I have a number of items from Simon Fraser University’s (SFU) Metacreation Lab January 2021 newsletter (received via email on Jan. 5, 2020).
29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence! or IJCAI-PRICAI2020 being held on Jan. 7 – 15, 2021
This first excerpt features a conference that’s currently taking place,,
Musical Metacreation Tutorial at IIJCAI – PRICAI 2020 [Yes, the 29th International Joint Conference on Artificial Intelligence and the 17th Pacific Rim International Conference on Artificial Intelligence or IJCAI-PRICAI2020 is being held in 2021!]
The tutorial will be held this Friday, January 8th, from 9 am to 12:20 pm JST ([JST = Japanese Standard Time] 12 am to 3:20 am UTC [or 4 pm – 7:30 pm PST]) and a full description of the syllabus can be found here. For details about registration for the conference and tutorials, click below.
The conference will be held at a virtual venue created by Virtual Chair on the gather.town platform, which offers the spontaneity of mingling with colleagues from all over the world while in the comfort of your home. The platform will allow attendees to customize avatars to fit their mood, enjoy a virtual traditional Japanese village, take part in plenary talks and more.
Two calls for papers
These two excerpts from SFU’s Metacreation Lab January 2021 newsletter feature one upcoming conference and an upcoming workshop, both with calls for papers,
2nd Conference on AI Music Creativity (MuMe + CSMC)
The second Conference on AI Music Creativity brings together two overlapping research forums: The Computer Simulation of Music Creativity Conference (est. 2016) and The International Workshop on Musical Metacreation (est. 2012). The objective of the conference is to bring together scholars and artists interested in the emulation and extension of musical creativity through computational means and to provide them with an interdisciplinary platform in which to present and discuss their work in scientific and artistic contexts.
The 2021 Conference on AI Music Creativity will be hosted by the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts of Graz, Austria and held online. The five-day program will feature paper presentations, concerts, panel discussions, workshops, tutorials, sound installations and two keynotes.
The 3rd IEEE Workshop on Artificial Intelligence for Art Creation (AIART) workshop has been announced for 2021. to bring forward cutting-edge technologies and most recent advances in the area of AI art in terms of enabling creation, analysis and understanding technologies. The theme topic of the workshop will be AI creativity, and will be accompanied by a Special Issue of the renowned SCI journal.
AIART is inviting high-quality papers presenting or addressing issues related to AI art, in a wide range of topics. The submission due date is January 31, 2021, and you can learn about the wide range of topics accepted below:
SFU’s Metacreation Lab January 2021 newsletter also features a kind of musical toy,
MMM : Multi-Track Music Machine
One of the latest projects at the Metacreation Lab is MMM: a generative music generation system based on Transformer architecture, capable of generating multi-track music, developed by Jeff Enns and Philippe Pasquier.
Based on an auto-regressive model, the system is capable of generating music from scratch using a wide range of preset instruments. Inputs from one or several tracks can condition the generation of new tracks, resampling MIDI input from the user or adding further layers of music.
To learn more about the system and see it in action, click below and watch the demonstration video, hear some examples, or try the program yourself through Google Colab.
Finally, for anyone who was wondering what happened at the 2020 International Symposium of Electronic Arts (ISEA 2020) held virtually in Montreal in the fall, here’s some news from SFU’s Metacreation Lab January 2021 newsletter,
ISEA2020 Recap // Why Sentience?
As we look back at one of the most unprecedented years, some of the questions explored at ISEA2020 are more salient now than ever. This recap video highlights some of the most memorable moments from last year’s virtual symposium.
The video is a slick, flashy, and fun 15 minutes or so. In addition to the recap for ISEA 2020, there’s a plug for ISEA 2022 in Barcelona, Spain.
The proceedings took my system a while to download (there are approximately 700 pp.). By the way, here’s another link to the proceedings or rather to the archives for the 2020 and previous years’ ISEA proceedings.
From an August 28, 2020 ISEA 2020 notice (received via email),
DISCOVER THE ISEA2020 WORKSHOP PROGRAMME!💥
Montreal, August 28 —Montreal Digital Spring (Printemps numérique)unveils the workshop programme for ISEA‘s 26th edition, featuring a range of exciting workshops happening on October 17th and 18th. Facilitated by practitioners, artists and researchers who will focus on the themes and techniques related to their practices and expertise, the workshops will adopt hands-on approaches, experimentations, and discussions on themes raging from data gloves, to artificial intelligence, and bacterial growth.
NEUROMEDIA: ENHANCING SENSORY PERCEPTION FOR ARTISTS AND DESIGNERS
Part1. October 17 – 8:00am – 3:00pm Part2. October 18 – 8:00am – 10:00am
This workshop offers a unique blend of sensor systems lab exercises from neuroscience, media arts and design to context ideas. Participants must apply in pairs to physically work together on their sensory perception projects. The pairs will meet virtually with the other workshop members to facilitate and attend presentations, and compare results.
With Jill Scott and Marille Hahne
Part1. October 17 – 8:30am – 4:30pm Part2. October 18 – 8:30am – 4:30pm
In this workshop, participants will manufacture their very own pair of “Data Gloves,” economic and open-source alternatives for advanced and detailed interaction of VR environments. Participants will have access to all the designs and codes necessary to operate the “Data Gloves” and will be taught how they are built.
With Hugo Vargas
DYNAMICS OF PERCEPTIONS – ENGAGING WITH THE FELT EXPERIENCE OF TEMPORALLY DYNAMIC ALGORITHMS
October 17 – 9:00am – 12:00pm
This workshop looks at the relationship between machine subjectivity and human subjectivity expressed temporally through artistic media, and features a series of short presentations, experiments and discussions.
With Alexandre Saunier, David Howes, Christopher Salter, and Joseph Thibodeau.
ART AND INNOVATION IN THE AGE OF BIG DATA: DESIGN OF INFO-OBJECTS AND INTERFACES FOR DATA VISUALIZATION
Part 1. October 17 – 9:30am – 12:00pm Part 2. October 18 – 1:00pm – 2:30pm
This workshop focuses on data and representation, and will present a step-by-step approach to identify significant patterns in datasets and to explore innovative methods to make insights visible and tangible. Water will be the central theme for this edition.
With Andrea Sosa, Everardo Reyes, and Homero Pellicer.
NETWORKED ART PRACTICE AFTER DIGITAL PRESERVATION
October 17 – 10:00am – 3:00pm
This workshop traces the edges and boundaries of the preservation of both analogue and digital networked art practice. Participants will collectively identify questions addressing digital preservation (including ‘preventative conservation’ and record-keeping) and work in groups to develop novel approaches, leading towards a greater understanding of the networked conservation concerns of a diverse range of work.
With Roddy Hunter and Sarah Cook. Joined by guest practitioners.
PLAYFUL INVESTIGATIONS ON MULTIPLE SCALES
October 17 – 10:30am – 2:30pm
The city operates on different scales: bikes, people, houses on street level; traffic and communities on neighbourhood level; infrastructure on the city level. This workshop playfully investigates transformations and frictions that occur when instruments that help to make sense of higher scale phenomena are introduced.
With Viktor Bedö and Ida Toft.
THE HUMAN SEARCH ENGINE: A MILLENNIAL TOOLKIT 4 ASSOCI@IVE EXPLOR@ION
Round#1. October 17 – 11:00am – 1:00pm / Round#2. October 18 – 11:00am – 1:00pm
The workshop is aimed at participants looking for a middle-ground approach towards online life. We offer a toolkit to those who wish to neither disconnect nor let habit-forming technologies run their lives. We believe we can “deprogram” these technologies in a way that empowers us.
with Carmel Barnea Brezner Jonas and Gabriel S Moses
EMPIRES, VILLAGES, ECOLOGIES OF EXPERIMENTAL PRACTICES
October 17 – 11:30am – 1:00pm
This workshop invites participants to take creative leaps through experimentation in telematic, embodied learning to break outside the box of traditional pedagogy and electronic art, because extraordinary times and complex problems call for extraordinary vision and groundbreaking solutions.
With Diana Ayton-Shenker and Xin Wei Sha
AVATARS IN ZOOM FOR ALL! (A HANDS-ON TUTORIAL)
October 17 – 1:00pm – 3:30pm
This is a hands-on participatory tutorial, where you will create deep-fake videos using your own materials, and play with various options of becoming an online avatar.
With Eyal Gruss
QUEER AND BIOPHILIC APPROACH OF THE CUTANEOUS MICROBIOME
October 17 – 1:30pm – 4:00pm
This workshop will allow participants to experience the cutaneous microbiome (micro-organisms that live on and in our skin) in a haptic -visual/olfactive- and intellectual reflection about our ubiquitous relationships of hate/love with this part of ourselves.
With Nathalie Dubois Calero
PASS AGAIN THROUGH THE HEART: GESTURE, MEMORY, AND FOOD
October 17 – 2:30pm – 4:30pm
This workshop looks at how knowledge is shared through gestures and feelings by family members. It is informed by an ongoing project that collects recipes from Canadian immigrants and refugees, each touching on acknowledgment and formation of transnational identities within North America.
With Immony Mèn and Patricio Dávil
MEASURING COMPUTATIONAL CREATIVITY: COLLABORATIVELY DESIGNING METRICS FOR EVALUATING CREATIVE MACHINES
October 18 – 3:00pm – 7:00pm
This half-day workshop extends empirical methods and engages a broader arts and machine learning community to collaboratively define quantitative metrics assessing the creativity of algorithms and machines. This workshop is a first attempt to establish evaluation metrics for the area of creative AI.
With Eunsu Kang, Jean Oh, and Robert Twomey.
Should you be considering the purchase of a pass (from the August 28, 2020 notice),
Important : These workshops are only available to holders of an ISEA2020 FULL Pass
REMINDER: THE EARLY BIRD RATE is available only until September 1
I have some news about conserving art; early bird registration deadlines for two events, and, finally, an announcement about contest winners.
Canadian Light Source (CLS) and modern art
This is one of three pieces by Rita Letendre that underwent chemical mapping according to an August 5, 2020 CLS news release by Victoria Martinez (also received via email),
Research undertaken at the Canadian Light Source (CLS) at the University of Saskatchewan was key to understanding how to conserve experimental oil paintings by Rita Letendre, one of Canada’s most respected living abstract artists.
The work done at the CLS was part of a collaborative research project between the Art Gallery of Ontario (AGO) and the Canadian Conservation Institute (CCI) that came out of a recent retrospective Rita Letendre: Fire & Light at the AGO. During close examination, Meaghan Monaghan, paintings conservator from the Michael and Sonja Koerner Centre for Conservation, observed that several of Letendre’s oil paintings from the fifties and sixties had suffered significant degradation, most prominently, uneven gloss and patchiness, snowy crystalline structures coating the surface known as efflorescence, and cracking and lifting of the paint in several areas.
Kate Helwig, Senior Conservation Scientist at the Canadian Conservation Institute, says these problems are typical of mid-20th century oil paintings. “We focused on three of Rita Letendre’s paintings in the AGO collection, which made for a really nice case study of her work and also fits into the larger question of why oil paintings from that period tend to have degradation issues.”
Growing evidence indicates that paintings from this period have experienced these problems due to the combination of the experimental techniques many artists employed and the additives paint manufacturers had begun to use.
In order to determine more precisely how these factors affected Letendre’s paintings, the research team members applied a variety of analytical techniques, using microscopic samples taken from key points in the works.
“The work done at the CLS was particularly important because it allowed us to map the distribution of materials throughout a paint layer such as an impasto stroke,” Helwig said. The team used Mid-IR chemical mapping at the facility, which provides a map of different molecules in a small sample.
For example, chemical mapping at the CLS allowed the team to understand the distribution of the paint additive aluminum stearate throughout the paint layers of the painting Méduse. This painting showed areas of soft, incompletely dried paint, likely due to the high concentration and incomplete mixing of this additive.
The painting Victoire had a crumbling base paint layer in some areas and cracking and efflorescence at the surface in others. Infrared mapping at the CLS allowed the team to determine that excess free fatty acids in the paint were linked to both problems; where the fatty acids were found at the base they formed zing “soaps” which led to crumbling and cracking, and where they had moved to the surface they had crystallized, causing the snowflake-like efflorescence.
AGO curators and conservators interviewed Letendre to determine what was important to her in preserving and conserving her works, and she highlighted how important an even gloss across the surface was to her artworks, and the philosophical importance of the colour black in her paintings. These priorities guided conservation efforts, while the insights gained through scientific research will help maintain the works in the long term.
In order to restore the black paint to its intended even finish for display, conservator Meaghan Monaghan removed the white crystallization from the surface of Victoire, but it is possible that it could begin to recur. Understanding the processes that lead to this degradation will be an important tool to keep Letendre’s works in good condition.
“The world of modern paint research is complicated; each painting is unique, which is why it’s important to combine theoretical work on model paint systems with this kind of case study on actual works of art” said Helwig. The team hopes to collaborate on studying a larger cross section of Letendre’s paintings in oil and acrylic in the future to add to the body of knowledge.
The latest news from the CSPC 2020 (November 16 – 20 with preconference events from Nov. 1 -14) organizers is that registration is open and early birds have a deadline of September 27, 2020 (from an August 6, 2020 CSPC 2020 announcement received via email),
It’s time! Registration for the 12th Canadian Science Policy Conference (CSPC 2020) is open now. Early Bird registration is valid until Sept. 27th .
CSPC 2020 is coming to your offices and homes:
Register for full access to 3 weeks of programming of the biggest science and innovation policy forum of 2020 under the overarching theme: New Decade, New Realities: Hindsight, Insight, Foresight.
300+ Speakers from five continents
65+ Panel sessions, 15 pre conference sessions and symposiums
50+ On demand videos and interviews with the most prominent figures of science and innovation policy
20+ Partner-hosted functions
15+ Networking sessions
15 Open mic sessions to discuss specific topics
The virtual conference features an exclusive array of offerings:
3D Lounge and Exhibit area
Advance access to the Science Policy Magazine, featuring insightful reflections from the frontier of science and policy innovation
Don’t miss this unique opportunity to engage in the most important discussions of science and innovation policy with insights from around the globe, just from your office, home desk, or your mobile phone.
Benefit from significantly reduced registration fees for an online conference with an option for discount for multiple ticket purchases
The preliminary programme can be found here. This year there will be some discussion of a Canadian synthetic biology roadmap, presentations on various Indigenous concerns (mostly health), a climate challenge presentation focusing on Mexico and social vulnerability and another on parallels between climate challenges and COVID-19. There are many presentations focused on COVID-19 and.or health.
Margaux Davoine has written up a teaser for the 2020 edition of ISEA in the form of an August 6, 2020 interview with Yan Breuleux. I’ve excerpted one bit,
Finally, thinking about this year’s theme [Why Sentience?], there might be something a bit ironic about exploring the notion of sentience (historically reserved for biological life, and quite a small subsection of it) through digital media and electronic arts. There’s been much work done in the past 25 years to loosen the boundaries between such distinctions: how do you imagine ISEA2020 helping in that?
The similarities shared between humans, animals, and machines are fundamental in cybernetic sciences. According to the founder of cybernetics Norbert Wiener, the main tenets of the information paradigm – the notion of feedback – can be applied to humans, animals as well as the material world. Famously, the AA predictor (as analysed by Peter Galison in 1994) can be read as a first attempt at human-machine fusion (otherwise known as a cyborg).
The infamous Turing test also tends to blur the lines between humans and machines, between language and informational systems. Second-order cybernetics are often associated with biologists Francisco Varela and Humberto Maturana. The very notion of autopoiesis (a system capable of maintaining a certain level of stability in an unstable environment) relates back to the concept of homeostasis formulated by Willam Ross [William Ross Ashby] in 1952. Moreover, the concept of “ecosystems” emanates directly from the field of second-order cybernetics, providing researchers with a clearer picture of the interdependencies between living and non-living organisms. In light of these theories, the absence of boundaries between animals, humans, and machines constitutes the foundation of the technosciences paradigm. New media, technological arts, virtual arts, etc., partake in the dialogue between humans and machines, and thus contribute to the prolongation of this paradigm. Frank Popper nearly called his book “Techno Art” instead of “Virtual Art”, in reference to technosciences (his editor suggested the name change). For artists in the technological arts community, Jakob von Uexkull’s notion of “human-animal milieu” is an essential reference. Also present in Simondon’s reflections on human environments (both natural and artificial), the notion of “milieu” is quite important in the discourses about art and the environment. Concordia University’s artistic community chose the concept of “milieu” as the rallying point of its research laboratories.
ISEA2020’s theme resonates particularly well with the recent eruption of processing and artificial intelligence technologies. For me, Sentience is a purely human and animal idea: machines can only simulate our ways of thinking and feeling. Partly in an effort to explore the illusion of sentience in computers, Louis-Philippe Rondeau, Benoît Melançon and I have established the Mimesis laboratory at NAD University. Processing and AI technologies are especially useful in the creation of “digital doubles”, “Vactors”, real-time avatar generation, Deep Fakes and new forms of personalised interactions.
I adhere to the epistemological position that the living world is immeasurable. Through their ability to simulate, machines can merely reduce complex logics to a point of understandability. The utopian notion of empathetic computers is an idea mostly explored by popular science-fiction movies. Nonetheless, research into computer sentience allows us to devise possible applications, explore notions of embodiment and agency, and thereby develop new forms of interaction. Beyond my own point of view, the idea that machines can somehow feel emotions gives artists and researchers the opportunity to experiment with certain findings from the fields of the cognitive sciences, computer sciences and interactive design. For example, in 2002 I was particularly marked by an immersive installation at Universal Exhibition in Neuchatel, Switzerland titled Ada: Intelligence Space. The installation comprised an artificial environment controlled by a computer, which interacted with the audience on the basis of artificial emotion. The system encouraged visitors to participate by intelligently analysing their movements and sounds. Another example, Louis-Philippe Demers’ Blind Robot (2012), demonstrates how artists can be both critical of, and amazed by, these new forms of knowledge. Additionally, the 2016 BIAN (Biennale internationale d’art numérique), organized by ELEKTRA (Alain Thibault) explored the various ways these concepts were appropriated in installation and interactive art. The way I see it, current works of digital art operate as boundary objects. The varied usages and interpretations of a particular work of art allow it to be analyzed from nearly every angle or field of study. Thus, philosophers can ask themselves: how does a computer come to understand what being human really is?
I have yet to attend conferences or exchange with researchers on that subject. Although the sheer number of presentation propositions sent to ISEA2020, I have no doubt that the symposium will be the ideal context to reflect on the concept of Sentience and many issues raised therein.
For the last bit of news.
HotPopRobot, one of six global winners of 2020 NASA SpaceApps COVID-19 challenge
We are excited to become the global winners of the 2020 NASA SpaceApps COVID-19 Challenge from among 2,000 teams from 150 countries. The six Global Winners will be invited to visit a NASA Rocket Launch site to view a spacecraft launch along with the SpaceApps Organizing team once travel is deemed safe. They will also receive an invitation to present their projects to NASA, ESA [European Space Agency], JAXA [Japan Aerospace Exploration Agency], CNES [Centre National D’Etudes Spatiales; France], and CSA [Canadian Space Agency] personnel. https://covid19.spaceappschallenge.org/awards
15,000 participants joined together to submit over 1400 projects for the COVID-19 Global Challenge that was held on 30-31 May 2020. 40 teams made to the Global Finalists. Amongst them, 6 teams became the global winners!
The 2020 SpaceApps was an international collaboration between NASA, Canadian Space Agency, ESA, JAXA, CSA,[sic] and CNES focused on solving global challenges. During a period of 48 hours, participants from around the world were required to create virtual teams and solve any of the 12 challenges related to the COVID-19 pandemic posted on the SpaceApps website. More details about the 2020 SpaceApps COVID-19 Challenge: https://sa-2019.s3.amazonaws.com/media/documents/Space_Apps_FAQ_COVID_.pdf
We have been participating in NASA Space Challenge for the last seven years since 2014. We were only 8 years and 5 years respectively when we participated in our very first SpaceApps 2014.
We have grown up learning more about space, tacking global challenges, making hardware and software projects, participating in meetings, networking with mentors and teams across the globe, and giving presentations through the annual NASA Space Apps Challenges. This is one challenge we look forward to every year.
It has been a fun and exciting journey meeting so many people and astronauts and visiting several fascinating places on the way! We hope more kids, youths, and families are inspired by our space journey. Space is for all and is yours to discover!
I wonder what happens to geography and time when you hold your conference virtually? Part of the excitement of a conference or other meetings is the promise of the destination with new people and new adventures. Whether 2020 is a pause between in-person meetings, a moment when everything changed, or some combination is yet to be determined but perhaps ISEA2020 will be a harbinger.
I received a June 10, 2020 notice (via email) with the latest news about ISEA2020,
Montreal, June 10, 2020 —ISEA2020 from October 13 to 18, 2020 goes entirely digital, with an innovative experiential format.
The worldwide COVID-19 outbreak has forced ISEA2020 in Montreal to be postponed to October 13 to 18. The physical distancing measures put in place in many countries and the travel restrictions imposed to prevent the spread of the pandemic mean that we cannot all be physically present in Montreal. Montreal Digital Spring (Printemps numérique) – the organizers of ISEA2020 – have thus decided to make the symposium a 100% online event. Our team is currently working on the platform that will allow us to come together, connect, and exchange knowledge and practices, despite the physical distance. We worked with our partners and collaborators, experts in art, design, science and technology to (if only begin to) reinvent the format of academic interdisciplinary conferencing!
Programming: ISEA2020 is a full week of research and creation, 100% online, with more than 300 international speakers and artists from over 40 countries.
Connecting: We are working on the online platform to ensure we meet ISEA’s core values of encouraging and promoting creative exchanges between diverse groups; of creating opportunities for networking and informal meetings, in addition to ensuring the good flow of panel sessions.
Programming for all the time-zones: From October 13 to 16, conference presentations will unfold over 16 consecutive hours each day, in order to include participants in all the time zones, from East Asia to the west Americas.
Reduced registration fee: The registration fee has been reduced. In addition to saving travel costs, ISEA2020 Online is accessible at a significantly reduced fee, hoping it will attract a larger number of participants, including more students and independent artists.
Live Q&A: All presentation sessions, including keynote sessions, will include live Q&A periods, mediated by invited delegates.
Art Programming: We are working with artists and partners on strategies to showcase the selected projects and special programming.
While we regret not seeing you in Montreal, the new format will make ISEA2020 accessible to a larger number and will certainly contribute to a broader discussion on how to produce and transfer knowledge and showcase art through connected digital communication platforms. Our team is committed to ensuring the high standard of creative and academic contributions that is paramount to ISEA.
We look forward to seeing you online this fall!
You can now purchase your ISEA2020 Online Passat the Early Bird rates of CAD $99 (regular) and CAD $69 (students), offer valid until August 13 .
NEW DEADLINE TO REGISTER (for presenters)
The deadline to register, to upload the camera-ready papers, and to fill in the Zone Festival form is July 27 at 11:59 pm (GMT-5).
ISEA2020 ONLINE: WHY SENTIENCE? OCTOBER 13-18, 2020
The academic chairs’ statements regarding the ISEA2020 online turn:
Since last August  when we established the ISEA2020 theme of “Why Sentience?”, life on Earth has been dramatically transformed. Our belief in concepts like proximity, justice, equality, indeed, the very concept of the future itself, has been radically uprooted. As cultural organizations worldwide scramble to adapt, the ISEA2020 team has decided to reimagine the event for the anytime/anyplace zone of digital space and to transform it into an online experience. But we have also realized that there is no need to adjust the theme to make it more “responsive” to our current conditions. Despite their almost cataclysmic impact on the political-economic-social-cultural-ecological fabric of the world, the triumvirate forces of the coronavirus pandemic, its disastrous economic consequences, as well as systemic racial injustice have now acutely amplified ISEA2020s question: “Why Sentience?” These conditions sharpen the need to stop, pause and re-examine what it means to be sentient, “the ability to feel or perceive.” They help us reformulate our notions of what the world is with us and beyond us. They give us a front seat perspective on the corporeal and ecological entanglements between power and knowledge, animals and humans, machines and environment, oppression and liberation. They pointedly demonstrate that difference—social-economic-cultural—resonates through the sentient world. The virus—a 120-160 nm in diameter entity that is invisible to our human senses and considered neither living nor dead but ontologically somewhere in between [emphasis mine]—is thus perversely a great teacher and provides us lessons on how the modern splitting up of the sentient and inanimate worlds increasingly makes no sense.
ISEA’s mission aims to foster interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. As we write, ISEA2020 should have already passed into history. The new digital space of ISEA2020 will link the local community in Montreal with the international one beyond so that we can collectively rethink the form of such an event. The new platform will also allow us to examine close up these new and, at the same time, ongoing historical set of conditions; conditions that demand a response if we are to live in the coming (post)-pandemic world.
Christine Ross – McGill University (Montreal, Canada)
Chris Salter – Concordia University/Hexagram (Montreal, Canada)
There is a conference trailer for this new ‘virtual’ version of the 2020 conference,
Montreal Digital Spring (Printemps numérique) produced both the English language version and this one in French***, Note: Video [credit]: Guillaume Guardia,
I’m not sure why the French language version is so much shorter*** (maybe I found an abridged version?), in any case, the content is quite different and you may want to check out both trailers.
***ETA June 22, 2020 at 1550 PDT: The answer to my question as to why one trailer was shorter? Two different (but this year related) events. I failed to note that the second trailer was for “MTL Connect.” Here is Manuelle Freire’s description (academic programme manager of ISEA2020, Printemps numerique) of MTL Connect,
The latter is an annual event organised in Montreal by Printemps numérique, consisting of different thematic pavilion. This year ISEA2020 is the art and creativity pavilion of MTL Connect, so part of a larger endeavour that is affected by this online turn in its entirety.
As for MTL Connect, there’s this from the homepage,
BRINGING TOGETHER DIGITAL MINDS, DIGITALLY
6 DAYS OF PROGRAMMING • +400 SPEAKERS • 50 COUNTRIES REPRESENTED • +10,000 ATTENDEES • THOUSANDS OF OPPORTUNITIES FOR INTERACTION
That’s it for the correction. ***
Meeting technology, cyber security, and local involvement
I emailed (Friday, June 19, 2020) a couple of questions to the organizers which they have kindly answered.
Are you going to be using Zoom as the technology for virtual attendance? Will there be security measures for attendees?
[A]re there going to be any local (Vancouver, BC) virtual or in-person get-togethers? By October it might be possible to have small groups (with appropriate precautions) meet in person for ISEA2020 discussions/participation in virtual events held elsewhere. (Just a thought)
They responded by Sunday, June 21, 2020). That is quickly. The short answer to both questions is: “We don’t know yet.”
More specifically, Manuelle Freire (Printemps numerique) had this to say,
I will have to forward your first question regarding the technology of the platform, specifically cybersecurity, to the platform development project manager. Cybersecurity is an important matter that we have discussed internally and will be included in the FAQ and the IEA2020, as soon as we have stabilized the different features of the platform and we are ready to release.
As for the second question,
In what comes to small groups meeting in person. It is indeed possible that groups [might] be able to meet in October , but at this stage, with social distancing and travel restrictions in place, we are still facing degrees of uncertainty. While we regret not meeting everyone in Montréal, moving the symposium 100% online seemed the only safe and certain solution. No in-person activities are scheduled for now.
The questions were also sent to Philippe Pasquier, a locally based (Vancouver, BC) member of the ISEA2020 academic committee and he had this to say about the possibility of local, in-person get-togethers,
As for (2), this is a good idea. Let’s wait and see what will be possible and revisit this idea closer to the date.
The responses have made me happy. Hearing that they take cybersecurity seriously is downright musical and learning that they are open to local, small, in person get-togethers is spirit-lifting.
In 2009, I attended an ISEA being held in Northern Ireland and Ireland and asked one of the organizers if any of their symposia had been held in Canada. Yes! Montréal, my source raved at length, hosted a great meeting.
The next Canadian ISEA host was Vancouver in 2015 and guess what? Someone in a lineup was raving about the Montréal meeting. It seems that 1995 meeting has taken on a legendary glow.
It was a privilege being able to attend two meetings in person. Legendary, problematic, or good, the meetings bring together exciting talent and disturbing and/or mind-expanding ideas and experiences. Given the circumstances, the organizers find themselves dealing with, I wish them the best of luck although I’m confident that despite all the obstacles, ISEA2020 will be an extraordinary affair.
On a practical note, the $99 (or less) fee for the online pass is a good deal. (I know because I had to pay for mine when they were here in Vancouver in 2015. By the way, I’ve never regretted a penny of it.)
As noted in part 1, I’ve taken a very broad approach to this survey of science culture in Canada over the last 10 years. It isn’t exhaustive but part 1 covers science communication, science media (mainstream and others such as blogging) and arts as exemplified by music and dance. Now it’s time for part 2 and the visual arts, festivals, science slams, and more..
Art/Sci or Art/Science or SciArt—take your pick
In 2005 my heart was broken. I had to give up on an event I’d conceived and tried to organize for five years, ‘Twisted: an art/science entrée’. Inspired by an art/science organization in New York, it just wasn’t the right timing for Vancouver or, it seems, for Canada, if the failure of an art/science funding collaboration between the Canada Council and the Natural Sciences and Engineering Council of Canada (NSERC) during roughly during that time period could be considered as another indicator.
The situation has changed considerably during this last decade (or so it seems). There are more performing and visual artists using scientific ideas and principles as inspiration for their work or they’re collaborating outright with scientists, or scientists are expressing themselves through artistic endeavours. Of course, of consequences of all this activity is a naming issue. (Isn’t there always?) I’m not taking sides all i want is clarity.
Part 1 featured more of the ‘inspirational’ art/science efforts. Here you’ll find the more ‘science’ inflected efforts.
ArtSci Salon located at the University of Toronto was founded in 2010 according to its About webpage,
This website documents the activity of the ArtSci Salon, a group of artists, scientists and art-sci-tech enthusiasts meeting once a month to engage in critical discussions on topics at the intersection between the arts and science.
Started in 2010 as a spin-off of the Subtle Technologies Festival, ArtSciSalon responds to the recent expansion in the GTA [Greater Toronto Area] of a community of scientists and artists increasingly seeking collaborations across disciplines to successfully accomplish their research projects and inquiries.
Based on the demographic, the requisites, and the interests of our members, the goal of ArtSci Salon is:
To provide outreach opportunities for local and international innovative research projects in the Sciences and in the Arts;
To foster critical dialogue on topics and concerns shared by the sciences and the arts;
To facilitate new forms of collaboration across fields.
Our guests deliver short presentations, demonstrations or performances on a series of shared topic of interest to artists and scientists.
Many, many ArtSci Salon events have been listed here. I mention it because the ArtSci Salon website doesn’t have a complete listing for its previous events. While I can’t guarantee completeness, you can perform an ‘ArtSci Salon’ search on the blog search engine and it should get you enough to satisfy your curiosity.
Curiosity Collider‘s first event seems to have been in April 2015 (as noted in my July 7, 2015 posting). i wonder what they’ll do to celebrate their fifth anniversary? Anyway, they describe themselves this way (from the Mandate webpage),
Curiosity Collider Art-Science Foundation is a Vancouver based non-profit organization that is committed to providing opportunities for artists whose work expresses scientific concepts and scientists who collaborate with artists. We challenge the perception and experience of science in our culture, break down the walls between art and science, and engage our growing community to bringing life to the concepts that describe our world.
You can find Curiosity Collider here. I see they don’t have anything scheduled yet for 2020 but they had a very active Fall 2019 season and I expect they needed a breather and now there’s ‘flattening the COVID-19 curve’.
Once Curiosity Collider gets started again, you’ll find they put on different kinds of events, usually evening get togethers featuring various artists and scientists in a relaxed environment or joint events with other groups such Nerd Nite, Science Slam, and others. In 2019, Curiosity Collider hosted its first festival. You’ll find more about that in the Festivals subsection further down in this posting.
ArtSci at Cape Breton University (Nova Scotia) seems to have existed from March 2017 to November 2018. At. least, that’s the period its Twitter feed was active.
… Art the Science facilitates cross-disciplinary relationships between artists and scientists with a goal of fostering Canadian science-art culture. In doing so, we aim to advance scientific knowledge communication to benefit the public, while providing opportunities for artists to exhibit their work in unconventional and technologically innovative ways. By nurturing the expression of creativity, be it in a test-tube or with the stroke of a brush, Art the Science has become one of the most beloved and popular online SciArt (science + art) communities in the world. Since 2015, it has developed numerous digital SciArt exhibitions, and has highlighted the work of both pioneering and upcoming SciArt artists internationally. The organization also promotes the role of SciArt by conducting various outreach initiatives, including delivering lectures and keynote presentations designed to foster public engagement and a deeper appreciation of science and art.
Volunteer Run: Since 2015, Art the Science has been operating with the hard work and dedication of volunteer hours from our board and supporters. We have been busy generating evidence to show the impact and reach of our initiatives. We believe this evidence will help us secure financial support as we move forward.
Their site features information about artist residencies in research laboratories, online exhibitions, and a blog focused on the artists and scientists who create.
National events, festivals, and conferences
These days it’s called Science Odyssey and takes place in May of each year. I first came across the then named National Science and Technology Week in 1993. The rebranding occurred in 2016 after the Liberals swept into victory in October 2015 federal election.
In 2020, Science Odyssey (as noted previously, prior to 2016 this was known as National Science and Technology Week and was held in October each year) it was slated to take place from May 2 to May 17. In most years, it functions as a kind of promotional hub for science events independently organized across the country. The focus is largely on children as you can see in the 2019 promotional video,
Cancelled for 2020, its events have ranged from an open house at a maker lab to lectures at universities to festivals such as Pint of Science and Science Rendezvous that occur during Science Odyssey. (I profiled Science Odyssey, Pint of Science, Science Rendezvous and more in my May 1, 2019 posting.)
Pint of Science
Beer and science is a winning combination as they know in the UK where Pint of Science was pioneered in 2012. Pint of Science Canada was started in 2016 and is scheduled for May 11 – 13, 2020,
Pint of Science Canada invites scientists to your favorite local bars to discuss their latest research and discoveries over a drink or two. This is the perfect opportunity to meet scientists and ask questions. You have no excuse not to come and share a drink with us!
Démystifier la recherche scientifique et la faire découvrir au grand public dans un cadre détendu, avec une bière à la main c’est possible. Parce que oui, la science peut être le fun!
There isn’t a cancellation notice on the website as of April 15, 2020 but I suspect that may change.
Billing itself as a free national kick-off festival for Science Odyssey and the country’s largest celebration of science and engineering, it was founded in 2008 and was confined to Toronto in that first year. In 2019, they promoted over 300 events across the country.
This year, Science Rendezvous is scheduled for May 9, 2020. Please check as it is likely cancelled for 2020.
Science Literacy Week
This week first crossed my radar in 2015 and because I love this passage, here’s an excerpt from my Sept 18, 2015 posting where it’s first mentioned,
Just as Beakerhead ends, Canada’s 2015 Science Literacy Week opens Sept. 21 – 27, 2015. Here’s more about the week from a Sept. 18, 2015 article by Natalie Samson for University Affairs,
On Nov. 12 last year , the European Space Agency landed a robot on a comet. It was a remarkable moment in the history of space exploration and scientific inquiry. The feat amounted to “trying to throw a dart and hit a fly 10 miles away,” said Jesse Hildebrand, a science educator and communicator. “The math and the physics behind that is mindboggling.”
Imagine Mr. Hildebrand’s disappointment then, as national news programs that night spent about half as much time reporting on the comet landing as they did covering Barack Obama’s gum-chewing faux pas in China. For Mr. Hildebrand, the incident perfectly illustrates why he founded Science Literacy Week, a Canada-wide public education campaign celebrating all things scientific.
From Sept. 21 to 27 , several universities, libraries and museums will highlight the value of science in our contemporary world by hosting events and exhibits on topics ranging from the lifecycle of a honeybee to the science behind Hollywood films like Jurassic World and Contact.
Mr. Hildebrand began developing the campaign last year, shortly after graduating from the University of Toronto with a bachelor’s degree in ecology and evolutionary biology. He approached the U of T Libraries for support and “it really snowballed from there,” the 23-year-old said.
In 2020, Science Literacy Week will run from September 21 – 27. (I hope they are able to go forward with this year’s event.) Here’s how the ‘Week’ has developed since 2015, from its About webpage,
The latest edition of Science Literacy Week came to include over 650 events put on by more than 300 partners in over 250 cities across Canada. From public talks to explosive chemistry demos, stargazing sessions to nature hikes, there was sure to be an interesting activity for science lovers of all ages. Science Literacy Week is powered by the Natural Sciences and Engineering Research Council of Canada (NSERC).
Beaming Science, Exploration, Adventure and Conservation into Classrooms Across North America
Guest Speakers and Virtual Field Trips with Leading Experts from Around the World
Using Technology to Broadcast Live into Classrooms from the Most Remote Regions on the Planet Since
September 2015, We’ve Run Well over 1,000 Live Events Connecting Hundreds of Thousands of Students to Scientists and Explorers in over 70 Countries
Onto another standalone festival.
Calgary’s big art/science/engineering festival, Beakerhead got its start in 2013 as a five-day event as per my December 7, 2012 post. It’s gone through a few changes since then including what appears to be a downsizing. The 2019 event was on September 21, 2019 from 5 pm to 11 pm.
According to his profile on LinkedIn, Jeff Popiel is Beakerhead’s interim CEO and has been since 2018. Mary Anne Moser (one of Breakerhead’s co-founders; the other is Jay Ingram, formerly of the Daily Planet science television show) was welcomed as the new Executive Director for Calgary’s science centre, Telus Spark, in April 2019.
Beakerhead’sr Wikipedia entry, despite being updated in December 2019, lists as its most current iteration of the festival that one that place in 2018.
All organizations experience ups and downs; I certainly hope that this represents a temporary lull. On the plus side, the Beakerhead Twitter feed is being kept current. and there is a February 18, 2020 entry on the Beakerhead’s homepage.
Invasive Species (Curiosity Collider) & Special Projects (ArtSci Salon)
The first and possibly only Collisions Festival (from the Curiosity Collider folks), Invasive Species took place in November 2019. A three-day affair, it featured a number of local (Vancouver area) artist/scientist collaborations. For a volunteer-run organization, putting on a three-day festival is quite an accomplishment. So, brava and bravo!
The ArtSci Salon in Toronto hasn’t held any festivals as such but has hosted a number of ‘special projects’ which extend over days and/or weeks and/or months such as The Cabinet Project, which opened in April 2017 (not sure how long it ran) and featured a number of artists’ talks and tours; Emergent Form from April 1 -30, 2018; EDITED (gene editing) from October 25 – November 30, 2018; and, FACTT-Evolution from March 29 – May 15, 2019.
International conferences and the Canadian art/technology scene
I am sure there are others (I’d be happy to hear about them in the comments) but these two organizations seem particularly enthused about holding conferences in Canada. I would like to spend more time on art and technology in Canada but that’s a huge topic in itself so I’m touching on it lightly.
ISEA 2015 and 2020
Formerly the Inter-Society of Electronic Arts, the organization has rebranded itself as ISEA (pronounced as a word [acronym] with a long ‘s’ like ‘z’). The acronym is used both for the organization’s name, the International Society for Electronic Arts, and its annual International Symposium of Electronic Arts, known familiarly as ISEA (year).
ISEA 2015 took place in Vancouver and was held in August of that year (you can read more about in my April 24, 2015 posting where I announced my presentation of a paper and video “Steep (1): A digital poetry of gold nanoparticles.”).
The upcoming ISEA 2020 was to take place in Montréal from May 19 – 24 but has been rescheduled for October 13 – 18. The theme remains: Why Sentience? Here’s more from the 2020 symposium About page,
Montreal Digital Spring (Printemps numérique) is proud to present ISEA2020 from October 13 to 18, 2020 in Montreal.
ISEA2020 will be the Creativity Pavilion of MTL connect; using digital intelligence as the overarching theme, this international event aims to look across the board at the main questions related to digital development, focusing on its economic, social, cultural and environmental impacts in various sectors of activity.
Montreal was awarded host of the next edition of ISEA in the closing ceremony of ISEA2019, held in Gwangju, South Korea. Soh Yeong Roh, Director of Art Center Nabi in Seoul, hand over the eternal light to Mehdi Benboubakeur, Executive Director of Montreal Digital Spring. As Benboubakeur stated: “ISEA returns to Montreal after 25 years. Back in 1995, ISEA positioned Montreal as a digital art center and brought emerging local artists into the international spotlight. In 2020, Montreal will once more welcome the international community of ISEA and will use this opportunity to build a strong momentum for the future.”
SEA 2020 turns towards the theme of “Why Sentience? Sentience describes the ability to feel or perceive. ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
I notice Philippe Pasquier of Simon Fraser University (Surrey campus, Vancouver area) is a member of the organizing committee. If memory serves, he was also on the organizing committee for ISEA 2015. He was most recently mentioned here in a November 29, 2019 where I featured his Metacreation Lab and when I mentioned the ISEA 2020 call for submissions.
… We received a total of 987 submissions from 58 countries. Thank you to those who took the time to create and submit proposals for ISEA2020 under the theme of sentience. We look forward to seeing you in Montreal from May 19 to 24, 2020 during MTL connect/ISEA2020!
Statistics by categories:
Artist talks: 121
Full papers: 108
Short papers: 96
Workshops / Tutorials: 53
Panels / Roundtables: 24
Institutional presentations: 22
Posters / Demos: 18
Good luck to everyone who made a submission. I hope you get a chance to present your work at ISEA 2020. I wonder if I can attend. I’ll have to make up my mind soon as they stop selling early bird tickets on and around March 16, 2020.
Vancouver hosted SIGGRAPH in 2011, 2014, and 2018 and will host it again in 2022. It is the only Canadian city to have hosted a SIGGRAPH conference since the conference’s inception in 1974. It is a huge meeting. In 2018, Vancouver hosted 16,637 attendees.
If you have a chance, do check out the next SIGGRAPH that you are able to attend. As inspiration you can check out the profile I wrote up for the most recent conference in Vancouver (my August 9, 2018 posting). They’re not as open to the public as I’d like but there are a few free events.
Coffee, tea, or beer with your science?
There are many ways to enjoy your science.Here are various groups (volunteer for the most part) that host regular (more or less) science nights at cafés and/or pubs and/or bars. Although I mentioned Café Scientifique Vancouver in part 1, it doesn’t really fit into either part 1 or part 2 of this review of the last decade but it’s being included (in a minor way) because the parent organization, Café Scientifique, is in a sense the progenitor for all the other ‘Café’ type efforts (listed in this subsection) throughout Canada. In addition, Café Scientifique is a truly global affair, which means if you’re traveling, it’s worth checking out the website to see if there’s any event in the city you’re visiting.
Science slams have been popular in Europe for more than a decade but have only recently gained traction in North America. Science Slam Canada was founded in 2016 and now runs regular science slams in Vancouver. Given wide interest and support, Science Slam Canada is continuing to grow, with upcoming events in Edmonton and Ottawa.
Based on the format of a poetry slam, a science slam is a competition that allows knowledge holders, including researchers, students, educators, professionals, and artists to share their science with a general audience. Competitors have five minutes to present on any science topic and are judged based on communication skills, audience engagement, and scientific accuracy. Use of a projector or slideshow is not allowed, but props and creative presentation styles are encouraged.
The slam format provides an informal medium for the public and the scientific community to connect with and learn from each other. Science slams generally take place in bars, cafes, or theaters, which remove scientists from their traditional lecture environments. The lack of projector also takes away a common presentation ‘crutch’ and forces competitors to engage with their audience more directly.
Competitors and judges are chosen through a selection process designed to support diversity and maximize the benefit to speakers and the audience. Past speakers have ranged from students and researchers to educators and actors. Judges have included professors, media personalities, comedians and improvisers. And since the event is as much about the audience as about the speakers, spectators are asked to vote for their favourite speaker.
Our dream is to create a national network of local science slams, with top competitors meeting at a national SUPER Slam to face off for the title of Canadian Science Slam Champion. This past year, we ran a regional slam in Vancouver, bringing together speakers from across BC’s Lower Mainland. Next year, we hope to extend our invitation even further.
Their last Vancouver Slam was in November 2019. I don’t see anything scheduled for 2020 either on the website or on their Twitter feed. Of course, they don’t keep a regular schedule so my suggestion is to keep checking. And, there’s their Facebook site.
Alan Shapiro who founded Science Slam Canada maintains an active Twitter feed where his focus appears to be water but he includes much more. If you’re interested in Vancouver’s science scene, check him out. By the way, his day job is at STEMCELL Technologies, which you may remember, if you read part 1, funds the Science in the City website mentioned under the Science blogging in Canada subhead (scroll down about 50% of the way).
Sometime around 2003, Chris Balakrishnan founded Nerd Nite. Today, he’s a professor with his own lab (Balakrishnan Laboratory of Evolution, Behavior and Other Fine Sciences) at East Carolina University; he also maintains an active interest in Nerd Nite.
I’m not sure when it made its way to Canada but there are several cities which host Nerd Nites (try ‘nerd nite canada’ in one of the search engines). In addition to Nerd Nite Vancouver (which got its start in 2013, if it’s existence on Twitter can be used as evidence), I found ones in Toronto, Kitchener-Waterloo, Edmonton, Calgary, and, I believe there is also one in North Vancouver.
Their events are monthly (more or less) and the last one was on February 26, 2020. You can read more about it here. They maintain an active Twitter feed listing their own events and, on occasion, other local science events.
This US organization (Story Collider; true personal stories about science) was founded in 2010 and was first featured here in a February 15, 2012 posting. Since then, it has expanded to many cities including Vancouver. Here’s more about the organization and its worldwide reach (from the Story Collider About Us webpage), Note: Links have been removed,
The Story Collider is a 501(c)3 nonprofit organization dedicated to true, personal stories about science. Since 2010, we have been working with storytellers from both inside and outside science to develop these stories, and we share them through our weekly podcast and our live shows around the world.
We bring together dedicated staff and volunteers from both science and art backgrounds to produce these shows — starting with our executive director, Liz Neeley, who has a background in marine biology and science communication, and our artistic director, Erin Barker, a writer and experienced storyteller — because we believe both have value in this space. Currently, The Story Collider has a home in fourteen cities — New York, Boston, DC, Los Angeles, St. Louis, Atlanta, Chicago, Dallas, Seattle, Milwaukee, Toronto, Vancouver, Cambridge, UK, and Wellington, New Zealand — where events organized by local producers are held on a monthly or quarterly basis. We’ve also been delighted to work with various partners — including publishers such as Springer Nature and Scientific American; conferences for organizations such as the American Geophysical Union and the Gulf of Mexico Research Initiative; and universities such as Yale University, North Carolina State University, Colorado University, and more — to produce shows in other locations. Every year, we produce between 50 and 60 live events featuring more than 250 stories in total, and we share over a hundred of these stories on our podcast.
Vancouver’s first Story Collider of 2020, ‘Misfits’ was scheduled for February 1 at The Fox Cabaret at 2321 Main Street . You can see more about the event (which in all likelihood took place) and the speakers here.
As for when Story Collider set down a few roots in Vancouver, that’s likely to be some time after February 2012. The two Vancouver Story Collider organizers, Kayla Glynn and Josh Silberg each have active Twitter feeds. Glynn is focuses mainly on local events; Silberg provides a more eclectic experience.
This is a series of neuroscience’ talks held monthly (more or less) held at Vancouver General Hospital. They served wine out of a box and cheese and crackers at the one talk (it was about robots) I attended. Here’s more about the inspiration for this series from the University of British Columbia Brain Talks Vision page
BrainTalks is a forum for academics and members of the general public to create a dialogue about the rapidly expanding information in neuroscience. The BrainTalks series, was inspired in part by the popularity of the TED Talks series. Founded by Dr. Maia Love in October 2010, the goal is for neuroscientists, neurologists, neuroradiologists, psychiatrists, and people from affiliated fields to meet and dialogue monthly, in the hopes of promoting excellence in research, facilitating research and clinician connections and discussion, and disseminating knowledge to the general public. Additionally, the hope to reduce stigma associated with mental illness, and promote compassion for those suffering with brain illnesses, be they called neurologic or psychiatric, was part of the reason to create the series.
The structure is a casual environment with brief presentations by local experts that challenge and inspire dialogue. Discussions focus on current knowledge about the mind and our understanding of how the mind works. Presentations are followed by a panel discussion, catered snacks, and networking.
BrainTalks is now part of the programming for the University of British Columbia’s Department of Psychiatry. The Department of Education, and the Department of Continuing Professional Development include BrainTalks at UBC as part of their goal to enhance public knowledge of psychiatry, enhance clinician knowledge in areas that may affect psychiatric practice, and disseminate recent research in brain science to the public.
Thanks to Alan Shapiro (founder of Science Slam Canada) and his Twitter feed for information about a new science event that may be coming to Vancouver, SoapBox Science founded in the UK in 2011 puts on events that can be found worldwide (from the homepage),
Soapbox Science is a novel public outreach platform for promoting women scientists and the science they do. Our events transform public areas into an arena for public learning and scientific debate; they follow the format of London Hyde Park’s Speaker’s Corner, which is historically an arena for public debate. With Soapbox Science, we want to make sure that everyone has the opportunity to enjoy, learn from, heckle, question, probe, interact with and be inspired by some of our leading scientists. No middle man, no PowerPoint slide, no amphitheatre – just remarkable women in science who are there to amaze you with their latest discoveries, and to answer the science questions you have been burning to ask. Look out for bat simulators, fake breasts or giant pictures of volcanoes. Or simply hear them talk about what fascinates them, and why they think they have the most fantastic job in the world!
2020 is an exciting year for us. We are running 56 events around the world, making this the biggest year yet! Since 2011 we have featured over 1500 scientists and reached 150,000 members of the public! Soapbox Science was commended by the Prime Minister in 2015, and was awarded a Silver Medal from the Zoological Society of London (ZSL) in June 2016. Both Soapbox Science co-founders were also invited to provide oral evidence at a 2016 Parliamentary inquiry on science communication.
I believe 2020 is/was to have been the first year for a SoapBox Science event in Vancouver. There aren’t any notices of cancellation for the Vancouver event that I’ve been able to find. I expect there will although with a planned June 2020 date there’s still hope, In any case, you might find it interesting to view their ‘Apply to speak’ webpage, (Note: I have rearranged the order of some of these paragraphs),
Are you a woman* who works in science and who is passionate about your research? Are you eager to talk to the general public about your work in a fun, informal setting? If so, then Soapbox Science needs YOU! We are looking for scientists in all areas of STEMM, from PhD students to Professors, and from entry-level researchers to entrepreneurs, to take part in this grassroots science outreach project.
*Soapbox Science uses an inclusive definition of ‘woman’ and welcomes applications from Non-binary and Genderqueer speakers.
The deadline for applications has now passed but you’ll find on their ‘Apply to speak’ webpage, a list of cities hosting 2020 SoapBox Science events,
Argentina: Tucumán- 12th September
Australia: Armidale- August Sydney- 15th August Queensland- August
Belgium: Brussels- 27th June
Brazil: Maceio- 22nd November Rio de Janeiro- 18th July Salvador- 5th June
Canada: Calgary- 2nd May Halifax- July Hamilton- Date TBC Ottawa- 19th September Québec- June Toronto- 27th September St John’s- 5th September Vancouver- June Waterloo- 13th June Winnipeg- May
Germany: Berlin- June Bonn- May Düsseldorf- 25th July Munich- 27th June
Ireland: Dublin- Date TBC Cork- July Galway- July
Nigeria: Lagos- August Lagos- 7th November
Malaysia: Kuala Lumpur- April
Portugal: Lisbon- 19th Sept
South Africa: Cape Town- September
Sweden: Uppsala- 16th May Gothenburg- 24th April- Closing date 31st January
Tanzania: Arusha- 8th August
UK: Aberdeen- 30th May Birmingham- Date TBC Brighton- 30th May Bristol- 4th July Cardiff- Date TBC Edinburgh- Date TBC Exeter- June Keswick- 26th May Leicester- 6th June Leeds- July London- 23rd May Milton Keynes- 27th June Newcastle- 13th June Nottingham- Date TBC Plymouth- 30th May Stoke-on-Trent, Date TBC Swansea- Date TBC York- 13th June
USA: Boulder- 26th April Denver- Date TBC Detroit- September Philadelphia- 18th April
Mentioned here twice (in a November 29, 2019 posting about the call for proposals and in a March 4, 2020 posting about the preliminary programme), the 2020 International Symposium on Electronic Arts has been postponed, from a March 23, 2020 announcement received via email,
POSTPONEMENT NOTICE – ISEA2020 New Dates: October 13 to 18, 2020
Montreal, March 23, 2020 — With the COVID-19 pandemic, the world is facing an extraordinary situation. Following the measures announced by the Government of Quebec and the Government of Canada, in a concerted decision with its partners and collaborators, Montreal Digital Spring (Printemps numérique) has decided to postpone ISEA2020: WHY SENTIENCE? We are looking forward to seeing you in Montreal, October 13 to 18 2020!
Our priorities are public health and high-quality programming, and we will work hard during the spring and summer to ensure that the ISEA community enjoys a memorable symposium! We thank you for your understanding.
Any purchases already made will be automatically transferred to the new dates. The new deadline for Early Bird registration, for presenters to upload camera-ready papers and to fill in the Zone Festival form is May 1st, 2020 at 11:59 pm (GMT-5).
The answers to most of your questions can be found in the FAQ. If you have a specific question, contact us at the following emails:
Here’s more from the March 3, 2020 ArtSci Salon announcements (received via email),
Sensorium Centre for Digital Arts and Technologies, ArtSci Salon, Cultivamos Cultura and Arte Institute present:
FACTT 2020: FESTIVAL ART AND SCIENCE Exhibition Monday, March 9th – Thursday, March 12th, 2020 11:00am-4:00pm Gales Gallery (Accolade West Room 105) York University
Exhibition Opening: March 9th from 6:00-7:30pm
Subway Stop, York University. Exit on the left – Accolade West is the building on the left
Don’t miss the 2020 Festival of Art and Science Exhibition – (Be)-Coming An Exhibition of Experimental Contemporary Art, co-sponsored by Sensorium: Centre for Digital Arts and Technology, ArtSci Salon, Arte Institute and Cultivamos Cultura. The exhibition features the work of invited artists from Portugal and North America, and AMPD students [I believe they are referring to students at York University’s School of the Arts, Media, Performance & Design]. The exhibition is curated by Marta DeMenezes [sic], Roberta Buiani and Joel Ong.
All are welcome to attend the exhibition opening which will take place on March 9th from 6:00-7:30pm in the Gales Gallery at York University.
FACTT 2020 – (BE) COMING An Exhibition of Experimental Contemporary Art is about the impermanence of becoming permanent. A transformation is an extreme, radical change. The unavoidability of changes is a constant process we have throughout our lives. We may not always be aware of it, and often just spend so much energy avoiding this “law of nature” that we forget it exists and thrives for stability. (BE) COMING is an exhibition about change, the impossibility of not changing, the perpetual impermanence and the process of becoming. As we become aware of the need to change in our world, in our planet and our lives, it feels necessary to remember that life is a dynamic process. Life is a consistent process of transformation and adaptation. Art, more than any other human endeavour, is a reflection of this aspect of life and therefore the best way to remember the process of being something different, something else, something more, or something less, while becoming ourselves.
****ETA March 11, 2020: CANCELLED. The Marta De Menezes talk has been cancelled****
According to the March 3, 2020 announcement, there’s another event associated with FACTT 2020; artist Marta De Menezes is being featured in a talk,
Sensorium Winter Lunchtime Seminar Series featuring: Marta De Menezes [sic]
Wednesday, March 11th, 2020 11:30am-12:30pm The Sensorium Research Loft [York University} 4th Floor GCFA, Room M333 RSVP to firstname.lastname@example.org
Our second Sensorium Winter Lunchtime Seminar Series event of March will feature pioneering bio-artist Marta De Menezes [sic] who explores the use of biology and biotechnology as new art media and in conducting her practice in research laboratories that are her art studio.
The 26th annual International Symposium on Electronic Arts (ISEA): Why Sentience? is being held from May 19 – 24, 2020 in Montreal, Canada and organizers have sen,t via email, a March 3, 2020 announcement,
DISCOVER THE PRELIMINARY PROGRAMMING!
Below is the list of accepted authors* from the call for submissions to ISEA2020. *Speakers are confirmed upon registration
Professor in the Communication department at Université de Montréal Agronomist (ENSA Montpellier, 1986) and sociologist (Ph.D. Paris X Nanterre, 1991), Thierry Bardini is full professor in the department of communication at the Université de Montréal, where he has been teaching since 1993. From 1990 to 1993, he was a visiting scholar and adjunct professor at the Annenberg School for communication at the University of Southern California, under the supervision of Everett M. Rogers. His research interests concern the contemporary cyberculture, from the production and uses of information and communication technologies to molecular biology. He is the author of Bootstrapping: Douglas Engelbart, Coevolution and the Genesis of Personal Computing (Stanford University Press, 2000), Junkware (University of Minnesota Press, 2011) and Journey to the End of the Species (in collaboration with Dominique Lestel, Éditions Dis Voir, Paris, 2011). Thierry Bardini is currently working on his first research-creation project, Toward the Fourth Nature, with Beatriz Herrera and François-Joseph Lapointe.
Jolene Rickard, Ph.D. is a visual historian, artist and curator interested in the intersection of Indigenous knowledge and contemporary art, materiality, and ecocriticism with an emphasis on Hodinöhsö:ni aesthetics. A selection of publications includes: Diversifying Sovereignty and the Reception of Indigenous Art, Art Journal 76, no. 2 (2017), Aesthetics, Violence and Indigeneity, Public 27, no. 54 (Winter 2016), The Emergence of Global Indigenous Art, Sakahán, National Gallery of Canada (2013), and Visualizing Sovereignty in the Time of Biometric Sensors, The South Atlantic Quarterly: (2011). Recent exhibitions include the Minneapolis Institute of Arts, Hearts of Our People: Native Women Artists, 2019-2021, Crystal Bridges Museum of Art, Art For a New Understanding: Native Voices, 1950’s to Now, 2018-2020. Jolene is a 2020 Fulbright Research Scholar at McMaster University, ON, an Associate Professor in the departments of History of Art and Art, and the former Director of the American Indian and Indigenous Studies Program 2008-2020 (AIISP) at Cornell University, Ithaca, NY. Jolene is from the Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy.
Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Dr. Ramon Amaro, Ph.D. is a Lecturer in the Department of
Visual Cultures at Goldsmiths, University of London. Previously he was
Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam
and visiting tutor in Media Theory at the Royal Academy of Art, The
Hague, NL (KABK). Ramon completed his PhD in Philosophy at Goldsmiths,
while holding a Masters degree in Sociological Research from the
University of Essex and a BSe in Mechanical Engineering from the
University of Michigan, Ann Arbor. He has worked as Assistant Editor for
the SAGE open access journal Big Data & Society; quality design
engineer for General Motors; and programmes manager for the American
Society of Mechanical Engineers (ASME). His research interests include
machine learning, the philosophies of mathematics and engineering,
critical Black thought, and philosophies of being.
Both of these bits have a music focus but they represent two entirely different science-based approaches to that form of art and one is solely about the music and the other is included as one of the art-making processes being investigated..
Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University
Laurel Trainor and Dan J. Bosnyak both of McMaster University (Ontario, Canada) have written an October 27, 2019 essay about the LiveLab and their work for The Conversation website (Note: Links have been removed),
The Large Interactive Virtual Environment Laboratory (LIVELab) at McMaster University is a research concert hall. It functions as both a high-tech laboratory and theatre, opening up tremendous opportunities for research and investigation.
As the only facility of its kind in the world, the LIVELab is a 106-seat concert hall equipped with dozens of microphones, speakers and sensors to measure brain responses, physiological responses such as heart rate, breathing rates, perspiration and movements in multiple musicians and audience members at the same time.
Engineers, psychologists and clinician-researchers from many disciplines work alongside musicians, media artists and industry to study performance, perception, neural processing and human interaction.
In the LIVELab, acoustics are digitally controlled so the experience can change instantly from extremely silent with almost no reverberation to a noisy restaurant to a subway platform or to the acoustics of Carnegie Hall.
Real-time physiological data such as heart rate can be synchronized with data from other systems such as motion capture, and monitored and recorded from both performers and audience members. The result is that the reams of data that can now be collected in a few hours in the LIVELab used to take weeks or months to collect in a traditional lab. And having measurements of multiple people simultaneously is pushing forward our understanding of real-time human interactions.
Consider the implications of how music might help people with Parkinson’s disease to walk more smoothly or children with dyslexia to read better.
[…] area of ongoing research is the effectiveness of hearing aids. By the age of 60, nearly 49 per cent of people will suffer from some hearing loss. People who wear hearing aids are often frustrated when listening to music because the hearing aids distort the sound and cannot deal with the dynamic range of the music.
The LIVELab is working with the Hamilton Philharmonic Orchestra to solve this problem. During a recent concert, researchers evaluated new ways of delivering sound directly to participants’ hearing aids to enhance sounds.
Researchers hope new technologies can not only increase live musical enjoyment but alleviate the social isolation caused by hearing loss.
Imagine the possibilities for understanding music and sound: How it might help to improve cognitive decline, manage social performance anxiety, help children with developmental disorders, aid in treatment of depression or keep the mind focused. Every time we conceive and design a study, we think of new possibilities.
The essay also includes an embedded 12 min. video about LIVELab and details about studies conducted on musicians and live audiences. Apparently, audiences experience live performance differently than recorded performances and musicians use body sway to create cohesive performances. You can find the McMaster Institute for Music & the Mind here and McMaster’s LIVELab here.
Metacreation Lab at Simon Fraser University (SFU)
I just recently discovered that there’s a Metacreation Lab at Simon Fraser University (Vancouver, Canada), which on its homepage has this ” Metacreation is the idea of endowing machines with creative behavior.” Here’s more from the homepage,
As the contemporary approach to generative art, Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning to develop software that partially or completely automates creative tasks. Through the collaboration between scientists, experts in artificial intelligence, cognitive sciences, designers and artists, the Metacreation Lab for Creative AI is at the forefront of the development of generative systems, be they embedded in interactive experiences or integrated into current creative software. Scientific research in the Metacreation Lab explores how various creative tasks can be automated and enriched. These tasks include music composition [emphasis mine], sound design, video editing, audio/visual effect generation, 3D animation, choreography, and video game design.
Besides scientific research, the team designs interactive and generative artworks that build upon the algorithms and research developed in the Lab. This work often challenges the social and cultural discourse on AI.
Much to my surprise I received the Metacreation Lab’s inaugural email newsletter (received via email on Friday, November 15, 2019),
We decided to start a mailing list for disseminating news, updates, and announcements regarding generative art, creative AI and New Media. In this newsletter:
ISEA 2020: The International Symposium on Electronic Art. ISEA return to Montreal, check the CFP bellow and contribute!
2015: A transcription of Sara Diamond’s keynote address “Action Agenda:
Vancouver’s Prescient Media Arts” is now available for download.
Art, the book: we are happy to announce the release of the first
comprehensive volume on Brain Art. Edited by Anton Nijholt, and
published by Springer.
Here are more details from the newsletter,
ISEA2020 – 26th International Symposium on Electronic Arts
Montreal, September 24, 2019 Montreal Digital Spring (Printemps numérique) is launching a call for participation as part of ISEA2020 / MTL connect to be held from May 19 to 24, 2020 in Montreal, Canada. Founded in 1990, ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. For 2020, ISEA Montreal turns towards the theme of sentience.
ISEA2020 will be fully dedicated to examining the resurgence of sentience—feeling-sensing-making sense—in recent art and design, media studies, science and technology studies, philosophy, anthropology, history of science and the natural scientific realm—notably biology, neuroscience and computing. We ask: why sentience? Why and how does sentience matter? Why have artists and scholars become interested in sensing and feeling beyond, with and around our strictly human bodies and selves? Why has this notion been brought to the fore in an array of disciplines in the 21st century?
CALL FOR PARTICIPATION: WHY SENTIENCE? ISEA2020 invites artists, designers, scholars, researchers, innovators and creators to participate in the various activities deployed from May 19 to 24, 2020. To complete an application, please fill in the forms and follow the instructions.
You can apply for several categories. All profiles are welcome. Notifications of acceptance will be sent around January 13, 2020.
Important: please note that the Call for participation for MTL connect is not yet launched, but you can also apply to participate in the programming of the other Pavilions (4 other themes) when registrations are open (coming soon): mtlconnecte.ca/enTICKETS
Registration is now available to assist to ISEA2020 / MTL connect, from May 19 to 24, 2020. Book today your Full Pass and get the early-bird rate!
The first book that surveys how brain activity can be monitored and manipulated for artistic purposes, with contributions by interactive media artists, brain-computer interface researchers, and neuroscientists. View the Book Here
As per the Leonardo review from Cristina Albu:
“Another seminal contribution of the volume is the presentation of multiple taxonomies of “brain art,” which can help art critics develop better criteria for assessing this genre. Mirjana Prpa and Philippe Pasquier’s meticulous classification shows how diverse such works have become as artists consider a whole range of variables of neurofeedback.”Read the Review
Should this kind of information excite and motivate you do start metacreating, you can get in touch with the lab,
Our mailing address is: Metacreation Lab for Creative AI School of Interactive Arts & Technology Simon Fraser University 250-13450 102 Ave. Surrey, BC V3T 0A3 Web: http://metacreation.net/ Email: metacreation_admin (at) sfu (dot) ca