It’s like the flood gates have opened and I am being inundated with event notices. The latest is from Toronto’s (Canada) ArtSci Salon (again). From a September 21, 2022 notice (received via email),
Basic Necessities Connectivity and cultural creativity in Cuba
A public lecture by Nestor Siré With online participation by Steffen Köhn
Join me in welcoming Nestor Siré. Nestor Siré is a multimedia artist based in Cuba. His projects and collaborations explore unofficial methods for circulating information and goods, such as alternative forms of economic production, and phenomena resulting from social creativity and recycling, piracy, as well as a-legal activities benefitting from loopholes. Siré will discuss some of his recent creative works in the Cuban context. His “Paquete Semanal” is an offline digital media circulation system based on in person file sharing to provide a solution to connectivity and infrastructure failure in Cuba. “Basic Necessities”, a recent collaboration with Steffen Köhln, portraits the dynamics of the informal economy in Cuba as it unfolds in Telegram groups and analyses the eclectic and creative uses of product photography within this digital context. Köhln will join him in conversation via zoom.
October 3, 2022 4:30-6:00 pm [ET] Room YH 245 Glendon Campus [York University] 2275 Bayview Ave North York, ON M4N 3M6 Directions
Nestor Siré (*1988), lives and works in Havana, Cuba. www.nestorsire.com Nestor Siré’s artistic practice intervenes directly in social contexts in order to analyze specific cultural phenomena, often engaging with the particular idiosyncrasies of digital culture in the Cuban context. His works have been shown in the Museo Nacional de Bellas Artes (Havana), Queens Museum (New York), Rhizome (New York), New Museum (New York), Hong-Gah Museum (Taipei), Museo de Arte Contemporáneo (Mexico City), Museo de Arte Contemporáneo, Santa Fe (Argentina), The Photographers’ Gallery (London), among other places. He has participated in events such as the Manifesta 13 Biennial (France), Gwangju Biennale (South Korea), Curitiba Biennial (Brazil), the Havana Biennial (Cuba) and the Asunción International Biennale (Paraguay), the Festival of New Latin American Cinema in Cuba and the Oberhausen International Festival of Short Film (Germany).
Steffen Köhn is a filmmaker, anthropologist and video artist who uses ethnography to understand contemporary sociotechnical landscapes. For his video and installation works he engages in local collaborations with gig workers, software developers, or science fiction writers to explore viable alternatives to current distributions of technological access and arrangements of power. His works have been shown at the Academy of the Arts Berlin, Kunsthaus Graz, Vienna Art Week, Hong Gah Museum Taipei, Lulea Biennial, The Photographers’ Gallery and the ethnographic museums of Copenhagen and Dresden. His films have been screened (among others) at the Berlinale, Rotterdam International Film Festival, and the Word Film Festival Montreal.
I tried to find out if this event will be webcast or streamed but was unsuccessful. You can check the ArtSci Salon website, perhaps they’ll post something closer to the event date.
I got a notice (via email) from Toronto’s ArtSci Salon about Sensoria: The Art and Science of Our Senses 2022. This looks interesting and it is confusing as to which site is hosting which installations/art pieces. It starts nice and easy and then … Here’s more from the notice,
Sensoria: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada.
Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition component is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong. Czegledy brings together an international network of artists and scholars who explore the intersection of art, science and the senses. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The event will be complemented by a workshop by Csenge Kolozsvari.
Kolozsvari brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynski [I believe this is the correct spellling: Ryszard Kluszczyński], Chris Salter and David Howse, as well as roundtables between artists and scientists, and performances by Csenge Kolozsvari and York University’s DisPerSions Lab (led by Doug Van Nort). All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
Now for details about the Gdansk portion, from the LAZNIA Centre for Contemporary Art (LCCA) event page, (Note 1: This is quite lengthy. Note 2: If you follow the link to the LCCA event page, you may need to click the English language option [upper right hand corner of the screen] and, then, scroll down to click MORE at the bottom of the left text column.)
Dates of the exhibition: 16 September–30 October 2022 Location: CCA Laznia 1 oraz CCA Laznia 2 Curator: Nina Czegledy
Exhibition: September 16-October 30, 2022 Places: Laznia 1 ( Jaskółcza 1) and Laznia 2 (Strajku Dokerów 5), Gdańsk
Opening: September 16, 2022 – time. 19.00 (Laznia 1, Dolne Miasto) – time. 20.30 (Laznia 2, Nowy Port)
During the vernissage, we provide transport by bus from Łaźnia 1 to Łaźnia 2 and back.
Artists: Guy van Belle | Karolina Hałatek | Csenge Kolozsvari | Hilda Kozari | Agnes Meyer-Brandis | Gayil Nalls | Raewyn Turner and Brian Harris | Artur Żmijewski
Sensoria, The Art & Science of Our Senses
Sensoria, The Art & Science of Our Senses a multi-site project is focused on multisensory perception in the arts and the sciences. The cross-disciplinary initiative explores our sensory world through scientific, social, cultural and scholastic interpretations. The exhibitions, performances and the symposium link LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland (1) and Sensorium: Centre for Digital Art and Technology at York University, Toronto, Canada (2) in a cross-institutional and inter-cultural collaboration. The participation of international artists in the exhibition and symposium span the globe from New Zealand to Finland to the Czech Republic and reflect on the effects of recent ecological and socio-cultural alterations on sensory organisms in humans and other species.
We perceive the world through our senses, yet for a long time the senses were treated as independent perceptual modules. Contemporary research confirmed that our senses are fundamentally interrelated and interact with each other (3). Moreover, our perception of visual, auditory or tactile events change as a result of information exchange between receptors (4). The impact of radical changes such as the constraints of the COVID 19 Pandemic caused extensive psycho-emotional stress and has affected every aspect of our life from geopolitics to economies to the arts and sciences including sensory awareness (5). Considering implications of COVID-19 for the human senses Derek Victor Byrne noted that initial work has shown short- and likely longer-term negative effects on the human senses (6). Curatorial reflection of these issues presented in the last years became essential.
The way that we perceive our environment via our sensory systems has been frequently a source of controversy concerning one of the basic characteristics of our existence. (7).
As David Howes observed ”The perceptual is cultural and political, and not simply (as psychologists and neuroscientists would have it) a matter of cognitive processes or neurological mechanisms located in the individual subject” (8)
With the changing notions of the constitution of sentient beings a revision of knowledge – led to a closer engagement with the traditional experience by indigenous peoples. The benefits of Nature on our sensorial being are well known, however it is important to remember that our attitude to, and representation of Nature is always closely linked to political, religious, environmental and social considerations. In investigating sensory awareness the impact of the geographical, cultural and social context on individual sensory perception cannot be underestimated (9).
Curatorial research and development of the Sensoria project since 2019 was aimed to present the theme in an unconventional way. International artist residencies, workshops, presentations and thematically related round table discussions in collaboration with local Polish academic and corporate research institutions were offered before the Pandemic in 2019 and 2020. Strategically, the exhibitions now focus on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience.
While the estrangement of the senses have been exacerbated by technologies in the way media elements have contributed to the dissociation of the senses from one another and a subsequent bias of audio-visual content in our digital and virtual environments, the SENSORIA exhibition adapt what Caroline Jones (10) has described as the “creatively dissociated self”. In her landmark exhibition “Sensorium” of 2006 , she considers the dissociative potential of contemporary technologies on the senses as an invitation to engage in creative play and experimentations around this prospect. In this way, SENSORIA builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries.
The exhibition’s primary goal is to create a broad visibility for the wide variety of art project concerning sensory perception. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways. In Poland, the exhibition linked established European artists with local Polish ones; the Toronto hub similarly links international artists in the main hubs with local artists. In this way, the exhibition forges networks across continents and ideas, bringing a range of different perspectives together to explore how our globalized world has both linked and disconnected us from one another. In addition, being situated simultaneously in both sites, Sensoria also builds on the unique interests of the artists curated around the olfactory, tactile and sonic senses; and explores the tensions of telematic/virtual co-presence over two geographically separate galleries. Sensoria artists, curated through a collaborative process with the project’s lead curators and team members, have been invited to considered site-specific adaptations of their internationally renowned artworks. In this way, the goal of the project is to revitalize our sensory connections to our immediate surroundings, through and despite technological tools, networks and latencies; and to share in a collective experience and discussion of them. In addition, the symposium component hosted by Sensorium at York University focuses on a “return” to the sensory capacity of the body after the last two and a half years of telematic and virtual modes of communication that have biased the audio-visual spectrums of sensory experience. The constraints of the Pandemic have precipitated our current estrangement from our sensuous surroundings, and with the gradual and tentative reopening of regulations in North America, Europe and the world this Spring, we expect a resurgence in a desire for people to engage once again with the multi-sensory sensorium, prioritizing the senses of smell, touch and taste that have broadly been neglected in collective experience. The Sensoria symposium will feature artists, curators and theorists through a series of keynote lectures, performances and artist panels.
Sincere thanks to the LAZNIA Team, especially Lila Bosowska and Aleksandra Ksiezopolska for our curatorial collaboration in the difficult times of the last three years. Sincere thanks to Ryszard Kluszczyński for advising the Sensoria project.
Respectful acknowledgements to Jadwiga Charzynska Director of Laznia.
Last but not least deepest thanks to Prof. Yu-Zhi Joel Ong for his role in expanding Sensoria into an international cross-institutional collaboration.
2 Sensorium: Centre for Digital Art and Technology at York University (Sensorium) Toronto, Canada. https://sensorium.ampd.yorku.ca/
3 Burston, D and Cohen J. 2015 Perceptual Integration, Modularity, and Cognitive Penetration In: Cognitive Influences on Perception: Implications for Philosophy of Mind, Epistemology, and Philosophy of Action (pp.123-143). Oxford University Press
4 Masrour F, Nirshberg, G, Schon Nm Leardi J and Barrett Emily Revisiting the empirical case against perceptual modularity Front Psychol. 2015; 6: 1676. Published online 2015 Nov 4. doi: 10.3389/fpsyg.2015.01676
5. Tasha R Stanton, T,R and Spence Charles. The Influence of Auditory Cues on Bodily and Movement Perception. Front. Psychol., 17 January 2020 Sec. Perception Science https://doi.org/10.3389/fpsyg.2019.03001
6. Byrne, V Effects and Implications of COVID-19 for the Human Senses, Consumer Preferences, Appetite and Eating Behaviour: Volume I Foods. 2022 Jun; 11(12): 1738. Published online 2022 Jun 14. doi: 10.3390/foods11121738
7. Mc Cann, H. Our sensory experience of the pandemic https://pursuit.unimelb.edu.au/
8 Howes, D Architecture of the Senses. https://www.david-howes.com/DH-research-sampler-arch-senses.htm
9 D B Rose Val Plumwood’s Philosophical Animism: Attentive Inter-actions in the Sentient World Environmental Humanities 3(1):93-19
10 Jones C. The Mediated Sensorium. https://citythroughthebody.files.wordpress.com/2013/08/sensorium.pdf
Descriptions of the artworks presented at Sensoria:
Agnes Meyer Brandis Berlin based artist contributes One Tree ID and Have a tea with a Tree“ to the Sensoria exhibition. One Tree ID is a biochemical and Biopoetic Odour Communication Installation The project One Tree ID transforms the ID of a specific tree into a perfume that can then be applied to the human body. By applying it, a person can invisibly wear not just characteristics of the tree he/she is standing next to, but also use parts of its communication system and potentially have a conversation that – although invisible and inaudible by nature – might still take place on the biochemical level plants use for information exchange. VOC and Have a tea with a Tree provides a booking link to a personal video conference with up to 16 trees. The trees will participate in real time. Address for conference booking: www.teawithatree.com. The internet protocol is secured.
Polish artist Karolina Hałatek will present “Ascent” – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.
Bodylandscapes by Csenge Kolozsvari is a single channel video piece feeling-with the fascial planes (connective tissues) of bodies; thinking them beyond human scales and temporalities, as constantly emerging fields. The camera is a listening device for the softness of skin-talk; a composition of detailed skin-textures and close-ups of body parts that are imperceptibly transitioning into one another, following creases and swellings, creating landscapes in-the-making. The video is a proposition for remembering the ecological ways of our belonging, of other ways of knowing, connecting into the vastness that surrounds us and moves across us, of becoming-environment once again.
Artur Zmijewski a Polish artist asked a group of visually impaired people to paint the world as they see it. The result is compiled in Blindly a video with sound. Some of the volunteers were congenitally disabled; others became blind in their lifetime. In the film they draw self-portraits and landscapes, occasionally asking the artist for instructions or giving verbal explanation for their decisions. Their paintings are clumsy and abstract. It is however not the resulting works but the process of making them that is at the core of the film.
Hilda Kozari leads a 3 hour-long memory workshop with visually impaired participants and Emilia Leszkowicz a local neuroscientist coordinated with the Education Department of LAZNIA. The workshop is focused on, triggering smell memories and discussions of the scents and the memories triggered by them. Tactility is also a theme of this workshop for the visually impaired participants which is conveyed via felt discs in various sizes. From the different sizes of the discs it is possible to form the Braille verbs and messages.
The findings and results of the workshop material to be transferred on the Sensoria exhibition walls. The multisensory installation is accessible for visually impaired visitors during the exhibition. For other visitors for rethinking perception, enjoying the smell and touch of the installation and seeing the Braille signs as spatial, visually fascinating structure. It is hoped that this is an opportunity recognising the visually impaired as active members of the community.
Gayil Nalls from New York city brings her World Sensorium project to Sensoria World Sensorium which was officially part of New York City’s millennium event “Times Square 2000: The Global Celebration at the Crossroads of the World,” where for 24 hours around New Year’s Eve, the peoples and cultures of nations around the world were celebrated through sight, sound, and—with World Sensorium— scent. World Sensorium is a large-scale, transdisciplinary, olfactory artwork comprised of botanical substances formulated by country population percentages into a single global essence. The phytoconstituents are those most valued by humanity since ancient times, plants established through ethnobotanical research and a global survey process with world governments. Discussion of the World Sensorium link between psychology and olfaction, and the phenomena of odor-evoked memory follows. Individuals attending are invited to participate in ‘Experience World Sensorium:Poland “ and have a chance to dive beneath the insightful a fragmentary memoir of their own experience at a future date.
Raewyn Turner & Brian Harris, New Zealand based artists present Read Reed at Sensoria. Read Reed proceeds from the mythological story of the discretion of Midas’s hairdresser who, feeling that he may betray Midas’s trust, dug a hole in the earth and spoke into it whereby he laid his secret, only to have the secret broadcast to the world via the whispering reeds which grew over the hole. ReedRead relates to data misinterpretation, hidden secrets and the desire for vast wealth. The artists are using the story of secrets whispered into a hole in the earth and the inevitable leakage and exposure of secrets as a starting point. Data from any source including reeds swishing in the wind may be formed into letters and words that relate to digital capitalism and the obscuring of knowledge through the unknowns of ambiguity, uncertainty and risk. Both the clandestine nature of pervasive monitoring and the authorization for increasing the scope and breadth of collected information originates with NSA’s aspiration to sniff it all, know it all, exploit it all etc., and is part of creating the conditions for digital capitalism.
Guy Van Belle in collaboration with Krzysztof Topolski and the Gdansk University Choir present Fanfara Gdansk performance using a simple and open setup for the participatory visitors/performers. For centuries the arts were rather interested in the non-human expressions around or communication and phenomena that we faintly or hardly understand. To quote Paul Demarinis “Music is sound to my ears”. The sound score gives an indication of discrete and continuous time, pitches and amplitudes, complexities and silences, some combinatory ideas, etc. in the form of sounds you can listen to, sing/play along with it or counter, imitate and enrich it… The expressivity and performativity aims at providing a real time interpretation of the sound score.
The Fanfara Gdansk performance consists of a backtrack with recorded and computer generated birdsongs, which is transmitted over local FM, and received by the musicians on headsets from their phones, tables, portable radio receivers. All musicians are ‘singing’ along with the birdsongs, but they can also bring additional small handheld objects that produce sound: battery operated electronics; resonating objects, … some megaphones and small amplifiers will be available, but all wearable. The singers from the choir move slowly in formation together with the additional musicians and participatory audience, towards the entrance of the exhibition. Any single movement from the musicians and the audience influences the position of the others.
There’s more about the Toronto portion of the exhibitions, etc. on York University’s Sensorium Centre for Digital Arts and Technologies’ events page, Note: This is where it gets a little confusing as it seems that some of these artists are displaying the same pieces in two different cities at the same time: World Sensorium has a version in Poland and a version in Toronto; Read Reed is in Poland and ReedRead is in Toronto; I’m not sure about One Tree ID, which seems to be in two places at once,
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
September 26 – October 14, 2022 Gales Gallery, York University 105 Accolade West Building, 86 Fine Arts Road, Toronto, ON
Held at the Gales Gallery, the Sensoria exhibition will feature the works:
One Tree ID. Agnes Meyer-Brandis, SunEaters. Grace Grothaus, World Sensorium. Gayil Nalls, Emergent: A Mobile Gallery featuring “The Connection”, Michaela Pňaček, Roberta Buiani, Lorella Di Cintio and Kavi ReedRead. Raewyn Turner/ Brian Harris Kinetic Shadows. Hrysovalanti Maheras Marching Choir Guy Van Belle
Running from Oct. 4–5 (9am – 12noon EST), The symposium will feature keynote lectures by Ryszard Kluszcynski , Chris Salter and David Howse; roundtable discussions by the artists/theorists/scientists Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari [a web search suggests that Kozari is a more correct spelling] and Agnieszka Sorokowska.
In addition, Csenge Kolozsvari will be leading the Schizo-Somatic Workshop on Oct. 3, 2022. Please click on the hyperlinks for separate registration.
Tuesday, Oct. 4: 9am – 130pm EST 9:00 : Introductions and land acknowledgement (Joel Ong) 9:05 : Introduction from Sensoria Curator (Nina Czegledy) 9:10 : Introduction from LAZNIA (Jadwiga Charzynska, Director) 9:30 : Keynote 1 —Professor Ryszard Kluszcynski 10:30 : Sensoria Panel 1 — Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 1 — Csenge Kolozsvari [Sensorium Flex Space] + Q&A 1:30 : End
Wednesday Oct 5th 9am – 130pm EST
9:00 : Introductions and land acknowledgement 9:10 : Curatorial presentation (Toronto curatorial team) 9:30 : Keynote 2 — Professors Chris Salter and David Howse 10:30 : Sensoria Panel 2 — Katarzyna Sloboda, Raewyn Turner/Brian Harris, Hilda Kosari, Agnieszka Sorokowska, Hrysovalanti Maheras (Discussant) 12:00 : Lunch Break 12:30 : Keynote Performance 2 — Doug Van Nort Telematic Orchestra [DisPerSions Lab] + Q&A 1:30 : Ending Notes
SENSORIA: the Art & Science of Our Senses is a multi-site exhibition and symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium will engage multi-sensory research that revitalizes our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
The exhibition is co-curated by distinguished curator Nina Czegledy (Agents for Change: Facing the Anthropocene, 2020 & Leonardo/ISAST 50th Celebrations, 2018) and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. Sensoria explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris. Sited concurrently in both Poland and Toronto, the exhibition will explore the dissociative potential of contemporary technologies on the senses, treating it not only as a social crisis but also an opportunity for creative play and experimentation. It aims to engage a conversation about the senses from the perspective of art, but also science, incorporating artists that straddle the boundaries of knowledge production in a variety of ways.
The symposium leverages the exhibition content as the starting point for more in-depth conversation about the connective aesthetics of everyday sensing and the knowledge-creation potential of artists and scientists collaborating in innovative ways. The socio-political turbulences we have experienced worldwide during the last decade have created unprecedented social and personal strife. While connections are sustained now amongst virtual networks that straddle vast spaces, how might we consider the sharing of intimate senses through smell, touch, and bodily movement as a form of mutual support? The symposium explores questions such as these with keynote presentations by Ryszard Khuszcynsk [Kluszcynski]i, Chris Salter and David Howse, as well as roundtables between artists and scientists: Agnes Meyer-Brandis, Gayil Nalls, Rasa Smite, Katarzyna Pastuszak, Grace Grothaus, Katarzyna Sloboda, Hilda Kosari [Kozari], Agnieszka Sorokowska, Hrysovalanti Maheras, Raewyn Turner and Brian Harris. All aspects of the symposium will be presented with virtual components, so as to allow both in-person engagement in Toronto and virtual presence in Gdansk and elsewhere.
The event will be complemented by a workshop byCsenge Kolozsvari. Kolozsvari’s Schizo-Somatic Session brings together somatic practices (crawling side by side, drawing, moving with bags full of water, walking backwards, playing with breath, touching textures, voicing etc.) with the concept of the schiz, cut, or interval, following philosophers Deleuze and Guattari in their book Anti-Oedipus. The aim is to build practices that do not presuppose where bodies begin and end, and to agitate the habitual narratives of bodily borders and edges as solid and knowable.
Csenge Kolozsvari’s performance The Power of the Spill is a multidisciplinary live performance working at the intersection of digital and imaginary technologies. It uses live video feedback, algorithmic processes of image (Hydra), sound as well as a movement-choreography informed by somatic practices. This project is a study on visual perception and how it affects our ways of making sense of the world, aiming to create an alternative lens that acknowledges the vitality of objects, a topology that is cross-species, the ways seemingly separate entities are in constant exchange, towards a more ecological way of being. The performance is in collaboration with Kieran Maraj, with original live coding by Rodrigo Velasco. Performance will be followed by a Q&A with the artist.
Doug Van Nort’s performance The Telematic Orchestra
The sense of touch (or tactility) is not highlighted in the image for the poster but there are some workshops which incorporate that sense.
I apologize for the redundancies and for not correcting or noting the errors in the various texts and with people’s names.
One final note, York University’s Sensorium Centre for Digital Arts and Technologies was last mentioned here in an October 26, 2020 posting about an ArtSci Salon event.
Artists’ Talk & Webcast The Canadian Music Centre, 20 St. Joseph Street Toronto Thursday, July 7 7:30 – 9 p.m. [ET] (doors open 7 pm)
These are a Few of Our Favourite Bees investigates wild, native bees and their ecology through playful dioramas, video, audio, relief print and poetry. Inspired by lambe lambe – South American miniature puppet stages for a single viewer – four distinct dioramas convey surreal yet enlightening worlds where bees lounge in cozy environs, animals watch educational films [emphasis mine] and ethereal sounds animate bowls of berries (having been pollinated by their diverse bee visitors). Displays reminiscent of natural history museums invite close inspection, revealing minutiae of these tiny, diverse animals, our native bees. From thumb-sized to extremely tiny, fuzzy to hairless, black, yellow, red or emerald green, each native bee tells a story while her actions create the fruits of pollination, reflecting the perpetual dance of animals, plants and planet. With a special appearance by Toronto’s official bee, the jewelled green sweat bee, Agapostemon virescens!
These are a Few of Our Favourite Bees Collective are: Sarah Peebles, Ele Willoughby, Rob Cruickshank & Stephen Humphrey
These are a Few of Our Favourite Bees
Sarah Peebles, Ele Willoughby, Rob Cruickshank & Stephen Humphrey
paper, relief print, video projection, audio, audio cable, mixed media
Bee specimens & bee barcodes generously provided by Laurence Packer – Packer Lab, York University; Scott MacIvor – BUGS Lab, U-T [University of Toronto] Scarborough; Sam Droege – USGS [US Geological Survey]; Barcode of Life Data Systems; Antonia Guidotti, Department of Natural History, Royal Ontario Museum
In addition to watching television, animals have been known to interact with touchscreen computers as mentioned in my June 24, 2016 posting, “Animal technology: a touchscreen for your dog, sonar lunch orders for dolphins, and more.”
In May, my crabapple tree blooms. In August, I pick the ripe crabapples. In September, I make jelly. Then I have breakfast. This would not be without a bee.
It could not be without a bee. The fruit and vegetables I enjoy eating, as well as the roses I admire as centrepieces, all depend on pollination.
Our native pollinators and their habitat are threatened. Insect populations are declining due to habitat loss, pesticide use, disease and climate change. 75% of flowering plants rely on pollinators to set seed and we humans get one-third of our food from flowering plants.
I invite you to enter this beautiful dining room and consider the importance of pollinators to the enjoyment of your next meal.
Tracey Lawko employs contemporary textile techniques to showcase changes in our environment. Building on a base of traditional hand-embroidery, free-motion longarm stitching and a love of drawing, her representational work is detailed and “drawn with thread”. Her nature studies draw attention to our native pollinators as she observes them around her studio in the Niagara Escarpment. Many are stitched using a centuries-old, three-dimensional technique called “Stumpwork”.
Tracey’s extensive exhibition history includes solo exhibitions at leading commercial galleries and public museums. Her work has been selected for major North American and International exhibitions, including the Concours International des Mini-Textiles, Musée Jean Lurçat, France, and is held in the permanent collection of the US National Quilt Museum and in private collections in North America and Europe.
You can find out more about Toronto’s Art/Sci Salon’s Who Cares? speaker series in my February 9, 2022 posting. For this posting, I’m focusing on the upcoming March 2022 events, which are being offered online. From a March 7, 2022 Art/Sci Salon announcement (received via email),
We’re pleased to announce our next two events from our “Who Cares?” Speaker Series
Nous sommes heureux d’annoncer notre deuxième événement de notre “Who Cares?” Série de conferences
March 10 , 2:00-3:00 pm [ET]
Data Meditation: Salvatore Iaconesi and Oriana Persico
HER – She Loves Data
Join us for a discussion about questions like:
Why does data have to be an extractive process?
What can we learn about ourselves through the data we generate everyday?
How can we use them as an expressive form to represent ourselves?
Data Meditations is the first ritual designed with the new approach of HER: She Loves Data, which addresses data as existential and cultural phenomena, and the need of creating experience (contemporary rituals) that allow societies and individuals to come together around data generating meaning, new forms of solidarity, empathy, interconnection and knowledge.
Rejoignez-nous pour une discussion basée sur des questions telles que :
Pourquoi les données doivent-elles être un processus d’extraction ?
Que pouvons-nous apprendre par rapport à nous, grâce aux données que nous générons chaque jour ?
Comment pouvons-nous les utiliser comme une forme expressive pour nous représenter ?
Data Méditations est le premier rituel conçu avec la nouvelle approche de HER [elle] : She loves Data , qui parle des données en tant que phénomènes existentiels et culturels , mais également , la nécessité de créer des expériences [ rituels contemporains ] qui permettent aux sociétés et aux individus de se réunir autour de données générant du sens , de nouvelles formes de solidarité , empathie , d’interconnexion et de connaissance.
Maria Antonia Gonzalez-Valerio, Professor of Philosophy and Literature, UNAM, Mexico City. Sharmistha Mishra, Infectious Disease Physician and Mathematical Modeller, St Michael’s Hospital Madhur Anand, Ecologist, School of Environmental Sciences, University of Guelph Salvatore Iaconesi and Oriana Persico, Independent Artists, HER, She Loves Data
One lesson we have learnt in the past two years is that the pandemic has not single-handedly created a global health crisis, but has exacerbated and made visible one that was already in progress. The roots of this crisis are as cultural as they are economic and environmental. Among the factors contributing to the crisis is a dominant orientation towards healthcare that privileges a narrow focus on data-centered technological fixes and praises the potentials of technological delegation. An unsustainable system has culminated in the passive acceptance and even the cold justification of triage as an inevitable evil in a time of crisis and scarcity.
What transdisciplinary practices can help ameliorate the atomizing pitfalls of turning the patient into data? How can discriminatory practices such as triage, exclusion based on race, gender, and class, vaccine hoarding etc.. be addressed and reversed? What strategies can we devise to foster genuine transdisciplinary approaches and move beyond the silo effects of specialization, address current uncritical trends towards technological delegation, and restore the centrality of human relations in healthcare delivery?
L’une des leçons que nous avons apprises au cours des deux dernières années est que la pandémie n’a pas créé à elle seule une crise sanitaire mondiale, mais qu’elle en a exacerbé et rendu visible une qui était déjà en cours. Les racines de cette crise sont aussi bien culturelles qu’économiques et environnementales. Parmi les facteurs qui contribuent à la crise figure une orientation dominante en matière de soins de santé, qui privilégie une vision étroite des solutions technologiques centrées sur les données et fait l’éloge du potentiel de la délégation technologique. Un système non durable a abouti à l’acceptation passive et même à la justification froide du triage comme un mal inévitable en temps de crise et de pénurie.
Quelles pratiques transdisciplinaires peuvent contribuer à améliorer les pièges de l’atomisation qui consiste à transformer le patient en données ? Comment les pratiques discriminatoires telles que le triage, l’exclusion fondée sur la race, le sexe et la classe sociale, la thésaurisation des vaccins, etc. peuvent-elles être abordées et inversées ? Quelles stratégies pouvons-nous concevoir pour favoriser de véritables approches transdisciplinaires et dépasser les effets de silo de la spécialisation, pour faire face aux tendances actuelles non critiques à la délégation technologique, et pour restaurer la centralité des relations humaines dans la prestation des soins de santé ?
We wish to thank/ nous [sic] the generous support of the Social Science and Humanities Research Council of Canada, New College at the University of Toronto and The Faculty of Liberal Arts and Professional Studies at York University; the Centre for Feminist Research, Sensorium Centre for Digital Arts and Technology, The Canadian Language Museum, the Departments of English and the School of Gender and Women’s Studies at York University; the D.G. Ivey Library and the Institute for the History and Philosophy of Science and Technology at the University of Toronto; We also wish to thank the support of The Fields Institute for Research in Mathematical Sciences
COVID-19 has put health care workers in a more than usually interesting position and the Art/Sci Salon in Toronto, Canada is ‘creatively’ addressing the old, new, and emerging stresses. From the Who Cares? events webpage (also in a February 8, 2022 notice received via email),
“Who Cares?” is a Speaker Series dedicated to fostering transdisciplinary conversations between doctors, writers, artists, and researchers on contemporary biopolitics of care and the urgent need to move towards more respectful, creative, and inclusive social practices of care in the wake of the systemic cracks made obvious by the pandemic.
About the Series
Critiques of the health care sector are certainly not new and have been put forward by workers and researchers in the medical sector and in the humanities alike. However, critique alone fails to consider the systemic issues that prevent well-meaning practitioners to make a difference. The goal of this series is to activate practical conversations between people who are already engaged in transforming the infrastructures and cultures of care but have few opportunities to speak to each other. These interdisciplinary dialogues will enable the sharing of emerging epistemologies, new material approaches and pedagogies that could take us beyond the current crisis. By engaging with the arts as research, our guests use the generative insights of poetic and artistic practices to zoom in on the crucial issues undermining holistic, dynamic and socially responsible forms of care. Furthermore, they champion transdisciplinary dialogues and multipronged approaches directed at changing the material and discursive practices of care.
Who cares? asks the following important questions:
How do we lay the groundwork for sustainable practices of care, that is, care beyond ‘just-in-time’ interventions?
What strategies can we devise to foster genuine transdisciplinary approaches that move beyond the silo effects of specialization, address current uncritical trends towards technological delegation, and restore the centrality responsive/responsible human relations in healthcare delivery?
What practices can help ameliorate the atomizing pitfalls of turning the patient into data?
What pathways can we design to re-direct attention to long lasting care focused on a deeper understanding of the manifold relationalities between doctors, patients, communities, and the socio-environmental context?
How can the critically creative explorations of artists and writers contribute to building resilient communities of care that cultivate reciprocity, respect for the unpredictable temporalities of healing, and active listening?
How to build a capacious infrastructure of care able to address and mend the damages caused by ideologies of ultimate cure that pervade corporate approaches to healthcare funding and delivery?
This event will be online, please register HEREto participate. After registering, you will receive a confirmation email containing information about joining the meeting.
A Conversation with Bahar Orang, author of Where Things Touch, on staying attuned to the fragile intimacies of care beyond the stifling demands of institutional environments.
This short presentation will ask questions about care that move it beyond the carceral logics of hospital settings, particularly in psychiatry. Drawing from questions raised in my first book Where Things Touch, and my work with Doctors for Defunding Police (DFDP), I hope to pose the question of how to do the work of health care differently. As the pandemic has laid bare so much violence, it becomes imperative to engage in forms of political imaginativeness that proactively ask what are the forms that care can take, and does already take, in places other than the clinic or the hospital?
Bahar Orang is a writer and clinician scholar in the Department of Psychiatry at the University of Toronto. Her creative and clinical work seeks to engage with ways of imagining care beyond the carcerality that medical institutions routinely reproduce
Roundtables 1. Friday, March 11 – 5:00 to 7:00 pm [ET] Beyond triage and data culture Maria Antonia Gonzalez-Valerio, Professor of Philosophy and Literature, UNAM, Mexico City. Sharmistha Mishra, Infectious Disease Physician and Mathematical Modeller, St Michael’s Hospital Madhur Anand, Ecologist, School of Environmental Sciences, University of Guelph Salvatore Iaconesi and Oriana Persico, independent artists, HER, She Loves Data
Keynote Conversation Friday, April 1, 5:00-7:00 pm [ET] Seema Yasmin, Director of Research and Education, Stanford Health Communication Initiative [Stanford University] Bayo Akomolafe, Chief Curator of The Emergence Network
(hybrid) William Doo Auditorium, 45 Willcox Street, Toronto
* The format of this program and access might change with the medical situation
We wish to thank the generous support of the Social Science and Humanities Research Council of Canada, New College, the D.G. Ivey Library, and the Institute for the History and Philosophy of Science and Technology at the University of Toronto; the Centre for Feminist Research, Sensorium Centre for Digital Arts and Technology, The Canadian Language Museum, the Departments of English and the School of Gender and Women’s Studies at York University. We also wish to thank the support of The Fields Institute for Research in Mathematical Sciences
This series is co-produced in collaboration with the ArtSci Salon
Since posting about Science Odyssey, I have received a number of emails announcing event and not all of them are part of the Odyssey experience.
From the looks of things, May 2021 is going to be a very busy month. Given how early it is in the month I expect to receive another batch of notices and most likely will post another May 2021 events roundup.
At this point, there’s a heavy emphasis on architecture (human and other) and design.
Proximal Spaces on May 3, 2021
This is one of those event within an event notices. There’s a festival: FACTT 20/21 – Improbable Times. Trans-disciplinary & Trans-national Festival of Art & Science in Portugal and within the festival there is Proximal Spaces in Toronto, Canada. Here’s more from the ArtScience Salon (ArtSci Salon) May 1, 2021 announcement (received via email),
May 3, 2021 – 3.00 PM (EST) [12 pm PST]
Join us at this poetry reading by six Canadian artists responding to the work of eight bioartists. Event with be streamed on Facebook Live.
Please note that you don’t need to sign up in order to access the streaming as it is public.
Proximal Spaces’ is a multi-modal exhibition that explores the environment at multiple scales in concentric circles of proximity to the body. Inspired by Edward Hall’s [Edward Twitchell Hall or E. T. Hall] 1961 notation of intimate (1.5ft), personal (4ft), social (12ft) and public (25ft) spaces in his “Proxemics” diagrams, the installation portion presents similar diagrams of his concentric circles affixed to the wall of the gallery space, as well as developed in Augmented Reality around the venue. Each of these diagrams is a montage of microscopic and sub-microscopic images of the everyday environment as experienced by a collaborative team of international bioartists, and arrayed in a fractal form. In addition, an AR-enabled application explores the invisible environments of computer generated bioaerosols suspended in the air of virtual space.
This work visualizes the variegated response of the biological environment to unprecedented levels of physical distancing and self-isolation and recent developments in vaccine design that impact our understanding of interpersonal and interspecies ‘messaging’. What continues to thrive in the 6ft ‘dead spaces’ between us? What invisible particles linger on and create a biological archive through our movements through space? The artwork presents an interesting mode of interspecies engagement through hybrid virtual and physical interaction.
In the spring of 2021, six Canadian poets – Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart – came together to pursue a lyric response to Proximal Spaces. They were challenged and inspired by the virtual exhibition with its combination of art, science, and proxemics. The focus of the artworks – what inhabits and thrives in the spaces and environments where we live, work, and breathe—generated six distinctive poems.
Poets: Kelley Aitken, nancy viva davis halifax, Maureen Hynes, Anita Lahey, Dilys Leman, & Sheila Stewart
Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya
This project is part of FACTT-Improbable Times (http://factt.arteinstitute.org/), a project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM [National Autonomous University of Mexico], Arte+Ciência and Bioscénica (Mexico), and Central Academy of Fine Arts (China). Together we will work and bring into being our ideas and actions for this during the year of 2021!
Morphogenesis: Geometry, Physics, and Biology on May 5, 2021
i love this image, he seems so delighted to show off the bug (?),
Here’s more from the Perimeter Institute for Theoretical Physics (PI) April 30, 2021 announcement (received via email),
Earth is home to millions of different species – from simple plants and unicellular organisms to trees and whales and humans. The incredible diversity of life on Earth led Charles Darwin to lament that it is “enough to drive the sanest man mad.”
How can we make sense of this diversity of form, which arises from the process of morphogenesis that links molecular- and cellular-level processes to conspire and lead to the emergence of “endless forms most beautiful,” as Darwin said?
In his May 5  lecture webcast, Harvard professor L. Mahadevan [Lakshminarayanan Mahadevan] will take viewers on a journey into the mathematical, physical, and biological workings of morphogenesis to demonstrate how scientists are beginning to unlock many of the secrets that have vexed scientists since Darwin.
Possible Worlds: “How Will We Live Together?” on May 6, 2021
For those who are interested in human architecture, there’s this from a May 3, 3021 Berggruen institute announcement (received via email) about a talk by Chilean architect and 2016 Pritzker Prize winner, Alejandro Gastón Aravena Mori (Alejandro Aravena),
Possible Worlds: How Will We Live Together
May 6, 2021
11am — Virtual
Possible Worlds: The UCLA [University of California at Los Angeles] – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute.
Please click here to submit a question to Alejandro Aravena
About Alejandro Aravena Alejandro Aravena is an architect, founder and executive director of the firm Elemental. His works include the “Siamese Towers” at the Catholic University of Chile and the Novartis office campus in Shanghai. In 2016, the New York Times named Aravena one of the world’s “creative geniuses” who had helped define culture. He and Elemental have received numerous honors, including the 2016 Pritzker Architecture Prize, the 2015 London Design Museum’s Design of the Year award and the 2011 Index Award. Aravena currently serves as the president of the Pritzker Prize jury. Aravena’s lecture title, “How Will We Live Together?” echoes the theme of the upcoming international architecture exhibition, Biennale Architettura, in which Elemental will be participating.
Featuring a discussion with moderator Dana Cuff
Dana Cuff is Professor of Architecture and Urban Design at UCLA, where she is also Director of cityLAB, an award-winning think tank that advances goals of spatial justice through experimental urbanism and architecture (www.cityLAB.aud.ucla.edu). Since receiving her Ph.D. in Architecture from Berkeley, Cuff has published and lectured widely about affordable housing, the architectural profession, and Los Angeles’ urban history. She is author of several books, including The Provisional City about postwar housing in L.A., and a co-authored book called Urban Humanities: New Practices for Reimagining the City, documenting her collaborative, crossdisciplinary research and teaching at UCLA funded by the Mellon Foundation. Based on cityLAB’s design research, Cuff co-authored landmark legislation that permits “backyard homes” on some 8.1 million single-family properties, doubling the density of suburbs across California (AB 2299, Bloom-2016). In 2019, cityLAB opened a satellite center in the MacArthur Park/Westlake neighborhood where a deep, multi-year exchange with community organizations is already demonstrating ways that humanistic design of the public realm can create more compassionate cities. Cuff recently received three awards that describe her career: Women in Architecture Activist of the Year (2019, Architectural Record); Distinguished Leadership in Architectural Research (2020, ARCC); and Educator of the Year (2021, American Institute of Architects Los Angeles).
About the Series Possible Worlds: The UCLA – Berggruen Institute Speaker Series is a new partnership between the UCLA Division of Humanities and the Berggruen Institute. This semiannual series will bring some of today’s most imaginative intellectual leaders and creators to deliver public talks on the future of humanity. Through the lens of their singular achievements and experiences, these trailblazers in creativity, innovation, philosophy and politics will lecture on provocative topics that explore current challenges and transformations in human progress.
UCLA faculty and students have long been at the forefront of interpreting the world’s legacy of language, literature, art and science. UCLA Humanities serves a vital role in readying future leaders to articulate their thoughts with clarity and imagination, to interpret the world of ideas, and to live as informed citizens in an increasingly complex world. We are proud to be partnering in this lecture series with the Berggruen Institute, whose work addresses the “Great Transformations” taking place in technology and culture, politics and economics, global power arrangements, and even how we perceive ourselves as humans. The Institute seeks to connect deep thought in the human sciences — philosophy and culture — to the pursuit of practical improvements in governance.
A selection committee comprising representatives of UCLA and the Berggruen Institute has been formed to make recommendations for lecturers. The committee includes:
• Ursula Heise, Professor and Chair, Department of English; Professor, UCLA Institute of the Environment and Sustainability; Marcia H. Howard Term Chair in Literary Studies • Pamela Hieronymi, Professor of Philosophy • Anastasia Loukaitou-Sideris, Professor of Urban Planning; Associate Provost for Academic Planning • Todd Presner, Associate Dean, Digital Initiatives; Chair of the Digital Humanities Program; Michael and Irene Ross Endowed Chair of Yiddish Studies; Professor of Germanic Languages and Comparative Literature • Lynn Vavreck, Professor, Department of Political Science; Marvin Hoffenberg Professor of American Politics and Public Policy • David Schaberg, Senior Dean of the UCLA College; Dean of Humanities; Professor, Asian Languages & Cultures • Nils Gilman, Vice President of Programs, the Berggruen Institute
Generative Art and Computational Creativity starts May 7, 2021
A Spring 2021 MetaCreation Lab (Simon Fraser University; SFU) newsletter (received via email on April 23, 2021) highlights a number of festival submissions and papers along with some news about a free introductory course. First, the video introduction to the course,
This first course in the two-part program, Generative Art and Computational Creativity [there’s a fee for part two], proposes an introduction and overview of the history and practice of generative arts and computational creativity with an emphasis on the formal paradigms and algorithms used for generation. The full program will be taught by Associate Professor from the School of Interactive Arts and Technology at Simon Fraser University and multi-disciplinary researcher, Philippe Pasquier.
On the technical side, we will study core techniques from mathematics, artificial intelligence, and artificial life that are used by artists, designers and musicians across the creative industry. We will start with processes involving chance operations, chaos theory and fractals and move on to see how stochastic processes, and rule-based approaches can be used to explore creative spaces. We will study agents and multi-agent systems and delve into cellular automata, and virtual ecosystems to explore their potential to create novel and valuable artifacts and aesthetic experiences.
The presentation is illustrated by numerous examples from past and current productions across creative practices such as visual art, new media, music, poetry, literature, performing arts, design, architecture, games, robot-art, bio-art and net-art. Students get to practice these algorithms first hand and develop new generative pieces through assignments and projects in MAX. Finally, the course addresses relevant philosophical, and societal debates associated with the automation of creative tasks.
Music for this course was composed with the StyleMachineLite Max for Live engine of Metacreative Inc.
Artistic direction: Philippe Pasquier, Programmation: Arne Eigenfeldt, Sound Production: Philippe Bertrand
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: Introduction and Typology of Generative Art (May 7, 2021) To start off this course, we define generative art and computational creativity and discuss how these relate through the study of prominent examples. We establish a typology of generative systems based on levels of autonomy and agency.
Session 2: History Of Generative Art, Chance Operations, and Chaos Theory (May 14, 2021) Generative art is nothing new, and this session goes through the history of the field from pre-history to the popularization of computers. We study chance, noise, fractals, chaos theory, and their applications in visual art and music.
Session 3: Rule-Based Systems, Grammars and Markov Chains (May 21, 2021) This session introduces and illustrate the generative potential of rule-based and expert systems. We study generative grammars through the Chomsky hierarchy, and introduce L-systems, shape grammars, and Markov chains. We discuss how these have been applied in visual art, music, design, architecture, and electronic literature.
Session 4: Cognitive Agents And Multiagent Systems (May 28, 2021) This session introduces the concepts underlying the notion of artificial agents. We study the belief, desire, and intention (BDI) cognitive architecture, and message based agent communication resting on the speech act theory. We discuss musical agents, conversational agents, chat bots and twitter bots and their artistic potential.
Session 5: Reactive Agents And Multiagent Systems (June 4, 2021) In this session, we introduce reactive agents and the subsumption architecture. We study boids, and detail how complex behaviors can emerge from a distributed population of simple artificial agents. We look at a myriad of applications from ant painting to swarm music and we discuss artistic approaches to virtual ecosystems.
Session 6: A-Life And Cellular Automaton (June 11, 2021) In this concluding session, we introduce artificial life (A-life). We study cellular automaton, multi-agent ecosystems for music, visual art, non-photorealistic rendering, and gaming. The session also concludes the class by reflecting on the state of the art in the field and its consequences on creative practices.
The human being – so fragile, so ethereal, speaking a sweet language. A piece of architecture – so physically imminent, so solid, speaking a language of hardness.
Photo by Oliviero Godi – Frantoio Ipogeo nel Salento
Join photographer & architect Oliviero Godi as he explores the relationship between the body & the material, the transient & the permanent, in search of the correct balance where neither element prevails.
To make your donation, please send an e-transfer to email@example.com. Thank you!
Learn More [about this other upcoming Cultural Events]
Respiration and the Brain on May 25, 2021
Before getting to the April 29, 2021 BrainTalks announcement, here’s a little bit about BrainTalks from their webspace on the University of British Columbia (UBC) website,
BrainTalks is a series of talks inviting you to contemplate emerging research about the brain. Researchers studying the brain, from various disciplines including psychiatry, neuroscience, neuroimaging, and neurology, gather to discuss current leading edge topics on the mind.
As an audience member, you join the discussion at the end of the talk, both in the presence of the entire audience, and with an opportunity afterwards to talk with the speaker more informally in a catered networking session. The talks also serve as a connecting place for those interested in similar topics, potentially launching new endeavours or simply connecting people in discussions on how to approach their research, their knowledge, or their clinical practice.
For the general public, these talks serve as a channel where by knowledge usually sequestered in inaccessible journals or university classrooms, is now available, potentially allowing people to better understand their brains and minds, how they work, and how to optimize brain health.
[UBC School of Medicine Department of Psychiatry]
Onto the April 29, 2021 BrainTalks announcement (received via email),
BrainTalks: Respiration and the Brain
Tuesday, May 25th, 2021 from 6:00 PM – 7:30 PM [PT]
Join us for a series of online talks exploring questions of respiration and the brain. Emerging empirical research will be presented on ventilation-associated brain injury and breathing-based interventions for the treatment of stress and anxiety disorders. We presenters will include Dr. Thiago Bassi, Dr. Lloyd Lalande and Taylor Willi, MSc.
Dr. Thiago Bassi will address the biological connection between the brain and lungs, exploring the potential adverse effects of mechanical ventilation on the brain. Dr. Bassi is a neurosurgeon and neuroscientist, who worked clinically for more than ten years in Brazil. He joined the Lungpacer Medical team and C2B2 lab in 2017, and is currently completing his doctorate in Biomedicine Physiology at Simon Fraser University.
Dr. Lloyd Lalande will describe Guided Respiration Mindfulness Therapy (GRMT), as an emerging clinical breathwork intervention for its effectiveness in reducing depression, anxiety and stress, and in increasing mindfulness and sense of wellbeing. Dr. Lalonde is an Assistant Professor teaching psychology at the Buddhist TzuChi University of Science and Technology, and the developer of GRMT. His current research is based out of the TzuChi Buddhist General Hospital, investigating GRMT as an evidence-based treatment for a variety of outcomes.
Mr. Taylor Willi will present the findings of his dissertation research comparing the effect of performing daily brief relaxation techniques on measures of stress and anxiety. Mr. Willi completed a Masters Degree of Neuroscience at the University of British Columbia, and is currently completing his doctorate in Clinical Psychology at Simon Fraser University.
Each of the speakers will present an overview of their research findings investigating respiration in three unique ways. Following their presentations, the speakers will be available for an audience-drive panel discussion.
Plans for last year’s FACTT (Festival of Art and Science) 2020 had to be revised at the last minute due to COVID-19. This year, organizers were prepared so no in person sessions have to be cancelled or turned into virtual events. Here’s more from the Jan. 25, 2021 announcement I received (via email) from one of the festival partners, the ArtSci Salon at the University of Toronto,
Join us! Opening of FACTT 20-21 Improbable Times!
Thursday, January 28, 2021 at 3:30 PM EST – 5:30 PM EST Public · Anyone on or off Facebook – link will be disseminated closer to the event.
The Arte Institute and the RHI Initiative, in partnership with Cultivamos Cultura, have the pleasure to present the FACTT 2021 – Festival Art & Science. The festival opens on January 28, at 8.30 PM (GMT), and will be exhibited online on RHI Stage.
This year we are reshaping FACTT! Come join us for the kick-off of this amazing project!
A project spearheaded and promoted by the Arte Institute we are in or production and conception partners with Cultivamos Cultura and Ectopia (Portugal), InArts Lab@Ionian University (Greece), ArtSci Salon@The Fields Institute and Sensorium@York University (Canada), School of Visual Arts (USA), UNAM, Arte+Ciência and Bioscenica (Mexico), and Central Academy of Fine Arts (China).
Together we will work and bring into being our ideas and actions for this during the year of 2021!
FACTT 20/21 – Improbable Times presents a series of exceptional artworks jointly curated by Cultivamos Cultura and our partners. The challenge of a translation from the physical space that artworks occupy typically, into an exhibition that lives as a hybrid experience, involves rethinking the materiality of the work itself. It also questions whether we can live and interact with each other remotely and in person producing creative effective collaborative outcomes to immerse ourselves in. Improbable Times brings together a collection of works that reflect the times we live in, the constraints we are faced with, the drive to rethink what tomorrow may bring us, navigate it and build a better future, beyond borders.
January 28, 2021 | 8:30 PM (GMT)Program: – Introduction – Performance Toronto: void * ambience : Latency, with Joel Ong, Michael Palumbo and Kavi – Performance Mexico “El Tercero Cuerpo Sonoro” (Third Sonorous Body), by Arte+Ciência. – Q&A
The performance series void * ambience experiments with sound and video content that is developed through a focus on the topographies and networks through which these flow. Initiated during the time of COVID and social distancing, this project explores processes of information sharing, real-time performance and network communication protocols that contribute to the sustenance of our digital communities, shared experiences and telematic intimacies.
“El Tercero Cuerpo Sonoro” project is a digital drift that explores different relationships with the environment, nature, humans and non-humans from the formulation of an intersubjective body. Its main search is to generate resonances with and among the others.
In these complicated times in which it seems that our existence unfolds in front of the screen, confined to the space of the black mirror, it becomes urgent to challenge the limits and scopes of digital life. We need to rethink the way in which we inhabit the others as well as our own subjectivity.
Program: – Introduction – Performance Toronto: Proximal Spaces Artistic Directors: Joel Ong, Elaine Whittaker Graphic Designer: Natalie Plociennik Bhavesh Kakwani AR [augmented reality] development : Sachin Khargie, Ryan Martin Bioartists: Roberta Buiani, Nathalie Dubois Calero, Sarah Choukah, Nicole Clouston, Jess Holtz, Mick Lorusso, Maro Pebo, Felipe Shibuya – Performance Mexico Tercero Cuerpo Sonoro (Third Sonorous Body) by Arte+Ciência
FACTT team: Marta de Menezes, Suzanne Anker, Maria Antonia Gonzalez Valerio, Roberta Buiani, Jo Wei, Dalila Honorato, Joel Ong, Lena Lee and Minerva Ortiz.
For FACTT20/21 we propose to put together an exhibition where the virtual and the physical share space, a space that is hybrid from its conception, a space that desires to break the limits of access to culture, to collaboration, to the experience of art. A place where we can think deeply and creatively together about the adaptive moves we had and have to develop to the rapid and sudden changes our lives and environment are going through.
The ArtSci Salon is getting quite active these days. Here’s the latest from an Oct. 22, 2020 ArtSci Salon announcement (received via email), which can also be viewed on their Kaleidoscope event page,
Performing togetherness in empty spaces
An experimental collaboration between the ArtSci Salon, the Digital Dramaturgy Lab_squared/ DDL2 and Sensorium: Centre for Digital Arts and Technology, York University (Toronto, Ontario, Canada)
Tuesday, October 27, 2020
7:30 pm [EDT]
Join our evening of live-streamed, multi-media performances, following a kaleidoscopic dramaturgy of complexity discourses as inspired by computational complexity theory gatherings.
We are presenting installations, site-specific artistic interventions and media experiments, featuring networked audio and video, dance and performances as we repopulate spaces – The Fields Institute and surroundings – forced to lie empty due to the pandemic. Respecting physical distance and new sanitation and safety rules can be challenging, but it can also open up new ideas and opportunities.
NOTE: DDL2 contributions to this event are sourced or inspired by their recent kaleidoscopic performance “Rattling the the Curve – Paradoxical ECODATA performances of A/I (artistic intelligence), and facial recognition of humans and trees
Virtual space/live streaming concept and design: DDL2 Antje Budde, Karyn McCallum and Don Sinclair
Virtual space and streaming pilot: Don Sinclair
Here are specific programme details (from the announcement),
Signing the Virus – Video (2 min.) Collaborators: DDL2 Antje Budde, Felipe Cervera, Grace Whiskin
Niimi II – – Performance and outdoor video projection (15 min.) (Nimii means in Anishinaabemowin: s/he dances) Collaborators: DDL2 Candy Blair, Antje Budde, Jill Carter, Lars Crosby, Nina Czegledy, Dave Kemp
Oracle Jane (Scene 2) – A partial playreading on the politics of AI (30 min.) Playwright: DDL2 Oracle Collaborators: DDL2 Antje Budde, Frans Robinow, George Bwannika Seremba, Amy Wong and AI ethics consultant Vicki Zhang
Vriksha/Tree – Dance video and outdoor projection (8 min.) Collaborators: DDL2 Antje Budde, Lars Crosby, Astad Deboo, Dave Kemp, Amit Kumar
Facial Recognition – Performing a Plate Camera from a Distance (3 min.) Collaborators: DDL2 Antje Budde, Jill Carter, Felipe Cervera, Nina Czegledy, Karyn McCallum, Lars Crosby, Martin Kulinna, Montgomery C. Martin, George Bwanika Seremba, Don Sinclair, Heike Sommer
Cutting Edge – Growing Data (6 min.) DDL2 A performance by Antje Budde
“void * ambience” – Architectural and instrumental acoustics, projection mapping Concept: Sensorium: The Centre for Digital Art and Technology, York University Collaborators: Michael Palumbo, Ilze Briede [Kavi], Debashis Sinha, Joel Ong
This performance is part of a series (from the announcement),
These three performances are part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic] Institute for Research in Mathematical Science. Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states. Our goal is to cross these boundaries by proposing new narratives to show how the distinctions, and the barriers that science, technology, society and the state have created can in fact be re-interpreted as porous and woven together.
This event is curated and produced by ArtSci Salon; Digital Dramaturgy Lab_squared/ DDL2; Sensorium: Centre for Digital Arts and Technology, York University; and Ryerson University; it is supported by The Fields Institute for Research in Mathematical Sciences
Finally, the announcement includes biographical information about all of the ‘boundary-crossers’,
Candy Blair (Tkaron:to/Toronto) Candy Blair/Otsίkh:èta (they/them) is a mixed First Nations/European, 2-spirit interdisciplinary visual and performing artist from Tio’tía:ke – where the group split (“Montreal”) in Québec.
While continuing their work as an artist they also finished their Creative Arts, Literature, and Languages program at Marianopolis College (cégep), their 1st year in the Theatre program at York University, and their 3rd year Acting Conservatory Program at the Centre For Indigenous Theatre in Tsí Tkaròn:to – Where the trees stand in water (Toronto”).
Some of Candy’s noteable performances are Jill Carter’s Encounters at the Edge of the Woods, exploring a range of issues with colonization; Ange Loft’s project Talking Treaties, discussing the treaties of the “Toronto” purchase; Cheri Maracle’s The Story of Six Nations, exploring Six Nation’s origin story through dance/combat choreography, and several other performances, exploring various topics around Indigenous language, land, and cultural restoration through various mediums such as dance, modelling, painting, theatre, directing, song, etc. As an activist and soon to be entrepreneur, Candy also enjoys teaching workshops around promoting Indigenous resurgence such as Indigenous hand drumming, food sovereignty, beading, medicine knowledge, etc..
Working with their collectives like Weave and Mend, they were responsible for the design, land purification, and installation process of the four medicine plots and a community space with their 3 other members. Candy aspires to continue exploring ways of decolonization through healthy traditional practices from their mixed background and the arts in the hopes of eventually supporting Indigenous relations worldwide.
Antje Budde Antje Budde is a conceptual, queer-feminist, interdisciplinary experimental scholar-artist and an Associate Professor of Theatre Studies, Cultural Communication and Modern Chinese Studies at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Antje has created multi-disciplinary artistic works in Germany, China and Canada and works tri-lingually in German, English and Mandarin. She is the founder of a number of queerly feminist performing art projects including most recently the (DDL)2 or (Digital Dramaturgy Lab)Squared – a platform for experimental explorations of digital culture, creative labor, integration of arts and science, and technology in performance. She is interested in the intersections of natural sciences, the arts, engineering and computer science.
Roberta Buiani Roberta Buiani (MA; PhD York University) is the Artistic Director of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto). Her artistic work has travelled to art festivals (Transmediale; Hemispheric Institute Encuentro; Brazil), community centres and galleries (the Free Gallery Toronto; Immigrant Movement International, Queens, Myseum of Toronto), and science institutions (RPI; the Fields Institute). Her writing has appeared on Space and Culture, Cultural Studies and The Canadian Journal of Communication_among others. With the ArtSci Salon she has launched a series of experiments in “squatting academia”, by re-populating abandoned spaces and cabinets across university campuses with SciArt installations.
Currently, she is a research associate at the Centre for Feminist Research and a Scholar in Residence at Sensorium: Centre for Digital Arts and Technology at York University [Toronto, Ontario, Canada].
Jill Carter (Tkaron:to/ Toronto) Jill (Anishinaabe/Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto. She works with many members of Tkaron:to’s Indigenous theatre community to support the development of new works and to disseminate artistic objectives, process, and outcomes through community- driven research projects. Her scholarly research, creative projects, and activism are built upon ongoing relationships with Indigenous Elders, Artists and Activists, positioning her as witness to, participant in, and disseminator of oral histories that speak to the application of Indigenous aesthetic principles and traditional knowledge systems to contemporary performance.The research questions she pursues revolve around the mechanics of story creation, the processes of delivery and the manufacture of affect.
More recently, she has concentrated upon Indigenous pedagogical models for the rehearsal studio and the lecture hall; the application of Indigenous [insurgent] research methods within performance studies; the politics of land acknowledgements; and land – based dramaturgies/activations/interventions.
Jill also works as a researcher and tour guide with First Story Toronto; facilitates Land Acknowledgement, Devising, and Land-based Dramaturgy Workshops for theatre makers in this city; and performs with the Talking Treaties Collective (Jumblies Theatre, Toronto).
In September 2019, Jill directed Encounters at the Edge of the Woods. This was a devised show, featuring Indigenous and Settler voices, and it opened Hart House Theatre’s 100th season; it is the first instance of Indigenous presence on Hart House Theatre’s stage in its 100 years of existence as the cradle for Canadian theatre.
Nina Czegledy (Toronto) artist, curator, educator, works internationally on collaborative art, science & technology projects. The changing perception of the human body and its environment as well as paradigm shifts in the arts inform her projects. She has exhibited and published widely, won awards for her artwork and has initiated, lead and participated in workshops, forums and festivals worldwide at international events.
Astad Deboo (Mumbai, India) Astad Deboo is a contemporary dancer and choreographer who employs his training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him. He has become a pioneer of modern dance in India. Astad describes his style as “contemporary in vocabulary and traditional in restraints.” Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alis on Becker Chase and Pink Floyd and performed in many parts of the world. He has been awarded the Sangeet Natak Akademi Award (1996) and Padma Shri (2007), awarded by the Government of India. In January 2005 along with 12 young women with hearing impairment supported by the Astad Deboo Dance Foundation, he performed at the 20th Annual Deaf Olympics at Melbourne, Australia. Astad has a long record of working with disadvantaged youth.
Ilze Briede [Kavi] Ilze Briede [artist name: Kavi] is a Latvian/Canadian artist and researcher with broad and diverse interests. Her artistic practice, a hybrid of video, image and object making, investigates the phenomenon of perception and the constraints and boundaries between the senses and knowing. Kavi is currently pursuing a PhD degree in Digital Media at York University with a research focus on computational creativity and generative art. She sees computer-generated systems and algorithms as a potentiality for co-creation and collaboration between human and machine. Kavi has previously worked and exhibited with Fashion Art Toronto, Kensington Market Art Fair, Toronto Burlesque Festival, Nuit Blanche, Sidewalk Toronto and the Toronto Symphony Orchestra.
Dave Kemp Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess, Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank.
Stephen Morris Stephen Morris is Professor of experimental non-linear Physics in the faculty of Physics at the University of Toronto. He is the scientific Director of the ArtSci salon at the Fields Institute for Research in Mathematical Sciences. He often collaborates with artists and has himself performed and produced art involving his own scientific instruments and experiments in non-linear physics and pattern formation
Michael Palumbo Michael Palumbo (MA, BFA) is an electroacoustic music improviser, coder, and researcher. His PhD research spans distributed creativity and version control systems, and is expressed through “git show”, a distributed electroacoustic music composition and design experiment, and “Mischmasch”, a collaborative modular synthesizer in virtual reality. He studies with Dr. Doug Van Nort as a researcher in the Distributed Performance and Sensorial Immersion Lab, and Dr. Graham Wakefield at the Alice Lab for Computational Worldmaking. His works have been presented internationally, including at ISEA, AES, NIME, Expo ’74, TIES, and the Network Music Festival. He performs regularly with a modular synthesizer, runs the Exit Points electroacoustic improvisation series, and is an enthusiastic gardener and yoga practitioner.
Joel Ong (PhD. Digital Arts and Experimental Media (DXARTS, University of Washington) Joel Ong is a media artist whose works connect scientific and artistic approaches to the environment, particularly with respect to sound and physical space. Professor Ong’s work explores the way objects and spaces can function as repositories of ‘frozen sound’, and in elucidating these, he is interested in creating what systems theorist Jack Burnham (1968) refers to as “art (that) does not reside in material entities, but in relations between people and between people and the components of their environment”.
A serial collaborator, Professor Ong is invested in the broader scope of Art-Science collaborations and is engaged constantly in the discourses and processes that facilitate viewing these two polemical disciplines on similar ground. His graduate interdisciplinary work in nanotechnology and sound was conducted at SymbioticA, the Center of Excellence for Biological Arts at the University of Western Australia and supervised by BioArt pioneers and TCA (The Tissue Culture and Art Project) artists Dr Ionat Zurr and Oron Catts.
George Bwanika Seremba George Bwanika Seremba,is an actor, playwright and scholar. He was born in Uganda. George holds an M. Phil, and a Ph.D. in Theatre Studies, from Trinity College Dublin. In 1980, having barely survived a botched execution by the Military Intelligence, he fled into exile, resettling in Canada (1983). He has performed in numerous plays including in his own, “Come Good Rain”, which was awarded a Dora award (1993). In addition, he published a number of edited play collections including “Beyond the pale: dramatic writing from First Nations writers & writers of colour” co-edited by Yvette Nolan, Betty Quan, George Bwanika Seremba. (1996).
George was nominated for the Irish Times’ Best Actor award in Dublin’s Calypso Theatre’s for his role in Athol Fugard’s “Master Harold and the boys”. In addition to theatre he performed in several movies and on television. His doctoral thesis (2008) entitled “Robert Serumaga and the Golden Age of Uganda’s Theatre (1968-1978): (Solipsism, Activism, Innovation)” will be published as a monograph by CSP (U.K) in 2021.
Don Sinclair (Toronto) Don is Associate Professor in the Department of Computational Arts at York University. His creative research areas include interactive performance, projections for dance, sound art, web and data art, cycling art, sustainability, and choral singing most often using code and programming. Don is particularly interested in processes of artistic creation that integrate digital creative coding-based practices with performance in dance and theatre. As well, he is an enthusiastic cyclist.
Debashis Sinha Driven by a deep commitment to the primacy of sound in creative expression, Debashis Sinha has realized projects in radiophonic art, music, sound art, audiovisual performance, theatre, dance, and music across Canada and internationally. Sound design and composition credits include numerous works for Peggy Baker Dance Projects and productions with Canada’s premiere theatre companies including The Stratford Festival, Soulpepper, Volcano Theatre, Young People’s Theatre, Project Humanity, The Theatre Centre, Nightwood Theatre, Why Not Theatre, MTC Warehouse and Necessary Angel. His live sound practice on the concert stage has led to appearances at MUTEK Montreal, MUTEK Japan, the Guelph Jazz Festival, the Banff Centre, The Music Gallery, and other venues. Sinha teaches sound design at York University and the National Theatre School, and is currently working on a multi-part audio/performance work incorporating machine learning and AI funded by the Canada Council for the Arts.
Vicki (Jingjing) Zhang (Toronto) Vicki Zhang is a faculty member at University of Toronto’s statistics department. She is the author of Uncalculated Risks (Canadian Scholar’s Press, 2014). She is also a playwright, whose plays have been produced or stage read in various festivals and venues in Canada including Toronto’s New Ideas Festival, Winnipeg’s FemFest, Hamilton Fringe Festival, Ergo Pink Fest, InspiraTO festival, Toronto’s Festival of Original Theatre (FOOT), Asper Center for Theatre and Film, Canadian Museum for Human Rights, Cultural Pluralism in the Arts Movement Ontario (CPAMO), and the Canadian Play Thing. She has also written essays and short fiction for Rookie Magazine and Thread.
If you can’t attend this Oct. 27, 2020 event, there’s still the Oct. 29, 2020 Boundary-Crossings event: Beauty Kit (see my Oct. 12, 2020 posting for more).
As for Kaleidoscopic Imaginations, you can access the Streaming Link On Oct. 27, 2020 at 7:30 pm EDT (4 pm PDT).
Beauty Kit is part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach [sic] program supported by the Fiends [sic;] Institute for Research in Mathematical Science.
In this workshop /performance, Isabel Burr Raty explores the energetic potentials of bodily fluids. Modern culture tends to consider bodily fluids as superfluous and wasteful, as unholy and unspeakable taboos, as something that should be discarded because it has no apparent use except in the personal sphere of intimacy.
By revealing the chemical, biological and nutritional potentials of a variety of bodily fluids and by encouraging the participants to explore and harvest their own, Burr Raty engages in a fierce critique of consumption and industrial mass production, and in a clever journey to cross many boundaries: she breaks the taboo that prevents us from speaking about bodily fluids; she shows how bodily fluids are profoundly entangled with the body and its surrounding environment; she demonstrates how far from waste they are, and how they participate in a never-ending cycle of growth, decay and renewal. By crossing the boundaries of art, biology, technology and agriculture, Burr Raty offers spaces of liberation that incite new living habits by means of alternative cultural arrangements, which propose circular economy models such as the one based on fluid bio-transaction and pleasure. Speaking of and practicing boundary crossing, especially the idea of bodily fluids’ ecological entanglements, is crucial in today’s increased fear of touching and physical isolation due to COVID19’s hygiene theatre.
During this workshop-performance, registered participants will join the online audience from various remote locations. They will be asked to answer a number of questions reflecting their relation with bodily fluids from a variety of perspectives – personal, scientific or philosophical – and will be invited to test and give feedback on a series of special Beauty Kit (BK) transpersonal and gender neutral skin and care lines that will be delivered via mail to their homes. Finally, they will be encouraged to inquire on the product’s formulas and agro-cultural technology employed in this project.
The workshop-performance will take place on October 29  3:00-5:00 pm [presumably this is on Eastern Daylight Time]
I believe “Fiends Institute for Research in Mathematical Science” should be “Fields Institute for Research in Mathematical Science.”
Isabel Burr Raty currently runs a mobile Farm that harvests human female erotic juices to manufacture Para-pharmaceutical bio-products with them, that will evolve into an Eco-erogenous Village of entanglements, where every-BODY will harvest each other.
We are looking for participants to take part in this unique online/distributed workshop-performance
Beauty Kit – eco-erogenous para-pharmaceutics
On Oct 29, 2020,
3:00-5:00 pm EDT
How many types of female ejaculations do you know about? Can a brain orgasm be transformed into a source of renewable energy? Can the orgasmic body be a territory for sustainable agricultural development? Could engaging in and speaking of bodily fluids and intimate relations help us overcome current fears of the unknown and the microscopic and open up a new culture of care and sharing, mutual aid and solidarity?
These are some (but not all!) of the questions that this workshop/performance seeks to explore.
The joint participation of the online public is very important. Pointing out gaps in scientific perspectives about the body’s orgasmic agency, she exposes allopathic and ancestral perspectives on the faculty of sexual fluids to replace the components of beauty and wellbeing products that we find in the market. An invited audience of participants is warmly welcome to test the BK transpersonal and gender neutral skin and care lines that they will receive via the post to their homes, as well as to inquire on the product’s formulas and agro-cultural technology employed in this project.
To run this workshop, we are looking for volunteers to:
1. Participate in the workshop/performance remotely online
2. Try some Beauty Kit (BK) products
3. Engage in a public discussion with Burr Raty and the general audience
4. Agree to make themselves visible, as avatars, as themselves, as masked characters or by wearing a color that gives them pleasure
This is an inclusive workshop which seeks to address intimate, scientific and political topics with respect and care.
If you wish to be part of this experience, please, send us your intent to participate: RSVP to the workshop by Oct 15, 2020 by sending an email to firstname.lastname@example.org with a couple of sentences explaining why you are interested in being part of it.
We will ask you to provide a home address where we can send you the material.
We care about your privacy and we will do anything we can to respect your preferences. If you live in Toronto, arrangements can be made for physically distanced pickup.
This workshop is performative and participants are encouraged to impersonate their alter-ego, to play their avatar, to wear a costume etc…
ABOUT ISABEL BURR RATY
Isabel Burr Raty is an independent filmmaker, artist, teacher and sexual Kunfu coach exploring the interstices between the organic and the artificial, between the unlicensed knowledge of minority groups and the official facts. In so doing, she aims to dig up chapters left out of history books, blur the limits between fiction/reality and re-think the memory of the future.
In her artistic work she interweaves performance and new media installation proposing hybrid narratives and bio-autonomy practices that invite the public to queer production understandings and embody SF in real time, such as the Beauty Kit Farm.
Isabel teaches Media art history in École de Recherche Graphique and is researcher in WAB IV nadine Brussels. In 2018 she was granted a bio-art & design deal by the AFK (Amsterdams Fonds voor de Kunst), which partnered her to: The Waag, Mediamatic and Prof. Toby Kiers (VU Amsterdam).
Burr Raty has shown her works and collaborations internationally, in venues such as: KVS (Royal Flemish Theater), Beursschouwburg, Constant_V, ZSeene Art Lab, Limal (Brussels); Palais de Tokyo Paris, ISEA Hong Kong and Cultivamos Cultura Portugal; presented her work in festivals and conferences such as: Enter Through The Void, Exit Through The Giftshop, Campo Victoria, Ghent (BE), Ecofutures at Queen Mary’s University London (GB), FEMeeting (PT), Taboo Transgression Transcendence in Art and Science (GR/AU), Human Enhancement Clinic at Border Sessions (NL), Science Friction at the Aki Institute in Enchede University (NL) and FACTT at Humbolt University Berlin (DE); and given workshops at the University of the Arts Berlin (DE) and Rampa Lab Ljubljana (SI).
Beauty Kit is part of Boundary-Crossings: Multiscalar Entanglements in Art, Science and Society, a public Outreach program supported by the Fiends [sic; Fields] Institute for Research in Mathematical Science
Boundary Crossings is a series exploring how the notion of boundaries can be transcended and dissolved in the arts and the humanities, the biological and the mathematical sciences, as well as human geography and political economy. Boundaries are used to establish delimitations among disciplines; to discriminate between the human and the non-human (body and technologies, body and bacteria); and to indicate physical and/or artificial boundaries, separating geographical areas and nation states.
This event is curated by ArtSci Salon with support from Sensorium: Centre for Digital Arts and Technology, York University
I believe this or something like it is what you’ll be receiving,
I’m not sure how mathematics relates to Beauty Kit but it is definitely boundary-crossing.
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 email@example.com
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.