Wonderwell 2023
I drew inspiration from cultural, literary and scientific works; and historical and contemporary research (that specifically aligned with ethics surrounding quantum physics) in drafting this proposal. I was also inspired by the locales of the proposed residency in both CERN (Geneva) and Copenhagen.
I propose a large Wonderwell installation composed, from top to bottom, of three sections:
a cloud;
a rabbit hole of light; and
a “blueprint” well
all taking the overall 3D shape of an extruded dymaxion map. The dymaxion map shape (and the jitterbug units (below)) are a nod to US polymath R Buckminster Fuller; who proposed tetrahedral building blocks as the foundational units of universal matter (built upon in current quantum research); CERN’s ATLAS experiment and the novel Cloud Atlas, see below.
Each layer will be comprised of SOMA cubes (either cut from Danish glass, recycled glass or acrylic or even adopting Yang Xu’s recent origami glass technique - constraints depending) - mathematical/geometrical puzzles designed by Danish polymath, Piet Hein, during a physics lecture given by Werner Heisenberg (see attached “details” drawing page).
The SOMA cube speaks of a challenge, geometrical elements or building blocks; each with potentially different contents and hundreds of different possible arrangements of the 7 pieces themselves; and therefore, also, to wave/particle duality; and the observer effect or the Copenhagen interpretation regarding quantum theory. The connection of Hein to Heisenberg and to Denmark (Copenhagen) and quantum physcis, generally, was key for me in determining a foundational building block for the installation.
Further, each small component cube and the overall SOMA form, will contain an iteration of the tetrahedra-based “jitterbug” construction (see below). These jitterbug elements could also contain/be imprinted with information, images or relevant data (per layer) ascertained from consultation during the CERN stage of the residency. These elements will either be clear (e.g. externally placed ones - see attached drawings or coloured, depending on rough country locations in the dymaxion map). These glass within glass, sheltering forms also represent a need for transparency in technological advancement, the fragility of our planet and a nod to the green (see below) house effect (mini-greenhouses) - an ever-pressing current scientific, technological and ethical conundrum.
The cloud
The cloud atop the installation, made from these SOMA cubes, represents:
the current data cloud (hovering above us all in the ether - a target for indeterminable misuse via hacking) but also,
a mushroom cloud reflective of past nuclear atrocities; and
the cloud surrounding the alleged meeting of physicists Bohr and Heisenberg in Copenhagen and their personal and professional struggles and entanglements (as narrated in Michael Frayn’s recent fictional play, “Copenhagen”)
and thus serving as a looming, ever-present reminder of how scientific progress made by the most brilliant of scientific minds can be a double-edged sword. This cloud then embodies the past, present and future of science and technology and the weight of ethical responsibilities to humanity. It is a symbol for a need for overarching ethics.
The cloud layer is also inspired by the 2004 fictional work Cloud Atlas by Mitchell and this work’s embodiment of quantum-esque constructs such as interconnectedness and quantum loops in time, across far-flung corners of the globe (again, the dymaxion atlas reference).
This also links with CERN’s ATLAS project - searching for new particles which could help explain dark matter and gravity. The dymaxion cloud ATLAS, like the eponymous Greek mythological figure, is holding up the weight of ethical responsibility concerning modern technologies.
For the cloud layer I proposed a continuum of yellowy-orange jitterbug tetrahedral elements (perhaps with their SOMA cubes roughly in alignment with countries on the dymaxion map) throughout, to reflect the mushroom cloud’s colours but also those associated with “warning” (like a yellow traffic light). Perhaps ethereal yellow lighting could also be included.
The rabbit hole of light
This next (and longest) layer in the vertical, hanging installation, takes inspiration from Alice’s Adventures in Wonderland by Charles Dodgson whose work contains many references to mathematics and again, to non-determinism, observation/perception, the nature of reality, behaviour of matter at the smallest scales and multiple realities - all akin to quantum explorations.
I also thoroughly enjoyed and was inspired by Robert Gilmore’s book “Alice in Quantumland” and this lead to an ongoing fascination with Dodgson’s work and other interpretations of his celebrated, fantastical plot.
Incidentally, Danish physicist Niels Bohr was also apparently an avid fan of Dodgson’s, as was Hein.
The rabbit hole of light section of this installation is inspired by Dodgson’s and Gilmore’s works and is also a nod to CERN’s ALICE experiment.
This section will also be comprised of layered, combined, SOMA cubes (each containing coloured or clear jitterbug constructions) reflecting the tunnel of light Alice fell down upon her first encounter with Wonderland. Spotlights positioned above this section directed downwards would help convey this atmosphere.
For the rabbit hole of light, I thought about incorporating various shades of green jitterbug sections to reflect a current, global, relatively optimistic, “green light” state in terms of scientific and technological research, progression and wonderment (nb also Hein’s Gruk: “when problems seem hard to solve & when perspective fades away, remember this: the human mind though e’er so small, can think of things ten miles tall - also an inspiration behind this tall, enlightened, “green” section); but also, one in which humanity must be focused on and more in tune with nature and the well-being of our planet and its peoples and thus also, ethics.
I would like to leave some cube faces (at human-height) “open” to enable exhibition participants to interact with the work and play with the jitterbug models; changing their iterations. This encourages thoughts about determinism/non-determinism, observation and our apparent ability to make choices.
The well
The “blueprint” well lies at the bottom of the work (as per the Plan diagram, attached). “Blueprint” also represents the perception of water in the well (as reflecting the blue sky above).
This section was inspired by Alice’s arrival in Wonderland; Heisenberg’s reference to, “the first sip of a glass of natural science will make you an atheist, but at the bottom of the glass, God awaits you; and the notion that a “theory of everything” or emergence theory in quantum research will lead humanity to creation’s blueprint: a “dymaxion” map perhaps evidencing answers to all the secrets of the universe. The well part reflects the life-giving symbolism of this enshrined body of water, wisdom, spiritual and community connections, connection to the “life force" and even, rebirth.
It is symbolic of where CERN’s ALICE, then is going - where quantum research hopes to take us - to an understanding of God in a “theory of everything”.
I envisaged therefore, literal “blueprints” of relevant, residency-sourced, quantum schematics perhaps comprising the blue elements of the jitterbug components. I would also like to incorporate a few mirror jitterbug pieces so that exhibition viewers can witness “a version of themselves” in humanity’s blueprint when observing it from above/in the well.
I also think a blue light illuminating from the base will help emphasise the ethereal, bright, halo-like special illumination of this layer and of the thinking that preceded it.
Wonderwell 2023 - summary
Wonderwell 2023, in drawing upon numerous historical and contemporary social, cultural, scientific and technological inspirations and highlighting the interconnection between science and art (both in impetus and construction); creates in itself, a quantum-loop interconnecting our past, present and hopeful future and therefore, holistically, encourages humanity to be conscious of:
our relative fragility and shared challenges;
our infinitely networked local, domestic and global communities and environments;
our individual and collective lenses and consequent perceptions of reality as observers; and
our past, together with our dreams for the future, and embracing a learned sense of caution and ethical responsibility in progressively advancing scientific and technological research
in furthering the greater good.
Humanity will do well to wonder, and will be well for wondering, at the wonderland that surrounds us in our well of life; to reflect and ask questions; to become involved and take responsibility as citizens of humanity, for the benefit of our collective future.
The lighting suggested above - yellow atop the cloud and blue beneath the well - will also merge somewhat to highlight the green of the centre pillar. Perhaps a central white light could illuminate the work also, akin to “fingers of God” and the overriding sense of humanity’s smallness amidst the universe.
