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Art@CMS
Building 12, Office 12/R-011
CERN
CH-1211 Geneva 23
Switzerland
themimg
How to get to CERN

About art@CMS

  • Science discovers, art creates.

    John Opie
  • Every great advance in science has issued from a new audacity of the imagination.

    John Dewey
  • During human progress every science is evolved out of its corresponding art.

    Herbert Spencer
  • It is the greatest of crimes to

    depress true art and science.

    William Blake
  • The beauty of science is that dreaming is allowed or I would say even encouraged.

    Georg Bednorz
  • I am among those who think

    that science has great beauty.

    Marie Curie
  • The greater one’s science,

    the deeper the sense of mystery.

    Vladimir Nabokov
  • A well-constructed theory

    is in some respects undoubtedly

    an artistic production.

    Ernest Rutherford
  • The world looks so different

    after learning science.

    Richard Feynman
  • The most beautiful thing

    we can experience is the mysterious.

    It is the source of all true art

    and all science.

    Albert Einstein

About art@CMS

Art@CMS is an education and outreach initiative of the CMS experiment at the Large Hadron Collider (LHC), the world’s largest and most powerful particle accelerator at CERN, the European Laboratory for Particle Physics.

Art@CMS seeks to act as an inspiring springboard for engaging the public in general, and youth in particular, in the excitement of scientific research in High Energy Physics (HEP). It thus aims to promote a long-lasting dialogue between the LHC scientific community, the art world and educational communities for a greater appreciation and understanding of particle physics research and its contribution to education and society.

Underpinned by a strong belief in ‘thinking globally and acting locally’, we have set up school-based projects and art-science collaborations with a common goal: to reach out and speak to new and larger audiences via multiple and participatory channels, different from those traditionally used for scientific outreach events, by fostering creative synergies between scientists, students, educators and artists from around the world.

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Origins
16 Sep 2018
ORIGIN in Split
16 Sep 2018
ORIGIN in Split
25 Apr 2018
A walk through the Cultural Collisions exhibition in the Ontario Science Centre
16 Mar 2018
“Cultural Collisions” in Ontario, Canada
14 Oct 2017
art@CMS and ESÄ meet at CERN
12 Oct 2017
art@CMS goes to Montenegro
11 May 2017
art@CMS founder wins award for outstanding outreach achievement
09 Feb 2017
Cultural Collisions at CERN
01 Dec 2016
Ghost Particles Premier
09 Aug 2016
art@CMS at 2016 Athens Science Festival | The Video
23 Jun 2016
Arts & Culture: Feynman for All
13 Jun 2016
art@CMS goes to Melbourne with “Symmetries”
31 May 2016
BEER presents Dark Matter at the American College of Greece
23 May 2016
10^-22 sec | The video
02 May 2016
Art & Science at Vico Equense
17 Mar 2016
BEER perform Dark Matter
26 Feb 2016
“Move over Mr Einstein!” A scientific experiment ignites creativity and dialogue
24 Feb 2016
Noise ‘n’ Science goes to Spoutnik
04 Feb 2016
Dialogues between Science and Art
30 Sep 2015
Science & Art combine at the International School of Geneva
14 Sep 2015
Particle physics transforms into art in Naples
22 Jun 2015
“Circulez” Exhibition, P5, Cessy, France
30 Apr 2015
art@CMS US tour continues in Miami
14 Apr 2015
Student art show inspired by particle physics in Fermilab Art Gallery
06 Apr 2015
Art@CMS features in SciArt in America Magazine
23 Feb 2015
Two art events showcase Fermilab science
05 Feb 2015
Art and science meet at new exhibit at Fermilab
21 Jan 2015
Arts extravaganza at Fermilab to celebrate one of the world’s largest science experiments
28 Oct 2014
New exhibition by young changemakers celebrates science and art
01 Aug 2014
Art@CMS picture selected by Nature
13 Jul 2014
Art@CMS goes to New York
23 Jun 2014
Join us at the Art@CMS vernissage
20 Feb 2014
Art@CMS goes to Vienna
15 Nov 2013
Physics meets art at London School
31 Oct 2013
Art and science unite for a week
23 Oct 2013
School in drive to end stigma of boys studying the arts
21 Oct 2013
Inside story: A dialogue between science and art
03 Jul 2013
To learn science, add art with Science&Art@School
31 May 2013
What happens when an artist and a physicist meet?
17 May 2013
A banner day at the LHC: An artist honors the people and science of the CMS collaboration
16 Sep 2018
ORIGIN in Split

ORIGIN organised an interdisciplinary exhibition, lecture and workshop series running in parallel to the LHC Days Conference in Split, Croatia, in the Old Town Hall Palace in the historical centre.

The ORIGIN workshops create a learning experience for students and teachers about data analysis at the LHC, gravitational wave and building an interferometer, and the interconnection between physics, robotics and music.

The exhibition, which will be open to the public from 17 to 22 September 2018, will present  a series of physics posters, hardware pieces from the LHC experiments, and art-works of artists that collaborated with us and were intrigued by the mysteries of the universe.

ORIGIN_Split

Origins
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25 Apr 2018
A walk through the Cultural Collisions exhibition in the Ontario Science Centre

“Cultural Collisions” is an interdisciplinary exhibition, lecture and workshop series based on the art@CMS methodology. The “Cultural Collisions in Canada” event creates a learning experience for students and teachers to integrate Science and the Arts. It is a novel concept and an innovative and experimental collaboration in itself. ORIGIN is a network involving several Astrophysics and High Energy Physics experiments and research centres. ORIGIN’s purpose is to setup national Cultural Collisions learning and research experiences, in close partnership with local institutes, educators and decision makers.

ORIGIN participating Science Institutions: ATLAS, Canadian Light Source, CMS, LIGO/VIRGO, Muographer, Perimeter Institute, Univ. Toronto,

Educative institution: Ontario Ministry of Education, EU project CREATIONS

Venue: Ontario Science Centre OSC / Toronto – Canada

Participating artists: Clelia Anchisi, Peter Bellamy, Consensus, Bree Corn, Xavier Cortada, Alison Gill, Chris Henschke, Michael Hoch, Rosa Nussbaum, Paul Schuster, Anastasia Solay, Sara Steigerwald,  Brigitte Tessier, Scott Wilson.

This first exhibition is designed for  students ‘research & inspiration’ by means of exhibition, lectures and workshops. The second exhibition will be focussing on presenting the student artworks. Vernissage in the OSC will be on May 30th.

The all experience is an education research project of the Ontario Ministry of Education and will be evaluated.

Program of the week:

Monday : opening presentations / Science Flash Mob / Artist presentation/ Science Rap performance / Exhibition exploration.

Tuesday till Friday : introductory talks, 4 science workshops in parallel followed by science topic talks,  lunch, art topic talk followed by  4 creative workshops and exhibition exploration.

Saturday & Sunday: Exhibition exploration for the general public.

Origins
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16 Mar 2018
“Cultural Collisions” in Ontario, Canada

The Ontario Ministry of Education has invited art@CMS to create a cross-disciplinary traveling exhibition. The format will be that of the “Montenegro Science Festival exhibition”: science & art exhibition, lectures, discussions, art and science workshops. The first exhibition will be April 9th – 15th 2018 at the Ontario Science Centre. There will be a follow-up exhibition with artworks only in June.

Organization: Ministry of Education (general organisation, education advisor, evaluation)

Exhibition curation: art@CMS

Scientific curation & consultancy: ORIGIN

ORIGIN is a network involving several Astrophysics and High Energy Physics experiments and research centres. ORIGIN’s purpose is to setup national Cultural Collisions learning and research experience, in close partnership with local institutes, educators and decision makers.

“Cultural Collisions” is an interdisciplinary exhibition, lecture and workshop series based on the art@CMS methodology. The “Cultural Collisions in Canada” event will create a learning experience for students and teachers to integrate Science and the Arts. It is a novel concept and an innovative and experimental collaboration in itself.

Participating experiments and research centres for ORIGIN-Canada: art@CMS, ATLAS experiment at CERN, CMS Experiment at CERN, Canadian Institute for Theoretical Astrophysics, Light Source Canada, LIGO scientific collaboration, Ontario Science Center, Perimeter Institute, University of Toronto.

Origins
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14 Oct 2017
art@CMS and ESÄ meet at CERN

10 students and 3 professors from the art school of Lille, and the director of the Lille museum (“Espace Croisé”) came to CERN and visited CMS, the Anti-matter Factory, the Synchrocyclotron, and other experimental facilities. The collaboration was based on the successful model used in Vienna.

The students produced artworks for a forthcoming exhibition in 2018 at several venues:

  • January 26 – February 8 :  Gallerie Commune ESA (opening 25-Jan at 6pm)
  • March 30 – April 27 :  Espace Croisé  (opening 29 March at 6.30 pm)
  • May 23 – September 21 : Espace Culture, Université (opening 22 May at 6pm)

A catalogue of the artworks including articles from physicists will be presented.

Lille

BEER
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12 Oct 2017
art@CMS goes to Montenegro

During 3 days, 1000 students starting from 6 years of age visited an exhibition of art and science that was held at a science festival in Podgorica, Montenegro. They participated in artistic and scientific workshops and attended lectures and discussions. A “junior scientific booklet” with games and questions about the exhibition was also designed and distributed to guide them around.

See more pictures of the event here.

Monte
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11 May 2017
art@CMS founder wins award for outstanding outreach achievement

The High Energy and Particle Physics Division of the European Physical Society has decided to give the 2017 Outreach Prize to art@CMS founder Michael Hoch “for initiatives highlighting the conceptual and physical beauty of high-energy physics, and the inspirational qualities that are common to both Art and Science”. The committee acknowledged “Michael Hoch’s exceptional talent in bringing scientific thoughts to the minds of the general public”, and added that “through the pieces of art created by him and others, combined with his sparkling and contagious enthusiasm, he fascinates the audience with today’s fundamental questions and research challenges”. The award ceremony will take place during the EPS-HEP 2017 conference in Venice from July 5th to 12th.

 

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Source: European Physical Society
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09 Feb 2017
Cultural Collisions at CERN

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01 Dec 2016
Ghost Particles Premier

The Global Science Opera’s second opera production , entitled be “Ghost Particles”, took place in November 19, 2016. Inspired by particle physics, “Ghost Particles” is about photons, neutrinos and, of course, the discovery of the Higgs boson. The scientific concept was provided by Dr. Sofoklis Sotiriou (EA, Greece), and was realized as a dialogue with the art@CMS programme at the CMS Experiment at CERN. GSO 2016 has been a cooperation with the European Commission’s Horizons 2020 Project CREATIONS. It has also provided a research focus for the Norwegian Research Council’s project iSCOPE.

The various opera scenes were created and performed by the schools and universities in the GSO countries, in some cases, such as Scotland, Kuwait and Vietnam, joining GSO for the first time. The opera also included a virtual visit to CERN, with CMS high-energy physicist Rebeca Gonzalez Suarez introducing more than 1,000 viewers into the amazing world of science, engineering and technology at the world’s largest particle physics laboratory.

The “Ghost Particles” story continues the saga of Joao and his friends, Firefly and Little Girl. In the “Ghost Particles” synopsis, Joao receives a book from his father, and reads about various cultures’ and ages’ concept of matter. He is excited about the story of Wolfgang Pauli, who imagined a particle, leading to an exploration spanning over decades. Joao wants to imagine his own particle, but is rejected, and told that it would take many years, perhaps centuries, before that would be possible. Desperate to realize his dream, he invites his friends from around the globe to help him. Together, they study the Ghost Particles (photons, neutrinos, and Higgs Boson), and finally, they imagine a particle of their own. They seek the help of the CMS Experiment in order to describe it, and then send a message to the world, inspired by Pauli’s famous radioactive speech: “Dear Creative Ladies and Gentlemen….”

Watch the complete “Ghost Particles” opera HERE

 

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09 Aug 2016
art@CMS at 2016 Athens Science Festival | The Video

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23 Jun 2016
Arts & Culture: Feynman for All

[article reproduced from APS Physics website]

Collaboration with artists is fostering creativity in research labs and enabling physics to reach new audiences.

Three wide arrowheads, a wavy squiggle, followed by two straight lines connected in a V shape. Minimal graphical representations such as this translate pages of mathematics describing the behavior of subatomic particles into the language of Feynman diagrams, which is accessible to everyone regardless of their scientific background. It was this simplicity that inspired Andy Charalambous, a conceptual artist based in London, to use Feynman diagrams as the focus of his recent series of sculptures, and photographs.

Charalambous is an engineer turned artist, whose artwork is stimulated by physics. “It’s hard not to be creative,” he says, when you are surrounded by all the brilliant ideas that scientists are working on. In 2011, he approached Mark Lancaster, head of the high-energy physics group at University College London (UCL), about a possible art residency and has had a desk in their offices ever since. Charalambous is also involved in art@CMS, an education and outreach program run by the particle-physics experiment called CMS at CERN’s Large Hadron Collider. The collaborations give Charalambous easy access to scientists, whose brains he can pick about physics research or to fact-check his projects. “We make sure he doesn’t do something that is scientifically crazy,” said Lancaster, who checked the Feynman diagrams on which Charalambous’s sculptures are based.

But physics isn’t solely a muse for Charalambous’s creative output. He is also interested in broadening science participation and reaching out to new audiences. To outsiders, physics can be hard to penetrate because of its technical terminology and equations. Art allows these barriers to be stripped away and scientific ideas to be conveyed in their simplest form. Taking a single scientific concept, like neutrinos or singularity, as his starting point, Charalambous transforms it into artwork that art lovers and scientists alike can connect with. And once they have been drawn in, the art provides a platform for an interested viewer to explore the physics that motivated the piece.

“I get a buzz when the audience sees a bit of science through my art and starts to realize what [the science] is all about,” says Charalambous. He hopes that encountering physics through art can help to make physics more accessible and less exclusive.

Wider participation in science is an issue that resonates with the physicists Charalambous works with. According to Lancaster, the outreach activities organized by UCL’s physics department are geared towards high-school students already studying science. Art can reach a different set of people who wouldn’t normally seek science out. Having artists in the lab also benefits Ph.D. students and postdocs. “They get to meet a different cross section of people and get out of their cloistered environments,” says Lancaster. These interactions can spur new ideas and directions for their research. “Collaborations with artists not only make what we are doing accessible to the public, they also encourage creativity in our teams,” says Austin Ball, the technical coordinator at the CMS experiment, who has worked with Charalambous. “An idea for an [alternative] layout of a detector [at CERN] was inspired by artwork that was inspired by a detector. You can see the feedback going on.”

Art and physics are often considered polar opposites of one another. Breaking down this misconception could encourage a wider variety of people into science, who would bring with them new perspectives on how to tackle the big scientific problems. “Both disciplines need creativity, initiative, and out-of the-box thinking,” says Ball, who sees considerable overlap between his work at CERN—overseeing the design, construction, and maintenance of CMS—and that of visiting artists.

Ball worked with Charalambous to put together his Feynman-inspired sculptures. It turns out that building a sculpture in stainless steel and constructing detectors aren’t so different—both require specialist welding for example. Charalambous wanted the sculpture to appear as if it were floating in space. Nothing can freely float (at least on Earth) so they put their heads together and came up with a support design that used the minimum possible material. According to Ball, it didn’t feel any different to working on a lightweight detector, which for performance reasons would be impeded by heavy supports. “All of us had as much fun helping Andy to realize his artistic idea as we do turning a concept for a new detector into a real working thing,” says Ball.

–Katherine Wright

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Source: APS Physics
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13 Jun 2016
art@CMS goes to Melbourne with “Symmetries”

‘Symmetries’ is the Australian premiere exhibition of works from art@CMS and will be held during the 24th International Conference on Supersymmetry and Unification of Fundamental Interactions (SUSY 2016) that will be organised by the ARC Centre of Excellence for Particle Physics at the Terascale (CoEPP). The meeting will be held at the University of Melbourne and jointly run by the University of Melbourne and Monash University.

‘Symmetries’ will feature artworks by Michael Hoch, Alessandro Catocci with Pierluigi Paolucci, and Yuki Shiraishi with John Ellis. On Sunday 3 July at 7pm will be the premiere presentation of a CMS data soni cation installation by Chris Henschke with experimental physicist Wolfgang Adam.

Contact: chris.henschke@synchrotron.org.au

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31 May 2016
BEER presents Dark Matter at the American College of Greece

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23 May 2016
10^-22 sec | The video

SYΝTHESIS 748, art@CMS & SCIENCE VIEW

present

« 10-22 sec » 

a solo choreographic performance for the Athens Science Festival 2016

Science FestivalTechnopolis
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02 May 2016
Art & Science at Vico Equense

Thirty artworks by international artists show the discovery of the Higgs boson in an exhibition at Castello Giusso in Vico Equense, Italy. The exhibition consists of sculptures, paintings, photo collages, textiles, digital and video installations, all inspired by the challenges at the frontier of knowledge of the great accelerator of CERN, the Large Hadron Collider (LHC), the passion of thousands of physicists who work there, and the recent discovery of the Higgs boson. Most of the works were created in the framework of art@CMS, an education and outreach programme of the CMS experiment. CMS is one of the four large detectors, which like giant cameras capture the collisions of counter rotating beams of proton inside the LHC ring. Since 2012, art@CMS has brought together artists, researchers, students and educators into creative projects aimed at public outreach and engagement. “Each of the works on display”, says Prof. Pierluigi Paolucci at INFN who oversees this exhibition,  “is the result of collaboration between an artist and a scientist, who ventured into each other’s world. And what is novel about it is that the artistic and the scientific research can converge when their starting point is the same”. One of the additions to this exhibition is the interactive installation “The Gift of Mass“, realised by INFN in collaboration with Embrio.net and Paolo Scoppola. The installation creates an immersive environment in which visitors can  experience the “impossible”, that is to acquire their mass as elementary particles did at a very young Universe. The exhibition also includes several contributions by Neapolitan artists, including the mosaic with pieces of baked bread, entitled “Big Bang”, a creation of actor Francesco Paolantoni.

The exhibition will be open for public viewing daily from 09:00 – 13:00 & 15:00 – 18:00 until 6 May 2016.

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Source: INFN
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17 Mar 2016
BEER perform Dark Matter

Thursday 17th March 2016 19:30-22:00pm

In collaboration with the Art@CMS project at CERN in Switzerland, the Birmingham Ensemble for Electroacoustic Research (BEER) presents this performance involving the sonification of data streams from the Large Hadron Collider, the world’s largest and most complex particle accelerator. Experimental data containing clues towards possible ‘new physics’ becomes the raw material for improvised music and visualisations programmed in real time by the ensemble with an aim to creating a result that while beautiful, is both musically and scientifically meaningful.

Watch the live performance here.

Presented in partnership with the University of Birmingham’s Arts and Science Festival.

For more information click here for the Art & Science festival brochure.

 

BEER
Source: Birmingham Open Media
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26 Feb 2016
“Move over Mr Einstein!” A scientific experiment ignites creativity and dialogue

Geneva, 26 February 2016

The inspiration for the latest art exhibition at the Cité du Temps came from a scientific experiment the height of a six-floor building, built to the precision of the thickness of a human hair. “CMS – The Art of Science”, by Michael Hoch, running from 27 February to 10 April 2016, delivers a dynamic dialogue between art and science. A combination of photography, collage and installations, it pays tribute to the thousands of people who constructed the Compact Muon Solenoid (CMS) Experiment at CERN’s Large Hadron Collider (LHC) near Geneva. In the equipment created to explore the secrets of the universe, Michael Hoch, and many visitors, see incredible beauty. He has captured this in the fascinating art displayed in this exhibition and a book of the same title. Fuelled by his belief that the huge experiment constructed for the benefit of mankind should be inclusive and accessible, a series of workshops and round table discussions will be offered to the general public and school groups to prove that this science is “not only for Mr Einstein, but for you and me!”.

“CMS – the Art of Science” features unique photographs of the detector in various stages of construction and maintenance, as well as portraits of many of the individuals responsible for this massive endeavour to find evidence for the Brout-Englert-Higgs mass generation mechanism. This was rewarded by a Nobel Prize in 2013 for the discovery of what is commonly known as the “God Particle”, or more scientifically the “Higgs boson”. Two main themes structure the exhibition’s content. The first is inspired by the symmetry and beauty of the detector, which mirrors that of the early universe through a visual interpretation of matter and anti-matter. The second and complementary series interleaves the remarkable scientific tool with nature, the exquisite subject of its research, provoking philosophical reflection and enquiry. From the black and white images of the experiment’s “creators” welcoming people at the entrance, to a life-size cut out art collage of the equipment and kaleidoscope-style pictures of daisies and poppies sprouting up between the engineering, these exhibits are set to cause a big bang in their own right. All visitors to the exhibition and interactive sessions will leave with the conviction that science is something that they can reach out and touch – visually and intellectually.

This programme at the Cité du Temps is part of Michael Hoch’s art@CMS project, an education and outreach initiative founded in 2012 for the CMS experiment at CERN. Its mission is to act as a springboard for engaging the public in general, and youth in particular, in the excitement of scientific research in High Energy Physics. Through school-based projects and art-science collaborations, art@CMS has been successful in fostering creative synergies between scientists, students, educators and artists from around the world. Exhibitions in Europe and the US have attracted over 100,000 visitors and hundreds of students have participated in the related art workshops.

Michael Hoch was born in Vienna, Austria, where he studied Applied Physics at the University of Technology, and Sports and Physics at the University of Vienna. In parallel he followed lectures at the city’s Academy of Fine Arts. During his studies and early work, Michael Hoch’s photography focused on human movement, architecture and the structural forms of nature. He later moved to Geneva to pursue his doctoral studies in Particle Physics at CERN.  His science-art photos have been shown at exhibitions around Europe and in 2010 he produced the 3D film “Inside LHC” that was presented at the Ars Electronica Festival in Linz, Austria. In 2011 and 2012, two of his life-size images of the 20-metre CMS detector were installed at CERN. Since 2012 his artworks have been presented in group and solo exhibitions in many countries in Europe and the US.

 “CMS – The Art of Science” by Michael Hoch will be presented at the Cité du Temps from 27 February to 10 April 2016. Opening hours are from 9am to 6pm and admission is free.

The Pont de la Machine is at the heart of Geneva and has been one of the city’s landmarks since the 1840s. It was originally built to supply water to new public fountains but through the ages has become a symbol of the city’s industrial development. Since 2005 the building has been in the hands of the Swatch Group and houses the Cité du Temps, a unique, interactive venue for permanent and guest exhibitions.

For further information:

Cité du Temps                         contact@citedutemps.com

Mélanie D’Anna                          www.citedutemps.com

Pont de la Machine 1

1204 Geneva

Tel. +41 22 818 39 00

Fax +41 22 818 39 10

Both the artist and a scientist will be present at the exhibition each Thursday from 2.30pm to 5.30pm. Special guided tours, discussions and presentations for school or other groups on particle physics, science and art can be reserved by contacting the artist via  michael.hoch@cern.ch                                                      

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Source: CMS Experiment at CERN
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24 Feb 2016
Noise ‘n’ Science goes to Spoutnik

Melbourne-based artist Chris Henschke is back in CERN this month to continue his research on CMS data visualisation and sonification in collaboration with Austrian particle physicist Wolfgang Adam.

As part of this work, Henschke will perform a live session at Spoutnik Cinema in Geneva on Friday 26 February at 20:30. Entitled Noise ‘n’ Science, the session will essentially be a ciné-concert that will attempt to stretch the audiovisual boundaries of particle physics research at CMS and CERN.

More info on Henschke’s performance is available here

henschke in cms fish
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04 Feb 2016
Dialogues between Science and Art

This Friday, 5 February 2016, the Ettore Fico Museum will be hosting a special event entitled “Dialogues between Science and Art”. Organised by the Turin section of the National Institute for Nuclear Physics in collaboration with the CMS experiment at CERN, this will be an educational journey to the boundaries of knowledge by exploring the interconnections between contemporary art and the science of CMS and CERN. The panel will consist of:  Tiziano Camporesi (CMS spokesperson), Amedeo Staiano (director of INFN, Turin), Nicolao Fornengo (professor of theoretical physics at the University of Turin), Michael Hoch (founder of art@CMS) and Luca Pozzi (artist).

Inspired by the CMS detector and in collaboration with art@CMS, Luca Pozzi has created “The Messengers of Gravity”, a series of works  that collectively celebrate the contribution of hundreds of Italian members of the CMS experiment to the discovery of the Higgs boson. Pozzi’s works are part of the exhibition Vanità / Vanitas that is hosted by the Museum until 28 February 2016.

When: 5 February 2016, 18:00 CET

Where: Museo Ettore Fico, Via Francesco Cigna 114, Turin

More information on the event can be found here

 

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Source: Museo Ettore Fico
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30 Sep 2015
Science & Art combine at the International School of Geneva

From April to June 2015, thirteen 17-year old high-school students of the International School of Geneva (ECOLINT) took part in a science & art project in collaboration with art@CMS. Under the guidance of art educator Stephen Preece and the art@CMS team, the students not only gained understanding of how science and particle physics work at CMS and CERN but they also applied this knowledge creatively and imaginatively to practice by developing original artworks using a variety of media. The artworks were then exhibited in the Centre des Arts of ECOLINT in Geneva on 17 June 2015. But the journey didn’t stop there. Selected artworks are now part of the art@CMS travelling exhibition so that other students from around the world can get inspired and motivated to come up with something new and beautiful!

The video below shows the fruits of their work and documents how the students lived their experience with the science & art project. Enjoy!

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14 Sep 2015
Particle physics transforms into art in Naples

Naples becomes the first Italian city that hosts a new art@CMS exhibition from 15 to 20 September 2015. Powered by the CMS experiment at CERN and INFN Napoli, and curated jointly by particle physicists Pierluigi Paolucci (INFN) and Michael Hoch (CMS/CERN) along with architect Maurizio Di Palo, the exhibition is housed in Castel dell’ Ovo, a major tourist but also local attraction that is situated at the heart of Naples.

The exhibition presents more than 30 works by international artists all of which are products of collaborative work with CMS and CERN scientists. In addition, and for the first time, a number of exquisitely Neapolitan contributions will be displayed, like the photographic work “Beam Collisions” by Alessandro Catocci, the “Bing Bang” mosaic by Francesco Paolantoni, and the “Cool Muon Simulacrum” mosaic by Maurizio Di Palo. The interactive audiovisual installation “The Gift of Mass” by INFN, Embrio.Net and Paolo Scoppola will also be on display. Moreover, selected works by ECOLINT high-schoolers resulted from a recent art&science workshop in Geneva will be presented. And last but not least, the inevitable “Higgs Boson Pizza”, especially prepared by a Neapolitan pizza maker will be served at the opening of the exhibition. Special events are also scheduled for September 16th and 17th.

More details about the artworks and the artist-scientist collaborations can be found in the exhibition catalogue here.

Practical information

Where: Sala dell cerceri, Castel dell’ Ovo, Naples, Italy (Google map here)

When: 15-20 September, 09:00 – 19:00

Admission: Free

News articles

Le Scienze

La Repubblica

INFN

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22 Jun 2015
“Circulez” Exhibition, P5, Cessy, France

When: 24 June – 17 July 2015

Where: CMS P5, Cessy, France

Exhibition Catalogue

art@CMS is proud to present artworks from six exciting and new collaborations between international artists and CMS scientists. Combining everything from traditional painting to sound sculptures to music performance, “Circulez” celebrates the restart of the LHC and inspires both scientists and the public as the CMS experiment embarks on a new era of scientific investigation into the mysteries of the universe at a record energy level of 13TeV.

The artworks on display include:

“Circulez” by French Canadian artist Brigitte Tessier with particle physicist Hugues Brun

“No Fixed Point” by US artist Lindsay Olson with particle physicist Don Lincoln

“Passionate About” by Austrian photographer Bree Corn with particle physicist Sezen Sekmen

“Sculptures IV” by UK artist Andy Charalambous with particle physicist Austin Ball

“Science Rap” by UK hip-hop artist Con Sensus with particle physicist Sudan Paramesvaran

“Dynamics of the Apparatus” by Australian audiovisual artist Chris Henschke with particle physicist Wolfgang Adam

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30 Apr 2015
art@CMS US tour continues in Miami

Matter: The Fundamental Particles

Peter Çan Bellamy

Xavier Cortada/ Pete Markowitz

Paco Falco/ Pierluigi Paolucci

Alison Gill/ Ian Shipsey

Chris Henschke/ Wolfgang Adam

Michael Hoch

Lindsay Olson/ Don Lincoln

Paul Schuster/ Michael Hoch

ON VIEW  May 2 – 31, 2015

CONVERSATION  Wednesday, May 6 | 6pm

OPENING RECEPTION  Wednesday, May 6 | 7-10pm

For this Art@CMS exhibition, works were selected from artist/scientist collaborations as well as video artists who were invited to create pieces inspired by the Compact Muon Solenoid (CMS) experiment. The CMS experiment at the Large Hadron Collider (LHC) is the world’s largest and most powerful particle accelerator, at CERN, the European Laboratory for Particle Physics that sits astride the Franco-Swiss border near Geneva. CERN is one of the world’s largest and most respected centers for scientific research. It operates the largest particle physics laboratory in the world where physicists and engineers are probing the fundamental structure of the universe. They use the most complex scientific instruments to study the basic constituents of matter—the fundamental particles—that provide insights into the fundamental laws of nature. CMS is designed to measure the properties of previously discovered particles with unprecedented precision, and be on the lookout for completely new, unpredicted phenomena.

ArtCenter’s Project 924 | 924 Lincoln Road, Second Floor, Miami Beach

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Source: ArtCenter/South Florida
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14 Apr 2015
Student art show inspired by particle physics in Fermilab Art Gallery
An exhibit of art by local high school students, titled “Imagining Physics,” joins the current Art@CMS show in the Fermilab Art Gallery today. It will run through April 22.”Imagining Physics” challenged 18 high school art students to learn about the world of particle physics and convert their impressions into art. Funding from Science&Art@School, an educational branch of Art@CMS, freed the students to choose whichever materials allowed them to capture their ideas.Over the course of two weeks in February, students worked collaboratively with each other, with their teachers and with professional artists from Water Street Studios in Batavia to create pieces inspired by particle physics.

They started with a day of “physics bootcamp” at Fermilab, during which they heard talks by Fermilab physicists and staff and learned about the Art@CMS exhibit from Michael Hoch, the CMS scientist behind the outreach program. Then the students met four times in the classrooms at Water Street Studios to hash out their ideas and complete their artwork.

The final pieces embrace both physics and the connections the students found with themes in their own lives.

The participants wish to thank physicist Michael Hoch and the CMS collaboration; scientists and staff at Fermilab; artists and staff at Water Street Studios; and the art teachers at Batavia High School, Burlington Central High School, Geneva High School and Marmion Academy who assisted in selecting and mentoring students for the program.

—Anne Mary Teichert, WDRS

Image credit: Anne Mary Teichert, WDRS
Source: Fermilab
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06 Apr 2015
Art@CMS features in SciArt in America Magazine

“Art and science have long shared a common ground; the ground of boundless inquiry about the nature of our existence”, writes Julia Buntaine, Editor of SciArt in America Magazine. The April ’15 Issue features an article by contributor Megan Guerber, entitled “Symbiosis in Physics and the Humanities: How Fermilab Nurtures Creative Community“. In it, Guerber gives an account on how Fermilab‘s bridges the science and art gap by “bringing together many eclectic cultural events as a means to celebrate both science and community.”

Fermilab’s latest exhibition, “Art@CMS“, is doing exactly this by “celebrat[ing] the awe-inspiring instrument that helped enable the discovery of the Higgs boson in 2012: the Compact Muon Solenoid (CMS) Detector at the Large Hadron Collider at CERN.”

Below is an extract from Guerber’s article that can be read in full on the SciArt in America website.

“Art@CMS” has already toured nine countries and been visited by more than 40,000 people. The main attraction is a life-size two-dimensional replica of CERN’s CMS detector that expands throughout the atrium of Wilson Hall. The installation is rendered via photographic banners created by Swiss-born physicist and photographer Michael Hoch, organizer of the exhibition. Eight other professional artists who studied with CMS scientists also have work dis- played in the gallery. Their paintings, sculpture, and mixed-media creations bring a visual understanding of this highly complicated area of study, helping to communicate just some of the wonders of science to new audiences. Fermilab’s first artist in residence, Lindsay Olson, also contributed new work to the current installment of this international show.

In addition, “Art@CMS” initiated public dialogue by hosting student workshops called “Imagining Physics: Art Inspired by Fermilab.” Over five sessions were held at Water Street Studios in Batavia. Local high school students were given the opportunity to tour Fermilab laboratories, learn about particle physics and make their own art inspired by what they saw. The work they created has been on display at Water Street Studios as well as Fermilab Gallery. 

The show has been a great success. Perhaps there could be no stronger muse for a science- based artist. As stated by Michael Hoch, “Why am I inspired by the CMS detector? You just have to look at the high-resolution life-size picture of it that will be on display.” Hoch said. “There’s an intrinsic geometry that just grabs you. There is beauty in science that we want to communicate to a wider group of people, at the same time inspiring them and making them curious to understand more about the science.” 

The Art@CMS exhibit at Fermilab will run until 22 April. The calendar of Art@CMS events can be found here.

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Source: SciArtinAmerica April '15 Issue
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23 Feb 2015
Two art events showcase Fermilab science
The School of the Art Institute of Chicago will host a discussion on neutrino research at Fermilab as part of its Conversations on Art and Science event series on Feb. 24. The discussion takes place at 4:30 p.m. at the LeRoy Neiman Center in Chicago.

The event, titled “Colliding Art and Science,” features Fermilab physicist Sam Zeller, Fermilab docent Anne Mary Teichert and artist Meghan Moe Beitiks, who recently opened her own art exhibit on Fermilab’s research.

A second art event at Water Street Studios in Batavia also features particle physics research as part of the Science&Art@School program. In preparation for the exhibit “Imagining Physics: Art Inspired by Fermilab,” 16 students from four nearby high schools and their art teachers toured the laboratory. They then met with their peers and with artist-mentors over two weeks to develop ideas into works of art.

Science&Art@School is part of the Art@CMS initiative, which brought Fermilab the current art exhibit on the CMS experiment and is a collaborative effort with CERN and physicist and photographer Michael Hoch.

You can see the results of the students’ efforts at Water Street Studios from Feb. 28-March 14. An artist reception will be held on Saturday, Feb. 28, from 4:30-6:30 p.m.

Students create paintings at Water Street Studios for the exhibit "Imagining Physics: Art Inspired by Fermilab." Photo: Georgia Schwender, OC
Source: Fermilab
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05 Feb 2015
Art and science meet at new exhibit at Fermilab

The thousands of particle physicists didn’t plan for their research to be a work of art.

The detector where the once-illusive Higgs Boson, an elementary particle of the universe, was discovered in 2012, however, is now an engineering marvel in the science and art worlds.

Artists and scientists have collaborated in an international exhibit at the facility that works to capture the beauty of science through various media.

The international Art@CMS exhibit opened Wednesday in the Art Gallery at Fermilab.

Launched by physicist and photographer Michael Hoch, the exhibit will be on display in the Fermilab Art Gallery through April 22.The gallery is open 8 a.m. to 4:30 p.m. Monday through Friday.

Georgia Schwender, curator of the Fermilab Art Gallery, said the exhibit connects art and science for the non-physicist. Schwender said until a year ago the art gallery had been restricted by appointment after security-related concerns raised by the Sept. 11, 2001 terrorist attacks.

Visitors will see Hoch’s high resolution photographic banners that illustrate the enormity of the detector at the Large Hadron Collider at CERN in Switzerland. The experiment was built in a “cylindrical coil of superconducting cable” that is roughly the size of a five-story building that weighs 14,000 tons.

It was designed to measure subatomic processes produced by collisions of protons capable of taking 40 million pictures per second. It is one of the two particle detectors that enabled the discovery of the Higgs Boson..

The Vienna, Austrian-born physicist-artist’s life-size photographic banners of the detector hang horizontally in the atrium of Wilson Hall, as well.

“There’s an intrinsic geometry that just grabs you,” Hoch said. “There is beauty in science that we want to communicate to a wider group of people, at the same time inspiring them and making them curious to understand more about science.”

Hoch met with Fermilab scientists and the public during Wednesday’s art gallery reception. Fermilab physicist Paul Lebrun said he was impressed with the “great intensity and effort” by the artists in their pieces.

The occasion was an opportunity for the public to meet Fermilab’s first-ever artist-in-residence Lindsay Olson, who explored Fermilab from behind the scenes and created art pieces inspired by the work of scientists at the facility.

Fermilab physicist Don Lincoln, her science advisor, described Olson’s artwork as being “faithful” to the work of scientists.

“I am a very unlikely person to be discussing art and science with you,” Olson told the physicists. “I spent most of my academic career trying to avoid math and science but through a series of fortunate events, I fell in love with science and now science is the foundation of my studio practice and it is an important part of how I view the world.”

Visitors to the exhibit will see five banners by artist Xavier Cortada and physicist Pete Markowitz that show various stages of particle collisions recorded by detectors.

Cortada said the banners are in homage to the more scientists and engineers whose research have opened up new avenues in science.

“Artists try to do the same thing. That is why we are such kindred spirits,” Cortada said.

Fermilab post-doctorate researcher Jim Dolen worked eight years at the detector in Fermilab.

“It is interesting to see the (it) from a different perspective,” Dolen said.

 

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Source: Chicago Tribune
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21 Jan 2015
Arts extravaganza at Fermilab to celebrate one of the world’s largest science experiments

The Art@CMS event runs from February 4 to April 22 and includes workshops and exhibits in the Fermilab Art Gallery and Water Street Studios in Batavia.

The CMS detector at the Large Hadron Collider at CERN in Switzerland is not only a remarkable scientific instrument; it is also a work of art. It stands 50 feet tall, weighs 14,000 tons, and its thousands of wires and components work in concert to enable it to detect the smallest particles of matter in the tiniest fractions of a second. It is one of the two particle detectors that enabled the discovery of the Higgs boson in 2012.

This magnificent machine is the core of an art and science project that has inspired dozens of other works of art. You will have the chance to see many of those starting next month when the Fermilab Art Gallery hosts the Art@CMS exhibit. First established last year by Michael Hoch, a physicist and photographer at CERN, the Art@CMS collection was created by professional artists working with CMS scientists.

More than 40,000 people have seen this exhibition in nine countries, including two prior installations in the United States. (Roughly 1,000 U.S. scientists contribute to the CMS experiment.)

The collection will be on display in the Fermilab gallery from Feb. 4 through April 22. The gallery is open Monday through Friday from 8 a.m. to 4:30 p.m.

The eight artists featured in the exhibit work in a variety of media, including painting, sculpture, collage and digital art. All of them have been inspired by the wonders of science and are excited to communicate those wonders in new ways to new audiences, Hoch said.

“Why am I inspired by the CMS detector? You just have to look at the high-resolution life-size picture of it that will be on display,” Hoch said. “There’s an intrinsic geometry that just grabs you. There is beauty in science that we want to communicate to a wider group of people, at the same time inspiring them and making them curious to understand more about the science.”

The Art@CMS exhibit at Fermilab will begin with a talk by Hoch and other artists on Wednesday, Feb. 4, at 4 p.m., followed by a reception in the art gallery from 5-7 p.m.

But Art@CMS isn’t just an exhibition. Hoch’s aim is to create a dialogue with the public, using art as a medium. To that end, the event will also include a series of workshops for students called Imagining Physics: Art Inspired by Fermilab, to be held at Water Street Studios in Batavia. Over five sessions, local high school students will tour the laboratory, learn about particle physics and be given space and materials to make their own art inspired by what they see.

This workshop will culminate with an exhibit of the students’ work at Water Street Studios from Feb. 25 to March 15. The exhibit will also include work from 10 local artists and will kick off with a reception on Saturday, Feb. 28, from 5-7 p.m. Water Street Studios is located at 160 S. Water St., Batavia, and is open Thursdays through Sundays from noon to 4 p.m.

“Having the Art@CMS pieces here at Fermilab is outstanding,” said Georgia Schwender, curator of the Fermilab Art Gallery. “But having the chance to connect the art and science of the CMS experiment with students outside the laboratory makes this event a true example of our mission.”

The exhibit will include new work from Lindsay Olson, Fermilab’s first artist-in-residence. Olson has spent months exploring Fermilab behind the scenes and has produced more than half a dozen pieces inspired by the work of the laboratory’s scientists. Olson’s art reaches for the same goals as the Art@CMS exhibit as a whole: to use an artistic language to bring science to those who might not otherwise experience it.

The Imagining Physics workshop is full, but every other Art@CMS event is open to the public. The Fermilab Art Gallery in Wilson Hall is open Monday through Friday, 8 a.m. to 4:30 p.m. The exhibit will be open during Fermilab’s Family Open House on Sunday, Feb. 8, from 1-5 p.m.

Fermilab is America’s premier national laboratory for particle physics and accelerator research. A U.S. Department of Energy Office of Science laboratory, Fermilab is located near Chicago, Illinois, and operated under contract by the Fermi Research Alliance, LLC. Visit Fermilab’s website at www.fnal.gov and follow us on Twitter at @FermilabToday .

The DOE Office of Science is the single largest supporter of basic research in the physical sciences in the United States and is working to address some of the most pressing challenges of our time. For more information, please visit science.energy.gov .

CALENDAR OF ART@CMS EVENTS

Wednesday, Feb. 4 – Opening of the Art@CMS exhibit at Fermilab

  • 8 a.m. – Exhibit opens
  • 4 p.m. – Artists talk in the One West conference room in Wilson Hall
  • 5-7 p.m. – Artists reception in the Fermilab Art Gallery

Sunday, Feb. 8 – Family Open House at Fermilab (exhibit open) , 1-5 p.m.

Wednesday, Feb. 25 – Imagining Physics exhibit opens at Water Street Studios, noon.

Saturday, Feb. 28 – Imagining Physics reception at Water Street Studios, 5-7 p.m.

Sunday, March 15 – Final day for Imagining Physics exhibit at Water Street Studios

Wednesday, April 22 – Final day for Art@CMS at Fermilab

The Fermilab Art Gallery is open Monday through Friday from 8 a.m. to 4:30 p.m.

Media Contacts:

  • Andre Salles, Fermilab Office of Communication, 630-840-3351, media@fnal.gov
  • Georgia Schwender, Fermilab Art Gallery, 630-840-6825, georgia@fnal.gov
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Source: Fermilab
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28 Oct 2014
New exhibition by young changemakers celebrates science and art

Group of Active Citizens from Hackney to showcase their work (art, design, performance and culinary delights) inspired by trip to world famous CERN laboratory.

Aspiring social-change leaders from Shoreditch are part of a special exhibition our conCERN, after the group took a trip to Switzerland to visit CERN, the European Organization for Nuclear Research, and to see the Large Hadron Collider, the world’s largest particle accelerator.

The initiative is a collaborative project between Shoreditch Trust’s Active Citizens programme, the CMS collaboration at CERN, University of the Arts London (UAL), ALLMINDS and recent graduates from the BA (Hons) Fine Art: Print Time-Based Media course at Wimbledon College of Arts (part of UAL).

The project enabled young people from a range of different cultural and social backgrounds to investigate the research possibilities of science and art and relate them to their own interests, while encouraging joint working through shared experiences and collaborative actions so that they can support each other to develop their own practice in positive change as well as building networks with international programmes.

One of the participants and aspiring graphic designer, Land said: ‘‘the trip to CERN was truly an eye-opening one. It was my first time boarding a plane and the view from the plane made me realise how small we really are on this planet and how hard it must be to make an impact in the world. Whilst on the trip I built good friendships with the students and Active Citizens that also came along. The project was very engaging and informative, I was really inspired by the work and the developments that came from CERN. The fact that just a few minds started to develop the concept of sharing information with each other and that this was then released to the general public and is now known as the World Wide Web really fascinated me. I was also inspired by Michael Hoch who works with CERN, simply because of his inventive flair and his ability to leave his fingerprints and creative work at every site, which has encouraged me to take on multiple tasks and develop work that will somehow benefit the general public,’’ he added.

Private View: 6.00-8.00pm Friday 28th November 2014 with performances, drinks and canapés.

our conCERN will be open to the public from Friday 29th November 2014 – 9th January 2015.*

 

Address:

Waterhouse Restaurant

10 Orsman Road,

London

N1 5QJ

*Please note the Restaurant will be closed from December 24th 2014 – January 6th 2015

 

For more information on the visit check out the our conCERN blog.

Contact Information

Akilah Russell

Communications Officer, Shoreditch Trust

Email: akilah@shoreditchtrust.org.uk

Telephone: (+41)0207 033 0533

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01 Aug 2014
Art@CMS picture selected by Nature

Every month, Nature‘s art team selects pictures from the world of science. The eclectic crop for July 2014 includes a picture of Poppy #1, an artwork that is part of The God Particle Hunting Machine series, created by CMS physicist Michael Hoch. Poppy#1 is a picture of poppies interlaced with the CMS detector. The image was one of a number of Hoch’s works on display at this year’s International Conference on High Energy Physics in Valencia, Spain.

Well done, Michael! Well done, CMS!

Nature’s images of the month can be viewed here.

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13 Jul 2014
Art@CMS goes to New York

We are happy to announce that today at 2pm our Art@CMS exhibition will be opening in the Callahan Art Center at St. Francis College in Brooklyn, New York. Artworks by Chris Henschke, Michael Hoch and Xavier Cortada will be on display until 31 July.

Come and see the artworks and learn more about CMS, the beauty of science!

Directions to St. Francis College can be found here.

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23 Jun 2014
Join us at the Art@CMS vernissage

The CMS collaboration is pleased to invite you to participate in the latest event in its Art@CMS vernissage series, featuring works by Paco Falco and Chris Henschke along with Science&Art@School works by students of IPAC Design Genève and Ecole International de Genève. A selection of standard Art@CMS works will also be on display.

The event will take place on June 25th at 17:30 in CERN P5, Cessy, France. Welcome speeches will begin at 18:00. Refreshments will be served. RSVP to art-cms@cern.ch

 

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Naples-based painter Paco Falco (right) teams up with Italian CMS Pierluigi Paolucci (left) to create emotional impressions on canvas about fundamental physics questions and topics addressed by CMS.

 

 

 

 

Chris&Wolfgang

In their scientific dialogue, Australian visual Chris Henschke (left) and Austrian CMS physicist Wolfgang Adam (right) are developing an art installation transforming CMS data streams into impressive video sequences which manifest qualities of the sublime present within the LHC experiments.

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20 Feb 2014
Art@CMS goes to Vienna

The Budapest Kovács Gábor Art Foundation and Vienna-based IT consulting and services company Qualysoft have a long tradition in exploring the interconnections between science and art. In a new joint exhibition, entitled “Science / Nature / Innovation”, that was opened today in the gallery UngArt and curated by Noemi Szabó, the works of  16 artists are presented with the aim to give individual answers to the question of the integration of science, new technologies and the laws of physics with art.

CMS physicist and artist Michael Hoch has brought his own reflection on the dialogue between particle physics and art with several works. During the opening event, Hoch gave a presentation on CMS and how the Art@CMS initiative contributes to this dialogue. In addition, Hungarian CMS researchers  Noemi Beni and Zoltan Szillasi offered a virtual tour of the CMS detector to 130 guests live from CERN. “It was a nice surprise when Zoltan and Noemi welcomed the audience in Hungarian directly from the CMS cavern”, says Hoch.

His excellence S.E. Vince Szalay-Borovinczky, Ambassador of Hungary mentioned in his speech that art is too important to leave it just to the artists, as well as science is. Dr. Marton Mehes, director of the Balassi Institute and host of this exhibition, also highlighted the importance of the dialogue between cutting-edge science and modern art, mentioning that this exhibition acts as a fruitful cross-border event. “Following the common roots of art and science, it allows to create an exciting future encounter”, said Mehes.

The other exhibiting artists are:
Balázs Antal, Mario Arbesser, András Dániel, Dieter Ch Deller, György Gáspár, István Haraszty, Veronika Jakatics-Szabó, Béla Kelényi, Rita Koralevics, Viktor Lois, István Orosz, Tamas Szvet, Szilvia Takács, Christoph About Huber, Rita Varga.

The exhibition will be open until 4 April 2014 to visit with free admission. More information can be found here. Photographs of the opening event can be found here.

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15 Nov 2013
Physics meets art at London School

At the City of London School last week, an interdisciplinary programme brought artists, researchers and philosophers together with educators and students to discuss the intersection of art and science. In Unseen Dimensions: Dialogues in Art and Science creativity and discovery were explored through a series of talks and workshops.

“We wanted to excite the students and show them that art and science share many values, themes and characteristics,” writes Hugh Jones, head of science and physics at the school, in the programme booklet.

“Unseen Dimensions is a collaborative process grounded in the idea that imagination and creativity are at the heart of learning and innovation,” writes Alison Gill, a part-time art teacher and sculptor who is curating an art exhibition at the school.

The exhibit showcases work by six artists, including CMS collaboration member and founder of Arts @ CMS Michael Hoch, visual artist Heather Barnett, sculptors Annie Cattrell and Bill Woodrow, and mixed-media artist Melanie Jackson. Gill’s artwork will also be exhibited at CERN this December.

One artwork on display is a 8 x 3 metre print of the Large Hadron Collider’s CMS detector mounted on the school’s wall overlooking the London skyline. Its position on the banks of the river Thames – by the Millennium Bridge linking Tate Modern and St Paul’s Cathedral – ensured that Londoners and tourists alike got a grand view of the detector. “It was breathtaking for me,” says Hoch. “I am very proud to present CMS and my artwork from such an historic view at the river Thames in London.”

Catch the Unseen Dimensions exhibition at the City of London School until 29 November or follow Unseen Dimensions on Tumblr.

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Source: CERN website
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31 Oct 2013
Art and science unite for a week

The interface of art and science was explored by expert speakers and artists including Michael Hoch, founder of the CERN outreach programme, Art@CMS, in a week-long programme at the City of London Boys School in October.

The event, entitled Unseen Dimensions: Dialogues in Art and Science, was conceived as a project to break down the divide between artistic and scientific disciplines and to demonstrate to students that they need not be pigeon-holed in their study choices. Head of science and head of physics, Hugh Jones, said: “Passion and creativity are common themes in science and in art. We wanted to excite the students here with the breadth of cross-curricular thinking and to show them that art and science share similar values, similar themes and similar characteristics.”

The week was launched with a talk on “The new avant-garde” by Prof. Arthur I Miller, emeritus professor of the history and philosophy of science at University College London. Prof. Raymond Oliver, from the University of Northumbria, spoke on “Towards future ways of living (that matter to people)”, and Michael Cook, who researches in computational creativity, gave a talk entitled “My iPad just had a great idea”. There was also a talk on “Matter and material” by Heather Barnett, artist and lecturer in art/science at the Central Saint Martins College of Art and Design. Daniel Glaser, director of the Science Gallery at King’s College London, spoke on the question “What is the right space for art and science to collide?”.

The art exhibition was curated by Alison Gill, a sculptural artist and part-time teacher at the school who will present her work at CERN in December. As well as pieces by Hoch and Barnett, the Unseen Dimensions exhibition includes works by Annie Cattrell, Melanie Jackson, Jason Wallis-Johnson and Bill Woodrow, and students at the school.

Preceding the week, Prof. Miller gave a lecture at Gresham College in London on “Creativity in art, creativity in science”, exploring the links between creativity in both fields, and how they had affected each other. He described how Picasso had been influenced by advances in mathematics when creating his Cubist paintings and how Bohr had been interested in Cubist art as a way of trying to visualise some concepts in quantum mechanics.

The information age had given rise to data visualisation art and computer-generated art, he said. Algorithms had been created that could generate music sounding like Bach’s compositions, which many could not distinguish from the real thing, he noted. Miller also described how in 1966, A. Michael Noll had used a computer to generate a picture similar to Piet Mondrian’s painting, Composition with Lines. Shown both pictures, only 28 out of 100 subjects could identify the computer-generated picture, and 59 of the subjects preferred it to Mondrian’s.

Prof. Miller noted that software artist Scott Draves had even gone so far as to say: “I believe that computation can reproduce the whole creative process, and that computers can have soul.” In a question and answer session, Prof. Miller was asked whether a computer could only create patterns or if it could ever have anything to say about the human condition. He said: “Not right now, but I don’t want to say never.” He agreed that he saw scientific and artistic creativity as essentially the same thing, and when pushed, he thought that it was just possible that computers might one day be able to make scientific discoveries.

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Source: Insitute of Physics
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23 Oct 2013
School in drive to end stigma of boys studying the arts

A private school has launched a  campaign to end the stigma around teenage boys studying arts subjects.

City of London School for boys wants to “break down the barriers” between arts and science, and prevent students from pigeon holing themselves as either an artist or scientist.

The £13,000-a-year school will hold a series of talks by philosophers, scientists and artists to breach the traditional divide between the disciplines. Headmaster David Levin said: “There is a perception that you are either an artist person or a science person. But there is a lot in science that is artistic and art can help us to understand science.

“We struggle to get boys to do art for A-level — we are in single figures. Out of 138 pupils we are lucky to have six doing A-level. If they do choose it they tend to be arty. Only one person in the last four years took both science and art A-levels.”

The school has organised a week of events called Unseen Dimensions, where boys will be able to see work by artists including Michael Hoch, who is a physicist and unofficial photographer of the large hadron collider at CERN.

Philosopher AC Grayling, who set up the New College of the Humanities in Bloomsbury, will also speak in a video about the philosophy of art and the subject of creativity.

Children from local primary schools will be invited to the project, which will feature an art exhibition with work by both students and established artists.

There will be speeches by experts including Dr Daniel Glaser, former scientist in residence at the Institute  of Contemporary Arts and now director of the Science Gallery at King’s College London, a new venue to enable better collaboration between art  and science.

Artist Heather Barnett, a lecturer in art and science at Central St Martins College, will also speak to the students. The project, which starts on Monday, will be filmed and made available to the public.

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Source: London Evening Standard
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21 Oct 2013
Inside story: A dialogue between science and art

The Joanneum Universal Museum in Graz is Austria’s oldest publicly accessible museum and the largest general museum in central Europe. In June this year, 200 years after its foundation, I was in this inspiring building with a group of students from two local schools. We were participating in an interdisciplinary workshop to bridge art and the scientific world of particle physics. I am a physicist at CERN/CMS but also an artist who tries to express my scientific work in an artistic manner and I want to inspire the younger generation to get in touch with our fascinating scientific world. In my contact with non-science students, I often sense their reservation regarding scientific topics and a fear of being wrong. By getting them involved in a different way via the language of art, they might discover the many beautiful aspects of the scientific universe.

If we want to have a significant impact in reaching out for new science audiences, we need to use extended communication channels. Art is definitely one that gives us the possibility to invite a larger public to get in touch without making them feel excluded from science because they do not understand it. The big advantage of art is that it is subjective, while science is objective. No one can be told that they are wrong if they try to understand the meaning of an artwork.

So, within the CMS collaboration we have set up Art@CMS as a vehicle for dialogue between scientists, artists and the public and to have a sustainable effect on science communication and inspiration. The aim is to tap into the worldwide network of the CMS collaboration and invite artists from all over the world to get in touch and contribute ideas, concepts and artwork.

However, it is not only about professional artists. In CMS we want to inspire young people to think in a different way and we take their thoughts and ideas seriously. Art, like science, is a serious subject, so the aim was to develop a serious project to bring art and science together at school. In collaboration with the education and outreach groups of both CERN and CMS, together with the Institute for High Energy Physics (HEPHY) in Vienna – the local CMS institute for the event in Graz – we were able to set up the Science&Art@School project within the framework of the PATHWAY European project.

The workshop in Graz was the first of what I hope will be many similar occasions for Science&Art@School. Interdisciplinary in its approach, interactive and flexible in its design and international in its scope, the idea is to promote fruitful dialogue between the arts and the particle-physics community by engaging high-school and university students in the act of creating a work of art, inspired by the big questions that drive scientific work at CMS and CERN. In most school curricula, physics and art are thought of – and taught as – separate subjects. On the other hand, in the Science&Art@School project, as my colleague Angelos Alexopoulos from CERN’s Education and Public Outreach Group says, we believe that particle physicists and artists share fertile common ground in their parallel efforts to explore and understand physis (the Greek word for nature).

The two-day event in Graz brought together 62 high-school students, art and physics teachers from the Graz International Bilingual school and BORG school, along with particle physicists from HEPHY, to exchange insights, ask and answer questions and co-create artworks – their visualizations of fundamental concepts in physics. Three months earlier, in preparation, CMS organized an interactive virtual visit to the experiment for the students – a three-to-four-point online video-conference connection with guides both on the surface and underground. Students could ask questions and direct the guides to see various areas of CMS. The workshop had two parts. On the first day, the researchers gave a CMS masterclass, where the students learned to visualize and analyse real LHC data. They then learned about how artists visualize science and technology. On the second day, four groups of students, assisted by the art educators and scientists, created artworks inspired by particle physics, which were then displayed to the public at the museum.

Science&Art@School is part of the bigger project, Art@CMS, which started in 2012 with a collaboration between the Miami artist Xavier Cortada and physicist Pete Markowitz of Florida International University. Cortada’s artwork In search of the Higgs Boson was shown at CERN during the CMS collaboration week in April 2013. In December, Alison Gill, a sculptural artist from the UK, will present her artwork with “science inspiration partner” Ian Shipsey and in March 2014 it will be the turn of the Italian painter Paco Falco with physicist Pierluigi Paolucci. During the recent open days at CERN, Quantum, a co-production of Collide@CERN and the Forum Meyrin by choreographer Gilles Jobin, was presented at CMS Point 5.

Image credit: Michael Hoch
Source: CERN Courier
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03 Jul 2013
To learn science, add art with Science&Art@School

Many scientists see intellectual as well as aesthetic beauty in their research. Now an education project from the CMS collaboration is harnessing artistic beauty to inspire students about the science of particle physics.

CMS physicist and artist Michael Hoch recently launched the Science&Art @ Schoolproject to engage students with stories from particle physics, which he hopes will help them to re-see the natural world in aesthetic as well as scientifically accurate ways. Hoch says that artistic methods can lead students to a deeper understanding of the beauty, value and transformative power of science. “I believe that essential aspects of our research here at CERN can be viewed as beautiful artistic creations,” he says.

The first Science&Art @ School workshop took place in Graz, Austria, from 5-7 June, bringing together 62 students from two high schools nearby: Graz International Bilingual School (GIBS) and BORG.

On the first day, physicists from the Institute for High Energy Physics of the Austrian Academy of Sciences (HEPHY) delivered a CMS Masterclass. Students learned to visualize and analyze real LHC data from the CMS experiment. In the afternoon, students were introduced to the interconnections of science and the arts, and learned how artists visualize science and technology.

The second day was devoted to non-scientific creativity. Four groups of students, assisted by art educators and scientists, created artworks inspired by particle physics. The students documented the workshop with photos, videos and a blog, and displayed their artwork to the public for a day at the Joanneums Viertel Museum in Graz.

“Science&Art @ School rests on three pillars: interdisciplinarity, context and engagement with the aesthetic and intellectual beauty of particle physics,” says Hoch. “Colliding art and science produces something new and beautiful.”

DSC_0004b
Source: CERN website
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31 May 2013
What happens when an artist and a physicist meet?

The world was captivated earlier this year when scientists at CERN confirmed the existence of the elusive Higgs boson particle. A half-century of searching by a team of 4,000 scientists could now proclaim to the world that, finally, they had found the subatomic speck often referred to as the “God particle.”

FIU artist Xavier Cortada and physicist Pete Markowitz collaborated on an art installation that will forever mark the historic occasion: five banners at Point Five at the Large Hadron Collider.

Watch an inspiring presentation made by Xavier Cortada and Pete Markowitz at TEDxFIU Talk.

1art@cmsIMG_8722press
Source: FIU News
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17 May 2013
A banner day at the LHC: An artist honors the people and science of the CMS collaboration

There’s a new splash of color at Point Five, the home of CMS detector on the Large Hadron Collider. Five vivid banners drape the gray walls of the complex, lending the warehouse a cathedral-like atmosphere. Arranged in a line, they pull the viewer’s gaze from panel to panel to land on a true-to-scale photo of the detector itself, magnificently displayed on the back wall.

Art and science are both professions that move humanity forward, says the artist, Xavier Cortada from Florida International University of Architecture. He dreamed up the banner design with help from CMS physicist Pete Markowitz.

“Banners, like flags, mark important events like discoveries of new lands, power and achievement,” says Cortada. “I wanted to include the emblem of [the experiment’s] achievements—the event display.”

Each of Cortada’s five banners artistically interprets a different combination of particles into which theorists predicted the Higgs boson would decay—two photons, two Z bosons, two W bosons, two bottom quarks and two tau leptons.

Incorporating selected pages from every article published by CMS, the banners pay homage to collaboration’s more than 4000 scientists and focus on what Cortada considers to be the CMS experiment’s dual legacy: building upon the work of those who came before and inspiring the generations to follow.

1art@cmsIMG_8722press
Source: Symmetry Magazine
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science&art@schoolscientists&artists

  • science&art@school
    • About
    • Workshops
  • scientists&artists
    • About
    • Collaborations

Underpinned by a strong belief in
‘thinking globally and acting locally’,
we have set up various projects and
collaborations with a common goal:
to reach out and speak to new and
larger audiences via multiple and
participatory channels, different from
those traditionally used for scientific
outreach events, by fostering creative
synergies between scientists, students,
educators and artists from around
the world.

scientists&artists

Art@CMS promotes collaborations with professional artists, art institutes and students from many countries to get in touch with CMS scientists, explore how science works at CMS and contribute their vision, share their ideas and create artworks inspired by CMS, CERN and HEP. In the long term, it aspires to build local, regional and international collaborative networks by offering venues and support structures for artists to develop and showcase their work.

The following steps are designed to achieve this objective:

  1. Attract and invite artists or university art departments to work on a CMS/LHC topic
  2. Help them connect with their local CMS institutes as scientific inspiration partners to establish a working dialogue and create original artworks in various mediums
  3. Organise solo or group Art@CMS exhibitions at the place of their inspiration: CERN LHC-P5, the location of the CMS experiment itself; but also make them available to all CMS institutes or other particle physics institutes, museums or science centres that wish to organize an art exhibition
  4. Use Art@CMS exhibitions as catalysts for CERN/LHC/CMS science events such as lectures, public talks, conferences, science cafés aimed at informing the public about the relevance of science, physics and particle physics to education and society.

science&art@school

Science&Art@School rests on the idea that particle physicists and artists share fertile common ground in their parallel efforts to understand physis (the Greek word for nature). Creating a bridge between these two worlds is worthwhile since it can help students gain a deeper understanding of each subject area. It can also help them think creatively and responsibly about the collaborative scientific effort being done at CMS in the world’s largest physics laboratory.

Science&Art@School started as a collaboration between the CMS Education and Outreach Group and local CMS institutes, and was supported by CERN in the framework of the PATHWAY project. It takes the Art@CMS concept a step further by bringing second- and third-level students from arts, humanities and science curricula together with CMS researchers, science educators and art teachers during extended learning periods to help young people:

  1. Understand how scientific research in HEP at CMS and CERN works
  2. Explore how CMS researchers and artists work and view each other’s world
  3. Engage in and create artistic works inspired by the big physics questions driving the scientific effort at CMS and CERN, and
  4. Develop positive and responsible attitudes towards science and technology related work at large research infrastructures like CMS at CERN.

Virtual tours

Art@CMS offers students and the public with the unique opportunity to tour virtually one of the world’s largest and most complex scientific experiments, the CMS detector. With the use of web-based conferencing tools, such as Goolge+ Hangout, participants can talk live with CMS scientists from the CMS control room and the CMS cavern that is located 100 meters underground on the French side of the Large Hadron Collider’s 27 km ring.

Virtual tours of CMS are essential components of Science&Art@School workshops, but they can also be parts of other education and outreach activities in schools, museums and science centres.

If you would like to organize a Virtual Tour of CMS for your school, institution or community, please contact us at artcms@cern.ch

2016 2015 2014 2013

BEER, Maurizio Pierini
Bree Corn, Sezen SekmenCon Sensus, Sudan ParamesvaranAndy Charalambous, Austin BallChris Henschke, Wolfgang AdamYuki Shiraishi, John EllisLindsay Olson, Don LincolnBrigitte Tessier, Hugues Louis Brun
Chris Henschke, Wolfgang AdamPaco Falco, Pierluigi Paolucci
Xavier Cortada, Pete MarkowitzAlison Gill, Ian Shipsey
BEER, Maurizio Pierini
Collaboration Statement
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BEER.

Birmingham Ensemble for Electroacoustic Research (BEER), was founded by Scott Wilson in 2011 as a project to explore aspects of real-time electroacoustic music making. Particular interests include networked music performance over ad hoc Wi-Fi systems, and live coding (programming music in real time using algorithms that can be altered while they are running). In keeping with post-free jazz developments in improvisation (e.g. Zorn, Braxton), we create structures in software that impose limitations and formal articulations on the musical flow (with networked software systems serving as intervention mechanism / arbiter / structural provocateur par excellence). Musical influences run the gamut from Xenakis to Journey. Past and current members include Konstantinos Vasilakos, Norah Lorway, Tim Moyers, Martin Ozvold, Luca Danieli, Winston Yeung, Roz Coull, Visa Kuoppala and Scott Wilson. More information at http://www.beast.bham.ac.uk/offspring/beer/

Maurizio Pierini.

Maurizio Pierini obtained his PhD in Rome La Sapienza, working on B physics experiment BaBar at SLAC  and on phenomenology of heavy flavor. He joined CMS in 2007. Since then, he has worked on search for new physics. In particular, he has worked on direct Dark Matter production at the LHC and in production from decay of SUSY particles. Hi work is focused on trigger and data distribution in CMS. Pierini has proposed and developed Data Scouting as a new strategy to perform physics studies in an online-like environment, breaking the infrastructure boundaries that are intrinsic in the design of the CMS trigger system. His research interests include applications of advanced machine learning algorithms to CMS. The project developed with BEER is based on Dark Matter candidate events collected by this Data Scouting stream.

Dark Matter

Screen Shot 2016-03-21 at 10.25.07 AM

Image credit: Nathan Thomas Photography                                          Image credit: Bree Corn

 

Dark Matter is a live coding collaborative project by BEER (pictured left) and particle physicist Maurizio Pierini (pictured right). The project involves sonification of data streams from the Compact Muon Solenoid (CMS) Experiment at the Large Hadron Collider at CERN. Experimental data containing clues towards possible ‘new physics’ becomes the raw material for improvised music and visualisations programmed in real time by the ensemble with the aim to create a result that while aesthetically engaging, is both musically and scientifically meaningful.

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SezenBree
Bree Corn, Sezen Sekmen
Collaboration Statement
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Bree Corn.

“Bree Corn” is an Austrian based photographer. In addition to her photographic and conceptual work for clients and exhibitions in Austria and abroad, she regularly teaches at the Austrian Academy of Photography. Her works have been both nationally and internationally celebrated, awards including among others the “Qualified European Photographer” by The Federation of European Photographers (2013); 1st place in the “Traumseher“ by Berufsfotografen Österreich(2013); 7th place at the World Photographic Cup by FEP & PPA (2015); and Honorable Mentions by IPA & NDAwards.

Sezen Sekmen.

“Sezen Sekmen” was born and educated in Turkey. She has been working at CERN since 2007 as a physicist at the CMS experiment at the LHC. She is currently a postdoctoral researcher at Kyungpook National University in Korea. She searches for signs of new particles in data collected by CMS, and sometimes collaborates with theorists to predict what new particles to expect. She also measures properties of the newly discovered Higgs particle. In addition she  works on improving the performance of CMS simulation software and CMS hadron calorimeter.

Passionate About

Turning a passion into a profession can lead people to overcome borders, cultural differences, own limitations and much more. Or simply lead to truly being oneself. This project portraits people – scientists, artists, musicians, etc. – who are pursuing the passions that drive and fulfill them and make them achieve excellence.

The only way to become a master of something is to be really with it. (Alan Watts)

In our rushing society it is all too common to lose sight of what is really important to us intellectually. Yet some people just follow their interests, and by their creative process they go beyond their limits and affect others in an inspiring way. In cooperation with art@CMS, Bree Corn’s “Passionate About Particle Physics” portrays the energy and thoughts of particle physicists who share their motivation and personal experiences in an open-minded way. Experience and get inspired !

 

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Con sensus
Con Sensus, Sudan Paramesvaran
Collaboration Statement
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Con Sensus.

Con Sensus is a British MC, Producer and Spoken Word artist based in London. He is especially known for his ability to craft words together in an incredibly technical fashion. Often conveying very complex concepts through fun wordplay and music production. Currently his work is centered on the A/V Revolution project which looks to cross the bridge between audiovisuals and information sharing.

Sudan Paramesvaran.

Sudan Paramesvaran is a postdoctoral research associate working for the University of Bristol, UK, on the CMS experiment. His interests currently involve the coordination and commissioning of the upgraded Level 1 Trigger system for CMS. This system is fundamental to the experiment as it determines which events from the huge number of collisions are actually stored for analysis. He is also involved in searches for supersymmetry, which is an extension to our current understanding of the particle model, hints of which could be seen in the forthcoming LHC run.

Science Rap

The entire project takes a look at how to best convey the ideas behind the science going on at CMS and CERN, and how to make the idea relatable to the general public. Can we inspire and raise awareness through modern music and media for what is certainly an exciting future in science for the 21st century?

A large part of music is about the feeling and the journey of the sounds. And a large part of rapping is conveying a message or story through various lyrical devices. There is often a disconnection with the general public and science (and especially particle physics), since it generally takes a very analytical, objective approach to extremely abstract concepts. Each track searches for a real life personal experience that is relatable to listeners from different demographics while also trying to explain in the story behind the science and technology involved in the concept. The ‘real life’ stories and ideas touched upon were chosen since they were simple and relatable. The aspects of science being conveyed where selected since they are at the very frontier of physics being explored at CERN. They were simple and relatable. The aspects of science being conveyed where selected since they are at the very frontier of physics being explored at CERN.

Let’s have fun with rap, music, visuals and science!

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andy
Andy Charalambous, Austin Ball
Collaboration Statement
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Andy Charalambous.

Andy Charalambous is a London based artist who works in a variety of media that includes digital video, sculpture, installation and intervention. He takes a single idea or scientific concept and produces work that communicates by creating emotional reaction, but provides the opportunity to explore a deeper meaning and understanding of the science. Most of his artwork is inspired by science. In 2011 he became Artist in Residence for the HEP group at University College London, and recently also started a residency with the Astronomy group at UCL. This provides him with inspiration for his work as well as providing opportunities for projects which bring artists and scientists together.

Austin Ball.

Dr. Austin Ball joined CERN and CMS technical coordination in 1998 as physicist deputy to project engineer Alain Hervé, following many tasks including overseeing design, construction, reviewing and commissioning of CMS from a detector standpoint, culminating in the “cosmic challenge” system test of the magnet and detector in the surface assembly hall during 2006. After succeeding Alain Hervé as Technical Coordinator in 2006, Austin assumed overall responsibility for safety and timely completion and testing of CMS and its auxiliary systems in the underground cavern, ready for first proton beams in the LHC. He emphasizes that success in this challenging role is only being achieved thanks to the close support, cooperation, motivation and competence of the CERN host-lab team and the corresponding teams for the worldwide CMS collaboration.

Sculptures IV

I am a visual artist based in London. I work in a range of media which recently has included sculpture, video, photography and installations. Throughout my artistic career my work has been strongly influenced by science, and in particular particle physics.

In order to get closer to the science and gain further inspiration for my work I created links with the High Energy Physics group at University College London.

This was formalised in 2011 when I became Artist in Residence for that group. I then widened the area of scientific influence on my art in 2013 when I also accepted a residency with the Astronomy group at UCL. Much of my work so far has come from taking a specific scientific word or concept and responding to the ideas behind this. Neutrino, Singularity and Interaction Point are examples of my artwork named after the specific term that started the chain of thought leading up to the realisation of that work.

Beyond creating my own science influenced work I am also active in creating opportunities for other artists and scientists to interact. In 2004 I coordinated and curated YoungArtists@CERN, where 17 artists visited CERN and then produced work shown during the 50th anniversary celebrations. Other projects include Galileo, Galileo ! in 2009 and Another Way of Seeing in 2013.

I regularly help tutor student artists, primarily based at the Slade, LCC and Royal Academy Schools, and recently have a formal role tutoring at Central St Martin’s art schools in London.

Joining art@CMS is a significant step for me, and it will have a major influence in the development of my art practice.

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Chris&Wolfgang
Chris Henschke, Wolfgang Adam
Collaboration Statement
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Chris Henschke.

Chris Henschke is a Melbourne- based artist who has been working with digital media since the late 20th century. His main areas of practice are in the experimental combining of sound and image, space and time, and art and science. He has undertaken various multi- disciplinary residency projects including two “Arts Victoria Arts Innovation” and Australia Council for the Arts “Synapse” residencies at the Australian Synchrotron (2007, 2010) and the inaugural online artist in residence at the National Gallery of Australia, Canberra (2004). His artworks have been shown around Australia and internationally, including CERN, Switzerland / France (2014); “Wonderland”, Museum of Contemporary Art, Taipei (2012) ; “Art Melbourne” Royal Exhibition Building, Melbourne (2010) ; Australian Centre for Contemporary Art, Melbourne (2001) ; “Vivid” Festival, Sydney, (2009, 2013).

Wolfgang Adam.

Wolfgang Adam is senior physicist responsible for CMS data analysis at the institute of High Energy Physics in Vienna, Austria. He has been working for the CMS experiment for 15 years and he is deeply involved in searches for supersymmetry.

Dynamics of the Apparatus

Continuing his exploration of the limits of materiality and knowledge, Melbourne-based artist Chris Henschke returns to CERN to present new works that manifest the sublime and dynamic parameters of physics events produced by proton-proton collisions at the Compact Muon Solenoid (CMS) detector at CERN’s Large Hadron Collider (LHC).

“Dynamics of the Apparatus” is a four minute audiovisual artwork, produced in 2015 by Chris Henschke for his “art@CMS” residency.

In collaboration with Austrian particle physicist Wolfgang Adam, Henschke has turned data from collision events captured in the CMS detector into energetic forms, which is manifested through sound and video. By algorithmically embedding the particle collision energies within the footage of the apparatus that produces them, they become dynamically connected both conceptually and expressively. “Activated Objects” is a sound- sculpture installation which plays with energy, materiality, and our relationship with experimental science. It utilizes sound synthesizers and resonant plate speakers attached to a variety of new and obsolete objects gathered from around the CERN site. The assemblages become at once re-activated sound emitting devices and totemic homages to technical obsolescence. Inspired by scientist Hans Rheinberger’s theory of ‘epistemic objects’, the installation raises questions such as where does the art end and the science begin, and when does a device and thus a theory become obsolete.

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3_John&Juki
Yuki Shiraishi, John Ellis
Collaboration Statement
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Yuki Shiraishi.

Yuki Shiraishi lives and works in Geneva. Between 2002 and 2010, her fields of interest led her to art (Masters degree at ENSBA in Paris in the studio of Giuseppe Penone) and also towards philosophy and science of religions (Nanzan University, Japan). She has had solo exhibitions in Japan and Switzerland since 2005. Her work was shown in 2013 at the Contemporary Art Museum MACZUL in Maracaibo, Venezuela. In 2014, she participated in a group exhibition celebrating the 150th Anniversary of the Diplomatic Relationship between Switzerland and Japan (Aller.Retour Japon.Genève at Andata Ritorno in Geneva). Since September 2014, Yuki Shiraishi has “carte blanche” at the gallery Andata.Ritorno for a one-year ongoing project called Etant donné, a clin d’oeil to the latest work by Marcel Duchamp.

John Ellis.

Jonathan Richard Ellis is a British theoretical physicist who is currently Clerk Maxwell Professor of Theoretical Physics at King’s College London. Ellis’ activities at CERN are wide-ranging. He was twice Deputy Division Leader for the Theory Division, and served as Division Leader for 1988–1994. He was a founding member of the LEPC and of the LHCC; currently he is chair of the committee to investigate physics opportunities for future proton accelerators, and is a member of the extended CLIC (Compact Linear Collider) Steering Committee. Ellis was appointed Commander of the Order of the British Empire (CBE) in the 2012 Birthday Honours for services to science and technology.

Past Present Future Present

I imagine a great funnel with its arms spread wide open and reflecting all the elements of the Universe. It is an image of what it is to be human – human for me is a “place” in which all sorts of energies pass through…and thus the funnel is for me a “concentrator of soul”.

Yuki Shiraishi, 2012

 

With her project Past Present Future Present Yuki Shiraishi proposes a conduit between the visible and the invisible. The sculpture shaped as a Funnel is made of highly polished stainless steel. It is, in a sense, a mirror and the spectator who walks around the sculpture sees his/her own distorted image reflected in the expansion of the Universe.  Then, looking from the big aperture inside “The Funnel”, one sees the image of the world in one comprehensive reflection that compresses time into a single instant.

“The Funnel’s” large opening is at the height of a human being in order to preserve a sense of proportion between the artwork and the spectator. It restores intimacy to the monumentality of the scientific project, which otherwise would be daunting.

Yuki Shiraishi’s sculpture incorporates us as individuals into the great adventure of time and existence. It is an invitation to a voyage from one space/time continuum to another, linking personal experience to infinity. As such, her work puts the spectator at the intersection of scientific understanding and art by bringing him/her into CMS’s experiment and what it represents today for the world and for future generations.

Michèle Vicat / 3 Dots Water – curator

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Image credits: Lindsay Olson by Georgia Schwender (Fermilab), Don Lincoln by Reidar Hahn (Fermilab)
Lindsay Olson, Don Lincoln
Collaboration Statement
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Lindsay Olson.

Lindsay Olson is Fermi National Accelerator’s Artist in Residence and a teacher at Columbia College Chicago. She is known for her unusual subject matter including a stint as the Artist in Residence for her local police department. Her love of science and technology grew out of her work with Chicago’s Metropolitan Water Reclamation District, the world’s largest waste water treatment facility. Lindsay uses her work and  to help others learn about the science and engineering that underpins modern culture. Her work has been shown in the United States and Europe.

Don Lincoln.

Dr. Don Lincoln is a physicist at Fermi National Accelerator Laboratory, America’s premier particle physics facility.  Coauthor of over 800 papers, he cites two as of special significance: the discovery of the top quark and the discovery of the Higgs boson.  Of late, his research focus employs the CMS detector at the Large Hadron Collider as a way to search for the ultimate building blocks of the cosmos.  In addition to his research, Lincoln is an inveterate popularizer of science – making videos and writing both books and magazine articles.  His most recent book The Large Hadron Collider: The Extraordinary Story of the Higgs Boson and Other Things That Will Blow Your Mind, was recently published by Johns Hopkins University Press.

No Fixed Point

Lindsay’s artistic practice grows out of an intense curiosity about the ways our society is supported by science and technology and uses her training to create art about the hidden realities of our world. In contrast, Don is both a researcher and a passionate science communicator, utilizing videos, presentations and the written word to bring the world of research to communities who would otherwise be unaware of the fascinating science that surrounds us.

Working together, our current project sheds light on the smallest frontier: the subatomic realm of quarks and leptons. We are fascinated by the behavior of nature’s fundamental building blocks that make up all that we see. Together, we view the Art@CMS project as an ideal way to invite others with little or no technical background to explore the very underpinnings of reality itself.

The Standard Model of particle physics is a breathtakingly successful conceptual tool we use to explain our universe. It tells how the vibrant and exciting cosmos in which we live can be explained as endless combinations of a few key building blocks, governed by a handful of simple principles. Using leviathan accelerators, scientists are able to probe deeper into the most basic components of the universe and the rules that govern them. The final prediction of the Standard Model was the Higgs boson and it was recently discovered at the Large Hadron Collider in Europe. Lindsay was intrigued by the visual and intellectual challenge to express this  powerful conceptual tool. Using information gleaned from the collaboration, Lindsay used dyed textiles, embroidery and other techniques to express the elegance of the Standard Model of Particle Physics.

Lindsay Olson & Don Lincoln, March 2015

 

 

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Brigitte&Hugues
Brigitte Tessier, Hugues Louis Brun
Collaboration Statement
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Brigitte Tessier.

Brigitte Tessier is a French Canadian  artist, graphic designer and educator. She has been a resident of France since 1993. As a painter, she works on her near environment and on her inner landscape. She questions the act of painting and, like a scientist, asks the question: What are we looking for? Both artists and scientists try to understand the world we are living in. The size and the medium she uses is an integral part of her creation. She often uses a long horizontal format like a path crossing life from one point to another. Brigitte Tessier has been active in displaying her art throughout the community and playing a key role in encouraging all age groups to express themselves through art.

Hugues Louis Brun.

Circulate

I wanted to tell a story about the notion of collision in my own way. It all started with a visit το the Compact Muon Soenoid (CMS) that touched and called out to me. I was fascinated by the place, the machines and the colors. Furthermore, the scientist’s talk throughout the visit ignited a desire to look deeper into the connection between scientists and artists. We have, what seems to me, the same internal need to understand the things of the world that surround us as well as those that dwell within us. I wanted to lay out this story in the same way as the Bayeux Tapestry and the Japanese Emaki-mono. A circular story of 27 meters, calling to mind the 27 kilometers of the Large Hadron Collider.

My research brought me to “La cueva de los manos” (The Cave of Hands) situated in Argentina, in the province of Santa Cruz. A nod to the work of the women and men of the CMS, working 100 meters below ground. The detector equally reminds me of stained glass windows in cathedrals. And The Dance of Matisse symbolizes the movement, the circle, the ring and more precisely the connection between humans. All of these collisions give birth to an energy that circulates around the void and embodies itself in the figure of the Centaur: man and animal, reason and instinct, science and art at the same time. The galaxy of the Centaur finally represents the infinitely large in parallel with the infinitely small.

The story I tell has no end! We are all particles, we circulate…

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Chris&Wolfgang
Chris Henschke,
Wolfgang Adam
Collaboration Statement
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Chris Henschke.

Chris Henschke is a Melbourne-based artist who has been working with digital media since the late 20th century. His main areas of practice are in the experimental combining of sound and image, space and time, and art and science.

Wolfgang Adam.

Wolfgang Adam is senior physicist responsible for CMS data analysis at the institute of High Energy Physics in Vienna, Austria. He has been working for the CMS experiment for 15 years and he is deeply involved in searches for supersymmetry.

Edge of the Observable

Edge of the Observable is an audiovisual artwork which explores the limits of materiality and knowledge, through an experimental manifestation of data taken from experiments at the Compact Muon Solenoid (CMS) detector at CERN’s Large Hadron Collider (LHC). The work seeks to manifest the sublime and dynamic parameters of collision events. The work enhances the formal material and energetic qualities of such events in a way that utilizes the science for a more expressive outcome – to quote philosopher Manuel De Landa, ‘even humble atoms can interact with light and energy in a way that literally expresses their identity.’

The data from one arbitrarily selected collision event is the source material for the artwork, however this ‘event’ is visually re-manifested through a material experimental setup. Taking the basic form of a physics experiment, the data is emitted as light from an energy source; it is then modulated through an optical lens-like device; and is then captured and recorded by a detector. By finely adjusting the physical variables of the experiment, plus some minor digital post-production adjustments, the resultant output contains an essence of both the setup of the artwork as well as that of the LHC experiments. It also plays with the concept of the ‘golden event’, a term used in particle physics to describe a perfectly recorded image of a rare or important particle interaction. The accompanying sound is data of the LHC beam tune, which is simply pitch-shifted and equalized to enhance its expressive qualities. The final artwork is filmed in 4K ultra-high definition video and presented as a twelve minute looping audio-visual sequence.

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Paco&Pierluigi copy
Paco Falco,
Pierluigi Paolucci
Collaboration Statement
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Paco Falco.

Paco Falco was born in Naples, Italy. He embarked on his career as a painter in the Spanish quarters of Naples where he held his first personal exhibition in Studio49VideoArte Gallery. One of his paintings is now on show in the Contemporary Religious Art Museum, Napoli, Italy, inside the monumental complex of Santa Maria La Nova. Paco Falco has participated in various group exhibitions, performances and art events, including Toledo in Progress, Sotto pelle, Artists under the Sky, Pictorial Encounters, Das Ewigweibliche, and Vetur Terra Felix. As part of the appARTissima project, Paco Falco has also produced live artworks with a combined technicality, integrating poetry and music by other artists in his Three Arts at Convention. He has also held a solo show entitled Paco in app.

Pierluigi Paolucci.

Pierluigi Paolucci is the RPC project manager of the CMS experiment at CERN.

The Forms of the Infinite

To decipher the codes of genesis, to reveal the design of the great architect of the universe, the equation of life even before life, of sound even before sound, of colour even before colour. To travel backwards along the way of creation, searching for an equilibrium between the infinite and a tormenting perfection. To seek the significance of the birth of sense. To abandon oneself to the “mad flight” of the eternal challenge between God and man.

Paco Falco’s research wanders into the darkness of sound where colour is generated in light and matter acquires form, emerging pure and luminous from the incessant labour of forces engaged in a struggle, the sense of which appears to be inscrutable.

Is God revealing himself upon defeating the devil in an eternal battle or no? Perhaps God has nothing to do with it. No point in casting the glove of challenge. Matter and the universe are neither damned nor blessed. Enough researching. Even along the impassable paths that lead to ancestral reigns, lacking coordinates within dilating space in an immeasurable time. The instruments are an explosion of colours, the unimaginable velocities leaving a trace of their course.

Dark matter reveals its tints in the reunification of the infinite points that is composed of. It imposes itself, giving consistency to an apparent inconsistency.

The beginning after the explosion of chaos lightly emerges, placid, beyond the reticules. It isn’t frightening.

The meaning outlines itself  in traits without anguish. The infinitely small may be perceived through the light and its passage leaves an inviting trace.

The study by Paco Falco immerses in the theme of Matter almost by chance, and  deepens into it thanks to a friend, Pier Luigi Paolucci, researcher at CERN. Pier assists Paco in his orientation within the concepts of this theme, showing him around CERN in Geneva, acting as his guide and, in a certain sense, as interpreter, elaborating a meta-language that may associate the pictorial dimension with the terms and themes of the world of scientific research, by rendering possible the materialization in forms and colours.

Paco Falco & Pierluigi Paolucci

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Xavier Cortada,
Pete Markowitz
Collaboration Statement
Read Bio's
Xavier Cortada.

Miami based professional artist Xavier Cortada is Artist-in-Residence and Director at Florida International University College of Architecture + the Arts  and also founder and Director of the Reclamation Project at Miami Science Museum. He has created art installations in the Earth’s poles to generate awareness about global climate change: In 2007, as an NSF Antarctic Artist and Writer’s Program Fellow, the artist used the moving ice sheet beneath the South Pole as an instrument to mark time; the art piece will be completed in 150,000 years.  In 2008, he planted a green flag at the North Pole to reclaim it for nature and launch a reforestation eco-art effort.

Pete Markowitz.

Pete Markowitz is Professor of Physics and Fellow of the Honor College at Florida International University (FIU). He is expert in the electromagnetic production of quarks (especially strange quarks), exotic forms of matter and physics at the limits of the Standard Model. As part of the FIU group, Pete has been working on the CMS experiment at CERN for more than ten years, primarily with the Hadron Calorimeter (HCAL) sub-detector. Watch here Pete Markowitz answering “why is the ‘God Particle’ such a big deal?”

Xavier Cortada and Pete Markowitz were already talking about how to elucidate the impact of the science at CERN, when Cortada was invited to visit the CMS experiment in August 2012. He was later invited to deliver an Art and Science talk during the 2013 CMS Week Conference, create a site-specific installation at the CMS experiment venue and engage 300 scientists from around the world in a performance art piece that transforms them into the very subatomic particles they research.

The scope of the CMS experiment is vast. The sheer size of the detector, the immense weight, the incredibly detailed engineering, the number of channels of information are unprecedented. The experiment transcends both time and space, with the planning, reviews, commissioning, data taking and now the upgrades going on to allow us to find the truths of nature. The ability at the end of the day to see beyond ourselves and the collaboration’s reach not only across time but across the globe, with thousands of scientists working in a unified, coherent mechanism evokes hope in mankind.

In their discussions, Markowitz and Cortada began thinking about the classical studies of the 1950s, showing that a proton could not be fundamental due to its finite size. In other words, if a photon hits one side of the proton and that scattering deforms the initial side of the proton, the opposite side does not even know until some later time governed by the speed of light and the proton’s size. This series of experiments led to the idea of quarks inside the proton, such as those studied in the LHC experiments. Markowitz and Cortada continued thinking about how observations such as this could become the basis of an art piece for the building above the CMS experiment — maybe with two stained glass panels (one showing the deformation and the other not). The progression led to developing a performance piece involving the CMS scientists.

Working together, Cortada and Markowitz developed a permanent, site-specific art installation. The installation’s five banners give the different strategies to shift through the voluminous collisions recorded by the CMS experiment in the search for the Higgs-like particle. The foreground of each five-meter long banner shows an event which is a possible candidate for each of these different decays of the Higgs-like particle to a final state: two photons, two Z, two W, two bottom quarks or two tau leptons. The backgrounds reflect the additional breadth of the physics program. Each depicts selected pages from every article published by the collaboration. In a very real sense, the banners serve as an homage to the CMS collaboration’s more than 3,000 scientists and engineers whose work is disseminated through those very publications. At the same time the complexity of the work illustrates the challenge in paring down the myriad of interactions to select those scatterings that may have produced a Higgs boson.

The resulting exhibit is about honouring the people who have increased our understanding of the universe – those scientists, engineers, technicians and others from around the entire planet whose work and names are showcased in these banners. The connection between their work and the people themselves is brought out in both the banners and the performance. In the performance piece, the physicists become their work. In each banner, their work becomes art. The art banners, created by digitally manipulating models, publications, logos and charts produced by the CMS collaboration, evoke the CMS experiment’s dual legacy: inspiring a future generation of scientists by building upon the work of those who came before.

Xavier Cortada & Pete Markowitz

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Alison Gill,
Ian Shipsey
Collaboration Statement
Read Bio's
Alison Gill.

Alison Gill is an artist based in London who has exhibited work widely in both the UK and internationally over the last two decades. Her practice uses both drawing and sculpture to create conditions to spark the imagination and curiosity of the viewer and encourage audiences to examine and question their own associations and experience of uncertainty and wonder. The process-driven, analytical and interdisciplinary approach that Gill takes, strives to be poetic and visually engaging; it has involved dialogues and collaboration with those in other fields of knowledge such as scientists, writers, a philosopher, economist and a poet.

Ian Shipsey.

Ian Shipsey is Professor of Experimental Physics at Oxford University. He has served as the Chairperson of the Collaboration Board of CMS. He is a part of a team that builds cameras that look at the world in new ways. One of these cameras photographed the Higgs particle as part of the CMS at the Large Hadron Collider at CERN. Another will be part of the Large Synoptic Survey Telescope that will see more of the universe in three nights than all previous telescopes built by mankind when it begins operation in Chile in 2021.

Something unusual is taking place at the CMS detector at the Large Hadron Collider (LHC).  Where there would normally be physicists and engineers at work there is an artist. Why? Because big science is beautiful and art is a central language that can articulate this.

Alison Gill is a good choice in that context: she trained as sculptor, teacher, has studied psychoanalysis, and has taken a keen interest in scientific and mathematical matters – as illustrated by the drawings of knots which she is showing alongside her sculptural installation.

The way Gill operates bears comparison with the position taken by the American philosopher Willard Van Orman Quine (1908-2000). He came to prominence by opposing the well-established distinction between analytic and synthetic truths. Previous orthodoxy held that the former, such as ‘2 +2 = 4’, are true by virtue of the meaning of their words and terms, and remain true come what may; whereas the latter, such as ‘snow is white’, require the evidence of extra-linguistic facts in the world.  This might be seen as paralleling the contrast between the logical investigations of a physicist and the artist’s more instinctive pursuit of meaning. Quine held a holistic view under which the truth of a particular statement depends on its position in the surrounding discourse of statements, and in which statements might be located on a continuous field. Imagine that field as a circle, with the external world surrounding it: synthetic statements would be towards the edge, readily affected by observation of the external world; whereas analytic statements would be found towards the middle – it’s not that they can’t be changed, but that a great deal needs to happen to produce an effect so far from the periphery. To illustrate how that might work, Quine himself suggested that as a result of all the developments in physics in the 20th century, there’s a plausible case for replacing classical logic by quantum logic.

So, in Quine’s view, there aren’t the sharp divisions we might expect between types of knowledge; and he claimed that it’s the whole field of knowledge, not just single statements in isolation, which are to be verified. All scientific statements are interconnected, and we should judge the truth of the explanatory system to which they give rise. Contemporary art operates similarly, in that almost anything can be presented within the framework of art, and the effect and meaning of any one work often depends on its place in the whole nexus of art’s history and current practice.

It makes sense, then, that Gill’s work brings together interests in topology, the physical sciences, psychoanalysis, folklore and, of course, art; yet does not treat those as different in kind, but as points of equal interest on a continuum. That makes it appropriate to suggest an affinity with Blake, who was writing at a time when poetry, philosophy and science felt like part of one large project of enquiry.  The discipline of sculpture suits this approach, given that, as Gill herself says, ‘it is dealing with matter and its absence, material both seen and unseen’; and that leads her into what she calls ‘the dimension of not knowing’.

So how does the work which Gill has made for CMS at CERN fit in with this? In the six sculptures which make up Stranger Than Paradise, magnetised objects hang in steel frames with dimensions taken from Giacometti’s early Surrealist works. They operate in abstract terms, but also reference scientific modelling, and in doing so they alternate between micro and macro levels. Just what are those cratered balls with blind alleys, tunnels and holes? Atomic particles? Planets? Or people in relationships? Gill points to the potential narrative of those relations through the sub-titles of these pieces, all of which incorporate a fairy tale which can also be read as linking to one of the six particles which are quarks in the Standard Model: Sleeping Beauty (Beauty/Bottom); Rumpelstiltskin (Strange); Tom Thumb (Down); Rapunzel (Truth/Top); Frog Prince (Charm) and Magic Bean (Up).

The science of Stranger Than Paradise is too simple to deceive. Everyone understands magnetic force. Yet a residual air of mystery does remain whenever bodies act without visible cause. And if the objects do stand in for people, they put me in mind of how behaviour can appear to come from nowhere, even the extremes which are seen in those early Giacometti sculptures.  Our speculation as to causes will be rooted in psychology rather than science. That might set us wondering, though, whether the former might eventually be reduced to the latter through an ultimate understanding of the chemistry and physics of the brain, just as the sculpture’s interactions can be explained by magnetic and gravitational laws.

What are the shapes, by the way? Gill explains that they all began from either the sphere or a Russian doll, and that, too, provides an appropriate combination of contrasts: they start from either perfect rationalism, for which read science or maths; or from a sequential concatenation of myth, from art or religion.

Detector (Kissing Gate) also uses the invisible force of magnetism, but to rather different effect – to influence the opening, closing and turning of a sculptural circle which becomes a portal. Here again the art and non-art references come together. This is a gate, a potential point of entry to alternative experiences, including, perhaps, the magnetic attractions of romance.  It also looks like a bicycle wheel removed from its context, which summons Duchamp’s first readymade. The sculptural placement of string across a hole brings Barbara Hepworth to mind. But its pattern takes us back to Gill’s interest in topology: it’s a ‘Mystic Rose’ produced by linking equidistant points around a circle to each other.

The Space Matter Problem (50 x 40 x 20) completes Gill’s set of CERN pieces. It takes off from cast forms of some banality: a carry-on suitcase designed to fit the stated maximum measurements allowed by airlines, and a star-shaped perfume bottle. Those are subjected to changes in the manner of a scientific experiment in form: the plaster casts are folded, fragmented, have holes cut into them and have been thrown down stairs. They’re covered in chemical indigo – the colour traditionally used for night skies in illuminated manuscripts – and peppered with starry traces of mica. The multi-form results are arranged according to scale on tables which are actually the art-meets-maths-meets-academia surface of blackboards with chalk grids.

There’s a fiercer energy implied here than in the magnetic pieces, and the damaged suitcase may suggest that an on-plane explosion has occurred. But that’s not out of place: there is an obvious violence to the Hadron Collider’s extravagant electromagnetic enforcements. And the evolution of the atom bomb will always lurk behind such experiments. Gill’s own thesis on Giacometti’s Surrealist work was called ‘The Poetics of Destruction’, and a quotation from that picks up on the connection between destruction and desire, another holistic aspect of reality: ‘Giacometti sought to understand reality and to survive it. He worked in the hope of grasping the whole of his vision. This was his desire. Bataille viewed ‘destruction of what is there before the subject’ as the premise for ‘the enactment of desire’. He wrote ‘ Art since it is constantly art, proceeds in this by successive destructions. Thus in so far as it liberates instincts, these are sadistic.’

Alison Gill shows us that, whether or not you can ‘hold infinity in the palm of your hand’, you can pause in the course of momentous scientific investigations to take in another perspective on the haunting unity of what surrounds us.

Paul Carey-Kent

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2014 2013

07-09 Apr 2014 | Graz, Austria
28 Oct-01 Nov 2013 | London, England05-07 Jun 2013 | Graz, Austria
IMG_7169
RESOURCES
Workshop programme
07-09 Apr 2014 | Graz, Austria
High energy physics meets art
Participating schools:
Graz International Bilingual School (GIBS) & BORG Monsberger
Participating CMS Institute:
Institute of High Energy Physics Vienna (HEPHY)
Workshop co-ordinator:
Michael Hoch (CMS/CERN)
With the support of:
Joanneum Universal Museum, City of Graz & Pathway Project

For the second consecutive year, Art@CMS goes to Graz, Austria, to run a Science&Art@School workshop, bringing together 55 high-school students from two high schools – Graz International Bilingual School (GIBS) & BORG Monsberger – with the aim to inspire them in the world of scientific research at CMS and CERN. Over three days, with the help of physicists from HEPHY, science educators and art teachers, the students attended lectures bridging science and the arts, took part in a hands-on CMS masterclass, and worked on the creation of original artworks inspired by particle physics that were displayed for a day at the Joanneum Universal Museum in Graz.

LINKS
Workshop blogWorkshop videoArt workshop videoCMS Physics Masterclass Institute of High Energy Physics ViennaJoanneum Universal Museum City of Graz Pathway Project
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London13
RESOURCES
Workshop brochure
28 Oct-01 Nov 2013 | London, England
Unseen dimensions: Dialogues in art and science
Participating schools:
City of London School for Boys
CMS Participation:
Michael Hoch
Workshop committee:
James Aung, Mahmoud Ghanem, Rhyss Goodall, Hamish Rea (students) and Alison Gill, Hugh Jones, Marco V. Pereira, Angelina Giannarou, Tom Kelly (staff)

A week of  workshops, exhibitions, talks and events was organised by students and staff at the City of London School under the title Unseen Dimensions: Dialogues in Art and Science. Bringing together artists, researchers and philosophers along with science educators and art teachers, the aim of Unseen Dimensions was to bridge the science and art divide by showing students and the wider public that imagination and creativity are at the heart of learning and innovation. Artworks by the founder of Art@CMS, Michael Hoch, were included in the Unseen Dimensions exhibition that remained open till November 29.

LINKS
Unseen Dimensions in TumblrUnseen Dimensions video documentaryCity of London School
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C360_2013-06-10-10-34-44-268
RESOURCES
Workshop Programme
05-07 Jun 2013 | Graz, Austria
High energy physics meets art
Participating schools:
Graz International Bilingual School (GIBS) & BORG Monsberger
Participating CMS Institute:
Institute of High Energy Physics Vienna (HEPHY)
Workshop co-ordinator:
Michael Hoch (CMS/CERN)
With the support of:
Joanneum Universal Museum, City of Graz & Pathway Project

This science&art@school workshop in Graz, Austria brought together 62 students from two high schools – Graz International Bilingual School (GIBS) & BORG Monsberger – with the aim to inspire them in the world of scientific research at CMS and CERN. Over two days, with the help of physicists from HEPHY, science educators and art teachers, the students attended lectures bridging science and the arts, took part in a hands-on CMS masterclass, and worked on the creation of original artworks inspired by particle physics that were displayed for a day at the Joanneum Universal Museum in Graz.

LINKS
Workshop blog Workshop videos CMS Physics Masterclass Institute of High Energy Physics ViennaJoanneum Universal Museum City of Graz Pathway Project
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Dark Matter: Music Meets Physics
27 Mar 2018
by Scott Wilson
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Dark Matter: Music Meets Physics
27 Mar 2018
by Scott Wilson
Several years ago, my friend and collaborator Konstantinos Vasilakos approached me with an idea to develop a collaboration between CERN and our laptop group, the Birmingham Ensemble for Electroacoustic Research. The idea was to develop ways of transforming data from experiments at the …

Several years ago, my friend and collaborator Konstantinos Vasilakos approached me with an idea to develop a collaboration between CERN and our laptop group, the Birmingham Ensemble for Electroacoustic Research. The idea was to develop ways of transforming data from experiments at the Large Hadron Collider – the world’s largest particle accelerator – into electronic music and visuals, allowing us to hear and see the results of this cutting-edge research into the nature of the universe. This was under the auspices of art@CMS, an established international project for collaboration between art and science. They connected us with physicist Maurizio Pierini, who along with Kostas Nikolopoulos and Tom McCauley has served as physicist advisor and collaborator.

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In the original stages of the project, we worked with what is called live coding; essentially making music by writing computer programmes in real time. This is done in such a way that they can be re-written ‘on the fly’, while they are running. The physics data formed source material for our improvisations, and our goal was to explore the unique character of these particle collisions by rendering their salient aspects in sound, creating surprising results and challenging us as performers to respond musically.

This evolved into a fruitful and ongoing project, leading most recently to this new work for orchestra, electronic sound,and video for Esprit. While not an improvisation, it uses similar approaches to produce orchestral material as well as electronic music. Working in SuperCollider (the environment we use with the ensemble, of which I’m an active developer), I developed initial sonifications which I then converted to musical notation. These formed the core material of the work, both in terms of orchestral writing and electronic sound. The orchestra parts consist both of music derived from these (in whole or in fragments), and a variety of responses to them, inspired by the fascinating musical characters they exhibited. In some sense this work must be intuitive: Particle collisions do not sound like anything, except as made audible through an algorithm which maps aspects of the event to sounds or musical materials.

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The visualizations posed a similar problem: We cannot see sub-atomic particles, as they are beyond that level of reality in which sight can be said to function; outside of the mechanisms which make ‘sight’ possible. All we can do is capture their traces, render their geometry. Many of the techniques historically utilized for this (the predecessors of today’s advanced particle accelerators) result in images which are beautiful and strange in their own right, and the mysterious tracks that can be seen in cloud chambers have been a powerful inspiration to me in this work.

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The completed piece is in three movements. The first, Clouds, is based around a melody derived from a single particle collision – a sort of slow-motion version of both that event and the accompanying electronic sound. The second, Particles, is based around different sonifications with unique musical characters, which inspire orchestral responses. The final movement, Tapestries, weaves together lines of music derived from different physics events into a rhythmic interplay, inspired by Nobel laureate Sheldon Glashow’s words: “Tapestries are made by many artisans working together. The contributions of separate workers cannot be discerned in the completed work, and the loose and false threads have been covered over. So it is in our picture of particle physics.”

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This blog post written by Scott Wilson was originally published on March 22nd, 2018, on Esprit Orchestra website. Esprit Orchestra is Canada’s only full-sized professional orchestra devoted to performing and promoting new orchestral music.

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The Art of Science
30 Jan 2017
by Michael Hoch
The discovery of the Higgs Boson on the 4th of July 2012, that explains why atoms and we exist, is an opportunity for science and art to fuse; to speak of a reassessment of our place in the cosmos that …

The discovery of the Higgs Boson on the 4th of July 2012, that explains why atoms and we exist, is an opportunity for science and art to fuse; to speak of a reassessment of our place in the cosmos that has just occurred with the Higgs discovery, to speak of the mysterious and to make it approachable.

By studying the Higgs Boson, we seek to understand why the world is the way it is. It is one of deepest questions humans have ever pursued. Why? Our universe is full of fields invisible but influential: the patterns formed by iron filings near a magnet due to a magnetic field and the orbit of Earth around the Sun due to a gravitational field are two we are familiar with. The Higgs field fills all of space; it’s role understood by analogy to an ocean of water. A barracuda is supremely streamlined, it passes through water almost effortlessly, there is little interaction, it represents a low mass particle: for example an electron. A person wading through deep water does so with great effort, there is lots of interaction. The person represents a high mass particle: for example a top quark. The more interaction a particle has with the Higgs field the more massive it is.

The Higgs boson is the quantum of the Higgs field, the smallest piece, and in the ocean analogy the Higgs boson is a water molecule.

To appreciate the importance of the Higgs it is sufficient to imagine a world without it. If the Higgs field did not exist, particles, including the quarks and the electron and its siblings, could not interact with it and so would have no mass and travel at light speed. Protons and neutrons composed of quarks bound together obtain their mass from the energy associated with binding, so they would still be massive but for subtle reasons protons would now be heavier than neutrons and so disintegrate into them in about 15 picoseconds. There would be no hydrogen atom, and the lightest “nucleus” would be one neutron. A massless electron means that the radius of an atom—half a nanometer in our world—would be infinite. Without compact atoms, chemical bonding would have no meaning. Matter would be insubstantial and life would not exist. This is the reassessment of which we speak.

The discovery of the Higgs Boson represents one of the greatest triumphs of the human intellect, vindicating the construction of one of science’s greatest theories known as “The Standard Model of Particle Physics”.

To tackle this epic goal mankind needed unprecedented scientific collaborations to building the Large Hadron Collider (LHC) at CERN as well as the 4 experiments ALICE, ATLAS, CMS and LHCb. The LHC, the most complicated machine ever built is a 27 km circumference machine that collides counter-rotating beams of protons at almost speed of light. In each of the 4 crossing points where LHC collides the two beams one of the large experiment are installed to capture the products of the particle collisions like big cameras. ATLAS and CMS, the two gigantic multipurpose detectors or cameras, have a size of a 6 story office building but containing in some places of sensors small such as a human hair.

Never before had detectors of such complexity been designed and built. This sophistication was required to match the performance of the LHC, with extreme demands for spatial granularity and resolution, rapidity of response and radiation hardness of sub-detectors. Due to the extremely small production cross section of the Higgs boson, less than a billionth of the proton-proton interaction probability, a billion proton-proton collisions per second are needed to give a chance of observing it and investigating its properties. This data must first be filtered, selected and reduced to a rate of a few hundred potentially ‘interesting’ collisions per second prior to detailed offline analysis

The CMS detector situated 100m below the surface of the French village Cessy in the Pays de Gex has a height of almost 20m, a length of 24m and weights 14.000T.

Its heart, the real backbone around which the entire experiment was designed, is a huge superconducting solenoid magnet, the largest of its kind in the world, which operates at 4 degrees Kelvin producing a uniform 4 Tesla field with 3 Gigajoules of stored energy. It was designed by engineers and scientists from Saclay incorporating numerous technical innovations, and was built with components from all over the world and assembled in Italy.

Outside the magnet cryostat is the iron magnet return yoke. This structure consists of a central barrel part of five huge “wheels” each weighing up to 2000 tons. It was designed in Germany, made from iron cut in Russia, assembled at CERN and held with connector elements from the Czech Republic, everything resting on “feet” built in Pakistan. The two end-caps of CMS, each consisting of three iron disc-like walls, complete the flux return path and hold a variety of sub-detectors. The end-caps themselves were produced in Japan, rest on feet built in China, and are secured by special anti-seismic support-bars built in the USA.

Inside the iron yoke are interleaved four layers of muon detectors, both Drift Tube (DT) and Resistive Plate (RPC) chambers. The DTs were designed and constructed in Germany, Spain and Italy, and the RPCs in Belgium, Bulgaria, Italy, Korea, Pakistan… This central barrel part also houses scintillator detectors built in India, complementing the inner calorimeter. The muon detectors covering the end-cap discs are also organized in four layers; Cathode Strip chambers (CSC) designed and built in the USA, Russia and China, and RPC detectors. The muon system is central to the CMS detector design, giving the experiment its name “Compact Muon Solenoid”. It is the subdetector which the CMS “founding fathers” counted-on for the search for the Higgs boson via the process H => Z + Z bosons decaying each to 2 muons effective over a very broad mass range.

Looking inwards towards the interaction point from the coil cryostat we find three types of detectors; first the hadron then the electromagnetic calorimeters, and at the centre, surrounding the accelerator beam pipe, the central tracker. The hadron calorimeter is a conventional design of alternating layers of absorber (brass) and scintillator plates. It is used to measure particle “jets”, groups of particles, the macroscopic manifestations of quarks and gluons. A curiosity of this detector is that the 1600 tons of absorber brass were recovered by Russian physicists from disused naval artillery cartridges discarded from Russian navy cruisers. The brass after transportation to Bulgaria, was ultimately cut and engineered to a design from Fermilab/USA colleagues in a shipyard in Spain. An excellent example of international cooperation. The barrel, end-cap and very forward hadronic calorimeters were also produced by a collaboration of institutes from USA, Russia, Ukraine, Turkey, Iran, Hungary……

The next inner layer, the electromagnetic calorimeter, one of the most original parts of CMS, comprises some 76000 scintillating crystals made of lead tungstate (PbWO4), each of size 2222 cm3. The crystals are organized in the barrel part as a cylindrical shell with two endcaps, all crystals pointing towards the interaction point at the centre of the detector. They were produced over several years in Russia and China after a five-year-long research and development program, an interesting scientific, political and industrial saga in itself in those post-soviet years. Countries or institutions contributing to various aspects of mechanical design and construction, readout elements of this very sophisticated and high performance detector include CERN, France, Greece, Italy, Japan, Taiwan, UK, USA and Switzerland.

Finally, the innermost detection system is the central tracking detector, the most sophisticated and technologically advanced element. In a cylindrical volume of about 6m length and 2.3m diameter are organized, in cylindrical layers for the central part and in flat discs towards the two ends, 10 million silicon microstrip detectors, typically 6 cm long, 100 to 400 microns wide and 300 microns thick. It has an overall area of 200 square metres, and at the time of its conception and design no Si-detector in the world exceeded 2 square metres! It is complemented in its central part, closest to be beam pipe and interaction point by a pixel detector, 70 million pixels in total of size 100150 microns square, organized in 3 cylindrical barrel layers and by end-cap discs, 3 on each side. The complete tracker system presented extreme requirements of mechanical construction, precision, electronics, radiation hardness, etc., and was a collaborative effort from Austria, Belgium, Germany, Italy, France, Switzerland, USA and CERN. It provides altogether eighty million individual electronic readout channels of high precision track measurements.

To read, select and record the data, CMS has a highly innovative, powerful and flexible data acquisition, triggering, monitoring, control and processing system with both hardware and software components. It is the equivalent of the nervous system of an organism, transforming and making sense from the electrical signals produced by the sub-detectors to produce physical quantities and variables amenable to the physics analysis which finally led to the discovery of the Higgs boson in 2012. The countries or institutions contributing to this system, among others, are CERN, Austria, France, Italy, Germany, Greece, India, Portugal, Spain, Taiwan, UK, USА.

The construction and first year of data taking over 25 years involved 11,000 scientists and engineers from almost 200 institutions, laboratories and universities and 45 countries worldwide. Right now CMS as ATLAS, each of them have about 3,000 active members in their collaboration dedicating their professional work, creativity and passion to run and maintain these experiments. The reader may wonder how this global endeavour with people of different cultures, religions, languages, did not suffer from the Tower of Babel syndrome. How could humans peer into one of the deepest secrets of the universe, the origin of mass, without being confounded by a multitude of languages? The secret is that all were driven by a common purpose with physics and mathematics as universal languages. All used broken-English to communicate, and to give satisfaction to French pride, the metric system of units prevailed, with no inches, feet, yards, pounds, imperial gallons, etc!

With the discovery of the Higgs boson, the LHC story is not over. Years of detailed studies lie ahead to understand its exact nature and properties. Other highly interesting studies and searches with possibly other discoveries are in store; supersymmetry, signs of extra space dimensions, quantum mini black holes, etc. In about 20 years from now, when this research programme will be completed, a new and more powerful machine with more complex detectors may well take over to carry on this incessant quest towards a deeper understanding of Nature allowing future generations to pursue the pleasure of discovery.

The book “CMS – The Art of Science” by Michael Hoch is perceived as a homage to all large scientific collaborations who try to push the limits of science and technology for the benefit of mankind. The document allows general public to discover the beauty and complexity of science architecture at CERN. Furthermore it pays tribute to all involved scientists, engineers, technicians and other passionate professionals who are needed to design, construct and run this experiment

Albert Einstein wrote: “The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science.”

Public who have been fortunate enough to visit a see personally the CMS detector or other experiments at CERN in all its glory, have often commented that it could be displayed as a work of art.

Science requires that we continually reassess our place in the cosmos. Where do we come from? Who are we? Where are we going? It changes our perspective. Great art, literature and music ask these same questions. When we experience a wonderful book, a beautiful film, a painting, sculpture or symphony, it changes our perspective, just as science does.

Given this commonality between art and science it’s especially appropriate and exciting when artists make science their subject. Artists show science from a unique perspective that can be more approachable than science head-on.

There are interdisciplinary programs at CERN who allow access to professional artists, as well as art and educative institutions to collaborate. The goal is to make scientific topics their own and create unique products of diverse fascinating topics related to particle physics. The CERN artist in residence program ARTS AT CERN has its main goal to develop expert knowledge in the arts through a connection with fundamental science. The program gives artists the opportunity to encounter the multi-dimensional world of particle physics.

The art@CMS program establishes collaborations between scientists, artists, art institutions and students globally and supports group as well as solo exhibitions. Through these exhibitions and educational workshops the two complementary views merge, stimulating our senses and inspiring our curiosity by highlighting the mystery.

For all who have not visited CERN and or CMS yet, there is a unique chance again between beginning of January until end of March 2017, when the LHC is not in its physics mode but in standby to service and upgrade equipment. The CERN Visits Service helps you to schedule a visit to this fascinating science laboratory next to Geneva.

Text&photos: Michael Hoch

More information on science can be found at:

home.cern

cms.cern

atlas.cern

More information on art and science program at CERN can be found at:

arts.cern

artcms.web.cern.ch

The book of Michael Hoch can be found at:

CMS The Arts of Science / Edition Lammerhuber

Credits for the authors: Ian Shipsey University of Oxford/ UK , Daniel Denegri SACLAY/ FR, Michael Hoch HEPHY/ AUT

Disclaimer: This article appeared first in the Alp Age Magazine and is reproduced here having the Editor’s consent.

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art@CMS “Circulez” – Condensed
05 Jul 2015
by Fergus Horan
On 24 June, the CMS experimental site hosted Circulez, a series of artworks from art@CMS, which is an education and outreach programme that is composed of exhibitions, school workshops and lectures and which has experienced great success over the last two and …

On 24 June, the CMS experimental site hosted Circulez, a series of artworks from art@CMS, which is an education and outreach programme that is composed of exhibitions, school workshops and lectures and which has experienced great success over the last two and a half years. Seven hundred visitors had the opportunity to see a variety of artworks by international artists working with different media. These included a video showing shots of CMS being vibrated and distorted by sonified LHC data (Chris Henschke, The Nature of the Apparatus), photos depicting CMS and CERN physicists explaining what they are most passionate about (Bree Corn, Passionate About), and live rap by London-based musicians. All this took place in a space 100 metres above the CMS detector, the inspiration for all the individual art pieces. The intention of the exhibition was to both reveal the beauty of the science going on at CMS and create a dialogue between physics at CMS and the arts in the wake of the recent restart of the LHC at 13 TeV.

In general, interdisciplinary projects often run the risk of seeming distinctly forced and ineffective for a number of reasons. There remain misunderstandings of the fields involved, resulting in projects that follow a patronising structure in which one field dictates how the other(s) should behave. Another challenge is finding exactly what one wants to gain from an interdisciplinary project, as there are endless lists of academic and non-academic fields that could potentially have some sort of value when discussed collectively. It is therefore easy to become tired of projects that claim to have provided a new view of a particular field. I would like to explain how I believe that art@CMS has fulfilled its aims of forming an effective dialogue between the arts and sciences, and why I believe that is valuable.

Working as an intern for art@CMS, I was fortunate to meet all of the artists whose works were exhibited at Circulez and discuss their pieces and how they came to be. Some of the artists, like Andy Charalambous, had a background in the sciences and were interested in taking functional scientific concepts to show their intrinsic beauty. In Charalambous’s case that was the simple elegance of a Feynman diagram (Sculptures IV). Some artists, however, had no background in the sciences, and it was really the effort invested in trying to grasp the intricacies of physics that was most significantly unique to art@CMS. Instead of superficially appropriating scientific terminology, the artists displayed concepts that are fascinating to all observers. This was partially down to the fantastic effort put in by the collaborating scientists who took time to discuss their work in an effort to clarify and celebrate the beauty of physics. An example of this is Lindsay Olson’s series with Don Lincoln, No Fixed Point, a series that shows through textiles a study of the Standard Model, its implications and incompleteness.

The exhibition was enhanced the dramatic setting and the life-size image of the CMS detector in all of its radiant colour. I think that, in addition to the presence of fascinating artwork, the true success of art@CMS can be measured in the reactions of those observing it. Physicists stopped and asked the creators how the art was made and why, while non-physicists asked the physicists around them what was being represented. This for me demonstrates the strengthening of the dialogue between the arts and sciences, and the creation of something in addition to the value of art in itself.

Another key element of the exhibition was the inclusion of artworks from students at the International School of Geneva (ECOLINT). Not only did it provide an excellent opportunity for students to have their artworks displayed, the work that they were a part of is a symbol of art@CMS promoting a model of “bottom-up” change. By encouraging and involving students, they can become more open-minded artists and designers with functional skills in sciences and engineering. It is also important to see art’s method of expression as eye-opening for a larger number of students who may so far seen physics as repeating and applying equations in class. A project like art@CMS can draw more students into the sciences by revealing scientific ideas in an innovative way. It is clear that the students have a strong grasp of the materials they are discussing both in a scientific sense and an artistic one. This is particularly shown in the wit of the God Particle Soup piece by Clelia Anchisi. Workshops like the ones done at ECOLINT have been running internationally, including 300 students across six countries, and have led to the creation of incredible works of art.

In this way I believe that the original challenges made to interdisciplinary work are addressed by a model like the one art@CMS has, due to the aim not being the production of a middle ground that respects neither field, but instead a dialogue that can benefit both fields. This is not a “top-down” enforcement of a way of thinking, but rather the cultivation of an interest in the arts and sciences that might not otherwise be able to flourish.

* Fergus Horan is a seventeen-year-old student from the City of London School who joined art@CMS for two weeks as part of his internship at CERN.

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What would a CERN scientist and an artist have in common?
20 Mar 2015
by Angelos Alexopoulos & Christiana Kazakou
In recent years, especially after the discovery of the “elusive” Higgs boson in 2012 by the CMS and ATLAS experiments at CERN’s Large Hadron Collider, the wonderful world of particle physics has become even more topical, providing an ideal opportunity …

In recent years, especially after the discovery of the “elusive” Higgs boson in 2012 by the CMS and ATLAS experiments at CERN’s Large Hadron Collider, the wonderful world of particle physics has become even more topical, providing an ideal opportunity for us to reassess our understanding of our natural environment and our position in it. At CERN, the largest particle physics research center in the world, thousands of scientists are trying to answer three crucial questions: Where do we come from? Who are we? Where are we going?

However, these “mysterious” questions are not the exclusive domain of science, as they also provide inspiration to many artists. As Albert Einstein stressed out, «the most beautiful thing we can experience is the mysterious. This is the source of all true art and science.”

But what is beautiful in science? The experiential relationship with scientific thought and discovery is a common place for many researchers, and this is something that requires method, cooperation and perseverance as well as boldness and imagination. This way, the scientific process acts as a transformative experience that can not be complete without the essential dialogue between science and art. Through scientific illustration, creative collaborations and science communication, a new ground is born leaving behind the ‘limited’ boundaries of disciplines.

Modern particle physics overcome everybody’s innate intuitions, touching the realm of the “metaphysical.” This is the particular philosophy and spirituality that the arts are brought in to cover through creative narratives. Metaphors, similes and analogies, the actual tools of artistic creation, are also useful in the scientific process. Through these tools, scientists can imagine an abstract scientific concept in a more precise way, they can better understand the potential impact of this concept and are able to communicate the beauty of scientific thought to the wider community.

The art@CMS programme is all about this . It promotes the meaningful dialogue between science and art, bringing together scientists from the CMS experiment at CERN with artists from all around the world. At this year’s Athens Science Festival, visitors will have the opportunity to experience some tangible results of this dialogue.

The art exhibition ‘art@CMS l The art of science, the beauty in creation’ will present the works of five international artists using photo collage, painting and sculpture as a way to express the above questions. All creations were the result of collaboration and personal contact between artists and CMS experiment scientists. The short film “Past, Present, Future, Present,” which records the dialogue between the famous British theoretical physicist John Richard Ellis and Swiss artist Yuki Shiraishi will be screened during the festival. John Richard Ellis’ scientific knowledge responds to Yuki’s idea to create a large-scale construction that resembles a great ‘funnel’, a shape connected with our understanding of the universe. Finally, the audience will have the opportunity to talk with CERN scientists and other physicists who will introduce us to the secrets of the universe and the fascinating world of particle physics.

(This blog post was originally published in Athens Science Festival 2015 website and can be found here)

* Angelos Alexopoulos is a member of the Communications Group of the CMS Experiment at CERN. He designs and implements education & outreach projects, including Art@CMS. Christiana Kazakou is the art & science curator of the Athens Science Festival.

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Seeing a New World:
A Visit to the Studio of Alison Gill
13 Dec 2013
by Ian Shipsey
As scientific partner of Alison Gill and in the spirit of all valuable experiments, particle physicist Ian Shipsey was invited to visit Gill’s studio in London during the making of the sculptures for CMS. Read in Shipsey’s words the result of this unusual exchange.

Alison’s studio was warm and cosy, a home, but intimate, more like entering a bedroom than a kitchen. The contrast was stark. To get here Daniela, my wife, and I had come through a shivering grey London; the city under a vast sky of the same colour. Damp, cold and late, we sheltered from the torrential rain in a black London cab. The cabbie knew Occupation Road, although not the studio. We arrived just in time for the rain to stop.

Occupation Road sounds like rebellion. It is a short gritty street in an area of Victorian brick warehouses and old metal. The buildings on one side of the street are gone, opening onto wasteland, railroad tracks and a highway, an edgy post-industrial landscape. At the third try, behind shiny new galvanised steel, we found Occupation Studios and Alison smiling at the door. She took us into the old brick building and up a narrow skew wooden staircase to a second floor room: the studio. A bright warm space perhaps 20 ft by 20 ft. High angled ceilings like an attic room with dusty white walls. The space was crammed with works in progress: the sculptures, and tools: a drill, hammers, string, and fine dust everywhere, and a tiny old sink with a tap.

First tea and biscuits, creating a useful space and time in which to overcome the self-conscious awkwardness I was feeling. This was not the first time I have been in an artist’s studio, but the first time I formally had a connection to the art.

The first pieces you see as you enter the room and the first I looked at after tea was Stranger than Paradise. These sculptures use the force of magnetism at it most striking. Magnetism is mysterious, magical and inspirational to every generation of physicists. It has drawn many of us to science. Once we learn how magnetism works it is no less magical and inspirational. The magic derives from its remarkable power, so powerful that the atoms in a tiny magnet can call more strongly on a nearby paper clip causing it to levitate, than all the atoms in the world can call on that same paper clip to cause it to fall to the ground. When I saw the primitive coarse shapes in Stranger than Paradise in their precise geometric frames some levitating, defying gravity, thanks to magnets, I saw my daughter too, small, in her class at school, she was in the audience and I was giving a talk about science. It was a magic show I often gave, with some spectacular tricks involving liquid nitrogen and digital microscopes, and I brought a real particle physics detector with me as well, but it was the levitating paper clip that brought some of the most inquisitive frowns and smiles and captured the imagination. The levitating forms here in the studio made me smile too.

Detector (Kissing Gate) with its thirteen point mystic rose pattern reminded me at first of the spirograph patterns I liked to construct on paper as a child. But then when I thought of this sculpture being taken to CERN and sitting alongside CMS I imagined it as device to detect another universe parallel to ours. Take a large image of a spiral galaxy viewed from outside. Make it into a jigsaw. Take four fifths of the jigsaw pieces and substitute them for pieces of the same shape but coloured black. Now assemble the jigsaw. Just one fifth of it is stars, light and matter familiar to us, the remainder is dark and mysterious. I have used this image many times in public lectures to talk about dark matter. It’s not how we think dark mater is distributed in galaxies but it is an arresting image of a another world interspersed with our own, co-existing but so far orthogonal and untouchable and hence unknown. The plane of the circle of kissing gate orthogonal to the floor of ordinary matter it rests upon symbolizes contact with that orthogonal world that we may enter through the kissing gate itself. The gate closes again all by itself due to the judiciously placed magnets, suggesting that once the orthogonal world has been entered one may not be able to return to our own.

The Space Matter Problem (50 x 40 x 20) is entirely different to the other pieces: there are no magnets. I am immediately drawn to a cast of a small pull behind suitcase, damaged and covered in an intense indigo coloured layer and mica dust. A familiar sight to most particle physicists it recalls the constant travel back and forth between our university homes and the great international laboratories where we make and photograph collisions in the hope, and sometimes fact, of discovery. We make that journey inexorably drawn by the science but often at the price of missing a daughter’s football game or the birthday of a friend. We make that journey too often, and with too many artefacts of our lives, clothes, laptops, iPads, droids, chargers, power cords and logbooks crammed into that tiny space to bursting point, a wardrobe and office, on wheels. A suitcase crammed too full to squeeze into it the duty free bottle of perfume I have often bought on the return flight as a gift and apology to a family member for a missed family event. A cast of that perfume bottle, or rather one just like it, appears at the opposite end of this sculpture. Between these two, the damaged suitcase and the bottle of perfume, are their shapes each transformed three times and fused. The perfume bottle transforms into the suitcase and vice versa. All five reside at different points on a spatial grid. My professional life and my family life, and my shuttling between them with a pull-behind suitcase seem to be captured here. That’s my first reaction.

Then I find myself wondering about the Blake stanza and the connection to this work. Blake was one of the greatest poets, artists and social activists in history. His influence today on popular culture is immense. That famous quatrain is one piece of a 132-line poem Auguries of Innocence, and is best understood by reading all of it. The poem warns of the dreadful consequences for society when there is wanton mistreatment of people and nature. But that opening quatrain captures the oneness of nature, how the beauty of nature and the universe is often in the small everyday details. Those details are found in the collisions we study at the LHC and in the smile of my wife and my child.

I turn to Alison. We smile. We go outside into cold grey London but this time we don’t shiver as we walk to the nearest tube station.

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  • Artists
  • Students
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Artists
Xavier CortadaPaco FalcoAlison GillChris HenschkeMichael HochLindsay OlsonYuki Shiraishi
Xavier Cortada

“The 4,000 people whose names we put on these banners have dedicated their entire life purpose to developing knowledge. Their whole lives are consumed with this passion; to learn, to grow, to teach…I wanted to create an art piece made with the science.  With the very words, the charts, the graphs, the ideas that this coalition of thinkers have put together.” - Xavier Cortada, 11 Jul 2013, TEDxFIU

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Xavier Cortada and CMS Physicist Pete Markowitz at CERN cafeteria
Xavier Cortada at the CMS detector
In search of the Higgs boson: H -> ZZ
Xavier Cortada (with the participation of physicist Pete Markowitz), "In search of the Higgs boson: H -> ZZ," digital art, 2013.
In search of the Higgs boson: H -> tau tau
Xavier Cortada (with the participation of physicist Pete Markowitz), "In search of the Higgs boson: H -> tau tau," digital art, 2013.
In search of the Higgs boson: H -> bottom bottom
Xavier Cortada (with the participation of physicist Pete Markowitz), "In search of the Higgs boson: H -> bottom bottom," digital art, 2013.
In search of the Higgs boson: H -> gamma gamma
Xavier Cortada (with the participation of physicist Pete Markowitz), "In search of the Higgs boson: H -> gamma gamma," digital art, 2013.
In search of the Higgs boson: H -> WW
Xavier Cortada (with the participation of physicist Pete Markowitz), "In search of the Higgs boson: H -> WW," digital art, 2013.
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Paco Falco

The study by Paco Falco immerses in the theme of Matter almost by chance, and deepens into it thanks to a friend, Pier Luigi Paolucci, researcher at CERN. Pier assists Paco in his orientation within the concepts of this theme, showing him around CERN in Geneva, acting as his guide and, in a certain sense, as interpreter, elaborating a meta-language that may associate the pictorial dimension with the terms and themes of the world of scientific research, by rendering possible the materialization in forms and colours.

The particle
The Boson
The Beginning
Quark development
Incollider
Dark matter
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Alison Gill

Alison Gill unites topology, the physical sciences, psychoanalysis and folklore in her sculptural installation To See a World for CMS at CERN, suggesting an affinity with Blake, who found ‘a world in a grain of sand’ at a time when poetry, philosophy and science felt like part of one large project of enquiry. The result is that, whether or not you can ‘hold infinity in the palm of your hand’, you can pause in the course of momentous scientific investigations to take in another perspective on the haunting unity of what surrounds us.

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Chris Henschke

Chris Henschke is a Melbourne-based artist who has been working with digital media since the late 20th century. His main areas of practice are in the experimental combining of sound and image, space and time, and art and science. He has undertaken various multi-disciplinary residency projects including two ‘Arts Victoria Arts Innovation’ and Australia Council for the Arts ‘Synapse’ residencies at the Australian Synchrotron (2007, 2010); an Asialink Visual Arts residency at Chulalongkorn University, Bangkok, Thailand (2008); and the inaugural online artist in residence at the National Gallery of Australia, Canberra (2004). His artworks have been shown around Australia and internationally, including CERN, Switzerland / France (2014); ’Wonderland’, Museum of Contemporary Art, Taipei (2012); ‘Art Melbourne’ Royal Exhibition Building, Melbourne (2010); Australian Centre for Contemporary Art, Melbourne (2001); ‘Vivid’ Festival, Sydney, (2009, 2013).

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Michael Hoch

Michael Hoch was born in Vienna, Austria, where he studied Sports and Physics at the University of Technology and the University of Vienna. During his studies and work as trainer he was concentrating his photographic art work on human movements and architecture. Later coming to Geneva to make his PhD at CERN he started to work on his long-term project, “Where Science Meets Art”.

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Lindsay Olson

Lindsay Olson is Fermi National Accelerator’s Artist in Residence and a teacher at Columbia College Chicago. She is known for her unusual subject matter including a stint as the Artist in Residence for her local police department. Her love of science and technology grew out of her work with Chicago’s Metropolitan Water Reclamation District, the world’s largest waste water treatment facility. Lindsay uses her work and  to help others learn about the science and engineering that underpins modern culture. Her work has been shown in the United States and Europe.

Generations 1000
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Discoveries
Lindsay Olson & Don Lincoln
Image credits: Lindsay Olson by Georgia Schwender (Fermilab), Don Lincoln by Reidar Hahn (Fermilab)
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Yuki Shiraishi

“I imagine a great funnel with its arms spread wide open and reflecting all the elements of the Universe. It is an image of what it is to be human – human for me is a ‘place’ in which all sorts of energies pass through…and thus the funnel is for me a ‘concentrator of soul’.” Yuki Shiraishi

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Students
Carla Del ConteAlexia FoulonKatja KaftanovaAnastasia SidorenkoEmma Morrongiello
Carla Del Conte

Carla Del Conte, a student of Ecole International de Genève (ECOLINT), explains her art project that resulted from her participation in a Science&Art@School workshop. Carla’s work has been part of ECOLINT’s group exhibition at the Art@CMS vernissage on June 25th 2014.

“For the Art@CMS project I have decided to focus myself on one specific statement I have written: How can the smallest and different particles create something as powerful as human life? Thus, I wanted to symbolize life by representing a tree and represent small and different particles by adding one by one myself with different shapes, colours and textures of beads.

I discovered during the Art@CMS project what scientists do to determine which particles are of interest for a collision between them and how the collisions can create complex results. I made some research and based my work on aboriginal art. Although some would consider those indirectly opposite by their beliefs, science and aboriginal have certain similarities and connections. Not only in aspects of art but indigenous people were the first inhabitants of our planet, they were the first people to believe in and live in relative harmony with nature, therefore closer to nature than most occidental cultures. Hence, understanding the system of co-habitation, the eco-system and basic science from a completely different perspective. Nature is the origin of science. By understanding this, it helped me to underline what I want to characterize in my art piece.

By analyzing different illustrations, backgrounds and refinements, I can conclude that this project was very challenging. One thing I can count in for consideration in the next occasion is to absolutely widen my brainstorming and enhance more and different options and suggestions. However, this really gave me the opportunity to reflect on different aspects of science and nature which are unexpectedly similar and intertwined. The parallels that exist between the two are fascinating.”

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Alexia Foulon

Alexia Foulon, a student of Ecole International de Genève (ECOLINT), explains her Infinite Decay project that resulted from her participation in a Science&Art@School workshop. Alexia’s work has been part of ECOLINT’s group exhibition at the Art@CMS vernissage on June 25th 2014.

“My Infinite Decay Project is based on a translation of each technical word used to describe CMS. When visiting CERN, I noticed in the offices that all scientists had two computers: one with graphs, and another one with the data related to it. I so decided to make a project using the same concept: translate each global aspect of the CMS (searchers/collision/infinity) into a visual art language (hands/broken mirror). What I mostly focused on was the decay caused by an infinite collision of particles.

The mirrors in the center, are indeed two particles that collide. The collision is illustrated by the broken mirror that reflects itself on the other one, which then creates an infinity of reflection and so an infinity of collisions at the same time. By facing each other, these two mirrors also look like an open book. A book that holds answers to questions such as: What is the Universe made of and what forces act within it? What does give substance to everything? The whole project is set in 3D and circular shape to illustrate the cylindrical shape of the CMS detector.

You must have indeed noticed the hands. These hands identify all the scientists working at CMS, both male and female. Although some hands look a little damaged to show that many generations have been working at CMS, I wanted to make them as realistic as possible to really make them appear as if hands were coming out of plaster, digging into the complexity of Physics. This aspect of digging can also illustrate the fact that CMS has been constructed underground.

If you move your head around the mirrors, you can also observe the colours of CMS’s graphs in the cracks of the mirrors: green, yellow, red and blue. I didn’t want this project to be static because CMS never stops but there is constant research such as you researching for the colours. This consequently represents my translation into visual art of my global understanding of CMS.”

Alexia Foulon, a student at Ecole International de Genève (ECOLINT)
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Katja Kaftanova

Katja Kaftanova, a student of Ecole International de Genève (ECOLINT), explains her art project that resulted from her participation in a Science&Art@School workshop. Katja’s work has been part of ECOLINT’s group exhibition at the Art@CMS vernissage on June 25th 2014.

“My concentration in this project represents the human part of the CMS, while also capturing science progression. I chose this path to honor the scientists who devoted their careers to CERN and the CMS project, and in particular the work of my grandfather, Vitali Kaftanov, who has worked in CERN for 42 years.

The Proton Collision installation was constructed using everyday-life objects. in particular bottle caps, to create a visual of two proton flows colliding. Bright colours on a background of a forest strengthen the contrast between objects invented by humans and nature.

The Collaboration poster is a visual presentation of particles which symbolizes human partnership. This particular work was done in a similar way, on a background of earth and grass, where bright particles spread around. This visual not only represents science but can also be viewed as international collaboration between scientists who work together.

The Limits of Human Vision portrait represents physical limitations of humans and limitations faced everyday in science progression. This work celebrates the difficulties scientists at CMS had to overcome in order to reach their goals.

The more I added the more shapes began to take on a new function, a new language. The crucial part of my work was to find the borderline between “fine” and “crowded”, and still to remain within my theme. Another difficulty I faced during this project was the question: “How can science influence art?”. It was a challenge to link physics and art, to understand the actual work that is being done in CERN and translate it into visuals. I would like to thank Stephen Preece and Michael Hoch who introduced me to this project and helped me throughout the way.”

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Anastasia Sidorenko

Anastasia Sidorenko, a student of Ecole International de Genève (ECOLINT), developed a multi-faceted art project combining fashion design, music and performance. All this resulted from her participation in a Science&Art@School workshop. Anastasia performed live her song Love is the 5th Element at the Art@CMS vernissage on June 25th 2014. She also made a lovely video clip!

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Emma Morrongiello

Emma Morrongiello, a student of Ecole International de Genève (ECOLINT), explains her art project that resulted from her participation in a Science&Art@School workshop. Emma’s work has been part of ECOLINT’s group exhibition at the Art@CMS vernissage on June 25th 2014.

“Decay is a project based on pushing and trivialising the boundaries between science and the visual arts. Conventionally, the two have always been viewed as conflicting subjects. Although it is clear that they are unique in their own rights, one does not realise that they can communicate similar ideas and concepts. Throughout this project, I explored the way in which scientific and mathematical concepts can be presented in a visually artistic format.

I began this journey by looking at the computer-generated images of the particle collisions that occur within the Large Hadron Collider. I then extracted this idea of interlocking lines to create a 3D installation using coloured string. This led me to investigate lines and the way in which they can create shape and modify form. I then took a step back, looking at what information the lines were providing in the images of the collision. In short, the lines represent the products of a particle’s decay. Immediately, I was struck by this less conventional definition of decay, differing from the urban decay that surrounds us daily. What particularly intrigued me, was how in both cases, the process involved stripping away layers to expose something entirely different and unexpected. I wanted to present decay as a beautiful and delicate process eliminating any of its negative connotations. This video is homage to the intrinsic decay and progressive change that all life undergoes.

I designed and constructed both the garments that appear in this video. The black gown was pieced together using small magnets that were sewn inside the fabric. This was by far the most challenging aspect of this project as hours were dedicated to planning the careful positioning of the magnets relative to the fabric. The limited time frame, made this quite a challenging project however, it made me reflect on whether time is really the only constant or whether it is simply an incompressible absolute.”

 

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Workshops
05-07 Jun 2013 | Graz, Austria 03 Feb 2014 | Geneva, Switzerland03 Mar 2014 | Geneva, Switzerland07-09 Apr 2014 | Graz, Austria 10-12 Apr 2014 | CERN04 Aug 2014 | London, England10 Nov 2014 | CERN
05-07 Jun 2013 | Graz, Austria
Science&Art@School Graz 2013

62 students from two schools in Graz, Austria, immersed in two days of enjoyable, creative and inspiring activities on the world of scientific research in CMS at CERN. Colliding science and art produces something new and beautiful!

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03 Feb 2014 | Geneva, Switzerland
IPAC Design

18 students of IPAC Design took part in a Science&Art@School series of workshops aimed at the development of original works in the areas of graphic design, product development and video art, inspired by particle physics, CMS and CERN.

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03 Mar 2014 | Geneva, Switzerland
ECOLINT

18 students of ECOLINT, the International School of Geneva, took part in a Science&Art@School series of workshops that started in March 2014 and included visits to CERN and CMS, masterclasses, and creative sessions at school.

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07-09 Apr 2014 | Graz, Austria
Science&Art@School Graz 2014

55 students from two schools in Graz, Austria, immersed in two days of enjoyable, creative and inspiring activities on the world of scientific research in CMS at CERN. Colliding science and art produces something new and beautiful!

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10-12 Apr 2014 | CERN
Lycée Fragonard

18 students of Lycée Fragonard at L’Isle-Adam, France, came to CERN for 3 days to present their Science&Art@School creative works inspired by particle physics, CMS and CERN.

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04 Aug 2014 | London, England
Our ConCERN

Co-organized by Shoreditch Trust, AllMinds, University of the Arts London, and Art@CMS, this Science&Art@School series of workshops engages 8 students with the aim to produce original artworks inspired by particle physics, CMS and CERN.

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10 Nov 2014 | CERN
Green Hills Academy

Ten students from Green Hills Academy, Kigali, Rwanda, came to CERN on 1o November 2014 to learn more about the laboratory and its people as an introduction to a Science&Art@School series of workshops that will last until June 2015. The works of the students will be then exhibited at Kigali New Media Arts Biennale,  ECOLINT in Geneva, and CMS.

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Deutsche Schule Genf

30 students of the German School of Geneva, visited CERN and CMS on 8 October 2014 to embark on their Science&Art@School project that will be completed in June 2015.

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Events
11 Apr 2013 | CERN Point 5, Cessy, France01 Nov 2013 | Bonn, Germany23 Sep 2013 | CERN Point 5, Cessy, France05 Nov 2013 | London, England08 Nov 2013 | Aachen, Germany20 Nov 2013 | Washington DC, USA17 Dec 2013 | CERN Point 5, Cessy, France20 Feb 2014 | VIenna, Austria31 Mar 2014 | VIenna, Austria04 Apr 2014 | VIenna, Austria25 May 2014 | CERN Point 5, Cessy, France05 Jun 2014 | VIenna, Austria25 Jun 2014 | CERN Point 5, Cessy, France03 Jul 2014 | Valencia, Spain13 Jul 2014 | New York, USA05 Jul 2014 | Southampton, UK29 Sep 2014 | Split, Croatia15 Nov 2014 | Sofia, Bulgaria17 Dec 2014 | Brussels, Belgium17 Mar 2015 | Athens, Greece24 Jun 2015 | CERN Point 5, Cessy, France26 Jun 2015 | KIT,Karlsruhe,Germany
11 Apr 2013 | CERN Point 5, Cessy, France
Art@CMS exhibition

More than 1,500 people visited the Art@CMS exhibition with artworks by Xavier Cortada and Michael Hoch.

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01 Nov 2013 | Bonn, Germany
Faszination Ursprung at Deutches Museum

More than 2,500 people, including policy makers and students, visited the Deutches Museum in Bonn, Germany, for the Art@CMS exhibition showing works by Michael Hoch.

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23 Sep 2013 | CERN Point 5, Cessy, France
Quantum

A collaboration between Collide@CERN, Art@CMS and Forum de Meyrin, Quantum is a dance performance by Gilles Jobin that took place in CMS, Cessy, France, from 23 until 30 September 2013, attracting 1,100 people.

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05 Nov 2013 | London, England
Physics meets art at London School

At the City of London School, an interdisciplinary programme brought artists, researchers and philosophers together with science educators and students to discuss the intersection of art and science. The event, Unseen Dimensions: Dialogues in Art and Science, was conceived as a project to break down the divide between artistic and scientific disciplines and to demonstrate to students that they need not be pigeon-holed in their study choices.

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08 Nov 2013 | Aachen, Germany
Science Night

A special event took place in RWTH Aachen University in Germany between November 2013 and 2014. Presentations, talks and an Art@CMS exhibition attracting more than 3,500 students and general public, eager to learn more about particle physics, CMS and CERN.

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20 Nov 2013 | Washington DC, USA
US Higgs Discovery

300 policy makers, scientists and academics gathered in the Capitol to discuss the discovery of the Higgs Boson announced in 2012 at CERN. Art@CMS was present with artworks by Xavier Cortada and Michael Hoch.

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17 Dec 2013 | CERN Point 5, Cessy, France
To See a World

British artist Alison Gill’s exhibition “To See a World” at CERN Point 5 in Cessy, France, attracted over 2,500 visitors from December 2013 until April 2014.

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20 Feb 2014 | VIenna, Austria
Nature, Science, Innovation

More than 1,600 people, including his excellence S.E. Vince Szalay-Borovinczky, Ambassador of Hungary, visited the “Nature, Science, Innovation” exhibition in organized by Collegium Hungaricum in Vienna, Austria, from 20 February until 4 April 2014.

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31 Mar 2014 | VIenna, Austria
Wiener Wunderkammer

More than 1,200 people, including politicians, academics and general public, visited the University of Technology in Vienna, Austria, for an Art@CMS exhibition that took place from 31 March to 4 April 2014.

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04 Apr 2014 | VIenna, Austria
Aula der Wissenschaft

On 4 April 2014, an Art@CMS exhibition took place in the Academy of Sciences in Vienna, Austria, in the framework of a Science Night, with more than 3,200 people attending this special event.

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25 May 2014 | CERN Point 5, Cessy, France
Open Days 2014

An Art@CMS show with works of collaborating artists and student groups from ECOLINT and IPAC Genève took place in CERN Point 5 in Cessy France, during the CMS Open Days, attracting 4,000 visitors, including students and general public, from the neighborhood areas.

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05 Jun 2014 | VIenna, Austria
Art@CMS at QualysmArt exhibition

More than 300 people, including politicians and journalists, attended the QualysmArt vernissage in Vienna to celebrate the 15th anniversary of Qualysoft.  “The QualysmArt concept of combining art with technology confronted us with challenges which required our IT expertise above everything else. A configuration has emerged that transforms technology into art. We are confident that this innovative way to present works of art will in the future find its way into galleries, offices and even living rooms”, says Peter Oros, CEO of Qualysoft Group.

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25 Jun 2014 | CERN Point 5, Cessy, France
CMS Week

750 members of the CMS collaboration visited the Art@CMS vernissage that took place on 25 June 2014 in CERN Point 5 in Cessy, France, during the CMS week.

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03 Jul 2014 | Valencia, Spain
ICHEP 2014

An Art@CMS group exhibition took place in the Congress Palace in Valencia, Spain, in the framework of the International Conference of High Energy Physics 2014 (ICHEP 2014), the biggest global gathering of particle physicists.

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13 Jul 2014 | New York, USA
Callahan Art Center

Between 13 and 31 July 2014, around 1,000 people visited the Callahan Arts Center of St. Francis College in New York, USA, to explore the intersections of particle physics and art in the works of Xavier Cortada, Chris Henschke and Michael Hoch.

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05 Jul 2014 | Southampton, UK
The Small Infinite

Art@CMS artist Chris Henschke takes part in The Small Infinite exhibition. The Small Infinte unites a diverse collection of international artists whose work focuses on more intimate perceptions of reality, ranging from photography and works on paper to sculpture, video installation and digital interventions. The exhibition explores the theme of the infinitesimally small through a range of fine art practices as diverse as particle physics, the economic crisis, utopianism, hacking, virtual worlds and the materiality of film. A key feature is the inclusion of works from the series One Second Drawings by British artist John Latham (1921-2006), which act as the exhibition’s gravitational centre.

Read here a review of the exhibition as appeared in the Digitalarti blog.

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29 Sep 2014 | Split, Croatia
Palazzo Milesi

More than 2,000 people visited the Art@CMS exhibition in the Gallerie Fotoklul of Palazzo Milesi in Split, Croatia, from 29 September to 6 October 2014.

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15 Nov 2014 | Sofia, Bulgaria
Sense of Universe

More than 3,500 people, including many school students, visited the “Sense of Universe” exhibition hosted in the Earth & Man museum in Sofia, Bulgaria. This Art@CMS exhibition also included talks by members of CMS on high-energy physics and art.

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17 Dec 2014 | Brussels, Belgium
Stables of the Academy Palace

Art@CMS was fully present at a CERN 60 exhibition hosted at the Stables of the Academy Palace in Brussels, Belgium, illustrating the history of CERN. Learn more about the event here.

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17 Mar 2015 | Athens, Greece
Athens Science Festival 2015

One festival, six days, 33,000 visitors!

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24 Jun 2015 | CERN Point 5, Cessy, France
“Circulez” art@CMS

art@CMS was proud to present artworks from six exciting and new collaborations between international artists and CMS scientists. Combining everything from traditional painting to sound sculptures to music performance, “Circulez” celebrated the restart of the LHC as the CMS experiment embarks on a new era of scientific investigation into the mysteries of the universe at a record energy level of 13TeV.

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26 Jun 2015 | KIT,Karlsruhe,Germany
Art in Science, Beauty in Creation – KIT 2015
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Art@CMS is supported by the CMS Experiment with the collaboration of CERN in the framework
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