Posts Tagged ‘space’

The Intimacy of Light

Monday, October 11th, 2010

Light creates and defines space.

From the darkness we are revealed intimately. Alone. Together. The oldest storytellers had a single prop. And it was light. And it was good. The fire in the jungle clearing held dangers at bay and allowed the storyteller to spark the imaginations of the audience.

We use light to define space both physically and emotionally. The intimacy of a candle lit dinner for two speaks to a different notion of space and intimacy than a fluorescent lit cafeteria. Yet, it is not the physical space which makes this intimacy. It is the light. That same cafeteria with tables laid out, lit by candles, fluorescent lights turned off, becomes at once a space of intimacy. Close, we turn towards one another, lit in the soft glow of the candle, and we share our secrets.

The light creates not only space in which we might speak and act, it creates limits and walls. It bounds space as much as space is opened up. As the campfire light tapers off and disappears into the dense jungle, our intimate space of storytelling ends and the walls of the jungle rise up. The flicker and jump of the flame shifts those walls, making them always something uncertain, as we, the listeners, do not know where the journey of this storyteller is taking us.

The candle, with its flicker, softer now than the fire, also has walls. Those walls are soft, though equally as dark. The island of connection, made possible by the candle, becomes almost lost amidst the darkness.

Creators and workers of light must know, not just the technology, but the poetry of light. The technology changes, these days faster than ever. New fixtures, bulbs, control systems, and more come out daily. Yet the power of light is unchanged from the day our Sun ignited in a burst of nuclear fusion. The softness of the stories possible within the curtilage of a candle are no more nor less true today than they were thousands of years ago.

Understanding the poetics of light allows one to create spaces of real intimacy and truth. Reading instruction manuals is easy. Learning technology and software is simple. Dedicating one’s life to an intimate relationship with light itself is difficult.

Light is delicate. Be it a candle or a 10K HMI, light must be treated softly and with care or it will not respond to your wishes. One must develop a relationship with the light. One must become intimate with light for it to truly work with you and manifest your vision.

Even something as grand as a sunrise over the plains has an intimacy to it. A relationship between the Sun and the Earth which has been growing, evolving, and deepening for billions of years. The perfection of a sunset is a vector not a point. A striving for the most perfect, which, even if it could be achieved, would only set the bar higher for perfection.

Light does not just create physical space. It creates emotional space. When done right, it creates a spiritual space as well. The light pouring in through a stained glass window at 6am, transforming darkness into the multicolored splendor of spiritual possibility, is unlike most any other phenomenon on earth. A spiritual enlightenment made physical. Light creates the space of spiritual transformation.

Light makes intimacy possible. Without light there is no space for intimate encounters be it with the beloved or the divine.

Before the Earth cooled and turned solid there was light.

Before there was space there was light.

Before intimacy, there was light.

Solar Sunday

Sunday, October 26th, 2008

Solar Sunday is my weekly roundup of renewable energy and energy efficiency news from around the web.

Bugs Are Getting Worked Out Of Bioethanol Production

f the biofuel known as bioethanol is to make a major contribution to our fuel supplies, then we may well require the assistance of some tiny insect helpers, says Michael Scharf, an assistant professor of entomology at the University of Florida, Gainesville.

In a review to be published in Biofuels, Bioproducts & Biorefining, Scharf and his colleague Aurélien Tartar describe how the enzymes produced by both termites and the micro-organisms that inhabit their gut – known as symbionts – could help to produce ethanol from non-edible plant material such as straw and wood.

“Through millions and millions of years of evolution, termites and their symbionts have acquired highly specialised enzymes that work together to efficiently convert wood and other plant materials into simple sugars,” says Scharf. “These enzymes are of the most value to bioethanol production.”

Current bioethanol production processes tend to use edible plant materials, such as starch from corn (maize) and sugar from sugar cane, which contain easily accessible sugar molecules that can be fermented to produce ethanol. However, using food crops to produce ethanol has proved highly controversial, with bioethanol being blamed for much of the recent rises in food prices.

The non-edible parts of many plants also contain a large number of sugar molecules, which could potentially be used to produce ethanol. But the problem is that these sugar molecules are far less accessible. This is because they’re locked up within a substance known as lignocellulose, which provides structural support for plant cell walls.

Breaking this substance up into its component sugar molecules is far from easy. One approach involves pretreating the lignocellulose by heating it in combination with acids or bases and then exposing the pretreated material to various enzymes. Another approach is very fine grinding followed by enzymatic treatment.

Termites, on the other hand, don’t seem to have too much trouble digesting wood and other lignocellulosic materials into their component sugars, as many homeowners can attest. The termite appears to favour the fine grinding approach in combination with its own unique set of enzymes. These enzymes are secreted by both termites and the symbionts that colonise their gut, and act on the lignocellulose that has been chewed to very small particle sizes by the termite.

Space Age Solar

Ben Bova, the president emeritus of the National Space Society, recently suggested an incredible solution to the world’s energy crisis. Instead of taking solar panels and sticking them on your roof, he wants to send photovoltaic arrays off into space and beam solar energy down to earth. Since they are constantly exposed to the sun, such solar power satellites could provide a continuous stream of 5-10 gigawatts of energy!

In a recent Washington Post article Mr. Bova explains that the technology is not as farfetched as one would think. We already know how to send materials into space, and we have built large superstructures in zero-gravity environments (think the space station), so perhaps building a giant solar collector in space is not entirely out of the question.

His proposal is to build and launch solar power satellites – large photovoltaic arrays that constantly convert sunlight into electricity and use microwaves to beam that energy back to earth-bound receiving stations. According to Mr Bova, a single one of these satellites would send enough energy to power all of California. Since one would need a large surface to collect all of this energy, the best locations for receiving stations are dry areas such as the Nevada Desert or the Sahara.

Although the costs involved are fairly astronomical, the technology exists today, and this is not the first space-bound solar proposal that we have seen. So, what do you think – should someone give it a try?

Spaced Out

Wednesday, September 5th, 2007

Link

The world’s first purpose-built commercial spaceport will be a “green” building rising out of the desert of New Mexico, US, according to plans made public on Tuesday.

The designers of Spaceport America opted for a “low-lying, organic shape” that they say will blend into the surrounding landscape while conveying “the thrill of space travel”.

The spaceport will be the headquarters of Virgin Galactic, which will begin test flights of its passenger spaceliner, SpaceShipTwo, in 2008 and aims to be taking paying passengers to the edge of space by 2010.

The 9300-square-metre, $31 million facility features a circular terminal topped with an undulating concrete roof and flanked by berms of earth rising out of the desert.

Visitors will enter the spaceport through a channel cut in the landscape, walking between retaining walls covered with exhibits on the history of the area and of space exploration. They will be able to look down on spacecraft parked in the hangar and watch them rolling down the runway through the terminal’s expansive windows.

“It’s really science fiction becoming reality,” says David Wilson, a spokesperson for the New Mexico Spaceport Authority (NMSA). “We think it’ll become a destination people want to come and see even if they’re not one of the passengers to space.”

Cats Eye

Sunday, July 1st, 2007

Timeless Transformation

Thursday, April 26th, 2007

I had a brief tech this afternoon. My friend Trebien Pollard is presenting a piece at the Dance Sampler this Saturday at Symphony Space. The piece is a 12 minute section of a larger full evening work we will be presenting at the Joyce Soho this July.

Tech was very fast as is so often the case in the dance world. The evening consists of 16 works by as many choreographers. It can be quite an interesting evening. As a result each group is allowed 45 minutes to tech the piece. That gave us just enough time for me to write a dozen light cues and then run the piece twice. Organization is critical in these situations as there really is no time to lose.

What is funny about is that I did not get a chance to actually watch the piece(and will not be able to as I will be with the NYTB show that evening). I find there are two ways of observing a piece. One is how I look when I am working on it and the other is after it is done reflecting on the work I have completed. When I have only done the former, I do not consider it having seen the piece. My eyes are so concerned with the formal aesthetics of the thing that I often moss out on the sensory enjoyment of the work.

Trebien and one of the dancers Liz, and I all went to graduate school together. From there and since then I have probably lit around ten pieces of his. Its nice to have that familiarity with a work. You are able to understand the textures of the piece better. The general aesthetic is in place and then you can work on the details.

The lighting is much simpler than I had hoped, but it was all we really had time for. As much as the individual cues are important, with dance especially I find the timing of the thing, how the light moves and transforms, to be of even greater value. Thus getting in the two runs rather than building as many cues as possible was of more value. Fewer light cues of greater integrity are in the end a better way to go almost all of the time.

I have worked with choreographers who seem to think that the job of the lighting designer is to write light cues. That is we are to create as many different looks as possible and to have the lighting for a piece change every time there is a minor transformation in the movement phraseology.

I tend to take the almost extreme opposite view when it comes to dance. Unless there is a need for the lighting to change, I do not like to make changes. The piece must demand a transformation in the environment before I write a cue. I think this is a good way to look at any performance, but I find it to be of most crucial value in dance.

Dance is to theatre as poetry is to literature. Even while the poem may be quite complex, they are very delicate things held together by there merest intonation of a word. The presence or absence of a single word or phrase will either make or break a poem. So too can a single misstep make or break a dance.

I remember an article I came across once in an old copy of Lighting Dimensions Magazine written by Jennifer Tipton about lighting dance. In it she speaks to the use of color and how there is often an idea that wild and saturated colors can be used in dance, because it is dance. She goes on to explain how this is a misunderstanding and that while there may well be times where the use of heavily saturated colors can be appropriate there is nothing inherent to dance that makes that exception as opposed to theatre or opera.

Taking this same line of reasoning I explored it in relation to the movement of light and discovered a similar truth. Most of our life and our experience occurs under a constant, or very slow moving light. Perhaps we are under the fluorescent lighting of an office or outside under the slow moving gaze of the sun. Either way we do not have many and wild transformations in the lighting environments we find ourselves in. Even in a night club the environment is a static one even thought the physical lights themselves may be moving and blinking, the quality of the environment remains the same.

Given this, and given that dance, and other performance mediums, are an extension of our daily experience, why then would we consider the movement of the light in a dance to exist in so radically divergent a state as it does in our lives? The light should be heightened, certainly, as dance is a heightened form of reality, but heightened or no, it is still woven of the same thread.

When the light finds a need to change then it can and must change. But to do so arbitrarily is just that, arbitrary. James Turrell explores this in many of his works especially his installations like the one at PS1.

The sun is constant. It is everything around us changing that makes it appear to transform. There is a quality of mutable consistency to natural light, and even the artificial light we engage with, that is so often lacking in lighting for performance. That stillness is so necessary to allow the stories that must be told to come alive.

Novel Sunsets

Wednesday, April 25th, 2007

Link

Sunrises and sunsets on the planet must be spectacular. If you could stand on its surface, you would see its red host star looming 10 times wider in the sky than our own Sun appears.

Team member Xavier Delfosse from Grenoble University in France says he hopes that spacecraft missions will probe the world for signs of life over the next decade or two.

“On the treasure map of the universe, one would be tempted to mark this planet with an X,” says Delfosse. “Because of its temperature and relative proximity, this planet will most probably be a very important target of the future space missions dedicated to the search for extraterrestrial life.”

Cosmic Lighting Effects

Wednesday, March 7th, 2007

Link

The constant bombardment of billions of tiny particles from the Sun is shaping the Solar System, studies have shown.

As the fine solar shower rains down on objects, such as asteroids, it can steadily alter their orbit and spin.

Although the mechanism that describes the effect has been known for many years, it has never been seen.

Now, separate studies published in the journals Nature and Science have observed and measured the tiny stellar shoves on two spinning asteroids.

They reveal that both are gradually starting to spin faster and faster, which could eventually create new Solar System landmarks.

“If we can spin up an asteroid so fast, there’s a really good chance that these things will fly apart,” said Dr Stephen Lowry, a planetary astronomer at Queen’s University Belfast and one of the authors of the Science paper.

In this case, the fragments could form a binary asteroid where two objects orbit each other, he said.

“This is a phenomenon that gradually affects the evolution of the Solar System,” said Dr Mikko Kaasalainen of the University of Helsinki, who is an author of the Nature paper.

[SNIP]

“We must include this radiation effect because it can transport asteroids between different orbital states and effect their rotation,” he said.

“We now know the Solar System doesn’t just evolve due to gravitation.”

Dr Lowry also believes it is a key finding for looking back through history.

“Asteroids are the leftovers from the start of the Solar System, so by understanding these asteroids, we may get an idea of what the Solar System was like before the planets formed,” he said.

“I don’t want to call it a dawn of a new age of astronomical sciences but it will certainly spark a whole range of new studies.”


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