Archives for posts with tag: cosmic particles

Delighted that my film Cosmic Chiasmus: crossing the universe was screened at Contemporary Calgary Gallery for the 2022 Particle + Wave Festival

The Particle + Wave Festival is an annual media arts festival held by EMMEDIA with exhibitions, screenings and audiovisual performances by local, national and international media artists at multiple art venues around Calgary, Alberta.

The Earth is continuously being bombarded by a flux of particles called cosmic rays. Now that I have the Cosmic Ray Detectors counting particle events and flashing LED’s I am thinking about the design of the encasement for them. Trying to decide between something smooth and technical or something more alchemical looking. At the moment it is just cardboard with two printers loupe lenses.

Progress has been made getting the python script running to write the event data directly to a computer. I have Mami Fukunaga to thank for this.

Comp_date Comp_time Event Ardn_time[ms] ADC[0-1023] SiPM[mV] Deadtime[ms] Temp[C] Name

2022-04-07 11:20:50.567000 1   624                174                     29.79     726              20.90 susan1

2022-04-07 11:20:50.717000 2   775                88 2                  0.96        730              20.90 susan1

2022-04-07 11:20:51.430000 3   1487                49                    15.48     916              20.90 susan1

2022-04-07 11:20:52.437000 4   2493               403                   88.99   1102              20.90 susan1

The next step is to look at writing new script to read the recorded energy of the particle data and trigger another programme for a visual effect. The visual effect will respond the energy value of the particle.

The highest energy cosmic ray observed, named the Oh-My-God-Particle, was measured to be equivalent to a brick falling on your toe, all contained in a single proton.

There are so many ways that cosmic rays impact life on Earth and in space, from the dangers of radiation to enabling carbon dating techniques or corrupting computer processor data and new technologies are engaging with them for exploration and navigation.

Muon tomography uses cosmic ray muons to generate three-dimensional images of internal geological or manmade structures and now cosmic-ray muon radiography is being investigated to allow navigation underwater and in areas where there are not so many GPS satellites such as the Arctic.

The system known as the muometric positioning system (muPS) is in development by UK based company Geoptic along with international partners. Early technology allowed for non-invasive imaging of critical infrastructure, such as railway tunnels, to identify areas of concern such as hidden voids.

The technique is being further refined using 1 metre square scintillation detectors positioned so that when a muon shower occurs the source and time is recorded and the data triangulated using atomic clocks accurate to 10 billionth of a second to determine location. In the future muPS may even provide navigation for uncrewed submarines. Links to research here Underwater positioning system. High Latitude positioning system.

Out of studio

Visiting Tate Modern

Monir Shahroudy Farmanfarmaian Pentagon 2008

Pat Steir Long Vertical Falls – aquatint and etching 1991

and exploded bling spectacle from Yayoi Kusama in the mirror rooms

Cloud Sediments – Hyphen Lab at Ambika P3

Part of Ecological Futures collective of international researchers and artists exploring modes of togetherness in the face of adversity. More info here

Urgent works deciphering many current causes for concern emphasised by being submerged and overwhelmed by ecological, social and political crises in this cavernous underground space awash with water/world problems swelling and rising.

London Mithraeum

Who knows what went on in this boys club nearly 2000 years ago. The cult of Mithras, a mystery religion practised from the 1st to the 4th centuries AD., also known as the Mysteries of Mithras; its origins are uncertain and what is known is pieced together from archeological discoveries. A feast, a seven stage initiation, dining with the sun god and slaughter of a bull feature.

Strange in the current climate to watch the footage from the 1950’s excavation of the ruins after the bombing of London reduced the city to rubble and the Temple of Mithras was unearthed. Thousands flocked to see the archaeological site, queuing for hours to get a glimpse of the past.

I was fascinated by the lighting in this latest recreation of the Roman Cult Temple, creating ethereal walls of mist and dark smoky columns.

A visit to Greenwich

The observatory is closed at the moment but there are some beautiful astronomical treasures in the Queen’s House and the ghost of the tulip staircase to look out for.

A visit to Salisbury Cathedral

Splendid platonic solids, the world’s oldest mechanical clock and majestic cedar trees. The tomb from 1635 is of Thomas Gorges and Helena Snachenberg and the polyhedra possibly reference da Vinci’s drawings for Divina Proportione book on mathematics and a nod to sacred geometry.

Incredibly this spectacular structure is built on 4ft foundations and the ground water level must be checked regularly – hence the hole and stick.

Not only shaky foundations but adding the tallest spire in Britain caused the pillars to bow.

A visit to Kew Gardens

The proliferation of paintings in the purpose built Marianne North Gallery at Kew Gardens is an astonishing achievement by an amazing pioneer. Her love of botany was inspired by a visit to Kew gardens in her twenties but it wasn’t until after her Father’s death when she was forty that she began her mission to visit as many far away places as possible and paint the plants she found there. Between 1871 and 1885 Marianne travelled the world often alone capturing the scientific detail but also the beauty of the plants in their natural setting.

Zadok Ben-David Blackfield.

I remember seeing this impressive installation at Hales Gallery back in 2007, it was good to see it again and on a bigger scale. The acid etched and hand painted miniature plants are taken from 18th and 19th century botanical illustrations echoing the paintings of Marianne North in the gallery next door.

Wolfgang Buttress – The Hive is a permanent installation at Kew.

Bees communicate through vibrations. An accelerometer in a beehive at Kew senses vibrations from the activity of the bees and sends these in real-time to The Hive. One thousand LED lights respond to the vibrations along with a soundscape also triggered by signals from the real beehive. The sounds from a pre-recorded library were created when musicians improvised to a live feed of beehive sounds in the key of C, the key that bees buzz in.

Alignment at Gallery 46

Beautiful work from Mary Yacoob and Kevin Quigley exploring the mysteries of the universe that reside in the patterns and alignments of nature and human ritual.

Plus performance by Geo-metron ensemble specially commissioned for ALIGNMENT.
The Ensemble has developed work on ideas centred around Geometry, Cosmic Alignments, Earth Measurements.

From the press release:

Since 3000 BC, observers have been fascinated by the study, development and analysis of spatial relations in line, measurement, angle and shape. Through necessity, they developed techniques in the surveying and measurement of everyday phenomena.

The Greek Mathematician, EUCLID, who worked at the Library of Alexandria, described ‘10 Greek Axioms’ which he referred to as his ‘elements’. These ‘elements’ went on to form the empirical basis and foundation of science and reasoning. Euclid’s text, written in the 3rd century BC, was entitled ‘The Elements of Geometry’, or in Greek ‘Geo Metron’ (Earth Measurement). Euclid’s text continues to enlighten, and is studied today as geometry continues to sub-divide into new, advanced forms, delineating the universe around us. So important was the study of line and shape that Pythagoras and Plato often wrote ecstatically about ‘geometry’ as the key to the interpretation of the universe.  Thus, geometry gained an association with the sublime, to complement its earthy origins and its reputation as the exemplar of precise reasoning.

MARY YACOOB’S cyanotypes immerse viewers in the mysterious sensory-chromatic ambiance of star maps and the night sky. Lightboxes and colour-saturated drawings explore relations between geometry, spatial relations, and our perceptual experience. The evolution of visually complex and harmonious alignments suggest artistic creativity as a metaphor for the creativity inherent in all natural processes.

KEVIN QUIGLEY’S work is a series of drawings, mono-prints and relief printing in which he is drawing inspiration from the occult sciences of geomancy and talismanic making. Producing two sets of print works, Kevin Quigley sets out to explore the esoteric meaning of number, markmaking and alignment from ‘earth energies’ in the landscape to power sigils used throughout magic and religious traditions.

Splendid trip to Worthing to see Anne Krinsky‘s Shifting Shorelines installation on the sea front and exhibition Fugitive at Worthing Museum and Gallery followed by a passionate talk to a full house from marine ornithologist Lizzie Hibberd on the migrant bird visitors to the South Coast.

A paean to the fragile beauty of the South Coast wetlands under threat from pollution, bad land management and climate change.

92 Light Years is finally up on the wall in my studio. This work was inspired by a visit to the UCL Observatory at Mill Hill with Lumen Studios just before the pandemic. It then became a more poignant and personal piece for me thinking about time spent here on Earth and trying to relate that to the vastness of the cosmos.

The electromagnetic waves of radio and television signals can pierce the ionosphere and travel through space at the speed of light. HD 70642 is a star similar to our sun with a large companion planet that orbits in a circular motion very similar to how the planets orbit here in our solar system.  This means it is possible there maybe Earth-type planets orbiting further in.

This star is in the constellation of Puppis about 90 light years away. Early signals from Earth will just be reaching this distant solar system with a potential Earth like planet. The time it has taken the signals to reach this home from home is roughly the same as my Mother’s lifetime on Earth. 92 years measured in light.

Early TV signals were transmitted in a series of 30 lines to complete one image called a raster pattern. It is a systematic process of covering an area progressively, similar to how one’s gaze travels when reading lines of text. The signal is sent in fragments and must be interpreted on arrival to make sense of the message. The folded sections in this work emulate the raster pattern and are made from a combination of screen print on textile, dye sublimation print using images from the 1930’s and chinagraph pencil marking out the star chart – a bit like a lenticular image – you see the stars from one side and the fragmented signal from the other.

I have inherited a large number of lace and crocheted doilies from my Mother. A strange constellation may emerge.

In the studio I am continuing experimenting with magnets and iron filings while thinking about magnetoreception, methods of navigation and finding the way in the dark.

I have made a new etching of my iris which has been worked into with chinagraph pencil and will be used as background to film the movement of magnetised iron filings marching across the print. I am planning a moving image piece exploring magnetoreception along with a large mounted softground etching and a smaller photopolymer etching. I have tried some larger sized filings on the print which are darker but am not sure they are successful.

Researchers at the Max Planck Institute investigating light-sensitive molecules that bacteria, plants and animals use to detect the Earth’s magnetic field have noted that in birds this molecule, located in the eyes, only reacts to the magnetic field if it is simultaneously stimulated by light. The researchers think that some mammals may also use this cryptochrome to perceive the Earth’s magnetic field as there is a correspondence between the blue cones in mammals and the blue to ultra violet sensitive cones in birds. It is therefore entirely possible that this cryptochrome molecule in mammals could also perceive the Earth’s magnetic field and be used for navigation and orientation.

I participated in an online residency @t.ransienttt via Instagram to share some of my work over the course of one week. TRANSIENT supports creatives who explore the relationship between Art & Technology and offers an accessible platform to showcase their work, as well as connecting with fellow, like-minded creatives from all over the world. 

My interests are broadly to do with visualising the unseen. Technology can assist in making something visible which is otherwise outside the limitations of our senses. I use the pioneering technology developed in the study of particle physics as part of my practice allowing us a glimpse into the world of subatomic particles.

Cosmic Chiasmus – This video gives a glimpse into the activity of subatomic particles fired into our world when cosmic rays strike the top of the Earth’s atmosphere. Particles created during super nova explosions or by phenomena we are yet to discover, travel from distant galaxies continuously passing through us. Some particles collide and silently interact with atoms and technology on Earth.

A cloud chamber enables us to see the trails made by cosmic particles as they collide with and pass through our world. It has been said that the cloud chamber might be the most important piece of experimental equipment in the history of particle physics.

Scales of Intangibility and soft borders were developed in a black velvet chamber built during a studio residency at Chisenhale Art Place.

Scales of Intangibility is an interactive life size cloud chamber installation. Visitors were invited to enter the chamber to ‘capture’ projections of cosmic particle trails onto hand held viewing screens.

The concept of a finite but borderless universe and the permeability of our own body is explored in the video soft borders. The work addresses cosmic and quantum phenomena that are beyond human scale and relate them back to the body’s sensory experience. I worked with dance artist Paola Napolitano who performed sequences of movements based on the geometries of the platonic solids as video of cosmic particle trails were projected onto her body. The movements relate to the system devised by choreographer Rudolf Laban who believed – 

‘What we cannot perceive with our senses, especially our fundamental sense of touch, remains unreal and its very existence is denied’

Theoretically it is possible that wormholes exist. Aóratos (which translates as Unseen) was a site specific participatory installation with fire and film presented at Allenheads Blacksmith’s Shop as part of the 2019 ACA project Continuum.

Visitors were invited to burn offerings of negative energy to power the ‘wormhole’. They were provided with special paper tokens to write on filled with chemicals that change colour when they burn. They could then pass through a portal to see a video installation showing alternative landscape perspectives and would exit via a different door having made a short journey, leaving feeling cleansed of negative thought. Imagery for the videos took reference from theories of cosmic strings, space foam and the idea of a web of tiny wormholes connecting all points in space. The processes used included putting an endoscope down rabbit holes, using a microscope over foam, fibres and skin, green screen filming magnetic fields, along with footage from a high altitude balloon flight.

Wormholes symbolise crossing improbable boundaries.

There are some cosmic particles which arrive on Earth with such high energies that it could be they come from other dimensions.

At a Distance was filmed at Lizard Point Lighthouse on 29th March 2019 – the first date the UK was supposed to leave the EU. Solitary figures using semaphore flags sign ‘We Are One’ out across the ocean hoping the message will be echoed back as in quantum entanglement theory where particles link in a way that they instantly affect each other, even over vast distances. This mysterious twinning of electrons is what Einstein famously called ‘spooky action at a distance’. The video also uses manipulated footage of Lizard Point Lighthouse lamp powering up for the night to employ another form of messaging over distance. The film is back projected onto a Fresnel lens, the type found in lighthouses to increase luminosity of the lamps beam.

I watched another excellent Laurie Anderson talk in the series Spending The War Without You, this one was titled Birds. All the talks have now been released on YouTube.

Out of the studio

LUX: New Wave of Contemporary Art at 180 The Stand.

Subterranean adventures with wow factor. Light as medium and not always light in content as these spectacles can sometimes feel to be.

Hito Steyerl This is the Future is a video installation where a woman prisoner searches for a garden she has has to hide in the future to protect it from discovery by the prison guards. It also features Power Plants which are digitally generated by neural network computer systems based on the human brain and designed to predict the next frame in the video (the future) and are inspired by ruderal species, plants that grow out of waste ground or disruption.

Es Devlin BLUESKYWHITE is an installation beginning with a walk through long red tunnel accompanied by voiced text from Byron’s 1816 poem Darkness. The poem was written after the eruption of Mount Tambora in Indonesia 1815 which released so much debris into the atmosphere there was a perceptible dimming of the sun and drop in temperature of about 3 degrees. It is known as the year without summer. The tunnel leads to a viewing bench and screens where the blue sky turns white and then black. Current solar geoengineering models suggest that a haze of suspended particles in the atmosphere could reduce global warming but would also turn the blue sky white.

Cao Yuxi Shan Shui Paintings by AI uses deep network algorithms to learn from digital pixels of free hand oriental ink paintings on the web to produce unlimited simulations of landscape paintings combined with algorithms simulating the flow of water molecules creating a dynamic ever changing liquified landscape.

Cecelia Bengolea Favourite Positions is a 3D animation of the artist’s body liquified and melting, a body without boundaries where bodily fluids find new pathways and connections to synapses

Universal Everything Transfiguration – a figure keeps a steady pace in a continuous cycle of transformation, relentless unstoppable evolution through lava, rock, fur, water

Lux Carstens unicolor is a study in the psychology of colour perception and chromatics influenced by researchers, scientists and artists including Johann Wolfgang von Goethe, Hermann von Helmholtz, Werner Heisenberg, Wilhelm Ostwald, Eckhard Bending, Josef Albers and Johannes Iten.

a’strict Morando is an installation of two transparent OLED screens showing video using x-ray and time lapse techniques of peonies as they bloom and die. Peonies are a symbol of wealth and prosperity in Korea and a popular subject for paintings over many decades as well as being displayed at main life events such as births, marriages and funerals.

Flower Meadow a kinetic sculpture by Swiss studio for media architecture

a’strict Starry Beach – beauty and power as luminous waves crash all around and as in a dream we are immersed yet physically untouched

Black Corporeal (breathe) – creating a haunting soundtrack to the whole exhibition, a critical examination on the relationship between materiality and the black psyche by Julian Knxx. It explores the idea that our ability to breathe – an act that is challenged by everything from air pollution, stress, anxiety and societal prejudice – is more than our lung’s ability to take in air, but a reflection of the way we live individually and together.

Terrestrial Act III at Thames-side Gallery curated by Hot Desque with works by Sam Carvosso Anna Reading Davinia-Ann Robinson Hannah Rowan Harry Smithson Giorgio van Meerwijk. Hot Desque creates a future-past landscape through the theatrical presentation of six artists’ sculptures within a set. Initially presented on stage at the Theatre Royal Newcastle within an ornate yet empty theatre, now, dislodged in a new spacetime, the set has transformed over time.

Matter takes the stage choreographed by humans in an atmospheric alchemical collaboration.

In (Matters of the Soul) at ASC Gallery with work by Stephen Nelson, Jane Millar, Olly Fathers, James Tailor, Stephen Palmer, John Bunker and Lex Shute.

Does artwork have a soul?

21 grams was the disputed weight of a person’s soul as measured in Duncan MacDougals 1901 experiments on people before and after death. Certain work defies classification, playing with its own materiality and the illusion of what its seems to be. Other work plays with the legacy of the previous life represented in its material and the soulful spirit that could lie within.

Such an interesting concept explored in these works.

A Strange Kind of Knowing presented by Arusha Gallery and Haarlem Gallery at Noho Studios with works by Verity Birt, Holly Bynoe, Kristina Chan, Fourthland, Susan Hiller, Katja Hock, Coral Kindred-Boothby, Penny McCarthy, Kate McMillan, Aimée Parrott, Chantal Powell, Tai Shani and Eleanor May Watson. A Strange Kind of Knowing investigates phenomena such as the weather, the sea and sea caves, cloud formations and fire; lost knowledge and civilisations; and the natural and psychological cycles of transformation.

These works are pushing at the boundaries of an intuitive connection to the natural world brought to a more acute awareness during lockdown months.

Delighted that my etching Forest of Eden has been selected for exhibition at AIR Gallery on the theme of the macabre with the exhibition renamed Memento Mori. What happens when we are confronted with the uncomfortable or visually grotesque? What makes the unappealing difficult to digest but impossible to turn away from?

The myth of the wild man stretches back to the tale of Gilgamesh’s quest for immortality.  In history the wild man’s characteristics oscillate between horror and fantasy. They reflect fear of the other as well as aspirations to be at one with nature often violating the taboos of civilization and symbolizing the repressed desires of society. This person who posts photos of himself in charged poses has become an internet meme shared with equal disgust and fascination. In this etching he is placed back in the ancient forest of all our origins.

I have completed the video commission Cosmic Chiasmus (crossing the universe) for Queen’s Hall Digital but am continuing research into cosmic rays. Around 10,000 muons rain down on each square metre of Earth’s surface every minute.

Muon tomography can be used to remotely explore dense matter for hidden voids. High energy cosmic rays such as muons pass through objects, but in doing so, some will be absorbed by the object and so fewer particles will arrive on the other side. This means sensitive muon detectors can be used like x-rays to determine the structure of extremely large and dense objects. This method has been used to reveal a mysterious, 30-metre-long hidden chamber in the 4,500-year-old great pyramid of Giza, to determine the inner structures of volcanoes and to study the damaged nuclear reactor at Fukushima, Japan.

The Robot, The Dentist and The Pyramid is a 45-minute Documentary (2020) from Ancient Architects

I have discovered an audio manipulation in Adobe Audition that makes my own voice acceptable to me as voiceover for my video work. So I have returned to the video Contingent Horizons, rewritten and recorded new dialogue.

This dialogue is based on the excerpts from popular online lectures that I had used before but I have reimagined some of these quotes and included ideas from ancient descriptions of the cosmos.

the nature of the world emerges from shifting patterns

between matter and myth

to the darkest North with moon on water

to the South with sunlit crystal

to the West with Earthbound cubic alter

to the East with circling zephyrs

walking

to know the land as a plotted dimension

as abstract space

as imagined space

Out of the studio:

Lisa Chang Lee Symphony Zero at San Mei Gallery. Beautiful work creating a fragile connection between humans and the natural world as rhythms coincide to create collaborative music. Plants swaying in the breeze are each represented by a musical instrument sympathetic to its form and its movement is transposed using algorithms applied using modes of symmetry and interval into musical scores which in turn are played by humans.

Less a building: Interactions with the London Zoo Aviary book launch hosted by Passengers at The Brunswick Centre. Transported by readings from the book of this iconic flight of fancy in architecture for avian captives at the zoo. A many layered and collaborative research project by Michaela Nettell with Marcela Araguez, Tim Dee, Polly Gould, Alex Hartley, Julie F Hill, Helen Jukes, Milena Michalski, Colin Priest, Ana Ruepp and Matthew Turner. Excellent writing and gorgeous artworks. Now I wish I’d visited the aviary more often.

Geographies of Print collective Without Horizon, Without Shore. Stunning installations set against the civic backdrop of the Old Lambeth County Court, an apt setting for work looking at passage of time, capturing the transient and the human condition.

Victoria Arney has used the sonograms of bird song to create sculptural woodcuts. Capturing fleeting moments within landscape.

Victoria Ahrens looks at erosion and disappearance, creating work in situ using the minerals present in the landscape to hand colour her prints. We think of colour as light bouncing off matter, some absorbed, some reflected, but this work really brings home how integral colour is to substance.

Carol Wyss uncovers the structures that shape us physically and bear witness human frailty.

Symbols made from bones connect us to the earth as origin and destiny.

Thom Bridge Only Similar or Equivalent at Best solo show at Staffordshire Street Studios. Incredible work with light taking the image into realms of physics and geology.

“The degree to which an image is like the world is a question not of fidelity- as a narrative of documentation or technological development would have it – but of equivalence, the role that an image plays in showing in showing, or demonstrating, representing or bringing into view. Equivalence takes priority over resemblance, because the task of the image is not to repeat the world, but to inform it, and by informing it, subtly alter it in turn.” Duncan Wooldridge

Chudamani Clowes in Figure It Out with the Neulinge Collective. Wonderful immediacy as always from Chud that cuts right through to expose the lived experience of those who migrate. Epic journeys bring stories and transformation. The coral is on the move.

Robert Good in Osmosis: experiments in permeability at Espacio Gallery with work that forces an examination of an addiction to media updates, digital clickbait and daily data news dumps. Assaulted by a tsunami of inane questions and disconnected headlines into a brain numbing torpor the need for space to think is made apparent.

A captivating telling of how magic is vital for our well being and should be sought not shunned. Mythosphere is a multi-media theatre production created by Inna Dulerayn presented by Bacchae productions in partnership with Stone Nest at the atmospherically derelict Old Welsh Chapel on Shaftesbury Avenue. Inspired by the life experiences and creativity of Leonora Carrington and the writings of Diana Wynne.

This is a story about magic. The magic that we lost. The magic that is a forgotten part of our nature. The magic that is our right to be divine. But we still sense it. We dream of it. We feel abandoned without it. We keep looking for it all our lives.

Reading:

I am still dipping into The Waves by Virginia Woolf which I was inspired to read after listening to the Art Fictions Podcast with guest artist Hannah Hughes speaking to Fiona Fullerton. I particularly love the interludes as the sun rises over the ocean and begins its journey across the sky. Like too rich chocolate cake the intensity of Woolf’s writing is delicious but can only be taken in small bites.

I have Chantall Powell to thank for flagging up the book The Philosophers’ Secret Fire: A History of the Imagination by Patrick Harpur. A fascinating book taking the view that just because something is not literally so doesn’t mean it isn’t ‘real’. As in Mythosphere the book seeks to rediscover the Otherworld of spirits, gods and daimons which the west has banished to the unconscious mind.

I was so excited to read the following:

“…daimons inhabit another, often subterranean world which fleetingly interacts with ours. They are both material and immaterial, both there and not-there – often small, always elusive shape-shifters whose world is characterized by distortions of time and space and, above all, by an intrinsic uncertainty.

The point is: the words ‘subatomic particles’ could be substituted for ‘daimons’ in the paragraph above without any loss of accuracy. This is not a coincidence – the subatomic realm, like the unconscious, is where the daimons took refuge once they were outcast from their natural habitat.”

– A half of the celestial sphere, the sky.

1811 Cape Foulwind

Exciting news for the New Year. Allenheads Contemporary Arts has been awarded Arts Council funding for the next phase of Beyond, launching as Continuum, ACA will be working with curator Rob Le Frenais.1812 observatoryI am delighted to be part of this new interdisciplinary programme of contemporary art which aims to connect the arts and sciences via the conduit of speculative literature and science fiction.
1812 Cloud Chamber

Also, thanks to the support of Senior Lecturer in Spacecraft Engineering, Aaron Knoll, at Imperial College London I have been offered the opportunity to work with a small team of students to realise the launch of a high altitude balloon with an aim to film a cloud chamber at the edge of the atmosphere where protons crash and decay. If successful, it could be the first time cosmic particles have been filmed in a cloud chamber at 30km altitude.

Aaron has previously launched a high altitude balloon with 12 GoPro cameras to capture 360 footage for a virtual reality experience VR2Space flight to the edge of the atmosphere.

1812 VR balloon experience

Video and data from this experiment undertaken with Imperial College will then feed into the work I will be making as part of Continuum.

I have been thinking about Vitruvian Man as a reference point for making video work with an aerialist and developing some sort of sequence based on this image which Leonardo da Vinci said was cosmography of the microcosm. He saw the workings of the human body as an analogy for the workings of the universe based on symmetry and proportion.

I was thinking of the aerial hoop but the Cyr wheel may work better as this is proportioned to the body of the user. It’s a starting point and I can look at the idea of scale and proportion in relation to the body and space. I came across all female Alula Cyr which have some inspiring work online.

1812 jessica ladley on cyr wheel

Thank you to Wuon-Gean Ho for a short article about my work Duodecimēns in the 2018 Autumn edition of Printmaking Today.

1710 screenprint on aluminium

1810 Printmaking Today

1806 Open Studios

Thames-side Open Studio

Other new work I am developing continues with the idea of the portal. Looking at sacred space as a portal into a spiritual realm promising some sort of transformation and relating this to the power of a black hole and its potential to transform or transport matter.

1811 sacred portal black hole

Popped in to Lumen Studios at St John’s Church Bethnal Green to see Cosmic Debris a durational choreographic installation created with things found on the streets. Aleksandra Borys and Marcio Kerber Canabarro were performing a gentle alignment of matter using incense, bells and ritualistic sequences incorporating balance as a key focus.

Went to Field/s One panel discussion and exhibition at SluiceHQ moderated by Thom Bridge who set up and coordinated this dynamic peer network group of 12 artists engaging in conversations about photography and its wider contexts presenting new works grounded in photography but also extending to video, performance and installation.

1811 FieldsONE exhibition

First images are arriving from the New Horizon flyby of Ultima Thule 6.5 billion km from Earth

1812 Ultima Thule

“We are in the midst of both an incredible and challenging space age. How can we harness the information, collected in silos, from the fields of cosmology and quantum physics to conceive of a more unified vision of how the universe (and us) are put together? Within science and culture – what new models of thought could we foster? How do creativity and consciousness fit into this emerging paradigm? How can we rethink our practices to swerve the impasse some are labelling a new ‘Dark Age’?…”

Following the above brief – London Laser Lab talk

Talks on the intersection of art, science and technology – LASER is a project of Leonardo® /ISAST (the International Society for Art, Science and Technology). London LASER is organised by Heather Barnett and students on the MA Art & Science at Central Saint Martins.

1811 laser lab panel

Re:Thinking Space panel discussion chaired by Nicola Triscott with Dr. Chamkaur Ghag, Dr. Ceri Brenner, Susan Eyre and Dr. Thomas Kitching

I have recently had the opportunity to visit the southern hemisphere. New Zealand is an incredibly beautiful country. I am sure the dramatic geology and awe inspiring landscapes will have an impact on my practice. I finally caught a glimpse of the milky way when the clouds briefly parted during a 2am visit to Mt John Observatory. Underground rafting to see the glow worm caves at Charleston was a beautiful and surreal experience and the spectacular Lord of the Rings tour with Pete from Queenstown OFFROAD tours was an exciting adrenalin rush crashing wildly upstream or precariously navigating the winding and precipitous Skippers Canyon. I was even able to add another Paradise to my documentation archive.

1811 Charleston caverafting1811 Charleston glow worm caves1811 Franz Joseph Glacier1811 Punakaiki Pancake Rocks1812 Lake Mathesan forest1812 Lake Tekapo Mt John Observatory1812 Milford Sound1812 Paradise

 

 

 

Back in beautiful Northumberland for a Beyond gathering of artists at ACA who will be continuing in the open door residency as the project evolves into Continuum.

1810 ACA.jpg

Lots of particle trails were spotted during The Cloud Chamber Workshop. Thanks to the Institute of Physics for sponsoring this, Allenheads Contemporary Arts for hosting and the North Pennines Stargazing Festival for including it in their programme.

1810 cloud chamber workshop 1

A 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.

1810 cloud chamber workshop 2

These particles pass though us continuously without our awareness. Witnessing this usually unseen activity can lead us to look beyond what our immediate senses tell us is there and consider the possibility of other intangible phenomena.

1810 Wilson's cloud chamber

The rather gorgeous original Cloud Chamber was invented by Scottish physicist Charles Wilson and he won the noble prize for it in 1927. It has been said that the cloud chamber might be the most important piece of experimental equipment in the history of particle physics. It was a chance discovery that made the study of particles possible.
Wilson was fascinated by clouds and was actually studying meteorology spending his time observing clouds at the top of Ben Nevis. He thought it might be easier to study them if he could build a device to create clouds in his laboratory. He also hoped to recreate the strange optical phenomena known as a Glory caused by light hitting clouds below the observer which he had experienced from his high vantage point on the mountain.

1810 A glory

It was Victor Hess who discovered cosmic rays and earnt the Nobel Prize for this in 1936. Scientists had been puzzled by the levels of ionizing radiation measured in the atmosphere using electroscopes. It was expected that radiation would decrease with distance from the earth but to test this Hess risked his life taking measurements at high altitudes in a balloon without oxygen tanks. He found that the radiation levels increased with altitude and concluded that there was radiation penetrating the atmosphere from outer space.

1810 Victor Hess balloon

Left over dry ice from the workshop gave us the opportunity to try freezing bubbles.

1810 freezing bubble

The workshop was followed by The Dark Side of the Universe talk from Dr. Pete Edwards. Our universe is filled with mysterious dark matter, whose gravity provides the cosmic glue that holds it all together, and dark energy, which is slowly tearing the universe apart.

1810 Pete Edwards Talk ACA

The finale of the Stargazing Festival was the screening of Steven Spielberg’s 1977 sci-fi icon Close Encounters of the Third Kind. Good to revisit and think about how much more we know about the universe 41 years on.

1810 Close Encounters

This was preceded by an appropriate dinner courtesy of Alan Smith.

1810 Close Encounters dinner

I was invited as a guest speaker at London LASER Labs Re- Thinking Space at Central Saint Martins.

The session remit was

We are in the midst of both an incredible and challenging space age. How can we harness the information, collected in silo, from the fields of cosmology and quantum physics to conceive of a more unified vision of how the universe (and us) are put together? Within science and culture – what new models of thought could we foster? How do creativity and consciousness fit into this emerging paradigm? How can we rethink our practices to swerve the impasse some are labelling a new ‘Dark Age’?…

I was glad to arrive early to see the collection of meteorites Dr Natasha Almeida, Curator of Meteorites at the Natural History Museum had brought along for the Playlab hands on session. This included a spectacular slice of iron meteorite. Due to a long cooling period inside the parent asteroids the nickel and iron alloys crystallise then when polished and acid etched the classic Widmanstätten patterns of intersecting lines of lamellar kamacite, are visible. Also a tear drop of earth rock created when a meteorite struck the earth and the heat melted the rock which flew into the air and cooled into tear drops as it fell.

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Other speakers at the event were Dr. Thomas Kitching a Cosmologist from Mullard Space Science Laboratory who is Science Co-Lead for the ESA’s Euclid Mission launching in 2021 to map the geometry of the Dark Universe by observing thousands of millions of galaxies.

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He told us how confidence in what the universe is made of has eroded over the centuries and perhaps dark matter and dark energy which make up what we call the dark universe should be renamed Materia Incognita.

Dr Ceri Brenner is a plasma physicist and innovator at STFC Rutherford Appleton Laboratory’s Central Laser Facility. She uses the most powerful lasers in the world to study what happens when extreme bursts of light come into contact with matter. She told us how firing these high energy lasers  through Tantalum a rare, blue-gray lustrous metal can produce high energy x-rays which can be used for imaging the container walls of  radioactive storage facilities to look for damage. The extreme physics she studies can also be applied to understanding supernova explosions in space or how we can ignite a star on earth for clean electricity generation.

1810 STFC laser lab

Apparently plasma accounts for 99% of the known matter in the Universe, it’s a soup of sub-atomic particles at temperatures way beyond what we usually experience on earth. This makes the stuff we interact with on a daily basis seem a really tiny portion if 99% of the 5% we know is also stuff beyond our realm of experience.

1810 plasma.jpg

Astrophysicist Dr Chamkaur Ghag was also there to talk about direct dark matter research and how extremely sensitive the detectors need to be. It was interesting to look at the progression of the different detectors from DRIFT to LUX increasing target capacity and homing in on areas of possibility where the illusive particles might be found.

Cham always gives insight into the importance of not just interrogating matter but putting scientific research into context. Asking why we are doing something, not just how. This fires his passion to address climate change and his involvement in the grassroots initiative from Particle Physicists European Strategy Update on Climate Change

1810 Paradise burning

PARADISE burning — More than 30,000 people fled for their lives as a late-season wildfire swept across this town in the Sierra foothills

Laser Lab Talks Re-Thinking Space was compered by Nicola Triscott, founding Artistic Director/CEO of Arts Catalyst who asked the panel some reaching questions about the future of physics and how we make a difference to the debate placing ourselves in control of our destiny. Questions from the floor addressed the public interface of science. Speaking in front of an audience is not something I find comfortable so my input to the panel was slim but hopefully I had aired some relevant points during my talk looking at the opposing scales of cosmology and quantum physics and how we might relate to these two spheres of knowledge, both beyond human scale and comprehension.

1802 frozen galaxy
The idea of a new dark age approaching addresses a fear that we no longer understand the world around us. We are subjected to too much information that we can no longer process. There is too much complexity, we don’t know where to turn for verification.
The knowledge of the way the world behaves built up over generations may no longer apply. The fear that we are losing connection to the world around us is in many ways a long standing one – we have always looked back to a time when we believed we lived in harmony with the natural world.  That something central to our lives has been lost.

 

1810 Bruegel Two Monkeys

Pieter Bruegel The Elder Two Monkeys 1592

I have seen some interesting exhibitions tracing the human experience through alienation, projection and what happens when different worlds collide.

Nicky Coutts excellent examination of interspecies dissonance Man Stupid at Danielle Arnaud. Koko the gorilla was born and raised in captivity. She was taught to sign and ultimately deliver a message in the role of ambassador on behalf of nature to the 2015 Paris Climate Conference.

In Nicky’s drawings Koko has slipped away leaving just her skin as shadow.

1810 Nicky Coutts

The images read as an indecipherable code. The frustration at the divide between human and non human communication is held in these traces of gesture. We can look hard, make suggestions but will never know what is in the great ape’s mind. Drawn in blackest charcoal, rich and intense with a primeval, totemic aura they could be the props of the shaman hinting at another world that requires some rite of passage involving the returning to a world of raw visceral nature.

Oceania at The Royal Academy.

In 1768 James Cook set sail from Plymouth in the HMS Endeavour funded by the Royal Society to track the transit of Venus in Tahiti and explore the islands of the Pacific Ocean.

1810 Oceania RA Lisa Reihana 3.jpg

Lisa Reihana has created a large scale panaoramic video installation in Pursuit of Venus [infected] using the French scenic wallpaper Les Sauvages De La Mer Pacifique as a backdrop to the complexities of cultural identity and colonisation depicting scenes of encounter between Europeans and Polynesians.

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Much of the exhibition was uncomfortable viewing for although the catalogue emphasises that objects collected by Europeans were frequently given willingly I don’t feel confident there was equality in these ‘exchanges’.

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1810 Oceania RA 7

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That the objects still resonate with spiritual significance for some is evident by fresh offerings left around the galleries.

I had just finished reading the riveting Modern Gods by Nick Laird before visiting which raises the subject of proselytism and relevant contemporary issues on religious belief and cultural contamination drawing on events in Ulster and Papua New Guinea to highlight the fragility of social cohesion when faith and tribe are on the line.

 

Sarah Christie’s Library shown at Southwark Cathedral is an ongoing attempt to give voice to the individuals that make up the 48% and the opposing 52% trying to make sense of the divided society they find themselves a part of in post Brexit referendum Britain.

1810 Sarah Christie

In Ancient Greece, people voted by writing on ‘ostraca’ a broken piece of pottery. The public have been invited to select an ostracon – sherds made by hand from a hundred and fifty cast bowls – and offer their own words that break boundaries.

I enjoyed Alex Prager’s Face in the Crowd series at The Photographers Gallery.

1810 Alex Prager Face in the Crowd

The individual is picked out in the crowd and elevated from anonymity, but look at the crowd – these are not the grey masses we blend in with on the streets, at airport lounges and theatres. Each of these characters is chosen, placed and choreographed. The unnatural vibrancy and controlled demeanours give the scene an unsettling automaton quality.

1810 Alex Prager

Entertained by an evening exploring the darker past of the gothic extravaganza Strawberry Hill House.

Spirits invoked for Ghost Tide exhibition at Thames-side Gallery curated by Sarah Sparkes and Monica Bobinska.

1810 Laura Marker Ghost Tide

Laura Marker

1810 Mary Yacoob Ghost Tide

Mary Yacoob

I took part in the Hollow Bone Ceremony led by shaman Kate Walters who uses repetitive drumming to alter the brain waves to ‘theta’ waves to allow travel to either the Upper world or the Lower world to convene with the cosmos, nature and animal spirits and ask for guidance on behalf of the participant.

1810 hollow bone ceremony

Was it coincidence that my mind focused on an unexpected encounter with a deer in Grizedale Forest the previous week that after the 10 minutes of rhythmic trance Kate came back with a strong image of a large Moose or Stag whose energy and ferocity I needed to tap into.

1815 Grizedale Deer.jpg

Thanks to Jim Lloyd for highlighting this quote from Werner Heisenberg

“What we observe is not nature itself, but nature exposed to our method of questioning. “

 

 

Brilliant Finale Weekend for BEYOND Residency. Such a pleasure to be part of this project with such wonderful artists and hosts at Allenheads Contemporary Arts.

I was screening the video soft borders made with dance artist Paola Napolitano upstairs in the ACA gallery.

1807 Beyond Finale Weekend Susan Eyre

Sharing space with Alex Hughes photographic sculptures Fluid Planes which also looks at material bodies as permeable membranes.

1807 Beyond Finale Weekend Alex Hughes (1)

1807 Beyond Finale Weekend Alex Hughes (2)

1807 Beyond Finale Weekend Susan Eyre 2

In soft borders phenomena beyond human scale are proportioned to that of the body, aiming to bring cosmic and quantum dimensions into an intimate sensory experience. Movement sequences performed by dance artist Paola Napolitano relate to Rudolf Laban’s dance notation system, choreutics, in turn influenced by Plato and the geometries of the platonic solids. Using the dodecahedron as motif, the boundaries of the universe are brought within reach; pliant and permeable as the body bathed in cosmic particles that do not recognise borders but pass unseen through spacetime and matter.

In the gallery downstairs there was work from Nicola Ellis, Tom Beesley, Alan Smith, Jim Lloyd, Manpreet Kambo, Katie Turnbull and Kit MacArthur, Annie Carpenter, Lucien Anderson, Daksha Patel, Phyllida Bluemel, Robert Good.

Outside was Lucien Andersons The Humble Space Telescope. No telescope, no computer, only the human eye and the night sky. This will be set sail on the ACA cosmic pond to drift on the water whilst a porthole arbitrarily frames the stars, constellations and planets.

1807 Beyond Finale weekend Lucien Anderson (1)

There was an intervention Fire, Fluorspar, Water and Ice at the Blacksmith’s Forge from Nicola Ellis in response to local historical mining in the North Pennines and the future mining of near-earth asteroids.

Relighting the fire with added peat from a local ancient.

1807 Beyond Finale blacksmiths fire.JPG

Nicola Ellis video projection mash up of three sources of propellants from the past present and future of mining practices.

1807 Beyond Finale Weekend Nicola Ellis

The local mineral Fluorspar under UV light photographed by Jim Lloyd.

1807 Beyond Finale Weekend Jim Lloyd

Up at ACA Old School house was an installation of work from the OUTSTATION #1 project in which Robbie Coleman and Jo Hodges imagine an alternative history of the Soviet Space Program. OUTSTATION #2 was a twilight road trip travelling blindfolded through collapsing time zones, alternate histories and possible futures. Out on the darkening windy moors Deep Navigation techniques were deployed to guided our unconscious minds inwards.1807 Beyond Finale weekend Outstation 2

At the North Pennines Observatory and Cosmic Pond Sarah Sparkes and Ian Thompson presented a chance to listen to the microcosmos of pond life whilst watching the celestial life above through the observatory telescope or relaxing in the listening pod. It was an extraordinary experience, so noisy, like being in the jungle with the same whoops, buzzes and calls that resound from unknown depths.

1807 Beyond Finale Sarah Sparkes and Ian Thompson

In Search of Darkness research residency with Lumen in Grizedale forest was an opportunity to experience dark skies and make plans for the upcoming exhibition at Grizedale Forest Project Space.

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We had a warm welcome from Grizedale Forest Art Works and The Forestry Commission. There was a guided tour of the many and varied forest areas following ranger John’s vehicle along scorched dry tracks that sent up dust clouds worthy of a desert landscape, blinding and coating us in fine particles but adding to the excitement of being inducted into the forest. We were then given the key to the forest access gates to allow us to explore independently and try out ideas for future work.

I had brought along some mirror pentagons.

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We waited for sundown.

1807 Grizedale sundown

Then headed into the forest

1807 Grizedale nightime trek

To lay in the dark and gaze at the stars

1807 Grizedale stargazing

Allowing time for our eyes to adjust to the dark skies; the landscape becomes alien terrain

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Back in London a beautiful installation from Kate Fahey at Lewisham Art House repetitive strain gently leads the audience into the minds of those subjected to the physical and psychological trauma of conflict to consider bodily displacement, visual interference and its impact on the psyche as they lie under a billowing silver foil ceiling tinted with warm pinks reflected from a video that is always slightly beyond a point of focus.

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Liz Elton’s painting Fields (echoing the past local agricultural patchworked landscape) using degradable recycling bags creates a dramatic encounter when visiting the Florence Trust Summer Show.

1807 Liz Elton

Dancer Sara Ruddock embodied the primordial in a performance presented  by Mayra Martin Ganzinotti drawing on fusions between life, fossils and rock in deep time geology.

1807 Mayra Ganzinotti 2

Patterns that appear familiar yet are from ancient ammonite fossils reach out from the past

1807 Mayra Ganzinotti

Kristina Chan works into her screen prints on birch plywood to give them a sense of aging and decay and reflect the history and natural entropy of the objects depicted.

1807 Kristina Chan

Visions Bleeding Edge Symposium on nonhuman vision, liquid and crystal intelligence and AI hosted by RCA research students. Esther Leslie, professor of Political Aesthetics at Birkbeck and Joanna Zylinska, professor of New Media and Communications at Goldsmiths gave fascinating talks.

1807 Visions Bleeding Edge

I was stunned by the image of a single atom of the metal strontium suspended in electric fields Single Atom In An Ion Trap, captured using an ordinary digital camera on a long exposure shot by David Nadlinger who said “The idea of being able to see a single atom with the naked eye had struck me as a wonderfully direct and visceral bridge between the minuscule quantum world and our macroscopic reality.” The atom is visible in this photograph because it absorbs and re-emits the bright light of the laser.

Further in awe at visuals of digital clay – matter that can be manipulated as easily as pixels in Photoshop. Discussions included turbidity; the cloudiness or haziness of a fluid caused by large numbers of individual particles that are generally invisible to the naked eye, similar to smoke in air. The measurement of turbidity is a key test of water quality.  Liquid Intelligence – nature holding memories, matter looking back at us (surveillance).  Imprint of matter – radial atoms in bones. Process – tactile scanning, post optical photography at the nano level.

AI = The Anthropocene Imperative.

When a computer watches, what can it deduce?

Over the last ten years or so, powerful algorithms and artificial intelligence networks have enabled computers to “see” autonomously. What does it mean that “seeing” no longer requires a human “seer” in the loop?

Tevor Paglen’s “Sight Machine” demonstrates to a live audience how machines “see” the world. ‘One of the most important reasons to create art is to make known the unknown’ –  Obscura worked with Paglen’s team to develop the computer and video systems to take a live video feed of the renowned Kronos Quartet’s performance, run it through actual off-the-shelf artificial intelligence surveillance algorithms and project what the AIs see and how they interpret it onto a screen above the musicians.

1807 Trevor Paglen Sight Machine 2

With Paglen the framing becomes the work rather than what he shows. ( The parergon)

Artist Lauren McCarthy  offers to replace Alexa in your home. Bringing the human back. Lauren may not answer questions as quickly as Alexa but can respond with insight and emotion to your needs.

1807 Get Lauren

After Image at Victoria Miro. Which are the images that stay with you, burnt on your retina and loaded into memory, out of the thousands upon thousands of images consumed daily? Sarah Sze always nails it. 

1807 Sarah Sze 2

Sarah Sze Images in Debris

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The scrunched paper of the tree images – like dark matter has suddenly become visible.

1807 Sarah Sze 4

The split stones were a second reminder recently of a time when Karen and I (aged about 12) used to ride our bikes to the beach to collect flint stones in our anorak hoods – bringing them back to ‘over the field’ and smashing them apart to see the colours inside.

1807 Sarah Sze 6

Proliferation of pond weed  – vibrant matter in action

1807 Sarah Sze 3

Sarah Sze Hammock (for A. Martin)

Superb work from Michelle Stuart in The Nature of Time at Alison Jacques Gallery, ‘Addressing the metaphysical while remaining profoundly rooted in in its own materiality.’

1807 Michelle Stuart 1

Michelle Stuart In the Beginning: Time and Dark Matter

1807 Michelle Stuart 2

Michelle Stuart Sacred Solstice Alignment

Into the dark recesses of The Horse Hospital for The Art Of Magic an exhibition and performance based on missing artefacts once housed in the archive of the Museum of Witchcraft and Magic.

Coloured strings first soaked in Alum dried over a wood fire and plaited together to form ‘a string of hurting’ they are worn wound around the neck, their purpose being to reduce swollen glands and restore loss of voice.

1807 Art of Magic 1

In the studio WIP testing ideas to relate the loss of knowledge of the night sky through urban light pollution to the unknown mysteries of the universe yet to be revealed.

1807 Grizedale forest WIP 2

 

 

 

 

 

More excellent news is that I have been accepted as one of the Open Door Residency Artists for the BEYOND project run by Allenheads Contemporary Arts to take advantage of its new on-site astronomical observatory and to consider the word BEYOND as an open ended starting point for discussion.

The timing is perfect as I am about to begin my Chisenhale Studio4 Residency where I will have a large space to develop ideas from this experience that build on my current research looking at cosmic particles, the shape of the universe and the philosophies and mythologies that first attempted to understand the cosmos and relate its vastness to the human experience.

1802 frozen galaxyI spent a wonderful weekend with 12 artists enjoying perfect moon gazing weather in the dark skies of Northumberland, seeing galaxies in frozen puddles, plunging into the darkness of the forest or the inflatable planetarium and discussing ideas generated as we shared our own interests and observations.

 

1802 forest

I am thinking about what stories might be told if our ancient eyes had reached beyond those points marked out on the first star charts. Maybe Atlas would have had more daughters. Hopefully with the help of the brilliant open source planetarium Stellarium that we were introduced to I can add another layer of narrative.

From my vantage point on earth, the moon slides quietly, the stars twinkle through the atmosphere, satellites pass serenely by, but I know that just 15km above my head is a very violent place of high energy collisions as protons slam into our atmosphere, break apart and rain down, on and through me.

1802 Cloud chamber lightningThe opening paragraphs of The Power by Naomi Alderman prickle with the power they describe

“The shape of power is always the same; it is the shape of a tree…branching and re-branching…the outline of a living thing …the shape of rivers leading to the ocean…the shape that lightning forms…the shape that electricity wants to take is that of a living thing .. this same shape grows within us …power travels in the same manner between people..”

A brilliant novel. Shifts perspective to reflect the world back at us to shine the light on some uncomfortable truths.

A fascinating book to help understand the activity of matter is The Particle Zoo: The Search for the Fundamental Nature of Reality by Gavin Hesketh. I got this book to learn about the characters of the 12 fundamental particles and the forces that they interact with. It presents an unseen world of spinning, colour changing oppositely charged partners, repelling, attracting, sticking together, passing messages or passing straight through each other; releasing and absorbing energy in constant activity. Out of this melee which appears, once you get to the smallest scale, to be made of nothing but points of energy all things are formed.

1802 muon

I have been reading this in tandem with Stephen Fry’s reworking of the Greek Myths – Mythos. Just as improbable.

1802 parthenon

Captivating performance storyteller Ben Haggarty brought to exquisite and gory life three retextured Greek Myths under the banner The Fate We Bring Ourselves – decisions have consequences at the Crick Crack Club event Myths Retold at the British Museum. He spoke afterwards about the intimate space of the darkened circle that forms around the storyteller where each audience member feels personally addressed.

1802 Ben Haggerty

Mythological thinking looks at the whole – the micro and the macro and sees commonality.

The New Materialisms reading group that I have been a mostly absent member of is currently reading Donna Haraway Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene

 

1802 Donna Haraway

Donna Haraway: Story Telling for Earthly Survival

 

Fabrizio Terranova’s film, screened at the LCC, brought the text to life with her infectious mix of enthusiasm, joy and bewilderment at the world and her passion for new ways of thinking. The director spent a few weeks with her and her aging dog Cayenne in their Southern California home, exploring their personal universe as well as the longer development of her views on kinship and planetary welfare. Animated by green screen projections, archival materials and fabulation he has created an enchanting insight into the mind of Donna Haraway.

 

1802 Bjorn Hatleskog

Bjorn Hatleskog Perpetual Jellyfish in Liminality at Gallery 46

 

“The tentacular are not disembodied figures; they are cnidarians, spiders, fingery beings like humans and raccoons, squid, jellyfish, neural extravaganzas, fibrous entities, flagellated beings, myofibril braids, matted and felted microbial and fungal tangles, probing creepers, swelling roots, reaching and climbing tendrilled ones. The tentacular are also nets and networks, it critters, in and out of clouds. Tentacularity is about life lived along lines — and such a wealth of lines — not at points, not in spheres.” Donna Haraway

Also ‘Staying with the Trouble’ and hoping for a positive collective future are London duo patten at Tenderpixel asking ‘how do we make it to 3049?’

1802 patten 3049 3

I had the pleasure of hearing Mark Dion talk about his work, love of systematics and the usefulness of taxonomies as tools of communication at Whitechapel Gallery on the opening day of his show Theatre of the Natural World.  Like Donna Haraway, he is concerned with extinctions, environmental exploitation and catastrophic interaction with other species and expressed a pessimistic resignation that our future is unlikely to be a positive one unless there are some radical changes.

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1802 Mark Dion 2

Archaeology came with the Anthropocene.

1802 Mark Dion 3

His recreation of a Wunderkammer is another step in the journey for a collection of objects that were removed from their original environment, placed on display in a cabinet of wonders, then captured as drawings that were turned into engravings and then published in print.

1802 Mark Dion 5

Manually sculpting the objects using the limited information gleaned from the prints as a guide they are returned to 3D. Ghosts of the past losing clarity with each transformation.

1802 Mark Dion 4Looking at the aura of objects Secular Icons in an Age of Moral Uncertainty at Parafin questions the idea of art as a system of belief based around looking and valuing objects beyond their intrinsic materiality. Lower floor was closed when I visited so didn’t see everything. Though just contemplating the horrors associated with Indrė Šerpytytė’s giant lightbox totem constructed using the first blocks of colour that appear from the google search ‘Isis beheading’ was enough.

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Indrė Šerpytytė 2 Seconds of Colour

Hell on earth continues. Glenn Brown Come To Dust at Gagosian had some genuinely creepy offerings and an obsessive repetitiveness.

1802 Glenn Brown

I did find Let’s Make Love and Listen to Death from Above compelling despite its bleak vision. Hung at an angle to appear that the sky is indeed falling and it is not the heaven we wished for that is descending upon us.

 

1605 Mercator World Map 1569When paradise could not be mapped on the known land it was believed it must be on an island over the ocean. Dare to dream.

 

 

on my island none of this would be true  – a dynamic group show at the new Arebyte Gallery space on City Island curated by Chris Rawcliffe took its title from the last line of a poem called Security, written by Tom Chivers for his book Dark Islands (Test Centre, 2015).

1802 Tom Chivers Dark Islands

It was another chance to see Verity Birt’s Venus Anodyomene a spoken text and video work with Holly Graham and Richard Forbes-Hamilton.

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The rhythmic narrative evoking a slippy oozing layered earth world of geology, archaeology, lost time or excavated memories was enhanced by the boardwalk approach to the gallery in torrential rain alongside the exposed mudbed of the River Lea.

1802 Hannah Regal

Hannah Regal What Transpires in the Field of a Body That is the Base of Her

1802 Gery Georgieva

Gery Georgieva Europa Airlines Stand

 

“Again and again
we’re
expelled
from a garden
that never
existed” Ludwig Steinherr from Before the Invention of Paradise

What goes on in nature under our radar beautifully captured in Sam Laughlin’s series A Certain Movement as part of the Jerwood Photoworks Awards. Intimate moments and hidden processes lifted from nature with a quiet sensitivity.

 

1802 Sam Laughlin

Sam Laughlin from the series A Certain Movement

 

1802 Florence Trust

Visited Mayra Ganzinotti in the chilled and vaulted splendour of Florence Trust Winter Open Studios. Her beautiful work mixes crystal forms in geology with the body; rhythm and structure.

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Mayra Martin Ganzinotti

Other exciting work and use of materials going on was from Amanda Baum and Rose Leahy

Unexpected juxtapositions offer new paths to tread.

A group of artists and writers, selected by Payne Shurvell, were each asked to respond to the same image either with a text or intervention directly over the image. 256 possible diptychs were created. New pairings are hung daily in random combinations pulled out of a hat. The Arca Project lets fate or coincidence decide the outcome the audience will experience depending on when they visit. The concept to present multiple readings of one event draws on the ethos of W. G. Sebald who revelled in mixing things up.

1802 TonyGrisoni StephGoodger

I only had time for a brief visit to Liminality [The Unknown] at Gallery 46 which was a shame as I think I missed some good things. But I did see the delicate and fluid interpretations of sound technology diagrams by Mary Yacoob

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Mary Yacoob Draft Drawings

also her meticulous ‘Seraphim for Sanctus’ inspired by a choral score for ‘Sanctus’ and the prophet Isaiah’s visionary six-winged angels.

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Mary Yacoob ‘Seraphim for Sanctus’ detail

I have been contemplating the circling angels of the Empyrean that dazzled Dante when he reached the final sphere of heaven. It might be the first time I have really thought about an angel as an other being/species not just a good human with wings.

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Gustave Doré The Divine Comedy’s Empyrean

 

 

 

 

 

 

 

 

 

1709 CIMM exhibition 1Cleveland Ironstone Mining Museum exhibition brought work created for Guest Projects residency into a very different space, reinventing and presenting it in new ways.

1709 diazographoDiazôgraphô – (Wood, acrylic, digital print) has been reworked since Guest Projects. You can still see through it, but it is more reflecting; you and your surroundings are echoed in it and so it appears you are both surrounded by and surrounding the same space.

 

1709 diazographo 1

Using the dodecahedron as a motif for the universe I like this quality that draws on Dante’s description of the universe as concentric circles; that the very outer circles also appear to be enclosed by the inner circles and the relationship that this enfolding space has to a 3-sphere and Poincaré dodecahedral space. Plato described the dodecahedron as ‘a fifth construction, which the god used for embroidering the constellations on the whole heaven ’  so it works as a metaphor for dark matter too – a phenomena that binds the galaxies together.

1709 The Forms
The Forms – (Etched aluminium) Installed in a new configuration here as a net that together would build a dodecahedron. In scientific visualisations of dark matter we see familiar organic patterns emerge; the fronds of dark matter spanning galaxies could be the spreading branches of trees or the veins under our skin. The realm of abstract thought Plato called The Forms is where ideals reside, outside the limitations of the physical world and where, if anywhere, paradise might be found.

Some work by the other Laboratory of Dark Matter artists was new, some reworked or given new context

1709 CIMM exhibition 2

Amy Gear Nudge – (Painting on unstretched canvas)  Reflecting on video footage from a Women’s Self Defence and Green Screen Workshop run in collaboration with martial arts expert Jiff Higman, the work employs the body as a tool to help describe the incomprehensible notion that only 5% of the universe is visible to us; the bodily contact through self-defence actions related to the contact scientists are hoping for when a dark matter particle ‘nudges’ the nucleus of the target element (Xenon) and causes a recoil that can be recorded.

1709 Elizabeth Murton

Elizabeth Murton Connective Matter #3 – (Porcelain paper clay, LED lights, wire, yarn), a new site specific iteration in a series creating a connective web of black yarn and illuminated ceramic objects made by spinning clay, like the spinning which forms planets, stars and galaxies from the matter of the universe. We cannot see dark matter directly, only infer it indirectly from observations such as the spin of the galaxies and gravitational lensing and so must speculate its structure and role in the universe.

1709 CIMM exhibition 3

KATE FAHEY Optimistic – (Copper and resin); Dark Adaptation – (Digital video with two channel audio) calling on lost lore and old forms of knowledge to negotiate technology and scientific advancement, the work seeks to establish a speculative relationship between dark matter, dark adaptation, the lectures of Rudolf Steiner on the practice of divining and John Carpenter’s film They Live, where the main character discovers sunglasses that reveal an alternative reality.  Dark adaptation refers to the ability of the eye to adjust to various levels of darkness and light.

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Daniel Clark Projected Chamber – (Giclée print) describes a potential space, a chamber that exists only through a distortion of light captured at the moment of creation.

1709 CIMM EXH.

Veil – (Pigment on archival polyester) examines ways of visualising or mapping the invisible and the transference of imagery from intriguing and unexplained sources. A vinyl cutting machine was programmed to draw with a marker pen instead of to cut, reimagining the single line engraving of the Face of Christ, known as the Sudarium of Saint Veronica, by Claude Mellan from 1649.

1709 Luci Eldridge

Luci Eldridge Untitled (Dark Matter, Reconstructed) – (3D print with silver leaf, privacy screen filter) In 2007, a group of NASA and ESA scientists led by Richard Massey constructed a three-dimensional map offering the first look at the web-like distribution of dark matter in the universe. This 3D model reassembles this data to present the invisible as a cluster of abstract forms. The intangible is objectified as a collection of shiny entities reminiscent of early sci-fi aesthetics.
Germanium Fragments I-VI – (Duotone photo-lithographs) Germanium is one of the elements often used in the detection of dark matter. The lithographs depict tiny fragments of this lustrous grey metalloid, the surfaces reflecting the dazzling lights of the scanner bed on which they were imaged. Combined, the prints and 3D model play with limits of visibility, the boundaries between surface and depth and the loss of any kind of sense of scale.

1709 Melanie King

Melanie King Cosmic Ray Oscillograph – (Phosphorescent spinning disc, solenoid, laser, data from LUX video credit: Euan James-Richards) A laser light is sporadically jolted across a rotating disc coated in phosphorescence by a solenoid translating wave form data captured from the Large Underground Xenon Dark Matter detector. The data is transformed to an audio signal using computer coding techniques and represents cosmic rays which have been detected along the way towards finding elusive dark matter. Cosmic Ray Oscillograph, Cameraless Photograph uses direct laser light onto Ilford Multigrade Resin Coated Paper Pearl.

1709 Sarah Gillett

Sarah Gillett The Case of the Gold Ring (research mapping wall) plots the discoveries made while tracing the history of her Mother’s gold ring; it’s unique personal journey as well as it’s cosmic origins. The ring becomes much more than a circle of gold as connections are made across space and time, from the boxing ring to the financial bullring and the asteroid belt.

1709 Peter Glasgow

Peter Glasgow The Indicators of Illusive Ideas – (Audio and text) frames itself as an attempted commentary, and plays with the notion of producing a commentary on something in the world. It’s about language, and format, and ways of stringing ideas together. It finds a narrative about art practice within another narrative from popular culture, speculating on making in terms of loyalty and legitimacy. It is a contemplation on the commentaries that run alongside a process; the attempts to get close to something but failing.

1709 Robert Good

Robert Good How To Know The Starry Heavens – (Text fragments) Selected text snippets from Edward Irving’s book of the same name are set on a vast dark backdrop to appear from a distance like a sparkling galaxy of stars but close up to spark our imagination with language full of wonder.1709 Cimm diazographo light

I was invited by the Institute of Physics to write a blog about Laboratory of Dark Matters  read it here –  IOP BLOG   …. The visit to Boulby Mine was a catalyst for us to develop new artworks reflecting our personal responses to dark matter research and the broader issues it touches upon…

1709 talks promo

As a satellite event to the exhibition at Cleveland Ironstone Mining Museum we had additional sponsorship from the Institute of Physics to host an afternoon of talks at Whitby Museum as part of their summer sessions initiative to bring the arts and science together in a public forum. Emma Meehan from Boulby Underground Laboratory introduced a video tour of the facility led by Chris Toth who gave an entertaining and informative account of life 1100m below ground and the experiments that take place there.

Sara Gillett delivered her performative lecture ‘The Case of the Gold Ring’ that animates and coalesces her research presented in the exhibition and Dr Cham Ghag gave another of his incredible accessible lectures on what dark matter is not, what it might be and how it might be detected.

We were also joined by Dr Sarah Casey, artist collaborator in the brilliant project Dark Matters – Interrogating thresholds of (Im)perceptibility through Theoretical Cosmology, Fine Art & Anthropology of science,  an exciting study into radical imperceptibility or more specifically, the provocations and challenges presented to theoretical cosmology, fine art and anthropology of science, by entities, forces and dimensions that currently (or perhaps will always) exceed human and technological modes of sensing and comprehension.

1709 dark matters video

Encounters at the thresholds of human understanding, sensing, knowing, or the possibilities of relationship with the nonhuman – and the vulnerability and exhilaration that these cause – are intrinsic to the project’s methodology. On the one hand, claims from cosmology that 95% of the universe is made up of invisible dark matter and dark energy, or that it is possible to mathematically predict the existence of many more dimensions than we are aware of in our known and knowable universe, presents immediate challenges for all three disciplines as they play at the limits of sensibility and relationality with regards to human to nonhuman encounter. How to think and practice with these provocations? On the other hand a different set of challenges are inevitably posed by the complexities and endless possibilities for (mis)understandings by interdisciplinary conversation.

1709 Sarah Casey 1

Sarah Casey

For the theoretical cosmologist, when faced with the imperceptible, the imperative is to produce and contest evidence – to ultimately reveal the imperceptible or negotiate the status of the role of speculation. For the artist, the interest lies in interrogating thresholds between the seen and unseen, known, unknown and unknowable, through art practice to enable critical and poetic reflection. For the anthropologist, the category of the imperceptible provokes a questioning and further pushing of the limits of human subjectivity, experience and sensibility in relation to the inhumanly (un)manifest.

The excellent accompanying Dark Matters  video is deservedly shortlisted for the AHRC research film of the year.

A sensual treat while back in London was Wayne McGregor and Random International’s collaboration +/- Human at the Roundhouse. Extraordinary dancers and extraordinary machines. Uplifting. Disquieting.

1709 plus minus human

Laboratory of Dark Matters final event at Cleveland Ironstone Mining Museum was the dark matters themed open day with dark matter life drawing in invisible ink…

1709 CIMM Open Day dark matter life drawing

…make a dark matter particle plane and fly it to hit the xenon nucleus target……

1709 xenon nucleus target

…tours of the exhibition…..

1709 CIMM Open Day gallery tour (2)

…Robert Good reading from Edward Irving’s 1905 book How To Know the Starry Heavens. He was also encouraging visitors on the day to write their own snippets for a group collage in reply to – What do you think about when you look up at the sky at night?

1709 Robert Good 2

Lots of other activities like Hunt the WIMPS where small shapes denoting particles that were not WIMPS were hidden around the museum site  –  these could be found because they were not WIMPS…

1709 CIMM Open Day Activitiy tent

….Chris Toth and Emma Meehan from Boulby Underground Laboratory were on hand to answer the science questions and help out with a dark matter quiz…

and a final chance to see cosmic particle trails in the cloud chamber.

1709 cloud chamber1709 cosmic trail

I met Jessie Sheffield and Lauren Ilsley during a cloud chamber workshop at Guest Projects. We subsequently found we shared interests in how we perceive the world around us and I was invited to join [ALLOY] in presenting new work for the exhibition Supposedly Predictable Phenomenon at no format Gallery as part of Deptford X.

Planning new work my first thoughts were naturally Heisenberg’s uncertainty principle and thinking about natural phenomena. The shape of a raindrop, bacteria, magnets, wind, water, electricity, bending light, bouncing photons, dark photons, optic boom, special relativity. I get fixated on the 12 sides of the universe and start mapping out a sequence of 12.

1708 studio test

My studio is too small. I think about decisions, prisms, scattered light. If I use steel I could use magnets. I don’t have time to etch plates and print them. I think about quantum leaps, band widths and atoms. Electrons appearing and disappearing. Moving between possible multiverses. Transforming in new configurations. Circling the nucleus. A portal. A panorama. A dopler shift. How to be random?  I throw ink soaked kitchen roll and mark the spot on twelve targets.

1709 random start points

I decide to use softground on aluminium – an unpredictable process

1709 applying softground

Charbonnel softground smells of woodsmoke. It feels right for autumn. I draw concentric circles into the wax

A satisfying peel

Nature echoing art again.

The etching process is full of rich colours and smells. Softground on aluminium in copper sulphate is a violent etch. The heat is palpable before I reach in to pull out the plate, the wax bubbles and the blue solution darkens and smokes; I pull the plate out when it feels that any longer, it might ignite

1709 etch process

it already feels cosmic

1709 removing stopout

Each plate takes a long day to prepare; sanding and degreasing, painstakingly rolling on the softground for an even coating , fixing the paper taught and drawing with enough pressure to imprint into the wax, peeling away the image with the paper and finally etching.

1709 peel and etch (1)

Aluminium has a grain that grabs any direct light and powers it into a bright band.  It seems to absorb and glow with any colour in the room. I really like this metal.

1709 test light on etch.jpg

 

1708 Boulby Mine

Time to return to the North East.

Amidst the preparations to take Laboratory of Dark Matters to Cleveland Ironstone Mining Museum was the honour of being invited to sit on the judging panel for the Guest Projects residency proposals for next year. It was a big responsibility and involved quite a lot of hours reading through proposals but was also incredibly useful in understanding how to put together a successful proposal. In the end there just isn’t time to follow every link and read every nuance – it has to be clear and succinct. Was a real treat to have dinner with Yinka Shonibare and chat about why he decided to set up the residency program (- to give back and remain engaged, remembering why he became an artist in the first place) and to hear how he can cut through any nonsense in the proposals, he is looking for commitment, effort and originality and he has no truck with ‘men’s issues’. Was great fun and dinner was delicious.

1708 Yinka Shonibare

Another pleasure was receipt of the commissioned essay responding to the ideas that surfaced during Laboratory of Dark Matters from Chantal Faust. It is a text that can be read over and over and keep giving. It will be published to coincide with international Dark Matter Day on 31st October in an original layout by Daniel Clark.

1708 publication

Having secured funding from the IOP and STFC we were able to install the exhibition at Cleveland Ironstone Mining Museum in July just in time for the tourists visiting over the summer holidays. This is where the funding we received really helped,  covering our transport and accommodation costs, artwork materials, printing and general installation. It was also good to be able to pay artist fees, enabling artists who work freelance and do not have regular salaried income or research grants to be able to participate.

Cleveland Ironstone Mining Museum were excited by the prospect of hosting an exhibition on dark matter and the local connections to Boulby Mine just 8 miles up the road.

1708 CIMM

We were met by real warmth and a can do attitude from everyone at the museum. This was the first time they had hosted an exhibition of contemporary art and we were away from our usual networks of support and infrastructure so it was a learning curve for us all.

One of the main challenges for us working in a remote location was travelling and forward planning to have everything we needed when we got there. We had to rely heavily on the museum for marketing and preparations for our visit. We were very lucky to be hosted by a venue that offered us so much support – they totally transformed this room ready for us to install our artworks

1708 CIMM before

We rented a cottage in the local village of Hinderwell, which coincided with their scarecrow festival, while we were spending time at the museum installing work.

1708 Hinderwell Scarecrow

Artist Robert Good joined us at the mining museum to present an ambitious installation – How To Know The Starry Heavens  – a billboard sized collage of text snippets selected from Edward Irving’s book of the same name written in 1905.1708 Robert Good Installing

Elizabeth Murton installed a new site specific iteration of Connective Matter #3, a web of black yarn and illuminated ceramic objects made by spinning clay, like the spinning which forms planets, stars and galaxies from the matter of the universe.

1708 Elizabeth Murton installing

I tried a new configuration of The Forms in a dodecahedron net formation over the stairwell.

1708 CIMM install The Forms plan

Mapping out the universe/

1708 CIMM install The Forms

/mapping out the exhibition space

1708 CIMM installation in progress

1708 CIMM installation in progress 2

We made a visit to meet the excellent team at Whitby Museum in preparation for the afternoon of talks we were planning as part of the Institute of Physics Summer Sessions initiative.

1708 Whitby Museum

Our Private View was very well attended by people local to the mining museum, the Board of  Trustees including Vice-Chair Fr. Adam Gaunt and even Mr Barry Dodd CBE Lord-Lieutenant of North Yorkshire who gave a speech commending the museum on their enterprise and promising to mention his visit in his report to the Queen.

1708 Private View

Boulby Underground Laboratory was well represented by scientists Chris Toth and Emma Meehan. The last time we met was over a year ago and 1100m underground.

1708 CIMM PV

We ran a series of workshops developed from those at Guest Projects. We wanted our workshops to be grounded in science and to also have a creative element. Thinking about different ways of making the invisible visible, the cloud chamber workshop was a good way of showing the activity of particles around us that we are unaware of until we see the trails they leave as they pass through and around us as they hurtle across our world.

1708 CIMM Cloud Chamber

I don’t think we experienced the same level of  particle activity as we did in London and I’m not sure why that was. 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.

1708 cosmic trail

Melanie King ran more of her illuminating workshops expanding on her Cosmic Ray Oscillograph ideas explored in the exhibition, allowing participants to experiment with phosphorescent powder and laser lights.

Events were underway….

1708 dry ice

 

 

 

Hito Steryl’s essay In Free Fall: A Thought Experiment on Vertical Perspective talks of groundlessness, the loss of a stable horizon  as we enter an age of remote viewing and constructed visualisations that can invoke disorientation and require acclimatisation to new perspectives. Gravity is explained by Einstein as the curvature of space time; we are constantly falling through space. A black hole occurs when a massive star runs out of fuel and collapses in upon itself, compacting its mass to be so dense it causes a deep pocket in space time so that anything falling into that hole beyond the event horizon has no chance of escape.

It may sound a little dramatic but when an event you have been focused on for so long is no longer on the horizon but you have passed into its gravitational field and are sucked into its vortex it can feel like free fall, you pass through so quickly and just keep falling.

At least we took some photographs on the way through. For many of these we are extremely grateful to Sara Lynd for capturing Laboratory of Dark Matters so expertly and considerately.

In the short space of time at Guest Projects between the Lab. Talks+ and the exhibition opening I worked on some images I had taken when running the cloud chamber.

1704 Open lab testing

The original intention had been to print images of cosmic particles from the cloud chamber onto acetate and fix them behind the etched aluminium plates on the dodecahedron frame, there would be a band of light inside that would rotate, scanning the universe.

1704 Open lab testing 2

In practise the cosmic particle images were lost behind the etched plates along with the open structure of the frame and the rotating light proved temperamental.

There was also a large expanse of wall available.

1704 Susan Eyre by Sara Lynd (5)

Susan Eyre The Forms photo Sara Lynd

The result was I have two works.

1704 Susan Eyre by Sara Lynd (1)

Susan Eyre Diazôgraphô photo Sara Lynd

The immutable truths Plato discovered in geometry belong to the realm of abstract thought he called The Forms. This is where ideals reside, outside the limitations of the physical world and where, if anywhere, paradise might be found.

1704 Susan Eyre

In visualisations of dark matter created from scientific data we see familiar organic patterns emerge; the fronds of dark matter spanning galaxies could be the spreading branches of trees or the veins under our skin.

 

1704 Susan Eyre by Sara Lynd (4)

Susan Eyre The Forms (detail) photo Sara Lynd

 

These projected shadows of The Forms that govern the structures of our universe invoke a primordial response. Plato suggested we harbour memories of universal truths in our souls.

 

1704 Susan Eyre by Sara Lynd (3)

Susan Eyre Diazôgraphô photo Sara Lynd

 

The exhibition suddenly came together.

1704 Yinka Shonibare (1)

We were honoured by a visit from our lovely and generous host Yinka Shonibare.

1704 Yinka Shonibare (2)

and really appreciated his interest and chatting about our individual responses to dark matter research

1704 Amy Gear by Sara Lynd (2)

Amy Gear Nudge photo Sara Lynd

Amy Gear’s digital video work projected onto suspended body parts was edited from footage of the Women’s Self Defence and Green Screen Workshop that explored the visibility of women in the universe and the anticipation of the nucleus of a Xenon atom being nudged by a dark matter particle.

1704 Amy Gear by Sara Lynd (1)

Amy Gear Nudge photo Sara Lynd

We enjoyed the way the works overlapped with each other.

1704 Daniel Clark 2 by Sara Lynd (3)

Daniel Clark Veil photo Sara Lynd

Programming a vinyl cutting machine to draw with a marker pen instead of to cut, Daniel Clark created Veil, a reimagining of the single line engraving of the Face of Christ, known as the Sudarium of Saint Veronica, by Claude Mellan from 1649.

1704 Daniel Clark 2 by Sara Lynd (4)

Daniel Clark Veil photo Sara Lynd

Daniel also installed Edge-work, a series of radio receivers delineating the space with sound waves being received or distorted by the interference of the human form.

1704 Daniel Clark 2 by Sara Lynd (5)

Daniel Clark Edge-work photo Sara Lynd

Every so often the words of U.S. defence secretary Donald Rumsfeld echoed through the space… ‘ there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns – the ones we don’t know we don’t know.’

In keeping with pinning down the unknowns is Peter Glasgow’s work.

1704 Peter Glasgow by Sara Lynd

Peter Glasgow The Indicators of Illusive Ideas photo Sara Lynd

Hints lie in the MDF stand and printed text, a DVD booklet from Game of Thrones. These are really props for a live performance when the text is richly spoken and like the text itself they make no claims to legitimacy.

1704 Luci Eldridge by Sara Lynd (1)

Luci Eldridge Untitled (Dark Matter, Reconstructed) photo Sara Lynd

Luci Eldridge’s 3D print with silver leaf, reflected on privacy screen, and scanned Germanium fragments isolated in the blackness of space take on metaphors of time-warp spaceships and thundering meteors.

1704 Luci Eldridge by Sara Lynd (2)

Luci Eldridge Germanium Fragments photo Sara Lynd

Sarah Gillett uses methodology borrowed from Private Investigators creating a detectives evidence board to map the history of a gold ring that began in supernova explosions billions of years ago, arriving on the earth through an asteroid bombardment and now sits on her mothers finger.

1704 Sarah Gillett by Sara Lynd (3)

Sarah Gillett The Case of the Gold Ring  photo Sara Lynd

The journey of the ring from raw element to love token brings the incomprehensible and the everyday together in a story we can relate to.

1704 Sarah Gillett by Sara Lynd (2)

It gives us pause to wonder at the origins of matter that surrounds us.

Kate Fahey takes us further into the subconscious

1704 Kate Fahey by Sara Lynd (1)

Kate Fahey Dark Adaptation (video still) photo Sara Lynd

How long does it take our eyes to adapt to darkness? What other ways of seeing exist?

1704 Kate Fahey by Sara Lynd (5)

Kate Fahey Optimistic photo Sara Lynd

What senses should we rely on? What role does intuition play?

1704 Kate Fahey by Sara Lynd (4)

Kate Fahey Divination Sticks photo Sara Lynd

Her video installation, live performance and emblematic sculptures draw on old forms of knowledge and refer back to the lectures of Rudolf Steiner to open a dialogue between ancient and modern technologies.

1704 Kate Fahey by Sara Lynd (3)

Kate Fahey Feelers photo Sara Lynd

There is a hypnotic allure created in the dark space where Melanie King’s Cosmic Ray Oscillograph operates. A laser light is sporadically jolted by a solenoid translating data from the LUX project to traverse a rotating disc coated in phosphorescent powder.

1704 Melanie King by Sara Lynd

Melanie King Cosmic Ray Oscillograph photo Sara Lynd

While we cannot see dark matter directly, only infer it indirectly from the spin of the galaxies and gravitational lensing we sense something is present and speculate its structure and role in the universe. Elizabeth Murton tests these theories, creating hand spun porcelain galaxies vulnerable to breaking apart, strung across the universe palpably supported by the threads of dark matter.

1704 Elizabeth Murton by Sarah Lynd

Elizabeth Murton Connective Matter photo Sara Lynd

End of residency Going Dark gathering begins

1704 Going Dark (9)

Late viewing opened with a performance curated by Kate Fahey. Tim Zercie, as spiritual scientist urges us to awaken, to open our eyes and our minds, to engage our senses and be transported aided by the mesmeric playing of uileann piper John Devine.

1704 Going Dark (7)

Peter Glasgow’s spoken contemplation on the commentaries that run alongside a process; the vagaries of trying to get close to something but failing.

1704 Going Dark Peter Glasgow (1)

Captivating storytelling in The Case of the Gold Ring from Sarah Gillett

1704 Going Dark (10)

Light dimming

1704 Going Dark (11)

Within that ordinary space were hidden the building blocks of the universe.

1704 Going Dark (12)

Dark matter allows structures in the universe to form by pulling matter into its gravitational field.

1704 Going Dark (8)