Open AIR 2020 Artist-in-Residence Opportunity Spotlight: Summer and Fall sessions available at the Flathead Lake Biological Station (FLBS).
Stay in a quaint cabin. Learn about the largest freshwater lake west of the Mississippi with access to researchers, undergrad and grad students, interns, taxonomic collections, analytical Lab, sensor lab, tool shop and more!
Flathead Lake Biological Station, University of Montana is one of the oldest active biological field research stations in the United States. It was established near Bigfork in 1899 by its first director, Dr. Morton J. Elrod, UM Distinguished Professor of Biology. It was moved to Yellow Bay in 1908.
Applications Due: March 1st.
Jonathan Miller (1934-2019) was an English theatre and opera director, actor, author, television presenter, humorist and medical doctor. After training in medicine and specializing in neurology in the late 1950s, he came to prominence in the early 1960s in the comedy revue Beyond the Fringe with Peter Cook, Dudley Moore and Alan Bennett. He died 27 November 2019 at the age of 85. Obituary here.
At the age of 12, at the St. Paul’s School, his lifelong friendship with Dr. Oliver Sacks began. Indeed, the neurologist’s journey to international fame began when Mr. Miller showed the original manuscript of Dr. Sacks’s book “Awakenings” to a London publisher.
Another noteworthy interdisciplinary project was in 1983 with “States of Mind.” He interviewed the art historian Ernst Gombrich, the philosopher and scientist Daniel Dennett and others about consciousness and the brain.
In 1978 he presented “The Body in Question,” a 13-part BBC series about human biology during which he performed an autopsy on a dead vagrant. The book from that series, The Body in Question, is available here.
Image-making, research and visual technologies have shaped each other over the past century and a half, argues Geoffrey Belknap, marking Nature’s anniversary. here
From the essay:
“Over the years, Nature adapted through its succession of editors, with, in recent decades, ‘sister’ journals carving out their own space in increasingly specialized scientific disciplines. Images remained central throughout. For instance, in 1896, Nature published physicist Wilhelm Röntgen’s first X-ray plates1; in the 1920s, maps to debate Alfred Wegener’s theory of continental drift2; and in 1968, the graphs that described astrophysicist Jocelyn Bell Burnell’s discovery of pulsars.”
Reviewed by Amy Ione
As I began Phillip Thurtle’s well-researched Biology in the Grid: Graphic Design and the Envisioning of Life, I wondered how his “envisioning of life” would intersect with the abundant evidence that a complex array of grids have served as a foundational element in art, architecture, and design production throughout history. A few examples that quickly come to mind include those used to construct perfectly proportioned Egyptian and Aztec temples, Islamic and Buddhist art, Chuck Close’s stylized portraits, and the layout of medieval illuminated manuscripts. Rosalind Krauss’ 1978 statement that the surfacing of the grid in early twentieth century modernist art was an announcement of “modern art’s will to silence, its hostility to literature, to narrative, to discourse”  is also a part of the grid litany, although one that gives a negative cast to how we use grids to engage with objects in our world.
As it turns out, Biology in the Grid moves along a markedly different track. Despite his integration of graphic design, the entertainment industry, advertising, and cultural theory, the book is largely orthogonal to the long art and design trajectory. Thurtle sees grids as a framework within a biopolitical circumstance and makes the point that “living in the grid’ does not equalize us because all lives are not treated similarly despite the seeming uniformity of the form. In his words: Continue reading “Book Review: Biology in the Grid: Graphic Design and the Envisioning of Life by Phillip Thurtle”
Earlier work by one of us examined a historical corpus of portraits and found that artists often paint the subject such that one eye is centred horizontally. If due to psychological mechanisms constraining artistic composition, this eye-centring bias should be detectable also in portraits by non-professionals. However, this finding has been questioned both on theoretical and empirical grounds. Here we tested eye-centring in a larger (N ~ = 4000) and more representative set of selfies spontaneously posted on Instagram from six world cities. In contrast with previous selfie results, the distribution of the most-centred eye position peaked almost exactly at the horizontal centre of the image and was statistically different from predictions based on realistic Monte-Carlo predictions. In addition, we observed a small but statistically reliable pseudoneglect effect as well as a preference for centring the left-eye. An eye-centring tendency appears to exist in self-portraits by non-artists.
Authors: Nicola BrunoID1*, Marco Bertamini2*, Christopher W. Tyler
PLoS ONE14(7): e0218663.
1 DiMeC, Università di Parma, Parma, Italy,
2 Department of Psychological Science, University of Liverpool, Liverpool, United Kingdom,
3 Division of Optometry and Vision Sciences, School of Health Sciences, City University of London, London, United Kingdom
* M.Bertamini@liverpool.ac.uk (MB); firstname.lastname@example.org (NB)
(Also see MedicalResearch.com interview here and articles)
A group exhibition by SciArt Center at the New York Hall of Science
September 10th, 2019 – January 10th, 2020
Deadline to submit: June 3rd, 11:59pm EST
The weather is ever-present, often dramatic, and always uncontrollable. SciArt welcomes submissions surrounding the topics of studying, understanding, and experiencing the weather.
Continue reading “CFP: “Weather the Weather,” a group exhibition by SciArt Center”
A symposium organized by Johns Hopkins University Advanced Academic Programs, Friday, May 3, 2019, 9 a.m. – 4:30 p.m.
Rather than an academic conference with speakers presenting formal papers, this symposium will provide a framework for understanding climate issues and engaging in a conversation with a range of climate leaders, including:
- Dr. Kirk Johnson, director of the National Museum of Natural History (morning keynote)
- Martin O’Malley, former governor of Maryland (closing keynote)
Angela Fritz, meteorologist, and deputy editor at the Washington Post (panel facilitator and discussion leader)
- Martin Dahinden, Swiss ambassador to the United States
Kate Brown, executive director, Global Island Partnership
- Dr. John Cook, Center for Climate Change Communication, George Mason University
- Dr. Brenda Ekwurzel, senior climate scientist and director of climate science, Union of Concerned Scientists
- Thomas Peterson, director of the Center for Climate Strategies, Johns Hopkins University
Continue reading “SYMPOSIUM: Changing By Degrees: Multidisciplinary Approaches to Climate Change”
Workshop organised by Dr Kim M. Hajek and Prof. Mary S. Morgan
3 June 2019, London School of Economics and Political Science
In the history of science, especially of the human and observational sciences, it has often been the case that knowledge-making activities drew upon many ‘voices’—accounts of a storm given by different observers; patient voices incorporated into a psychological case history; myths transcribed by an anthropologist. What many of these examples share is that the information provided by different voices takes narrative form in its own right. Yet scientists have also organised them into related groupings or broader narratives, as a way to elucidate particular research problems.
This workshop asks how narrative has helped scientists to configure extended chunks of information, and ultimately to manage a multiplicity of voices in their enquiry. Using case studies from across a range of fields, workshop participants explore the roles played by narrative forms of explanation both within and across the contributions of multiple voices to science. Of particular concern are the ways that narrative serves to order polyphonic material into a larger epistemic scheme, and reciprocally, how narrative valorises or suppresses particular voices, or indeed shapes what counts as a ‘voice’ at all.
For more information on the project, please see: www.narrative-science.org
Continue reading “WORKSHOP: Scientific Polyphony: How Scientific Narratives Configure Many ‘Voices’”