This artfully rusted Cadbury tin was found and donated to the Long View Project by
Rae Spain, camp manager at Lake Hoare in Antarctica’s Dry Valleys. No identifying
marks remain apart from the script logo on the lid, but the artifact’s shape and size suggest it to be a can of Bourne-Vita, Cadbury’s malted drink product introduced
in 1948.

I consider it something of a companion piece to Sifta Sam, as both are Dry Valleys
discards made in England circa 1940s-50s. I’ll speculate that they both belonged
to the same research party, perhaps an early incarnation of the British Antarctic
Survey which has been the UK’s national Antarctic operator for over 60 years.

Intriguing also is the container’s hidden contents which rolls around with a dull thud.
I was briefly tempted to break the tape between lid and can to reveal the mystery,
but thoughts of encountering a congealed malt (or is it mold?) ball made me
reconsider. At least for now.

This week I resume posting the items I collected in Antarctica for use in my artwork.
All these found and donated objects are grouped under the “Waste Stream Reclama-
tion” category in the blog’s sidebar.

Today’s item is a weathered Sifta table salt container courtesy of “Crunch” Noring,
the Marble Point camp manager. Found underfoot at his Dry Valleys camp, this dis-
card is a remnant of the pre-Code of Conduct era when littering was common in
Antarctica. The packaging design suggests that the container dates from the 1940s,
when Sifta Salt and the fabulous Sifta Sam character (click the old salt for a close-
up!) were brand names of Palmer Mann and Co. Ltd. of Sandbach, Cheshire, UK.

The company is long defunct and very little information about it exists online, but
image reference indicates that the deteriorated area below Sifta Sam once read
“Jolly Good Salt.” This container is certainly the most delicate item in my collection
of discards. Its flaking label — or what’s left of it — appears to be just barely
hanging on.

When I traveled with my family to China and Mongolia this summer, I didn’t expect the trip to figure into this blog. Antarctic-related encounters seemed unlikely, outside of conjuring cold thoughts to battle the unrelenting heat.

But on arriving at Mongolia’s vast western steppes, the region’s grandeur triggered a profound sense of Antarctic déjà vu. The lack of ice and snow hardly mattered; there were endless landscapes, diverse ecosystems, undisturbed environments, a sparse human population, protected area designations, and science teams in the field. It was inspiring, and when it came time to leave for China, I resolved to find an Antarctic encounter of sorts there too.

Fortuitously, our itinerary included Shanghai, home to the Polar Research Institute of China. The thought of visiting China’s main polar research center was alluring. So was the notion of gaining admission to an actual Communist government agency in the PRC. It felt rather subversive, and a bit off-limits. Wouldn’t they suspect us as spies? Surely we’d be turned away. So when my wife Lili, who speaks Mandarin, successfully arranged an appointment with the Institute, we were euphoric despite the fact that we had no idea of what there was to see there.

The Institute is a hulking edifice in Shanghai’s Pudong district. We passed through the
complex’s security gate and into the lobby; no IDs checked. A staffer with a fittingly
icy demeanor led us to an exhibition room devoid of visitors, waved us in, and said
she’d be back in an hour. Photography was OK. Spies were clearly not a concern.

The exhibition showcases all manners of Chinese polar research and achievements.
There are dioramas, maps, models, charts, and a plethora of informational signage,
all in Chinese. I was grateful to have read up on China’s polar programs beforehand,
and Lili was grateful to be spared from having to translate all the text.

The gallery’s centerpiece is a large relief map showing China’s three polar research
stations in Antarctica: Great Wall Station on King George Island off the Antarctic
Peninsula, Zhongshan Station on the eastern Antarctic coast, and Kunlun Station
situated 13,000 feet (4,000 meters) above sea level at Dome Argus, the highest
point of the expansive East Antarctic ice sheet.

China is a relative newcomer to the Antarctic research community. Its polar scientific program only began in 1981 and the Polar Research Institute was founded in 1989. Today China commands a noteworthy presence on the Ice and participates in several international projects at any given time.

A significant one is the U.S.-led Antarctic Gamburstev Province (AGAP) project, which
last year verified the existence of a rugged mountain range buried more than four
kilometers (2.5 miles) under the giant East Antarctic Ice Sheet.

China itself led an international team of scientists in 2008 in setting up a robotic observatory, PLATO (PLATeau Observatory) at Dome A that runs a variety of experiments. Each of the last two winters, the instrumentation operated without a human within 600 miles for more than 200 days. Deemed a successful prototype for future robotic observatories, the team is building two new PLATOs this year. One will be deployed to the Japanese Antarctic station of Dome Fuji and the other is a higher-end addition to Dome A that supports a new suite of instruments. The National Science Foundation, which manages the U.S. Antarctic Program, supports the program by providing Iridium satellite communications as well as funding several first-light site-testing instruments.

These current endeavors, however, are absent from this exhibition whose static
displays limit it to broad overviews of polar research and past accomplishments.

Introducing new media would really bring the content to life and up to date.
I imagine a wall monitor featuring live broadcasts and breaking news from Ant-
arctica for example. Real-time updates would convey the excitement, pace, and
immediacy of science on the Ice and enhance the visitor experience immensely.

After an hour, the icy staffer re-appeared, ushered us back to the lobby, and showed
us the door.

I’ll admit I was hoping for a little something more from the visit; perhaps a tour or
a glimpse of a scientist. But I can’t complain; we’d found our Antarctic encounter,
inside a Communist government building no less.

Besides, there’s more: Back in central Shanghai on the Pudong end of the Bund Sightseeing Tunnel, we came across yet another Antarctic exhibition: the “Polar Experience Museum” which isn’t so much a museum as an exhibition space with distinct similarities to the Institute’s. This attraction, presumably a satellite of the Institute, is pictured in these last three photos.

For those needing to scratch an Antarctic itch in Shanghai, the Polar Experience
Museum will probably suffice. It’s more centrally located than the Institute exhibit,
better lit, and populated by visitors.

If you do seek out the Polar Research Institute of China though, note that it’s soon to
be renamed the Chinese Polar Research Center. Its present location is 451 Jinqiao Road, Pudong, Shanghai 200136. Call ahead for an appointment at +86-21-5871-2101 or
fax +86-21-5871-1663.

McMurdo Station is Antarctica’s largest human settlement and the first permanent American scientific research base on the continent.

Established in 1955, ‘Mactown’ sits at the southern shore of Ross Island, the solid ground farthest south that is accessible by ship. It’s operated by the United States Antarctic Program under the National Science Foundation, and houses over 1,000 summer residents and about 150 in winter.

Research performed at and near McMurdo includes aeronomy and astrophysics, biology and medicine, geology and geophysics, glaciology and glacial geology, and the study of ocean and climate systems.

This collage, the second in my series on Antarctic stations, focuses on McMurdo’s role in high-altitude scientific research.

Since 1989, NASA and the NSF have launched large unmanned helium balloons and their instruments from a site near here. Owing to unique atmosphere circulation over the continent during the austral summer, the balloons are often recoverable weeks later in nearly the same spot.

During my stay at McMurdo last January, the NASA-NSF partnership successfully launched a newly designed super-pressure balloon prototype that achieved altitudes of over 111,000 feet — three to four times higher than passenger planes fly. The balloon’s material was unique: an advanced lightweight polyethylene film about as thick as ordinary plastic food wrap.

With further developments to craft size, durability and functionality, the team hopes to eventually hoist a one-ton instrument to the brink of space for 100 days or more. Long duration balloon missions at such heights cost considerably less than satellites, and their scientific apparatus are retrievable and re-launchable, providing sustainable high altitude research platforms.

Balloon flights are used to to make atmospheric studies, to investigate the nature of ultra-high-energy cosmic rays, to search for anti-matter, and to make scientific observations in fields such as hard x-ray/gamma-ray and infra-red astronomy. Floated radio telescopes search for indirect evidence of extremely high-energy neutrino particles possibly coming from outside our Milky Way galaxy, while other experiments measure high energy cosmic-ray particles originating from distant supernova explosions within our galaxy.

McMurdo’s next super-pressure balloon launch is an international collaboration involving mostly French and American scientists. Scheduled for August, the Concordiasi project will put as many as 18 balloons in the atmosphere at about 20 kilometers altitude. Their instruments will take meteorological and atmospheric readings in relation to the ice surface and study the processes of ozone depletion over Antarctica.

In addition to my collage’s balloon imagery, the artwork references Building 155 described in an early dispatch. Also included are the station’s acronym MCM and Robert Falcon Scott whose Discovery expedition hut of 1901-04 stands in view of McMurdo Station today.

I created the artwork with found paper and printed matter and contributed the piece to Scott Massey’s recycling-inspired RRR Project. Look for his new print publication RRR.002 and related exhibitions soon.

Currently, 29 of 48 Antarctic Treaty member nations operate research stations on the continent and its nearby islands. Some bases are permanent, some are temporary; some operate year-round and others in summer only. Their programs, capabilities and designs differ, and each lends itself uniquely to international scientific collaboration. I’ll be featuring a variety of these facilities in upcoming posts and artwork, starting with Japan’s Syowa Station:

Syowa (also known as Showa) is located on East Ongul Island in Eastern Antarctica. It is the largest Antarctic science research facility run by the National Institute of Polar Research (NIPR) in Tokyo.

Syowa was established in 1957 and is home to NIPR’s Japanese Antarctic Research Expedition (JARE). The base uses solar power and its research activities include upper atmosphere physics, meteorology, seismology, gravimetry, geodesy and cartography, oceanography, glaciology, geology, geography, terrestrial and marine biology, and medical research.

NIPR and the U.S. Antarctic Program collaborate regularly with a focus on the geosciences and environment. An example is cooperative high-altitude scientific balloon launches at Syowa and Amundsen-Scott Station. By pooling resources and sharing data over Earth observation networks, Japan and the U.S. help each other while allowing worldwide access to information about climate change.

My collage’s chief elements are bits of printed matter I found in Tokyo. The hands are vintage sci-fi, which is how I imagine Japan’s 1957 foray into Antarctica — their first — to have felt. The hands also suggest prosthetic solutions in case of extreme frostbite.

The artwork was contributed to Scott Massey’s RRR Project featuring art made with and about recycling. His new print publication RRR.002 is in the works as well as an exhibition or two. I’m glad to be part of it!

Who discovered Antarctica? Any number of early pioneers are credited, depending on how their accounts are interpreted. Here are the all-time top candidates:

The first reported sighting was by Russian Imperial Navy officer Fabian Gottlieb (Thaddeus) von Bellingshausen while commanding the second Russian expedition to circumnavigate the globe. Bellingshausen recorded seeing “ice mountains” on January 28, 1820 in the vicinity of what is now known to be the East Antarctic coastline. However his journals don’t mention that it may be land, and his expedition charts don’t indicate any land.

Two days later in the continent’s northwestern quadrant, British navy captain Edward Bransfield sighted the northernmost point of the Antarctic mainland, named it Trinity Peninsula, and produced the first recorded Antarctic land chart.

The next sighting of the continent was by American sealer Nathaniel Palmer in November 1820 — yet neither he, Bransfield, nor Bellingshausen were first to set foot on the continent. That distinction is claimed by American sealer John Davis who allegedly made the first landing on February 7, 1821 on the Antarctic peninsula’s west coast.

While these early pioneers certainly speculated on having encountered a significant land mass (John Davis’s logbook entry reads: “I think this Southern Land to be a Continent”), the first person to actually know he’d discovered a whole continent was United States Navy commander Charles Wilkes. In 1839-40 Wilkes’ expedition sailed along the edge of the ice pack south of Australia for some 1,500 miles, confirming the existence “of an Antarctic continent west of the Balleny Islands.”

This image depicts Bellingshausen, winner on the timeline if not for best evidence. He’s aboard his flagship, a 600-ton corvette named the VOSTOK (meaning “East”) after which the Russian research station and fascinating subglacial lake are named. The letters VOSTOK are incorporated into the piece and the graphic element on the right edge is Bellingshausen’s stylized Russian initials ФФБ.

The artwork was created with cut paper and graphite and is currently in MOVE, a group show curated by Rich Jacobs at Space 1026 in Philadelphia.

The Long View Project’s first print edition, previewed in progress some posts ago, is now complete. It’s titled “21-Step Grey Water Treatment System,” issued as four pochoir stencil prints, each on a different color of paper.

As I mentioned back in the Dry Valleys, grey water is a term for waste water resulting
from washing, cooking, and similar activities. Grey water contains cooking fats, oils, and soap and detergent residues which Antarctic stations manage along with human waste (’black water’) in accordance with the Protocol on Environmental Protection to the Antarctic Treaty (a.k.a. the Madrid Protocol) in efforts to minimize human impact on the environment. Releasing untreated waste water containing microorganisms into active ecosystems is particularly concerning since some pathogens can remain viable in low-temperature Antarctic conditions for extended periods, providing them the potential to occupy local habitats and infect native bird, mammal, and marine populations. You’ll find representations of this bacteria lurking in my artwork below.

While all of Antarctica’s 82 research stations (operated by 28 nations) presumably meet the Protocol’s minimum requirements for waste water management, their methods vary widely. Stations’ capabilities depend on their size, accessibility, longevity, and local weather and geography among other factors. Large coastal stations such as McMurdo are likely to have established plants using mechanical, biological, and disinfection processes, while most U.S. field camps’ sewage is removed from the continent altogether, while inland bases such as the U.S.’s Amundsen-Scott and Russia’s Vostok dispose of untreated human waste in deep ice pits.

This artwork imagines a future with advanced waste water treatment technology in place at all Antarctic research stations. The imagery is inspired by plant schematics and a 2005 Swedish survey of 71 stations to identify optimum grey water cleaning techniques in the context of Antarctica’s challenging conditions.

The “21-Step Grey Water Treatment System” edition was made by a hand-printed process called pochoir which employs stencils in creating imagery. I used gesso and matte acrylic as the medium, and Japanese ’surikome bake’ rubbing brushes to apply the paint. Each of the four prints measure roughly 24″
x 18″ and are embellished with graphite line work.

Print #3, shown here, is currently on exhibit along with “The AA Five” in REFRAME: Making Sense of Waste at ARC Gallery, San Francisco through May 30.

From curator Hanna Regev’s press release:

“‘Reframe’ is a teachable moment and reflexive show that calls for individual responsibility, an examination of the waste around us, and questioning our consumption behaviors. While viewing the exhibit, we ask that you think of ways to harness the insatiable appetite for goods that drive the demand of ever-increasing products. As consumers and viewers, think of what you contribute to environmental degradation and your consumption habits.”

Featured artists are Michael Bartalos, David Broom, Alejandra Chaverri, Gregangelo Herrera, Wolfgang Ganter, Rebecca Goldfarb, James Goode, Beth Grossman, Avi Hoen, Judith Selby Lang, Richard Lang, Jose Ramon Lerma, Liz Mamorsky, and Noah Wilson. Music will be performed by James Goode on instruments created from recycled materials.

“Long View Study #9 (The AA Five)” is the latest study for my Long View Project series whose theme is waste management and recycling in Antarctica.

“AA” refers to Aurora Australis whose covers were fashioned from wooden provision cases in 1908 to create the first book edition ever published in Antarctica. “Five” refers to the five major figures behind this effort: Ernest Shackleton who edited the edition, illustrator George Marsten, printers Frank Wild and Ernest Joyce, and Bernard Day who bound the books. AA’s production marks an early instance of recycling on the continent and exemplifies the resourcefulness and creativity inherent to Antarctic scientific and artistic endeavors today.

The imagery draws from my 2009 visit to Shackleton’s hut where the edition was created over winter a century earlier. Shackleton devised the project to ensure that “the spectre know as ‘polar ennui’ never made its appearance,” as he put it.

I’m using found wood, paper, wire, hardware, and a leaf to reference the explorers’ workspace environment, their team efforts, and their fondness for tobacco. References to their fondness for whiskey to follow in future artworks.

The piece measures 7″ wide x 12″ high and is currently on exhibit in REFRAME: Making Sense of Waste at ARC Gallery in San Francisco through May 30.

Spring greetings from San Francisco! I’m back from abroad and excited to see my Extreme Mammals graphics on display at the museum and its retail spaces. Enjoy the EM show and my images, up through September 12.

In Long View Project news: I have three new Antarctic-related works to share this week. Today’s featured piece is “LV Study No. 8 (Plan 1),” inspired by Lake Vostok, a body of water situated 4,000 meters (13,000 feet) beneath Russia’s Vostok Station at the center of the East Antarctic Ice Sheet. This largest of Antarctica’s subglacial lakes was revealed by airborne ice-penetrating radar imagery in 1973, and preliminary ice-core drilling suggests that its depths harbor microbes that evolved uniquely to survive the most oxygen-rich natural lake environment on Earth.

The challenge to scientists is not in reaching these depths, but in probing the lake without contaminating its ecosystems. Presently, ice core drills are stopped 100 meters (300 feet) short of reaching liquid water to prevent the apparatus’s anti-freeze compound of freon and aviation fuel from tainting it. Russian scientists are reportedly devising a solution to safely access the water by next year.

I’ve referenced Lake Vostok in previous artworks, but the environmental issues related to the research are particularly relevant to the Long View Project. I’m curious to learn about the technology being developed for this specific mission; its eventual implementation; its ultimate dependability. Will it be fabulously successful in the long term, or might supposed safeguards fail with disastrous consequences? (And who isn’t asking such questions in the wake of the Gulf of Mexico oil spill disaster?)

My artwork, subtitled Plan 1 (план 1), imagines the inception of the Vostok exploration project by Russian researchers. This schematic would have served to indicate their position relative to the recently-discovered lake beneath their station. Depth (глубина) and active life forms are speculated upon, and a lake bed research base is proposed. Exact coordinates and reliability of mail service yet unknown (неизвестный).

I’m fascinated by the notion of science fiction eventually giving way to science fact, and I enjoy following exploratory endeavors as technology progresses. Perhaps that’s why I find the Lake Vostok project continually engaging and return to it for inspiration and perspec-
tive time and again.

Long View Study No. 8 (Plan 1) measures 8.25″ x 10.25″ and was created with cut found paper, graphite, and a Russian postage stamp. The piece will be on view and available at Space Odyssey: Southern Exposure’s Annual Fundraiser and Art Auction this Saturday evening, May 6 at SoEx, 3030 20th Street in San Francisco. Hope to see you there!

I’m participating in an Antarctic art panel with fellow Antarctic artists Cheryl E. Leonard and Lisa K. Blatt tonight at The Lab in San Francisco. The presentation is part of the thirteenth annual Activating The Medium festival featuring two nights of performances from local and international sound artists.

Cheryl E. Leonard at Palmer Station.

Each year, the festival is curated around a specific theme that underscores connections between artists working with various methods and materials. This year’s theme is ice and its physical, geographic, metaphoric, and mythological attributes as manifested through sound and image.

Michael Bartalos at South Pole Station.

The program kicks off at 8:30 PM with Cheryl, Lisa and I each giving a short audiovisual presentation about our Antarctic projects and experiences on the Ice. We’ll follow that up with discussing topics concerning art in Antarctica and answering audience questions.

Lisa K. Blatt at McMurdo Station.

The festival’s featured sound artists are G*Park (Switzerland), Pedestrian Deposit (Los Angeles), Joshua Churchill (San Francisco), Adam Sonderberg (Berkeley), Rale (Los Angeles), Jesse Burson (Alameda) and Cheryl E. Leonard (San Francisco).

Join us! The Lab is at 2948 16th Street, San Francisco CA 9410.
415.864.8855 | http://www.thelab.org

More information on The Lab’s event page.