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).
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.
“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.
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]
“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.”
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).
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.
“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,
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.
In no particular order, here are some Frankenstein bits and bobs in celebration of the 200th anniversary of the publication of Mary Shelley’s book.
The Frankenstein Bicentennial Project
This project at Arizona State University has been featured here a few times and most recently in a October 26, 2016 posting about an artist using a Roomba (robotic vacuum cleaner) in an artistic query and about the Frankenstein at 200 online exhibition.
On the two hundredth anniversary of Mary Shelley’s Frankenstein, Arizona State University launches new educational products and publications for audiences of all ages.
A free, interactive, multiplatform experience for kids designed to inspire deeper engagement with STEM topics and promote the development of 21st century skills related to creative collaboration and critical thinking.
A collaborative, multimedia reading experiment with Mary Shelley’s timeless tale examining the the scientific, technological, political, and ethical dimensions of the novel, its historical context, and its enduring legacy.
A set of hands-on STEM making activities that use the Frankenstein story to inspire deeper conversations about scientific and technological creativity and social responsibility.
How to Make a Monster
Kathryn Harkup in a February 22, 2018 article about her recent book for the Guardian delves into the science behind Mary Shelley’s Frankenstein (Note: Links have been removed),
The bicentenary of the publication of Mary Shelley’s Frankenstein: or the Modern Prometheus has meant a lot of people are re-examining this brilliant work of science fiction. My particular interest is the science fact behind the science fiction. How much real science influenced Mary Shelley? Could a real-life Victor Frankenstein have constructed a creature?
In terms of the technical aspects of building a creature from scraps, many people focus on the collecting of the raw materials and reanimation stages. It’s understandable as there are many great stories about grave-robbers and dissection rooms as well as electrical experiments that were performed on recently executed murderers. But there quite a few stages between digging up dead bodies and reanimating a creature.
The months of tedious and fiddly surgery to bring everything together are often glossed over, but what virtually no one mentions is how difficult it would have been to keep the bits and pieces in a suitable state of preservation while Victor worked on his creation. Making a monster takes time, and bodies rot very quickly.
Preservation of anatomical material was of huge interest when Frankenstein was written, as it is now, though for very different reasons. Today the interest is in preserving organs and tissues suitable for transplant. Some individuals even want to cryogenically freeze their entire body in case future scientists are able to revive them and cure whatever disease caused their original death. In that respect the aims are not so different from what the fictional Victor Frankenstein was attempting two hundred years ago.
At the time Frankenstein is set, the late 18th century, few people were really thinking about organ transplant. Instead, tissue preservation was of concern for anatomy professors who wanted to maintain collections of interesting, unusual or instructive specimens to use as teaching aids for future students.
She provides fascinating insight into preservation techniques of the 18th century and their dangers,
To preserve soft tissues, various substances were injected into or used to coat or soak the dissected specimen. The substance in question had to be toxic enough to destroy mould and bacteria that could decompose the sample, but not corrosive or damaging to the tissues of the specimen itself.
Substances such as turpentine, mercury metal and mercury salts (which are even more toxic than the pure element) were all employed stop the decay process in its tracks. Killing off bacteria and mould means that some vital process within them has been stopped; however, many processes that are critical to mould and bacteria are also necessary for humans, making these substances toxic to us.
Working in cramped, poorly ventilated conditions with minimal regard for health and safety, the substances anatomical curators were using day in and day out took a serious toll on their health. Anatomical curators were described as emaciated, prematurely aged and with a hacking cough. …
One of the most successful techniques for tissue preservation was bottling in alcohol. …
…
In the 18th century the University of Edinburgh handed over twelve gallons of whisky annually to the anatomy museum for the preservation of specimens. Possible not all of those twelve gallons made it into the specimen jars. The nature of the curator’s work – the smell, the problems with vermin and toxic fumes – must have made the odd sip of whisky very tempting. Indeed, more than one curator was dismissed for being drunk on the job.
Shelley described Frankenstein working in a small attic room using candlelight to illuminate his work. Small rooms, toxic vapours, alcohol fumes and naked flames are not a healthy combination. No wonder Shelley wrote the work took such a toll on Frankenstein’s health.
The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: Or, Modern Prometheus by Mary Shelley had a huge impact on gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe’en costumes. Even the name ‘Frankenstein’ has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for an extraordinary novel such as Frankenstein?
Clues are dotted throughout Georgian science and popular culture. The years before the book’s publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists.
Making the Monster explores the scientific background behind Mary Shelley’s book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, ‘monsters’ and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation.
Frankenstein 2018
Frankenstein 2018 is an online site designed to celebrate the 200th anniversary of the book, from the About page,
The Frankenstein 2018 project is based at Volda University College in Norway, but aims to engage and include people from elsewhere in Norway and around the world.
The project is led by Timothy Saunders, an Associate Professor of English Literature and Culture at Volda University College.
If you would like to get in touch, either to offer comments on the website, to provide information about related projects or activities taking place around the world, or even to offer relevant material of your own, please write to me at timothy.saunders@hivolda.no.
What a great idea and I wish the folks at Volda University College all the best.
The Monster Challenge
Washington University in St. Louis (WUSL; Missouri, US) is hosting a competition to create a ‘new Frankenstein’, from WUSL’s The Monster Challenge webpage,
On June 16, 1816, a 19-year-old woman sat quietly listening as her lover (the poet Percy Bysshe Shelley) and a small group of friends — including celebrated poet Lord Byron — discussed conducting a ghost-story contest. The couple was spending their holiday in a beautiful mansion on the banks of scenic Lake Geneva in Switzerland. As the conversation about ghost stories heated up, a discussion arose about the principle of life. Not surprisingly, the ensuing talk of graves and corpses led to a sleepless night filled with horrific nightmares for Mary Shelley. Later, she recalled her own contest entry began with eight words; “It was on a dreary night in November…” Just two years later, in 1818, that young woman, Mary Shelley, published her expanded submission as the novel Frankenstein, not only a classic of 19th-century fiction, but a work that has enjoyed immense influence on popular culture, science, medicine, philosophy and the arts all the way up to the present day.
THE MONSTER CHALLENGE
Commemorating the 200th anniversary of the novel’s publication in 1818, Washington University is hosting a competition open to WU students (full time and registered in fall 2018), both undergraduate and graduate. The submission deadline is October 15, 2018.
The prompt for our own WU “Monster Challenge” is “The New Frankenstein”:
If you learned of a contest today, similar to the one that inspired the publication of Mary Shelley’s Frankenstein in 1818, what new Frankenstein would you create? Winning entries will be those best exemplifying the spirit, tone and feeling of Frankenstein for our age.
Submissions are eligible in two categories: written (including poetry, fiction, nonfiction and theater; 5000 word limit) and visual (including new media, experimental media, sound art, performance art, and design). Only one submission is allowed per student or student collaboration group. The winners will be determined by a jury of faculty members and announced in the fall 2018 semester. Winning entries will also be featured on the Frankenstein Bicentennial website (frankenstein200.wustl.edu).
Through the generosity of Provost Holden Thorpe’s office, winners will receive a cash prize as well as the opportunity to have their submission read, exhibited, and/or performed during the fall 2018 semester. Prizes are as follows:
WRITTEN CATEGORY VISUAL CATEGORY
Grand Prize: $1000 Grand Prize: $1000
2nd Prize: $500 2nd Prize: $500
3rd Prize: $250 3rd Prize: $250
HOW TO SUBMIT
Please review the guidelines below and download the appropriate submission form … for your project.
All submissions are due by 3 pm on October 15, 2018.
Only one submission is allowed per student or student collaboration group.
Electronic submissions should be emailed to iph@wustl.edu along with the appropriate submission form (right).
Non-electronic submissions should be dropped off at the Performing Arts Department in Mallinckrodt Center, Room 312 (specific dates and times to be determined). All applicants submitting work here must also send an email to iph@wustl.edu with a digital image of the work and the appropriate submission form (right). Entries should fit into a case 74″ w x 87″ h x 23″ d. For exceptions, please contact Professor Patricia Olynyk (olynyk@wustl.edu).
FURTHER INFORMATION
For additional information about the contest, please contact the Interdisciplinary Project in the Humanities: iph@wustl.edu.
One of the most famous literary works of the last two centuries, Mary Shelley’s Frankenstein (1818) permeates our cultural imagination. A man of science makes dead matter live yet abandons his own creation. A creature is composed of human body parts yet denied a place in human society. The epic struggle that ensues between creator and creature poses enduring questions to all of us. What do we owe our non-human creations? How might the pursuit of scientific knowledge endanger or empower humanity? How do we combine social responsibility with our technological power to alter living matter? These moral quandaries drive the novel as well as our own hopes and fears about modernity.
Over the last 200 years, Frankenstein has also become one of our most culturally productive myths. The Black Frankenstein became a potent metaphor for racial otherness in the 19th century and remains so to this day. From Boris Karloff as the iconic Monster of 1931 to the transvestite Dr. Frank-N-Furter in The Rocky Horror Picture Show of 1975, the novel has inspired dozens of films and dramatizations. Female poets from Margaret Atwood to Liz Lochhead and Laurie Sheck continue to wrestle with the novel’s imaginative possibilities. And Frankenstein, of course, permeates our material culture. Think no further than Franken Berry cereal, Frankenstein action figures, and Frankenstein bed pillows.
Please join us at Washington University in St. Louis as we celebrate Mary Shelley’s iconic novel and its afterlives with a series of events organized by faculty, students and staff from across the arts, humanities and life sciences. Highlights include the conference Frankenstein at 200, sponsored by the Center for the Humanities; a special Frankenstein issue of The Common Reader; a staging of Nick Dear’s play Frankenstein; the symposium The Curren(t)cy of Frankenstein, sponsored by the Medical School; a film series; several lectures; and exhibits designed to showcase the university’s museum and library collections.
This site aggregates all events related to the celebration. Please visit again for updates!
They do have a page for Global Celebrations and while the listing isn’t really global at this point (I’m sure they’re hoping that will change) it does open up a number of possibilities for Frankenstein aficionados, experts, and enthusiasts,
Technologies of Frankenstein
Stevens Institute of Technology, College of Arts and Letters and IEEE History Center
The 200th anniversary year of the first edition of Mary Shelley’s Frankenstein: Or, The Modern Prometheus has drawn worldwide interest in revisiting the novel’s themes. What were those themes and what is their value to us in the early twenty-first century? In what ways might our tools of science and communication serve as an “elixir of life” since the age of Frankenstein?
Frankenstein@200 is a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today..
San Jose State University, Santa Clara University, and University of San Francisco
During 2018, the San Francisco Bay area partners will host The Frankenstein Bicentennial. The novel brings together STEM fields with humanities & the arts in such a way to engage almost every discipline and major. The project’s events will address timely issues of our world in Silicon Valley and the advent of technology – a critical topic with questions important to our academic, regional and world communities. The novel, because it has been so popular for 200 years, lives on in discussions about what it means to be human in a digital world.
Next performance: Monday Feb. 26, 2018; 7 PM
Extended through 2018!
BroadwayWorld review!
“..it is a success of a show that should be considered
something great in the realm of musical theater.”
“A musical love letter”
– Local Theatre NY
“…infused with enough emotion to send chills down the spine…”
– Local Theatre NY
““ an ambitious theater piece that is refreshingly buoyed up by its music””
– Theater Scene
FRANKENSTEIN
a new Off-Broadway musical by Eric B. Sirota
based on Mary Shelley’s classic novel
Presented by John Lant, Tamra Pica & Write Act Repertory
at St. Luke’s Theater in the heart of the theatre district
…
. . . a sweeping romantic musical, about the human need for love and companionship,
which honors its source material.
Performances Monday nights at 7 PM
tickets to performances into March currently on sale
(scroll down for performance schedule)
…
Contact us for Special Group Sales and Buyouts at: info@TheFrankensteinMusical.com
St. Luke’s Theatre
an Off-Broadway venue in the heart of the theatre district on “Restaurant Row”
308 West 46th Street (btwn. 8th and 9th Ave.)
contact: info@TheFrankensteinMusical.com
– Book, Music & Lyrics: Eric B. Sirota
-Additional lyrics: Julia Sirota
– Director: Clint Hromsco
– Music Director: Austin Nuckols
(original music direction by Anessa Marie)
– Producer: John Lant, Tamra Pica and Write Act Repertory
– CAST: Jon Rose, Erick Sanchez-Canahuate, Gabriella Marzetta, Stephan Amenta, Cait Kiley, Adam Kee, Samantha Collette, Amy Londyn, Stephanie Lourenco Viegas, Bryan S. Walton
Eric Sirota developed Frankenstein under the working title of “Day of Wrath”, an Official Selection of the 2015 New York Musical Theatre Festival’s Reading Series
**********
Next performances
Feb 26, Mon; 7 PM
Mar 5, Mon; 7 PM
Tickets to later dates on sale soon. . .
March 12, 19, 24
April 2, 9, 16, 23, 30
May . . .
Jun . . .
running though 2018
2018 – Frankenstein bicentennial year!
The Purgatory Press*
The Purgatory Press blog’s* John Culbert (author and lecturer at the University of British Columbia) wrote a January 1, 2018 essay celebrating and examining Mary Shelley’s classic,
She was born in 1797, toward the end of the Little Ice Age. Wolves had been extirpated from the country, but not so long ago that one could forget. Man’s only predator in the British Isles was now a mental throwback. Does the shadow of extinction fall on the children of perpetrators? What strange gap is left in the mind of men suddenly raised from the humble status of prey?
In the winter of her sixteenth year, the river Thames froze in London for the last time. The final “Frost Fair,” a tradition dating back centuries, was held February 1814 on the river’s hard surface.
The following year, a volcano in present-day Indonesia erupted. It was the most powerful and destructive event of its kind in recorded history. Fallout caused a “volcanic winter” across the Northern Hemisphere. In 1816 – “the year without a summer” – she was in Switzerland, where she began writing her first novel, Frankenstein, published 200 years ago today — on January 1st, 1818.
…
Fascinating, yes? I encourage you to read the whole piece.
Frankenstein Festival
The Science Museum in London, UK, is splashing out with a Frankenstein Festival according to a February 13, 2018 press release,
Frankenstein Festival
3–8 April (with special events on 28 March and 27–28 April)
The Science Museum is celebrating the 200th anniversary of Mary Shelley’s Frankenstein or the Modern Prometheus with a free festival exploring the science behind this cultural phenomenon.
Through immersive theatre, experimental storytelling and hands-on activities visitors can examine the ethical and scientific questions surrounding the artificial creation of life. Families can step in Doctor Frankenstein’s shoes, creating a creature and bringing it to life using stop motion animation at our drop-in workshops.
In the Mystery at Frankenstein’s Lab visitors can solve puzzles and conduct experiments in an escape room-like interactive experience. Visitors are also invited to explore the Science Museum as you’ve never heard it before in It’s Alive, an immersive Frankenstein-themed audio tour. Both these activities have limited availability so pre-booking is advised.
In Pandemic, you decide how far Dr Victor should go to tackle a virus sweeping the world. Is it right to create new life to save others? You decide where to draw the line in this choose-your-own-adventure experience. Visitors can also see Humanity 2.0, a play created and performed by actor Emily Carding. Set in a post-apocalyptic future, the play examines what could happen if a benevolent AI recreated humanity.
As part of the festival, visitors will meet researchers at the cutting-edge of science—from bio chemists who manipulate DNA to engineers creating artificial intelligence—and discover fascinating scientific objects with our curators which could have influenced Shelley.
The Frankenstein Festival will run daily from 3–8 April at the Science Museum and is supported by players of People’s Postcode Lottery. Tickets for activities with limited availability are available from sciencemuseum.org.uk/Frankenstein.
Our free adult-only Frankenstein Lates on 28 March will focus on the darker themes of Shelley’s iconic novel, with the Promethean Tales Weekend on 27–28 April, featuring panel discussions and special screenings of Terminator 2: Judgement Day and The Curse of Frankenstein in our IMAX cinema.
…
Frankenstein Festival activities include:
It’s Alive!
An immersive audio tour created by Cmd+Shift in collaboration with the Science Museum. The tour takes 45 minutes and is limited to 15 people per session. Recommended for ages 8+. Tickets cost £3 and are available here.
Mystery at Frankenstein’s Lab
This interactive, theatrical puzzle experience has been created by Atomic Force Productions, in collaboration with the Science Museum. Each session lasts 45 minutes and is limited to 10 people per session. Recommended for ages 12+, under 16s must be accompanied by an adult. Tickets cost £10 and are available here.
Create Your Own Creature
Get hands on at our drop-in workshops and create your very own creature. Then bring your creature to life with stop motion animation. This activity takes approximately 20 minutes and is suitable for all ages.
Humanity 2.0 (3–5 April)
Step into a dystopian future and help shape the future of humanity in this unique interactive play created and performed by Emily Carding. Her full body make-up was created by award winning body painter Victoria Gugenheim in collaboration with the Science Museum. The play has a run time of 45 minutes and is recommended for ages 12+.
Pandemic (5–8 April)
This choose-your-own-adventure film puts you in control of a psychological thriller. Your decisions will guide Dr Victor on their quest to create artificial life.
Pandemic was created by John Bradburn in collaboration with the Science Museum. The film contains moderate psychological threat and horror sequences that some people may find disturbing. The experiences lasts 45 minutes and is recommended for ages 14+. Tickets are free and are available here.
Frankenstein Festival events include:
Frankenstein Lates
Wednesday 28 March, 18.45–22.00
Join us for a fun free evening of events, workshops and screenings as we ask the question ‘should we create life’.
Lates is a free themed-event for adults at the Science Museum on the last Wednesday of each month. Find out more about Lates at sciencemuseum.org.uk/Lates.
Artificial Life: Should We, Could We, Will We?
Wednesday 28 March as part of the Frankenstein Lates
Tickets: £5
A panel of expert scientists and researchers will discuss artificial life. Just how close are we to creating fully synthetic life and will this be achieved by biological or digital means?
Discussing those questions will be Professor of Cognitive Robotics at Imperial College and scientific advisor for the hit movie Ex Machina Murray Shanahan, Vice President of the International Society for Artificial Life Susan Stepney and Lead Curator of the Science Museum’s acclaimed 2017 exhibition Robots Ben Russell. Further speakers to be announced.
Promethean Tales Weekend
Terminator 2: Judgement Day + Panel Discussion
Friday 27 April, 19.30–22.35 (Doors open 19.00)
Tickets: £8, £6 Concessions
Age 15 and above
In part one of our Promethean Tales Weekend celebrating the 200th anniversary of Mary Shelley’s Frankenstein, we will be joined by a panel of experts in science, film and literature to discuss the topic of ‘Promethean Tales through the ages’ ahead of a screening of Terminator 2: Judgement Day.
The Curse of Frankenstein and Q&A with Sir Christopher Frayling
Saturday 28 April, 18.00–20.30 (Doors open 17.30)
Tickets: £8, £6 Concessions
In part two of our Promethean Tales Weekend, we are joined by Sir Christopher Frayling, author of Frankenstein: The First Two Hundred Years, to discuss the life and work of Shelley, the origins of her seminal story and its cultural impact.
The screening of The Curse of Frankenstein will be followed by a book signing with copies of Sir Christopher’s book available to purchase on the night.
You can find out more about the festival and get tickets to events, here.
Frankenreads
This initiative seems like a lot of fun, from the Frankenreads homepage,
Frankenreads is an NEH [US National Endowment for the Humanitities]-funded initiative of the Keats-Shelley Association of America and partners to hold a series of events and initiatives in honor of the 200th anniversary of Mary Shelley’s Frankenstein, featuring especially an international series of readings of the full text of the novel on Halloween 2018.
They have a very open approach as their FAQs webpage attests to,
Why host a Frankenreads event?
Frankenstein, or, The Modern Prometheus appeals to both novice and expert readers alike and is a work that remains highly relevant to contemporary issues. Thus it is perhaps no surprise that (according to the Open Syllabus project) Frankenstein is the most frequently taught work of literature in college English courses and the fifth most frequently taught book in college courses in all disciplines. It is certainly one of the most read British novels in the world. Hosting a Frankenreads event is an easy way both to celebrate the 200th anniversary of this important work and to foster discussion about issues such as ethics in science and the human tendency to demonize the unfamiliar. By participating in Frankenreads, you can make sure that your thoughts about Frankenstein are part of a global conversation.
What kind of event can I host?
You can host any kind of event you like! Below are some suggestions. Click on the event type for further guidance.
Complete Reading — A live, all-day reading (about 9 hours) of the full text of Frankenstein
Partial Reading — A live reading of selected passages from Frankenstein
Discussion — An informal discussion of some or all of the novel
Lesson — A class session, discussion, or exercise on the novel
Lecture — A lecture on the novel by a relevant expert
Viewing — A community viewing on Halloween 2018 of the livestream of the NEH reading or other online events
Other — Whatever other kind of in-person or online event you can think of!
Should I hold in-person events or online events?
Either or both! We encourage you to record in-person events and upload video to our YouTube channel. We will also be providing advice on holding events via Google Hangouts.
When should I hold the event?
You can hold a Frankenreads event any time you like, but we encourage you to schedule an event during Frankenweek: October 24-31, 2018.
Why post my event on the Frankenreads website?
Posting your event on the Frankenreads website enables the Frankenreads team to publicize your event widely, to give you help with your event, and to connect you with others who are holding nearby or similar events.
How do I post my event on the Frankenreads website?
To post your event on the Frankenreads website, first register an account, log in, and then submit your event. You should have the following information:
An event title (required)
An event description (required)
The event time and date
A square image no bigger than 128 Mb to represent the event
Venue information (e.g., name, address, phone number, website)
Organizer(s) information (e.g., name, email address, phone number)
Event website
Event cost
How can I get help?
Lots of ways! You can contact us via this site, message us on social media, or join our Frankenreads discussion group to ask and answer questions of like-minded people.
There you have it from the academic to the informal and more. There is one more thing,
Have a nice weekend!
*’Purgatory Press’ head changed to “The Purgatory Press’ and ‘The Purgatory blog’ changed to ‘The Purgatory Press blog’ on February 26, 2018
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.
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
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”).
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
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.
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,
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.
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:
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’.
The University of Edinburgh (along with the Universities of Warwick and Birmingham, Newcastle University and Cranfield University) according to its Mar. 4, 2013 news release on EurekAlert is involved in a phytoremediation project,
Common garden plants are to be used to clean polluted land, with the extracted poisons being used to produce car parts and aid medical research.
Scientists will use plants such as alyssum, pteridaceae and a type of mustard called sinapi to soak up metals from land previously occupied by factories, mines and landfill sites.
Dangerous levels of metals such as arsenic and platinum, which can lurk in the ground and can cause harm to people and animals, will be extracted using a natural process known as phytoremediation.
A Mar. 4, 2013 news item on the BBC News Edinburgh, Fife and East Scotland site offers more details about the project and the technology,
A team of researchers from the Universities of Edinburgh, Warwick, Birmingham, Newcastle and Cranfield has developed a way of extracting the chemicals through a process called phytoremediation, and are testing its effectiveness.
Once the plants have drawn contaminated material out of the soil, they will be harvested and processed in a bio-refinery.
…
A specially designed bacteria will be added to the waste to transform the toxic metal ions into metallic nanoparticles.
The team said these tiny particles could then be used to develop cancer treatments, and could also be used to make catalytic converters for cars.
Dr Louise Horsfall, of Edinburgh’s University’s school of biological sciences, said: “Land is a finite resource. As the world’s population grows along with the associated demand for food and shelter, we believe that it is worth decontaminating land to unlock vast areas for better food security and housing.
“I hope to use synthetic biology to enable bacteria to produce high value nanoparticles and thereby help make land decontamination financially viable.”
The research team said the land where phytoremediation was used would also be cleared of chemicals, meaning it could be reused for new building projects.
In my Sept. 28, 2012 posting I featured an international collaboration between universities in the UK, US, Canada, and New Zealand in a ‘phyto-mining’ project bearing some resemblance to this newly announced project. In that project, announced in Fall 2012, scientists were studying how they might remove platinum for reuse from plants near the tailings of mines.
I do have one other posting about phytoremediation. I featured a previously published piece by Joe Martin in a two-part series on the topic plant (phyto) and nano soil remediation. The March 30, 2012 posting is part one, which focuses on the role of plants in soil remediation.
