https://jolthoms.com Jol Thoms Sat, 26 Oct 2024 11:47:15 +0000 https://jolthoms.com en https://jolthoms.com/Slideshow Thu, 27 Feb 2020 14:25:35 +0000 Jol Thoms https://jolthoms.com/Slideshow https://jolthoms.com/Projects Thu, 27 Feb 2020 14:25:36 +0000 Jol Thoms https://jolthoms.com/Projects Radio Amnion: Sonic Transmissions of Carein Oceanic Space Fragments of Sonic Extinction, Vol. 3 Unidentified Mind (Haunting Genetics of)A Tuskless Mutation uni(psycho)acoustics Text of Light (Live at the Latvian House) n-Land: the holographic (principle) Viriditas (In The Future Perfect) G24|0vßß Our Stoney Biographies A Borderline Conception Lying at The Extreme Edge of the World of Appearances Deep Time Machine Learning Titan: A Dark Kairological Framework https://jolthoms.com/Stoney-Biographies Sat, 26 Oct 2024 11:47:15 +0000 Jol Thoms https://jolthoms.com/Stoney-Biographies Our Stoney Biographies Stone &amp; Brass, 2020A series of rock sculptures relating to our times in different places, different sites, different worlds. Stones and stromatolites that called out to me from millions of years ago, right now, revealing some aspects of their knowing, their liveliness. Exhibited in Der Vibrationen Der Dinge/The Vibration of Things 15th Triennale Kleinplastik Fellbach, DE. 2022. <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/3a8d1d188ecbd1b5461691a25f766135cfd7ac44f709f954256be01ff991b48e/_Thoms_MSB_V_P1020147.jpg" data-mid="220335022" border="0" src="https://freight.cargo.site/w/1000/i/3a8d1d188ecbd1b5461691a25f766135cfd7ac44f709f954256be01ff991b48e/_Thoms_MSB_V_P1020147.jpg" /><img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/bf3f205f4fff9052cefbaa53501b109d91c3707b54863f46d24caf04013afba7/_Thoms-II_MSB_P1020162.jpg" data-mid="220335023" border="0" src="https://freight.cargo.site/w/1000/i/bf3f205f4fff9052cefbaa53501b109d91c3707b54863f46d24caf04013afba7/_Thoms-II_MSB_P1020162.jpg" /><img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/904908332a6c125124ce65da06d19c84a781627fcf37cb294e859fbad1f40554/_Thoms_MSB-VI_P1020167.jpg" data-mid="220335026" border="0" src="https://freight.cargo.site/w/1000/i/904908332a6c125124ce65da06d19c84a781627fcf37cb294e859fbad1f40554/_Thoms_MSB-VI_P1020167.jpg" /> https://jolthoms.com/uni-psycho-acoustics Tue, 08 Aug 2023 20:43:46 +0000 Jol Thoms https://jolthoms.com/uni-psycho-acoustics &nbsp; I contributed a number of short audio works for the uni(psycho)acoustics installation developed with artist Carsten Nicolai (aka Alva Noto) at the MMK, Frankfurt (2013). The audio chamber concentrates on psychoacoustic phenomena and explores the effects of auditory impression/illusion. An ipad allows a user to scroll through an ‘encyclopedia’ of psychoacoustic phenomena while experiencing the auditory illusion. A description of what is happening on the acoustic level is provided on the screen, while the listeners mind produces, for example, the illusion of an unbroken sound, or an ever ascending (or descending) tone. https://jolthoms.com/Haunting-Genetics Tue, 08 Aug 2023 20:11:46 +0000 Jol Thoms https://jolthoms.com/Haunting-Genetics <img width="831" height="500" width_o="831" height_o="500" data-src="https://freight.cargo.site/t/original/i/74270c92c1523032c16424952ae0fa861e3631c1d8be09a3a0d58d09a9f73f4d/_FOSE_IMG_HGTM_THOMS_small.jpg" data-mid="187420786" border="0" src="https://freight.cargo.site/w/831/i/74270c92c1523032c16424952ae0fa861e3631c1d8be09a3a0d58d09a9f73f4d/_FOSE_IMG_HGTM_THOMS_small.jpg" />(Haunting Genetics of) A Tuskless Mutation (2023) is an audio commission from the multi-year sound project and festival Fragments of Sonic Extinction. To hear the composition please travel to the interactive&nbsp;website.“In the form of a website, the project intends to shift the focus on ephemeral extinction and the complexity of the rapid changes within the sonic spheres of our world”. This composition considers the epigenetic alterations in the remaining two species of African Elephant that has resulted in a ‘tuskless mutation’ resulting from ivory poaching and loss of habitat. Perhaps reflecting this trauma, the original field recordings themselves that form the underlying basis of this work, however skewed, have no information above 5000 Hz. So, the audio signature is doubly encoded with a spectral absence. In the 1980’s Katy Payne and Joyce Poole discovered that elephants communicate through the Earth generating Extreme Low Frequencies (ELF) from their trunks known as ‘rumbles’. Elephants can communicate through the ground using rumbles up to seven kilometers. For the FOSE commission I borrowed rumble recordings from online sources to produce this composition. What does it sound like to listen within and as the Earth as it holds the pain and memory of these highly intelligent, compassionate beings’ (they’re understood to have death rituals) seismic traumas?The matriarchs of a community usually have the largest tusks, so they get selected and poached first (after the males have been decimated). The ghosts of elephants’ matriarchal social structures are also encoded in the rumblings of the tuskless mutation. The death of kin, especially a matriarch, devastates a community, often never able to re-organize themselves afterwards. When there are no elders left to lead or care for the herd, mating occurs without the matriarchs’ selection and coupling, eradicating ancestral lineages and cltural tropes. A hunter’s disinterest in tuskless elephants, means they’ve become more resilient, for the time being, to human encounter. https://jolthoms.com/Unidentified-Mind Tue, 08 Aug 2023 13:55:43 +0000 Jol Thoms https://jolthoms.com/Unidentified-Mind <img width="2276" height="1650" width_o="2276" height_o="1650" data-src="https://freight.cargo.site/t/original/i/995663e7782416651eab0f5f0d147552993e1b56b451ecf90ccec8d3203c3419/Screenshot-2023-08-08-at-20.59.17.png" data-mid="187416423" border="0" src="https://freight.cargo.site/w/1000/i/995663e7782416651eab0f5f0d147552993e1b56b451ecf90ccec8d3203c3419/Screenshot-2023-08-08-at-20.59.17.png" /> Unindenitfied Mind (2023)&nbsp;is a 5 minute audio composition in collaboration with the Antarctic Ice Shelf, a reimagined composition from an intriguing field recording made by the Alfred Wegener Institutue’s PALAOA observatory (PerenniAL Acoustic Observatory in the Antarctic Ocean) 71°S 008°W. Many sounds which are recorded by PALAOA, cannot be identified by scientists. Often it is not even possible to tell if the sounds originate from animals or if they’re abiotic. The original recording that is the foundation of Unidentified Mind displays a mysterious, long, low-pitched sound without known origin. Scientists were only able to verify that this particular sound was recorded when no ship was present within a radius of 1000 km.&nbsp;The ‘unidentified sound 033’ of PALOA is harmonized with, its sounder becoming a co-player in a ‘beyond-the-human’, cosmomusicological improvisation. To listen to both the original recording from AWI and the reimagined sound link to the project website and, in the search folder, type ‘Mind’ to isolate the tracks. &nbsp; “There exist other kinds of thinking selves beyond the human” - Eduardo Kohn, How Forests ThinkOne of the instrumental figures in bringing the music of the drone to the West is the Sufi musician Hazrat Inayat Kahn. His musical treatise from the early 20th century, simply titled Music, is an incredible sonic-spiritual composition on the potentials and possibilities of music as law, as cosmology, as harmony. “Music is behind the whole working of the universe”, the Sufi Master wrote, “We live and move and have our being in music”. In contemplating natures music, in finding ears to hear it, a body to feel and dance it, a mind to celebrate and (re)think it, and -all together- a spirit to create it, I fatefully encountered this incredible ‘unidentified sound #1’ from AWI’s PALAOA observatory in Antarctica through the Cities and Memory project. This strange, long, low frequency drone from somewhere in the Antarctic Ocean has an unknown origin. Is it from a creature? From water? From some geological feature? A nearby machine or ship? All that is known about the origin of this sound is that no ship was within a thousand km radius when it was recorded. What we can say for certain is that it is a subaquatic sounding of Earth, of universe, captured expertly and offered for us here to resonate with, to find resonance in the unknown of the sonosphere. When I first heard recording 033, I immediately felt that it was already so beautifully strange that it required only very little to elicit its charms. I only wanted to amplify its qualities, saturate its mysteries. Considering it as a vocalization of Earth I simply play along with it, in amity and community. To get there, I put myself into a trance through a listening meditation and recognize the sounder. I reflect the sound multiply into the eternal of drone. I play back to the sounder an image of itself that is also me. This track operates as an attentional strategy for rediscovering ourselves in the more-than-human world. Water, amongst other things, is a specifically acoustic environment. Sound travels faster than light in water, and whale song is thought to produce holographic ‘images’ within the mind of the ancient creatures as they communicate with one another across vast distances. Creatures both aquatic and terrestrial use sound as a form of sight: sonar. If we consider this ‘sonic sight’ in an expanded sense, then when I deeply listen to this sound, I am, in a sense, recognized by it, or whatever emanates it. In coming to witness one another -over time- we come to recognize each other, we co-compose. In that unspeakable recognition between myself and the sound, I believe we have a camaraderie, we are in, of, and as the thought(s) of the world (beyond the human). If you take a look at the wave/sonogram of this composition, you will see an audio Rorschach figure swimming or flying out of the vibration. This has to do partly with the way the structure of the composition was prepared: first playing the original recording backwards (to get to know it better), and then forwards. In that reflection between the polar edges of the Earth and my Farfisa (an electric organ) I acknowledge and celebrate mystery as mystery. I find solace in what is immeasurable, intangible, uncertain. It is there in the musicality of resonant Earth that the radical plurality and multiplicity of worlds and thought resides and resounds in a relational dynamic that exists beyond experience. https://jolthoms.com/Sonic-Youth-etc-Sensational-Fix Fri, 26 Feb 2021 21:46:01 +0000 Jol Thoms https://jolthoms.com/Sonic-Youth-etc-Sensational-Fix Text of Light: Live at the Latvian House (2007) When I was studying my undergrad at University of Toronto, I worked in the Art History Library like a good young stalwart. The Head Librarian, Margaret English was deep into Sonic Youth and had been friends with them back in NYC in the 80’s. One auspicious day I let her know that SY cofounder and guitarist Lee Ranaldo was coming to town to play in the formation ‘Text of Light’ that performed improvised sound to orignal film works of Stan Brakhage (The Text of Light being one of Stan’s 1974 structuralist films shot entirely through a glass ashtray). The Text of Light often played in different group formations but included the likes of Christian Marclay, Alan Licht, William Hooker, and Ulrich Krieger. Margaret said to me, “oh, why don’t you contact Lee and tell him you’ll record it for him”, and went on to give me his personal email address. I immediately emailed him from my glass office in the middle of the library.Lee got back to me in about 5 minutes asking how many people to put on the guest list: and that was that. Back in those days I was shooting on the University’s miniDV tape cameras, and I brought 3 of them (keeping two static) and a sound recordist, an old friend named Spacecar. Unfortunatey the mixers’ outputs to Spacecars’ audio device had a lot of noise on them and was incoherent. Nonetheless, I edited the three cameras a/v into a 12 minute video that Lee included in the International touring exhibition Sonic Youth etc., Sensational Fix (2008-2010). Sensational Fix was a travelling exhibit of various SY memorabilia &amp; historic documents. It is an incredible collection full of all types of sonic memories and highly recommended for the hardcore fan.From the Sonic Youth website: “Most people probably know Sonic Youth (Kim Gordon, Thurston Moore, Lee Ranaldo, and Steve Shelley) as an experimental guitar band, and to a lesser extent as the multidisciplinary cultural protagonists they have been ever since the collective surfaced in 1981. From day one, Sonic Youth has been exploring and mapping unknown cultural territories through their activities as a band and as four individual musicians, visual artists or cultural entrepreneurs, each member with his or her specific ties to and within the international cultural scene. Through collaborations with musicians, visual artists, filmmakers, fashion designers, writers and other equally creative spirits, Sonic Youth expanded their artistic potential, which by now – 27 years later – could be defined as a true Sonic Universe”. Some of the venues: Kunsthalle Düsseldorf, Germany (31 January – 10 May 2009); Malmö Konsthall, Sweden (29 May – 20 September 2009), Centro Huarte de Arte Contemporáneo, Navarra/Nafarroa, Spain (October 2009 – January 2010) This is a 6 minute cut of the video Text of Light Live at The Latvian House (Toronto). &nbsp; More on Text of Light https://jolthoms.com/n-Land Fri, 12 Feb 2021 19:14:18 +0000 Jol Thoms https://jolthoms.com/n-Land n-Land in DRIFT: Art and Dark Mattera touring exhibition and residency project by AGNESImages: The Belkin Art GalleryUniversity of British Columbia, Vancouver, 2021.'n-Land: the holographic (principle)' analyses and situates physics methods, assemblages, sites, and practices in eco-social, historical, and colonial contexts to situate settler physics in its present cultural and cosmological setting.&nbsp;The project is based on research and fieldwork as part of the Drift Artist Residency and touring Exhibition hosted by the Agnes Etherington Art Centre, the McDonald Institute (each at Queens University, Kingston, Ontario), and the 2015 physics Nobel prize winning SNOlab (situated 2kms underground in Sudbury, Ontario). n-Land was also kindly supported by the Stonecroft Artist Residency. n-Land un/folds some of the complex dimensions of the 'landscape-laboratory': a neutrino and dark matter lab that is housed deep inside a century old nickel mine, each residing inside the second oldest and largest comet impact crater on Earth (the 1.85 billion year old Sudbury Basin Igneous Complex). All of these components are also within the territory of the Robinson Huron Treaty (signed 1850 with 17 Ojibwa leaders and the 'Crown') on the North shores of Lake Huron, Ontario, Canada. The RHT is part of a&nbsp;significant, ongoing, precedent setting federal annuities case in the settler society of ‘Canada’. The governements, as often occurs, have not lived up to their own Treaty, now owing the Ojibwe some many Billions of dollars in back pay.With the voice of physicist Miriam Diamond and inspired by the work of Karen Barad, Leanne Betasamosake Simpson, and Denise Ferreira da Silva.&nbsp; Thoms borrows the imagery, materials, and strategies of physics, composing them in an assemblage to probe the (eco)logical ethics of our time. For example, borrowing a strategy from theoretical physicists, he manipulates dimensions throughout his installation to reveal overlooked relationships that make the production of new cosmological knowledge possible. This is made explicit in his metal "polytope" higher dimensional sculptures titled 'The Bulk: Frameworks' which Thoms considers as ‘shadows’ of a 7 dimensional artefact. The provocative flattening and layering of complex dimensional objects continues in his 'Isomorphis' prints, in which he layers flattened 3D scans of SNOLAB experiments to expose gaps and hidden strata within scientific classification methodologies. Thoms’ installation suggests a multi-dimensional view of the SNOLAB site which he refers to as ‘holographic,’ reading context and agency through vast cosmic and geological time scales. The piece reflects on intra-connected components of landscape-laboratory: the comet that hit the location 1.85 billion years ago, and the resulting emergence of copper and nickel deposits within its rock; how the land is both a major mining site and the object of debated government treaties with local Anishanaabe people; and how kilometres of rock technologically isolates SNOLAB from the thick interference of surface radiation so that experiments can search for rare cosmic particles. A link to the opening performance discussion with Denise Ferreira da Silva:&nbsp;https://www.youtube.com/watch?v=ilpWxzYubwY&nbsp; <img width="5372" height="3497" width_o="5372" height_o="3497" data-src="https://freight.cargo.site/t/original/i/a966194d2b2753f77baaea7a96b7b5e34b292b76e2f8fbdeb14a589f8b2a1b0a/P1010222-for-WEB.jpg" data-mid="120573995" border="0" src="https://freight.cargo.site/w/1000/i/a966194d2b2753f77baaea7a96b7b5e34b292b76e2f8fbdeb14a589f8b2a1b0a/P1010222-for-WEB.jpg" /> <img width="5403" height="3589" width_o="5403" height_o="3589" data-src="https://freight.cargo.site/t/original/i/59eb7a4a4a904f3290b0e65c54a16a3f5e5f34098f4d9eb784dde9a15181c4dc/P1010353-copy-for-WEB.jpg" data-mid="120573996" border="0" src="https://freight.cargo.site/w/1000/i/59eb7a4a4a904f3290b0e65c54a16a3f5e5f34098f4d9eb784dde9a15181c4dc/P1010353-copy-for-WEB.jpg" /> <img width="4274" height="2847" width_o="4274" height_o="2847" data-src="https://freight.cargo.site/t/original/i/2561ef26012a5783b4f1aa9d8a5e541910db04106507d30a90583e5eff7a8680/P1010373-copy-for-WEB.jpg" data-mid="120573997" border="0" src="https://freight.cargo.site/w/1000/i/2561ef26012a5783b4f1aa9d8a5e541910db04106507d30a90583e5eff7a8680/P1010373-copy-for-WEB.jpg" /> <img width="2228" height="1417" width_o="2228" height_o="1417" data-src="https://freight.cargo.site/t/original/i/226ce43aca831cb2bb7f8579abcdc7779ca8c3f3bc9aa642985afd564f686083/P1010383-copy-for-web.jpg" data-mid="120573999" border="0" src="https://freight.cargo.site/w/1000/i/226ce43aca831cb2bb7f8579abcdc7779ca8c3f3bc9aa642985afd564f686083/P1010383-copy-for-web.jpg" /> Drift: Art and Dark Matter is an artist residency and touring exhibition project developed with the Agnes Etherington Art Centre, the Arthur B. McDonald Canadian Astroparticle Physics Research Institute, and the 2015 Nobel prize winning SNOLAB. For this project Thoms along with artists Nadia Lichtig, Josèfa Ntjam, and Anne Riley were invited to make new work while engaging with scientists, theorists and engineers contributing to the search for dark matter at the McDonald Institute and at SNOLAB’s underground facility in Sudbury, located two kilometers below the Earth’s surface. <img width="3538" height="5366" width_o="3538" height_o="5366" data-src="https://freight.cargo.site/t/original/i/78965d6354f167e6d9c350b35c5d0ce46b88bf591a17d27e1ea728f8e0d76342/P1010129-for-WEB.jpg" data-mid="120573994" border="0" src="https://freight.cargo.site/w/1000/i/78965d6354f167e6d9c350b35c5d0ce46b88bf591a17d27e1ea728f8e0d76342/P1010129-for-WEB.jpg" /> <img width="3310" height="5145" width_o="3310" height_o="5145" data-src="https://freight.cargo.site/t/original/i/a8f246946fa0c17d5485862bce3bcdcc591830f16242e5988c3ec522e5af296a/P1010633-copy-fr-WEB.jpg" data-mid="120574009" border="0" src="https://freight.cargo.site/w/1000/i/a8f246946fa0c17d5485862bce3bcdcc591830f16242e5988c3ec522e5af296a/P1010633-copy-fr-WEB.jpg" /> <img width="3388" height="5000" width_o="3388" height_o="5000" data-src="https://freight.cargo.site/t/original/i/32db2b2daee20c92a264a2821dc693cd30737d164f6cdf433918a00561ad93f2/P1010688-copy-for-WEB.jpg" data-mid="120574011" border="0" src="https://freight.cargo.site/w/1000/i/32db2b2daee20c92a264a2821dc693cd30737d164f6cdf433918a00561ad93f2/P1010688-copy-for-WEB.jpg" /> https://jolthoms.com/G24-0vss Thu, 27 Feb 2020 14:25:37 +0000 Jol Thoms https://jolthoms.com/G24-0vss G24|0vßß Single Channel, HD, Colour, Stereo 24:00 min 2016Edition of 7 G24|0vßß is an HD audio-visual composition shot with the coldest piece of matter in the observable universe — the ‘Cryogenic Underground Observatory for Rare Events’ (CUORE). BVy way of temperature, this experiment at the National Laboratory of Gran Sasso (LNGS), of the National Institute for Nuclear Physics (INFN), Italy, seeks to describe ‘why there is something rather than nothing’. The artist has allowed himself to dream with and into the coldest space in the observable universe (thereby sinking outside of it), resulting in an original musical composition and the experimental film G24|0vßß.In physical cosmology there is a perceived imbalance of matter and anti-matter in the observable universe which this experiment (amongst others) seeks to address. Against this positivist background this a/v composition sought to resound with the many voices of spectacular objects and materials invested in creating the largest and coldest object in the known cosmos - itself only possible due to the mountain itself being rendered technological apparatus. The mountains heavy and dense granite acts as a cosmic ‘redactor’, shielding the hyper sensitive experiments beneath. G24|0vßß is part of a series of fieldworks investigating new planetary scale sensing apparatus’ embedded in geological features such as mountains, ice shelves, or lakes. Each of these new cosmological infrastructures embedded as terrestrial feature aim to discover details of dark matter and neutrino particles, otherwise completely translucent to human senses. These apparent and elusive particles are tricky to perceive because they are uncharged, and therefore can pass through anything, unobserved - without leaving a trace. Together human technology and natural landscape merge into the landscape-laboratory, revealing a cosmopolitical environment of the radically imperceptible. Shot in the Abruzzo region, the video diffracts and declares some of the embedded characters of the mountain, which itself has become an essential collaborator with the neutrino and dark matter experiments at the LNGS. Quotes from Stanislaw Lem’s 1968, ‘His Master’s Voice’ punctuate this composition and help question the norm of human exceptionalism in the age of the Anthropocene.&nbsp; The title refers to one of the codenames of physicist Enrico Fermi while he and his team were working on the first self-sustained nuclear reaction under the Chicago University football field in 1942. Fermi also named the neutrino, after it was posited by madman Wolfgang Pauli. The rest of the code in the tile refers to the type of interaction the physicists at CUORE are searching for: 'neutrinoless double beta decay'. G24|0vßß was the recipient of the MERU Art*Science Award, IV Edition, 2016. Director &amp; Cinematographer: Jol ThomsEditor &amp; Original Music: Jol ThomsColour: Martin KohoutAspect Ratio 16:9Music Mastering: Louis McGuireSoundtrack: Stereo Produced as the MERU Art*Science Award, 4th Edition, 2016 through MERU/Medolago-Ruggeri Foundation for biomedical research, Associazione BergamoScienza, and Galleria d’Arte Moderna e Contemporanea (GAMeC) Bergamo, Italy. Special Thanks to Dr. Christian Spiering and the LNGS CUORE experiment: Francesco Vissani, Carlo Bucci, Paolo Gorla, Stefano Pozzi &amp; Dell’Oro. Thank you:&nbsp;Sasha Engelmann, Tomás Saraceno, Henry Heng Lu, Dan Meththananda, Kristof Trakal, Lysander Rohringer, Merle Richter, Megan Edwards, Jakob Huber. Installation Documentation: <img width="3543" height="2348" width_o="3543" height_o="2348" data-src="https://freight.cargo.site/t/original/i/b40c8fc1be9a0309a4c3b140e5df8a455f3934347cd972870ec806adc799761f/4.-_Thomson_G24_2019_300dpi.jpg" data-mid="62170041" border="0" src="https://freight.cargo.site/w/1000/i/b40c8fc1be9a0309a4c3b140e5df8a455f3934347cd972870ec806adc799761f/4.-_Thomson_G24_2019_300dpi.jpg" /> Blackwood Gallery, UTM, 2019&nbsp; <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/4ca9f10dc9bfc4ac18a9577402a0314873fd00cb44ebc35871b7b6e82c785075/8.-THOMSON_G24_II_HDK_2018_300dpi-copy.jpg" data-mid="62170580" border="0" src="https://freight.cargo.site/w/1000/i/4ca9f10dc9bfc4ac18a9577402a0314873fd00cb44ebc35871b7b6e82c785075/8.-THOMSON_G24_II_HDK_2018_300dpi-copy.jpg" /> Haus der Kunst, Munich,&nbsp;2018. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1cd1a37b728bc949711a1b5f086680c789f634f6a7ab2b5f466d1f29fa5ba3e3/G24_Thomson_Growth.jpg" data-mid="62170638" border="0" src="https://freight.cargo.site/w/1000/i/1cd1a37b728bc949711a1b5f086680c789f634f6a7ab2b5f466d1f29fa5ba3e3/G24_Thomson_Growth.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4744c78199f0a01bb881f12a166efc26d167cf30630e56afce1c99f6974b0053/G24_Thomson_Te.jpg" data-mid="62170655" border="0" src="https://freight.cargo.site/w/1000/i/4744c78199f0a01bb881f12a166efc26d167cf30630e56afce1c99f6974b0053/G24_Thomson_Te.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bb7c6d7e6c7a67e75f2ee8977909aba805554be1ad454e2deee794d67fe31123/G24_Thomson_Mollusk.jpg" data-mid="62170648" border="0" src="https://freight.cargo.site/w/1000/i/bb7c6d7e6c7a67e75f2ee8977909aba805554be1ad454e2deee794d67fe31123/G24_Thomson_Mollusk.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/159a1a515f62c6ec62e06d4f20cebf313544c64aa5f0d99db2a62655799f0409/G24_Thomson_Plast.jpg" data-mid="62170651" border="0" src="https://freight.cargo.site/w/1000/i/159a1a515f62c6ec62e06d4f20cebf313544c64aa5f0d99db2a62655799f0409/G24_Thomson_Plast.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7fb123850adbfd5d6d79dc587ef4ed6b939e485f899c0dfdecbe7d3ac2b06c97/G24_Thomson_HorseFuzz.jpg" data-mid="62170642" border="0" src="https://freight.cargo.site/w/1000/i/7fb123850adbfd5d6d79dc587ef4ed6b939e485f899c0dfdecbe7d3ac2b06c97/G24_Thomson_HorseFuzz.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bc0ddb72b72818b3de98cbfd1b0ceb884146537201f50e6a54935372a12f48ef/G24_Thomson_Leaf.jpg" data-mid="62170646" border="0" src="https://freight.cargo.site/w/1000/i/bc0ddb72b72818b3de98cbfd1b0ceb884146537201f50e6a54935372a12f48ef/G24_Thomson_Leaf.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/da1bef31079cd27d88a69b13960293e6e8ce9f7124d718701daca44b7a10941b/G24_Thomson_Hand.jpg" data-mid="62157384" border="0" src="https://freight.cargo.site/w/1000/i/da1bef31079cd27d88a69b13960293e6e8ce9f7124d718701daca44b7a10941b/G24_Thomson_Hand.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ef3857d5b5971889b46da9ea9f364c424faf671e71ff9267462a48f21c6d8a3f/G24_Thomson_Box.jpg" data-mid="62170636" border="0" src="https://freight.cargo.site/w/1000/i/ef3857d5b5971889b46da9ea9f364c424faf671e71ff9267462a48f21c6d8a3f/G24_Thomson_Box.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2f50245e13d5d3879070c50a35d362d7dca50e848b9a24f99ecd853060572761/G24_Thomson_Lead.jpg" data-mid="62157300" border="0" src="https://freight.cargo.site/w/1000/i/2f50245e13d5d3879070c50a35d362d7dca50e848b9a24f99ecd853060572761/G24_Thomson_Lead.jpg" /> https://jolthoms.com/Logics-of-Sense Wed, 11 Mar 2020 11:48:26 +0000 Jol Thoms https://jolthoms.com/Logics-of-Sense G24|0vßß in Logics of Sense 1: Investigations, &nbsp; &nbsp; &nbsp; &nbsp; exhibition at Blackwood Gallery, University of Toronto Mississauga, 2019. Photo: Toni Hafkenscheid.Logics of Sense 1: Investigations was curated by Christine Shaw and included work of Ursula Biemann, Mikhail Karikis, &amp; Susan Schuppli. G24|0vßß was the recipient of the MERU Art*Science Award, IV Edition, 2016. Single Channel, Hd, Colour, Stereo24:00 min2016 Exhibition Catalogue Back to G24|0vßß page To G24|0vßß installation at Haus Der Kunst 2018