APPENDIX
CARLA MOLINS PITARCH 2019
Endnotes “Dark Matter.” CERN. Accessed September 12, 2018. https://home.cern/about/physics/ dark-matter. 1
“Dark Universe.” Smithonian. Accessed September 22, 2018. https://www.si.edu/sites/default/files/imax/dark_universe_edguide.pdf 2
“Epistemology.” Yale. Accessed September 30, 2018. https://campuspress.yale.edu/ keithderose/ 3
“Scientific Epistemology” Illinois State University. Accessed September 30, 2018. http://www2.phy.ilstu.edu/pte/publications/scientific_epistemology.pdf. 4
Robert H Sanders, The Dark Matter Problem: A Historical Perspective (2013).
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“Stephen Hawking.” Stephen Hawking. Accessed September 20, 2018. http://www.hawking. org.uk 6
“Neil deGrasse Tyson.” Hayden Planetarium. Accessed September 20, 2018. http://www. haydenplanetarium.org/tyson/ 7
Robert H Sanders, The Dark Matter Problem: A Historical Perspective (2013).
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“AMS.” CERN. Accessed September 20, 2018. https://home.cern/about/experiments/ams. “Dark Matter.”
Troika. Accessed September 21, 2018. https://troika.uk.com/work/dark-matter-art-basel-unlimited/. 10
“How I became 100 artist.” Shea Hembrey. Accessed September 21, 2018. https://www.ted. com/talks/shea_hembrey_how_i_became_100_artists. 11
“How I became 100 artist.” Shea Hembrey. Accessed September 21, 2018. https://www.ted. com/talks/shea_hembrey_how_i_became_100_artists. 12
“How I became 100 artist.” Shea Hembrey. Accessed September 21, 2018. https://www.ted. com/talks/shea_hembrey_how_i_became_100_artists. 13
“Dark Matter.” Susan Zoccola. Accessed September 21, 2018. http://susanzoccola.com/ Dark-Matter 14
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“Pedro Barbeito.” Pedro Barbeito Accessed October 20. https://www.pedrobarbeito.com
“Pedro Barbeito.” C24 Gallery. Accessed October 20. http://www.c24gallery.com/exhibitions-detail/pedro-barbeito 16
“Tactile Dome.” Exploratorium. Accessed September 21, 2018. https://www.exploratorium. edu/visit/west-gallery/tactile-dome. 17
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“The Senses: Design Beyond Vision.” Cooper Hewitt. Accessed September 21, 2018.
Drucker, Johanna. Graphesis: Visual Forms of Knowledge Production. Cambridge, Mass: Harvard University Press, 2014. 19
“Let us Calculate!: Leibniz, Lull and the computational Imagination”. Dr Jonathan Grey. The public Domain Review. Accessed October 22. https://publicdomainreview.org/2016/11/10/ let-us-calculate-leibniz-llull-and-computational-imagination/#fn10 20
Christiane Klapisch-Zuber, “The Tree,” pp. 293-314 in Anthony Molho, Diogo Ramada Curto, and Niki Koniordos eds., Finding Europe: Discourses on Margins, Communities, Images ca. 13th-18th Centuries (NY: Berghahn Books, 2007); and Cook, op. cit. 21
Drucker, Johanna. Graphesis: Visual Forms of Knowledge Production. Cambridge, Mass: Harvard University Press, 2014. 22
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Tufte, Edward R. The Visual Display of Quantitative Information. 2015.
E. Tufte. Visual Explanations: Images and Quantities, Evidence and Narrative Visual Explanations. 1997. 24
E. Tufte. Visual Explanations: Images and Quantities, Evidence and Narrative Visual Explanations. 1997. 25
Lima, Manuel. Visual Complexity: Mapping Patterns of Information. New York: Princeton Architectural Press, 2013. 26
Lima, Manuel. “A Visual History of Human Knowledge.” TED: Ideas Worth Spreading. Accessed October 22, 2018. https://www.ted.com/talks/manuel_lima_a_visual_history_of_human_knowledge. 27
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John Maeda. Accessed October 22, 2018. http://www.Johnmaeda.com.
4 works from John Maeda that explore the intersection of technology, art and design. TED blog. Acessed October 19. https://blog.ted.com/4-works-from-john-maeda-that-explorethe-intersection-of-technology-art-and-design/ 29
Muriel Cooper.” The MIT Press. Accessed October 24, 2018. https://mitpress.mit.edu/books/ muriel-cooper. 30
“Muriel Cooper.” AIGA | the Professional Association for Design. Accessed October 24, 2018. https://www.aiga.org/medalist-murielcooper. 31
“Fall 2017: Week 5.” School for Poetic Computation. Last modified October 18, 2017. http:// blog.sfpc.io/post/166533656606/fall-2017-week-5. 32
“Vantablack | Surrey NanoSystems.” Home | Surrey NanoSystems. Accessed October 24, 2018. https://www.surreynanosystems.com/vantablack. 33
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Macklin, Colleen and Sharp, John Games, Design and Play 2016.
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Macklin, Colleen and Sharp, John Games, Design and Play 2016.
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Sicart, Miguel, Play Matters 2014.
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Sicart, Miguel, Play Matters 2014.
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Papert, Seymour, Mindstroms 1980.
Paterson, Mark. The Senses of Touch: Haptics, Affects, and Technologies. Oxford: New York, 2007. 39
HubbleSite: News - Dark Matter Goes Missing in Oddball Galaxy. (n.d.). Retrieved from http://hubblesite.org/news_release/news/2018-16 40
Table of figures Figure 1 Untitled, Jackson Pollock (1950), oil on canvas. Figure 2 Annihilation, Carla Molins (2013). http://www.carlamolins.com/annihilation Figure 3 Cern projection mapping about Dark Matter, January 2019 Figure 4 Illustration by Sandbox Studio, Chicago with Ana Kovaw Figure 5 Dark matter domain map Figure 6 Illustration by Sandbox Studio, Chicago with Ana Kovaw Figure 7 The Alpha Magnetic Spectrometer looks for dark matter Figure 8 ‘Dark Matter’, 2014, wood, aluminium, black flock, 237.5 x 237.5 x 237.5 cm. Art Basel Unlimited. Figure 9 ‘Dark Matter’, 2014, wood, aluminium, black flock, 237.5 x 237.5 x 237.5 cm Figure 10 “Dark Matter.” Shea Hembrey. Accessed April 2, 2018. https://www.sheahembrey.com/ gyres/ Figure 11 DARK MATTER For 9e2, King Street Station, Seattle, WA 2016. Nylon and lights. 9’ x 4’ x 4’. Figure 12 Dark Matter, a Non-Barionic Structure. Acrylic, pigment printout and 3d printour on canvas. 64x96 inches, 2000. Figure 13 Wind of Boston: Data Paintings, 1.8m x 4m digital canvas Figure 14 Soundwave, Alex de Graaf Figure 15 Natural hygroscope, Zalán Szakács , 2014.Pig bladder, pine wood, copper metal. Figure 16 Tactile Dome, Exploratorium. Figure 17 “The Senses: Design Beyond Vision” , Copper Hewitt. 2018. Figure 18 AURA, Nick Verstand, Salvador Breed ,Naivi , 2017 Figure 19 Diagram featured in a 16th-century edition of Ramon Llull’s Ars Magna (1517) Figure 20 Ramon Lull, tree structure from mss. Of Arbor naturalis et logicalis, Ars Generalis Ultima (1305). Figure 21 Edward Tufte, Beautiful Evidence Figure 22 Manuel Lima, The Book of Trees: Visualizing Branches of Knowledge Figure 23 Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web, Tomás Saraceno Figure 24 Emma McNally, Abstract Drawing, Wire Sculture. 2014 Figure 25 John Maeda. The Laws of Simplicity Book, Chapters. Figure 26 John Maeda, Robotic Drawing Figure 27 AI Infinity, John Maeda Figure 28 Computer-generated stacked and distorted type produced at the Visible Language Workshop during 1980s
Figure 29 Pentagram, Compilation of iconic designs from Muriel Cooper’s four-decade career at MIT. Figure 30 Sfpc, Zach demos text manipulations Figure 31 Anish Kapoor, Descension Figure 32 Vantablack’s demonstration Figure 33 Anish Kapoor’s “Cloud Gate” (2006), Recoating in Vantablack 2016. Figure 34 Casey Reas, KNBC, 2015 Figure 35 Subjectbeschleuniger, Eno Henze, 2008. Screenshot from Form+ Code by Casey Reas. Figure 36 Brainstorming + Mind Mapping process Figure 37 Spatial experiment Figure 38 Interfacing experiment Figure 39 Domain mapping process Figure 40 Multi-sensorial experiment Figure 41 Sense map Figure 42 Big questions idea sketches Figure 43 Screentshots from Thesis Experience audiovisual Figure 44 Twitter screenshots looking for Dark Matter threads Figure 45 Storyboard “Dark Matter experience” Figure 46 Look & feel prototype. Addressable RGB LEDs, Synthetic polyester filling, natural roving, metallic reflective surface, metallic mesh on top of a wooden structure. Including sound (Nasa recordings). Figure 47 Vibration motors under the structure would be triggered by pressure produced by the user when advancing. Figure 48 Sketch of the newest experience’s form Figure 49 Pepper’s Ghost projection pyramid test Figure 50 Testable low-fi prototype including a complete version of the narrative. Figure 51 First interactive prototype including the narrative. Figure 52 User testing the narrative and interaction. Unity + Leap Motion, Pepper’s ghost projection and Invision. Figure 53 Pop-up show, Parsons, 2018. Exhibit’s brochure. Figure 54 Pop-up show, Parsons, 2018. Young user testing the experience and feeling the magical. Figure 55 Pop-up show, Parsons, 2018. Detail of gestures controlling leap motion. Figure 56 Pop-up show, Parsons, 2018. Users reading gallery statement (poster). Figure 57 Pop-up show, Parsons, 2018. LEDs controlled by arduino and fog machine. Figure 58 Pop-up show, Parsons, 2018. Detail of fiber optic and projection pyramid, front and back.
Figure 59 Pop-up show, Parsons, 2018. Capturing user’s reaction. Figure 60 Pop-up show, Parsons, 2018. Galaxy Beta Maker glowing in the dark.. Figure 61 Pop-up show T1 prototype Figure 62 Galaxy particles Figure 63 Galaxy reflection test Figure 64 Mechanism sketches showing motion. Figure 65 Mechanism prototype Figure 66 Stage 1 upper view
Figure 67 Stage 2 upper view
Figure 68 Initial sketch of the experience. Figure 69 3d model of the experience setting Figure 70 Spatial setting prototype Figure 71 Fabricating a new mechanism stronger. Modifying thickness and joints. Figure 72 Designing Frame Figure 73 Inspiration : Hoeberman Sphere Figure 74 Structure hanging above the installation Figure 75 Structure + mechanism v2 Figure 76 Motorized mechanism sketch Figure 77 Programmed Timing Belt + stepper motor v1 Figure 78 Testing Nema 17 + Driver Figure 79 Aluminum support sketch Figure 80 1 inch aluminium frame Figure 81 Custom Aligner for idler’s rods. Figure 82 Zip-tie flexible system + timing belt. Figure 83 Custom fixture for Nema 17 + rods. Figure 84 Final mechanism including tensors + Arduino platform. Figure 85 Natural roving ( natural color and blue-dyed) ready to be wet felted. Figure 86 360 degrees soldered LEDs Figure 87 Testing 360 LEDs Figure 88 Mounting “balls”. Figure 89 Metallic outer structure + roving inner case + 360 LEDs for the luminous elements. Figure 90 Final form luminous elements. Figure 91 Black spiralized outer structure + roving inner case + 360 LEDs for the luminous elements. Figure 92 Interaction system flow Figure 93 Test system Arduino + processing (serial connection). Figure 94 First Arduino system structure.
Figure 95 Final Arduino System Figure 96 Arduino- Processing serial connection Figure 97 Testing Kinect region detection. Figure 98 Arduino + Steppet Motor + PWM driver Figure 99 Arduino + Stepper Motor + PWM driver + LEDS in motion Figure 100 Storyboard sample. Omnipresence context video. Figure 101 Illustrated storyboard. Omnipresence visual style. Figure 102 Poster showing the movement expected inside the installation. Figure 103 Floorplan proposal. Figure 104 Lighting proposal Figure 105 Automated demo of the system with multiple users. Figure 106 Interactive setting testing. Figure 107 Final user testing sessions.
Designer conversing with a cosmologist about Dark Matter Francis-Yan Cyr-Racine Cosmologist at Harvard How would you define/describe Dark Matter? The concept of dark matter arises as an apparent mismatch between the amount of matter inferred from the gravitational pull that get exerted on typical astrophysical objects (stars, galaxies, etc.) and the (luminous) matter we can actually see with telescopes. This “dark matter” provides the gravitational “glue” that holds galaxies and larger structures together. It is fair to say that most structures in our Universe with size above that of a star (like our sun) would look very different in the absence of dark matter. It’s fundamental nature is unknown, with most astrophysicists considering it to be made of yet undiscovered particles with properties that are fundamentally different than the matter we find on Earth. What is your specific area of research regarding Dark Matter? My work consists on finding clues about the fundamental nature of dark matter using detailed astrophysical and cosmological observations. For instance, I use data from the cosmic microwave background, the afterglow from the Big Bang, to obtain information about how dark matter was behaving in the very early Universe. I also look at the structure of very small (dwarf) galaxies that orbit our own galaxy (the Milky Way) today to determine the dark matter distribution within these objects. These small galaxies are some of the most dark matterdominated objects in the Universe (that is, most of their mass is dark matter), and are thus important laboratories to study its properties. I am primarily a theorist, so I don’t usually take the data myself, but I create detailed models of the data to extract information from them. When you first felt interested in Dark Matter? My initial interest in cosmology was not necessarily driven by dark matter per se, but by a drive to understand how our Universe works at its fundamental level. I was drawn by the “big” questions that cosmology is trying to answer: Where do we come from? Why are we here? Where do we go from here? Answering the dark matter question is an important stepping stone towards these larger questions. At the practical level, I was drawn to work on dark matter since I believe it’s a question that I can make significant contributions to. Also, I believe it’s a question that is likely to be answered in my lifetime. Which attributes or adjectives would you relate to Dark Matter? Elusive, undeniable, dominant, permeative.
Which words would you use in those different scenarios? If you were to explain dark matter to: A) your grandmother An invisible form of matter without which we would likely not exist. It’s like a glue that binds stars together in a galaxy. B) Your dad An invisible form of matter that actually holds our galaxy together. C) A colleague A mismatch between the amount of matter inferred from the gravitational pull that get exerted on astrophysical objects and the luminous matter we can see. D) An undergrad student A component of our Universe that is about 5.5 times as abundant as the matter that is familiar to us on Earth. It forms the gravitational backbone for most of the structure in our Universe. E) High-school student An invisible form of matter that actually holds our galaxy together. You can’t see it, but its effect on surrounding objects are quite obvious. F) your 10-year-old nephew Dark matter is like the trunk and branches of a tree, holding all the leaves in place. G) Your 5-year-old niece Make Jello and put raisins in it. Dark matter is like the Jello holding the raisin in place.
Tansu Daylan Cosmologist at MIT How would you define/describe Dark Matter? Dark matter is essentially a large component in the energy budget of our Universe. It is a type of matter that you cannot “touch”, because it does not interact via the force that allows you to touch ordinary objects (i.e., electromagnetic force). It also interacts with *itself* very little. As a result, for example, if you were made of dark matter, you would diffuse out to form a cloud of dark matter particles. And you would also start accelerating towards the center of the Earth, since you would not interact with the soil below you.
What is your specific area of research regarding Dark Matter? I studied a possible signature of the self-annihilation of dark matter particles in the center of our Milky Way galaxy. When you first felt interested in Dark Matter? At the end of my undergraduate education, when I was doing research using data from a particle detector on the International Space Station, AMS-02. Which attributes or adjectives would you relate to Dark Matter? Gas-like, transparent, elusive. Which words would you use in those different scenarios? If you were to explain dark matter to: A) your grandmother A transparent gas-like substance that makes up about quarter of our Universe. B) Your dad A transparent gas-like substance that makes up about quarter of our Universe. C) A colleague A non-strongly interacting type of matter that extends our Standard Model of particle physics can see. D) An undergrad student A component of our Universe that is about 5.5 times as abundant as the matter that is familiar to us on Earth. It forms the gravitational backbone for most of the structure in our Universe. E) High-school student An invisible form of matter that actually holds our galaxy together. You can’t see it, but its effect on surrounding objects are quite obvious. F) your 10-year-old nephew Dark matter is like the trunk and branches of a tree, holding all the leaves in place. G) Your 5-year-old niece Make Jello and put raisins in it. Dark matter is like the Jello holding the raisin in place.
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