Interacting with pint-sized scientists

Over social media a number of us have been discussing our Skype-based interactions with schoolchildren either via the mainly USA-based ‘Skype a Scientist’ program [https://www.skypeascientist.com/ & see @SkypeScientist on Twitter] or via a new program in Finland [#ScientistsInSchool & see tweets by @aivoAALTO @AnnikaHulten & @eglerean at Aalto University]. Spending an hour with a bunch of schoolchildren [for me it has been 5th graders] is really a tremendous amount of fun. They ask lots of penetrating questions about your career & motivation, as well as doing science.

Last year when I Skyped for the first time with a science class, here were some of questions that I got:

  1. How long have you been a neuroscientist?
  2. What made you want to study neuroscience?
  3. What types of degrees/educational programs did you have to earn to become a neuroscientist?
  4. Do you think it was more difficult to become a scientist as a female than it would have been if you were a male? Were there many other females in your classes?
  5. I read that you are a photographer. Can you tell me more about your photography?
  6. Who is your favorite famous Scientist? why?
  7. What was your favorite book as a child? Why?
  8. Which emoji is your favorite? Why?
  9. Did you see the movie “Inside Out”? If yes, do you feel it was an accurate representation of emotions/expressions/micro expressions?

Pretty cool huh? A lot of questions were centered around my scientific background & education. This year there were similar questions in addition to those asking about specific aspects of science. This year I did not get the questions ahead of time & had to do it ‘cold turkey’ & it was a lot of fun!

Given that a lot of people are trying to do this & are doing this by themselves, I thought that it might be nice to share some resources [e.g. you tube videos, popular science articles in magazines & newspapers etc. that have been written in language that those who are not trained in science can understand]. So, I thought that I would start the ball rolling by sharing some things that I have shared that have worked well:

So here are some resources I have found that have been useful to share:

A. Here is a great teaching tool from brainfacts.org on brain anatomy. It has pull down menus that allow you to select different anatomical features in the brain – you can start at the lobes & go more detailed… have a play & see what you think. This is a new tool – have not seen this one previously.

You can spin the brain around to the view you want. Start by looking at the pull down button in the top left corner of the website ‘Choose a Structure’….

B. Materials on brain injuries:
B1. Patient HM – the man who cannot learn or remember new information, things or people. Here is a video & a New York Times article on him. After HM died in 2008  & his brain was taken out of his body & flown to San Diego, it was sliced in frozen sections as this article & video cam footage shows.[Finally the paper of the work was published in 2014 in Nature Communications by Annese et al…]

At the time of writing, one of the scientists who was the first to test his memory function in the late 1950s, Brenda Milner  [from the Montreal Neurological Institute] is still alive & just celebrated her 100th birthday. Incredibly, she still works at the Institute & teaches(!) & there was just recently a huge celebration for her birthday! See this video with her being interviewed.

B2. Patient SM – the lady who cannot recognize or feel fear [first described by Adolphs et al in a paper in Nature in 2005]. Here is a Discover magazine article on her.

B3. Phineas Gage – the railway foreman working in Vermont in the 19th century with a workplace accident with gunpowder with an iron rod passing through his brain… here is a video on his case. [There is also the 2012 paper by Van Horn et al in PLoS One where they looked at his skull & attempted to reconstruct the likely brain damage to grey & white matter pathways that Gage sustained.]

B4. Language & the brain. Patient ‘Tan’ of French neurologist called Paul Broca in 19th century. This patient could only utter one syllable ‘tan’ after a stroke. See this article.

In the mid-20th century language lateralization was studied in patients – people with epilepsy etc. These people were tested ahead of their seizure surgery [to ensure that they did not create another patient HM…]. So here is a classic video of Dr Wada, the neurosurgeon who pioneered the test that still bears his name.

Additionally, if people want to leave comments with link to other resources that would be great – it would be convenient to access… I will continue to add other resources to this blogpost as I find them.

Some thoughts on conferencing in our current times

 

This is a very different of post to my previous ones – although the focus is still on traveling for science. Today I want to talk about what priorities we should set for improving the lot of younger scientists in our field.

Having returned from the annual neuroscience nerdfest attended by about ~ 29K attendees this year in San Diego, I got to thinking about what makes an excellent conference & what I personally find desirable about a scientific meeting. I typically only regularly go to 2 annual scientific meetings/year [but will, of course, go to additional ones if I get invited to speak at them]. The annual meetings that I have regularly attended for ~25 years or so are: 1. Organization for Human Mapping [which was held in Singapore this last June] & that typically has ~3K attendees; 2. Society for Neuroscience [SfN] [which just occurred in San Diego] & that typically has ~30K attendees. This year in San Diego the number was smaller – perhaps a consequence of the non-attendance of many foreign neuroscientists who were not issued visas by the American Government. This was very problematic – there were many empty poster boards – because the presenters were preventing from attending the meeting. There is currently a grass-roots push to lobby SfN to create a vehicle for these people to show & discuss their work. The science community is also petitioning SfN to give a complete refund for conference registration etc. for those people [usually trainees] who could not travel to SfN because of these issues. Flights & hotel room booking left many of those out of pocket – despite the fact that they could not attend the meeting. Incredibly, despite the SfN President publicly talking about inclusion & international participation in the meeting the entire week while we were in San Diego, the SfN has stayed silent & completely inactive on this issue [at least until the time of writing this post]. Is this because SfN is so large that the implementation of initiatives is stifled because of a large administration, or is it because the organization is just parochial? Not sure which alternative is more likely at this stage, but I have my suspicions.

So what, in my opinion, makes for a great conference – a meeting that will keep people coming back for more?

First, the most important thing is to provide a welcoming atmosphere that stresses inclusivity & safety for all delegates [an environment that is free of old white male dinosaurs inflicting their will [& themselves in some cases] on everyone…].

Achieving an environment like that requires that the society/organization that runs the meeting do more than just pay lip-service to these issues. There needs to be visible evidence of concrete initiatives to attempt to level the playing field for all & to push diversity. There should also be a very public declaration of what constitutes acceptable behavior at the meeting & associated social activities. Many societies are doing this now – including SfN & OHBM. We are generally pretty fortunate in science – scientists of all persuasions typically do come together & discuss science in a collegial way. Let’s tear down any remaining barriers that a minority of senior white male scientists put in the way to stop this from occurring. If need be, we might need to drown out those voices & also call out unacceptable behavior when we see it – this means dealing immediately with observed instances of racial prejudice or sexual harassment, or of senior scientists just taking up air time from younger ones whose views deserve to be heard… I am fortunate to say that this has never happened to me at a conference, but that does not mean that I am not aware that this is a problem. I had a pleasure of attending the Neural Oscillations Social at SfN – a wonderful evening hosted by Jonas Obleser & Saskia Haegens. At the same time as our social there was also a social on Neuroethics & the scuttlebutt I heard about this one was that this latter problem [hogging air time] had surfaced. Ironic isn’t it? Neuroethics of all things! I wish I had been a fly on that wall to know exactly what happened there – the ‘feel good’ vibe at the Neural Oscillations social was too good to leave.

OHBM has been good in setting up initiatives, such as a committee for diversity, as well as having discussions on the Program Committee that make sure that we have diversity in our Keynote speakers and so on. I know that SfN also tries to do this. What I would like to see more of in both societies, particularly SfN, is the recognition of scientific excellence that transcends gender. That was very apparent to me in San Diego as SfN awards were given out – the idea that scientific excellence can exist only in ivy-league institutions from work by scientists who have impeccable scientific pedigrees is very dated, methinks… As someone who grew up in another part of the world where funding for science was not as abundant, I learned that scientific excellence [e.g. good ideas, painstaking methods] are not reserved for elite institutions of learning – even though people over the years have tried to tell me so. [Seriously, this is what I heard a lot while I was at Yale – thankfully not from my mentors or the folks who worked in our laboratory].

Second, if inclusivity exists at a scientific meeting, this automatically sets up an open & free environment to discuss important, controversial & unresolved scientific issues – this is what pushes the field forward & everyone benefits from that! This has become a highly visible & positive component of the OHBM meeting. Why is this so you might ask? Because it comes down to the attitudes of the leadership of the society – if the leadership values these goals, then the meeting will get that overall feel. What has been good about the leadership of OHBM over the years is that it has tried to change with the times. OHBM Council has had both older & younger scientists as members & the older scientists have known what to do to remain current with the times. Unfortunately, I cannot see that SfN has changed in that way. I have been a member of SfN for 25 years & it seems to me that the leadership i.e. elected officers etc. has not reflected the diversity we have in the regular SfN membership. SfN will be 50 years old next year. This is an incredible achievement & something that really needs to be celebrated. What better way to do that by turning over a new leaf in the annals of the SfN & embracing diversity in all it’s forms? This means championing it, not only from the podium, but from concrete initiatives that are clearly visible to the membership, as well as using its considerable lobbying power to influence public opinion & politicians about science & making the world a much better place than it is today. I see this happening at the OHBM meeting yearly & I always come back from this meeting with a real buzz… If we cannot make the world a better place for others in the present, as well as for the future, then why are we practicing science in the first place?

So as not to end on a negative note here: let me share with you my highlights of SfN. First, the session on the first day of the meeting, entitled Dialogues between Science & Society featured the very talented jazz musician & composer Pat Metheny. He was an absolute delight to listen to – he was able to clearly articulate about his very high goals that he sets himself for every performance, as well as giving the audience an idea of what goes through his mind as he improvises during a jazz solo & how he composes music.

SfN2018_2

Needless to say also, the special & keynote lectures were all excellent – with engaging & diverse speakers delivering accessible talks of a very high-standard to interested large audiences.

I did have a second highlight – a very personal one – almost embarrassed to admit it. But here goes anyway… as always I enjoy going around the commercial exhibits & looking for new equipment/software,& of course books. Nice to see our ‘MEG-EEG Primer‘ with Riitta Hari on sale at the Oxford University Press stand! So if you are new to MEG or EEG, check it out – it is targeted to you, & you might find it helpful… [see https://global.oup.com/academic/product/meg-eeg-primer-9780190497774?cc=us&lang=en& it is available on Amazon & Google Play]

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OK. I admit it. That was a shameless promotion…

So at every scientific meeting you go to there is always an iconic image that remains with you after you have left the meeting. So what image will stay in mind from San Diego this SfN for me?

SfN2018_5

Back stateside…

Have been back here in Indiana now for about 3 months or so… my wonderful sojourn in Paris seems like a dream now. That said, it is terrific to catch up with spouse, colleagues & good friends again – I missed everyone a lot. The creatures have also been cuddled many times over – missed them immensely also while I was away…

It is time to give thanks for the wonderful connections & interactions one makes as a scientist. I was also fortunate to catch up with old colleagues & friends while I was in Europe. Also, I have got to know so many young scientists as well in my travels over the last 6 months. Many of them I had already made contact with on science Twitter, but now was a chance to meet them in person! That was a lot of fun – whether visiting them in their home cities [Helsinki, Paris, Ghent or Singapore] or meeting them face-to-face at a conference. I look forward to doing more of this in future as I expand my contacts on science Twitter. I am enjoying regular Skype meetings with colleagues across the pond, as we continue to discuss ongoing projects.

As to what I have actually come back to, that is an interesting question. I left at the start of January 2018 & returned mid-July 2018. I had originally decided to do a post on what was different between 2 cultures on my return, but I have contemplated that for about 3 months now & have come to the conclusion that that no longer is viable. Why? Because it no longer feels like it is the same country here. I am not really sure what the culture really is about now, so I guess I will have to do a lot of navel gazing so I can figure that one out.

What to do? Instead I will share with you a couple of photos – the ‘then’ and ‘now’ of Paris, if you will. I went back to a couple of spots that I had taken some pics that I liked years earlier – in one case almost 20 years ago. I tried to take the same shot – same perspective etc. But there are different seasons, different times of day… The camera is different: the ‘then’ was an SLR, either digital or film, and the ‘now’ was my iPhone 8 with its 2 excellent little cameras. I also wonder how much my eye has changed over the years?

What you think of the images – do you like the old or the new best? [The ‘old’ is on the left & the ‘new is on the ‘right’.]

And for those of you who need data, here are the two original [& uncropped] new shots straight out of the iPhone. The old shots were taken with the explicit purpose of shooting in black & white – a medium that I absolutely adore. The new shots were taken with the aim of converting them to black & white.

On polymaths & Renaissance men II

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In an earlier post I talked about my visit to the Musée Rodin & the many talents of Auguste Rodin. Another individual who was very successful in traversing genres of art, but who is best known for his paintings is Pablo Picasso [1881-1973]. The museum devoted to him, the Musée National de Picasso-Paris, is in the 3rd arrondisement of Paris & it’s magnificent building also has an interesting history [http://www.museepicassoparis.fr/en/]. Pierre Aubert originally bought the land & the mansion’s construction was completed in 1659. The building was known as the l’Hôtel Salé, because Pierre Aubert collected taxes on salt in the name of the king.

The building was renovated between 1979-1985 by the architect Roland Simounet. One of the building’s original features is a magnificent central staircase. There is an interesting contrast of the old & the new: see the images of 2 staircases below – one of the original main staircase & the other of a [minor] staircase connecting the cafe with the rest of the building. The latter reminds me of some of Picasso’s curved brushstrokes…

Similar to the Musée Rodin (see earlier post), the creation of the Musée National de Picasso-Paris also has an interesting story. In March 1985, the Paris City Council made the decision to house the national museum devoted to Picasso in the renovated Hôtel Salé building, to house the collection of Picasso’s works that had been amassed by the state in earlier decades from two donations in 1976 & 1990 by members of Picasso’s family & friends. What is really interesting also is that Picasso’s personal archives were also part of the donations & this includes his personal art collection [donated by Picasso himself apparently] – which is housed on the top floor of the museum. This was something that I found particularly fascinating – for a number of reasons. First, it gives insight into the artist’s appreciation of the work of his peers, as well as artists who lived before him. Second, some of the works were unusual for the artists that painted them – either thematically or stylistically. For example. here is a rare self-portrait of Joan Miró [1893-1983] that was completed in 1919.

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Miró came from Barcelona & is most celebrated for his paintings of an abstract nature. He was certainly not known for self-portraits or for representational art… [https://en.wikipedia.org/wiki/Joan_Mir%C3%B3] I think that the treatment of the face & the textures/patterns on the shirt are very unusual & interesting. I have not been to his museum in Barcelona [https://www.fmirobcn.org/en/] – but that is on my list for my next visit there.

Picasso also owned a couple of paintings by Georges Braque [1882-1963], a Frenchman who among other things was a proponent of fauvism & cubism, alongside Picasso [https://en.wikipedia.org/wiki/Georges_Braque]. Here is an image of two of Braque’s paintings – examples of still life, hung side-by-side:

MuseePicasso_25_NatureMorteComparee

The image on the right [Nature morte au pichet et aux pommes] is quite representational & was painted in 1919, AFTER the very cubist image on the left [Nature morte à la bouteille], which was painted in 1910-11. Interestingly, while the artist could radically change his style of painting, he kept the same relatively muted & harmonious color palette. That is something that I have always enjoyed in his work – the sharpness of the cubist lines & angles has always been tempered by his gentleness in coloration…

Finally, the last image that I found fascinating was this fairly subdued still life from 1902 [Bouquet de fleurs dans la chocolatière] by Matisse – so different to what he would generate years later…

MuseePicasso_22_Matisse

But what about Picasso himself? What drove him & influenced his work? The temporary exhibit at his museum in Paris was devoted to examining these themes & the background work & context for Picasso’s magnum opus Guernica – a work that today remains permanently housed in the Museo Nacional Centro de Arte Reina Sofia in Madrid. I have had the good fortune to stand in front of this monumental canvas at the Reina Sofia in Madrid. It is a work not just of huge physical proportions [3.493 m x 7.766 m], but also of monumental human themes. The entire work is painted in a greyscale palate – blacks, greys & whites. The temporary exhibit in Paris featured a print of the work at the exhibit’s entrance – thereby setting the context for the exhibition. [I have not been able to reproduce an actual image of Guernica here for you due to copyright issues…]

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Picasso finished Guernica in 1937. The canvas represented the horrors of the Spanish Civil War – in particular, the April 26th 1937 bombing by Nazi planes of the town of Guernica – a Basque country stronghold of the Republican resistance. Incredibly, General Franco had allowed the bombing the town of Guernica by Adolf Hitler – letting the Nazis try out some new weaponry & military tactics on Spanish citizens. What made this particularly egregious was that the casualties were mainly women & children – apparently the men were away fighting in the Spanish Civil War. The wooden buildings in town produced a massive fire as a result of the bombing. The people of Guernica had no escape because the roads & bridges out of the town had been destroyed by the bombs. I bought a book of the story of history of the town of Guernica after the exhibition & it is very distressing reading indeed… [For a historical background see https://en.wikipedia.org/wiki/Guernica]

In 1937 Picasso was living in Paris, & had been commissioned by the Spanish Government to create a work of art for the Paris Exhibition of that same year. After hearing about the events in Guernica he changed his mind about the proposed theme & created a monumental canvas devoted to depicting the horrors of war & the suffering of humans & animals. In order to create his masterwork, Picasso create many drawings & smaller paintings – trying out potential images & themes to include in his magnum opus whose main elements are a bull, a horse & humans. The distress & agony of the horses leaps from the sketch [Étude pour Cheval] and the painting [Corrida: La mort du torero] below – studies that preceded the painting of Guernica.

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The horse is a central feature of Guernica & Picasso also did a study of it’s head – as seen in the image below [Tête de cheval, étude pour Guernica].

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At one point in time Picasso had said that the horse in Guernica symbolizes the people of Guernica, but there have been other reported interpretations. Another prominent feature of Guernica is the bull – that on one occasion Picasso had said was meant to symbolize brutality and darkness [https://www.spanish-art.org/spanish-painting-guernica.html]  The destructive bull can also be seen in one of the images above [Corrida: La mort du torero]. That said, Picasso is also on the record as saying: “…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.” [see https://en.wikipedia.org/wiki/Guernica_(Picasso)]

Whatever Picasso meant when he painted Guernica seemed to resonate with so many people – it became a symbol of protest. After its showing at the 1937 Paris World Fair [Exposition Internationale des Arts et Techniques dans la Vie Moderne] it was sent around the world on tour to raise money for Spanish war relief. Indeed, many artists made posters to support this effort to raise money for the casualties of the conflict, as this poster by Miro [see below] shows:

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… & this wall of posters supporting the resistance indicates:

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Artists & writers have always participated in political movements throughout history. Given that history currently seems to want to desperately repeat itself I am sure we will see a renewed effort in the creative arts in this sphere…

But back to Picasso. Painting is the main art that we associate with Picasso, but he was one to experiment with other media too – moving into collage, sculpture, stage design & also ceramics. The museum in Paris had mainly paintings, but I would like to see a collection of his other works.

I am glad that I found time to go to Picasso’s Museum in Paris – that visit & some background reading I did on him gave me a newfound respect for him. He was one of those rare individuals who can make the most of different media – producing memorable & astounding works – because he could imbue each medium with the representation of his idea. As I mentioned earlier, the building that the Museum is housed in is also interesting in its own right. But there are also interesting views of Paris from the upper floors of the Museum – as this picture of the rooftops looking out to Montmartre shows…

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On polymaths & Renaissance men I

I still have a couple more posts on my Paris experience – here is one of them.

In every field of endeavor there will always be those who show exceptional skill at a particular activity. But quite rare is the individual who has mastery of multiple fields of expertise. In my wanderings around Paris I have had the opportunity to visit the respective museums devoted to Rodin [1840-1917] [Musée Rodin] & Picasso [1881-1973] [Musée National de Picasso-Paris] – two individuals who seemed to find success at whatever genre of art, sculpture or ceramics they turned their attention to. I had never visited these museums on previous visits to Paris, so these were definitely on my list of things to do – especially before the tourist season peaked here.

MuseeRodin_54_RodinPhoto

The Rodin Museum itself is housed in a magnificent building, which was built between 1827-1837 by a wealthy financier [Abraham Peyrenc de Moras]. Unfortunately, de Moras passed away before construction was finished. de Moras’s widow lived there until 1853, when she sold the place to Louis-Antoine de Gontaut-Biron. The place is still known as l’Hôtel Biron.  It changed hands & purposes over the course of the years, but in the early 20th century it was the place to be renting space if you were an artist or writer. Matisse hung out there as well. Rodin ended up renting 4 rooms there on the ground floor where he was able to also have his studio. Interestingly, in 1911 the place was sold to the state to be repurposed. All the tenants left, with the exception of Rodin… He offered his collection of works to the state for the purpose of having them kept in one place to help train artists & sculpturs, with the idea that eventually [on his passing] it would become a Museum devoted to his work. In 1916, the state agreed & the place became the Musee Rodin in 1919. [Rodin died in 1917. For more information on the history behind the museum, see http://www.musee-rodin.fr/] The building is gorgeous, as are the gardens where a lot of Rodin’s larger sculptures are housed.

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His most well known works are Le Penseur [The Thinker] & of course his sculpture of Balzac wearing the dressing gown in which he would apparently always write in.

 

Rodin did a number of studies of Balzac in plaster – no doubt planning this monumental work over time. One of them was a nude, which is displayed inside in the museum. Another was a plaster model of a dressing gown. Mercifully for us all, he chose to clothe Balzac for his magnum opus! This statue of Balzac has been reproduced & displayed in so many galleries around the world. I remember as a child begin dragged along by my parents to the National Gallery of Victoria in Melbourne, Australia where there was a reproduction of it. It was quite dark & evil looking, as I recall it. The work displayed in Paris of it does not look anywhere near as sinister. Interestingly, the closest Metro stop to the Rodin Museum in Paris, Varennes, also has a couple of larger than life renditions of these works. Another nice bit of whimsy [not unlike the Metro stop Arts & Métiers I mentioned in an earlier blog post.]

Metro_Varenne

The museum features many examples of his working models in plaster & there is a really informative video of the many steps in the process of making a bronze statue, from the initial plaster model, the ceramic mould, etc.

MuseeRodin_57_LAmour_casting

One of the most amazing works by Rodin, for me at least, is La Porte D’Enfer [The Gates of Hell]. Rodin took his inspiration for this work from Dante’s Inferno. It is absolutely enormous – it is 6 metres high & 4 metres wide! It has a total of 180 figures! To design & fabricate such a work requires not only excellent artistic skills, but also incredible spatial ability. It looks like Rodin started out with a really small model [less than 1 m high, image below left] & worked his way up to the real thing [image below right shows some of the detail from this monumental work]…

 

…in any case it took him 37 years to complete it. Le Penseur also features in it & can be seen in the image above. Needless to say, that this work of Rodin has been reproduced & displayed many times around the world.

As I mentioned earlier, Rodin seem to master any technique he touched. Here is a wonderful side-by-side study of his father, Jean-Baptiste Rodin. At left below is a bronze bust & at right is an oil on canvas portrait.

MuseeRodin_45_PereDeRodin

There are also examples of works in terracotta, faience, carvings in marble, as well as sketches for works. Plaster models of faces, hands are also abundant. The museum is great in that regard because it shows works in the various steps that make up the artistic process of creating beautiful sculptures.

As a feminist, it would be remiss of me not to discuss Camille Claudel, Rodin’s muse of many years, but more to the point a wonderful sculptor in her own right. The museum features some of her works as well. Here are 2 exhibits that I liked the best: The image at left below shows a carving in onyx with bronze trimmings called Les Caussesses [The Gossips]. The details is gorgeous & it took her years to finish this group of 4 nudes [1893-1905] because apparently onyx is so difficult to carve – it is both very fragile but quite hard as well. The image at right below shows her bronze bust of Rodin [1886-1892].

 

She was also accomplished at working with plaster, clay & in marble, the museum shows various examples of her talents.

Camille Claudel has her own museum [Musée Camille Claudel] which is located in the town of Nogent-sur-Seine ~100 km southeast of Paris [http://www.museecamilleclaudel.fr/] This has been on my list of things to do, but with the 3+ month long train strike in France, it has sometimes been tricky to travel as train schedules are disrupted for a couple of days every 4-5 days. So as a consolation prize for now, I bought a book on Camille Claudel, in French, at the museum.

The Musée Rodin is a great place to visit at any time of year – lots of nice views of city landmarks from the gardens, not to mention Rodin’s sculptures in the garden, as well as in the stately home itself…

All good things must come to an end…

Six months seems like a long period of time, but it really does pass quickly. My time here in Paris is fast coming to an end… In the short time I have left I tried to cram in a visit to Belgium to give a talk & then attend a local EEG conference in Paris, tie up loose ends on projects & spring clean of my apartment so I can hand it over to my landladies with a guilt-free conscience.

I was fortunate to visit the city of Ghent in Belgium – at the invitation of Daniele Marinazzo [@dan_marinazzo] in the Department of Data Analysis in the Faculty of Psychological & Educational Sciences at the University of Ghent. I had to plan my travel around the 3-month train strike in France & ironically on the way back to Paris was almost a victim of a sudden train strike in Belgium! Decided to not risk it & travelled back to Brussels to stay the night before heading out to Paris in the morning, because of the disruption to local trains. The city of Ghent is a really beautiful – unfortunately I did not spend much time there, but if I had to describe it in one phrase it would have to be ‘the city of churches’. It has had a really interesting history – at one point being a medieval city-state & being the largest city in Europe [with Paris being in second place]. [https://en.wikipedia.org/wiki/Ghent]

It is an easy city to get to know – very walkable. It is possible to walk from one end of the city to the other in ~ 40 minutes or so. Lots of old, narrow cobblestone streets, interesting buildings & picturesque waterways.

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It was great to get to know the faculty & students in Daniele’s department & to get to know Daniele – who I only know from science Twitter! We all went out to dinner one night – although unfortunately Daniele could not join us on that evening.

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Needless to say, the students were excellent teachers regarding the finer points of Belgian beers & the unusually warm & sunny weather was a great stimulus for tasting the brews…

Was in Belgium during a world cup match when Belgium played England – was in a bar & the bartender was certainly dressed for the part. [He even had a vuvuzela.] Belgium won that night, so there were a lot of people partying!

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No rest for the wicked though… straight back to Paris & a very nice & bleeding-edge EEG meeting called ‘CuttingEEG’ [#CuttingEEG] run by Max Chaumon [@DNAcombo] at the ICM. It was a terrific meeting – lots of enthusiasm & great reproducible science. Was able to catch up with a couple of folks the night before the meeting started: Dorothy Bishop from Oxford [@deevybee] & Cyril Pernet from U of Edinburgh [@CyrilRPernet]. I had only ‘met’ Dorothy previously on science Twitter, so it was great to finally meet face-to-face! It was a nice coincidence that the speakers from the meeting were staying just around the corner from me, so I was able to take some of them to one of my local haunts.

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The first day of the meeting was devoted to practical workshops – hand-on methods related stuff… Cyril ran one also. The next morning scientific part of the meeting began & it was a great honor & privilege for me to be sandwiched between Dorothy Bishop & Robert Oostenveld [@oostenvr] in a session on reproducibility & open science! Here is a selfie just before we started the session…

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…and a number of kind souls took pictures of us during our talks & Tweeted them – thanks to those people [I am not exactly sure who they all were now…]

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…and we had a panel discussion following the session. Lots of great questions from the audience & a good dialog between speakers & audience to boot!

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The meeting, of course, was also a very social one! On one evening we had the speaker’s dinner…

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…after which we headed to off a party on a barge on the Seine… the image below shows Max Chaumon trying valiantly to herd cats [i.e. speakers] on the bridge on the way to the barge…

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…where the meeting delegates hung out until the morning hours…

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Indeed, many thank yous to Max Chaumon for organizing such a wonderful meeting! I will definitely try to come again to next year’s CuttingEEG meeting. Here is a pic of Max ‘crushing it’ at our poster on ‘rock solid’ MEEG at the meeting.

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The future of EEG looks young & bright & it is great to be a part of that!!!

Activities in my guest lab are also in full swing, but we took time out from that one lunchtime: there was a surprise lunch for me in my favorite Japanese Restaurant. Nice to see everyone’s smiling faces in the image below:

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I have to say I will miss everyone here immensely. They were also kind enough to give me a number of really cool presents – more about those in future posts. 🙂

I will also miss the rest of the World Cup madness that began last night when France nudged their way into the final against Belgium – the sounds of people celebrating & tooting their horns into the long hours of the night was a real experience!

I have to say I will also miss those views of the Eiffel tower from my kitchen window. By this coming weekend it will all seem like a beautiful dream…

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Remembering those who are no longer of this world

In an earlier post I discussed the importance of green spaces for our mental & physical wellbeing. But greenspaces also provide a wonderful environment for commemorating & honoring those who are no longer of this world. The Père Lachaise cemetery in Paris is one such place. Located in the 20th arrondisement, it is the largest cemetery in Paris with over 1 million interments! It is also set on quite a hilly part of Paris with beautiful treed walkways & winding stone paths. [https://en.wikipedia.org/wiki/P%C3%A8re_Lachaise_Cemetery].

Many of the tombs & graves are very old – dating back to when the cemetery was first opened in 1804! Nature persists in working its way around all the stonework…

… & the sound of the birds singing in the trees at this time of year is really beautiful.

The variety & diversity of the graves & tombs is really staggering & there are some really unusual embellishments on some of the memorials.

What attracts more than 3.5 million visitors to the cemetery every year are the many famous individuals who are interred there. So many writers, artists, composers, singers, actors & culinary greats repose there including Edith Piaf, Oscar Wilde, Molière, Marcel Proust, James Morrison & many, many others. Some of the graves are quite hard to find – locating them becomes an adventure, as they are designated as being in a particular area of the cemetery & some of those areas are quite large… I tried to find Amadeo Modigliani’s grave – one of my all-time favorite artists – but did not succeed. But no matter, that search will be continued on another visit… But here is who we did find: René Lalique – whose grave was decorated by an exquisite piece of sculpted glass – as you would expect for a tribute to the famous glass artist & designer… [https://fr.wikipedia.org/wiki/Ren%C3%A9_Lalique]

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… we also found the graves of Colette – French Nobel prize in Literature winner in 1948 [https://en.wikipedia.org/wiki/Colette], Polish composer Frédéric Chopin [https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin] & Gioachino Rossini [https://en.wikipedia.org/wiki/Gioachino_Rossini] among others.

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Some people prefer to have a guided tour of the cemetery. This can take some of the guesswork out of finding some of the graves: the maps of Père Lachaise are somewhat funky as there are a number of official versions of them – I have yet to find one that lists all the notable people who are interred there. I had downloaded a number of them [by profession] & decided beforehand which ones to look for.

As I already mentioned the graves can be hard to find as they can be quite unobtrusive. The tours are certainly very informative – I eavesdropped on a couple of them as we snaked our way between the tombs. There are also those who wander around approaching people with offers to find particular graves – for the right price…

PereLachaise_06_Heloise&AbelardThe image above shows the combined tomb of Héloïse & Abélard. This 12th century story of these two lovers & scholars is a long & complicated one, but is famous for an enduring love despite a separation of many years. Apparently they were eventually interred together at Père Lachaise centuries later as a result of an action by Marie Antoinette [https://en.wikipedia.org/wiki/H%C3%A9lo%C3%AFse] [https://en.wikipedia.org/wiki/Peter_Abelard]

Overall, a visit to Père Lachaise is a huge step into French history – the tombs give something very tangible to it & make you wonder about the life & the times of the individuals in question & also those who buried them there. Makes you turn to the history books as well. This is a place I definitely plan to come back to on subsequent visits to Paris.