Archives for posts with tag: Ai WeiWei

What information could be stored in dark matter?

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Before we could attempt an answer to this question we first had to decide what we meant by ‘information’.

The Dark Matter Day Discussion Group at UCL’s Institute of Education was a cross discipline event looking at three texts as catalysts to spark conversations about dark matter research, ideas of discovery, knowledge and materialisms.

Symmetry Magazine: The origins of dark matter.
From the primordial soup of the Big Bang to freeze-out and the WIMP miracle.

Chantal Faust: Dark Matters  – a specially commissioned essay for Laboratory of Dark Matters

Kader Attia: The Loop
Planetary Computing (Is the Universe Actually a Gigantic Computer?)

Creation, transition, destruction, decay. Matter is constantly regenerated. Our perception of broken is negative. Information is not ‘lost’ but released and absorbed.

Turning to Carlo Rovelli for an insight; The word ‘information’ is highly ambiguous being used in a variety of contexts from mental and semantic (“the information stored in your USB is comprehensible”) to mathematically quantifiable  (“the information stored in your USB is 32 Gigabytes”). There is physical information which is based on correlation that adheres to the laws of physics and meaningful information that leads to intentionality, agency, purpose and function. Physics is not a science about how the world is: it is a science of how the world can be.

We questioned if we have lost ancient knowledge and ways of understanding. Our senses are capped but it is possible to gain enhanced consciousness through forms of meditation and how is this experienced?

Further reading to explore perceptions of reality, self awareness and consciousness; David Bohm On Creativity and with Bryan Hiley The Undivided Universe: An Ontological Interpretation of Quantum Theory.

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Two publications were also launched.

Laboratory of Dark Matters – a project overview publication with an introduction to Dark Matter and Boulby Underground Laboratory and contributions from participating artists. Daniel Clark, Luci Eldridge, Susan Eyre, Kate Fahey, Amy Gear, Sarah Gillett, Peter Glasgow, Robert Good, Melanie King and Elizabeth Murton.

Also an artist edition of the insightful poetic essay from Chantal Faust with layout designed by Daniel Clark to reflect the challenge of negotiating dark matter.

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Many events were scheduled to mark the newly established Dark Matter Day which the STFC decided should share the date with Halloween.

The Royal Astronomical Society hosted a symposium convened by chair of the Dark Matter UK (DMUK) Consortium, Dr Chamkaur Ghag (UCL). Understanding the nature of Dark Matter is one of the most important scientific missions of our time. UK researchers are at the forefront of Dark Matter research: modelling its impact on cosmology in N-body simulations; mapping its distribution with weak lensing studies; seeking direct detection in highly sensitive detectors buried deep underground; searching for signatures of Dark Matter annihilations in space; and even trying to produce some new Dark Matter at the LHC. The afternoon’s speakers were Dr Andrew Pontzen (UCL) on Dark Matter in the Cosmos, Prof. Henrique Araujo (Imperial College London) on Searching for Dark Matter, Prof. Jocelyn Monroe (Royal Holloway University of London) on Global Impact from Dark Matter Research and Prof. Malcolm Fairbairn (King’s College London) on Theories of Dark Matter.

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Following the inspiring project proposal judging dinner with Yinka Shonibare, when difficult decisions were made, the successful proposals for Guest Projects 2018 have been announced. Having been a part of the process I am excited for all the groups and anticipating some excellent projects.

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Ugly Duck “Ways of Sensing” talk during the “Making It Real” festival explored the intersection of analogue and digital technologies.

The speakers were Lewis Bush and Levin Haegele  who use spectrographic, infrared and satellite technologies to process alternative ways of capturing information.

Levin Haegele sounds like an a very useful person to know. His mission is to realise the impossible dreams of artists. He also converts cameras to shoot in infra red and ultra violet.

 

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Levin Haegele shot with converted IR camera

 

Lewis Bush spies on international spy networks listening in to their coded messages, plotting their signal origins and collaging together complex satellite maps of remote terrains.

 

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Lewis Bush from Shadows of the State

 

Night time visit to Vitrine showing THE ONLYES POWER IS NO POWER from Wil Murray.

1711 Wil Murray

Swirling and mutating, the image origins are echoes of locations where his family circus performed that were also the locations of “balloon bomb” strikes. The seasons marking time, summer and winter negatives overlaid and partially obscured with painted brush strokes. Painting out of history or the subconscious.

How information is lost or passed on is addressed in Blade Runner 2049 set in a dystopian future coping with a catastrophic digital data wipe leaving a gap in history.

1711 Blade Runner 2049

A short visit to Everything At Once at Store Studios, curated by Greg Hilty and Ossian Ward  for Lisson Gallery in collaboration with The Vinyl Factory.

Despite his rather selfish egotistical patenting of Vanta Black I have to admit Anish Kapoor makes visually intriguing works.

 

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Anish Kapoor At The Edge of the World II

 

 

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Ai Weiwei Iron Tree Trunk

 

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Dan Graham Two V’s Entrance-Way

 

1711 Rodney Graham Vexation Island

Rodney Graham Vexation Island (still)

 

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Allora and Calzadilla Solar Catastrophe

Alma Thomas showing in Soul of a Nation at Tate Modern. (At 80 was the first African American woman to have a solo show at the Whitney Museum of American Art in 1972.)Fascinated by the space age she followed daily reports of NASA’s Mariner 9 mission to photograph Mars. Huge dust storms on the planet prevented images from being relayed back to earth but inspired her to make this work.

2011 Alma Thomas

Alma Thomas Mars Dust (detail)

Ilya and Emilia Kabakov Not Everyone Will Be Taken Into The Future

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Great title – Not Everyone Will Be Taken Into The Future, for me conjures an image of the time when we have to leave this planet for some new home and there are only a few spaces available on the spaceship, though really it is talking about being remembered, having a legacy that lives on.

1711 Ilya and Emilia Kabakov

Human engagement for the storage of information in opposition to death cannot be measured with the same scales used by the natural scientist. Carbon-dating tests measure the natural time according to the information loss of specific radioactive atoms. However, the artificial time of human freedom (“historical time”) cannot be measured by simply turning carbon-dating formulas around, so that they now measure the accumulation of information.” Vilém Flusser

Sam Hodge created an atmospheric immersive experience at The Crypt Gallery, Kings Cross for White Noise, a collective that presents works investigating a world filled with omnipresent background noise, explorations of ‘seeing the unseen’, ‘zones of indiscernibility’ and the ‘indeterminate’, and the freedom of the imagination to fill the void.

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Sam Hodge Vibrant Matter

“The Sun, the Moon, the Earth and its contents are material to form greater things, that is, ethereal things – greater things than the Creator himself has made” John Keats, 1817

The Live Creature and Ethereal Things  excellent discussion event at Arts Catalyst initiated by  Fiona Crisp as part of her ongoing research project Material Sight of non-documentary photography and video to interrogate extremes of visual and imaginative representation in fundamental science and technology. She has also visited Boulby Mine.

 

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Fiona Crisp Pump Lodge (from Boulby Series, Subterrania)

 

Participants included Tara Shears, Suchitra Sebastian talking about emergent particles and new states of matter that require new language to describe, Nahum Mantra demonstrating the Theremin and talking about mesmerism and invisible forces and arts Catalyst director Nicola Triscott. How to make big science more intimate.

Tara Shears clarity on the structure of the universe containing just 12 ingredients (quarks and leptons) held by 4 fundamental forces brought home a happy analogy for me with the 12 sided dodecahedron Plato’s representative shape of the universe.

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This has prompted me to look closer at Dante’s cosmology as a description of a finite universe, now known as the 3-sphere universe.

I am enjoying making intuitive connections to link the attributes of each heavenly sphere with those of the quarks and leptons. inspired by mythology going back to my reaction when I first came across the seemingly autological names of the quarks and leptons. Up Quark would be the Empyrean and Down Quark earthly paradise and the plucky Muon who appears in my cloud chamber takes Mars for Virtues and courage.

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Fiona Crisp warned against the dangers of art and science collaborations instrumentalising each other. Her work attempts to present an image to be viewed without trying to extract knowledge as in documentation. To evoke time, distance and scale yet create an intimacy of looking and embracing productive doubt.

“Both those taking snaps and documentary photographers, however, have not understood ‘information.’ What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.” Vilém Flusser

Following Fiona Crisp’s research into sharing knowledge combined with the act of making. ‘Origami-Folding the Local Universe’.   I learnt of the Council of Giants, a ring of 12 large galaxies surrounding the Local Group of which our milky way is a member, in the Local Sheet (where nearby galaxies share a similar velocity). Another key 12 to consider.

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Two everydaymatters circles showing at Woolwich Contemporary Print Fair with Thames-side Studios.

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everydaymatters (Paradise Passage #1 N7) sold

1710 everydaymatters (paradise passage #1 N7)

Back in the studio I pulled out some work I started a long while ago but never finished. Avondale Rialto is from when I was looking at the exotic names given to the prosaic caravan, when escape is an ideal never realised. It ties in with the idea of a paradise to be found. I may do some more work with this.

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Below the pavements and around the foundations of the City’s offices lies a layer of Dark Earth: the debris from the collapse and decay of lost centuries including that of Roman London. Powered by wiretapper, Dark Earth audio experience led us from a secret rendezvous to the underground ruins of a Roman house via a rambling narrative attempting to create a steamy atmosphere appropriate to a bath house and pill (tic tac) popping time travel back to a civilisation teetering on the edge of its downfall.

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“Human engagement for the storage of information in opposition to death cannot be measured with the same scales used by the natural scientist. Carbon-dating tests measure the natural time according to the information loss of specific radioactive atoms. However, the artificial time of human freedom (“historical time”) cannot be measured by simply turning carbon-dating formulas around, so that they now measure the accumulation of information.” Vilém Flusser

The duly received wordpress pre posting sharing alert –  ‘a broken connection requires repair’ takes on new significance after our dark matter day discussions.

‘The omnipresence of repair in the universe is without a doubt the sole reason it is shared by both mathematics and art. It is a primary characteristic of human biological and cultural evolution. Without the process of repair, there would be nothing — neither chaos nor stability. Everything is guided by the determinist agency of repair.’ Kader Attia

 

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Thinking on an international scale can be daunting.
I have been trying to imagine a world before religion which must of course be a world without man but how long was man around first, as religion in some form seems to have been something that emerged very early in our development.

When I think about snowball earth and the coming of the forests I do think globally. Those seeds growing and spreading.

Cross pollination. No borders.

I have been working on adding the fern embryos to the iceberg landscape.

1308 Fern Collagraphs

I made some relief plates of the ferns from cardboard and gave them a bit of texture with acrylic medium and carborundum.

Then I gave them a coat of shellac to give them a bit of strength.

1308 Precursor in progress

I am using them to give a background texture to the fern images.

I will then screen print on top of these to add detail.

What was so great about visiting the Venice Biennale this year was that I found so many of the artists I really like were showing there.
Alfredo Jaar makes work that hits you bodily. I can still feel the power of his work I saw in Brighton years ago about the photo journalist Kevin Carter.

The Sound of Silence, tells the story of one photograph taken in Sudan 1993. You sit in a dark space and the story is told in simple sentences, on a black screen.

Alfredo Jaar 'The Sound of Silence'

Alfredo Jaar ‘The Sound of Silence’

The photograph is shown briefly before a blinding flash of light scores into your retina.

You are left blinking in the afterglow. I can still feel the sadness.

Kevin Carter’s suicide at just 33 is so poignant, he had just seen too much suffering to cope with his own problems.

Should you intervene?  Lucy Kirkwood’s play Chimerica also addresses this issue. On the Headlong website is a link to a bbc interview with war photographer Don McCullin who discusses how ‘ there came a natural limit to looking at what others can’t bear to see.’

In Venice Alfredo Jaar looked at the Giardini and its political and economic posturing of pavilions built before the second world war. He then made a model of the Giardini which gets submerged underwater – we see it disappear into obscurity then emerge, green and dripping only to vanish again.

Alfrdo Jaar 'Venezia, Venezia'

Alfredo Jaar ‘Venezia, Venezia’

It might signify the highs and lows of economic powers but of course being in Venice the water rising is a very real threat.

The whole idea of a national pavilion in the art world is questioned now that artists work internationally, moving and exhibiting around the world.

France and Germany have swapped pavilions and to push the international crossover further Ai Weiwei is showing along with 3 other non-German artists in the German Pavilion.

Ai Wei Wei 'Bang'
Ai Wei Wei ‘Bang’

BANG is an expanding,  rhizomatic structure made from the once ubiquitous wooden stool which has now been superseded in China by manufactured models in metal and plastic.  These simple objects that hold the traces of their life in the patina of years, are part of the cultural identity of a nation being lost to globalisation, just as the individual is swallowed up and forced to conform.

Gilad Ratman for Israel also wanted to question the national boundaries that such a setting as the Biennale constructs and he also made work about  transgressing boundaries.

We see a group of people making their way though underground passages, crawling and dragging themselves through the earth.

Gilad Ratman 'The Workshop'

Gilad Ratman ‘The Workshop’

Eventually they emerge into the light from a hole in the ground straight into the gallery space.

Gilad Ratman 'The Workshop'

Gilad Ratman ‘The Workshop’

Underground there are no borders.

Gilad Ratman 'The Workshop'

Gilad Ratman ‘The Workshop’

Once in the gallery each member of the group begins to sculpt a self portrait in clay.

Like a birth, some new body is forged and given voice.

Joana Vasconcelos also looks at the journey, navigation and passage.

Joana Vasconcelos 'Trafaria Praia'

Joana Vasconcelos ‘Trafaria Praia’

Addressing common themes that Lisbon and Venice share she created a floating pavilion – well a boat.

It has a gift shop and art books, cultural history and then in the depths you can climb down into a dark and warm space, soft and feminine and full of wonder.

Joana Vasconcelos

Joana Vasconcelos

Reduced to basic sensory levels of pleasure like a baby in the womb, soft dark warmth, gentle undulation.

The Instituto Italo-Latino Americano a forum for cultural exchange between Europe and Latin America  is all about how cross fertilization can impact cultural identity.

The cavernous pavilion is scented with spice.

Latin American Institute

Latin American Institute

I loved the animation ‘Los Andes’ by Cristóbal León & Joaquín Cociña.

A primal spirit possess an office causing drawings to appear on the wall and plants to emerge from the furniture.

Latin American Institute

Latin American Institute

The spirit appears in the form of a giant growing in size and then crumpling away.

Leon & Cocina Loa Andes

Leon & Cocina Los Andes

Jasmina Cibic for Slovenia looked at how national identity is portrayed and guided by the state into what is acceptable.

Her project ‘For Our Economy and Culture’  looks at art as a token of national identity and how the integrity of the art commissioned for public arenas may be compromised by institutional hierarchies intent on influencing its presentation..

Jasmina Cibic 'For Our Economy and Culture'

Jasmina Cibic ‘For Our Economy and Culture’

Art by committee.

The Pavilion is lined with wallpaper depicting a beetle which has become endangered because of its ideologically charged name – Anophthalmus hitleri.

Anophthalmus hitleri

Anophthalmus hitleri

The beetle which is only found in caves in Slovenia could have been a national cause celebre were it not for it being named by a fascist species collector.

The official Chinese representative Simon Ma had been to the rainforest of Southern China and come back to a life in the city that now was too grey.

He had been inspired by the dramatic landscape, the colours of the forest and the magnificent height of the trees.

Feeling overwhelmed by the power of these colossal living forms he was aware of how deep the roots much reach to support such heights which in turn made him think about the scale of the cities sprouting up all over China

and the need for people to also have roots.

Simon Ma

Simon Ma

His oversized rain drop sculptures gave a good photo opportunity against the dramatic architecture of an ancient palazzo.

Simon Ma

Simon Ma

Simon Ma

Simon Ma

These plastic raindrops were left over form a performance piece.

At the Manchester International Festival Robert Del Naja of Massive Attack and film maker Adam Curtis got together to create a new kind of media experience combining film and music on a mega scale.

The result of their collaboration tells the story of a new system of power that has risen up in the modern world to manage and control us. It is a fake, but enchanting world which we all live in today – but which has also become a new kind of prison that prevents us moving forward into the future.

Massive Attack v Adam Curtis

Massive Attack v Adam Curtis

So many ideas are set off by this ‘gilm’ as they called it. I was spellbound by the scale, the decibels vibrating through my chest, the wonderful eclectic music set, the pure voice of Elizabeth Fraser and the stream of images – my era in soundbites. There were mixed reviews but I loved it. It wasn’t all news but there was a lot of things I didn’t know about –  Russian Punk Yegor Letov for instance though whether the story we were spun was actually true or not I can’t quite work out. The history is mapped out in personal stories such as the tragic case of Pauline Boty who died at 28 after she refused cancer treatments that would have harmed her unborn daughter.

Pauline Boty

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The daughter, Katy ‘Boty’ Goodwin went on to study at the California Institute of the Arts, Walt Disney’s idealist art college, but she became obsessed with her appearance, developed an eating disorder, took heroin and died.

The Japanese gambler Akio Kashiwagi known as ‘The Warrior’ got into a row with Donald Trump’s casino when his system finally failed and he left owing 10 million dollars. Trump never got the money however as the gambler was stabbed to death with a samurai sword before the debts were paid.

Risk management.

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Lots more info about this and other ideas of Adam Curtis can be found on his blog

Mayfield Depot

Mayfield Depot

After a chilling look at the recent past and the nature of control and illusion the crowd is channeled through a subterranean world under intense spotlight to the ferocious barking of the guard’s dog.

Mayfield Depot

Mayfield Depot

Despite the dystopian exit route we were left with the message that now it’s up to us to change the world.

Artist Maria Cristina Finucci is having a go.

There are huge patches of rubbish floating in seas around the world like islands and so to bring something tangible to the debate she has got the U.N. culture agency UNESCO  to grant the “Garbage Patch State” symbolic statehood. This brings them onto the world stage. They are a global problem.

These “garbage patches” are areas of high marine debris concentrated in the North Pacific Ocean, the exact size and content of which are hard to define.

The patches are mostly invisible to the naked eye as the debris – chiefly plastic – breaks down over time, without ever fully disappearing.

In Venice there was an immersive installation using plastic bottle tops to highlight the problem.

Maria Cristina Finucci 'Garbage Patch State'

Maria Cristina Finucci ‘Garbage Patch State’

Every time you throw away a bottle top you are part of the problem.

She is hoping to give direction for good behaviour rather than an apocalyptic message.

In the Emergency Pavilion, a multinational event took on the topic ‘Rebuilding Utopia.’

40 years have gone by without us realizing it.

This exhibition will be a game, what happened during
the last forty years? What worked, what didn’t, what
appeared and what disappeared? When did the world
begin to change? Was it 1973 or 1989? When did
“imagination in power” die, was it in ‘68 or 2012?
Or was it on the first of January, 2013?
Jota Castro ' Here comes the rain again'

Jota Castro ‘ Here comes the rain again’

It didn’t really offer much optimism for a better world it felt full of sadness and lost hopes.

However, these artists from all parts of the world are thinking about a better world, and how art can contribute to imagining such a world.

Emergency Pavilion - Rebuilding Utopia

Emergency Pavilion – Rebuilding Utopia

During the early 60’s when Pauline Boty was studying at the RCA and involved in the anti capiltalist students movements of the time she followed the ideas of the german political theorist Herbert Marcuse.

A year after her death he gave a speech titled “The End of Utopia”. Marcuse said he didn’t mean that utopia was impossible but now we had the technical and scientific means to achieve what had only once been dreamed of, utopia was a real possibility no longer an imagined idea. Poverty and hunger could be solved.

I’m not sure that anyone any longer believes utopia is a real possibility certainly not on a global scale. Even Jesus said there will be poor always.

We have to try though.

Adam Curtis encourages us to look to the future and to think about what sort of a world we want to live in. Our origins are important too.
How much changes how much we learn is debatable.
Pauline Boty is posthumously going to have retrospective of her paintings this year – the show is to be called Pauline Boty: Pop artist and Woman
I suppose that has to be taken in the context of history.
Pauline Boty 'Colour Her Gone'

Pauline Boty ‘Colour Her Gone’