Blackest-Black: A nanoengineered colour nurturing a sense of belonging to fight climate change.
Blackest-Black is a transdisciplinary project about a revolutionary colour bridging art and science, technology and philosophy. Our goal is to inspire future generations to use the minimum of material resources to create unique materials with exceptional tuneable properties for innovative applications. Our project is a prime example of turning sterile technologies into social technologies by embedding Art to achieve a universal and meaningful societal impact nurturing a sense of belonging.
Cross-border/international
Belgium
Other
USA
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Rice University, Texas Houston, USA: Professor Ajayan: https://ajayan.rice.edu/pulickel-ajayan.html https://ajayan.rice.edu/
NASA, Washington, USA: John Hagopian, Senior Optical Physicist, https://www.nasa.gov/centers/goddard/about/people/JHagopian.html
It addresses urban-rural linkages
It refers to a physical transformation of the built environment (hard investment)
No
No
Yes
2018-12-01
As an individual in partnership with other persons
The Blackest-Black is an international and true transdisciplinary project bridging art, science, technology and philosophy. The project is a striking collaborative between the hard edge world of science and that of post-conceptual art.
The nexus of the project is the creation of something from "nothing" in a monumental effort to get as close to representing nothingness as possible. The material consists of 99,9% air and 0,1% carbon, and is ‘grown’ from carbon nanotubes able to capture all light at all frequencies making it a nearly perfect light absorber, which is ideal for creating solar panels; opening doors for a more sustainable future in the energy sector and with innovation potential for optical space imagining systems as a stray light suppressor. Our process uses sputtering of atomic sized particles (catalyst seeds) on a substrate and vapour deposition (CVD), to create an endless ‘forest’ of vertically aligned loosely packed carbon nanotubes.
Our aim is to inspire future generations with an innovative colour that demonstrates the use of the minimum of material resources to create unique materials with exceptional tuneable properties for innovative applications. Hence, our project is a prime example of turning sterile technologies into social technologies by embedding timely and meaningful Art into the project that is accessible for all ages, gender, cultures, minority groups and societies.
For the artist change starts with the individual. In a time where we’re oversaturated with media and information, the project pulls you back to something that is private and personal. In absolute darkness everybody is the same and unified; with ourselves and the Universe. The Blackest-Black is for De Wilde, just like for Kasimir Malevich, a symbol for societal change in a world facing huge economical, ecological and societal challenges. It urges us to reflect upon our sense of belonging; the other and our planet. The projects 'speaks' a universal language.
Perception
Energy
Immateriality
Nanotechnology
Colour
Our key objectives in terms of sustainability are multifold: 1) Utilisation of the minimum of material resources in the production process. 2) The project paves the way for further development of carbon nanotube-based solar cells with a much higher efficiency than traditional solar cells at entrapping light; black cells generate considerably more electricity than traditional cells. 3)The project opens up great efficiency potential in combination with black silicon PV technology, which makes possible the production of solar cells with a larger surface area and the ability to absorb light at wider angles, where nano-structures are etched on its surface and are more efficient at absorbing shorter wavelengths of light. 4) Outer space is a harsh environment. Developing sustainable technologies and applications that can endure this harsh environment, are robust and enhance existing technologies, is absolutely critical. A super black coating is not only more sustainable, it delivers also much sharper images by reducing unwanted glare in optical blinders (e.g. to help space telescopes spot orbiting exoplanets) by suppressing stray light. 5) Supporting sustainability agenda's also means working on awareness through audience engagement. Our project stimulates awareness about pressing subjects, like climate change, by tapping into the unlimited potential of Art to "touch" people with an exceptional experience and a thought provoking artwork. 6) The project is in line with the SDG's and supports the roadmap to affordable and clean energy. In addition the project supports strengthening global partnerships for SD goals and climate action.
The key objectives are to engineer the ultimate black as an exceptional aesthetic experience to demonstrate the universal power of a colour that speaks to people of all ages, gender, religion and nationalities. Through post-minimalist aesthetics we are able to touch contemporary subjects as climate change and Co2 emission; or privacy in physical and digital space, scientific subjects like black holes and gravity (black holes are regions in space where an enormous amount of mass is packed into a tiny volume. This creates a gravitational pull so strong that not even light can escape.); quantum mechanics that teaches us that empty space in nature is never truly empty; or universal philosophical ideas like 'nothingness' and the 'void', which are concepts that appear in the Eastern philosophies that influenced Minimalism, echoing the circular form of the ensō, a universal expression of wholeness that lives deep in our beings.
In conclusion: the project is a highly innovative, conceptual, thought provoking and mesmerising retinal hypnotic experience that opens up a space of imagination. According to the artist the artwork is the ultimate celebration of the unknown; a space of boundless immateriality and 100% horizontal depth. The artwork and project drives positive emotions, wonder and positive doubt. There is beauty in doubt, to doubt and question perception and reality, simply by asking the poetic question: "Is there something blacker-than-black?”. Ultimately, the blackest-black help us to question our perception and reality, that we too often take for granted and bought into. The latter being a fundamental aspect to drive innovation.
In conclusion; our design process embraces art, science and technology to drive positive emotions with enough gravitas to speak to a global audience with enough room for cultural interpretation. The artworks have been shown in Europe, Asia and the United States and the H.S.H. Prince Albert II foundation.
Our key objective is to bring different disciplines (PARTNERSHIPS) together, bridging the gap beween scientists and artist. Our project informs the general public of pressing issues at hand (COMMUNICATION: climate change. POLICY: privacy, GDPR) and brings audiences (individuals, cultures and societies) together regardless of race, disability, sex, gender preference, to maximise inclusion and stimulate cross-cultural exchange while maintaining the integrity of the project.
The project stimulates scientists (ATTITUDE) to think more inclusive (CHOICE) and bring materials made in high tech laboratories -but also inspiring concepts, thought provoking ideas or methods- to the public (ACCESS) by leveraging on art, and venturing into the art world and musea, which is a fantastic environment to bring thought provoking work and projects to a broad audience. The artworks have been shown in Europe, Asia and the United States. In conclusion; our project unifies in different ways and create OPPORTUNITIES for a more inclusive future. In order to make our key objectives a success we all had to step out of our comfort zone and the professional/social vacuum be open to for inclusion and diversity in various societal, social and cultural contexts with various publics and audiences.
Climate change -and reducing our carbon footprint-, as well as privacy related issues and topics co-exist in our project alongside artistic and deep philosophical questions related to the nature and fabric of reality. Addressing these pressing timely topics, important subjects and profound universal questions are incredibly valuable. It's very rare to have all these different angles and perspectives -operating at different timescales and resolutions- combined and concentrated in one project. Citizens are thus benefiting from the project in a plethora of ways. If black silicon and solar panels become a reality on industrial scale it could have a massive impact on renewable energy; which would affect everybody -and nature- to fight climate change.
Our main modus operandi, until know, has been developing collaborations with national and international universities, students, professors and government agencies like NASA; and on the other hand museums like BOZAR in Brussels, Ars Electronica in Linz or the MOODY center for the arts in Houston, Texas.
The project was included in the MoonArk, which was shown in Centre Pompidou, Carnegie Museum, ... and is now in the permanent collection of the Smithsonian museum (https://www.cmu.edu/news/stories/archives/2022/june/moon-ark.html). Fabrication of the MoonArk has instigated the innovation and invention of digital fabrication techniques, ultra-high-resolution imaging, and other advances in material science, technology and the arts. It has also engaged colleagues across the world. The project involves 12 units at CMU, 18 other universities and organizations, 60 team members and more than 250 contributing artist and citizens. The involvement of citizens will be expanded in the near futur and efforts intensified.
We hope that this prestigious prize can contribute to our intention to increase citizen involvement. Our references are the fantastic solar energy projects from the amazing artist and architect Olafur Eliasson.
With Rice University we pioneered the blackest-black and inspired many citizens, creatives and other professional artists worldwide; most notably Sir Anish Kapoor (Vantablack).
Together with the different stakeholders we explored, in a transdisciplinary setting, the possibility of growing carbon nanotubes (CNTs) into ultra black material. We borrowed ideas from scientific and engineering world, as well as concepts from biology (e.g. self-assembly) and the Arts (e.g. post-minimalism, structural colour) to realise our project. The cross-fertilisation between the different disciplines generated added value for all the stakeholders. With students and professors we experimented (trial and error) and created the worlds first blackest-black art made from a unique and highly light absorbent material. We received input from the Smalley-Curl Institute (Nobel Prize winners). At NASA we explored specifically CNTs substrate adhesion and robustness in space applications.
At a local and national level we have reached stakeholders in academic circles, universities and museums. For example, with the University Hasselt -which is specialised in photovoltaics- we explored with students the properties of the blackest-black, which can absorb a greater quantity of sunlight than existing coating, to develop more efficient solar cells and harness the full power of the sun. The project inspired students to explore alternative energy and out of the box ideas and to start research projects with ties to other disciplines like biology (e.g. weakly electric fish as living batteries, electro-sensing, bio-batteries, electro-communication,...).
The disciplines reflected in the design and implementation of the project are: art and design, engineering, chemistry, biology, photonics, physics.
The artist interacted with the scientists during several artist-in-residencies in Ayajan's Lab at Rice University working with chemistry, and later on at NASA with a senior optical physicists from Goddard Space Flight Center. The artist functioned as a pollinator between the collaborating parties, the project as a catalyst and the artwork as an interface between different worlds, researchers and scientists, organisations and audiences.
For example with Hasselt University in Belgium we analysed blackest-black samples with a scanning electron microscope (SEM) to inspire students with this novel way of engineering material and how it crossover collaboration can yield exciting out-of-the-box ideas and kickstart innovation driven processes and results. The added value was that each representative, collaborator or department, learned from the other, and contributed in his unique way i.e. technical, experimental, conceptual, analytical, etc.
Results and processes were shared. The artist gave talks and lectures in different universities, museums, etc.
The added value speaks for itself.
The result is the realisation of a pioneering transdisciplinary art, research and development project with the aim to develop a new colour with incredible, and tuneable, properties that can be applied in a variety of sectors and industries.
The result was shown internationally in different musea, galleries and landmark exhibitions.
The result was included in multinational projects like the MoonArk; now in the permanent collection of the Smithsonian museum.
The outcome was disseminated in internationally in universities, cultural and artistic world, on (social) media and television, in press, papers and publications. The outcome were several artworks at the interstice of art, science and technology that is inspiration for a global and broad audience. The outcome is thought provoking and raises, through art, science and technology, critical questions about the relation with ourselves, the other and our planet. The outcome specifically raises awareness about climate change and promising technologies like blacker-than-black solar panels and carbon sequestration that will power the next industrial revolution. The outcome was e.g. presented during a TED ideas worth spreading talk (Frederik was a finalist of the TED global talent search), the Creativity World Forum, and many more venues.
The most impact with the project can be created in solar energy systems, medical and scientific devices that utilize spectroscopy to measure or assess light and radiation, infrared camera and sensors, electro-optical systems, satellite systems, digital cameras, mobile phones, automotive, cloaking devices, digital projection, watchmaking and jewellery, art, design and architecture.
The impact is a powerful symbol, through an innovative colour, for the next industrial -and cleaner- revolution!
The innovative character of the project manifests, and translates, itself in many ways; from an artistic point-of-view we created a new colour that expands molecular (pigments) to the structural colours (geometry) with real world added value and concrete applications that can contribute to a more sustainable future.
We contributed to the rich history of a colour. From a conceptual and philosophical perspective our project opened new doors to see reality through a totally different lens. We made the impossible possible i.e. create something blacker-than-black. The concept, and materialisation of the concept, sparked worldwide excitement (art world, universities industry, governmental organisations, global audience). The project inspired companies to create commercial products like Vantablack. In addition creatives as well as blue chip artists were deeply inspired by the project, and it went viral. A great example are the blackest-black artworks of international acclaimed artist Sir Anish Kapoor. In contrast to the latter; our pioneering project was always meant to be much more than an artwork or a product, but rather a true catalyst for societal change.
Social innovation is often much harder than technological innovation, therefore raising awareness is key. Our challenge was to overcome sterile technology; fundamental research created a material, an exceptional material became an artwork, the artwork became a shared experience that addresses climate change, introduces a new way of seeing reality, sparks wonder and awe that is accessible and understandable for people all over the world, young and old. We can proudly say that no colour has ever taken the world by storm as the blackest-black, and we believe that its function and role has just started (e.g. solar paint, carbon sequestration). Climate change is a fact and we will need strong images, symbols and technologies with impact to overcome these huge challenges ahead.
The initial point of departure was that research as a field could benefit from more connections and cross-fertilizations, in the arts as well as in the sciences. We agreed that society at large would benefit substantially from this "marriage", but that art and science should each be evaluated on their own merit and that both are equally important in our quest to understand our world and to enrich our experiences. Our goal was not only to understand the world though, but to change the world with a small but meaningful contribution that is timely and relevant for the different stakeholders and our planet.
We explored different methodologies and approaches, each related to a different discipline in our crossover and transdisciplinary project. The artistic/scientific researcher had three intertwined tasks: First, to develop and perfect his/hers own artistic/scientific skills, vision and conceptual thinking (e.g. develop a project specific vocabulary for making, writing and speaking about the project) find a common ground and vocabulary that is understandable for non-experts. Second, to contribute to high schools, academia and universities around the world by proposing a clear narrative; and in so doing helping to build a community of artistic crossover research and the bodies of knowledge these communities rely on. Third, to communicate with practicing scientists, scholars, artists and the larger public, performing what one could call audience education with the aim of raising awareness.
The challenge was to overcome sterile technology. In our case, fundamental scientific R&d led and artistic research led to a methodology, a tool and conceptual framework. The tool produced an exceptional material which became an artwork and a social (media) experience that addresses climate change, introduces a new way of seeing, sparks wonder and awe that is accessible and understandable for people all over the world, young and old.
Our project allows replication and can be transferred to other places, groups, beneficiaries and context.
From a technological perspective; the technology and processes are well documented, but it requires nevertheless state-of-the-art tools, hands-on experience and professional guidance to execute it properly. Alternatively we have less high tech material for educational purposes that can be applied as a paint. The paint could be applied on specific metals that have the potential to convert sunlight to electricity, and later on, for example, to form hydrogen fuel. Methods and technologies like carbon sequestration -the process of capturing and storing atmospheric carbon dioxide- could be more easily explained as well as solar panels and green energy.
From an artistic perspective; several artworks were made and available for showcasing the results to a broad audience. The learnings from an art, science and societal perspective can be communicated via lectures and talks, publications etc.
Climate change is undoubtably one of the major global challenges our generation, and future generations, will face.
The reality is that instant, and easy solutions or quick fixes, don't exist. We believe that a colour can potentially save us, if we can continue our transdisciplinary journey that started with a blacker-than-black colour. We believe that we can tackle global challenges with local solutions if we venture into high efficiency thin film photovoltaic cells -or paints that can be locally bought and applied- that can transform light into electricity (incl. smart grids) and potentially hydrogen fuel. With this amazing coating every object (e.g. houses, building, cars, ...) can potentially generate clean energy.
A global challenge, like climate change, must be addressed and tackled on different levels. We believe that art/science/technology interactions are pivotal in the success to find answers to global challenges. Just like Bertolt Brecht, we sincerely believe that Art is not a mirror held up to reality, but also a hammer with which to shape it.
This project demonstrates that if we collaborate -without prejudice and open gaze- in a joint effort to solve global challenges, we can do magical things that provide creative and technical solutions that support mankind and the planet. Change starts with raising awareness, and increased awareness can lead to Unity. Our projects connects people with global challenges, inspires them to act upon it. What more can we wish for...
