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Protocol
Slow Light,
Chapter I-V
Slow Light / 522928.03N/ 1324
44.50"E
Protocol:  
EN
PROTOCOL  


Authored by ActA.
The protocol collects materials and records our process and discussions.
It has been written in the studio parallel to our ongoing dialogue on making and being with sculptures.    
All procedures and processes connected to Sculpture in four parts are entitled: Slow light.
Slow lightprinciples determine this and all protocols that follow. When something is slow, it might be that one will be able to see it much later in time, - in a different time. Imagined is hereby a process that for the perceiver expands the time beyond the Now. Slow light affects the common practice of seeing, similar to the perception of a slowed down ray of light passing through water. The perception is fragmented over time.
Slow light installs temporal trajectories that lead from the present to the past and potential of later points in time. Like a constructed lens that conveys the Seen, a hundred years from now.


Protocol
Slow Light,

Chapter I
Slow Light / 522928.03N/ 132444.50"E


The following pages protocol the work:
Alpha, Beta, Gamma, Delta


Year: 2015
Apparatus: object
past, present, future - not necessarily in this order
Dimension: variable 
Materials: stones, 3D printer, binder 


Set-up:

A series of industrially-cut stones construct the material of Alpha, Beta, Gamma, Delta. The cut stones have been shipped from their origin source to the studio.
The original measurements of the stones relate to western architecture: each stone caters to specific functional or aesthetic requirements, which in turn relate to modern standard housing measurements.
The largest stone measures 200cm x 19cm x 6cm.
The smallest stone cannot yet be determined, given the fragility of all stones - which will unavoidably be broken during handling in the studio. Therefore, the dimensions of the smallest stone will have to be specified on site.
All stones displayed are listed below, indicating a singular selected property. 



Multicolour red

Other names: India Red, Indian Multicolour Red, Indian Red, Multi Colour Red, Multicolour Indiano Rosso, Multicolour Rosso, Multicolour Red, Red Multi, Red Multicolour, Red Multicolour, Rojo Multicolour, Rosso India, Rosso Multicolour.

Silver-grey

Qualities: impermeable, resistant to: atmospheric pollution, frost, normal heat and rapid temperature changes

Perlino

Weight - 2.670 kg/m3
Wear Resistance - 22.70 mm

Tensile Strength - 155 kg/cm2

Nero Impala

Mining method: involving application of diamond wire technology specifically applied to the extraction process.


Test:

At a later point in time the damaged and fragmented stones are ground down in order to analyse their different mineral properties on a micro-scale. These ground-up fragments are mixed with binder to develop a new variation of molecular binding, using a computer-driven 3D-printer.  The new form is based on a CAD model. The physical structure of the new stone is constructed layer-by-layer through a digitally controlled combination of granules and binder.
The stones are - apart from their role in the build environment - looked at from their micro-scalar physical and chemical properties. A different molecular configuration is materialized using a 3D printer, which turns a digital CAD model into a physical object, layer by layer. The stabilization of molecules is achieved through a local control over the distribution of granules and binder. Granules are extracted from the following stones: Multicolour red, Silver-grey, Bianco Perlino and Nero Impala. Accordingly, each granule used to compose Alpha, Beta, Gamma, Delta inherits mechanical properties from its original mineral makeup.
These properties determine maximum stress, elasticity and density, among other.  


Four granules are used:
Alpha:
stone printed with the Multicolour red granules and binder (liquid adhesives).  
Beta: stone printed with the Silver-grey granules and binder (liquid adhesives).  
Gamma: stone printed with the Bianco Perlino granules and binder (liquid adhesives). 
Delta: stone printed with the Nero Impala granules and binder (liquid adhesives).  
All prints are modeled on the Lion Human, a sculpture that dates back to 38.000 B.C.


Alpha, Beta, Gamma, Delta’ will be printed to the original size of the ‘Lion Human’, which stands 31.1cms tall. All material from the original stones will be used for the 3D print. In case of material shortfall, only as much of the Lion Human will be printed as supplies allow, from the feet up.


Conclusion/
Composition:  

The micro-scale determines our primary understanding of sculpture.   

Material properties such as elasticity, hardness, specific weight, standing, stability, floating, etc. are determined by the molecular structure. The micro-scale perspective maintains the objects potential along with its various transformations through time.   





Terminology / Language: 

This protocol makes use of terminology from material research.
The knowledge of mineral properties can lead to a re-phrasing of sculptural qualities and underlines the transformative quality of object/artefacts in time.  


 


Mark

Protocol  
Chapter II
Slow Light / 522928.03N/ 132444.50"E

The following  protocols the work:

No Title (Ultrasonic Fossil)


Year: 2015
Apparatus: objects
Dimensions: each sheet measures 2.00 x 1.00 m  
Material: Aluminium, coins, wrist-watches, hoop earrings, belts, keys, nails, plastic coated fabric, zips, hooks and eyes

Setup:

Mechanical vibrations that can be interpreted as sound can travel through all forms of matter: gasses, liquids, solid and plasma. The matter that supports the sound is called the medium.  

All objects undergo an ultrasonic testing procedure, in which ultrasonic waves are transmitted through the material. Waves have various frequencies and travel in either longitudinal or transversal directions. By analyzing the sound velocity or the reaction of the material to propagation of ultrasonic waves, information about the objects can be obtained. Any changes of material properties may cause alteration of the sound’s propagation inside the materials. Properties affected are: sound velocity (C), sound absorption (∞A) and scattering coefficient (∞s) among others.

Any changes of mechanical features in materials – such as tensile strength, impact strength, elongation and hardness - may lead to an alteration of sound velocity and frequency. Human perception is directly affected by any change in these factors.  


Test:

The test is conducted with equipment for measurement. The equipment includes: electromagnetic acoustic transducer and a couplaint (water or oil).

The ultrasonic transducer is placed upon the surface of the object to be measured. Alterations of the resonance within the material are extracted locally. The receiver gathers the ultrasonic waves reflected from an interface, such as the back wall of the object or from an internal or external irregularity in the object’s geometry or material.  
The test is conducted to examine whether past performance of the material may be witnessed through ultrasonic mapping. The qualities of back wall echoes will be compared.  

Conclusion / Composition:

Sound determines our primary understanding of sculpture. Material properties (density, tensile strength, impact strength, elongation and hardness) determine the object’s sound-proportions.  

The properties of the medium affect the frequencies from the environment and its inhabitants over time.

Terminology / Language:

This protocol makes use of terminology and research findings from mechanical engineering. The knowledge of acoustic qualities leads to a re-phrasing of an object’s sculptural qualities - and underlines its transformative potential as an artefact in time.


PCargo

Protocol 
Chapter III
Slow Light / 522928.03N/
132444.50"E

The following protocols the work:  
no title (woven hologram)



Year: 
2015
Apparatus:
Object
Dimension:
0,57 x 1,00 x 4,65 m

Materials:
Escalator steps, necklaces


Set-up:

The inclusion of the future existence and perception of an object/artefact is influenced by its mechanical reproduction. Hereby included is the archival system and its visual form in various display technologies.   
Here we consider various techniques of photographic reproduction, including the hologram. This enforces the principles of inclusion of multiple-perspective and relations. The primary understanding of holograms is a two-dimensional screen that shows a three-dimensional space. It involves the use of interference, diffraction, light intensity, sensory information, perception and identification.  
Holography enables the light field scattered from an object to be recorded and replayed. If this recorded field is superimposed on the 'live field' scattered from the object, the two fields will be identical. If, however, a small deformation is applied to the object, the relative phases of the two light fields will alter, and it is possible to observe interference. This technique shows a pattern similar to those known as Moiré pattern. The essence of the visual moiré effect is the perception of a distinctly different third pattern, which is created by an inexact superimposition of two similar patterns.


Test:

A recording with a photographic apparatus of the no title (woven hologram) is made. The work is hereby being transformed from 3D to 2D.  

In the recording: layers are made by interference of two or more recordings/systems of the light field scattered from the object. The reconstructed light fields may then interfere to give fringes, which map out the displacement of the surface. 


Conclusion/
Composition:

The irregularities of photographic recording determine our primary understanding of sculpture. Properties of optical illusion patterns such as moiré pattern and holograms influence the spectator’s perception.Terminology / Language:
This protocol makes use of phenomenon from display technology. The knowledge into holographic systems can lead to a re-phrasing of sculptural qualities and underlines the transformative potential of object/artefacts in time.  


Protocol  
Chapter
IV
Slow Light/ 522928.03N/ 132444.50"E
 
The following protocols the work:
No Title (LP) 


Year: 2015Apparatus:Object
Dimension: 0,50 x 0,76 x 1.25 m
Materials: Stoneware, PVC mat, electric cable.


Set-up:

The volume of the four vases and their geometry is the focus of the inquiry into vacuum.  A vacuum is a space that is devoid of matter. In theoretical physics, a vacuum can be referred to as perfect or imperfect vacuum. Our interest is in the perfect vacuum.  

Inside the four vases we declare a perfect vacuum. A perfect vacuum contains no charged particles. The two basic reference points in the set-up and all further measurement are the standard atmospheric pressure and the perfect vacuum. Atmospheric pressure is assigned the value of zero on the dials of most pressure gauges. At atmospheric pressure the value 0 in.-Hg is equivalent to 14.7 psi. 


Time:

Any rules of mechanical features outside and inside the vases are to be observed.

In addition we will observe how a vacuum behaves in reaction to a given geometry, electromagnetism and/or semi-classical gravity. Some surfaces can cause a region of the vacuum to become conductive, by injecting free electrons or ions through field emission or thermionic emission.  

Conclusion / Composition:

The acknowledgement of vacuum determines our primary understanding of sculpture.

Properties such as atmospheric pressure, territorial space and motion of particles will determine the objects abilities.

The properties of the vacuum can lead to an expanded understanding of matter and non-matter.

 

Terminology / Language:

Any protocol makes use of terminology and research from theoretical physics. The knowledge of vacuum can lead to a re-phrasing of the sculptural qualities and underlines the transformative potential of object/ artefacts in time.

 

Protocol 
Chapter

Slow Light / 522928.03N/ 132444.50"E 


The following protocols the work:
Haus 112  


Year: 2015

Apparatus: Objects

Materials: Haus 112, observational instruments


Set-up:

The placement of Haus 112 in a given terrain is to be determined by the sun and the galaxies relational positions. This Protocol views the influence of stars, galaxies, planets, moons and asteroids that are visible from earth, on Haus 112.

 

Test:

A series of observational tests and mappings is undertaken before construction. These tests determine the optimal placement of the singular Urhütte and its fireplace within the terrain - by encoding the earth’s interdependency on the sun, the stars and other planets.

The test is done with help of observational instruments.


The astronomical phenomena are inscribed onto maps, which, drawn during day and night, will make visible the different hourly perspectives.

All observational instruments will be removed from the terrain after the maps have been finalised.

The maps directly inform the placement of Haus 112 and its fireplace. Assembled through observation, the maps contribute to the knowledge of the nature of the universe and materiality, and its influence on human habits. In turn, the difference in the placement of the house may have a direct impact on the stars.

  

Conclusion /Composition:

This acknowledgement of placement within the universe determines our primary understanding of sculpture.

The appreciation of the universe can lead to an expanded understanding of the human shelter. The notion of inside / outside [/within / without] is determined not only by the presence of humans, but also celestial objects.  


Terminology /Language:

This protocol makes use of terminology from observational astronomy concerned with recording data. The knowledge gathered from observing space can lead to a re-phrasing of sculptural qualities and underlines the transformative potential of object/ artefacts in time.