Aerocene Albedo

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AEROREFLECTOR MANUAL

The Aeroreflector invites a collective turn towards the most important energy source for earthly life, the Sun. In positioning our tools-for-change towards it, we enter into an active multi-directional relationship with our brightest shining star, forming an act of hope-filled togetherness and solidarity with the Earth’s natural surface reflectivity, known as albedo.

Based on a truncated pyramid concept developed long before the Anthropocene, the parabolic structure of the Aeroreflector reveals generational connections across various cultures, materialising methodical parabolic techniques, essentially formulating a solar thermal collector for heating. The concept of concentrating light using curved mirrors has historically helped civilisations to use collective efforts to heat, cook, and to share meals from renewable energy sources, collaborating with simple forms of abundant elemental energies instead of the extraction of commodity fuels for combustion-based process of heat generation, at the expense of all natural phenomena, ourselves included.
In becoming more familiar with direct solar energy, discovering the warmth from this life-providing star and the ocean of air through which it transmits, we can rearticulate the way energy and heating power has been (ab)used since the dawn of a human-influenced geologic age. Turning our attention to new circular modes of nourishing each other and the planet simultaneously, we enter into a renewed reflective practice; one in which we re-attune to the Earth, adhering not only to ourselves but interplanetary rhythms, other species and nature itself too. Through this multidisciplinary exchange, we collectively attempt to understand how the sun made us, and what the sun could make of us, if we begin to sense it differently.

THE AEROREFLECTOR AND ITS PARTS



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Aeroreflector (closed) and gear


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Aeroreflector (open)


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Aeroreflector gear: solar cover, solar base, solar pot.

1 – ATTUNE TO THE WEATHER

If the sun doesn’t shine, we adjust, collectively embodying a practice of planetary attunement.

2 – UNSCREW THE HANDLE

Be careful: smooth and slow moves.


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3 – GET YOUR FOUNDATION TOGETHER

Following the form of emissions-free parabolic solar cookers, attach the four-peg support structure to the base positioned at the central focal point of the parabola.


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4 – ATTACH YOUR SOLAR POT

This central focal point is where maximised solar energy is captured. Place your pot into the warming embrace of the four-peg structure.

5 – EXTEND YOUR TOOLS

Attach the spoon/fork supplied to the unhinged handle, making it an handy-long tool to protect your hands from the heat emanated by the Aeroreflector.

6 – MAKE USE OF THE MOST ABUNDANT SOURCE OF ENERGY ON EARTH – SOLAR ENERGY.

A transparent heat trap around the pot allows sunlight to enter whilst also enclosing the heat. The reflecting surface around capture extra sunlight from an area about three times as big as the pot.

7 – WARMING INSTRUCTIONS

Set the entire structure on a dry, level surface in direct sunshine, away from potential shadows. Put ingredients in the pot. Turn every 15 min to the rhythm of the Sun’s movement. If the weather is optimal, you can even boil or barbecue your food.

IMPORTANT

Never leave the umbrella unattended; do not place your hand directly in the focal point.

Subverting the individualised functionality of the umbrella as a tool for self-protection from the rain or rays of Sun, the Aeroreflector’s inversion transforms the umbrella into a speculative tool for communal activity and aerial attunement. The Aeroreflector joins the Earth’s surface albedo in redirecting the energy of the sun away from the surface, oceans and atmosphere of our Planet, solidarising ourselves with this natural process that maintains the thermodynamic balance of the Earthly system, which is increasingly.

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In the age of the Anthropocene, reframing the use of the umbrella invites us to enter not only a reflective practice in communication with the sun, but to also further reflect on the extractive relations of our fossil fuel milieu, whose inherent inequalities proliferate into the air, creating a human-driven thermodynamic shift that has redefined the life-giving energy of the Sun as a threat, experienced by the consequences of Earthly warming.

Aerocene Albedo, 2018
Installation views and Aerocene performances on the occasion of ‘Audemars Piguet presents Tomas Saraceno for Aerocene’ at Art Basel Miami, 2018.

Courtesy Aerocene Foundation.

Creative Commons License
Image by Aerocene Foundation licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

For more information contact us at info@aerocene.org.

Marble Breeze or the politics of the troposphere

Marble Breeze

or the politics of the troposphere

Created by

Adrien Rigobello: Project Manager, Strategic Designer (electronics, cartography)
Waèl Allouche: Creative Director
Paula Echeverri Montes: Strategic Designer (open data)
Paul Carneau: Strategic Designer (electronics)
Tim Leeson: Strategic Designer (weather data)
Tariq Heijboer: Graphic Designer and Editor of the booklet

Together with Aerocene, thr34d5 has invited 15 participants to a free experimental workshop from Nov. 19th to 25th 2018, in the context of Tomás Saraceno‘s Carte Blanche exhibition in Palais de Tokyo, Paris.

YOU CAN HAVE A LOOK AT THE LECTURES THAT WERE GIVEN DURING THE WORKSHOP HERE


DOWNLOAD THE PUBLICATION EDITED BY TARIQ HEJBOER HERE

From open data de-encryption to measurement instrument making, the Marble Breeze reveals itself at its many scales and shapes. As agents of society, we want to understand the hidden-to-our-senses complex composition of the omnipresent, yet often ignored, surrounding matter that is air, to engage in the politics of the troposphere.Such as a cone can be defined by its various profiles (circle, ellipse, point,…), we approach reality by aggregating various points of view. The amorphous and subjective materiality of air is explored with each agent’s sensitivity, unrolling the folds of reality. We design our own instruments to communicate our impressions of the world. This process is essential to us to understand the Anthropocenic reality and create a variety of semantics for it. We are a legion – defending a post-Anthropocentric philosophy.The Marble Breeze experimental workshop was all about developing a material sensitivity to air, and developing a sensitive approach to its complexity, though the process of instrument design and cartography.

– adrien rigobello

Acknowlegements

thr34d5 team would like to thank Aerocene for the trust and support during the whole process, and for making possible the production of the final booklet! Namely, we would like to thank a lot Camilla Berggren Lundell and Grace Pappas.

We would also like to thank Palais de Tokyo for the perfect conditions and help that they gave us, especially Simon Bruneel!

We are thanking very much Ewen Chardonnet for his help in flying the Aerocene sculptures!

And with thr34d5 and Tariq we would like to thank all the participants for boarding with us in this experimental workshop that went very well! Amazing discussions and so much energy, we are very glad to have had the chance to share this time and space with you all!

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AIRmonica

hear the harmony of the air

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We want to hear the harmony of the Air and see its lifeforms, through the musical game of gases and showing bacterial growth as 3D objects.

It always starts on a personal level, everyone grew bacteria in their kitchen. The sample became a nudge, as we live in a shared environment our habits affect its form and create a “landscape” in multiple scales.


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DARK MATTER

being adrift

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Leaves and balloons drift in the breeze …

And dark matter is the ultimate drifter. In modern cosmology, the only force acting on it is gravity. That means it is in free fall, and like an astronaut in orbit, it feels no forces. Hypothetical dark-matter beings might be able to feel tidal forces …


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LISTEN

air as transmitter

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The air is the transmitter of sound, but we can’t see it. How can we represent sound without air? Does the sound has an image, a material representation?
We decided to record the sound around the Palais de Tokyo, taking advantage of the protest in Paris transmitting reflection on politics expressed through anger.

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Weather data


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design semantics

A media is a map,

a map is a language.

The post-anthropocentric narrative requires the adoption of a new language, our own, moving the frontiers of the medias of the existing worlds. To challenge the existing  mapping rules we are adopting linguistic’s semantic.
Such as a world map is structured by geographical areas, or as the first TV Image of Mars by the NASA Jet Propulsion Laboratory is made of a matrix on an assembly of stripes, the syntax of a map is its context, it is the structure of the information.

A morphology can be a 2D representation, such as dots on a map, or a 3D structure, such as the cubes in the Speelhuis architectural project by Piet Blom. How, within the structure, does the information unravel? How does it inscribe itself?

The lexicon, or vocabulary, is the scope of colors on a map for example. It is an additional layer to the morphology. It can fit within the color codes suggestions provided by NASA – unifying the information communication between maps; it can also be challenged and become blurry, imprecise, and participative. Turned into a gradient of textures for our other senses such as basses to highs, rough to smooth.

Then comes the phonology, the accent, the sub-languages. The designer’s intent can be retrieved in this form – it evolves through time and is culturally situated. For sure, it can be neutral and  standardizing, we wish to see it contrasting and taking a stand.

– adrien rigobello