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Gallium, a chemical element with the atomic number 31 and symbol Ga.
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It is a soft... silvery metal.
Softness: slippery, slithering. It trickles, drips, and rolls. A serpentine that undulates and curves. A gentle stream meandering through a landscape. Droplets oozing, leaking. Listen to the sound it makes—
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Neutrinos are particles created in the first second of the universe — even before atoms — and are continually being made through nuclear reactions of the sun and other stars. The Neutrino Observatory in Italy uses large amounts of gallium to study solar neutrinos produced in the sun.
Gallium is considered a technology-critical element by the United States National Library of Medicine. Used mainly in electronic circuits, semiconductors, and LEDs, Gallium has no known natural role in biology.
Galio. Un elemento químico de símbolo Ga y número atómico 31.
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Es suave… un metal tan suave como plateado.
El punto de fusión del galio le permite derretirse en la mano humana y solidificarse... si se lo retira.
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Neutrinos. Partículas creadas en el primer segundo del universo, incluso antes que los átomos, y continuamente formadas a través de reacciones nucleares del sol y otras estrellas. El Observatorio de Neutrinos en Italia usa grandes cantidades de galio para estudiar los neutrinos solares producidos en el sol.
Es considerado, tecnológicamente hablando, crítico según la Biblioteca Nacional de Medicina de los Estados Unidos. Usado principalmente en circuitos electrónicos, semiconductores y LEDs, el galio no tiene un papel natural en la biología.
镓，一种化学元素，原子序数：31，符号：Ga。在元素周期表上，属于第13族（硼族），第4周期。
自然界中不存在镓元素，但可以从铝土矿和锌矿中提取少量镓盐。镓最被人熟知的特性是：它会在略高于室温的温度下液化。镓的熔点允许它在人的手中融化，然后凝固——如果将手移开。
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它是一种柔软的……银色的金属。
镓的软性：光洁、滑动。镓流淌、滴落、滚动。蜿蜒起伏的蛇行。温柔的溪流在风景中曲折缠绕。滴状地渗出、泄漏。听听它的声音——
以稳定的势头，反射星云的眩光，蜃景在远方闪烁。海水的深渊以下是冰山。一种亲密的交织与延展。感性的曲线轮廓。
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中微子是在宇宙诞生的第一秒内产生的粒子——甚至早于原子——其后，太阳和其他恒星的核反应不断地制造中微子。位于意大利的中微子观测站使用大量的镓来研究太阳中产生的中微子。
镓被美国国家医学图书馆认为是一种技术关键性元素。镓主要用于电子电路、半导体和LED，在生物学中没有已知的自然作用。
a celestial body collapses in on itself in order to form
The gestures of the pole dancer directly correlate to the five phases of star formation, creating a conceptual transgression from anthropomorphic forms into planetary phenomena.
Gravity pulls, gasses coalesce
The body is crushed, a dense orb is formed
Pressure builds, bipolar outflows burst
Atoms fuse, materials is expelled
After millions of years, a star cluster begins to take shape
In this process of star formation, a celestial body collapses in on itself in order to form. The film creates a speculative visualization on new modalities of representation for scientific information. Instead of the traditional format of assigning gas as a color, and time as a graph - the film assigns gas as a body in motion, time as fabric, gravity as a cave, and space as a forest.
Using motion capture technology, the film removes the veil between digital and physical. Creating a scale of understanding that tugs at the edges of the sublime and reflects that the universe is not just vast, it is intimate.
a virtual scenography of chimerical reveries
The procedural proposal puts two moments from the history of image-making in short circuit, making a time slip between the genesis and the status quo marked by transitory telepathy. The superimposition delineates a new territory for architecture fictions. Within this overlapping realm technological mutations occur.
Fiction is akin to alchemy. In François Roche’s words, “the fiction of architecture as a kind of pataphysics” mixes “narration, illusion, science, and sensation”. As one version of the modification of perceptual linkages between us and the world, the project alludes to a mutual poiesis of synthetic xeno-poetics.
How do we shed light on that which refutes the administration of the sensible, residing amongst the invisible reality that is in constant co-existence with our quotidian world? With “a magic and diabolic power” we are granted the opportunity to delve into an alternative, invisible reality.
Within the nebulous space between the known and the unknown, the quest for blurry knowledge emerges. Amidst the dramaturgy of this transient uchronic moment, the totality of space metamorphosizes into a volatile, wrinkled cavity, containing soft whirs and translucent drips. In the recursive time of the cosmos, in the core.
Not seeing is to see the invisible. To be outside of one thing is to be inside of another. We cast our glance into the eternality of the universe, from living and social space contaminated with histories and constellations. Riddles of the world mesmerize. Reduction and lack evoke a feeling of disquiet. In insubstantial form, “we all depart from ephemera.”