Reifying quantum mechanics

Berkeley (2011) by Alejandro Guijarro

The interface between the outer reaches of theoretical physics and conceptual art is becoming ever closer, it seems.  This year the the work of Austrian physicist, Anton Zeilinger was shown alongside works by major conceptual artist, Lawrence Weiner, and contemporary artists, such as Thomas Bayrle, at Documenta - the contemporary artworld's premier shop window.

Quantum Now by Anton Zeilinger (2012) at dOCUMENTA 13

And this month, a new exhibition has opened at the Wilmotte art gallery in London, which exhibits the working surfaces of some of the world's leading quantum mechanics labs.

Momentum by Spanish artist Alejandro Guijarro, brings together a collection of large-format photographs of chalkboards taken at the quantum mechanics departments of Oxford and Cambridge universities in the UK, Berkeley and SLAC (the National Accelerator Laboratory) in the States, CERN in Switzerland, and the Instituto de Física Corpuscular in Spain. 

The blackboard has long been the iconic visual symbol of the physics lab, an ever-shifting collaborative canvas, exhibiting the abstract mental processes of those working there.  Seemingly impenetrable to the lay-eye, they possess an enigmatic aesthetic quality.

As Megan Garber notes in The Atlantic, "in an age of dry-erase whiteboards and write-on wall paint - an age that has produced surfaces and markers that allow writings to be undone with the ruthless efficiency of a single swipe - blackboards have taken on the wistfulness of the outmoded technology. And the semi-erased chalkboard, in particular - its darkness swirled with the detritus of unknown decisions and revisions - compounds the nostalgia. Its spectral insights mingle in the bright dust of calcium carbonate."

The exhibition displays the images of blackboards life-size, allowing us to scrutinise the equations and begin to appreciate them, not only for their symbolic value, but their line and form.  Guijarro notes, "the images in this series do not purport to be documents holding an objective truth. They function purely as suggestions. They are fragmented pieces of ideas, thoughts or explanations from which arises a level of randomness. They are an attempt to portray the space of a flat surface and of a given frame. They are arbitrary moments in the restless life of an object in constant motion."

The curatorial text of the exhibition also emphasises the art historical lineage of Guijarro's photographs:

"The colourful equations remind us of Basquiat's formulaic language and the white chalk evokes Cy Twombly's later canvases. Each line and smudge has its own history and meaning, produced by a scientist unaware of their artistic merit."

Untitled (2011) by Alejandro Guijarro

At a time where developments such as the LHC at CERN have brought both experimental and theoretical physics to the wider attention of the public, one is tempted to wonder if these exhibitions are an attempt by the artworld to aestheticise, or even reify, the seemingly abstract field of quantum mechanics.

Momentum is on show at the Wilmotte gallery until the 9th November 2012.

Sources:

http://www.alejandroguijarro.com/ongoing/blackboards/

http://www.tristanhoare.co.uk/exhibitions_Alejandro_Guijarro.htm

Archaeologists of the Sky

This week I have been spending a lot of time thinking about the artwork of Trevor Paglen, which is currently featuring in an exhibition I co-curated at Lighthouse in Brighton, UK called Geographies of Seeing. Paglen describes his practice as "experimental geography". He is interested in illuminating the "black world" of clandestine military operations carried out in orbit and here on earth.

They Watch the Moon, 2010, C-print © Trevor Paglen

To do so, one writer has noted, "Paglen looks upwards to the night sky, one of the oldest laboratories of rational thought".

This quote prompted Mark Simpkins to note that, "astronomy is archaeology of the sky", something that resonated strongly with me. It prompted me to check in on the progress of the 21st century's grandest sky archaeology project - the Square Kilometre Array, or SKA.

As we reported in April last year, the SKA will be the world's largest and most sensitive radio telescope.  Rather than being a huge single radio dish, it will be made up of thousands of smaller ones, which are distributed across vast geographical areas.

In May this year it was announced that the SKA would be jointly hosted in Southern Africa and Australia and New Zealand, a decision that prompted some controversy, as the two geographical areas had been in direct competition to host the array.  But controversies aside, this month, the SKA took a major step forward with the launch of Australia's ASKAP - or Australian Square Kilometre Array Pathfinder.

Australian Square Kilometre Array Pathfinder (ASKAP). Image courtesy of CSIRO.

ASKAP is located in remote Western Australia, and is operated by the Murchison Radio Astronomy Observatory. It is made up of 36 identical antennas, each 12 metres in diameter, working together as a single instrument, using the technique of interferometry.  As well as being a significant radio telescope in its own right, ASKAP is an important testbed for the SKA .

A new receiver technology called a "phased array feed" means ASKAP will be able scan the sky much more rapidly than existing radio telescopes, prompting claims it is the fastest radio telescope in the world today.

The sky archaeologists at ASKAP are focusing on some of the major fundamental issues within cosmology and astronomy.  ASKAP is expected to make advances in understanding galaxy formation, dark energy the evolution of the Universe. Some of the initial research will include a census of all galaxies within two billion light years. This may shed light on how our own galaxy, the Milky Way, was formed.

Brian Boyle, the director of ASKAP for CSIRO, Australia's national scientific research organisation, explained why radio astronomy is such a powerful tool in the arsenal of modern science:

"Radio waves tell us unique things about the cosmos, about the gas from which stars were formed, and about exotic objects, pulsars and quasars, that really push the boundaries of our knowledge of the physical laws in the universe".

Writer, Rebekah Kebede notes that ASKAP is located in remote Murchison, "an area of 50,000 square kms, or the size of Costa Rica, with barely 120 people."

The location is ideal for radio astronomy because it is "radio quiet" - it lacks man-made radio signals that interfere with antennas designed to detect celestial signals.  The area is the home of the Yamatji Marlpa people, who are the traditional owners of the land on which the observatory is cited.

ASKAP opened on 5 October 2012. Australia will build another 60 antennas for the SKA, which begins construction in 2016.

Huffington Post writer, Alex Cherney has put together a stunning time-lapse video showing ASKAP in motion. The two night-sky images of ASKAP used in this post are from him.

Sources:
http://phys.org/news/2012-10-askap-dish-australian-telescope-array.html
http://www.universetoday.com/97688/36-dish-australian-telescope-array-opens-for-business/
http://www.cosmosmagazine.com/news/6044/worlds-fastest-radio-telescope-starts-australian-outback

Sea Above, Sky Below

Sea above, sky below.  The phrase is seemingly a contradiction and a mental paradox.  Yet recent research into cosmology, astronomy and oceanography suggests that this riddle is perhaps not as irreconcilable as what it may first appear. Recalling Milton's evocation of the empty heavens as a kind of ocean, the inversion of sea and sky is taking place all around us, in physics and in oceanography.

The most important advances in scientific thought about the origins and structure of the universe now suggest that our world may be just one amongst many, floating in a cosmological sea. The space probe Cassini has revealed that even in the heavens above, oceans may in fact, be commonplace.  Radio astronomers describe the noise storms of Jupiter and its moon Io as sounding like ocean waves breaking up on the beach. And here on the firmament we are increasingly turning to the oceans in order to better understand the skies.

ALMA (the Atacama Large Millimetre/submillimetre Array)

After recently watching the documentary, Seeing Stars, which analyses the new generation of telescopes that enable scientists and engineers to do 'extreme astronomy', I was prompted to revisit some of the unusual techniques which are currently being used to probe the edges of our universe, which I first starting looking into a few years ago.
The documentary, by the way, is well worth watching:

The infant branch of astronomy, known as "neutrino astronomy" is motivated by the possibility of observing phenomena, such as cosmic neutrinos, that are inaccessible to optical telescopes.  Cosmic neutrinos, which are believed to be produced by cosmic rays, are very difficult to detect. By building arrays deep under water, astronomers can make sure that most of the particles they detect are actually produced by cosmic sources. These detectors look down through the Earth to see the universe, using the whole planet as a shield to absorb the riffraff of particles from the atmosphere.

One of the leading voices within oceanic neutrino science is Dr Paschal Coyle (pictured), who is based in Marseille in France.  His 2007 Journal of Physics paper, Neutrinos Out of the (Deep) Blue remains a valuable reference in surveying the various approaches to underwater neutrino observation.

He is a key researcher with the ANTARES observatory, which is situated under the Mediterranean Sea, 42km off the coast of Toulon. His team set out to monitor their below-sea telescope in the brilliantly named research vessel, Pourquoi Pas?.

ANTARES research vessel, Pourquois Pas?

ANTARES stands for "Astronomy with a Neutrino Telescope and Abyss environmental RESeach project", a rather clunkily assembled acronym, but one that figuratively at least, situates one of our most charismatic stars - Antares - deep under the sea.

The ANTARES detector comprises a total of 900 optical modules distributed over 12 flexible lines, each comprising 25 storeys.  They are anchored at the bottom of the sea at a depth of about 2.5 km, approximately 70 meters apart from each other.

Design visualisation of the ANTARES underwater detector modules

ANTARES is designed to detect neutrinos from space, coming from the direction of the Southern Hemisphere of Earth.  As neutrinos have no mass and no charge, they fly through matter as if it wasn't there, and are therefore fiendishly difficult to detect.  If a cosmic neutrino collided with Earth in the Southern Hemisphere, say for example in Australia, it would fly through the Earth and exit through the Mediterranean sea off southern France on it's way back out to space. ANTARES is constructed with the specific intention of detecting those elusive neutrinos on their ghostly and perpetual journey.  Occasionally, on its journey, a muon neutrino will interact with the water in the Mediterranean. When this happens, it will produce a high energy muon.

 

ANTARES works by detecting Cherenkov radiation (pictured) emitted as the muon passes through the water.  So ANTARES is a highly sensitive optical instrument designed to detect the uncanny blue glow of Cherenkov radiation caused by one of the rarest phenomena in existence.

Over the past four years, Paschal Coyle and his team, have made many expeditions to the underwater detector hunting for neutrinos.  Whilst they have detected many neutrinos - consistent with what might be found in the Earth's atmosphere at any one time - they haven't found a single cosmic neutrino.

To put it more formally, as the team did in their May 2012 abstract, "no significant neutrino signal in excess of that expected from atmospheric background has been found".  The team submitted a further paper to the Astrophysical Journal in July, and in it they emphasised, "no statistically significant signal has been found and upper limits on the neutrino flux have been obtained."

Despite this, the search goes on, and ANTARES has more than one function. As well as looking for particles of cosmic origin, and thus being an important part of the astrophysics community, ANTARES is also at the forefront of particle physics research, taking part in the search for dark matter. It complements the dark matter searches performed by experiments such as Fermilab's CDMS, and at CERN's dark matter work at the LHC.

ANTARES instrument panel aboard Pourquois Pas?

ANTARES' contribution to the field is to attempt to detect a hypothetical phenomena known as "neutralino annihilation", which is thought to take place in the Sun, or the centre of our galaxy.  The theoretical particle, the neutralino, is considered a good candidate for the substance of the universe's cold dark matter. To confirm its existence, neutrino telescopes, such as ANTARES, look for evidence of the annihilation of neutralinos in regions of high dark matter density such as the centres of stars or galaxies.  If ANTARES was able to detect this speculative phenomena, it would be a major breakthrough in our understanding of the universe.

A new generation of telescopes are analysing our skies in ever more novel ways: from vast radio arrays in arid desert mountains, to telescopes strapped to aircraft soaring into the stratosphere, to futuristic Air Fluorescence telescopes looking for high-energy cosmic rays. At the forefront of these techniques are telescopes built underwater, searching our skies from the depths of our oceans.

As it looks through the earth to detect neutrinos from space, ANTARES is peering at the sky below, from the sea above.

Dedication:

Sea Above, Sky Below is the title of a song by Dirty Three, which appears on the 1995 album, Ocean Songs. This post is dedicated to Peter Kirk.



Sources:
http://antares.in2p3.fr/Overview/index.html
http://www.iop.org/
http://arxiv.org/abs/1207.3105