“Wandering the Immeasurable” by Gayle Hermick

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It is January. I am on a tram at the border of France and Switzerland just by CERN, the European Organization for Nuclear Research, (the Large Hadron Collider guys.) I notice a huge curling metal structure standing proud from the persistent snow. A biting wind dissuades interest beyond a long-distance snap with my iPhone.

On-line, I find that this work is “Wandering the Immeasurable” by Gayle Hermick. I speak to a physicist friend who works at CERN. “All of us love that sculpture!” he explains. “It tells the entire story of our field.” I am intrigued. This reminds me of a stroll through Cambridge (UK,) and how beautiful sculptures and paintings are used to pay tribute to the brilliant minds who have brought extraordinary advances in knowledge and ultimately changed humanity.

More snow. The weeks pass before I want to return. When I do, I find this to be a work of staggering beauty in which the aesthetic combines with what is probably the most important human narrative of all.

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Hermick visited the CERN site in 2005. She was bowled over by the enormity of what the Large Hadron Collider represents: a massively ambitious experiment based on centuries of scientific exploration. What inspired her was the realization that any theory in physics is based on theories that came before it that, in turn, are based on other precedents. The connections between theories weave together the story of science. One side of the coiling stainless steel ribbon carries 396 important scientific and technical discoveries inscribed in their language of origin, accompanied by the names of their discoverers. The list begins with sexagesimal calculations in Mesopotamia from 4000 years ago and ends – for the time being – with the discovery of the Higgs boson at CERN. The tail of the ribbon remains suspended, as if awaiting future events.

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The other side of the ribbon showcases mathematics: the language of science. This helps the visitor, whatever his or her background, to appreciate how mathematics underpins the 396 discoveries. The whole is accessible to the non-scientist and so resonates with the educational goals of CERN.

Putting the aesthetic and the narrative aside; the work is awe-inspiring as a technical accomplishment. It took a crew of metal workers over a year to make. The process involved specialists who could laser-cut the text and electro-plate the equations into stainless steel.

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And what of the “who” behind this monumental work? Gayle Hermick trained in Fine Arts at the University of Manitoba, Canada. She gravitated to sculptural forms in clay. Metal was a natural evolution. She is tolerant of my persistence and generous with her time giving honest and elegant answers to my questions. I ask her how she won the commission for the work. She replies “It wasn’t a commission. I pitched the idea for a sculpture on the site after touring the then ‘in progress’ Large Hadron Collider. I did not visit CERN with a physics or mathematics background. The dance to create the right sculpture involved much research on my part and some to and fro with CERN to gain more insight into particle physics. I realized quickly that I did not have enough knowledge about contemporary physics to create a work about a specific theory but I also realized that I was in good company with most of the world.  My sculpture grew naturally from this point. I wanted it to be both a monument to what has been achieved and to inform myself, and hopefully others, about how we, humanity, got to the point of colliding particles just under the speed of light to understand what makes up our universe.” (Wow!) She continues “I was enthralled with the beautiful but impenetrable equations accompanying every article I researched.”

She tells me that whilst the inspiration for “Wandering the Immeasurable” was sparked by her 2005 visit to CERN, the visual concept came from the multicultural nature of CERN as an institution, its scientific goals, its educational goals and, by her own admission, her ignorance and confusion about contemporary physicists and theories. I cannot imagine that there exists many other sculptors with intellectual horizons as broad.

Naively, I ask her if, as a result of her extensive research, she has a favourite physicist or theorem. “This (the whole project) has been an exhilarating plunge into the history of science and physicists that will stay with me the rest of my life. I admire greatly the early scientists who came to their discoveries from different disciplines, there are so many – one, Gilbert, a physician, arrived at the conclusion the earth was magnetic which is why the compass points north. And there’s the ingenuity of Pascal’s calculating machine. Galileo’s dedication to observation is breathtaking; his thorough documentation of the moons of Jupiter and sun spots are astounding feats. I read about the careful tabulation of astronomical data from Brahe enabling Kepler to discover his laws of planetary motion. I enjoyed biographies of physicists: the Curies, Rutherford, Heisenberg, Planck, Bohr, and Dirac to name a few. And what an exciting time in physics just prior to World War II!  After years of quiet experimentation, I believe (with discovery of the Higgs boson and the potential output from the Large Hadron Collider), we are in another exciting time for both cosmology and particle physics.” Does she understands physics now? “Robin I think this question is very funny!” she answers. “I think there are physicists who don’t understand contemporary physics.” She then lists, with citations, some prominent physicists who admit to not fully comprehending their chosen field. The list includes Einstein who, apparently, did not believe in quantum theory.

So, as the warmer weather approaches, why not visit CERN and Hermick’s stunning creation? Take a picnic, listen to music, take photos and consider…. but for those texts and equations, you wouldn’t have got there, you would have no leisure time because you would be so busy trying to find enough food for your picnic, there would be no way that music could be recorded and you wouldn’t be able to take photos because cameras wouldn’t exist. In brief, without those scientists and their discoveries, all of our lives, assuming we even existed, would be solitary, poor, nasty, brutish, and short.

Ian Poulter’s Trousers

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Photo: Daily Mail

“We shall not be asking Ian to change his trousers.” – Peter Dawson, Chief Executive, Royal and Ancient Golf Club of St Andrews.

Talking Beautiful Stuff is about the people, ideas and means behind anything creative. The quaint story of Old Tom’s Old Course at St Andrews, Scotland is a narrative that proved popular with golfers and non-golfers alike. We might be stretching it just a bit in expecting our readers to be interested in a man’s trousers even when sported by of one of the world’s more talented and flamboyant golfers. But, believe it or not, Ian Poulter’s trousers are the stuff of a feel-good design story. Where does that story come together? You guessed… St Andrews, the home of golf.

This year The Open, one of the oldest competitions in sport, is on the Old Course at St Andrews. The golfing elite will compete for one of the oldest trophies in sport: the famous Claret Jug. “The Golf Champion Trophy” was designed and crafted by Mackay Cunningham and Co. in 1872 for the grand sum of £30. It now has a permanent home in the club house of the sport’s governing body, the Royal and Ancient Golf Club. No stapleford points for guessing whose troos featured the Claret Jug when the Open was held in St Andrew’s in 2005!

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Photo: Daily Mail / AFP / Getty

On the first day of the Open at Royal Birkdale in 2004, Poulter strutted onto the first tee wearing his extraordinary Union Flag trousers. Jaws of the tweed-clad dropped to the sound of a hundred cameras clicking. The R&A saw no breech of either rules or professional dress code. At the time, Poulter claimed “I honestly didn’t do it to get noticed. I did it because I thought it would be really cool…. The attention was nuts, wasn’t it? You’re not expecting to hit every paper around the world because of a pair of trousers.” He went on to say – as a warning to any club golfer tempted to make a dressy statement for the monthly medal – “But I had to back it up, because if I’d played like a total idiot, I would have been absolutely slaughtered by everyone.” The episode sowed the seeds of an idea.

A competition to design his trousers for the 2005 Open drew 2000 entries. The winning pair, designed by Gavin Adams, featured the Claret Jug on the left leg and the names of past winners on the right leg. Poulter, tongue-in-cheek, said “I wanted to do something a bit more subtle than last year!” Along with a replica of the Claret Jug, these trousers now feature in the British Museum of Golf ….. at St Andrews.

Poulter’s public persona portrays a lion-hearted, all-round good bloke with drive, attention to detail and attitude by the truckload. In his own words he’s “got more front than Brighton beach.” His recently published and totally readable autobiography “No limits” gives a fascinating insight into the persona, the life of a determined professional golfer, the road from Ford Fiesta to fleet of Ferraris, his Ryder Cup heroics and his admirable support for Dreamflight. “No Limits” also tells of a young English boy with a Saturday job on a clothing stall in the local market place. He loved the display and the sell. He now admits to a fastidious, even obsessive, attention to what he wears for work. No surprise then that he has created his own distinctive brand of golfing attire that hunts where smart and tasteful meets out there.

And the trousers? Forward to St Andrews, 16-19 July 2015. Two media-photo-frenzies are predictable. Obviously, one focuses on the happy winner holding the Claret Jug aloft at the end of the last day. The other is when Ian Poulter’s trousers walk onto the first tee on the first day. The man wearing them will lap up the attention and calmly biff his first shot straight down that vast expanse of green over Granny Clark’s Wynd toward the Swilcan Burn. Go Poults!

The 2015 Geneva International Motor Show and Bentley’s work in progress

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Cars are not really my thing. In nearly twenty years of living in Switzerland, I have never been to the Geneva International Motor Show. Well….. it’s my first week of retirement and, by chance, I receive a complimentary ticket. Feeling not terribly automotive, I hop on a crowded number 5 bus to Palexpo.

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First observation: I never knew this show happens on such an enormous scale. Thousands upon thousands of car enthusiasts gather around hundreds and hundreds of next year’s models. Second observation: this is fun! As far as the eye can see, there is sumptuous, extravagant, shiney and very beautiful stuff. Third observation: when it comes to design and function, nothing can match the automobile industry. These lustrous vehicles generate fantasy; they ooze influence, chic life-styles, seduction, virility and power. I love it! I move with the crowd. I listen to the comments. I follow their interest. I join the buzz as much as I can. And I find lots and lots of beautiful stuff to photograph and to talk about here.

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Just look at the sleek lines of the new Nissan S Way. What really catches my eye is the addition of warm tones with the bronze highlights. Without them, the whole would appear cold. Who does this appeal to? A sporty-chic young lady? A young man in the pre-ferrari stage of his petro-development?

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This is the interior of the GEA G Giugiaro. Anonymity, masculinity and comfort. If you want to go for something at the top-end of the chauffeur-driven range, here it is. Well, that’s what I think until I come across…..

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…. the RR stand. O… M… G…!! Would you really take this to the shops? Or to the beach? I adore those little peek-a-boo curtains!

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Fourth observation: a recurrent feature of the show is that the most exclusive cars are surrounded by modest little glass barriers. I think they are to prevent people like me from getting too close. But I did sneak up to snap the superb front wing of the new Quantino. Another recurrent feature is how people patiently queue to pass through those little barriers for the privilege of sitting in the sort of vehicle that I’ve only ever associated with James Bond or the Pink Panther. I couldn’t help noticing that most are men. Most are beyond their first week of retirement. Many need a little bit of help from the amiable hosts and hostesses to get in and out of their would-be purchases.

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Talking of men, cars, hosts and especially hostesses, I fully expected to find the displays draped about with slinkily-clad super models. That seems to be a thing of the past except of course for Pirelli. The calender-happy Italians simply laugh in the face of political correctness. But then what is politically correct may not be biologically correct. Images of beautiful women sell things. Even tyres!

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I come across the Bentley stand. It is difficult to get close to the little barrier such is the excitement . “Magnifique!” the admirers gasp.

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What has drawn the crowd, revolving slowly on her display, is the most elegant car of the whole show. She purrs British Racing Green.  She soaks up the attention.

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This is the new Bentley…. but I find no sign indicating model or series. I ask a helpful young man sporting a Bentley lapel pin for specifications. “That, Sir, is a Speed 6. It’s a car in its design stage. It may not be out for another five or six years. It’s just a concept for the moment.” I’m stunned. The most beautiful car here today is not yet a car! “You mean it’s kind of work in progress?” I ask him. “You could say that, Sir. Yes.” This is so cool! I ask if I could sit inside it for a moment. He smiles politely, “I regret, Sir, that is not possible.”