Archives for posts with tag: cryptochrome molecule

Lode – a way or path, a watercourse, a vein of metallic ore.

A lodestone is a naturally occurring magnet possibly created by a lightning strike. Early compasses were made of lodestone suspended on a cord.

Magnetite is a common mineral that has an attraction to a magnet but is not magnetic in itself.

The image shows magnetite, sold on eBay as a Lodestone though at £2 what did I expect.

Fluid activity hidden deep in the Earth’s interior can be visualised through plotting the magnetic field and its fluctuations.

The geomagnetic field, generated by the Earth’s molten core, varies through time; the magnetic poles migrate, go on excursions or reverse polarity. During these periods of flux the strength of the magnetic field changes and this phenomenon is recorded in archaeological artifacts, volcanic rocks, and sediments. The mineral deposits of stalactites store a paleomagnetic history of declination (the deviation of magnetic from geographic north).

Thinking about how magnetic pole reversals are stored in geology. I am modelling some paper clay rocks for future filming visualising the magnetic field using iron filings.

Early navigators using the compass around the 15th century became aware that geomagnetic north would roam position. In 1701 the first map charting the magnetic field declination was produced by British astronomer Edmund Halley.

In the 19th century the study of geomagnetism became one of many passions for explorer polymath Alexander von Humboldt who studied

“what keeps the innermost of the world together, how all is woven together”

and was the first to connect climate with interactions between atmosphere, oceans, land and plant ecology. From meticulous observations he noticed the Earth’s magnetic field intensity increases from the equator to the pole, and that it was also influenced by auroras and solar activity causing magnetic storms.

Magnetic observatories to monitor the Earth’s magnetic field were set up around the globe including one at Greenwich which had to relocate twice due to infrastructure interference (electric railways) and is now based in Devon with a permanent azimuth mark on a concrete obelisk viewed from the north window of the Absolute Hut. I wonder if it is possible to visit.

Magnetotactic bacteria align themselves with the Earth’s magnetic field to navigate using nanoparticles of magnetite crystals covered in biological material called magnetosomes. Each nanoparticle is about 100,000 times smaller than a grain of rice. They are mostly found in water and sediment with little or no oxygen. It has been found that magnetosomes can be biodegraded (dissolved) in human stem cells losing magnetism at first but then reforming into human cells with magnetic sensitive qualities.

There is a daily variation in the magnetosphere caused by sunlight hitting the ionosphere, a layer of the atmosphere about 1000km up. The electrical conductivity of this layer is affected by the solar wind which pressures and squashes the field on the sunlit side while creating a magnetotail pluming from the dark side of the Earth.

Capturing garden activity through the solar cycle with a spycam.

The rotation of the Earth around its axis results in a molecular clock evolved by organisms in alignment with the solar cycle. The Earth’s magnetic field can influence animals’ circadian clocks, through the photoreceptor cryptochrome, which is activated by blue light.

I have recently acquired a drone and have been for a couple of practice flights in Richmond Park’s designated area taking along a few pentagon mirrors. Excited by the possibilities.

Up at 5am to see the tiny points of light that are Venus and Jupiter approaching their conjunction which they performed the following morning hidden by clouds

Research trip to RSPB Snettisham in North Norfolk to see the Whirling Wader Spectacle. The high spring tides push the birds from their feeding grounds on the mudflats of The Wash onto the lagoons of the reserve. The spectacle occurs when the tide is super high during daylight hours in early spring or late autumn when the birds are migrating to and from this site. It is surprising how fast the tide comes in. On arrival in the early evening the sea is a distant strip of light.

Suddenly the gullies are filling and the first murmurations of knots are forming low over the incoming water. The speed of the birds is extraordinary. I was totally ill equipped to capture the spectacle on video.

Fascinating research discussed in the webinar Scientific American live: Bird Migration and Song featuring Professor of Chemistry University of Oxford, Peter Hore, an expert on magnetoreception.

Radicals are molecules that contain an odd number of electrons and are therefore unstable. For most molecules the electrons are paired which cancels out the magnetic force. Birds use three different compasses to navigate across the globe; the sun, the stars and the magnetic field. The Artic tern makes the longest migratory journey, a staggering 25,000 miles.

The theory that birds may use the Earth’s magnetic field to navigate began in the middle of the 19th century, but experiments in Germany with European Robins in the 1960s were the first to prove the connection. The Earth’s magnetic field is extremely weak so the mechanism that can detect this weak force must be very sensitive. Because free radicals are very unstable it doesn’t take much energy to have big effects. The particular cryptochrome molecule used is found in the retina of the eye with the photoreceptor cells. Blue light shined onto Cryptochrome 4 produces radical pairs which are sensitive to the magnetic field. It is excited by blue light but does not respond to red light. The molecules work like a pendant compass, distinguishing the direction of the magnetic field towards pole or equator. This feature arises from the spin direction of the free radical pairs. Both radicals may spin in the same direction or one may spin one way and the other the opposite. There is a lot of processing in the eye before a signal is sent to the brain to act upon.

It is possible birds form a visual perception of the magnetic field. The cone cells in the eye are used by day but may be taken over at night for navigation as this is when birds migrate. Light pollution and electromagnetic noise pollution such as AM radio masts can cause disorientation.

I still have questions about how the birds know where to head for. They may have a map but they still need a destination.

Stunning North Norfolk coastline. It’s so flat here that cliffs are unexpected. Hunstanton Beach was once under a tropical sea 108 million years ago when sea levels were 200m higher. Somewhere in these strata evidence of magnetic pole reversals will be stored.

So much to explore at the National Physical Laboratory Open Day but my favourite room was Magnetic Materials and Sensors. They don’t allow any photography so I can’t share some of the amazing experiments I saw but I have been able to recreate my favourite as it was also the simplest; a magnet dropped into a copper pipe creates an electric current as it falls which gently slows its progress through the tube. So cool. I will be filming this.

Experiments with lenses. It’s often the way that having spent time on a proposal that doesn’t get accepted those ideas do not get wasted but ultimately feed into new work.

Testing ‘The Forms’ as a floor piece.

The immutable truths Plato discovered in geometry belong to the realm of abstract thought and ideals he called The Forms. Twelve pentagons form a dodecahedron which Plato defined as ‘a fifth construction, which the god used for embroidering the constellations on the whole heaven.’ Today it is dark matter that science believes holds the stars in the heavens. In visualisations of dark matter created from cosmological data we see familiar organic patterns emerge; the fronds of dark matter spanning between galaxies could be the spreading branches of trees or the veins under our skin.

Thanks to KIPAC Stanford University for the data visualisations.

Enjoyed a one day 3D Geometry class with Leila Dear at the Princes School of Traditional Arts. I gained so much from the RCA exchange week here that fed into my work for the past several years that I thought a refresher would be useful – and that was before I knew we would be making geometric bubbles. Irresistible.

Out of Studio

Reflections at Workplace Gallery

Sculpture by women artists Nicola Ellis, Hsi-Nong Huang, Patricia Ayres and Olivia Bax.

All works offer up a satisfying conjunction of materiality and form but especially loving Nicola’s ‘Quite a Structure’ which is like a slice of the Earth’s molten core.

HEAVEN NEITHER BURNING FARTHER at The Crypt, St. John on Bethnal Green

Erika Blumenfeld writes “The material comprising our bodies shares cosmic origins with the material comprising the planets, asteroids and comets in our solar system. Scientifically, this material, having derived from distant stars across time, threads back to the primordial material that emerged moments after our universe burst into being. Culturally, our star gazing has filled us with wonder across all civilizations, sparking art and architecture, philosophy and science, mythology, folklore as well as navigation and place-making”.

Visual journeys have been created using the archive, modern science, performative poetry, scanned glacier-ice sent by image transmission, laser-based mapping originally sourced from the Rosetta space mission, the use of historic adaptations, the layering of earthly minerals, and a hunt for asteroid fragments. Held in a crypt under-ground the exhibition takes a poignant look at the myth and science that surround comets, which in theory brought life to Earth but could also end it.

Artists: Julie F Hill, Leah Beeferman, Barry Stone, Pedro Torres, Fryd Frydendahl, Ports Bishop, Claudio Pogo & Magdalena Wysocka Curated by Lucy Helton

Fascinating and beautiful work in this subterranean gateway to the cosmos which rewards following up each artist’s research.

POST TOTEM at OHSH Projects pop up on Oxford Street, curated by Adam Dix and Dale Adcock.
I found the concept of this exhibition very appealing. Reaching back to what connects us. Some innate sense of the sacred.

‘Imagine an artist holding the metaphorical hand of an artist from the previous generation and that artist, doing the same, and so on, back through time, back 30 to 40 thousand years into the unimaginably distant past, when we made the great cave paintings of Lascaux and Maros-Pangkep karst. This imaginative exercise creates an image of an unbroken woven human connection, stretching back through time uniting, individuals into a group, linked by imagination, action and materials.’

Artists showing: Dale Adcock, Simon Burton, Adam Dix, Tim Ellis, Lisa Ivory, Simon Burton, Rachel Howard, Henry Hussey, Dean Melbourne, Yelena Popova, Chantal Powell, Joanna Rajkowska, Alexis Soul Gray, Suzanne Treister.

Seth Price – Art Is Not Human at Sadie Coles

An interesting entanglement of hand and digital process. Raw paintings are photographed and imported to a 3D digital space of geometric shapes, tubes and directional lighting. The effects are then exported and printed onto the original painting.

Melanie Manchot Alpine Diskomiks at Parafin.

Questioning the mediation of the mountain experience. A mountain skyline created from album covers and soundscape from the combined mix of recorded content. Imagine a steady build of music to accompany the climb to a dramatic mountain peak and the overwhelming crescendo as you reach that majestic summit of the sublime. Downstairs choreographed snowploughs score grooves in looping folkdance sequence.

This painting by Luchita Hurtado at Hauser and Wirth made me think of the practical demonstration by Brian Cox showing that in a vacuum a feather and a rock (bowling ball) would fall at the same speed.

 “The reason the bowling ball and the feather fall together is because they’re not falling. They are standing still. There is no force acting on them at all.”

“(Einstein) reasoned that if you couldn’t see the background, there would be no way of knowing that the ball and the feathers were accelerating toward the Earth.”

Larry Bell at Hauser and Wirth

‘Although we tend to think of glass as a window, it is a solid liquid that has at once three distinctive qualities: it reflects light, it absorbs light, and it transmits light all at the same time.’ Larry Bell

Everything is Made of Light at Bermondsey Project Space. The artists refer to Jacques Rancière, in his essay, Are Some Things Unrepresentable?, who scrutinizes the challenges faced by images in depicting the world around us.

Mark Kasumovic tackles the problem of trying to represent the invisible through a juxtaposition of images of spaces of discovery and text listing scientific non sequiturs. Mary O’Neill presents us with a world of fragments from which personal narratives must be assembled. Isabella Streffen’s work explores perception and the spaces between digital and emotional communication. Matthew Pell stretches time through capturing light in otherwise transient momentary events.

I felt very in tune with intent of the work here. Particularly Mark Kasumovic’s texts that felt like a snapshot of a research artist’s notebook. All those tantalising lines of enquiry. I liked the premise from Mary O’Neill of the introduction of creatures from the mundanity of an overlooked life, that when situated in a new context, conceive paradise.

Marcus Cope Silver Linings at Peer

Fabulous potent paintings of those vivid memories that are seared into the synapses from times of heightened emotions.

Beautiful and terrible.

Alice Bucknell Swamp City at Hoxton 253 Project Space

Like a dollop of dream topping on a large turd the work offers up a speculative future of luxury ecotourism as investment opportunity in the face of a climate crisis that feels almost inevitable.

Charlotte Johannesson Circuit at Hollybush Gardens.

“Nature speaks in symbols and signs.”

Evolution from weave to code and back again. Beautiful works full of metaphor and shared history.

Reading – Braiding Sweetgrass Robin Wall Kimmerer; reciprocity – don’t take more than you need and always give something back.

Mercurius Patrick Harpur; no easy route to the conjunction of soul, spirit and matter.

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.

2002 St Augustine's Tower

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

2002 magnetoreceptor wip 1

Some interesting research at the Max Planck Institute headed by Dr Christine Nießner has been looking at the light-sensitive molecules that exist in bacteria, plants and animals which are used for perception of the Earth’s magnetic field to aid orientation and navigation.  In birds the cryptochrome molecule is located in photoreceptors in the eyes and is activated by the magnetic field but only reacts to the magnetic field if it is simultaneously excited by light.

An additional meaning to birds eye view.

In animals, these molecules are also involved in the control of the body’s circadian rhythms. The researchers think that some mammals may also use this cryptochrome to perceive the Earth’s magnetic field. In evolutionary terms, the blue cones in mammals correspond to the blue- to UV-sensitive cones in birds. It is therefore entirely possible that this cryptochrome in mammals has a comparable function.

2002 magnetoreceptor wip 2Observations of foxes, dogs and even humans indicate that they can perceive the Earth’s magnetic field, but may perceive it in a different way, for example with microscopic ferrous particles in cells known as magnetite. A magnetite-based magnetic sense functions like a pocket compass and does not require any light.

2002 naked mole rat

Mole rats navigate their dark tunnels using this kind of compass. Birds also have an additional orientation mechanism based on magnetite, which they use to determine their position.

 

 

 

2002 dark skies forest

 

Continuing research for a collaborative event with UCLO looking at the planetary system most similar to our own Solar System which contains the bright star HD70642. It is visible with binoculars from the southern hemisphere toward the constellation of Puppis.  “The Stern”  (poop deck) was once part of the constellation Argo Navis. Argo was the ship that Jason and the Argonauts sailed on their quest for the Golden Fleece2002 star map Argo Navis

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.

At 90 light years away, extremely faint early radio broadcasts from Earth are now passing this planetary system. It was around 90 years ago when University College London Observatory first began exploring the night sky. It was also around then when my mother was born which gives a human scale to the journey time. The constellation of Puppis is only visible from the southern hemisphere but should there have been a radio broadcast about the opening of UCLO then this information would now have travelled to this potential alternative home.

2002 UCL Observatory

 

British Pathé produced a short but sadly silent (sound was not introduced until 1930) newsreel of the opening of the observatory at UCL in 1929. View here

 

 

 

 

There may be a chance to discover Earth like planets using the new high precision spectrometer technology developed by Macquarie astrophysicist Christian Schwab which collects starlight from  unimaginably distant stars and measures the subtle effect orbiting planets have on their parent stars.

2002 spectograph Kitt Peak Observatory

Further research for a future video work The Seeker, The Seer, The Scientist. Looking to the horizon, the line that separates earth and sky.  The optical horizon is what we see but is not at the same as the geometric horizon which allows for the curvature of light due to atmospheric refraction. If the surface of the Earth is colder than the air above it, light is refracted downward as it travels around the curvature of the Earth and if the ground is hotter than the air above it light is refracted upwards causing a mirage.

2002 horizon

The true horizon is usually hidden.

2002 horizon sea

We each have a personal distance to the horizon based on our specific height of eye from the ground and the local elevation from sea level at which we stand. It is a distance we can never reach as it always recedes.  The seeker must send a seer to visit their horizon and report back on what it is they see, they may also send a scientist. The seer can see beyond, but is what they see real or imagined, the scientist can explain what is beyond but this is just abstract space.

My height of eye = 1.5m + local elevation

Distance to horizon = √(13 x height of eye)

2002 iris for etching

Some interesting ideas in The Rosicrucian Cosmo-Conception, a 1909 text by Max Heindel which seem relevant to my meanderings intersecting cosmic particle trails with matter. This text, setting out a theory of seven Worlds and seven Cosmic Planes, supposes an intermingling of spirit with matter where the intersection of the material and metaphysical world are not one above another in space, but inter-penetrate each with the other.2001 cosmic planes

Beginning the process of disposing of old work and bits and pieces. Storage is a big problem for artists I think.

2002 plastic

Also reworking old prints. It’s taken a couple of years to percolate but am working on a suspended paradise.

2002 paradise suspended

Out of studio.

A brief look at what is current in Bloomberg New Contemporaries 2019 at South London Gallery

200219 new contemporaries

The Missing Day discussion on 29/02 as part of the The Habitat of Time programme at Arts Catalyst curated by Julie Louise Bacon was a cross discipline interrogation of the social, political and personal impact of how we order time.

  • Once every four years, here in the collective habitat of Earth time, 365 becomes 366 as the missing day of the leap year makes another appearance in the now-global calendar. This quadrennial occurrence foregrounds the essentially malleable nature of time. From the earliest lunisolar calendar developed in Babylon during the Bronze Age, to the invention of atomic clocks in the mid 20th century, and speculations on the quantum realm in the laboratories of today, time’s parameters have taken on new guises, shaping and regulating life in the process.

The Missing Day roundtable explores the development of human modes of measuring and understanding time, and their impact on the ways we order time as societies, individuals and a species. The discussion will bring together perspectives on observing, keeping and speculating on time from the fields of the history of science and physics. It will consider the emergence of the modern regimes of time that dominate social life, their limits and the possibilities beyond.

Chaired by the curator Emily Akkermans ‘Curator of Time’ at National Maritime Museum Greenwich spoke about the mechanics of horology and the trade and empire building that led to time keeping for navigation, transport systems, industry and financial markets. Artist Ted Hunt whose work is featured in the 24/7 Somerset House exhibition spoke about his attempts to deconstruct the clock and find alternative methods of recording time. Artist Ami Clarke from Banner Repeater had a stark message about capitalism driving our relationship to time, taking control away from the human as algorithms respond to twitter announcements and fluctuate markets faster than humans can intervene to prevent malfunction. Particle astrophysicist Cham Ghag was present to give insight into how time does not exist in physics apart from in the law of thermodynamics. All other processes are reversible but heat can only travel in one direction. He also spoke about the importance of good quality sleep and disengaging from the demands of 24/7 ordered time.

2002 habitat of time

24/7 – A WAKE-UP CALL FOR OUR NON-STOP WORLD at Somerset House. With over 50 works it was a bit of a sensory overload in itself but thankfully interspersed with meditative works that gave some respite. An urgent analysis of sleep deprivation, disrupted circadian rhythms and non-stop culture.

The current new materialisms reading group book is Posthuman Knowledge by Rosi Brandotti who writes about complex multiplicity and a global exhaustion from having to negotiate new technologies, the political landscape and climate urgencies, like surfers riding an ever increasing number and magnitude of waves. How do we position ourselves (we who are in this together but are not the same)  in a world where we must distinguish ourselves from non-human (I am not  ROBOT) yet embrace and include the non-human; confer rights to nature; dismantle dualisms?

The question of what is it to be human is wonderfully scrutinised in Caryl Churchill’s play A Number which looks at human cloning and identity, particularly nature versus nurture in making us who we are. The story, set in the near future, is structured around the conflict between a father and his sons – two of whom are clones of the first one. The original son feeling loss of self, the second son feeling a poor copy, and subsequent sons freed of guilt or jealousy or lacking in introspection and depth.

2002 mirrors

Research Network: Ecological Sci-fi – Artist talk with Stephanie Moran and Keiken at Inniva.

Scientists have been incorporating more and more attributes based on animal perception and behaviour into media, a process that has been intensifying since the beginnings of Modernism, from steam engines to AI (Lippit, 2000; Parikka, 2010). If we are already cyborg, we are also already interspecies cyborgs, albeit in anthropocentrically instrumentalised, alienated form. As artist Jennet Thomas’ dystopian sci-fi film proposes, “The category ‘human’ is falling apart…” (Animal Condensed>>Animal Expanded#2

Stephanie Moran’s PhD research considers how to think about ourselves as part of a shared ecosystem and to consider the embodied experiences of other species that share our world but inhabit very different experience-worlds. Unfortunately I found it hard to hear and follow her talk, and keep pace with the slides. I’m sure there was a lot of interesting information that escaped me. I did pick up the mention of magnetoreception though.

2002 Stephanie Moran

Astrobiology researcher Professor Lewis Dartnell gave an interesting talk at Conway Hall Origins – How the Earth Made Us

Geological forces drove our evolution in East Africa; mountainous terrain led to the development of democracy in Greece; and today voting behaviour in the United States follows the bed of an ancient sea. The human story is the story of these forces, from plate tectonics and climate change, to atmospheric circulation and ocean currents.

2002 Cutty Sark

Slow time. Norwegian choreographer Ingri Fiksdal presented Diorama at Greenwich on a thankfully bright February lunchtime.

These performances reflect on the passing of time, on the slow change in landscape, and scenography as an ecological practice of bodies both human and non-human.

The word “diorama” often refers to a three-dimentional model of a landscape, such as displayed in museums of natural history. Another use of the word is for the French diorama theatre, invented by Louis Daguerre in 1822, where the audience were sat watching big landscape paintings transform through skillfully manipulated light, sound effects and live performers.

 

ONE FOLD, TWO FOLD, TEN FOLD, MANIFOLD at Exposed Arts Projects.

2002 manifold library

Manifold has varied meanings across context and research discipline with use in mathematics, topology and geometry.  It describes .

2002 manifold Gina DeCagna

 

Artist Gina DeCagna presented her explorations with discarded cardboard built into installations looking at layering and hierarchy. These assemblages work as symbolic means to arouse social questions around empowerment and inequality.

 

 

 

In mathematics, topology compares shapes to see if they have the same number of holes and handles and can therefore be moulded from one into the other by stretching, twisting, crumpling and bending, but not tearing or gluing.

Topologist Dr Mehdi Yazdi gave an introduction to mathematical concepts in topology, manifolds and foliations from abstract space to the expanding rings of trees found in nature. Foliation is the decomposition of shape into lines and circles. We gained visual inspiration from hands on participation with marbleised paper.

2002 marbling

Mushrooms: The art, design and future of fungi – an exhibition at Somerset House celebrating the remarkable mushroom, and all the progressive, poetic and psychedelic wonder it evokes.

2002 mushrooms (3)

Michael Pollen’s excellent book How To Change Your Mind  sets out a fascinating history of psychedelics bringing us up to date with current research and future potentials for treating addictive behaviour as well as offering well adults access to an alternative consciousness. Told through his own experiences using LSD and psilocybin under guidance and his many interviews which researchers, practitioners, therapists and volunteers one overarching theme that comes out is a feeling of transcendence to another plane of consciousness which many interpret as becoming one with the universe or feeling the presence of god and an overwhelming sense of love. Could this chemical be the catalyst to opening receptors in our brain enabling us to access a consciousness present in the universe outside our body or are the emotions, visions and dissolution of ego experienced by those taking psychedelics all taking place within the brain?

Pollen quotes from Aldous Huxley’s experiences documented in his 1954 book The Doors of Perception where he describes an unmediated access to realms of existence which is always present but kept from our awareness by a “reducing valve” of everyday waking consciousness a kind of mental filter that admits only a “measly trickle of the kind of consciousness” we need in order to survive. A bit like us only seeing certain wavelengths of the electromagnetic spectrum.

The title comes from William Blake’s 1793 book The Marriage of Heaven and Hell which expresses a unified vision of the cosmos in which the material world and physical desire are equally part of the divine order. It would not be hard to imagine Blake’s visions rooted in a psychedelic experience.

2002 William Blake

Over 250 years after the young William Blake saw a vision of an angel in a tree on Peckham Rye, Flat Time House has commissioned six poets to bring their words and visions to Peckham. Each of the poets has been commissioned to write in response to the life and work of William Blake and/or in response to that other creator of cosmologies, John Latham.

Poets in Response to Blake is part of the exhibition programme The Bard – William Blake at Flat Time House. The evening I attended we gathered to hear Chris McCabe, Niall McDevitt, Karen Sandhu and Iain Sinclair read from their commissioned works. It was such a treat to hear the spoken word live. A time to listen and reflect. Each of the contributions was evocative and insightful. I like that Iain Sinclair suggested John Latham was of such an expansive mind that he spanned time and consequently predated Blake.

“Spectral Latham pre-deceases William Blake,

      while both magicians,

burning like thermal lances, are numbered among

     the chain of stars.

Curved light reaches through infinitely extended

   quantum crumbs,

Planck time, to a black metal box that flattens,

   swept by paper waves,

into a cemetery suburb on the hill. Angelic incidents

   are reported”       Iain Sinclair