A matter of Matter. The Unmaking of Microscopic Bonds in Transnational Space.
Article Sidebar
Google Scholar citations
Main Article Content
Over the last decades, new architectures and infrastructures for containing and artificially reproducing the conditions at the very beginning of the Universe have surfaced across the world: a synthetic replica of the early Universe on Earth.
These sophisticated technospaces are sealed chambers that recreate specific and inexistent physical conditions on Earth to reveal the origin of matter. They spread throughout a subterranean global chamber system: an invisible underground network.
New supranational laboratories like CERN transformed physics into a force within politics, creating new spaces of negotiations and agreement. Subatomic particles are questioning the Standard Model of Particle Physics while scientific infrastructures simultaneously challenge previous models for political and social structures.
The tiny monastic laboratory of the seventeenth century has been replaced by a global technoscientific infrastructure spread across the world. The elementary particle physics infrastructures involve massive urban complexes, buildings, and chambers, designed to host the invisible. These hybrid urban environments are comprised of scientists, particles, liquids, data, politics and technologies working together for the production of knowledge, and to translate a world not perceptible to humans.
The transnational network of Particle Physics underground laboratories is constructing a new scientific architecture around the world: a sensing architecture, which amplifies new political and material interactions. Maybe, we can say that every new scientific experimental chamber is the architect of a new epoch of hybrid systems of transnational and transhuman collaborations.
This text is part of a larger project conducted through a practice-led PhD in Arts and Sciences at the BxNU Institute (Baltic Centre for Contemporary Art and Northumbria University).
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
(c) Blanca Pujals, 2020
Copyright
For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).
Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.
Assignment of intellectual property rights
The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.
I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.
Blanca Pujals, PhD Candidate in Arts and Sciences
Blanca Pujals (Barcelona – London) is an architect, spatial researcher and critical writer. She got her BA in Architecture at Barcelona School of Architecture (Spain). She completed her studies with an MA in Critical Theory and Museum Studies at the Independent Studies Program of MACBA Museum tutored by the philosopher Paul B.Preciado. She was recently a postgraduate at the Centre for Research Architecture (Visual Cultures Department) directed by Eyal Weizman and Susan Schuppli, at Goldsmiths University of London. She is currently developing her practice-led PhD in Arts and Sciences at the BxNU Institute (Baltic Centre for Contemporary Art and Northumbria University) and Cultural Negotiation of Science research group, about the geopolitics and aesthetics of the Fundamental Science infrastructures, based at Baltic 39. Her cross-disciplinary practice approaches geographies of power on bodies and territories. Her research is led through a critical spatial practice as a form of research to engage with questions of contemporary culture, philosophy of science and transnational politics, developing tools for undertaking analysis through different visual and aural devices. Her work is not limited to one medium; rather, it encompasses film, architecture as well as lectures, curatorial projects and critical writing. Her last recent film projects are ‘Specular Technologies’ (2015), ‘Bodily cartographies: Pathologizing the body and the city’ (text published in The Funambulist nº7, 2016) and ‘A Synthetic Universe’ (2016. Text Published in The Live Creature and Ethereal Things: Physics in Culture, by Arts Catalyst, 2018), and the curatorial project ‘Geographies and forms of power’ in Tabakalera (2017-2018). Blanca has worked on projects in Colombia, Iraq, UK, Afghanistan, Spain, Italy, US and Switzerland and she is also a regular contributor to art projects and exhibitions in Spain and UK. She gives lectures, teaches and publishes internationally.
Beck, Ulrich and Anthony Giddens and Scott Lash. 1994. Reflexive modernization: politics, tradition and aesthetics in the modern social order. California: Stanford University Press-Social Science.
Bennett, Jane. 2010. Vibrant Matter: A Political Ecology of Things. Durham: Duke University Press.
Cern Archive. http://library.cern/archives/CERN_archive.
Daston, Lorraine. 2004. Things That Talk: Object Lessons from Art and Science. New York: Zone Books.
Daston, Lorraine. 2010. Objectivity. Cambridge: The MIT Press.
Foucault, Michel. 1966. The Order of Things: An Archaeology of the Human Sciences. London and New York: Routledge Classics.
Haraway, Donna. 1990. Simians, Cyborgs, and Women: The Reinvention of Nature. London: Free Association Books.
Haraway, Donna J. 1997. Modest_Witness@Second_Millenium .FemaleMan© _Meets_oncoMouse™. Feminism and technoscience -. New York, London: Routledge.
Faoucault “The Order of Things: An Archaeology of the Human Sciences”, 1966).
Latour, Bruno. 1993. We Have Never Been Modern. Cambridge: Harvard University Press.
Karl Popper. 1959. The Logic of Scientific Discovery. Great Britain: Routledge. (Original 1934. Logik der Forschung. Zur Erkenntnistheorie der modernen Naturwissenschaft, Germany: Mohr Siebeck)
Randall, Lisa. 2011. Knocking on Heaven’s Door.New York: Ecco Press.
Shapin, Steven. 2007. Science and the modern world. In The Handbook of Science and Technology Studies, 3rd Ed., ed. E. Hackett, O. Amsterdamska, M. Lynch, and J. Wajcman, 433-448. Cambridge, MA: MIT Press.
Shapin, Steven, and Simon Schaffer. 1985. Leviathan and the Air Pump. Princeton: Princeton University Press.
Stengers, Isabelle. 2010. Cosmopolitics I, Bononno, R (trans.), Minneapolis: University of Minnesota Press.
Stengers, Isabelle. 2011. Cosmopolitics II, Bononno, R (trans.), Minneapolis: University of Minnesota Press.
Taussig, Michael T. 1997. The Magic of the State. UK: Routledge
Virilio, Paul, and Sylvère Lotringer. 1997. Pure War. US: Semiotext(e)/Foreign Agents.
Whitehead, Alfred North. 1997. Science and the modern world. US: The Free Press.
Whitehead, Alfred North. 1920. The concept of nature. Great Britain: Cambridge University Press.
Similar Articles
- Diego Ortega Alonso, Illustraciencia, an ecosystem for scientific illustration , Artnodes: No. 32: (July 2023). NODE 32. Possibles III (Editors: Pau Alsina & Andrés Burbano)
- Suzanne Treister, THUTOAH - The Holographic Universe Theory of Art History , Artnodes: No. 25: (January 2020). NODE 25. Dialogs Between Art and Fundamental Science (Guest Editors: M. Bello & A. Gracie)
- Mónica Bello Bugallo, Andy Gracie, Black Holes and Objectivity , Artnodes: No. 25: (January 2020). NODE 25. Dialogs Between Art and Fundamental Science (Guest Editors: M. Bello & A. Gracie)
- Thomas Zummer, Remarks on Certain Affinities and Differences Between Aesthetic and Scientific Practices , Artnodes: No. 25: (January 2020). NODE 25. Dialogs Between Art and Fundamental Science (Guest Editors: M. Bello & A. Gracie)
- Víctor G. Peco, Nerea Garzón-Arenas, José Carlos Espinel, Concha Herrero, Sculpture and New Technologies in Scientific Educational Outreach: 3D Foraminiferal Models as a Referent of Ocean Acidification and Climate Change , Artnodes: No. 28: (July 2021). NODE 28. In the limits of what is possible: art, science and technology (Guest Editors: Paloma Díaz, Andrea García)
- Victor Flores, The Metrics of Landscape. Stereo fieldwork by Francisco Afonso Chaves and other Portuguese Explorers , Artnodes: No. 21: (June 2018). NODE 21. Media Archaeology (Editors: Pau Alsina, Ana Rodríguez, Vanina Hofman)
- Jordi Sánchez-Navarro, Mobilities, border aesthetics and prospective archaeology in Miguel Llansó’s cosmopolitan science fiction: "Crumbs" and "Jesus Shows You the Way to the Highway" as anarchives , Artnodes: No. 34: (July 2024). NODE 34. Materiology and variantology: invitation to dialogue (guest editors: Siegfried Zielinski & Daniel Irrgang)
- Miguel Alfonso Bouhaben, Eurocentric artistic research and the epistemic-aesthetic decolonization , Artnodes: No. 21: (June 2018). NODE 21. Media Archaeology (Editors: Pau Alsina, Ana Rodríguez, Vanina Hofman)
- Gloria Lapeña Gallego, Contemporary art and architectures of the infected (host-host) under the narrative of the tuberculosis sanatorium , Artnodes: No. 27: (January 2021). Node 27. Arts in the Time of Pandemic (Guest Editors: Laura Benítez & Erich Berger)
- Paola Castaño, “Somebody’s noises are another person’s signal:” Art, Neuroscience, and Radio Astronomy , Artnodes: No. 25: (January 2020). NODE 25. Dialogs Between Art and Fundamental Science (Guest Editors: M. Bello & A. Gracie)
You may also start an advanced similarity search for this article.