Category Archives: Woodnote Lab Notes

Around the world…? no zone…

I’ve been working on a large scale project that involves taking my artistic practice to countries based on the climate zone. One of the challenges of working with organic materials is that you cannot take organic materials across the boarder so the easiest way is to take your practice/research with you while you travel. I have just recently finished the limited edition release of Valley Moments, volume 1, Moments of Creative Exploration  and had a bit of a realization of how to plan the other editions. The next one will be based on the theme, ‘(scientific) Inquiry’ so.. ‘Moments of (scientific) Inquiry’ which got me thinking about this large scale project as it involves traveling also.

The project involves taking my practice/research to a different country in a different climate zone, and my electrography process to photograph organic material within different climate zones. My goal is to see similarities (or continuities?) in each climate zone of maybe similar materials. It has made me pay attention to the destination even more so. For example, Greenland is on my list because it’s climate is within the Tundra zone, however that doesn’t necessarily mean there isn’t vegetation. There could be very little vegetation – however it will still be significant to my work. Additionally, the vegetation in the Tundra zones of the world may lie really in the oceans – so scuba diving might be a possibility to collect samples. From observation during my residency in Italy, the voltage and frequency of electricity used within a specific country can also impact results on paper. As observed, the effect on paper was much harsher in Italy since there was a greater use (220 volts vs 110 volts in USA). In Greenland it’s even higher (220 – 240 volts).

Perhaps from a data perspective, my goal is to hope to visualize climate change in a stronger way. To maybe see effects of using organic materials overtime within a specific climate zone. The voltage used within a country shouldn’t change that much, but since the effect on paper is related to water presence in organic materials, we might be able to see things become drier or more moist over time.

WTA – Tracks in a Hydrogen Bubble Chamber

Type: From Physics Research

Title: Tracks in a hydrogen bubble chamber

Description:These tracks (high-res version) were made by charged particles in a bubble chamber (a technology used in the 1970s).  A magnetic field perpendicular to the image produces a force that curves the orbits of charged particles. See Tracks in a hydrogen bubble chamber for information about this image, and to find out more, visit CERN’s Introduction to the BC Site.Image:image © CERN; image source

Image URL:https://www.compadre.org/Informal/images/features/CERNtracks7-25-07large.jpg

Featured:August 1, 2007 – August 16, 2007

CL – Inertia: the force that holds the universe together

Inertia: The Force That Holds the Universe Together

Inertia is the force that holds the universe together. Literally. Without it, things would fall apart. It’s also what keeps us locked in destructive habits, and resistant to change.

***

“If it were possible to flick a switch and turn off inertia, the universe would collapse in an instant to a clump of matter,” write Peter and Neal Garneau in In the Grip of the Distant Universe: The Science of Inertia.

“…death is the destination we all share. No one has ever escaped it. And that is as it should be, because death is very likely the single best invention of life. It’s life’s change agent; it clears out the old to make way for the new … Your time is limited, so don’t waste it living someone else’s life.”

— Steve Jobs

Inertia is the force that holds the universe together. Literally. Without it, matter would lack the electric forces necessary to form its current arrangement. Inertia is counteracted by the heat and kinetic energy produced by moving particles. Subtract it and everything cools to -459.67 degrees Fahrenheit (absolute zero temperature). Yet we know so little about inertia and how to leverage it in our daily lives.

Inertia: The Force That Holds the Universe Together

The Basics

The German astronomer Johannes Kepler (1571–1630) coined the word “inertia.” The etymology of the term is telling. Kepler obtained it from the Latin for “unskillfulness, ignorance; inactivity or idleness.” True to its origin, inertia keeps us in bed on a lazy Sunday morning (we need to apply activation energy to overcome this state).

Inertia refers to resistance to change — in particular, resistance to changes in motion. Inertia may manifest in physical objects or in the minds of people.

We learn the principle of inertia early on in life. We all know that it takes a force to get something moving, to change its direction, or to stop it.

Our intuitive sense of how inertia works enables us to exercise a degree of control over the world around us. Learning to drive offers further lessons. Without external physical forces, a car would keep moving in a straight line in the same direction. It takes a force (energy) to get a car moving and overcome the inertia that kept it still in a parking space. Changing direction to round a corner or make a U-turn requires further energy. Inertia is why a car does not stop the moment the brakes are applied.

The heavier a vehicle is, the harder it is to overcome inertia and make it stop. A light bicycle stops with ease, while an eight-carriage passenger train needs a good mile to halt. Similarly, the faster we run, the longer it takes to stop. Running in a straight line is much easier than twisting through a crowded sidewalk, changing direction to dodge people.

Any object that can be rotated, such as a wheel, has rotational inertia. This tells us how hard it is to change the object’s speed around the axis. Rotational inertia depends on the mass of the object and its distribution relative to the axis.

Inertia is Newton’s first law of motion, a fundamental principle of physics. Newton summarized it this way: “The vis insita, or innate force of matter, is a power of resisting by which every body, as much as in it lies, endeavors to preserve its present state, whether it be of rest or of moving uniformly forward in a straight line.”

When developing his first law, Newton drew upon the work of Galileo Galilei. In a 1624 letter to Francesco Ingoli, Galileo outlined the principle of inertia:

I tell you that if natural bodies have it from Nature to be moved by any movement, this can only be a circular motion, nor is it possible that Nature has given to any of its integral bodies a propensity to be moved by straight motion. I have many confirmations of this proposition, but for the present one alone suffices, which is this.

I suppose the parts of the universe to be in the best arrangement so that none is out of its place, which is to say that Nature and God have perfectly arranged their structure… Therefore, if the parts of the world are well ordered, the straight motion is superfluous and not natural, and they can only have it when some body is forcibly removed from its natural place, to which it would then return to a straight line.

In 1786, Immanuel Kant elaborated further: “All change of matter has an external cause. (Every body remains in its state of rest or motion in the same direction and with the same velocity, if not compelled by an external cause to forsake this state.) … This mechanical law can only be called the law of inertia (lex inertiæ)….”

Now that we understand the principle, let’s look at some of the ways we can understand it better and apply it to our advantage.

Decision Making and Cognitive Inertia

We all experience cognitive inertia: the tendency to stick to existing ideas, beliefs, and habits even when they no longer serve us well. Few people are truly able to revise their opinions in light of disconfirmatory information. Instead, we succumb to confirmation bias and seek out verification of existing beliefs. It’s much easier to keep thinking what we’ve always been thinking than to reflect on the chance that we might be wrong and update our views. It takes work to overcome cognitive dissonance, just as it takes effort to stop a car or change its direction.

When the environment changes, clinging to old beliefs can be harmful or even fatal. Whether we fail to perceive the changes or fail to respond to them, the result is the same. Even when it’s obvious to others that we must change, it’s not obvious to us. It’s much easier to see something when you’re not directly involved. If I ask you how fast you’re moving right now, you’d likely say zero, but you’re moving 18,000 miles an hour around the sun. Perspective is everything, and the perspective that matters is the one that most closely lines up with reality.

“Sometimes you make up your mind about something without knowing why, and your decision persists by the power of inertia. Every year it gets harder to change.”

— Milan Kundera, The Unbearable Lightness of Being

Cognitive inertia is the reason that changing our habits can be difficult. The default is always the path of least resistance, which is easy to accept and harder to question. Consider your bank, for example. Perhaps you know that there are better options at other banks. Or you have had issues with your bank that took ages to get sorted. Yet very few people actually change their banks, and many of us stick with the account we first opened. After all, moving away from the status quo would require a lot of effort: researching alternatives, transferring balances, closing accounts, etc. And what if something goes wrong? Sounds risky. The switching costs are high, so we stick to the status quo.

Sometimes inertia helps us. After all, questioning everything would be exhausting. But in many cases, it is worthwhile to overcome inertia and set something in motion, or change direction, or halt it.

The important thing about inertia is that it is only the initial push that is difficult. After that, progress tends to be smoother. Ernest Hemingway had a trick for overcoming inertia in his writing. Knowing that getting started was always the hardest part, he chose to finish work each day at a point where he had momentum (rather than when he ran out of ideas). The next day, he could pick up from there. In A Moveable Feast, Hemingway explains:

I always worked until I had something done and I always stopped when I knew what was going to happen next. That way I could be sure of going on the next day.

Later on in the book, he describes another method, which was to write just one sentence:

Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know. So, finally I would write one true sentence and go on from there. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say. If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written.

We can learn a lot from Hemingway’s approach to tackling inertia and apply it in areas beyond writing. As with physics, the momentum from getting started can carry us a long way. We just need to muster the required activation energy and get going.

Status Quo Bias: “When in Doubt, Do Nothing”

Cognitive inertia also manifests in the form of status quo bias. When making decisions, we are rarely rational. Faced with competing options and information, we often opt for the default because it’s easy. Doing something other than what we’re already doing requires mental energy that we would rather preserve. In many areas, this helps us avoid decision fatigue.

Many of us eat the same meals most of the time, wear similar outfits, and follow routines. This tendency usually serves us well. But the status quo is not necessarily the optimum solution. Indeed, it may be outright harmful or at least unhelpful if something has changed in the environment or we want to optimize our use of time.

“The great enemy of any attempt to change men’s habits is inertia. Civilization is limited by inertia.”

— Edward L. Bernays, Propaganda

In a paper entitled “If you like it, does it matter if it’s real?” Felipe De Brigard[1] offers a powerful illustration of status quo bias. One of the best-known thought experiments concerns Robert Nozick’s “experience machine.” Nozick asked us to imagine that scientists have created a virtual reality machine capable of simulating any pleasurable experience. We are offered the opportunity to plug ourselves in and live out the rest of our lives in permanent, but fake enjoyment. The experience machine would later inspire the Matrix film series. Presented with the thought experiment, most people balk and claim they would prefer reality. But what if we flip the narrative? De Brigard believed that we are opposed to the experience machine because it contradicts the status quo, the life we are accustomed to.

In an experiment, he asked participants to imagine themselves woken by the doorbell on a Saturday morning. A man in black, introducing himself as Mr. Smith, is at the door. He claims to have vital information. Mr. Smith explains that there has been an error and you are in fact connected to an experience machine. Everything you have lived through so far has been a simulation. He offers a choice: stay plugged in, or return to an unknown real life. Unsurprisingly, far fewer people wished to return to reality in the latter situation than wished to remain in it in the former. The aversive element is not the experience machine itself, but the departure from the status quo it represents.

Conclusion

Inertia is a pervasive, problematic force. It’s the pull that keeps us clinging to old ways and prevents us from trying new things. But as we have seen, it is also a necessary one. Without it, the universe would collapse. Inertia is what enables us to maintain patterns of functioning, maintain relationships, and get through the day without questioning everything. We can overcome inertia much like Hemingway did — by recognizing its influence and taking the necessary steps to create that all-important initial momentum.

***

Prime Members can discuss this on the Learning Community Forum.

End Notes

[1] https://www.tandfonline.com/doi/abs/10.1080/09515080903532290

Experiments: WTA – Ferrofluid Attempts #1

Thoughts:

  • I used too much, or didn’t dilute it enough – a little goes a long way
  • Didn’t realize my LED strip needed an adapter to plugin into the wall so no light source at the moment
  • Fun playing around with the fluid dynamics of ferrofluid
  • The circular pieces of glass I bought weren’t clear at all so I am not able to use them
  • Fun playing around with something I’ve read so much about

Project: WTA – Ferrofluid #1
Year: 2018

First attempts with ferrofluid. Nothing special just fluid dynamics doing its thing.

WTA – WereWool

One of my advisors is currently working on a project at the Fashion Institute of Technology for the BioDesign Challenge in creating fibre from proteins the project is called – WereWool.  I am posting this here to save for future reference for my Weaving and Textile Arts research interest.

WHAT IS WEREWOOL?

A 2018 Bio Design Challenge project that is trying to create a new class of fibers by synthesizing proteins that are genetically altered to bond together, using an enzyme called Transglutaminase to create a new platform for fiber innovation.

The growing consumer demand for fast fashion and it’s environmental and ethical impact has led companies to seek more sustainable sources of fiber.

We are creating a new type of biomaterial. The fiber formation system we are creating has the potential to create an easily accessible platform for sustainable material development; integrating synthetic biology into the design phase of the product lifecycle.

Werewool is trying to address the impact of the wool industry and it’s current market alternatives.

Our fiber is produced by harnessing the tools of synthetic biology, our own bodies proteins, and the power of an enzyme glue.

We can provide a fiber source that requires minimal inputs, is completely biodegradable, is environmentally friendly and cruelty free!

Hunab Ku

The Origin of the “Hunab Ku” Symbol

“The Origin of the ‘Hunab Ku’ Symbol”

Sept. 24, 2006

http://www.diagnosis2012.co.uk/new10.htm#hunab

Hunab Ku

The “Hunab Ku” symbol, is widely presumed to be a Maya representation of a major Maya deity and the centre of our Milky Way galaxy. You can find a representation of it at the centre of the Dire Gnosis logo on the index page of this website.  Anthropologist John Hoopes recently asked the Year 2012 discussion group if anyone could pinpoint any Maya sculpture, ceramic vessel, or other Precolumbian Maya source where it is shown.

The discussion brought out some interesting facts, summarised as follows:

The symbol became widely known when Jose Arguelles published The Mayan Factor in 1987, where it appears in circular form on the cover of the book, and as part of many illustrations. On p. 32, a rectangular version is labelled “Hunab Ku”, and on p.52, the rectangular version is shown and labelled as “Hunab Ku: One Giver of Movement and Measure”. On p. 30-32, Arguelles explains that in 1968, he visited a little town called Teotitlan del Valle near the Zapotec site of Monte Alban in the mountains of Oaxaca, in central Mexico, and he was shown two rugs with this pattern on them in a textile shop. He bought one in blue and orange.

The connection between the title of Hunab Ku and the design is not explained by Arguelles, but seems to have come via the modern Maya day-keeper, Hunbatz Men. Arguelles says on p.40 that he met Hunbatz Men in 1985, and admits that he was heavily influenced by him. The following year, in 1986, Hunbatz Men published a book in Spanish called Religion Ciencia Maya, (published in 1990 in English as Secrets of Maya Science/Religion), he says that the Mexicas (Aztecs) worshipped Hunab Ku, and they (as well as the Mixtecs), also worshipped the Milky Way, as represented in the “G symbol” (p.40-41). Men calls Hunab Ku “The Only Giver of Movement and Measure”, and at the bottom of p.34 he says that “in order to understand the sacred Hunab Ku…one must venerate the origin of zero, the Milky Way…”.

According to the official Mayanists, such as Sharer, Hunab Ku means “one god” in Yucatec Mayan language, and was the creator of the universe and equivalent to Itzamna, but “Hunab Ku seems to have figured little in the life of the ancient Maya and no representations of Hunab Ku have been identified in the codices or elsewhere.”

In John Major Jenkins’ 1998 book, Maya Cosmogenesis 2012, he shows the rectangular symbol, (p.329) and says it originates in the Nuttall Codex (a pre-conquest Mixtec document named after Zelia Nuttall who identified and published it), but after failing to find it in the the Nuttall codex, Hoopes contacted John Major Jenkins, who said he had seen the symbol as a frontispiece House of the Dawn – in a romance novel by Ryan, published in 1914, and also in an academic work by Zelia Nuttall, but he’d rechecked and it was not in the Nuttall Codex.

Next,  I located the symbol in its rectangular form in a 1922 edition of Herbert J. Spinden’s Ancient Civilizations of Mexico and Central America (p.220), with the caption, “Mexican blanket with the design representing sand and water”.

John Major Jenkins finally settled the matter, when he found the rectangular design in the Codex Magliabecchiano, published in 1903, with a commentary by Zelia Nuttall, which is an Aztec document and dates from some time before 601. Hoopes went on to find that the codex shows variations of the rectangular design, and says they are “mantas” – mantles or ritual cloaks that were used in festivals – in particular, the festival of  lip plugs. The word for lip plug was originally mistranslated as spider water, which is given in the caption.

So, in summary, the “Hunab Ku” symbol was originally a rectangular symbol used by the Aztecs as a ritual cloak design, known as the Mantle of Lip Plugs (or, arguably, mantle of spider water). The symbol survives as a rug design being sold in central Mexico, but was associated with the Milky Way and the god Hunab Ku by Jose Arguelles in 1987, who changed the symbol to a circular one. This is how the symbol appeared in the 16th century Codex Magliabecchiano:

Introducing… MagKnotic!

It’s been about a year since switching gears to my artistic practice. The electrography collection literally came to me via psychic insight and I was able to follow that insight at the time. I was in college at the time, and deep into my research interests when the idea came to me and with the help of my father – he was able to help build the device I needed to pursue the project. My professors encouraged me to build a legacy of images surrounding this style of photographic art. I have been deeply terrified of following other ideas due to them not having any sort of structure to measure success or to define the project to be successful. Through the years of exhibiting my electrography collection I’ve been teaching myself how to measure the success of this project so I can embark on other projects and ideas that are similar – which is why and how I devised the research framework. I had realized my electrography collection came from my research interests and once I defined a framework for that, my other ideas for projects developed nicely.

This past year I have done an enormous amount of soul searching and figuring out what and how I would conduct my artistic practice. I have 8 research interests that are propagating that I see unfolding over the next 5-10 years. I have felt very blessed that my first steps into the art world professionally have been met with success, but it is also terrifying to me to try to follow and continue these steps. Of the 8 research interests, only a few have stuck with me as something to pursue and that are feasible to pursue in the moment.

One of the things that was brought to my attention is that much of the opportunities that I pursued were in order to help other organizations continue to run. Which is fine and all – perhaps for an entry level artist – however, I feel at this stage of my career there should be less of that and more things carried out and organized on my own. So this means having a full body of work ready to be displayed when submitting to calls for exhibition, learning how to apply for grants and securing funding for larger scale projects, collaborating with larger institutions and universities to carry out work that is beneficial to the people involved, among other things. When realizing that I have the skills to conduct these projects essentially on my own outside of the established boundaries of art, it is quite freeing. I do not need that residency or development course to carry out a project – utilizing the resources at hand, I can carry out these projects myself.

The universe has a funny way of working… I have been working on this new artwork series within the last month and just the last couple of days an opportunity came through within my network for me to go back to my artistic home – Italy – to potentially work with a textile manufacturer in a collaborative project. I had been feeling a pull to work on my research interest of weaving and textile arts  and this synchronicity has sort of confirmed it for me. I have put several ideas out into the universe and seems to me that this one will lead somewhere. Which leads me to introduce the project…

MagKnotic! A series of textile arts that are inspired by magnetic fields visualized with ferrofluid and light. This project is about the theory that weaving and textile arts, specifically Celtic – as well as others, contain meanings embedded within the knots, forming a language. For example, a comparison between an image of the earth’s magnetic field and the Celtic tree of life depicting the exploding/imploding energy. An implosion is simply the opposite of an explosion. In an explosion, matter and energy fly outward, but in an implosion, matter and energy collapse inward. So in short, implosions are caused by having a greater pressure on the outside of an object than on the inside. For the purpose of this project, it will focus on the Celtic knotting methods and it’s correlation to magnetism. However, this project can extend to other cultures such as South America and as far as East Asia.

WTA – Magnetic Warp

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Michael Snyder of the University of Louisville has been working on developing imaging techniques utilizing two ferrofluid Hele-Shaw cells that have been constructed to facilitate the imaging of magnetic field lines. His results are distinctive and show similarities to sacred geometry and Celtic weaving.

 

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WTA – Magical Designs of the Shibipo Indians

Have you ever wondered what inspired the designs of the indigenous peoples?

There are instances when design inspiration comes from an other worldly experience.

He reports that Shipibo shamans believe that taking Ayahuasca permits the shaman’s soul to leave his body in the form of a bird which then can fly to a distant enemy at night. This bird then changes back into the shaman’s human form so he can destroy the sleeping enemy. Shipibo WomanUnder the influence of the Banisteriopsis drink mixture, the Shipibo Indians often report seeing giant anacondas, poisonous snakes, and jaguars. Less frequently, other animals are observed in their visions. In addition, Harner reports that often a shaman, taking the drink, believes he acquires giant snakes which are to be his special demons to be used in protecting himself against other shamans in supernatural battles. The Shipibo shamans, under the influence of the drug, believe they imprison other persons’ souls with supernatural boats whose demon crews are led by a yellow jaguar and a black puma.

The pineal gland is your third eye. It is usually illustrated in art as a pinecone. This eye is actually a small gland in the center of the brain, which we’re told is to help balance both the left and right brain when working properly.

This gland secretes a serotonin known as DMT or Dimethyltryptamine that is nicknamed to be the spirit molecule, because it’s the very tryptamine that helps us fall asleep. This gland is called an eye because it has a retina and is built like our exterior eyes. This eye opens when lights are off, or we close our eyes. In Matthew 4:16 “the people sitting in darkness saw a great Light; and to those sitting in the region and shadow of death, Light sprang up to them,” Isa. 9:1-2. This eye is home to visions, dreams, ideas and imaginations. There has been an interesting study of the brain chemistry of schizophrenics and creative people. The basis of the conclusion of this was the chemistry from the third eye. Schizophrenic behavior occurs when the third eye is awake when the person is awake.

By Howard G Charing,

The intricate Shipibo designs have their origin in the non-manifest and ineffable world in the spirit of the Rainforest and all who live there. The designs are a representation of the Cosmic Serpent, the Anaconda, the great Mother, creator of the universe called Ronin Kene. For the Shipibo the skin of Ronin Kene has a radiating, electrifying vibration of light, colour, sound, movement and is the embodiment of all possible patterns and designs past, present, and future. The designs that the Shipibo paint are channels or conduits for this multi-sensorial vibrational fusion of form, light and sound. Although in our cultural paradigm we perceive that the geometric patterns are bound within the border of the textile or ceramic vessel, to the Shipibo the patterns extend far beyond these borders and permeate the entire world.

One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song or music.

The Shipibo believe that our state of health (which includes physical and psychological) is dependent on the balanced union between mind, spirit and body. If an imbalance in this occurs such as through emotions of envy, hate, anger, this will generate a negative effect on the health of that person. The shaman will re-establish the balance by chanting the icaros, which are the geometric patterns of harmony made manifest in sound into the body of the person. The shaman in effect transforms the visual code into an acoustic code.

A key element in this magical dialogue with the energy which permeates creation and is embedded in the Shipibo designs is the work with ayahuasca by the Shipibo shamans or muraya. In the deep ayahuasca trance, the ayahuasca reveals to the shaman the luminous geometric patterns of energy. These filaments drift towards the mouth of the shaman where it metamorphoses into a chant or icaro. The icaro is a conduit for the patterns of creation which then permeate the body of the shaman’s patient bringing harmony in the form of the geometric patterns which re-balances the patient’s body. The vocal range of the Shipibo shaman’s when they chant the icaros is astonishing, they can range from the highest falsetto one moment to a sound which resembles a thumping pile driver, and then to a gentle soothing melodic lullaby. Speaking personally of my experience with this, is a feeling that every cell in my body is floating and embraced in a nurturing all-encompassing vibration, even the air around me is vibrating in acoustic resonance with the icaro of the maestro. The shaman knows when the healing is complete as the design is clearly distinct in the patient’s body. It make take a few sessions to complete this, and when completed the geometric healing designs are embedded in the patient’s body, this is called an Arkana. This internal patterning is deemed to be permanent and to protect a person’s spirit.

The smaller flowing patterns within the geometric forms are the radiating power of the Cosmic Serpent which turns this way and that, betwixt and between constantly creating the universe as it moves. The circles are often a direct representation of the Cosmic Anaconda, and within the circle itself is the central point of creation.

In the Western tradition, from the Pythagoreans, and Plato through the Renaissance music was used to heal the body and to elevate the soul. It was also believed that earthly music was no more than a faint echo of the universal ‘harmony of the spheres’. This view of the harmony of the universe was held both by artists and scientists until the mechanistic universe of Newton.

Joseph Campbell the foremost scholar of mythology suggests that there is a universe of harmonic vibrations which the human collective unconscious has always been in communion with. Our beings beat to the ancient rhythms of the cosmos. The traditional ways of the Shipibo and other indigenous peoples still reflect the primal rhythm, and their perception of the universal forces made physical is truly a communion with the infinite.