Archives for posts with tag: cosmic strings

Midsummer weekend at Allenheads Contemporary Arts. As always it was fantastic to be back in the North Pennines surrounded by the unique landscape and equally unique participating artists. Thank you to Helen Ratcliffe, Alan Smith and co-curator Rob La Frenais for creating such a stimulating event and inviting me to be part of it. Continuum contemplated shared futures and journeys; explorations of the unknown on a cosmological and human scale.

I was privileged to be given access to use the local Blacksmith’s Shop heritage site for Aóratos a site specific installation with fire and film.

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It is not impossible that wormholes exist in our universe.

To traverse space by means of a wormhole would require vast amounts of negative energy.

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Visitors were invited to burn offerings of negative energy to power a ‘wormhole’.

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Using specially prepared tokens visitors could write or draw messages to clear their subconscious of any negative or unwelcome thoughts.

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The offerings were burnt giving out blue and green flames in the forge fire releasing the absorbed negative energy to open the wormhole portal above.

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This turned out to be quite a personal and sometimes emotional experience for visitors who thought carefully about what they would send into the flames before ascending the stairs to enter the portal to the vortex and take the journey through the wormhole exiting at a different point to where they entered.

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Beyond the threshold hidden landscapes and alternative perspectives were revealed.

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It is hoped visitors left the wormhole video installation feeling cleansed and positively charged.

There was a wonderful enthusiastic crowd from Newcastle’s refugee community travelling with artist Henna Asikainen – ” Understanding what it means to be displaced from ones cultural, social and ecological environment and then to establish a home in another, which is fundamentally different, has been the basis for the emergence of my recent projects.”

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Henna shared a practice from her own Finnish culture through her participatory work Omens  – a divining practice from ancient times involving melting metal over an open fire and pouring it into cold water and then interpreting the resulting form. The interaction of metal and water being symbolic of different cultures coming together, making new forms, interpreting the outcomes together, and by sharing these hopes & fears, generating a dialogue about our common futures.

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Annie Carpenter and Alan Smith collaborated on Salvaged Alignment a sculpture activated by the sun at the exact moment of the solstice.

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Annie was also showing Perpetual Apogee  a sculpture referencing Victorian kinetic models of the solar system embracing inaccuracies inherent in such scientific modeling.

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Alan Smith was screening his film 2052 looking at the everyday 33 years from now.

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In the gallery Robert Good presented A New Atlas of the Sublime, a series of panels dissecting the hierarchies and subtleties of language used when attempting to describe the power of a sublime experience.

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Nicola Ellis, referencing algorithms and scientific technologies used in social media, gave visitors an uncanny experience in Watch Yourself Watch Yourself

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Sarah Fortais performing Voyager in her DIY spacesuit arrived from afar, by public transport, to explore the local neighbourhood of Allenheads through the eyes of an alien with accompanying space dog Maddy.

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Great to meet up with Pippa Goldschmidt again and hear more readings from her short stories inspired by past roles as astronomer and civil servant on The Need for Better Regulation of Outer Space.

 

Tracey Warr and Rob La Frenais Writing The Future workshop posted story portals around the village for visitors to discover.

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Much celebration at the launch of Lucien Anderson’s Humble Telescope on the cosmic pond. Come the dark skies of Allenheads, lay back and gaze up through the portal from a watery bed.

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As the solstice sun dipped John Bowers, Tim Shaw, Rob Blazey, Malcolm Conchie and Alan Smith began the annual Midsummer Night’s Drone that continued through to sunrise.

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Aóratos imagery took reference from theories of cosmic strings, space foam and the idea of a web of tiny wormholes connecting all points in space. Video was captured by putting an endoscope down rabbit holes looking for hidden root systems and a microscope was pushed into fibres and foam. The bare branches of trees reflect the branching decay of cosmic particles as they hit the atmosphere and break up.

Space travelers are subject to high levels of radiation from cosmic ray activity outside the protective magnetic field and atmosphere of Earth. As part of this project I worked with students Sena Harayama, Romain Clement De Givry and Medad Newman from Imperial College Space Society supervised by senior lecturer in spacecraft engineering Dr Aaron Knoll in an attempt to launch a cloud chamber in the payload of a high altitude balloon to view this activity.

The students had put a lot of effort into building a cloud chamber suitable to launch over 30km high into subzero temperatures with little air pressure.

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The final launch date pre-booked with the Civil Aviation Authority was upon us and so with just three days notice the team decided it must go ahead ready or not. Unfortunately the chamber had not been tested to see if it functioned on earth and during final assembly on the evening before the launch the chamber shattered.  Disappointed, the students worked into the night to make a substitute chamber.

I had been charged with making a connector out of garden hose, plumbers waste pipe, foam and sealant to pass helium from narrow cylinder pipe to wide mouth of balloon.

The launch took place on disused Oakley airfield kindly permitted by landowner Tom Baxter.

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The balloon reached an altitude of over 37 km and the payload was successfully recovered from a field of horses near Silverstone after an exciting car chase.

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During the violent launch the camera inside the payload to capture activity in the cloud chamber was knocked aside.

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All we have is a short clip before darkness descends and the experiment becomes part of that which is unseen.
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Risograph leaflet for visitors to the wormhole installation, expertly printed by Elliott Denny.

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In the Studio

Put The Forms (aluminium etched with dark matter visualisations) up for Open Studios at Thames-side Studios annual event which was buzzing this year with lots of workshops and activities and a festival feel flurry of food stalls.

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Meanwhile I was creating vibrant chemical landscapes ready to be encapsulated in screen printed tokens for the burning ritual to power the wormhole.

 

Out of the Studio

Carol Wyss hoping for rain to activate her enigmatic steel plates and reveal the codes within the bones in Coming Good: Come Hell or High Water an exhibition in St Johns Churchyard as part of Transforming Being Waterloo Festival.

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Insatiable Mind exhibition opened at Salisbury Arts Centre with space inspired food and a heartfelt speech from visual arts and exhibitions manager Mirka Golden-Hann who writes in the accompanying catalogue;

“I was driven by the overarching urge which is innate to humanity. The urge to break away, the urge to explore, the urge which would force a human to construct a spaceship and the urge of another human to step into it in order to walk on the Moon: the same compulsion behind the collective force to bring down the Berlin Wall and with it the Iron Curtain. It was the power of human curiosity and the dissatisfaction with the familiar that provided the basis for this exhibition.”

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The installation of my suspended sculpture Pentacoronae was surprisingly smooth considering the height of the supporting beams.

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There was a great team to help and although one or two anxious moments when hooks came away from loops it went up very well.

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This work was made to highlight the importance and need to preserve dark sky areas. As powerful technology opens 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. Our ancestors mapped the stars and drew shapes across the darkness which became familiar anchors for navigation, described mythological characters and foretold fortunes. Through this work the viewer is encouraged to seek darkness, stargaze, wonder, and map their own stories across the sky.

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I also had two concertina books installed in the gallery cabinet.

Making these books turned out to be quite a fiddly process.

For the book Unbound I used images from my cloud chamber printed on transparencies cut into pentagons. Cosmic Rays know no boundaries as they pass through us all the time. The twelve pentagons form a dodecahedron, the solid described by Plato as ‘the fifth construction, which the god used for embroidering the constellations on the whole heaven.’

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In/Out expresses the energy and randomness of quantum fluctuation as particles pop in-and-out of existence in empty space. At this tiny scale the universe is mysterious and unpredictable.

I has thought I would draw the energy fields in white china-graph pencil but it turned out graphite looked much better

The bright spheres are four colour separation screen prints and act as a series of portals to alternative perspectives.

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It was great to meet some of the other artists in the show whose work was really interesting and beautiful.

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Eunmi Mimi Kim Me Time video installation which uses her own sensitivity to sensory overload to explore sensory deprivation and isolation.

 

 

Katayoun Dowlatshahi  presented work form her series Orbit looking at the former cold war secret rocket testing site West High Down on the Isle of Wight.

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Oksana Chepelyk Collider immersive film screening in the theatre. Throwing significant moments in history into the collider to see what future particles get thrown out.

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I have been meeting up with students Sena Harayama, Romain Clement De Givry and Medad Newman from Imperial College Space Society.

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Supervised by senior lecturer in spacecraft engineering Dr Aaron Knoll they are building a cloud chamber to withstand a journey to the edge of the atmosphere in the payload of a high-altitude balloon. The chamber must be able to withstand the low pressure at high altitude which might make it break apart.

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There needs to be a heat pad controlled by an Arduino processor to keep the batteries running to power the tracking device and cameras and maintain a suitable environment in the chamber to allow alcohol vapour to fall and create a cloud.

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A cloud chamber enables us to see ionising trails made by radioactive and charged particles. Cosmic particles continuously collide violently with the Earth’s atmosphere then break up and shower down upon us.

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Keeping the weight of components down is vital. The payload must not be over 2kg.

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We are hoping to capture cosmic ray activity on video as well as a view of Earth’s atmosphere as it blends from blue into the darkness of space. This footage will become part of the video installation I am creating for Continuum midsummer weekend at Allenheads Contemporary Arts.

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This new work Aóratos will be installed at Allenheads Blacksmith’s Forge.

Black holes were once thought to be pure science fiction but in recent decades scientists have discovered that these extraordinary objects exist throughout our universe in all shapes and sizes and this year astoundingly have even produced an image of one.

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Einstein’s theory of general relativity written in 1915 predicted the existence of black holes and is also consistent with the possibility of gravitational tunnels known as wormholes. It could be that there is a hidden web of planck scale wormholes linking all points in space. Theoretically, threaded through these tiny holes would be filaments of cosmic strings created in the primitive goo of early matter and flung across space when the universe burst into existence.

However, to traverse space by means of a wormhole would require vast amounts of negative energy, not something usually found on Earth yet in the current political climate in no short supply.

Making use of the Blacksmith’s hearth visitors will be invited to burn offerings of negative energy to power a ‘wormhole’.

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Special paper will be provided for people to write, draw or furiously scribble their own symbols of negative energy. These offerings will be burnt in the forge hearth releasing any pent-up negative energy to power the wormhole portal above.

I have been experimenting with chemicals to make the paper.

Really pleased with the results.

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It’s fine. I am sealing the chemicals inside two sheets of paper so no skin contact for visitors.

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In my search to discover how to make coloured fire I did make a visit to Davenports magic shop in a very unprepossessing but not uninhabited pedestrian subway. A dismal setting for a dismal shop where I got no help at all. Felt an absolute muggle.

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The risks and obstacles of entering a wormhole include creating enough negative energy to open the wormhole mouth wide enough to weaken the gravitational tidal forces which would rip travellers apart; keeping it from collapsing so travellers are not indefinitely trapped inside; exceeding the speed of light and avoiding incineration from deadly high radiation.

On Earth we are protected from radioactive particles by the atmosphere and the magnetic field.

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Aóratos translates as ‘unseen’. The videos in the installation will look at hidden landscapes and usually unseen perspectives. For research I have been exploring rabbit holes, bee holes, mice holes and abandoned tunnels with my endoscope camera.
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A fascinating dark world of root webs and filaments interconnecting tunnels.

 

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The reading group is persevering with Geoffrey West’s Scale despite the woolly editing and rambling digressions it does hold some interesting facts. I liked the section about turbulence. Fluid motion is chaotic and objects moving through water or air are subject to very different outcomes at different scales. Froude introduced a scaling methodology used in industry that has become increasingly sophisticated. Lord Raleigh emphasized the primary role of the ‘dimensionless’ number in scaling. This is a pure number such as pi which does not change depending on which unit of measurement is used, the ratio of a circumference of a circle to its diameter is always the same. “Pi embodies the universal quality of ‘circleness'”

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Visited the impressive sphere Gaia by Luke Jerram in Salisbury Cathedral as part of Salisbury International Arts Festival. Stunning architecture.

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Extraordinary that this majestic building piercing the sky has the most shallow of foundations and unless they keep a regular check on the water level through a little door in the floor the weight of the spire would not only bend the supporting columns but might tumble down.

I was excited to find a dodecahedron at the pinnacle amongst platonic solids topping an elaborate tomb.

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Also the oldest working clock was fascinating to see

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“How can the past and future be, when the past no longer is, and the future is not yet? As for the present, if it were always present and never moved on to become the past, it would not be time, but eternity.”

― St. Augustine of Hippo