Nuclear Culture: a curatorial exploration of the conceptual and cultural challenges of dismantling nuclear submarines

Lead Research Organisation: Goldsmiths College
Department Name: Art

Abstract

The problem of dismantling nuclear submarines is a current political issue and high-risk environmental problem. From a military perspective the issue is viewed as a technical problem that can be resolved by engineering and technology. Inviting artists to consider the aesthetic, conceptual, ethical and cultural problems of nuclear submarines will dramatically shift the terms of the debate. The research will investigate complex issues of power, visibility, and political representation, as well as having a keen material and conceptual interest in the socio-political history, and conceptual nature of nuclear weapons.

This fellowship will enable Ele Carpenter to undertake the theoretical research needed to bring together scientists, engineers and community groups with artists and ethicists to develop new opportunities for creative practice investigating nuclear culture. Whilst there is much research into nuclear technologies, there is little analysis of the cultural and conceptual questions of nuclear materials within the language of visual art. Her positive relationships with artists, the Nuclear Submarine Forum, SDP-AG and Arts Catalyst, along with her academic and curatorial experience put her in a unique position to undertake this work and publish highly original research material. The research will contribute to the level of critical enquiry within these partnership groups and organizations.

The Nuclear Culture research aims to have a profound impact on the discussion of Nuclear Submarines in the public realm; it will have a high public profile involving not just subject area specialists but a wide cross-section of the public. This will be achieved by producing a website and academic research dissemination as well as the generation of a commissioning proposal. In addition, the research process will establish a context for artist's dialogue by developing good relationships with the key partners, researching the theoretical, critical and art-historical context of the project, and situating it within a wider cultural debate. The research will investigate how artistic practices can contribute to the interdisciplinary discourse surrounding the cultural problem of dismantling nuclear submarines though an investigation of dismantling, cultural memes and intergenerational equity, supporting new forms of language, art, and culture which can carry ideas over time throughout centuries.

Planned Impact

The Research Fellowship will benefit the partner organizations The Arts Catalyst, the Nuclear Submarine Forum and the SDP-AG. It will significantly contribute to the learning and development of critical language and present new frameworks for thinking through problems, investigating ethics and aesthetics within these organizations.

The Research will contribute to the curatorial development of the The Arts Catalyst, an established arts agency with a ten year track record of bringing together artists and scientists in rigourous dialogue, to share research, and develop new work. They have played a significant role in supporting artists exploring nuclear issues, and facilitating interdisciplinary discussion on the subject. In 2008, they produced 'Nuclear: Art & Radioactivity', accompanied by the 'Nuclear Forum' which included Paul Dorfman, Kate Hudson at the RSA. In 1998 they produced 'Atomic: James Acord, Carey Young, Mark Waller' an exhibition at ArtLab, Imperial College, London. There is a synergy of research interests between Ele Carpenter and the Arts Catalyst, who have been following each other's curatorial work for several years.

The research will contribute to the language and culture of the The SDP Advisory Group, a forum for conducting independent assessment of initiatives and outcomes, and a route for providing scrutiny, advice and counsel to the Ministry of Defence Submarine Dismantling Project. The SDP-AG includes approximately 25 representatives of statutory regulators, NGOs, academics and community organizations including: British Nuclear Energy Society, Environmental Health Advisory Services Ltd, Institution of Nuclear Engineers, Nuclear Submarine Forum, Nuclear Free Local Authorities and members of the MOD. The SDP-AG has advised on openness and transparency leading to a public information website and ensuring that its meetings are open to the public. The forthcoming public consultation will involve key stakeholders including the SDP-AG and its representative groups. It may also be possible for the Research Fellow to contribute to the consultation. The Research Fellow will work with the NsubF to open up channels of communication for artistic research, providing access and opportunities to new ways of thinking, specific sites and materials.

The Nuclear Submarine Forum (NsubF) has represented anti-nuclear activists from across the UK on the SDP-AG since its inception in 2000-2001. The NsubF proposed an idea of a public art project to the SDP-AG in July 2010, and invited Ele Carpenter to give a presentation to the group in Birmingham, 23 February 2011. The SDP-AG passed a recommendation to the MOD that they agree to work with Dr Carpenter on an art project. There was general interest in: inviting artists to give presentations prior to SDP-AG meetings, hosting a SDP-AG at Cove Park (an Artists Residency Centre above Faslane), and willingness to help arrange a visit for artists to have a guided tour around a nuclear submarine in Devonport, Plymouth.

The Research will benefit artists by providing access to institutional networks, information and sites that will enable them to develop an informed practice. It will build relationships between key researchers and practitioners to develop a shared language for developing new projects. The workshop will provide a unique opportunity for artists to develop their critical language, knowledge and expertise.

Publications

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Carpenter, E (2018) Julian Charrìere: Second Suns

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Carpenter, E. (2014) Nuclear Anthropocene

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Carpenter, E. (2013) Nuclear Culture Symposium Report

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Carpenter E (2016) X-10 Power in the Land

 
Title A Laboratory for Variable Risk Perception 
Description This sculptural installation is presented as a working laboratory for measuring how people perceive low level radiation. The sculpture features a cabinet of over 70 items of domestic Uranium glass lit with UV light. Each item is measured with a Geiger counter and tagged with its radioactive emission in micro Sieverts per hour (µSv/hr). Visitors to the exhibition are engaged in conversation about the radioactive risk of the glass and provided with the opportunity to test the glass with a Geiger counter. 
Type Of Art Artwork 
Year Produced 2013 
Impact The work was exhibited at: Making A Difference: St James' Church, Goldsmiths College, University of London, February 2013. Objects of Transcendence, Watermans Art Center, Kew, London, Jan - March 2017. NEON Festival, Dundee, Scotland, November 2017. In 2013, the glass was tested by Brian Roberton, Radiation Protection Officer at Imperial College, London. Students from the MFA Curating were involved in testing logging the radioactive levels of the glass. Also Peter Burgess, Radiation Metrologist at Nuvia Ltd, Harwell, visited the exhibition, and has been advisor to Ele Carpenter's research. For further details see: http://nuclear.artscatalyst.org/content/testing-uranium-glass 
URL http://nuclear.artscatalyst.org/content/singularly-assured-destruction
 
Title Actinium, Sapporo, Japan 
Description Ele Carpenter curated this exhibition in 2014 partnership with S-Air, The Arts Catalyst, as a collaborative programme of the Sapporo International Arts Festival (SIAF) 2014. The exhibition brought together works exploring nuclear sites and events with material investigations into deep time, and long term futures. The exhibition included works by artists James Acord (USA), Shuji Akagi (J), Chim?Pom (J), Crowe & Rawlinson (UK/De), Karen Kramer (USA/UK), Cécile Massart (Belgium), Eva & Franco Mattes (USA), Thomson & Craighead (UK/Scotland). 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2014 
Impact The exhibition was visited by artists and curators from across Japan, including curators of major art museums and galleries in Tokyo. The exhibition formed a hub for a public forum and a series of artists field trips to: the Horonobe Underground Research Laboratory for geological storage of radioactive waste, Hokkaido; The Tomari Nuclear power Plant Visitor Center; Sendai Mediatheque 3.11 archive; and Fukushima City, prefecture and exclusion zones. These field trips will have a profound influence on the artistic and curatorial practice in the future. The exhibition was the starting point for a long term relationship between Ele Carpenter and ChimPom's Don't Follow the Wind project which was presented in the Perpetual Uncertainty exhibition at Bildmuseet, 2016-17, and Arts Catalyst London, 2017. 
URL http://nuclear.artscatalyst.org/content/actinium-japan-july-2014
 
Title Material Nuclear Culture, KARST 
Description Material Nuclear Culture was an exhibition curated by Ele Carpenter for KARST Gallery, Plymouth, presenting new commissions of contemporary artists responses to the physical qualities and material traces of the aesthetics, traditions and legacy of nuclear powered submarines in the UK. Whilst the MOD is currently undertaking a public consultation process on how and where to dismantle and store Britain's old subs the long term problems of storing radioactive waste remain unresolved. The exhibition included new sculptural, film, sound and installation works by David Mabb, Crowe and Rawlinson, Thomson and Craighead and Susan Schuppli. The exhibition situated these new works alongside a poster artwork by Erika Kobayashi exploring the intergenerational effects of radiation between Europe and Japan from the atomic bomb to nuclear accidents; and Kota Takeuchi's recent work on the complexity of monuments and markers along the Fukushima coastline. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2016 
Impact The exhibition took place at KARST Gallery in close proximity to the Devonport Naval Base in Plymouth where several of the Navy's decommissioned nuclear powered submarines are laid up, and due to be dismantled. The Base Commander contacted the gallery on the opening night to officially say that he approved of the exhibition. The exhibition marked the final year of the Submarine Dismantling Project (SDP) Advisory Group who advised the MOD on the process of dismantling British nuclear submarines for over ten years. The exhibition commemorated the legacy of the Advisory Group process, and their commitment to an open and frank discussion about the issues of radioactive waste management between the MOD, expert advisors, NGO's and statutory agencies. The Chair of the SDP Advisory Group particpated in a round table discussion with submariners, artists and a curator from the William Morris Gallery. William Morris Tudor Rose fabric (1883) was used in the upholstery of British Royal Navy nuclear powered submarines from c.1961 until 1993. Whilst the traditional English design created a homely feel for the submariners, Morris himself was a committed socialist and revolutionary thinker. Working in partnership with artist David Mabb and The Devonport Naval Base, Ele Carpenter arranged to gift samples of fabrics used on dismantled submarines to the William Morris Gallery, Walthamstow, and the William Morris Society for preservation and scholarship. Along with artists Nick Crowe, Ian Rawlinson and Susan Schuppli, Ele Carpenter was able to capture audio and film footage of interviews with submariners about the fabric, which have also been gifted to the museum archives. Further curatorial work is needed to develop a museum display using the original materials. 
URL http://nuclear.artscatalyst.org/
 
Title Perpetual Uncertainty, Bildmuseet 
Description An exhibition of contemporary art in the nuclear Anthropocene exploring the complexity of knowledge and the deep time of radiation. The exhibition brings together thirty international artists investigating nuclear aesthetics through the material sensing of nuclear sites and experience. Exhibition Touring to: Z33 House of Contemporary Arts, Hasselt Belgium (2017), and Malmo Konst Museum, Sweden (2018). Seven new artworks were commissioned for the exhibition including: Lise Autogena and Joshua Portway, Kuannersuit; Kvanefjeldet( film); Susan Schuppli, Trace Evidence (film); Susan Schuppli, Delay Decay (durafilm/film); Andy Weir, Pazugo (film and 3d printing workshop); Thomson & Craighead, temporary index, Chernobyl (totem counter); Cecile Massart, Yukka Mountain (wall drawing); Dave Griffiths, Deep Field: Unclear Zine (microfilm). 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2016 
Impact The exhibition and accompanying programme of film screenings and roundtable discussions will impact on the public understanding of nuclear culture in Europe through gallery and cinema audiences, workshop and roundtable participants. The newly commissioned artworks continue to be exhibited internationally. For example: Susan Schuppli's Trace Evidence film is being screened at: Okeanos, Sekula beyond Sekula, TBA21, Vienna (April 28 2017); Sonic Acts, Amsterdam (February 26 2017); Kunsthal Charlottenborg, Copenhagen (December 14 2016); HEAD, CCC Geneve, Suisse (November 16 2016); Dundee Contemporary Arts, (8 April 2017). Thomson and Craighead's Temporary Index has been presented at: Carroll/Fletcher Gallery London 2016; Young Projects, Los Angeles, 2017. Thousands of people will read about the exhibition in the following national and international press coverage. Art and Radiation, BBC Radio 4 Documentary, Scheduled for 2 March 2017. Jamie Sutcliffe, Review of The Nuclear Culture Source Book, Art Monthly, March 2017. Sadie Rebecca Starnes The End of the Word as We Know It, Hyperallergic, 2017 David Mabb, A Provisional Memorial to Nuclear Disarmament, In: The Journal of William Morris Studies, Vol XXXII, No.1, 2017. p42-53 Regine, Inheritance, We-Make-Money-Not-Art, 2017 Johans, Sebastian, "Strålningen som hotar allt levande" in Dagens Nyheter, 2 March 2017, Culture Section, pages 8-9. Jacob Lilimose, Into the Invisible Depths of Radioactive Futures' KunstKritikk, 2016 Elisabeth Eaves, Art of the Nuclear Anthropocene, The Bulletin of Atomic Scientists, 2016 David Mabb, Protest and Survive, The Bulletin of Atomic Scientists, 2016 Yale University Radio Interview with Ele Carpenter by Brainard Carey, November, 2016 
URL http://www.bildmuseet.umu.se/en
 
Description The Early Career Research grant provided seed funding for subsequent research findings that include:
- Establishing how the visual arts contribute to the nuclear humanities.
- Mapping entombed radioactive waste through artworks.
- Developing a visual narrative to understand the global dispersal of anthropogenic radionuclides.
- Archiving the MOD use of William Morris Fabrics.
- Identifying theoretical gaps in artistic understanding of the nuclear cycle.
- Identified the need to support artists from Japan to investigate their contemporary nuclear culture.
- Mapping the shift from a 20thC understanding of the atomic sublime to a 21stC understanding of the radioactive uncanny.
- Need to articulate new nuclear risks (code, environmental disaster, proliferation).
- Good partnership with Radioactive Waste agency in Belgium
- Publishing a book, and book chapters.
- Developing partnership with Nucleus: Nuclear and Caithness Archive, Wick, Scotland, and DCA
Exploitation Route The findings and outputs have all been produced and informed by the professional networks established through the shared experience of the Nuclear Culture Workshop. The 'round table' model has been taken forward as an effective structure for sharing working practices and developing new conceptual frameworks for understanding nuclear culture, inspired by artist James Acord. This model has been used as the central dialogic method for the nuclear culture project at: Bildmuseet, Sweden; KARST Gallery, Plymouth; Arts Catalyst, London; npo S-Air, Japan; Z33, Belgium. The Nuclear Culture Source Book and website is a resource for artists and curators in the field. The Nuclear Culture project contributes to the debate about considering the impact of radioactive waste on the present and not deferring responsibility for the future. Future projects to be taken forward through the research include developing a context for commissioing new artwork at nuclear sites in the UK and Belgium and applying for funding to write journal papers to articulate how these practices constitute new knowledge and should be funded as research.
Sectors Creative Economy,Education,Energy,Environment,Government, Democracy and Justice,Culture, Heritage, Museums and Collections

URL http://nuclear.artscatalyst.org/
 
Description My research into Nuclear Culture is contributing a visual arts discourse to contemporary nuclear humanities scholarship and the public understanding of nuclear culture through conference presentations, organising multdisciplinary research symposia, exhibitions, publishing and film screenings. Just a few of these events are included in this report. My research is now being presented by other academics as an example of curatorial research in Nuclear Culture at humanities and waste management conferences (see Cornelius Holtorf, Towards a Nuclear Studies https://heritage-futures.org/towards-nuclear-cultural-studies-2/). I am regularly invited to present my research at EU JRC conferences such as MODERN 2020, and the RK&M working group meetings contributing to the Key Information File to be published in 2019. The curatorial research process is long term but currently unfunded by the University or Research Councils. Narrative Feedback from SDP-AG members: Working with other disciplines can help to broadened the horizons of the context in which we work, giving people permission to think differently, and speak about concerns that the normative culture of their field doesn't allow space for. It can help to articulate things people already know but don't have the language or support to describe. The arts and humanities can think holistically, they don't need to compartmentalize research-processes and knowledge in the same way as science and engineering. At the same time these disciplines are not homogenous, there are many arts and many sciences. But industry/ research or art/science partnerships often have expectations that art might articulate what is already visible and known, whilst artists might interrogate the interplay of visibility and invisibility both materially and politically in unexpected ways.
First Year Of Impact 2012
Sector Aerospace, Defence and Marine,Energy,Environment,Government, Democracy and Justice,Culture, Heritage, Museums and Collections
Impact Types Cultural,Societal,Policy & public services

 
Description Contribution to InSOTEC Stakeholder Seminar, Euratom 7, EU Commision Community Research
Geographic Reach Europe 
Policy Influence Type Influenced training of practitioners or researchers
Impact The InSOTEC stakeholder seminar (Berlin 2013) was co-funded by the European Commission under the Seventh Euratom Framework Programme for Nuclear Research and Training Activities (2007-2011). Key challenges for radioactive waste management are located at the intersection of generic, technical management concepts and the real world environment in which such concepts are to be implemented. InSOTEC aims to generate a better understanding of the complex interplay between the technical and the social in radioactive waste management and, in particular, in the design and implementation of geological disposal. InSOTEC broadens the stream of socio-political research on radioactive waste management to include research on social aspects of science and technology in this matter and on the technical translation of socio-political requirements.
URL http://www.insotec.eu/
 
Description Public Consultation: Submarine Dismantling Project: Interim storage of Intermediate Level radioactive Waste
Geographic Reach National 
Policy Influence Type Participation in a national consultation
Impact The consultation public consultation infleunced the ministerial announcement on 7 July 2016, that Capenhurst Nuclear Services, Capenhurst, has been selected as the interim storage site for Intermediate Level radioactive Waste (ILW).
URL https://www.gov.uk/government/collections/submarine-dismantling-project
 
Description Arts Council England, Grants for the Arts
Amount £15,000 (GBP)
Organisation Arts Council England 
Sector Public
Country United Kingdom
Start 10/2015 
End 04/2016
 
Description Arts Council England, Grants for the Arts
Amount £9,760 (GBP)
Funding ID 23256663 
Organisation Arts Council England 
Sector Public
Country United Kingdom
Start 03/2013 
End 11/2014
 
Description Goldsmiths Art Dept Research Award
Amount £1,500 (GBP)
Funding ID Material Nuclear Culture 
Organisation Goldsmiths, University of London 
Sector Academic/University
Country United Kingdom
Start 04/2016 
End 06/2016
 
Description Goldsmiths College Enterprise Fund
Amount £2,000 (GBP)
Organisation Goldsmiths, University of London 
Sector Academic/University
Country United Kingdom
Start 09/2014 
End 11/2014
 
Description Goldsmiths College Research Fund
Amount £3,426 (GBP)
Organisation Goldsmiths, University of London 
Sector Academic/University
Country United Kingdom
Start 01/2014 
End 10/2014
 
Description Goldsmiths Research Enterprise Fund
Amount £1,800 (GBP)
Funding ID Nuclear Culture Source Book 
Organisation Goldsmiths, University of London 
Sector Academic/University
Country United Kingdom
Start 04/2016 
End 06/2016
 
Title Practice Based Curatorial Research 
Description My curatorial 'research' investigates the relationship between theory and practice within contemporary interdisciplinary nuclear discourses. To articulate this process, I am developing a Curatorial Research Methodology based on the following principles: Holistic, Embedded, Long term, Interdisciplinary, Discursive. The Research Methods include established research tools such as: Field research, Residencies, Dialogue, Commissioning, Exhibitions, Film screenings, Publishing, etc. Whilst this approach is established in socially engaged art practice, it is rarely articulated within Curatorial practice. My approach creates new knowledge through commissioing contemporary art and curatorial discourse, to reach further into inter-disciplinary contexts and new fields of thought. This is distinct from the tradiational Arthistorical model for curatorial research which uses curating as a tool for display rather than as a form of knowledge production. 
Type Of Material Improvements to research infrastructure 
Year Produced 2015 
Provided To Others? Yes  
Impact The long term research partnerships across different disciplines, published and exhibition impacts, outlined in this report are all evidence of an integrated socially engaged approach to practice-based Curatorial Research contributing new knowledge to the European discourse on long term waste management. 
 
Description Nuclear Culture AHRC Research Fellowship 
Organisation Ministry of Defence (MOD)
Department Submarine Dismantling Project
Country United Kingdom 
Sector Public 
PI Contribution I undertook my curatorial research fellowship in partnership with the Arts Catalyst who hosted the Nuclear Culture Symposium which included presentations by four members of the Submarine Dismantling Advisory Group (SDP-AG). My research with the SDP-AG unformed every stage of the decision making processes involved in bringing together a multi-disciplinary, multi-sector group of expert participants to share their knowledge and develop new forms of discourse around nuclear culture. I selected the speakers, and established continuing working relationships with all the contributors to the conference. I ran a fortnightly Nuclear Culture Reading group with MFA Curating students at Goldsmiths College. The students helped to organise the Symposia and were respondents for the roundtable discussions at the plenary. I co-authored a report on the conference with Jantine Shroeder, University of Antwerp / InSOTEC.
Collaborator Contribution The Arts Catalyst made an important intellectual contribution and professional consultancy to developing the Symposium and invited significant academics in the field such as Dr Jahnavi Phalkey, a historian of twentieth century Indian history of science and technology. The Arts Catalyst attracted a wide audience of artists working with the sciences, and took care of all the logistics, bookings, travel and acomodation, finances, professional mentoring, documentation, publicity and website for the events. They continue to promote my curatorial research into Nuclear Culture. During 2012-13 I undertook a residency at Cove Park in Scotland to write about nuclear submarines; took artists to undertake field research at: the Aldermaston Women's Peace Camp; HMS Courageous, decommissioned nuclear submarine in Plymouth; and have a tour of the waste storage site, LLW Ltd, at Drigg in Cumbria.
Impact The partnership with the Submarine Dismantling Advisory Group led to a commission of a new film by artists Nick Crowe and Ian Rawlinson, Courageous, 2016, and an audio work by Susan Schuppli 'Sound of Sand' 2016; exhibited at Material Nuclear Culture exhibition, KARST, Plymouth, 2016, and artworks exhibited at Perpetual Uncertainty, Bildmuseet 2016-17. Two of the members of the SDP-AG were interviewed for the Nuclear Culture Source Book, and took part in the Roundtable at KARST. Jahniv Phalkey joined the Nuclear Cutlure Research Group, and William Morris fabrics from nuclear submarines were gifted to the William Morris Gallery and William Morris Society along with documentation and interviews about the fabrics. In 2014 Ele Carpenter curated 'Actinium' in partnership with Arts Catalyst and S-Air, Sapporo Japan.
Start Year 2012
 
Description Nuclear Culture AHRC Research Fellowship 
Organisation The Arts Catalyst
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution I undertook my curatorial research fellowship in partnership with the Arts Catalyst who hosted the Nuclear Culture Symposium which included presentations by four members of the Submarine Dismantling Advisory Group (SDP-AG). My research with the SDP-AG unformed every stage of the decision making processes involved in bringing together a multi-disciplinary, multi-sector group of expert participants to share their knowledge and develop new forms of discourse around nuclear culture. I selected the speakers, and established continuing working relationships with all the contributors to the conference. I ran a fortnightly Nuclear Culture Reading group with MFA Curating students at Goldsmiths College. The students helped to organise the Symposia and were respondents for the roundtable discussions at the plenary. I co-authored a report on the conference with Jantine Shroeder, University of Antwerp / InSOTEC.
Collaborator Contribution The Arts Catalyst made an important intellectual contribution and professional consultancy to developing the Symposium and invited significant academics in the field such as Dr Jahnavi Phalkey, a historian of twentieth century Indian history of science and technology. The Arts Catalyst attracted a wide audience of artists working with the sciences, and took care of all the logistics, bookings, travel and acomodation, finances, professional mentoring, documentation, publicity and website for the events. They continue to promote my curatorial research into Nuclear Culture. During 2012-13 I undertook a residency at Cove Park in Scotland to write about nuclear submarines; took artists to undertake field research at: the Aldermaston Women's Peace Camp; HMS Courageous, decommissioned nuclear submarine in Plymouth; and have a tour of the waste storage site, LLW Ltd, at Drigg in Cumbria.
Impact The partnership with the Submarine Dismantling Advisory Group led to a commission of a new film by artists Nick Crowe and Ian Rawlinson, Courageous, 2016, and an audio work by Susan Schuppli 'Sound of Sand' 2016; exhibited at Material Nuclear Culture exhibition, KARST, Plymouth, 2016, and artworks exhibited at Perpetual Uncertainty, Bildmuseet 2016-17. Two of the members of the SDP-AG were interviewed for the Nuclear Culture Source Book, and took part in the Roundtable at KARST. Jahniv Phalkey joined the Nuclear Cutlure Research Group, and William Morris fabrics from nuclear submarines were gifted to the William Morris Gallery and William Morris Society along with documentation and interviews about the fabrics. In 2014 Ele Carpenter curated 'Actinium' in partnership with Arts Catalyst and S-Air, Sapporo Japan.
Start Year 2012
 
Description Nuclear Culture Research Group 
Organisation The Arts Catalyst
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution The Nuclear Culture Research Group is an interdisciplinary group of artists, curators and scholars in the nuclear arts and humanities within and connected through Goldsmiths, University of London and The Arts Catalyst. The group is part of the Nuclear Culture research project to develop artistic and curatorial enquiry into nuclear culture in the UK and internationally led by Ele Carpenter. The group meets termly to share research, organize events and fieldwork with visiting artists and scholars. Research processes include field research to nuclear sites, symposia and roundtable discussions. Research outcomes include artworks, exhibitions, and publications.
Collaborator Contribution The Arts Catalyst hosts the research group, and are a partner for funding applications to the Arts Council of England to commission new artworks responding to nuclear culture. They raised funds from for group members to undertake field research and exhibit in Japan; and submitted an Creative Europe application to the EU Commission in 2015 that was only one point away from being successful. The Arts Catalyst also works in partnership with the Curating MFA, Department of Art and the Department of Visual Cultures to host student placements and exchange learning activities.
Impact The Nuclear Culture Research Group is multidiscplinary and includes research staff from the Goldsmiths Departments of Politics, Art, Visual Cultures as well as Art, History and Philosophy Departments at the University of Sheffield, University of the Arts Bournemouth, University of Westminster, Kings College London and MMU Manchester. Outcomes include: The Nuclear Culture Source Book, Black Dog Publishing in partnership with Arts Catalyst and Bildmuseet, 2016 'Material Nuclear Culture' exhibition and roundtable at KARST Gallery, Plymouth June-August 2016; 'Perpetual Uncertainty' exhibition and roundtable Bildmuseet, Sweden, October 2016 - January 2017.
Start Year 2012
 
Description Nuclear Culture in Belgium 
Organisation Belgian Nuclear Research Centre
Country Belgium 
Sector Public 
PI Contribution The Nuclear Culture Symposium held at the Arts Catalyst in April 2013 as part of Ele Carpenter's Research Fellowship included two members of the Belgium radioactive waste management sector, Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, with whom Ele Carpenter continues to collaborate to develop a greater understanding between nuclear research and artistic practices. We work together to give presentations of our research at industry, academic and visual arts conferences and exhibitions, and to organise artists field trips to nuclear sites. We are now working with a Belgian Visual Arts partner called Z33- House of Contemporary Arts based in Hasselt, who are supporting a programme of artists talks, exhibitions and field trips to nuclear sites called 'Delay Decay'. In 2016 artists Andy Weir, Dave Griffiths and Kota Takeuchi were invited to visit the HADES underground laboratory, and in 2017 we are organising another field trip for Belgian and UK artists and a roundtable discussion between the arts, humanities and sciences on deep time implications of radioactive waste. In parallel, Ele Carpenter regularly works with Jantine Shroeder to bring the visual arts as a form of knowledge production into the humanities discourse surrounding radioactive waste management, deep time storage in underground repositories, site markers and public consultation.
Collaborator Contribution - Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, participated in the Nuclear Culture Symposium, Arts Catalyst, 2013. - Ele Carpenter and artist Lise Autogena presented at the InSOTEC Seminar, Berlin, 2013. - Ele Carpenter presented a poster by Jon Thomson and Alison Craighead at the Records, Knowledge and Memory Conference in Verdun, France, 2014. - Jantine Schroeder presented at the Perpetual Uncertainty Roundtable, Bildmuseet, Umea University, curated by Ele Carpenter, 2016-17. - Organised Artists field research a the HADES underground research facility in Mol, Belgium, 2016 and 2017. - Curating exchange exhibtions and talks between Arts Catalyst London and Bouwmeester Belgian Agency for Architectural Commissioning, Brussels, 2017. - Partners continute to share their research
Impact The project is multi-disciplinary, the key partners have expertise in: Visual Art, Engineering, Nuclear Physics, Philosophy, Sociology, Theology, Anthropology. Carpenter and Schroeder co-authored the Nuclear Culture Symposium report as listed under publications. Artworks from this collaboration that were commissioned for the exhibition 'Perpetual Uncertainty' curated by Ele Carpenter, 2016-17: Andy Weir exhibited 'Pazu-goo: 3D Printable Marker for a Future Posthuman Palaeoarcheologist (c.700 BC - 4.6 x 109 AD), 2016' Dave Griffiths exhibited 'Deep Field [UnclearZine], Microfiche, 2016 in
Start Year 2016
 
Description Nuclear Culture in Belgium 
Organisation International Socio-Technical Challenges for Implementing Geological Disposal
Country Netherlands 
Sector Academic/University 
PI Contribution The Nuclear Culture Symposium held at the Arts Catalyst in April 2013 as part of Ele Carpenter's Research Fellowship included two members of the Belgium radioactive waste management sector, Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, with whom Ele Carpenter continues to collaborate to develop a greater understanding between nuclear research and artistic practices. We work together to give presentations of our research at industry, academic and visual arts conferences and exhibitions, and to organise artists field trips to nuclear sites. We are now working with a Belgian Visual Arts partner called Z33- House of Contemporary Arts based in Hasselt, who are supporting a programme of artists talks, exhibitions and field trips to nuclear sites called 'Delay Decay'. In 2016 artists Andy Weir, Dave Griffiths and Kota Takeuchi were invited to visit the HADES underground laboratory, and in 2017 we are organising another field trip for Belgian and UK artists and a roundtable discussion between the arts, humanities and sciences on deep time implications of radioactive waste. In parallel, Ele Carpenter regularly works with Jantine Shroeder to bring the visual arts as a form of knowledge production into the humanities discourse surrounding radioactive waste management, deep time storage in underground repositories, site markers and public consultation.
Collaborator Contribution - Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, participated in the Nuclear Culture Symposium, Arts Catalyst, 2013. - Ele Carpenter and artist Lise Autogena presented at the InSOTEC Seminar, Berlin, 2013. - Ele Carpenter presented a poster by Jon Thomson and Alison Craighead at the Records, Knowledge and Memory Conference in Verdun, France, 2014. - Jantine Schroeder presented at the Perpetual Uncertainty Roundtable, Bildmuseet, Umea University, curated by Ele Carpenter, 2016-17. - Organised Artists field research a the HADES underground research facility in Mol, Belgium, 2016 and 2017. - Curating exchange exhibtions and talks between Arts Catalyst London and Bouwmeester Belgian Agency for Architectural Commissioning, Brussels, 2017. - Partners continute to share their research
Impact The project is multi-disciplinary, the key partners have expertise in: Visual Art, Engineering, Nuclear Physics, Philosophy, Sociology, Theology, Anthropology. Carpenter and Schroeder co-authored the Nuclear Culture Symposium report as listed under publications. Artworks from this collaboration that were commissioned for the exhibition 'Perpetual Uncertainty' curated by Ele Carpenter, 2016-17: Andy Weir exhibited 'Pazu-goo: 3D Printable Marker for a Future Posthuman Palaeoarcheologist (c.700 BC - 4.6 x 109 AD), 2016' Dave Griffiths exhibited 'Deep Field [UnclearZine], Microfiche, 2016 in
Start Year 2016
 
Description Nuclear Culture in Belgium 
Organisation The Arts Catalyst
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution The Nuclear Culture Symposium held at the Arts Catalyst in April 2013 as part of Ele Carpenter's Research Fellowship included two members of the Belgium radioactive waste management sector, Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, with whom Ele Carpenter continues to collaborate to develop a greater understanding between nuclear research and artistic practices. We work together to give presentations of our research at industry, academic and visual arts conferences and exhibitions, and to organise artists field trips to nuclear sites. We are now working with a Belgian Visual Arts partner called Z33- House of Contemporary Arts based in Hasselt, who are supporting a programme of artists talks, exhibitions and field trips to nuclear sites called 'Delay Decay'. In 2016 artists Andy Weir, Dave Griffiths and Kota Takeuchi were invited to visit the HADES underground laboratory, and in 2017 we are organising another field trip for Belgian and UK artists and a roundtable discussion between the arts, humanities and sciences on deep time implications of radioactive waste. In parallel, Ele Carpenter regularly works with Jantine Shroeder to bring the visual arts as a form of knowledge production into the humanities discourse surrounding radioactive waste management, deep time storage in underground repositories, site markers and public consultation.
Collaborator Contribution - Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, participated in the Nuclear Culture Symposium, Arts Catalyst, 2013. - Ele Carpenter and artist Lise Autogena presented at the InSOTEC Seminar, Berlin, 2013. - Ele Carpenter presented a poster by Jon Thomson and Alison Craighead at the Records, Knowledge and Memory Conference in Verdun, France, 2014. - Jantine Schroeder presented at the Perpetual Uncertainty Roundtable, Bildmuseet, Umea University, curated by Ele Carpenter, 2016-17. - Organised Artists field research a the HADES underground research facility in Mol, Belgium, 2016 and 2017. - Curating exchange exhibtions and talks between Arts Catalyst London and Bouwmeester Belgian Agency for Architectural Commissioning, Brussels, 2017. - Partners continute to share their research
Impact The project is multi-disciplinary, the key partners have expertise in: Visual Art, Engineering, Nuclear Physics, Philosophy, Sociology, Theology, Anthropology. Carpenter and Schroeder co-authored the Nuclear Culture Symposium report as listed under publications. Artworks from this collaboration that were commissioned for the exhibition 'Perpetual Uncertainty' curated by Ele Carpenter, 2016-17: Andy Weir exhibited 'Pazu-goo: 3D Printable Marker for a Future Posthuman Palaeoarcheologist (c.700 BC - 4.6 x 109 AD), 2016' Dave Griffiths exhibited 'Deep Field [UnclearZine], Microfiche, 2016 in
Start Year 2016
 
Description Nuclear Culture in Belgium 
Organisation Z33 House for Contemporary Art
Country Belgium 
Sector Private 
PI Contribution The Nuclear Culture Symposium held at the Arts Catalyst in April 2013 as part of Ele Carpenter's Research Fellowship included two members of the Belgium radioactive waste management sector, Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, with whom Ele Carpenter continues to collaborate to develop a greater understanding between nuclear research and artistic practices. We work together to give presentations of our research at industry, academic and visual arts conferences and exhibitions, and to organise artists field trips to nuclear sites. We are now working with a Belgian Visual Arts partner called Z33- House of Contemporary Arts based in Hasselt, who are supporting a programme of artists talks, exhibitions and field trips to nuclear sites called 'Delay Decay'. In 2016 artists Andy Weir, Dave Griffiths and Kota Takeuchi were invited to visit the HADES underground laboratory, and in 2017 we are organising another field trip for Belgian and UK artists and a roundtable discussion between the arts, humanities and sciences on deep time implications of radioactive waste. In parallel, Ele Carpenter regularly works with Jantine Shroeder to bring the visual arts as a form of knowledge production into the humanities discourse surrounding radioactive waste management, deep time storage in underground repositories, site markers and public consultation.
Collaborator Contribution - Jantine Schroeder University of Antwerp / InSOTEC and SCK-CEN, Christophe Depaus from NIROND/NIRAS, participated in the Nuclear Culture Symposium, Arts Catalyst, 2013. - Ele Carpenter and artist Lise Autogena presented at the InSOTEC Seminar, Berlin, 2013. - Ele Carpenter presented a poster by Jon Thomson and Alison Craighead at the Records, Knowledge and Memory Conference in Verdun, France, 2014. - Jantine Schroeder presented at the Perpetual Uncertainty Roundtable, Bildmuseet, Umea University, curated by Ele Carpenter, 2016-17. - Organised Artists field research a the HADES underground research facility in Mol, Belgium, 2016 and 2017. - Curating exchange exhibtions and talks between Arts Catalyst London and Bouwmeester Belgian Agency for Architectural Commissioning, Brussels, 2017. - Partners continute to share their research
Impact The project is multi-disciplinary, the key partners have expertise in: Visual Art, Engineering, Nuclear Physics, Philosophy, Sociology, Theology, Anthropology. Carpenter and Schroeder co-authored the Nuclear Culture Symposium report as listed under publications. Artworks from this collaboration that were commissioned for the exhibition 'Perpetual Uncertainty' curated by Ele Carpenter, 2016-17: Andy Weir exhibited 'Pazu-goo: 3D Printable Marker for a Future Posthuman Palaeoarcheologist (c.700 BC - 4.6 x 109 AD), 2016' Dave Griffiths exhibited 'Deep Field [UnclearZine], Microfiche, 2016 in
Start Year 2016
 
Description Perpetual Uncertainty 
Organisation Umea University
Department Bildmuseet
Country Sweden 
Sector Academic/University 
PI Contribution Bildmuseet, Umea University, Sweden, have supported the Perpetual Uncertainty exhibition and the Nuclear Culture Source Book curated and edited by Ele Carpenter.
Collaborator Contribution The support of Bildmuseet enabled a spatial experience of artwork within an exhibition space. The museum dedicated all the exhibition spaces to the Perpetual Uncertainty exhibition - over 900 square meters, and held the exhibition for 6 months accompanied by an intensive programme of talks, events and film screenings. They supported Susan Schuppli to make her film 'Trace Evidence' in Forsmark, and Andy Weir to run 3D printing workshops to test out 3D prints of his Pazugo sculpture. Their generous support of The Nuclear Culture Source Book has enabled a legacy of the first stage of research outcomes which the AHRC refused to fund through Follow On Funding.
Impact Perpetual Uncertainty Exhibition, roundtable and film programme 2016-2017. New commissions of artwork. Multidisciplinary talks and events include: nuclear physics, philosophy, anthropology, literature, history, music, dance, art.
Start Year 2015
 
Description Actinium Forum, S-Air (Japan) 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The Actinium Forum was curated and organised by Ele Carpenter in partnership with S-AIr and Arts Catalyst and brought together international artists from Japan, Britain and USA with Japanese academics, lawyers, geologists, activists and researchers in the field of nuclear culture. Round table discussion topics included: political, social, material and philosophical concerns, geologic time, the nuclear cycle, radiation, immateriality and invisibility.

The Forum was a day of intense discussion which enabled participants to think through and discuss their experiences and research into radiation in Japan and internationally. The event increased people's confidence in sharing experience, voicing opinions and asking questions. It enabled new partnerships to develop between artists in Japan and curators in the UK.
Year(s) Of Engagement Activity 2014
URL http://nuclear.artscatalyst.org/content/actinium-forum-27-july-2014
 
Description Art and the Anthropocene, Peter Scott Gallery (Lancaster) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact Ele Carpenter gave a Public Lecture: Art and the Anthropocene, at the Peter Scott Gallery, Lancaster University.
Year(s) Of Engagement Activity 2017
URL https://www.lancasterarts.org/visiting/performance-venues/peter-scott-gallery
 
Description Constructing Memory Conference (France) 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Type Of Presentation poster presentation
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Organised by the NEA with the support of Andra, the French Radioactive Waste Management Agency, "Constructing Memory - An International Conference and Debate on the Preservation of Records, Knowledge and Memory (RK&M) of Radioactive Waste across Generations" brought together nearly 200 attendees from 17 countries in Verdun, France in September 2014.

Ele Carpenter was invited to present a poster by artists Thomson and Craighead for a proposed artwork called 'Temporary Index'. She also wrote a report on the potential for curatorial and artistic knowledge to contribute to the Records, Knowledge and Memory process.

The conference enabled me to meet with researchers in the field, and to undertake a field trip to the Underground Research Laboratory for radioactive waste storage at Bure in France along with nuclear engineers from Japan, an advisor to the Canadian Minister for Natural Resources, and Archeologists from Germany and Sweden. I included a reflection on the conference process in my keynote presentation at the Fluid Encounters between Art and Science conference at the Bildmuseet, Umea, Sweden in Octo
Year(s) Of Engagement Activity 2014
URL https://www.oecd-nea.org/rwm/rkm/constructingmemory/
 
Description Deconstructing Acceptance: Siting radioactive waste repository from societal and scientifc perspectives (Salzburg) 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Deconstructing Acceptance - Siting of radioactive waste repository from societal and scientific perspectives, 20th REFORM Group Meeting Salzburg August 31- September 4. Held by the Environmental Policy Research Centre, FFU, Berling Free University.
Year(s) Of Engagement Activity 2015
 
Description InSOTEC Conference Presentation (Berlin) 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Type Of Presentation keynote/invited speaker
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Ele Carpenter's presentation on the 'Cultural Challanges of Vizualising Radioactive Waste Storage' drew on her recent field trip to Japan and the way artists are re-imagining the nuclear industry and radiation since the Fukushima Daiichi Nuclear power plant meltdown. She presented Thomson and Craighead's artwork for a Nuclear Semiotic Totem, a marker of both site and time which visualises the decay rates of specific radioactive sites, objects and isotopes. Ele invited artist Lise Autogena to speak at the conference, who gave a compelling introduction to the life and work of James Acord, the only artist licenced to handle nuclear materials. Whilst Belgian Cecile Massart presented her designs for 'Cover' a series of site markers which are designed to be added to over generations

The audience were inspired by the range of artists responses to the nuclear industry and radioactive waste storage, and felt more confident about talking with artists about their research. Following the InSOTEC seminar, I was invited to present a poster at the Constructing Memory Conference, Verdun, France, September 2014.
Year(s) Of Engagement Activity 2014
URL http://nuclear.artscatalyst.org/content/visualising-radioactive-waste-storage
 
Description Keynote: Fluid Encounters between Art and Science (Sweden). 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? Yes
Type Of Presentation keynote/invited speaker
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The Swedish national exhibition agency Riksutstallningar organised their annual conference for arts professionals on the theme of 'Fluid Encounters between Art and Science' which was held at Bildmuseet, Umea Univeristy, Sweden. Ele Carpenter was invited to give a Keynote lecture on Contemporary Art and the Nuclear Anthropocene, and led a roundtable seminar on the subject. The conference provided an opportunity to situate the nuclear culture research project within the international debates about how artists and scientists collaborate.

The conference also provided me with the opportunity to present a paper at the HUMlab digital humanities research lab; and establish a collaborative partnership between HUMlab and the Museum to support an artists residency to develop an artists project for exhibition. I also presented an exhibition proposal to the Bildmuseet exhibitions team, which they accepted. Meetings with other keynote speakers led to invitations to speak at MIT, USA; and valuable advice on establishing an advisory board fo
Year(s) Of Engagement Activity 2014
URL http://riksutstallningar.se/content/samverkan/samtidskonstdagar-2014-%E2%80%93-fluid-encounters-betw...
 
Description Modern Art Oxford 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact Ele Carpenter gave a public talk on Art in the Nuclear Anthropocene, at the X-10, Film Oxford event 'Power in the Land, at Modern Art Oxford.
Year(s) Of Engagement Activity 2015
URL https://www.modernartoxford.org.uk/event/screenings-talks-x-10-presents-power-in-the-land/
 
Description Nuclear Culture Workshop (London) 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The Nuclear Culture Workshop took place at Arts Catalyst, 27 April, 2013. It was a closed event for nuclear stakeholders, artists and academics from art, anthropology, English, sociology, philosophy and members of the Ministry of Defence Submarine Dismantling Project Advisory Group (SDP-AG). The workshop enabled people to share their research and practice and develop new partnerships for future projects. Presentations from members of the SDP-AG included Nuclear Policy Research Fellow Dr Paul Dorfman, Stakeholder consultant David Collier and anti-nuclear weapons activist Jane Tallents. Presentations by artists included: Lise Autogena, Nick Crowe and Ian Rawlinson, Jon Thompson and Alison Craighead. Followed by round table discussions on: Submarine objects led by Ele Carpenter and Jane Tallents; Nuclear language led by Di McDonald; Stakeholder consultation and risk perception led by David Collier; Future ethics and policy led by Paul Dorfman; Risk perception and Fukushima led by Kodwo Eshun; Nuclear waste storage and semiotics led by Cecile Massart, Jantine Schroeder and Nick Crowe; Forensic Analysis led by Susan Schuppli; Ovid's Metamorphosis and radiation exposure led by Mark Aerial Waller.

This closed workshop for nuclear culture artists and stakeholders formed the first day of the Nuclear Culture Symposium. Participants were able to think outside of their discipline, and consider a wider context for their work. Workshop participants also attended the 'Nuclear Culture on Film' day of public film screenings, and contributed to a public discussion about art, film, science and nuclear culture.
The project developed the Arts Catalyst programme to collaborate with the social as well
Year(s) Of Engagement Activity 2013
URL http://nuclear.artscatalyst.org/content/report-nuclear-culture-symposium
 
Description Nuclear Culture on Film (London) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Nuclear Culture on Film was a day of public screenings and roundtable debate that took place on 28 April 2013 at The Arts Catalyst, London. A programme of artists' films investigating nuclear culture from the perspective of the 21st Century reflecting on 1980s feminist experimental film and activism, gritty dramatic satire of the 1990s, and recent video-essay works from 2009 - 2012. The audience include members of the Submarine Dismantling Advisory Group.
The programme included films by: Mark Aerial Waller (UK), Isao Hashimoto (Japan), Sandra Lahire (Canada), Otolith Group (UK), Eva and Franco Mattes (USA), Chris Oakley (UK), Yelena Popova (Russia/UK). Artists narrate their own experience of nuclear environments in Britain, the Urals, Estonia, Ukraine, Japan and Canada, travelling back home or to sites of disaster to try and capture the invisible or the unimaginable. Investigating the aesthetic implications of radiation reveals the impossibility of capturing an energy that bleaches the images from film and erases the hard drives of digital devices. The films raised important questions for nuclear critique from nuclear entropy, utopian and dystopian belief systems, questioning scientific certainty, political agency and the proliferation of nuclear culture. Curated by Ele Carpenter with students from MFA Curating, Goldsmiths. The roundtable discussion engaged artists Kodwo Eshun (Otolith Group) and Mark Aerial Waller in conversation with philosopher Liam Sprod, chaired by Susan Kelly.

The roundtable discussion dealt with complex issues of art, science and documentary with a diverse audience from different disciplines. The project developed the Arts Catalyst programme to collaborate with the social as well as the material sciences. The success of the programme led Ele Carpenter to continue to work with the Arts Catalyst to develop the 'Panning for Atomic Gold' Symposium and 'Actinium exhibition, forum and field trips' in 2014; and to present her research at the InSOTEC confere
Year(s) Of Engagement Activity 2013
URL http://nuclear.artscatalyst.org/content/nuclear-culture-film
 
Description Nuclear History Conference, Charterhouse 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Policymakers/politicians
Results and Impact Ele Carpenter gave a presentation on Material Nuclear Culture, at the Nuclear History Conference, Charterhouse. This conference of nuclear weapons experts and government officials was formerly called the British Rocket Oral History Project. An lively email conversation about the nature of William Morris Fabrics ensued amongst the participants.
Following the conference, Ele was invited to become a member of the Board of Directors of NIS Nuclear Information Service.

There is no public information available about this conference.
Year(s) Of Engagement Activity 2016
 
Description Panning for Atomic Gold Symposium (London) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? Yes
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact Panning for Atomic Gold was organsised in partnership with the Arts Catalyst, May 2014. 100 people from across the UK attended a Symposia which brought together quests for sensory perceptions of deep time through atomic materials and nuclear culture. Speakers included: Radiological protection advisor Shelly Mobbs; Scholar of Cold War Literature Dan Grausam; Artists: Thomson and Craighead, Karen Kramer, Susan Schuppli, Mark Aerial Waller, and Carey Young. The audience included artists, academics, researchers, and arts professionals from organisations such as English Heritage and Cumbria University. Ele Carpenter gave a presenation on the relationship between radioactive waste repositories and archives.

Inspired by the Symposia: artists met with scientists to discuss future collaborations; Members of the SDP-AG were able to consider different artistic approaches to thinking about the cultural significance of radioactive waste; Artists and curators met to discuss future collaborations.
Year(s) Of Engagement Activity 2014
URL http://nuclear.artscatalyst.org/content/panning-atomic-gold
 
Description Radiation Ecologies (Montreal) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Postgraduate students
Results and Impact Ele Carpenter was invited to give a presentation on the Atomic Sublime & Radioactive Divinity, at the Radiation Ecologies Conference, Uni of Montreal, Canada.
Year(s) Of Engagement Activity 2015
URL https://rethinkingradiationecologies.wordpress.com/
 
Description Radical Histories Conference (Birkbeck) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Other audiences
Results and Impact Ele Carpenter gave a presentation as part of a panel on Greenham Common Memories and Practices, as part of the Radical Histories Conference, Birkbeck University of London.
Year(s) Of Engagement Activity 2016
URL http://www.historyworkshop.org.uk/registration-now-open-radical-histories-conference/
 
Description The Geologic Imagination, Sonic Acts (Amsterdam) 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Ele Carpenter was invited to give a talk on the Nuclear Anthropocene, The Geologic Imagination, Sonic Acts, Amsterdam, 2015.
Following the conference, Ele Carpenter invited Smudge Studio to contribute to The Nuclear Culture Source Book.
Year(s) Of Engagement Activity 2015
URL http://www.sonicacts.com/2015