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 email@example.com 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 firstname.lastname@example.org
Our second Sensorium Winter Lunchtime Seminar Series event of March will feature pioneering bio-artist Marta De Menezes [sic] who explores the use of biology and biotechnology as new art media and in conducting her practice in research laboratories that are her art studio.
The 26th annual International Symposium on Electronic Arts (ISEA): Why Sentience? is being held from May 19 – 24, 2020 in Montreal, Canada and organizers have sen,t via email, a March 3, 2020 announcement,
DISCOVER THE PRELIMINARY PROGRAMMING!
Below is the list of accepted authors* from the call for submissions to ISEA2020. *Speakers are confirmed upon registration
Professor in the Communication department at Université de Montréal Agronomist (ENSA Montpellier, 1986) and sociologist (Ph.D. Paris X Nanterre, 1991), Thierry Bardini is full professor in the department of communication at the Université de Montréal, where he has been teaching since 1993. From 1990 to 1993, he was a visiting scholar and adjunct professor at the Annenberg School for communication at the University of Southern California, under the supervision of Everett M. Rogers. His research interests concern the contemporary cyberculture, from the production and uses of information and communication technologies to molecular biology. He is the author of Bootstrapping: Douglas Engelbart, Coevolution and the Genesis of Personal Computing (Stanford University Press, 2000), Junkware (University of Minnesota Press, 2011) and Journey to the End of the Species (in collaboration with Dominique Lestel, Éditions Dis Voir, Paris, 2011). Thierry Bardini is currently working on his first research-creation project, Toward the Fourth Nature, with Beatriz Herrera and François-Joseph Lapointe.
Jolene Rickard, Ph.D. is a visual historian, artist and curator interested in the intersection of Indigenous knowledge and contemporary art, materiality, and ecocriticism with an emphasis on Hodinöhsö:ni aesthetics. A selection of publications includes: Diversifying Sovereignty and the Reception of Indigenous Art, Art Journal 76, no. 2 (2017), Aesthetics, Violence and Indigeneity, Public 27, no. 54 (Winter 2016), The Emergence of Global Indigenous Art, Sakahán, National Gallery of Canada (2013), and Visualizing Sovereignty in the Time of Biometric Sensors, The South Atlantic Quarterly: (2011). Recent exhibitions include the Minneapolis Institute of Arts, Hearts of Our People: Native Women Artists, 2019-2021, Crystal Bridges Museum of Art, Art For a New Understanding: Native Voices, 1950’s to Now, 2018-2020. Jolene is a 2020 Fulbright Research Scholar at McMaster University, ON, an Associate Professor in the departments of History of Art and Art, and the former Director of the American Indian and Indigenous Studies Program 2008-2020 (AIISP) at Cornell University, Ithaca, NY. Jolene is from the Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy.
Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Dr. Ramon Amaro, Ph.D. is a Lecturer in the Department of
Visual Cultures at Goldsmiths, University of London. Previously he was
Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam
and visiting tutor in Media Theory at the Royal Academy of Art, The
Hague, NL (KABK). Ramon completed his PhD in Philosophy at Goldsmiths,
while holding a Masters degree in Sociological Research from the
University of Essex and a BSe in Mechanical Engineering from the
University of Michigan, Ann Arbor. He has worked as Assistant Editor for
the SAGE open access journal Big Data & Society; quality design
engineer for General Motors; and programmes manager for the American
Society of Mechanical Engineers (ASME). His research interests include
machine learning, the philosophies of mathematics and engineering,
critical Black thought, and philosophies of being.
There are movies, plays, a multimedia installation experience all in Vancouver, and the ‘CHAOSMOSIS mAchInesexhibition/performance/discussion/panel/in-situ experiments/art/ science/ techne/ philosophy’ event in Toronto. But first, there’s a a Vancouver talk about engaging scientists in the upcoming federal election. .
Science in the Age of Misinformation (and the upcoming federal election) in Vancouver
Science in the Age of Misinformation, with Katie Gibbs, Evidence for Democracy In the lead up to the federal election, it is more important than ever to understand the role that researchers play in shaping policy. Join us in this special Policy in Practice event with Dr. Katie Gibbs, Executive Director of Evidence for Democracy, Canada’s leading, national, non-partisan, and not-for-profit organization promoting science and the transparent use of evidence in government decision making. A Musqueam land acknowledgement, welcome remarks and moderation of this event will be provided by MPPGA students Joshua Tafel, and Chengkun Lv.
Wednesday, September 4, 2019 12:30 pm – 1:50 pm (Doors will open at noon) Liu Institute for Global Issues – xʷθəθiqətəm (Place of Many Trees), 1st floor Pizza will be provided starting at noon on first come, first serve basis. Please RSVP.
What role do researchers play in a political environment that is increasingly polarized and influenced by misinformation? Dr. Katie Gibbs, Executive Director of Evidence for Democracy, will give an overview of the current state of science integrity and science policy in Canada highlighting progress made over the past four years and what this means in a context of growing anti-expert movements in Canada and around the world. Dr. Gibbs will share concrete ways for researchers to engage heading into a critical federal election [emphasis mine], and how they can have lasting policy impact.
Bio: Katie Gibbs is a scientist, organizer and advocate for science and evidence-based policies. While completing her Ph.D. at the University of Ottawa in Biology, she was one of the lead organizers of the ‘Death of Evidence’—one of the largest science rallies in Canadian history. Katie co-founded Evidence for Democracy, Canada’s leading, national, non-partisan, and not-for-profit organization promoting science and the transparent use of evidence in government decision making. Her ongoing success in advocating for the restoration of public science in Canada has made Katie a go-to resource for national and international media outlets including Science, The Guardian and the Globe and Mail.
Katie has also been involved in international efforts to increase evidence-based decision-making and advises science integrity movements in other countries and is a member of the Open Government Partnership Multi-stakeholder Forum.
Disclaimer: Please note that by registering via Eventbrite, your information will be stored on the Eventbrite server, which is located outside Canada. If you do not wish to use this service, please email Joelle.Lee@ubc.ca directly to register. Thank you.
Location Liu Institute for Global Issues – Place of Many Trees 6476 NW Marine Drive Vancouver, British Columbia V6T 1Z2
Sadly I was not able to post the information about Dr. Gibbs’s more informal talk last night (Sept. 3, 2019) which was a special event with Café Scientifique but I do have a link to a website encouraging anyone who wants to help get science on the 2019 federal election agenda, Vote Science. P.S. I’m sorry I wasn’t able to post this in a more timely fashion.
Transmissions; a multimedia installation in Vancouver, September 6 -28, 2019
Lisa Jackson is a filmmaker, but she’s never allowed that job description to limit what she creates or where and how she screens her works.
The Anishinaabe artist’s breakout piece was last year’s haunting virtual-reality animation Biidaaban: First Light. In its eerie world, one that won a Canadian Screen Award, nature has overtaken a near-empty, future Toronto, with trees growing through cracks in the sidewalks, vines enveloping skyscrapers, and people commuting by canoe.
All that and more has brought her here, to Transmissions, a 6,000-square-foot, immersive film installation that invites visitors to wander through windy coastal forests, by hauntingly empty glass towers, into soundscapes of ancient languages, and more.
Through the labyrinthine multimedia work at SFU [Simon Fraser University] Woodward’s, Jackson asks big questions—about Earth’s future, about humanity’s relationship to it, and about time and Indigeneity.
Simultaneously, she mashes up not just disciplines like film and sculpture, but concepts of science, storytelling, and linguistics [emphasis mine].
“The tag lines I’m working with now are ‘the roots of meaning’ and ‘knitting the world together’,” she explains. “In western society, we tend to hive things off into ‘That’s culture. That’s science.’ But from an Indigenous point of view, it’s all connected.”
Transmissions is split into three parts, with what Jackson describes as a beginning, a middle, and an end. Like Biidaaban, it’s also visually stunning: the artist admits she’s playing with Hollywood spectacle.
Without giving too much away—a big part of the appeal of Jackson’s work is the sense of surprise—Vancouver audiences will first enter a 48-foot-long, six-foot-wide tunnel, surrounded by projections that morph from empty urban streets to a forest and a river. Further engulfing them is a soundscape that features strong winds, while black mirrors along the floor skew perspective and play with what’s above and below ground.
“You feel out of time and space,” says Jackson, who wants to challenge western society’s linear notions of minutes and hours. “I want the audience to have a physical response and an emotional response. To me, that gets closer to the Indigenous understanding. Because the Eurocentric way is more rational, where the intellectual is put ahead of everything else.”
Viewers then enter a room, where the highly collaborative Jackson has worked with artist Alan Storey, who’s helped create Plexiglas towers that look like the ghost high-rises of an abandoned city. (Storey has also designed other components of the installation.) As audience members wander through them on foot, projections make their shadows dance on the structures. Like Biidaaban, the section hints at a postapocalyptic or posthuman world. Jackson operates in an emerging realm of Indigenous futurism.
The words “science, storytelling, and linguistics” were emphasized due to a minor problem I have with terminology. Linguistics is defined as the scientific study of language combining elements from the natural sciences, social sciences, and the humanities. I wish either Jackson or Smith had discussed the scientific element of Transmissions at more length and perhaps reconnected linguistics to science along with the physics of time and space, as well as, storytelling, film, and sculpture. It would have been helpful since it’s my understanding, Transmissions is designed to showcase all of those connections and more in ways that may not be obvious to everyone. On the plus side, perhaps the tour, which is part of this installation experience includes that information.
The Roots of Meaning World Premiere September 6 – 28, 2019
Fei & Milton Wong Experimental Theatre SFU Woodward’s, 149 West Hastings Tuesday to Friday, 1pm to 7pm Saturday and Sunday, 1pm to 5pm FREE
In partnership with SFU Woodward’s Cultural Programs and produced by Electric Company Theatre and Violator Films.
TRANSMISSIONS is a three-part, 6000 square foot multimedia installation by award-winning Anishinaabe filmmaker and artist Lisa Jackson. It extends her investigation into the connections between land, language, and people, most recently with her virtual reality work Biidaaban: First Light.
Projections, sculpture, and film combine to create urban and natural landscapes that are eerie and beautiful, familiar and foreign, concrete and magical. Past and future collide in a visceral and thought-provoking journey that questions our current moment and opens up the complexity of thought systems embedded in Indigenous languages. Radically different from European languages, they embody sets of relationships to the land, to each other, and to time itself.
Transmissions invites us to untether from our day-to-day world and imagine a possible future. It provides a platform to activate and cross-pollinate knowledge systems, from science to storytelling, ecology to linguistics, art to commerce. To begin conversations, to listen deeply, to engage varied perspectives and expertise, to knit the world together and find our place within the circle of all our relations.
Produced in association with McMaster University Socrates Project, Moving Images Distribution and Cobalt Connects Creativity.
Admission: Free Public Tours Tuesday through Sunday Reservations accepted from 1pm to 3pm. Reservations are booked in 15 minute increments. Individuals and groups up to 10 welcome. Please email: email@example.com for more information or to book groups of 10 or more.
Her Story: Canadian Women Scientists (short film subjects); Sept. 13 – 14, 2019
Curiosity Collider, producer of art/science events in Vancouver, is presenting a film series featuring Canadian women scientists, according to an August 27 ,2019 press release (received via email),
“Her Story: Canadian Women Scientists,” a film series dedicated to sharing the stories of Canadian women scientists, will premiere on September 13th and 14th at the Annex theatre. Four pairs of local filmmakers and Canadian women scientists collaborated to create 5-6 minute videos; for each film in the series, a scientist tells her own story, interwoven with the story of an inspiring Canadian women scientist who came before her in her field of study.
Produced by Vancouver-based non-profit organization Curiosity Collider, this project was developed to address the lack of storytelling videos showcasing remarkable women scientists and their work available via popular online platforms. “Her Story reveals the lives of women working in science,” said Larissa Blokhuis, curator for Her Story. “This project acts as a beacon to girls and women who want to see themselves in the scientific community. The intergenerational nature of the project highlights the fact that women have always worked in and contributed to science.
This sentiment was reflected by Samantha Baglot as well, a PhD student in neuroscience who collaborated with filmmaker/science cartoonist Armin Mortazavi in Her Story. “It is empowering to share stories of previous Canadian female scientists… it is empowering for myself as a current female scientist to learn about other stories of success, and gain perspective of how these women fought through various hardships and inequality.”
When asked why seeing better representation of women in scientific work is important, artist/filmmaker Michael Markowsky shared his thoughts. “It’s important for women — and their male allies — to question and push back against these perceived social norms, and to occupy space which rightfully belongs to them.” In fact, his wife just gave birth to their first child, a daughter; “It’s personally very important to me that she has strong female role models to look up to.” His film will feature collaborating scientist Jade Shiller, and Kathleen Conlan – who was named one of Canada’s greatest explorers by Canadian Geographic in 2015.
Other participating filmmakers and collaborating scientists include: Leslie Kennah (Filmmaker), Kimberly Girling (scientist, Research and Policy Director at Evidence for Democracy), Lucas Kavanagh and Jesse Lupini (Filmmakers, Avocado Video), and Jessica Pilarczyk (SFU Assistant Professor, Department of Earth Sciences).
This film series is supported by Westcoast Women in Engineering, Science and Technology (WWEST) and Eng.Cite. The venue for the events is provided by Vancouver Civic Theatres.
Screening events will be hosted at Annex (823 Seymour St, Vancouver) on September 13th and 14th . Events will also include a talkback with filmmakers and collab scientists on the 13th, and a panel discussion on representations of women in science and culture on the 14th. Visit http://bit.ly/HerStoryTickets2019 for tickets ($14.99-19.99) and http://bit.ly/HerStoryWomenScientists for project information.
I have a film collage,
I looks like they’re presenting films with a diversity of styles. You can find out more about Curiosity Collider and its various programmes and events here.
Vancouver Fringe Festival September 5 – 16, 2019
I found two plays in this year’s fringe festival programme that feature science in one way or another. Not having seen either play I make no guarantees as to content. First up is,
Adam and April are a regular 20-something couple, very nearly blissfully generic, aside from one important detail: one of the pair is an “artificially intelligent companion.” Their joyful veneer has begun to crack and they need YOU to decide the future of their relationship. Is the freedom of a robot or the will of a human more important? For AI Love You:
***** “Magnificent, complex and beautifully addictive.” —Spy in the Stalls **** “Emotionally charged, deeply moving piece … I was left with goosebumps.” —West End Wilma **** —London City Nights Past shows: ***** “The perfect show.” —Theatre Box
Red Glimmer Dusty Foot Productions Vancouver, Canada Written & Directed by Patricia Trinh
Abstract Sci-Fi dramedy. An interdimensional science experiment! Woman involuntarily takes an all inclusive internal trip after falling into a deep depression. A scientist is hired to navigate her neurological pathways from inside her mind – tackling the fact that humans cannot physically re-experience somatosensory sensation, like pain. What if that were the case for traumatic emotional pain? A creepy little girl is heard running by. What happens next?
CHAOSMOSIS mAchInes exhibition/performance/discussion/panel/in-situ experiments/art/ science/ techne/ philosophy, 28 September, 2019 in Toronto
An Art/Sci Salon September 2, 2019 announcement (received via email), Note: I have made some formatting changes,
28 September, 2019 7pm-11pm. Helen-Gardiner-Phelan Theatre, 2nd floor University of Toronto. 79 St. George St.
A playful co-presentation by the Topological Media Lab (Concordia U-Montreal) and The Digital Dramaturgy Labsquared (U of T-Toronto). This event is part of our collaboration with DDLsquared lab, the Topological Lab and the Leonardo LASER network
7pm-9.30pm, Installation-performances, 9.30pm-11pm, Reception and cash bar, Front and Long Room, Ground floor
Description: From responsive sculptures to atmosphere-creating machines; from sensorial machines to affective autonomous robots, Chaosmosis mAchInes is an eclectic series of installations and performances reflecting on today’s complex symbiotic relations between humans, machines and the environment.
This will be the first encounter between Montreal-based Topological Media Lab (Concordia University) and the Toronto-based Digital Dramaturgy Labsquared (U of T) to co-present current process-based and experimental works. Both labs have a history of notorious playfulness, conceptual abysmal depth, human-machine interplays, Art&Science speculations (what if?), collaborative messes, and a knack for A/I as in Artistic Intelligence.
Thanks to Nina Czegledy (Laser series, Leonardo network) for inspiring the event and for initiating the collaboration
Project presentations will include: Topological Media Lab tangibleFlux φ plenumorphic ∴ chaosmosis SPIEL On Air The Sound That Severs Now from Now Cloud Chamber (2018) | Caustic Scenography, Responsive Cloud Formation Liquid Light Robots: Machine Menagerie Phaze Phase Passing Light Info projects Digital Dramaturgy Labsquared Btw Lf & Dth – interFACING disappearance Info project
Earlier last month [August 2019?], surgeons at St Paul’s Hospital performed an ankle replacement for a Cloverdale resident using a 3D printed bone. The first procedure of its kind in Western Canada, it saved the patient all of his ten toes — something doctors had originally decided to amputate due to the severity of the motorcycle accident.
Maker Faire Vancouver Co-producer, John Biehler, may not be using his 3D printer for medical breakthroughs, but he does see a subtle connection between his home 3D printer and the Health Canada-approved bone.
“I got into 3D printing to make fun stuff and gadgets,” John says of the box-sized machine that started as a hobby and turned into a side business. “But the fact that the very same technology can have life-changing and life-saving applications is amazing.”
When John showed up to Maker Faire Vancouver seven years ago, opportunities to access this hobby were limited. Armed with a 3D printer he had just finished assembling the night before, John was hoping to meet others in the community with similar interests to build, experiment and create. Much like the increase in accessibility to these portable machines has changed over the years—with universities, libraries and makerspaces making them readily available alongside CNC Machines, laser cutters and more — John says the excitement around crafting and tinkering has skyrocketed as well.
“The kind of technology that inspires people to print a bone or spinal insert all starts at ground zero in places like a Maker Faire where people get exposed to STEAM,” John says …
… From 3D printing enthusiasts like John to knitters, metal artists and roboticists, this full one-day event [Maker Faire Vancouver on Saturday, September 14, 2019] will facilitate cross-pollination between hobbyists, small businesses, artists and tinkerers. Described as part science fair, part county fair and part something entirely new, Maker Faire Vancouver hopes to facilitate discovery and what John calls “pure joy moments.”
I have two art/sci (or sciart) announcements, one concerns an event and the other is a news update.
Toronto’s ArtSci Salon and the Society of Literature, Science & the Arts (SLSA) 2018 Meeting
How could I not have stumbled across SLSA until now? Better late than never but the 2018 meeting/conference in Toronto, Canada is the 32nd of this annual event. (sigh)
Getting on to the important points, the ArtSci Salon is hosting a special roundtable as part of the conference (from a November 14, 2018 announcement received via email),
ArtSci Salon has organized a special roundtable at the annual SLSA
(Society for Science Literature and the Arts) which will take place in
Toronto this week.
The roundtable is public and will be held at OCADU [Ontario College of Art and Design University] in the gallery on 49 McCaul Street.
Re-locating the rational: on the re-making of categories through art and science (or: the artist is out of mind!)
A roundtable and a mobile/pop-up exhibition organized by ArtSci Salon
The world always exceeds our conception of it (Shotwell, 2016)
Coinciding with this year’s SLSA “Out of Mind” conference in Toronto, ArtSci Salon is proposing a panel/roundtable on “out-of-mindedness” as a way to re-think categories, and to disrupt the disciplinary and methodological status quo through which we normally see science and the humanities unfolding in academic contexts. We plan to do it through a pop-up exhibition featuring the works of local artists and members of SLSA.
What to do when the sciences and the humanities loose [sic] their ability to fully grasp, and sometimes even speak of, phenomena that have inevitably become too complex, too diffuse to be simplified through a model or a formula, or to be seized and summarized by one discipline?
This initiative is not designed to propose a set of new categories, but to pose a series of open questions, highlighting the necessity to conduct collaborative research between artistic practices and scientific research. We interpret the idea of “out of mind” as a strategy. In fact, using the arts as our preferred mode of expression, we believe that we ought to step out of the traditional mind configurations and fixed wiring in order to seize new ways to come to term with the multiplicities characterizing current environmental transformations. These occurrences have proved to be connected with nature, culture, and society in too many intricate ways, to the extent that neither science, nor technological methods are able to fully comprehend them.
Roberta Buiani (Chair)
Here’s the poster:
One more logistical detail,
[T]he roundtable will be at 10:30-12:00 noon [Friday, November 16, 2018] followed by a small tour of the mobile pop-up exhibition[.]
For the curious, here’s the SLSA website and the SLSA 2018 [Meeting]—Out of Your Mind website. Unexpectedly, the University of Toronto is not one of the conference hosts, instead we have the University of Waterloo [Waterloo, Ontario] and York University [Toronto, Ontario] as joint hosts with OCAD University—Canada’s oldest art and design institution—partnering with the Rochester Institute of Technology (New York state, US).
Vancouver’s Curiosity Collider
Coincidentally on the same day I received the ArtSci Salon event information, I received a November 14, 2018 update for Vancouver’s art/sci (or sciart) organization, Curiosity Collider. From the update received via email,
Next events (save-the-date), call for submissions, and other art+science in town
Meet Up & Hang Out
Are you an artist working in the sci/art genre? A scientist interested in collaborating with artists? Or one who wears both hats?
In the fall of 2019, the Curiosity Collider will be hosting our inaugural Sci-Art festival The Collisions Festival; the first theme will be Invasive Systems. The call for submission will be open in spring, 2019. The theme is meant to be broad in scope and not limited to any specific scientific subject/discipline; participants are encouraged to suggest various interpretation of the theme.
We would like to invite all artists and scientists who are interested in participating or potentially submitting a proposal to join us at this meet up event, chat about possible collaborations, and learn more about projects and details on “collaborative work” proposals we are looking for.
In the old days a ‘development director’ was a ‘fundraiser’. That RSVP? Likely, they’re trying to establish the size of their potential audience so they can get government grants. Audience size is important to corporate or ‘other’ funders but if you want a government grant you need numbers.
Getting back to the update, this is a grouping of Curiosity Collider’s latest hits,
Et al 3: Collaboration Process for Quantum Futures
Nerd Nite, Science Slam, and Curiosity Collider joined forces for the 3rd edition of Et al: the ultimate bar science night event. During the event, Quantum Physicist James Day and our Creative Managing Director Char Hoyt gave attendees an overview of the collaboration process that made Night shift: Quantum Futures, an event curated by CC and hosted at the Museum of Anthropology, possible.
While they don’t seem to have any details, there is a date for the next Collider Cafe,
Save the Date:
Next Collider Cafe
Our next Collider Cafe will be on Wednesday, January 23 at Cafe Deux Soleils. #ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet. Discover. Connect. Create.
Are you curious? Join us to explore how art and science intersect in the exploration of curiosity.
Finally, a miscellaneous listing of related events being held in Vancouver, mostly, this November,
November 15-18 CC friend Dzee Louise will open her studio during the East Side Cultural Crawl! Drop by at studio #5 just at the top of the stairs of the William Clark Building at 1310 William Street (on the corner of Clark).
Until December 15 Vancouver Biennale’s CURIOUS IMAGININGS continues…check out the exhibition that will “challenge us to explore the social impacts of emerging biotechnology and our ethical limits in an age where genetic engineering and digital technologies are already pushing the boundaries of humanity.”
I did write a preview (June 18, 2018) for the last event on the list, Curious Imaginings, which included some of the latest science on xenotransplantation and chimeras (i.e., examples of emerging biotechnology). That’s all folks!
While my main interest is the group’s temporary art gallery, I am providing a brief explanatory introduction and a couple of previews for SIGGRAPH 2018.
For anyone unfamiliar with the Special Interest Group on Computer GRAPHics and Interactive Techniques (SIGGRAPH) and its conferences, from the SIGGRAPH Wikipedia entry Note: Links have been removed),
Some highlights of the conference are its Animation Theater and Electronic Theater presentations, where recently created CG films are played. There is a large exhibition floor, where several hundred companies set up elaborate booths and compete for attention and recruits. Most of the companies are in the engineering, graphics, motion picture, or video game industries. There are also many booths for schools which specialize in computer graphics or interactivity.
Dozens of research papers are presented each year, and SIGGRAPH is widely considered the most prestigious forum for the publication of computer graphics research. The recent paper acceptance rate for SIGGRAPH has been less than 26%. The submitted papers are peer-reviewed in a single-blind process. There has been some criticism about the preference of SIGGRAPH paper reviewers for novel results rather than useful incremental progress. …
This is the third SIGGRAPH Vancouver has hosted; the others were in 2011 and 2014. The theme for the 2018 iteration is ‘Generations’; here’s more about it from an Aug. 2, 2018 article by Terry Flores for Variety,
While its focus is firmly forward thinking, SIGGRAPH 2018, the computer graphics, animation, virtual reality, games, digital art, mixed reality, and emerging technologies conference, is also tipping its hat to the past thanks to its theme this year: Generations. The conference runs Aug. 12-16 in Vancouver, B.C.
“In the literal people sense, pioneers in the computer graphics industry are standing shoulder to shoulder with researchers, practitioners and the future of the industry — young people — mentoring them, dabbling across multiple disciplines to innovate, relate, and grow,” says SIGGRAPH 2018 conference chair Roy C. Anthony, VP of creative development and operations at software and technology firm Ventuz. “This is really what SIGGRAPH has always been about. Generations really seemed like a very appropriate way of looking back and remembering where we all came from and how far we’ve come.”
SIGGRAPH 2018 has a number of treats in store for attendees, including the debut of Disney’s first VR film, the short “Cycles”; production sessions on the making of “Blade Runner 2049,” “Game of Thrones,” “Incredibles 2” and “Avengers: Infinity War”; as well as sneak peeks of Disney’s upcoming “Ralph Breaks the Internet: Wreck-It Ralph 2” and Laika’s “Missing Link.”
That list of ‘treats’ in the last paragraph makes the conference seem more like an iteration of a ‘comic-con’ than a technology conference.
CHICAGO–In the burgeoning world of virtual reality (VR) technology, it remains a challenge to provide users with a realistic perception of infinite space and natural walking capabilities in the virtual environment. A team of computer scientists has introduced a new approach to address this problem by leveraging a natural human phenomenon: eye blinks.
All humans are functionally blind for about 10 percent of the time under normal circumstances due to eye blinks and saccades, a rapid movement of the eye between two points or objects. Eye blinks are a common and natural cause of so-called “change blindness,” which indicates the inability for humans to notice changes to visual scenes. Zeroing in on eye blinks and change blindness, the team has devised a novel computational system that effectively redirects the user in the virtual environment during these natural instances, all with undetectable camera movements to deliver orientation redirection.
“Previous RDW [redirected walking] techniques apply rotations continuously while the user is walking. But the amount of unnoticeable rotations is limited,” notes Eike Langbehn, lead author of the research and doctoral candidate at the University of Hamburg. “That’s why an orthogonal approach is needed–we add some additional rotations when the user is not focused on the visuals. When we learned that humans are functionally blind for some time due to blinks, we thought, ‘Why don’t we do the redirection during eye blinks?'”
Human eye blinks occur approximately 10 to 20 times per minute, about every 4 to 19 seconds. Leveraging this window of opportunity–where humans are unable to detect major motion changes while in a virtual environment–the researchers devised an approach to synchronize a computer graphics rendering system with this visual process, and introduce any useful motion changes in virtual scenes to enhance users’ overall VR experience.
The researchers’ experiments revealed that imperceptible camera rotations of 2 to 5 degrees and translations of 4 to 9 cm of the user’s viewpoint are possible during a blink without users even noticing. They tracked test participants’ eye blinks by an eye tracker in a VR head-mounted display. In a confirmatory study, the team validated that participants could not reliably detect in which of two eye blinks their viewpoint was manipulated while walking a VR curved path. The tests relied on unconscious natural eye blinking, but the researchers say redirection during blinking could be carried out consciously. Since users can consciously blink multiple times a day without much effort, eye blinks provide great potential to be used as an intentional trigger in their approach.
The team will present their work at SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia. The annual conference and exhibition showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
“RDW is a big challenge since current techniques still need too much space to enable unlimited walking in VR,” notes Langbehn. “Our work might contribute to a reduction of space since we found out that unnoticeable rotations of up to five degrees are possible during blinks. This means we can improve the performance of RDW by approximately 50 percent.”
The team’s results could be used in combination with other VR research, such as novel steering algorithms, improved path prediction, and rotations during saccades, to name a few. Down the road, such techniques could some day enable consumer VR users to virtually walk beyond their living room.
Langbehn collaborated on the work with Frank Steinicke of University of Hamburg, Markus Lappe of University of Muenster, Gregory F. Welch of University of Central Florida, and Gerd Bruder, also of University of Central Florida. For the full paper and video, visit the team’s project page.
About ACM, ACM SIGGRAPH, and SIGGRAPH 2018
ACM, the Association for Computing Machinery, is the world’s largest educational and scientific computing society, uniting educators, researchers, and professionals to inspire dialogue, share resources, and address the field’s challenges. ACM SIGGRAPH is a special interest group within ACM that serves as an interdisciplinary community for members in research, technology, and applications in computer graphics and interactive techniques. SIGGRAPH is the world’s leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques. SIGGRAPH 2018, marking the 45th annual conference hosted by ACM SIGGRAPH, will take place from 12-16 August at the Vancouver Convention Centre in Vancouver, B.C.
They have provided an image illustrating what they mean (I don’t find it especially informative),
Caption: The viewing behavior of a virtual reality user, including fixations (in green) and saccades (in red). A blink fully suppresses visual perception. Credit: Eike Langbehn
Walt Disney Animation Studios will debut its first ever virtual reality short film at SIGGRAPH 2018, and the hope is viewers will walk away feeling connected to the characters as equally as they will with the VR technology involved in making the film.
Cycles, an experimental film directed by Jeff Gipson, centers around the true meaning of creating a home and the life it holds inside its walls. The idea for the film is personal, inspired by Gipson’s childhood spending time with his grandparents and creating memories in their home, and later, having to move them to an assisted living residence.
“Every house has a story unique to the people, the characters who live there,” says Gipson. “We wanted to create a story in this single place and be able to have the viewer witness life happening around them. It is an emotionally driven film, expressing the real ups and downs, the happy and sad moments in life.”
For Cycles, Gipson also drew from his past life as an architect, having spent several years designing skate parks, and from his passion for action sports, including freestyle BMX. In Los Angeles, where Gipson lives, it is not unusual to find homes with an empty swimming pool reserved for skating or freestyle biking. Part of the pitch for Cycles came out of Gipson’s experience riding in these empty pools and being curious about the homes attached to them, the families who lived there, and the memories they made.
SIGGRAPH attendees will have the opportunity to experience Cycles at the Immersive Pavilion, a new space for this year’s conference. The Pavilion is devoted exclusively to virtual, augmented, and mixed reality and will contain: the VR Theater, a storytelling extravaganza that is part of the Computer Animation Festival; the Vrcade, a space for VR, AR, and MR games or experiences; and the well-known Village, for showcasing large-scale projects. SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia, is an annual gathering that showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
The production team completed Cycles in four months with about 50 collaborators as part of a professional development program at the studio. A key difference in VR filmmaking includes getting creative with how to translate a story to the VR “screen.” Pre-visualizing the narrative, for one, was a challenge. Rather than traditional storyboarding, Gipson and his team instead used a mix of Quill VR painting techniques and motion capture to “storyboard” Cycles, incorporating painters and artists to generate sculptures or 3D models of characters early on and draw scenes for the VR space. The creators also got innovative with the use of light and color saturation in scenes to help guide the user’s eyes during the film.
“What’s cool for VR is that we are really on the edge of trying to figure out what it is and how to tell stories in this new medium,” says Gipson. “In VR, you can look anywhere and really be transported to a different world, experience it from different angles, and see every detail. We want people watching to feel alive and feel emotion, and give them a true cinematic experience.”
This is Gipson’s VR directorial debut. He joined Walt Disney Animation Studios in 2013, serving as a lighting artist on Disney favorites like Frozen, Zootopia, and Moana. Of getting to direct the studio’s first VR short, he says, “VR is an amazing technology and a lot of times the technology is what is really celebrated. We hope more and more people begin to see the emotional weight of VR films, and with Cycles in particular, we hope they will feel the emotions we aimed to convey with our story.”
Apparently this is a still from the ‘short’,
Caption: Disney Animation Studios will present ‘Cycles’ , its first virtual reality (VR) short, at ACM SIGGRAPH 2018. Credit: Disney Animation Studios
Google has unveiled a new virtual reality (VR) immersive experience based on a novel system that captures and renders high-quality, realistic images from the real world using light fields. Created by a team of leading researchers at Google, Welcome to Light Fields is the tech giant’s splash into the nascent arena of light fields VR experiences, an exciting corner of VR video technology gaining traction for its promise to deliver extremely high-quality imagery and experiences in the virtual world.
Google released Welcome to Light Fields earlier this year as a free app on Steam VR for HTC Vive, Oculus Rift, and Windows Mixed Reality headsets. The creators will demonstrate the VR experience at SIGGRAPH 2018, in the Immersive Pavilion, a new space for this year’s conference. The Pavilion is devoted exclusively to virtual, augmented, and mixed reality and will contain: the Vrcade, a space for VR, AR, and MR games or experiences; the VR Theater, a storytelling extravaganza that is part of the Computer Animation Festival; and the well-known Village, for showcasing large-scale projects. SIGGRAPH 2018, held 12-16 August in Vancouver, British Columbia, is an annual gathering that showcases the world’s leading professionals, academics, and creative minds at the forefront of computer graphics and interactive techniques.
Destinations in Welcome to Light Fields include NASA’s Space Shuttle Discovery, delivering to viewers an astronaut’s view inside the flight deck, which has never been open to the public; the pristine teak and mahogany interiors of the Gamble House, an architectural treasure in Pasadena, CA; and the glorious St. Stephen’s Church in Granada Hills, CA, home to a stunning wall of more than 14,000 pieces of glimmering stained glass.
“I love that light fields in VR can teleport you to exotic places in the real world, and truly make you believe you are there,” says Ryan Overbeck, software engineer at Google who co-led the project. “To me, this is magic.”
To bring this experience to life, Overbeck worked with a team that included Paul Debevec, senior staff engineer at Google, who managed the project and led the hardware piece with engineers Xueming Yu, Jay Busch, and Graham Fyffe. With Overbeck, Daniel Erickson and Daniel Evangelakos focused on the software end. The researchers designed a comprehensive system for capturing and rendering high-quality, spherical light field still images from footage captured in the real world. They developed two easy-to-use light field camera rigs, based on the GoPro Hero4action sports camera, that efficiently capture thousands of images on the surface of a sphere. Those images were then passed through a cloud-based light-field-processing pipeline.
Among other things, explains Overbeck, “The processing pipeline uses computer vision to place the images in 3D and generate depth maps, and we use a modified version of our vp9 video codec
to compress the light field data down to a manageable size.” To render a light field dataset, he notes, the team used a rendering algorithm that blends between the thousands of light field images in real-time.
The team relied on Google’s talented pool of engineers in computer vision, graphics, video compression, and machine learning to overcome the unique challenges posed in light fields technology. They also collaborated closely with the WebM team (who make the vp9 video codec) to develop the high-quality light field compression format incorporated into their system, and leaned heavily on the expertise of the Jump VR team to help pose the images and generate depth maps. (Jump is Google’s professional VR system for achieving 3D-360 video production at scale.)
Indeed, with Welcome to Light Fields, the Google team is demonstrating the potential and promise of light field VR technology, showcasing the technology’s ability to provide a truly immersive experience with a level of unmatched realism. Though light fields technology has been researched and explored in computer graphics for more than 30 years, practical systems for actually delivering high-quality light field experiences has not yet been possible.
Part of the team’s motivation behind creating this VR light field experience is to invigorate the nascent field.
“Welcome to Light Fields proves that it is now possible to make a compelling light field VR viewer that runs on consumer-grade hardware, and we hope that this knowledge will encourage others to get involved with building light field technology and media,” says Overbeck. “We understand that in order to eventually make compelling consumer products based on light fields, we need a thriving light field ecosystem. We need open light field codecs, we need artists creating beautiful light field imagery, and we need people using VR in order to engage with light fields.”
I don’t really understand why this image, which looks like something belongs on advertising material, would be chosen to accompany a news release on a science-based distribution outlet,
Caption: A team of leading researchers at Google, will unveil the new immersive virtual reality (VR) experience “Welcome to Lightfields” at ACM SIGGRAPH 2018. Credit: Image courtesy of Google/Overbeck
Advances in computer-generated imagery have brought vivid, realistic animations to life, but the sounds associated with what we see simulated on screen, such as two objects colliding, are often recordings. Now researchers at Stanford University have developed a system that automatically renders accurate sounds for a wide variety of animated phenomena.
“There’s been a Holy Grail in computing of being able to simulate reality for humans. We can animate scenes and render them visually with physics and computer graphics, but, as for sounds, they are usually made up,” said Doug James, professor of computer science at Stanford University. “Currently there exists no way to generate realistic synchronized sounds for complex animated content, such as splashing water or colliding objects, automatically. This fills that void.”
The researchers will present their work on this sound synthesis system as part of ACM SIGGRAPH 2018, the leading conference on computer graphics and interactive techniques. In addition to enlivening movies and virtual reality worlds, this system could also help engineering companies prototype how products would sound before being physically produced, and hopefully encourage designs that are quieter and less irritating, the researchers said.
“I’ve spent years trying to solve partial differential equations – which govern how sound propagates – by hand,” said Jui-Hsien Wang, a graduate student in James’ lab and in the Institute for Computational and Mathematical Engineering (ICME), and lead author of the paper. “This is actually a place where you don’t just solve the equation but you can actually hear it once you’ve done it. That’s really exciting to me and it’s fun.”
Informed by geometry and physical motion, the system figures out the vibrations of each object and how, like a loudspeaker, those vibrations excite sound waves. It computes the pressure waves cast off by rapidly moving and vibrating surfaces but does not replicate room acoustics. So, although it does not recreate the echoes in a grand cathedral, it can resolve detailed sounds from scenarios like a crashing cymbal, an upside-down bowl spinning to a stop, a glass filling up with water or a virtual character talking into a megaphone.
Most sounds associated with animations rely on pre-recorded clips, which require vast manual effort to synchronize with the action on-screen. These clips are also restricted to noises that exist – they can’t predict anything new. Other systems that produce and predict sounds as accurate as those of James and his team work only in special cases, or assume the geometry doesn’t deform very much. They also require a long pre-computation phase for each separate object.
“Ours is essentially just a render button with minimal pre-processing that treats all objects together in one acoustic wave simulation,” said Ante Qu, a graduate student in James’ lab and co-author of the paper.
The simulated sound that results from this method is highly detailed. It takes into account the sound waves produced by each object in an animation but also predicts how those waves bend, bounce or deaden based on their interactions with other objects and sound waves in the scene.
In its current form, the group’s process takes a while to create the finished product. But, now that they have proven this technique’s potential, they can focus on performance optimizations, such as implementing their method on parallel GPU hardware, that should make it drastically faster.
And, even in its current state, the results are worth the wait.
“The first water sounds we generated with the system were among the best ones we had simulated – and water is a huge challenge in computer-generated sound,” said James. “We thought we might get a little improvement, but it is dramatically better than previous approaches even right out of the box. It was really striking.”
Although the group’s work has faithfully rendered sounds of various objects spinning, falling and banging into each other, more complex objects and interactions – like the reverberating tones of a Stradivarius violin – remain difficult to model realistically. That, the group said, will have to wait for a future solution.
Timothy Langlois of Adobe Research is a co-author of this paper. This research was funded by the National Science Foundation and Adobe Research. James is also a professor, by courtesy, of music and a member of Stanford Bio-X.
Researchers Timothy Langlois, Doug L. James, Ante Qu and Jui-Hsien Wang have created a video featuring highlights of animations with sounds synthesized using the Stanford researchers’ new system.,
The researchers have also provided this image,
By computing pressure waves cast off by rapidly moving and vibrating surfaces – such as a cymbal – a new sound synthesis system developed by Stanford researchers can automatically render realistic sound for computer animations. (Image credit: Timothy Langlois, Doug L. James, Ante Qu and Jui-Hsien Wang)
It does seem like we’re synthesizing the world around us, eh?
SIGGRAPH 2018, the world’s leading showcase of digital art created using computer graphics and interactive techniques, will present a special Art Gallery, entitled “Origins,” and historic Art Papers in Vancouver, B.C. The 45th SIGGRAPH conference will take place 12–16 August at the Vancouver Convention Centre. The programs will also honor the generations of creators that have come before through a special, 50th anniversary edition of the Leonard journal. To register for the conference, visit S2018.SIGGRAPH.ORG.
The SIGGRAPH 2018 ART GALLERY is a curated exhibition, conceived as a dialogical space that enables the viewer to reflect on man’s diverse cultural values and rituals through contemporary creative practices. Building upon an exciting and eclectic selection of creative practices mediated through technologies that represent the sophistication of our times, the SIGGRAPH 2018 Art Gallery will embrace the narratives of the indigenous communities based near Vancouver and throughout Canada as a source of inspiration. The exhibition will feature contemporary media artworks, art pieces by indigenous communities, and other traces of technologically mediated Ludic practices.
Andrés Burbano, SIGGRAPH 2018 Art Gallery chair and professor at Universidad de los Andes, said, “The Art Gallery aims to articulate myth and technology, science and art, the deep past and the computational present, and will coalesce around a theme of ‘Origins.’ Media and technological creative expressions will explore principles such as the origins of the cosmos, the origins of life, the origins of human presence, the origins of the occupation of territories in the Americas, and the origins of people living in the vast territories of the Arctic.”
He continued, “The venue [in Vancouver] hopes to rekindle the original spark that ignited the collaborative spirit of the SIGGRAPH community of engineers, scientists, and artists, who came together to create the very first conference in the early 1970s.”
Highlights from the 2018 Art Gallery include:
Transformation Mask (Canada) [Technology Based]
Shawn Hunt, independent; and Microsoft Garage: Andy Klein, Robert Butterworth, Jonathan Cobb, Jeremy Kersey, Stacey Mulcahy, Brendan O’Rourke, Brent Silk, and Julia Taylor-Hell, Microsoft Vancouver
TRANSFORMATION MASK is an interactive installation that features the Microsoft HoloLens. It utilizes electronics and mechanical engineering to express a physical and digital transformation. Participants are immersed in spatial sounds and holographic visuals.
Somnium (U.S.) [Science Based]
Marko Peljhan, Danny Bazo, and Karl Yerkes, University of California, Santa Barbara
Somnium is a cybernetic installation that provides visitors with the ability to sensorily, cognitively, and emotionally contemplate and experience exoplanetary discoveries, their macro and micro dimensions, and the potential for life in our Galaxy. Some might call it “space telescope.”
Ernest Edmonds Retrospective – Art Systems 1968-2018 (United Kingdom) [History Based]
Ernest Edmonds, De Montfort University
Celebrating one of the pioneers of computer graphics-based art since the early 1970s, this Ernest Edmonds career retrospective will showcase snapshots of Edmonds’ work as it developed over the years. With one piece from each decade, the retrospective will also demonstrate how vital the Leonardo journal has been throughout the 50-year journey.
In addition to the works above, the Art Gallery will feature pieces from notable female artists Ozge Samanci, Ruth West, and Nicole L’Hullier. For more information about the Edmonds retrospective, read THIS POST ON THE ACM SIGGRAPH BLOG.
The SIGGRAPH 2018 ART PAPERS program is designed to feature research from artists, scientists, theorists, technologists, historians, and more in one of four categories: project description, theory/criticism, methods, or history. The chosen work was selected by an international jury of scholars, artists, and immersive technology developers.
To celebrate the 50th anniversary of LEONARDO (MIT Press), and 10 years of its annual SIGGRAPH issue, SIGGRAPH 2018 is pleased to announce a special anniversary edition of the journal, which will feature the 2018 art papers. For 50 years, Leonardo has been the definitive publication for artist-academics. To learn more about the relationship between SIGGRAPH and the journal, listen to THIS EPISODE OF THE SIGGRAPH SPOTLIGHT PODCAST.
“In order to encourage a wider range of topics, we introduced a new submission type, short papers. This enabled us to accept more content than in previous years. Additionally, for the first time, we will introduce sessions that integrate the Art Gallery artist talks with Art Papers talks, promoting richer connections between these two creative communities,” said Angus Forbes, SIGGRAPH 2018 Art Papers chair and professor at University of California, Santa Cruz.
Art Papers highlights include:
Alienating the Familiar with CGI: A Recipe for Making a Full CGI Art House Animated Feature [Long]
Alex Counsell and Paul Charisse, University of Portsmouth
This paper explores the process of making and funding an art house feature film using full CGI in a marketplace where this has never been attempted. It explores cutting-edge technology and production approaches, as well as routes to successful fundraising.
Augmented Fauna and Glass Mutations: A Dialogue Between Material and Technique in Glassblowing and 3D Printing [Long]
Tobias Klein, City University of Hong Kong
The two presented artworks, “Augmented Fauna” and “Glass Mutations,” were created during an artist residence at the PILCHUCK GLASS SCHOOL. They are examples of the qualities and methods established through a synthesis between digital workflows and traditional craft processes and thus formulate the notion of digital craftsmanship.
Inhabitat: An Imaginary Ecosystem in a Children’s Science Museum [Short]
Graham Wakefield, York University, and Haru Hyunkyung Ji, OCAD University
“Inhabitat” is a mixed reality artwork in which participants become part of an imaginary ecology through three simultaneous perspectives of scale and agency; three distinct ways to see with other eyes. This imaginary world was exhibited at a children’s science museum for five months, using an interactive projection-augmented sculpture, a large screen and speaker array, and a virtual reality head-mounted display.
What’s the what?
My father used to say that and I always assumed it meant summarize the high points, if you need to, and get to the point—fast. In that spirit, I am both fascinated and mildly appalled. The virtual, mixed, and augmented reality technologies, as well as, the others being featured at SIGGRAPH 2018 are wondrous in many ways but it seems we are coming ever closer to a world where we no longer interact with nature or other humans directly. (see my August 10, 2018 posting about the ‘extinction of experience’ for research that encourages more direct interaction with nature) I realize that SIGGRAPH is intended as a primarily technical experience but I think a little more content questioning these technologies and their applications (social implications) might be in order. That’s often the artist’s role but I can’t see anything in the art gallery descriptions that hint at any sort of fundamental critique.
I was not expecting to come back to the Carlo Montemagno ‘affair’ after my March 5, 2018 posting but it seems this story about a nanotechnology laboratory (Ingenuity Lab) in Alberta and the lab’s leader, Dr. Carlo Montemagno and his hurried departure for a position at Southern Illinois University (SIU) as Chancellor in summer 2017 has legs. It also hints at some issue within Canadian higher education.
I noted at the time of my posting, that no one in Illinois seemed to be aware that Montemagno had obtained employment for his daughter and son-in-law at the University of Alberta just as he did at SIU when he later moved there. I also noted the pay cut Montemagno took when he moved to Illinois. Both of these facts have since come to light in Illinois and are mentioned in an April 10, 2018 article by Anna Spoerre for SIU’s student paper, the Daily Egyptian.
Before moving onto the latest, I was hoping they’d be able to salvage something from the wreckage in Alberta (from my March 5, 2018 posting),
As for the Ingenuity Lab, perhaps we’ll hear more about their Carbon transformation programme later this year (2018). Unfortunately, the current webpage does not have substantive updates. There are some videos but they seem more like wistful thinking than real life projects.
If they are cleaning up a mess and this looks like it might be the case, I hope they’re successful and can move forward with their projects. [emphases mine] I would like to hear more about the Ingenuity Lab in the future.
Tragedy and comedy
Sadly, it seems the Ingenuity Lab is in the process of being mothballed (from Spoerre’s April 10, 2018 article),
Nine months after Carlo Montemagno left a position as director of Ingenuity Lab to assume the chancellorship at SIU’s Carbondale campus, some members of the Alberta community are still picking up the pieces of what they call a failed project brought to life and then abandoned by its director.
Ingenuity Lab was established in 2012 by the government of Alberta in partnership with the University of Alberta and Alberta Innovates to conduct nanotechnology research related to health, environment, energy and agriculture.
Though a reason was not explicitly given, funding for the lab will be cut this year [2018; emphasis mine] following a review of the lab’s operations.
In June 2017, a review of Ingenuity Lab was authorized. [emphasis mine] The process wrapped up in September  as part of a review of all Alberta Innovates funded programs, said Robert Semeniul, the new media specialist at Alberta Innovates.
Montemagno announced his relocation to SIU shortly after the review got under way. [emphasis mine] Meanwhile, an interim director — Murray Gray — was appointed by the university to redirect the initiative, Semeniul said.
“I was looking for an institutional leadership position that presented new challenges and opportunities — where there was work to be done and I could make a difference,” Montemagno said of leaving Alberta for Illinois. “I also missed interacting and working directly with students.”
“This was supposed to generate incredible amounts of economic activity,” said a former researcher at the former National Institute for Nanotechnology who had experience in the lab. “After awhile — three or four years — people were astonished at the lack of anything coming out of this lab, out of this giant pile of money that was being spent.”
Montemagno said through ground-breaking research the lab attracted external grant funding, including $9 million the last year he ran the lab. [As far as I can tell, as per an Ingenuity Lab news release mentioned in my March 5, 2018 posting, there was a $1.7M from Natural Resources Canada. It was the only grant announced when I was looking in March 2018. Where did the $9M come from?]
The final review has not been made public. Gray did not respond to requests for comment.
Keeping family close
In early April  in Edmonton the remnants of the Ingenuity Lab were gradually erased from the Nanotechnology Research Center on the University of Alberta’s campus.
A nametag pinned to a cubicle wall there displayed the name Kyle Minor, Montemagno’s nephew, and graduate student and project leader in his uncle’s lab.
Minor was one of three family members Montemagno employed at Ingenuity Lab. [emphasis mine] Montemagno’s daughter, Melissa Germain, and son-in-law, Jeffrey Germain, (both of whom are now employed at SIU) were also given jobs at the lab in Canada. The possibility of the Germains’ employment was mentioned in Montemagno’s hiring contract in Alberta.
“I can see why the people who hired [Montemagno] liked him, because he has a charismatic presence and he says the right things to the people he is speaking to,” a previous research associate at the lab said.
Montemagno was brought to the university of Alberta in 2012 with an annual salary of $500,000, almost $400,000 in U.S. currency at Tuesday’s exchange rate. He also received a $1,000,000 interest-free housing loan, according to his employment paperwork. [emphasis mine]
“Your intention to employ, through funding available under the NEBSL Accelerator initiative, your son-in-law and daughter in positions commensurate with their education and experience is acknowledged,” Montemagno’s contract read.
The contract, which purported to follow the University’s “Employment Policy” and “Managing Conflict of Interest in Employment Procedure” was signed by David Lynch, Alberta’s [sic] dean of engineering at the time of the hire. Lynch did not respond to requests for comment.
According to emails obtained through public information requests, there was a personal agreement between Lynch and Montemagno that the expenses for the immigration costs for him and his family would also be covered. [emphasis mine]
“On occasion, the recruitment of specialized faculty members includes a provision for the hiring of a family member into a position commensurate with their education and experience, and subject to our recruitment policy, [emphasis mine]” said Kiann McNeill, spokesman for the University of Alberta.
In addition to what seems to be an extraordinarily high salary ($500,000 + per year) and hiring his family (three of them per the Daily Egyptian’s Anna Spoerre as opposed to the two mentioned in my March 2018 post) to work in his lab, Montemagno got a $1M interest-free loan (this is not entirely correct, the CBC article, which follows, downgrades that number as you’ll see in the 2nd excerpt) and had his and his family’s immigration expenses covered. Is this standard hiring practice in the academic field? Given the failure to get a response from an individual (David Lynch, the University of Alberta’s then dean of engineering) who would have been involved, the answer would seem to be ‘no’.
Please do read the rest of Spoerre’s article and, if you have a little more time, the comments. It should be noted that there seem to be a couple of problems with details. The one noted here is the issue around the loan and, in the article, she states that the National Institute of Nanotechnology has been renamed to Nanotechnology Research Center. After changing ‘center’ to ‘centre’ in my search term, I found this site, which bears yet another name, NRC-UAlberta Nanotechnology Initiative. Should I ever find out what is going with Canada’s national nanotechnology institution, it will be the subject of another posting. [ETA June 20, 2018: I was finally able to untangle the mess (see my June 20, 2018 posting). Spoerre is unlikely to have been following the ‘National Institute of Nanotechnology story’ as I have and missed the ‘downsizing/rebranding exercise’ that had taken place. Also, that particular detail was largely irrelevant to her story.]
The Canadian Broadcasting Corporation (CBC) also covered the situation in an April 10, 2018 online article by Charles Rusnell and Jennie Russell,
The University of Alberta recruited star American nanotechnology researcher [emphasis mine] Carlo Montemagno in 2012 by agreeing to his condition that it hire his daughter and son-in-law to work in his laboratory — in addition to his $500,000 a year salary.
Documents obtained through freedom of information by CBC News show the university offered jobs to Jeff and Melissa Germain, for which the couple were not required to formally apply.
In addition to leading the Ingenuity Lab at the U of A, he also served as director of the biomaterials program for the Canada Research Council’s National Institute for Nanotechnology and was its research chair in intelligent nanosystems.
The university recruited Montemagno from the University of Cincinnati, where he was the founding dean of the College of Engineering and Applied Sciences.
An internal U of A document shows Montemagno sought the nepotism hires in Alberta because he wanted to continue the same arrangement he had at the University of Cincinnati.
It is the same deal he again negotiated when he left Alberta in 2017 to become chancellor of Southern Illinois University – Carbondale (SIU).
In January , the university’s student newspaper, The Daily Egyptian, revealed SIU hired the Germains into jobs which were not advertised. Those hirings are now the subject of a state investigation.
The internal University of Alberta documents reveal:
The university appears to have allowed Montemagno to help write son-in-law Jeff Germain’s job description [emphasis mine] as laboratory manager. An early draft of the job description shows a master’s degree as a minimum educational requirement. It was later downgraded to a bachelor’s degree. Germain has a bachelor’s degree in biology but had significant experience as a lab manager.
The university agreed to pay Jeff Germain a “market supplement” of more than $25,000 [emphasis mine]. Added to his base salary of nearly $95,000, that raised his total yearly salary to $120,000 a year, not including benefits. Germain was later promoted to director of operations for the Ingenuity Lab.
The engineering faculty also hired Montemagno’s daughter, Melissa Germain, as a “laboratory technician” in chemical and materials engineering, the same area as her husband. For 24 hours a week, her starting salary was nearly $3,500 a month. [emphases mine]While officially employed as a lab tech, Melissa Germain’s LinkedIn profile states she worked as a copy editor. She was later promoted to a full-time position as communications director and paid nearly $6,000 a month. According to her LinkedIn account, she has a bachelor’s degree in geology. [emphases mine]
The university also initially offered Montemagno an interest-free $1.4-million loan to buy a house. That provision was later changed to an interest-free $100,000 loan [emphases mine] and the reimbursement of any mortgage or line of credit interest fees used for a downpayment, provided the cost of the house was not more than $1.4 million. The loan had to be repaid as soon as Montemagno sold his house in Ohio or by June 30, 2017, whichever came first.
(sigh of relief) At least, it wasn’t a $1M loan. One other thought, was the loan repaid? Also, I checked (see here [accessed April 18, 2018]) for the standard salary scale for communications specialists in Canada and Melissa Germain’s roughly $72,000/year is on the high end of the scale, $73,000 being at the top. Presumably, you’d need a lot of experience and, hopefully, some training for the top salary.
Hiring spouses who are themselves academics is not uncommon in higher education, said Richard Leblanc, an expert in ethics and governance at York University in Toronto. But Leblanc said hiring a child and their spouse is “very, very strange. Very anomalous.”
“You want merit-based hiring and merit-based student applications, and not on the basis of favouritism or conflicts of interest,” he said.
“You want completely even-handed treatment of staff, of faculty, and of students. And something like this could reveal a culture of, in fact, inequitable treatment, which could be very damaging for a university.”
Leblanc also said the university should not be offering loans.
“Unless you are a financial institution — which the university is not, the university has public taxpayer money and the public trust — so offering an interest-free loan for anybody, any faculty member, is highly anomalous, for obvious reasons,” Leblanc said.
“I mean, that’s not what the university does and it is a conflict of interest because you don’t have the ability to let that person go. You are sort of beholden to that person and it is just not a proper use of scarce funding and taxpayer resources, to offer an interest-free loan. It is very strange.”
But the university’s new dean of engineering, Fraser Forbes, strongly defended the hirings, insisting there was no nepotism involved. [emphases mine]
Forbes said the Germains were not paid with university operating funds. Instead, Forbes said they were paid with funds provided to the university by theprovince and federal government for nanotechnology research. [emphases mine]
The University of Alberta said Wednesday [April 11, 2018] it will review its conflict of interest policy in light of news that a former employee six years ago had requested family members be hired in a process that was not rigorously documented.
Last month [March 2018], Alberta Advanced Education Minister Marlin Schmidt [emphasis mine] sharply criticized University of Alberta president David Turpin’s $824,000 total compensation in the context of a four-per-cent budget cut, and increases in tuition for international students and student-residence rates.
Schmidt refused an interview request from CBC News for this story. His press secretary said Schmidt had no time in his schedule over several days to accommodate a 10-minute interview.
But at a media availability Tuesday [April 10, 2018] on new rules to limit salaries of university and college presidents, Schmidt was asked about Montemagno’s deal to hire his daughter and son-in-law.
“No, nepotism has no place in any public agency,” Schmidt said.
It’s good to know Schmidt’s stance on this and perhaps there will be some action taken over what seems to be a blatant failure to curb nepotism at the now largely defunct (no website but they still have a Facebook and Twitter presence) Ingenuity Lab.
Since the April 10, 2018 online article, the University of Alberta has pleaded guilty in the court of public opinion and admitted to the conflicts of interest in the Montemagno affair, from an April 11, 2018 article by Juris Garvey for the Edmonton Journal,
While the university was in no way “contractually obligated” to hire family members, it may have done so against its own conflict of interest policy. [emphasis mine]
Deputy provost Wendy Rogers said Wednesday there is nothing unusual about post-secondary institutes hiring people from the same family. But their policies say family members are not allowed to be involved in the hiring of other family, develop job descriptions, supervise them or make recommendations for their pay.
Emails show university staff recommended Montemagno write the position description for the job intended for Jeffrey Germain, and an organizational chart shows Jeffrey Germain reported directly to Montemagno for the first two years.
Of greatest concern, however, is that the university acknowledged there was “no record of an advertisement for the position … nor records of the hiring process” for Jeffrey Germain.
“We cannot confirm whether or not the appropriate procedure governing conflict of interest was initially followed,” the university said in a statement posted to its website Tuesday [April 10,2018].
“Had we received a complaint about this at any time while Dr. Montemagno was employed here, it would have been fully investigated.” [emphasis mine]
Yes, I can imagine the number of people stepping forward to make a complaint. They were certainly eager to be interviewed for Spoerre’s April 10, 2018 article,
The former research associate was one of 11 people interviewed in Edmonton for this story who spoke on condition of anonymity out of fear of harming their careers.
I check the library webpage listed in the above and found this artist’s statement,
Artist / Scientist Statement [Stephen Morris]
I am interested in self-organized, emergent patterns and textures. I make images of patterns both from the natural world and of experiments in my laboratory in the Department of Physics at the University of Toronto. Patterns naturally attract casual attention but are also the subject of serious scientific research. Some things just evolve all by themselves into strikingly regular shapes and textures. Why? These shapes emerge spontaneously from a dynamic process of growing, folding, cracking, wrinkling, branching, flowing and other kinds of morphological development. My photos are informed by the scientific aesthetic of nonlinear physics, and celebrate the subtle interplay of order and complexity in emergent patterns. They are a kind of “Scientific Folk Art” of the science of Emergence.
While the official opening is April 5, 2018, the event itself runs from April 1 – 30, 2018.
Next, there’s another March 27, 2018 announcement (received via email) from the Art/Sci Salon but this one concerns a series of talks about ’emergence’, Note: Some of the event information was a little difficult to decipher so I’ve added a note to the relevant section).
What is Emergent Form?
Nature teems with self-organized forms that seem to spring spontaneously from the smooth background of things, by mechanisms that are not always apparent. Think of rippled sand on a beach or regular stripes in the clouds. Plants, insects and animals exhibit spirals and spots and stripes in an exuberant riot of colours. Fluid flows in amazingly regular swirls and eddies. The emergence of form is ubiquitous, and presents a challenge and an inspiration to both artists and scientists. In mathematics, patterns appear as solutions of the nonlinear partial differential equations in the continuum limit of classical physics, chemistry and biology. In the arts and humanities, “emergent form” addresses the entangled ways in which humans, plants animals, microorganisms inevitably co-exist in the universe; the way that human intervention and natural transformation can generate new landscapes and new forms of life.
With Emergent Form, we want to question the idea of a fixed world.
For us, Emergent Form is not just a series of natural and human phenomena too complicated to understand, measure or predict, but also a concept to help us identify ways in which we can come to term with, and embrace their complexity as a source of inspiration.
Join us in Toronto and Ottawa for a series of interdisciplinary discussions, performances and exhibitions on Emergent Form on Apr 10, 11, 12 (Toronto) and Apr. 14  (Ottawa).
This series is the result of a collaboration among several parties. Each event of the series is different and has its dedicated RSVP
Tue. Apr 10 The Fields Institute, 222 College Street
Emergent form: an interdisciplinary concept 6:00-8:00 pm Pier Luigi Capucci, Accademia di Belle Arti Urbino. Founder and director, Noemalab*, Charles Sowers, Independent artist and exhibit designer, the Exploratorium, Stephen Morris, Professor of of Physics University of Toronto, Ron Wild, smART Maps
Thu. Apr 12 (Note: I believe that from 5 – 6 pm, you’re invited to see Pevere’s exhibit and then proceed to Luella Massey Studio Theatre for performances)
5:00 pm Cabinets in the Koffler Student Centre [I believe this is at the University of Toronto] Anatomy of an Interconnected System An exhibition by Margherita Pevere
6:00 pm Luella Massey Studio Theatre, 4 Glen Morris Ave., Toronto biopoetriX – conFiGURing AI
6:00-8:00 pm Performance:
6:00pm Performance “Corpus Nil. A Ritual of Birth for a Modified Body” conceived and performed by Marco Donnarumma
6.30pm LAB dance: Blitz media posters on labs in the arts, sciences and engineering
7.10pm Panel: Performing AI, hybrid media and humans in/as technologyMarco Donnarumma, Doug van Nort (Dispersion Lab, York U.), Jane Tingley (Stratford User Research & Gameful Experiences Lab –SURGE-, U of Waterloo), Angela Schoellig (Dynamic Systems Lab, U of T)
Panel animators: Antje Budde (Digital Dramaturgy Lab) and Roberta Buiani (ArtSci Salon)
8.15pm Reception at the Italian Cultural Institute, 496 Huron St, Toronto
This event would not be possible without the support of The Fields Institute for Research in Mathematical Science, The Italian Embassy, the Centre for Drama, Theatre and Performance Studies at the University of Toronto, the Digital Dramaturgy Lab, and the Istituto Italiano di Cultura. Many thanks to our community partner BYOR (Bring your own Robot)
I wonder if some of the funding from Italy is in support of Italian Research in World Day. This is the inaugural year for the event, which will be held annually on April 15.
The Society of Italian Researchers and Professionals in Western Canada (ARPICO) is hosting an event in Vancouver (from a March 22, 2018 ARICO announcement received via email),
Our second speaking event of the year, in collaboration with the Consulate General of Italy in Vancouver, has been scheduled for Wednesday, April 11th, 2018 at the Roundhouse Community Centre. Professor Vesna Sossi’s talk will be examining how positron emission tomography (PET) imaging has contributed to better understanding of the brain function and disease with particular focus on Parkinson’s disease. You can read a summary of Prof. Sossi’s lecture as well as her short professional biography at the bottom of this message.
This event is organized in collaboration with the Consulate General of Italy in Vancouver to celebrate the newly instituted Italian Research in the World Day, as part of the Piano Straordinario “Vivere all’Italiana” – Giornata della ricerca Italiana nel mondo. You can read more on our website event page.
Brain illness, comprising neurological disorders, mental illness and addiction, is considered the major health challenge in the 21st century with a socio-economic cost greater than cancer and cardiovascular disease combined. There are at least three unique challenges hampering brain disease management: relative inaccessibility, disease onset often preceding the onset of clinical symptoms by many years and overlap between clinical and pathological symptoms that makes accurate disease identification often difficult. This talk will give examples of how positron emission tomography (PET) imaging has contributed to better understanding of the brain function and disease with particular focus on Parkinson’s disease. Emphasis will be placed on the interplay between scientific discoveries and instrumentation and data analysis development as exemplified by the current understanding of the brain function as comprised by interactions between connectivity networks and neurochemistry and advancement in multi-modal imaging such as simultaneous PET and magnetic resonance imaging (MRI).
Vesna Sossi is a Professor in the University of British Columbia (UBC) Physics and Astronomy Department and at the UBC Djavad Mowafaghian Center for Brain Health. She directs the UBC Positron Emission Tomography (PET) imaging centre, which is known for its use of imaging as applied to neurodegeneration with emphasis on Parkinson’s disease. Her main areas of interest comprise development of imaging methods to enhance the investigation of neurochemical mechanisms that lead to an increased risk of Parkinson’s disease (PD) and mechanisms that contribute to treatment-related complications. She uses PET imaging to explore how alterations of the different neurotransmitter systems contribute to different trajectories of disease progression. Her other areas of interest are PET image analysis, instrumentation and multi-modal, multi-parameter data analysis. She published more than 180 peer review papers, is funded by several granting agencies, including the Michael J Fox Foundation, and sits on several national and international review panels.
WHEN: Wednesday, April 11th, 2018 at 7:00pm (doors open at 6:45pm) WHERE: Roundhouse Community Centre, Room B – 181 Roundhouse Mews, Vancouver, BC, V6Z 2W3 RSVP: Please RSVP at EventBrite (https://imaging-a-window-into-the-brain.eventbrite.ca) or email firstname.lastname@example.org
Tickets are Needed
Tickets are FREE, but all individuals are requested to obtain “free-admission” tickets on EventBrite site due to limited seating at the venue. Organizers need accurate registration numbers to manage wait lists and prepare name tags.
All ARPICO events are 100% staffed by volunteer organizers and helpers, however, room rental, stationery, and guest refreshments are costs incurred and underwritten by members of ARPICO. Therefore to be fair, all audience participants are asked to donate to the best of their ability at the door or via EventBrite to “help” defray costs of the event.
I have one idle question. What’s going to happen these groups if Canadians change their use of Facebook or abandon the platform as they are threatening to do in the face of Cambridge Analytica’s use of their data? A March 25, 2018 article on huffingtonpost.ca outlines the latest about Canadians’ reaction to the Cambridge Analytical news according to an Angus Reid poll,
A survey by Angus Reid Institute suggests 73 per cent of Canadian Facebook users say they will make changes, while 27 per cent say it will be “business as usual.”
Nearly a quarter (23 per cent) said they would use Facebook less in the future, and 41 per cent of users said they would check and/or change their privacy settings.
The survey also found that one in 10 say they plan to abandon the platform, at least temporarily.
Facebook has been under fire for its ability to protect user privacy after Cambridge Analytica was accused of lifting the Facebook profiles of more than 50 million users without their permission.
There you have it.
*Well, a bit more information about one of the “Emergent’ speakers was received in an April 4, 2018 ArtSci Salon email announcement,
Do make sure to check out Pier Luigi Capucci’s EU-based (but with international breadth) Noemalab platform. https://noemalab.eu/ since the mid-nineties, this platform has been an important node of information for New Media Art and the relation between the arts and science.
noemalab’s blog regularly hosts reviews of events and conferences occurring around the world, including the Subtle Technologies Festival between 2007 and 2014. you can search its archives here http://blogs.noemalab.eu/
Thanks to Dirk Steinke’s February 9, 2018 posting at the DNA Barcode blog for information about this science engagement/outreach project from Canada’s NSERC (Natural Sciences and Engineering Council),
NSERC has a great video competition for students which runs annually – Science, action! Students are invited to submit 1:00 min videos describing their research projects. The 15 videos that tell the best stories will receive a cash prize and be featured as part of museum exhibits, science fairs and during larger STEM outreach events at schools.
NSERC has long had science promotion initiative but it’s been anemic for years so it’s good to see the renewed vitality (from the NSERC Science Promoters webpage),
NSERC’s PromoScience program offers financial support for organizations working with young Canadians to promote an understanding of science and engineering (including mathematics and technology). PromoScience supports hands-on learning experiences for young students and their science teachers.
NSERC leads Science Odyssey, a ten-day celebration of science and technology taking place in May every year. The focus is to engage and inspire young Canadians and the general public across the country by showcasing Canada’s STEM accomplishments. This unique science festival is a connection point that brings together a wide variety of partners that deliver fun, engaging, innovative and captivating science promotion experiences from Canada’s prolific scientific community.
Science Literacy Week is a nationwide back-to-school celebration of books, organizations and activities that explore science, technology, engineering and mathematics (STEM) topics. It is an opportunity to expose Canadians to the wide range of science literature available at libraries, stores, museums and science centres.
SciPOP is an event to inspire students in STEM. Teachers and schools across Canada hold hands-on science activities with their students and share a picture that can win them a spectacular prize. This year, on May 16, 2018, elementary and secondary school teachers are invited to devote a period of the day to science activities. It is organized within the framework of Science Odyssey – a national 10-day celebration of science.
Little Inventors takes children’s invention ideas and makes them real. NSERC brings Little Inventors to Canada in partnership with the project originators in the UK. The central mission which defines NSERC’s strategy is to ‘Build a Culture of Scientific Discovery and Innovation’, and we strongly believe this applies to young people too. The purpose of Little Inventors is to stimulate, at an early stage of life, the intrigue and involvement in this mission through activities that nurture creativity and an inquisitive mind.
Promoting careers for women in the natural sciences and engineering is a priority for NSERC. We are committed to increasing the number of women in these fields, facilitating the accommodation of career and family, and nurturing mentorship. Explore this page to learn more about the policies, programs and activities NSERC has developed to help achieve these goals.
A picture is truly worth a thousand words. The Science Exposed image contest challenges research groups or individuals to tell science stories through vibrant and exciting images. This is your chance to showcase your work and your creativity to provide Canadians with a whole new perspective on science.
NSERC’s Science, Action! video contest challenges postsecondary students to film the people, research and innovations that are transforming the way Canadians live and work. The contest is your chance to help Canadians discover how science and engineering contributes to our understanding of the world and universe around us.
The NSERC Awards for Science Promotion honour individuals and groups who make an outstanding contribution to the promotion of science in Canada through activities encouraging popular interest in science or developing science abilities.
I’ve got two ‘creativity’ opportunities, one for people working on an art/sci (sciart) project and another for people with scripts,
SciArt Gallery @ Science Rendezvous
This notice arrived in a January 31, 2018 email from the ArtSci Salon people in Toronto (Ontario, Canada),
Science Rendezvous is a free Canada‐wide outreach festival that spurs interest in scientific research among the general public and last year at U of T, we attracted over 30,000 guests! This year we are hosting our first science-inspired art gallery called the SciArt Gallery! We are actively recruiting artists for the gallery to display their science-inspired works! Painting, design, music, dance, theatre, textiles, ceramics: We welcome all artists to apply!
We work with Canada’s top research institutes to present a coast-to-coast open house and festival that is FREE for everyone. With over 300 events across 30 cities and 1000’s of mind-blowing activities, Science Rendezvous is Canada’s largest celebration of the amazing feats of science and engineering happening right here at home.
In 2017, more than 210,000 attendees participated in our unique brand of hands-on science, a new landmark for such events in Canada. Science Rendezvous is the only organization that generates this level of public engagement with science, and direct face-to-face involvement with those at the very frontiers of innovation.
This SATURDAY, MAY 12th 2018 [emphasis mine] over 6,000 of Canada’s greatest innovators, researchers, engineers, and scientists from 125 partner organizations will open their doors and close city streets to present exciting demonstrations, hands-on activities, and explosive experiments. From the physics of rock and roll to the chemistry of ice-cream, Science Rendezvous has something for everyone!
Science Rendezvous is a science outreach pioneer in Canada. Offering direct engagement with 6,000 of Canada’s top researchers and scientists at 300 simultaneous events and 1000’s of hands-on experiments for the public to try themselves.
The Science Rendezvous head office acts as an umbrella organization that coordinates the efforts of all participating institutions, reinvents public engagement with science through festival programming, and offers direction for event organizers all while promoting both the festival and Canadian science on a national level.
The theme for SR 2018 is “Full S.T.E.A.M. Ahead!” – We’re placing an emphasis on the Art in S.T.E.M. [science, technology, engineering, and mathematics] this year and hosting our first and hopefully annual SciArt Gallery! We want to create a gallery full of science-inspired art and showcase the talent of our local Toronto artists! We hope that artists will be able to share their enthusiasm and teach visitors about how science inspired you to create and the science behind the art!
Artists will be permitted to sell their wares and will be provided with tents, chairs, volunteers, t-shirts, and lunch if accepted to the gallery. SR2018 is currently accepting applications for its SciArt Gallery taking place on Saturday, May 12, 2018 from 11am to 5pm.
There will be a $20 table deposit fee that will be refunded upon your attendance at SR. SR hopes to showcase science-inspired works of art and host workshops to allow artists to inspire kids and adults about their art medium.
*** Applications will close on Friday, February 23rd, 2018 at 11:59pm! ***
The name and photo associated with your Google account will be recorded when you upload files and submit this form.
I don’t know if you noticed but the application page specifies Toronto artists while the email did not. You may want to contact the organizers for more details. At a guess, they don’t want to fund any trips or accommodation for out-of-town artists but if you’re willing to self-fund they’ll consider your application.
One final thing worth mentioning, there may be opportunities in your home community. So, it may be worthwhile to check out the Science Rendezvous website.
SciFi and fantasy screenplay contest
I got this January 31, 2018 withoutabox.com announcement via email,
… the 4th Annual ScreenCraft Sci-Fi & Fantasy Screenplay Contest, an out of this world screenplay competition set to discover talented writers. The 2018 contest judges are Steven Douglas-Craig, Development at Sony Pictures, the studio behind Passengers, Ghostbusters, Men In Black, Resident Evil, and Spider-Man; Jonathan Wu, Development Executive at 20th Century Fox, the studio behind Avatar, X-Men, Another Earth, Rise Of The Planet Of The Apes, and Prometheus ; and Michael Doven, CEO of United Pictures, producer of such celebrated movies as Mission: Impossible, Vanilla Sky, Minority Report, and The Last Samurai.
The Grand Prize winner will receive a $1,000 USD cash award and personal introductions to producers, managers, agents and studio executives. Additionally, the top finalists will be circulated to ScreenCraft’s vetted network of over 60 producers, studio executives, managers and agents. Whether you’re writing a contained science fiction drama or an epic fantasy saga, ScreenCraft wants to read your sci-fi or fantasy feature film screenplay. Great science fiction explores the human condition against the backdrop of a heightened imagined world, impacted by technology and human creativity and imagination.
Past ScreenCraft winners have optioned their projects and signed with top representatives at top Hollywood companies including WME, CAA, 3Arts Entertainment, Anonymous Content, Paradigm Talent Agency, ICM, Bellevue Productions Zero Gravity Management, Kaplan/Perrone and many more.
MISSION AND OBJECTIVE
ScreenCraft’s screenwriting contests are dedicated to discovering talented screenwriters and connecting them with producers, agents and managers.
MORE ABOUT THE FESTIVAL
ScreenCraft runs a suite of screenwriting competitions that have a long history of getting writers represented and working. The secret is that ScreenCraft actually determines the winners with judges who work in the particular genre or space – real industry executives (not just readers). The winners get actual meetings with actual executives, so that a relationship forms beyond just a great script.
Submissions are accepted via electronic submission only, between January 10, 2018 and March 30, 2018.
Entry fee for each feature film screenplay is $49 until the early deadline on February 9, 2018, then $69 until the final deadline on March 30, 2018.
Optional feedback from a professional reader may be requested at the time of entry. Requests for feedback after an entry is submitted will not be accepted.
Screenplays must be a minimum of 75 pages and a maximum of 150 pages.
There is no limit to the number of projects you may submit.
Entries must be received on or before the deadline dates by 11:59PM Pacific Time, and submission fee payment must be made in full at time of the submission. All entry fees are non-refundable.
All submitted material must be original, and all rights must be wholly owned by the writer(s).
Material must be submitted by the writer. Material written by writing teams must be submitted by one of the writers, with consent of the other(s). All writers must be credited on title page.
If a writing team is chosen as a winner, prizes will be given to the person who submits the project. Each team is responsible for dividing or sharing the prize money.
Substitutions of either corrected pages or new drafts of the entered material will be allowed for a limited time with a $5 reentry fee through Coverfly. Please proofread your script carefully before submitting.
It is recommended that original material be registered with the WGA or The Library of Congress before submitting to any competition, however we do not require registration.
Contact info may be included on the cover page of the screenplay, however it is not required.
All ownership and rights to the scripts submitted to this contest remains with the original rights holders.
All writers at least 18 years of age are eligible. However, a writer who has earned more than $50,000 (or equivalent currency) from professional writing services for film or TV in the preceding year is not. (Contest winnings not included.)
All persons from anywhere in the world are eligible; however the material submitted must be in English (occasional dialogue in other languages is acceptable, if subtitle translation is provided).
All material submitted to other competitions or contests are eligible for this contest.
There are no requirements as to when the material was written.
Screenplay and intellectual property must be wholly owned and submitted by the writer(s).
Material should be submitted in standard screenplay format, font, spacing and margin.
We have no preferences regarding title page content. Title and name of writer would suffice.
Entries for this competition are managed on the submission platform Coverfly.
Adaptations are ineligible unless the underlying rights are owned by the writer or the work is in the public domain.
Feature screenplays longer than 150 pages will not be eligible.
All material must be submitted electronically as a PDF or it will not be eligible.
Sometimes, liquid drops don’t drop. Instead, they climb. Using computer simulations, researchers have now shown how to induce droplets to climb stairs all by themselves.
This stair-climbing behavior could be useful in everything from water treatment and new lab-on-a-chip microfluidic devices, to biochemical processing and medical diagnostic tools. The researchers, from the Indian Institute of Technology in Roorkee, India, and York University in Toronto, describe their findings this week in the journal Physics of Fluids, from AIP Publishing.
To get the droplets to climb, this new research reveals you need a staircase whose surface adheres to each droplet more readily with each step. A surface on which a droplet sticks easily has what’s called a high wettability, causing the droplet to spread out and flatten. On a low-wettability surface, however, the droplet would stay more spherical, like raindrops beading up on a waterproof jacket.
The researchers have previously used a gradient of increasing wettability to coax droplets to move across a flat surface and even to go up a slope. A water droplet, for example, is more attracted to a hydrophilic surface with its greater wettability, so an incline featuring an increasing hydrophilic surface as it rises can “pull” a droplet uphill.
Real surfaces are never perfectly smooth, however; at small-enough scales, a surface eventually appears rough. A slope at these scales is actually a microscopic staircase. “Most surfaces are textured, and mobility of a droplet over such surfaces require climbing stairs,” said Arup Kumar Das of IIT Roorkee.
To explore how a droplet could climb steps — and thus if this technique can work on more real-world surface applications — the researchers simulated the physics of microliter-sized droplets on staircases with a wettability gradient.
These droplets are wider than the length of each step, so their leading side is on a higher step with a more wettable surface, than the trailing side. The front part of the droplet thus spreads more, forming a smaller, flatter angle with the surface.
The difference in angles between the front and back of the climbing droplets causes the liquid inside the droplet to circulate. When the leading edge of the droplet reaches the next step, the circulation drives the droplet forward, spilling over onto the next higher step, and the process repeats itself.
Whether the droplet has enough force to overcome gravity depends on the size of the droplet, the steepness of the steps and the differences in wettability. In general, a bigger droplet is better at climbing stairs, and for steeper steps, there needs to be a higher wettability gradient.
The researchers are now working on experiments to confirm the simulation results.
Many other methods to control droplets rely on external forces such as temperature variations, and electric and magnetic fields. But, Das explained, those methods are often challenging and complex. The new study shows that passive approaches like wettability could be more efficient. “Passive means [we] can manipulate a droplet to even climb stairs sustainably without using an external force,” he said.