Archives for posts with tag: Chantal Faust

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.

1710 The Publications

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.

1711 Publication essay

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.

1711 Woolwich Contemporary Print Fair

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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1708 Boulby Mine

Time to return to the North East.

Amidst the preparations to take Laboratory of Dark Matters to Cleveland Ironstone Mining Museum was the honour of being invited to sit on the judging panel for the Guest Projects residency proposals for next year. It was a big responsibility and involved quite a lot of hours reading through proposals but was also incredibly useful in understanding how to put together a successful proposal. In the end there just isn’t time to follow every link and read every nuance – it has to be clear and succinct. Was a real treat to have dinner with Yinka Shonibare and chat about why he decided to set up the residency program (- to give back and remain engaged, remembering why he became an artist in the first place) and to hear how he can cut through any nonsense in the proposals, he is looking for commitment, effort and originality and he has no truck with ‘men’s issues’. Was great fun and dinner was delicious.

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Another pleasure was receipt of the commissioned essay responding to the ideas that surfaced during Laboratory of Dark Matters from Chantal Faust. It is a text that can be read over and over and keep giving. It will be published to coincide with international Dark Matter Day on 31st October in an original layout by Daniel Clark.

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Having secured funding from the IOP and STFC we were able to install the exhibition at Cleveland Ironstone Mining Museum in July just in time for the tourists visiting over the summer holidays. This is where the funding we received really helped,  covering our transport and accommodation costs, artwork materials, printing and general installation. It was also good to be able to pay artist fees, enabling artists who work freelance and do not have regular salaried income or research grants to be able to participate.

Cleveland Ironstone Mining Museum were excited by the prospect of hosting an exhibition on dark matter and the local connections to Boulby Mine just 8 miles up the road.

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We were met by real warmth and a can do attitude from everyone at the museum. This was the first time they had hosted an exhibition of contemporary art and we were away from our usual networks of support and infrastructure so it was a learning curve for us all.

One of the main challenges for us working in a remote location was travelling and forward planning to have everything we needed when we got there. We had to rely heavily on the museum for marketing and preparations for our visit. We were very lucky to be hosted by a venue that offered us so much support – they totally transformed this room ready for us to install our artworks

1708 CIMM before

We rented a cottage in the local village of Hinderwell, which coincided with their scarecrow festival, while we were spending time at the museum installing work.

1708 Hinderwell Scarecrow

Artist Robert Good joined us at the mining museum to present an ambitious installation – How To Know The Starry Heavens  – a billboard sized collage of text snippets selected from Edward Irving’s book of the same name written in 1905.1708 Robert Good Installing

Elizabeth Murton installed a new site specific iteration of Connective Matter #3, a web of black yarn and illuminated ceramic objects made by spinning clay, like the spinning which forms planets, stars and galaxies from the matter of the universe.

1708 Elizabeth Murton installing

I tried a new configuration of The Forms in a dodecahedron net formation over the stairwell.

1708 CIMM install The Forms plan

Mapping out the universe/

1708 CIMM install The Forms

/mapping out the exhibition space

1708 CIMM installation in progress

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We made a visit to meet the excellent team at Whitby Museum in preparation for the afternoon of talks we were planning as part of the Institute of Physics Summer Sessions initiative.

1708 Whitby Museum

Our Private View was very well attended by people local to the mining museum, the Board of  Trustees including Vice-Chair Fr. Adam Gaunt and even Mr Barry Dodd CBE Lord-Lieutenant of North Yorkshire who gave a speech commending the museum on their enterprise and promising to mention his visit in his report to the Queen.

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Boulby Underground Laboratory was well represented by scientists Chris Toth and Emma Meehan. The last time we met was over a year ago and 1100m underground.

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We ran a series of workshops developed from those at Guest Projects. We wanted our workshops to be grounded in science and to also have a creative element. Thinking about different ways of making the invisible visible, the cloud chamber workshop was a good way of showing the activity of particles around us that we are unaware of until we see the trails they leave as they pass through and around us as they hurtle across our world.

1708 CIMM Cloud Chamber

I don’t think we experienced the same level of  particle activity as we did in London and I’m not sure why that was. The cloud chamber gives us a glimpse into the invisible world of particles produced in the radioactive decay of naturally occurring elements and those generated when cosmic rays strike the top of the Earth’s atmosphere.

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Melanie King ran more of her illuminating workshops expanding on her Cosmic Ray Oscillograph ideas explored in the exhibition, allowing participants to experiment with phosphorescent powder and laser lights.

Events were underway….

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I have been working hard on my new piece everydaymatters.

Within an ordinary space are hidden the building blocks of the structure of the universe – intangible and unseen. I am exploring the similarities in our search for a spiritual encounter and the urge to understand the origins of our universe.

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The RCA Second Year MA interim show at Café Gallery Projects in Southwark Park was a chance to test out ideas to take forward for the upcoming final show.

It was also a chance to be in the park in early morning sunshine with the first hints of spring in the air and the sounds of waterfowl and birdsong.

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This bird is a bronze ornament seen in the antique shop at the corner of Paradise Walk in Chelsea, a bit of imported tropicalia. I used images taken around the various paradise locations I visit that I felt had some connection to an idea of paradise; exotic birds, palm trees, sunshine, plants, spiritual reflections.

It had been a marathon of screen printing to get my work ready in time for Café Gallery; 6 mirrored circles to print with 11 layers on each one.

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With no straight edges to register to and often printing black on black it felt impossible at times to line it all up. The mirrored surfaces are very vulnerable so I  became rather precious about the whole thing.

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The fear that the structures I had ready to hold the circles may just lean to one side or even topple over once the mirror was attached added to the stress and my heart was thumping when I finally slotted the circles over the steel upright. It was an exhausting experience and a huge relief to find they stood straight. (like sentinels – thanks Zoe)

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Placing the bowls with the disperse images at the base of the stands was a last minute decision but it suddenly seemed that they belonged there to complete the work. One image of the everyday scattered into matter, dark and otherwise, and one paradisiacal image hovering illusively, both are about looking for something, an aura, an understanding of origins.

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In my crit there were comments about the small punctum of colour being an entry point to the work, a little view of the world or another world. Of being drawn into the image, looking through the surface and finding yourself absorbed into the work. The slightly runic quality of the placement looking religious or ritualistic but also having a cinematic quality. Exploded moments of arrested movement. The idea of trying to solidify a glimmer of a partial thought.

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The Sarah Sze exhibition at Victoria Miro fully repaid the effort required to traipse over there in a bitter wind. The first gallery downstairs was all grids and space, a bit like Tron, creating mazes of perspective as line and depth moved as you circumnavigated.

Sarah Sze

Sarah Sze

So much detail, held together by dashes of  repeating colour. The long studio where Siobhan Davies dancers used to limber up was strewn with lichen crusted boulders in vibrant shades.

Sarah Sze

Sarah Sze

Some real, some not. Finally the grand arena upstairs laid out a response to all matter and all questions.

Sarah Sze

Sarah Sze

The Times newspaper, the everyday, a record of time passing with every image scalpeled out, leaving a high definition replacement showing the real news; the elements, the forces of nature. Ice, fire, earth all spotlit in the grand experiment of life.

Sarah Sze

Sarah Sze

Stripped back to basics, revealing the true beauty and complexity of the universe. Everyone who saw the show was awed and everyone felt it spoke to them and their practice.

Sarah Sze

Sarah Sze

Back at school there was a general consensus that Sarah Sze has cracked it, should we even bother to continue our pursuits.

The French writer Xavier de Maistre suggested back in 1790 in his essay ‘Journey Around My Bedroom’ that is was possible to enjoy the thrill of discovery without having to embark on a long voyage, travel to foreign parts or even leave the confines of your own room. To look with tourists eyes upon the familiar would reveal hitherto unnoticed phenomena offering an equally rich experience.

I have recently been playing the tourist on my visits to Paradise Row in Bethnal Green and Paradise Passage which runs alongside Paradise Park in Holloway.

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Delighted to discover an appropriate spiritual behest above a more direct pursuit of happiness in one frame

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and a personal reminder of old bosses from chefing days – Balls Brothers legacy

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Paradise Passage is worth a visit at dusk

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for the ethereal light of the sports pitches

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turning Holloway into holiday destination

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Any exhibition involving Esther Teichmann is going to be a sensual experience. We Come From the Water at Jonathan Miles new project space/gallery Lychee 1 submerses you in its dialogues like the water it speaks of in terms of a weight, an origin.

Esther Teichmann

Esther Teichmann

It was wonderful to encounter Chantal Faust’s work for the first time, her Plantlife series is stunning.

Chantal Faust

Chantal Faust

Carol Mavor weaves language and image to create weighted slippery moments.

Had the pleasure of attending Mark Ferelli’s Magic Lantern Show : Devil Daddy

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A ritual flame is brought to light the oil burner of a nineteenth century magic lantern.  A twist of fume travels out the painted tin chimney as a slow disc of warm, broad light illuminates on screen.  Within its orbit develops the image of a ruined chapel, alone, deep in the hills of a cruel heath-land landscape stricken by winter.

Weaving original film stills, contemporary location shots, bird song and spoken word, Ferelli re-imagines both time and setting of the ‘lost’ british folk horror film classic ‘Blood on Satan’s Claw’ (g.b.1970) evoking, prompting, the ethereal return of the film’s central character, ‘Angel Blake’, seductress, priestess and idiot savant to the monstrous, blood-thirsty hunger of an old pagan god. The ritual operation of lantern image, sound and spoken text navigate uneasy layers of simultaneity, born of the past film location and ever present film story, a performance crossing this uncanny landscape.

This event was prefaced by a selection of Edison’s Black Maria films and an excerpt from Hans Jurgen Syberberg’s 1977 seven and a half hour epic, Hitler: A Film From Germany.

Hans Jürgen Syberberg Hitler - A film from Germany

Hans Jürgen Syberberg Hitler – A film from Germany

I may never get beyond the opening credits of this surreal film but was captivated by the romantic backdrop and the voiceover which sets the premise on which the film evolves as an investigation into evil and guilt stating that if man is offered any amount of material wealth or the paradise of the imagination he will always choose paradise even when he knows it is false.

Our relationship to nature is close to the heart of one of my classmates, Gloria Ceballos who has just had an impressive solo show – Nature: a cultural artefact open at the Instituto Cervantes. Her work explores our experiences of nature in an urban environment focusing on the idea of three natures. 

Gloria Ceballos The Three Natures

Gloria Ceballos The Three Natures

I was recently asked by a male visitor at an exhibition if spiritual concerns were predominantly a female pursuit.

For Ana Mendieta in the 1970’s when a lot of land art was being made by artists such as Robert Smithson she felt her works were more spiritual and in tune with nature as opposed to the brutality of the industrial spirit. She left little trace in the landscape unlike her male contemporaries who were interested in the earth as material. She was interested in the earth’s sensual qualities, exploring the primary relationship of humanity with the earth as mother.  Through tapping into the ancient spirits of a primordial age and using the same elements of earth, fire and blood in her art as her ancestors used in their rituals she hoped to infuse her work with power and magic. She was often aligned with feminist and goddess groups but held firm that her work should not be tethered to gender issues, it was more universal.

Exploring the complexity of the female perspective today Disturbance was an exhibition culminating on International Women’s Day featuring Hermione Allsop, Alexandra Drawbridge, AnnaMaria Kardos, Paula MacArthur, Kate Murdoch, Mitra Saboury, Wendy Saunders, Susan Sluglett and Geraldine Swayne at Atom Gallery in Finsbury Park.

Kate Murdoch

Kate Murdoch

Kate Murdoch’s silent gathering bears witness to those unheard voices from the past when a girl was not expected to speak out.

My time at the RCA will soon be over. It’s been an incredible experience that I never imagined I would participate in.

After spending last summer wholly immersed in writing my dissertation I have had the honour of receiving a distinction. It wasn’t an easy birth so it’s really rewarding to find my energies were worthwhile and I ended up with something I can be proud of that will be archived at the Royal College of Art.

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The visions of paradise that we conjure in our imaginations will be influenced by our culture, personal aspirations and spiritual beliefs but however paradise manifests itself in our consciousness it will symbolize the promise of bliss.

Formed from joining the ancient Iranian words pairi, ‘around’ and daêza, ‘wall’, paradise was first used to describe a walled enclosure. Over time its meaning expanded to include the landscaped parks local nobles created to hunt animals trapped within their walls. These royal parks were lavishly planted with beautiful trees, shrubs and flowers and so paradise came to refer to any delightful garden. Ultimately used as epithet for the Garden of Eden, imagined as the most exquisite garden of them all,  its meaning became ever more sacred, taking on the very idea of Heaven itself.

Also I have met some personal challenges so am feeling good about that too.

One of the reasons I initially hesitated over applying to the RCA was the knowledge that as part of the MA I would be sent on a teaching placement. This terrifying possibility is now in the past. I went to Manchester School of Art and was made very welcome.

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My fears were unfounded and I was able to give a talk and tutorials which although an intense and exhausting experience was not the horrific one I imagined it would be. So I feel ready now to set a new challenge.