Archives for posts with tag: Melanie King

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.

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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.

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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.

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I ran Cloud Chamber workshops.

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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.

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The cloud chamber gives us a glimpse into the invisible world of particles produced in the radioactive decay of naturally occurring elements and those generated when cosmic rays strike the top of the Earth’s atmosphere.

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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.

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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.

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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.

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

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

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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.

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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.

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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.

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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.

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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

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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. ‘

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

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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.

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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.

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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.

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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.

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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

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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

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

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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.

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

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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….

 

Progress is slowly underway on my dodecahedron sculpture. Beginning with a rough mock up in card to gauge the size.

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I was relieved to finally finish screen printing the curse of the obelisk. Never had so many setbacks in a piece of work.

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Made of one single stone, dedicated to the solar gods, an obelisk is a fusion of the earthly and the divine. A symbol of power, piercing entry to the fickle world of the gods beyond the clouds, cursed and desired. Over 3,500 years old, the London Obelisk, raised on The Embankment for convenience sake, snubbed by a state embarrassed to revere a shady political gift made by a country they were about to undermine, fought its removal from the soil it was hewn from stands alone, separated from its twin. The gift to state made in 1811 lay fallen and uncollected in Alexandria until an eccentric Victorian adventurer (Sir James Edward Alexander, Knt.,C.B., K.C.L.S, F.R.C.E.) saw the twin in Paris and discovered that Britain’s prize had never been brought home. He found a fellow enthusiast with money and the pair designed a special vessel to contain the obelisk that could be towed behind a ship. The Olga set sail in 1877 but met a violent storm that broke the tow ropes and cast the obelisk adrift. Six men struck out in the storm to rescue the vessel but were never seen again. The obelisk however did not sink and was later discovered, recaptured and finally towed up the Thames to be set incongruously upon a plinth under the unblinking guardianship of Victorian repro Sphinx’s who traditionally would be outward facing to ward off evil, but spend their days eyeing the needle.

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I had an intriguing parcel arrive from the incredibly helpful Alan Walker from the School of Physics and Astronomy at The University of Edinburgh who is giving me loads of advice on building my cloud chamber. He has very kindly had an anodised aluminium plate made for me in his workshops. The plate is the one crucial component that has to be specially made so it was wonderful to find that he had done this for me.

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The black metal plate will sit on dry ice, it will be the viewing backdrop for all the cosmic particle trails and I can now get on with the next stage – making the insulated box.

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I have set up a hydroponics tent in my studio to create a dark space ready for filming once the cloud chamber is fully assembled and ready to test.

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On a very crisp bright day I took the crystal ball a short walk along the banks of the River Wey to the ruins of  Waverley Abbey.

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This was the very first Cistercian monastery founded in Britain 900 years ago by an Abbot and 12 monks from France.

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These images of the crystal ball set in different locations are part of research with a view to making a work about portals in time, space and imagination.

The first work you see at Bloomberg New Contemporaries, ICA is Kate Fahey’s delicate plumes from a multitude of explosions billowing into one giant cloud – Cumulative Loss.

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Through scale and fragility we sense the dust caught momentarily before it settles over devastation upon devastation. It sets a thoughtful tone to enter the lower gallery.

Lisa Porter’s glazed stoneware Connection X (Thank Finch for That) and Rodrigo Red Sandoval’s installation Satellite reflections were two works I was drawn to.

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Kate Fahey Superficie I

Kate Fahey’s Superficie images developed during a residency on the remote Isle of Coll were included in Reference Mollusk, a beautifully curated exhibition  with some timely concerns at new gallery space Gossamer Fog in Deptford.

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Solveig Settemsdal Singularity (video still)

“We are the goo that slipped out of the oceans 430 million years ago, the goo that changed the earth beyond repair, the goo that will fossilise, leaving only future archaeological relics”

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Justyna Kabala Feel Better

Helen Maurer re Composing at Danielle Arnaud had a delicate touch.

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Transferring from the forsaken voids of the Church of The Holy Trinity in York it brought with it the quiet sense of unease that comes when entering a darkened space on a summers day.

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The gentle chimes sounding from hidden spaces under cabinets added to the undercurrent of something slightly sinister

by exposing the construction of this fairy tale landscape Maurer adds rather than depletes mystery

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This was a captivating transformation of space at the House of St. Barnabus Chapel. Staccato is an audio-visual installation by Evy Jokhova

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exploring the interconnection between music, movement and ceremonial architecture

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featuring three sculptural works and a soundtrack made in collaboration with James Metcalfe.

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In similar vein, I was struck by Dr Rupert Till’s comment ‘architecture and acoustics are the same thing.’ He was speaking on the Radio 4 programme Did Stonehenge Sing? explaining the mysterious hum that emanates from the stones and how much more powerful the sounds would have been 3,000 years ago when all the stones were still standing. Thanks to Dr Till the lost sounds of Stonehenge have been reimagined for us to experience today.

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Finally made it to a meeting of the New Materialism reading group. The text was Veronica Strang Fluid Consistencies: Materiality and meaning in human engagements with water http://dro.dur.ac.uk/19432/1/19432.pdf  Points that struck me were the observation from Tilley that ‘knowledge of a thing is grounded in our bodily experience of it’ and it made me think of Plato’s debate on true belief and knowledge, although a different kind of knowledge it does come back to the idea of being there, of engaging on a physical level. We think of flowing rivers, water carried in clouds but not always of the movement of water around the globe held in a juicy pineapple or mango or even our own bodies. I was introduced  to the work of Samara Scott and her liquid painting Developer created with bio-degradable dyes in the Pleasure Garden Fountains in Battersea Park.

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The reading group meets at the Wellcome Trust Reading Room. On the same evening, another group was meeting to discuss materials as part of an collaborative programme between artists and scientists. I didn’t get to note down the names of participants, but a magician and an expert from the Institute of Materials had each brought along objects to spark debate. 1612 Wellcome Trust debate materials.jpg I liked the relationship struck between that of the magician as performer and the idea that the materials themselves are performing.

Turner Prize visit. Materials were performing here.

I found the materials of Helen Marten (left) difficult – though there were some I could enjoy like this wonderful ceramic disc I felt more of a connection to the materials of Michael Dean (right). It is something very basic about a reaction to the surface and the connotations it brings with it.

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Marten’s sculptures are very busy visually. Like a car boot sale, unexpected juxtapositions and mostly cheap and nasty material. (though I do appreciate the thought in her designs). Anthea Turner offered more open space, albeit surrounded by brick walls and facing giant theme park style buttocks, moving on to the next room offers open blue skies but also disturbing chastity belts. Heaven/Hell.

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Josephine Pryde brought us homely goods; thick kitchen worktops bleached by the sun leaving hazy shadows of random objects. Also painted fingernails. A sit on size train tastefully graffitied encountering leaves on the track.1612-josephine-pryde

Finally entering the space of Michael Dean; smoothly curved walls morph into the floor, a strange unworldly lighting (as in James Turrell light works – the walls disappear)  and you are in a void or maybe underwater.

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The work (United Kingdom poverty line for two adults and two children: twenty thousand four hundred and thirty six pounds sterling as published on 1st September 2016) consists of £20,436 in pennies. This is the amount of money the government states is the minimum that two adults and two children need to survive for a year in the UK.

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One penny has been removed. A family on the shore line/breadline, trying to keep their heads above water.

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This landscape has similarities to the war blasted landscapes of Paul Nash showing concurrently at Tate Britain.

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He too acknowledges the primitive power of single vertical forms.

Enjoyed the playful narrative of Bedwyr Williams’ The Gulch in the Barbican Curve.

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Always intriguing and despite ominous undertones uplifting through the sheer joy of following the surreal twists and turns of his stories.

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The simplicity of his constructions are part of the exuberance in his work, they provide the outlines for the journey.

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Went to see Melanie King’s installation Pulsar Oscillograph as part of SPACE/LCN showcase of projects that have been developed by artists with the support of the LCN programme over the course of 6 months.  

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Transforming audio pulsar data (supplied by artist and former astronomer Steve Aishman), Melanie uses laser beams and mirrors to draw these “sounds” captured from outer space onto phosphorescent paper. The images layering, building and fading to the frenetic beat of the spinning collapsed star. As part of The Laboratory of Dark Matters experimental residency at Guest Projects Melanie will develop an Oscillograph  to visualise data obtained from dark matter research scientists in their search for the missing 85% of matter.