Archives for posts with tag: cosmos

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.”

‘And here is one of the map’s most important characteristics: the viewer is positioned simultaneously inside and outside it. In the act of locating themselves on it, the viewer is at the same moment imaginatively rising above (and outside) it in a transcendent moment of contemplation, beyond time and space, seeing everywhere from nowhere.’ Jerry Brotton in A History of the World in 12 maps

Locked down editing video work. Setting off at dawn and wearing a headcam I walked the most direct route to each of the four points due North, East, South and West of my home. I chose a three mile radius as this approximates the distance to my horizon at sea level.

I am interested in how space is perceived as a plotted dimension, as abstract space calculated mathematically but perhaps not something we can visualise and as imagined space.

I aim to relate these different perspectives on space to broader knowledge. In my film there are three speculative viewpoints; ‘the seeker’ who wishes to discover what is beyond the horizon, ‘the seer’ who imagines what might be beyond and ‘the scientist’ who offers abstract theories.

In the film I explore connections and hierarchies of physical dimensions and perception, the use of contour lines on maps, foliation and patterns in soap film membranes or marbling.

Foliation is the decomposition of shape into lines and circles. It occurs in geology as repetitive layering in metamorphic rocks and in mathematics as the analysis of curves and surfaces. The math’s language is way beyond what I can understand but it does have connections with holonomy and manifolds and Poincaré which I am interested in though I am yet to get to grips with any firm understanding. The notion of leaves (slices) allows for an intuitive way of thinking about a foliation. In mathematics, topology compares shapes to see if they have the same number of holes and handles and can therefore be moulded from one shape into the other by stretching, twisting, crumpling and bending, but not tearing or gluing.

I took many films of soap film membranes and have been exporting the final single frame at the moment the bubble bursts. I have used these frames to create sequences of collated membrane bursts. We may live in a multiverse of bubbles each with wildly different laws of physics. String theory allows for many universes with different physical laws. It may be possible our universe could suddenly transform into a universe with different properties. If it did happen it would be so fast we wouldn’t even register it.

I made a silver cape for some green screen filming in character as the seer. Learning lots about Adobe After Effects so if the editing requires I drop this section then the hours put in won’t be entirely wasted and the cape will come in for when next door can have their parties again.

Thinking about making new work that interacts in real time with cosmic rays as they hit the Earth’s atmosphere and shower down upon us.

Cosmic rays, some travelling from other galaxies, pass through us and our world continuously, creating an almost tangible contact with outer space. Witnessing this incredible activity helps us look beyond what our immediate senses tell us exists and consider the interconnectedness of our universe.

We are made of carbon. Most of the carbon in the world is carbon-12 which contains six neutrons and six protons. Protons and atomic nuclei created by events such as exploding stars speed across space and collide violently with the Earth’s atmosphere creating a chain reaction of cascading particles. Some of these particles created are neutrons which can smash into atoms of nitrogen to create carbon-14 which has six protons and eight neutrons.

Cosmic ray activity gives us carbon dating techniques. Carbon-14 is unstable and therefore radioactive. It has a half-life of 5,730 years. This means if a sample of a tree contains 64 g of radioactive carbon, then after 5,730 years it will contain 32 g, after another 5,730 years that will have halved again to 16 g. Radioactive decay is random but in a sample there are enough atoms to work out an average time it will take for the nucleus to lose the extra neutrons.

Carbon-14 atoms in the atmosphere combine with oxygen to create radioactive carbon-dioxide. This radioactive carbon-dioxide is absorbed by plants which are eaten by animals. When an organism dies no more carbon-14 will be absorbed. The existing carbon-14 will start to decay. By measuring the radioactivity, the current carbon-14 content can be determined and the time of death established.

A planet with twice the mass of Jupiter has been discovered orbiting HD70642 in an almost circular orbit. This means it is possible that Earth-type planets may be orbiting further in. In all other planetary systems discovered with massive planets they usually have disruptive closer elliptical orbits which would destroy any smaller planets on a circular orbit. Hope to return to my studio soon to continue work on ’90 light years home’ which will use a raster pattern on folded paper looking at mapping out a space ship as a star map using 137 points. As physicist Laurence Eaves states – ‘The number 137 would be the one you’d signal to aliens to indicate that we have some measure of mastery over our planet and understand quantum mechanics.’

137 comes from the fine-structure constant, also known as Sommerfeld’s constant and is represented by the alpha symbol α. Using several fundamental constants found in nature to give a fundamental physical constant. This number represents the strength of electromagnetic interaction between elementary charged particles which is the probability that an electron will absorb a photon.

I watched the Hito Steyerl lecture as part of the Dramaturgies of Resistance online event series.  ‘At this unprecedented time, when it seems as if “everything is canceled,” Steyerl’s most recent work explores the complex relation between spread (of conspiracy theories no less than viral contagion) and simulation (from the automization of performance to our capacities for virtual interaction with statistical probability of human risk).’

I was excited to find the lecture covered topics very relevant to my research into abstract space at the moment such as objects in topology. The Alexander horned sphere is a pathological object in topology. It is formed by starting with a standard torus, removing a radial slice of the torus and connecting a standard punctured torus to each side of the cut, interlinked with the torus on the other side. A pathological object is one which possesses deviant, irregular or a counterintuitive property, in such a way that distinguishes it from what is conceived as a typical object in the same category.

The opposite of pathological is well-behaved.

Mathematician Shing-Tung Yau set out to discover if there could be a spacetime which contains no matter but in which there is still gravity caused by the topology of the space. In 1977 he solved the Calabi Conjecture posed by Eugenio Calibi in 1954 who was interested in whether a certain type of topology guarantees a certain type of geometry. Topology looks at the overall form of an object and recognizes shapes that have an equivalent topology but different geometry such as a doughnut and a coffee cup as they can be morphed from one to the other. Topologists generally study manifolds. Manifolds are shapes that could be flat when looked at close up such as the earth’s surface or a ball if you were an ant. Each point on the surface can be mapped using two coordinates onto a 2 D plane and the shape is finite. Taking the average of all the curvatures at every point on the surface gives what’s called the Ricci curvature. A doughnut which is a 2D manifold mapped in this way has a Ricci curvature of zero which shows that a manifold can have a zero Ricci curvature at every point without being flat. There are also shapes which look 3D when seen up close and need 3 coordinates to map them. In mathematics it is possible to think of Euclidean (flat) space in any number of dimensions by increasing the number of coordinates you use giving manifolds in many dimensions. Transferring this equation to physics Ricci curvature describes the curvature of spacetime that’s induced by matter being present if this curvature is zero then it describes a spacetime with no matter. Yau proved that this type of manifold could exist in all dimensions. This type of manifold is known as the Calabi-Yau manifold. Particularly in superstring theory, the extra dimensions of spacetime are sometimes conjectured to take the form of a 6-dimensional Calabi–Yau manifold, which led to the idea of mirror symmetry.

Hidden in the future.

Grow the space of cooperation.

I took a couple of online geometry courses with The Princes School of Traditional Arts.

Mapping the Cosmos class was based on the geometry and symbolism of the Cosmati Pavement at Westminster Abbey which was laid in 1268.

The Geometry of Sound class looked at Chladni patterns which occur on a rigid surface caused by various modes of vibration.

We begin each drawing with a circle intersecting a horizontal line. The horizon where heaven and earth touch.

I am about to follow up on some of the recommended further reading.

Other reading has provided some mind blowing facts. Thanks Jim Al-Khalili.

There are scientists measuring time in attoseconds. There are more attoseconds in a single second than there have been seconds since the big bang.

Atoms are incredible tiny; you can fit more atoms into a single glass of water than there are glasses of water in all the oceans of the world.

“Which is older, day or night? “Night is the older, by one day.” — Thales

My visit to the Venice Biennale was marked by my receiving news that I had a place at the Royal College of Art for the Autumn.  A great start to a very inspiring few days.

It does feel a bit like I am going to be launched into space. Exciting and an amazing opportunity but also not knowing what to expect with anxieties that I will be lost or unable to cope.

Bedwyr Williams ‘The Starry Messenger’ and Sarah Sze’s Triple Point both explore feelings of place within the universe. Very apt for my frame of mind.

Wales in Venice

Wales in Venice

‘The Starry Messenger’ explores the relationships between stargazing and the individual, the cosmos, and the role of the amateur in a professional world.

Inside the former church and convent in a darkened room there is a small observatory with a door ajar through which we can see the starry cosmos. There is the sound of a man weeping, just like Kevin does when he thinks about the vastness of space and his own insignificance. Moving through the installation you walk under glass with household objects placed on its surface above your head which I took as a possible reference to Leonardo Da Vinci’s drawing ‘A cloudburst of material possessions’. Maybe it is space debris.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

There is a film with a Mighty Boosh style protagonist who represents a character trapped within a mosaic mural.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

From the geological formation of stone out of oozing mud through its journey and subsequent use in a mural to the demolition of the building and its return to the earth. From looking out at the stars through a telescope to ‘staring into space’ the outer and inner worlds collide in a wonderfully amusing narrative encompassing the life the universe and everything dialogue.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

Sarah Sze explores the desire to locate our place within a disorienting world.

Sarah Sze Triple Ponit

Sarah Sze Triple Point

Her fragile sculptures echo the balance and chaos of the world around us.

Sarah Sze Triple Point

Sarah Sze Triple Point

They appear to spin or be in the process of expansion, beautifully mysterious like the working of the atom or the universe they are full of wonder.

Sarah Sze Triple Point

Sarah Sze Triple Point

Playing with pattern, order and taxonomy she creates a laboratory busy in its own pursuits which makes us feel we are close to understanding something great.

Sarah Sze Triple Point

Sarah Sze Triple Point

I was excited to see she had used moss a lot throughout this installation, even turning its image into wallpaper.

Sarah Sze Triple Point

Sarah Sze Triple Point

Triple Point refers to the phase when gas, liquid and solid form of a substance are all in equilibrium, her use of natural forms keep our ideas grounded in our surroundings while drawing us into the mysteries of evolution.

The extraordinary collection of stones once owned by artist Roger Caillois were on display in the Central Pavillion.

Roger Caillois Stones

Roger Caillois Stones

Caillois believed that nature should be examined as something other than as the utilitarian force that Darwin purported and that aesthetics and the need for decoration should be considered integral to our understanding of the natural world.

Roger Caillois Stones

Roger Caillois Stones

He considered the beautiful patterns within ancient natural forms were a sort of cryptic ‘universal syntax’, a unifying aesthetic language.

Roger Caillois Stones

Roger Caillois Stones

He wanted to understand the mysteries of the subjective experience through its relationship to factual reality.

I find it fascinating trying to understand the aesthetic experience.

Gerhard Richter’s tapestries at Gagosian, Davies Street emanate pure aesthetic pleasure, colours and form coalesce erupt and fade.

These works are based on Abstract Painting (724-4) (1990). The visual effect of the tapestries is a Rorschach-like multiplying of the forms and colours of the original canvas.

Gerhard Richter

Gerhard Richter

Like entering a hypnotic state, like staring into space both literally and metaphorically you are transported to a place where it feels familiar and strange at the same time.

Gerhard Richter

Gerhard Richter

Venice was a perfect location to think about mysteries, the sacred and the wonders of the world.

1307 Monastry