Dark Matters: an interrogation of thresholds of (im)perceptibility through theoretical cosmology, fine art and anthropology of science

This project will bring together an unlikely alliance between theoretical cosmology, fine art and anthropology of science to explore the relationship between human knowledge and perception and the realm of the imperceptible. It is a highly innovative project introducing novel forms of interdisciplinary investigation. Our aim is to develop, test and reflect upon an interdisciplinary methodology that will enable mutual exchange and trigger fresh insight for each discipline as it works with things that are difficult or perhaps impossible to sense. Our starting point is one of pure curiosity - the claim that 95% of the universe is made up of invisible dark matter and dark energy is alluring in quite different ways to our respective disciplines. Further still, our project is also motivated by a broader realization that research into what lies presently beyond human and technological modes of sensing, has serious implications for a wider spectrum of disciplines involved in understanding earthly and non-earthly processes (atmospheric and biodiversity science are but two scientific examples) and for relevant science-policy interfaces. While we converge in our mutual interest in the imperceptible dimensions of the earth and the far-flung reaches of the cosmos, the innovation of our research lies in its focus upon understanding disciplinary differences and how these disrupt and challenge the ways each one of us approaches the imperceptible. The boundaries between what is and what is not sensed by humans is not of course static. For a theoretical cosmologist, the imperative is to produce evidence - to ultimately reveal the imperceptible. For the artist, the interest lies in interrogating thresholds between the seen and unseen through art practice to enable critical and poetic reflection on the imperceptible. For the anthropologist, there is a different urge to use the category of the imperceptible as a way of questioning and further pushing the limits of human experience and sensibility.
We have designed a three-part methodology. Stage One is a period of three-way discussion, mutual observation and exchange. We will be made aware of each other's ways of enquiring; social theory, drawing, theoretical physics, computational analysis. Our questions will include; what, for example, do we each mean by the imperceptible? What concepts and materials do we each use to attempt to make sense of the imperceptible? Where do we coincide in our understanding and engagement with the imperceptible and where do we diverge? Stage Two will allow for a period of distillation of the results from Stage One in order to develop a toolkit made up of concepts and drawings with which to dig deeper into the differences between the disciplines. Our questions will include; what concepts and materials may enable us to further understand how and where we differ? Can we identify a shift in how each one of us approaches the imperceptible and what might be the evidence of this shift? At this stage we will also extend the conversation to include a broader community of UK theoretical cosmologists. In Stage Three we will test and reflect upon the viability of our methodology through a workshop with a wider group of forty artists, theoretical cosmologists and social scientists/philosophers. The outputs of the project will include a twenty minute film of the research process culminating in the coverage of the workshop, a report summarizing each researcher's critical reflections on the process of mutual exchange, an interdisciplinary publication, two conference papers (art/ anthropology of science), a new series of drawings and three public talks by the theoretical cosmologist.

The impact of the project's outputs will be maximised with a range of non-academic communities both during and beyond the lifespan of the project. These include practicing artists, amateur astronomers, museums and galleries, science communication teams and a broad public. Although not included as a specific research objective, broader public engagement is considered within the remit of this project. Opportunities for impact will be facilitated and enhanced by active involvement of project participants (interviewees) and the interdisciplinary Advisory Group both considerably broadening the potential for the project's connections with a wider audience.

Outputs designed for broader engagement include;

- Three versions of a film (5 min, 10 min, 20 min) tailored to different audiences ranging from general to specialised to be uploaded onto the project website;
- Interactive project website which will host a regularly updated blog inviting academic and non-academic engagement with the project, a showcase of Casey's art works-in-progress, uploaded YouTube 'talking head' interviews generated through fieldwork and end of project workshop; Project Report documenting the trajectory of the project, designed to share a critical reflexive journey of the researchers with a broader audience.
- Exhibition of Casey's drawings following the end of the project (ideal venue would be GV Art, A London Commercial Gallery specialising in artworks from art-science collaboration).
- Public talks; three by Dimopoulos at Lancaster University, Manchester Science Festival and British Astronomical Association.
- A presentation and public debate presented and facilitated by Casey, Dimopoulos and Ellis at Lancaster's Café-Scientifique.
- Development of synergies with broader science public engagement activities (e.g. Advisory Group member Trotta's 'The Hands on Universe' developed through the Science and Technology Facilities Council).

Lancaster University's press office will assist the project in achieving wide media coverage of its activities.

We emphasise here that this project is a precursor for the development of a larger research project which will factor public engagement as a core dimension of its aims, methodology and outputs.