Song of the Phenomena

BACKGROUND The concept of "phenomena", developed by pioneering physicist Niels Bohr, explains the relationship between subatomic particles and the apparatuses used to produce and detect them. For Bohr, interaction between apparatus and object 'forms an inseparable part of the phenomenon'. This relationship has been designed into physics experiments since the early 20th Century; and although artworks have explored these relationships since Duchamp's '3 Standard Stoppages', they have not included high-energy physics apparatuses. CONTRIBUTION Song of the Phenomena uses particle emissions from organic matter attached to a decommissioned linear particle accelerator (LINAC). Originally designed for radiological biological experiments, the LINAC is activated by natural radiation from the atomic decay of potassium in the organic material. The accelerator electromagnetically resonates in response to the subatomic emissions, via amplified signals from particle detectors, which is expressed as sound and light. Through amplification, resonance and decay, the installation expressively and experimentally probes relationships between living and non-living matter, technology and biology, the subatomic and macroscopic. It provides an energetic analogue of the phenomena originally produced in the apparatus, but also inverts its purpose, giving the device a new kind of life, by enframing the organic matter with the technology that feeds upon it. This plays upon philosopher Martin Heidegger's concept of "Gestell", the scaffolding that technology provides society, but which inexorably turns the world, from atoms to us, into mere energy reserves for its own sustenance. SIGNIFICANCE This is the first LINAC set up in a gallery, and working in such a state which creatively and critically expresses its nature. The work has been critically reviewed with positive results, with articles and interviews in local and international media e.g. thearticle.com.au, CNN, Symmetry physics magazine.背景 先驱物理学家尼尔斯·玻尔（Niels Bohr）提出的“现象”概念，阐释了亚原子粒子与用于产生、探测这些粒子的装置之间的关联。在玻尔看来，测量装置与研究对象之间的相互作用“构成了现象不可分割的一部分”。自20世纪初以来，这种关系便被融入物理学实验的设计之中；尽管自马塞尔·杜尚的《3个标准停顿》以来，已有艺术作品对这类关系展开探索，但此前从未有作品涉及高能物理装置。 贡献 《现象之歌》依托附着于退役直线粒子加速器（LINAC）的有机质所产生的粒子辐射进行创作。该加速器最初为放射生物学实验设计，如今由有机质中钾原子衰变产生的自然辐射驱动。加速器会通过粒子探测器放大后的信号响应亚原子辐射，进而产生电磁共振，最终以声光形式呈现出来。借助放大、共振与衰变过程，这件装置以富有表现力与实验性的方式，探究了生物与非生物、技术与生物学、亚原子与宏观世界之间的关系。它既还原了该装置原本所产生现象的能量类比，也反转了其原有用途——通过将有机质纳入以其为能量来源的技术框架，赋予这台设备全新的生命形态。这一创作呼应了哲学家马丁·海德格尔（Martin Heidegger）的“座架（Gestell）”概念：技术为社会提供的支撑框架，却不可避免地将从原子到人类的整个世界，转化为仅供自身存续的能量储备。 意义 本作品是首个被安置于美术馆内、并以创造性与批判性方式展现其本质的直线粒子加速器装置。该作品已获得正面学术评价，受到包括thearticle.com.au、美国有线电视新闻网（CNN）、《对称》物理杂志在内的本地与国际媒体的报道与专访。