venues (Refraction (Cryptic), CITADEL (Hidden Door)); and in 2019 Luci joined new classical music station Scala Radio to present The Console, a weekly one-hour show dedicated to celebrating great music in games. Luci also works as a musical director and composer with the youth music charity Tinderbox Project on their Orchestra & Digital Arts programmes; classical music organisation Absolute Classics; and occasionally coordinates musical experiments and productions with her music-for-media band Mantra Sound.

Good luck to all who submit an expression of interest and good luck to Dr. Thornton (I see from her bio that she’s been shortlisted for the 2020 Lumen Prize).

Replacing nanotechnology-enabled oil spill solutions with dog fur?

Leave a reply

Coincidentally or not, this research from Australia was announced a little more than a month after reports of a major oil spill in the Russian Arctic. A July 10, 2020 news item on phys.org announces a new technology for mopping up oil spills (Note: Links have been removed),

Oil spill disasters on land cause long-term damage for communities and the natural environment, polluting soils and sediments and contaminating groundwater.

Current methods using synthetic sorbent materials can be effective for cleaning up oil spills, but these materials are often expensive and generate large volumes of non-biodegradable plastic wastes. Now the first comparison of natural-origin sorbent materials for land-based oil spills, including peat moss, recycled human hair, and dog fur, shows that sustainable, cheaper and biodegradable options can be developed.

The University of Technology Sydney (UTS) project found that dog fur and human hair products—recycled from salon wastes and dog groomers—can be just as good as synthetic fabrics at cleaning up crude oil spills on hard land surfaces like highway roads, pavement, and sealed concrete floors. Polypropylene, a plastic, is a widely-used fabric used to clean up oil spills in aquatic environments.

…

A July 9, 2020 Univesity of Technology Sydney press release on EurekAlert completes the story,

“Dog fur in particular was surprisingly good at oil spill clean-up, and felted mats from human hair and fur were very easy to apply and remove from the spills.” lead author of the study, UTS Environmental Scientist Dr Megan Murray, said. Dr Murray investigates environmentally-friendly solutions for contamination and leads The Phyto Lab research group at UTS School of Life Sciences.

“This is a very exciting finding for land managers who respond to spilled oil from trucks, storage tanks, or leaking oil pipelines. All of these land scenarios can be treated effectively with sustainable-origin sorbents,” she said.

The sorbents tested included two commercially-available products, propylene and loose peat moss, as well as sustainable-origin prototypes including felted mats made of dog fur and human hair. Prototype oil-spill sorbent booms filled with dog fur and human hair were also tested. Crude oil was used to replicate an oil spill. The results of the study are published in Environments.

The research team simulated three types of land surfaces; non-porous hard surfaces, semi-porous surfaces, and sand, to recreate common oil-spill scenarios.

“We found that loose peat moss is not as effective at cleaning up oil spills on land compared to dog fur and hair products, and it is not useful at all for sandy environments.” Dr Murray said.

“Based on this research, we recommend peat moss is no longer used for this purpose. Given that peat moss is a limited resource and harvesting it requires degrading wetland ecosystems, we think this is a very important finding.” she said.

The research concluded that, for now, sandy environments like coastal beaches can still benefit from the use of polypropylene sorbents, but further exploration of sustainable-origin sorbents is planned.

The researchers say that future applications from the research include investigating felted mats of sustainable-origin sorbents for river bank stabilisation, [emphases mine] as well as the removal of pollutants from flowing polluted waters, similar to existing membrane technology.

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

Decontaminating Terrestrial Oil Spills: A Comparative Assessment of Dog Fur, Human Hair, Peat Moss and Polypropylene Sorbents by Megan L. Murray, Soeren M. Poulsen and Brad R. Murray. Environments 2020, 7(7), 52; DOI: https://doi.org/10.3390/environments7070052 Published: 8 July 2020 (This article belongs to the Special Issue Pollution Prevention/Environmental Sustainability for Industry)

This paper is open access.

As for the Russian oil spill

A June 4, 2020 British Broadcasting Corporation (BBC) news online article outlines the situation regarding the oil spill and the steps being taken to deal with it,

Russia’s President Vladimir Putin has declared a state of emergency after 20,000 tonnes of diesel oil leaked into a river within the Arctic Circle.

The spill happened when a fuel tank at a power plant near the Siberian city of Norilsk collapsed last Friday [May 29, 2020].

The power plant’s director Vyacheslav Starostin has been taken into custody until 31 July, but not yet charged.

The plant is owned by a subsidiary of Norilsk Nickel, which is the world’s leading nickel and palladium producer.

The Russian Investigative Committee (SK) has launched a criminal case over the pollution and alleged negligence, as there was reportedly a two-day delay in informing the Moscow authorities about the spill.

Ground subsidence beneath the fuel storage tanks is believed to have caused the spill. Arctic permafrost has been melting in exceptionally warm weather [more information about the weather towards the end of this posting] for this time of year.

…

Russian Minister for Emergencies Yevgeny Zinichev told Mr Putin that the Norilsk plant had spent two days trying to contain the spill, before alerting his ministry.

The leaked oil drifted some 12km (7.5 miles) from the accident site, turning long stretches of the Ambarnaya river crimson red.

The leaked diesel oil drifted some 12km (7.5 miles) from the site of the accident [downloaded from https://www.bbc.com/news/world-europe-52915807]

Getting back to the June 4, 2020 British Broadcasting Corporation (BBC) news online article,

“Why did government agencies only find out about this two days [May 29, 2020?) after the fact?” he asked the subsidiary’s chief, Sergei Lipin. “Are we going to learn about emergency situations from social media?”

The region’s governor, Alexander Uss, had earlier told President Putin that he became aware of the oil spill on Sunday [May 31, 2020] after “alarming information appeared in social media”.

The spill has contaminated a 350 sq km (135 sq mile) area, state media report.

…

The state of emergency means extra forces are going to the area to assist with the clean-up operation.

The accident is believed to be the second largest in modern Russian history in terms of volume, an expert from the World Wildlife Fund, Alexei Knizhnikov, told the AFP [Agence France Presse] news agency.

The incident has prompted stark warnings from environmental groups, who say the scale of the spill and geography of the river mean it will be difficult to clean up.

Greenpeace has compared it to the 1989 Exxon Valdez disaster in Alaska.

Oleg Mitvol, former deputy head of Russia’s environmental watchdog Rosprirodnadzor, said there had “never been such an accident in the Arctic zone”.

He said the clean-up could cost 100bn roubles (£1.2bn; $1.5bn) and take between five and 10 years.

Minister of Natural Resources Dmitry Kobylkin warned against trying to burn off such a vast quantity of fuel oil.

He proposed trying to dilute the oil with reagents. Only the emergencies ministry with military support could deal with the pollution, he said.

Barges with booms could not contain the slick because the Ambarnaya river was too shallow, he warned.

He suggested pumping the oil on to the adjacent tundra, although President Putin added: “The soil there is probably saturated [with oil] already.”

An update of the situation can be found in a July 8, 2020 Canadian Broadcasting Corporation (CBC) article (issued by Thomson Reuters),

Russia’s environmental watchdog has asked a power subsidiary of Russian mining giant Norilsk Nickel to pay almost 148 billion rubles, or $2.8 billion Cdn, in damages over an Arctic fuel spill in Siberia.

Rosprirodnadzor, the Federal Service for Supervision of Use of Natural Resources, said in a statement on Monday [July 8, 2020] that it had already sent a request for “voluntary compensation” to the subsidiary, NTEK, after calculating the damage caused by the May 29 [2020] fuel spill.

Norilsk Nickel’s Moscow-listed shares fell by 3 per cent after the watchdog’s statement.

A fuel tank at the power plant lost pressure and released 21,000 tonnes of diesel into rivers and subsoil near the city of Norilsk, 2,900 kilometres northeast of Moscow. Russian President Vladimir Putin subsequently declared a state of emergency in the region, and investigators detained three staff at the power plant.

…

Norilsk, a remote city of 180,000 people situated 300 kilometres inside the Arctic Circle, is built around Norilsk Nickel, the world’s leading nickel and palladium producer, and has a reputation for its pollution.

Rosprirodnadzor said the damages included the cost for nearby water bodies, estimated at 147.05 billion rubles, $2.8 billion Cdn, and for subsoil, estimated at 738.62 million roubles, $14 million Cdn.

…

I can’t find any August 2020 updates for the oil spill situation in Russia. (Note: There is now an oil spill in a ecologically sensitive region near Mauritius; see August 13, 2020 news item on CBC news online website.)

Exceptionally warm weather

The oil spill isn’t the only problem in the Arctic.Here’s more from a June 23, 2020 article by Matt Simon for Wired magazine (Note: A link has been removed),

On Saturday [June 20, 2020], the residents of Verkhoyansk, Russia, marked the first day of summer with 100 degree Fahrenheit temperatures. Not that they could enjoy it, really, as Verkhoyansk is in Siberia, hundreds of miles from the nearest beach. That’s much, much hotter than towns inside the Arctic Circle usually get. That 100 degrees appears to be a record, well above the average June high temperature of 68 degrees. Yet it’s likely the people of Verkhoyansk will see that record broken again in their lifetimes: The Arctic is warming twice as fast as the rest of the planet—if not faster—creating ecological chaos for the plants and animals that populate the north.

“The events over the weekend—in the last few weeks, really—with the heatwave in Siberia, all are unprecedented in terms of the magnitude of the extremes in temperature,” says Sophie Wilkinson, a wildfire scientist at McMaster University who studies northern peat fires, which themselves have grown unusually frequent in recent years as temperatures climb.

The Arctic’s extreme warming, known as Arctic amplification or polar amplification, may be due to three factors. One, the region’s reflectivity, or albedo—how much light it bounces back into space—is changing as the world warms. “What we’ve been seeing over the last 30 years is some relatively dramatic declines in sea ice in the summertime,” says University of Edinburgh global change ecologist Isla Myers-Smith, who studies the Arctic.

Since ice is white, it reflects the sun’s energy, something you’re already probably familiar with when it comes to staying cool in the summer. If you had to pick the color of T-shirt to wear when going hiking on a hot day, she says, “most of us would pick the white T-shirt, because that’s going to reflect the sun’s heat off of our back.” Similarly, Myers-Smith says, “If the sea ice melts in the Arctic, that will remove that white surface off of the ocean, and what will be exposed is this darker ocean surface that will absorb more of the sun’s heat.”

…

If you’re interested in the environmental consequences of the warming of the Arctic, this is a very good article.

Finishing up, I wish the clean-up crews (in Russia and near Mauritius) all the best as they work in the midst of a pandemic, as well as, an environmental disaster (both the oil spill and the warming of the Arctic).

Blockchain made physical: BlocKit

Leave a reply
Caption: Parts of BlocKit Credit: Irni Khairuddin

I’m always on the lookout for something that helps make blockchain and cryptocurrency more understandable. (For the uninitiated or anyone like me who needed to refresh their memories, I have links to good essays on the topic further down in this posting.)

A July 10, 2019 news item on ScienceDaily announces a new approach to understanding blockchain technology,

A kit made from everyday objects is bringing the blockchain into the physical world.

The ‘BlocKit’, which includes items such as plastic tubs, clay discs, padlocks, envelopes, sticky notes and battery-powered candles, is aimed to help people understand how digital blockchains work and can also be used by innovators designing new systems and services around blockchain.

A team of computer scientists from Lancaster University, the University of Edinburgh in the UK, and the Universiti Teknologi MARA, in Malaysia, created the prototype BlocKit because blockchain — the decentralised digital infrastructure that is used to organise the cryptocurrency Bitcoin and holds promise to revolutionise many other sectors from finance, supply-chain and healthcare — is so difficult for people to comprehend.

…

A July 10, 2019 Lancaster University press release (also on EurekAlert), which originated the news item, expands on the theme,

“Despite growing interest in its potential, the blockchain is so novel, disruptive and complex, it is hard for most people to understand how these systems work,” said Professor Corina Sas of Lancaster University’s School of Computing and Communications. “We have created a prototype kit consisting of physical objects that fulfil the roles of different parts of the blockchain. The kit really helps people visualise the different component parts of blockchain, and how they all interact.

“Having tangible physical objects, such as a transparent plastic box for a Bitcoin wallet, clay discs for Bitcoins, padlocks for passwords and candles representing miners’ computational power, makes thinking around processes and systems much easier to comprehend.”

The BlocKit consisted of physical items that represented 11 key aspects of blockchain infrastructure and it was used to explore key characteristics of blockchain, such as trust – an important challenge for Bitcoin users. The kit was evaluated as part of a study involving 15 experienced Bitcoin users.

“We received very positive feedback from the people who used the kit in our study and, interestingly, we found that the BlocKit can also be used by designers looking to develop new services based around blockchain – such as managing patients’ health records for example.”

I will be providing a link to and a citation for the paper but first, I’m excerpting a few bits,

We report on a workshop with 15 bitcoin experts, [emphasis mine] 12 males, 3 females, (mean age 29, range 21-39). All participants had at least 2 years of engaging in bitcoin transactions: 9 had between 2 and 3 years, 4 had between 4 and 5 years, 2had more than 6 years. All participants have at least graduate education, i.e., 6 BSc, 7 MScs, and 2 Ph.D. Participants were recruited through the mailing lists of two universities,and through a local Bitcoins meetup group. [p. 3]

…

A striking finding was the overwhelmingly positive experience supported by BlocKit. Findings show that 10 participants deeply enjoyed physically touching [emphasis mine] its objects and enacting their movement in space while talking about blockchain processes: “there is going to be other transactions from other people essentially, so let’s put a few bitcoins in that box. I love this stuff, this is amazing” [P12]. Participants suggested that BlocKit could be a valuable tool for learning about blockchain: “I think this all makes sense and would be fine to explain to the novices. It is cool, this is really an interesting kit”[P7]. Other participants suggested leveraging gamification principles for learning about blockchain: “It’s almost like you could turn this into some kind of cool game like a monopoly”[P5] [p. 5]

…

A significant finding is the value of the kit in supporting experts to materialize and reflect on their understanding of blockchain infrastructure and its inner working. We argue that through its materiality, the kit allows bringing the mental models into question, which in turn helps experts confirm their understandings, develop more nuanced understandings, or even revise some previously held, less accurate assumptions. [emphasis mine]

…

Even experts are still learning about bitcoin and blockchain according to this research sample. it’s also interesting to note that the workshop participants enjoyed the physicality. I don’t see too many mentions of it in my wanderings but I can’t help wondering if all this digitization is going to leave people starved for touch.

Getting back to blockchain, here’s the link and citation I promised,

BlocKit: A Physical Kit for Materializing and Designing for Blockchain Infrastructure by Irni Eliana Khairuddin, Corina Sas, and Chris Speed.presented at Designing Interactive Systems (DIS) 2019
ACM International Conference Series [downloaded from https://eprints.lancs.ac.uk/id/eprint/132467/1/Design_Kit_DIS_28.pdf]

This paper is open access, as for BlocKit, it exists only as a prototype according to the July 10, 2019 Lancaster University press release.

Introductory essays for blockchain and cryptocurrency

Here are two of my favourites. First, there’s this February 6, 2018 essay (part ii of a series) by Tim Schneider on artnet.com explaining it all by using the art world and art market as examples,

… the fraught relationship between art and value lies at the molten core of several pieces made using blockchain technology. Part one of this series addressed how, in theory, the blockchain strengthens the markets for new media by introducing the concept of digital scarcity. This innovation means that works as simple as an “original” JPG or GIF could be made as rare as Francis Bacon paintings. (This fact leads to a host of business implications that will be covered in Part III.

However, a handful of forward-looking artists is using the blockchain to do more than reset the market’s perception of supply and demand. The technology, their work proves, is more than new software—it’s also a new medium.

…

The description of how artists using blockchain as a medium provides some of the best descriptions of cryptocurrency and blockchain that I’ve been able to find.

The other essay, a January 5, 2018 article for Slate.com by Joshua Oliver, provides some detail I haven’t seen anywhere else (Note: A link has been removed),

…

Already, blockchain has been hailed as likely to revolutionize … well … everything. Banks, health care, voting, supply chains, fantasy football, Airbnb, coffee: Nothing is beyond the hypothetical reach of blockchain as a revolutionary force. These predictions are easy to sell because blockchain is still little-understood. If you don’t quite know what blockchain is, it’s easier to imagine that it is whatever you want it to be. But before we can begin to search for the real potential amid the mass of blockchain conjecture and hype, we need to clear up what exactly we mean when we say blockchain.

One cause of confusion is the phrase the blockchain, which makes it sound like blockchain is one specific thing. In reality, the word blockchain is commonly used to describe two broad types of computer systems. [emphases mine] Both use similar underlying protocols, but they have other important differences. Bitcoin represents one approach to using blockchain, one wedded to principles of radical decentralization. The second approach—pioneered by more business-minded players—puts blockchain to use without adopting bitcoin’s revolutionary, decentralized governance. Both of these designs are short-handed as blockchains, so it’s easy to miss the crucial differences. Without grasping these differences, it’s hard to understand where we are today in the development of this promising technology, which blockchain ventures are worth your attention, and what might happen next.

…

That’s all I’ve got for now.

What helps you may hurt you (titanium dioxide nanoparticles and orthopedic implants)

Leave a reply

From a Sept. 16, 2017 news item on Nanotechnology Now,

Researchers from the Mayo Clinic have proposed that negative cellular responses to titanium-based nanoparticles released from metal implants interfere in bone formation and resorption at the site of repair, resulting in implant loosening and joint pain. [emphasis mine]Their review of recent scientific evidence and call for further research to characterize the biological, physical, and chemical interactions between titanium dioxide nanoparticles and bone-forming cells is published in BioResearch Open Access, a peer-reviewed open access journal from Mary Ann Liebert, Inc., publishers. The article is available free on theBioResearch Open Access website.

A Sept. 14, 2017 Mary Anne Liebert (Publishing) news release, which originated the news item,  mentions the authors,

Jie Yao, Eric Lewallen, PhD, David Lewallen, MD, Andre van Wijnen, PhD, and colleagues from the Mayo Clinic, Rochester, MN and Second Affiliated Hospital of Soochow University, China, coauthored the article entitled “Local Cellular Responses to Titanium Dioxide from Orthopedic Implants The authors examined the results of recently published studies of titanium-based implants, focusing on the direct and indirect effects of titanium dioxide nanoparticles on the viability and behavior of multiple bone-related cell types. They discuss the impact of particle size, aggregation, structure, and the specific extracellular and intracellular (if taken up by the cells) effects of titanium particle exposure.

“The adverse effects of metallic orthopedic particles generated from implants are of significant clinical interest given the large number of procedures carried out each year. This article reviews our current understanding of the clinical issues and highlights areas for future research,” says BioResearch Open Access Editor Jane Taylor, PhD, MRC Centre for Regenerative Medicine, University of Edinburgh, Scotland.

Before getting to the abstract, here’s a link to and a citation for the paper,

Local Cellular Responses to Titanium Dioxide from Orthopedic Implants by Yao, Jie J.; Lewallen, Eric A.; Trousdale, William H.; Xu, Wei; Thaler, Roman; Salib, Christopher G.; Reina, Nicolas; Abdel, Matthew P.; Lewallen, David G.; and van Wijnenm, Andre J.. BioResearch Open Access. July 2017, 6(1): 94-103. https://doi.org/10.1089/biores.2017.0017 Published July 1, 2017

This paper is open access.

Explaining the link between air pollution and heart disease?

Leave a reply

An April 26, 2017 news item on Nanowerk announces research that may explain the link between heart disease and air pollution (Note: A link has been removed),

Tiny particles in air pollution have been associated with cardiovascular disease, which can lead to premature death. But how particles inhaled into the lungs can affect blood vessels and the heart has remained a mystery.

Now, scientists have found evidence in human and animal studies that inhaled nanoparticles can travel from the lungs into the bloodstream, potentially explaining the link between air pollution and cardiovascular disease. Their results appear in the journal ACS Nano (“Inhaled Nanoparticles Accumulate at Sites of Vascular Disease”).

An April 26, 2017 American Chemical Society news release on EurekAlert, which originated the news item,  expands on the theme,

The World Health Organization estimates that in 2012, about 72 percent of premature deaths related to outdoor air pollution were due to ischemic heart disease and strokes. Pulmonary disease, respiratory infections and lung cancer were linked to the other 28 percent. Many scientists have suspected that fine particles travel from the lungs into the bloodstream, but evidence supporting this assumption in humans has been challenging to collect. So Mark Miller and colleagues at the University of Edinburgh in the United Kingdom and the National Institute for Public Health and the Environment in the Netherlands used a selection of specialized techniques to track the fate of inhaled gold nanoparticles.

In the new study, 14 healthy volunteers, 12 surgical patients and several mouse models inhaled gold nanoparticles, which have been safely used in medical imaging and drug delivery. Soon after exposure, the nanoparticles were detected in blood and urine. Importantly, the nanoparticles appeared to preferentially accumulate at inflamed vascular sites, including carotid plaques in patients at risk of a stroke. The findings suggest that nanoparticles can travel from the lungs into the bloodstream and reach susceptible areas of the cardiovascular system where they could possibly increase the likelihood of a heart attack or stroke, the researchers say.

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

Inhaled Nanoparticles Accumulate at Sites of Vascular Disease by Mark R. Miller, Jennifer B. Raftis, Jeremy P. Langrish, Steven G. McLean, Pawitrabhorn Samutrtai, Shea P. Connell, Simon Wilson, Alex T. Vesey, Paul H. B. Fokkens, A. John F. Boere, Petra Krystek, Colin J. Campbell, Patrick W. F. Hadoke, Ken Donaldson, Flemming R. Cassee, David E. Newby, Rodger Duffin, and Nicholas L. Mills. ACS Nano, Article ASAP DOI: 10.1021/acsnano.6b08551 Publication Date (Web): April 26, 2017

Copyright © 2017 American Chemical Society

This paper is behind a paywall.

Water’s liquid-vapour interface

Leave a reply

The UK’s National Physical Laboratory (NPL), along with IBM and the University of Edinburgh, has developed a new quantum model for understanding water’s liquid-vapour interface according to an April 20, 2015 news item on Nanowerk,

The National Physical Laboratory (NPL), the UK’s National Measurement Institute in collaboration with IBM and the University of Edinburgh, has used a new quantum model to reveal the molecular structure of water’s liquid surface.

The liquid-vapour interface of water is one of the most common of all heterogeneous (or non-uniform) environments. Understanding its molecular structure will provide insight into complex biochemical interactions underpinning many biological processes. But experimental measurements of the molecular structure of water’s surface are challenging, and currently competing models predict various different arrangements.

An April 20, 2015 NPL press release on EurekAlert, which originated the news item, describes the model and research in more detail,

The model is based on a single charged particle, the quantum Drude oscillator (QDO), which mimics the way the electrons of a real water molecule fluctuate and respond to their environment. This simplified representation retains interactions not normally accessible in classical models and accurately captures the properties of liquid water.

In new research, published in a featured article in the journal Physical Chemistry Chemical Physics, the team used the QDO model to determine the molecular structure of water’s liquid surface. The results provide new insight into the hydrogen-bonding topology at the interface, which is responsible for the unusually high surface tension of water.

This is the first time the QDO model of water has been applied to the liquid-vapour interface. The results enabled the researchers to identify the intrinsic asymmetry of hydrogen bonds as the mechanism responsible for the surface’s molecular orientation. The model was also capable of predicting the temperature dependence of the surface tension with remarkable accuracy – to within 1 % of experimental values.

Coupled with earlier work on bulk water, this result demonstrates the exceptional transferability of the QDO approach and offers a promising new platform for molecular exploration of condensed matter.

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

Hydrogen bonding and molecular orientation at the liquid–vapour interface of water by Flaviu S. Cipcigan, Vlad P. Sokhan, Andrew P. Jones, Jason Crain and Glenn J. Martyna.  Phys. Chem. Chem. Phys., 2015,17, 8660-8669 DOI: 10.1039/C4CP05506C First published online 17 Feb 2015

The paper is open access although you do need to register on the site provided you don’t have some other means of accessing the paper.

Biosensing devices from Scotland

Leave a reply

The timing for Deborah Rowe’s article in the Guardian newspaper is fascinating. Rowe is writing about nanoscale biosensors developed at the University of Edinburgh, research published in Dec. 2013, while her piece, published Sept. 9, 2014, appears less than 10 days before Scotland’s vote (Sept. 18, 2014) on the question of whether or not it should be independent. Also interesting, the published paper is available as open access until the end of Sept. 2014, which seems like a strategic time period to give open access to your paper.

That said, this is an exciting piece of research if you’re particularly interested in biosensors and ways to produce them more cheaply and at a higher volume (from Rowe’s Sept. 9, 2014 article),

An interdisciplinary research team from the Schools of Engineering and Chemistry at the University of Edinburgh (in association with Nanoflex Ltd), has overcome some of the constraints associated with conventional nano-scale electrode arrays, to develop the first precision-engineered nanoelectrode array system with the promise of high-volume and low-cost.*

Such miniaturised electrode arrays have the potential to provide a faster and more sensitive response to, for example, biomolecules than current biosensors. This would make them invaluable components in the increasingly sensitive devices being developed for biomedical sensing and electrochemical applications.

Rowe goes on to describe the researchers’ Microsquare Nanoband Edge Electrode (MNEE) array technology in lucid and brief detail. For those who want more, here’s a link to and a citation for the paper,

Nanoscale electrode arrays produced with microscale lithographic techniques for use in biomedical sensing applications by Jonathan G. Terry, Ilka Schmüser, Ian Underwood, Damion K. Corrigan, Neville J. Freeman, Andrew S. Bunting, Andrew R. Mount, Anthony J. Walton. IET Nanobiotechnology, Volume 7, Issue 4, December 2013, p. 125 – 134
DOI:  10.1049/iet-nbt.2013.0049 , Print ISSN 1751-8741, Online ISSN 1751-875X Published Oct. 29, 2013

Given the timing of the Guardian article and the availability of the paper for free access, I was moved to find information about the funding agencies, from the researchers’ IET paper,

Support from the Scottish Funding Council (SFC) is acknowledged through the Edinburgh Research Partnership in engineering and mathematics (ERPem) and the Edinburgh and St Andrews Chemistry (EaStCHEM) initiatives, along with knowledge transfer funding. Support from the Engineering and Physical Sciences Research Council (EPSRC) of the UK through the IeMRC (Smart Microsystems – FS/01/02/10) Grant is acknowledged. Ilka Schmüser thanks the EPSRC and the University of Edinburgh for financial support.

And, there was this from Rowe’s article,

The work is part of a larger R&D programme on the development of smart sensors at the University of Edinburgh. It involves staff and students from the Schools of Engineering and Chemistry thus providing the required broad set of skills and experience. The resulting MNEE technology is currently being commercialised by Nanoflex Ltd.

So, the funding comes from Scottish and UK sources and the company which is commercializing the MNEE is located in the North West of England in the  Sci-Tech Daresbury Campus (from the company’s LinkedIn page). This certainly illustrates how entwined the Scottish and UK science scenes are entwined as is the commercialization process.

I last mentioned Scotland, science, and the independence vote in a July 8, 2014 posting which covers some of the ‘pro’ and ‘con’ thinking at the time.

Peter Higgs and François Englert to receive 2013 Nobel Prize in Physics and TRIUMF name changes?

2 Replies

After all the foofaraw about finding/confirming the existence of the Higgs Boson or ‘god’ particle (featured in my July 4, 2012 posting amongst many others), the Royal Swedish Academy of Sciences has decided to award the 2013 Nobel prize for Physics to two of the individuals responsible for much of the current thinking about subatomic particles and mass (from the Oct. 8, 2013 news item on ScienceDaily),

The Royal Swedish Academy of Sciences has decided to award the Nobel Prize in Physics for 2013 to François Englert of Université Libre de Bruxelles, Brussels, Belgium, and Peter W. Higgs of the University of Edinburgh, UK, “for the theoretical discovery of a mechanism that contributes to our understanding of the origin of mass of subatomic particles, and which recently was confirmed through the discovery of the predicted fundamental particle, by the ATLAS and CMS experiments at CERN’s Large Hadron Collider.”

François Englert and Peter W. Higgs are jointly awarded the Nobel Prize in Physics 2013 for the theory of how particles acquire mass. In 1964, they proposed the theory independently of each other (Englert together with his now deceased colleague Robert Brout). In 2012, their ideas were confirmed by the discovery of a so called Higgs particle at the CERN laboratory outside Geneva in Switzerland.

TRIUMF, sometimes known as Canada’s national laboratory for particle and nuclear physics, has issued an Oct. 8, 2013 news release,

HIGGS, ENGLERT SHARE 2013 NOBEL PRIZE IN PHYSICS

Canadians Key Part of Historical Nobel Prize to “Godfathers” of the “God Particle”

(Vancouver, BC) — The Royal Swedish Academy of Sciences today awarded the Nobel Prize in physics to Professor Peter W. Higgs (Univ. of Edinburgh) and Professor François Englert (Univ. Libre de Bruxelles) to recognize their work developing the theory of what is now known as the Higgs field, which gives elementary particles mass.  Canadians have played critical roles in all stages of the breakthrough discovery Higgs boson particle that validates the original theoretical framework.  Throngs across Canada are celebrating.

More than 150 Canadian scientists and students at 10 different institutions are presently involved in the global ATLAS experiment at CERN.  Canada’s national laboratory for particle and nuclear physics, TRIUMF, has been a focal point for much of the Canadian involvement that has ranged from assisting with the construction of the LHC accelerator to building key elements of the ATLAS detector and hosting one of the ten global Tier-1 Data Centres that stores and processes the physics for the team of thousands.

“The observation of a Higgs Boson at about 125 GeV, or 130 times the mass of the proton, by both the ATLAS and CMS groups is a tremendous achievement,” said Rob McPherson, spokesperson of the ATLAS Canada collaboration, a professor of physics at the University of Victoria and Institute of Particle Physics scientist. “Its existence was predicted in 1964 when theorists reconciled how massive particles came into being.  It took almost half a century to confirm the detailed predictions of the theories in a succession of experiments, and finally to discover the Higgs Boson itself using our 2012 data.”

The Brout-Englert-Higgs (BEH) mechanism was first proposed in 1964 in two papers published independently, the first by Belgian physicists Robert Brout and François Englert, and the second by British physicist Peter Higgs. It explains how the force responsible for beta decay is much weaker than electromagnetism, but is better known as the mechanism that endows fundamental particles with mass. A third paper, published by Americans Gerald Guralnik and Carl Hagen with their British colleague Tom Kibble further contributed to the development of the new idea, which now forms an essential part of the Standard Model of particle physics. As was pointed out by Higgs, a key prediction of the idea is the existence of a massive boson of a new type, which was discovered by the ATLAS and CMS experiments at CERN in 2012.

The next step will be to determine the precise nature of the Higgs particle and its significance for our understanding of the universe. Are its properties as expected for the Higgs boson predicted by the Standard Model of particle physics? Or is it something more exotic? The Standard Model describes the fundamental particles from which we, and every visible thing
in the universe, are made, and the forces acting between them. All the matter that we can see, however, appears to be no more than about 4% of the total. A more exotic version of the Higgs particle could be a bridge to understanding the 96% of the universe that remains obscure.

TRIUMF salutes Peter Higgs and François Englert for their groundbreaking work recognized by today’s Nobel Prize and congratulates the international team of tens of thousands of scientists, engineers, students, and many more from around the world who helped make the discovery.

For spokespeople at the major Canadian universities involved in the Higgs discovery, please see the list below:

CANADIAN CONTACTS

U of Alberta: Doug Gingrich, gingrich@ualberta.ca, 780-492-9501
UBC:  Colin Gay, cgay@physics.ubc.ca, 604-822-2753
Carleton U: Gerald Oakham (& TRIUMF), oakham@physics.carleton.ca, 613-520-7539
McGill U: Brigitte Vachon (also able to interview in French), vachon@physics.mcgill.ca, 514-398-6478
U of Montreal: Claude Leroy (also able to interview in French),leroy@lps.uontreal.ca, 514-343-6722
Simon Fraser U: Mike Vetterli (& TRIUMF, also able to interview in French), vetm@triumf.ca, 778-782-5488
TRIUMF: Isabel Trigger (also able to interview in French), itrigger@triumf.ca, 604-222-7651
U of Toronto: Robert Orr, orr@physics.utoronto.ca, 416-978-6029
U of Victoria: Rob McPherson, rmcphers@triumf.ca, 604-222-7654
York U: Wendy Taylor, taylorw@yorku.ca, 416-736-2100 ext 77758

While I know Canadians have been part of the multi-year, multi-country effort to determine the existence or non-existence of the Higgs Boson and much more in the field of particle physics, I would prefer we were not described as “… Key Part of Historical Nobel Prize … .” The question that springs to mind is: how were Canadian efforts key to this work? The answer is not revealed in the news release, which suggests that the claim may be a little overstated. On the other hand, I do like the bit about ‘saluting Higgs and Englert for their groundbreaking work’.

As for TRIUMF and what appears to be a series of name changes, I’m left somewhat puzzled, This Oct. 8, 2013 news release bears the name (or perhaps it’s a motto or tagline of some sort?): TRIUMF — Accelerating Science for Canada, meanwhile the website still sports this: TRIUMF Canada’s national laboratory for particle and nuclear physics while a July 17, 2013 TRIUMF news release gloried in this name: TRIUMF Accelerators, Inc., (noted in my July 18, 2013 posting). Perhaps TRIUMF is trying to follow in CERN’s footsteps. CERN was once known as the ‘European particle physics laboratory’ but is now known as the European Organization for Nuclear Research and seems to also have the tagline: ‘Accelerating science’.