Chapter 10: The Bulk interpretation and prompts.

Speaker 0 00:00:00 Chapter 10, the bulk interpretation and prompts. This chapter provides additional interpretations and reflection prompts for the bulk sculpture. The chapter is three minutes long Speaker 1 00:00:13 Throat. This installation, the artists, Joel Toms, has been playing with the concept of dimensionality and making space for multiple dimensions. Within our understanding of the universe, he is making a link to the ways of thinking used by physicists, who try to make sense of a universe where 84% of matter is undetectable. The title of this work is the bulk in physics. The term bulk is given to a hypothetical higher dimensional space within which the 11 dimensions of our universe may exist. The 11 dimensions are the three dimensions we can see plus time, plus the seven extra dimensions that we can't see, but that M theory theorizes are all around us. Speaker 1 00:01:01 The artist's considers these sculptures as shadows of a seven dimensional artifact. The Greek philosopher Plato famously used an allegory of the cave in which the shadows on the wall are a representation of a lesser dimension of reality. The only experience of reality that humans have access to think of the rotating frame as a shadow of a higher dimension reality that we live in, although it is imperceptible to us, are we meant to look into the Ferno lens into other dimensions, or does the lens project, those dimensions out to us in its entirety, Joel's installation and land. The holographic principle pulls our attention in multiple directions. He wants us to think critically about where dark matter scientists are working and how they are thinking. It is a kind of artistic investigation and experimentation like the experiments in snow lab, Joel attempts in multiple, sometimes indirect ways to understand the imperceptible yet inextricable forces that make up our world. The exhibition title drift draws from the mining term for a horizontal tunnel. In this case, it refers to the passageway in the copper and nickel mines, stretching from the mining elevator to the clean lab spaces of snow lab. We have been reflecting on the forms and energies that connect scientific research to art landscapes, cultures, and histories. It is also striking that the action of drifting is also to stray from a path or standard. We hope that this audio exploration of the intersections between art and science has felt like a journey off the beaten path.