Archives for posts with tag: Cloud Chamber

Back in beautiful Northumberland for a Beyond gathering of artists at ACA who will be continuing in the open door residency as the project evolves into Continuum.

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Lots of particle trails were spotted during The Cloud Chamber Workshop. Thanks to the Institute of Physics for sponsoring this, Allenheads Contemporary Arts for hosting and the North Pennines Stargazing Festival for including it in their programme.

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A 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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These particles pass though us continuously without our awareness. Witnessing this usually unseen activity can lead us to look beyond what our immediate senses tell us is there and consider the possibility of other intangible phenomena.

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The rather gorgeous original Cloud Chamber was invented by Scottish physicist Charles Wilson and he won the noble prize for it in 1927. It has been said that the cloud chamber might be the most important piece of experimental equipment in the history of particle physics. It was a chance discovery that made the study of particles possible.
Wilson was fascinated by clouds and was actually studying meteorology spending his time observing clouds at the top of Ben Nevis. He thought it might be easier to study them if he could build a device to create clouds in his laboratory. He also hoped to recreate the strange optical phenomena known as a Glory caused by light hitting clouds below the observer which he had experienced from his high vantage point on the mountain.

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It was Victor Hess who discovered cosmic rays and earnt the Nobel Prize for this in 1936. Scientists had been puzzled by the levels of ionizing radiation measured in the atmosphere using electroscopes. It was expected that radiation would decrease with distance from the earth but to test this Hess risked his life taking measurements at high altitudes in a balloon without oxygen tanks. He found that the radiation levels increased with altitude and concluded that there was radiation penetrating the atmosphere from outer space.

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Left over dry ice from the workshop gave us the opportunity to try freezing bubbles.

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The workshop was followed by The Dark Side of the Universe talk from Dr. Pete Edwards. Our universe is filled with mysterious dark matter, whose gravity provides the cosmic glue that holds it all together, and dark energy, which is slowly tearing the universe apart.

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The finale of the Stargazing Festival was the screening of Steven Spielberg’s 1977 sci-fi icon Close Encounters of the Third Kind. Good to revisit and think about how much more we know about the universe 41 years on.

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This was preceded by an appropriate dinner courtesy of Alan Smith.

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I was invited as a guest speaker at London LASER Labs Re- Thinking Space at Central Saint Martins.

The session remit was

We are in the midst of both an incredible and challenging space age. How can we harness the information, collected in silo, from the fields of cosmology and quantum physics to conceive of a more unified vision of how the universe (and us) are put together? Within science and culture – what new models of thought could we foster? How do creativity and consciousness fit into this emerging paradigm? How can we rethink our practices to swerve the impasse some are labelling a new ‘Dark Age’?…

I was glad to arrive early to see the collection of meteorites Dr Natasha Almeida, Curator of Meteorites at the Natural History Museum had brought along for the Playlab hands on session. This included a spectacular slice of iron meteorite. Due to a long cooling period inside the parent asteroids the nickel and iron alloys crystallise then when polished and acid etched the classic Widmanstätten patterns of intersecting lines of lamellar kamacite, are visible. Also a tear drop of earth rock created when a meteorite struck the earth and the heat melted the rock which flew into the air and cooled into tear drops as it fell.

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Other speakers at the event were Dr. Thomas Kitching a Cosmologist from Mullard Space Science Laboratory who is Science Co-Lead for the ESA’s Euclid Mission launching in 2021 to map the geometry of the Dark Universe by observing thousands of millions of galaxies.

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He told us how confidence in what the universe is made of has eroded over the centuries and perhaps dark matter and dark energy which make up what we call the dark universe should be renamed Materia Incognita.

Dr Ceri Brenner is a plasma physicist and innovator at STFC Rutherford Appleton Laboratory’s Central Laser Facility. She uses the most powerful lasers in the world to study what happens when extreme bursts of light come into contact with matter. She told us how firing these high energy lasers  through Tantalum a rare, blue-gray lustrous metal can produce high energy x-rays which can be used for imaging the container walls of  radioactive storage facilities to look for damage. The extreme physics she studies can also be applied to understanding supernova explosions in space or how we can ignite a star on earth for clean electricity generation.

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Apparently plasma accounts for 99% of the known matter in the Universe, it’s a soup of sub-atomic particles at temperatures way beyond what we usually experience on earth. This makes the stuff we interact with on a daily basis seem a really tiny portion if 99% of the 5% we know is also stuff beyond our realm of experience.

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Astrophysicist Dr Chamkaur Ghag was also there to talk about direct dark matter research and how extremely sensitive the detectors need to be. It was interesting to look at the progression of the different detectors from DRIFT to LUX increasing target capacity and homing in on areas of possibility where the illusive particles might be found.

Cham always gives insight into the importance of not just interrogating matter but putting scientific research into context. Asking why we are doing something, not just how. This fires his passion to address climate change and his involvement in the grassroots initiative from Particle Physicists European Strategy Update on Climate Change

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PARADISE burning — More than 30,000 people fled for their lives as a late-season wildfire swept across this town in the Sierra foothills

Laser Lab Talks Re-Thinking Space was compered by Nicola Triscott, founding Artistic Director/CEO of Arts Catalyst who asked the panel some reaching questions about the future of physics and how we make a difference to the debate placing ourselves in control of our destiny. Questions from the floor addressed the public interface of science. Speaking in front of an audience is not something I find comfortable so my input to the panel was slim but hopefully I had aired some relevant points during my talk looking at the opposing scales of cosmology and quantum physics and how we might relate to these two spheres of knowledge, both beyond human scale and comprehension.

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The idea of a new dark age approaching addresses a fear that we no longer understand the world around us. We are subjected to too much information that we can no longer process. There is too much complexity, we don’t know where to turn for verification.
The knowledge of the way the world behaves built up over generations may no longer apply. The fear that we are losing connection to the world around us is in many ways a long standing one – we have always looked back to a time when we believed we lived in harmony with the natural world.  That something central to our lives has been lost.

 

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Pieter Bruegel The Elder Two Monkeys 1592

I have seen some interesting exhibitions tracing the human experience through alienation, projection and what happens when different worlds collide.

Nicky Coutts excellent examination of interspecies dissonance Man Stupid at Danielle Arnaud. Koko the gorilla was born and raised in captivity. She was taught to sign and ultimately deliver a message in the role of ambassador on behalf of nature to the 2015 Paris Climate Conference.

In Nicky’s drawings Koko has slipped away leaving just her skin as shadow.

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The images read as an indecipherable code. The frustration at the divide between human and non human communication is held in these traces of gesture. We can look hard, make suggestions but will never know what is in the great ape’s mind. Drawn in blackest charcoal, rich and intense with a primeval, totemic aura they could be the props of the shaman hinting at another world that requires some rite of passage involving the returning to a world of raw visceral nature.

Oceania at The Royal Academy.

In 1768 James Cook set sail from Plymouth in the HMS Endeavour funded by the Royal Society to track the transit of Venus in Tahiti and explore the islands of the Pacific Ocean.

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Lisa Reihana has created a large scale panaoramic video installation in Pursuit of Venus [infected] using the French scenic wallpaper Les Sauvages De La Mer Pacifique as a backdrop to the complexities of cultural identity and colonisation depicting scenes of encounter between Europeans and Polynesians.

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Much of the exhibition was uncomfortable viewing for although the catalogue emphasises that objects collected by Europeans were frequently given willingly I don’t feel confident there was equality in these ‘exchanges’.

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That the objects still resonate with spiritual significance for some is evident by fresh offerings left around the galleries.

I had just finished reading the riveting Modern Gods by Nick Laird before visiting which raises the subject of proselytism and relevant contemporary issues on religious belief and cultural contamination drawing on events in Ulster and Papua New Guinea to highlight the fragility of social cohesion when faith and tribe are on the line.

 

Sarah Christie’s Library shown at Southwark Cathedral is an ongoing attempt to give voice to the individuals that make up the 48% and the opposing 52% trying to make sense of the divided society they find themselves a part of in post Brexit referendum Britain.

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In Ancient Greece, people voted by writing on ‘ostraca’ a broken piece of pottery. The public have been invited to select an ostracon – sherds made by hand from a hundred and fifty cast bowls – and offer their own words that break boundaries.

I enjoyed Alex Prager’s Face in the Crowd series at The Photographers Gallery.

1810 Alex Prager Face in the Crowd

The individual is picked out in the crowd and elevated from anonymity, but look at the crowd – these are not the grey masses we blend in with on the streets, at airport lounges and theatres. Each of these characters is chosen, placed and choreographed. The unnatural vibrancy and controlled demeanours give the scene an unsettling automaton quality.

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Entertained by an evening exploring the darker past of the gothic extravaganza Strawberry Hill House.

Spirits invoked for Ghost Tide exhibition at Thames-side Gallery curated by Sarah Sparkes and Monica Bobinska.

1810 Laura Marker Ghost Tide

Laura Marker

1810 Mary Yacoob Ghost Tide

Mary Yacoob

I took part in the Hollow Bone Ceremony led by shaman Kate Walters who uses repetitive drumming to alter the brain waves to ‘theta’ waves to allow travel to either the Upper world or the Lower world to convene with the cosmos, nature and animal spirits and ask for guidance on behalf of the participant.

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Was it coincidence that my mind focused on an unexpected encounter with a deer in Grizedale Forest the previous week that after the 10 minutes of rhythmic trance Kate came back with a strong image of a large Moose or Stag whose energy and ferocity I needed to tap into.

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Thanks to Jim Lloyd for highlighting this quote from Werner Heisenberg

“What we observe is not nature itself, but nature exposed to our method of questioning. “

 

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New work pentacoronae installed at Grizedale Project Space for In Search of Darkness exhibition curated by art collective Lumen Studios.

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“Sky glow” is the yellow umbra leaching into the night sky from light polluting urban areas; obscuring our view of the constellations, shrinking our universe and severing our relationship to the stars.
Our ancestors mapped the stars and the shapes and patterns they drew across the darkness became familiar anchors for navigation; describing mythological characters; aligning celestial cycles with the fortunes of everyday life and revealing harbingers of portentous events. This rich history is being lost to a population bathed in the radiant intensity of artificial illumination.

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Light doesn’t always make things more visible. There are other ways to discover the mysteries of the universe and look beyond what our immediate senses tell us is there. Dark Matter is a significant component of the universe, yet we cannot see it. It doesn’t reflect or emit light and so scientists are finding other ways to detect it. In digital visualisations of Dark Matter, organic patterns emerge that could be the veins under our skin or the spreading branches of trees.

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As ever more powerful telescopes and data gathering equipment open new areas of the universe to our view, generating imagery we could never see with our naked eyes, we are drawn to experience space via mediated technologies. Dark sky areas such as Grizedale Forest are precious locations where we can still stargaze, wonder and map our own stories across the sky.

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Following on from the group residency earlier in the year we returned

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with new work responding to the naturally dark skies of the Grizedale area  Maria Luigia Gioffre  – a re-tracing of the astral map of 7 July 2018

1809 Maria Luigia Gioffre credit John Hooper

Maria Luigia Gioffre Genealogy of an Asemantic Night – photo John Hooper

Eunjung Kim the journey of unseen travellers across time, memory, the cosmos

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Julie Hill-‘intimate immensity’ the milky way as bodily encounter

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Julie F. Hill Dark River photo John Hooper

Anthony Carr– circadian rhythms disrupted

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Anthony Carr The Moon, Is The Only Light We’ll See photo John Hooper

Melanie King– ancient light captured

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Melanie King Ancient Light, Grizedale Forest  photo John Hooper

Louise Beer— sounds of the tides slowed; an echo from 420 million years ago

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Louise Beer Beneath the Moon’s Gaze photo John Hooper

Rebecca Huxley— twilight transitions, a manifesto to darkness

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Rebecca Huxley 18 degrees below the Horizon 

Diego Valente— “Forests aren’t simply collections of trees….”

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Diego Valente A Copy With No Original

and William Arnold – common lepidopteran misadventures in artificial light

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William Arnold Dark Spectacle

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I had the cloud chamber running at the opening event. Photo courtesy of Lumen

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A 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. It is a sealed environment containing a supersaturated vapour of pure alcohol sitting over dry ice. Charged particles passing through the chamber cause the vapour to condense resulting in tiny cascading trails. These particles pass though us continuously without our awareness. Witnessing this usually unseen activity can lead us to look beyond what our immediate senses tell us is there and consider the possibility of other intangible phenomena.

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Finale! (another great shot from John Hooper)

1809 dry ice credit John Hooper

At the studio I am moving just across the corridor – mostly so I will have a window but I also gain more space which was great timing to lay out and assemble the suspended sculpture for Grizedale in an empty room.

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So glad I spent time on careful packing for transporting

1809 preparing for install– getting it up on the scaffolding and hanging was not easy when only one person present has ladder training and therefore allowed at height due to local council health and safety directives.  Thankfully Sean took it in his stride.

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Out of the Studio
Holly Graham Sweet Swollen at Jerwood Project Space. The seductive title is evocative of succulent ripened fruit but also the tenderness of a bruise. This poignant work draws on the history of sugar as a luxury brought to our shores in the 18th century with the taint of colonial violence and the demeaning of those forced to produce treats for European palates. A series of sugar lift etchings depict hands in isolation, the gestures originating from the stylised ‘blackamoor’ figurines that ornament receptacles of the bitter sweet cargo.

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Charmaine Watkiss showing beautiful ephemeral work at the MA Drawing Final Show at Wimbledon College of Art. A collision of then and now, displacement of body and soul, reaching back for symbols of meaning.

Highlights at this years New Scientist Live were talks from Jon Butterworth – Journeys into Particle Physics, Roberto Trotta – What Has Einstein ever done for you? and Dean Burnett – What makes your brain happy?

I came away thinking about what influences my perception of time and the chemicals that subtlety alter how I experience the world.

If you travel close to the speed of light, distances contract in your direction of motion, while time will dilate more and more the faster you move.  A muon lives: about 2.2 microseconds on average. The speed limit of the Universe = the speed of light. Something moving at the speed of light that only lives 2.2 microseconds, should make it only 0.66 kilometers before decaying. A muon has similar properties to an electron. However, it is 200 times heavier. Muons travel at approximately 98% of the speed of light. The closer you move to the speed of light, the slower your clock appears to run. Cosmic ray muons have such high energies that a journey which takes about 300 microseconds from our point-of-view only takes about 1 microsecond for the muon. Time dilation allows these particles to live.

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I am beginning research for the High Altitude Balloon project. I need so much help! The good people of the HAB community are thankfully giving me lots of advice. One big concern is that the Allenheads Contemporary Arts potential launch site is high up and in the centre of a very narrow bit of the UK.  Wind makes for a difficult launch and could just take it straight out to sea.

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One of my first jobs is to check with the Civil Aviation Authority that the launch site is safe from their perspective.

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I want to film particularly at the altitude where peak cosmic ray activity takes place – this is where the secondary particles that we see in the cloud chamber are smashed into existence.  As the particle activity will be invisible I want to film the aesthetics of the curve of the earth and blue haze of the atmosphere bleeding into the blackness of space. I think my target height will be 30km.

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Cosmic rays are mostly protons and atomic nuclei created in stars and super novae explosions or other unknown events.  Sometimes a rare one will arrive with unimaginably high energy. The first “Oh-My-God particle” was recorded in October 1991 and had an energy 40 million times greater than the Large Hadron Collider can generate with 100 quintillion the photon energy of visible light, it was travelling at 99.999 999 999 999 999 999 999 51% the speed of light. One of these could be passing through you right now.

 

BEYOND – Midsummer Events at Allenheads Contemporary Arts kicked off with Far From Daylight -Outstation #1. This involved lying in candlelit rows, blindfolded, on inflatable beds subjected to a pulsating tone while a disembodied voice gave an account of cosmonaut training in the 1960’s and the interrogation of the minds of the cosmonauts. 1806 outstation 1

Fact and fiction overlapped or merged as documented experiences of cosmonauts were read from texts by group participants. Later small groups of participants plucked word cards from a bag, the words signified archetypes or directives to inspire images that would be used as thought cards for future floatation tank experiences.

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‘The Illuminated Woman’ became the all encompassing and much more open ‘The Illuminated’.

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The Pilgrimage; a non-linear spiral, borders were permeable or herbaceous, the map dissolved leaving no points of reference in space only the depths of the mind to navigate. This was preceded by skimming stones on the cosmic pond and followed by conversations around the fire with artists Jo Hodges and Robbie Coleman who had devised and led this affecting event.

The next night was a test run for the scheduled live streaming of the sunset and sunrise from the top of the fell…

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…situated between borders.

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The Midsummer’s Night droning began just as the sun dipped the horizon and continued until it appeared again on the other side of the earth. It seemed to get around very quickly.

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It never got dark. The earth orbits the sun in about 365.25 days. Up 31 octaves this is 69.05Hz, a slightly flat C sharp. This midsummer the earth will rotate on its own axis in 23 hours, 59 minutes, 59.9998932 seconds. Up 21 octaves this is 24.269Hz, a slightly flat G.

Open Weekend Events up at the school house included seeing comic particle trails in my cloud chamber.

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Also a little hologram film I made of the trails set in a dodecahedron (motif for the universe)

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Exoplanet exploration

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The gallery in the village with work from other BEYOND residency artists

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Earlier visit to Allenheads – circling ideas, segmenting, focusing

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The density of the forest is overwhelming – no space to enter – yet imagine being able to pass unheeded through this entanglement

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Had a preview screening of edited soft borders (video with dance artist Paola Napolitano) and installation of Duodecimens (etched aluminium. screen print) in my studio space for the annual Open Weekend at Thames-side Studios.

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Using the dodecahedron as motif, the boundaries of the universe are brought within reach; pliant and permeable as the body bathed in cosmic particles that do not recognise borders but pass unseen through spacetime and matter. 1806 soft borders still.jpg

There was some interesting use of materials in New Relics sculpture show in Thames- side Gallery.

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The Echoing Space exhibition is a sensitive response to the history of Leith Hill Place from artists Julie Hoyle, Mary Branson and Penny Green. Combining traditional and contemporary materials and processes the past and present are drawn together reigniting the passions of past inhabitants for a new generation.

1806 Leith Hill Place Mary Branson

1806 Leith Hill Place Julie Hoyle

The austere façade and darkened windows can give an initial impression of a sinister past and ghosts best left to rest but inside reveals a palimpsest of family life steeped in the arts and scientific discovery.

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In 1847 it became the home of Josiah Wedgwood III who was married to Caroline Darwin. Her brother Charles Darwin often visited and the wormstone he used for research into how stones and ancient ruins become buried over time is still in the grounds. He studied the action of earthworms excavating soil from beneath the stone and depositing it above the surface. It has been estimated that a 25cm thick stone might take approximately 250 years to fall to the level of the ground. What was under becomes surface.

Vibrant Matter: a political ecology of things by Jane Bennett has an interesting chapter on the earthworm and Darwin’s studies which conclude that earthworms ‘make history’ and augment human culture through the accumulated effects of ‘small agencies’.

Darwin’s niece Margaret married Arthur Vaughan Williams and their youngest son, Ralph went on to become the composer best known for The Lark Ascending. He was also an avid collector of folk songs hoping to save them from being buried in time.

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I didn’t get to see any of the live performances but did go to the Joan Jonas ‘in conversation’ with Marina Warner.  Denying any pretentions of being a shaman herself Joan denotes how the shaman enters an unconscious state and makes clear her performances are highly structured, rehearsed conscious episodes though both performances may appear to invoke the use of objects in ritual the intention is quite different. She draws on influences such as the documentation of Aby Warburg who was captivated by the rituals, masks, architecture, art and culture of native Americans he met on his travels in 1895. She has been to experience remote cultures for herself drawing on both real events and mythologies to feed her performances, creating an alternative space to preside in.1806 Joan Jonas (1)

The viewer watches. We are gathered at the fire.

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To follow the tale

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saw this pattern recently in Valencia on a 15th century floor

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Flooring Consulat del Mar at La Lonja de la Seda de Valencia (The Silk Exchange)

 

Communication between trees came up during the talk as discussed in The Hidden Life of Trees a book by Peter Wohlleben who describes a forest as a superorganism of unique individuals. He is writing about processes going on unseen beneath the soil, chemical languages, networks and relationships. We fail to understand trees because “they live on a different time scale” from us.

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In Material Sight at Arts Catalyst Fiona Crisp presents a series of photographs and films within a structure of scaffolding and invasive noise echoing the utilitarian sites from which the images are taken. She has spent the last few years stalking spaces of scientific research deep underground and beyond public accessibility to pluck out small nuggets of suggestibility that bring a sense of these remote locations to an audience who will never physically experience these unique spaces. We are not invited to comprehend the activities and processes of the laboratories shown any more than we can grasp the mysteries of the universe that these sites are endeavouring to solve.  The images aim to engage through a visual intimacy to counteract the distances crossed in bringing the images to the surface.

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The programme of events continued with Kosmica Ethereal Things at Iklectik which turned out to be in ‘Old Paradise Yard’ (one I have missed on my paradise trail.) Chamkaur Ghag was speaking about dark matter, current research, what we don’t know, physics in culture and the need for a more holistic approach to scientific investigations. Annie Carpenter who is also participating in the BEYOND residency was there to demonstrate black hole accretion using dry ice and household items to create a spinning contraption with a hobbyist aesthetic bringing scientific endeavour into the everyday.

Coming up is the final weekend of events for BEYOND at ACA when I will be screening soft borders video. A research trip to Grizedale Forest as prelude to making new work for an exhibition there. Further research for the weather balloon project – in the meantime having fun running the tracking predictor to see how likely it might be to retrieve any video footage depending on where the camera might land.

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Today would have been a good day for a flight.

I had a very productive time during my Studio4 residency at Chisenhale Art Place. It was great to have so much space. I got started by putting up the hydroponic tent to run the cloud chamber to get some more film footage.

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I also ran a Cloud Chamber Workshop where lots of particle trails were spotted. 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.

My call out through Chisenhale Dance Place for a dance collaborator was successful and I met up with dance artist Paola Napolitano She has brought lots of brilliant ideas to the project with her knowledge of Rudolf Laban’s choreutics theory and her own interpretation of the dodecahedron as a Kinesphere, ascribing sequences of movement to the peripheral lines and planes within the shape. She shared some of Laban’s wonderful drawings with me

and pointed out his quote; ‘Space is a hidden feature of movement and movement is a visible aspect of space’ 

I then began building the velvet chamber.

Next I needed to make the small screens that the audience would use to ‘capture’ the filmed particle trails which would be projected in the chamber lined with thick black velvet.

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This took some working out to fix the joints but in the end a combination of glue, V nails, double sided tape and veneer pins seemed to be strong enough. I used tracing paper, projector screen fabric, white cotton, polyester, organza, styrene, acrylic and wood as different substrates to give different effects and emphasize the porous/solid nature of matter.

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The particle trail footage was edited together and the projections in the chamber tested.

1803 velvet chamber projections 2Some unexpected effects appeared.1803 velvet chamber projections 1

 

I spent quite a while looking at different projector options. When it was time to film Paola I used a pico DLP for darker shots where just her body was visible and a more powerful HD projector for other shots.

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There was a lot of footage to go through and only a week to the opening event. This was my first video work and I was learning Premiere Pro on the hoof.

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Movement choreographed and performed by Paola Napolitano was filmed in the velvet chamber.

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This work builds on recent research that began with wondering what fundamental elements make up the landscapes around us leading to the discovery that less than 5% of the universe is visible.

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Within the unimaginable vastness of the universe we trace our paths continuously permeated at a quantum scale by cosmic rays fired into our world by high energy collisions in space.

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Plato described the dodecahedron as the fifth construction that ‘the god used for embroidering the constellations on the whole heavens’.

There is also a contemporary theory that the universe may be the shape of a dodecahedron, not infinite but with no boundaries this is known as the 3-sphere universe theory. If you left the dodecahedron at one point you would immediately re-enter at another point

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Rudolf Laban was influenced by Plato and the geometries of the platonic solids. His choreutics theories open up new languages to describe interactions between matter and space.

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‘What we cannot perceive with our senses, especially our fundamental sense of touch, remains unreal and its very existence is denied, until intuition or research discovers the unique and universal role of movement as a visible aspect of space’ Laban

 

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Laban Archive – Dodecahedron without six of its pentagonal sides, demonstrating a diagonal orientational axis with a circular void around it representing a circular movement. Model made with metal, painted wood, wool and shoelace.

 

The simple sound edit was a slow transition through the chromatic scale which is a scale with twelve pitches to echo the 12 sided dodecahedron and some added Geiger counter signals converted to an original chromatic scale composition. The video was screened at the open event Scales of Intangibility and it was a relief that Paola was pleased.

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Interesting  interactions happened in the velvet chamber.

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The polyhedral screens worked well to view the projections and ‘capture’ trails, ( a white shirt worked well too ) and I really appreciated all the good feedback from visitors.

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Now the concept has been tested I am keen to take the idea to new places. Hopefully it can be developed into work for my open door residency Beyond at Allenheads Contemporary Arts.

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While at Chisenhale I had the privilege of experiencing Lydia Ouramane’s The You In Us exhibition at Chisenhale Gallery alone on the floor, letting the reverberations from the underfloor transducer speakers course through my body while reading about the extraordinary tale of her grandfather pulling out all his teeth to escape military service and the night her dogs were kidnapped from her roof terrace. The sound piece is called Paradis it is about waiting for something better to come.

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It is a subtle interaction that makes the seemingly empty space personal. My body is here, I can feel the effects and I will leave traces of my visit as I enter and leave pushing against the heavy silver oxidised doors, as with every visitor’s touch, slowly revealing the silver beneath.

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Enjoyed an afternoon screening at LUX with Catalyst Arts presenting Looking Aside. Laura McMorrow’s The Lost Acre had a fragile materiality, creating unstable ground of the sort that might give way and open passages to other realms.

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I knew we were in for a treat as Peter Glasgow was involved in the selection of films to compliment Seamus Harahan’s BL CK B X exhibition: shiny wet stones.

Fred Butler Harmonics in Space was not quite the zen experience I had been expecting. There was certainly a lot of energy going on at the private view.

 

And as Laban states ‘Matter itself is a compound of vibrations’ 

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New year fresh start. Laboratory of Dark Matters evaluation reports submitted. Now to build on my research from the last year. Time to put up the dark tent again and get the cloud chamber running to take some more controlled footage for use in an immersive installation. Excited to be experimenting with video projections, lenses and different media to project onto to ‘capture’ the particles.

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Sun Factor jostling for space at a busy Atom Gallery private view of Tomorrow’s World where most visions of the future appear dystopian or apocalyptic.

1712 Atom Gallery PV.jpg

The backstory to this work begins with a holiday to Sardinia and the day trip salesman’s  insistence the island bay he proposes taking us to – it’s paradise, it’s paradise … well how could we refuse. It turned out we were to be cast ashore for hours on a tiny strip of sand with no shade, no escape and a sea swarming with tiny stinging jellyfish. A concrete obelisk stood over the blistering bodies; once ancient sun worshippers built these capped with gold to shine like beacons celebrating the power of Ra the sun god. Modern sun worshippers have their own rituals, laying under a hot ball of gas so massive and so hot it has been active for 4.5 billion years yet it will be another 4.5 billion years before it will expand into a red giant, vaporize the earth and explode.

On a rather grander scale was ( my past RCA tutor) David Blandy’s The End of the World at Seventeen Gallery.

1712 David Blandy 2

Designed for solo viewing, a single seat faces the enormity of space. You become the lonely astronaut gazing down on a faraway world, at once familiar and distant. The voiceover poignantly recounts what is being lost; spanning perspectives, the micro and macrocosm of life, imagined, virtual and real. When the end is in sight senses are heightened.

1712 David Blandy 4

Touched to hear that David thought of me when making the High Definition series splicing microchips, crystals, nebulae and rock formations into stars which appear 3D until you approach more closely and then they flatten. Heptagrams (seven point stars)share Christian and pagan symbolism, they can represent the seven days of creation, the perfection of god and the seven planets which were known to ancient alchemists.

1712 David Blandy 3

The installation HD LIfestyle also plays with the illusion of surface and the material cost of being able to pass through the screen to an ever more real and immersive experience on the other side. The wares are on display. The images sweep us forward. It would be hard to stop.

1712 David Blandy 1

Thomas Ruff at Whitechapel Gallery. He is big on scale, control and appropriation.  I was struck by the regularity and precision of the white dot of light reflection in each of the portrait models eyes.1712 Thomas RuffThe Mars Reconnaissance Orbiter launched 2005 recorded topography, water related minerals and climate using an imaging spectrometer, context camera and mars colour imager transmitted as radio signals to be translated into images.

1712 Thomas Ruff 3D

Thomas Ruff ma.r.s. 

SPACE/London Creative Network Showcase – showing works in progress as part of an ongoing exploration of new technologies employed within art practice.

Catriona Leahy uses laser-cutting technology to etch delicate capillaries onto marble to articulate a sense of fragmentation and the scarring of  manmade intervention in the form of land drainage found in Dutch and Belgian post industrial landscapes.

171124 space LCN Catriona Leahy

Catriona Leahy Percolation Test

Always drawn to the perpendicular – the standing stones. I enjoyed Ben Branagan’s legacy of the built environment captured in totems made from building site aggregates.

1712 space LCN Ben Branagan

Ben Branagan Hardcore Colonnade

Next door was the satisfyingly ritual space of BearMotherhouse a collaboration of Fourthland, an artist collective, with Xenia a group that brings geographically displaced women together with local communities for friendship and integration through creativity. A quote from the accompanying essay by Alberto Duman addressing the cosmological connections and mythologies of the objects that ‘ speak of the degrees of interconnectedness beyond human knowing and the evocation of powerful figures such as the Bear and the Mother that oversee and mesmerise this house’s proceedings

1712 Fouthland with Xenia

Cryptic exhibition at The Crypt Gallery, St Pancras Church examines the relationship between art, science and technology. Lisa Pettibone explores matter and form through the manipulation of one template and the forces applied to alter its appearance.

1712 cryptic lisa pettiborne

Lisa Pettibone Apeiron 01_02_03

Pentagon envy.

1712 Cryptic Bekk Wells

Bekk Wells Elements

Imagining CERN event at CSM presented the results of creative collisions between interdisciplinary art and particle physics.  MA Art and Science students got to visit CERN, collaborate with scientists and make work in response.

1712 CSM imagining CERN exhibition

Gavin Hesketh was here to talk about his work at CERN searching for new particles

1712 Gavin Hesketh

He had brought his cloud chamber along. First time I had seen someone else’s cloud chamber other than online. No dark tent here.

1712 CSM imagining CERN cloud chamber

In particle physics the closer you look the more similar things become,

when you get right down to the elementary particles there is no colour at this scale

 

 

1709 CIMM exhibition 1Cleveland Ironstone Mining Museum exhibition brought work created for Guest Projects residency into a very different space, reinventing and presenting it in new ways.

1709 diazographoDiazôgraphô – (Wood, acrylic, digital print) has been reworked since Guest Projects. You can still see through it, but it is more reflecting; you and your surroundings are echoed in it and so it appears you are both surrounded by and surrounding the same space.

 

1709 diazographo 1

Using the dodecahedron as a motif for the universe I like this quality that draws on Dante’s description of the universe as concentric circles; that the very outer circles also appear to be enclosed by the inner circles and the relationship that this enfolding space has to a 3-sphere and Poincaré dodecahedral space. Plato described the dodecahedron as ‘a fifth construction, which the god used for embroidering the constellations on the whole heaven ’  so it works as a metaphor for dark matter too – a phenomena that binds the galaxies together.

1709 The Forms
The Forms – (Etched aluminium) Installed in a new configuration here as a net that together would build a dodecahedron. In scientific visualisations of dark matter we see familiar organic patterns emerge; the fronds of dark matter spanning galaxies could be the spreading branches of trees or the veins under our skin. The realm of abstract thought Plato called The Forms is where ideals reside, outside the limitations of the physical world and where, if anywhere, paradise might be found.

Some work by the other Laboratory of Dark Matter artists was new, some reworked or given new context

1709 CIMM exhibition 2

Amy Gear Nudge – (Painting on unstretched canvas)  Reflecting on video footage from a Women’s Self Defence and Green Screen Workshop run in collaboration with martial arts expert Jiff Higman, the work employs the body as a tool to help describe the incomprehensible notion that only 5% of the universe is visible to us; the bodily contact through self-defence actions related to the contact scientists are hoping for when a dark matter particle ‘nudges’ the nucleus of the target element (Xenon) and causes a recoil that can be recorded.

1709 Elizabeth Murton

Elizabeth Murton Connective Matter #3 – (Porcelain paper clay, LED lights, wire, yarn), a new site specific iteration in a series creating a connective 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. We cannot see dark matter directly, only infer it indirectly from observations such as the spin of the galaxies and gravitational lensing and so must speculate its structure and role in the universe.

1709 CIMM exhibition 3

KATE FAHEY Optimistic – (Copper and resin); Dark Adaptation – (Digital video with two channel audio) calling on lost lore and old forms of knowledge to negotiate technology and scientific advancement, the work seeks to establish a speculative relationship between dark matter, dark adaptation, the lectures of Rudolf Steiner on the practice of divining and John Carpenter’s film They Live, where the main character discovers sunglasses that reveal an alternative reality.  Dark adaptation refers to the ability of the eye to adjust to various levels of darkness and light.

1709 Daniel Clark.jpg

Daniel Clark Projected Chamber – (Giclée print) describes a potential space, a chamber that exists only through a distortion of light captured at the moment of creation.

1709 CIMM EXH.

Veil – (Pigment on archival polyester) examines ways of visualising or mapping the invisible and the transference of imagery from intriguing and unexplained sources. A vinyl cutting machine was programmed to draw with a marker pen instead of to cut, reimagining the single line engraving of the Face of Christ, known as the Sudarium of Saint Veronica, by Claude Mellan from 1649.

1709 Luci Eldridge

Luci Eldridge Untitled (Dark Matter, Reconstructed) – (3D print with silver leaf, privacy screen filter) In 2007, a group of NASA and ESA scientists led by Richard Massey constructed a three-dimensional map offering the first look at the web-like distribution of dark matter in the universe. This 3D model reassembles this data to present the invisible as a cluster of abstract forms. The intangible is objectified as a collection of shiny entities reminiscent of early sci-fi aesthetics.
Germanium Fragments I-VI – (Duotone photo-lithographs) Germanium is one of the elements often used in the detection of dark matter. The lithographs depict tiny fragments of this lustrous grey metalloid, the surfaces reflecting the dazzling lights of the scanner bed on which they were imaged. Combined, the prints and 3D model play with limits of visibility, the boundaries between surface and depth and the loss of any kind of sense of scale.

1709 Melanie King

Melanie King Cosmic Ray Oscillograph – (Phosphorescent spinning disc, solenoid, laser, data from LUX video credit: Euan James-Richards) A laser light is sporadically jolted across a rotating disc coated in phosphorescence by a solenoid translating wave form data captured from the Large Underground Xenon Dark Matter detector. The data is transformed to an audio signal using computer coding techniques and represents cosmic rays which have been detected along the way towards finding elusive dark matter. Cosmic Ray Oscillograph, Cameraless Photograph uses direct laser light onto Ilford Multigrade Resin Coated Paper Pearl.

1709 Sarah Gillett

Sarah Gillett The Case of the Gold Ring (research mapping wall) plots the discoveries made while tracing the history of her Mother’s gold ring; it’s unique personal journey as well as it’s cosmic origins. The ring becomes much more than a circle of gold as connections are made across space and time, from the boxing ring to the financial bullring and the asteroid belt.

1709 Peter Glasgow

Peter Glasgow The Indicators of Illusive Ideas – (Audio and text) frames itself as an attempted commentary, and plays with the notion of producing a commentary on something in the world. It’s about language, and format, and ways of stringing ideas together. It finds a narrative about art practice within another narrative from popular culture, speculating on making in terms of loyalty and legitimacy. It is a contemplation on the commentaries that run alongside a process; the attempts to get close to something but failing.

1709 Robert Good

Robert Good How To Know The Starry Heavens – (Text fragments) Selected text snippets from Edward Irving’s book of the same name are set on a vast dark backdrop to appear from a distance like a sparkling galaxy of stars but close up to spark our imagination with language full of wonder.1709 Cimm diazographo light

I was invited by the Institute of Physics to write a blog about Laboratory of Dark Matters  read it here –  IOP BLOG   …. The visit to Boulby Mine was a catalyst for us to develop new artworks reflecting our personal responses to dark matter research and the broader issues it touches upon…

1709 talks promo

As a satellite event to the exhibition at Cleveland Ironstone Mining Museum we had additional sponsorship from the Institute of Physics to host an afternoon of talks at Whitby Museum as part of their summer sessions initiative to bring the arts and science together in a public forum. Emma Meehan from Boulby Underground Laboratory introduced a video tour of the facility led by Chris Toth who gave an entertaining and informative account of life 1100m below ground and the experiments that take place there.

Sara Gillett delivered her performative lecture ‘The Case of the Gold Ring’ that animates and coalesces her research presented in the exhibition and Dr Cham Ghag gave another of his incredible accessible lectures on what dark matter is not, what it might be and how it might be detected.

We were also joined by Dr Sarah Casey, artist collaborator in the brilliant project Dark Matters – Interrogating thresholds of (Im)perceptibility through Theoretical Cosmology, Fine Art & Anthropology of science,  an exciting study into radical imperceptibility or more specifically, the provocations and challenges presented to theoretical cosmology, fine art and anthropology of science, by entities, forces and dimensions that currently (or perhaps will always) exceed human and technological modes of sensing and comprehension.

1709 dark matters video

Encounters at the thresholds of human understanding, sensing, knowing, or the possibilities of relationship with the nonhuman – and the vulnerability and exhilaration that these cause – are intrinsic to the project’s methodology. On the one hand, claims from cosmology that 95% of the universe is made up of invisible dark matter and dark energy, or that it is possible to mathematically predict the existence of many more dimensions than we are aware of in our known and knowable universe, presents immediate challenges for all three disciplines as they play at the limits of sensibility and relationality with regards to human to nonhuman encounter. How to think and practice with these provocations? On the other hand a different set of challenges are inevitably posed by the complexities and endless possibilities for (mis)understandings by interdisciplinary conversation.

1709 Sarah Casey 1

Sarah Casey

For the theoretical cosmologist, when faced with the imperceptible, the imperative is to produce and contest evidence – to ultimately reveal the imperceptible or negotiate the status of the role of speculation. For the artist, the interest lies in interrogating thresholds between the seen and unseen, known, unknown and unknowable, through art practice to enable critical and poetic reflection. For the anthropologist, the category of the imperceptible provokes a questioning and further pushing of the limits of human subjectivity, experience and sensibility in relation to the inhumanly (un)manifest.

The excellent accompanying Dark Matters  video is deservedly shortlisted for the AHRC research film of the year.

A sensual treat while back in London was Wayne McGregor and Random International’s collaboration +/- Human at the Roundhouse. Extraordinary dancers and extraordinary machines. Uplifting. Disquieting.

1709 plus minus human

Laboratory of Dark Matters final event at Cleveland Ironstone Mining Museum was the dark matters themed open day with dark matter life drawing in invisible ink…

1709 CIMM Open Day dark matter life drawing

…make a dark matter particle plane and fly it to hit the xenon nucleus target……

1709 xenon nucleus target

…tours of the exhibition…..

1709 CIMM Open Day gallery tour (2)

…Robert Good reading from Edward Irving’s 1905 book How To Know the Starry Heavens. He was also encouraging visitors on the day to write their own snippets for a group collage in reply to – What do you think about when you look up at the sky at night?

1709 Robert Good 2

Lots of other activities like Hunt the WIMPS where small shapes denoting particles that were not WIMPS were hidden around the museum site  –  these could be found because they were not WIMPS…

1709 CIMM Open Day Activitiy tent

….Chris Toth and Emma Meehan from Boulby Underground Laboratory were on hand to answer the science questions and help out with a dark matter quiz…

and a final chance to see cosmic particle trails in the cloud chamber.

1709 cloud chamber1709 cosmic trail

I met Jessie Sheffield and Lauren Ilsley during a cloud chamber workshop at Guest Projects. We subsequently found we shared interests in how we perceive the world around us and I was invited to join [ALLOY] in presenting new work for the exhibition Supposedly Predictable Phenomenon at no format Gallery as part of Deptford X.

Planning new work my first thoughts were naturally Heisenberg’s uncertainty principle and thinking about natural phenomena. The shape of a raindrop, bacteria, magnets, wind, water, electricity, bending light, bouncing photons, dark photons, optic boom, special relativity. I get fixated on the 12 sides of the universe and start mapping out a sequence of 12.

1708 studio test

My studio is too small. I think about decisions, prisms, scattered light. If I use steel I could use magnets. I don’t have time to etch plates and print them. I think about quantum leaps, band widths and atoms. Electrons appearing and disappearing. Moving between possible multiverses. Transforming in new configurations. Circling the nucleus. A portal. A panorama. A dopler shift. How to be random?  I throw ink soaked kitchen roll and mark the spot on twelve targets.

1709 random start points

I decide to use softground on aluminium – an unpredictable process

1709 applying softground

Charbonnel softground smells of woodsmoke. It feels right for autumn. I draw concentric circles into the wax

A satisfying peel

Nature echoing art again.

The etching process is full of rich colours and smells. Softground on aluminium in copper sulphate is a violent etch. The heat is palpable before I reach in to pull out the plate, the wax bubbles and the blue solution darkens and smokes; I pull the plate out when it feels that any longer, it might ignite

1709 etch process

it already feels cosmic

1709 removing stopout

Each plate takes a long day to prepare; sanding and degreasing, painstakingly rolling on the softground for an even coating , fixing the paper taught and drawing with enough pressure to imprint into the wax, peeling away the image with the paper and finally etching.

1709 peel and etch (1)

Aluminium has a grain that grabs any direct light and powers it into a bright band.  It seems to absorb and glow with any colour in the room. I really like this metal.

1709 test light on etch.jpg

 

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.

1708 Yinka Shonibare

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.

1708 publication

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.

1708 CIMM

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

1708 CIMM installation in progress 2

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.

1708 Private View

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.

1708 CIMM PV

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.

1708 cosmic trail

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….

1708 dry ice

 

 

 

An occasion on which one is reminded of the state of things in the real world.

Carlo Rovelli was at Second Home discussing his book Reality Is Not What It Seems: The Journey To Quantum Gravity which presents the story of the human imagination and reveals how the atomic world view first proposed by Democritus nearly 2,500 years ago can be found interwoven through history into our cultural life. It tells the story of what we know about our universe and how we came to know it, from the early atomic intuitions of Greek and Roman thinkers who observed the world about them and came to the conclusion that objects could not be a continuous whole but must be made up of lots of tiny parts.

1706 Susan Eyre Diazographo photo Sara Lynd

Susan Eyre Diazôgraphô photo Sara Lynd

The book goes on to show evidence of the ancient ideas now emerging from the Planck satellite and CERN, to the genuinely new knowledge being offered by Loop Quantum Gravity, of which Rovelli is a founding theorist. He was a generous and thoughtful speaker. When I started his book  I was a little upset to find Plato to be considered obtuse and an obstacle to the progression of physics for ignoring the atomic theories of Democritus and questioning the benefits to itself of why an object should take a particular form, but then in chapter two Plato is absolved of criticism for his pioneering understanding that mathematics is at the root of all scientific truths that ‘Number governs forms and ideas’

1706 Susan Eyre Diazographo 2 photo Sara Lynd

Susan Eyre Diazôgraphô photo Sara Lynd

The talk moved on to discuss the nature of time and how we experience it. Someone quoted Nelson Goodman from 1951 in The Structure of Appearance. ‘A thing is a monotonous event; an event is an unstable thing’.

 

I found this clip of Brian Cox explaining time travel  sort of helpful in that I can follow his explanation but it still leaves me confounded.

1706 Brian Cox

In his book Rovelli equally values the thoughts of poets and physicists who contemplate the same questions about the structures of the universe.

1706 Baptistry Florence

Marvelling at correlations between Dante’s plan of paradise, possibly inspired by the cupola ceiling of the Baptistery in Florence, that speaks of a spherical universe made of ever increasing circles that reach a point where the outer circle appears to be enclosed by those that enclose it – a poetic description of a 3-sphere.

Rovelli believes the universe cannot be infinite – ‘that’s too big ‘ – and he seems aligned with the 3 sphere universe theory that the universe is not infinite but has no boundaries.  I found myself thinking – surely this must still sit within something? Still it was gratifying to find that this in line with Jean-Pierre Luminet and the Poincaré dodecahedral space  which I have been fascinated by –

A positively curved universe is described by elliptic geometry, and can be thought of as a three-dimensional hypersphere, or some other spherical 3-manifold (such as the Poincaré dodecahedral space), all of which are quotients of the 3-sphere.

Another name for the Poincaré dodecahedral space is the soccer ball universe…..

1705 Yinka Shonibare at York Museum

Yinka Shonibare’s work at York Art Gallery as part of Doug Fishbone’s Leisure Land Golf

We are still waiting for any definitive answers about the shape of the universe, whether it is infinite or finite, whether it is flat, positively curved or negatively curved, whether it is simply connected as in Euclidean geometry or like a torus which is flat, multiply connected, finite and compact among many other contributing possibilities. I have been doing some research on the Poincaré conjecture, mostly looking at the diagrams of the mathematical theories.

1706 Poincare's homology sphere

I came across the story of Russian mathematician Grigori Perelman whose theories ultimately  proved the Poincaré conjecture and he was awarded the Fields medal. He declined the award saying he wasn’t interested in fame. Other quotes have him saying if he can control the universe why would he want to claim a million dollars prize money. Perhaps some myths have been built around him, as seems to happen with a person who doesn’t conform to expectations.

1706 Grigori Perelman

An earlier visit to Second Home was for a talk on Super Massive Black Holes by Dr. Meghan Gray.

1705 Supermassive black holes

I found her description of what a black hole is really helpful to try and visualise what is happening. The idea that space curves around matter. That really dense and heavy matter condensed into a small object makes a deeper pocket in spacetime.

1705 black hole

The largest black holes are called “supermassive.” These black holes have masses greater than 1 million suns combined and would fit inside a ball with a diameter about the size of the solar system. Scientific evidence suggests that every large galaxy contains a supermassive black hole at its centre. The supermassive black hole at the centre of the Milky Way is Sagittarius A*, it is 4 million times as massive as the sun and 27,000 light years from Earth. The smallest ones are known as primordial black holes. Scientists believe this type of black hole is as small as a single atom but with the mass of a large mountain.

The most common type of medium-sized black holes is called “stellar.” The mass of a stellar black hole can be up to 20 times greater than the mass of the sun and can fit inside a ball with a diameter of about 10 miles. Dozens of stellar mass black holes may exist within the Milky Way galaxy.

Information overload awaits you at sixtysymbols

1706 sixty symbols

Made a trip to Whitby for a site visit to Cleveland Ironstone Mining Museum ahead of our Laboratory of Dark Matters exhibition opening this summer.

1705 CIMM tunnel

We were given a very warm welcome and are looking forward to bringing our work to the North East. We are delighted that along with Arts Council England funding we have now received the support of The Institute of Physics and The Science and Technology Facilities Council to take our project to the mining museum.

1706 LODM exhibition supporters

I will be running some more cloud chamber workshops.

1706 Cloud Chamber workshopMy second Open Studios and the first with the new management Thames-side studios who did an excellent job promoting the event, running activities and guiding visitors around what is quite a big site now.

1705 Open Studios Pairi Daeza

Susan Eyre Pairi Daêza

The word Paradise originates from ancient Iranian pairi daêza meaning around and wall.

The work everydaymatters is informed by the discovery that the matter we know, that which is visible to us and includes all the stars and galaxies is only about 5% of the content of the universe, dark matter making up about 25% and the remaining 70% being dark energy, it dissects landscapes to discover the hidden structures of the universe.

170519 Open Studios (2)

Spent an interesting evening at Treadwell’s listening to Lore and Belief in the Case of the Talking Mongoose, a lecture by Chris Josiffe.

1705 treadwells talking mongoose

In the early 1930s, an isolated Manx farm family became international celebrities after claiming their home was inhabited by a weasel-like animal. Gef the Talking Mongoose could speak coherently, shape-shift and perform telepathy. Investigators came in their multitudes, and improbable though it may sound, many were convinced. It was a time when spiritualism was strong, and psychic investigation popular.  Gef was purported to live between the walls of the house. This made me think of Gregor Schneider and his double walled rooms, lead lined, claustrophobic passages.

1706 Totes Haus u r Keller Venedig Gregor Schneider

I made a trip to Brockley to see In Conversation with (7): Beyond Controls; a drawing and print collaboration between Neil Ferguson & Carol Wyss.

From an initial line, each drawing was scanned, emailed and printed out to be developed further by hand. The repetitive nature of these procedures regularly exposed the limitations and idiosyncratic qualities of the scanners and printers. The structure of “Beyond Controls …” would always be infinite, sequences without final drawings, but rather statements held in digitalized time. Cycles of series that cannot be closed, circles that cannot be joined.

1706 InCon-BeyondControl-NeilFerguson-CarolWyss2

The result was 10 sets of 32 drawings, 10 inkjet monoprints and a captivating video of  each set of drawings digitally layered and edited with Photoshop making the decision on visibility of content through its own algorithms. Wonderful.

Another visit was to  a new project space HEWING WITTARE in Walthamstow to see Shapeshifting – tactics to combat drowning featuring works by Chudamani Clowes, Rebecca Glover and Anna Liber Lewis.

1706 Chud Clowes rescue blanket sea

The artists use the watery world as a metaphor for our current political climate in which the fight for survival, shelter and equality is growing tougher by the day….

Chud Clowes engaged in a perambulative performance dressed as an Urchin to highlight the journeys made across the globe by thousands of migrants often at the mercy of the oceans and elements as well as political currents that sweep them from place to place

1706 Chud Clowes Urchin performance

We were led to Lloyd Park, site of  the William Morris Gallery, for some squid and fish printing on one of the hottest days of the year.

Later the same day entering Edel Assanti gallery to see new work from Jodie Carey – Earthcasts the visual and the physical collided. In this white space 50 gnarled and towering sculptures created a landscape hinting at the cool depths of a silver birch tree glade or the snowy trunks of an alpine forest while the heat of the day still pulsated in my body and hung heavy in the atmosphere.

1706 Jodie Carey

It was a rich experience oscillating between ancient responses to the multiple upright monument, the rituals of the standing stone yet could also be the concrete posts from some deconstructed enclosure, the high wire fencing removed. Jodie Carey’s painstaking process of burying old timbers in the earth to create casts that are then filled with plaster and subsequently excavated echo the temporal and material nature of our lives lived on soil and imprinted with our own encounters.

Along to SHOW 2017 at the RCA to be swept even further away. The heat more in keeping with the surface of Mars images presented as part of the final research of Luci Eldridge’s PhD by thesis; Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images 2017

1706 Luci Eldridge Phd PV RCA

Luci Eldridge ‘Stepping into the Image of Mars’

Images captured at the Mars Yard being used to test the European Space Agency’s ExoMars rover, due to launch in 2020. Courtesy of Airbus Defence and Space.

‘ The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break.’ Luci Eldridge

1705 reworking dodecahedron

I am reworking the dodecahedron frame for the mining museum. Sanding, then darkening with my favourite black Stabilo pencil.

1706 dodecahedron

The images of cosmic trails now sit behind Perspex facets which has added another layer of reflection, the outer world, the universe surrounding and surrounded by itself

Diazôgraphô = Greek for to embroider. As to embroider the stars on the heavens…

 

Hito Steryl’s essay In Free Fall: A Thought Experiment on Vertical Perspective talks of groundlessness, the loss of a stable horizon  as we enter an age of remote viewing and constructed visualisations that can invoke disorientation and require acclimatisation to new perspectives. Gravity is explained by Einstein as the curvature of space time; we are constantly falling through space. A black hole occurs when a massive star runs out of fuel and collapses in upon itself, compacting its mass to be so dense it causes a deep pocket in space time so that anything falling into that hole beyond the event horizon has no chance of escape.

It may sound a little dramatic but when an event you have been focused on for so long is no longer on the horizon but you have passed into its gravitational field and are sucked into its vortex it can feel like free fall, you pass through so quickly and just keep falling.

At least we took some photographs on the way through. For many of these we are extremely grateful to Sara Lynd for capturing Laboratory of Dark Matters so expertly and considerately.

In the short space of time at Guest Projects between the Lab. Talks+ and the exhibition opening I worked on some images I had taken when running the cloud chamber.

1704 Open lab testing

The original intention had been to print images of cosmic particles from the cloud chamber onto acetate and fix them behind the etched aluminium plates on the dodecahedron frame, there would be a band of light inside that would rotate, scanning the universe.

1704 Open lab testing 2

In practise the cosmic particle images were lost behind the etched plates along with the open structure of the frame and the rotating light proved temperamental.

There was also a large expanse of wall available.

1704 Susan Eyre by Sara Lynd (5)

Susan Eyre The Forms photo Sara Lynd

The result was I have two works.

1704 Susan Eyre by Sara Lynd (1)

Susan Eyre Diazôgraphô photo Sara Lynd

The immutable truths Plato discovered in geometry belong to the realm of abstract thought he called The Forms. This is where ideals reside, outside the limitations of the physical world and where, if anywhere, paradise might be found.

1704 Susan Eyre

In visualisations of dark matter created from scientific data we see familiar organic patterns emerge; the fronds of dark matter spanning galaxies could be the spreading branches of trees or the veins under our skin.

 

1704 Susan Eyre by Sara Lynd (4)

Susan Eyre The Forms (detail) photo Sara Lynd

 

These projected shadows of The Forms that govern the structures of our universe invoke a primordial response. Plato suggested we harbour memories of universal truths in our souls.

 

1704 Susan Eyre by Sara Lynd (3)

Susan Eyre Diazôgraphô photo Sara Lynd

 

The exhibition suddenly came together.

1704 Yinka Shonibare (1)

We were honoured by a visit from our lovely and generous host Yinka Shonibare.

1704 Yinka Shonibare (2)

and really appreciated his interest and chatting about our individual responses to dark matter research

1704 Amy Gear by Sara Lynd (2)

Amy Gear Nudge photo Sara Lynd

Amy Gear’s digital video work projected onto suspended body parts was edited from footage of the Women’s Self Defence and Green Screen Workshop that explored the visibility of women in the universe and the anticipation of the nucleus of a Xenon atom being nudged by a dark matter particle.

1704 Amy Gear by Sara Lynd (1)

Amy Gear Nudge photo Sara Lynd

We enjoyed the way the works overlapped with each other.

1704 Daniel Clark 2 by Sara Lynd (3)

Daniel Clark Veil photo Sara Lynd

Programming a vinyl cutting machine to draw with a marker pen instead of to cut, Daniel Clark created Veil, a reimagining of the single line engraving of the Face of Christ, known as the Sudarium of Saint Veronica, by Claude Mellan from 1649.

1704 Daniel Clark 2 by Sara Lynd (4)

Daniel Clark Veil photo Sara Lynd

Daniel also installed Edge-work, a series of radio receivers delineating the space with sound waves being received or distorted by the interference of the human form.

1704 Daniel Clark 2 by Sara Lynd (5)

Daniel Clark Edge-work photo Sara Lynd

Every so often the words of U.S. defence secretary Donald Rumsfeld echoed through the space… ‘ there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns – the ones we don’t know we don’t know.’

In keeping with pinning down the unknowns is Peter Glasgow’s work.

1704 Peter Glasgow by Sara Lynd

Peter Glasgow The Indicators of Illusive Ideas photo Sara Lynd

Hints lie in the MDF stand and printed text, a DVD booklet from Game of Thrones. These are really props for a live performance when the text is richly spoken and like the text itself they make no claims to legitimacy.

1704 Luci Eldridge by Sara Lynd (1)

Luci Eldridge Untitled (Dark Matter, Reconstructed) photo Sara Lynd

Luci Eldridge’s 3D print with silver leaf, reflected on privacy screen, and scanned Germanium fragments isolated in the blackness of space take on metaphors of time-warp spaceships and thundering meteors.

1704 Luci Eldridge by Sara Lynd (2)

Luci Eldridge Germanium Fragments photo Sara Lynd

Sarah Gillett uses methodology borrowed from Private Investigators creating a detectives evidence board to map the history of a gold ring that began in supernova explosions billions of years ago, arriving on the earth through an asteroid bombardment and now sits on her mothers finger.

1704 Sarah Gillett by Sara Lynd (3)

Sarah Gillett The Case of the Gold Ring  photo Sara Lynd

The journey of the ring from raw element to love token brings the incomprehensible and the everyday together in a story we can relate to.

1704 Sarah Gillett by Sara Lynd (2)

It gives us pause to wonder at the origins of matter that surrounds us.

Kate Fahey takes us further into the subconscious

1704 Kate Fahey by Sara Lynd (1)

Kate Fahey Dark Adaptation (video still) photo Sara Lynd

How long does it take our eyes to adapt to darkness? What other ways of seeing exist?

1704 Kate Fahey by Sara Lynd (5)

Kate Fahey Optimistic photo Sara Lynd

What senses should we rely on? What role does intuition play?

1704 Kate Fahey by Sara Lynd (4)

Kate Fahey Divination Sticks photo Sara Lynd

Her video installation, live performance and emblematic sculptures draw on old forms of knowledge and refer back to the lectures of Rudolf Steiner to open a dialogue between ancient and modern technologies.

1704 Kate Fahey by Sara Lynd (3)

Kate Fahey Feelers photo Sara Lynd

There is a hypnotic allure created in the dark space where Melanie King’s Cosmic Ray Oscillograph operates. A laser light is sporadically jolted by a solenoid translating data from the LUX project to traverse a rotating disc coated in phosphorescent powder.

1704 Melanie King by Sara Lynd

Melanie King Cosmic Ray Oscillograph photo Sara Lynd

While we cannot see dark matter directly, only infer it indirectly from the spin of the galaxies and gravitational lensing we sense something is present and speculate its structure and role in the universe. Elizabeth Murton tests these theories, creating hand spun porcelain galaxies vulnerable to breaking apart, strung across the universe palpably supported by the threads of dark matter.

1704 Elizabeth Murton by Sarah Lynd

Elizabeth Murton Connective Matter photo Sara Lynd

End of residency Going Dark gathering begins

1704 Going Dark (9)

Late viewing opened with a performance curated by Kate Fahey. Tim Zercie, as spiritual scientist urges us to awaken, to open our eyes and our minds, to engage our senses and be transported aided by the mesmeric playing of uileann piper John Devine.

1704 Going Dark (7)

Peter Glasgow’s spoken contemplation on the commentaries that run alongside a process; the vagaries of trying to get close to something but failing.

1704 Going Dark Peter Glasgow (1)

Captivating storytelling in The Case of the Gold Ring from Sarah Gillett

1704 Going Dark (10)

Light dimming

1704 Going Dark (11)

Within that ordinary space were hidden the building blocks of the universe.

1704 Going Dark (12)

Dark matter allows structures in the universe to form by pulling matter into its gravitational field.

1704 Going Dark (8)

 

We decide to build a wall.

Add some signage designed by Daniel Clark and we are ready for our first Open Lab. at Guest Projects.

1704 Laboratory Open.jpg

The idea is that we work in the space and are open for visitors to drop in and see what we are up to and chat about the work and the ideas around dark matter research that we are investigating.

We set up a reading table and information hub with artist profiles, research material and info on Boulby Underground Laboratory   which we visited last spring to discover for ourselves this hidden world where dark matter research and experiments take place.

During the first two weeks at Guest Projects we ran workshops and tested ideas in the space.

Chroma-key body suits needed a test run from Amy Gear.

1704 Amy greensuit

Elizabeth Murton was considering dark matter as a connective material in the universe, setting up a tension of competing forces that may be as powerful as those of fission and fusion.

1704 Elizabeth Murton testing

I ran Cloud Chamber workshops.

1704 Cloud Chamber workshop.jpg

Thankfully everyone was able to ‘capture’ their own particle trails in the mini cloud chambers they made and were duly captivated by the tiny missiles they observed.

1704 Cosmic Trail 6

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.

1704 Cosmic Trail 8

It is a sealed environment containing a supersaturated vapour of pure alcohol, warmed at the top and super cooled at the bottom with dry ice.

1704 dry ice remains.jpg

Charged particles passing through the chamber cause the alcohol molecules to gain an electric polarisation and condense into liquid droplets which look like tiny airplane trails.

1704 Cosmic Trail 9

To see the trails the particles leave as they tear through the cloud it must be very dark with a bright light shining across the floor of the chamber.

1704 Cloud Chamber setup

The activity takes place very near to the base of the chamber just a centimetre or two deep.

1704 Cosmic Trail 5

There is so much activity going on and these particles are whizzing through us all the time.

1704 Cosmic Trail 4

It seems we shouldn’t actually see some of these visitors at all but due to the weird way special relativity works we do. Muons are typically produced around 15 km up in the atmosphere, a distance which takes around 50 microseconds to cross at the speed of light— this is over 20 muon lifetimes and so they shouldn’t be able to make it to the earth’s surface before they decay.

1704 Cosmic Trail 1

However, since they are travelling quite near the speed of light, time in their frame of reference is significantly dilated as seen by an observer on Earth, meaning that a significant fraction can, in fact, make it to the surface. I have to be honest I can’t get my head round this but I love the idea of a particle having its own time frame of reference.

1704 Cosmic Trail 3

As well as Muons we see particles from background radiation. Radioactivity is a random naturally occurring process.  Alpha particles are released by high mass, proton rich unstable nuclei. The alpha particle is a helium nucleus; it consists of two protons and two neutrons. It contains no electrons to balance the two positively charged protons. Alpha particles are positively charged particles moving at high speeds. Beta particles are emitted by neutron rich unstable nuclei. Beta particles are high energy electrons. These electrons are not electrons from the electron shells around the nucleus, but are generated when a neutron in the nucleus splits to form a proton and an accompanying electron. Beta particles are negatively charged. For the particle to cause a trail it must have a charge which will ionize the vapour as they pass through, we don’t see neutrinos as they do not have a charge.

1704 Cosmic Trail 2Once you have the right set up it’s surprisingly easy to witness this turbulent landscape with it’s own little microclimate.

1704 frosty edges

Melanie King ran a day of hypnotic workshops painting with phosphorescent powder and using lasers to activate the phosphorescence which absorbs light then slowly releases it, allowing patterns to build up, layer and fade away.

1704 Melanie King phosphorence workshop 1

1704 melanie king Phosphoresence

The very knowledgeable Jennifer Crouch founder of Making in Transit and member of Art/Physics collective Jiggling Atoms ran a Super Symmetry workshop for us transforming the space with shimmering two way reflective veils

1704 Jennifer Crouch Super Symmetry 1

explaining the different types of particle and how easy or not it is to detect them, the contested theories of supersymmetry and the use of a black mirror (Claude glass) for observing nature

new particles were ‘created’, observed and drawn

Amy Gear invited anyone who identified as female to join a green screen/self defence workshop under the guidance of martial arts expert Jiff Higman to explore the visibility of women in the universe. The points of body contact echoing the anticipated nudge of the target xenon nucleus when a dark matter particle hits it and causes a scintillation of energy that the scientists can record. In the final video work only 5% of the bodies will be visible.

There was a spellbinding Hour Of Listening curated by Jennifer Boyd and Amy Pettifer. As the light faded we listened to Dark Matter Gushes From The Mouth Into The Open Air – ‘Latent gurgles, murmurs rising… a tone begins in the depths of the belly and strives in the throat before escaping – a burst of vocal dark matter. ‘

1704 Dark matter gushes from the mouth.jpg

Jocelyn Monroe, Professor of Physics at the Royal Holloway University of London kindly shared some links to her research areas.

1704 SNO chamber

She works in an underground laboratory SNOLAB where the DEAP dark matter search experiment takes place in Canada. She also works with the The Dark Matter Time Projection Chamber project and has written an article for symmetry magazine about the search for the dark matter wind which could give an idea of the direction dark matter comes from.

Lecturer in accelerator physics at Lancaster University and a member of the Cockcroft Institute of Accelerator Science and Technology, Ian Bailey shared his fascinating research searching for new particles and forces at both high energies and low energies.

1704 Ian Bailey cascade

He works with microwave cavities that are in some ways similar to household microwave ovens to look for the effects of hypothetical particles such as axions or hidden-sector photons. These particles are sometimes generically called weakly-interacting slim particles (WISPs). Just like their heavy cousins, the WIMPs (weakly interacting massive particles), WISPs may also be a major constituent of dark matter.

1704 Ian Bailey Cascade cooling

If they exist, hidden-sector photons (dark photons) would allow normal light to penetrate through walls in a way that it cannot normally do. The experiments that look for this effect are called light-shining-through-a-wall experiments and one such experiment has taken place at the Cockcroft Institute recently. It may be possible that dark matter could have subtle effects on the motion of light.

So from looking into this a bit it seems regular photons are changed to dark photons (axions)  by applying an intense magnetic field or maybe some other force – a barrier is set up that regular photons cannot pass through but dark photons can – the dark photons pass through the barrier and then turn back into visible photons which can be detected.

He is also involved in the design of the International Linear Collider, a potential new 31 km long particle accelerator which will try to produce WIMPS by colliding intense beams of electrons and positrons (anti-electrons) at high energies.

1704 ILC

I was invited to write a lead article for Run Riot listing site of cultural happenings in and around London explaining how the project had come about. Great dealing with the lovely Ava Szajna-Hopgood.

Elizabeth Murton curated and expertly chaired our Lab. Talks+ sessions. We opened with a live link to Boulby Underground Laboratory for a remote tour with lab. director Prof Sean Paling who made our visit to the lab. last year possible.

1704 live link to Boulby

Chair of UK Dark Matter, LUX collaborator, UCL lecturer and enormously generous supporter of our project Dr Cham Ghag gave us an in depth talk on the latest dark matter detection experiments and theories

1704 Guest Projects symposium Cham Ghag

Extraordinarily super clever Libby Heaney had us entangled with quantum theory, weaving and whispering and negotiating being in two states at the same time.

UCL History and Philosophy of Science lecturer Dr Chiara Ambrosio gave us her insights on visualising the invisible, and what can happen when art and science collide

1704 Guest Projects symposium Chiara Ambrosio

ending with a panel discussion joined by Kate Fahey on ideas from the day

1704 Panel discussion

and lots of conversations over supper…

I had finished etching the pentagon plates and I had made the dodecahedron frame – it was time to put it all together.

1704 test plates on frame

I did a test fit. Then spent 5 hours back at home heat pressing the plates with sublimation images; hints of dream worlds.

1704 heatpress aftermath.jpg

I was quite pleased with the results and went to bed

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In the morning the colours had undergone some reaction to the metal and had either vanished or changed to a sort of purple hue (funnily enough often used to colour dark matter visualisations). I was also feeling I might just be making a large Moroccan lamp.

Time to embrace unexpected outcomes….