tag:blogger.com,1999:blog-13128515143468782072024-03-13T07:06:55.155-04:00Kim Bernard: An Artist Mentoring ArtistsI'm glad you're here!
You'll find insight and inspiration about creative and professional development, small business advice, time management, getting your work out and how to support yourself as an artist.
In an effort to keep us all creating, I'm currently posting daily 15 minute art prompts. Participate every day or occasionally, then post a pic on my FB page or Instagram with the hashtag #dailyartprompts. There will be no critique, no judgement, only sharing and creative camaraderie.
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-1312851514346878207.post-48768271607911054052021-03-03T05:59:00.006-05:002021-03-03T06:18:24.094-05:00TLP Mobile Makerspace<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--40nLJpANHY/YD9qwHm_BwI/AAAAAAAAEOw/HVXAEe1BvkYr8AywxQXzT_D6duT9tBeGgCLcBGAsYHQ/s1517/Screen%2BShot%2B2021-02-12%2Bat%2B11.27.52%2BAM%2B%25283%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="824" data-original-width="1517" height="347" src="https://1.bp.blogspot.com/--40nLJpANHY/YD9qwHm_BwI/AAAAAAAAEOw/HVXAEe1BvkYr8AywxQXzT_D6duT9tBeGgCLcBGAsYHQ/w640-h347/Screen%2BShot%2B2021-02-12%2Bat%2B11.27.52%2BAM%2B%25283%2529.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: arial;">The TLP Mobile Makerspace converts into a pop-up workshop or store upon arrival.</span></div><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kE9oMoIIYqk/YD9wYcIrCuI/AAAAAAAAEO8/fAlL8Q7-oQ4bmR3tPt6CNaaLO43btVA-QCLcBGAsYHQ/s1646/Screen%2BShot%2B2021-02-12%2Bat%2B12.33.17%2BPM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1230" data-original-width="1646" height="478" src="https://1.bp.blogspot.com/-kE9oMoIIYqk/YD9wYcIrCuI/AAAAAAAAEO8/fAlL8Q7-oQ4bmR3tPt6CNaaLO43btVA-QCLcBGAsYHQ/w640-h478/Screen%2BShot%2B2021-02-12%2Bat%2B12.33.17%2BPM.jpg" width="640" /></a></div><br /></div><br /><div style="text-align: center;"><b style="font-family: arial;"><span style="font-size: medium;">TLP Mobile Makerspace Proposal</span></b></div><span style="font-family: arial;"><br /><b>Project Description</b><br /><br />Mobile Makerspace will provide art instruction to youth in rural locations as well as a traveling exhibit/sales unit. <br /><br /><b>Proposal Summary</b><br /><br />The TLP Mobile Makerspace Project will provide an opportunity for youth in rural areas to receive art instruction and learn new skills, including marketing their own creations. <br /><br />Pre-COVID, The Landing Place operated a low-barrier after school drop-in center for at-risk youth located in downtown Rockland, serving three school districts, RSU 13, 40 and Five Towns CSD. Afternoon enrichment included art instruction with teaching artist Kim Bernard. Many of our highly creative youth would seek out ways to express themselves above and beyond the prepared art lesson, so we began to create a space in a corner of the drop-in center where materials were available on a regular basis for them to explore and create their own designs and projects. This became our Makerspace, where students began to create portfolios of work both at the center and sometimes at home. They used their work to decorate the center, and eventually offered their work for sale at a pop-art Holiday Art Show in 2019. This was a huge success, as they proudly displayed their creations, talked to the customers, sold their work, and were able to keep 100% of the proceeds knowing that they had created something with a monetary value. <br /><br />With our center closed during COVID, we have continued to provide opportunities for creative expression through our virtual MakersSpace weekly Zoom call. Materials are dropped off directly to youth, who are then supported through the call with our art instructor, teaching artist Kim Bernard. With the mobile art cart, we will be able to offer more in-person art instruction, with greater access to tools and materials based on inspiration in the moment. <br /><br />Many of the youth we serve live in rural locations, and have limited transportation. This project will provide greater access to youth in rural areas by bringing art lessons to pods of youth in their communities (Cushing, St. George, So. Thomaston, Owls Head). This would allow us to provide safe programming and also be more flexible in when and how we provide support to youth both during the pandemic and after we are able to reopen our center. <br /><br />Our youth would be directly involved in designing and building this vehicle, which would give them ownership of the project as well as teach new skills of design and basic carpentry. The flexibility of a mobile art cart could also be used to enable our youth to market their art at various locations such as farmers’ markets, parks and other destinations. <br /><br /><b>Project Goals & Anticipated Outcomes</b><br /><br />Our goal is to build an attractive, eye-catching Mobile Makerspace that...<br /></span><ul><span style="font-family: arial;"><li>can easily be transported via the TLP van to any location</li><li>functions as a fold out workshop space </li><li>carries tools, equipment and supplies for creative projects</li><li>allows TLP to offer creative and practical hands-on programming</li><li>provides opportunities for youth to safely gather, socialize and create outdoors</li><li>will additional serve as a portable 'free' store delivering supplies (clothing, hygiene products, groceries) to the rural high risk youth we already serve and allow us to expand our reach even further into more outlying areas </li></span><span style="font-family: arial;"></span></ul><span style="font-family: arial;">The TLP mobile will allow TLP to...</span><br /><ul style="text-align: left;"><span style="font-family: arial;"><li>go directly to youth, instead of youth having to come to us</li><li>meet with groups outdoors to connect, mentor and check-in with youth</li><li>provide free extracurricular, creative, hands-on activities for youth</li><li>provide a venue for youth to socialize in an enjoyable and constructive setting</li></span><li><span style="font-family: arial;">make it fun for youth to shop the 'free' store </span></li></ul><ul></ul><span style="font-family: arial;">We will track participation numbers, including the numbers of youth served, locations, and projects created.</span>Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com4tag:blogger.com,1999:blog-1312851514346878207.post-66088798884618500692020-03-11T11:32:00.001-04:002020-11-21T06:52:43.310-05:00What Do Museums Have To Offer Artists?<div style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal;">
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<span style="font-kerning: none;">Center for Maine Contemporary Art, Rockland, Maine</span></div>
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<span style="font-kerning: none;"><b>Museums…</b></span></div>
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<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Make art accessible to the public</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Provide free admission on a regular day or night </span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Make free passes available through public libraries</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Offer perks through membership</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Bring traveling exhibitions to you</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Offer docent tours, artist talks, panel discussions, films and performances</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Educate students and teachers through field trips </span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Partner with schools to provide hands-on, in-classroom programming</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Cultivate an appreciation of art, art history, context, culture and heritage</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Are a tourist destination and benefit the local economy</span></li>
<li style="-webkit-text-stroke-color: rgb(35, 35, 35); -webkit-text-stroke-width: initial; color: #232323; font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: black; font-family: "helvetica"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none;">Provide online resources</span></li>
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<span style="font-kerning: none;"><b>Do art museums buy art?</b></span></div>
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<span style="font-kerning: none;">Most museums have acquired a permanent collection: some of which they keep on display, some of which they rotate and some of which is kept in storage. Some museums purchase important works of art, some are gifted and some are donated. </span></div>
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<span style="font-kerning: none;"><b>Can an artist donate a work of art to a museum?</b></span></div>
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<span style="font-kerning: none;">Yes and no. An artist can offer to donate a work of art to a museum. If the artist is well known and the work is valuable, it’s more likely that the donation will be accepted. If the artist is unknown and trying to bolster their resume by being in a prestigious collection, the museum will likely decline the work. Remember that the museum must care for, store and insure their collection, whether it’s on view or not, so unsolicited donations can be a burden to a museum. </span><br />
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<span style="font-kerning: none;">Farnsworth Art Museum, Rockland, Maine</span></div>
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<span style="font-kerning: none;"><b>Does an artist get paid to exhibit in a museum?</b></span></div>
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<span style="font-kerning: none;">No. Museums do not pay artists to exhibit their work, but they will insure the artwork while it’s in their possession and may pay for the shipping. One exception is when an artist is invited to create a site specific art installation, where they may receive funding to create the project. </span></div>
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<span style="font-kerning: none;"><b>Why would an artist exhibit in a museum if they don’t get paid? </b></span></div>
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<span style="font-kerning: none;">Art museum exhibits reach a broad public audience, in ways that commercial galleries do not, through visitation, publicity, reviews, events and catalogues. Viewers trust the professional vetting of respected curators and directors in established institutions who have degrees in art history, contemporary art, and museum studies. Though the artist may not sell work in the museum exhibit, they may sell at their commercial gallery nearby or from their own studio. With a museum exhibits’ exposure and promotion, connections with trustees, patrons, collectors and dealers often lead to other opportunities. </span></div>
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<span style="font-kerning: none;"><b>How do I get my work into an art museum? </b></span></div>
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<span style="font-kerning: none;">First, you and your work need to be ready to approach a museum. If you approach prematurely, before the work is developed, you may squander your one opportunity. If you are a serious artist, with a strong body of work and a solid exhibiting record and see that your work would be of interest to a particular curator (ideally one whom you’ve already met) then an email of inquiry expressing interest, accompanied with support materials and images would be appropriate.</span></div>
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<span style="font-kerning: none;">Another approach is to submit to a biennial or competitive exhibition. Follow the submission instructions to a T, providing them with exactly what they ask for, no more, no less. </span><br />
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<span style="font-kerning: none;">Portland Museum of Art, Portland, Maine</span></div>
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<span style="font-kerning: none;"><b>What is the role of the curator? </b></span></div>
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<span style="font-kerning: none;">An art curator is a knowledgable researcher, who has studied art and loves it as much as artists do. Curators are responsible for envisioning, orchestrating and managing exhibitions, evaluating and building collections, cataloging art, collectibles and historical items. </span></div>
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<span style="font-kerning: none;">Some curators are outstanding at putting together compelling exhibitions that go beyond the visual, dealing with controversial topics or culturally relevant issues. Curators roles are transparent, subject to audience and press scrutiny. They want museum visitors to engage with their exhibits, just like artists want an audience to appreciate their work. </span></div>
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<span style="font-kerning: none;">A curator may be willing to visit your studio if they’re interested in your work, whether they have an exhibit in mind for you or not. Before you extend an invitation, be sure you and your work are ready and know what you want out of the visit. </span></div>
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<span style="font-kerning: none;"><b>Above all else… </b></span></div>
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<span style="font-kerning: none;">For artists, museums can be a great source of inspiration, insight and education, offering a sanctuary for reflection and stimulation. As the stewards and keepers of carefully curated collections of fine art and craft, museums ensure that art is accessible to us all. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-2589417663834422482019-11-28T11:52:00.004-05:002020-11-21T06:52:00.567-05:00Creative & Professional Practice Interview<div class="page" title="Page 1">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>In January, I'll be trading the Maine snow in for the Texas sun, to teach a weekend workshop at Bonny Leibowitz's studio. Here's a recent Q&A we did.</b></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">What kinds of artists take your Creative and Professional Practice workshop? </span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">Most workshop participants have been out of art school (if they ever went) for years and have developed a strong body of work that they're ready to get out into the world, but simply do not know how, or have tried and found it frustrating. Most have a full or part-time jobs they would like to scale back on, in order to make more of a life and living out of their creative practice.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Where do you even begin in teaching artist the skills they need? </b>I have developed a list of topics, skills and resources that artists absolutely must know. In the workshop we focus the nuts and bolts of what an artist needs to do to get their work out there. Emerging artist don't necessarily know the protocol of approaching a gallery director, curator or an exhibiting venue. We talk about all of that, and much more, at length.<br /><br /><b>What are the specific skills artists need beyond making art? </b>How to photograph, document and keep an inventory (both physical and digital) of their work, build a website, develop a mailing list, promote themselves, develop a network and a creative community. Artists need to know how to get exposure for their work, price appropriately, market and cultivate a following. I also work with students on how to speak and write about their work, articulate their ideas, write a statement, bio, resume, write grants and find residencies.<br /><br /><b>This sounds link a lot of intense material to cover in two 8 hour days. How do you approach the pace of the workshop? </b>In January, I'll be leaving the snow in Maine to teach in sunny Texas at Bonny Before we even begin the workshop, I have participants email me images and their web link if they have one. So, when we meet, I'm already familiar with everyones work. In class, I toggle between presentation, group discussion, Q&A, short writing exercises, interactive brainstorming exercises, stretching and breaks.<br /><br /><b>Why isn't this taught in art school?! </b>I have three possible answers for that... <br />1. Full-time art professors have a steady income. They don't need to go out and hustle their work like full-time artists do. They may not even know what it takes. <br />2. Art instructors aren't eager to share the professional skills they've learned, through the school of hard knocks, to the young students who will soon go out there and potentially become their competition. <br />3. When I was in art school these topics were taboo. It was almost as if it were beneath my professors to discuss approaching a gallery, marketing and money. <br /><br /><b>What makes you particularly equipped to teach this workshop? </b>I have a BFA degree from Parsons and an MFA degree from MassArt. I have 32 years experience as a working artist and 32 years experience teaching art. I have been married twice, divorced once and parented two sons who are now 27 and 29. I have never relied on my partner to support me, nor do I have a trust fund. I have learned by doing, reading, research, taking workshops and talking to more established artists. Everything I've learned, I've learned by doing it wrong at least once. I've been very fortunate, but I've learned by doing the hard work. Why shouldn't others benefit from my efforts? There’s a Hopi Saying I try to live by “Everything I've ever learned, has been given to me as a gift, and its not my right to keep it.”<br /><br /><b>What do you hope that your workshop participants leave with? </b>I always hope that participants leave feeling inspired and empowered with their new knowledge. There are so many options, avenues, approaches. I impress upon my students that there’s not one way, but many, many ways to live and make money as a working artist. I work with my students to develop an Action Plan that prioritizes what tasks they will tackle and in what order. I encourage them to complete it when they get home and send it to me so there's some sense of accountability. I follow my former workshop participants with genuine interest. Some of them, I continue to mentor. It’s incredibly rewarding to see these artists careers develop.<br /><br /><b>More about the Creative & Professional Development workshop and others <a href="https://www.kimbernard.com/learn">here</a>.</b></span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-66554867135739382622019-04-20T18:03:00.004-04:002020-11-21T06:51:36.804-05:00Time Management<div style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">When I mentor artists the issue of time management always comes up.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What's are the best systems for keeping a schedule? How do I get into the studio and get work done? Then there's all the other tasks that must get done to support the work.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When left to our own devices, as self-employed artist who make our own hours, time can slip by, leaving us feeling like nothing has been accomplished.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I'll confess, I am a bit of a time junkie myself. I've tested many different methods and made up some of my own to squeeze the most out of every day. Here's what's worked...</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Google Calendar </b>– It took me a long time to give up my paper calendar. In fact, when I started using Google Calendar, I kept a paper calendar too because I didn't trust it. I have since come to rely 100% on Google Calendar, welcome the '30 minute heads-up' notifications and like the way it allows me to create different types of sub-calendars for different activities i.e.. studio, teaching, exercise etc. I also appreciate that I can share my calendar with my spouse which makes planning our social life easier. Every night before bed, I check to be sure I know what's coming up the next day so I can sleep on it and be mentally prepared.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Monthly Calendar </b>- I keep a one page monthly calendar on my laptop where I include deadlines like grants and residency applications that come up annually. If I need to forgo a deadline because I'm busy that month, at least I know it will come around again the next year. This also allows for more long-term planning. If I have a solo exhibit approaching, or an involved project, I know that grant writing or big proposals will be impossible. Or, if I have some flexibility with my time, I can plan to tackle a more involved submission or take on something in advance.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Daily Time Tracker</b> - This is where the nitty-gritty shakes out. I started with this 'sunburst' calendar where I logged in whatever I did in each waking hour. It worked well, but there wasn't enough room for my entire to-do list and I didn't like re-writing the to-do list every day.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: bold;">New & Improved </span><b style="font-family: Arial, Helvetica, sans-serif;">Daily Time Tracker - </b><span style="font-family: "arial" , "helvetica" , sans-serif;">This system worked great because I could use it for an entire week. I also liked it because I could fold it in quarters and write more to-do lists on the blank back side. Can you tell I like to-do list? I especially like crossing things off! This tracker was good for accountability, but the problem was that I didn't do anything with all the information I collected. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Timesheets </b>- Then, I had this brilliant idea to create an app for my phone that allowed me, or anyone, to log in and track the hours spent on a variety of different projects and tasks. I wish I could tell you I did this and made a ton of dough because I created an app, but instead I realized I wasn't the first person to think of this brilliant idea. It already exists. I've been testing it out and I like it a lot! I'm using Tsheets and it's free if you're the only one using it. There are others. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here's how it's working… for every category-activity-project, I've create a project time sheet. When I begin a new task, I log in to that "project". Right now I'm logged into "Blog". When I've completed writing this blog I will "clock out". Perhaps I will then clock in to "email". What I'm liking about the timesheet system is that it keeps me on task, rather than zigzagging from one task to the next, because I know the time is ticking. Having a system of accountability for your time, that keeps you from staying on social media too long or going into your photo file to get an image only to, one hour later find yourself down the rabbit hole, is a problem. Now I can see how much time every week I'm spending in my studio, teaching, prepping for teaching, consulting, on email, social media, blogging, planning a sculpture race, exercising, whatever I create a 'project' category for. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Let me know if you use any of these systems, how it works out, which you like. And if nothing else, at least <b>Carpe Diem!</b></span><br />
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-9395985463412986542019-04-14T11:27:00.001-04:002020-11-21T06:50:57.668-05:00The Tip of the Tax Iceberg!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There are lots of great resources out there to help artists with their taxes. This <a href="https://www.irs.gov/newsroom/hobby-or-business-irs-offers-tips-to-decide">IRS link</a> is great for determining whether you are a hobbyist or a professional artist. Your state's small business development corporation is another exceptional resource where retired business people volunteer their time and give valuable advice free of charge. Here is the Maine <a href="http://www.mainesbdc.org/">SBDC link</a>. <br /><br />If you're an artist, and you haven't set yourself up as a small business, there's no time like NOW!<br /><br />If you are making direct sales to collectors you should be collecting sales tax (unless you were in AK, DE, MT, NH or OR) which means you should establish yourself as a business with your state. <br /><br />If you have employees: interns, apprentices and/or sub-contractors you will need to know the laws for handling employee taxes.<br /><br />As a visual artist, you are considered “self-employed” in regards to filing income taxes and will likely file a “Schedule C” as part of your 1040 income tax form, which will include your art income and expenses, ie. necessary expenses incurred in connection with your trade, business, or profession. Creating an LLC is another, more involved, option. Either way, you must keep track of your expenses and income for your own record keeping and tax filing.<br /><br /><b>Expenses A-Z:</b><br /><br />Advertising<br />Bank fees<br />Equipment purchases or rental<br />Entertainment and meals related to your business<br />Insurance<br />Legal and accounting fees or services<br />Membership or association dues<br />Office supplies<br />Professional consultations<br />Publications, periodicals and other research materials<br />Repairs or maintenance<br />Sales taxes<br />Shipping or mailing<br />Special clothing or safety equipment for your work<br />Studio rent and expenses (whether at home or not)<br />Supplies and materials<br />Travel expenses<br />Utilities, including phone and internet<br />Website domain, hosting, management<br />Workshops, conferences or seminars<br /><br /><b>Income A-Z:</b><br /><br />Art Sales<br />Artist in Residency stipend<br />Awards (monetary)<br />Commissions<br />Copyright royalties for published or distributed works<br />Grants<br />Honorariums<br />Fellowships<br />Rented or leased art work<br />Teaching stipends<br />Visiting artist stipend<br /><br /><b>This is just the tip of the tax iceberg! </b><br /><br />If you're looking to tackle taxes and other professional issues, I've designed a workshop just for artists that cuts through the small business BS </span><span style="font-family: "arial" , "helvetica" , sans-serif;">and gets right to the point of what artists need to know, so you can get back to where you want to be... the studio!</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Artist as Small (but Creative!) Business</b><br /><br />From A-Z, everything an emerging artist needs to know to be a Small (but Creative!) Business: artist-gallery relationships, banking, branding, budgeting, business plan, business structure, contracts, commissions, copyright, federal and state tax ID’s, funding, hiring an assistant, insurance, inventory, licensing, marketing, money management, permits, registering, sale of works and taxes. Bernard will tackle these dry by necessary topics with interactive exercises, humor and dark chocolate. <br /><br />July 13-14 <a href="http://cs.meca.edu/cpd-023-s19-2-artist-as-small-but-creative-business/">Maine College of Art</a>, Portland, ME<br />August 10-11 <a href="http://www.rocklandsteelhouse.com/education">Steel House</a>, Rockland, ME</span>Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-80131946690627125582019-04-08T11:27:00.000-04:002020-11-21T06:50:06.822-05:00Essential Tasks & Skills for Artists<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Go with the Flow, encaustic on panel, 16x24, 2018</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>In my conversations with the artists I consult, </b></span><br />
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<b style="font-family: Arial, Helvetica, sans-serif;">ALL the tasks, skills and qualities artist strive to juggle. </b></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">None are more important as the first and the last!</b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Tasks:</b><br /><br />Make the work!<br />Photograph, edit, label the work<br />Document, file, inventory work<br />Build and maintain a website<br />Keep up with social media: Facebook, Instagram, etc<br />Write a blog<br />Send out eblasts<br />Teach<br />Write grants<br />Do artist residencies<br />Be a visiting artist or artist in residence<br />Give artist talks, Pecha Kuchas, lectures, panel discussions<br />Maintain inventory in galleries <br /><br /><br /><b>Skills: </b><br /><br />Mastery of materials and techniques<br />Public speaking<br />Self promotion<br />Sales<br />Networking<br />Communication & interpersonal skills<br />Time management skills<br />Digital media<br />Social media<br />Web design<br />Accounts payable & receivable<br />Financial record keeping<br /><br /><br /><b>Qualities:</b><br /><br />Artistic talent<br />Persistance<br />Discipline<br />Comfort with the unknown<br />Ability to accept criticism <br />Ability to say no<br />Keep making the work!</span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-14559989130961625242019-03-24T21:49:00.001-04:002019-03-24T21:49:22.915-04:00Put your own mask on first, before helping others.<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-f9_W44-2AL4/XJeSlbVCPZI/AAAAAAAAB3o/t6DKwuEa1K0jBXIstEs9wu0HAvCz9bE8ACLcBGAs/s1600/Screen%2BShot%2B2019-03-24%2Bat%2B10.21.27%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="1146" height="400" src="https://4.bp.blogspot.com/-f9_W44-2AL4/XJeSlbVCPZI/AAAAAAAAB3o/t6DKwuEa1K0jBXIstEs9wu0HAvCz9bE8ACLcBGAs/s400/Screen%2BShot%2B2019-03-24%2Bat%2B10.21.27%2BAM.png" width="367" /></a></div>
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A month or so ago I took a flight to Florida. Usually, when the flight attendant gives the safety talk, I make it a point not to listen. This time I tuned in, and what I seized on was "Put your own mask on first, before helping others". This seemed so poignant, so relevant, particularly to artists, creatives, makers, craftspeople, writers, dancers and the like. <br />
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For those of us for whom creativity is not a hobby, but rather a reason for being, a purpose, an identity, the key to happiness and fulfillment, this phrase might resonate deeply. I don't know about every other artist, but I know for myself that I'm most miserable when I'm not working in my studio regularly. Conversely, when I am getting ample time in my studio (and everything is going well) I'm at my happiest. And fortunate for everyone around me, I am better to converse with, laugh more, joke more and am generally more pleasant to be around.<br />
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So what does this mean?! That we artists should be selfish, narcissistic, disregarding our children, spouses, partners, families, colleagues and other responsibilities? Of course not! It simply means that given all that we have to juggle, we must make our creative practice a top priority. Of course there are times when a loved one is sick, there's a crisis, or we need to focus on getting a new job, but that's the exception.<br />
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Quite frankly, I believe many of us put other people's needs above our own because making art is hard, damn hard! Facing a blank canvas, a white page, a lump of clay, can feel immobilizing. When things aren't going well, it's easy to say yes to a lunch date with a friend, take on a volunteer project, clean out the refrigerator, or decide that now is the perfect time to go through that box of old photographs in the attic. We convince ourselves that these are important tasks and that now is the right time to tackle them. We're persuasive ourselves with convincing arguments. Yet, that little voice whispers "Shouldn't you be in your studio?".<br />
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<a href="https://1.bp.blogspot.com/-GZK1-fLpNqE/XJgv8YyYfWI/AAAAAAAAB4A/5ytf1FFFWzYlc5qk4Ro_hc8X3KbNgdkfwCLcBGAs/s1600/Screen%2BShot%2B2019-03-24%2Bat%2B9.17.19%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="1206" height="227" src="https://1.bp.blogspot.com/-GZK1-fLpNqE/XJgv8YyYfWI/AAAAAAAAB4A/5ytf1FFFWzYlc5qk4Ro_hc8X3KbNgdkfwCLcBGAs/s400/Screen%2BShot%2B2019-03-24%2Bat%2B9.17.19%2BPM.png" width="400" /></a></div>
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Still from the film The Tango Lesson</div>
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This is the the pivotal moment. This is the fork in the road where serious, successful artists choose the studio and amateurs go clean the refrigerator. We go in there and we organize, clean, sketch, putter, review their notes and sketch books, look at art books, older works and we think with their hands until eventually something happens. There's a spark. And we're off! We're climbing Mount Everest and we can see that the summit is within reach. From this point on we know what we're doing in the studio. It's easier to go in there the next time. We can pick up where we left off. The best thing we can do at this point is to keep the fire burning, keep a studio schedule and guard it ferociously. Even if you have a full-time job, kids and a busy schedule there's probably something in your life (TV, social media) that you could eliminate in trade for some creative time. A little studio time goes along way!<br />
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<span style="text-align: center;"><br /></span>Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-27738440641911846622019-03-04T20:18:00.000-05:002019-03-04T20:18:49.212-05:00Show me the money!<div style="font-family: Arial;">
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<span style="font-family: "calibri" , sans-serif; font-size: 15px;"><b>Recently one of the artists I consulted asked about patrons...</b></span><span style="font-family: "calibri" , sans-serif; font-size: 15px;"> </span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 15px;">I</span><span style="font-family: "calibri" , sans-serif;">n art, a sponsor could also be called a patron, correct? Mapplethorpe had one, and god knows how many others. Any more thoughts about that?</span></div>
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<span style="font-family: "calibri" , sans-serif;"><b>My response...</b></span></div>
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<span style="font-family: "arial";">A patron… yes, there is the rare occasion that a brilliant, talented, probably young, artist is plucked out of the pack by a generous, philanthropic, art lover with loads of dough and no ulterior motives. I wouldn’t hold your breath waiting for one to come along though. </span></div>
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Then there’s the artist whose spouse makes all the money, leaving the artist free to make art. I’ve observed that that comes with an unspoken contract, expectations (to drop everything and attend the company party, go on a business trip or cook dinner for a client), leaving the artist dependent and anything but free, self-determined and independent. This can also lead to resentment and the feeling of being beholden.</div>
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Ah yes, then there’s the trust fund artist, and they are many out there. This is a great situation to be in if you’re lucky enough to have been born into wealth, if you also have a ton of self discipline, motivation, focus and talent of course. I’ve see that TFA’s usually aren’t willing to work hard, make the necessary sacrifices, don’t have enough grit and aren’t hungry enough. </div>
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But for the rest of us, the other 99.9%, we just have to work our butts off, work a part-time job teaching (or whatever) to pay the bills, budget our money and time carefully (because time is money you know), push ourselves into the studio even when we’re not inspired, promote ourselves, network, be in the right place at the right time, and of course do all the other work that needs to get done after the work is made (document, photograph, website, social media, frame, pack ship, keep an inventory, etc., etc.). This option is where most artists find themselves and it’s a good place to be since if you’re living frugally, you’re probably living simply, which frees up headspace for creating. It also separates the art from money making. Having sales drive your work is a slippery slope and can lead to Thomas Kinkade-like crap. So then it comes down to doing the work, getting into the studio and all of the hard work that both the spouse supported artist and the trust fund artist also have to do, though they can hire assistants to their fridge work. Bottom line... making art is hard work and we’re miserable if we’re not creating! The payoff is that it’s like a drug, Ecstasy probably, when it all goes well and that’s what keeps us going. </div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com4tag:blogger.com,1999:blog-1312851514346878207.post-54744869506512502862019-02-28T07:27:00.000-05:002019-02-28T07:27:00.911-05:00Opening Night... Yikes! <div class="separator" style="clear: both; text-align: center;">
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<b style="font-family: verdana, sans-serif;">One of the artists I mentor emailed recently and asked...</b></div>
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<span style="font-family: "verdana" , sans-serif;">I’ve got 2 pieces I’m hanging at this exhibit opening tomorrow night - got to admit I’ve got butterflies. Any advice or mantras you’ve got are appreciated!</span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>Here was my reply...</b><br /><br />Yes! <br /><br />Be proud of your work. Stand beside it and introduce yourself. "Hi, my name is... This is my work. If you have any questions, don’t hesitate to ask.”<br /><br />Expect to meet nice and interesting people. Remember that people are intimidated by art. You are there to make them feel at ease. <br /><br />Remember that showing your work is meant to lead to something… sales, another exhibit, contacts, commissions, representation… <br /><br />Go in search of something good happening, and something will!</span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/lNTBhP1rawQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/lNTBhP1rawQ?feature=player_embedded" width="320"></iframe></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Click above to see Quantum Revival in action.</span> </span></div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-24100677742753172822019-02-24T10:49:00.000-05:002019-02-24T10:51:23.948-05:00What's an Artist Mentor? <div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #444444; font-family: "verdana" , sans-serif;">Around & Around, encaustic on shaped panel, 12x18, 2018</span></td></tr>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">At the start of the 2018, I began something I've long wanted to do... mentoring artists!<br /><br />I've been studying creativity for years, not to mention my own 30 years experience making art, exhibiting, lecturing and teaching. Through trial and error, detours and dead ends, I've learned a thing or two that I wish I'd learned a decade or so ago. <i>If I had only had a mentor!</i> Someone with experience that would have taken me aside and said...</span><br />
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>"Hey, listen up, this is how this crazy business of being an artist works."</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">Since I began mentoring, I've facilitated the artistic growth and development of a many artists through monthly, one-on-one hour-long phone consultations where I give artists critical feedback on their work, help them manage their studio time, advise them on professional practices, given them inspirational assignments, creative assignments and have helped them focus their talent and energy toward their artistic goals. It's an incredibly rewarding to see my mentees progress! We deal with issues like how to...</span><br />
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>Become Inspired</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>Get into the Studio</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>Develop Self-Discipline</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>How to Overcome Creative Block</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>Develop Your Creative Process</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;"><b>Where to Show Your Art</b></span></div>
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<span style="color: #444444; font-family: "verdana" , sans-serif;">This process of working with artists is highly individualized, confidential, and though there's a commitment on each artists' part, they can quit whenever you choose. For some artists I assign exercises, tasks and studio work. For others I suggest readings, reflections, journaling and outings.<br /><br />If any of this resonates with you, if you're struggling and can't quite figure out how to break out or if you're ready to step it up and work toward your full creative potential, then email me and I'll send you more info about consultations. Or, just visit this blog often or subscribe and it will land in your inbox. My plan is to post weekly with info, insight and resources, both artistic and professional, that I hope will help you meet your creative aspirations. </span>Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-29847477225514353292017-01-24T15:34:00.000-05:002017-01-24T15:39:50.214-05:00The Pink Coalition<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In late November a friend texted to ask if I was going to the <a href="https://www.womensmarch.com/">Women's March on Washington</a>. Not having heard about it, I did a quick Google search and responded with a "Yes, let's go!". What started as a carpool quickly turned into chartering a bus, knowing that I would have many friends that would want to come along too. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Our bus could accommodate 56 people, so I initially factored in 6 scholarships wanting to allow some young female students to come along at no charge. The scholarships went like hotcakes and young women continue to ask if there were any scholarships left. Not wanting to turn them away, my mother and I started sewing pink fleece hats, and selling them for $20, with all proceeds going to more scholarships. Friends and complete strangers gave many straight donations </span><span style="font-family: "arial" , "helvetica" , sans-serif;">ranging between $20 and $200</span><span style="font-family: "arial" , "helvetica" , sans-serif;">, sponsoring a total of 15 scholarships. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">All together we raised over $4000, more then we needed, and were able to give a $1000 donation to <a href="https://www.plannedparenthood.org/">Planned Parenthood</a>.</span></div>
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<a href="https://4.bp.blogspot.com/-BtcqGK2dIC0/WIesBDIJdyI/AAAAAAAABkg/ZBdo4AsF5eMgz0MhiBjFIEustBHpMQt6ACLcB/s1600/Bernard%2BSewing%2BPink%2BHats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="570" src="https://4.bp.blogspot.com/-BtcqGK2dIC0/WIesBDIJdyI/AAAAAAAABkg/ZBdo4AsF5eMgz0MhiBjFIEustBHpMQt6ACLcB/s640/Bernard%2BSewing%2BPink%2BHats.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Just after the New Year our bus, "The Pink Coalition", was filled to capacity. I called the bus charter company to ask if I could reserve a second bus, but there were none. If there <i>had</i> been, I'm sure we could've filled a second bus because the requests kept coming! Instead, I steered those interested towards other bus companies and Sister Marches in Maine. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The next step was to host a Poster Painting and Pin Making Party in my Rockland studio. Over the course of an eight hour day, about two dozen people came through, and 60 bright pink posters were painted by women and men, teenagers, neighbors, old and new friends.</span></div>
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<a href="https://2.bp.blogspot.com/-fiNVGdVlvck/WIeqGYMqyYI/AAAAAAAABkY/Z5-Xg7b-bO03OXquZnf6VEq00JGJS52VwCLcB/s1600/IMG_4455.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://2.bp.blogspot.com/-fiNVGdVlvck/WIeqGYMqyYI/AAAAAAAABkY/Z5-Xg7b-bO03OXquZnf6VEq00JGJS52VwCLcB/s640/IMG_4455.JPG" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Then, on their first day of class, my Kinetic Sculpture students at the Maine College of Art dove right into a collaborative project creating a 12 foot long giant hot pink cat in five hours flat!</span></div>
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One team built the head, </div>
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One team built the body, </div>
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While others created the tail and legs.</div>
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By the end of class we had a giant pink cat puppet.</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">At 8:30 PM that night we loaded the big pink cat into the luggage compartment beneath the bus and crossed our fingers hoping to get it passed security in DC.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We picked up passengers in Rockland, Portland, Biddeford and Portsmouth along the way, drove through the night (trying our best to sleep) and arrived in DC at 9 AM.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We had good intentions of staying together, but soon found that to be impossible and ended up breaking into smaller groups, marching with fellow protesters from around the country.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">To our delight, we were able to march all day with our giant pink cat, who fellow marchers referred to as "The Pussy Dragon". </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I personally had the pleasure of being "The Pussy Dragon's" head, enjoying every opportunity to turn towards people (especially kids) and open its mouth, so I could see them smile back.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The DC police, National Guard and residents welcomed us, all one million of us. As we marched peacefully and protested <span style="background-color: white; color: #252525;">in support of </span>women's rights<span style="background-color: white; color: #252525;"> and other causes including immigration reform, health care reform, protection of the natural environment, </span>LGBTQ<span style="background-color: white; color: #252525;"> rights, racial justice, freedom of religion, and workers' rights.</span></span><br />
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<span style="color: #252525; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">We departed DC on our bus about 6:30 PM, drove through the night and all returned safely, both exhausted and exhilarated to have been part of this HUGE (5 million) international event. We made new friends, solidified our convictions, made our voices heard and committed to being activists from this day forth...</span></span></div>
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<span style="color: #252525; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white;"><b>TOGETHER!</b></span></span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-918332795969485762016-12-31T04:46:00.003-05:002016-12-31T05:03:59.239-05:00COWS - Clean Ocean Wave Sculpture<div class="" style="text-align: center;">
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="">COWS - </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Clean Ocean Wave Sculpture at the UNE Marine Science Center</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One of my big projects as the artist in residence at University of New England for the fall semester was to create a clean ocean waves sculpture, otherwise known as COWS. The idea came about when I learned that September 17 was International Coastal Cleanup Day. Susan Farady's Marine Pollution class was scheduled to pick up ocean debris at local beaches. I caught them just in time and asked that instead of disposing of the trash properly, they give it to me for a sculptural installation. </span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">My work-study students and I painted a COWS trash bin with a wave on it. We placed it on campus and encouraged other students, friends and strangers to pick up ocean debris and deposit the trash in the COWS bin. </span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">Next the students diligently collected data on what we'd gathered. In total... 88 plastic bottles, 71 cans, 18 lobster trap pieces, 8 shoes, 7 glass bottles, 4 golf balls, 4 shotgun shells, 3 hats, 1 dog toy, 1 horseshoe, 1 plastic tarp, 1 pink kitty pool, 1 scarf, 1 CD case, 1 portable scale, 1 iron pipe, 1 gift card and lots of plastic bags, food wrappers, fish line and nets.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ben, Gillian, Lena and Brad shred trash.</span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">The next step was to color sort, clean and shred all of the material into weave-able strips. </span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">We then hung a “loom” of stainless steel wire on the Marine Science Center lobby stair rails.</span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">For three days we engaged the UNE community in a big trash weaving effort: </span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">UNE students, staff, faculty and even some of my friends and family participated. </span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ben, Galicia and Laura weave trash.</span></div>
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<span class="" style="font-family: "arial" , "helvetica" , sans-serif;">The goal of the project was to engage the UNE community in a hands-on creative project while raising awareness about the amount of ocean debris that washes up on our shores and how vitally important it is for us to keep our ocean clean. The Clean Ocean Wave Sculpture is now on permanent display at the Marine Science Center. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-49936427421263282772016-09-15T16:14:00.002-04:002019-02-24T10:52:40.163-05:00Henna Tattoo Project at UNEWhat an exciting first few days as the <a href="http://www.une.edu/news/2016/une-creates-new-artist-residence-program-welcoming-kim-bernard-explore-artscience-integration">Artist-in-Residence</a> at the <a href="http://www.une.edu/">University of New England</a>.<br />
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I decided to kick off my semester with a <b>Henna Tattoo Project</b> to give me some quality one-on-one time with the student community. Little did I know how popular henna is with the college crowd.<br />
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Me, Grayson, her K-tape and henna tattoo.</div>
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Students arrived with some familiarity of the beautiful markings of henna tattoos, also known to some as Mehndi. I started off by explaining that this body art was developed in the Middle East and India where it is now used in preparation for celebrations like at weddings and religious holidays in many cultures. More about the <a href="http://www.mtoni.com/mrembo/henna.pdf">history</a> here.<br />
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My intentions with the project were to give students an opportunity to understand history, customs and traditions of another culture. As well as the botany, chemistry and biology of this natural dye. Since UNE has exceptional science departments, the students were able to teach me much about the science of henna. I encourage students to choose a design, symbol or imagery that would have meaning or significance to them personally.<br />
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I explained that henna is first grown as a flowering shrub before added to other elements and able to produce a dye.</div>
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Applied as a gooey substance, the henna mixture is made containing 1/4 cup henna, 1/4 cup lemon juice, 1 1/2 tsp sugar, 1 1/2 tsp essential oil with term. <a href="http://www.hennacaravan.com/how/how.html">Recipe & instructions</a>. <br />
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The lemon juice acidity helps break up the henna leaves and also helps preserve the hydrogen atoms in the mixture. When the mixture is then exposed to oxygen it will darken the dye. The sugar acts as an essential oil that helps keep the henna sticking to the skin along with the added moisture. The henna will seep into the skin over time, which is why we allow it to dry and flake off on its own. Eucalyptus or lavender also aids in the process to temporarily dye the skin. <a href="http://www.hennapage.com/henna/encyclopedia/colorchart/">More about color here</a>.<br />
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The darkness of the dye depends on many different factors. For example, some mixtures may have an increased level of dye content, as well as individuals' skin having an increased alkaline level making it darker or different parts of the body may absorb the dye better.<br />
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<a href="https://www.facebook.com/unelibraries/photos/?tab=album&album_id=10153707443212554">To see all of the tattoos click here!</a></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-84800717994917109162015-06-08T20:36:00.001-04:002015-06-10T11:02:51.858-04:00Square Wheeled Boat Building<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">When I first caught wind that there was going a <a href="http://www.sculptureracing.org/">People's Sculpture Race</a> in Cambridge I proposed the idea, to the Wednesday physics lunch gang, that we put our heads together and come up with a design that we could build together. "Think people+sculpture+wheels" was the pitch. </span></div>
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<a href="http://1.bp.blogspot.com/-Kes5J1VeCsY/VXXYGx1JI3I/AAAAAAAABLA/kEaKLLe_Q6E/s1600/Bernard_PSR_Sailboat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://1.bp.blogspot.com/-Kes5J1VeCsY/VXXYGx1JI3I/AAAAAAAABLA/kEaKLLe_Q6E/s1600/Bernard_PSR_Sailboat.jpg" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After much banter, brainstorming, and abandonment of seriously ridiculous ideas we came up with the notion of a square wheeled boat </span><span style="font-family: Arial, Helvetica, sans-serif;">(I think it was Wolfgang that we can mostly credit) that would ride with a pulley system over an inverted catenary track. </span></div>
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<a href="http://3.bp.blogspot.com/-4rrj1gQBtuc/VXXaBdU-nEI/AAAAAAAABLM/292f_YpG1q4/s1600/model.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="640" src="http://3.bp.blogspot.com/-4rrj1gQBtuc/VXXaBdU-nEI/AAAAAAAABLM/292f_YpG1q4/s640/model.JPG" width="542" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Once our proposal was accepted and I mocked up an 1"=1' scale model which we exhibited with our 'competitors' at MIT. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wolf crunched the numbers, created templates, then left to go watch </span><span style="font-family: Arial, Helvetica, sans-serif;">Dancing with the Stars live in LA while we... </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">cut up the luan with a jig saw,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">used a hot wire to cut the rigid insulation,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">created triple-decker-luan-insulation sandwiches,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">set up an assembly line for gorilla gluing, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">slid the stack into a long Polyethylene</span><span style="font-family: Arial, sans-serif; font-size: 10pt;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">bag, sealed it, </span></div>
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<a href="http://3.bp.blogspot.com/-U2FRDPcmDv8/VXXkaiKUqFI/AAAAAAAABMY/gR6-DJHs_1g/s1600/086.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="640" src="http://3.bp.blogspot.com/-U2FRDPcmDv8/VXXkaiKUqFI/AAAAAAAABMY/gR6-DJHs_1g/s640/086.JPG" width="480" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">applied
atmospheric pressure by evacuating the bag with a vacuum pump while the glue
set up</span><span style="font-family: Arial, Helvetica, sans-serif;">,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">and repeated the process five more times for three sets of tracks. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Next came the wheels...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">four more <span style="text-align: center;">triple-</span>decker<span style="text-align: center;">-</span>luan<span style="text-align: center;">-insulation sandwiches, </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">evacuated in a vacuum bag while the glue set up,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">a test roll...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">a forstner bit to drill the holes, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">times four.</span></div>
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<a href="http://1.bp.blogspot.com/-SO-tA_CMCWQ/VXX1RTH1v9I/AAAAAAAABN8/jPLyzOWNqzY/s1600/207.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://1.bp.blogspot.com/-SO-tA_CMCWQ/VXX1RTH1v9I/AAAAAAAABN8/jPLyzOWNqzY/s640/207.jpg" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While we had the drill press revved up and running we cut the holes in the tracks with a hole saw. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wolf returned from LA to work on the drum... </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">a 30" diameter sonotube with plywood on the sides, an aluminum axle, </span></div>
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<a href="http://3.bp.blogspot.com/-NkWOHyzLmBc/VXX4W5qMImI/AAAAAAAABOU/GjLyft0QKd4/s1600/308.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://3.bp.blogspot.com/-NkWOHyzLmBc/VXX4W5qMImI/AAAAAAAABOU/GjLyft0QKd4/s640/308.jpg" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">bushings made of high density polyethylene, U-bolts, flanges and an aluminum
union, which serves as a "stop" </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">(the union snugs up against the
polyethylene bushing to prevent axle from moving laterally).</span></div>
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<a href="http://4.bp.blogspot.com/-P_LgCukFTZY/VXX6GESdTKI/AAAAAAAABOc/WIfLtRwoPlk/s1600/108.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://4.bp.blogspot.com/-P_LgCukFTZY/VXX6GESdTKI/AAAAAAAABOc/WIfLtRwoPlk/s640/108.JPG" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">All the while Rob was working on the flanges, for the tubes that support the tracks, </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">on the Shopbot CNC machine, made from 1/2" thick PVC sheet, hole diameter 1.915" to make a slip-on fit to the 1 1/2" sched 40 PVC
tube. </span></div>
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<a href="http://1.bp.blogspot.com/-Wf8mJbF6sHY/VXX_pyzP04I/AAAAAAAABPk/J6_0YrGwXAU/s1600/316.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://1.bp.blogspot.com/-Wf8mJbF6sHY/VXX_pyzP04I/AAAAAAAABPk/J6_0YrGwXAU/s640/316.jpg" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">drilling holes in the PVC tubes and sheet and pinning for easy assembly.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Nils was cutting the platform, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">David was painting the wheels and drum, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Daniel was painting the cycloid track, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">and I was wondering if we were going to pull off this crazy project. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There was buzz of activity and everyone had their areas of expertise. We agreed to divide and conquer. We were working together, towards a common goal, putting our heads together when we hit a snag </span><span style="font-family: Arial, Helvetica, sans-serif;">and problem solving collectively. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Things really starting to look like they might work out when we put the wheels and drum together. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwT9SJ7fN4pJUkuKE3Pa4-3oi9SX8l8MVDknr3ExJnrQT2TuAXsPgkqw1D3jxlBuwghUXKAH2yDg69NdiVmsA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We set it all up in the Science Center and gave it a push. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Next came the pulley </span><span style="font-family: Arial, Helvetica, sans-serif;">(a spliced line)</span><span style="font-family: Arial, Helvetica, sans-serif;">, wrapped around the drum 2 1/2 times,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">the stays, the 'rigging', the sail, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">and the sign for the stern. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> "Sisyphus", <span style="background-color: white; color: #252525; line-height: 14.9333353042603px;">who in Greek mythology, was punished for chronic deceitfulness </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #252525; line-height: 14.9333353042603px;">by being compelled to roll an immense boulder up a hill, </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #252525; line-height: 14.9333353042603px;">only to watch it roll back down, repeating this action forever.</span> </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Yup, that sounded fitting.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We gave her a test roll again and were all delighted that everything worked!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We were ready to take on the competition!</span></div>
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<a href="http://2.bp.blogspot.com/-kBhCkZQnCCg/VXYHL7rbzZI/AAAAAAAABQ0/BSzc0k_0CVo/s1600/026.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://2.bp.blogspot.com/-kBhCkZQnCCg/VXYHL7rbzZI/AAAAAAAABQ0/BSzc0k_0CVo/s640/026.JPG" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Thanks to our enthusiastic 'wave slaves' we were not short-handed the day of the race. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://2.bp.blogspot.com/-rh4MKXsnwGw/VXYINPWtGHI/AAAAAAAABRE/r4QyNqbJpoQ/s1600/037.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://2.bp.blogspot.com/-rh4MKXsnwGw/VXYINPWtGHI/AAAAAAAABRE/r4QyNqbJpoQ/s640/037.JPG" width="640" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As we rolled along, they picked up the tracks, and laid them down ahead of us repeatedly...</span></div>
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<a href="http://2.bp.blogspot.com/-XB8Qo4fDFCw/VXYINi7nNKI/AAAAAAAABRc/BZ694jz1pXA/s1600/045.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://2.bp.blogspot.com/-XB8Qo4fDFCw/VXYINi7nNKI/AAAAAAAABRc/BZ694jz1pXA/s640/045.JPG" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">ad nauseam.</span></div>
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<a href="http://3.bp.blogspot.com/-teTiDGgF4-Y/VXYIObv4vCI/AAAAAAAABRs/-XLTT-AbnEU/s1600/049.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://3.bp.blogspot.com/-teTiDGgF4-Y/VXYIObv4vCI/AAAAAAAABRs/-XLTT-AbnEU/s640/049.JPG" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"> </span><span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;">Before we were 1/4 of the way through, </span></span></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">we realized that it would take us an eternity to roll Sisyphus to the finish line. </span></span></div>
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<a href="http://3.bp.blogspot.com/-rooXIuqIDqg/VXYKWTYcuFI/AAAAAAAABSA/nH1LTrMkZdM/s1600/065.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="480" src="http://3.bp.blogspot.com/-rooXIuqIDqg/VXYKWTYcuFI/AAAAAAAABSA/nH1LTrMkZdM/s640/065.JPG" width="640" /></span></a></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">So, we carried the boat around the race course, </span></span></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">laid down the tracks and rolled to the finish line in grand style, dead last! </span></span></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Did it matter?!</span></span></div>
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<a href="http://3.bp.blogspot.com/-NEMMiw_pQwo/VXYKqiXWpBI/AAAAAAAABSI/5ntv-soBcHg/s1600/Kids.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="640" src="http://3.bp.blogspot.com/-NEMMiw_pQwo/VXYKqiXWpBI/AAAAAAAABSI/5ntv-soBcHg/s640/Kids.JPG" width="480" /></span></a></div>
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<span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 17.5636348724365px; text-align: left;">No! </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 17.5636348724365px;">We may have lost the race </span></span><span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">but we had a boatload of fun, </span></div>
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<span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">not to mention the fact that we were a big hit all afternoon with the four years olds.</span><a href="http://3.bp.blogspot.com/-OeM8IBQzP_s/VXYsmnCPDJI/AAAAAAAABSY/WiKrOvBJnfg/s1600/Sisyphus%2BDesign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="588" src="http://3.bp.blogspot.com/-OeM8IBQzP_s/VXYsmnCPDJI/AAAAAAAABSY/WiKrOvBJnfg/s640/Sisyphus%2BDesign.jpg" width="640" /></a></div>
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<span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;"><br /></span></div>
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<b><span style="font-family: Gungsuh, serif; line-height: 150%;">Does
Sisyphus struggle in vain, still?<o:p></o:p></span></b></div>
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<b><span style="font-family: Gungsuh, serif; line-height: 150%;">Rolling
his rock up that same hill?<o:p></o:p></span></b></div>
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<b><span style="font-family: Gungsuh, serif; line-height: 150%;">Applying
some physics<o:p></o:p></span></b></div>
<div class="MsoPlainText" style="line-height: 150%;">
<b><span style="font-family: Gungsuh, serif; line-height: 150%;">to
problems of mythics,<o:p></o:p></span></b></div>
<b style="line-height: 150%;"><span style="font-family: Gungsuh, serif; line-height: 150%;">We
roll up hills without rolling uphill.</span></b><br />
<span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">Click </span><a href="http://artery.wbur.org/2015/06/06/sculpture-racing" style="font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">here</a><span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;"> to see lots of great pictures (courtesy of Greg Cook and WBUR) </span><br />
<span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">of all the other zany sculptures on wheels </span><span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">and read about the </span><a href="http://artery.wbur.org/2015/06/06/sculpture-racing" style="font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">People's Sculpture Race</a><span style="background-color: white; color: #141823; font-family: Arial, Helvetica, sans-serif; line-height: 17.5636348724365px;">. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com1tag:blogger.com,1999:blog-1312851514346878207.post-22048997750611621772015-05-01T06:55:00.000-04:002015-05-06T08:11:08.043-04:00Art, Physics & Beauty: An Interview with Jacob Barandes<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Sit back... this is a more lengthy piece than my usual blog posts with lots of pictures and minimal text. Jacob Barandes is a member of the physics teaching faculty at Harvard and the one who initially had the idea of bringing me in to 'do something' at Harvard. We've since enjoyed many thought provoking exchanges over art, physics and beauty. He regularly sends along great math and physics links, filled with inspiring visuals that have creative potential. His mind works faster than I can keep up with, but it's totally worth the effort!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bio: Jacob Barandes grew up in New York City and
Westchester. He graduated from Columbia University with a bachelor's degree in
physics and math, and completed a PhD in physics at Harvard. As Associate
Director of Graduate Studies for the Harvard physics department, Jacob teaches
graduate-level courses and advises students in the physics PhD program, in
addition to administrative work and software development for the department. He
lives with his wife Shelley, a letterpress printer and graphics designer, and
their two children Sadie (age 6) and Emily (age 2) in Cambridge, MA. (Website: <a href="http://users.physics.harvard.edu/~barandes/" target="_blank">http://users.physics.harvard.edu/~barandes/</a>)</span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">Kim Bernard</b><span style="font-family: Arial, Helvetica, sans-serif;"> - Can you explain what initially drew you
into the field of physics?</span></div>
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<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Jacob Barandes</b> - Growing up, I was the sort of person who
could always explain why I was interested in whatever I was interested in at
the time, but the reasons I'd tell people definitely changed over the years.
I'm not sure whether my reasons for doing physics have changed fundamentally
since the end of high school, or whether it's just because I've had a lot of
time to think about them.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
think my childhood interest in physics was somewhat typical for a nerdy kid,
and was rolled into a larger interest in science. I had some beautiful
astronomy and dinosaur books when I was little, and remember spending long
hours reading them over and over and marveling at the pictures. I also watched
science shows on TV with my parents. (My parents aren't scientists, but they
both appreciate science very much.) I lived in New York City until I was about
10, so we also took lots of trips to the American Museum of Natural History. I
played a lot of chess, which was popular in New York City schools at the time.
(Our school had an amazing chess teacher, Svetozar Jovanovic.) After fourth
grade, I moved an hour north of the city to Westchester, where I went to a
public middle and high school.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">One
of my most cherished possessions in middle school was a handwritten report I
did on atoms in science class in 6th grade. (It's one of the few things I've
kept from my early years of school.) In 10th grade I took a class in chemistry,
and found the mathematical parts to be intuitive and enjoyable. On the other
hand, I was pretty awful at anything involving lab work.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
had a really amazing experience taking physics in 11th grade. It was a
standard, non-honors physics class, which was all my high school had available
at the time. (The school later added an AP physics class, but I never took it.)
There was no calculus in the course, which was fine for me because I had jumped
around so much between math classes in high school that I hadn't really learned
calculus by that point.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">But
there was something very elegant and clean about physics -- in retrospect,
almost Platonic. There were these perfect entities -- point particles,
trajectories, magnetic fields, light beams, elegant thought experiments -- that
seemed so much less messy and complicated than everything else I was learning
about in my other classes. It was definitely that aesthetic element that drew
me in, rather than a desire (or ability) to build useful things for the world.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">And
I really loved manipulating equations. It was like formulating magic spells
that the world mysteriously had to obey. I remember doing an extra-credit
project with my physics teacher (Douglas Bartel, since retired) in which I had
to derive a complicated formula to predict where a laser beam would end up
going, and when we set up the apparatus and started up the laser it precisely
matched my prediction to all the decimal places. That was just marvelous. Is
there any other human endeavor like that?</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">I
also loved doing the homework in the class! Doing physics was the first time I
felt like I wasn't wasting time that I should have been spending working on
something more important.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">At
around the same time, a close friend of mine (Etan Harwayne-Gidansky) who was
interning at the biology department at the museum of natural history got me a
connection to the museum, and after moving around between departments, I was
eventually able to get an internship at their astrophysics department. I
learned some programming and developed code to sift through data for their
Digital Galaxy project, whose goal was to visualize the distribution of stars
in our galaxy on their mainframe computer.<br />
<br />
I also started attending a free weekly Saturday morning science class (the <a href="http://www.columbia.edu/cu/shp/" target="_blank">Science Honors Program</a>) at
Columbia, where I'd later end up going to college. So I'd take the train into
the city from Westchester every Friday, work that afternoon at the astrophysics
department at the museum, and then stay with my grandfather overnight before
going to Columbia in the morning for classes on astrophysics, cosmology,
relativity, quantum theory, and particle physics. I still have all my old
course notes from those classes in a little gray binder on my office bookshelf,
and it took me all my years of college before I understood everything I had
originally written down in it.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
still wouldn't have described myself as being primarily interested in physics,
though. Maybe astronomy. The next year, in 12th grade, I took AP chemistry in
high school (my lab work was probably even worse than in 10th grade chemistry),
switched over to psychology classes at the Columbia Saturday program, and
didn't take any more math.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">When
I got to college, I was planning on studying neuroscience, and maybe some
computer science. (I had done a lot of computer programming and web design in
high school.) Then I took some math classes and really learned calculus for the
first time while also taking the standard physics track for physics majors.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
was completely blown away. It was love. There was no other way to explain it --
I couldn't have given an objective reason why I enjoyed it so much. (Can a
person give an objective reason for falling in love with anyone or anything?) I
just loved what I was learning and relished solving physics and math problems.
I would work all day on problems, and for the very difficult ones, I'd mull
over them in my head when I went to sleep. The other students in my dorm said
that they'd scarcely ever seen anyone so happy.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">But
I felt like I was way behind all the "very serious" people who were
studying math and physics. (Some of them even told me outright that I had no
shot at getting anywhere.) In my sophomore year, I enrolled in the standard
introductory course in microbiology while also still taking some physics.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
had become friends with a student in one of my physics classes, and he and I
got dinner across the street from school one evening. We were talking about
studying physics and how we both felt like despite enjoying it, we were
probably not going to become very successful at it in the long run. He told me
that he didn't really care -- he said we would be stupid to give up doing
something we really loved doing just because we were afraid we wouldn't end up
getting to the top of the field some day. What he said really stuck with me.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">A
few months later, I had a very late night working on biology homework, and the
next day I realized I wasn't doing what I wanted to be doing with my life. So I
dropped the biology class and never took another one, or any other electives. I
just started loading up my schedule with as many physics and math classes as I
could. I was taking 5 or 6 classes a term and getting very little sleep, but it
was thrilling. I studied physics every summer, and taught myself my school's
undergraduate course in quantum mechanics from the textbook and homework sets
that had been posted on the course website. I took nearly all the undergraduate
and graduate-level physics courses available, and essentially finished a
master's degree in physics in addition to my major in math.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
spent every minute thinking about physics or math and talking about physics or
math. Apart from the time I spent with Shelley (now my wonderful wife), my only
extracurricular activities in college were the Society of Physics Students and
the Undergraduate Math Society. I was extremely fortunate to get into Harvard's
PhD program in physics, and decided that I wanted to go into high-energy
theory.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
benefited tremendously from the mentorship of the director of undergraduate
studies in physics at Columbia, Prof. Allan Blaer, who, in addition to running
the Saturday Columbia program I had attended in high school, was one of the
most patient and kind human beings I've ever known -- and a brilliant teacher.
I also got to know an incredible group of students in physics. One student in
particular, David Kagan, quickly became one of my very closest friends, and we
spent countless hours discussing physics and philosophy during my college
years. (We still do!)</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">As
you and I discussed when we spoke last in person, <span style="background-color: white;">I think what keeps me in love
with physics (despite the many ups and downs along the way) is that it gives me
access to a whole aesthetic realm that would otherwise have been unavailable to
me. There are certain concepts and ideas in physics that are among the most
beautiful things I know about, and I am grateful that I learned enough physics
that I was able to get to see them. I wish everyone could see them. There are
lots of great reasons why people study physics, but I hope everyone in the
field gets a chance to experience that kind of beauty.</span></span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;">Like
lots of other physicists, I've also been motivated by a desire to understand</span>
the world a little better. When I was first learning physics years ago, the
subject seemed limitless, but now I appreciate that physics does have an outer
boundary, and that <span style="background-color: white;">there are aspects of existence outside of physical reality
that go beyond what physics could ever tell us and that lie more properly in
the realm of philosophy. Nonetheless, it's been ama</span>zing to follow along with
the progress physicists have made in elucidating the nature of physical
reality, and it would be a wonderful privilege to see that adventure continue
and continue sharing it with people who are just starting their own careers in
physics.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>KB</b> - You speak about the elegance and beauty of physics, and the
aesthetic realm. I'm also intrigued by the "aspects of existence
outside of physical reality that go beyond what physics could ever tell us and
that lie more properly in the realm of philosophy". Can you
elaborate?</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>JB</b> - In short, science has turned out to be a marvelous tool for
developing a description of empirical data and making highly nontrivial
predictions about as-yet-unknown real-world phenomena, not to mention leading
the way to important inventions and technologies that have changed the way we
all live our lives. And<span style="background-color: white;">, as I've emphasized throughout our conversations, the
structure, models, and applications of science often possess a great deal of
beauty.</span></span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">But
the moment one begins asking what it all <i>means</i> -- what the results of
our scientific work actually tell us about the way the world really is -- one
has moved beyond the reach of experiments and into the realm of philosophy.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">There
are people both in science and outside it who would rather not spend their
precious time grappling with such concerns, and that's very much all right with
me. We don't generally get to choose what interests us, and the world is a
better place for all of our diverse interests. But these concerns cannot simply
be dismissed as nonexistent, whether we like it or not, and so I'm happy that
some people (some scientists, some not) spend their time taking them seriously.
I should also say that I go back and forth on a lot of this stuff myself -- I'm
far from settled in my opinions here.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">There's
a lot of formal terminology that arises in these kinds of discussions
(ontology, epistemology, logical positivism, falsifiability, scientific
realism, foundationalism, reification, instrumentalism, structural realism,
phenomenology, Platonism, etc.), and I'll do my best to avoid it. To summarize,
the folk tale we often hear is that a philosophical consensus was reached in
scientific communities in the early part of the 20th century in which certain
broad kinds of questions were deemed acceptable and the rest were cast aside as
meaningless. Statements that made operational, nontrivial predictions about the
world and that were falsifiable (that is, in principle, there was a conceivable
way in which they could be demonstrated empirically to be false), as well as
mathematical corollaries of such statements, were regarded as sensible, and all
other statements were branded by some (though not all) as being a waste of
time.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;">In
practice, however, many scientists practice a kind of implicit belief system in
which their models and theories are literally describing what reality actually
is. In this picture, there really are electrons and quarks zipping around and
popping into and out of existence, energy is really a physical thing that's out
there (beyond being merely a mathematical device), and there is a true sense in
which we can say that the laws of nature and maybe even wave functions are
really out there; our models are accurate depictions of the underlying reality
of nature. Of </span>course, statements like these go beyond the conservative
restrictions I mentioned before (valid statements must be operational and
falsifiable, or must be mathematical corollaries of statements that are), and
so truthfully require some kind of philosophical justification. And, indeed,
when pressed, most scientists will often admit as much.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">However,
I think the urge on the part of so many scientists to make those kinds of
claims about our scientific models is not a surprise, and shouldn't be so
readily dismissed. <span style="background-color: white;">Ultimately, many of us got into science in the first place
not just because we wanted to make austere nontrivial predictions about future
empirical data (ten more decimal places -- hurray!), but because we were
interested in trying to learn something about the actual underlying reality of
the world. T</span>hat was certainly part of what drew me into science, apart from the
sheer love of doing it and the appeal of its hidden beauty. And early on in my
studies, I figured that science was a more reliable way to pursue this goal
than other ways, like philosophy or religion, would have been.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">But
what I learned over the years is that science simply can't tell us whether or
not our models and theories are truly telling us the actual underlying reality
of the world -- that would require a leap beyond what science can do. Even this
very discussion is something beyond the bounds of science.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;">It's
true that the sorts of models we often use in the safe and familiar territory
of classical mechanics are fairly transparent, and one might therefore decide
to take a philosophical leap and identify them with reality. </span>After all, in
classical mechanics, my model might consist of pendulums and rolling cylinders
and tennis balls, and those are certainly things we see around us all the time.
In this framework, maybe notions like energy and momentum are just convenient
mathematical devices, but particles are real, velocities are real, etc. Those
things show up in our models because our models are just reflecting the
underlying reality.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">But
quantum theory upends this picture dramatically. Yes, it has had astounding
empirical success as a framework for predicting the outcomes of measurements.
Indeed, many of our theoretical calculations in quantum theory agree with
<a href="http://en.wikipedia.org/wiki/Precision_tests_of_QED">experimental data to countless decimal places</a><span id="goog_1561561534"></span><span id="goog_1561561535"></span><a href="https://www.blogger.com/"></a>. (Note that Prof. Gerald
Gabrielse, who comes up in the article for his outstanding accomplishments in
high-precision experiments, is on our faculty here at Harvard.) </span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Nonetheless,
physicists have been unable thus far to find a formulation of quantum theory in
such a way that we can identify a sensible picture of what actual reality could
be like. So to the question "What could the world really be like such that
quantum theory turns out to be the ideal theoretical description?", we
don't have an answer -- certainly not with any consensus -- and may never have
one.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">It's
not just quantum theory that might shake someone's confidence that science is
ever going to be able to tell us what underlying reality actually consists of.<span style="background-color: white;">
When I was little, I hoped that science, unlike philosophy or theology, might
be able to teach me definitive things about the world, at least up to some
given level of certainty (e.g., 99% confidence). But all logical arguments
consist of premises (i.e., axioms, that is, assumptions), followed by sound
logical deductions or inferences that lead to conclusions. In that sense, all
knowledge is ultimately contingent on premises or axioms, and eventually there
are just some axioms that we cannot derive from anything else, nor even assign
probabilities to. </span>(There isn't consensus, by the way, on <a href="http://en.wikipedia.org/wiki/Probability_interpretations">rigorously defining what probability means</a>!)</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">When
you think about it, that unavoidable contingency of knowledge is a really
profound thing. Seemingly every scientific, philosophical, linguistic,
theological, or moral fact -- no matter how "objective" -- is
ultimately contingent on axioms that cannot be derived from anything deeper or
even assigned probabilities (whatever probabilities rigorously mean). At best,
one could say that objective knowledge does not consist of facts themselves,
but only of inter-relations between axioms and their logical consequences,
although we might hope that we could reduce our knowledge at least
approximately to a parsimonious set of mutually consistent axioms.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">It
goes without saying that this discussion is yet again outside the bounds of
science, but reaches down into some of the very most important things in our
lives -- our very concept of what it means to "know" something.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">The
rabbit hole goes deeper, of course, because the rules of logic themselves are
impossible to derive from anything else. And there are <a href="http://aeon.co/magazine/philosophy/logic-of-buddhist-philosophy/" target="_blank">intriguing
alternative logical frameworks</a> out there -- frameworks that do
not agree with our default Aristotelian framework. How does one pick among
logical frameworks, or compare their merits? One can't rely on Aristotelian
logic -- that would be begging the question!</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">And
yet -- there are some things about reality that manage to escape this whole
morass altogether. When I experience the color blue, for example, I know it --
and at a level that doesn't depend on axioms or logic or anything else. Now,
the cause isn't certain -- it could be that I'm seeing a bluebird, or a blue
butterfly, or I'm having a bizarre neurological event. The cause of my experience
of blue is uncertain and falls into the class of "objective"
knowledge statements I made before, with all its ambiguities about premises and
choice of logical system. ("Given the premise that blue birds are blue,
the existence of a blue bird in my field of view is a logically possible
explanation for my experience of blue.") But my very direct experience of
blue itself is completely outside this whole system and all its ambiguities and
subtleties. I know it with absolute certainty, even as I may be uncertain as to
its cause. (Or even uncertain about whether "cause" is ultimately a
sensible property of things in the world.)</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">How
can it be that "subjective" things like the experience of blue, or
pain, or love are 100% certain to me and free of any dependence on axioms,
whereas "objective" things like blue birds, knives, <i>F=ma</i>,
etc., are never known with certainty, and are furthermore ultimately contingent
on unprovable axioms? Doesn't that upend everything we're taught about
objective statements being better or more reliable than subjective ones? And if
subjective experiences truly exist, then what does that even mean? In any
event, science isn't going to be able to answer any of these questions -- even
though they're understandably very important to me.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
mean, perhaps the most important thing that has ever happened to me (and here
I'm borrowing from some of the musings of Scott Aaronson) was that<span style="background-color: white;"> somehow
"I" got assigned to this particular physical body, so that <i>its</i>
experiences would be <i>my</i> experiences.</span> The reality of my perspective and
presumably its attachment as an irreducible thing to this physical body are
just as real to me as "blue", and more real to me than essentially
anything that one might call an "objective" fact. It's as though some
cosmic recording needle landed on a particular human body and declared
"There -- that's going to be you." Science will never be able to tell
me how that happened, or even make any sense of the question itself, despite
its obviously huge personal significance!</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Once
one starts to look for more examples of things outside the bounds of what
science can reach, one starts to see them everywhere. <i>F=ma</i> appears to be
an excellent approximation for many systems in classical mechanics, and app<span style="background-color: white;">ears
to be just as "objectively" true as the existence of the book sitting
on my desk. But where is <i>F=ma</i>, and what would it mean to say that it's
real or that it exists? If some of our mathematical laws of nature exist, then
in what sense? Is there some other plane of rea</span>lity, beyond physical reality,
where true mathematical equations and theorems and statements exist, as Plato
would have imagined, with the "real" physical world just a grotesque
gallery of imperfect reflections of that Platonic realm? Or does the
Pythagorean theorem exist only in the same way that objective-fact-statements
exist -- that is, as contingent statements following from axioms, in this case
the standard axioms of mathematics? Or maybe all logical relations between
axioms and consequences (including all mathematical facts) live together with
mathematics someplace. One thing is for sure -- science can never tell us.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Now,
although lots of scientists I know enjoy talking about these things, the
reaction of some people to these wonderings is to declare them undefined and
meaningless -- to declare that we should just "un-ask" these kinds of
questions. But why? Sure -- it may be difficult or impossible to answer them,
or even to formulate them very sharply to begin with. But the moment one begins
to make some sort of argument that they are meaningless, one is literally
engaging in philosophy, not science, and one is furthermore implicitly assuming
as premises lots of things that are supposed to be proven in the argument.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;">I
sometimes feel like science has given us this circle filled with rich and
miraculous things, but beyond its edge we see a vast and incomprehensibly huge
void that may lie forever beyond our reach. On</span>e attitude is to declare that we
should ignore the void, and maybe declare that it isn't there. (That's called
scientism.) But I feel like it's more honest to learn to live humbly with the
void and just accept our limitations.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>KB</b> – Can you give me (and my artist friends) some visual examples of
beauty in physics?</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>JB</b> - I can't speak for all physicists, but I've always found deep
beauty in many aspects of electromagnetism.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">For
example, ever since I can remember, I've found <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=beautiful+lightning&oq=beautiful+lightning" target="_blank">lightning
to be extremely beautiful</a>. When I was a kid, my parents got me a
little <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=plasma+sphere&oq=plasma+sphere" target="_blank">plasma
sphere</a> from RadioShack, and I recall spending many nights in bed staring
at it in the dark. There are lots more lovely examples of what one can do with
electrical discharges, such as <a href="http://www.capturedlightning.com/photos/For_Sale/June04/12InchSq/12Inch_Discharge1a.jpg" target="_blank">this</a>. (It's a
remarkable thing about nature that we see these sorts of patterns appear in <a href="http://img.pixtale.net/imager/w_990/h_/1578ce933b37b37422bc8260f1c37bd0.jpg" target="_blank">strikingly
different contexts</a> -- those are plant roots in the picture!)</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Back
in the 1800s, Michael Faraday popularized the notion of flux lines to explain
and describe the influences of electric charges and magnetic dipoles. One can
sketch the flux lines produced by a bar magnet (<a href="http://en.wikipedia.org/wiki/File:Descartes_magnetic_field.jpg" target="_blank">as
Rene Descartes did in 1644</a>!) or by a current-carrying wire by <a href="http://tedkinsman.photoshelter.com/image/I0000qXORVpWutq0" target="_blank">scattering around
some iron filings and tracing the patterns they make</a>. (The
amazing folks who run our instructional labs can provide you with the necessary
materials if you'd like to try it yourself.) Later in the 1800s, a theoretical
physicist named James Clerk Maxwell explained how to derive these flux lines
mathematically from his <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=maxwell+equations&oq=maxwell+equations" target="_blank">eponymous
equations</a>. <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=faraday+fields&oq=faraday+field+lines" target="_blank">The
results are extremely beautiful</a>. The Maxwell equations can now
be used together with computers to produce <a href="http://www.es.ucsc.edu/~glatz/field.html" target="_blank">staggeringly complex
examples</a>.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">There
are so many more things to mention. One example is <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=fluid+turbulence" target="_blank">turbulence
in fluids</a>, which shows up in countless phenomena, including <a href="http://webspersoais.usc.es/persoais/alexandra.vonkameke/Research.html" target="_blank">cups
of water</a> and <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=smoke+turbulence" target="_blank">plumes
of smoke</a>.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Phase
space is a graphical way for physicists to visualize the trajectories of
physical systems. One axis is position and the other is momentum, and if the
system's behavior is chaotic, one obtains <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=chaotic+trajectories" target="_blank">dazzling
complex figures</a>.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">The
tracks left by high-energy particles on old photographic plates are <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=particle+tracks" target="_blank">another
marvelous example of beauty in physics</a>, and partly inspired <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=beautiful+feynman+diagrams" target="_blank">Feynman's
beautiful diagrammatic recipe</a> for representing the various
ways that particle-physics processes can occur. These Feynman diagrams, which
provide a mnemonic for remembering the various numerical factors that are
necessary for calculating the rates at which various scattering and decay
processes occur, are ubiquitous on chalkboards in physics departments.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Atomic
physicists have become extremely adept at manipulating and visualizing
individual atoms, and their <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=scanning+tunneling+microscope+images" target="_blank">scanning
tunneling microscopes</a> (we have <a href="http://news.harvard.edu/gazette/story/2012/07/stages-of-superconductivity/" target="_blank">working
examples in our department</a>) have produced beautiful images, some of
which, like these "<a href="http://nisenet.org/catalog/media/scientific_image_-_quantum_corral_top_view" target="_blank">quantum
corrals</a>", clearly capture the <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=quantum+corral" target="_blank">rippling
wavelike nature of subatomic particles</a>.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Astronomy
and astrophysics have provided countless images of incredible beauty, from <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=spectral+lines" target="_blank">spectral
lines</a>, which are literally bar codes that reveal the chemical
ingredients of bright faraway objects, to the <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=hubble+deep+field" target="_blank">Hubble
telescope's famous "deep field"</a> consisting of countless
individual galaxies, to the <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=magnetosphere" target="_blank">magnetic
fields that are generated by planets like our own</a>, to the
growing recognition of <a href="http://en.wikipedia.org/wiki/Laniakea_Supercluster" target="_blank">our place</a> in the <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=laniakea+supercluster" target="_blank">larger
cosmos</a>, to the <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=cosmic+microwave+background" target="_blank">faint
echo of leftover microwave radiation</a> from the moment 380,000 years
after the Big Bang when our universe finally became cool enough to be
transparent to light. (Take a look at this <a href="http://www.preposterousuniverse.com/blog/wp-content/uploads/2015/02/Plank-power.jpeg" target="_blank">stunning
graph</a> to see the agreement between theoretical prediction -- the curve
-- and experimental data -- the dots. Isn't that beautiful?)</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Many
additional examples from one of the most beautiful physical theories known
today, Einstein's brilliant theory of <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=general+relativity" target="_blank">general
relativity</a>, in which gravity manifests itself through the warping of the
very fabric of spacetime. Among the phenomena predicted by general relativity
are <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=black+holes" target="_blank">black
holes</a>, <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=gravitational+lensing" target="_blank">gravitational
lensing</a>, and, in more exotic cosmological contexts, <a href="http://en.wikipedia.org/wiki/Cosmic_string" target="_blank">cosmic strings</a>.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">A
lot of physics technology is itself beautiful. A while back, the Big Picture
blog at the Boston Globe did a <a href="http://www.boston.com/bigpicture/2008/08/the_large_hadron_collider.html" target="_blank">breathtaking
photo set</a> of the Large Hadron Collider (the LHC), which is where a lot of
our particle-physics faculty do their research. It really boggles the mind that
human beings (including some of our faculty) <a href="http://www.bbc.com/news/uk-england-manchester-27523417" target="_blank">have created these
machines</a>.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Certainly
a lot of theoretical physicists and <a href="http://www.bbc.com/news/science-environment-26151062" target="_blank">mathematicians</a> find <a href="https://telescoper.wordpress.com/2014/02/13/the-most-beautiful-equation/" target="_blank">many</a> of the <a href="http://www.quora.com/What-are-the-most-beautiful-equations-in-Physics-Why-Note-NOT-maths" target="_blank">most
important questions</a> in physics <a href="http://www.reddit.com/r/Physics/comments/1cy2xt/what_is_the_most_beautiful_equation_youve_ever/" target="_blank">to
be profoundly beautiful</a>. ("I've spent three years studying
mathematics at university, and Lagrangian mechanics is the most beautiful thing
I've seen.") Physicists love the way our equations look so much that they
often decorate things with them. Here's <a href="http://i.guim.co.uk/static/w-700/h--/q-95/sys-images/Guardian/Science/pix/2013/1/8/1357666826925/cernmug.jpg" target="_blank">the
formula for the Standard Model</a>, which is our most complete
empirically tested theory of fundamental particle physics. Here are some <a href="http://www.dancingphysicist.com/beautiful-chocolate/" target="_blank">chocolate bars
decorated with more equations</a>. And here's a whole <a href="http://www.theatlantic.com/technology/archive/2012/10/the-beautiful-blackboards-at-quantum-physics-labs/264166/" target="_blank">art
gallery dedicated to equation-covered chalkboards</a>.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">One
more example of beautiful equations: Take a look at Laplace's <a href="https://archive.org/details/traitdemcani01lapl" target="_blank">Treatise on Celestial
Mechanics</a> from 1799(!). (<a href="https://archive.org/details/traitdemcani02lapl" target="_blank">Here's Volume 2</a>.) If you
scroll through the pages, you'll see some equations that many physicists find
deeply beautiful. (What's especially amazing is how similar many college-level
textbooks on classical mechanics look to Laplace's masterpiece from over two
centuries ago.)</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">I
haven't even touched more frontier areas of theoretical physics, including
string theory, which inspired a <a href="https://www.google.com/search?site=&tbm=isch&source=hp&biw=1333&bih=573&q=elegant+universe" target="_blank">famous
book</a> by a top string theorist whose actual title is "The Elegant
Universe." If you drop by a physics library and pick up any textbook on
string theory, you'll find countless pictures and diagrams that are extremely
beautiful just to look at.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">But
a lot of the most beautiful things in physics are hard to visualize at all,
including many of the <a href="http://www.nature.com.ezp-prod1.hul.harvard.edu/nature/journal/v490/n7421/full/490472a.html" target="_blank">deeply
important symmetries</a> that <a href="http://press.princeton.edu/titles/8509.html" target="_blank">underlie
a lot of our models</a>. Indeed, one of the very most beautiful ideas in all of physics
is <a href="http://en.wikipedia.org/wiki/Noether%27s_theorem" target="_blank">Noether's
theorem</a>, named for mathematician <a href="http://en.wikipedia.org/wiki/Emmy_Noether" target="_blank">Emmy Noether</a>. Her
theorem establishes a profound connection between the symmetries of a physical
model's basic rules and the existence of conserved quantities. Prominent
examples: If a model's rules are symmetric under shifts in space, then momentum
will be conserved; symmetry under shifts in time implies energy conservation;
and symmetry under rotations implies conservation of angular momentum.</span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Just
for fun, I'll end with this <a href="http://www.creativebloq.com/animation/bbc-science-club-animation-8134104" target="_blank">nice
(and beautiful!) video</a> by artist Asa Lucander that covers all of physics up through
Einstein in four minutes. Enjoy!</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>KB</b> - Can you briefly describe YOUR creative process?</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>JB</b> - The most successful physicists out there are tremendously
creative, producing not just new ideas in existence fields but creating
entirely new fields altogether.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Personally,
my creative process involves looking for good questions, which are ideally not
just intriguing and appealing to my interests but also sufficiently clearly
defined. Some questions come from reading papers or books, attending seminars,
or talking to other people, but, for me, the best questions come from my
teaching. Looking for ways to re-organize topics to improve their logical order
and pedagogical coherence often leads me to new questions.</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">John
Preskill, a renowned theoretical physicist at Caltech, captured this idea
marvelously in a <a href="http://quantumfrontiers.com/2015/02/24/celebrating-theoretical-physics-at-caltechs-burke-institute/" target="_blank">recent
speech</a> in which he declared that "we learn by teaching." As he
put it: </span></div>
<div style="margin-bottom: 10.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">"Well,
when I contemplate my own career, I realize I could never have accomplished
what I have as a research scientist if I were not also a teacher. And it's not
just because the students and postdocs have all the great ideas. No, it's more
interesting than that. Most of what I know about physics, most of what I really
understand, I learned by teaching it to others. When I first came to Caltech 30
years ago I taught advanced elementary particle physics, and I'm still reaping
the return from what I learned those first few years. Later I got interested in
black holes, and most of what I know about that I learned by teaching general
relativity at Caltech. And when I became interested in quantum computing, a
really new subject for me, I learned all about it by teaching it.<br />
<br />
"Part of what makes teaching so valuable for the teacher is that we're
forced to simplify, to strip down a field of knowledge to what is really
indispensable, a tremendously useful exercise. Feynman liked to say that if you
really understand something you should be able to explain it in a lecture for
the freshman. Okay, he meant the Caltech freshman. They're smart, but they
don't know all the sophisticated tools we use in our everyday work. Whether you
can explain the core idea without all the peripheral technical machinery is a
great test of understanding."</span></div>
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">When
I have to teach something, I'm forced to probe my own understanding far more
deeply than I would otherwise, and I often uncover lots of interesting
questions along the way. (Sometimes prompted by my students!)</span></div>
<br />
<div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Once
I have a good question in mind -- perhaps a physics problem, or maybe just the
search for a better approach to explaining an important concept in one of my
classes -- I read everything I can about it to see if it's been solved already,
and I try to talk to others who might know more than me or who are at least
willing to be confused along with me. I write down everything in as organized a
way as possible. If the problem hasn't been resolved already, or if I think
there's a new angle for looking at an existing solution, then I try to find
some time just to sit and think about it, maybe taking some long walks or
thinking about the problem when I go to sleep. (Once I have a gripping problem
in my head, I find that it's often very hard to put it aside.) I like to sketch
out calculations or various approaches to making sense of the problem as I
think through it. If I really don't know how to proceed, then I may just let
the problem sit in the back of my head for a while in case inspiration
eventually hits.</span></div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com2tag:blogger.com,1999:blog-1312851514346878207.post-32314336186532768062015-04-27T10:21:00.000-04:002015-04-27T10:21:20.277-04:00Talk on 4/30 at 6pm at Harvard<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-8FywROZddkk/VT5Fwl0K2pI/AAAAAAAABI0/RPUnhWrGYcc/s1600/Arts%4029Garden_Talk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-8FywROZddkk/VT5Fwl0K2pI/AAAAAAAABI0/RPUnhWrGYcc/s1600/Arts%4029Garden_Talk.jpg" height="640" width="494" /></a></div>
<br />Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com1tag:blogger.com,1999:blog-1312851514346878207.post-21168594199996308002015-04-04T17:03:00.004-04:002015-04-04T17:59:37.407-04:00Spring Break in Greece<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-CxOVdXJpDlY/VR_p1a2m_iI/AAAAAAAABC8/S18wcg-ME0Y/s1600/072.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://2.bp.blogspot.com/-CxOVdXJpDlY/VR_p1a2m_iI/AAAAAAAABC8/S18wcg-ME0Y/s1600/072.JPG" height="426" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large; text-align: center;"><span style="text-align: left;">This is my forth trip to Greece and Spring Break was the perfect time to visit. Christos has close family there, so it's a real immersion when we visit. The family home, in Poulithra (a small village of 400), where his father was born, is traditional and typical for the eastern seashore of the Peloponnese.</span> What's so unique about the house is that the stairs are on the outside. I guess you can get away with that in a climate when the winter is so mild.</span></div>
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<a href="http://4.bp.blogspot.com/-YZcCJ2QyRDY/VR_sGhCyClI/AAAAAAAABDQ/SccpKkcT3mg/s1600/075.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://4.bp.blogspot.com/-YZcCJ2QyRDY/VR_sGhCyClI/AAAAAAAABDQ/SccpKkcT3mg/s1600/075.JPG" height="426" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">We often hear the fish truck driving up and down the streets, with the fisherman/driver (who probably just got off the boat with his fresh catch) yelling "<span style="background-color: white; line-height: 24px; white-space: pre-wrap;">psária" </span><span style="background-color: white; line-height: 24px; white-space: pre-wrap;">or the farmer with his fruit and veggie truck ringing it's bell. This system of a traveling market is convenient for the yia yia's who don't drive.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Everyone has a garden with fresh vegetables and flowers. Right outside the door there were blooming Calla Lilies, orange, lemon and olive (500 year old) trees. So, when you need a lemon, you just go outside and pick one. </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The family keeps a small vineyard in the village slightly higher in elevation. Each fall they gather to harvest and press the grapes, yielding enough wine for a years supply for everyone in the family. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large; text-align: left;">We took several day trips, often being stopped on the road by a passing herd of goats and a shepherd.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><span id="goog_1157425440"></span><span id="goog_1157425441"></span>One place we always visit is Leonidio, since it's the next biggest village and we can buy groceries there. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Not to mention the most delicious baklava. Nostimo! (Greek for tasty)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">One of our favorite places to walk takes us along the water, through olive groves...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">to a small church only reachable by foot or boat.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">We take a picnic and stay awhile, to soak in the beauty and just enjoy.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">This trip we visited Hydra together for the first time. Poli Aurea! (Beautiful!) </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">There are no cars on the island, so anything you can't carry yourself gets loaded onto a donkey. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">View of Hydra from above</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">These little ones took care of the crumbs someone left behind at a sunny cafe </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">where we enjoyed a Greek coffee. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">On my last night in Athens, our friend Lucas took us to a music club. To get there we had to go through the meat market, find an unmarked door and take the elevator up to where we enjoyed a night of Greek Rembetika, dinner, wine and lots</span> <span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">of fun. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com3tag:blogger.com,1999:blog-1312851514346878207.post-83519605823239516962015-03-25T07:42:00.003-04:002015-03-25T07:44:42.878-04:00Sharing some ink...<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-WjBmRjRZ0tU/VRKd1h_BEkI/AAAAAAAABB0/brRpraHDOsE/s1600/Bernard_Wave_Phenomena_II_2013.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-WjBmRjRZ0tU/VRKd1h_BEkI/AAAAAAAABB0/brRpraHDOsE/s1600/Bernard_Wave_Phenomena_II_2013.JPG" height="460" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Reposting a recent article in the <a href="http://www.bostonglobe.com/ideas/2015/03/24/artist-walks-into-harvard-physics-department/Iykba2vkJ9dypeo974B3cO/story.html?event=event25">Boston Globe</a><span id="goog_631932267"></span><span id="goog_631932268"></span><a href="https://www.blogger.com/"></a> along with a recent article in the <a href="http://news.harvard.edu/gazette/story/2015/03/sculptor-finds-physics-a-welcoming-space/">Harvard Gazette</a>.</span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-52124060040511647062015-02-28T17:22:00.000-05:002015-02-28T17:27:10.594-05:00Art Intervention in the Physics DepARTment<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://3.bp.blogspot.com/-kNSDwJf2w48/VPIiobs5PjI/AAAAAAAABA8/whCZvaHCJPM/s1600/_DSC6357.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-kNSDwJf2w48/VPIiobs5PjI/AAAAAAAABA8/whCZvaHCJPM/s1600/_DSC6357.JPG" height="422" width="640" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A little art intervention in the Physics DepARTment<span style="font-size: large;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">It's been seven weeks since my residency started. The first week was spent settling in and setting up my studio. During my second week, I took an intensive week long Circuit Building workshop (see 2 blogs back). </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The students who taught me the value of Google Calendar</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Classes started January 26th and the last five weeks have been chock-a-block full. Each Monday, I sit in on <a href="http://thelaboratory.harvard.edu/courses/es20/">How to Create Things & Have Them Matter</a>. This course is "about ideas, how we imagine them, and especially how we continually reimagine them in order to produce an innovation that in some clear way benefits the world." "The course teaches students to generate, develop and realize breakthrough ideas in the arts and sciences." </span></div>
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<a href="http://2.bp.blogspot.com/-V7uLUhQpufE/VPIUCsQNf0I/AAAAAAAABAA/x0vW3i06ofs/s1600/David%2BAtwood%2BMachine.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://2.bp.blogspot.com/-V7uLUhQpufE/VPIUCsQNf0I/AAAAAAAABAA/x0vW3i06ofs/s1600/David%2BAtwood%2BMachine.JPG" height="476" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Professor Morin demonstrates the mechanical advantage of the Atwood Machine</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Tuesdays, Wednesdays and Thursdays, I sit in on 15A (<a href="http://isites.harvard.edu/icb/icb.do?keyword=k106272">Mechanics & Relativity</a>) lectures and labs. Some of the 70ish students will have the option to work with me on a creative project, instead of their regular mid and end of the semester projects. This I envision to be a collaborative kinetic sculpture or installation, that we build together, where they can still collect data and apply the usual <span style="background-color: white;"><span style="line-height: 18px;">quantitative analysis (using Logger Pro and Mathematica) while simultaneously making art. </span></span><span style="background-color: white; line-height: 18px;"> </span></span></div>
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<a href="http://1.bp.blogspot.com/-o3iLI2JRyMg/VPIMSUsQsaI/AAAAAAAAA_g/1IUo_334Z-o/s1600/Ripple%2BTank.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://1.bp.blogspot.com/-o3iLI2JRyMg/VPIMSUsQsaI/AAAAAAAAA_g/1IUo_334Z-o/s1600/Ripple%2BTank.jpg" height="489" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #222222;"><span style="background-color: rgba(255, 255, 255, 0.921569);">I've started sitting in on a <a href="http://isites.harvard.edu/course/colgsas-8676">Waves and Optics</a> lab where I've watched students </span></span>make their own holograms, learned about <span style="background-color: white;">interference, refraction,</span><span style="background-color: white;"> diffraction</span> and wave phenomena via a ripple tank simulator. <span style="text-align: center;">As the students approach their end of the semester project, I'll be working with some (and learning a lot about) </span><span style="text-align: center;">nonlinear oscillators and chaotic pendulums, </span><span style="text-align: center;">building wind instruments and maybe creating a</span><span style="text-align: center;"> water ripple tank.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A piece of my vice being drilled on the milling machine</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Additionally, I've been going to through my "Green Training" in the Machine Shop, building a vice and learning how to use a vertical and horizontal band saw, lathe, milling machine, reading plans and measuring to 1/1000 of an inch with a micrometer and calipers, (I was delighted to find safety glasses that have magnification lenses!) learning TIG welding and how to use the laser cutter. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Another thing I've been making a point of is setting up meetings with professors in the Physics Department to learn about their research, labs and areas of expertise. They've been quite generous with their time, taken me on tours, given me advice on areas within physics to research where there's rich visual and aesthetic potential. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Last week I gave a talk called "Collision: Where Art and Science Meet". <span style="text-align: center;">Here's an article that a student reporter from the <a href="http://www.thecrimson.com/article/2015/2/25/physics-artist-kim-bernard/">Harvard Crimson</a> wrote...</span><span style="text-align: center;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.thecrimson.com/article/2015/2/25/physics-artist-kim-bernard/">Harvard Crimson</a><span style="font-size: large;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">One of the most enjoyable things that's happened is that students have come out of the woodwork, expressed their interest in making things and shared with me their ideas for projects. To encourage this I've begun a "Lunch with the AIR" (Artist-in-Residence) held every week, where I host an informal, incubator style, BYO lunch (dessert provided) where students can meet up, share whatever they're excited about, learning, researching and hash out their creative art-science ideas.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Without a doubt, the Physics Department is a stimulating environment to be immersed in! Kind of like a language immersion course where you live in another country, speak, eat and dream in that language. Only this time I'm in Physicsland. The floodgate has opened and the ideas are rushing in so fast. I'm trying frantically to get them on paper before the next deluge comes. One of the lab staff bestowed upon me (this was a rite of passage, I think) a computation notebook to keep track of my data collection. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com2tag:blogger.com,1999:blog-1312851514346878207.post-35704131164152325992015-02-09T12:44:00.000-05:002015-02-09T12:44:22.787-05:00Collision! Where Art & Science Meet<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;">Collision: Where Art & Science Meet </span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;">Friday, Feb. 20th, 12-1pm</span></span></b><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;" /><b><span style="font-size: large;"><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;">Harvard Science Center, Physics Dept., Rm 302, 1 Oxford St, Cambridge, MA</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;">Artist Talk by Kim Bernard</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 15.4559993743896px; text-align: left;">All Welcome!</span></span></b></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-24377084209785809422015-01-27T12:22:00.002-05:002015-01-27T12:29:39.616-05:00Simple Circuits<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Two weeks ago I started my stretch as Artist-in-Residence in the Physics Department at Harvard. So far, I've set up a studio in a "SciBox", a multipurpose classroom/lab, where I have an open door policy and welcome physics and engineering students, teachers and staff to wander in, see what I'm up to and engage in a dialog about art-science-creativity-innovation and where-how-when these matters collide. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Besides setting up my space, I've been taking a week long circuit building intensive where I've become acquainted with Eagle software to design circuitry, </span><br />
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<a href="http://2.bp.blogspot.com/-BrgQobfCutk/VMe-RPL4F5I/AAAAAAAAA9g/WLebgLyf2Bg/s1600/029%2B-%2BCopy.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://2.bp.blogspot.com/-BrgQobfCutk/VMe-RPL4F5I/AAAAAAAAA9g/WLebgLyf2Bg/s1600/029%2B-%2BCopy.JPG" height="400" width="400" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">It's child's play to what the 20 somethings are doing: micro controllers, microphones, flashing LED's and Arduino. But it's very exciting and opening up the possibility of adding electronics to kinetic sculpture. </span><br />
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<a href="http://1.bp.blogspot.com/-KYSpdwW7Q_A/VMfE-Zn6kEI/AAAAAAAAA-g/MUQIMy2_VFA/s1600/SquishyCircuits.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-KYSpdwW7Q_A/VMfE-Zn6kEI/AAAAAAAAA-g/MUQIMy2_VFA/s1600/SquishyCircuits.jpg" height="400" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">If you, or your 5 year old, are interested in building very simple "squishy" circuits, check out how to make conductive and insulating play dough </span><a href="http://makezine.com/projects/squishy-circuits/" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">here</a><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> or watch AnnMarie Thomas's TED talk </span><a href="http://www.ted.com/talks/annmarie_thomas_squishy_circuits?language=en" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">here</a><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">. And if you want more advanced stuff, go to Sparkfun </span><a href="https://www.sparkfun.com/" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">here</a><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Stay tuned... I've begun a Machine Shop "Green" Training and have started using a vertical and horizontal band saw, along with the lathe. I'm especially excited to have just bought </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">bifocal magnifying </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">safety glasses! Now I can actually kinda see the 1/1000ths of an inch that I am taking off. </span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-34261750873001642682015-01-07T06:55:00.003-05:002015-01-07T07:14:48.432-05:00New Years Catch Up<div class="MsoPlainText">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">It's been a while since my last blog post so this update
in a bit overdue. Here's a catch up...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Hydrogen Atomic Orbitals (walls), Wave Line (center)</span></div>
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<span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">In May, I had a solo exhibit titled "Spherical
Harmonics" at Boston Sculptors Gallery. </span><span style="font-family: Arial, Helvetica, sans-serif;">This is a fitting follow up
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br />The exhibit featured "Hydrogen Atomic Orbitals", an arrangement of thousands of 1" diameter black and red ceramic balls, clustered in patterns, hanging from the gallery walls. Having chanced upon patterns made by hydrogen atoms while conducting a Google search on Quantum Mechanics, I created a simple and tangible way of visualizing the behavior of electrons in matter, following an orderly natural system as familiar to us as the Fibonacci Sequence or Golden Mean.</span></div>
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<span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">In addition, "Wave Line", was installed in the center of the gallery: a kinetic, interactive sculpture consisting of 100 hanging lead balls in a 25 foot line that invites viewers to engage with them, creating a wave of motion. </span><span style="font-family: Arial, Helvetica, sans-serif;">To get a better sense of the show and the kinetic
movement of Wave Line, watch a short video </span><a href="https://www.youtube.com/watch?v=IzYLHjuOBCo&list=UU5CYdH3xkOsXZOIZ0vBa-oA" style="font-family: Arial, Helvetica, sans-serif;">here</a>, <span style="font-family: Arial, Helvetica, sans-serif;">read an article by Bob Keyes in the </span><a href="http://www.pressherald.com/?s=kim+bernard+bob+keyes" style="font-family: Arial, Helvetica, sans-serif;">Portland Press Herald</a><span style="font-family: Arial, Helvetica, sans-serif;"> here and a review by </span><span style="font-family: Arial, Helvetica, sans-serif;">Cate McQuaid in the Boston Globe </span><a href="http://www.bostonglobe.com/arts/theater-art/2014/06/10/zane-poses-riddles-identity-carroll-and-sons/MaC7TQTnaJ7qoHgMZ0i4wM/story.html" style="font-family: Arial, Helvetica, sans-serif;">here</a><span style="font-family: Arial, Helvetica, sans-serif;">.</span></span><br />
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<a href="http://3.bp.blogspot.com/-HVY13ieKNGY/VKxVS8DJVlI/AAAAAAAAA7Y/W0VVUFueAuo/s1600/10428288_853480251347611_6330990615310513195_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://3.bp.blogspot.com/-HVY13ieKNGY/VKxVS8DJVlI/AAAAAAAAA7Y/W0VVUFueAuo/s1600/10428288_853480251347611_6330990615310513195_o.jpg" height="412" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Goodbye to old house and studio in North Berwick, Maine</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">In May, we also put our house in North Berwick, Maine on
the market with the goal to downsize, move to Rockland, Maine and build
studios. Thinking we had plenty of time
before a serious buyer came along, we were quite surprised when our house went
under contract in late July with a closing date of September 30th. Crunch time! The next two months were
consumed with thinning, purging, packing, selling and giving away all the house
and studio STUFF (way too much stuff!) that we'd accumulated in fourteen years
of living in one place. </span></div>
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<a href="http://4.bp.blogspot.com/-UfqKPJAUMxo/VKxWV_ESl0I/AAAAAAAAA7g/4XoTD_kBneM/s1600/August%2B2014%2BWax%2BResist.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://4.bp.blogspot.com/-UfqKPJAUMxo/VKxWV_ESl0I/AAAAAAAAA7g/4XoTD_kBneM/s1600/August%2B2014%2BWax%2BResist.JPG" height="308" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wax Resist workshop at the Maine Coast Encaustic Workshop Retreat</span></div>
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<span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">During that time I taught my annual <a href="http://www.kimbernard.com/MCEWR.html">Maine Coast Encaustic Workshop Retreats</a> at the end of August and in mid-September.</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">See a video <a href="https://www.youtube.com/watch?v=cupTFpTaMXk&list=UU5CYdH3xkOsXZOIZ0vBa-oA">here</a>.</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">This gave me a much appreciated break from
the hard work of purging and packing as did my <a href="http://www.kimbernard.com/star_island.html">Creative and Professional Practice Workshop Retreat</a> on Star Island.</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">My
students felt bad for me when I told then all that was going on, but really, it
was a treat to get away from the real work. Gotta love those students!</span></span></div>
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<a href="http://1.bp.blogspot.com/-184EEkWXlDg/VKxXQSXzAXI/AAAAAAAAA7w/EGlr43Lttrw/s1600/Star%2BIsland%2BCPP2%2B2014.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://1.bp.blogspot.com/-184EEkWXlDg/VKxXQSXzAXI/AAAAAAAAA7w/EGlr43Lttrw/s1600/Star%2BIsland%2BCPP2%2B2014.JPG" height="390" width="640" /></span></a></div>
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<span style="font-size: large;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">Creative and Professional Practice Workshop Retreat at Star Island</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The last weekend of September arrived, the boxes were
packed, the Uhaul truck was in the driveway and Christos and I handed over
ownership of the fixer upper we poured our sweat into, restored, raised our
kids in, made a home and studios of and so enjoyed. On occasion we asked
ourselves if we were doing the right thing. But as much as we loved the home
and studios we'd created, we realized it was much too big and much too much
maintenance. The trade off in downsizing would be a simpler, smaller, just we
needed and no more, home in Rockland, with more time to make art. We'd come to love Rockland as a result of
keeping our sailboat in the harbor for eight years. Having bought a house seven years ago, that
we rented all along, kept the goal of moving there alive.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">For the last three months we've been renovating our new-old
house, re-sheet rocking, refinishing the wood floors, painting every wall,
ceiling and the trim while most of our belongings have been in storage. The inside is done, mostly, and we'll get to
the outside next summer. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">We've been getting to know Rockland, and happy to find a
local fish market, farm fresh eggs, a great bakery and the YMCA, all a short
walk from our house. Christos is happy to be just 300 steps from the town
landing and since the leaves have fallen, we've had a nice view of the harbor
from our home. </span></div>
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<a href="http://2.bp.blogspot.com/-fWjcQQ55lxc/VKxYG70gTsI/AAAAAAAAA74/XWOpoTUQghE/s1600/Studio%2C%2Broof%2Bon.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://2.bp.blogspot.com/-fWjcQQ55lxc/VKxYG70gTsI/AAAAAAAAA74/XWOpoTUQghE/s1600/Studio%2C%2Broof%2Bon.JPG" height="604" width="640" /></span></a></div>
<a href="http://2.bp.blogspot.com/-fWjcQQ55lxc/VKxYG70gTsI/AAAAAAAAA74/XWOpoTUQghE/s1600/Studio%2C%2Broof%2Bon.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><br /></span></a><a href="http://2.bp.blogspot.com/-fWjcQQ55lxc/VKxYG70gTsI/AAAAAAAAA74/XWOpoTUQghE/s1600/Studio%2C%2Broof%2Bon.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><br /></span></a><a href="http://2.bp.blogspot.com/-fWjcQQ55lxc/VKxYG70gTsI/AAAAAAAAA74/XWOpoTUQghE/s1600/Studio%2C%2Broof%2Bon.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><br /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The studios "under construction" in Rockland, ME</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While we've been settling in, our builder Dave has been
steadily working on our wood shop, now done except the cedar shakes, and
framing our studios, now finally enclosed, with plenty of work ahead
inside. We're hoping by summer, the
studios will be complete and ready for us to make art in. It's been great to see the plans that
Christos worked up take shape and to feel the physical space that we only
imagined until now. </span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif; text-align: center;">Here's an article in the <a href="http://issuu.com/umvajournal/docs/umva_journal_winter_2015/1?e=0%2F10734350">Union of Maine Visual Artists Journal </a></span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large; text-align: center;">about it all. </span><br />
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<a href="http://1.bp.blogspot.com/-1XlwVe48qBY/VK0g0mDfVtI/AAAAAAAAA8o/HwFjloF-jpY/s1600/UMVA.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-1XlwVe48qBY/VK0g0mDfVtI/AAAAAAAAA8o/HwFjloF-jpY/s1600/UMVA.png" height="640" width="492" /></a></div>
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<a href="http://1.bp.blogspot.com/-DDiMGCvCimI/VKxaMU2xksI/AAAAAAAAA8M/c-3VXZg5nqE/s1600/Bernard_Objects_In_Motion_2014.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://1.bp.blogspot.com/-DDiMGCvCimI/VKxaMU2xksI/AAAAAAAAA8M/c-3VXZg5nqE/s1600/Bernard_Objects_In_Motion_2014.png" height="132" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"Objects in Motion" at the McIninch Gallery at SNHU</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">In the midst of all this I had another solo exhibit
"Objects In Motion" at the McIninch Gallery at Southern New Hampshire
University. This required a bit of planning, pre-packing, knowing that it all
needed to be set apart and stored separately.
Here's a write up about the exhibit in the <a href="http://hippopress.com/read-article/art-that-moves">Hippo</a> and a link to a piece
that <a href="http://nhpr.org/post/nh-weekend-illusions">NHPR</a> did on the show. </span><br />
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<a href="http://3.bp.blogspot.com/-OfA461JqGng/VKxdHqREuiI/AAAAAAAAA8Y/52CV4_kG-6Y/s1600/The%2BGang.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" src="http://3.bp.blogspot.com/-OfA461JqGng/VKxdHqREuiI/AAAAAAAAA8Y/52CV4_kG-6Y/s1600/The%2BGang.JPG" height="480" width="640" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The gang!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Now... the house is comfy and feels like home, the
holidays are behind us and I've just returned from California (I'm on the plane
as I write) where we traveled from San Francisco to LA visiting family.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Next week I head to Cambridge, where I'll be an
Artist-in-Residence for four months in the Physics Department at Harvard. I'll be working with students to apply the
principals of mechanics to create kinetic sculpture, collaborating with
faculty, sitting in on labs and lectures, and using the departments equipment
to create my own physics inspired work. It will be a cross disciplinary
exchange between art and science. The
timing couldn't have been better since my new studio is under construction.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Most people ask how this all came to be, since the
Harvard Physics Department does not have an Artist-in-Residence program. In January of 2012 I had an exhibit
"Stuff Moves" at Boston Sculptors Gallery where I showed kinetic
sculpture. See exhibit <a href="https://www.youtube.com/watch?v=GCeMZVYLO-E&list=UU5CYdH3xkOsXZOIZ0vBa-oA&index=3&feature=plcp">here</a>. A Physics Professor from Harvard saw my work
and asked if I'd be interested in working with his students and/or exhibiting.
Via email he circulated my work around the department to see if there was
interest in bringing me in. After 2
years, several visits, meetings and tours, yada yada, I had another exhibit
"Spherical Harmonics" at Boston Sculptors (see <a href="https://www.youtube.com/watch?v=IzYLHjuOBCo&list=UU5CYdH3xkOsXZOIZ0vBa-oA&index=4">here</a>) where the chair of the
Physics Department came to the reception and invited me to be an
Artist-in-Residence. Since then, I've
been visiting, getting to know the guys in the lab and creating an AIR program
for myself, since there wasn't an existing one.
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The first week I'll be attending a winter session
intensive on circuit building and assisting students in applying their new
circuitry skills to create kinetic sculpture. I hope to learn something about
how circuits work myself. From there I'll be sitting in on the lectures and
labs for PSI 15 (Principals of Scientific Inquiry) where I'll be working with students who want to take what they learn about mechanics and create sculpture.
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">I'm diving in with the attitude that I'm there to absorb
like a sponge, to share what I know, admit and learn about what I don't
know. Not to focus on making work worth
showing but to create some rough and ready mock ups that allow me to
understand, just enough, what I'm learning, and not to get stuck on the
craftsmanship of making anything finished-polished-exhibitable. </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Of
course, there will be plenty of time post-AIR to make finished work and I’m
sure my future projects will be influenced by this experience. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">I'm also going in with an 24-7 open door studio policy
where physics students, lab staff and faculty may walk in, see what I'm doing,
ask questions, offer their ideas and input, collaborate and create along with
me. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">I'm planning on writing regular blog posts to document
and share just how cool physics can be, so tune in again in a week or two!</span></div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com2tag:blogger.com,1999:blog-1312851514346878207.post-39895078992437504702014-05-17T16:03:00.001-04:002014-05-17T16:23:17.950-04:00About the Process...<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-MlI3AAgI7iI/U3fDW85unoI/AAAAAAAAA3Q/LVBaMeLRU3w/s1600/Kim+with+Hydrogen+Atomin+Orbitals.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-MlI3AAgI7iI/U3fDW85unoI/AAAAAAAAA3Q/LVBaMeLRU3w/s1600/Kim+with+Hydrogen+Atomin+Orbitals.JPG" height="400" width="300" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">One of my students recently asked if I knew of any artists writing blogs about their process, which gave me the idea to share what's gone into creating my upcoming exhibit 'Spherical Harmonics' opening May 21st at Boston Sculptors Gallery. For the record, BSG is a co-operative gallery run by 36 artist members. Every 2 years each member has a solo exhibit... a great big space with high ceilings, blank walls, complete freedom and carte blanche to do whatever </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">we wish. </span></div>
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I'll admit, I didn't get off to a great start. In fact, most times when I've <i>finished</i> installing a solo exhibit (typically having completed the work in the 11th hour) I feel a huge sense of relief mixed with the sinking feeling that I'll never be able to pull it off again. It was time to start that process all over again. Being faced with so much choice can be a bit overwhelming. So, in January, when I sensed the clock ticking, I did what I typically do when I have an upcoming sculpture solo... </span><br />
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Go back into my sketchbooks</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Sketch new ideas</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Revisit links of interest I've bookmarked for later </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Look through a stack of books I keep for ideas and inspiration</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Sketch ideas more</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Make a list of things I'm curious about and would like to explore </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Think and write about the overall 'gestalt' of the exhibit</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">List materials I want to work with</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Sketch ideas some more</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br />
I see this process as mining the well, priming the pump, putting on my sculptors thinking cap and looking at the world with 'What am I going to create for this exhibit?' eyes. Usually something clicks, I finally sketch something out and that's it, that's the show, that's what I'm going to do. Then I go right to the materials. I don't necessarily know <i>all</i> that I'm going to do but I </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">at least </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">know what I'll create for one of the pieces and trust that the ideas will continue to come. </span><br />
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I had loads of possible ideas for this exhibit. Some of them were either too complicated, required too much engineering, were too expensive or simply just didn't excite me.</span><br />
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<a href="https://1.bp.blogspot.com/-TqAbSrKD5_E/U3eIcCeunxI/AAAAAAAAA1I/1SUpJV_M9Os/s1600/HAO's.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><img border="0" src="http://1.bp.blogspot.com/-TqAbSrKD5_E/U3eIcCeunxI/AAAAAAAAA1I/1SUpJV_M9Os/s1600/HAO's.png" height="564" width="640" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">It wasn't until I ran across this image while Googling 'Quantum Physics' that the spark was ignited. In a nutshells these patterns show a cross section of Hydrogen Atomic Orbitals, where at their nucleus the proton can be found. The dots clusters are density plots where the electron is likely to be found in it's ground state (1s) and excited states. Though I was interested in the fact that hydrogen atoms are the building blocks for life and constitute about 75% of the elemental mass of the universe, I was more intrigued with the sheer beauty found at the atomic level, following an orderly natural system as familiar to us as the Fibonacci Sequence or Golden Mean.</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large; line-height: 115%;"> </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">That image, combined with the fact that my husband and I would soon be driving from Maine to Key West, for an exhibit of his, and knowing that I'd be spending 10-12 hour days as a passenger with nothing to do but... roll balls! </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">I'd roll by day and lay the balls in rows in our hotel room to dry at night. </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">My goal was to roll 200 balls out of clay a day and at the end of a 2 1/2 day drive down and another 2 1/2 day drive back I had my first 1000 balls made. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Upon my return I rolled another 2000 clay balls, drilling holes in them and firing them so they could later be hung on the wall. It was during this batch that I started to question my decision and asked myself what the heck I'd gotten myself into. At 200 balls a day, it took me another 2 full weeks to get to a total of 3000. Instead of dreading the repetitiveness, I started to looked at the process as a opportunity for mediation and often listened to audio books about mindfulness.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="http://4.bp.blogspot.com/-m1kqtrNkIfI/U3eKcQbwp_I/AAAAAAAAA1k/lg_a2HLsjuY/s1600/balls4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-m1kqtrNkIfI/U3eKcQbwp_I/AAAAAAAAA1k/lg_a2HLsjuY/s1600/balls4.JPG" height="320" width="239" /></a><a href="http://4.bp.blogspot.com/-MZ_EuTs6F5w/U3eKbUXhH8I/AAAAAAAAA1Y/Wb7T-vxtvuc/s1600/balls3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-MZ_EuTs6F5w/U3eKbUXhH8I/AAAAAAAAA1Y/Wb7T-vxtvuc/s1600/balls3.JPG" height="320" width="239" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="http://4.bp.blogspot.com/-jMovOq6gc7I/U3eKbXxu_tI/AAAAAAAAA1o/_u0OLT0fD7E/s1600/Black+Balls.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-jMovOq6gc7I/U3eKbXxu_tI/AAAAAAAAA1o/_u0OLT0fD7E/s1600/Black+Balls.JPG" height="320" width="239" /></a><a href="http://4.bp.blogspot.com/-ENvUytNBxy0/U3eKbWkTczI/AAAAAAAAA1c/kk54AR-X1fs/s1600/Black+Row.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-ENvUytNBxy0/U3eKbWkTczI/AAAAAAAAA1c/kk54AR-X1fs/s1600/Black+Row.JPG" height="320" width="239" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The balls didn't start out to be red and black. I first spray painted them all in groups of red, orange, yellow, green, blue and purple. After painting nearly all of them, I decided that the palette was all wrong for the theme, too playful, not serious enough, and spray painted them all over again to be black and red. My neighbors, the mail carrier and the UPS driver, I'm sure, all questioned what in tarnation I was doing for weeks on end in my driveway, spray painting balls. I know the cashiers at Utrecht had me pegged for a graffiti artist as I kept returning for my favorite spray paint, Montana Gold. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Next it was off to buy sheets of 1/2" baltic birch plywood and lay out the balls, arranging them in the patterns of Hydrogen Atomic Orbitals. I cut the plywood in the outer shapes of the orbitals, painting them a light grey, the color of the gallery walls, so the plywood would blend in with the wall. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Next, the baltic birch was hung and I pounded nails where each ball would hang. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Still, wanting to be sure I had enough balls (no giggling here) I hung all of the baltic birch cutouts on the walls and did a 'test installation' to get a sense of what the exhibit would look like. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">During this process of creating the orbital patterns I was simultaneously working on a kinetic sculpture composed of a 25 foot line of 100 lead balls to be hung from the 12 foot ceiling at Boston Sculptors. The idea was to connect the hanging balls vertically and allow the viewers engage the sculptures motion by wagging the end balls, creating a wave of motion.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The guys at New England Marine first thought I was seriously into fishing when I went there to order 100 20 ounce lead sinkers, but became interested and very helpful when I described my idea for a kinetic sculpture. Since I need so much space and just the right height ceilings, I actually won't get a chance to see this sculpture complete until I install it in the gallery. I'm crossing my fingers that I don't pull the ceiling down from the weight and motion of this piece. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">I gather that when the exhibit is up, no one will envision the endless hours of ball rolling, both in my van on the road to Key West or in my studio with my mindfulness meditation audio books playing. Nor will they imaging me in my vapor barrier mask, ripped jeans and ratty, flannel work shirt spray painting 3000 balls in my driveway. Nor will they know I lay awake in the wee hours many nights, worrying about the gallery ceiling falling down in the middle of my opening reception. I hope instead that viewers take away an appreciation for the beauty and order of mathematical functions and a simple, tangible way of seeing science in a different light. I hope they will give the line of 100 lead balls a wag and see 'Wave Line' do it's thing. And lastly, I hope to remind myself that I pulled it off again, and that I should trust in the power of creativity and that the next time I'm faced with blank walls and the opportunity to create with total freedom and choice, the ideas will come again. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Spherical Harmonics </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Boston Sculptors Gallery</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">May 21-June 22</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Reception May 31, 2-5pm</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">First Friday, June 6, 5-8pm</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Gallery Hours: Weds-Sun, 12-6pm</span></div>
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Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com1tag:blogger.com,1999:blog-1312851514346878207.post-46257405483702785742014-03-26T03:47:00.001-04:002020-11-21T06:53:57.879-05:00Blog of a Blog<div style="background-color: white; color: #444444; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 21px; margin-bottom: 1.75em;">
Rather than reinvent the wheel for this post, I am re-posting a recent interview shared on the New England Wax blog done by <span style="background-color: transparent;">Dietlind Vander Schaaf,</span><strong style="background-color: transparent;"> </strong><span style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;">who through her astute and insightful questions made this interview a thought provoking exchange.</span></div>
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<strong>Dietlind Vander Schaaf: </strong> Your work is concerned primarily with capturing and expressing movement—whether of the artist’s bodily gestures, sound vibrations, or that of a spiritual state between death and rebirth. Why is movement so critical to your art?</div>
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Round About</div>
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<strong>Kim Bernard:</strong> Movement has always been a significant part of my life. I studied dance growing up and continued well into my adult life. I’ve dabbled in African, Latin, Flamenco, even Aerial Silks and Trapeze. When I was just out of art school I studied and eventually taught karate and kung fu. For the last 6 years I’ve practiced Ashtanga yoga. Movement has been a consistent outlet for me.</div>
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Back in ’95 my father had a spinal cord injury as a result of a skiing accident. Here’s someone who was very physical… biked, ran, skied, sailed, built. In an instant I saw him become paralyzed from the neck down. Around that time I remember running up stairs because I could, it affected me so deeply. He eventually regained much of his mobility and had a pretty good several years, and then he declined again to the point where he needed assistance with every move and was in constant excruciating pain. Deciding that he just didn’t want to live another 20 or so more years like that, he choose to end his own life. Right around the time of my dad’s accident, we discovered my now 21 year old son had Perthes disease, which meant the femoral head in his left leg was malformed. From age 2 ½ – 5 years old he had to wear a brace by day and a spica cast by night which limited his movement. In 2009 my now 23 year old son, as a result of a football injury, discovered he had been walking around for years with a broken navicular bone in his foot. Again… surgery, casts, pain and limited mobility. Both of my sons are fine now but as you can see, three people that have played such a big role of my life have had significant limitations of movement. I’ve really developed an appreciation that I can move with ease and how movement is not a right, it’s a gift.</div>
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Several years ago I assigned myself the task of merging my art making practice with my movement practice. Since then my work has explored movement through kinetic sculpture, mark making, contraptions that make marks and some video.</div>
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<strong>Dietlind:</strong> Your story about your father reminds me of a passage from the book <span style="text-decoration: underline;">Intimate Death: How the Dying Teach Us How to Live</span> by French psychologist Marie de Hennezel who spent seven years working in a palliative care unit in Paris. In recounting her time working with a patient named Daniele who was paralyzed except for the use of her right index finger, de Hennezel describes a type of survivor knowledge experience:</div>
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<em>“When I left Daniele, all I wanted to do was go and run barefoot in the grass like a mad thing. Get drunk on movement! I took my car and went to the park at Sceaux. It was warm, and I realized that the days were getting longer. On the big lawn in front of the castle, I took the most immense pleasure in running in circles, feeling the warm, damp earth under my feet, and I said thank you to life and to Daniele for such a conscious flash of pure joy.”</em></div>
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You describe the merging of your movement background with your art making process as an assignment you gave yourself. I know that meaning and intent play a significant role in your work. Do you always start out with an idea that you want to give form to–and if so, how does form relate to the work’s deeper meaning? Do some ideas naturally want to find themselves realized in 3D versus 2D?</div>
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<strong>Kim:</strong> What a beautiful passage. That quote resonated deeply with me.</div>
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I used the word ‘assignment’ but it was really an answer to my own question of why these two realms, my studio practice and my movement practice, were so separate. They were already influencing one another; I just deliberately made them one. It became clear that movement was what I wanted to explore in my work, what I was most curious about and the way I wanted to engage the viewer. I’m always encouraging my students to ‘go deep, rather than broad’. Being intentional about the quest keeps us on track and focused but allows the maker to be open to discovery.</div>
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It’s timely that you ask the question about how I start. I have a solo exhibit at Boston Sculptors Gallery (BSG) in May that I’m now generating ideas for. I know the space. I know how I want the viewer to engage and I know the overall Gestalt. It will be interactive and have moving parts you set in motion that leave a trace or a record. There will be a performative element, certainly the work itself or maybe myself. Now I have to figure out the specifics, the materials, the size/s, the palette, the sculptures function and deal with the nuances of design.</div>
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In general, as to whether work will be drawn, sculpted, painted, 2-D, 3-D or time based, I try not to impose a medium or method but let the ideas dictate. I do respond to space though. It’s very challenging to conceive of work when I don’t know where it’s going to be installed. Space gives way to ideas and possibilities, especially with 3-D work and certainly with installation.</div>
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<a href="http://belowthesurfaceblog.com/wp-content/uploads/2014/01/Bernard_Bardo_State_Kim-e1390161115339.jpg" style="-webkit-transition: all 0.18s ease-out; background-color: #f3f3f3; color: #39afd3; text-align: center; text-decoration: none; transition: all 0.18s ease-out;"><img alt="Barbo State" class="size-medium wp-image-285 aligncenter" src="http://belowthesurfaceblog.com/wp-content/uploads/2014/01/Bernard_Bardo_State_Kim-300x202.jpg" height="202" style="-webkit-transition: all 0.18s ease-out; border: 0px; display: block; height: auto; margin: 0px auto 1.75em !important; max-width: 100%; transition: all 0.18s ease-out; vertical-align: middle;" width="300" /></a></div>
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<span style="background-color: #f3f3f3; line-height: 17px;">Barbo State</span></div>
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<strong>Dietlind:</strong> If the idea and the installation space both inform the dimensions, when does palette come into play? Much of your work is brightly colored—red and black feature prominently. <em>Bardo State</em> is all grey. How is color related to meaning for you?</div>
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Synergy 17</div>
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<strong>Kim:</strong> Color has great significance and symbolism to me. Color elicits a mood and by thoughtfully selecting a particular color or a palette I believe I can achieve a certain desired effect. For <em>Bardo State</em> I wanted to elicit a somber, reflective, meditative mood so grey was the only color that would work. For Synergy 17 I choose bright orange, an attention getting color that we read as caution, pay attention. Think of traffic cones or construction signs. For Quantum Revival, red for energy, vitality and life was fitting. Using many colors, polychrome, on sculpture presents many challenges. It doesn’t always work so I often use just one color for sculpture. For my 2-D work, where I work in series, I deliberately limit my palette. My most recent body of 2-D work is white, black, red, yellow-gold and green. That’s it. It was a way to create a body of work I knew would hang well together and create unity. I always think of the palette of an exhibit as I’m developing the concept. For my next exhibit at BSG I’m leaning toward white, black, grey and red. That’s a serious and powerful palette.</div>
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Quantum Revival</div>
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<strong>Dietlind:</strong> While tackling complicated or serious subjects, such as physics, your exhibitions are often playful and encourage audience interactivity. Why is it important for you to have viewers break the “no-touch” rule of art and participate in your work?</div>
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<strong>Kim: </strong> While many of us primarily experience stimulus visually, there are many other ways we process information. Howard Gardner’s theory of multiple intelligences identifies 8 different modalities through which we experience sensory information: musical–rhythmic, visual–spatial, verbal–linguistic, logical–mathematical, bodily–kinesthetic, interpersonal, intrapersonal, and naturalistic. My own learning-processing style is without a doubt visual–spatial and bodily–kinesthetic. In other words I process information by seeing and doing either with my hands or with my whole body so, of course, I have gravitated to a method of creating that suits me. It seems logical then that in my sculptural work, at least, I aim to expand the viewers experience by offering a hands-on, interactive experience, in addition to the visual and the spatial. It’s all about expanding the experience.</div>
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<strong>Dietlind:</strong> In addition to physics, spirituality is a theme that shows up repeatedly in your work. Projects of yours concern the soul, charkas, Hinduism, Buddhism, Zen—does the work reflect your own personal search for meaning? How so?</div>
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<strong>Kim: </strong> Absolutely. We are all searching for meaning, aren’t we? Sculpture, installation, 2-D work—these are all methods I use to explore what I’m questioning and curious about. Making art is the vehicle through which I learn, connect, communicate, and try to make sense of the world we live in. I don’t pretend to have the answers but I do have plenty of questions.</div>
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<strong>Dietlind:</strong> The cultivation of any artistic practice can take a great deal of time and energy. At times it can be consuming. How do you balance the needs of your practice with the need of your daily life? Does being married to another artist make a difference in terms of meeting those needs?</div>
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<strong>Kim:</strong> It’s definitely consuming, but in a good way. My studio practice <em>is</em> my daily life. It’s not like a 9-5 job that you leave behind at the end of the day. If I’m not creating in my studio, I’m usually involved in some activity that has to do with my work. I may be planning, researching, documenting, picking up supplies, delivering work, teaching, etc. If I’m not doing, I’m often thinking. I do a lot of that while driving. I try to keep a balance in my life by practicing yoga, reading, spending time with friends and family and traveling whenever I can.</div>
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Being married to an artist helps in that Christos ‘gets it’. He understands the creative process, the complexity of being a full time artist, the all-consuming nature of it and the unpredictability because he works at his painting full time too. The drawback to both being artists is that neither of us can lean on the other financially. We each have to pull our own weight. What’s great is that we share the same interests and understand one another. We look at one another’s work, offer feedback, and support one another completely. That’s invaluable to me. I wouldn’t want it any other way.</div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com0tag:blogger.com,1999:blog-1312851514346878207.post-84613817074235779912014-02-05T15:50:00.002-05:002014-02-05T15:50:53.569-05:00Back from Peru<span style="font-size: large;">Thanks to Boston Sculptors Gallery member Nora Valdez, many BSG members had the recent opportunity to travel to Peru and exhibit at the Qorikancha Museum in Cusco. Nora not only established the connection for all of us, but curated and orchestrated all the details of the international exhibit. Several sculptors created their work in Peru and some, myself included, choose to create work ahead, allowing time to explore the Sacred Valley and do a two day trek to Machu Picchu.</span><br />
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<span style="font-size: large;">I've been wanting to visit Peru and especially Machu Picchu for almost 2 decades now, so I saw this as my chance. Here are some highlights. </span><br />
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<span style="font-size: large;">After flying into Lima on Jan 24th, we flew to Cusco, elevation </span><span style="font-size: large;">11,200 ft, </span><span style="font-size: large;">and spent the day acclimatizing by drinking coca tea and sleeping. I learned that no one, especially this sea level dweller, is immuned to altitude sickness and it's best to allow plenty of time to adjust, especially before even modest physical exertion. By Sunday, Jan. 26th, Christos, my husband and favorite travel partner in life and on land, and I took the local bus to Pisac to visit the market. Every day, locals sell and trade their produce and handmades but Sunday is the best. </span><br />
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<span style="font-size: large;">Peru's third biggest source of revenue is agriculture, after tourism and mining, and there's no shortage of fresh food. This market far exceeded any farmers market I have even seen. </span></div>
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<span style="font-size: large;">We learned quickly that nothing is priced and you can expect to haggle over everything from a taxi ride to a bag of potatoes. </span></div>
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<span style="font-size: large;">I could not resist buying some natural dyes, all from local plants, seeds, insects and moss and fixed with </span><span style="font-size: large;">salt, lime, </span><span style="font-size: large;">alum, acid, and </span><span style="font-size: large;">urine.</span><br />
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<span style="font-size: large;">We wandered the streets of Pisac a bit </span><span style="font-size: large;">and made our way,</span><span style="font-size: large;"> </span><span style="font-size: large;"> </span></div>
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<span style="font-size: large;">again on the bus packed with locals, to Ollantaytambo. </span></div>
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<span style="font-size: large;">These are some of the local taxis, souped up motorcycles really, that buzz the streets taking locals and tourists short distances. Each on had it's own personality. </span><br />
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<span style="font-size: large;">We got lucky and found a great place to say, the Hotel Iskay, where we could hear the river babbling. A good nights rest and off to visit the ruins of </span><span style="font-size: large;">Ollantaytambo the next day. </span><span style="font-size: large;"> </span></div>
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<span style="font-size: large;">Here's a view of </span><span style="font-size: large;">Ollantaytambo looking down from the Inca ruins where the land was terraced and irrigated to yield a variety of </span><span style="font-size: large;">fruits and vegetables. </span></div>
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<span style="font-size: large;">What's remarkable is that the stones fit precisely, with no mortar and are interlocking to prevent seismic shift. </span></div>
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<span style="font-size: large;">This site at Ollantaytambo</span><span style="font-size: large;"> was built in the mid-15th century as a ceremonial site but never finished due to the Spanish invasion of 1532. </span><br />
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<span style="font-size: large;"><br />The Sun Temple or Wall of Six Monoliths was most impressive due to the size of the fitted stones having been carried on roads, ramps, and slides from a quarry 5 km away...</span><br />
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<span style="font-size: large;">and the way the Incas created complex irrigation systems to redirect water for drinking, bathing, growing and livestock.</span><br />
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<span style="font-size: large;">Speaking of sustaining life, we had worked up an appetite, climbing the ruins, so I decided to try my first Alpaca burger. </span></div>
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<span style="font-size: large;">As for Peruvian cuisine, which we quite enjoyed, llama is also popular, as is chicken, ceviche (raw seafood or fish mixed with lime juice and pepper) and guinea pig (bottom left in the case). </span></div>
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<span style="font-size: large;"><span id="goog_2083138535"></span><span id="goog_2083138536"></span>After lunch we took the local bus to Urubamba, not a touristy town at all but a working town, which also had a great indoor market. </span></div>
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<span style="font-size: large;">The colors were a photographers dream!</span></div>
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<span style="font-size: large;">And the streets were alive with people shopping, selling, working, and on the move. </span></div>
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<span style="font-size: large;">After a good nights rest, we traveled by bus to Chinchero, land of the weavers, at 12,343 ft.</span></div>
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<span style="font-size: large;">At the Center for Traditional Textiles in Chinchero we visited a co-operative where woman demonstrate their craft and sell their exquisite work.</span></div>
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<span style="font-size: large;">Below you'll see woman using a back loom and weaving indigenous patterns, each indicative of the village they are from. </span></div>
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<span style="font-size: large;">We also learned how the women use local plants, herbs, insects, to make dyes for the alpaca yarn. </span></div>
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<span style="font-size: large;">That's a guinea pig house in the back, which they keep as pets, till a special day comes along like Christmas or a birthday, then it's meal time for guinea. </span><br />
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<span style="font-size: large;">Woman have their small children with them always. We found Peru to be a very family centered culture. That's yarn she'd dying. </span> <br />
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<span style="font-size: large;">While in Chinchero we also visited a church, museum and more ruins.</span></div>
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<span style="font-size: large;">Peruvians are quite enterprising and will approach you with anything to make a sol. 1 american dollar equals about 2.8 soles. Everything is quite inexpensive to USA standards. </span><br />
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<span style="font-size: large;">This small museum had wonderful examples of large ceramic vessels for carrying water on ones back. </span><br />
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<span style="font-size: large;">Even though it was/is the rainy season in the Andes of Peru, we managed to escape the entire trip without getting wet. Back to Cusco to set up the exhibit, give an artist talk and get packed for the trek to Machu Picchu.</span></div>
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<span style="font-size: large;">Our guide Xavier, with Llama Path tours, picked us up at 5am in Cusco and we made our way by bus then train along the Rio Urubamba to the beginning of our two day trek along the Inca Trail. Xavier was a wealth of information and shared with us info about Inca history, local flora and fauna, architecture, culture and the Incan beliefs. </span></div>
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Left to right: Altin, Roz, Laura, Christos, me, George, Nancy, Hannah and Jessica</div>
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<span style="font-size: large;">Here's the trekking gang! Not only were we fortunate to have Xavier as our guide, but we stayed dry, had no injuries and all kept the same pace.</span></div>
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<span style="font-size: large;">At the end of our first day of hiking we got our first view of Machu Picchu. Since it was the end of the day, all the tourists were gone and we had the rare opportunity to see it without the crowds. </span></div>
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<span style="font-size: large;">After a night of hot springs, a good meal and a comfy hotel in Aguas Calientes, we returned the next morning to a magical and misty Machu Picchu to explore for the day. </span></div>
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<span style="font-size: large;">Pictures don't even come close to how awesome Machu Picchu (old peak) is. Christos and I thought we'd make our own peak by taking a little yoga break before heading back down to town to join the group, meet out train, then bus, then van on the journey back to Cusco. </span></div>
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<span style="font-size: large;">Our last full day was finishing up the installation for our exhibit Visions/Visiónes at the Qorikancha Museum.</span></div>
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<span style="font-size: large;">The Qorikancha is an archaeological site in and of itself and it was a true honor to have work in such a special site. As you can see from the open courtyard above, it's an open air museum and Boston Sculptors work, along with other invited South American sculptors work, is exhibited throughout the second level.</span><div>
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<a href="http://2.bp.blogspot.com/-Bi1Gvw3TdBc/UvKbKMOEkOI/AAAAAAAAA0c/wkF_FexuIx4/s1600/Bernard_Artifacto_72x96_2013.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Bi1Gvw3TdBc/UvKbKMOEkOI/AAAAAAAAA0c/wkF_FexuIx4/s1600/Bernard_Artifacto_72x96_2013.JPG" height="480" width="640" /></a></div>
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Artifacto, wax, dye, steel, 72"x96"</div>
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<span style="font-size: large;">In one way or another each artists work was inspired by something Peruvian. My work above, was inspired by Inca artifacts such as pottery, shall pins, knives, tweezers, mace, weaving tools, and hair ornaments recovered at Machu Picchu by archaeologist Hiram Bingham on his expedition in 1912.<br /><br />The </span><span style="font-size: large;">Qorikancha Museum </span><span style="font-size: large;">show features artwork by the following artists from the Boston Sculptors Gallery: Caroline Bagenal, Kim Bernard, Murray Dewart, Donna Dodson, Rosalyn Driscoll, Laura Evans, Peter DeCamp Haines, Michelle Lougee, Nancy Winship Milliken, Andy Moerlein, Nancy Selvage, Liz Shepherd, Jessica Straus, Nora Valdez, Hannah Verlin and Joseph Wheelwright alongside notable South American artists such as: Ronald Alvan, Pablo Yactayo, Jacob Sulca, Persi Narvaez, Ivan Tovar, Victor Zuniga, Luis Angulo y Gianfranco Yovera, Carlos Bardales and Xavier Cano. </span></div>
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<span style="font-size: large;">The work will be on view through March 30th, 2014. </span></div>
Kim Bernardhttp://www.blogger.com/profile/02694428395761040642noreply@blogger.com3