WEBVTT 00:00:10.000 --> 00:00:40.000 And I will go into our introductions in one minute. 00:00:54.000 --> 00:00:59.000 Yeah, I'm gonna go get started with our introductions, so welcome! We're really excited to announce. 00:00:59.000 --> 00:01:06.000 To start our new virtual seminar series called Worlds Collide, Interdisciplinary Considerations for a Future Mew and Collider. 00:01:06.000 --> 00:01:17.000 This is our very first seminar, um, and the idea of this seminar series is to establish and strengthen communication channels between scientists and experts from other fields. 00:01:17.000 --> 00:01:35.000 that we think are essential to the construction and operation of a future muon collider. And this seminar series is sponsored by the Copley Foundation, as well as the U.S. Muan Collider Collaboration. So for our first seminar, I'd like to introduce Chris Clapper and Patrick Gallagher, who you see, um. 00:01:35.000 --> 00:01:43.000 Uh, on video. Chris and Patrick are installation artists based in New York, and their art. 00:01:43.000 --> 00:01:48.000 Uh, their work is multidisciplinary and large-scale, with a focus on science and mathematical concepts. 00:01:48.000 --> 00:01:53.000 In 2023, they were the artists in residence at Fermilab. 00:01:53.000 --> 00:02:01.000 And the topic of today will be on intersections of art and science, and how art can serve as a form of translation to challenging subjects. 00:02:01.000 --> 00:02:10.000 So I'm really excited to hear all about this. I also wanted to mention that they have a new solo show about to open on February 2nd at the Gallery. 00:02:10.000 --> 00:02:20.000 Um, uh, at the New York Design Center titled Beyond Measure, which draws inspiration from their residency at Fermilab and aims to translate the geometries of the quantum world. 00:02:20.000 --> 00:02:29.000 So I'm going to add the link for this show in the chat in case you're all interested. I'm actually hoping that I can make it out to New York for this… for their event. 00:02:29.000 --> 00:02:43.000 for their show. Um, I'm gonna let Chris and Patrick take it away now, so I'm gonna ask everybody to mute their… Uh, videos for now, and then we'll put… we can bring back the videos at the end when we have a Q&A, so… 00:02:43.000 --> 00:02:49.000 I think what we'll do is save questions, hopefully, for the end, so we'll be sure to have time for. 00:02:49.000 --> 00:02:54.000 questions. I will be closing my. Video as well. 00:02:54.000 --> 00:02:55.000 So, take it away, Chris and Patrick, thank you so much. 00:02:55.000 --> 00:02:58.000 All right. All right. Thank you. 00:02:58.000 --> 00:03:02.000 We're gonna just share our screen. Set up to share this. 00:03:02.000 --> 00:03:11.000 Oh, you're on the wrong slide. What's this? Go, you're on the wrong slide. 00:03:11.000 --> 00:03:14.000 All right. We are here. 00:03:14.000 --> 00:03:19.000 Hello, and welcome! Welcome to our studio! 00:03:19.000 --> 00:03:23.000 My name is Patrick Gallagher, and this is Chris Clapper. 00:03:23.000 --> 00:03:25.000 Thank you, Tokyo, Toyoko. 00:03:25.000 --> 00:03:27.000 Uh, we… 00:03:27.000 --> 00:03:30.000 Thank you for the introduction. 00:03:30.000 --> 00:03:38.000 We'd like to start by extending our admiration and appreciation for the entire team. 00:03:38.000 --> 00:03:42.000 that are working to bring the next-generation Luon Collider 00:03:42.000 --> 00:03:44.000 to reality. 00:03:44.000 --> 00:03:50.000 We're thrilled that you're all here to join us for the launch of this seminar series that is aiming to shed light 00:03:50.000 --> 00:03:56.000 on the wider spheres of influence that groundbreaking science provides. 00:03:56.000 --> 00:04:00.000 We're here because this is important. 00:04:00.000 --> 00:04:06.000 It's… and grateful for this opportunity to share our story and be a part of… 00:04:06.000 --> 00:04:10.000 A project that… of this significance. 00:04:10.000 --> 00:04:14.000 To briefly introduce ourselves as artists, we're a collaborative team. 00:04:14.000 --> 00:04:17.000 that's based in Brooklyn. 00:04:17.000 --> 00:04:25.000 We work across multiple disciplines, and our practice focuses on the interconnection between human experience, 00:04:25.000 --> 00:04:31.000 And larger systems that shape the universe around us. 00:04:31.000 --> 00:04:34.000 Our creative process involves 00:04:34.000 --> 00:04:41.000 a wide range of materials, and a lot of what brought us here today is that our work is directly informed 00:04:41.000 --> 00:04:44.000 by science and technology. 00:04:44.000 --> 00:04:49.000 For more than a decade, we've been drawing tremendous inspiration 00:04:49.000 --> 00:04:55.000 From the fields of mathematics and science, and most recently, particle physics. 00:04:55.000 --> 00:05:02.000 Our main goal in this pursuit is to absorb influences, and to find… looking for new tools 00:05:02.000 --> 00:05:10.000 unique processes, and basically anything that will help further express our ideas. 00:05:10.000 --> 00:05:20.000 This exploration had led us to Fermilab, and this was at a particularly meaningful moment for the G-2 experiment. 00:05:20.000 --> 00:05:27.000 You may be wondering why artists were chosen to open this seminar series. Well, discovery alone is not enough. 00:05:27.000 --> 00:05:38.000 for large-scale projects, like a muon collider, you have to travel outside the lab. It's very hard to describe an infinite universe that is invisible to the naked eye. 00:05:38.000 --> 00:05:49.000 I'm sure we all remember going to a planetarium for the very first time, staring up in awe at the stars and the planets dancing above our heads. That feeling that we were part of something bigger. 00:05:49.000 --> 00:05:55.000 Well, the quantum universe has that same grandeur, it's just very challenging to imagine. 00:05:55.000 --> 00:06:00.000 And we believe art helps give that context and excitement. 00:06:00.000 --> 00:06:04.000 It's a way to experience that same feeling of awe. 00:06:04.000 --> 00:06:11.000 We're definitely not here to explain physics. We're here to talk about why and what we find so inspiring. 00:06:11.000 --> 00:06:21.000 And how we believe that our art in particular, can convey that inspiration to those who will never directly engage with the data. 00:06:21.000 --> 00:06:25.000 Lucky for us, engaging with the data kind of turned out to be our thing. 00:06:25.000 --> 00:06:32.000 So, along the way in our creative development, our work gravitated towards mathematical concepts, 00:06:32.000 --> 00:06:34.000 And data visualizations. 00:06:34.000 --> 00:06:40.000 As we went deeper and deeper into the rabbit hole, we found rich hidden concepts. 00:06:40.000 --> 00:06:45.000 Our visual style tends to gravitate towards minimalism. 00:06:45.000 --> 00:06:52.000 And to explain that a bit is that minimalism in the sense of aesthetics, 00:06:52.000 --> 00:07:01.000 We were really drawn to clean lines and sparse compositions. We look to show the idea that less is more, 00:07:01.000 --> 00:07:07.000 And kind of our underlying philosophy is that we look to present 00:07:07.000 --> 00:07:12.000 just enough information to deliver our message, and then nothing more. 00:07:12.000 --> 00:07:18.000 But, as you will see from the work that we covered today, when it comes to things like concepts, 00:07:18.000 --> 00:07:25.000 process and presentation. Rather than minimal, our work is actually quite maximalist. 00:07:25.000 --> 00:07:39.000 To give a quick roadmap of our journey to particle physics, our initial focus began on visualizing raw information, and we would employ that to convey deep, abstract stories. 00:07:39.000 --> 00:07:43.000 Art always comes down to personal interpretation. 00:07:43.000 --> 00:07:50.000 We aim to create experiences where people could engage with the work and approach with questions. And… 00:07:50.000 --> 00:07:53.000 This… with the idea of fueling curiosity, 00:07:53.000 --> 00:07:55.000 So rather than simply… 00:07:55.000 --> 00:08:07.000 Leading them by a… presenting a predetermined or static message, our aim was more to imply and subtly to suggest layers. 00:08:07.000 --> 00:08:15.000 And then by doing that, we are inviting viewers to draw their own conclusions. 00:08:15.000 --> 00:08:19.000 Our exploration of data initially had taken a more… 00:08:19.000 --> 00:08:21.000 Absurdist approach. 00:08:21.000 --> 00:08:27.000 But this data would eventually lead us quickly to math, and here we began to discover 00:08:27.000 --> 00:08:32.000 Some of the profound and hidden stories that are hidden within mathematics, and… 00:08:32.000 --> 00:08:36.000 We began to see what we called the poetry of numbers. 00:08:36.000 --> 00:08:41.000 It was in some of our earlier series that we were exploring ways 00:08:41.000 --> 00:08:43.000 Expressing more… 00:08:43.000 --> 00:08:49.000 pure math or a theoretical concepts, or at least ones that we could understand. 00:08:49.000 --> 00:08:51.000 The image you see here… 00:08:51.000 --> 00:08:56.000 is a sculptural representation of four-dimensional space. 00:08:56.000 --> 00:08:59.000 And we were really drawn to the idea 00:08:59.000 --> 00:09:09.000 expressing higher dimensional geometries, because while it was concrete and mathematically correct, it was also impossible. 00:09:09.000 --> 00:09:15.000 We became particularly drawn to infinities, the sheer vastness of it. 00:09:15.000 --> 00:09:29.000 How do you explain that? How do you even comprehend that? We love this sort of push-pull idea of presenting infinity as a tangible object. Impossible, we know, but we are working on it. Getting there. 00:09:29.000 --> 00:09:33.000 We began by casting the Fibonacci sequence in concrete. 00:09:33.000 --> 00:09:44.000 We carved the golden ratio into white oak. Both of these sequences are well-known in visual arts. However, we were looking for a unique take on the concepts. 00:09:44.000 --> 00:09:48.000 We didn't want the traditional conceptual format. 00:09:48.000 --> 00:09:54.000 So we stripped it down and elected to present it in its purest mathematical forms. 00:09:54.000 --> 00:10:06.000 Our largest Infinity series to date is a global installation centered around the infinite sequence of Pi, aiming to connect the world through art, one digit at a time. 00:10:06.000 --> 00:10:17.000 PyProject is a current and ongoing installation, combining hand-cast physical sculptures and online data visualization. 00:10:17.000 --> 00:10:23.000 To note, each of these sculptures is 3.14 inches by 3.14 inches, because we've got to be pure to the math. 00:10:23.000 --> 00:10:33.000 Down to the 10th digit. The further these ideas expanded, we started to see mathematics less as an esoteric 00:10:33.000 --> 00:10:41.000 um, abstract tool, and more of a way of what it truly is, the fundamental language of the universe. 00:10:41.000 --> 00:10:47.000 We realize that no matter what forms of spoken language that we employ to communicate, 00:10:47.000 --> 00:10:58.000 The pure math behind these interactions, the forces and ratios that comprise our universe, remain constant. 00:10:58.000 --> 00:11:01.000 So, from here, the path… 00:11:01.000 --> 00:11:13.000 Our path to physics was organic. We kept pulling this thread, and there are many reasons that infinity is so fascinating and compelling. 00:11:13.000 --> 00:11:18.000 It's an idea of limitlessness, forever invokes deep 00:11:18.000 --> 00:11:20.000 philosophical questions. 00:11:20.000 --> 00:11:27.000 there's some… something beautiful about its resistance to logic, uh, its lack of closure, 00:11:27.000 --> 00:11:31.000 And it always leaves room for more questions. 00:11:31.000 --> 00:11:36.000 So, a few years ago, we were experimenting with ways to express these ideas, 00:11:36.000 --> 00:11:41.000 And began work on an installation that had… that… 00:11:41.000 --> 00:11:43.000 centered on concepts of 00:11:43.000 --> 00:11:45.000 Scaling space and time. 00:11:45.000 --> 00:11:50.000 We really… we're drawn to the idea of contrasting 00:11:50.000 --> 00:11:57.000 an ever-expanding infinity to one that is ever-compressing. 00:11:57.000 --> 00:12:00.000 And then… 00:12:00.000 --> 00:12:02.000 development phase, 00:12:02.000 --> 00:12:06.000 We had come across an elegant image from an early particle collision. 00:12:06.000 --> 00:12:11.000 And it was a result of bubble chamber experiments. 00:12:11.000 --> 00:12:16.000 We had reached out to Fermilab to see what might be available in the archives, and there we had hit 00:12:16.000 --> 00:12:20.000 A really rich vein of material, 00:12:20.000 --> 00:12:23.000 That even without understanding the specifics, 00:12:23.000 --> 00:12:27.000 that he's projected so much visual information. 00:12:27.000 --> 00:12:32.000 These were immediately captivating. It said so much with so little. 00:12:32.000 --> 00:12:38.000 You can instantly, you just get a sense of a spatial plane 00:12:38.000 --> 00:12:44.000 You get a feel for volume, and there are clear… there's force, there's energy. 00:12:44.000 --> 00:12:47.000 It's motion and even rhythm. 00:12:47.000 --> 00:12:53.000 So this was our first installation into the realm of particle physics. 00:12:53.000 --> 00:13:06.000 And we thought the best way to express the ephemeral nature was with a performance creating a 320-square-foot marble mandala that took us 30 days to create. 00:13:06.000 --> 00:13:08.000 And only 15 minutes to sweep away. 00:13:08.000 --> 00:13:13.000 This piece was called Everything and Nothing. 00:13:13.000 --> 00:13:21.000 The distilled subject of everything and nothing was meant to convey the concept of expanding and diminishing infinities. 00:13:21.000 --> 00:13:28.000 we knew it would also be a meditation and examine… an examination of life itself. 00:13:28.000 --> 00:13:36.000 The idea was to scale this image up and present it in a justifiable… justifiably reverent format. 00:13:36.000 --> 00:13:52.000 So, during this exhibition, for 30 days, 14 hours a day, on our hands and knees, because we're crazy, we carefully and precisely mapped out and recreated the dynamic image of a particle collision 00:13:52.000 --> 00:13:55.000 From a 1978 bubble chamber experiment. 00:13:55.000 --> 00:14:25.000 This process was painstaking and detailed. We followed our outlines, as you can see here, millimeter by millimeter. 00:14:25.000 --> 00:14:31.000 We carefully laid down the crushed marble dust across the entire field. 00:14:31.000 --> 00:14:47.000 The process of getting to a particle collision takes an enormous amount of detailed and precise work. The process of creating a mandala also takes an enormous amount of detailed work and precision. 00:14:47.000 --> 00:14:49.000 Using powdered marble while 00:14:49.000 --> 00:14:55.000 being tiny particles themselves became a poetic nod that spoke to the nature of the subject. 00:14:55.000 --> 00:15:00.000 The key element we were going after was to bring these events 00:15:00.000 --> 00:15:05.000 of the physical universe into… of the quantum world, 00:15:05.000 --> 00:15:09.000 into… onto a human scale. 00:15:09.000 --> 00:15:15.000 So, we use this process to intentionally and dramatically 00:15:15.000 --> 00:15:23.000 slow down the actual events. A mandala, or a sand painting, 00:15:23.000 --> 00:15:25.000 is… 00:15:25.000 --> 00:15:32.000 An ancient and sacred process. This is a practice that spans thousands of years across 00:15:32.000 --> 00:15:38.000 All cultures, and most notably today, with Tibetan monks. 00:15:38.000 --> 00:15:45.000 It's an intense process of labor and intent, and it's a period of deep meditation. 00:15:45.000 --> 00:15:49.000 So here, you can see that we're in it. 00:15:49.000 --> 00:15:58.000 We are uniquely focused on the actions of particle action, uh, interactions, and we're literally immersed in a quantum field. 00:15:58.000 --> 00:16:11.000 Just as a side note, what's really interesting is the sacred geometry that monks use in their process is, in fact, a map of the universe. And while we were drawing out ours, 00:16:11.000 --> 00:16:16.000 our map of the universe just happened to look a little different. 00:16:16.000 --> 00:16:21.000 So, this was really… the entire… 00:16:21.000 --> 00:16:25.000 month that we were doing this was a remarkable experience. 00:16:25.000 --> 00:16:28.000 We're creating something like this 00:16:28.000 --> 00:16:32.000 falls into the category of endurance performance. 00:16:32.000 --> 00:16:39.000 So, during the gallery, as the exhibition was opened, we had thousands of visitors. 00:16:39.000 --> 00:16:45.000 And for everyone who entered, we would stop and we would introduce ourselves, we would introduce the work, 00:16:45.000 --> 00:16:53.000 We would give an explanation of the imagery, and it really was here that we started to see that out of these conversations, 00:16:53.000 --> 00:16:58.000 that the work was acting as a type of translation. 00:16:58.000 --> 00:17:16.000 So what we've noticed throughout our years of creating interactive installations is that when you invite the viewer into your process, or allow them to participate in some way, it instantly drops their guard, and they become open to what you're trying to express. 00:17:16.000 --> 00:17:25.000 Um, with such a complex subject that is typically presented in very abstract ways, all of a sudden was physical. 00:17:25.000 --> 00:17:28.000 And extremely large. 00:17:28.000 --> 00:17:32.000 Jumped ahead there, sorry about that, folks. There we go. 00:17:32.000 --> 00:17:38.000 Yeah, it really… it made it tangible, and it was something… it was a framework that showed… 00:17:38.000 --> 00:17:41.000 that the subject was approachable, 00:17:41.000 --> 00:17:49.000 And it really was here that this project on scale was beginning to grow into something 00:17:49.000 --> 00:17:51.000 much more profound. 00:17:51.000 --> 00:18:07.000 When you present artwork that goes beyond the initial concept, you leave the audience wanting to know more. You give them a path to curiosity. We saw this firsthand with visitors coming in to see the progress over and over again. 00:18:07.000 --> 00:18:13.000 Wanting to know more, not… not… they weren't just interested in what we were doing, which obviously was very captivating. 00:18:13.000 --> 00:18:17.000 But by the way that we were explaining the… 00:18:17.000 --> 00:18:28.000 what they were looking at, they were very curious to learn more about physics itself and how this image came to be. 00:18:28.000 --> 00:18:38.000 This installation became not just about this, but it really was an installation about the interconnectedness of all things in the universe. 00:18:38.000 --> 00:18:43.000 The philosophical and deep questions that physics is exploring. 00:18:43.000 --> 00:18:51.000 we were really, truly able to express the ephemeral nature of reality and give a glimpse 00:18:51.000 --> 00:19:12.000 at the full circle of life. 00:19:12.000 --> 00:19:17.000 Now, so there's just the process of a mandala has… 00:19:17.000 --> 00:19:24.000 a lot of things going, and the background as well. It really is a… 00:19:24.000 --> 00:19:31.000 the work gets laid out, and that is about the… where you build life, and its connection 00:19:31.000 --> 00:19:34.000 to destruction, 00:19:34.000 --> 00:19:40.000 is interesting, because it's actually not really about destruction, and it really is about transformation. 00:19:40.000 --> 00:19:51.000 Which very much is about what… when you smash particles, the energy does not disperse, it becomes something different. It doesn't die out, it becomes something totally different. 00:19:51.000 --> 00:19:58.000 Now, that was a point that people really gravitated to with that. 00:19:58.000 --> 00:20:06.000 So, I would add, I think here is an important point to say, yes, while our work is about science, 00:20:06.000 --> 00:20:08.000 It is also not about science. 00:20:08.000 --> 00:20:15.000 Our aim is to take and interpret many elements across many different disciplines. 00:20:15.000 --> 00:20:19.000 And follow them into larger stories that 00:20:19.000 --> 00:20:23.000 We hope to suggest even larger stories. 00:20:23.000 --> 00:20:31.000 our immersion into this single collision opened us up to see quantum physics not just as the study of tiny things, 00:20:31.000 --> 00:20:37.000 But an exploration of the furthest reaches of reality 00:20:37.000 --> 00:20:42.000 These energies are much more than just building blocks. This is, in fact, life itself. 00:20:42.000 --> 00:20:51.000 And this understanding became an important tangent for us. It was a… it's now a reference point. 00:20:51.000 --> 00:21:00.000 Where we… what we use to explore and merge with some of the larger philosophical ideas that we aim to present. 00:21:00.000 --> 00:21:11.000 We're really looking to create works that express these thoughts, and attempt to convey them and convey to our audience a spark of curiosity 00:21:11.000 --> 00:21:17.000 towards the awe of reality. 00:21:17.000 --> 00:21:21.000 So, here we are! We made it! 00:21:21.000 --> 00:21:30.000 Uh, to those of you who don't know this magnificent industrial artifact is a… is the original bubble chamber. 00:21:30.000 --> 00:21:32.000 Which is where our photograph was. 00:21:32.000 --> 00:21:36.000 the photograph that we did for the mandala was taken. 00:21:36.000 --> 00:21:43.000 As artists in residence at Fermilab, we began to digest as much 00:21:43.000 --> 00:21:54.000 as we possibly could. It's an exciting place. The environment is collaborative, it's really electrifying, and it feels larger than life when you're there. 00:21:54.000 --> 00:21:56.000 For, uh, the only real… 00:21:56.000 --> 00:21:58.000 Guideline. 00:21:58.000 --> 00:22:04.000 was that after making their initial introductions, 00:22:04.000 --> 00:22:09.000 Fermilab really just said, go and make your own path. Find your way 00:22:09.000 --> 00:22:17.000 Finds what… what interests you, and take it from there. So this sheer volume of information 00:22:17.000 --> 00:22:22.000 And all of the conceptual ideas that we had access to 00:22:22.000 --> 00:22:24.000 It was almost overwhelming. 00:22:24.000 --> 00:22:28.000 And with… there was just so many groundbreaking experiments. 00:22:28.000 --> 00:22:32.000 So, early in the process, we had come across… there's 00:22:32.000 --> 00:22:36.000 amazing research into neutrinos. 00:22:36.000 --> 00:22:44.000 And… but this really exposed us to these ideas of the more, I guess, exotic particles. 00:22:44.000 --> 00:22:51.000 So, for many of you, the G minus 2 experiment needs no introduction. 00:22:51.000 --> 00:22:56.000 But for us, this was the first time that we were learning about it. And we found ourselves really swept up 00:22:56.000 --> 00:23:00.000 in the exciting discoveries that were unfolding in front of us. 00:23:00.000 --> 00:23:03.000 Muons grabbed our attention. 00:23:03.000 --> 00:23:09.000 And there was something really found about the experiment's level of precision, 00:23:09.000 --> 00:23:16.000 It's… the infinitesimal anomaly that was lurking just… 00:23:16.000 --> 00:23:21.000 beneath the numbers, and something like that that could have far-reaching implications. 00:23:21.000 --> 00:23:51.000 It was really fascinating. And it's here where angular momentum really grabbed our focus. 00:24:10.000 --> 00:24:30.000 Angular momentum entered our work not as a formula, but more as a feeling. It's one of those concepts that quietly governs everything, from spinning galaxies to subatomic particles, yet it's rarely entered… encountered as something that you can see. 00:24:30.000 --> 00:24:40.000 What drew us to it was its universality. That same underlining… underlying behavior expressing itself across radically different scales. 00:24:40.000 --> 00:24:52.000 That sense of sameness repeating from the cosmic to the quantum felt deeply aligned with how we already understood our world. We understood the world and our work, our artwork. 00:24:52.000 --> 00:24:57.000 Our approach was similar to how we conceived everything and nothing. 00:24:57.000 --> 00:25:04.000 Slow it down, scale it up, make it perceptible, and see what happens. 00:25:04.000 --> 00:25:13.000 We wanted to… we weren't interested in illustrating angular momentum literally, but in creating a system that could behave like it. 00:25:13.000 --> 00:25:16.000 One that allowed rotation. 00:25:16.000 --> 00:25:19.000 interference. Resonance. 00:25:19.000 --> 00:25:49.000 And symmetry that emerged through motion. 00:26:07.000 --> 00:26:18.000 So, given that, uh, our audience today, I think we have quite a scientific audience, we thought it was important that we could express 00:26:18.000 --> 00:26:23.000 present at least some of the details in how these were created. 00:26:23.000 --> 00:26:36.000 And how the system that we made mirrors actual quantum systems, and we were looking to really try to emulate what we understood, uh, 00:26:36.000 --> 00:26:38.000 how the different eigenstates 00:26:38.000 --> 00:26:41.000 related. 00:26:41.000 --> 00:26:47.000 This series is generated through a custom-built visual program that acts as an instrument. 00:26:47.000 --> 00:26:52.000 Think of it like a synthesizer, but for 3D visuals. 00:26:52.000 --> 00:27:02.000 Uh, starting this, we have a series of concentric spheres, and this allows us to manipulate behaviors 00:27:02.000 --> 00:27:03.000 such as their position, 00:27:03.000 --> 00:27:07.000 the rotations, their structure, 00:27:07.000 --> 00:27:11.000 And we're able to manipulate these forms directly 00:27:11.000 --> 00:27:17.000 And as they're interacting, we're able to work with them as they… 00:27:17.000 --> 00:27:20.000 as they're evolving, 00:27:20.000 --> 00:27:25.000 The options here are really almost unlimited. We're playing with rhythm, 00:27:25.000 --> 00:27:31.000 We're changing the rotation, we're adding waveforms to the surface. 00:27:31.000 --> 00:27:34.000 We're able to push the amplitudes, 00:27:34.000 --> 00:27:37.000 change wave functions… 00:27:37.000 --> 00:27:41.000 It really allowed us to realize 00:27:41.000 --> 00:27:43.000 the representations in detail, 00:27:43.000 --> 00:27:45.000 And we were looking to… 00:27:45.000 --> 00:27:50.000 visually mimic the spaces of the subatomic universe. 00:27:50.000 --> 00:27:54.000 Here, we really began to understand what it might feel like 00:27:54.000 --> 00:28:00.000 To be inside these dynamics, and to observe not just spin, 00:28:00.000 --> 00:28:04.000 But the relationships between spinning forms 00:28:04.000 --> 00:28:22.000 how they might align, how they drift, lock into rhythm, or even fall out of sync. 00:28:22.000 --> 00:28:30.000 What developed out of this process is a series that presents the beauty of geometries. 00:28:30.000 --> 00:28:36.000 What we were really looking to achieve in this was… the final result was to capture 00:28:36.000 --> 00:28:41.000 The essence of what we had found to be so intriguing. 00:28:41.000 --> 00:28:44.000 This here are the energies… 00:28:44.000 --> 00:28:49.000 Expressing delicate patterns, motion, and movement, 00:28:49.000 --> 00:28:54.000 We have the ability to control lines and points, and this would allow the work 00:28:54.000 --> 00:28:58.000 to evolve into hypnotic environments. 00:28:58.000 --> 00:29:05.000 It was really important, um, um, for us to be careful about how we push the color. 00:29:05.000 --> 00:29:09.000 And pull the tones and the shading 00:29:09.000 --> 00:29:13.000 about how we added the sound, how we really made it, um… 00:29:13.000 --> 00:29:23.000 really immersive. This opened it up to… opened up the work to be sensorial. It allowed us to bring in poetry to the source material. 00:29:23.000 --> 00:29:29.000 And express the elements of the science that really captivated us from the start. 00:29:29.000 --> 00:29:38.000 At times, the system settles into moments of coherence at others, it becomes unstable and unpredictable. 00:29:38.000 --> 00:29:45.000 It's fascinating to see how even small changes could radically alter the 00:29:45.000 --> 00:29:53.000 the whole, mirroring the sensitivity and richness of physical systems governed by angular momentum. 00:29:53.000 --> 00:30:01.000 Now, I'm not sure if you can see on your screen, um, I don't know if the detail comes through, but the… 00:30:01.000 --> 00:30:03.000 we really… 00:30:03.000 --> 00:30:15.000 showed the detail of what it would be as if particles were coming apart. So there's… throughout the whole piece, there's little tiny dots all around, and when you're looking at the, um… 00:30:15.000 --> 00:30:23.000 image, the real art piece is 8 feet by 4 feet, so you really get to see all of that, um, 00:30:23.000 --> 00:30:32.000 detail. What really emerged from this whole depiction of this data, um, was a visual language that 00:30:32.000 --> 00:30:42.000 shaped the same principles. The work became a space where motion, symmetry, and scale could be felt intuitively. 00:30:42.000 --> 00:30:49.000 Viewers don't need to understand the equations to send that something fundamental is at play. 00:30:49.000 --> 00:31:07.000 In that way, angular momentum became less of a subject and more of a bridge, a way to translate an invisible structure of reality into the experience that could be seen, felt, and contemplated. 00:31:07.000 --> 00:31:14.000 So, at this point, we began to ask ourselves a set of different questions, and… 00:31:14.000 --> 00:31:20.000 not about how are we going to illustrate this, but why. And… 00:31:20.000 --> 00:31:23.000 What were we really looking to explore? 00:31:23.000 --> 00:31:31.000 I think we really found that angular momentum, just the idea of that… 00:31:31.000 --> 00:31:48.000 the, uh, the parameter of it really expressed… it landed with us in so much of what we were doing. So, like, what were we hoping to express with this? Like, what were we trying… what could a project of angular momentum even look like? When you think about something that is 00:31:48.000 --> 00:31:52.000 hard to explain. How do you visualize that? 00:31:52.000 --> 00:31:59.000 So, yeah, as I… what are we trying to communicate? And I think that what we found is… 00:31:59.000 --> 00:32:09.000 There is something in there that maybe is less concrete, and there's a… it's… it expresses an intuition 00:32:09.000 --> 00:32:16.000 that beneath all the complexity, that there exists an organizing behavior 00:32:16.000 --> 00:32:20.000 Something that we recognize before we can even name it. 00:32:20.000 --> 00:32:28.000 These questions didn't lead us toward answers, but they led us to define a space of inquiry. 00:32:28.000 --> 00:32:34.000 While our series on angular momentum exists across multiple disciplines, 00:32:34.000 --> 00:32:40.000 Bringing it into the physical realm took the form of what we've come to call algorithmic paintings. 00:32:40.000 --> 00:32:51.000 Through disublimation on aluminum, the image regains a material presence that reinforces its spatial complexities. The surface becomes luminous. 00:32:51.000 --> 00:32:56.000 Depth feels implied rather than illustrated. 00:32:56.000 --> 00:33:04.000 And the geometry begins to suggest something closer to a curved or hyperbolic space. 00:33:04.000 --> 00:33:09.000 Yeah, and color plays a crucial role here as well. 00:33:09.000 --> 00:33:16.000 You know, something that we think carefully about color, and because of… it's a very powerful tool, 00:33:16.000 --> 00:33:18.000 Uh, it can… 00:33:18.000 --> 00:33:22.000 It can project tremendous amounts of information. 00:33:22.000 --> 00:33:32.000 And it has the power to repel and attract. And if we're using it deliberately and carefully, we can draw the viewer in 00:33:32.000 --> 00:33:34.000 And hold attention. 00:33:34.000 --> 00:33:38.000 In a way that doesn't overwhelm and allows the work 00:33:38.000 --> 00:33:40.000 Space to breathe. 00:33:40.000 --> 00:33:43.000 So we've, uh, something that can be felt… 00:33:43.000 --> 00:33:50.000 And rather than just decode it. Something also about the material being reflective. 00:33:50.000 --> 00:34:10.000 Um, when the viewer is looking at these two-dimensional pieces, it does become about the interconnection of all things in the universe, because the viewer then becomes part of the piece. It's impossible to be in front of it without becoming part of it. And this was an important thing for us, not just to show angular momentum, 00:34:10.000 --> 00:34:14.000 But really to express what physics is about. 00:34:14.000 --> 00:34:17.000 Which is everything in the universe. It is… 00:34:17.000 --> 00:34:26.000 everything. Yeah, I think… It is the most inspiring thing when you break it down into this way, because it is the language… it is the study of… 00:34:26.000 --> 00:34:34.000 life of everything that exists. Yeah, it really is that to come to the understanding about these 00:34:34.000 --> 00:34:39.000 energies and the dances that are occurring 00:34:39.000 --> 00:34:44.000 I mean, this is… you know, looking at your hands, that's your trillions of… 00:34:44.000 --> 00:34:52.000 these dances are happening… it's happening around you when you look up at the sun. I mean, it's the entire universe, so… 00:34:52.000 --> 00:34:58.000 That's really profound, and that really did draw us into expressing that. 00:34:58.000 --> 00:35:04.000 And I think that also some of the images that we show there, those were… 00:35:04.000 --> 00:35:10.000 Fermilab, are people at Fermilab. You should recognize this. Seen a few of those. 00:35:10.000 --> 00:35:16.000 Um, yeah, that's… that process really allows the work to… 00:35:16.000 --> 00:35:20.000 Um, to… 00:35:20.000 --> 00:35:25.000 get the viewer involved, and to feel and to understand that… 00:35:25.000 --> 00:35:38.000 This is… like, their environment, and this concept all comes together. 00:35:38.000 --> 00:35:42.000 So, coming back to this idea of… 00:35:42.000 --> 00:35:45.000 art as translation. 00:35:45.000 --> 00:35:47.000 Um, 00:35:47.000 --> 00:35:52.000 I think that for us, and for most people, there's the… 00:35:52.000 --> 00:35:59.000 more, I guess, the standard planetary model of… 00:35:59.000 --> 00:36:04.000 atoms and the understanding of sub… the atomic and… 00:36:04.000 --> 00:36:05.000 suboctonic world. 00:36:05.000 --> 00:36:11.000 Um, that was really the extent of our understanding and visualization. 00:36:11.000 --> 00:36:16.000 So, when we were coming up with this talk, we had recently 00:36:16.000 --> 00:36:19.000 come across a short clip with Richard Feynman, 00:36:19.000 --> 00:36:26.000 And he was speaking on a nature of genius and the importance of visualization. 00:36:26.000 --> 00:36:31.000 And the timing of finding that was perfect, because it fits so well with the topic. 00:36:31.000 --> 00:36:38.000 Today, and he talks about how, across institutions and 00:36:38.000 --> 00:36:42.000 Campuses around the world. He would meet all manner of brilliant people. 00:36:42.000 --> 00:36:50.000 They knew well all of the equations and the formulas, and very versed in the technical aspects of quantum mechanics. 00:36:50.000 --> 00:36:53.000 But he was surprised at how few visualized it. 00:36:53.000 --> 00:36:58.000 And he went on to say that… I mean, at least for him, 00:36:58.000 --> 00:37:07.000 then that visualization was key to approaching any subject, and even more so, quantum physics. 00:37:07.000 --> 00:37:12.000 And that imagining himself the size of an electron helped him understand 00:37:12.000 --> 00:37:16.000 What was happening inside the equations? 00:37:16.000 --> 00:37:25.000 I think his… the larger point, and what we're talking about, is visualization equals understanding. 00:37:25.000 --> 00:37:27.000 And how… 00:37:27.000 --> 00:37:30.000 Our work ties in with this. 00:37:30.000 --> 00:37:34.000 So, I think that inadvertently, you know, finding that, 00:37:34.000 --> 00:37:37.000 the sentiment between us and our work 00:37:37.000 --> 00:37:40.000 It has a lot of similarities. 00:37:40.000 --> 00:37:53.000 We were imagining quantum mechanics as massive systems. We wanted to be, what does it look like? We were able to fly into these infinitesimal energies. 00:37:53.000 --> 00:37:54.000 And imagine them as space. 00:37:54.000 --> 00:38:07.000 So, visualizations such as these can express so much, and it's not just for the uninitiated and to, you know, to really look for a new audience, but 00:38:07.000 --> 00:38:13.000 you know, potentially, and hopefully with researchers as well. I mean, we don't really know, it's like… 00:38:13.000 --> 00:38:20.000 Maybe just looking at something a little bit different, um, hiding within these interference patterns. 00:38:20.000 --> 00:38:25.000 There are a few answers to things. Maybe you could, A, I don't know. 00:38:25.000 --> 00:38:33.000 maybe a different perspective gives… we have… we're giving physicality to some of these probabilities. 00:38:33.000 --> 00:38:35.000 And maybe that person… 00:38:35.000 --> 00:38:38.000 We'll go on to have that thought. 00:38:38.000 --> 00:38:47.000 What we… what became really clear to us, I think, was, like, the reciprocity. On one hand, you have quantum physics deeply informing us, 00:38:47.000 --> 00:39:00.000 The world and our artwork. On the other hand, our work offers an entry point for curiosity, one that doesn't require prior fluency in equations or formal language. 00:39:00.000 --> 00:39:05.000 This raised a question for us. What role can art play inside a scientific field? 00:39:05.000 --> 00:39:09.000 And that brings us to where we are now, here with all of you. 00:39:09.000 --> 00:39:12.000 So, yeah, we… 00:39:12.000 --> 00:39:19.000 We plan to follow this thread, and to further expand the model. 00:39:19.000 --> 00:39:24.000 And we're exploring ways to incorporate more variables and… 00:39:24.000 --> 00:39:29.000 Maybe even get to the point where we're adding data-driven interactions. 00:39:29.000 --> 00:39:34.000 We want to see what else we might uncover. 00:39:34.000 --> 00:39:52.000 right now is a very exciting point in time. The host of this event are pushing to break new boundaries to unlock hidden stories about our universe. The Muon Collider points to… toward discoveries and applications that haven't yet taken shape. 00:39:52.000 --> 00:39:58.000 ideas that are still forming, still invisible, some still unimaginable. 00:39:58.000 --> 00:40:07.000 And we see our role as continuing this journey alongside the scientific community, and paying very close attention. 00:40:07.000 --> 00:40:18.000 And we also see our job will be to respond with thoughtful and creative insight, and hopefully we can build a bridge for a larger audience. 00:40:18.000 --> 00:40:23.000 Thank you very much for taking the time to view our work, and… 00:40:23.000 --> 00:40:31.000 to be here with us today. 00:40:31.000 --> 00:40:32.000 It's… 00:40:32.000 --> 00:40:45.000 Thank you so much, that was… that was very eye-opening, really great. Um, and I particularly appreciate you highlighting the intersection of art and science meeting at the point of curiosity, because I think that's where. 00:40:45.000 --> 00:40:55.000 Science really begins by asking questions and being curious about the world, and it sounds like that's also kind of where artwork stems from, too, so we meet at this nice intersection. 00:40:55.000 --> 00:40:58.000 Yeah. 00:40:58.000 --> 00:41:01.000 Well, thank you, everyone. Thank you. 00:41:01.000 --> 00:41:02.000 Thank you. 00:41:02.000 --> 00:41:09.000 Um, there's a lot of claps and hearts. Um… So I want to open it up to questions. I'm sure there are a lot of questions out there. 00:41:09.000 --> 00:41:15.000 Increase, use your raised hand if you'd like to ask a question. 00:41:15.000 --> 00:41:16.000 Hi, can you hear me okay? 00:41:16.000 --> 00:41:17.000 JP has a question. Please go ahead. 00:41:17.000 --> 00:41:18.000 Yep. Yep. 00:41:18.000 --> 00:41:23.000 Perfect. So, first of all, thank you for that amazing presentation, that was super-duper fascinating. 00:41:23.000 --> 00:41:24.000 Thank you. Thank you. 00:41:24.000 --> 00:41:29.000 Um, and it's always really cool to see, you know, the more artistic side of, you know, how you interpret physics. Um, I was really curious, um, 00:41:29.000 --> 00:41:38.000 what software programming you're using to make those particle visualizations, um, the ones that react with angular motor, maybe you could say a little bit more about that. 00:41:38.000 --> 00:41:47.000 Yes, um, this is a… it's a mathematical program that is, uh, it's called MaxMSP. 00:41:47.000 --> 00:41:54.000 And it basically is… it allows… it's on a base of, I think, C++? 00:41:54.000 --> 00:42:02.000 And… but it allows us to work with that in objects, so it's a little bit more digestible for 00:42:02.000 --> 00:42:16.000 Distant artists. Well, just to note, though, the program itself, we created the program, so we used a platform called MaxMSP, but the program itself was something that we custom-made, so it's not something that is… 00:42:16.000 --> 00:42:22.000 Yeah, basically we start from scratch. It starts with nothing, and then we add… 00:42:22.000 --> 00:42:26.000 the objects, we add the control, we add the environment. 00:42:26.000 --> 00:42:34.000 We think about what we want to show, and then start adding that into the… to create this program. 00:42:34.000 --> 00:42:42.000 don't really start from scratch, but yeah. 00:42:42.000 --> 00:42:46.000 I think CeCe Hannah, I'm sorry if I'm mispronouncing your name, please go ahead. 00:42:46.000 --> 00:42:54.000 No, that's fine. Um, I just wanted to ask, uh, about the sounds that you'd incorporate in some other pieces, and where they, uh… Uh, came from. 00:42:54.000 --> 00:42:59.000 Yeah, so we created those as well, um, this… we… 00:42:59.000 --> 00:43:03.000 Um, through all of our projects have 00:43:03.000 --> 00:43:07.000 we have a compositional element that runs through them. 00:43:07.000 --> 00:43:14.000 Sound is a really great way to make the artwork much more inner, um… 00:43:14.000 --> 00:43:18.000 make it more, um… 00:43:18.000 --> 00:43:28.000 connected, because if you can… you can get different senses, so you've got the visual, you've got then the sound, it really brings the viewer in, so… 00:43:28.000 --> 00:43:34.000 Uh, we've been, for the last 10 years, always incorporating music, and… 00:43:34.000 --> 00:43:42.000 Um, really with a sensitivity to the subject, and I think for this, there's a lot of delicate sounds. 00:43:42.000 --> 00:43:45.000 And, you know, we're really trying to 00:43:45.000 --> 00:43:52.000 project the volume of these spaces, so, you know, there's a lot of… 00:43:52.000 --> 00:43:55.000 Uh, ambience and… and… and… 00:43:55.000 --> 00:43:57.000 elements with, um… 00:43:57.000 --> 00:44:00.000 I just… we try to give the sound space. 00:44:00.000 --> 00:44:14.000 And to be very careful with them, as well, because… And the sound is made from us, it's not something that we grab. It's custom-made specifically for the piece, depending on what we're trying to convey. 00:44:14.000 --> 00:44:18.000 Thank you. 00:44:18.000 --> 00:44:24.000 Their questions. Uh, there's one from Susan. 00:44:24.000 --> 00:44:25.000 Yep. Yes. 00:44:25.000 --> 00:44:32.000 Can you hear me? Okay, good, hi. Um, I have been lucky enough to know Chris and Patrick and watch their work develop. 00:44:32.000 --> 00:44:39.000 For 25 years now. And they never cease to surprise me, so I'm so curious, what is. 00:44:39.000 --> 00:44:49.000 Next, with the momentum that you're generating. or have generated, um, do you have some ideas of where this work is going to go? 00:44:49.000 --> 00:44:52.000 Um, now? Or next? 00:44:52.000 --> 00:44:59.000 Great. Um, yeah, well, thank you, Susan. Thank you. Thank you, Susan. Um, we do. There's… 00:44:59.000 --> 00:45:05.000 Well, a lot of… and a lot of what our journey has been is that… 00:45:05.000 --> 00:45:07.000 projects… 00:45:07.000 --> 00:45:19.000 open doors, and we've… we start from where we started to how we got here. We really almost couldn't have imagined to where we are at this point. 00:45:19.000 --> 00:45:24.000 Um, with this program and this visualization, like, we… 00:45:24.000 --> 00:45:30.000 to maybe be able to get to that where we are creating more… 00:45:30.000 --> 00:45:34.000 complex, maybe even… maybe getting involved with… 00:45:34.000 --> 00:45:39.000 other physicists to do that in a data-driven way, so that the work is… 00:45:39.000 --> 00:45:51.000 a little bit more accurate to the subject. And then we really can take that and maybe see where it goes. An idea that we've been talking about for quite some time was to 00:45:51.000 --> 00:46:11.000 really create a space that would be immersive, so when you walk into the space, you become part of it, which would include, um, videos so that you're walking into everything, and then it would be sound, so it would be completely immersive, that the viewer would not just be looking at a two-dimensional 00:46:11.000 --> 00:46:15.000 either video or two-dimensional piece on a wall, 00:46:15.000 --> 00:46:21.000 But really become part of the installation, the immersion. 00:46:21.000 --> 00:46:27.000 Yeah, exactly. I was gonna say, immersive installation would be great to see this work. 00:46:27.000 --> 00:46:30.000 And, you know, that's just a matter of… of… 00:46:30.000 --> 00:46:37.000 find the pieces coming together. 00:46:37.000 --> 00:46:42.000 Question from the West Wing. 00:46:42.000 --> 00:46:52.000 Okay, yeah. Oh, great, we're unmuted. Uh, yeah, I just wanted to know how you find the community partners in order to show your pieces. So, obviously, the mandala was hosted by some gallery. 00:46:52.000 --> 00:47:00.000 We had pictures of when your angular momentum pieces were at the Fermilab gallery, but I'm assuming that's not the only place that these go. How do you find. 00:47:00.000 --> 00:47:04.000 those gallery and curator partners. to show the work to larger audiences. 00:47:04.000 --> 00:47:07.000 Well, being an artist is a hard job. That is… 00:47:07.000 --> 00:47:13.000 We need to go for drinks for that one. 00:47:13.000 --> 00:47:19.000 Um, but I think, you know, we've been artists for, um, 25 years, 00:47:19.000 --> 00:47:37.000 And, you know, really going and finding the art community that speaks to the same kind of, um, disciplines that we're in, obviously, science and math and our kind of expression that we do. Um, it takes a lot of… 00:47:37.000 --> 00:47:39.000 work to… 00:47:39.000 --> 00:47:42.000 weed out… 00:47:42.000 --> 00:47:45.000 where you can find those connections. 00:47:45.000 --> 00:47:57.000 You know, there's thousands and, um, I don't even know, I couldn't even count how many galleries and curators and people there are in the art world, but you have to find the community that… 00:47:57.000 --> 00:48:05.000 understand your work, or at least has a, um, appreciation for what we can do. Connections, the style. 00:48:05.000 --> 00:48:11.000 Um, this… this, um, show that we have that's opening up on Monday… 00:48:11.000 --> 00:48:28.000 Um, this has been a while coming, and, you know, we showed our work at Aurora Museum, and then at Fermilab, and just still continuing to reach out and find ways to, um… To bring it to New York. To bring it to New York. 00:48:28.000 --> 00:48:35.000 And, um, and then, you know, this exhibition is all new work, and… 00:48:35.000 --> 00:48:40.000 Uh, we have a lot of new pieces for that. But then it's finding… 00:48:40.000 --> 00:48:44.000 finding spaces, like, for the mandala, 00:48:44.000 --> 00:48:47.000 You know, it's finding a space that's… 00:48:47.000 --> 00:48:57.000 understands that the art could be an experience, and there are plenty of gallery and, uh, gallery museum spaces. 00:48:57.000 --> 00:49:05.000 that, you know, they're going to focus on… more on painting, or printmaking, and, you know, 00:49:05.000 --> 00:49:13.000 doing a mandala or a installation with projections is a certain type of space, and they see… 00:49:13.000 --> 00:49:14.000 a certain way. Yeah. 00:49:14.000 --> 00:49:33.000 Yeah. I'm gonna jump on this, uh, raised hand while we're here. Um, I'm wondering if you can, um, just talk a little bit about the experience of the interactions. You talked a lot about how people would come up to you and talk with you while you were doing the Mandela, but I'm curious. 00:49:33.000 --> 00:49:43.000 you know, what kind of engagement, what really stuck out to you? How did you know you were succeeding in communicating to the public who you were speaking to, um, in those experiences? 00:49:43.000 --> 00:49:49.000 You can pretty much tell when you're speaking to… people would come up and they'd be like, oh, this is such a pretty design. 00:49:49.000 --> 00:50:01.000 And then we would say, well, it's actually not a design, it's a photograph from a particle collision. And once you get into that kind of stuff, you can pretty much see the wall come down, like you're speaking a different language. 00:50:01.000 --> 00:50:02.000 Right. Familiar. 00:50:02.000 --> 00:50:11.000 Um, that they're like, oh, God, particle physics, I don't… I don't know what you're talking about. So you have to be really intuitive to what this person is… 00:50:11.000 --> 00:50:19.000 interested in and follow their lead. So you have to go at it in a way that you can slowly give them the information, 00:50:19.000 --> 00:50:37.000 If you start to lose them, you have to pull back and start… talk more about the artwork of it, but if you can get into that spot and show them that it's actually approachable, and it doesn't have to be something that seems like this esoteric thing, and you explain it in a way that it's… it is this 00:50:37.000 --> 00:50:48.000 study of life, and when you break it down into that way, they're like, wait, oh, wait, I always thought science is science, and I can't understand that, but if you explain it, that it's the study of life, 00:50:48.000 --> 00:51:04.000 And that's what's so inspiring about it. You can find your little points to go in and really connect with them. I think going back to the idea of that mandala being 20 foot by 16 foot… 00:51:04.000 --> 00:51:06.000 the fact that we're… 00:51:06.000 --> 00:51:14.000 in it, and we're standing in it, and the, uh, the audience is able to walk around the platform. 00:51:14.000 --> 00:51:18.000 So, they're really seeing this larger than life, 00:51:18.000 --> 00:51:25.000 And, you know, at that… at that point, we were really describing what the lines meant, 00:51:25.000 --> 00:51:31.000 And what was happening, like, you know, they… where the… the… 00:51:31.000 --> 00:51:33.000 sort of the circular shapes 00:51:33.000 --> 00:51:40.000 go, and they would ask questions of, like, why does some of them go this way, and why some of them goes that way? 00:51:40.000 --> 00:51:45.000 And, you know, we started to… as we answered that, 00:51:45.000 --> 00:51:48.000 they… you really could see it. They were like, oh, wow. 00:51:48.000 --> 00:51:54.000 That's… I get it, that makes sense. And, you know, they started to see… 00:51:54.000 --> 00:51:57.000 Uh, the environment as… as… 00:51:57.000 --> 00:52:03.000 magnetics as well. So that really made it a strong connection. 00:52:03.000 --> 00:52:07.000 And then the other is the element of… 00:52:07.000 --> 00:52:17.000 The mandala itself, and just the process. And people were, you know, really getting to describe that and understand 00:52:17.000 --> 00:52:21.000 that ephemeral-ness of… 00:52:21.000 --> 00:52:25.000 how that was going to be destroyed and not exist anymore. 00:52:25.000 --> 00:52:33.000 And so we had… we had a lot to talk and engage with people on while we were doing that. 00:52:33.000 --> 00:52:37.000 Thanks. 00:52:37.000 --> 00:52:39.000 Yeah, go ahead. 00:52:39.000 --> 00:52:45.000 Oh, to me. Okay, yeah, I just wanted to say thanks for the super inspiring talk with. 00:52:45.000 --> 00:52:46.000 Thank you. 00:52:46.000 --> 00:52:49.000 not only all of the cool visuals, but also it was a pleasure to. 00:52:49.000 --> 00:53:04.000 Kind of hear your guys'. narration of it, well, and you're… I don't know if it was at some time stream of consciousness, but to… Just to witness the… the imagination that you bring to the art, but then also to. 00:53:04.000 --> 00:53:08.000 See the scientific literacy at the same time. It was just, like, a really cool thing that I don't see a lot. 00:53:08.000 --> 00:53:09.000 Thank you so much. 00:53:09.000 --> 00:53:17.000 Um, and I also… liked that you guys, uh… oh, yeah. And I look forward to, uh, seeing your immersive exhibits. 00:53:17.000 --> 00:53:22.000 Um, and the point about, like, you know, taking inspiration from Feynman. 00:53:22.000 --> 00:53:29.000 Um, you know, I didn't know he was… It makes sense now, if I'm in the diagram, but he was a big proponent of visualizations, but. 00:53:29.000 --> 00:53:33.000 uh, you know, I think that's a cool aspiration to have to. 00:53:33.000 --> 00:53:39.000 Helped all of us to visualize what we're already working on. 00:53:39.000 --> 00:53:42.000 I think we lost you for a second. 00:53:42.000 --> 00:53:43.000 Yeah. 00:53:43.000 --> 00:53:51.000 Things we already know, but to help us learn them, it became almost universally used. Oh, sorry. But, uh, you know, he created, you know, find the diagrams, which became universally used by everybody, too. 00:53:51.000 --> 00:53:52.000 Yeah. 00:53:52.000 --> 00:53:59.000 And it makes me wonder, you know, could we… Could we incorporate some of the. 00:53:59.000 --> 00:54:04.000 these things and these ideas into, and kind of what I'm doing. You know, when I run MadGraph. 00:54:04.000 --> 00:54:08.000 you know, when I do a grid pack, it produces a bunch of Feynman diagrams. 00:54:08.000 --> 00:54:10.000 Is there a way that it could also produce. 00:54:10.000 --> 00:54:14.000 You know, other visualizations, because if Feynman diagram's a tiny slice of. 00:54:14.000 --> 00:54:24.000 You know, the full amplitude that we're looking at, but… You know, I just am thinking of ways to bring it even closer to people's individual work, and. 00:54:24.000 --> 00:54:25.000 Yeah. 00:54:25.000 --> 00:54:26.000 I'll be curious about that and looking, uh, looking at ways that… That I could explore that. 00:54:26.000 --> 00:54:35.000 I think that's what… I think that's what's actually exciting, is that if… when we connect to, um, physicists doing the work, 00:54:35.000 --> 00:54:38.000 If they can connect to our… our… 00:54:38.000 --> 00:54:45.000 artwork, then we can bring a language to them that actually might go to help. 00:54:45.000 --> 00:54:50.000 you know, more explorations, and like, we… It creates, like, a feedback on itself, where… 00:54:50.000 --> 00:54:55.000 One of the things we love about, um, collaborating, because we were artists 00:54:55.000 --> 00:55:00.000 individual artists for many years by, you know, doing our own thing. But when we started to collaborate, 00:55:00.000 --> 00:55:07.000 there was, like, this, um, synergy that started happening, and I know that, you know, 00:55:07.000 --> 00:55:13.000 you guys are all doing work that you have to collaborate, because you don't know… not one person can do 00:55:13.000 --> 00:55:22.000 a, um, an experiment. It's an enormous amount of people together, so that kind of collaboration really starts to, um, kind of 00:55:22.000 --> 00:55:32.000 build up on each other, and we really hope to be able to partner with more scientists along the way to see where… how we can help. 00:55:32.000 --> 00:55:35.000 how what we can give back to this whole… 00:55:35.000 --> 00:55:48.000 Um, this whole study, because it's so… it's so inspiring to us, so that when we get to learn new things, we get to take that and digest it, and then we can bring it back, and then there's this whole give and take that's really phenomenal. 00:55:48.000 --> 00:55:56.000 Yeah, back to the reciprocity. Yeah. And, yeah, we would love to see how, at some… 00:55:56.000 --> 00:56:00.000 you know, if the opportunity arises to, uh, you know, to 00:56:00.000 --> 00:56:08.000 be able to develop this even further, that would be amazing. 00:56:08.000 --> 00:56:09.000 Great. 00:56:09.000 --> 00:56:10.000 Thank you, Sam. 00:56:10.000 --> 00:56:12.000 Cool, I hope so, let's do it. Thanks. 00:56:12.000 --> 00:56:16.000 Uh, let's go to Larry. 00:56:16.000 --> 00:56:19.000 Sure, thanks, thanks. Um, thanks so much for the awesome talk. Super, super interesting and really beautiful stuff. 00:56:19.000 --> 00:56:21.000 Thank you. Alright, thank you. 00:56:21.000 --> 00:56:30.000 Um, the question is, um, so… at least one of your missions, or part of your mission, and I think for many of us in the room. 00:56:30.000 --> 00:56:34.000 Uh, is to create a possibility for engagement for the public. 00:56:34.000 --> 00:56:39.000 Or what is otherwise pretty esoteric, um, so that we have. 00:56:39.000 --> 00:56:49.000 public value in scientific work as part of. you know, the human experience in the way that art is, right? And, um… And so, that's really great. 00:56:49.000 --> 00:56:55.000 The… a lot of what you've talked about is about making things very physical and, um. 00:56:55.000 --> 00:57:05.000 personally experienced on this kind of. one-to-one scale, um, and person-to-person scale are, again, kind of individualistically. 00:57:05.000 --> 00:57:11.000 Uh, are communicating these things to people. But I was wondering if you have thoughts on. 00:57:11.000 --> 00:57:20.000 reaching a lot more people. Uh, because clearly a lot of your work, or at least some of your work that you've presented here, translates really well over a screen to. 00:57:20.000 --> 00:57:24.000 Of, you know, an audience on Zoom, or whatever it might be. 00:57:24.000 --> 00:57:31.000 So, if you could talk a bit about, um… that trade-off, it's obviously a little less personal. 00:57:31.000 --> 00:57:36.000 But, uh, you can take stuff online, have larger-scale media, this kind of thing, for the sake of reach. 00:57:36.000 --> 00:57:43.000 I… I mean, I think that… well, we… certainly for… for Pi projects, we have that as, uh, 00:57:43.000 --> 00:57:46.000 half of that project is online. 00:57:46.000 --> 00:57:49.000 And exists there. Uh, but then… 00:57:49.000 --> 00:57:53.000 I mean, there's… there are online resources that… 00:57:53.000 --> 00:57:55.000 we are a part of… 00:57:55.000 --> 00:57:58.000 But it's also… there's really something about… 00:57:58.000 --> 00:58:01.000 that sort of intimate exchange… 00:58:01.000 --> 00:58:07.000 That is important. Even that the installations can… 00:58:07.000 --> 00:58:09.000 Bring larger audiences, 00:58:09.000 --> 00:58:14.000 And, you know, looking at the work in, like, a gallery or museum, but… 00:58:14.000 --> 00:58:19.000 There's something about having those physicalities that make it… 00:58:19.000 --> 00:58:23.000 a different experience, and it would be a different approach to do 00:58:23.000 --> 00:58:29.000 If it was… I mean, I… our work is great online, um, but it's also… 00:58:29.000 --> 00:58:31.000 really, um… 00:58:31.000 --> 00:58:38.000 It's something that we… like, we were talking when Susan asked the question about, you know, how… what do we see, where do we see this going? 00:58:38.000 --> 00:58:42.000 It is something that we want to make bigger to 00:58:42.000 --> 00:58:52.000 have large audiences come through and see and experience. Our very first installation that we collaborated on 00:58:52.000 --> 00:59:04.000 um, was a self-contained thunderstorm that we created that was in a gallery that was 7,000 square feet, and the sculptures were 22 feet by 5 feet in diameter. 00:59:04.000 --> 00:59:14.000 And they were actually musical instruments of a thunderstorm, so you were… the viewers were musicians and composers of atmospheric sounds. You pushed these big sculptures. 00:59:14.000 --> 00:59:32.000 That, um, they were 600 pounds each, but they felt… you could feel their weight, but they, um, they moved easily. So that was a… that was thousands of people came through, and so while it could be very intimate, if you were in the, um, gallery by yourself, 00:59:32.000 --> 00:59:41.000 It became a much bigger audience, so thousands of people were coming through to see this installation and interact with it. 00:59:41.000 --> 00:59:52.000 And even when they were, um, there with many people, it still became an intimate moment with the sculptures, and I think that is a really good play on… 00:59:52.000 --> 00:59:58.000 How you can take something big, but then also make it intimate and connection. 00:59:58.000 --> 01:00:02.000 So, I think that's something that we try to really have. 01:00:02.000 --> 01:00:05.000 With a lot of our work, like why we made our, our… 01:00:05.000 --> 01:00:11.000 these pieces, um, metallic, so that while many people are looking at it at the same time, 01:00:11.000 --> 01:00:18.000 It becomes all this… also this intimate connection. So I think that's a really important thing that, um… 01:00:18.000 --> 01:00:22.000 That is part of… that makes it a nice… 01:00:22.000 --> 01:00:33.000 a sensitivity to the artwork. Not something that's necessarily on our radar, but… I mean, at a certain point, we have talked about how incredible it would be to see this 01:00:33.000 --> 01:00:46.000 work developed into something that was, like, a planetarium scale, so that… Anyone know, uh, access to a planetarium will do it. Yeah, that would be… that would be something. I don't know, was there some… a specific… 01:00:46.000 --> 01:00:51.000 idea that you… you… you had in mind, or was it just your… the… 01:00:51.000 --> 01:00:52.000 seeing where that… 01:00:52.000 --> 01:00:58.000 No, I, uh, I play in this space a bit, too, of. 01:00:58.000 --> 01:01:05.000 of trying to figure out how to get larger and larger audiences and those kind of things for the sake of this. 01:01:05.000 --> 01:01:13.000 kind of large-scale scientific outreach. And, uh, and yeah, I've struggled with this in terms of, okay, how much is YouTube, you know. 01:01:13.000 --> 01:01:24.000 using YouTube as a medium, for example. How much is that too disconnected from your audience, this kind of thing, versus, yeah, I do musical outreach, and so we've got. 01:01:24.000 --> 01:01:26.000 like a club full of people, which is great. 01:01:26.000 --> 01:01:33.000 Um, uh, which gives you that kind of one-to-one, you know, more intimate relationship there. 01:01:33.000 --> 01:01:42.000 Um, uh, but yeah, trying to balance. that other mission of getting more people on our side in some way. 01:01:42.000 --> 01:01:51.000 Um, but yeah, it's just… I just was wondering if you had thought about that. Yeah, no, that's a very interesting way to think about it, yeah. 01:01:51.000 --> 01:01:52.000 Thank you. Thank you. Thank you. 01:01:52.000 --> 01:01:55.000 Thank you so much. 01:01:55.000 --> 01:02:05.000 Thank you, Larry. Um, I think that brings us to the end of our questions, and it's right, um, around time, so I want to thank. 01:02:05.000 --> 01:02:06.000 Great. Thank you. 01:02:06.000 --> 01:02:19.000 Chris Clapper and Patrick Gallagher again. Um, thank you so much, that was a very enlightening talk, and I think we all look forward to future collaboration. I just want to mention I also dropped the link again for their new show in New York, so if you are nearby or happen to be in town there. 01:02:19.000 --> 01:02:30.000 I encourage you to stop by. And also, I wanted to mention that we plan to continue this seminar series, so this is the first, and we have several more. 01:02:30.000 --> 01:02:38.000 planned for this semester, and we plan to have about one talk per month, so please stay tuned on your mailing list and keep an eye out. We will announce the upcoming seminar soon. 01:02:38.000 --> 01:02:39.000 Thank you, everybody. Thank you. Thank you, bye-bye. Bye-bye. 01:02:39.000 --> 01:02:47.000 Thank you, everyone.