Weekend links 84

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Regeneration (2011) by Toshiyuki Enoki. Via.

HIDE/SEEK: Difference and Desire in American Portraiture, the art exhibition that caused such a fuss last year at the Smithsonian Institution, opens at the Brooklyn Museum, NYC, on November 18th. Among the events associated with the show is a screening of James Bidgood’s lusciously erotic Pink Narcissus. David Wojnarowicz’s video piece, A Fire in My Belly, is still a part of the exhibition so the New York Daily News reached for the outrage stick to prod some reaction from people who’d never heard of the artist or his work before. Will history repeat itself? Does the Pope shit in the woods? Watch this space…

Magic is not simply a matter of the occult arts, but a whole way of thinking, of dreaming the impossible. As such it has tremendous force in opening the mind to new realms of achievement: imagination precedes the fact. It used to be associated with wisdom, understanding the powers of nature, and with technical ingenuity that could let men do things they had never dreamed of before. The supreme fiction of this magical thinking is The Arabian Nights, with its flying carpets, hidden treasure and sudden revelations…

Marina Warner, whose new book, Stranger Magic: Charmed States and the Arabian Nights, is reviewed here and here.

• Those Americans who adore big business but loathe the idea of gay marriage will be dizzy with cognitive dissonance at the news that 70 major US companies—including CBS, Google, Microsoft and Starbucks—have signed a statement saying the Defense of Marriage Act (DOMA) is bad for business. Mark Morford at SFGate says this now means that real homophobes don’t Google.

Divining with shadows and dreams, tears and blood: S. Elizabeth talks to JL Schnabel of BloodMilk about her “supernatural jewels for surrealist darlings“.

Earth: Inferno (2003), a short film by Mor Navón & Julián Moguillansky based on the book by Austin Osman Spare. Via form is void.

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Illustration by Virgil Finlay for A. Merritt’s The Face in the Abyss. From a 1942 Finlay portfolio at Golden Age Comic Book Stories.

The Mute Synth as created by Dirty Electronics & designed by Adrian Shaughnessy.

Phil Baker reviews two new Aleister Crowley biographies at the TLS.

A Brief Rant on the Future of Interaction Design

The Most Amazing Room In Queens, NYC.

Brian Eno on composers as gardeners.

Alan Turing is Alan Garner’s hero.

• Paintings by Guy Denning.

Static (1998) by Redshift | The Owl Service (2000) by Pram | Lover’s Ghost (2010) by The Owl Service.

Dark Matter

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Hubble Maps the Cosmic Web of “Clumpy” Dark Matter in 3-D

This three-dimensional map offers a first look at the web-like large-scale distribution of dark matter, an invisible form of matter that accounts for most of the universe’s mass. This milestone takes astronomers from inference to direct observation of dark matter’s influence in the universe. Because of the finite speed of light, regions furthest away are also seen as they existed a long time ago. The map stretches halfway back in time to the beginning of the universe.

The map reveals a loose network of dark matter filaments, gradually collapsing under the relentless pull of gravity, and growing clumpier over time. This confirms theories of how structure formed in our evolving universe, which has transitioned from a comparatively smooth distribution of matter at the time of the big bang. The dark matter filaments began to form first and provided an underlying scaffolding for the subsequent construction of stars and galaxies from ordinary matter. Without dark matter, there would have been insufficient mass in the universe for structures to collapse and galaxies to form.

[Top] – Three slices through the evolving distribution of dark matter. The dataset is created by splitting the background source galaxy population into discrete epochs of time (like cutting through geologic strata), looking back into the past. This is calibrated by measuring the cosmological redshift of the lensing galaxies used to map the dark matter distribution, and binning them into different time/distance “slices”. Each panel represents an area of sky nine times the angular diameter of the full Moon. Note that this fixed angle means that the survey volume is a really a cone, and that the physical area of the slices increases (from 19 Mpc on a side to 31 Mpc on a side) from left to right.

[Bottom] – When the slices across the universe and back into time are combined, they make a three-dimensional map of dark matter in the universe. The three axes of the box correspond to sky position (in right ascension and declination), and distance from the Earth increasing from left to right (as measured by cosmological redshift). Note how the clumping of the dark matter becomes more pronounced, moving right to left across the volume map, from the early universe to the more recent universe.

The dark matter distribution was mapped with Hubble Space Telescope’s largest ever survey of the universe, the Cosmic Evolution Survey (“COSMOS”). To compile the COSMOS survey, Hubble photographed 575 adjacent and slightly overlapping views of the universe using the Advanced Camera for Surveys’ (ACS) Wide Field Camera onboard Hubble. It took nearly 1,000 hours of observations. The distances to the galaxies were determined from their spectral redshifts, using the Subaru telescope in Hawaii.