Archives for posts with tag: Luci Eldridge

During the hiatus between the Laboratory of Dark Matters Guest Projects residency and installing at Cleveland Ironstone Mining Museum was a chance to test out installation options and visit a few events.

1707 cloud chamber

Euan James-Richards created a great video for our residency at Guest Projects- view Laboratory Of Dark Matters video here.

There are a few alternative options for a dodecahedron net – this was my favourite.

1707 dodecahedron net

Connecting dark matter

1707 test The Forms

Testing in my studio which had turned into an unventilated sauna that day

1706 test The Forms 3

Heat is what makes it impossible to time travel backwards. I think. Though applying heat (200°C) to the plates again made the disperse colours that had vanished reappear………………temporarily

1707 heatpress colours reappear

Always the unexpected outcome.

1707 Minute Bodies

A real treat at the Barbican was a live accompaniment by Tindersticks to the exploratory science films made in the early 1900’s by F. Percy Smith, naturalist, inventor and documentarist. Link here- Soundtrack from documentary “Minute Bodies: The Intimate World of F. Percy Smith” (2016) by Stuart A. Staples.

In his house in Southgate, the ex-goverment clerk Percy Smith films the life stories of hundreds of rare plants

As soon as I saw this documentation I knew I would like Oliver Beer.

1707 Oliver Beer 1

Is it bad to always think – oh this reminds me of… well this reminded me of Mark Leckey – The Universal Addressability of Dumb Things

1707 Oliver Beer 2

except these artefacts sang out, resonating with the air vibrating through their hollow forms

but it was still an interrogation of a collection of objects, squeezing out an essence/aura.

Then there was the building itself – Galerie Thaddeus Ropac – it’s space mapped through sound – the singers slamming their voices into the corners which threw them back, rising and echoing off the walls, harmonising to a crescendo until every inch of space vibrated

and there was no air left to breathe that wasn’t full of sound,  it was incredibly beautiful and absorbing. Also from the inside  out – an ear trumpet to the world beyond1707 Oliver Beer 5

street noises magnified

1707 Oliver Beer 6

Another sound experience was KlangHaus 800 Breaths at the South Bank Centre. More in earnest. More theatre.

1707 Klanghaus

Great to be escorted through the otherwise out of bounds roof spaces and enjoy the mash up of film projections and live music played LOUD amid the galvanised steel ducting and ventilation systems.

1707 breath box

Time for the Royal Society Summer Exhibition late night adults only serving poison cocktails.

1707 Royal Society Poison cocktail

Dr Kathryn Harkup gave us the low down on the most efficient murder tools.  Learnt that hemlock looks very like parsley; just 1 gram of nicotine (eaten) would kill you in 4 minutes – very quick for a poisoning; 100 cups of coffee in one day would kill you with caffeine  – but the water would get you first.

First stop –  Modelling the Invisible – Durham University – where I met David Cerdeno, a colleague of Cham Ghag who I had only emailed the week before about the LODM project- they had a device where you could set your dark matter detection experiment parameters, run the experiment  and warp forward in time to get your results – lots of lucky people were finding dark matter – shows optimism for their project which is going to be installed at Snowlab in Canada.

1707 Royal Society Summer Science DM

I was encouraged to track down and read a series of books by the physicist George Gamow explaining scientific theories through the character of Mr Tompkins who experiences dreams in which he enters alternative worlds where the physical constants have radically different values from those they have in the real world.

1707 Mr Tompkins

Had a chat about Large Hadron Collider computations that come from smashing particles together – 600 million collisions every second and the incredible number of particles that get produced and just how many types of particle there are  –  I was pointed in the direction of the particle physics bible. 

1707 Royal Society Summer Science Exh

Tried to ascertain what Gravitational Waves are made of but ended up no clearer,  they are bound up in spacetime and measuring them involves incredible accuracy but I couldn’t get to grips with what medium they use to travel across space – is it the as yet unobserved gravitons? Was informed that if I had a metre ruler and took it to Mars it would be shorter but so would I be, therefore I wouldn’t notice.

1707 gravitational waves

Quantum gravity is the sought after theory. It may turn out that the distinction between spacetime and matter is invalid at the Planck scale.
Every body gravitates because it bends the space surrounding it, changing the flow of time in the process – at the same time how a body moves in a gravitational field is determined by how it fits into warped spacetime.

I think these are phenomena I am too big or too small to notice.

Bit of a public engagement thing and free apps going on at www.laserlabs.org

Should I want to make a mini supernova I need a hydrogen based product about a mm across – hit it with a very powerful laser (the Orion Laser would do) until it reaches impossible temperatures – it will explode into a supernova that would fit in the palm of my hand. Ouch.

1507 Sun Factor

Susan Eyre Sun Factor

Apparently around 10 supernovas happen every second, bringing home the vastness of the universe. Some comfort is that our sun is too small to explode in this way. Plasma makes up a lot of the universe but on earth the temperature is too cool – plasma occurs when something gets so hot the constituent parts of the atom separate. Plasma is considered the fourth state of matter. The three other states are solid, liquid, and gas.

1707 plasma 1.jpg

There is a new type of laser called maser – masers amplify microwave signals from space, it doesn’t add any noise as the photons are fired into a crystal which absorbs them, then releases them all at the same time in coherence so they have less interference – all nicely lined up and much more intense – they used to need to be cryogenically cooled to work but now they have made it possible using a crystal to make all electrons move in the same way. This is good for receiving weak signals from space like communications from the Mars Rover.

1707 Luci Eldrige Mars reconstructed

Luci Eldridge Mars reconstructed

Having been on the peripheries of Melanie King’s Phosphorescence workshops as part of Dark Matters Lab. it was interesting to try to understand how fluorescence works.

1707 Phoshorescence workshop

Southampton University were on hand explaining how fluorescence works in coral but I think the principle is always the same –  the fluorescent substance takes in blue light and emits light in a different colour at a lower energy, the electrons drop down in their orbits of the nucleus to base level and then move back up. The substance atom would usually have a coiled shape and the electrons get lost in the coils. Coral is a shell structure containing symbiotic algae and the fluorescence helps protect the algae from too much sunlight in shallow waters.

I enjoyed the ritual based symmetry of Benedict Drew’s The Trickle Down Syndrome installation at Whitechapel gallery. Ready to worship. Fearful of outcomes.

1707 Benedict Drew

A full day at the Science Museum assessing Robot Futures: Vision and Touch in Robotics a symposium hosted by Luci Eldridge and Nina Trivedi bringing together engineers, scientists, cultural theorists and artists to explore notions of embodiment and telepresence in the field of robotics and in virtual and augmented realities. It began with a tour of the current Robots exhibition followed by a demonstration of ROBOT DE NIRO by Dr Petar Kormushev of Imperial College Robotics Lab.

1707 Robot De Niro

This is when we learnt that although huge progress has been made robots are still pretty limited in what they can do physically. Great programme of speakers including  Gregory Minnissale: Nonlinear Vision and Touch in Art, Science and Technology; Joey Holder: Ophiux; Nea Ehrlich: Envisioning 21st Century Techno-Vision: The Ethics and Aesthetics of Machine Witnessing in Non-Fiction; Bianca Westermann: Robotic Presences: Encounters with the Artificial between Social Companionship and Embodied Representation; Ruairi Glynn: Animacy Aesthetics; Maya Oppenheimer: The Robotics Division of the Dramaco Instrument Company Introduces the Ensocellorator Reliance Pro II; Stephen Ellis (via Skype): On the character, scope, and meaning of the spatial user interface to Virtual Environments: its recent and deep history; Simon Julier; Nicola Plant and Jeremiah Ambrose: Systems of Seeing: Virtual Gaze Interaction.

Next stop the North East.

1707 CIMM install.jpg

 

 

 

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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…

 

Lots of interesting things are happening urging us to cast our eyes and thoughts skyward. A Blood Moon Lunar eclipse. Salty water on Mars.

I have to include this image of the dark side of the moon captured by a NASA camera aboard the Deep Space Climate Observatory (DSCOVR) satellite  showing a view of the moon we don’t get to see from earth.

1509 dark side of the moon

I went to see the London Premiere of Disaster Playground – Nelly Ben Hayoun’s wonderful investigation into who is watching the skies for us.

1509 Disaster playground

Through a series of talking heads and re-enactments we meet the real scientists from NASA and SETI (Search for Extra Terrestrial Intelligence) whose daily job is to scan the skies for possible objects that might collide with earth.

Nelly Ben Hayoun Disaster Playground

Nelly Ben Hayoun Disaster Playground

The difficulty is not so much spotting the object but negotiating the appropriate response in time to avert disaster. Through this documentary we come to understand that technology is way ahead of the machinations of the committees who tread the delicate path of ultimate responsibility.

Nelly Ben Hayoun Disaster Playground

Nelly Ben Hayoun Disaster Playground

Which nations are actually accurately capable of blasting an asteroid  off its course. A minute error could mean one nation is obliterated instead of another. We leave the film feeling a little anxious that for all the good intentions of these scientists the safety net has not been properly hoisted just yet.

Bas Jan Ader Falling

Bas Jan Ader Fall

The Whitechapel Gallery hosted a touching tribute to Bas Jan Ader marking the 40th anniversary of his disappearance at sea.

In 1973 Bas Jan Ader took a solitary walk through the city of Los Angeles towards the ocean. The journey was documented in a series of 18 indistinct black and white photos subtitled with the lyrics from a trashy 50’s pop song ‘Searchin’.

Bas Jan Ader In search of the Miraculous

Bas Jan Ader In Search of the Miraculous

Ader borrowed the title of this work ‘In Search of The Miraculous’ from Ouspensky’s book on occult theory which promotes self improvement as the destiny of man. He uses this epithet as subtext for man’s eternally unsatisfied desire for some unknown missing element. He intended the work to have three parts, planning to continue his search across the ocean, to leave the limits of society and go beyond into the unknown. The solitary journey over the sea was to culminate with another night time walk, this time across Amsterdam. It would be a homecoming. In his preparations and framing of the work he deliberately used the iconography of the romantic quest and chose signifiers which denoted a prefabricated romanticism, one that has been commoditized and packaged. He appeared to be searching for the sublime in its very opposite; the banal. Throughout his practise Ader interrogated conditions of pain and endurance; the prerequisites to experience ecstasy.

 Bas Jan Ader I'm too sad to tell you

Bas Jan Ader I’m too sad to tell you

The tragic elements in Ader’s work are presented in a way to highlight pure emotion and offer no explanation for the scenarios he performs. As in reality when we experience grief there is no explanation able to comfort us.

On 9 July 1975, Bas Jan Ader set sail in a 12 foot dinghy called Ocean Wave. He was shipwrecked and his body never found.

Bas Jan Ader In Search of the Miraculous

Bas Jan Ader In Search of the Miraculous

On the evening before his departure, a student choir sang sea shanties in the gallery of his Los Angeles dealer.  He was to be received by a shanty choir in Falmouth.

Forty years later this Whitechapel event celebrated his all too short life and extraordinary work. Poet Stephen Watts read beautifully on the discovery of Ouspensky before we watched a poignant interview with Jan Bas Ader’s widow followed by  a rare 16mm screening of six of his films: Fall I; Fall II; I’m Too Sad to Tell You; Broken Fall (Geometric); Broken Fall (Organic) and Nightfall. As the horizon faded on the screen we quietly filed out to be met by the stirring songs from the London Trad Academy Sea Shanty Choir.

Celebrating current artists The Whitechapel Gallery was packed and buzzing for the Private View of the London Open.  I had to return another day to be able see the works. As a cross section of what is going on in London studios you expect diversity, yet themes do emerge, though selection and curation. So good our RCA classmate Julie Roch- Cuerrier was selected for this exciting show.

Julie Roche-

Julie Roche-Cuerrier

Her subtle intervention of sanding away the detail from every page of a world atlas, just leaving the titles and borders pulls on the strings of displacement and loss while her carefully capturing the dust from each page brings an alchemical magic to the work.

Julie

Julie Roche-Cuerrier

Displayed in little plastic bags are the ingredients of the oceans or the universe. The delicate blue and green powders speaking of matter and its transformation, precious and mysterious.

Having lost access to the print facilities at the RCA its time to start thinking about where I can continue making work. I paid a visit to Thames Barrier Print Studios. It all looks wonderful here, loads of space, etching presses and screen-beds, digital printing, exposure units and an aquatint box.  First I need to get some new work started. I am looking at Obelisks and Standing Stones, ritual places and also thinking about ideas of the multi-verse. Brain loading.

1509 Glitch

Called in to see Delta at Five Years, Regents Studios where RCA tutor Oona Grimes was showing alongside Mark Jackson, James Lowne, Clare Mitten and Mia Taylor.

Oona Grimes Slightly Foxed

Oona Grimes Slightly Foxed

‘Worlds collide, meet, touch, overlap and become absorbed. Worlds become world; expanded, inconsistent and multi faceted. Some don’t stop, don’t crash, they keep moving, a sign in space, until they are singular and alone. No matter, we are only concerned with what remains. We built this world top down and outside-in, we chose the planets and engineered the collision; a shared universe intended to be used by many authors.’

1509 Delta

1509 Delta 2

James Lowne’s very funny video, a kind of in joke for artists explores the constant lure of the prize – the open call – scrubbing around for the opportunity. It has an air of subjugation I think. As artists we have to play a game we’d rather not, putting ourselves up for a fall, laying ourselves bare, in competition with our peers, the fear of missing out is BIG, do we know about the next opportunity will someone else get there first, we don’t want to be played like this, we want to opt out but we can’t. It’s a bit addictive.

The owners of  a stripped and soon to be refurbished Victorian house in Brockley gave their premises over to host Bread and Jam I an exhibition of site specific work by 11 artists.

Joby Williamson

Joby Williamson

Each artist was given free rein of their chosen space in the house to make new work in response to the dilapidated surroundings.  The concept of Bread and Jam is to take basic staple ingredients and make a meal that transports you somewhere else, that can be shared at any time of day and continues to sustain after consumption.

Fritha Jenkins

Fritha Jenkins Reception

Fritha Jenkin’s work Reception looking like a meteorite storm  frozen in free fall turns the living room into a site of physical negotiation with hundreds of carefully balanced glasses topped with lumps of clay dug from the basement foundations of the house.

Kate Murdoch

Kate Murdoch Poor Lamb

Kate Murdoch creates an unsettling atmosphere with carefully chosen objects that act as signifiers for trauma and vulnerability.

I attended the Material Environments Symposium : Sensing Time and Matter in Digital and Visual Culture at The University of Greenwich.  It felt good to be in an academic environment again and wonderful to know there is free access opportunities to high quality events like this. I enjoyed Sarah Cefai’s references to primordial time and the affect sensation that arises from rain, earth, heat and light experienced though landscape. Her concerns are about how these sensations are mediated and politicised particularly in relation to indigenous as opposed to colonial Australia.

1509 ten canoes

She uses the films of Rolf de Heer (Charlie’s Country, The Tracker, Ten Canoes) as examples of truth to materials, the rain must be real rain. Made me want to see Ten Canoes again.

Tom Jackson also spoke about mediated sensation. His use of environment as archive demonstrated at Temple Works Leeds offers a 360º enplaced experience of space in high resolution with pioneering new design binaural audio recordings.

Temple Works

Temple Works

Not only does this combination of technology offer a haptic experience of a removed space, but also a temporal, one as searches can be made through the palimpsest of activities, interventions and architectural changes that have occurred in a given location. Using this method, virtual access to privileged spaces can be offered to the public.

Blythe House Archive

Blythe House Archive

The physical archive such as that of the Victoria and Albert Museum stored at Blythe House can be archived and viewed remotely and there is the opportunity of archiving objects without having to remove them from the context of their original environment thereby retaining a layer of history usually destroyed as objects are moved to storage facilities or museums.

Luci Eldridge found comparisons between the analogue and the digital in the material decay of  archived images she has viewed and the disrupting imperfection of the digital glitch. Analysing the composite landscape images of Mars patchworked together from data retrieved by non human space explorers she draws awareness to the construction of landscapes that are only ever viewed remotely via technology that does not relay a sense of scale and perspective that we naturally relate to.

Mars Stereo View from 'John Klein' to Mount Sharp

Mars Stereo View from ‘John Klein’ to Mount Sharp

Seams have been eliminated from the sky portion of the mosaic to better simulate the vista a person standing on Mars would see.

Laurel Johannesson makes work that does not conform to the current passion for speed and instantaneous gratification.

Laurel Johannesson

Laurel Johannesson

Her generative digital images coalless slowly and in reaction to her audience. The viewer that spends time with her work is rewarded, the swift passer by misses out. She is interested in how we perceive time and the visualization of time. She cites Joseph Priestley who published A Chart of Biography in 1765 and has had a profound influence on our visualization of time as linear, travelling along a horizontal line, ever moving forward.

1509 Joseph Priestley

She also talked about other visualisations of time as being circular and represented by the ouroboros, the ancient symbol of a serpent eating its own tail in perpetual motion of renewal and destruction signifying eternal return.

1509 Theodoros Pelecanos 1478 copy

Using Nobuhiro Nakaishi as an example of an artist who mediates the temporal experience through his work she reflects on how the understanding of time is challenged by new technology and the ways artists are exploiting technology to create work but also the need for a direct interaction with materials.

Nobuhiro Nakanishi

Nobuhiro Nakanishi

In his layer drawings Nobuhiro Nakanishi captures the passage of time in a series of still photographs which he then layers in series on acrylic sheets so the movement of time passes through the images. He is looking to evoke a common sensation in his audience. The acknowledgement of the passage of time is universal, it is one of the primordial senses and also personal as we see our own entropy come to pass.

Nobuhiro Nakanishi

Nobuhiro Nakanishi

Laurel Johannesson is interested in art that offers a multiplicity of possible orders and disturbs the accepted time based narrative. Another of her examples is the collective AES+F a group of four Russian artists: Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky, and Vladimir Fridkes working with video and digital generation.

AES+F

AES+F

Their films have a balletic quality that create a hypnotic rhythm as time is slowed, drawing you in to a world of beautiful people with smooth supple bodies moving trance like though exaggerated motions. It is like being gently suffocated with silk having been given the most delicious sleeping draught. Willingly falling into the embrace of this clean and perfect world as into a dream before realising there is an unsettling undercurrent that drags you under and it is too late to swim to the surface and escape. Mesmerizing.

AES+F

AES+F

A link here to a trailer for Trimalchio.

Other interesting speakers were Marisa Gomez who is interested in the re-presentation of time and the new technologies that facilitate new approaches to temporality such as the Khronos Projector which allows the user to sculpt time through a screen interface. By touching the screen the user can send parts of an image backwards or forwards in time.

Alvaro Cassinelli Khronos Projector

Alvaro Cassinelli Khronos Projector

Joanna Zylinska’s paper Sensing Deep Time: Photography after Extinction drew parallels between photography and fossils as recording mechanisms of time. She recommended the book The Sixth Extinction; an unnatural history by Elizabeth Kolbert which documents the past five mass extinctions of species on earth turning the spotlight on us humans as we watch the sixth mass extinction unfold before us, unable to act.  Transfixed by affective facts, those overwhelming concepts that are so huge to comprehend that we ignore them.

1509 Sixth-extinction

She is interested in how time is recorded through natural phenomenon such as the deep time of geology. Charles Lyell’s Principles of Geology (1830-33)  was an early radical attempt to explain the geological state of modern Earth by considering the effects of observable natural phenomena over time. By exploring the evidence for changes in climate and geography across the ages  Lyell speculated on the progressive development of life, transforming science with depictions of the powerful forces that shape the natural world.

1509 Lyell

Light, energy from the sun is used in the photographic process. Our perceptions and familiarity with recording phenomenon changes with each new technology. When Photography first appeared and Henry Fox Talbot published the first  wholly photographically illustrated book The Pencil of Nature in 1844 he felt it necessary  to insert the following notice into his book: The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist’s pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation

Henry Fox Talbot The Pencil of Nature

Henry Fox Talbot  The Ladder  in The Pencil of Nature

Hiroshi Sugimoto’s Lost Human Genetic Archive at Palais de Tokyo was a poignant look at what remains after devastation.  Over thirty notices, all beginning ‘Today, the world died’, offered explanations by characters from all walks of life as to why everything ended, and these relate to the otherwise random objects beside them. An astronaut, for example, tells of how Earth had become encircled by orbiting human shit, next to a display containing the cosmonaut’s space-food and urine collector.

Hiroshi Sugimoto Lost Human Genetic Archive

Hiroshi Sugimoto Lost Human Genetic Archive

The exhibition Club Disminución (“Club of Diminishing Returns”) was instigated by Alexa Horochowski’s artist residency at Casa Poli, Coliumo, Chile, 2012/2013. Designed by architects Maurizio Pezo and Sofía Von Ellrichshausen, Casa Poli, a minimalist, cement cube, functions as a cultural art center/artist studio.  In this environment the separation between landscape and architecture is indistinct.

Horochowski aims to depict the struggle between the human drive to create lasting symbols of culture, and Nature’s indifferent, persistent erasure of these symbols. His work explores entropy and the passing of time by imitating the natural processes of accretion and aggregation found in caves or the persistent impression left by fauna and water on architecture and the landscape.

Alexa Horochowski: Club Disminución

Alexa Horochowski: Club Disminución

“Horochowski suggests a posthuman future, where assorted beach debris attests to the former glory of human civilization. In enlarged black-and-white digital scans of barnacles, minerals, and wasp nests, a quasi-organic architecture takes shape, poised to outlast us all. A Gothic sensibility reverberates throughout: evocative, sinister, and auguring the fall of the Anthropocene.” — Christina Schmid

Penelope Umbrico found 541,795 pictures of sunsets when searching the word “sunset” on Flickr. This became the basis for her installations Flickr suns.

Penelope Umbrico Flickr Suns

Penelope Umbrico Flickr Suns

Another body of work by Penelope Umbrico is her Sun/Screen series.

Penelope Umbrico Sunscreen

Penelope Umbrico Sunscreen

She uses an iPhone to re-photograph images of the sun she has cropped from thousands of sunset images shared on the web.  The process of photographing images directly from the computer screen creates a moiré pattern – an optical illusion, which is the consequence of the pixel grids, meshes or dot patterns being superimposed. They draw attention to the materiality of the screen and further distance us from the natural sunlight source of the original images.