If you want to collaborate with Art@CMS, please fill in
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If you want to collaborate with Art@CMS, please fill in
If you want to collaborate with Art@CMS, please fill in
and submit the form below.
Science discovers, art creates.
Every great advance in science has issued from a new audacity of the imagination.
During human progress every science is evolved out of its corresponding art.
It is the greatest of crimes to
depress true art and science.
The beauty of science is that dreaming is allowed or I would say even encouraged.
I am among those who think
that science has great beauty.
The greater one’s science,
the deeper the sense of mystery.
A well-constructed theory
is in some respects undoubtedly
an artistic production.
The world looks so different
after learning science.
The most beautiful thing
we can experience is the mysterious.
It is the source of all true art
and all science.
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.
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.
“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.
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.
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:
A catalogue of the artworks including articles from physicists will be presented.
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.
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.
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
[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.
‘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.
SYΝTHESIS 748, art@CMS & SCIENCE VIEW
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a solo choreographic performance for the Athens Science Festival 2016
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.
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.
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 firstname.lastname@example.org
Mélanie D’Anna www.citedutemps.com
Pont de la Machine 1
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 email@example.com
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
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
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!
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.
Where: Sala dell cerceri, Castel dell’ Ovo, Naples, Italy (Google map here)
When: 15-20 September, 09:00 – 19:00
When: 24 June – 17 July 2015
Where: CMS P5, Cessy, France
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
Matter: The Fundamental Particles
Peter Çan Bellamy
Xavier Cortada/ Pete Markowitz
Paco Falco/ Pierluigi Paolucci
Alison Gill/ Ian Shipsey
Chris Henschke/ Wolfgang Adam
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
|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
“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.
|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.
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.
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
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.
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.*
10 Orsman Road,
*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.
Communications Officer, Shoreditch Trust
Telephone: (+41)0207 033 0533
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.
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.
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 firstname.lastname@example.org
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.
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.
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.
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.
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.
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.
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.
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.”
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.”
Watch an inspiring presentation made by Xavier Cortada and Pete Markowitz at TEDxFIU Talk.
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.
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
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:
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:
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 email@example.com
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 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.
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.
“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” 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.
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 !
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 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.
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!
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.
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.
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.
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 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.
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.
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
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.
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
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.
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…
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 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.
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.
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
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 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
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 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.
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.
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.
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.