Archives for posts with tag: Dante

What information could be stored in dark matter?

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

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

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

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

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

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

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

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

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

1710 The Publications

Two publications were also launched.

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

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

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

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

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

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

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

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

 

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Levin Haegele shot with converted IR camera

 

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

 

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Lewis Bush from Shadows of the State

 

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

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

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

1711 Blade Runner 2049

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

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

 

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Anish Kapoor At The Edge of the World II

 

 

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Ai Weiwei Iron Tree Trunk

 

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Dan Graham Two V’s Entrance-Way

 

1711 Rodney Graham Vexation Island

Rodney Graham Vexation Island (still)

 

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Allora and Calzadilla Solar Catastrophe

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

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Alma Thomas Mars Dust (detail)

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

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

1711 Ilya and Emilia Kabakov

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

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

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Sam Hodge Vibrant Matter

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

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

 

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Fiona Crisp Pump Lodge (from Boulby Series, Subterrania)

 

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

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

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

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

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

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

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

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

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everydaymatters (Paradise Passage #1 N7) sold

1710 everydaymatters (paradise passage #1 N7)

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

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

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

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

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

 

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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.

 

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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…

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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.

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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.

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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.

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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……

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…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?

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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.

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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.

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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.

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I decide to use softground on aluminium – an unpredictable process

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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

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it already feels cosmic

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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.

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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.

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