The 2006 Annual Ig Nobel Prize Winners Award Ceremony

Sanders Theater at Harvard University

The Ig Nobel Prize: Given to Researchers Honoring “Achievements that Cannot or Should Not Be Reproduced.”

The 2006 Ig Nobel Prize Winners

INCLUDING THE 2006 IG NOBEL PRIZE WINNER FOR MEDICINE:

Francis M. Fesmire of the University of Tennessee College of Medicine, for his medical case report Termination of Intractable Hiccups with Digital Rectal Massage; and Majed Odeh, Harry Bassan, and Arie Oliven of Bnai Zion Medical Center, Haifa, Israel, for their subsequent medical case report also titled “Termination of Intractable Hiccups with Digital Rectal Massage.”
REFERENCE: “Termination of Intractable Hiccups with Digital Rectal Massage,” Francis M. Fesmire, Annals of Emergency Medicine, vol. 17, no. 8, August 1988 p. 872.
REFERENCE: “Termination of Intractable Hiccups with Digital Rectal Massage,”
Majed Odeh, Harry Bassan, and Arie Oliven, Journal of Internal Medicine, vol. 227, no. 2, February 1990, pp. 145-6. They are at the Department of Internal Medicine, Bnai Zion Medical Center, Haifa, Israel.
REFERENCE: “Hiccups and Digital Rectal Massage,” M. Odeh and A. Oliven, Archives of Otolaryngology — Head and Neck Surgery, vol. 119, 1993, p. 1383.
ATTENDING THE IG NOBEL PRIZE CEREMONY: Francis Fesmire, The University of Tennessee College of Medicine.
October 6th, 2006

Last night the 2006 Ig Nobel Prize Winners were revealed at the Sixteenth 1st Annual Ig Nobel Prize Ceremony.

Tomorrow, Saturday, October 7, 2006, come see and hear them at the Ig Informal Lectures.

Ig Nobel Tonight

Tonight, Thursday, October 5, 2006, the 2006 Ig Nobel Prize Ceremony happens at Harvard University’s Sanders Theatre.

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Click here to Watch the Live Webcast
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The webcast starts at 7:15 pm Boston time (and, of course at Equivalent Clock Times in other places).

The special pre-ceremony “Inertia versus Franz Lizst” concert/dance starts about 7:20. The ceremony proper begins at 7:30.


Portraits of Children: Embracing Ambiguity

The Children of Pine Flat

Sharon Lockhart: Restoring Innocence

Sharon Lockhart’s “Pine Flat” photographs in this series are all portraits of children. They present a story about looking until one sees. As any artist or enlightened wizard will tell you, this kind of watchful resourcefulness involves embracing ambiguity to discover the beauty in and the intimacy that often springs from the accidents of life. Its absence accounts for the spiritual ache many adults experience as open-eyed innocence inevitably is lost in the process of growing up.

The young people in the photographs came to know Lockhart over the four years that she spent living in their community, having rented a cabin by a creek to escape the unforgiving pace of urban life. Lockhart was surprised to find herself becoming something of a pied piper. The children immediately became curious about the stranger in their midst, following her around, inviting her to play and asking her all sorts of questions about her life. But it wasn’t until after a year of frequent four-hour trips from Los Angeles to Pine Flat that Lockhart saw the possibility of creating art with the children who lived there. As the children scouted for the locations in which they would appear, they began to experience extraordinary places where, earlier, only quotidian spaces existed. As Lockhart observed, “I would ask them at what time of day a particular place looked best or in what season. Gradually they began to see.”

Challenging Adults’ Needs to Punish and Control

Lockhart’s “Pine Flat” shows us an alternative to the venomous and punishing need of adults to seize upon the small differences that separate and shame us. Through her own ability to allow her authority to be challenged and changed, made more forgiving, by a child’s need to repeatedly invent, test, and discard reality, Lockhart restored the innocence of a young person’s world. This paradise is retrievable if we look long enough to cede superficial control. As any good parent, Lockhart allowed her children to live lives independent of her desires; in doing so, they showed her a new way to create a luminous fiction. Just as Lockhart came to the town of Pine Flat by chance, it was her embrace of chance that allows the “Pine Flat” photographs to capture our humanity and dreams so fully. It is a work made out of watchfulness, empathy, and trust, both received and given. Here light makes lasting images and darkness recedes for a moment.

THE CHILDREN OF PINE FLAT

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