Short Intro by MixedPie
Space Piece – Semâ Bekirovic
Spectacle frame forged from a meteorite
Porphyrin green, 2016
Organometallic red, 2016
Organic yellow, 2016
Porphyrin orange, 2016
Solar pigments and graphite on glass
In collaboration with Simon Mathew and Joost Reek (HIMS, UvA)
“I see the act of making in direct relation to my work. It can be seen as a wish to involve a performative aspect. There might only remain an image after an action. The work has an affinity with science and mathematics, which I employ as a language to inform and create forms as well as to analyse them.”
– Spira Mirabilis of Bernoulli & Lame' curve M=4, 2013
– Rose of Grandi a=3,b=2 & Epitrochoid of Durer, 2013
– Zero #06, 2016
Prints and ceramic installation
Domnitch & Gelfand – Implosion Chamber
High frequency sound waves propagate through a water-filled cylinder, prompting naturally diffused air bubbles to implode. While tracing the motion imparted by sound waves, these implosions are accompanied by shock waves, jet formations, temperatures as high as are found on the Sun, and conjecturally quantum tunneling. A white laser illuminates the bubbles, transforming them into shimmering lenses.
[sb]iLD – Angelo Vermeulen & Joenoes Natar/IoP, UvA & AMOLF
Swarm-based interstellar life detection
The swarm is autonomous and self-replicating
The swarm consists of five different classes of particles, each class with its own properties and functions.
1. The swarm travels through outer space in search of planets or asteroids where life is possibly present
2. When the swarm encounters a candidate planet or asteroid, it reconfigures itself as a shell around asteroids and small planets, or as a ring around large planets
3. Subsequently a scan is being carried out to look for biosignatures, using an array of different sensors
4. When no life is detected, the swarm continues its journey
5. When life is detected, the resulting data are embedded in Q-carbon/diamond particles
6. These data particles are sent back to Earth/space colony using a self-assembled Alcubierre drive
7. A part of the swarm will split off and remain behind as an observational swarm, the rest of the swarm continues its journey
8. During the journey of the - now reduced - swarm, asteroids are being mined to produce new particles and grow the swarm back to its original size
9. Before mining any asteroid, a life detection scan is carried out to avoid damaging the potential local ecosystem
10. Once the swarm has reached its original size, it continues its interstellar journey
A Sign in Space – Daniela de Paulis/API
"We are now dealing more and more with the exploration and knowledge of the invisible. Whether exploring outer space, the brain, or the depth of the oceans and Earth’s geology by means of radio waves and the broader electromagnetic spectrum, it becomes clearer that if we want to progress in our knowledge we need to embrace a new kind of cultural awareness, one based on phenomena which we cannot directly see and experience, yet strongly supported by scientific evidence. How do we internalize this knowledge made of scientific data based on the study of the electromagnetic spectrum and converted into sound and images? as visual or acoustic culture? or does this knowledge really generate a new kind of consciousness?"
Lotte Geeven’s Sky Museum
One slow meditative camera movement captures museum-like rooms in which different states of the atmosphere are taking shape. Static snowlike structures, and swirling complex patterns transform into floors, while a multitude of elements from the sky, such as snowflakes, insects, seeds and gasses, slowly pass by.
Colour, light and the future of solar energy – Maura Biava at Hims Lab
Artist Maura Biava experiments with the pigments developed by Simon Mathew of the HIMS lab at University of Amsterdam. His colours not only capture and reflect light, but also transform light. How art expresses electricity. For the art historians amongst us: blue is still the most precious colour.
How does space take shape in our minds? Tarja Szaraniec explores a new sense of space through her drawing practice. One that seems to conflate the geographical, mathematical, and astrophysical, however, the landscapes she creates are purely a result of her artistic practice. Her drawings are never literal landscapes but, rather, they express a sense of space. For New Realism she explores the layers, different ways of seeing, and the folded multidimensionality that features in her landscapes and where these meet the scientific landscape.
Research imagery by Tarja Szaraniec, Harry Seijmonsbergen, Jan de Boer and Selma de Mink.
Art for Data Center Workers
Eva Pel's new film Art for Data Center Workers explores the uncanny spaces where our data is stored. Inspired by a man whose responsibilities included caring for the ice cubes for the cooling system, Eva's film explores a space that is in-between our virtual and physical space.
'Art For Data Center Workers' is a short film made on location at the AMS-IX/Nikhef data center in Amsterdam. The oldest en most important datacenter for the internet in Europe.
The film explores the data center through a strange exhibition curated by Eva Pel, 'Art for Data Center Workers', with works by Semâ Bekirovic, Katharina Galland, Stefan Gross, Lucas Hoeben, Wjm Kok. Most works are site specific for this film.
CERN & New Realism
When artists visit CERN, first stop: the bins. Niels Tuning shows us CERN's trashbins with Doina Kraal.
Brilliant minds & future visions / Joost Rekveld @Amolf
After having spent two weeks as artist in residence at AMOLF FOM, Joost Rekveld gives an arttalk for an audience of scientists.
Joost's work, in which he explores abstract patterns and processes in sound and image, shows strange correlations with the actual patterns and processes in AMOLF's fundamental research which astounds the scientists.
Dark Matter Phenomena – Gwenneth Boelens/Erik Verlinde GRAPPA
"I am making a filmic work based on talks with Erik Verlinde, theoretical physicist, on gravity and his yet to be released theory. The work touches on ideas of invisibility and the unknowable, thought processes, and the role of intuition and notation. I’ve been intrigued by Erik’s process of finding new ways to think about ever challenging topics and how these topics resist visibility."
Dark Matter Phenomena – Gwenneth Boelens/Erik Verlinde GRAPPA
"But because I do have some dim conception at the outset, one distantly related to what I am looking for, if I boldly make a start with that, my mind, even as my speech proceeds, under the necessity of finding an end for that beginning, will shape my first confused idea into complete clarity so that, to my amazement, understanding is arrived at as the sentence ends. I put in a few unarticulated sounds, dwell lengthily on the conjunctions, perhaps make use of apposition where it is not necessary, and have recourse to other tricks which will spin out my speech, all to gain time for the fabrication of my idea in the workshop of the mind."
Heinrich von Kleist – On the Gradual Production of Thoughts Whilst Speaking. In: Selected Writings, Hackett Publishing, 1997
Imagery: research images Gwenneth Boelens
Visual Cognition – Gerrit Rietveld Academy joins SILS UvA
Carien Lansink and her PHD candidate Guido Meijer talk about how visuals are processed by the brain at the Rietveld Academie.
Symmetry – Doina Kraal & Marcel Merk (Nikhef)
“One of the greatest mysteries in physics is to figure out what happened to the antimatter, or why we see an asymmetry between matter and antimatter.” Marcel Merk
"But isn’t there asymmetry rather than symmetry in everything?" Doina Kraal
"For the last few centuries, the Cartesian project in science has been to break matter down into ever-smaller bits, in the pursuit of understanding. And this works, to some extent. We can understand matter by breaking it down to atoms, then protons and electrons and neutrons, then quarks, then gluons, and so on. We can understand organisms by breaking them down into organs, then tissues, then cells, then organelles, then proteins, then DNA, and so on. But putting things back together in order to understand them is harder, and typically comes later in the development of a scientist or in the development of science.
Excerpt from the article ‘Holism’ by Physician and Social Scientist Nicholas Christakis, Harvard University http://www.edge.org
Gerrit Rietveld Academy joins SILS UvA
How do we see, recognise and experience visual signals?
Basicyear students of the Gerrit Rietveld Academy experiment with possibilities of expression of visual cognition. A free experimental project, exploring forms, ideas and the way our brain sees. In collaboration with the Swammerdam Institute of Life Science's Carien Lansink and Guido Meijer of the University of Amsterdam.
CSNP - Cognitive and Systems Neuroscience Project
Jelle van Houten
Karin Iturralde Nurnberg
Rosa Viaca Mesquita
Under guidance of Sonja Bäumel and Curdin Tones.
Art and the Universe According to NASA
Zolt Levay, head of the Hubble Telescope artistic team at Nasa, gets his inspiration not only from the telescopes but looks at paintings and photography as guideline for the visualisation of our universe. What we see in these images is not what the Telescope sees or what we would have seen in space. Hubble’s Telescope sends data and unclear black and white images. Zolt and his team create those beautiful planets, colourful Nebulae, and twinkling galaxies based on the data but with an artistic twist. As you will be able to see, Nasa actually shows us the universe through the Starry Sky of van Gogh.
For the new members of the Nasa Art Team Zolt Levay created several presentations to show the philosophy and inspiration of the Universe as you know it. It shows not only van Gogh but other impressionists and nature photography.
Find the presentation here
A Quick Illustrated History of Visualisation
"Computer generated visualisation, whilst a relatively new subject area has its roots in a long historical tradition of representing information using pictures in ways that combine art, science and statistics. This partial visual history includes the development of maps, astronomy, statistical graphics and computers. Further references and sources are given at the end of this section to enable you to develop your own research."
Conditions of Visuality Under the Anthropocene and Images of the Anthropocene to Come
by Irmgard Emmelhainz, (excerpt from e-flux journal)
(….) The Anthropocene has meant not a new image of the world, but rather a radical change in the conditions of visuality and the subsequent transformation of the world into images. These developments have had epistemological as well as phenomenological consequences: while images now participate in forming worlds, they have become forms of thought constituting a new kind of knowledge—one that is grounded in visual communication, and thereby dependent on perception, demanding the development of the optical mind.4
The radical changes in the conditions of visuality under the Anthropocene have brought a new subject position, announced by the reformulating trajectories between impressionism and cubism, and those between cubism and experimental film. While cubism culminated with the antihumanist rupture of the picture plane and converted the visual object, along with surrealism, into “manifestation,” “event,” “symptom,” and “hallucination,” experimental film introduced a mechanical, posthuman eye conveying solipsistic images at the sensorimotor level of perception. The consequence of these developments is that images, as opposed to being subject to our “beliefs,” or being objects of contemplation and beauty, came to be perceived as “the extant.” This involves a passage from representation to presentation, that is, instead of showing a perpetual present in a parallel temporality in order to make the absent partially present, the image has become sheer presence, immediacy: the here and now in real time. Made up of particles of time, wrested out of sensation and turned into cognition, the image deals more with concepts and saying than with intuition and showing.
With its break from the Renaissance point of view, cubism decomposed anthropomorphism. Based on linear perspective, Renaissance perspective had normalized a viewing position as a centered, one-eyed static entity within a mathematical, homogenous space. Creating the illusion of a view to the outside world, Renaissance perspective made the pictorial plane analogous to a window. Images constructed with traditional perspective bestow identities and subjects given a priori
, configured by the point of view provided by the picture plane. Cubism, in contrast, turned space, time, and the subject upside down, redefining spatial experience by rupturing the picture plane.5
If classical representation conveys a continuous space, cubism invented discontinuous space by subverting the relations between subject and object, making identity and difference relative, questioning classical metaphysics. The cubist image renewed the image of the world by dissociating gaze, subject, and space, but without estranging them from each other, bringing about a new, antihumanist subject position.6
Moreover, with cubism, temporality—duration—and a multiplicity of points of view became embedded in the picture plane. (…)
Find the entire article here