#6

Using the station’s UV Spectrophotometer, UV-120-02, Shimadzu I regard the absorbance spectrum of the cyanotype dye.

I compare the absorbance value of the dye unexposed and exposed (30min) with no significant results. I assume the chosen duration was too short to state a difference in the absorption rate of the dye. The absorption spectrum peaks around 400 nm. The result corresponds to other measurements made (4). According to Mike Ware, the located peaks of the cyanotype-spectrum (400nm and 700nm) are connected to change transfers, a configuration change (400nm) and an energy change (700nm).

_________________________________________________________________________

(4)Mike Ware see post #2 (1) p.218-222

(The spectrophotometer and I did not see the the peak at 700nm)

I stop working due to a black out at the station.

notes:

results feel like a dead end.                                28.06.16

#5

 

While making daily light notations and cyanotype-walks outside, the conditions of the residency, the landscape (x) and the station( )x, sneak in my approaches.

After the first four days of walking, I found myself with four sets of stones, unintentionally collected(x). Left with 18 dislocated stones, I reviewed the walks and recapitulated each point of collection to bring them back during the next days ( )x.

 

 

notes:

destinations imply expectations.                                     30.06.16


#4

While walking on the trail to the tree country cairn, I stumbled upon a fence marking the boarder between Norway and Finland.  I did not make it to the three-borders-point after.

The next day I asked Oula A. Valkeapää about the fence. He explained that it was established after the Napoleon Wars (1809). Later the boarder fence had been closed, which meant a major change for the Sami reindeer herders, as reindeers instinctively seek to move up north in the summer going towards the wind. In this respect, closing the boarder created an unnatural boundary in the middle of a natural emerged, long established living area of the Sami people and their reindeers.

(cyanotype on cotton 150x210cm)

 

 

 

#3

notes:

a spectrum is not a real condition. It is a behaviour forced upon.                         30.06.16

It feels like it is missing its point.                                                                                 02.07.16

 

Although struggling with the aesthetics of the spectrum, now and again I consult DIY-resources to create very basic variations of spectrometers.

#spectrofilter

light sources crossing.

fluctuating sunlight.

  midnight sun. 30.06.16. 1am.

 

#handspectrometer

testing multiple angles.

sunlight

 halogen

#2

Sir John Herschel, known for his achievements in astronomy and chemistry, discovered the chemical reaction of the cyanotype in 1842 (1). Initially Herschel explored the cyanotype process in its ability to measure the ultraviolet part of the spectrum. Later this sensitivity to UV-light was employed for scientific instruments, as for example for the Jordan sunlight recorder (2). The cyanotype dye (Ferric ammonium citrate (green) and Potassium ferricyanide) reacts on UV-light in developing a shade of Prussian blue, depending on the intensity of the light source, the chemical mixture, the pH-value of the environment and the duration of exposure. These factors introduce an uncertainty in the results, which caused a vanishing of the cyanotype from scientific applications. Still the cyanotype has its value as a medium of record.

In this respect, I exposed the cyanotype dye in basic recording set-ups to compare a daylight spectrum with the spectrum of the midnight sun.

_____________________________________________________________________________________________________

(1)Mike Ware, 2014. Cyanomicon. History, Science and Art of Cyanotype:photographic printing in prussian blue. MikeWare – Free Book Downloads. [ONLINE] Available at: http://www.mikeware.co.uk/mikeware/downloads.html. [Accessed 08 Mai 2016].p.20

(2)Ian Strangeways, 2003. Measuring the Natural Environment. 2 Edition. Cambridge University Press. P.17

 

(x) spectrum Malla. (26.07.16)

The refracted spectrum was gone after washing out the cyanotype. Probably the distance from location of exposure (Malla) to the point of developing the cyanotype (station) caused fading, as the colour change after the exposure looked fairly intense.

 

(x) station.( 30.07.16)

An improvised Jordan sunshine recorder with an incorporated spectrometer was exposed to the evening sun from 8pm-1am.

A thin blue line was seen after opening the box, but was watched out almost completely due to the low intensity of the midnight sunlight, in that, a reduced amount of UV-light in the spectrum.

notes:

* time doesn’t schedule.*here                              27.06.16

#1    

open office landscape                                                                                                                                                                                                 

The initial intention which brought be up north, was to use the possibilities of the biological station and to work with the light condition of the Arctic summer.

open ≠ office ≠landscape

Being here, I experience a contrariety between actions and thoughts depending on being in the landscape or at the station.

 

(x) outside

I feel the necessity to move.

notes:

quiet indigo falls without gravity.                        25.06.16

* a thought start with a stone. *here                      25.06.16

lost scale of distances                                            25.06.16

(cyanotype on-site records light. 25.06.16, near Saanajärvi)

(cyanotype on cotton 150×210 cm)

 

 

( )x  inside

I feel detached. remembering the walk, I feel like an intruder.

 

notes:

           conversations absorbs transmittance rate                      28.06.16

nature embarrasses me.                                                      28.06.16

on the 15th of June at around 5 in the morning i took my portable keyboards and played 3 short concerts at the locations b,c# and d.

i played main themes of the kilpisjärvi piano piece that i am composing, each place its special themes:

place b focused on the tone b, place c# on c#, and d on d, all three of them only or mainly the tones b.c#, and d.

at place b, a bird decided to sing along with me.

watch the video:

https://vimeo.com/171761870?utm_source=email&utm_medium=vimeo-cliptranscode-201504&utm_campaign=28749

 

 

i want to thank the austrian cultural ministery for supporting this project!

 

 

 

 

 

 

 

We have been back for the past week for the second part of our project. What a difference in the landscape; from blue, white, and black to all the colors of early summer. We’ve had some sunny days and some rainy days; I will try to keep this brief so I can finish some more sketching before we have to leave in the morning.

Now that David and I have been here in the early summer, the full scope and possibilities of our project have become possible to define.

In my last post I described the idea of pairing representational paintings of each data collection site with a “data painting” showing a visual representation of David’s scientific findings.

Well, because it is early summer, we don’t have snow/water available in some of the winter collection sites, such as the mountain birch forest. And because the trails through Malla were not accessible to us in the winter, we don’t have data from the waterfall and river from the winter. I created the following Venn diagram to more easily sort out where there is and isn’t overlap between the summer and winter collection sites:

project chart

 

With apologies for the large photo; you have a better chance of reading my not-so-great handwriting if it’s bigger!

What this chart is trying to show is collection sites which encompassed only winter, only summer, and both winter and summer.  The winter only sites will each generate two paintings (representational and data painting), as will the summer only sites.  The sites that met the criteria for both winter and summer sample collection will each generate four paintings–comparing not only the landscape to the data, but the change from winter to summer.  Three sites met this criteria: 1) Birch Forest Transitional Zone; 2) Alpine (Low); 3) Lake (Water no Ice or Snow).

We need to decide which section(s) of the Venn diagram to work on.  Long term, we would like to do all of them.  Short term, we need to decide what we can finish before we leave Finland in about a month.

I’ve been working on the winter paintings but am now excited to work on the “quads” from the green area of my Venn diagram. It’s clear that this project will benefit from being worked on in sections.

Here’s two sketches–a matched pair of the lake in winter and summer. Winter is a bit more zoomed out. Summer needs more green on base of Malla, but I was distracted by the rocking of the boat and forgot to add it! (Thank you David for rowing me out on the lake while I relaxed and made a drawing!)

Lake sketched from rowboat on June 12, 2016.

Lake sketched while sitting on ice, March 10, 2016

More soon!

David last posted about the analysis he did on the snow samples he collected when we were here in March. I made 4 simple paintings to pair with each one of his collection sites:
1) Mountain Birch Forest
2) Birch Forest Transitional Zone
3) Alpine
4) Lake

Here’s a picture of the winter paintings in progress:

Winter paintings in progress

The four winter landscapes in progress

Each painting is in a vertical format sized approximately 60 cm. x 40 cm. The next step is to create a twin for each landscape painting which incorporates the scientific findings for each site. I call these the “data paintings”. The plan is to show each representational painting with its data painting twin as a diptych, so that the viewer may experience the landscape on a macro and micro scale simultaneously.

my kilpisjärvi piano piece

an open structure in three connected parts

construction,  parameters and all other necessary information result of three parts of the landscape, three places.

they are connected, in all the places the tones b, c# and d are the main tones and the base of the melody/modus/joik of the place.

the other tones, the use of pedal, and the functions and patterns/rhytmical and funtional structures are read out of the landscape.

 

the first place, on the way from kiekula to saana mountain, at a crossing of paths in the wood: bkilpisjärvi piano piece rupert huber

 

the second place,69•3´32´´North, 20•48´19´´ East. basic tone: c#kilpisjärvi piano piece rupert huber

(the little stone on the stone symbolizes the c#, half a tone higher than the c note)c# place 2 kilpisjärvi piano piece rupert huber

 

the third place, 69•3´36´´N, 20•48´11´´East. Basic tone: dkilpisjärvi piano piece rupert huber

 

the way from place 1 to place 2 is about double the way from  place 2 to place 3,

meaning a whole tone, b to c#. the way from 2 to 3 equals half a tone, from c# to d.

 

the dimensions of the very place will help find me other tones, like f.e. in place 3 f#,g,e, and e#.kilpisjärvi piano piece rupert huber

the colours symbolize the funtion of the tones and the rhytmical expression:

red/right hand, very high, soft in tone, fast up and down.

blue: left hand, slow and in equal steps (1/8 notes).

green: both hands, emotional expressive, focus on chords.

yellow: very low volume, whole scale, „around“ the other tones and actions, use of pedal .

 

kilpisjärvi piano piece rupert huber