Yasmin List

Monday, June 1, 2009

Re: [Yasmin_discussions] Fission and Fusion

Hi Guillermo, Patrick and all,

I would like to give one step back - just after the end of WWII.
1945 marked the time when US became the super power that the rest of
the world admired or feared, and in any case respected.

Artistic groups all over the world questioned their submission to the
French culture. While doing so, and to the extent that societies were
reinventing themselves, there was a certain (return to? place for?...)
"nationalism".

In Brazil, 1945 marked not only the end of a distant war, but also the
death of Mario de Andrade, the rupture with prior modern art
movements, and the search for a new national artistic identity. One of
the characteristics of this identity were undoubtedly riming poems.

My point being that the extreme technological advancements of the war
industry seemed to have been met in certain parts of the world with
what could be seen at a first glance as a decay of 'form'.

Patrick's example is one of 'co-production' (as you put it Patrick).

I am interested in other examples where the reactive /proactive
movement to a sophisticated war machine is the simplification of form.
In 1957, a Brazilian magazine announced 'concrete poetry' (huge in
Brazil at the time thanks to Augusto de Campos and others), as
'poetry's rock'n roll'... the latest fad, hence doomed to die.
Concrete and visual poetry were another post war 'reactive/proactive
genre.

Here are Vinicius de Moraes' words on Hiroshima, in the voice of Ney
Matogrosso ( you *really need to watch and hear* http://www.youtube.com/watch?v=9YJaaVAQ5lE)
. Vinicius was part of the 3rd modernist (post war) generation .

Pensem nas crianças
Mudas telepáticas
Pensem nas meninas
Cegas inexatas
Pensem nas mulheres
Rotas alteradas
Pensem nas feridas
Como rosas cálidas
Mas oh não se esqueçam
Da rosa da rosa
Da rosa de Hiroxima [...]

(1962)

I will only risk a short translation... f there is one poem that
succumbs to the tyranny of translation, this is the one... 'Think of
the children, mute, telepatic. Think of the little girls, blind,
inexact...'
Márcia Guidin has an excellent analysis of the 3rd art generation in
Brazil in "Social Critique and metalanguage" (Pedagogia e Comunicacao
journal) . Regina Vater has several texts on concrete /visual poets in
Brazil in the cold war period. Email me if interested in full
references.

Ana Boa-Ventura
HASTAC scholar (Humanities, Arts, Science & Technology Advanced
Collaboratory )

On Jun 1, 2009, at 11:33 AM, W. Patrick McCray wrote:

> Colleagues:
>
> First, I would like to say I am pleased to be part of this month-long
> Fission & Fusion discussion @ YASMIN. I am a historian of modern
> science and
> technology at the University of California which, of course, has
> long ties
> to many aspects of the nuclear-realm: Ernest Lawrence's lab;
> discovery of
> plutonium; Robert Oppenheimer; management of Los Alamos and Livermore.
>
> In terms of my own interests – I teach a regular undergraduate
> course called
> The Atomic Age which is a social and scientific history of nuclear
> weapons
> and nuclear power. Finally, for the last year or so, I have been
> working on
> the history of ITER, an international megaproject being built by the
> EU and
> several other countries (US, Japan, China, India, Russia, South
> Korea).
> Formally known as the International Experimental Thermonuclear
> Reactor (now
> it is just called ITER, a renaming which itself suggests some larger
> issues
> at work), this is a large-scale fusion energy project.
>
> As my first contribution to this discussion, I would like to call
> attention
> to an interesting book by Peter Kuran (VCE; 2007) called "How to
> Photograph
> an Atomic Bomb." Ironically, I first saw this book in March 2009
> when I was
> visiting the Titan Missile Museum located outside of Tucson, Arizona
> (one of
> 54 Titan missile sites active during the Cold War, the missile site
> is now a
> popular tourist attraction).
>
> Part macabre coffee-table book, part history of science and
> technology,
> Kuran's book presents the photography done at nuclear tests sites in
> the
> South Pacific and Nevada as a compelling artistic expression that also
> encompassed national security goals. However, what I found totally
> engrossing in Kuran's book was the descriptions of how photographers
> had to
> alter existing and develop entirely new photographic techniques in
> order to
> capture the micro-second details of a nuclear blasts. This, to me,
> was a
> fascinating and unknown part of nuclear testing. What does this say
> about
> the intersection of nuclear weapons and art or, more generally, the
> ways in
> which technology and art co-produce each other in the realms of
> fission and
> fusion?
>
> --
> W. Patrick McCray
> Department of History
> University of California, Santa Barbara
> Santa Barbara, CA 93106-9410
> TEL: 805.893.2665
> WEB: http://www.history.ucsb.edu/people/person.php?account_id=14
>
>
>
> _______________________________________________
> Yasmin_discussions mailing list
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>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
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>
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>
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Re: [Yasmin_discussions] Art and Atoms: Fusion and Fission

Dear All,

Is nuclear material used for medical purpose is relevant to
this discussion ?

Annick

Guillermo Muñoz wrote:
> Dear Yasminers,
>
>
>
> This month we are going to deal with a topic of vast power: Fusion and
> Fision energy systems and the ways that could interact with art. This vast
> power provides the capacity to kill huge quantity of people in only severals
> seconds, as happened in Hiroshima and Nagashaky. At the same time offers the
> possibility to obtain high flux of energy to our houses in the civil use of
> nuclear energy, but, probably this energy is not as free and clean as we
> would like at the moment. Nuclear energy goes by hand with the history in a
> period where EEUU and URSS had theirs fingers only few milimeters up to
> press the buton to create another terible war.
>
>
>
> All of these data, feelings and fears where in our minds decades throught
> another decades, as an incoscience images creating appocaliptical visions,
> used in many films. So, this senses acts in our political life. Pacifim,
> ecologism, have a direct idea and possition about nuclear energy, and
> nowadays their voice is listened in more imperative way, as a climate change
> appears in the political and economical scene.
>
>
>
> But history allways returns, and Nuclear energy is having new attention,
> their uses as military pourposes are evident, as only one week before North
> Corea put it in all news with its new bomb. Its civil uses claims at the
> same time, as fusion energy is under research to change the "dirty"
> adjective to this energy to "clean" one. Fusion energy is considered
> probably as the more powerfull possible energy and it would be more clean
> tha fision. It is not extrange to think about it if we consider that this
> kind of energy is "used by" nature in the starts.
>
>
>
> Nanotechnology has the oportunity to create and develope new technology with
> the knowledge and "vote" of all society, and probably we are in these
> situation actually because we learned from the risks of old technologies.
> Nuclear energy reapears today, so, we have the chance at the same time to
> reactualizate these energy. It is hard task as probably Nuclear energy has
> the worse and terrible adjectives incorporated by itself, but, It could be
> possible?.
>
>
>
> I would like to end these introduction with few comments:
>
>
>
> Only few days ago die Herbert F. York. Physicst who worked at the Manhatan
> Project and afterwards worked as a EEUU political advisory on nuclear power.
> One generation of scientists where completly sensibilizated with the nuclear
> culture, but nowadays nuclear energy return and novel and young scientists
> are little bit far away from all of these historic happenings. What is the
> feeling of new generations concerning nuclear energy?.
>
>
>
> At the same time, today i read in the newspapper an intervew to Jüergen
> Flim, Theater Director who was born during II world war. He said: "Art must
> provocate reactions on people". So, what kind of reactions would like to
> provocate art concerning nuclear energy topics.
>
>
> Finally. As a methapore it is interesting to know that some clean energies
> like photovoltaique and photothermal energy are completly dependent to
> nuclear energy, as phtons from the sun are created in a huge nuclear
> station. But distance and the earth atmosphere gives the possibility to
> eliminate undesired effects. We are dealing all days with nuclear energy, we
> need nuclear energy, and at the same time we need to preserve our enviorment
> to follow with this procedure.
>
> Guillermo Muñoz.
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
>

------------------------
Annick Bureaud (abureaud@gmail.com)
tel/fax : 33/(0)1 43 20 92 23
mobile/cell : 33/(0)6 86 77 65 76
Leonardo/Olats : http://www.olats.org
-------------------------

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[Yasmin_discussions] Art and Atoms: Fusion and Fission

Hi all,

Just not to forget two important art references from the 60's:

-Hiroshima Mon Amour, 1959, Alain Resnais (screenplay by Marguerite Duras).

-Yves Klein, who worked with nature's elements and forces like fire,
air, gravity (earth) and water and had a clear reference to nuclear
power especially in pieces like Hiroshima, 1961.

to be completed...

Cristina Miranda de Almeida
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Re: [Yasmin_discussions] Art and Atoms: Fusion and Fission

Dear Yasminers,

This month we are going to deal with a topic of vast power: Fusion and
Fision energy systems and the ways that could interact with art. This vast
power provides the capacity to kill huge quantity of people in only severals
seconds, as happened in Hiroshima and Nagashaky. At the same time offers the
possibility to obtain high flux of energy to our houses in the civil use of
nuclear energy, but, probably this energy is not as free and clean as we
would like at the moment. Nuclear energy goes by hand with the history in a
period where EEUU and URSS had theirs fingers only few milimeters up to
press the buton to create another terible war.

All of these data, feelings and fears where in our minds decades throught
another decades, as an incoscience images creating appocaliptical visions,
used in many films. So, this senses acts in our political life. Pacifim,
ecologism, have a direct idea and possition about nuclear energy, and
nowadays their voice is listened in more imperative way, as a climate change
appears in the political and economical scene.

But history allways returns, and Nuclear energy is having new attention,
their uses as military pourposes are evident, as only one week before North
Corea put it in all news with its new bomb. Its civil uses claims at the
same time, as fusion energy is under research to change the "dirty"
adjective to this energy to "clean" one. Fusion energy is considered
probably as the more powerfull possible energy and it would be more clean
tha fision. It is not extrange to think about it if we consider that this
kind of energy is "used by" nature in the starts.

Nanotechnology has the oportunity to create and develope new technology with
the knowledge and "vote" of all society, and probably we are in these
situation actually because we learned from the risks of old technologies.
Nuclear energy reapears today, so, we have the chance at the same time to
reactualizate these energy. It is hard task as probably Nuclear energy has
the worse and terrible adjectives incorporated by itself, but, It could be
possible?.

I would like to end these introduction with few comments:

Only few days ago die Herbert F. York. Physicst who worked at the Manhatan
Project and afterwards worked as a EEUU political advisory on nuclear power.
One generation of scientists where completly sensibilizated with the nuclear
culture, but nowadays nuclear energy return and novel and young scientists
are little bit far away from all of these historic happenings. What is the
feeling of new generations concerning nuclear energy?.

At the same time, today i read in the newspapper an intervew to Jüergen
Flim, Theater Director who was born during II world war. He said: "Art must
provocate reactions on people". So, what kind of reactions would like to
provocate art concerning nuclear energy topics.

Finally. As a methapore it is interesting to know that some clean energies
like photovoltaique and photothermal energy are completly dependent to
nuclear energy, as phtons from the sun are created in a huge nuclear
station. But distance and the earth atmosphere gives the possibility to
eliminate undesired effects. We are dealing all days with nuclear energy, we
need nuclear energy, and at the same time we need to preserve our enviorment
to follow with this procedure.

Guillermo Muñoz.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

[Yasmin_discussions] Fission and Fusion

Colleagues:

First, I would like to say I am pleased to be part of this month-long
Fission & Fusion discussion @ YASMIN. I am a historian of modern science and
technology at the University of California which, of course, has long ties
to many aspects of the nuclear-realm: Ernest Lawrence¹s lab; discovery of
plutonium; Robert Oppenheimer; management of Los Alamos and Livermore.

In terms of my own interests I teach a regular undergraduate course called
The Atomic Age which is a social and scientific history of nuclear weapons
and nuclear power. Finally, for the last year or so, I have been working on
the history of ITER, an international megaproject being built by the EU and
several other countries (US, Japan, China, India, Russia, South Korea).
Formally known as the International Experimental Thermonuclear Reactor (now
it is just called ITER, a renaming which itself suggests some larger issues
at work), this is a large-scale fusion energy project.

As my first contribution to this discussion, I would like to call attention
to an interesting book by Peter Kuran (VCE; 2007) called ³How to Photograph
an Atomic Bomb.² Ironically, I first saw this book in March 2009 when I was
visiting the Titan Missile Museum located outside of Tucson, Arizona (one of
54 Titan missile sites active during the Cold War, the missile site is now a
popular tourist attraction).

Part macabre coffee-table book, part history of science and technology,
Kuran¹s book presents the photography done at nuclear tests sites in the
South Pacific and Nevada as a compelling artistic expression that also
encompassed national security goals. However, what I found totally
engrossing in Kuran¹s book was the descriptions of how photographers had to
alter existing and develop entirely new photographic techniques in order to
capture the micro-second details of a nuclear blasts. This, to me, was a
fascinating and unknown part of nuclear testing. What does this say about
the intersection of nuclear weapons and art or, more generally, the ways in
which technology and art co-produce each other in the realms of fission and
fusion?

--
W. Patrick McCray
Department of History
University of California, Santa Barbara
Santa Barbara, CA 93106-9410
TEL: 805.893.2665
WEB: http://www.history.ucsb.edu/people/person.php?account_id=14

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Re: [Yasmin_announcements] Monsieur MOO and cloud seeding

Dear Roger.
I recommend the Blur Building directed by Elizabeth Diller.
An article that we did about them:
http://www.elniuton.com/wet_tech/view_niuton.php?ed=07&pag=39
Direct webpage:
http://www.dillerscofidio.com/
Cheers.
Gabriel Vanegas.
elniuton.com

> yasminers
>
> interesting= we now have several examples of work involving cloud
> seeding = does any one know of any more artists projects
> involved in cloud seeding ?
>
> Monsieur Moo's work is also an example of re staging a scientifically
> important event as a performance
> which michael punt commented on
>
> mr Moos's triptic of work all involve the artist intentionally
> intervening to change the weather ==
> does any one know of other artists projects which intentionally change
> the weather ( or climate=
> mind you that would be quite a performance)
>
> Roger
>
> Monsieur Moo,Â Hydro Tasmania has been involved in both operational
> and experimental cloud seeding over Tasmania and mainland Australia
> for overÂ 40 years and it has developed a great deal of knowledge and
> expertise. From 2009 cloud seeding operations are conducted every year
> from 28th April to 31st October
> inclusive.http://www.hydro.com.au/home/Corporate/Generating_Power/Cloud_Seeding/
> These links may also be useful in finding experts to assist your
> project in Canada. Atlas of
> Cloudshttp://www.stormeyes.org/tornado/SkyPix/skypixca.htmCloud
> Seeding
> (CSIRO)http://www.dar.csiro.au/information/cloudseeding.htmlWeather
> Mod, Inc FAQhttp://www.nawcinc.com/wmfaq.htmlWMA - Weather
> Modification Associationhttp://www.weathermodification.org/WMO - World
> Meteorological Association (Weather Modification Research
> Programme)http://www.wmo.ch/index-en.html Kind regards, SJ Sarah Jane
> Pell, PhD, SSP06, ADAS2r research@sarahjanepell.com
> www.sarahjanepell.comÂ --- On Sat, 30/5/09, robert.thill@gmail.com
> <robert.thill@gmail.com> wrote: From: robert.thill@gmail.com
> <robert.thill@gmail.com>
>
> _______________________________________________
> Yasmin_announcements mailing list
> Yasmin_announcements@estia.media.uoa.gr
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>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
> In the page that will appear ("info page"), enter e-mail address, name,
> and password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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[Yasmin_discussions] Art and Atoms: Fusion and Fission

Yasminers

Its always best to start with some examples ! For our art and atoms
discussion re nuclear fusion and fission I would like to bring to your
attention the work of James Acord:

Artist James Acord has carried out a number of projects connected to
the nuclear fusion
and fission

The history of nuclear fusion and fission, although the research was originally
carried out for civilian interests, is inevitably entwined with the
history of the
second world war and the development of nuclear bombs and the cold war.

Roger

He did a work at the Hanford Nuclear Facility
http://www.tcfn.org/timecapsule/html/james_l._acord.html

He did a residency at ArtsCatalyst
http://www.artscatalyst.org/projects/archive/archive_atomic.html

ATOMIC=JAMES ACORD
1998 - 1999

James Acord, Mark Waller, Carey Young explored the economic and
cultural legacy of atomic power in an exhibition of commissioned works
shown in London 1998, Slovenia 1999, Nottingham 1999

'Atomic' confronted our fears and assumptions about science and the
nuclear industry.
Featuring the work of American sculptor James Acord - the only private
individual in the world licensed to own and handle radioactive
materials - 'Atomic' deals with the tricky issue of the idealism
behind the 'white heat of technology' of the fifties and sixties and
attempts to break down the wall of secrecy which has shielded the
nuclear industry since the cold war.

James Acord was artist in residence at Imperial College and the NOW
Festival. His deadly serious ambition to build a 'nuclear Stonehenge'
on a heavily contaminated site at Hanford - home of the Bomb - has led
him through a tragi-comic dance with the US Department of Energy.
Atomic leads us through his perilous 15-year journey to a
site-specific display of his nuclear reliquaries - specially
commissioned for his UK residency at Imperial College - and introduces
the complementary work of two young British artists, Carey Young and
Mark Waller.

As a counterpoint, Young travelled to the former USSR to photograph
the remnants of the nuclear-fuelled space race, the hero-worship of
Gagarin and the ironic spectacle of the pride of Russia's
technological achievements displayed among knock-down Western consumer
goods.

Meanwhile, Waller gained access to some of Britain's nuclear power
stations to film a short thriller, 'Glow Boys', to be shown as an
installation, about itinerant nuclear power workers who mysteriously
develop superhuman qualities, featuring Mark E. Smith of The Fall.
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Monday, June 1, 2009

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