Planck comes to Marvel’s rescue

Watching Anthony and Joe Russo’s Avengers: Endgame for New Scientist, 15 May 2019

AFTER a spectacular false start, the heroes of Anthony and Joe Russo’s Avengers: End Game gather around a cobbled-together time machine. They’re out to stop Thanos, a supervillian whose solution to the universe’s resource depletion problem is to annihilate half of all life.

Stopping Thanos will not be easy, since the film — the capstone on 21 other interconnected movies in the Marvel cinematic universe — opens with Thanos having already achieved his goal. Many of our favourite characters are already dead. Given that vases do not unbreak themselves, how then will the surviving Avengers bring half the world back to life?

Revisiting and resetting past narratives is a necessity for long-running drama franchises. And as the deceased Bobby Ewing discovered when he stepped out of his shower in 1986, erasing two whole seasons of Dynasty’s soapy story arc, it can be a hard pill for viewers to swallow.

You’d think science fiction franchises would have an easier time of it, armed as they are with all manner of P T Barnum tricks, but the truth’s more complicated. The world of the X-Men draws to a close this year with two films, Dark Phoenix and The New Mutants. The franchise’s constant, piecemeal reinventions have been sloppy, but only so as to stay half-way faithful to their even more sloppy comic-book sources. On the plus side, we’ve had the passage of time, and the price paid for wisdom, brought to life by the unaging, unkillable, and ever more excruciatingly lonely figure of Wolverine, played by Hugh Jackman.

From the always mindbending Doctor Who to the unforgettably weird final seasons of the Battlestar Galactica retread, it’s clear that you can tell truths about time, age, mortality, loss and regret in playful ways without ever opening a science textbook, and I wish to heaven someone had pointed this out to Star Trek, notorious for being the franchise where overblown popular science goes to die.

Since The Next Generation, Star Trek has saddled itself with a science bible that almost makes sense. And why not? Einstein’s equations do allow for the existence of time machines. And physicist Kip Thorne’s work in the 1980s on time-space wormholes does allow for the transmission of information through time. But hang on a minute: time machines aren’t practical, and the kind of messages you can actually send from the future aren’t ever going to be interesting, and the more you cite real science, the more you leave yourself open to people who begin sentences with phrases like “Yes but…” and “I think you’ll find…”

Avengers: Endgame’s hokey solution to time travel works far better, I reckon, by colliding two chunks of utter nonsense at high narrative speed. Take one master thief, Scott Lang (played by the always affable Paul Rudd), give him a suit that lets him shrink small enough to enter “the quantum realm”, point out (correctly) that at this scale time and space cease to mean very much, and hey presto, you have yourself a time machine powered entirely by jazz-hands and flim-flam. Smart-alec viewers can’t contradict the science, because there is no science here, and hasn’t been since 1899.

This was the year German theoretical physicist Max Planck evolved a model of the physical universe that relied upon ratios (which are timeless and universally true) rather than measurements (which depend upon who’s making the ruler). In the universe Planck drew up, the speed of light, the electromagnetic wave function, and the gravitational constant all have a value of 1. From this fiendish piece of dimensional analysis, you can work the shortest distance imaginable — the point at which the terms “here” or “there” cease to have meaning.

In a space smaller than the Planck length squared, information cannot exist — which is why a single photon entering a black hole, increases the area of the event horizon by 10-66 cm2. As Ant Man, understandably, did not say.

Stanley Kubrick at the Design Museum

The celebrated film director Stanley Kubrick never took the future for granted. In films as diverse as Dr. Strangelove: or, how I learned to stop worrying and love the bomb (1964) and A Clockwork Orange (1971), Kubrick’s focus was always savagely humane, unpicking the way the places we inhabit make us think and feel. At the opening of a new exhibition at the London Design Museum in Holland Park, David Stock and I spoke to co-curator Adriënne Groen about Kubrick’s most scientifically inflected film, 2001: A Space Odyssey (1968), and how Kubrick masterminded a global effort to imagine one possible future: part technological utopia, part sterile limbo, and, more than 50 years since its release, as gripping as hell.

You can see the interview here.

How Stanley Kubrick‘s collaboration with science fiction writer Arthur C. Clarke led to 2001 is well known. “The ‘really good’ science-fiction movie is a great many years overdue,” Clarke enthused, as the men began their work on a project with the working title Journey Beyond the Stars.

For those who want a broader understanding of how Kubrick gathered, enthused and sometimes (let’s be brutally frank, here) exploited the visionary talent available to him, The Design Museum’s current exhibition is essential viewing. There are prototypes of the pornographic furniture from the opening dolly shot of A Clockwork Orange, inspired by the work of artist Allen Jones but fashioned by assistant production designer Liz Moore when Jones decided not to hitch his cart – and reputation – to Kubrick’s controversial vision.

But it’s the names that recur again and again, from film to film, over decades of creative endeavour, that draw one in. The costume designer Milena Canonero was a Kubrick regular and, far from being swamped, immeasurably enriched Kubrick’s vision. (There’s a wonderful production photograph here of actor Malcolm McDowell trying on some of her differently styled droog hats.)

Kubrick was fascinated by the way people respond to being regimented – by the architectural brutalism of the Thamesmead estate in A Clockwork Orange, or by a savage gunnery sergeant in Full Metal Jacket, or by their own fetishism in Eyes Wide Shut. Kubrick’s fascination with how people think and behave is well served by this show, which will give anyone of a psychological bent much food for thought.

 

11 April 2019: Smart Robots, Mortal Engines

Come to Cinema 3 at London’s Barbican Centre, where I’ll be kicking off a season of Stanislaw Lem on film with the Brothers Quay, artists Andrzej Klimowski and Danusia Schejbal, and Dr Mark Bould, author of the BFI Classics monograph on Andrei Tarkovsky’s Solaris.

We’ve got some short films kick off the evening at 6.45pm on Thursday 11 April. More details here.

Lunar renaissance

The punchier contestants who entered the never-awarded Lunar X Prize are racing to launch their probes. Who will make moonfall first? My money is on Israel’s SpaceIL. While everyone else was crashing through the X Prize’s deadlines, trying to design wheeled vehicles for their rovers, SpaceIL was racing ahead with a vehicle that bounces about the lunar surface like a steel bunny.

A preview piece for New Scientist, looking forward to the 50th anniversary of the first Apollo moon landing

NASA, Kennedy and me

(Not that I wish to oversell this, you understand…)

Come along to New Scientist Live at 2.30pm on Saturday 22 September and you’ll find me talking to documentary-maker Rory Kennedy about how NASA shapes life on the ground, how it juggles the competing promises of the Moon and Mars, and how public and private space initiatives can work together. Kennedy will also be discussing her life as a documentary film-maker,  her memories of her uncle “Jack” Kennedy, and how the Apollo program inspired her philanthropic career.

Tickets and details here

The Endless: Timeless avant-garde

Watching Benson and Moorhead’s The Endless for New Scientist, 21 July 2018

SINCE they escaped a UFO death cult, nothing much has gone right for Justin and his younger brother Aaron. They clean apartments for a living, subsist on junk food and have rotten luck with women. The arrival of a mysterious videotape convinces them that they should revisit the cult for the sake of “closure”, though it’s obvious that Justin is only going for Aaron’s sake, and what Aaron actually wants most out of this is some decent salad.

But when Justin attempts to jog around the settlement he gets caught in time (although he doesn’t know it at first). Other things are amiss, too, like the third moon. And the rope into nowhere. And an evening heat blur that turns the whole valley into shimmering mirrors.

It transpires that the friendly, gentle people our heroes ran from a decade ago are living in the presence of an unidentified “something”. It is invisible, but it isn’t hiding. Indeed, it is trying to communicate by showing them, through old photographs and videotapes, what it sees.

This low-budget Lovecraftian thriller explores territory we more usually associate with the heavyweights of the 1970s avant-garde – with the tangled story arcs of Alain Robbe-Grillet, and the cunningly withheld narrative revelations of Andrei Tarkovsky’s groundbreaking film Solaris. In fact, I’ll stick my neck out here: The Endless is very nearly this decade’s Solaris.

But while the intelligent planet in that film was innocent, even as its little “gifts” sent the scientists studying it clear off their heads, the entity presiding over The Endless is more overtly malign: like the wanton boy in King Lear killing flies for sport, perhaps.

It is trapping people in time, affording them just enough free will to recognise their plight, but not quite enough to escape it.

But then, isn’t that just like life? We nearly all live out days that by most objective measures are more or less the same as each other.

Justin and Aaron’s cleaning job was certainly a trap of this sort. And are they any worse off now? It is, after all, a very laid-back, well-behaved sort of death cult, up there in the hills behind San Diego. Its spokesman Hal talks a lot, but he’s not in any real sense a leader. The group seems happy, and the beer they make and sell is top notch. All is as Aaron remembers from his childhood: a lot of nice people preparing a lot of good food.

Maybe Justin’s the one with the problem, that he cannot see the charm in living a looped existence here. Knowing they are trapped and being looked at, this “cult” at least has the graciousness to imagine that they are also being looked after. And who’s to say their metaphysical jailer has not handed them a chance – an endless series of chances, apparently – to become the best people they can be?

The directors Justin Benson and Aaron Moorhead also play the brothers Justin and Aaron. (Benson is, wonderfully, a dead ringer for Richard Dreyfuss.) And they have made The Endless dovetail neatly with their first micro-budget feature Resolution (2012). This kind of self-reflexive game-playing can get old extremely quickly, and a rather clunky emotional working-out between the brothers at the climax of the movie should serve as an amber light. Any further with this and self-indulgence will swallow them whole.

My guess, though, is that these two know what they are doing. In Spring (2014) they managed to turn the love affair between an American soldier and a vampiric octopus into one of the most funny, touching and ultimately profound screen love affairs since Breakfast at Tiffany’s.

Benson (who writes) and Moorhead (who wields the cameras) take the hokiest ideas and discover in them rich seams of human experience. They’re not ironic. They’re not distant. They’re not portentous. And if they can only hold their nerve they will improve the science fiction genre immeasurably.

“I love what I do and I’m really good at it”

martian

No matter how far he runs, Matt Damon cannot escape the attentions of New Scientist

 

Towards the end of Ridley Scott’s The Martian, marooned NASA astronaut Mark Watney (played by Matt Damon) says goodbye to the habitat that has kept him alive for more than 500 days. As he enters the airlock to leave, he pauses, turns – and there, on a table, is his space helmet. Sourly, he snatches it up: he has nearly gone and killed himself again.

Set about 30 years in the future, The Martian tells the story of how Watney survives at the very cusp of death, at which every trivial error, every moment of forgetfulness, will kill him in about 35 seconds. Jeopardy is the stuff of adventure movies. What makes all this different is its remarkable lack of interest in what jeopardy feels like “inside”, and its loving depiction of how people should deal with it.

Before he shot his last scene at the Korda Filmpark, outside Budapest in Hungary, CultureLab caught up with Damon, who was tasked with conveying what it would be like to survive for 18 months only on potatoes grown in your own faeces. He explained: “Ridley and I agreed The Martian is not one of those existential survival movies. Neither is it just a popcorn kind of whizz-bang, he’s-never-really-in-danger type of experience. The key is to have the audience feel the enormity without it seeming ponderous. And it has to be funny, because Watney and his colleagues are capable of doing really dangerous things and having a good sense of humour about them.”

No wonder NASA got behind the film: its tale of the administration’s daring, unsanctioned bid to rescue one of their own gives every department a hero. But where The Martian gets interesting is in its refusal to take heroism at face value. Watney survives because he is smart and knowledgeable, can get by without company and likes the sound of his own voice; and because coming up with a strong, snarky one-liner can make his whole day. He survives because, as he says in a message meant for his parents, “I love what I do and I’m really good at it.”

This distillation of NASA’s philosophy is endorsed by Ellen Ochoa, director of the Johnson Space Center in Houston, Texas, who praised Weir’s book for encapsulating aspects of mission training. “It is a very realistic scenario of what we go through when we train crew members and flight controllers, who must quickly analyse a situation and prioritise tasks,” she said. She added that resilience is “probably the single most important characteristic to have as an explorer, and Watney proves to be extraordinarily resilient”.

The film’s whole approach favours accuracy over visual bombast. Less spectacular than Alfonso Cuarón’s Gravity (2013), and a lot less silly than Christopher Nolan’s Interstellar (2014), The Martian has exploited NASA’s enthusiasm well, conjuring up habitats, spacesuits, spacecraft and launch vehicles that carry its stamp of approval.

Is The Martian a nerd thriller? For sure: you can’t have Damon declaring he will “have to science the shit out of this” and not find yourself moving your biros to your shirt pocket. But it’s more than a love letter to science. It is an entertaining depiction of a way of behaving that keeps people alive in extreme circumstances: love your job; embrace the little you can do and do it; like it or not, death is always coming, so to hell with it. This, more than any amount of Mars-mission razz, is the real heart of The Martian, the source of its optimism, and a quality deserving of praise.

New Scientist and SCI FI LONDON present…

THE SCIENCE FICTION FUTURE

With a keynote by multi-award winning science-fiction writer ALASTAIR REYNOLDS, this packed afternoon of short films and discussions explores how science fiction is guiding us towards an uncertain tomorrow.

may30image

Saturday May 30

12.30–6pm

Blue Room, mezzanine level
BFI Southbank, Belvedere Road
London SE1 8XT

A free drop-in event
(Help us keep track of numbers by registering at Eventbrite)

 


12.30 Screenings

 

Building and testing a Paul-III drawing robot

Patrick Tresset, 2014 (1’ 30)

Patrick Tresset is a French artist who uses robotics to create cybernetic representations of the artist. His robots incorporate research findings from computer vision, artificial intelligence and cognitive computing. @patricktresset


The Willful Marionette

Lilla LoCurto & Bill Outcault, 2014 (2’ 46)

Created during a residency with the University of North Carolina, Charlotte, the marionette is 3D-printed from the scanned image of a human figure and responds in real time to spontaneous human gestures. Their intention was not to create a perfectly functioning robot, but to imbue an obviously mechanical marionette with the ability to solicit a physical and emotional dialogue.


Strandbeest (compilation)

Theo Jansen, 2014 (3’ 55)

In 1990 the Dutch artist Theo Jansen began building large self-actuating mechanisms out of PVC. He strives to equip his creations with their own artificial intelligence so they can avoid obstacles, such as the sea itself, by changing course. @StrandBeests


The Afronauts

Cristina De Middel, 2013 (4’ 30)

In 1964, still living the dream of their recently gained independence, Zambia started a space program that would put the first African on the moon. The project was founded and led by Edward Makuka, a school teacher. The United Nations declined their support. Photojournalist Cristina De Middel assembled surviving documents from the project and integrated them with her own imagery. @lademiddel


The Moon (Luna, excerpt)

Pavel Klushantsev, 1965 (2’ 00)

Concluding scenes from a visionary documentary describing how the moon will be developed, from the first lunar mission to the construction of lunar cities and laboratories.


Reactvertising™ R&D

John St., 2014 (0’ 56)

John Street is a Canadian creative agency. @thetweetsofjohn


13:00 Introduction

Simon Ings

@simonings


13:10 Keynote: “On the Steel Breeze”

Alastair Reynolds

@aquilarift

Marrying human concerns to monstrously scaled backdrops, Alastair Reynolds is one of our finest writers of science fiction. He spent twelve years within the European Space Agency, designing and building the S-Cam, the world’s most advanced optical camera, before returning to his native Wales in 2008. His most recent novel, appearing in September 2013, is On the Steel Breeze, a sequel to Blue Remembered Earth.


13.30 Screenings

 

The Centrifuge Brain Project

Till Nowak, 2012 (6’ 35) Many thanks to ShortFilmAgency Hamburg,

A portrait of the science behind seven experimental fun park rides. Humans are constantly looking for bigger, better, faster solutions to satisfy their desires, but they never arrive at a limit – it’s an endless search. @TillNowak


SEFT–1 Abandoned Railways Exploration Probe

Ivan Puig and Andrés Padilla Domene, 2014 (3’ 05)

Puig and Domene (Los Ferronautas) built their striking silver road-rail vehicle to explore the abandoned passenger railways of Mexico and Ecuador, an iconic infrastructure now lying in ruins, much of it abandoned due to the privatisation of the railway system in 1995, when many passenger trains were withdrawn, lines cut off and communities isolated. The artists’ journeys, captured in videos, photographs and collected objects, establish a notion of modern ruins.


Growth Assembly

Daisy Ginsberg & Sacha Pohflepp, 2009 (3’ 33)

A collection, illustrated by Sion Ap Tomos, of seven plants that have been genetically engineered to grow objects. Once assembled, parts from the seven plants form a herbicide sprayer – an essential commodity used to protect these delicate, engineered horticultural machines from an older, more established nature. @alexandradaisy | @plugimi


Hair Highway

Juriaan Booij, 2014 (4’ 28)

A contemporary take on the ancient Silk Road. As the world’s population continues to increase, human hair has been re-imagined as an abundant and renewable material, with China its biggest exporter. Studio Swine explores how the booming production of hair extensions can be expanded beyond the beauty industry to make desirable, Shanghai-deco style products. @StudioSwine


Magnetic Movie

Semiconductor, 2007 (4’ 47)

Artists Ruth Jarman & Joe Gerhardt (Semiconductor) reveal the secret lives of magnetic fields around NASA’s Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries. Are we observing a series of scientific experiments, or a documentary of a fictional world? @Semiconducting


14:00 Panel: “Unreliable evidence”

Museums and galleries are using mocked-up objects, films and documents to entertain, baffle and provoke us — but what happens when we can no longer tell the difference between them and the real thing?

Alec Steadman, formerly of The Hut Project, joined the arts-science hub The Arts Catalyst as Curator in April 2015.

A curator, producer and artists’ agent, Robert Devcic uses objects to challenge, inform and deepen our ideas of the real world. Through his gallery GV Art, he pioneers work that erases the boundary between art and science, fact and fiction.

Cher Potter is a senior editor at the fashion forecasting company WGSN. She analyses social, political and cultural trends and their potential impact on the fashion industry. She is part of the curatorial team for a forthcoming exhibition at the V&A Museum titled The Future: A History.

Deputy keeper of technologies and engineering at the Science Museum, Doug Millard has just completed work on a major exhibition of Russian space exploration to be staged at the Science Museum in September 2015.

@TheArtsCatalyst | @GV_Art

Lost in Fathoms
Anaïs Tondeur & Jean-Marc Chomaz, 2014 (3′ 27)


14:45 screenings

 

Big Dog Overview

Boston Dynamics, 2010 (3’ 24)

BigDog is a rough-terrain robot that walks, runs, climbs and carries heavy loads. BigDog’s four legs are articulated like an animal’s, with compliant elements to absorb shock and recycle energy from one step to the next. @BostonDynamics


Farmer’s Pet

Joshua Allen Harris, 2008 (2’ 17)

US street artist Joshua Allen Harris uses ordinary black garbage and shopping bags to make his pieces, tying them down to subway grates with tape in the hope the strong gusts from the trains will be strong enough to inflate his characters and animate them. @tweetsbyjosh


Shrink (performance at Brucknerhaus, Linz, Austria)

Lawrence Malstaf, 2009 (4’ 25)

Belgian artist Lawrence Malstaf develops installation and performance art dealing with space and orientation. His projects frequently involve advanced technology and the participation of visitors.


Big Dog Beta: – early Big Dog quadruped robot testing (excerpt)

Seedwell, 2011 (0’ 48)

The somewhat flawed predecessor to Boston Dynamics’ Big Dog robot. Camera by Dana Kruse. @seedwell


First on the Moon (excerpt)

Aleksei Fedorchenko, 2005 (1’ 30)

Soviet scientists and military authorities managed to launch the first spacecraft 23 years prior to Yuri Gagarin’s flight. Fedorchenko’s first feature tells about everyday life, heroic deeds and tragedy of the first group of the Soviet cosmonauts.


15:00 Panel: “We’re making this up as we go along”

Can we ever ready ourselves for the unexpected? And might the games we play now lead us into making the wrong choices in the future?

Funny and uneasy by turns, Pat Kane’s annual FutureFest festival for the innovation charity NESTA reflected his belief in the importance of play. A musician, writer and political activist, Kane (appearing via Skype) was also one of the founding editors of the Sunday Herald newspaper.

Rob Morgan develops VR titles, including shooters, thrillers and action/comedies, for major game studios, charities, publishers and indies. He was a contributor to the award-winning browser game Samsara and the ARG Unreal City, collaborated with J K Rowling on Pottermore, and has just finished writing the script for the upcoming The Assembly for Morpheus & Oculus Rift.

Andy Franzkowiak has flooded Edinburgh with zombies, sent Siemens’ urban museum The Crystal to 2050, and built the solar system in Deptford. He has previously worked with Punchdrunk, the Southbank Centre and the BBC. Mary Jane Edwards, who develops projects focused on cultural regeneration, social policy and social finance, is his new partner in crime in attempts to blur the distinction between art, education and science.

 

@theplayethic | @AboutThisLater | @shrinking_space

Afrogalactica: a short history of the future
(performance excerpt)
Kapwani Kiwanga, 2011 (4′ 50)


15:45 screenings

 

Corner Convenience: “Hoodie”

Near Future Laboratory, 2012, (1’ 40)

Near Future Laboratory’s design-fiction workshop used print and film to explore the future as a place we will, inevitably, take for granted. Its ruling assumption was that the trajectory of all great innovations is to trend towards the counter of your corner convenience store, grocer, 7–11 or petrol station. @nearfuturelab


Reactvertising™

John St., 2014 (3’ 12)

@thetweetsofjohn


New Mumbai

Tobias Revell, 2012 (9’ 17)

During the Indian Civil War the Dharavi slums of Mumbai were flooded with refugees. Sometime later a cache of biological samples appeared through the criminal networks of Mumbai. Revell explains how a refugee community managed to turn these genetically-engineered narcotics into a new type of infrastructure. @tobias_revell


Tender – it’s how people meat

Marcello Gómez Maureira, 2015 (0’ 52)

Tender is the easy way to connect with new and interesting meat around you. @dandymaro


Aurora, the Aura City (excerpt)

Urban IxD, 2013 (3’ 25)

A design fiction created during the Urban IxD summer school in Split, Croatia during August 2013, and led by Tobias Revell and Sara Bozanic. It is 2113. Cities have undergone profound change. A sharing economy holds sway, but the desire for efficiency and optimization has led to the development of highly sophisticated sharing systems that preclude social interaction. The streets have emptied… @tobias_revell | @me_transmedia


Corner Convenience: “Drunk”

Near Future Laboratory, 2012, (1’ 50)

@nearfuturelab


16:00 presentations

Rachel Armstrong creates new materials that possess some of the properties of living systems, and can be manipulated to “grow” architecture. Through extensive collaboration, she builds and develops prototypes of sustainable and self-sustaining metabolic buildings.

@livingarchitect

Lydia Nicholas, is a researcher in collective intelligence at Nesta and founding member of the Future Anthropologies Network. She speaks at conferences about bodies and biology and numbers and making in various combinations. Her favourite bacteria is Paenibacillus vortex.

@LydNicholas


16:15 panel: “This is not a drill”

Rachel Armstrong and Lydia Nicholas join Georgina Voss, Paul Graham Raven and Regina Peldszus to explore how mock-ups, simulations and rehearsals are shaping the real world.

Georgina Voss co-wrote the “Better Made Up” report from NESTA examining the co-influence of science fiction and innovation, and is currently is a resident at Lighthouse Arts, using 3D print technology to promote women’s health in remote regions.

Paul Graham Raven is a postgraduate researcher in infrastructure futures and theory at the University of Sheffield. He is also a science fiction writer, literary critic and essayist.

Via Skype, Regina Peldszus explores how humans and technology interact. She was an Internal Research Fellow with the European Space Agency in Darmstadt, Germany. She is now at Leuphana University of Lüneburg, researching the ethics of simulation.

@gsvoss | @PaulGrahamRaven

Forever Future
Sacha Pohflepp, 2010 (4′ 24)


17:00 Screening

Fugitive Futurist: A Q-riosity by “Q”

Gaston Quiribet, 1924 (12’ 00; silent)

An on-the-run inventor claims to have invented a camera which looks into the future, and reveals a grim destiny for London landmarks like Tower Bridge and Trafalgar Square.


17:15 Discussion and screenings

 

Public Tracks

Hubert Blanz, 2010 (1’ 25)

Excerpt from an audio/video installation. Over the last few years the importance of virtual social networks has greatly increased and has significantly changed the way we communicate.


Brilliant Noise
Semiconductor, 2006 (5’ 50)

After sifting through hundreds of thousands of computer files, made accessible via open access-archives, Semiconductor bring together some of the sun’s finest unseen moments. These images have been kept in their most raw form, revealing the activities of energetic particles. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation. @Semiconducting


Singular Occurrence of a Fall

Anaïs Tondeur & Jean-Marc Chomaz, 2014 (1’ 13)

Produced with PhD students during an art and science workshop at Cambridge University, this is one of a series of video pieces that reconstruct in the laboratory the effects of an earthquake on the lost island of Nuuk.


@newscientist
@CultureLabNS
#SFL15