Science & Art Cabaret
 

Wednesday, August 18, 2010 at 8:00 p.m.

FREE

Hallwalls, Buffalo Museum of Science, and UB College of Arts & Science present

Science & Art Cabaret No. 2.5 - Will Kinney: The End of the Universe and the Future of Life

On the roof of the Buffalo Museum of Science, 1020 Humboldt Parkway

end of the universe Recent developments in cosmology have not only shed new light on the beginning of the Universe: they have also changed our speculations about how the Universe may end in the far future. Chief among these new discoveries is the observation that the expansion of the Universe is accelerating, indicating that the Universe will end not in a "Big Crunch", but in an ever-faster rush of expansion. In the context of this new cosmology, UB Associate Professor of Physics Will Kinney will revisit the famous argument first made by Freeman Dyson in 1979 that life in an expanding universe has a limitless future. The reality for the future of evolution is more complex than Dyson envisioned.

Selections from Gustav Holst's The Planets by
The Long Winters String Quartet
Natalie Bennett (violin)
Emily Elkin (cello)
Molly Regan (viola)
Jeantte Sperhac (violin)

Public Telescope Viewing
Courtesy of the Buffalo Astronomical Association

bms logo ub cas logo
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Some publications related to this event:
June, July and August, 2010 - 2010

 
 
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IN THE GALLERY
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Ashley Smith
Three Fold Form


Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.
 

Stephanie Rohlfs
Put One Over


Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...