Archives for posts with tag: geology

‘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

Reading stones could be considered the first instruments used to create an enhanced sensory experience. Originally made from ground and polished rock crystal or beryl, they were placed over texts to magnify them.

1909 reading stones

This early optical technology paved the way toward observation of the furthest reaches of the universe and its minutest components.

1909 Baetylus 2.jpg

Both the telescope and microscope are referenced by the sculpture Baetylus installed on St. Augustine’s Tower roof for the exhibition Reading Stones.

1909 Baetylus installed St Augustines Tower

Baetylus (meaning from the house of god), are sacred stones/meteorites of divine origin.

In this case sold to me for £6, a 15mm Nickel Iron Meteorite from Campo Del Cielo Argentina, falling 5000-6000 years ago. Photographed with a macro lens and direct to media printed onto acrylic by Genesis printing. The steel frame expertly welded by Nick Amott of J.& R. Precision Engineers.

1909 welding

The wind and rain on the roof soon added to the piece.

1909 Baetylus meteor shower

rain + meteor = meteor shower

An object falling through space distorts not only the space it travels through but also time as space and time are inexorably linked.

Each visit to the roof gave a different experience of the work.

1909 Baetylus 1

The act of “reading stones” can refer to both the scientific practice of geological investigation and the ritual of lithomancy which seeks to interpret the patterns of stones cast by those wishing to divine the future.

1909 Lithomancy reading

Offering ‘readings’ gave visitors a personal perspective to consider when thinking about how we experience time and negotiate the future. The board, a salvaged old table top was screen printed with a design created after researching the ancient art of lithomancy and prevalent variations. I gave the board a geological emphasis and aligned the areas of activity with traditional associations such as sedimentary = home, boulders = obstacles and challenges, strata = knowledge and experience.

1909 lithomancy board

The gemstones were assigned properties according to traditional meanings.

1909 assigning stones

It was magical to spend so much time within the thick stone walls of St. Augustine’s Tower, ascending and descending the steep narrow spiral stairs adding yet another infinitesimal trace to the worn history of the steps.

1909 St Augustine tower stairs

Working with Carol Wyss and Anne Krinsky on this project was a pleasure and we were delighted with the public response to the exhibition.

1909 Carol Wyss All that remains

Carol Wyss All That Remains 

“My aim is to re-create the original ‘UR’ bone which has neither gender nor race, the first ever bone which existed, the one which fell from heaven or space. It is an attempt at merging all the bones of the human skeleton into one entity, which then becomes the common denominator, the starting point from which all bones and consequently all humans came. I am referring to the bible story of Eve’s creation from Adam’s rib, the Greek myth of Pyrrha with the creation of humans from the stones / bones of the earth and Da Vinci’s perfectly proportional Vitruvian man, as well as to science’s search for the ultimate building blocks of our universe.” Carol Wyss

1909 Carol Wyss

1909 Carol Wyss Os

Carol Wyss Os

Deucalion and his wife Pyrrha were the only survivors of the great deluge and landed on Mount Parnassus, the only place spared by the flood.
Deucalion consulted an oracle of Themis about how to repopulate the earth. He was told to throw the bones of his mother behind his shoulder.
Deucalion and Pyrrha understood the “mother” to be Gaia, the mother of all living things, and the “bones” to be rocks.
They threw the rocks behind their shoulders, which soon began to lose their hardness and change form.
Their mass grew greater, and the beginnings of human form emerged.
The parts that were soft and moist became skin, the veins of the rock became people’s veins, and the hardest parts of the rocks became bones.
The stones thrown by Pyrrha became women; those thrown by Deucalion became men.

1909 Carol Wyss Osmosis

Carol Wyss Osmosis

All the sons of Adam are part of
One single body,
They are of the same essence.
When time afflicts us with pain
In one part of that body
All the other parts feel it too.
If you fail to feel the pain of others
You do not deserve the name of man.
― Saadi Shirazi 1258

1909 Anne Krinsky Ephemera Scrolls 2

Anne Krinsky Ephemera Scrolls

“I am interested in the ephemeral nature of the physical world – in the transformation of terrains and in the erosion of stone, wood and metal over time. In developing imagery for the Ephemera scrolls, I wanted to create visual relationships across time and space. I photographed the Tower’s clock mechanism and gravestones from the surrounding garden and other London churchyards. During a recent residency at Oberpfalzer Kunstlerhaus in Schwandorf, Germany, I photographed the River Naab, as its water levels dropped during the hottest June on record. I feel impelled to document changes to wetlands and waterways in this time of accelerating climate change.” Anne Krinsky

1909 Anne Krinsky Ephemera Scrolls 1

Anne Krinsky Ephemera Scrolls

Time Crystals video work installed alongside the tower’s ancient clock builds on an interest in the mystery of time viewed across human, cosmological and quantum scales.

1909 St Augustines Tower Clock

The clock by which we measure time on our watches and digital devices is very misleading;
it is determined by the daily rotation of the Earth around its axis and its annual rotation around the sun.
This astronomical time is linear and regular.
But the actual clock by which we live our socioeconomic lives is an emergent phenomenon determined by the collective forces of social interaction:
it is continually and systematically speeding up relative to objective astronomical time.
– Geoffrey West, 2017

The patterns employed within the film and spilling out from the projection as 3D triangles mirror the crystal structure of the mineral beryl, commonly used to fashion the original reading stones.

1909 time crystals video still

The work also makes reference to the scientific theory of time crystals; a model which proposes a structure that repeats in time, as well as in space. Variations in perspective are manipulated through the speeding up, slowing down and overlapping of events to deconstruct a linear flow of time and interrogate the methods by which humans measure and experience this phenomenon.

It is within my mind then, that I measure time. I must not allow my mind to insist that time is something objective.
When I measure time, I am measuring something in the present of my mind. Either this is time, or I have no idea what time is.
― St. Augustine of Hippo, 397

1909 Time Crystals

How can the past and future be, when the past no longer is, and the future is not yet?
As for the present, if it were always present and never moved on to become the past, it would not be time, but eternity.
― St. Augustine of Hippo, 397

Using Carlo Rovelli’s book The Order Of Time as a reference guide and the quotes of St. Augustine as points of enquiry the repeating layered films were made using time lapse and slow motion; recording the exchange of energy as objects collide, heat up, cool down, travel at speed, transform, reflect and absorb, display traces of past events and embark on supposedly predictable trajectories. How we experience time is relative to where we are in the universe, our proximity to a larger mass and how fast we are moving.

 

A crystal is like a class of children arranged for drill, but standing at ease,
so that while the class as a whole has regularity both in time and space, each individual child is a little fidgety.
– Dame Kathleen Lonsdale, 1948

The fabric of the ancient building also helped determine the work installed. The 3D element of my video installation needed to be built in situ. One challenge was projecting in portrait mode to neatly fit the wall space between window and clock mechanism. Projectors are not supposed to be set on their side but with an adapted ceiling mount allowing clear air vents for the fan it all worked out fine.

1909 making triangles

Clamps, weights, stitching, balancing and non invasive means of installing had to be employed not to harm the Grade I listed heritage site.

1909 time crystals video installation detail

On location. After much searching a secret tower in the woods was found, knotted within dense undergrowth. Hidden in time and space.

1909 secret tower

Artlyst review of Reading Stones. by Jude Cowan Montague.

A pleasure to be asked back to Guest Projects for a filmed interview about my experience during the residency Laboratory of Dark Matters for a promotional video to launch Yinka Shonibare’s new residency programme opening in Lagos.

 

I attended the UK High Altitude Society Conference 2019 to give an update on the project aiming to launch a cloud chamber in a high altitude balloon.

1909 UKHAS 2019 2.JPG

Live Stream of conference presentations – my presentation at 3:30 in.

Very interesting talk from Michael Johnson on citizen space exploration & inflatable spacecraft, building on past developments of inflatable spacecraft from NASA new technology could see thousands of tiny spacecraft launched within days as opposed to decades.

1909 pocket spacecraft 3

1909 pocket spacecraft 4

He also allowed us to hold the tiny spacecraft.

Finished working on video sculpture At a distance which has been installed at The Museum of Cornish Life, Helston for the Lizard Point Residency Touring Exhibition.

1909 at a distance install

This residency was inspired by an incredible communications double anniversary in 2019, for Lizard Lighthouse (400 years) and Goonhilly Earth Station (50 years: transmission of the first lunar landings), considering the importance of life-saving lighthouse beacons and internationally important transmissions across the sea and sky.

1909 Lizard Lighthouse

Lizard Point, overlooking the Atlantic, benefits from natural darkness, natural beauty and is a great spot for viewing the Moon, stars and meteor showers.

1909 Lizard Lighthouse 21909 LIGHTHOUSE beam

Staying on site, next door to the famous Lizard Lighthouse, artists had the opportunity to create works responding to the variety of astronomical sights found there, as well as be inspired by the rich communications heritage along this very special part of the SW coastal path.

Solitary figures using semaphore flags sign ‘We Are One’ out across the ocean; filmed on 29th March 2019 (the first date the UK was supposed to leave the EU).

1909 At a distance 1

As in entanglement theory where two paired electrons mirror each other at a distance it is hoped the message will be echoed back. The work looks at methods of communication over distance. It relates this to the mysterious twinning of electrons in quantum entanglement where particles link in a way that they instantly affect each other, even over vast distances, and which Einstein famously called ‘spooky action at a distance’. The video is back projected onto a Fresnel lens, the type found in lighthouses to increase luminosity of the lamps beam, another form of messaging over distance.

1909 At a distance 2

The video sequences through five sets of semaphore messages. Each message is echoed back within a swirling force field emanating from across the ocean repeating the pattern of the flag representing entanglement. This is interspersed with imagery from video captured of the Lizard Point Lighthouse Lamp slowly waking and powering up from dim to dazzling light, split and mirrored in a circle of sending and receiving messages.

 

The Museum of Cornish Life is surprisingly vast and crowded with innumerable artefacts at every scale. A fearsome cider press the size of a lorry included. The long passage through the museum to the exhibition rooms encounters an overwhelming volume of items jostling for attention.

1909 Helston museum

Here are the records of events from which we infer the past.

While in Cornwall there was time for a quick visit to Tate St. Ives. An unexpected treat to find Otobong Nkanga’s excellent exhibition From Where I Stand looking at the glittery desirability of minerals and the scars left on the landscape and people by it’s extraction.

What could a monument be? Is it the thing we build or the thing we have taken away from? A place of emptiness is the monument to remind us there is no possibility of getting back to what has been – Otobong Nkanga

Binformation and Collected Thoughts have been selected for the Surrey Contemporary 2013 which will be at River House Arts Centre in Walton on Thames from 29th May until 30th June.

1304 Binformation

‘Binformation’ considers what new geology might be formed from the cocktail of ingredients disposed of in our landfill sites.

This work was originally completed for an exhibition about pattern. I was thinking about patterns of behaviour as well as creating a pattern from the imagery.

I cycled round to all my friends and neighbours knocking on their doors and asking to photograph their kitchen bin.

I hadn’t realised beforehand how personal a request this was. There was a lot of offers to see the recycling instead and excuses for what was in the bin at the time.

Things have moved on a bit since those days – not so long ago really but the amount of recycling we do now has increased dramatically since 2008.

There will still be that  layer of plastic under the earth for future generations to mine. I used the photographs to create an idea of rock crystals forming from our waste.

We have all participated in a global experiment with unknown consequences.

1304 Binformation detail

The kitchen bin is a surprisingly private space often laden with guilt and there is a certain amount of voyeurism in seeing what other people have put in their bin.

‘Collected Thoughts’ draws on ideas of preservation and references the Victorian enthusiasm for creating romantic tableaux of the natural world held in glass domes.

1304 Collected Thoughts

A contemporary plastic food packaging tray replaces the glass dome distorting the view of an apparently idyllic scene caught against a grey urban backdrop as in a moment’s hazy daydream.

Something else fast becoming history as plastic trays are used less and less.

I went to hear Anya Gallacio talk at Whitechapel Gallery as part of the To Make a Tree series.

Anya Gallacio

Anya Gallacio

She was in conversation with Jon Thompson an ex Goldsmiths tutor and Phyllida Barlow.

The most memorable thing about the talk for me was the number of times she started her reply to a question with ‘I don’t know…’

There was little discussion about trees which I didn’t mind as I found the topic which the conversation  kept returning to of teaching methods at Goldsmiths and other art colleges to be interesting.

It seems even back in the YBA days things were harsh at Goldsmiths – Richard Wentworth told Anya to throw her work out of the window as it was rubbish.

Phyllida reminisced about having to pick up the pieces of emotionally destroyed students who had been locked in the notorious Room B at St Martins but escaped to Chelsea. I wish she had been my tutor as she sounded keen to develop a student not crush them.

Maybe it was all for the good and in Anya’s case gave her good grounding to stand up for herself at Damien’s Frieze when feeling sidelined with limited space to exhibit she poured lead directly on the floor. Since then she has enjoyed making work that lets the material speak for itself. Flowers that dry up, fruit that rots. She has recently completed a new work in Edinburgh ‘The Light Pours Out of Me’. An amethyst lined grotto cut into the earth and surrounded with black stone and the green of the woodland, she wanted it to be something people would stumble across and wonder whether they should enter. Enticed by the beauty but fearful of the jagged edges.

'The light pours out of me' Anya Gallacio

‘The light pours out of me’ Anya Gallacio

Laure Provost won the Max Mara art prize for women and has her work showing at Whitechapel Gallery.

Laure Provost

Laure Provost

It is an incredible sensual piece of work made during her residence in Italy and inspired by the rich history of the female bather.

The centre piece is a pink mouth opening repetitively to a soundtrack which suggests both orgasm and the gasp of entering cold water.

There are circling motions, direct eye contact, demure slipping into water, fresh raspberries proffered from large sculptural spoons, bounty and pleasure.

Laure Provost Swallow

Laure Provost Swallow

Back in the studio I have been continuing work on ‘Return of the Forests’.

I made relief plates for the iceberg collagraph and made new carborundum collagraph plates of the forest.

1304 forest collagraph
This time I sprayed the carborundum with Polyurethane varnish before coating with Shellac.

1304 iceberg
I made some prints with the iceberg collagraph and relief plates – the main problem was getting the inks pale enough. You only need a tiny bit of ink to extender.

1304 trees on iceberg

I test printed tree collagraphs, the detail wasn’t as fine as I had hoped but the murky atmosphere was quite effective.

1304 return of the forest

I also continued work on another collagraph – collaging two images together. The same background as I used in Graft i & ii of a gated car park entrance.

I spent some time drawing a shadow for the fantasy tree which I wanted to take root here. I wanted the shadow to be menacing and in the end went for it outright.

I drew the outline of a devil beast into the shadow and made a relief plate out of thin card.

1304 Shadow

I printed this over the collagraph and mounted it onto aluminium.

1304 mounting on aluminium

I kept looking at ‘Yellow Sky’ in different lights and decided that it really did need lighting from inside.

Yellow Sky

I tried testing the LED strip lights I have to see if they would light from a battery and found they did using a 9v
I trawled eBay for a switch for this and amazingly found someone who wires up LED strip lights to a 9v battery with a switch to a specified length of wire and all for £6.60 battery included!

1304 Yellow sky battery

The LED strip was only 20cm in length but this was perfect for the inset piece.

1304 yellow filter

Felt very clever when I fitted this. I had to cut a hole through the frame for the switch which took me all day with a small chisel and various dremel attachments.

I cut a small plate out of rigid plastic for the switch to sit on and so it is all very neat and no wires and plugs to deal with.

1304 switch

I gave the LED’s a yellow filter with film over acetate to match the yellow sky.

1304 Yellow sky back

I am excited by this whole process and what possibilities it offers. I need to find out how long a length of LED’s can be lit with a battery.

1304 Yellow Sky inset

I feel the work is more balanced now the inset piece is lit.

1304 Yellow sky lit

Had a super evening at Great Western Studios Private View.

An exhibition focusing on prints based on photographic imagery curated by Sumi Pereira and presented by Printmakers Council.

The exhibition aimed to show both traditional skills and innovatory printmaking techniques.

Lidija Antanasijevic

Lidija Antanasijevic

Lidija Antanasijevic explores raw emotion and inner energy seeking to give form to senses and experiences.

In this instance the wires add to the work.

Looked a vibrant place to work and show work.

Particularly enjoyed Chris Mercier’s work here.

Chris Mercier 'The Unraveler'

Chris Mercier ‘The Unraveler’