Author Archive: Eric Swedlund

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R Bar Set to Open

July 2, 2014 |
R_BAR_mural

One of the main features of the new R Bar is a LED backlit metal silhouette mural, covering the entire back wall, created by Patch & Clark Design.

Rialto Theatre Expands Operations With New Bar

The Rialto Theatre is opening a new bar, adding top-quality beverages to the live music experience.

Slated for an opening in mid-July, the R Bar across Herbert Avenue from the theater will add craft cocktails and draft beer and wine to the Rialto’s options. The 1,100 square-foot bar will be open daily – not just during shows.

“I wanted it to always be open, even when there was a show, to the public. You don’t have to buy a ticket to the show to come to the bar. But if you’re at the show you can come into the bar and go back into the show freely,” says Rialto Theatre Foundation’s Executive Director Curtis McCrary. “For theatre-goers, it’s going to mean a whole lot broader options for beverages, things we just don’t have now, new bathrooms, more space and seating and a good place for meet-and-greets with artists. It will be a great enhancement of patron amenities at the shows.”

McCrary says that after struggling during the recession, the foundation began looking at ways to increase revenue and mitigate slow periods, like the middle of summer.

“When it gets to be certain times of year, when there is nobody who is Rialto-sized touring, it was a really difficult situation for us to navigate because our cash flow would dry up and there was nothing we could do about it. Over the years, we’ve tried everything you could think of to make something happen in that space, but it’s big and it has sloped floors and it’s just not a hang out place. It’s all very focused on what’s happening on stage,” he says.

The Rialto has limited space that’s not in the auditorium and similarly sized theaters around the country have larger lobbies and patios. To expand, the Rialto began looking at spaces contiguous to the bar, but the Plaza Centro development, now the Cadence student housing complex, ultimately offered the best solution.

“This gives us more breathing room. The key outcome is when we have shows, people will be able to flow from the bar into the theatre and vice versa,” McCrary says. The planning centered on the question of how best to meet a variety of needs.

R-bar-logo“What kind of bar does it want to be? It was a tricky thing to determine because it has to be several different bars, depending on the circumstances,” McCrary says.

“We have certain beverages we offer in the theatre, but like all larger venues, the service is more limited. There are a lot of restrictions. It’s about quick and simple service and we can’t get very elaborate,” he says. “So we knew we wanted to have more interesting options available to people. We want that craft component, that finely curated component of the beverages we offer.”

To design the space, the Rialto turned to the team of Gary Patch and Darren Clark. The bar is at the front of the glass-fronted space to enable bartenders to serve outside to the patio as well as inside. The mezzanine directly above the bar offers a more intimate space for patrons, or a prime spot for artist meet-and-greets. The bar menu is designed by manager Rory O’Rear, whose past experience running beverage programs at the Red Room and Wilko is the ideal fit for giving R Bar the versatility it needs, McCrary says.

The R Bar enhances both halves of the Rialto’s mission – improving the live music experience for patrons as well as the stewardship of the theater itself. Revenue generated by the R Bar will be put back into Rialto improvements, like a modern green room below the stage and other upgrades.

“It’s designed so that it can work as a great place to go before and after a show, but also something that can function alongside the theatre during a show,” McCrary says. “There are lots of people who do great stuff all over downtown and we wanted to do something that was different than everywhere else. We’re trying to do our own thing, tied in very specifically to the Rialto. It’s under the umbrella of everything we do here and it’s a place that we’ll welcome all of our patrons.”

McCrary expects the bar to open the second week in July, with a formal grand opening to come this fall. The forthcoming website will be RBarTucson.com.

Sorry About the Garden’s Dynamic Command

June 14, 2014 |
Sorry About the Garden performs at Flycatcher on Saturday, June 21. photo: Jimi Giannatti

Sorry About the Garden performs at Flycatcher on Saturday, June 21.
photo: Jimi Giannatti

For the members of Sorry About the Garden, songwriting isn’t a quiet pursuit, but one they approach with the edgy excitability of adrenaline junkies. Creating and playing music fulfills an essential need, says Sara Louise Mohr, the band’s vocalist and piano/keyboard player.

Formed last fall, the group combines a wide range of experience and styles. Mohr is a classically trained pianist, drummer Kevin William Lee’s band history is heavy on garage and punk bands, and bassist Ian Williams has played in projects across the musical spectrum.

“We’re three musicians who very much lean on each other when we write music and when we perform. We don’t overthink things and that works really well for us,” Mohr explains. “We just groove and let things occur and a new animal emerges every time.”

The band started after Mohr had been playing solo for a while and wanted to start a new project. Her last rock band was Strata Divide, while Lee (also a stand-up comic) previously played with Four Five Six, The Swim and Birds of India, and Williams was in The Runaway Five and Ex-cowboy.

“We play what we know, but nothing’s simple. We’re serious and individually we’re all hard-working musicians, and that works great together,” Mohr says.

Mohr’s biggest influence “rock star wise” is Tori Amos, but the trio’s overall sound leans toward piano-driven 1970s psych-rock. “A lot of people, before they hear us, assume that it’s going to be cute girlie music. It’s not like that at all,” she says. “It’s pretty heavy, commanding stuff.”

The band tends to long songs—often five to six minutes in length—that avoid the common verse-chorus-verse structure, built to take listeners on a journey, with a variety of bridges, different parts and fills, with quick turns and shifts in tempo, tone, volume and intensity.

“There are a lot of dynamics in our music. It pulls you in, it sends you out. We’re human, we’re emotional beings, and instead of getting stuck in a riff, our music swells and recedes,” Mohr says.

Lee says he’s challenged to open different doors in his playing with Sorry About the Garden, avoiding simple 4/4 rock structure.

“We work with mood and melody, writing based on how we feel. We start with simple riffs and hone in,” he explains. “We’re different than anything else that’s going on.”

Williams, who joined the band after one day just happening to ask Mohr and Lee if they were looking for a bass player, says their goal in writing is to let the songs take their own directions.

“We don’t have an idea about a song before we start. And then as we write, we’ll frequently bring several different sketches together to finish a song,” he conveys. “We’re doing such weird stuff that not everyone will love it, and that’s OK. The bottom line is we really enjoy the stuff we’re making and we love playing it live.”

The music happens before the lyrics and sometimes they stay as instrumentals. When Mohr writes lyrics, she finds herself dealing with big topics and recurring themes, like struggling with personal beliefs.

This summer, the band is recording a three-song demo and filming a video for “Blur in My Eyes,” with plans to offer the music freely online. They’re working toward a full-length album by the end of the year.

Since playing their first show in December, Sorry About the Garden has been evolving as Mohr, Lee and Williams gain more experience playing together.

“In a lot of ways, we’re still defining what we sound like, but the stuff we’re writing now has this cohesiveness to it. We’re getting a little darker and a little weirder,” Williams says.

Sorry About the Garden performs Saturday, June 21 at Flycatcher, 340 E. 6th St., with Banana Gun and Joe Peña. Find out more, and follow the band, at Facebook.com/sorryaboutthegarden.

Tucson Guitar Festival

June 7, 2014 |
Brian Lopez headlines the Tucson Guitar Festival on June 14. photo: Jimi Giannatti

Brian Lopez headlines the Tucson Guitar Festival on June 14.
photo: Jimi Giannatti

Classical, blues, rock, country, Celtic, Hawaiian, jazz, flamenco and even air.

Yes, the guitar is indeed the versatile backbone of much of the music that touches our lives and captures our imaginations.

The second annual Park Place Guitar Festival on Saturday, June 14–with a kick off-event Friday, June 13–celebrates those styles and more, featuring over 30 performances on several stages, clinics, a host of exhibitors and an air guitar competition. The Guitar Festival runs from 10 a.m. to 7 p.m. at the mall, 5870 E. Broadway Blvd.

The event, organized by the Southern Arizona Arts and Cultural Alliance, was designed as a free mid-summer, family-friendly, fully air-conditioned event with wide appeal, says Jonas Hunter, the group’s Special Events Director.

“We’re an organization that caters to the arts in any form and we’re always looking at new creative ideas,” he says. “We’re so heavily involved in music and concert series, we thought, ‘why not do an event centered around what’s arguably the most popular instrument in America?’”

The mall reached out to SAACA for a promotion during the slow season before back-to-school shopping and last year’s success was enough to make it an annual event, Hunter says.

“We heard from them it was one of the busiest single days they’ve ever had,” he says. “As the event grows we’re hopefully able to get more budget for it. My ultimate goal is to turn it into something bigger as we progress forward. The hardest part is getting any national artists to come in with the budget we have. Keeping it local is a good thing at this point.”

The local talent includes Mariachi Aztlán de Pueblo Magnet High School, the Greg Morton Band, bluesmen Bryan Dean and Jeff Engelbert, Pascua Yaqui virtuoso Gabriel Ayala and headliner Brian Lopez.

“For me it’s been a culmination of the touring I’ve been doing over the past year, which was solo acoustic,” Lopez says. “These concerts are becoming more and more fun for me because I can showcase more of my classical training.”

In his own career, Lopez says he’s felt the push and pull of several different genres, adopting them into his own style along the way. Gathering accomplished musicians from a wide spectrum of styles is a good display of Tucson’s musical strengths.

“Tucson is a very diverse musical culture. There are so many different types of music here. When you cross into genres like Celtic and bluegrass there are just amazing players in all the styles,” Lopez says.

Ayala, who’s toured all over the world in his 25 years as a professional guitarist, says the festival is a good reminder for people in Tucson how much talent is right here.

Gabriel Ayala performs at the Tucson Guitar Festival on June 14. photo courtesy Gabriel Ayala

Gabriel Ayala performs at the Tucson Guitar Festival.
photo courtesy Gabriel Ayala

“A lot of times think they have to go somewhere else for live entertainment or wait until a traveling artist comes to town,” Ayala says. “Tucson has never really had something of this magnitude.”

Though he’s known for his signature blend of flamenco and jazz, Ayala says his listening habits aren’t confined to any one genre.

“I’m a fan of sounds, period. If people looked at my phone and saw my play list, they’d be shocked by the diverse genres I have. I listen to a lot of everything. To be a well-rounded musician you need to know what your peers are doing around you,” he says. “I’ll definitely make sure to get there a good three hours early and show my support and listen to others.”

For the non-musicians, the air guitar competition offers a chance to shine. Entry is free and competitors are split into two age groups, under 18 and 18-and-over. In the first round, each contestant performs a self-chosen song. In round two, the top competitors in each age bracket will perform a to a surprise compulsory song. Each performance is one minute of a song and is judged on a combination of technical merit, stage presence and “airness.” The grand prize is $150, second place is $75 and third place is a gift certificate.

“We wanted to focus on everything we could,” Hunter says. “We brainstormed all the different styles that are out there. Nobody before him did what Eddie Van Halen did and nobody did what Jimi Hendrix did before him and Les Paul before him. The guitar is constantly evolving and we want to highlight that.”

Visit SAACA.org/GuitarFestival.php for more information and to register for the air guitar competition.

Schedule

Food Court Main Stage
10 a.m.: Michael Nordberg (rockabilly/surf)
11 a.m.: Steve Harris (bass
)
Noon: Jeff Engelbert and Clark Engelbert (blues)
1 p.m.: Billy Cioffi (classic rock )
2 p.m.-4 p.m.: Air Guitar Competition
4 p.m.: John Bujak (rock)
5 p.m.: Gabriel Ayala (flamenco/jazz)
6 p.m.: Brian Lopez (flamenco/rock)

Sears Stage (acoustic)
10 a.m.: Remi Good (classic guitar)
11 a.m.: Grace Shepard (classical guitar)
Noon: Jonathan W. Martinez
1 p.m.: Kathy Acosta Zacala (classical guitar)
2 p.m.: Mariachi Aztlán de Pueblo Magnet High School
3 p.m.: Tucson Ukulele Meetup Club
4 p.m.: Christopher Krantz (looping)
5 p.m.: Jamie O’Brien (Celtic/Hawaiian)

Macy’s Stage
10 a.m.: Pete Biedermann (acoustic finger style)
11 a.m.: Charles Lolmaugh (country)
Noon: Greg Morton Band (bluegrass)
1 p.m.: Dan Griffin (jazz)
2 p.m.: Paul Almquist (rock)
3 p.m.: David Rose (acoustic)
4 p.m.: Bryan Dean and Koko (blues/jazz)
5 p.m.: Ed Delucia (rock/blues/jazz)
6 p.m.: Matt Mitchell (jazz)

Laughter As Medicine

June 5, 2014 |
Emergency Circus, a nonprofit organization, connects patients with performers to heal with laughter and fun. photo courtesy Emergency Circus

Emergency Circus, a nonprofit organization, connects patients with performers to heal with laughter and fun.
photo courtesy Emergency Circus

Not every circus travels in an ambulance. But the Emergency Circus has a mission to uplift the hurt and healing, with entertainment and fun.

“Laughter and joyful feelings have been proved to increase endorphins, which relieves pain,” says Clay “Mazing” Letson, one of the founders and performers for the Emergency Circus.

Founded in Tucson, the nonprofit troupe embarked on its first major national tour last month, “Tour to the Rescue,” which began in New Orleans. Traveling in its specially retrofitted ambulance, equipped with megaphones, musical instruments and circus props, the Emergency Circus rolls into Tucson for hospital visits and a special extravaganza on Saturday, June 14 at Hotel Congress.

The event, starting at 7 p.m., will transform the Congress patio into a superhero-themed circus, juggling, music, magic, dancing, high voltage electricity, and a costume contest for best original superhero outfit. Timed to coincide with 2nd Saturdays Downtown, the family-friendly event is a fundraiser for “Tour to the Rescue,” with a $5 to $25 suggested donation.

“Our shows are very audience participatory and interactive. It’s kind of like a show and kind of like a game. We put them (the audience) into the show,” says Letson. “It’s nice to go into some community, like a homeless shelter or a nursing home where a lot of the time they don’t get the opportunity to interact with one another in a fun, social setting.”

While in Tucson, the Emergency Circus will visit Tucson Medical Center’s Pediatric Unit and the Casa de los Niños Children’s Crisis Center. The overall Tour to the Rescue itinerary calls for visits to more than 25 “under-circussed” facilities coast to coast during a five-week, 6,000-mile tour.

“For this particular tour we’re touring with four main cast members and in each city, we link up with locals in the area to bring them in to go to hospitals and nursing homes,” says Letson. “It works out really well because a lot of these performers are really excited to be able to go into a place and provide some joy to people who don’t get to see that very often. It’s a treat for the performers and it’s a treat for the patients.”

The superhero theme for the event conveys a message about believing in yourself. Audience members are encouraged to dress up as a superhero they invent themselves based on their own superpower.

“We’re superheroes, but not the kind you see on movies or TV. We’re the kind of superheroes that dedicated ourselves to a certain super power and through persistence and perseverance we’ve cultivated these skills,” Letson explains. “We try to send the message that anybody can achieve great skills if they put their mind to it, whether it’s juggling or hula-hooping or doing whatever your heart desires.”

After the Emergency Circus formed, the group contacted The Gesundheit! Institute—the non-profit organization founded in 1971 by world-renowned humanitarian and activist Patch Adams—and the institute agreed to place the Emergency Circus under its umbrella.

In addition to the Emergency Circus, the extravaganza features America’s Got Talent Finalist “Special Head” (the levitating magician), Cirque Roots, Tucson Variety Society, DJ Carl Hanni, Dr. Drea Lusion, The Wonderfools, Circus Amperean’s Towering Tesla Coil and more.

Zack Armstrong, host of the Tucson Variety Society and a member of Cirque Roots and The Wonderfools, says there is something inherently nurturing about fun and games.

“It’s an aspect of community we as humans long for and often lack,” he says. “The reason we do live shows at all is to create a space to come together as a community, not just performers, but the audience as well. We’re able to share a connection that can be uplifting and healing in a way. That’s part of what the Emergency Circus is and that’s a part of why the Variety Society exists, to encourage people to come together and experience something new.”

Visit EmergencyCircus.com for more details about the organization. The Saturday, June 14 event at Hotel Congress, 311 E. Congress St., starts at 7 p.m. and donations between $5-$25 are requested.

Albert Chamillard’s Abstractions

May 7, 2014 |
"Descending Whale 148" by Albert Chamillard

“Descending Whale 148” by Albert Chamillard

Albert Chamillard slowly builds his drawings, layering thousands of small precise marks until the form takes shape.

His style–patient, reflective and emblematic–emerged over time. As an art student at the UA, Chamillard concentrated on larger works, four-foot by five-foot, with bold charcoal drawings. After having kids, he says it became harder to get out of the house and go to his studio to do that kind of work, so he began working on a smaller scale, at night, at his kitchen table.

“These works sprang out of notebooks. They all start out small-scale and I slowly start building them,” he says.

Chamillard’s drawings are of a range of subjects, often times geometric abstractions, speech bubbles or figurative drawings of whales. They’re heavily layered, heavily marked and very graphic, yet sparse. His work reads almost like text, with horizontal lines of markings built on top of one another. Often times, he will experiment with an image and its reverse.

“Being a figurative artist and experimenting with abstraction, I’ve always liked the idea of people saying ‘My kid could do that.’ I want the drawings to look simple on first appearance and then draw you in further,” he says.

Chamillard begins with a first layer, done in a herringbone pattern of back and forth slashes. For the second layer, he makes another pass, reversing each mark for an X pattern. For the third layer, he places horizontal and vertical lines on each. The left-handed artists rests his hand on an envelope to keep the ink from smudging as he slowly adds layers, building contrasts into his conceptual work. The detail in the finished product can be similar to the eye-trickery of optical illusions.

“It does something with your eye where it looks a bit blurry and it gives it some movement,” he says. Chamillard, 42, moved to Tucson in 1994 and earned his BFA in 2003.

Though Chamillard’s work is conceptual, there’s an idea behind each drawing. The whale motif is biographical, representing his upbringing in Massachusetts. The speech bubbles come from a fascination he has with how speech is depicted in art. As for abstractions, he’ll experiment with different forms to find what looks good on the page.

Much of the meaning in his work derives from what Chamillard is thinking about while he’s at work on a piece, which takes about 30 to 50 hours for his current full-size drawings. For instance, one piece is about his relationship with his brother, though he doesn’t tend to make the meaning explicit.

“I don’t want to put that idea into people’s heads. All of my stuff is deeply personal. I’m reflecting and thinking about stuff as I work. They carry a lot of emotional weight for me, but it’s not always that obvious,” he says. “It’s good to be in touch with your work and how it relates to you personally.”

Art has been the focus of Chamillard’s life, something he always knew he could do. He knew also that a career as an artist would be a struggle, so he persisted in finding ways to make it happen. And while he’s had other jobs in galleries and frame shops most of his adult life, Chamillard’s latest work has connected with people to the point where he can pay all his bills through his art alone.

“For whatever reason, people really respond to this work. This has launched a whole new part of my career,” he says. “You reach a point where you just let go and make stuff for yourself to enjoy and people really respond to it.”

Chamillard’s work will be part of the Davis Dominguez Gallery’s Small Things Considered show, the small-works invitational running from May 8 to June 28 at 154 E. 6th St.

“I try to make stuff that looks beautiful and is enjoyable for me to make. You start to question it too much and that just gets in the way,” Chamillard says. “There’s a human act called art, and I’m a part of it. I understand the compulsion to do it. It’s a way of responding to your world.”

Chamillard’s work is also shown at the Eric Firestone Gallery in East Hampton, NY. Chamillard used to work for Firestone’s Tucson gallery and after Firestone moved to New York, Chamillard opened Atlas Fine Arts Services with James Schaub in 2011, which recently closed. See related story on page XX.

A Slice of Titus Castanza

April 10, 2014 |
"Triumph of Divine Love" by Titus Castanza

“Triumph of Divine Love” by Titus Castanza

Titus Castanza says his art is about survival.

Realizing that fact pushed him to hone and focus his painting style, an expressive, raw, immediate and honest take on the world through his eyes.

“My art is about my progression through my life. I’m constantly in survival mode. I try to paint quick, expressive pieces that have meaning to me. I’m not trying for the equivalent of writing a novel. They’re more like short stories or a poem,” he says. “It doesn’t matter how good you are, as you become a seasoned, experienced artist, you realize that expressive part is really how you connect. You give people that raw thing that’s within you.”

Castanza, whose work is on the cover of this issue, contributed the “T” to the Rock Martinez-organized TUCSON mural on Speedway Boulevard and Stone Avenue, the first street or public piece of art he’s ever done. Much of his work consists of self-portraits.

“I’m looking at myself and documenting myself. It’s self-expression, trying to figure out why you’re in this world, why you’re here now and why you’re surviving and pulling through as an artist,” he says. “I’m just trying to make something that’s art. I’m not trying to make something that the world of art will accept. That’s the cheapest thing an artist can do, make artwork for other people to accept it. I make artwork for myself, usually with the idea that nobody else will see it.”

Most of his paintings are done in one sitting, a rarity among the artists he knows.

"Death of the Beast" by Titus Castanza

“Death of the Beast” by Titus Castanza

“Earlier on, I would work on them for periods of time, even repainting them again until I got it right. Now, I trust myself more and end up with pieces that are more powerful,” he says. “If I come back the next day, I could have changed enough to the point that I don’t want to finish the piece in the same spirit. The longer you keep working on a piece, the further you get away from that original sense of what it was.”

Originally from New Jersey, the 38-year-old Castanza spent much of his childhood in Tucson, leaving Arizona in his early 20s for art school in Florida. The last thing his mother wanted him to be was an artist and Castanza had plans to study aviation and become a helicopter pilot before abruptly shifting gears.

“I just woke up one day and said ‘I have to be an artist.’ It must’ve worked itself out in my sleep. It chose me and even though I’d resisted it, I was stuck with it. It was just a switch that went off,” he says.

Castanza put together his portfolio and applied to the Ringling College of Art and Design in Sarasota. When the acceptance came, Castanza was completely broke, so he took the 1978 Jeep he’d spent five years restoring, finished the job, sold it at a car show within 30 minutes for half what it was worth, paid his first semester tuition and bought a plane ticket. His life changed completely within a week.

“I told my mother that I don’t need a Plan B. If I put any energy into a Plan B, I won’t be able to conquer Plan A,” he says.

After graduating, Castanza moved to Philadelphia to work as a staff artist at the Franklin mint, working mostly on illustrations of World War I, wildlife and dragons for the company’s collectibles. Frustration with the job set in, so he left and spent most of the next decade as a freelance illustrator. Living in Washington D.C., Castanza went through another period of reflection and decided he had to go all-in as an artist, so he moved back to Tucson, where he found a studio in the Citizens Warehouse downtown.

“I might die a broke, poor artist and it’s taken me years to be in a place where I’m OK with that, because it’s about the art,” he says. “You have to get into your own brain and operate from within on a very sincere, honest level and put your energy and your life into your art.”

To learn more about Titus and to view some of his work, visit TitusCastanza.com.

What is Consciousness?

April 9, 2014 |
Illustration by Pop Narkotic

Illustration by Pop Narkotic

The question—as fundamental and mysterious as any in the universe—intrigues an array of scientists and philosophers today as it has for centuries.

Scientists, philosophers, researchers, scholars, artists, students and humanists from around the world will convene in Tucson this month to speak, listen, discuss, debate and present their ideas on the exact nature of consciousness.

The 2014 Toward A Science of Consciousness is the 20th anniversary of the landmark conference in Tucson that kicked off a new era of studies on the subject. The conference will reflect on the two decades of progress and dilemmas, current research and includes a “who’s who” list of presenters, including spiritual author/alternative medicine/holistic health guru Deepak Chopra, M.D., and world-renowned physicist and mathematician Sir Roger Penrose.

“Consciousness was kind of banned from science for most of the 20th century,” says Dr. Stuart Hameroff, director of the UA’s Center for Consciousness Studies. “William James popularized consciousness in psychology, but the behaviorists took over psychology and what became acceptable was anything you could measure. You can’t really measure consciousness, so consciousness became a dirty word for most of the 20th century and wasn’t really a scientific consideration.”

Hameroff, Professor Emeritus in the UA Departments of Anesthesiology and Psychology, says the scientific study of consciousness—after being spurned for so many years—emerged again in the late 1980s. Eminent scientists like Francis Crick, Penrose and others began seriously addressing consciousness, publishing books on the subject and giving it a renewed scientific acceptability.

At first relegated to the realms of very particular fields in inquiry, consciousness studies began crossing and combining disciplines and competing views emerged. The viewpoints closely aligned with ancient philosophical approaches, one more Western in describing consciousness as a by-product of brain activity and one more Eastern in considering consciousness a primary basis for reality.

“There are two basic camps, one is the brain as a computer and the second is that the brain connects our thoughts to the fundamental level of the universe,” Hameroff says. “Both of these views have come a long way (since the 1994 conference).”

Though consciousness began moving into the scientific mainstream, prior to 1994 there were only conferences with specific focus—for example on philosophy of mind, Hindu spiritual approaches, neuroscience or artificial intelligence.

“It wasn’t until our conference in 1994 that you saw an integrated approach,” Hameroff says. “You bring everybody together under one umbrella and try to break down these barriers. That first was very successful. It was phenomenal experience that galvanized the interdisciplinary approach.”

Planning the initial 1994 conference, Hameroff and his UA colleagues Alfred Kaszniak in psychology, the late Alwyn Scott in mathematics and then conference manager Jim Laukes, didn’t know what to expect. The Internet had just begun connecting scientists and philosophers from around the globe and suddenly those shared interests could be explored free from geographic boundaries.

Hameroff describes a then-unknown philosopher, Australian David Chalmers, setting the tone. Chalmers, an Oxford-educated philosopher then a professor at the University of California-Santa Cruz, framed consciousness in just the right terms.

“He talked about how problems like memory, learning, attention and behavior were relatively easy compared to the really hard problem of how and why we have conscious experience,” Hameroff says. “We could have been non-conscious, robot-like zombies with no inner life. So how and why do we have feelings and awareness? That was the hard problem and at that moment, we knew why we were there.”

After the 1994 conference, there was great demand for a follow-up and the UA began hosting the conference every other year, helping to sponsor the off-year conferences at other sites around the world, in places such as: Naples, Italy; Tokyo, Japan; Copenhagen, Denmark; Stockholm, Sweden, among many other locales.

In 1998, with a grant from the Fetzer Institute, the UA’s Center for Consciousness Studies began, with Chalmers recruited to join the philosophy department and serve as the center’s director. Chalmers, who became the UA’s youngest-ever Regents’ Professor before returning to Australia, returns as a featured speaker for this year’s conference.

Hameroff, who continues a collaboration he began with Penrose at the 1994 conference on a well-known but controversial quantum theory of consciousness, says breakthroughs in quantum brain biology have them on the verge of catching up to the computationalists.

Illustration by Pop Narkotic

Illustration by Pop Narkotic

“Consciousness is a fundamental, irreducible part of the universe,” Hameroff says in describing his theory. “Rather than consciousness being a property of a particle, it’s a property of the fabric of the universe. The idea is that consciousness is intrinsic to the universe and it’s built into the universe, it’s ubiquitous, it’s everywhere and what the brain does is organize it.”

As far as the science, Hameroff says both approaches have seen great progress in the 20 years since the initial conference. Major strides in brain mapping join the advances in quantum mechanics in spurring on the competing views in their own ways and continuing to build excitement for consciousness as a field of study.

The conference—from Monday, April 21 to Saturday, April 26—is expected to draw 800 scientists, philosophers, experientialists, artists and students from more than 60 countries to the University Park Marriott Hotel, 880 E. 2nd St. Seating is limited and registration is required. In addition to the keynote, Penrose will also give a public talk on astrophysics on April 21 at the UA’s Steward Observtory, 933 N. Cherry Ave.

The conference will feature presenters on both sides of the quantum-computational divide, as well as discussions of subjectivity and objectivity, near-death and out-of-body experiences, Eastern spiritual approaches, mind uploading and a revisiting of Chalmers’ “hard problem.”

Just as the Toward a Science of Consciousness conference made its mark on the world 20 years ago, this year’s version promises to define the leading edges of consciousness studies for the next decades of breakthroughs. And, Hameroff says, the UA’s prominent role in the field continues to draw global attention.

“What the future will bring, we don’t know,” Hameroff says. “Certainly in an interdisciplinary way, the conference and our center did put the University of Arizona on the map in terms of consciousness studies around the world. Ironically, on campus we’re not all that well appreciated. But worldwide, we’re very well known.”

The conference runs from Monday, April 21 to Saturday, April 26. Registration fees are $450-$550, with additional costs for workshops and other activities. For more information, visit Consciousness.arizona.edu.