Archives for posts with tag: radiation

In search of huts. I have been on a mission to locate and document the remaining huts from a cosmic ray detection experiment at Haverah Park on the Pennine moorland in North Yorkshire.

When high-energy cosmic rays enter the atmosphere, they set off a chain-reaction particle cascade known as an extensive air shower. The Haverah Park experiment was home to one of the largest extensive cosmic ray air shower arrays in the world.

It was operated by the Physics Department of the University of Leeds for 20 years, closing in 1987. An array of over 200 water-Cherenkov detectors covering 12 km2 were active during its operation and many 1000’s of extensive air showers were recorded, including ones of such size that the cosmic rays that generated them had energies previously unthought of, adding to the mystery of where they come from.

The large energy density of cosmic rays is close to that of starlight, adding their own glow to the sky as they blast across the universe. Cosmic rays are the atomic nuclei of elements ranging from hydrogen to uranium accelerated to high energies, with half being protons and most positively charged.

Much of the technology used to observe cosmic rays has changed little over the decades since first inventions and still plays a role within newer technologies.

It appeals to me that the excitement of observing particles from other galaxies happened at these unassuming structures.

Sharing the landscape of Haverah Park cosmic ray air shower detector array huts are the striking white radomes that shield secret radar equipment at RAF Menwith Hill. The spy station has been there since the cold war space race began in the mid-fifties. Little is known about what goes on here but broadly it is said to gather electronic intelligence and is operated by US National Security Agency (NSA) and UK Government Communications Headquarters (GCHQ). As satellite technology has increased so has the number of radomes which now number 37 at the site. It is worth noting that satellites are vulnerable to unpredictable space weather and cosmic ray interference.

The total number of particles detected in a shower can be used to estimate the energy of the primary cosmic ray. Some particles contain the highest energy form of radiation known to exist anywhere in the universe and their origin is one of science’s greatest mysteries. Air showers of secondary particles generated from a primary cosmic ray hitting the Earth’s atmosphere are spread over many kilometres when they hit the ground so it is useful to have detectors spread over a large area. The difference in the time of arrival of recorded particles at multiple detectors can be used to estimate the arrival direction of the primary cosmic ray. However, this does not necessarily reveal the origin of the particle as magnetic fields within the galaxies bend their trajectories so that the memory of their original direction is obfuscated.

The cosmic ray detectors I made for the The Breath of Stars use a block of plastic scintillator which emits a short burst of UV light when a charged particle passes through it which is picked up by a single-photon-sensitive device. The detectors used at Haverah Park are water Cherenkov detectors. These are large steel tanks of purified water with photon sensitive detectors in the water.

While the speed of light in a vacuum is a universal constant its speed through a material may be significantly reduced as it is slowed by the medium. A particle passing through a material faster than that at which light can travel through the material loses electrons thereby emitting light. When cosmic rays pass through the water tanks, they emit Cherenkov radiation because they travel faster than the speed of light in water. Cherenkov light is similar to the production of a sonic boom when an airplane is traveling through the air faster than sound waves can move through the air. Pavel Cherenkov along with Ilya Frank and Igor Tamm discovered and demonstrated this phenomenon in 1934, astonishingly, it had been predicted in 1888 by Oliver Heaviside, and in 1910 Marie Curie had noticed a strange blue glow from her radium experiments.

Other huts from the Haverah Park experiment are in a state of collapse.

There are so many high energy particles hurtling around the universe that they almost equal starlight in energy density. Cosmic rays travel at almost the speed of light and because they are charged particles most cosmic rays are confined, spiralling within our galaxy for a million years or more, by the magnetic fields which permeate it.

Five million cosmic rays pass through your body each day. Some will collide with atomic nuclei. A particle passing through a material at a velocity greater than that at which light can travel through the material emits light. Maybe we glow a little.

Following the disappearing trail. Haverah Park hut with an intriguing hexagon tank.

Inside Hut no. 7 is a dumping ground. Waste is a big problem in space as well as on Earth. The thickening shell of space junk in low Earth orbit, if left to accumulate, could cause a conductive shield to form, weakening the effectiveness of the magnetosphere, which protects life on earth from most cosmic radiation.

A decaying wall map of the entire Haverah Park experiment is just visible through a window of one of the huts in the central hub, but not much else remains inside.

It looks like these huts have been recently emptied into a skip which, by chance, was collected while I was there. Unfortunately, the driver had no enlightening information for me about the future of the huts.

Cherenkov radiation is a form of energy that gives off a blue glow when electrically charged particles are moving at speeds faster than light is able to travel through the same medium. The experimental physicist Blackett, who received the 1948 Nobel Prize in Physics for his investigations into cosmic rays, believed that extensive air showers should produce flashes of light that could be perceived by the human eye when lying down and looking upwards under dark skies. Whether he achieved seeing this phenomena himself is not known, but he inspired colleagues Galbraith and Jelley, in 1952, to devise an experiment to detect light from air showers using a rubbish bin painted black on the inside, a recycled searchlight mirror and a small phototube. With these simple items, they made the first observation of Cherenkov light produced by cosmic rays passing through the atmosphere. Not all the twinkling in the night sky is starlight.

During the Haverah Park experiment, the water Cherenkov detectors deployed across the moors were connected by underground cables and transmitted information to the control huts via radio signals in the microwave frequency range. All communication is now severed. Cut cables coil in rain filled tanks. The cosmic rays are still pounding down upon these new unwatched ecosystems but the detectors have moved elsewhere.

I am looking forward to meeting Professor Alan Watson FRS here in the autumn. He is eminent in the field of cosmic rays and helped initiate the extensive air shower project, working at Haverah Park for 25 years. He has kindly agreed to meet and share his insider knowledge of the history and operations at the site.

The idea to build a truly giant shower array was launched by Alan Watson and Jim Cronin shortly after Haverah Park was decommissioned and thanks to the ground breaking work undertaken in these huts, it evolved to become the vast Pierre Auger Observatory in Argentina, named in honour of the man who first discovered extensive air showers.

Peering into the darkness, trying to fathom the structures of the universe or what’s inside the hut, and the nature of that relationship.

The ultra high energy particles detected at Havarah Park and new arrays across the globe are very rare, possibly less than one per square kilometre per century, so it is big news when one arrives. Because they have such high energy, it is thought they shouldn’t be affected by galactic magnetic fields, and therefore, the direction of the particle could be determined and the source located. The Amaterasu particle, named after the sun goddess in Japanese mythology, the second most powerful particle to be recorded, appears to have emerged from the Local Void, ana area with no astronomical objects that might produce such a particle. There is no explanation of where these particles come from, just hints of bigger mysteries to unfold.

Many water tanks remain around Haverah Park, stripped of their purpose as water Cherenkov detectors they now reflect the sky in the rainfall they collect rather than record showers of particles from space.

During operation, huts were built in groups of three, each with six large galvanised steel tanks lined with white plastic to diffuse the light and filled with local purified water. Each tank was monitored by extremely sensitive photon detectors which recorded the Cherenkov light emitted as particles passed through the water. At the end of the large array experiment, one of the detectors was opened, and the water was found to be crystal clear and good enough to drink. The proof that water could be kept bacteria-free in a sealed container for over 25 years gave confidence in using the same technology for a future larger cosmic ray detector array to be developed.

Haverah Park was once one of the largest extensive air shower arrays in the world, with an area of 12 km2, but in the end, it just wasn’t big enough.

When Alan Watson and Jim Cronin proposed building a new 3000 km2 shower array, the question from funders was, ‘why do you want to make the array so large?’. The answer is, of course, to discover those known and unknown unknowns, but funders don’t usually like unpredictable outcomes. Luckily their plea was bolstered by the Fly’s Eye Cosmic Ray Detector Array out in the Utah Desert recording the Oh-My-God particle in 1991, it’s energy was 40 million times greater than that of any particles ever produced in any terrestrial particle accelerator. This and other evidence of extremely high energy particles sparked interest in the field of astrophysics and validated the discovery of similar particles at Haverah Park, which had not been taken seriously at the time. This ambitious proposal gained momentum during the 1990s to become the Pierre Auger Observatory in Argentina, with the detector design developed from the water Cherenkov tanks so successfully operated at Haverah Park. The huts here may be in ruins, but their legacy lives on at the world’s largest extensive air shower detector array, which is edging closer to answer the question ‘Where do ultra-high-energy cosmic rays come from?’

I am looking forward to developing work responding to the legacy of the Haverah Park experiment and building on my experience of creating The Absolute Hut (of absolute potential) New surfaces to explore, more moss, and also lichens here.

‘The Belly of a Rock’ video has waited a long time for its crusted shell. A hybrid between rock, mollusc, and technology inspired by the chemical conversations and urge to create described by Italo Calvino in his story ‘The Spiral’. We don’t always know what we are creating. Within ‘the belly’ surfaces slide and scrape along lines of fissure, distended innards ooze and rocks moan as they are distorted by untold pressure. The turbulent spiralling of the core births rock and lifeforms acted upon by the drag of the oscillating magnetic field.  

I have acquired a large number of photochromic optical lenses. These I have sorted by diameter, thickness and distortion. Initial thoughts about their use include using them as petri dishes to grow crystals which are embedded into small concrete hexagonal pillars of differing heights with reference to the geology of giants causeway. Using them to create composite windows into a new hut structure filled with video projections referencing the fly’s eye cosmic detector array.

A good workout on the guillotine making 201 cuts in copper sheet in preparation for a new concrete tablet in the Instruments of the Anemoi sculpture series.

Gallery and other outings:

Beverley Duckworth’s installation Surplus at Goldsmiths MFA final show. Beverley’s work is grown through a diligent process of care. Found materials are literally given new life in the seeds which are embedded into them, which then transform and colour them. The installation includes an intermittent sound element of recordings of the melody played by waste trucks in Taiwan to call people to bring out their rubbish.

Apparently I wasn’t the first person to be struck by similarities to the landscape of Yangshuo near Guilin China. I visited in 1984 and think it is no longer a quiet little village.

It was the first time I had been back inside the Ben Pimlott building at Goldsmiths since by own graduation, a scary twenty years ago. The building was brand new then and the views with little visible green fed into my installation Re:construction – a large screen print with tiny viewing hole to a tiny oasis amidst the grey, albeit a synthetic one.

Yinka Shonibare Suspended States at Serpentine South. Horrors of war and colonialism are filed under dazzling colour, birds on the brink of extinction stare in plea or accusation, beacons of light in the darkness come from miniature replicas of sanctuaries.

Yinka’s socially engaged inclusive practice spills over into real help for artists and communities. The exhibition celebrates Guest Projects and G.A.S. Foundation in Lagos. Guest Projects is such a generous idea and I have been so lucky to benefit from it with the project Laboratory of Dark Matters

Being awarded a month’s residency at Guest Projects was crucial to the success of Laboratory of Dark Matters as a site for developing ideas and subsequently touring the project. Wonderful to meet Yinka and also to be part of the selection committee for the next round of projects.

Judy Chicago Revelations at Serpentine North. The highlight of this show is the video documenting The Dinner Party (1974-79) installation and the preparatory drawings and sample plate. What a shame the actual installation wasn’t here, I will have to visit the Brooklyn Museum, New York sometime to see it. The research, collaborations, crafts and designs that went into creating it was phenomenal.

Saw Complicité’s excellent Mnemonic at The National Theatre, 25 years after first seeing it at Riverside Studios. ‘A body is found in the ice, and a woman is looking for her father while a man searches for his lost lover. Mnemonic is as much about origins as it is about memory, and remembering what is lost. Mnemonic asks us: what is our place in the natural world? How have human relationships with the environment shaped patterns of migration? Who are we, and where do we come from? ‘

Visited the delightful mellow brick country home and extensive gardens of pioneering naturalist Gilbert White at Selborne. His book ‘The Natural History of Selborne’ (1789) has never been out of print since it was published more than 230 years ago. He was brought to many people’s attention, including mine, during the pandemic and lockdowns of 2020 when writer Melissa Harrison included his diary readings in her podcast The Stubborn Light of Things.

“A powerful solar flare hitting Earth is entirely plausible, and in the Internet Age would have a massive immediate effect that would go on to wreck the world economy. Satellites in low Earth orbit as well as communication devices on Earth would be destroyed – the ‘Internet Apocalypse’, causing blackouts, riots and supply-chain disruption, as well as ruining your last-second eBay bid”. Tim Marshall The Future of Geography

The dramatic increase in the number of satellites being launched into low Earth orbit unfortunately coincides with the current Solar Cycle 25, which is predicted to peak between January and October of 2024, with more solar storms of greater intensity and therefore a larger hazard for critical technologies and services. A growing risk awareness is evident as three new geomagnetic observatories have been installed across the UK in the last year to monitor space weather. They hope to predict solar storms and alert operatives to manage situations such as that in February 2022 when a Coronal Mass Ejection led to 38 commercial satellites being lost. Solar plasma from a geomagnetic storm heated the atmosphere, causing denser gases to expand into the satellites’ orbit, which increased atmospheric drag on the satellites and caused them to de-orbit.

Despite the unpredictability of our star’s activity, national space agencies and an increasing number of private companies are forging ahead with space based technology. There is a joint plan between space agencies (not including China or Russia) to construct a Lunar Gateway Space Station near to the moon where astronauts will live and conduct experiments for up to 90 days between visits to the moon. Gateway will be exposed to much higher levels of radiation than the ISS which is in low Earth orbit and so must be built to shield against higher levels of cosmic ray bombardment.

As of January 3rd 2024, the satellite tracking website “Orbiting Now” lists 8,377 active satellites in various Earth orbits. Communication and Earth observation make up the majority. The USA still outstrips all other operators but other nations are eager to catch up and within the past two decades, satellites from 91 new space-faring countries reached orbit.

It is not only radiation from space weather that is a threat to satellite dependent infrastructure. As witnessed following the largest nuclear test conducted in outer space by the USA in 1962, which lit up the sky with Auroras, knocked out electricity in Hawaii 900 miles away, created significant magnetic field disturbances and an artificial radiation belt which damaged or destroyed several satellites and persisted for a decade. Nuclear detonations in space could make space unusable for satellites.

Work in progress on a new video installation for upcoming exhibition Life Boat at APT Gallery. Taking the lifeboat as a metaphor for precarity, eight artists respond to current uncertain times of ecological and social change and shifting landscapes from both local and global perspectives.

The video looks at the interaction between space weather and Earth’s magnetic field and the risk solar storms pose to satellites and related infrastructure.

The ancient walled city of York was a great host venue for the Aesthetica Art Prize 2024 exhibition and the Future Now Symposium. Grey February is dispelled by the inspired decision of the local council and shops to keep the Christmas lights on.

There are many artists alongside myself in the Aesthetica Art Prize longlist, and it was great to meet up with familiar faces as well as make new contacts at this event. With so many artists, the digital showcase of our work in York Gallery was on quite a long loop, but I felt happy to be in such good company.

A link to my Aesthetica 2024 longlisted artist online profile is here

Private view of finalists work. Shortlist here

The winners of the main prizes, Maryam Tafakory for Nazarbazi [the play of glances]which explores love and desire in Iranian cinema, where depictions of intimacy between women and men are prohibited. and  Emerging Prize-winner Gala Hernández López, were well deserved with powerful, timely work.

The Future Now Symposium threw up some interesting and potentially disturbing questions about AI despite some speakers such as Dr Suzanne Livingston and Marian Ursu, positive spin that AI could herald a new utopia of knowledge production and collaboration to solve the world’s problems. The panel discussing ‘The Impact of New Technologies’ were all in agreement that it is already too late to change or avert the learning bias of AI systems reflecting and perpetuating human biases, as the early modelling is embedded too deep in systems that no one really understands or can control. There was encouragement to welcome the new technologies such as chatGTP and text prompt generative fill software as new tools to be used to expand on what we can create rather than seeing these as taking over the creative thought process.

The myth surrounding the deception of the judges by Boris Eldagsen’s now-infamous AI-generated piece, The Electrician, which won a Sony World Photography Award in 2023, was laid to rest by Edgar Martins on the ‘Photography in Focus’ panel. The winning image had been entered to the competition as an AI generated image and was judged on that basis, there was no cover up but certain media sources sparked heated debates around our trust in images, giving the impression that the judges had been misled. This doesn’t mean to say that there isn’t a problem with image authenticity in the news and especially on social media as AI generated images are shared ubiquitously without the relevant acknowledgement.

I very much enjoyed Sarah Perks in conversation with Heather Phillipson who describes her works as “quantum thought experiments,” which unfold in absurd and complex ways. Interesting to hear how her ideas develop from 2D sketchbook/collages, straight to full large scale 3D installation with no small scale models in between. Making such large work is a problem when it comes to storage, so some pieces have to be relinquished and then recreated if necessary, as it was for her Turner Prize nomination.

Margaret Salmon was another fascinating speaker with her quietly moving films that expose and elevate the minutiae of human experience. She showed a short film zooming in on the invasive ravaging nature of trawling the sea bed, indiscriminately gathering up everything in the haul, interspersed with a Whitstable trawlerman speaking about his life on the boats where this was just seen in terms of hard or easy work and how the day played out. It reminded me of the taped interview I have of Aunt Millie, a close elderly neighbour from my Suffolk childhood, who talked about mending the fishing nets piecemeal as a young woman when the village still had an active fishing industry. Fragile histories to be remembered.

The panel discussion ‘What does it mean to be an artist today?’ was tempered by Ori Gersht accounts of his personal experience as a jew during the current conflict, both here and as witness to atrocities in Israel. How to respond.

Gallery Visits

Freya Gabie Duet at Danielle Arnaud. Great to hear Freya’s own account of her time spent as artist in residence on the Mexican/U.S border at one of the teatime talks hosted at the gallery. The shocking inequalities and water poverty that she witnessed are sensitively explored through her work. The ease with which she could cross back and forth was denied those indigenous to the Mexican side who live in the shadow of a shiny wealthy city that they would never visit.

The exhibition explores the landscape of El Paso and Ciudad Juarez as a repository of shared connections and experience. Giving the land voice to both remember and carry the complications, contradictions, and beauty of the place; the way these nuances act in harmony, and the notes of discord they strike. For this exhibition, Freya Gabie draws out threads that weave the two cities of Ciudad Juarez and El Paso together. Approaching the intricate back and forth of economic, social, and medical journeys that take place between the people and objects of the border, and examining how the border both generates the flow of goods, services, and people and dams it, revealing the ways the resulting impacts are felt.

Agata Madejska Grand Habitat Horror Vacui at Flat Time House. The works evoke the personal intimacy and mess of domestic life lived at odds with prevalent power structures. They embody feelings of fragility, and exposure when a home must be constructed from fragments as seen in the small personal objects secreted in pockets or spilling across the floor, an accumulation of detritus that together makes a life, chafing against the world like grit in Vaseline. Due to my own current preoccupations, the dark padded grid of the entry room floor, that gave under the weight of mass and was strewn with discarded silver objects, read as low earth orbit littered with space junk, but was in fact a reference to the Chanel brand handbag.

DISSONANT BLOOM a group show with works by Nancy Allen, Mauro Bonacina and Héloïse Chassepot at Sundy. Enjoyable tactile sculptures with interesting materials and painting to get lost in with no point of focus.

As a concept ‘Dissonant Bloom’ refers to our vexed relationship with nature but it also suggests that growth and flourishing are possible amidst unfavourable conditions. In the same way that the coexistence of competing species ultimately fosters biodiversity and ecological resilience. In the same way every work in this exhibition embodies aspects of blooming, either aesthetically or conceptually, but they do not necessarily do so in harmony with each other.

Fragments of a Lost Future with Karen David, Lana Locke, Liz Elton, Mimei Thompson, Susie Olczac at White Conduit Projects. In a time of climate crisis the works question hope for the future as a fantasy, or only for the non-human.

The Planet’s mineral, energy and agriculture resources have been efficiently, and even ruthlessly, exploited… They have harnessed energy of the atom, deciphered the molecular codes that oversee their own reproduction… Despite these achievements the people of this planet have in other respects scarcely raised themselves above the lowest level of barbarism. The enjoyment of pain and violence is as natural to them as the air they breathe. J.G. Ballard [“Report From an Obscure Planet”, 1992]

The fears of the near future described in J.G. Ballard’s science fiction novels are now our reality.

When corporations and politicians are busy monopolising airspace and arguing amongst themselves, whose voice will communicate this urgent crisis. We go about our daily lives with our heads partly buried in the sand, often too busy to fully engage with our current polycrisis. Activists rightly convey outrage, but can we embed these urgencies into our everyday lives? In ‘Report from an Obscure Planet’, Ballard describes the critical state of the Earth as viewed from another place. White Conduit Projects brings together these five artists who bravely and playfully incorporate this sense of crisis into the core and surface of their work. Starting with their everyday surroundings, they attempt new ways of communication, quietly bringing a Ballardian nuance to artworks that inhabit our domestic space.

Loose Ends is a group exhibition at Thames-side Studios Gallery exploring connections and the interwoven poetics of material and the body by ten artists working across ceramics, textiles and performance.

Blown away by the sheer elegant beauty of  Alex Simpson‘s impressive new ceramic work traversing across latex covered foam blocks.

Robert Good Saturation Point Sunday Salon 29. Responding to Richard Brautigan’s 1967 ode to a coming technological utopia ‘All Watched Over by Machines of Loving Grace’ Robert explores what a cybernetic meadow might look like. Here he presents six digital artworks that hum, whirr, click and miaow with the first stirrings of a new digital landscape – one of computer vision, compromised identity and permanent connectivity. This meadow is not brought about by the unfathomable AI but is hand sown and nurtured with the level of technology we can still engage with; it is a human scale materialization of the inner workings of the digital world.

OUTSIDE IN at SET Ealing, a dynamic group show curated and including beautiful, stitched painting by Anna Lytridou, with works by Anja Aichinger, coloured paper clay forms by Eleanor Bedlow, fossil like forms by Anna Joy Reading, delicate folded brass mesh geometric forms by Brigitte Parusel, paintings of collapsed breasts by Jennifer Nieuwland, explorations of genealogy through painting by Jillian Knipe, abstract and evocative paintings by Linda Hemmersbach and Stacie McCormick and subtly coloured sculpted paper forms oscillating between stone and the night sky by Julie F Hill contemplating interconnections between the organic and the inorganic.

Listening

In Our Time Panpsychism – Melvyn Bragg and guests discuss the idea that some kind of consciousness is present not just in our human brains but throughout the universe, right down to cells or even electrons. This is panpsychism and its proponents argue it offers a compelling alternative to those who say we are nothing but matter, like machines, and to those who say we are both matter and something else we might call soul. It is a third way. Critics argue panpsychism is implausible, an example of how not to approach this problem, yet interest has been growing widely in recent decades partly for the idea itself and partly in the broader context of understanding how consciousness arises.

The Life Scientific – Professor of Computer Science at the University of Oxford, and the Director of Foundational AI Research at the Alan Turing Institute Michael Wooldridge on AI and sentient robots – Humans have a long-held fascination with animating an inanimate object, but the idea of Artificial Intelligence (AI) is often perceived as a dystopian threat: from Mary Shelley’s Frankenstein, through to the Terminator movies. We still often think of this technology as ‘futuristic’: whereas in fact, it’s already woven into the fabric of our daily lives, from facial recognition software to translator apps. He believes this will be a watershed year for AI development.

It might be interesting to consider if and how AI and technology might impact human evolution. Medical advances may already have influence. A 300,000-Year History of Human Evolution – Robin May The species we recognise as our own – anatomically modern humans – has existed for only 300,000 years, a blink of an eye in evolutionary terms. And yet during that time our species has been shaped by strong evolutionary forces, often unwittingly as an indirect result of human activities.