Archives for posts with tag: Belly of a rock

Editing footage for the video Belly of a Rock which will be shown on an old monitor encased in a sculptural hybrid form relating to both mollusc and rock. The giant sea slug of the mollusc family, can derive directional cues from the magnetic field of the earth which is then modified in response to the lunar cycle. It orients its body between north and east prior to a full moon. In the slug’s nervous system, four particular neurons are stimulated by changes in the applied magnetic field, and two are inhibited by such changes suggesting that the animal uses its magnetic sense continuously to help it travel in a straight line.

The Earth can be divided into the inner core, the outer core, the mantle, and the thin crust. The outer core is about 1,367 miles thick and mostly composed of liquid iron and nickel. It is very malleable and in a state of violent convection. The churning liquid metal of the outer core creates and sustains Earth’s magnetic field. At the boundary between the inner and outer core temperatures can reach 6,000° C which is as hot as the surface of the sun. The inner core is a dense ball of mostly iron, but with a temperature above the melting point of iron, it is not liquid or even molten. Intense pressure from the rest of the planet and its atmosphere prevents the iron inner core from melting as the iron atoms are unable to move into a liquid state. It could be described as a plasma behaving as a solid. The inner core rotates eastward, like the surface of the planet, but it’s a little faster, making an extra rotation about every 1,000 years.  Geoscientists think that the iron crystals in the inner core align north-south, along with Earth’s axis of rotation and magnetic field and are arranged in a hexagonal close-packed pattern. The orientation of the crystal structure means that seismic waves travel faster when going north-south than when going east-west. Seismic waves travel four seconds faster pole-to-pole than through the Equator. 

The Earth is still cooling and as it does so, bits of the liquid outer core solidify or crystallize causing the solid inner core to grow by about a millimetre every year. The growth is not uniform, it is influenced by activity in the mantle and is more concentrated around regions where tectonic plates are slipping from the lithosphere into the mantle, drawing heat from the core and cooling the surrounding area. The crystallization process is very slow, and further slowed by the constant radioactive decay of Earth’s interior. Scientists estimate it would take about 91 billion years for the core to completely solidify but the sun will burn out in just 5 billion years. 

I have nervously passed the cosmic ray detectors over to programmer Jamie. It was hard to let them out of my sight after so much work to get them built but he can’t test the code he has written without them. The Breath of Stars directly interacts with cosmic rays in real time to trigger a digital reaction via a mini computer attached to a block of plastic scintillator and a sensitive photomultiplier. As each particle strikes the plastic scintillator its energy is recorded and a starburst image video relative to the energy released is projected, with the largest images representing the particles with the highest energy.

I am constructing an Obelisk sculpture in response to the concrete obelisk erected in 1955 at Hartland Magnetic Observatory, near the site’s northern boundary as a permanent azimuth mark. It is viewed via a theodolite through a window in the north wall of the Absolute Hut, its azimuth being 11º27’54” E of N and marks the point from which the magnetic north pole is tracked as it drifts westwards. Layers of torn recycled paper are stacked like sedimentary rock that holds clues to the Earth’s magnetic field reversals in its strata.

Copper contours of magnetic field lines have been lacquered to preserve the heat patina from plasma gun cutting. These shapes will be pinned to the north facing mossy wall of the Absolute Hut installation, a reimagining of the Absolute Hut at Hartland Magnetic Observatory. I will also employ a north facing window from which to observe the azimuth mark of the Obelisk sculpture.

A second research visit to RSPB Snettisham, this time to see the pink footed geese (which over winter on the mudflats here) leave their roost at dawn to fly to the fields to feed.

The walk from the car park to the viewing area is over 2km and takes about half an hour to walk. Setting out before first light the weather felt promising but just as I erected the camera tripod the rain came down hard and didn’t stop for the rest of the morning.

Made a second attempt the next morning leaving a little earlier and although it remained dry there was heavy fog over the sea. Not great for filming with my very basic kit but very atmospheric to experience as the geese emerged from the sea mists.

The noise they make is incredible, a constant chattering building to a crescendo of honking calls as they rise from the water and swarm across the sky in their hundreds. They come in waves but look like particles. At one point what sounded like a few gunshots fired out across the bay in the distant darkness. This sudden disturbance set off a slow deep rumble which drew closer accompanied by a low dark cloud growing heavily stronger building and rising as a huge tidal wave of geese rose simultaneously into the sky in panicked disarray. Extraordinary to witness.

Birds are able to “see” Earth’s magnetic field lines and use that information for navigation. Their compass ability comes from a quantum effect in radical pairs, formed photochemically in the eyes. This light sensitive magnetic compass used by birds is affected by the polarisation direction of light. Exposure to blue light excites an electron, which causes the formation of a radical-pair whose electrons are quantum entangled, enabling the precision needed for magnetoreception.

In chemistry a radical is an unpaired electron which is can be highly chemically reactive. In the radical pair mechanism a pair of electrons with opposite spins have a chemical bond. Light can cause the electrons to change spin direction which can break the bond giving the electron a chance to react with other molecules. In magnetoreception two cryptochrome molecules, found in the rod cells in the eyes of birds, each with unpaired electrons, exist in states either with their spin axes in the same direction, or in opposite directions, oscillating rapidly between the two states. That oscillation is extremely sensitive and can detect the weak magnetic field of the Earth. Birds then move their heads to read the spin of the molecules and therefore detect the orientation of the magnetic field.

While in North Norfolk staying in a beach chalet away from light pollution I was able to make a couple of short time lapse videos centering on Polaris.

Birds can detect the slow arc of the sun and the rotation of the constellations across the sky which is imperceptible to humans and allows migrating birds to orient themselves using celestial navigation as well as magnetoreception.

Birds are also able to detect rapid movement such as individual flashes or flickering of a fluorescent light which humans see as a continuous light. Hawks which pursue other birds through dense forests at high speeds, follow the movement of their prey while avoiding branches and other obstacles. To humans travelling at this speed, the fleeing prey, branches and obstacles would just be a blur.

Gallery Visit

Thames-side Gallery ‘The Accurate Perception Available When Our Eye Becomes Single’ is an immersive multi-screen installation evoking the emotional specifics of place (Orford Ness on the Suffolk coast) while exploring the elasticity of time and history. It is an audio-visual collaboration between Richard Ducker (video) and Ian Thompson (sound) with no linear narrative; sound and image are not synchronised, so each viewing is a unique experience. Sarah Sparkes also makes an enigmatic performative appearance both in the video and live in the gallery.

The crashing sea on shingle, open spaces and brutalist bunker architecture of Orford Ness are echoed in the gallery with audio pitched to envelop and resonate but not overwhelm. Nicely done.

Listening

I really enjoy the Inside Science podcasts with Gaia Vince and this one interviewing cosmologist and theoretical physicist Laura Mersini-Houghton about finding evidence that supports her multiverse theory was particularly fascinating.

Multiverses, melting glaciers and what you can tell from the noise of someone peeing

According to Laura the single universe theory is mathematically impossible.

Reading

Merlin Sheldrake’s Entangled Life. A remarkable reveal of an other world, so different yet so entwined with our own. Beautifully clear analogies help to bridge an understanding between human and fungi.

The ability to detect and respond to chemicals is a primordial sensory ability.

In humans when a molecule lands on our olfactory epithelium and binds to a receptor it causes nerves to fire triggering thoughts and emotional responses.

A mycelial network is one large chemically sensitive membrane: a molecule can bind to a receptor anywhere on its surface and trigger a signalling cascade that alters fungal behaviour.

Fungal lives are lived in a flood of sensory information.

They have light receptors, are sensitive to touch and it also looks like fungi may form fantastically complex networks of electrically excitable cells – a potential ‘fungal computer’ using electrical signalling as a basis for rapid communication and decision making which could learn and remember.

Delighted to announce At a Distance has been selected for The Anxiety of Interdisciplinarity exhibition at the Island Venue, Bridewell St, Bristol.

The Anxiety of Interdisciplinarity is an exhibition which seeks to reframe printmaking as a site of interdisciplinarity – a testing ground for ‘The important work…done at the surfaces between adjacent disciplines’ (Carter, 1998). Motivated by the International Multidisciplinary Printmaking Conference IMPACT 12’s theme ‘Merging and Metamorphosis’, the exhibition aims to trace the metamorphosis of conversations between disciplines. Installed at a former police station in Bristol, the Island Venue hosts art works in an outdoor courtyard, police cells and subterranean motor vehicle storage area.  The hybrid exhibition includes works of differing materials, scale and dimensions across installation, sculpture, sound, moving image, digital and post-digital media.  Curated by Sarah Strachan and Ayeshah Zolghadr.

At a Distance looks at remote methods of communication and relates this to the mysterious twinning of electrons in quantum entanglement where particles link in a way that they instantly affect each other, even over vast expanses. Einstein famously called this phenomenon ‘spooky action at a distance’. Filmed in Cornwall on 29th March 2019 (the first date when Brexit was supposed to happen) as the iconic Lizard Lighthouse powers up its lamp, solitary figures using semaphore flags sign ‘We Are One’ out across the ocean in the hope the message will be echoed back. Drawing on the physical language of print that embodies touch, separation and mirroring the flags have been printed using hand painted dye sublimation inks applied via a heat press. This process transfers the ink from a paper matrix onto the substrate textile. The image passes momentarily across space in a dematerialized state as vapour before being reformed as its mirror opposite.

In the studio I have been performing some more test etchings of the directional magnetic steel samples. Copper sulphate seems to give a better result than Nitric Acid. I have managed to gently polish the surface with Brasso without losing the crystal pattern and I gave it a coat of clear lacquer as it seems to rust easily. I am enjoying the excavation process.

The pattern comes from rolling single crystals of an iron silicon alloy into thin sheets to minimise magnetic losses for use in transformers.

There is a link here to quite a cool video showing magnetic wall domain movement with a magneto-optical sensor.

Back in the belly of a rock video editing the footage of iron filings movement over rock like surfaces.

Magnetic field reversals are stored in ancient volcanic and sedimentary rocks. The North and South Pole flip at irregular intervals but average about every 300,000 years. The last one was around 780,000 years ago. During a magnetic field reversal, which can take thousands of years, the magnetic field becomes twisted and tangled, and magnetic poles may appear in unexpected places.

Today the Earth is divided into the super hot inner core, the molten outer core, the mantle, and the thin crust.

When the Earth formed about 4.5 billion years ago from the collision, accretion and compression of matter it was rock all the way through. Heat from the massive violence of formation and radioactive decay caused the planet to get hotter and hotter. After about 500 million years of heating up it finally reached the melting point of iron. Known as the iron catastrophe this liquifying caused planetary differentiation to occur as lighter material rose to the surface becoming the mantle and crust whereas the heavy metals like iron and nickel fell towards the centre becoming the core. This molten mass also contains elements that dissolve in iron such as gold, platinum, and cobalt along with around 90% of the Earth’s sulphur.

Earth’s main geomagnetic field is constantly changing due to convection flows and waves in the Earth’s core. As this change cannot entirely be predicted, uncertainty slowly increases over time. This fluctuation is monitored using The World Magnetic Model jointly developed by the National Centres for Environmental Information and the British Geological Survey. This is the standard model used by the U.S. and U.K. governments and international organizations for navigation, attitude and heading referencing systems using the geomagnetic field.

Took an early morning drive out to Wilder’s Folly. Built in 1769 by Reverend Henry Wilder as a love token for his fiancée Joan Thoyts – it could be seen from both their residencies. First drone flight over a building and over trees. White doves are now resident and thankfully didn’t seem bothered by the drone.

Such a brilliant day meeting and trying to photograph the beautiful birds of prey at Coda Falconry under the expert guidance of Elliot. Lots of advice on hand just need faster reflexes and possibly a mirrorless camera.

Birds appear to be able to “see” Earth’s magnetic field lines and use that information for navigation. Their compass ability comes from a quantum effect in radical pairs, formed photochemically in the eyes.

Gallery Visits

The extraordinary Joe Banks Disinformation The Rapture Live optokinetic video and sound installation at Cable Depot. A special experience to witness this work which has a heady mix of spirituality and mortality. The human voice stretched to primordial sounds as the flesh transcends its halo of fire.

Wellcome Collection Rooted Beings

A look at the symbiotic relationship between plants, fungi and humans. The exhibition takes on the entanglement of colonial violence, indigenous knowledge and wildness. How different the world would be if we were also autotrophic. Patricia Domínguez holographic sculptures were fascinating – these are four blades of programmable LED lights spinning at speed to create an image. It was very effective. I was also intrigued by the material construction of the Vegetal Matrix exhibition stands which did look a bit like volcanic stone in the low light though they were listed as MDF with acrylic, so a sort of textured paint.

Wellcome Collection Being Human

Yinka Shonibare’s Refugee Astronaut“The refugee astronaut is the reverse of the colonial instinct of the astronaut – someone who is going out to conquer the world. What you have here is a nomadic astronaut just trying to find somewhere that’s still habitable.” 

Wellcome Collection In the Air

The exhibition explores the relationship between the air and earth, from 3.5-billion-year-old fossilised bacteria that first introduced oxygen into the atmosphere to delicate porcelain sculptures of the glaciers that provide a record of the air and our impact on it. 

Stromatolites 350m years old – these are fossilised microbial reefs formed in shallow waters from blue-green algae. These cyanobacteria were some of the earliest life forms and their photosynthesis helped produce the oxygen to support the development of other life forms.

International Airspace David Rickard 2019

This work marks the 100 year anniversary of the signing of the Paris Convention which extended land rights upwards to create international airspaces. The vessel contains air collected from the 27 participating countries alongside photographs of where the air was captured.

Panoramic film installation Air Morphologies investigates the materiality and composition of air pollution particles, their causes, effects and morphological agency. The project addresses how art and aesthetics interact with toxic materials; what kind of stories might be deployed through digital technologies; and how geopolitics are located in atmospheric thinking and being. Air Morphologies was initiated during Matterlurgy’s residency on the Science Technology Society program at Delfina Foundation, London funded by Gaia Art Foundation.

Rachael Allain introduced me to the work of Perla Krauze at Cadogan Contemporary. Earthy work presented simply allowing the natural materials to resonate with their own history and materiality. Real volcanic rock rather than a simulation.

“Using graphite frottages from stones and pavements and engraved volcanic rocks from El Pedregal, her paintings are abstract topographies and mappings. Stone is a fundamental material in her practice; linked to memory and durability, it can also be transformed and eroded. The crosshatch patterns in her paintings derive from the lines made in stone cutting, emphasising the transformation of stone from raw material to art object. Described as ‘grayscale tone poems’, Krauze alters and arranges stones to make miniature landscapes, complete in themselves but still referencing their origins.”

Future shock reimagining our near future at 180 The Strand. An immersive dive into a fairground world of light and motion, entertaining with one or two that stood out beyond technical prowess.

My favourite has its roots in the fashion world. Ib Kamara’s stylish film The Queen is Coming, a collaboration with Abdel El Tayeb grabs attention with its sense of transfixing unease created by the film’s characters via their direct expressions and heightened breathing. Anxiety levels are high. Fantastic.

In Neo Surf a collaborative project between filmmaker Romain Gavras and music producer Surkin the sheer scale of the marble quarry landscape emphasised by lanky teens dancing on the cut blocks is extraordinary and brings home a kind of wild abandonment.

Vigil is an installation collaboration between Ruben Spini and musician Caterina Barbieri. A sunset projected onto suspended melting ice creates a fragmented mirror image across the floor while videos with slow-motion footage of levitating bodies, transcendent synths and haunting vocals add to the sense of a slow death drugged on beauty.

Vortex puffs out a smoke ring every so often which is quite fun. Created by Pablo Barquin and Anna Diaz.

Row by Tundra uses the same holographic projectors as I recently saw used by Patricia Domínguez in Rooted Beings. Here they are interpreting generative data from the 12 notes of the chromatic scale.

Other work at Future Shock includes Weirdcore’s lucid dreaming colourscape Subconscious, Lawrence Lek’s self-driving car animation Theta, Actual Objects mildly interactive installation Vicky, NonoTak’s Daydream V6, Ibby Njoya’s colour box experience named after his influential father Mustafa, Vanishing Point from UVA, Object Blue and Natalia Podgorska’s installation of a future where astrologically predicted personality traits are true in What Melissa Said, Ryoichi Kurokawa and the shifting planes of light Topologies by UVA,

In The Black Fantastic at the Hayward Gallery. New narratives of Black possibility embracing the fantastical not as escapism but as bursting from the constraints of a restrictive society.

The Soundsuits of Nick Cave made as a response to racist violence confer anonymity along with a shamanic power. What a great use of the lace doily. Inspiration for the many doilies I have inherited from my Mum.

Wangechi Mutu collages, Sentinel sculptures and film The End of Eating Everything (featuring Santigold) are drawn from folklore steeped in the grotesque and spectacular. Time to turn from gluttony to restoration.

Lina Iris Viktor sumptuous paintings and Diviner sculptures heavy with gold acting as a conduit between heaven and earth inspired by ancient Egyptian funerary traditions. Her dramatic use of rich glossy black signifies the ‘materia prima’ – from which all creation was formed. Fabulous to see The Watcher, The Listener, The Orator sculptures are hewn from volcanic rock. Black gold of the sun.

Hew Locke’s The Ambassadors, a procession in search of future lands carrying their precious history with them echoing down the ages to Hans Holbein the Younger’s painting of the same name made in times when colonial foundations were being laid.

Cauleen Smith created an intriguing installation Epistrophy which refers to a phrase in literature or music repeated for emphasis. Her archive of associations are elevated into cinematic stardom by a series of live feed CCTV cameras which relay the objects onto the big screens becoming larger than life.

Other vibrant works include those of Rashaad Newsome, Tabita Rezaire and Chris Offili.

Directed to The Swimmers Limb by an attendant who said rather harshly ‘there’s not much to see’ I visited Gallery 31 dedicated to the Somerset House Studio artists where Mani Kambo has designed a ‘psychedelic’ wallpaper on which hang prints by Tai Shani from her feminist mythology series. Pattern, symbols and ritual. Plenty to see.

Carol Wyss The Mind Has Mountains at The Swiss Church. Having seen this powerful work at Ruskin’s House on Coniston Water last year in a very different space – very like the inside of a skull, it was rewarding to be able to see it in a larger space with a little distance which brought alive the mountainscapes within us. A film of the very physical etching, printing and installation process made by Peter Bromley entitled  Carol Wyss – In Situ was screened to an amazed captivated audience.