Harry Lawsonharry.lawson@network.rca.ac.ukAbout

There are three different ways to cause a catastrophic flood, all use Cloud Seeding methods:

1. Static Cloud Seeding

This involves spreading a chemical such as silver iodide into clouds. The silver iodide provides a crystal around which moisture condenses. The moisture is already present in the clouds, but the silver iodide essentially makes rain clouds more effective at dispensing their water.

2. Dynamic Cloud Seeding

Dynamic Cloud Seeding aims to boost vertical air currents, which encourage more water to pass through the clouds translating into more rain. Up to a hundred times more ice crystals are used in Dynamic Cloud Seeding than the standard method. The process is considered more complex than Static Cloud Seeding because it depends on a sequence of events working properly. An unexpected outcome in one of the two stages could ruin the ability to cause a disaster.

3. Hygroscopic Cloud Seeding

This process disperses salts through flares or explosives in the lower portion of clouds. The salt crystals grow in size as the water joins them. The process holds much potential but requires further research.

‘I wish I were a better artist. I wish you knew how good I am. (so you could help me). I wish I could find the missing pieces.’

Jimmie Durham

Rosetta Stone:

A while ago I bought a resin copy of the Rosetta Stone which is meant to be used as a wall piece. Instead I have used it as a placemat on a table.

The Rosetta Stone was made in 196 BC, initially displayed in a temple in Memphis, Egypt. The Stone was thought to have been moved during the early Christian period and used as a building material in the construction of a new fort in Rashid. It was re-discovered in 1799 by a French soldier but because the British troops defeated the French in Egypt, they took possession of the Stone and brought it back to London where it has been displayed in the British Museum ever since. The Stone took twenty years to fully decipher. Once it was, it became a historical object no longer holding the same kind of interest.

Today the British Museum has many different gifts bearing the symbols of the Rosetta Stone. From wallets, to mugs, to luggage tags, to pens... there are five or six containing Rosetta Stone memorabilia. In a way the gift shop trivialises the significance of what discovering the Rosetta Stone was, but in another way it helps perpetuate the information contained on it further into the future.

Rosetta’s name has become synonymous with deciphering and translation. With a language learning website getting more internet hits than the original stone now. In addition to this NASA has also launched a space probe that will perform a detailed study of comet 67P/Churyumov–Gerasimenko.

Ecce Homo

Ecce Homo was probably the most public arts based story in the media back in 2012. I first came across it when a friend pointed it out to me in the London version of Metro newspaper. Most people I knew seemed to find it funny. The lady that tried to touch the painting up obviously did so with good intent. There apparently wasn’t that much appreciation for the original anyway. Personally I liked her for all her efforts.

Because of the media sensation that surrounded the story the image is now fairly recognised among the wider public. Now some forty thousand people a year visit the chapel where it was painted. Gimenez, the lady that painted over the original has requested royalties since. I bought a t-shirt bearing the image.

Riddley Walker

Russell Hoban’s novel Riddley Walker is set in a post-apocalyptic Kent some point in the future after a nuclear war. The book is written in first person by the main character in a language evolved from English created by Hoban.

At one point late on in the book one of the characters shows Riddley a plaque which has survived from our present shown in present day language about The Legend of Eustance. The character explains with certainty what is meant by what is written on the plaque. The reader of the novel understands that this is not the case.

‘For many artists the universe is expanding; for some it is contracting’.

Robert Smithson

‘It’s not only my dreams. My belief is that all these dreams are yours as well. The only distinction between me and you is I can articulate them. That is what poetry or painting or filmmaking is all about. It’s as simple as that.

I make films because I have not learned anything else and I know I can do it to a certain degree and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves or we would be cows in a field.’

Werner Herzog

Following Lubo

We followed Lubo into the forest. We didn’t speak a word of his and neither his ours. Occasionally he held his hand out flat from his side signalling us to stop, slow down or walk quietly. We waited in the forest where Lubo made deer calls with a horn as dusk fell. The gun went up but we never caught sight of a deer despite hearing one nearby.

Later that night we helped some other hunters drag a dead deer from the back of a trailer into the abattoir. The smell was overwhelming. There was a rich iron smell in the still warm blood mixed in with the smooth earthly smell of the forest.

Making Neolithic Hunting Offerings

While I was in Slovakia I made some clay animals inspired by the Neolithic hunting ones I had seen in a museum out there. I really thought I’d get into the mindset of a caveman like person while making them but I really didn’t I don’t think.

After leaving them to dry in the sun for a couple of days I fired them in a small bonfire I made. This really did make me feel like my idea of a caveman.

Charles Bukowski

His gravestone reads: "Don't Try", a phrase which Bukowski uses in one of his poems, advising aspiring writers and poets about inspiration and creativity. Bukowski explained the phrase in a 1963 letter to John William Corrington. "Somebody at one of these places [...] asked me: 'What do you do? How do you write, create?' You don't – I told them – You don't try. That's very important: not to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It's like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like its looks you make a pet out of it."

‘A life thus names a restless activeness, a destructive-creative force-presence that does not coincide fully with any specific body. A life tears the fabric of the actual without ever coming fully 'out' in a person, place, or thing. A life points to matter in variation that enters assemblages and leaves them. A life is a vitality proper not to any individual but to 'pure immanence,' or that protean swarm that is not actual though it is real: 'A life contains only virtuals. It is made of virtualities.’

Jane Bennett

‘We’re building something detective; we’re building it from scratch. All the pieces matter.’

Lester Freeman

Janet Kim

Tiny creatures is a desire to find a way to live our own way

to have a sense of community,

to see each other while on earth,

to share our lives, our pain, our talents, our thoughts,

to capture a moment in time that will be lost or forgotten,

and to package it with beauty love, pain and all that we can feel as humans.

Tiny creatures is not a gallery... is not a venue... a label... Tiny Creatures is a community center... glorifies expression and communication, not the ego... tiny creatures is not to be used to commodify art or music, but... as an instrument of communication.

Life and Death in Pompeii and Herculaneum

In 2013 I went to see the Life and Death in Pompeii and Herculaneum exhibition at The British Museum. The way the museum had presented it made me wonder what had changed from back then in AD79. I decided that very little had changed.

Hole in the Hard Drive

Technologies become ever increasingly mysterious. Their material origins are now sourced from all across the Earth and their production and assemblage means those materials have gone through numerous stages of refinement, as well as the software that is written onto them.

It’s pretty brutal drilling through a hard drive like this, I started just on the floor of my bedroom but it kept spinning the whole things as the drill bit started to bite. Once I found a way to clamp it the process destroyed the motor on my drill. I then had to take it to work to use a bigger drill, taking nearly half an hour to finally get right through it.

I don’t quite understand what has happened to the information that was on the hard drive now - whether it has gone, is hidden or has now changed into something else.

Chauvet Cave

A rock is not large, but the consideration of the time the rock has experienced is large. An experience similar to this occurs in Werner Herzog’s film Cave of Forgotten Dreams 1 about the Chauvet Cave, Southern France. In the film we are shown footage of the cave walls covered in numerous ancient cave paintings. Herzog explains: ‘after carbon dating there are strong indications that some of the overlapping figures were drawn almost five thousand years apart. The sequence and duration of time is unimaginable for us today; we are locked in history and they were not.’

1 Cave of Forgotten Dreams, dir: Werner Herzog, 2010.

FACT Gallery Wall

On my last day before leaving for London I was working at FACT gallery in Liverpool. A while before I had scratched at the surface of the wall and noticed the different paint layers embedded in it. We took a section out of the wall for the Zee show, I asked my boss if I could have the piece we had cut out. Etching back the surface with a knife I revealed the paint surfaces from the last 10 years worth of exhibitions.

9/11 Postcard

In 2011 I visited New York for the first time. We were on the subway headed downtown and saw the World Trade Centre marked on the map. We didn’t really have any plans that day so decided to take a look around Ground Zero and see how work on the new buildings were coming on. When we arrived I realised how lightly I had taken the decision to go there – strangely, there was almost nothing to see. Later that night I couldn’t sleep thinking about 9/11, I was 17 when it happened and didn’t know what the Twin Towers were. I began re-watching the footage on youtube, and started looking at Twin Towers related things on eBay. I came across this postcard made by Michael Langstein in 1978, the postcard is an artwork titled Two in Time. This postcard led me to nearly a year’s worth of research, the outcome of it never really made sense as an artwork.

9/11 BBC Printout

While researching 9/11, I began buying old newspapers on eBay. Sandwiched in one of them was a printout from the BBC News website from around 4pm GMT. 9/11 happened around the time when the Internet was becoming a primary source to read the news, even so, websites were pretty clunky using mainly low resolution images in order to speed up the download of the webpage.

The Blue Sky of 9/12

This picture was one of the first things after collecting research on 9/11 for around a year. Making this piece made me realise how self-conscious I am when I make artworks. I had seen an interview with a man that had worked in the Twin Towers. He explained that the sky on 9/12 looked different, sinister more than anything else on that day.

‘If you followed the rule that brought you to this, of what use was the rule?’

Anton Chighur

KURTZ

We fight for the land under our feet, gold that’s in our hands, women that worship the power in our loins. I summon fire from the sky. Do you know what it means to be a white man who summons fire from the sky? What it means? You can live or die for these things. Not silly ideals that are always betrayed... What do you fight for, Captain?

WILLARD

Because it feels good...

Lewis Chessmen

In 2012 I went up to Edinburgh for a show I was in. I visited the National Museum of Scotland where I saw the Lewis Chessmen. On my way out I took a look around the gift shop. I’ve liked gift shops since I was little. I bought a replica of the Berserker of the Chessmen. I became aware of the intimacy gained with having a model of such a beautiful object.

What is a digital rock?

Where Art Belongs

A simple thought – Chris Kraus’ book title alone pushed me further into thinking about where the art I make belongs. The book itself is a series of micro-studies of subcultures and movements within art scenes over the past 20 years.

When you do things right, people won’t be sure you did anything at all.

For a while now I have collected postcards of places I would like to go to. This one’s from San Francisco.

Life Expectancy

I’ve often heard people say that it’s an unhealthy thing to know when you think you’ll probably die. It is something that you can’t undo once you’ve done, I live with that now I guess.

Telofossils

Telofossils is a speculative fiction about Earth without us. If another species arrives on Earth in a thousand years, what will it find? It will uncover from the ground billions of unknown objects with no apparent use, fossilised. It will certainly wonder why there are so many of them. A plastic bag can last hundreds of years and I only have 2500 weeks left to live. This disproportion between the human life expectancy and the one of are technical artifacts gives a new dimension to our time. It will be a material trace of our memories. Making this absence and this disappearance visible is the goal of Telofossils, an impossible project.

Gregory Chatonsky

Polaroid from 05/85

A Polaroid photograph which expired in the month I was born.

Burning a tree

A few years ago I was ask to make a proposal for an artwork at Cowley Manor. I had the idea of burning a tree down, a perfectly healthy tree. There was something uniquely sad about carrying out this act. I started to put the proposal together but never even bothered to ask them. The spectacle of seeing a tree burning is still something I’d like to witness.

Ultra Deep Field Experiment

I’m always surprised how few people know about this experiment considering how much attention it seems to get in the media, but it just shows that once you are attuned to something you can see it everywhere. The story goes that NASA picked the blackest part of the night sky and programmed the Hubble Telescope to start building up an image of it over the course of six months. Apparently they weren’t expecting to get an image back, instead the image exposed looked back 13 million years and contained around ten thousand galaxies.

There was a Time when This Looked New

This has been the title of a work I have wanted to make for years now. It comes up time and time again in my sketchbook notes. I knew the object I used for this piece would need to have some kind of personal resonance as well, I’ve just not seen it yet.

A rock from the beginning of time dug up at the Greenwich Meridian.

Piet Mondrian

Mondrian was probably the first artist I really loved. I can’t remember what initially attracted me to him but somewhere in the continual reduction of his painting was a beautiful ending – a rare sight in art. Mondrian’s artistic direction accidentally foresaw what was later understood by neurologists to be the breakdown of how the mind makes up an image. When I finally got the chance to get close to one in Tate Modern I was strangely pleased how sketchy they seemed, they were still human.

The 1998 room in the Geffrye Museum

Before I moved to London I visited the Geffrye Museum with some friends. The museum contains a number of displays showing typical living spaces from different decades throughout the 20th Century. The 1998 room was the last room installed, feeling some- where on the edge of being in the present and past. Something strange seems to happen to objects and events when they are on the edge of becoming historical.

'The day is not far off when one ordinary carrot will be pregnant with revolution.'

Melanie Jackson

‘Back in the nineteen seventies, people always wanted to know if it was any fun, and I always told them, yes, it was a great deal of fun - nervous, anxious, vertiginous, heart rendering fun. My favorite thing, I told them, was showing up at my little store in the morning. I’d come in through the back door, make some coffee in the office, carry it into the dark, and hit the lights. The space would spring to life and I would just stand there for a little while, looking around and sipping my coffee. Then I would go back to the office, pull over the phone and the Rolodex, and go to work. That was the best part.’

Dave Hickey

‘I personally don’t see any triumph in selling a record to someone who won’t appreciate it. That’s what a great proportion of promotion is focused on: trying to get somebody, anybody, to buy your record.

One of the biggest advantages to not throwing ourselves in front of people all the time is that we can sort of engineer a semi-private or at very least a less than flamboyant show or event or whatever. Bands that are addicted to the cycle advanced hype, then hype, then event and post event coverage. They really have to play everything for maximum grandstand appeal.

When a band is sort of thrust at me in this fashion and wiggled in front of me like a severed head. It makes me hate them and less sympathetic to what they are trying to do.’

Steve Albini

‘We’ve done masses of projects, Crass was the only project that ever became renowned.’

Penny Rimbaud

‘Language changes so quickly, and it’s hard to imagine even if we created a Rosetta Stone of all the known languages in the world, they might not be legible in a hundred thousand years.’

James Acord

Experimental Ruins

In September 2012 I went on a bus tour organised by Neal White with The Arts Catalyst in London. The tour took us around some of the post Cold War military sites in the South of England. I’d never really thought that the war is still going on. It’s just become nearly invisible. We drove around the perimeter of two nuclear testing sites just outside Reading on the M4, they were both massive. One appeared to be developing with several cranes hovering over a construction site. Because we were on a bus we could just about see over the fence to some of the facilities within the site. We encountered some mound shaped buildings which were constructed in such a way that if any problem occurred while working with the nuclear material inside an emergency button could be hit causing it to collapse on top of them.

‘He’d land in the swamp, march through the woods and at some inland post see the savagery, the utter savagery that stirs in the forests in the jungles, in the hearts of wild men.’

Heart of Darkness - Joseph Conrad

‘I have been here, ever since I began to be, my appearances elsewhere having been put in by other parties. All has preceded, all this time, in the utmost calm, the most perfect order, apart from one or two manifestations, the meaning of which escapes me. No, it is not that their meaning escapes me, my own escapes me just as much.’

The Unnamable - Samuel Beckett

A Walk Around Passaic

In 2011 I visited New York for the first time on a short residency. I knew I wouldn’t be able to produce much work while I was out there so instead spent the most of time seeing as much as I could.

Being such a fan of Robert Smithson, I was interested in going to visit his hometown where he had based his essay A Tour of the Monuments of Passaic.

Where Art goes to die

I work in the Arts. When I first moved to London I started work at a few galleries with large art collections. Although I knew that a lot of art ends up in storage seeing it for real is quite overwhelming, grim even. My tutor at college at the time told me I should never have seen it. I’m glad I did. I don’t want to make work for places like that.

‘The experience of Afghanistan has made us begin to realise that there is something else out there but we just don’t have the apparatus to see it. What is needed is a new story, and one that we can believe in.’

Adam Curtis

Mark Titchner

Solaris

“We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all a sham. We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. We are humanitarian and chivalrous; we don't want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us - that part of our reality which we would prefer to pass over in silence - then we don't like it anymore.”

Solaris – Stainislaw Lem

Children of Men – Ark of the Arts

Theo:
A hundred years from now there won’t be one sad fuck to look at any of this. What keeps you going?

Nigel:
You know what it is, Theo? I just don’t think about it.

If you lie, are you real?

A piece of a Steel

In 2011 I went to see an exhibition at the Imperial War Museum showing one of the pieces of the World Trade Centre that had been kept after the wreckage of the building had been moved to a hangar on the outskirts of New York. It struck me that this was almost like some kind of secondary explosion of the building, throwing parts of the WTC all over the world. Ten years on from 9/11 the events were still very much in the memory of my friends and family. They could recall where they were, what they were doing that day and seeing the footage of the planes flying into each of the towers.

The piece of the WTC on display was covered in rust, already indicating the event was some time ago. The surface had not been cleaned while in the exhibition so was covered in dust and fluff that was in the gallery air, giving the impression that it was uncomfortable to touch or perhaps treated differently because it didn’t belong to the museum.

What’s even more strange is just next to it is the booth where the Lockebie Bombers confessed.

For me nothing will ever be more harrowing than seeing all of the grave yards close to the Normandy landing beaches when I was 10 years old. The scale of what had happened was instantly physically recognisable.

Brain Scan

This is a scan of my brain in 2013. While at college I was asked to take part in a test in an MRI scanner for research at UCL. I agreed on the condition I could have a copy of my brain to look at. They sent the scan with an application so that I could track through each part. All my knowledge can be seen, I think.

‘It seems I can just wish things into existence. Especially pictures: whatever image I imagine, or hope for, seems to be already there, waiting, as if heaven sent. I used to believe that this was because I had a good searching ability. I’m good at gathering information – that’s part of what makes me a contemporary artist – but as I continue to access the Tail, this sense of cybernetic serendipity starts to seem less like a series of happy accidents and more a program of intelligent design. It seems the Tail is anti…cipating me. It seems that the feedback mechanisms of the Tail, through my repeated successive uses, my continuous input, has assembled a profile, an extensive profile of my needs, my preferences … and from this information – the extracted accumulation of all my deepest wishes – is creating content conjured up from my subconscious, scraping the vaguest memories and half forgotten images from my mind. The system understands my needs and can continue the process I initiated without my real involvement.

This is psychedelic – literally mind-mani-festing – as all my psychic energy is seemingly converted into visible light. Fluid photographs of thought crystallise in front of me, as complicated and varied as anything real […] And as all my mental pictures coagulate and contribute their mass to the already prodigious Tail, I become aware that they are but part of this wondrously complex mesh of memory, sight, sex, and consciousness that is ceaselessly generating these marvels. And I begin to understand the Tail is unfathomably long, that it reaches back through geological amounts of time, circles back to an archaic state of being, an aboriginal world of primal pleasures; that its transformative technology that allows humans to morph into animals, the marvelous become everyday, and the ancestral dead brought into our living company, is a return to a sense that everything is on and of this earth is being animated from within. All of its constituents – the mechanical, the imagined and the living. The Tail, then, is a landscape of fabulous hybrid creatures, images endowed with divine powers and familiar objects full of voices, where even rocks and stones have names.’

The Long Tail – Mark Leckey

Dia:Beacon and another ending in Art

During my short stay in New York, traveling to Dia:Beacon was the stand-out thing for me. For years I’ve looked at pictures of Minimal Artworks by Judd, Flavin, De Maria, Stella, Smithson, Hiezer, Beuys, Serra. I kind of thought I would never see them in a space that really felt like they belonged in, but there it was perfectly presented after a train ride up the Hudson river through the sublime American landscape. I was lucky in that I arrived early so sort of had the museum to myself.

Wouldn’t it be cool to be cool
Or wouldn’t it be sad to be sad
Or wouldn’t it be funny to be funny
Or wouldn’t it be nice to be nice

Excitement is Exciting – Joan of Arc

Ad Reinhardt’s Slide Show

In 2011 I went to see a newly reprinted slide show that he used to present to his students back in the 70s. Reinhardt’s way of looking at images comes through by looking at multiple slides, all of which he took himself, in person at all of the landmarks around the world that he had visited.

Drinking Vessel

When I started my rock collection I never imagined having any objects of any real historical significance. The point of collecting the rocks was that all of them were easily replaceable so that anyone could make their own version. This pot changed that somewhat.

A friend collected it for me from when they were filming out in Egypt. It’s around 3000 years old. The coiled thumb mark is clearly visible inside the pot. She just handed it to me in a crappy Tesco bag. It’s pretty amazing thinking of all the history this object has been through, even though 2999 years were probably underground.

Voyager 1

Voyager 1 is now nearly 200,000,000,000,000km from Earth, just two decimal places from being a light year. It has taken the craft nearly 40 years to travel that far, it would take a further 18,000 years to reach the distance of a light year. Sent in 1977 it is the furthest man made object from Earth. It will take 40,000 years reach the distance of 2 light years, which is the same distance as the nearest star to our solar system. The legacy of mankind will not be on Earth but far off floating across the galaxy.

I quit Art

Vertical Earth Kilometer – Walter de Maria

There aren’t many artists that communicate in time. The Vertical Earth Kilometer is perhaps one of the longest reaching artwork across time. Given that all that can be seen of it is the scruffy coin top of it on the ground. The piece requires an amount of knowledge before and a little faith that there is actually a kilometer of cylindrical brass bored down into the earth’s crust.

Three outcomes spring to mind.

1. Changing civilisations cause the piece to be forgotten never to be noticed or know ever again.
2. The value of the brass is seen as more valuable than the artwork and is dug out from the ground.
3. Over many centuries the artwork shifts, bends and breaks by geological shifts

'It is fashionable to suggest that cyberspace is some kind of island of the blessed where people are free to indulge and express their Individuality...this is not true.... I have seen many people spill their guts on-line, and I did so myself until... I began to see that I had commodified myself. Commodification means that you turn something into a product which has a money-value. In the nineteenth century, commodities were made in factories...by workers who were mostly exploited.... I created my interior thoughts as a means of production for the corporation that owned the board I was posting to... and that commodity was being sold to other commodity/consumer entities as entertainment... Cyberspace is a black hole. It absorbs energy and personality and then re-presents it as an emotional spectacle.'

Carmen Hermosillo

GSA and the constant threat of becoming a museum

I have a few friends that were lucky enough to have studied in the Mackintosh Building. All of them have spoken on their worry of the building becoming a museum at some point rather than staying as an art school. Since the fire happening in 2014 there is even more ground from which to argue that the building should be a museum only. Currently the building is a kind of hybrid, housing a number of Painting Students while having a few areas dedicated for the public to visit. Our era of museuming has a lasting effect, creating bizarre hierarchies of objects and places that were originally meant to be used.

11 th September 2001

It was early afternoon, I had just finished college and was waiting for a bus to arrive at St. Peter’s Square in Hereford. Coincidentally, the only friend I had with any American connection pulled over in his Jeep when he saw me, his dad is American. ‘Have you heard?’ he said, ‘apparently two planes have flown into the Twin Towers.’ ‘What are they?’ I asked, not really having a clue what he was going on about. He explained that they were in New York and they were the largest buildings on the skyline, he then invited me to get into the car with him back to his place to watch the day unfold on his big Sony television.

We both had a sense of urgency to reach the television to actually see some footage of what had happened. Because I have re-watched the footage so many times, it’s difficult for me to really remember watching the second plane make impact on the South Tower for the first time. Seeing the plane bank to align itself with the tower was so mesmerising that it was difficult to imagine that any person was involved in the event. The footage was just looping continuously, even the news crews seem to be lost for words.

After watching the first tower collapse, I decided to give my dad a call to see what he was making of it. He answered the phone with his usual ‘Hullo?’ I asked him if he had seen the news, ‘no’ he said, I was surprised, my dad is always on top of what’s going in the news. ‘Turn the TV on’ I told him. ‘What channel?’ he asked, ‘take your pick’ I said, feeling sort of amazed that I knew before him.

The rest of that day kind of fades away for me, I think I stayed at my friend’s house for a fair few hours. I don’t remember the conversations I had at the time at all, there must have been points where we were discussing what we were seeing and its significance. Perhaps this is testament to how well images travel through time, and the words are often lost.

Thought Experiment

Gravity Reversal at Stone Henge (2009)

Designed by Alessandro Brunetti