Paul Thomas in collaboration with Kevin Raxworthy >
Midas, installation
08|11|2007 -
11|11|2007
Paul Thomas in collaboration with Kevin Raxworthy
Midas
A visual and sonic installation that amplifies certain aspects of experience at a nano level
The Midas project takes its name from the fabled Midas, King of Phrygia to whom Dionysus gave the power of turning all that he touched into gold. The metonymic work is based on research developed at SymbioticA and the Nano Research Institute at Curtin University of Technology. Midas uses data gathered from an Atomic Force Microscope (AFM) in contact and force spectroscopy mode which is translated into images and sound files. By scanning a skin cell with both a gold-coated and uncoated cantilever tip, specific recorded data for each event can be comparatively examined. In this process the transition of atomic vibrations between a skin cell and gold is demonstrated. The recorded data of vibrating atoms is translated into sound files, presented in conjunction with a genetic algorithmic visualisation. The algorithm is written to contaminate the skin cell’s image replicating a Drexlierian deterritorialising landscape for semi autonomous nano assemblers. The semi autonomous self-organizing nanobots affect the AFM’s imaging of the skin cell transmuting it into gold. The experience of touch is represented in the process of the viewer making contact with a button constructed from an imaged skin cell. This action releases nanobots, seeded from the recorded data. Simultaneously, sub sonic speakers amplify the data of the atoms vibrations, making that which is infinitely small, both audible and palpable.
Midas
A visual and sonic installation that amplifies certain aspects of experience at a nano level
The Midas project takes its name from the fabled Midas, King of Phrygia to whom Dionysus gave the power of turning all that he touched into gold. The metonymic work is based on research developed at SymbioticA and the Nano Research Institute at Curtin University of Technology. Midas uses data gathered from an Atomic Force Microscope (AFM) in contact and force spectroscopy mode which is translated into images and sound files. By scanning a skin cell with both a gold-coated and uncoated cantilever tip, specific recorded data for each event can be comparatively examined. In this process the transition of atomic vibrations between a skin cell and gold is demonstrated. The recorded data of vibrating atoms is translated into sound files, presented in conjunction with a genetic algorithmic visualisation. The algorithm is written to contaminate the skin cell’s image replicating a Drexlierian deterritorialising landscape for semi autonomous nano assemblers. The semi autonomous self-organizing nanobots affect the AFM’s imaging of the skin cell transmuting it into gold. The experience of touch is represented in the process of the viewer making contact with a button constructed from an imaged skin cell. This action releases nanobots, seeded from the recorded data. Simultaneously, sub sonic speakers amplify the data of the atoms vibrations, making that which is infinitely small, both audible and palpable.
Paul Thomas
Australian, 1950, Senior Lecturer, Curtin University of Technology, Department of Art, htttp://www.visiblespace.com, he is coordinator of the Studio Electronic Arts (SEA) at Curtin University of Technology and is the founding Director of the Biennale of Electronic Arts Perth (BEAP). Paul Thomas has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space, which was part of the first global link up with artists connected to ARTEX. His practice lead research is in collaboration with the Nanochemistry Research Institute at Curtin University and the SymbioticA Lab at the University of Western Australia. He is currently collaborating on a public art commission for the Curtin Mineral and Chemistry Research Precinct in collaboration with Woods Bagot Architects. He recently completed his PhD researching the reconfiguration of space.
Australian, 1950, Senior Lecturer, Curtin University of Technology, Department of Art, htttp://www.visiblespace.com, he is coordinator of the Studio Electronic Arts (SEA) at Curtin University of Technology and is the founding Director of the Biennale of Electronic Arts Perth (BEAP). Paul Thomas has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space, which was part of the first global link up with artists connected to ARTEX. His practice lead research is in collaboration with the Nanochemistry Research Institute at Curtin University and the SymbioticA Lab at the University of Western Australia. He is currently collaborating on a public art commission for the Curtin Mineral and Chemistry Research Precinct in collaboration with Woods Bagot Architects. He recently completed his PhD researching the reconfiguration of space.
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