Category Archives: Quantum brushstroke

Quarks up and quarks down

Quantum brushstrokes exhibition
24 March — 23 April 2017

Tony Bond’s Gallery Space Upstairs
Edinburgh Castle Hotel
233 Currie Street, Adelaide
Mon-Fri 11am – 6pm
Sat 12pm – 6pm, Sun 1pm – 6pm

Artist talk times: Sunday 9, Sunday 23 at 4pm. Call Malcolm to confirm: 0419 864 987

Network of quarks on blue

Experimental work on paper: The two trajectory paths of the strings followed a straight line in the curled up ‘complete space’ of when it was created. Now when we observe it on the 2D picture plane (human viewpoint) the strings appear to be networked differently. For more see Quantum brushstrokes

Quarks that spin ‘up or down’ — detail

Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 1 of 3 holes).

Debossed quark hole showing the clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 2 of 3 holes).

Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 3 of 3 holes).

Lithium mesh: This painting/sculpture shows a number of drill holes and saw cuts. The bottom right set of 3 ‘quark’ holes (single quarks shown above) were all created at the same time or rather as one complete expression. Yet we may observe both ‘up and down’ qualities on the 2D picture plane. This is possible when the geometric state of the membrane is altered (curled) in a way to allow such events to occur before it is then unravelled to the 2D flat plane for observation – the principle idea behind Membrane Art. For more information see Quantum_Brushstrokes or Membrane Art.

Lithium mesh was highly commended at the Waterhouse Natural Science Art Prize, 2016. Synthetic polymer on JPP Synthetic, 566gsm, 1020w x 760h mm

 

Electron shower


Membrane Art holds true — Regardless of whether the events made on the surface are painted, sprayed, poured, drilled, sawed, stamped, cracked or any other kind of mark making, the curved nature of the membrane creates the structural expressions for the work — and provided the work is presented in a flattened 2D form for observation — it is a consequence of the aesthetic thought.

Holes (particles) created from curves

It is the curved nature of the membrane 
that creates the structural interpretations — and when the work is presented in a flattened 2D form for observation — the trajectory path appears to be different.

Curled phase
The trajectory path (broken line) of the drill hole follows a short and straight path in complete space (unseen).

Quantum_brushstroke_Curls_Malcolm-Koch_2016_2

Flattened phase
When the curl is unravelled, the trajectory path (broken line) remains the same as it was above. Yet the path seems longer, goes back in time and appears networked differently when we observe it from this (human) viewpoint.

Quantum_brushstroke_Flat_Malcolm-Koch_2016_2

Quantum_brushstroke_Flat_Malcolm-Koch_2016_3

‘I’m inclined to think that…the 3D world is an illusion. The ultimate precise reality is the 2D reality on the surface of the universe’, Leonard Susskin*

*Source: What is space? 48:30s, 2015 www.youtube.com
Note 1: The holes (3 white marks on the membrane surface) should be viewed as the vectors created within the field. They aren’t necessarily the particles themselves but the negative space that’s require for them to exist on the 2D surface.
Note 2: A second phase dimension has been neglected from these diagrams.

Working notes of ‘Lithium mesh’ (Spatial Lithium)

Lithium-mesh_notes-on-back_Malcolm Koch

The photograph above is of my working notes which appears on the reverse side of my ‘Highly Commended’ art piece, Lithium mesh. Although you will not see this side of it on display at the prestigious Waterhouse Natural Science Art Prize 2016 exhibition – it shows my thoughts and the science of my working method. For more information about the science behind it, see the following blog (Proton brushstrokes) or download the PDF file Quantum brushstrokes

To see the finished mounted work, visit the South Australian Museum from 10 June until 31 July 2016. Waterhouse Natural Science Art Prize_Gallery

Lithum-mesh_Malcolm_Koch_2016

Artist statement of work: Lithium mesh
Quarks & leptons are the building blocks of matter — I’ve created a series of events, using curls & waves, that interpret a geometric construct of a particle’s properties. The curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to 2D-form for observation. The viewer experiences the unravelled results — challenging perceptions that things are often not what they appear to be — a tangible expression of how nature at the very small scale may be formed, by complicated structures and events that are concealed from us.

Proton brushstroke: from curvature to flat

Proton_Quantum_brushstroke_Malcolm-Koch_2016_2I’m inclined to think that… ‘the 3D world is an illusion. The ultimate precise reality is the 2D reality on the surface of the universe’, Leonard Susskin*

*Source: What is space? 48:30s, 2015 www.youtube.com
Note: A second phase dimension has been neglected from this diagram. Download the PDF file Quantum brushstrokes for more.

Quantum brushstrokes – Is it an open door for abstraction?

The Observer recently wrote a very interesting article titled, Are Painters out of ideas? In it they suggest that they are, ‘as it is just too difficult to be truly original with paint these days.’

Of course, ‘mimicry—either the naive or purposeful kind—is not new, nor is it illegal.’ But what caught my attention was the statement, ‘that there are only so many variants of color, brushstroke and composition to discover, especially once you get into formal abstraction. And in fact, the art world had seen an explosion of simplistic wall works over its recent boom years, many of which rehashed post-Minimalist or process-based ideas from the ’60s and ’70s in order to produce a high yield of nearly indistinguishable abstractions.’

While I essentially agree with the premise of this, I don’t agree that all has been explored. I believe what I call the ‘quantum brushstrokes’ opens a door to abstraction that is not borrowing, stealing, appropriating, or copying from the past. It is authentic, real and relevant to anyone, like me, who has a keen interested in expressing the aesthetics of our natural universe.

See full article here: http://observer.com/2016/02/are-painters-out-of-ideas/

For more download: Quantum brushstrokes

Carbon 12 is favourable for entanglement

Membrane-Art_aesthetic_Quantum-brushstroke_carbon-12

It seems to me that the efficiency of creating this diptych (Carbon 12) is a clue as to why life forms are favoured towards a carbon-based structure. This painting was completed with only 6 drill holes and 3 saw cuts as one entangled expression, yet we can observe — a sea of 72 quarks (holes) and a cloud of 39 electrons (cuts).

About the painting: Created as a series of quantum brushstrokes, it interprets the geometric construct of the respective particles properties, ie, protons, neutrons, electrons. The various curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to the 2D-form for observation. The viewer experiences the unconcealed and simplified results rather than an accrual of the method used – a possible model of how the natural world is formed, even at a tiny scale, by complicated structures and events.

For more see Carbon 12 (network) in the flesh at my latest exhibition:
Visual entanglement
FutureSpace Gallery
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016

More information about the work: Quantum brushstrokes

Quantum brushstrokes are real

This is an attempt to express a classical interpretation of how fundamental particles may have evolved. Also it tries to address some of the principle questions about why certain particles and initial conditions have been favourable for life to evolve while others have not.

I must emphasise that this aesthetic interpretation has not been tested or verified in any way, shape or form (it’s a ‘fruitloopery’ interpretation from a fringe dweller). Nevertheless it is an invitation to think about what fundamentally cannot be actually directly observed – a quantum particle (not yet anyhow). Therefore the aim is to provide a platform for a visual dialogue that postulates current particle physicists theories, so that we may then have a tactile understanding of their thinking and subsequent discoveries. Afterall, developing bite-size visual queues is a particularly humanistic quality beneficial for understanding our world and each other. Without that, the practical implications may not be as readily realised.

At the same time, this is an extension into the art practice I call, Membrane Art — that is, how geometric curves provide the framework for events to manifest and evolve, yet the flat picture plan is an agent of how we observe them — necessary to help us analyse and contemplate what has happened.

I trust that with further understandings this aesthetic practice will evolve and be further enhanced in time.

_ _

Building brushstrokes (Quantum brushstrokes)

The building blocks of matter are made up of two kinds of brushstroke expressions:

  • Quark brushstrokes
: Quarks are represented by drill holes created on a particular kind of curl (strong interactions) — a quark is a tiny particle which makes up protons and neutrons.

Membrane-Art_Malcolm-Koch_proton_neutron_diagram

  • Electron brushstrokes: Electrons (leptons) are represented by saw cuts created on a wavy surface (electromagnetic interactions).

Membrane-Art_Malcolm-Koch_electron_diagram

Whichever brushstroke expression is used the similarities to the way a brushstroke mark is made on a flat plane remains the same — there is initial contact, movement across and then an exit off the surface.

Note: The saw cuts and drill holes are vector spaces left behind within the field and not the particles themselves. That eventuates as a consequence of it.

Quark brushstroke

Quantum_brushstroke_Quark_Malcolm-Koch_2016_1

Favourable curled structures
The curled membrane represents the geometry of the strong field needed to create the particles that interact with it. The drill holes produced on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.

Strong interactions
1: This side view of a curled membrane represents how strong interactions are created. One drill hole can express a multiple flavours of quarks. When entry occurs at the point where two convex surfaces are close together and the exited point is a concave structure – a proton is created (two up / one down).
2: If the curl is spun 180° (half spin) then a different set of events occur. When entry occurs at one convex structure and the exit point is at two concave structures that are close together – a neutron is created (two down / one up).
3: Flat view: The aesthetic is realised when the membrane is opened out and the depth is compressed. Nothing disappears, it just changes form. This generates the human visual experience, a metaphor for how we perceive.

Working hypothesis
Quarks eventuate out of the six different spacial geometries as shown above (3 proton-style quarks, 3 neutron-style quarks). In practice, however, vector fields that holds the quarks are often malformed at the time of creation. It doesn’t matter that the same drill-bit size was used to cut through all the various curvature constructs, you can expect variations to size to occur. Whether or not this is due to the condition of the tool used, extra debris or other surface conditions allows for a multitude of variations to manifest. Nature is fickle, so if quarks are created in this way then you can expect that given time (billions of years or so) decay or other high entropy processes may then ‘clean up’ the vector spaces to allow for a more full-bodied quark type to evolve and become favourable for atom formation.

Electron brushstroke

Quantum_brushstroke_Electrons_Malcolm-Koch_2016_1

Favourable wave structures
The wave membrane represents the geometry of the electromagnetic field needed to create the particles that interact with it. The saw cuts on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.

Electro/magnetic interactions
1: This side view of a wave membrane represents the electromagnetic field. The geometric relationship creates ‘hidden’ structures for the work.
2: This shows how one expression (a cut made by the circular saw) can appear to be in two places at the same time.
3: Flat view: The aesthetic is realised when the depth is compressed. Nothing disappears – it just changes form. This generates the human visual experience, a metaphor for how we perceive.

Working hypothesis
The saw cuts and drill holes are vectors created within the field and don’t necessarily represent the particles themselves. Smaller sedimentary-style matter (strings) may fill the void left behind to create the so-called elementary particle. In practice, for entangled (networks) to occur, electron brushstrokes by default might contain more parts or substructures then the ones we know. For example, the bottom fold which contains no cut, is still a part of the overall structure. It creates the visual connection (distance) between two saw cut expressions when we observe them on the flat plane.

I have not considered the scale differences between leptons and quarks in the development of this work. Curled structures might have eventuated before wave structures. They may simply be a by-product of curled up ones.

Creating atoms (protons, neutrons, electrons)
with second phase dimensions

Quantum_brushstroke_Atoms_Malcolm-Koch_2016_1

Favourable particles
We can now use both drill holes and saw cuts to create vectors and other interactions on the surface of the membranes. To create entangled (networks) a second phase dimension is hidden within the geometry of the curvature constructs at the time of creation. In practice, this second phase dimension must be large enough so that it can be held in place by the outer dimension at the time of creation — too small, it misses, rolls around inside and remains unconnected.

1: This electron was created with additional hidden structures (phase dimension) to express a ‘cloud of electrons’ that are entangled as one expression as seen on the opened out perspective.
2: Multiple quarks can be created with additional hidden structures (phase dimension) to express a ‘sea of quarks’ that are entangled (networked) as one expression as shown on the opened out perspective.
3: Flat viewpoint – all sorts of expressive combinations can be created with quantum brushstrokes that relate to fundamental particle formations. Yet the flat picture plane is necessary to help us analyse and contemplate what has happened.

Working hypothesis
If the same size drill-bit and saw blade is used to cut through all phase dimensions then it could be that the hidden dimensions is as large (possibly tighter and more fragile) then the dimensions we know. For entanglement to occur, particles by default must clump together to form stable groups. So when smaller sedimentary-style matter (strings) fill the space left behind they may entangle with all phase dimensions as one expression.

For more see:
Visual entanglement
FutureSpace Gallery
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016