Archives for posts with tag: asteroid

The Geological Unconscious

June 10, 2025 //
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‘What truth could be more unexpected ….than the one in which the mineral envisions while also being envisioned.’ Jason Groves, The Geological Unconscious

‘This is the blueprint of nature itself; both hidden and revealed in a nodule of silica.’
Roger Caillois, The Writing of Stones

The Geological Unconscious opened with an exceptionally busy Private View. It was a fantastic evening with lots of great feedback. With a multi-disciplinary approach, large-scale installations and sculptural works sit alongside embroidery, video, expanded print and photographic work, to create material intimacies that help situate us in scales beyond the human.

My video installation Lithos Panoptes imagines a view of the world from the perspective of the rock via the molecular structure of magnetite. Referencing a many-eyed giant of Greek mythology, Argos Panoptes (always eyes still awake), the work considers the perpetual vigilance of rock as record keeper and witness.

Video of human activity projected through distorting optical lenses transforms the anthropocentric position to imagine the perspective of the rock.

Magnetite is a mineral found in magma and metamorphic rock in Earth’s crust as well as in meteorites. Magnetite nanoparticles are also found naturally in organisms and are known to aid magnetoreception, a
means whereby animals and birds orientate themselves by sensing polar direction.
Through these actual and metaphoric lenses the relationship between the organic and non-organic is explored. Imagery includes allusions to scientific research into the dramatic overwhelming of innate magnetite in human brain cells by nanoscale pollutant particles of magnetite released into the air by traffic; the unique qualities of the chiton, a mollusc with hundreds of tiny eyes made from rock rather than biological material and teeth primed with magnetite and containing recently discovered mineral santabarbaraite; Saint Barbara, patron saint of miners and tunnellers, adopted when the use of explosives in mining escalated in the 1600’s and whose benedictions are still sought today with shrines installed at tunnel entrances at Crossrail and even at CERN, the epicentre of scientific rigour.

Also showing the video sculpture Belly of a Rock – describing an imagined place of chemical conversations at the intersection of the animate and inanimate. Under a crusted shell, surfaces slide and scrape along lines of fissure, distended innards ooze and rocks moan as they are distorted by untold pressure. The turbulent spiralling of the molten core births rock and lifeforms which are acted upon by the drag of an oscillating magnetic field.

Julie F Hill’s large-scale sculptural print installation Parent Body, uses scanning electron microscope imagery of samples recently returned from asteroid Bennu. The data features detail of carbon-rich and organic ‘nano-globules’ which have been theorised as ‘proto-cells’. The sculpture evokes astro-geological-biological material lineages across deep space and cosmological time. In a contrast of scale, Julie is also showing Return, 3d print of asteroid Itokawa cast in plaster-of-paris with a bead of Iridium. Iridium is an rare-earth element more abundant in asteroids than the Earth’s crust. This miniature work considers the cross exchanges between space and earth and in a gesture of reverse sample return (scientific missions and human extractive processes both take), a bead of Iridium is returned to the belly of asteroid Itokawa.

Charlie Franklin’s work considers control, physical experience and memory within the natural landscape. Her research includes how formations such as standing stones, grottos and geological debris remain or change across time. With a particular interest in materials and the properties they hold, she is experimental in her approach to making. Everyday items including cardboard, plastic sheeting and gaffer tape are repurposed to build the foundations of her sculptural work. Franklin also collects found imagery such as postcards and photographs, which she reworks to become something else.


In Litho/Domous, Rona Lee layers photographic plates from mass produced ‘coffee table’ books onto lighting panels, utilising the ‘bleed’ between them that this reveals, to evoke the tectonic instabilities of
contemporary eco relations. Originating in the post war ‘golden age of capitalism’, and designed as statement pieces for home display, the aspirational focus of these image-rich publications on culture, travel, landscape, can be said to prefigure the arc of the smartphone in making the world consumable. At the same time titles such as The Mineral Kingdom and Library of Nations speak to the legacies of the Enlightenment project, offering up an order of things in which Mankind / the Anglophone world is positioned as ascendant and Nature – along with ‘other’ cultures – is ‘put on the table’.

Deborah Tchoudjinoff’s video installation The City of Gold takes a speculative look at Earth in the far future. Her work considers vast, beyond human, geological timescales where continents have once again become one. Past supercontinents create room to speculate upon future ones if we understand Earth as shifting, moving matter. Starting as a short fiction text Tchoudjinoff began to form an imagined world of cities in a future supercontinent of Amasia. The fictional cities named after the minerals that are heavily sought – rare earths, copper, uranium, gold, and coal – hinting at the narrative of an Earth depleted of the resources we rely on. The City of Gold is one of five imagined cities.

An accompanying events programme includes an urban geology walk with Geologist Ruth Siddall, discussing the origins of the local built environment; Cheong tasting by chef Moonhyung Lee who explores human-mineral entanglements through digestion; a crystal growing workshop led by Julie F Hill and I will be offering visitors lithomancy readings every Friday afternoon. The reading of stones proposes insights into the power and allure of stones emanating from the symbolic meanings attributed to them and exposes the entangled relations between the human and the geologic found in our language and desire to align the human condition with the lithic.

Once I start thinking of minerals as something we swallow to make our body function, I also start to think of how our body comes to be composed of these minerals, and that when we gradually decay after death we become mineral components again. So, the gesture of swallowing a tablet or vitamin pill is as magical, or let’s say as supernatural, as we want, because we really are swallowing a stone. – Otobong Nkanga

Link to Marina Walker essay The Writing of Stones published by Cabinet Magazine.

London once had many stones. They made convenient landmarks for gatherings and councils, or else marked boundaries or distances. As a result, they often crop up in place names – Link to The Londonist ‘Lost Stones of London’.

Gallery visits

Mónica Alcázar-Duarte in Cultural Reforesting Exhibition at Orleans House Gallery. In this exhibition, the artists remind us that we not only have a relationship with nature but also that we are nature. We are human animals. Together, with our more-than-human neighbours, we are a growing, singing, howling forest. 

Under the big Suffolk skies of Orford Ness. Walking landscape that bears the scars, physical and emotionally resonant, of years of intense military top secret experiments. Here radar was developed, the aiming of bombs was refined, material vulnerability was tested with destructive, explosive projectiles under simulations of attack and famously it is the site of environmental tests during the late 50’s, early 60’s, in the development for detonation of the atomic bomb. 

The weight of the shingle shored up around the buildings and on the roofs used to dampen the explosions.

There is a lot to respond to. It is now a spectacular nature reserve but apparently not so many birds here this year. We were lucky to see a short eared owl hunting and some gangly spoonbills in flight.

Kaori Homma Silent Echoes at The Watch House, Orford Quay – Inspired by Orford Ness, the UK’s only site of atomic experimentation, this exhibition explores the hidden histories and lingering memories within its landscape. Through the unconventional method of Aburi dashi or fire etching, the artist explores not only the visible remnants of the secret history of Orford Ness, but also the unspoken memories that linger in the air. Unlike ordinary drawings made by the pigments on the surface of paper, Homma’s works are made by fire which etches the images into the body of paper as a burn mark.

Electric Dreams at Tate Modern celebrates the early innovators of optical, kinetic, programmed and digital art, who pioneered a new era of immersive sensory installations and automatically-generated works. This major exhibition brings together ground breaking works by a wide range of international artists who engaged with science, technology and material innovation. 

Desmond Paul Henry used a repurposed bombsight computer, designed to drop bombs more accurately, as developed at Orford Ness, to make a drawing machine which he then hand embellished.

The Pleasure of Misuse curated by Indira Dyussebayeva-Ziyabek and Maria Hinel at Royal Society of Sculptors. ‘The humour that springs from manipulating or referencing the mundane is paradoxically self-reflexive – appropriated objects suddenly appear anthropomorphic, our laughter becomes directed at ourselves and the intermittent absurdity of the human condition. The Pleasure of Misuse explores the mechanics and psychology of humour in the everyday, considering its potential to heal and its power to disarm, creating the sense of complicity and the space for self-reflection amid these anxious times.’

Images – Andy Holden, Ty Locke, Peter Fischli & David Weiss, Cornelia Parker, Richard Wentworth

Samuel Zealey, Angela Eames, Tony Fleming, Charlotte Guerard, John Strutton and Kate Fahey in Heavenly Skeletons at Coleman Project Space – six contemporary artists whose work repositions drawing as an expanded multidisciplinary field.  Heavenly Skeletons is a dynamic investigation of how drawing translates abstract concepts into tangible form… 

Gorgeous show with thoughtfully chosen works that like Samuel Zealey’s vertiginous sculpture balance perfectly.

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partial variations

April 9, 2025 //
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Spending time in the print studio layering up magnetometer lines describing fluctuations in the Earth’s magnetic field. Using sheets of Japanese paper with Suminagashi ink swirls to evoke both ocean and magnetic currents. The lines are printed in metallic inks, relating to the idea of a lode, which in geology is a deposit of metalliferous ore that is embedded in a fracture in a rock formation or a vein of ore that is deposited between layers of rock.

The bands of magnetometer lines are used to signify the last three magnetic pole reversals. The most recent at 42,000 years ago (a short 500 year blip), then 780,000 years ago (continued for 22,000 years) and 1,000,000 years ago (continued for 40,000 years). This history of these reversals is stored in the ocean floor as magma flows up between cracks in the Earth’s crust, spreads and solidifies, capturing the direction of the poles in the orientation of the minerals.

Work in progress on Mineral Visions, a video sculpture with a particular focus on magnetite/magnetism and human relations. Editing video of Jepara seen under the microscope. This is a magnetic pallasite meteorite with an interior structure of densely packed olivine and iron-nickel, discovered in Indonesia in 2008. Pallasite meteorites formed in the asteroid belt between Mars and Jupiter. They’re made up of minerals and remnant materials from the first few million years of the solar system, forming at a time when planets were only just coming together.

A very special research trip with fellow artists exhibiting in the upcoming show at Hypha HQ, The Geological Unconscious, to visit la Galerie de Géologie et de Minéralogie, Muséum National d’Histoire Naturelle, Paris. Hosted by the curator of minerology we were privileged to see a selection of stones in the museum vault. The museum holds Roger Caillois’ stone collection as featured in his book The Writing of Stones. The photographs of this extraordinary collection do not compare to seeing them up close, from every angle. Must larger than anticipated, they are extracted from their snug foam packaging for yet another scrutiny of the human gaze. Caillois wrote at length about each stone, allowing his imagination to conjure metaphor and analogy from the syntax of the ancient crystal and sediment. He was fascinated by his own fascination with the stones which he saw as a desire to connect with the more than human and lose oneself in the enormity of the universe.

Roger-Caillois Malachite Photo Julie F. Hill

We also got to see some meteorites in the collection including a large one containing diamonds that had belonged to Caillois. The Canyon Diablo meteorite originated in the asteroid belt between Mars and Jupiter and crash landed into the Arizona desert approximately 49,000 years ago, with the force of more than 100 atomic bombs. The crater it left is nearly a mile across and 600 feet deep. Fragments were flung over an area of over 11 sqm from the point of impact where the main mass vaporized on contact. In the force of collision small diamonds formed from graphite and are found inside the highly recrystallized meteorite fragments at the rim of the crater. 

I was also interested to a slice from one of the world’s largest specimens of pallasite, the Imilac pallasite discovered in 1822 which exploded over the Atacama Desert in northern Chile, possibly in the fourteenth century.

This spring Severn bore had been forecast to be a 4* event but arrived earlier than expected as more of a ripple. Not enough rain from the Welsh hills and no uplifting wind meant it was a more gentle, leisurely wave. It was still exciting to witness the change in the river from the slow glassy seaward flow to choppy, muddy turbulence carrying logs and assorted debris inland as the tidal wave rose into the channel. Such a beautiful morning to be on the river bank.

Gallery Visits

Glorious sunshine spot lit exuberant work at the Winter Sculpture Park hosted by Gallery No32 at a former Thamesmead golf course along the banks of the River Thames.

Clinging On, an exhibition of wall based sculptures curated by Poppy Whatmore at Glassyard Studios SW9. Instability is growing across the world, as we cling to liberal norms, ideas and values; these works connect a feeling of uncertainty to the physical, defying a gravitational pull or some internal force. These are physical, material or conceptual investigations of precariousness and the accompanying need to hold on. A packed PV means I have few images but I did capture the excellent Ocean Chasms/Crystal Chasms by Julie F. Hill and Caught Moon by Jane Millar.

Moving Landscapes at Jeu de Paume, Paris. This exhibition brings together photography, literature and science to address environmental questions but also those of identity or migratory flows; the landscape thus becomes a living and constantly changing territory. Artists include Mounir Ayache, Julian Charrière, Edgar Cleijne, Ellen Gallagher, Yo-Yo Gonthier, Laila Hida, Eliza Levy, Julien Lombardi, Andrea Olga Mantovani,Mónica De Miranda, Richard Pak, Mathieu Pernot, Prune Phi, Léonard Pongoa and Thomas Struth.

Events

More Life By Lauren Mooney and James Yeatman at Royal Court Theatre. Asking the question ‘what is life?’ but also what is the quality of life you would accept if you discovered you were a computer file. What constitutes real human experience? A brain sliced, scanned and rebuilt in the future to be transplanted into a new synthetic body holds memories of a past life and feels emotion but has limited access to new physical sensory experience – no need to eat or sleep. Does the urge to live, live on? Is it possible the first person to live forever has already been born?

Great to see Alan Watson again, after visiting Haverah Park with him last year, to hear more about Searching for the Origin of the Highest Energy Particles in Nature. This water being sampled in the image below had been in the tank for nearly 30 years yet was still clear and drinkable.

He began his lecture at The Royal Astronomical Society with a short history on the discovery of cosmic rays, taking us right back to 1785 and Charles-Augustin de Coulomb who discovered that bodies with like electrical charges repel and if they have different signs, the force between them makes them attract. In his experiments testing electrical charge with two metal balls suspended on silk threads to easily repel or attract he was surprised to find that even if his experiment was very well insulated the charge still leaked away. It took over a century before it was realised that the air was being ionised which spurred physicists to discover the source of this ionization. In 1912 Victor Hess made his famous balloon flight to over 5km with a rudimentary Geiger counter and no oxygen to discover that ionization increased with altitude and must have an extra-terrestrial source. Over another century on and cosmic rays still present a mystery as to their origin and how they gain their enormous energies.

Alan is interested in the ultra high energy subatomic particles from extragalactic sources with energies about a million times as high as the energy reached by human-made particle accelerators. To put these energy scales in context – a laser pointer has an energy of about 3 electron volts, which is also typical of the photons that come from the sun. The molecules in the air are rushing around at 300m per second with an energy of 1/40 eV. A low energy cosmic ray, the sort that passes through your body a million times in a night, has an energy of 1 giga-electron volts, a proton created at CERN ( the European Organization for Nuclear Research) has around 7 tera-electron volts. If there was a race between a CERN proton and a high energy cosmic ray (over 1018 eV ) starting at the centre of the galaxy, by the time the cosmic ray had reached Earth the CERN proton would not even have reached the moon.

The ultra high energy rays are very rare. To detect these particles physicists rely on observing extensive air shower arrays to amplify the arrival of the particle. By recording the secondary particles that are produced when a cosmic ray hits the upper atmosphere the energy of the particle can be calculated. The showers arrive is a disc like formation with footprints of around 1sqkm so it is necessary to have detectors spread over a large area. The detectors measure the arrival time of the secondary particles and this can help determine the direction of the particle to within 1 degree. The trajectory of the cosmic ray is affected by galactic and intergalactic magnetic fields making it very difficult to find the origin of the particle.

The shadow of the moon can be seen in data recordings of cosmic ray arrivals.

There are a few different methods of detecting cosmic rays. This can be done using scintillator plastic which gives off a flash of light when a particle passes through the medium. Using Cherenkov radiation is another method – this takes advantage of a naturally occurring electromagnetic shock wave giving off energy as light when a particle passes through a medium faster than light can travel through the same medium. The speed of light through water is only 3/4 as fast as when it passes through air, a cosmic ray with much more energy will travel through water at almost the speed of light. This phenomenon can even be seen with the naked eye if the location is dark enough. Astronauts experience flashes of light in the eyes from particles directly hitting the retina but also from particles passing through the vitreous fluid and causing Cherenkov radiation.

Another method is to detect the excitation of nitrogen, the same process that produces the aurora. This light is in the ultra violet spectrum.

By the end of the 1980’s when Haverah Park closed the discovery of the origin of high energy cosmic rays was still a long way off. What had been established was that at the very high energies, only one particle would fall within one km per century. To make further progress a much larger area of detection would be needed. The Pierre Auger Observatory in Argentina at 3000 sq km is about twice the size of Surrey with many hundreds of water tanks. These tanks hold 10 tonnes of water but are the same depth as those at Haverah Park at 1.3m which turned out to be the optimal depth for the water tanks. Charged particles generated during the development of extensive air showers excite atmospheric nitrogen molecules, and these molecules then emit fluorescence light. The Cherenkov detectors at Pierre Auger are supplemented by fluorescence detectors installed at four elevated observation sites with 24 large telescopes specialized for measuring the nitrogen fluorescence in the atmosphere above the array.

The most exciting discovery came in 2017 when a convincing anisotropy in the arrival direction of cosmic rays of a certain energy was determined with some evidence that Centaurus A might be a source of these cosmic rays. There was also evidence of particles clustering close to the super galactic plane, an enormous, flattened structure extending nearly a billion light years across.

The galactic year is the duration of time required for the Sun to orbit once around the centre of the Milky Way Galaxy equivalent to approximately 225 million Earth years.

Art After Dark cosmic takeover around Piccadilly and Leicester Square from Nelly Ben Hayoun-Stépanian. I saw the iridescent asteroid-sized moon rocks and inflatable UV reactive sculptures inspired by Schrödinger’s famous quantum physics paradox in bright sunshine

Book launch at Matt’s Gallery – Aqueous Humours Fluid Ground, edited by Kirsten Cooke published by Matt’s Gallery and the Poorhouse Reading Rooms. A night of experimental nonfiction, fiction, diagram, scent and moving image. An evening that activates a watery mapping, which denatures cartography through practices of immersion, aquatics, time travel and the posthuman lenses of geological, animal and machine vision. With contributions from Linda Stupart, Harun Morrison, Ezra-Lloyd Jackson, Melanie Jackson, Joseph Noonan-Ganley, Charlie Franklin, Michelle Williams Gamaker, Lucy A. Sames, Maggie Roberts, Carl Gent. I was only able to stay for the first half of the evening but this gave a wonderful flavour of the book which I look forward to dipping into.

Listening

Journey to the Centre of the Earth – an Infinite Monkey Cage podcast with guests seismologist Ana Ferreira, geologist Chris Jackson and comedian Phil Wang. The immense pressures and searing temperatures that present engineering difficulties of ‘going into the Earth’s crust’ to explore what lies beneath are discussed along with the relationship between the tectonic plates and a stable atmosphere and new evidence of hidden subterranean shifting globular continents.

Reading

The Periodic Table by Primo Levi. My initial reaction to this book was surprise that it was so engaging, but a few elements in, I was surprised to find the chapters shifted from autobiography to fiction with dubious and misogynistic content. I have persevered as the chapter on Carbon, which was recommended to me, is the last chapter in the book and I thought I should start at the beginning not the end. This final chapter is written with a different emphasis, with the explanation that carbon cannot be treated like other elements as it is not specific to one story but is everything to everyone. ‘Every two hundred years, every atom of carbon that is not congealed in materials by now stable (such as, precisely, limestone, or coal, or diamond, or certain plastics) enters and renters the cycle of life, through the narrow door of photosynthesis.’ The story of one atom of carbon is relayed but it is noted that the author ‘could tell innumerable other stories and they would all be true…. the number of atoms is so great that one could always be found whose story coincides with any capriciously invented story’.

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Quantify

May 7, 2023 //
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 “How do you calculate upon the unforeseen? It seems to be an art of recognizing the role of the unforeseen, of keeping your balance amid surprises, of collaborating with chance, of recognizing that there are some essential mysteries in the world and thereby a limit to calculation, to plan, to control.”  Rebecca Solnit, A Field Guide to Getting Lost

At Hartland Magnetic Observatory and other magnetic observatories around the world solar activity is examined daily and forecasts are given if this is likely to have any geomagnetic effect on Earth. The main geomagnetic field is also constantly changing due to convection flows and waves in the Earth’s core. As this change cannot be predicted, uncertainty slowly increases over time.

Most of my work at the moment is towards the exhibition A Stone Sky, with Julie F. Hill at Thames-side Studios Gallery later in the year. Very excited to be working alongside Julie and to have space to be ambitious in scale.

The Absolute Hut installation, reimagining the magnetic observatory room, will be a combination of planning to build the structure and unpredictability through processes used for the surfaces. Measuring for the north facing wall to be built in sections for easier transportation. Testing scale and coverage of field contour shapes cut in copper with a plasma gun.

I am hoping the north wall structure can be made up soon and the boards attached. I will then keep it outside facing north until the exhibition in an attempt to grow some moss on its surface. I have only had some very small success so far growing moss, despite trying a new culture recipe and being very diligent misting every morning and evening.

The topological contours of suminagashi marbling, which also echo fluid magnetic field lines, have inspired me to experiment with this idea for The Absolute Hut roofing. I have bought a sumi ink stick in whiteish green, an ink grinding stone and some verdigris pigment from Cornelissen in preparation to try this idea out. In this process the magnetic field lines appear embedded into the fabric of the hut that monitors (senses) the emanations from the Earth’s core.

Through the north facing window of The Absolute Hut, The Azimuth Obelisk (Obelisk of sedimentary knowledge) will be viewed. The sculpture is formed by tearing, drilling and layering sheets of paper. As sedimentary rocks build over time, so the obelisk has a lot of time invested in its making and conceals the history of past events in the hidden layers of the recycled prints and drawings.

I am still working on etching the Directional Magnetic Steel pieces. It can be a frustrating process as some batches work well and some do not etch well at all but come out dull and patchy and I’m not sure why. My idea was to use these pieces to draw a line across the gallery floor signifying the westward drift of the magnetic field from geographical north but now I am thinking more about mapping out a spiral shape in shaped pieces to echo the rotation of the Earth’s molten core.

All information about the Earth’s core has come from studying seismic data, analysis of meteorites, lab experiments with temperature and pressure, and computer modelling. Seismometers convert vibrations due to seismic waves into electrical signals. The velocity and frequency of seismic waves changes with pressure, temperature, and rock composition. The discovery that Earth has a liquid layer beneath the crust and a solid inner core has come from detailed analysis of the different types of waves that pass through the body of the Earth. Looking at the composition of meteorites, fragments of asteroids, formed about the same time, and from about the same material, as Earth provides clues to what minerals the core might contain. Diamond anvil cells are instruments used to recreate the pressure existing deep inside the planet by squeezing materials between two diamonds surfaces. A combination of this data is used to in complex computer modelling programs resulting in detailed animations of the geodynamo, a process powered by the convection of heat in the outer core along with the rotation of the planet.

Also a few more layers of papier mâché have been applied to the sculpture that will house a screen with video for the work Belly of a Rock.

Other work in the research stage looks at the first use of a magnetic compass, the cardinal points of navigation and the compass predecessor the wind rose.

In classical antiquity, a time stretching from Homer to the early middle ages, geographic orientation usually referred to landmarks or astral phenomena to determine direction. Eos meaning dawn, and Hesperus, evening were named for sunrise and sunset with north (arctos) being marked by the constellation Ursa Major and later the Pole Star. The winds also became associated with direction, and named in accordance with their qualities such as hot and humid or cold and dry. In Greek mythology Astraeus, the god of dusk, and Eos, the goddess of dawn, gave birth to many sons of the twilight including the Anemoi, the four gods of the winds, each ascribed a cardinal direction. Boreas being the god of the cold north wind,  Notus the god of the hot south wind, Eurus from the east and gentle Zephyrus from the west.

The number of points on a wind rose began with the four cardinal points which were added to and refined over time. The winds were often given names that referred to a particular locality from where they seem to blow, so different places came up with various local names. Aristotle designed an asymmetrical 10 point wind rose which was later refigured by Timosthenes who is credited with inventing the system of twelve winds and using this more for navigation than for “the study of things high in the air.“

Classical wind roses were eventually replaced by the modern compass rose during the middle ages.

The “Vatican table” is a marble Roman anemoscope dating from the 2nd or 3rd Century CE, held by the Vatican Museums. Usually an anemoscope would be topped with a weather vane. Divided into twelve equal sides, each one is inscribed with the names of the classical winds, both in Greek and in Latin. 

At a quantum scale, all matter is underpinned by uncertainty. My fascination with particle physics began from simply wondering what everything was made of when you looked really closely. I looked up ‘fundamental building blocks of the universe’ and was blown away by this mysterious other world, so far away in terms of scale I can comprehend, yet a part of me and everything I interact with.

Quanta is a discrete unit that cannot be divided. Quantum physics is the study of energy and matter at the most fundamental level. The chemical reactions in a birds eye that allow it to ‘see’ Earth’s magnetic field involves the quantum entanglement of radical pairs of electrons. These electrons are excited by light, particularly the blue of twilight.

Photography was the first available demonstration that light could indeed exert an action sufficient to cause changes in material bodies. William Henry Fox Talbot 

The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality,  and has physically come through the lens and put it’s hand onto the final piece. Sunburn Chris McCaw

This month NASA announced a new planetary defence strategy to protect Earth from an asteroid impact. NASA’s Double Asteroid Redirection Test (DART) on 11th October 2022, changed the orbit of the Dimorphos Asteroid in the first full-scale demonstration of asteroid deflection technology.

This marks humanity’s first time purposely changing the motion of a celestial object.

“An asteroid impact with Earth has potential for catastrophic devastation, and it is also the only natural disaster humanity now has sufficient technology to completely prevent,” Lindley Johnson, NASA’s planetary defense officer. First any potential collision objects must be identified. This will be the job of the Near Earth Object Surveyor, along with ground-based optical telescope capabilities, to find the still undiscovered population of asteroids and comets that could impact our planet.

A magnetometer is being sent on an eight year journey to Jupiter. It was launched this month from Europe’s Spaceport in French Guiana.

ESA’s Jupiter Icy Moons Explorer (Juice) has magnetic and electric field sensors on the end of the magnetometer boom. The boom is folded in three parts and packed against the side of the spacecraft for launch. Once unfolded in space, the sensors will extend clear of the main body of the spacecraft, allowing very accurate measurements without magnetic interference from the spacecraft itself.

The boom’s instruments will measure Jupiter’s magnetic field, its interaction with the internal magnetic field of Ganymede, and will help study the subsurface oceans of the icy moons.

Ganymede is the only moon in the solar system known to have its own magnetic field. The magnetic field causes auroras, which are ribbons of glowing, hot, electrified gas, in regions circling the north and south poles of the moon. Because Ganymede is close to Jupiter, its magnetic field is embedded in, or lies within, Jupiter’s magnetic field.

The discovery of the moons orbiting Jupiter by Galileo Galilei in 1610 was the first time a moon was discovered orbiting a planet other than Earth. The discovery eventually led to the understanding that planets in our solar system orbit the Sun, instead of our solar system revolving around Earth.

Gallery Visits

Peter Doig at The Courtauld. My highlights were the luminous moons, moon bathing and an etching of a cave.

Jitish Kallat Whorled (Here After Here After Here) at Somerset House had a romantic premise with a prosaic aesthetic. I love the concept and the theory and it’s certainly a jarring juxtaposition to be directed to celestial destinations by motorway signage. Routes through the work map circular movements through space and time. Is this the Hitchhiker’s guide to the galaxy?

Mike Nelson Extinction Beckons at Hayward Gallery.

The impact is in the SCALE. Punchdrunk meets abandoned engineering.

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SPACE

November 5, 2022 //
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Work in progress on the Azimuth Obelisk sculpture has taken a new direction and I have abandoned the idea of casting the obelisk in aerated concrete. I also have new dimensions to work with having found an interesting article on the historic dimensions of obelisks with the advice that ‘designs that have too large a gap in scaling between elements will lack hierarchical cooperation and lead to a sense of emotional unrest‘.

Looking at layering of sedimentary rock holding memory of magnetic field information I am aiming to make the sculpture from layered paper to echo the effect of strata, using unwanted old work on paper as well as other paper that would otherwise be discarded. It has been satisfying tearing down old prints that were languishing in plan chests and old work from foundation courses and art classes. It even has an obelisk within the obelisk. I am collecting donations from everyone I know who works with paper as I have estimated I need about 8,000 sheets to reach a height of over 2m.

Work in progress on The Breath of Stars cosmic ray interactive work is still pending. After spending hours formatting and loading the raspberry pi with the video files of cosmic trail starbursts I heard from Jamie the programmer that .avi files are not going to work and these might need converting to WebM files which might not be easy. Hoping to find a solution to this soon.

Great fun greenscreen filming slime for Belly of a Rock – a video sculpture partly inspired by the Cosmicomics story The Spiral and partly inspired by paleomagnetism where magnetic minerals in rocks can archive a record of the direction and intensity of the magnetic field when they form.

“I began to give off excretions which took on a curving shape all around” The Spiral, Italo Calvino

“..I accompanied the effort of making the shell with the effort of thinking I was making something, that is anything: that is, I thought of all the things it would be possible to make. So it wasn’t even a monotonous task, because the effort of thinking which accompanied it spread towards countless types of thoughts which spread, each one, towards countless types of actions that might each serve to make countless things, and making each of these things was implicit in making the shell grow, turn after turn…” Italo Calvino The Spiral

Fabulous shells lent to me by my neighbour for spiralling inspiration. The size of them not easily appreciated in these images. They are huge. I have no idea how old the molluscs that made these could be.

Other work in progress is towards using the small monitors bought as a good deal on eBay set in a circle displaying video dissected into twelfths. Testing ideas with kaleidoscopic images from soap bubble videos and relying on technical help from next door getting the monitors to work

Delighted to be invited to join Sandra Crisp and Jockel Liess for an exciting moving image event. Each artist has a unique approach to film incorporating the study of form, surface and location. DM for an invitation.

Sandra Crisp: E_Life uses 3D generated animation to present a digital environment populated with intensely textured and dynamic geometry.

Jockel Liess: Variations on a theme is a generative audiovisual system which starts from a point of fascination with the aesthetics of irregular organic patterns.

My work Aóratos (new edit for this event) transports the viewer between everyday locations and terrains visually transformed via the use of an endoscope, a microscope, and cameras launched in a high-altitude balloon.

Paused to see the wonderful World Time Linear Clock at Piccadilly Circus Underground Station built in the early1920s and recently refurbished.

The band of roman numerals scrolls West at the same relative speed as the earth rotates, completing a circuit in 24 hours.

“The clock by which we measure time on our watches and digital devices is very misleading; it is determined by the daily rotation of the Earth around its axis and its annual rotation around the sun. This astronomical time is linear and regular. But the actual clock by which we live our socioeconomic lives is an emergent phenomenon determined by the collective forces of social interaction: it is continually and systematically speeding up relative to objective astronomical time.”    Geoffrey West

I also did a little research to find out more about the Azimuth Mirror I was given as a present. An azimuth mirror is used for taking the bearings of terrestrial and celestial objects. An azimuth is defined, from any given observation point, as the angle between an object or point and a reference line, usually to true North, moving away from that reference line in a clockwise direction on a horizontal plane. Through the use of mirrors, lenses and prisms, the instrument allows both, the readings of the compass card, and the object to be seen at the same time and in the same direction. It is portable equipment which is placed over a magnetic or gyro compass to aid navigation using either a landmark, when the arrows would be pointed down, or from a celestial object when the arrow would be pointed up. The little glass circle was once a spirit level but that has dried up. The word azimuth is used in all European languages today, it originates from medieval Arabic meaning “the directions”.

Finally made it to meet the Go Stargazing Walton Astronomy Group at their monthly session. We found them on the green at Esher which has been recently over illuminated with bright LED streetlights by a thoughtless council ruining the skies for astronomical observation and disorientating local wildlife and plant life. The local MP Dominic Raab IS NOT A MEMBER of the All Party Parliamentary Group for Dark Skies. Click on the link and ask your MP to join in protecting our dark skies.

When we look up to the heavens, we largely see the same view that captivated and inspired our ancestors. The constellations, the Milky Way, shooting stars, and the night sky are woven into the fabric of our society, cultures and religions. The night sky is one of the most inspirational views that our planet offers.

We are on the precipice of losing the night sky. Right now, SpaceX and other companies are planning to launch tens of thousands of bright satellites in orbit around the Earth.

There is an Avaaz petition at this link urging protection of the night skies.

Bringing back memories of the 2015 Nelly Ben Hayoun film Disaster Playground…

….NASA celebrates a Smashing Success – A team of researchers confirmed that the DART spacecraft’s impact with Dimorphos successfully altered the moonlet’s orbit around its parent asteroid by 32 minutes – marking the first time humans have changed the trajectory of a celestial object in space.

To me this feels like a major historical event. What has this little nudge set in motion?

Exhibition visits

Expanded film at the BFI London Film festival.

Framerate: Pulse of the Earth by ScanLAB Projects presents Destruction, extraction, habitation, construction, harvests, growth and erosion are presented as a shared immersive experience. The 3D time-lapse scans of British landscapes observe change on a scale impossible to see with traditional filmmaking techniques.

One of my favourites was Monoliths by Lucy Hammond, Hannah Davies, Asma Elbadawi and Carmen Marcus – we are shaped by the spaces that made us. Through footage shot in the north of England and personal narrative the women embody three monoliths – standing stones, whose symbolic power becomes increasingly important as the women talk.

Elizabeth Murton and Jane Glynn, explore the dynamics of time and movement in Fluid Time at The WaterMill, Mill Green Museum, Hatfield with live dance performance of Elizabeth Murton’s The Giant Weave from BEEE Creative full of joy and energy.

Libby Heaney in remiQXing still at Fiumano Clase. A solo presentation of video and physical works exploring the emerging field of quantum computing as both a subject and medium, turning the gallery space into the showroom of her fictional quantum computing company QX (Quantum eXperience). Some fabulous super shiny prints on mirrored dibond and ethereal prints direct to media on clear acrylic.

Transports of Delight at Danielle Arnaud curated by Edward Chell. In the 1830s, East London doctor and amateur naturalist Dr Nathaniel Bagshaw Ward invented a sealed glass case, an ecosphere in which plants could survive heavily polluted air. Named after its inventor the Wardian case enabled the transport of plants by sea around the world and transformed global economies and environments, shaping the world we live in. Exhibition includes works by

Anna Barriball | Daphne Wright | David Cotterrell | Edward Chell | Gerard Ortín Castellví | Günther Herbst | Harun Morrison | Helen Maurer | Joseph Banks | Joy Gregory | Laure Prouvost | Lee Maelzer | Leelou Gordon-Fox | Maria Thereza Alves | Mariele Neudecker | Nick Laessing | Nils Norman | Owen Griffiths | Peter Hofer | Pia Östlund | Rosa Nguyen | Stephen Lee | Uriel Orlow |

ABSURD at OHSH Projects exploring the absurdity and strange rituals of our daily lives, the bizarreness of
which are brought to light when taken out of context. The institutions, structures and traditions we have built around ourselves and imbued with power and importance can highlight this most starkly; through religion, schooling, government, work and even our own homes. Curated by Henry Hussey and Sophia Olver. Exhibition includes works by Gillies Adamson Semple, Samuel Bassett, Jonny Briggs, Tom Bull, Ladina Clement, Janina Frye, Johnny Hogland, Mark Jackson, Lea Rose Kara, James Lomax, Hynek Martinec, Rasmus Nosstring and Lottie Stoddart.

Hypha Studios presents a showcase of some previously selected artists at the project space on Conduit Street. Hypha Studios matches artists with empty spaces across the UK. Artworks include those by Beverley Duckworth, Foka Wolf, Dion Kitson, Futures After and Josh Wright’s “Lost in a Just In time Supply Chain”, Anna Fearon, Tom Skipp, Molly Stredwick, Gabriela Pelczarska, Salvatore Pione.

Subatomic at The Science Gallery is a project by composer Christo Squier and experimental particle physicist Dr. Teppei Katori that looks at ways of interacting with cosmic rays, something I have been working on myself in the work The Breath of Stars for the last year or so. I was equally excited and anxious to see what they were presenting. They have created a particle shrine which takes data from the Super-Kamiokande observatory in Japan as well as live data from cosmic ray detectors to create a light and sound experience with vibrating mirrors. Rather jealous of the technical resources this project had access to.

There was also a performance of live music by a small orchestra responding in real time to data from the Super-Kamiokande observatory and compositions inspired by cosmic ray observation data.

A lot of the data used in the music responses and the particle shrine is publicly available data from the Super-Kamiokande observatory in Japan. I did notice that the cosmic watch detectors hooked up to the particle shrine are not set in coincidence mode to be sure it is cosmic particles that are being recorded. A lot of what Christo said during his presentation echoed how I feel about cosmic rays, the fact that they come from other galaxies and pass through us making that physical connection with outer space.

Sanctuary at The Swiss Church takes inspiration from the disparate and striking surrounding architecture, and the stories of people within the Covent Garden community, artists Ali Clarke and Gary Scholes have created a series of structures that symbolise individual sanctuaries. Amazing detail in some of the constructions, especially impressed with the scaffolding bolts.

Reading

Came across some great finds at the local Oxfam bookshop on mapping and magnetism and time, all interconnected.

I read Conquest of the Useless as I thought it might be relevant to research on exploration of the unknown. It was definitely a worthwhile read portraying the total dedication to following through a dream, the power of the creative urge. Watched the film Fitzcarraldo afterwards which although extraordinary doesn’t convey the true life drama and hardship recorded in the book experienced by the actors and film crew in telling the story.

Listening

BBC Radio 4 In our Time – The Earth’s Core. Melvyn Bragg and guests discuss the Earth’s solid inner core and liquid outer core, their structures and their impact on life on Earth.

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