The Electrochemical Glass

January 2006

The Electrochemical Glass Strange Attractor Journal 3 R.D. Brown, January 2006

The Electrochemical Glass began on October 11th

1997 after an accidental discovery

involving an experimental lamp constructed from moss, copper and a battery powered

fluorescent light. I watered the moss with fertiliser, only to discover that where the

aluminium heat sink of the lamp driver met the copper bowl, a strong chemical

reaction occurred, producing a marvellous bright blue copper compound contrasting

through the white corroding aluminium. My basic understanding of chemistry

suggested that the reaction might be one involving copper and aluminium hydroxides.

I also discovered, perhaps unsurprisingly, through attaching a meter to the metals that

a small electric current was being generated.

Further experiments with varying metals, liquids and compounds led to a simple

design using three discs of metal, copper, aluminium and iron, layered over cotton

wool and sandwiched between sealed sheets of glass. A glass stopper allows the water

and fertilising liquid to be added, and also allows any gasses to escape during the

reactions.

The Glass you see is now nine years old and at various times it decides to grow, the

most spectacular elements being the unforeseen shoots of iron, driven by electrical

activities between the metals. It works as primitive battery, evolving and changing

over time, producing complex electrochemical reactions between the dissimilar

metals. Copper plates the iron producing golden sheens, whilst the aluminium and

copper compounds into startling blue colours reminiscent of lapis lazuli.

An artwork that visibly changes over time, constantly reflecting the nature of process

back to the viewer, has the effect of bringing into awareness the invisible changes that

are occurring within and without. The glass can be seen as a reflective object for

contemplating time, process and complexity – contrasting memories of the object with

that of past experiences - evoking ideas of transformation associated with alchemy

and hyper-dimensions.

Through sensory and remembered experiences of change we might be able to observe

higher dimensions of process and temporal form. An understanding of space-time

appears not to be so acute in our visual domain as it is the aural. We seem to see

external change in living creatures as a series of snapshots, though we are good at

perceiving smaller windows of time as degrees of motion. In contrast the means by

which a seed grows into a plant over time appears almost magical. The ability to

deeply appreciate and conceive of time based phenomena suggests “hyper-

dimensional cognition”, an ability demonstrated visually by many of the artists

written about in Linda Dalrymple Henderson’s wonderful book, “The Fourth

Dimension, Non Euclidean Space and Modern Art”.

Computers have been used to simulate higher dimensions, with visualisation such as a

Hypercube made famous by Thomas Banchoff in the 1970’s. Present day computers

simulate cell growth, viral activities, neurons and and nano technologies.

There are interesting contrasts and similarities between digital emergence and

complexity and those present in the liquid world of the Electrochemical Glass. Both

worlds have bounded frameworks that embody limitless processes, producing self-

organisation, order, chaos and un-predictability.

The Glass is comprised of three base metals and demonstrates how emergent

complexity can evolve from the interaction of simple elements. The three discs are

arranged in a geometric triangle so as to be equidistant from each other. The resultant

electrochemical activity is highly interactive, generating complex physical changes

which are driven by electrical activity from the dissimilar metals. Energy ebbs and

flows as metals transmute and cybernetically self effect through changing their

chemical environment. There is a complex recursive and dynamic interaction of ions,

atoms, minerals and electrical fields. Materials transmute and flow giving rise to a

growing and emergent form of energy and time.

There are interactions between millions of atoms, ions, chemical compounds, and

interactive flows of energy and matter. To describe the system with sufficient

mathematic accuracy in order to simulate the process digitally may not be currently

possible. “Real Analogues” of dynamic processes with complex electrochemical

interactions may thus have capabilities and properties beyond that of the digital

computer. Why simulate when there are riches to be had through analogue means?

By chance on the internet I recently discovered the webpage “Peculiar Sounds from

Aluminum”, demonstrating how rich complexity can be found from the interaction of

copper and aluminium. A copper wire touches a drop of salt water resting on a piece

of aluminium, connected to an amplifier the simple circuit produces the most

amazingly rich and complex soundscapes that sound as if they are being generated by

a complex bank of synthesisers [1]

Alternative representations of time based processes using non-digital media are not

new, before we simulated neurons on computers, in the 1920’2 R.S. Lillie created

artificial neurons using iron wires in nitric acid which exhibited properties very

similar to real neuron fibres. [2]

In the 1950’s the cybernetician Gordon Pask, invented what has become named

“Pask’s Ear”. This was an experiment using growing metals as an electronic device

that could be trained to respond to a sound. It represents an alternative paradigm to the

digital world of fixed circuits that are either on or off – in this electrochemical world,

there are potential gradients, analogue resistances and a physical manifestation of

circuit. How might a sound effect the growing of a metal circuit? Rumour has it that

the circuit actually resonates and vibrates to the trained sound it later recognises.

Pask’s notes are few and far between, but there are researchers who are trying to

recreate and understand his work, including Peter Cariani who documented Pasks Ear

in 1993 [2].

A recent event in Brighton, “Finding Fluid Form” [3] was attended by Peter Cariani

and a number of other admirers of Pask, and from the many discussions at this event

there are indications that analogue electrochemistry might be making a comeback.

In the South of England Jon Bird and Andy Webster are recreating Pasks’ Ear [4].

Whilst the American artist Bill Seaman suggests electrochemical computing as a new

way forwards [5].

As Research Artist in Residence at Edinburgh Informatics, I will be continuing

investigations into the electrochemical worlds of emergent growth and form.

I plan to create a series of experimental interactive electrochemical glass objects

inspired by Gordon Pask to be situated within the digital culture of informatics as

provocative interventions of an alternative paradigm to the digital, demonstrating the

true complexity of the real [6].

Web References

1 http://home.earthlink.net/~lenyr/alsounds.htm

2 http://homepage.mac.com/cariani/CarianiWebsite/PaskPaper.html

3 http://www.brighton.ac.uk/architecture/findingfluidform/

4 http://www.andywebster.info/machinista_submission.html

5 http://digitalmedia.risd.edu/billseaman/textsPF_electochemical.php

6 http://artsinformatica.blogspot.com/