Happy #CVSunday! Meanwhile, Several years ago I stumbled upon the Ayatana Research Program : Artist residencies (fully immersed in Science) that take place in different location around Canada. There was one taking place in Nova Scotia that sounded incredible- I applied and was accepted! However, before Ayatana’s residencies I had applied to a residency in Iceland… when I was accepted to the Gullkistan Centre for creative people in Laugarvatn, Iceland I had to obviously accept, which meant having to decline Ayatana’s invitation. To my surprise I received a very flattering email in March this year asking if I would be interested in attending a special residency taking place in the Gatineau.
Ayatana residencies are designed to enrich the practice of visual and conceptual artists. This residency will host only five or six selected international artists. This action packed research residency leaves little time free for making art, so Ayatana residents are not expected to produce work during the program. We are looking for adventurous artists interested in learning who have a willingness to participate in spontaneous development of early stage ideas with a small group.
The Ayatana Artists’ Research Program is looking forward to assisting Tosca Teran in the realization of her artistic goals while she is artist in residence on the 2017 Infinitesimal research expedition.
Infinitesimal is designed for artists to study the natural world through a variety of microscopes with the guidance of Canadian scientists and other experts.
The residency offers many unusual opportunities for Tosca to experiment with microscopy including visiting 5 different laboratories; the Andrew Pelling Laboratory for Biophysical Manipulation and a Live Cell Microscopy Lab to use a dissecting, scanning electron and petrographic microscopes and learn about high resolution scanning. She will meet many experts with diverse relationships to the infinitesimal.
The program is intended to foster conceptual development of early stage artistic endeavours in the company of likeminded artists and scientists. The residency will facilitate the collection of material to be used in resident’s art practices and give them new tools to take home.
Hike and forage with a mushroom expert in the Gatineau forest with a pocket microscope and macro lens.
Photograph what you find on the morning hike through dissecting microscopes at Ottawa U
A guided hike to a fossil bed with a Paleontologist.
Be charmed by the magic of looking at minerals through the petrographic microscope.
Look closely with a Scanning Electron Microscope.
Learn some DIY microscopy hacks.
Hike Gatineau Park with an entomologist who will describe the local insects.
Lure moths to observe with local artist Jim des Rivieres who will give a workshop on high resolution scanning and large format printing of insects.
Gold plating for insect microscopy workshop.
Visit the Canadian National Collection of Insects and look through their microscopes.
Visit the Andrew Pelling Lab at the Center for Interdisciplinary Nanophysics to learn about biophysical manipulation.
Āyatana (Pāli; Sanskrit: आयतन) is a Buddhist term that has been translated as “sense base”, “sense-media” or “sense sphere.” In Buddhism, there are six internal sense bases (Pali: ajjhattikāni āyatanāni; also known as, “organs”, “gates”, “doors”, “powers” or “roots”) and six external sense bases (bāhirāni āyatanāni or “sense objects”; also known as vishaya or “domains”). Thus, there are six internal-external (organ-object) pairs of sense bases:
- “Sense base” is used for instance by Bodhi (2000b) and Soma (1999). “Sense-media” is used by Thanissaro (e.g., cf. Thanissaro, 1998c). “Sense sphere” is used for instance by VRI (1996) and suggested by Rhys Davids & Stede (1921–5), p. 105, whose third definition for Āyatana is:
- sphere of perception or sense in general, object of thought, sense-organ & object; relation, order. – [Aung & Rhys Davids (1910),] p. 183 says rightly: ‘āyatana cannot be rendered by a single English word to cover both sense-organs (the mind being regarded as 6th sense) and sense objects’. – These āyatanāni (relations, functions, reciprocalities) are thus divided into two groups, inner (ajjhattikāni) and outer (bāhirāni)….
- Pine 2004, pg. 102
- Pine 2004, pg. 103
- One may logically deduce from the existence of six internal sense bases and six external sense bases that there are a total of twelve individual sense bases; the Pali canon, however, never references “twelve” sense bases per se, e.g., see MN 137: “[S]aḷāyatanavibhaṅgaṃ vo, bhikkhave, desessāmi…. Cha ajjhattikāni āyatanāni veditabbāni, cha bāhirāni āyatanāni veditabbāni….” Also see MN 148, 149, etc.
- The Pāli word translated here as “visible objects” is rūpa. In terms of the Buddhist notion of the sense bases, rūpa refers to visual objects (or objects knowable by the eye through light). This should not be confused with the use of the word rūpa in terms of the Buddhist notion of aggregates where rūpa refers to all material objects, both of the world and the body. Thus, when comparing these two uses of rūpa, the rūpa aggregate (rūpakkhandha) includes the rūpa sense-object (rūpāyatana) as well as the four other material sense-objects (sound, odor, taste and touch).
- The Pāli word translated here as “mind” is mano. Other common translations include “intellect” (e.g., Thanissaro, 2001a) and “consciousness” (e.g., Soma, 1999). In the Suttapitaka, mano does not necessarily refer to all mental processing. Other oft-mentioned complementary mental processes include “consciousness” (viññāṇa) and “mental states” (citta). Nonetheless, in the Abhidhamma Pitaka and later texts, these terms are at times used synonymously.
- The Pāli word translated here as “mental objects” is dhammā. Other frequently seen translations include “mental phenomena” (e.g., Bodhi, 2000b, pp. 1135ff.), “thoughts,” “ideas” (e.g., Thanissaro, 2001a) and “contents of the mind” (VRI, 1996, p. 39) while some translators simply leave this word untranslated due to its complex overtones in the Pali literature.