nealwhite.org

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	<title>nealwhite.org</title>
	<link>https://nealwhite.org</link>
	<description>nealwhite.org</description>
	<pubDate>Thu, 11 Jan 2024 10:38:05 +0000</pubDate>
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		<title>APP24870: Caring for Heathrow</title>
				
		<link>https://nealwhite.org/APP24870-Caring-for-Heathrow</link>

		<pubDate>Tue, 05 Dec 2023 14:03:12 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

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		<description>Caring for Heathrow: Maap of Research Area &#38;amp; Poits of Interest
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		<title>Front page</title>
				
		<link>https://nealwhite.org/Front-page</link>

		<pubDate>Mon, 26 Apr 2021 22:00:10 +0000</pubDate>

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		<title>Nature of Truth: Amsterdam</title>
				
		<link>https://nealwhite.org/Nature-of-Truth-Amsterdam</link>

		<pubDate>Mon, 25 Jul 2022 15:29:24 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

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		<description>Nature of Truth&#38;nbsp;Perfect Nature - co-curated by Neal White
Amstepark, Amsterdam 
Neal White and Tina O’Connell - 2022


&#60;img width="3704" height="2594" width_o="3704" height_o="2594" data-src="https://freight.cargo.site/t/original/i/171025767efd30d4fdb960f41a3ee543a2b974aa641d12ee03f5170951d92a0d/Perfect-Nature---May-2022---6-of-7.jpeg" data-mid="148729069" border="0"  src="https://freight.cargo.site/w/1000/i/171025767efd30d4fdb960f41a3ee543a2b974aa641d12ee03f5170951d92a0d/Perfect-Nature---May-2022---6-of-7.jpeg" /&#62;&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/e70a4a48ea304b5344659d2c7cc98e586380967f1f2b89916a35e7b77e1b162f/F039D750-C616-4CE3-8E3F-363F00F1ED9B_1_105_c.jpeg" data-mid="148731292" border="0"  src="https://freight.cargo.site/w/1000/i/e70a4a48ea304b5344659d2c7cc98e586380967f1f2b89916a35e7b77e1b162f/F039D750-C616-4CE3-8E3F-363F00F1ED9B_1_105_c.jpeg" /&#62;&#60;img width="1319" height="914" width_o="1319" height_o="914" data-src="https://freight.cargo.site/t/original/i/86ec67af4a062383ba5de8e5abd3145ef0efa159991efc9462082651286286db/Perfect-Nature---May-2022---7-of-7.jpeg" data-mid="148729353" border="0"  src="https://freight.cargo.site/w/1000/i/86ec67af4a062383ba5de8e5abd3145ef0efa159991efc9462082651286286db/Perfect-Nature---May-2022---7-of-7.jpeg" /&#62;&#60;img width="1182" height="665" width_o="1182" height_o="665" data-src="https://freight.cargo.site/t/original/i/c453066f3bed2e1aacb42af8f510acd286c712530942f7275b9277b7bf2561ee/B11545B8-B0C2-429D-BD0F-D96CDE20F9A0_1_105_c.jpeg" data-mid="148731353" border="0"  src="https://freight.cargo.site/w/1000/i/c453066f3bed2e1aacb42af8f510acd286c712530942f7275b9277b7bf2561ee/B11545B8-B0C2-429D-BD0F-D96CDE20F9A0_1_105_c.jpeg" /&#62;&#60;img width="2364" height="1330" width_o="2364" height_o="1330" data-src="https://freight.cargo.site/t/original/i/a3376d8c7dbdb37bbdeb03b2b2f93fa777ff972bd3f22bc51610c5883749d5b1/B60170A7-7642-4A0D-85C4-BCB0142A6A27_1_102_a.jpeg" data-mid="148731047" border="0"  src="https://freight.cargo.site/w/1000/i/a3376d8c7dbdb37bbdeb03b2b2f93fa777ff972bd3f22bc51610c5883749d5b1/B60170A7-7642-4A0D-85C4-BCB0142A6A27_1_102_a.jpeg" /&#62;&#60;img width="2364" height="1330" width_o="2364" height_o="1330" data-src="https://freight.cargo.site/t/original/i/bcd830639553473c90f43c459b1795230dc44461d54f7a772e251f493e6577ce/BA3F2306-05DE-49D3-B189-4E2D9D5930A5_1_102_a.jpeg" data-mid="148731165" border="0"  src="https://freight.cargo.site/w/1000/i/bcd830639553473c90f43c459b1795230dc44461d54f7a772e251f493e6577ce/BA3F2306-05DE-49D3-B189-4E2D9D5930A5_1_102_a.jpeg" /&#62;
Still and Installation inside the exhibition Perfect Nature in Het Glazen Huis. projecton space&#38;nbsp; (10 Min HD Film with Light installation)&#38;nbsp;


Nature of Truth - Commission by zone2source and Mondriaan Funds, Amstelpark, Amsterdam. 
Created in collaboration with Tina O’Connell
April 22nd - 19th June 2022
Light pollution and visual ecology link the spectral physics of seeing with the spectres of lost species.

 ‘Nature of Truth’  was a newly commissioned work that linked the depiction of nature in the history of the scientific atlas, with the
decline in insect populations and moths in Holland and UK. It situates a deeper understanding of
what constitutes our shared visual ecology with more-than-human actors as a propositional1 image for
cohabitation and coevolutionary politics. &#38;nbsp;
The work was produced both in advance and
during the installation of the exhibition which was co-curated with
zone2source. 
Workshops with participating artists and a final research
presentation took place during the exhibition period.
The commissioned work consisted of a surround soundscape, 10
min HD Single Channel Video.
Video Element: Stitched together from images of recently extinct moths from the
archives of the natural history museums, the video was made using a method of
drawing and then embroidering images of the moths in order to capture them
photographically. Alongside photographic records of recently discovered moths
in Holland (due to climate changes impacting migration), the images are then
re-photographed within Amstelpark itself, using a simple technique of light
painting. 
Sound and light elements: An accompanying site-specific video and light/soundscape
was made from audio field recordings of bat species found in and around the
park as they hunt down moths. Slowed down and remixed with a range of other
nocturnal insects, the light-based soundscape also interrupts the viewers
experience of the video work presented in the black box of the projection
space.


 Thanks and Credits&#38;nbsp;
The artists would like to thank Office of Experiments, Erik
Kearney and Bill Thompson for their work developing the dynamic light based
system used in the work, as well as Artlab at Reading University who provided
materials and resources for the ongoing research.


As an off-site project – the broader exhibition,
Perfect Nature extends the work of the Ecologicial Futurisms program being
developed at CREAM, University of Westminster of which Neal White is a member.
1 - The Propositional Image is a concept developed by Diann Bauer, whilst undertaking her PhD in the Deep Field Research Studio.&#38;nbsp;

Test Sites; Amstelpark
Ongoing Research&#38;nbsp; with Deep Field Research Project and Nieuw en Meer - led by Neal White


The piece forms part of an ongoing placement in the
park and beyond entitled Test Sites; Amstelpark, that draws on the Netherlands advanced
agro-industrial and post-natural landscape beyond its borders. During a studio based residency at Nieuw en Meer, Amsterdam, fieldwork was
undertaken in and around the greenhouses area of Schipol Airport, Aalsmere
(Royal Flora Holland) and further afield around The Hague and Naaldwijk. Other
research focused on the nocturnal landscape inside Amstelpark, including mapping and nocturnal workshops with artists from the School of Multipspecies Knowledges. As it
turned out, the park was not as dark as originally assumed. Visual Ecology and Anthropogenic Noise
The outcomes of this research are a
proposal to be developed by zone2source with partners and stakeholders in Amstelpark as a way to instigate future
discussions for changing lighting in urban parks across Amsterdam and other urban settings. 
A film is currently being assembled from fieldwork documents, found and archival footage, and a
future publication is being produced as an outcome (Summer 2022). 


The result of this research points toward social and
philosophical reconciliation with visual ecology (how animals see) that address
historical and future ideas of cohabitation - a co-evolutionary rebalance
between actors in and on the nocturnal environment.


Perfect Nature


The exhibition Perfect Nature of which this commission formed part was curated by Neal White in collaboration with
Tina O’Connell and Director of zone2source Alice Smits in Amstelpark.&#38;nbsp;
Further
collaboration with May Adadol Ingawanij and Julian Ross, was supported by
University of Leiden. The project was financed by the Mondriaan Funds, CREAM at
University of Westminster and zone2source. Amstelpark Test Sites. 
A Research
Residency supported by: Artlab at Reading University (UK), Mondriaan Funds
(NL), Nieuw en Meer (NL), University of Westminster (UK) and zone2source (NL).


Below - Production of images in the studio.

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Ongoing Research - Highlights


&#60;img width="1182" height="665" width_o="1182" height_o="665" data-src="https://freight.cargo.site/t/original/i/38a4977d3c22706501004248c75c1c5b7327a6170dd1afedab43e136ca5c7d2e/5FE1FC55-48DB-491E-BFE1-4355167F1737_1_105_c.jpeg" data-mid="148731250" border="0"  src="https://freight.cargo.site/w/1000/i/38a4977d3c22706501004248c75c1c5b7327a6170dd1afedab43e136ca5c7d2e/5FE1FC55-48DB-491E-BFE1-4355167F1737_1_105_c.jpeg" /&#62;Light based analysis of Moth webs in Amstelpark

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Light Pollution (anthropogenic noise) analysis in and around Het Galzen Huis - Amstelpark


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Concept Render by Cassius O’Connell-White&#38;nbsp;
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		<title>An Atlas of Chronographic Things</title>
				
		<link>https://nealwhite.org/An-Atlas-of-Chronographic-Things</link>

		<pubDate>Tue, 11 May 2021 13:59:21 +0000</pubDate>

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		<description>
An Atlas of Chronographic Things
 Kunsthall, Trondheim, Norway.
2020


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An Atlas of Chronographic Things. 2020An installation by The Deep Field Project - with Diann Bauer and Jol Thoms.
The first part of an ongoing project was commissioned as part of the exhibition ‘Who Wants to Live Forever? at Kunsthalle, Trondheim, curated by Stefanie Hessler with Kaherine Else Pedersen. 
Featuring artists: Oreet Ashery, Solveig Bergene, Gideonsson/Londré, Jessica Harvey, Moa Israelsson, Britta Marakatt-Labba, Mercedes Mühleisen, Adrian Piper, Tabita Rezaire, The Deep Field Project (Diann Bauer, Jol Thoms, Neal White), and Anton Vidokle.
&#60;img width="2008" height="2835" width_o="2008" height_o="2835" data-src="https://freight.cargo.site/t/original/i/bd5bf8718d301f58dca4a82413f361af230e0f8e1e1ba0e88e9b7b4aefce42a4/Whowantstoliveforever-brosjyre-1.jpg" data-mid="108099978" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/bd5bf8718d301f58dca4a82413f361af230e0f8e1e1ba0e88e9b7b4aefce42a4/Whowantstoliveforever-brosjyre-1.jpg" /&#62;
External Link&#38;nbsp;︎ The project emerged out of a discussion about time machines between three artists. The curators write;
The research project in-progress, Time Machines,
explores natural phenomena as “time machines”
that allow us to imagine the past in the present.
For example, lichenometry – a method for
geochronological dating – can work as a time
machine by way of lichen being used in the
dating of rocks. The project contains a number
artefacts, methodologies and pictures, all compiled in the form of an atlas, like a collection of
different forms of knowledge and objects from the
world that communicate different forms of time.
This idiosyncratic archive unites research-based
investigations by The Deep Field Project, which
consists of three artists: Neal White’s work
with ecologies exposed to human interaction,
gerontology and cryonics; Jol Thom’s field
work into the metaphysical consequences of
posthumanism and neo-materialist philosophy
on experimental physics; Diann Bauer’s investigations into notions of what the artist refers
to as xenotemporality. This form of temporality
sees time as existing outside the human experience, but simultaneously directly influencing
our day-to-day life through technology, such as
GPS satellites.

︎ Diann Bauer was born in 1972, and lives in
London. Bauer’s works have been exhibited
at Tate Britain, London; The Institute of
Contemporary Arts, London and The Gerrit
Rietveld Academie, Amsterdam.

︎ Jol Thoms was born in 1981 in Toronto, and
lives in London. His work has been shown
at Rencontres Internationales Paris/Berlin,
Paris; Blackwood Gallery, Mississauga,
Toronto and Haus der Kunst, München


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Drawings / Graphics by Diann Bauer</description>
		
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		<title>Between the Barometer and the Dragonfly</title>
				
		<link>https://nealwhite.org/Between-the-Barometer-and-the-Dragonfly</link>

		<pubDate>Fri, 14 May 2021 09:09:17 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

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		<description>Between the Dragonfly and the&#38;nbsp;Barometer
with Monsson Assemblages.&#38;nbsp;Propositional Score #2. 
Central Pavilion of the Giardini,
Venice Biennale of Architecture, 2021.


&#60;img width="2287" height="4167" width_o="2287" height_o="4167" data-src="https://freight.cargo.site/t/original/i/76b31e0e93f0b6396e0d39abd43cb25968693779e8f6ed4bc74c0401ae339cc1/Gerardo-Cejas-2-1.jpg" data-mid="119781805" border="0"  src="https://freight.cargo.site/w/1000/i/76b31e0e93f0b6396e0d39abd43cb25968693779e8f6ed4bc74c0401ae339cc1/Gerardo-Cejas-2-1.jpg" /&#62;
 Installation in the Central Pavilion of the Venice Biennale of Architecture 2001. Office of Experiments worked on sound and light elements with Monsoon Assemblages led by architect and academic Dr Lindsay Bremner. The work, the second of a series of propositional scores is an&#38;nbsp;installation that integrates light and audio responses to recorded rainfall data of NASA satellites. Monsoon storms erupt in the space as a soundscape. Made from recordings of rainfall, lightning and thunder, the work as a whole conveys the movement and intensity of the seasonal event as it effects Dragonfly migration and changes in relation to climate change across three cities - represented by geological data on the columns; Yangon, Chennai and Dhaka, Bay of Bengal. Plinths and models were made by Monsoon Assemblages and Shape Studio. Additional Data Drawings by John Cook of Monsson Assemblages. Video field recording documentation of Globe Skimmer Dragonfly by Beth Cullen of Monoon Assemblages. &#38;nbsp;Background. Work by Territorial Agency. Photo credit Gerardo Cerja. 

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Above: Installation shots after exhibition closure, and during visiting hours.&#38;nbsp;
Below: Testing lights for installation.

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Above: One of three Monsoon Storms in action (an 18 minute event structure). &#38;nbsp;
This documented experiment indicates that the  challenge of capturing digitally the manifestations of the data driven light and audio as the human eye and ear are much more sensitive to change than the camera used here, or the recording device for that matter. The work is intended to be heard and felt in person.


The&#38;nbsp;sneak peak video was made by John Cook and Beth Cullen of Monsoon Assemblages.


Between the Barometer and the Dragonfly. ‘How Will we Live Together‘
Central Pavilion, Giardini, Venice Biennale of Architecture, curated by Hashim Sarkis, MIT
An installation with Office of Experiments and Monsoon Assemblages.&#38;nbsp;
In an interdisciplinary collaboration,&#38;nbsp; the artist&#38;nbsp;Neal White, working with&#38;nbsp;Office of Experiments and Monsoon Assemblages (School of Architecture and Cities, University of Westminster) have collaborated on a project for the&#38;nbsp;Venice Biennale of Architecture 2021. An installation titled ‘Between the Dragon Fly and the Barometer’, forms part of the main exhibition “How Will we Live Together” and is situated in the Central Pavilion of the Giardini. As a whole, the work examines the Indian Ocean monsoon from the perspective of the Globe Skimmer dragonfly and the impact of climate change on it. Neal White’s contribution dislocates scientific knowledge into sensory encounters, using data to seed sculptural, auditory and temporal forms - otherwise known as ‘event structures’ (after John Latham). For these experiments, he worked with Bill Thompson (Composition) and Erik Kearney (Engineering) with temporal / meteorological data collated by Monsoon Assemblages from across the Indo-Pacific region, focussing on three spatial reference points, the cities of Chennai, Dhaka, and Yangon. 
The work is realised as three consecutive 6 minute monsoon storms using different intensity and frequencies of light with audio generated from the downpours and lightning/thunder of monsoon recordings. Each was directly mapped against the peaks and troughs of 6 months of rainfall data (see below).
&#60;img width="1276" height="1158" width_o="1276" height_o="1158" data-src="https://freight.cargo.site/t/original/i/11d7db1d97999e3b0ba0b5f5ffb7e137597a535340aa4b4b39dc159b6ddb6f76/2015-Rainfall-Data-Graph-1.jpg" data-mid="119503368" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/11d7db1d97999e3b0ba0b5f5ffb7e137597a535340aa4b4b39dc159b6ddb6f76/2015-Rainfall-Data-Graph-1.jpg" /&#62;Drawing generated from NASA rainfall data siuated around three cities in Bay of Bengal. John Cook. Monsoon Assemblages.


Marking the hour, the work translates the atmospheres and marks the different shapes which each monsoon represents at a different location. Dragonfly follow the Monsoons as they sweep across the Bay of Benghal, an unfolding event that is considered the largest known migration of life in the world.
 Brought together with additional forms of architectural information; models, visualisations as drawings and fieldwork documentation by Monsoon Assemblages, the installation reflects the changes occurring across the Monsoon event and rain periods. 


Talking about the installation, Dr Lindsay Bremner of the Monsoon Assemblages project said: “In responding to the question posed by the curator of the 2021 Venice Architecture Biennale, Hashim Sarkis, ‘How will we live together?’, Monsoon Assemblages teamed up with Neal White’s Office of Experiments to design an installation framed by the monsoon and the flight of the Globe Skimmer dragonfly. By drawing connections between geology, meteorology, monsoonal cities and nonhuman lifeways, our installation highlights the mutual entanglement of human and nonhumans in changing climates.”

Monsoon Assemblages is a five-year multi-disciplinary enquiry funded by the European Research Council (ERC).

&#60;img width="768" height="512" width_o="768" height_o="512" data-src="https://freight.cargo.site/t/original/i/61169ba78842534bd53028bfa125af718349d78be9d222eb405128f54ffdbdde/La-Biennale-di-Venezia-2017-768x512.jpeg" data-mid="108431914" border="0" data-scale="26" src="https://freight.cargo.site/w/768/i/61169ba78842534bd53028bfa125af718349d78be9d222eb405128f54ffdbdde/La-Biennale-di-Venezia-2017-768x512.jpeg" /&#62;


A work in progress - Testing the installation / data storms with the team from Office of Experiments (Bill Thompson, Erik Kearney) and Monoon Assemblages (Lindsay Bremner, John Cook - Beth Cullen, out of shot) at Ambika P3, University of Westminster, London.
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4b3d2f8d76d3bb8f37edb02be75ed6e5e3cb86316919062f70b7646f20772d0d/IMG_1211.jpeg" data-mid="108432330" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4b3d2f8d76d3bb8f37edb02be75ed6e5e3cb86316919062f70b7646f20772d0d/IMG_1211.jpeg" /&#62;

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Data Drawing by John Cook of Monsoon Assemblages ©</description>
		
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	<item>
		<title>projects</title>
				
		<link>https://nealwhite.org/projects-1</link>

		<pubDate>Mon, 24 May 2021 22:16:38 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

		<guid isPermaLink="true">https://nealwhite.org/projects-1</guid>

		<description>Art + Projects, Exhibitions (selected) &#38;nbsp;</description>
		
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	<item>
		<title>Tiny Love Songs</title>
				
		<link>https://nealwhite.org/Tiny-Love-Songs</link>

		<pubDate>Fri, 14 May 2021 09:07:19 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

		<guid isPermaLink="true">https://nealwhite.org/Tiny-Love-Songs</guid>

		<description>Tiny Love Songs (All our futures are scalable)Propositional Score #1. A Nocturne / Nocturnal Outdoor Installation 
Into the Great Wide Open - Festival Event
Holland, 2019


&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/51632c40396dbf7f97ff4315d7a316f01798aa83f6041b8bb720b0e43eaf16e7/2019_itgwo_kunstroute_tiny-love-songs_9206-sml.jpg" data-mid="108523599" border="0"  src="https://freight.cargo.site/w/1000/i/51632c40396dbf7f97ff4315d7a316f01798aa83f6041b8bb720b0e43eaf16e7/2019_itgwo_kunstroute_tiny-love-songs_9206-sml.jpg" /&#62;


Tiny Love Songs (All our futures are scalable) - Neal White from Into The Great Wide Open on Vimeo.Tiny Love Songs (All our futures are Scalable)Into the Great Wide Open Festival of Music and Contemporary Art, Holland, 2019
6 Light Boxes with integrated sound. These indidual units are self synchronised (GPS clock) to create multiple harmonics across any space&#38;nbsp; - marking the hour.
The work was developed with Office of Experiments, including Engineer Erik Kearney, and composer Bill Thompson. 
Our sincere thanks to our installer on the ground, Sjoerd, to Alice Smits and to all those involved in the academic, electronics and sound research, and to the festival and zone2source for commissioning the work in the first place.The work is conceived as a clock that marks the changes occuring to insect populations within our biosphere.&#38;nbsp;
 The score creates an expanded, and cinematic soundscape within the pine woodlands of Vlieland, Holland. The sound and light that slowly illuminated the darkness was the chorus of a million mosquitoes that build slowly, before falling abruptly into silence and pitch black. 
Starting just before the hour every hour, the score highlights the silence that falls before and after, as audiences listen to the far off sounds of the music festival, the night time life of the woodlands.The score emerged from research into scientific innovation, specifically that of the genetically modified mosquito (Friendly Mosquito TM – aka Aedes aegypti) which has been released globally in countries including Brazil, Cayman Islands, Malaysia, to attempt to halt the spread of viruses such as Zika, Dengue etc. that cause great harm to human health in these areas.
 &#60;img width="1727" height="1727" width_o="1727" height_o="1727" data-src="https://freight.cargo.site/t/original/i/72c3cfbb2ddb01619aea66b9c492d5682ce6276ebbd34f22538fe73dc48be789/7AFDC719-591F-4951-B38E-5368E5FB14F3.jpeg" data-mid="108524017" border="0"  src="https://freight.cargo.site/w/1000/i/72c3cfbb2ddb01619aea66b9c492d5682ce6276ebbd34f22538fe73dc48be789/7AFDC719-591F-4951-B38E-5368E5FB14F3.jpeg" /&#62;


These releases take places in zones of exclusion, in other words following trials conducted in the open which have less regulation than in the EU. 
What the audiences hears is a layered composition developed with composer Bill Thompson that simulates for the human ear, the mating behaviour of the mosquito. The sound we hear when a mosquito is buzzing around our ears is in fact these tiny insects adjusting their wing beats, and this is also their love song.&#38;nbsp; They adjust the frequency of their wings so that they can synchronise and couple in mid air with others. Scientific recording of the Aedes aegypti were used to create the underlying frequencies.The ‘post-natural’ or human designed organism is intended to be anti-evolutionary, due to a genetic modification which means that the offspring of the Friendly Mosquito do not live, and so, the cycle of their lives ends.
This is intended to halt the spread of disease, but itis not clear what the unintended consequences are. We were therefore interested in how audiences might respond to this score; a love song performed in the context of a musical festival that has a deep environmental connection.Through our research into the subject, we acknowledge that we can celebrate the human made mosquito as a biomedical advance that halts the spread of deadly pathogens as disease. Nonetheless, we were also made aware that this happens through the planned local extinction of a species for which we have little emotional attachment, except perhaps fear and loathing. 
There are good reasons for this, the mosquito is our apex predator. But my concern lies around those expressed by Rachel Carson in Silent Spring, a book published in 1962, that traces the molecular impact of agro-business on all life. Our concern extends this work, and of colleagues such as Critical Art Ensemble, in creating a work that speaks to insect collapse and habitat loss across the world, due to the use of poorly or unregulated agricultural or biomedical advances.
The future of this tiny insect is scalable as a narrative, and as such,&#38;nbsp; the messy outcomes of our lives, our designs and intentions, are not predictable.&#38;nbsp; If we are to consider all possible futures, for all species and at all scales, as artists, researchers, clinicians, or even as a species, we need to draw attention not only to these post natural developments, their governance and control, but remain attentive sensorially to the messages we receive from the world around us, aware of different life cycles and rhythms as they change.

&#60;img width="1024" height="719" width_o="1024" height_o="719" data-src="https://freight.cargo.site/t/original/i/086448fea8944a2ff370faed70a23c599fb17566f2cdfa37248dd2a2c3d08cb8/Tiny-Love-Songs-Pine-Trees-flat.jpg" data-mid="108523604" border="0"  src="https://freight.cargo.site/w/1000/i/086448fea8944a2ff370faed70a23c599fb17566f2cdfa37248dd2a2c3d08cb8/Tiny-Love-Songs-Pine-Trees-flat.jpg" /&#62;

Concept drawing - based on the work Pine Trees Screen (Shōrin-zu byōbu) by&#38;nbsp;Hasegawa Tōhaku.
&#60;img width="4252" height="2392" width_o="4252" height_o="2392" data-src="https://freight.cargo.site/t/original/i/41cf0e3b9485d4161f1a69a5c0fda92c54877498d123126ac90169fcf7311d4b/2019_itgwo_kunstroute_tiny-love-songs_9055.jpg" data-mid="108523597" border="0"  src="https://freight.cargo.site/w/1000/i/41cf0e3b9485d4161f1a69a5c0fda92c54877498d123126ac90169fcf7311d4b/2019_itgwo_kunstroute_tiny-love-songs_9055.jpg" /&#62;&#60;img width="4252" height="2392" width_o="4252" height_o="2392" data-src="https://freight.cargo.site/t/original/i/86b6d858e3794ba67bc8ecd93b9de9cdd4eaf34d12d700dfd65100f230edb7e8/2019_itgwo_kunstroute_tiny-love-songs_9060.jpg" data-mid="108523598" border="0"  src="https://freight.cargo.site/w/1000/i/86b6d858e3794ba67bc8ecd93b9de9cdd4eaf34d12d700dfd65100f230edb7e8/2019_itgwo_kunstroute_tiny-love-songs_9060.jpg" /&#62;
&#60;img width="1024" height="285" width_o="1024" height_o="285" data-src="https://freight.cargo.site/t/original/i/df2c41e0b6a66a6c452caad276555b206535cc0b22dfcc8c2f6ac9ed8ab4b044/Landscape-image-Vlieland.jpg" data-mid="108523561" border="0"  src="https://freight.cargo.site/w/1000/i/df2c41e0b6a66a6c452caad276555b206535cc0b22dfcc8c2f6ac9ed8ab4b044/Landscape-image-Vlieland.jpg" /&#62;</description>
		
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	<item>
		<title>Brownsea. An Imaginary Island</title>
				
		<link>https://nealwhite.org/Brownsea-An-Imaginary-Island</link>

		<pubDate>Tue, 11 May 2021 10:21:41 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

		<guid isPermaLink="true">https://nealwhite.org/Brownsea-An-Imaginary-Island</guid>

		<description>Brownsea : An Imaginary Island.&#38;nbsp;Test Sites Projects - Poole Harbour, UKExhibition: Arts Catalyst, London 2018

&#60;img width="7316" height="4883" width_o="7316" height_o="4883" data-src="https://freight.cargo.site/t/original/i/2070a22a24040822163f21216116a2aafcee7db5f34336d0e7ce39cde944def7/IMG301.jpg" data-mid="108078626" border="0"  src="https://freight.cargo.site/w/1000/i/2070a22a24040822163f21216116a2aafcee7db5f34336d0e7ce39cde944def7/IMG301.jpg" /&#62;

Brownsea : An Imaginary Island. 2018
Arts Catalyst&#38;nbsp;Centre for Art Science and Technology. Kings Cross, London
A mixed media installation with additional audio work ‘Norm Contaminated’ by Anna Troisi.

The exhibition reflects on extensive fieldwork for the Test Sites project, led by Neal White for Arts Catalyst with participants and respondents based in and around Poole Harbour, Dorset 2016-18. Assisted by Spudworks, National Trust and students from Arts University Bouremouth and Bournemouth University.

&#60;img width="1238" height="1744" width_o="1238" height_o="1744" data-src="https://freight.cargo.site/t/original/i/a556845d4aa1ab957bf85f2dfba0b328b6e71c279601623f5a61c532990533a7/TestSites-FieldGuide-v8-highres-1.jpg" data-mid="108093429" border="0"  src="https://freight.cargo.site/w/1000/i/a556845d4aa1ab957bf85f2dfba0b328b6e71c279601623f5a61c532990533a7/TestSites-FieldGuide-v8-highres-1.jpg" /&#62;
External Link&#38;nbsp;︎ Touching on the many overlapping imaginaries that shape our relationship to this unique ecological site, the exhibition highlights and maps our human relationship to the changing environment, and the collection of ecological data that has been situated on the Island for decades, but is also under threat. The work is situated in relation to the largest onshore UK oil Field in Europe, that nestles discreetly into the landscape.&#38;nbsp;&#38;nbsp;
Arts Catalyst:&#38;nbsp;

"The installation becomes a space in which the artist reflects on these shared social and spatial imaginaries – the romantic, sublime, utilitarian, economic and social – as they interact with deep and hidden aspects of the landscape; oil extraction, marine pollution and leisure overload. It acts as an analogue to the Island; a space for an exchange of views in which the burden of our imaginations are shared, and our political views and personal desires for the sublime projected. Ultimately, it aims to explore the possibility of a future platform on the Island, in which these personal and social imaginaries are realised."
With thanks to Anna Sanotmouro and Claudia Lastra, and special thanks to The Moths of Poole Harbour (Abby	Gibbs	&#38;amp;	Chris	Thain) and Dr Rick Stafford of Bournemouth University.

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Photographic Prints on Aluminium&#38;nbsp;
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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/17a6d96efb44b3b547684f179853129e6c8e63b11ff658bc1489765f20c1cc6d/IMG_2271.jpeg" data-mid="108077935" border="0"  src="https://freight.cargo.site/w/1000/i/17a6d96efb44b3b547684f179853129e6c8e63b11ff658bc1489765f20c1cc6d/IMG_2271.jpeg" /&#62;
Early concept drawings - Graphite on Paper.&#38;nbsp;


&#60;img width="574" height="927" width_o="574" height_o="927" data-src="https://freight.cargo.site/t/original/i/5e07bf3751777dc68812edc5666161b76012c06e9c9e64fc07e6368141b6e7b2/Sketch-Unmade.jpg" data-mid="108076499" border="0"  src="https://freight.cargo.site/w/574/i/5e07bf3751777dc68812edc5666161b76012c06e9c9e64fc07e6368141b6e7b2/Sketch-Unmade.jpg" /&#62;FIELD NOTES&#38;nbsp;
As an artist, my practice has always been grounded through research often beyond the studio. Field Notes provides insights to the processes through which the art is realised both as an act of research, but also thinking with others, situated and in context.


Outwards to Brownsea on a Critical Excursion

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Where relevant I will be adding links to further work in these areas. However, please note the research when made available here is not situated within an academic context, so not subject to the same level of control.

Designing a Laboratory Island, or an island laboratory, with Spudworks, Arts Catalyst and architecture students from the Arts Univeristy Bournemouth.
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		<title>Hyperdrone Experiment</title>
				
		<link>https://nealwhite.org/Hyperdrone-Experiment</link>

		<pubDate>Thu, 11 Jan 2024 10:38:05 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

		<guid isPermaLink="true">https://nealwhite.org/Hyperdrone-Experiment</guid>

		<description>Hyperdrone with Office of Experiments
Wysing, Cambridgeshire, UK2015
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	The HyperDrone / HypersensorVideo: Field Experiment conducted at Wysing in July 2015.
What is a Hyperdrone / Hypersensor?
The title is given to the sculpture due to its multi-dimensional nature. As well as being an interplay of forms and materials, new and recycled elements, the work vibrates at resonant frequencies. The vibrations are created from sound waves generated by data taken from seismic (earthquake) sensors across the surface of the entire planet – the largest sensor in the world (that could be referred to as a ‘hyper object’). The work can be sensed in a number of ways, by sight or hearing, by touch or if stood in close proximity, felt through standing waves generated in the air and ground. It is inspired by La Monte Young’s work on immersive drone (sound) spaces.
The vibration that visitors experience originates from data taken from the Comprehensive Test Ban Treaty Organisation (CTBTO) which monitors the ground for nuclear explosions. The data used here was supplied by the Atomic Weapons Establishment Blacknest, Reading UK. This global sensing network is now contributing to an early warning earthquake system to allow for tsunami alerts data.
The main element of the sculpture is a section from a radome, a spherical structure used to cover satellite dishes by the military, shipping and scientific establishments.
Data from a range of seismic stations was requested from a UK partner in the CTBTO. This data was processed by composer, programmer and sound artist Anna Troisi before being carefully arranged to be played back to generate resonance in this structure – creating a ‘drone’ through the main panel of the work. The panel is held in tension by a resonating geometric ‘tensegrity’ structure. The sculpture was designed and made with artist Rob Smith during his artist residency at Wysing, where the first experimental Hyperdrone / Hypersensor was exhibited.
Resonating frequencies generated in the sculpture cause the optical sensor of the camera used to document the work to vibrate, generating waves in the video signal. This additional experimental outcome was observed during documentation when resting the camera onto the work. Similarly to the body that stands in proximity, it creates an embodied optical image of sculpture that uses data from an operational global sensor – the operational image.
	
Experimental Research
The project extends research undertaken into a global network of techno-scientific sites, from labs to observatories that support advances in human development; experimentation, scientific instruments, supercomputing advances etc. The sculpture is both material (radome panel) and immaterial (data/sound) that are phenomenal to our current condition, in which we can only experience events unfolding which are either too large or too small, through technological enhancement. The work is therefore extra-phenomenal as it relates to the senses.
This experiment is conceived as one node of a potentially global-scale, global sensing artwork. In this larger proposal, a network would be created to work with artists, architectural, scientific or social groups able to construct hyper drones that act together as a way of experiencing seismic or planetary reverb, in the context of our own relation to human perception of time, scale and event.
The Radome Panel was part of a golf ball shaped sphere used to cover military and industrial satellite dishes and radar – used to trace or work with near earth objects such as planes, GPS satellites etc. It was acquired for Steve Rowell (Member of Office of Experiments, 2010- ) for the project ‘Ultimate High Ground’, which was part of ‘Dark Places’, curated by Office of Experiments at John Hansard Gallery with Arts Catalyst and SCAN in 2009. The experiment has been developed so far with thanks to Wysing, Cambridgeshire UK and the Experimental Media Research Group at Bournemouth University.
Additional links;

Rob Smith, artist

Anna Troisi, composer and researcher

Office of Experiments; Experimental Fieldwork. A project led by Neal White with Rob Smith, artist and Anna Troisi, artist, composer and researcher. Radome Panel acquired by Steve Rowell, through his project Ultimate High Ground for Office of Experiments, 2009.


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		<title>All that is Data</title>
				
		<link>https://nealwhite.org/All-that-is-Data</link>

		<pubDate>Mon, 10 May 2021 22:42:20 +0000</pubDate>

		<dc:creator>nealwhite.org</dc:creator>

		<guid isPermaLink="true">https://nealwhite.org/All-that-is-Data</guid>

		<description>All that is Data Melts into Air
Data Transpoisitions
Färgfabriken
Stockholm 2017

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	All that is Data Melts into Air. 2017
Färgfabriken, Stockholm
Video installation with artefacts, and a guided tour of R1 Experimental Nuclear Reactor space at KTH.
With an accompanying publication 'Deep Architectures of Inquiry' published by Office of Experiments. Design by Arne Sjogren.
Commissioneed by Michael Schwab, Gerhard Erckel and David Pirro, the event was part of Data Transpositions, an event in which a range of International artists and leading thinkers /academics exploring data from perspectives in art and science and technology met to discuss, listen and experience new works. Funded by the Austrian Science Fund.


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All that is data External Link ︎ 
Transpositions External Link ︎

	
All that is Data Melts into Air was part of an ongoing inquiry into data transferred from one context to another - from the scientific into the artistic. Working with Tina O'Connell, our aim was to critically and philosophically explore scientific data and the nature of its temporality, and the situational nature of data's relevance to place in representations of information. 
The works explored the situated nature of an epistemic thing when translated under the heading of “artistic research” and dislocated from one discipline to another.&#38;nbsp;Whilst shown at Färgfabriken in Stockholm, with other work curated by Daniel Peltz, the focus of this piece is on the subterranean space of R1, a former experimental Nuclear reactor that sits 20 metres beneath the Royal Swedish Institute in Stockholm. 
Decommisioned and decontaminated (and bearing the traces of this numeric process across its entire space) it was used to creat elight drawings that trace seismic activity being monitored by the Nuclear Treaty Organisation - CTBTO. The installation and guided event linked the two spaces.


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