Limbs Proposal Text

? Limbs is a collective sculpture building experiment currently in development. Taking various creation stories as it's starting point, from Frankenstein to Golem to Khnum, it imagines organ building for new atmospheres in the current climate and the forecast future. Understanding culture in the biological sense: giving matter enough nutrients to enable something new to sprout, we first invite a number of writers and researches to speculate around upcoming atmospheric, climate and terrain potentials. Passing this information through various cycles of processing during the next stage, in which illustrators and musicians are invited to expand out each response, with corresponding visual imagery and sonic information, then compiled together with the initial writings, and distributed to small groups of artists to develop each individual component between them. 

Working on limbs, organs and body parts in response to these incoming realities, we hope to encourage a working practice which is open-ended, leaving edges untied to allow others to modify, whilst enabling the ability to fuse together with the other elements being simultaneously produced. From veins, muscles, heart, skin, gut, nerves, we hope to visualise together: What would skin look like to process the excess sweat? Or hands look like to handle entirely cacti based agriculture? Nerves look like to transmit heavy emotional loads? We then intend to hold celebrations, in which the elements will be assembled together, to produce the new limbs and organisms. Focusing on the material that links the mechanical and anatomical, we aim this experience to play with the political potential of imagining new ways of perceiving body and body configurations. ?

Palaeolithic examples of live broadcast (for STEMS, Horse Hospital, London, 11/07/2023)

It has been suggested that palaeolithic peoples used camera obscuras to hunt, making a small hole in the side of a tent, so they would have been able to watch an upside down projection of the nearby wildlife, waiting patiently until an animal walked into the frame. One or two would jump out to chase the animal, taking it in turns throughout the day. This would leave the other members of the group inside the cinema, watching the widescreen projection of the wrestle with an antelope or a pig. These small audiences would sit upside down in the tent, sharing the remaining seeds and nuts. Over time, not fully satisfied with the repetitive story lines, the groups began to develop more complex dramas. Using jurassic park style costume rigs, the animals began to talk back, and with the collaboration of a local pyrotechnic and esteemed storyteller, they  began production of more turbulent narratives.

Castle Walls

The walls stretched towards the sky and curved back down on themselves to the ground below. Holding their mottled colors brightly against the sun, the newly glossed surface bounced the reflections of more fiberglass panels being hoisted upwards. A few were ascending simultaneously, casting shadows that grew and deflated as the pieces spun around.

Each one was laced onto tough fiber ropes, strong enough to hold a cruise ship to the dockside. Cartoon-sized knots strained against the pull. At the top, the prefabricated panels bumped together into a neat jigsaw, being guided by multiple hands, which were reaching in from all directions. Vast bolts with surfaces lightly rusted were tightened between the sections, with winged nuts twisted by one person per wing, hands flat against the galvanized steel. The joined panels depicted the pattern of a stone wall, with impressions of boulders mortared together with a muddy cement. The shell of each section traced the emboss of each boulder, pushing out into the cold like multiple stone bellies. The curvature of the wall formed a vast archway, leaning inwards against itself.

At the top of these walls were perched a series of wooden cranes, resembling a mutation of a bird and its bird box. From the end of their long wooden beaks, taught ropes began their descent. They both lifted the panels and lowered workers, harnessed together into cute bundles. The cranes’ arms stretched forward in latticed wooden triangles, with pulleys working back to large treadmills on either side of the units. Turning steadily, the shadows of large flat feet could be seen through the slats. The steady creak of timber flexing could be heard as the feet rhythmically pressed against the brittle wood.

Through the openings of the construction, a fleet of crows patrolled the surfaces in a low swoop. They came together in unison to pull off the protective peel from each ascending element, transporting them in their beaks to the refuge piles that were growing at the foot of the wall. As they flew, the peels rippled against the wind like gastric banners. Smaller birds clung to the edges and pecked away at the remaining peels, trapped between the panels. The many pecking beaks composed a plastic drumming. This avian fleet was responsible for the recycling onsite, and had been organized by the new municipality. Their wingtips were dipped in reflective paint, glinting in the sun as they changed direction.

Each section was being systematically hosed with a dense layer of sealant. It bubbled out of a ribbed fabric tube that was weaving through a spindling wooden scaffold. The scaffold formed the structure of ribs around the vast walls and was crowned with various portable antennas, from which yellow cables entangled their surroundings like vines. Whole tree trunks, skimmed of bark, held most of the uprights. Large black nails jutted out from every juncture, with fabrics caught from workers’ clothing making hundreds of soft flags, with threads in every color combination.

A patrol in thick rubber cloaks and protective goggles traversed the scaffold boards to perform the task, passing the tubing between the gaps. Climbing through a labyrinth of trap doors, they held herbal fabric over their mouths to block the noxious smells. This new liquid dried into a pockmarked layer, as air gathered and escaped the mix. The layer protected the panels from the infectious bacteria that had developed to feed on various plastics in recent years. It could easily pass between material to infest new constructions, such as this one. A full contagion would be a financial disaster for the administrators. To prevent this, the site-masters wore head torches with wide UV bulbs, which cast a purple glow over their furrowed faces. If any mold was discovered under these lamps, it would illuminate before their eyes in a fluorescent yellow blossom. Finding nothing but fresh claw marks, already scratching the pristine surface, they became agitated between themselves. Any mold sightings would be signaled by a loud metal whistle, which would interrupt the birds drumming for a few seconds, and wake any sleepy workers who had found a secluded spot within the scaffold.

At the foot of the wall, between the growing refuge mounds, loose roads were carved out along which processions of purple wagons moved in convoy. They drove past large vats of chicken soup, which were being stirred by long paddles. Smaller vats were bubbling with spiced apples. The culinary fumes billowed upwards from the tubs, leaving a sticky residue on all downward surfaces. Both the avian and mammalian workers descended on pulleys to refill their flasks at regular intervals. The amphibious population, harder to spot between all the motion, preferred to pick quietly along the floor. They would dig through in scattered pairs, and graze on the colorful trash.

(written to accompany Ernie Wang's work in the BPA Exhibition 2022 at KW, Berlin)

Rollercoaster tycoon

Saint Lawrence, martyred on an iron grill (mosaic detail) 

The mosaic above depicts the metal grill on top of which Saint Lawrence was cooked alive in 258 AD Rome, after being sentenced for distributing material goods from the church to locals in poverty. This type of grill, known as a gridiron, was typical of Roman cooking, and became the object held by Saint Lawrence in depictions of himself throughout history. The mosaic can be found on the southern wall in the Mausoleum of Galla Placidia, Ravenna, Italy, and was made between 425 - 450AD. It is claimed as a small example of early axonometric perspective within Western art history. Axonometric perspective, where all lines are held in parallel, with no central vanishing point, holds a viewpoint unachievable by the human eye. It was more typical within Asian art history, whilst western depictions of space favoured the single point perspective as experienced by an individual person. Axonometric perspective has been claimed as a ‘true’ perspective, as an objective vision - in that it conveys geometric fact instead of a semblance of space as we see it with eyes.

It provided the groundwork for the development of handscroll paintings from the 8th century onwards in China. These paintings would be rolled and only viewed in segments, which would be browsed at important visits or festivities, scrolling across a seamless timeline of scenarios which would blend from one scenery into the next within its axonometric format. Often following a route or journey across their width, the drawings traversed mountain landscapes, cities and forests. They would be rolled and stored in sealed boxes, unrolled they could be up to 25 metres in length. In the late 1600s, during the Qing dynasty, Wang Hui’s studio was commissioned to produce a series of 12 scrolls that depicted Emperor Kangxi’s inspection tour of Eastern China. In 1900, during the invasion of Bejing (by the ‘Eight-Nation Alliance’ of Germany, Japan, Russia, Britain, France, the USA, Italy and Austria-Hungary) the 6th scroll from the series of 12 was looted by a French general, alongside a huge number of Chinese artefacts, which began to wash up in the capital cities of Europe. The scroll arrived in France, and, in 1936, on the death of the French general, was cut into 7 sections to be inherited by his 7 children, rupturing its axonometric continuum and reducing them down to sizes between 2 and 3 metres. This now allowed them to be on permanent view, pinned open in display cases, able to fit inside more achievable dimensions of glass picture frames, and held in several separated locations. In auctions since 2010, a collector from Hong Kong has been acquiring the separate pieces of the scroll, which was displayed in it’s reassembled full length in October 2020.

At the turn of the 19th century, the industrial revolution in Europe demanded the ability for construction and manufacturing manuals to be clear and understandable for reproduction and distribution. The axonometric perspective was adopted, due to it’s compatibility in clearly depicting mechanical processes and machinery, and then this was further geometricised to become isometric perspective. Within isometric perspective all measurements (X, Y and Z) were true and in mathematical scale to an object: the drawing could be measured and these measurements applied exactly to the physical object it represented.

This later filtered into the architectural workings of Frank Lloyd Wright, whose 1912 book ‘The Japanese Print’, established isometric perspective as the foundation of the modernist architecture movement, the limitless format of the equal grid providing the perfect foundation for modernism’s drives of modular structures and multiplicity. If linear perspective limits space toward a central point, something finite and closed, then axonometry is said to open perspective into infinity, it is the visual arena of multiplicity and distanceless. This became the footprint for the Bauhaus and De Stijl movements, the forerunners of the modernism that was enveloping Europe and the USA, later spilling into the domestic space of the post- war via two Scandinavian developments in the 1940s - Ikea and Lego. Both used isometric perspective within their instruction manuals and its format became central to their philosophy of modularised creativity. In 2009 a number of Frank Lloyd Wright’s buildings were translated into limited releases under the LEGO Architecture branch, including the Guggenheim in New York and Fallingwater house in Pennsylvania. Whilst it is hard to depict a mountain or forest within the geometric limits of Lego, the model buildings of Frank Lloyd Wright, stemming from the same isometric format as Lego, became instant collectables and now resell for thousands of dollars.

I used to put Legos in my mouth as a child, ingesting small traces of the petrochemical processes , that leeched from the plastic surface when in contact with the acidic bacterias of my saliva. These micro-plastics hovered in fluoro clouds throughout my arterial networks, haunting my bloodstream. These little Lego bricks hold the same physiological stress as mined diamonds, through their own history of compression, years of organic material and decaying vegetation, heated under deep pressure, forming crude oil and natural gasses, dredged up from the earth exponentially over the last 100 years, processed and moulded into the various materials and products that have catalysed and hosted the culture and constructions of the 20th and 21st century.

These new materials allowed a slickness of surface and uniform distribution of bold colour not easily achievable with earlier organic materials such as wood, stone and ceramics. This slickness of surface was a byproduct of design since the 1950s, the development of stable plastics, who’se surface was bold enough to be able to gloss over the inherent force and damage necessary for the processes of material extraction needed to produce themselves. It is hard to see the labour and pressure of these material’s own production when looking at a surface so smooth and bold, which eclipses the image of the warped lungs of the plant operators who inhale the thick surplus of these petrochemical activities.

I later spent hours on Rollercoaster Tycoon , a series of PC computer games, appearing at the turn of the millennium, in which the player cultivates and maintains theme parks, adding new rides, food refreshments and foliage to sustain the entertainment of an ever increasing amount of visitors. In the same way that the rollercoaster was a mutation from the railroad, Rollercoaster Tycoon was a descendent of the previous Transport Tycoon (from 1994). Also designed by Chris Sawyer, Transport Tycoon tasked the player with globalising a miniature world of disparate towns, linking them with rail routes, airfields and motorways, to increase and smooth the transportation of people and goods. Rollercoaster Tycoon maintains the same financial orientation, expanding and managing fictional communities, but moves from logistics into leisure. An early business and management game that paved the way for a multitude of tycoon themed games (in zoos, shopping malls, hospitals). Rollercoaster Tycoon entered the world at the same time as Sims (2000), another creation game existing on the same isometric framework. (In both of these games, due to the isometric perspective of gameplay, you can never see the horizon). Rollercoaster Tycoon was one of the earliest computer games to use this isometric map, instead of holding an aerial or 2D frontal view, used on previous games for home computers or arcade machines. On designing the Rollercoaster Tycoon games, Chris Sawyer has said that “there’s a Lego-like philosophy to my games” and that he “was especially turned off by the trend for games becoming more violent and destructive”.

Not only in the material finish of the last 100 years is there an obscuration of the violence inherent in it’s own production, but this violence could be both inherent and obscured in the geometric harmony of the isometric perspective itself, which was necessary in order to prepare the way for these material advances to take place. In the same way that plastics and other petro- and fluoro- chemical materials (and their residues) have infused our diet and now inhabit our internal biotic flora communities, it has been said that due to osmosis the large majority of the world are starting to experience their dreams from an isometric viewpoint.

(https://arcadiamissa.com/product/gravity-road/)

The Newest Sport - Questionnaire

Block 1: Potential Questionnaire Exercises

(to breakdown ideas of sport and begin scouting for locations to visit, 

formatting exercises to practice, and developing accidental lyrics)

What is sport for you? 

If you were to draw a circle of ‘sport’, what would be in the middle?

What would be towards the edge of the circle? 

What activity is near to the previous answer, but just outside of that circle? 

Within the activity from previous answer, pick a specific movement and 

draw a diagram to explain this movement to someone. (Pass this drawing along)

B. Interpret this movement for the next person along

(Does this movement belong somewhere in Santander?)

C. In writing, try to describe this movement to someone

How do you throw something the furthest (viral) on the internet? 

Pick a relation to you (teacher, family, friend, lover), _______________

What sport or exercise would represent this figure? 

If we understood it take 3 things in combination to make something new,

What 3 things are combined to make up the sport or exercise from the previous question.

What are the opposite of these 3 things?

If you put these new 3 things together, what activity would it make?

Does it look like something you see in Santander, 

or is there a place in Santander you think it could happen? 

Draw a new skeleton this new activity

(pass along)

Draw on top the clothing and equipment necessary for this activity

What makes sport different from exercise, movement, practice, hobby? 

What normal daily activities include the following:

Power:

Agility:

Co-ordination:

Balance:

Speed:

Reaction-Time:

Style:

Competitivity:

What exercise/activity/practice would be legalised if it were considered a sport? 

What would make it legal?

Is sports & exercise municipal? Important for everyone?

What is a (1, more) or (2, less) interesting municipal topic? 

(Business, Energy, Industry, Digital, Culture, 

Media, Education, Environment, Food, 

Trade, Housing, Community, Transport/Mobility, 

Work, Health, Defense, Justice, Finance)

If this topic was now considered a sport, what would the warm-up exercise be? 

draw a diagram to explain this movement to someone. (Pass this drawing along)

B. Interpret this movement for the next person along

(Does this movement belong somewhere in Santander?)

C. In writing, try to describe this movement to someone

If you want, tell us an anecdote that has happened to you while practicing a sport. You can also illustrate it with a quick drawing, or if there are any lyrics to a song that illustrate it for you, write them. 

What annoys you the most in sport? 

Chose: Chemistry & sport - Internet & sport - Mathematics & sport - Invent a category 

1. Escribe una acción que no se pueda realizar 

(Write an action that cannot be performed)

2. Utiliza una sola frase 

(Use a single phrase)

3. El verbo será infinitivo 

(Put the verb will be infinitive)

4. Elige un lugar del instituto para leerla 

(Choose a place in the institute to read it)

How do you balance things? 

When do you feel chemical? 

When do athletes become supernatural? 

Can you remember a recent situation where motion and emotion happened in the same moment?

Some examples of body / mind altering chemicals, drugs, processes, alterations to improve sporting abilities? 

Some examples of other body / mind altering chemicals, drugs, processes, alteration

Pick one of these and describe a movement or exercise that would be improved by this alteration

draw a diagram to explain this movement to someone. (Pass this drawing along)

B. Interpret this movement for the next person along

(Does this movement belong somewhere in Santander?)

C. In writing, try to describe this movement to someone

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Practice a new good luck ritual, to perform before sport,

draw a diagram to explain this movement to someone. (Pass this drawing along)

B. Interpret this movement for the next person along

(Does this movement belong somewhere in Santander?)

C. In writing, try to describe this movement to someone

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

-> COLLECTIVE PLAYLIST <-

When we were 16 and had finished our final exams at high school we organised a party in the woods nearby. Word spread quickly through the last week at school, and soon our whole school year were making their way across the back fields on Friday night, avoiding the roads as much as possible, to avoid having the drink you'd been collecting through the previous weeks being poured away by police. We followed a series of texted directions and sketchy maps to get to the spot, backpacks with sleeping bags, speaker systems.

As the night went on the different cliques of the school melted into each other. Aux speaker systems dropped out of battery, and fires got bigger, set in metal bins we had found nearby, using our exam textbooks as kindling. It got late, police arrived with a dog unit, and the party scattered, distant phone torches glinting through the trees. 

There was a heat wave through the next weeks, and I started to notice fire engines going up the track to the woods. Later an article was published in the local newspaper about small fires which were springing up in the woods, and our headteacher had given a statement. The fires had gone down into the roots, it hadn't rained for weeks, and the soil was rich in peat, almost like clay but made up of partly decayed vegetation. The fire had incubated and dispersed in this tangle of roots, a network of slow fuses: distributing it around until it would sprout back up to the surface in various places.

The planet is extremely flammable, with oxygen and carbon based plants. Prehistoric wildfires would haunt the locals, from lightning into dry grass, the embers would trace the wind routes that interlaced around the earth. 

Before fire was domesticated, it existed on a scale and with a motion which was unimaginable. They struggled to harness the fires that surrounded them, wanting to compress it down, to a scale that was comprehendible: into a fire pit, fireplace, camp fire. They wanted to see the edges of it, it would make them feel comfortable, to be able to make a drawing of it, take a photograph of it.

To try and figure out the process, they looked from the fires back to their source, via the lightning and upward into the deep grey areas of the clouds, seeing the turbulent swelling of wind knotting in on itself. Inside the clouds, electrons were becoming loose from the cycle of heating and cooling, building electricity, which would discharge back towards the earth.

To mimic this cyclic friction, you can use a small maquette made of sticks, making twisting motions, forming whirlwinds between the sticks in the same way that the clouds would fold in on themselves, moving continuously until a spark breaks loose. These fires were later made portable in ceramic containers.

This domestication of fire catalysed many activities: cooking, ceramic production, protection from animals that preyed on them, prolonging the days and providing a space for story telling in the nights. The most dedicated of the storytellers would use the shadows, cast from the fire, to perform silhouette routines , projected onto the sides of the tents, playing out two dimensional stories, in an early mutation of cinema. In the same way, they would demystify this new technology, bring it closer, making it easier to weave into daily thought and activity. 

The locals of the settlement would come to watch, bringing nuts and seeds gathered from the day, watching the performances and relaying them onto families and friends in gatherings throughout the following days.

As the seeds travel through the digestive system, their ellipsoid shapes giving them a streamlined form to move ahead quicker than other foods, they come under various forces, both chemical and mechanical, gastric acid breaking down the strength of their outer shell, and the churning motion of the intestines attempting to grind out their nutrients. Some seeds would crack at this stage and be fully ingested into the body. Others would travel through unharmed, but hadn't received enough processing from the stomach acid, which was needed to weaken the shell enough for a plant to germinate when you poo.

Some seeds would get the balance perfect, mixing with enough acid to open their shell, letting some of their protein leak into the bloodstream, whilst retaining enough form to continue through the system and be able to grow after.

The culture I experienced when growing up was infused into plastic. A further compression of organic material and decayed vegetation over time, developing into oil, coal and natural gasses, extracted from the earth, processed and moulded. 

This cultural jelly (made up of a mash of songs, movies, images, references, perspectives from my childhood) was given to me incased in polypropylene VHS, polycarbonate CDs and DVDs, their aerodynamic discus form allowing them to be easily passed from hand to hand, stacked in rows aboard the cargo hold of planes, and ricocheted between cities. 

Later this info was strung out into a series of copper ropes, cables insulated in rubberised PVC, along which rhythms of electrical sparks could travel. Sound, moving image and text, broken down into an encoded series of rapid bursts, thrown forward along these new routes, and unpacked at the other side, reforming into it's original sonic or visual structure.

The new magicians of instagram, youtube, snapchat, tiktok, are casting and compressing stories, translating them into these bundles of sequenced impulses, which skim through the cables, surging up communication towers and flexing into electromagnetic waves, volleyed between dishes, glancing at each other from the fringes of the stratosphere, to fall back down and bloom on multiple screens. 

They understand how to interrupt these frequencies perfectly, embossing their words into flame digit sequences, which then disperse within the PVC insulated tunnels. Forming these vehicles to withstand the compression, digestion, translation, re-understandings, refreshing contexts: being applied over social situations, reformed in differing qualities of sonic frequency, from the phone speaker, or a car going past, or a 2 second clipping. They need to withstand the algorithmic crunchings, to be porous enough to leak from various devices, whilst retaining their structure enough to bloom. 

(for:https://cultivadetrito.tumblr.com/)

Parabolic Facility @ Zona Mista - Aug 2019

a small circuit demonstration ,, diverting water from the roof of the old Jewsons on Rollins St , which now houses a recycling plant and the Zona Mista studios ,, into the space to irrigate a series of banners / loose billboard proposals , made from cardboard so with the water & sun cycle their shapes continue to flex ,, pasted onto these were recycled paper posters from the last Regulator party (blue) and new ones for the Zona show (blended cardboard), all paper pressed with seeds so they are starting to sprout in new cycle after the cycle of the event they broadcast , these were being continuously watered on the cardboard structures from rain coming off the roof , the space dripping and roots pushing backward into the cardboard to knot and strengthen  , and powered by a mix from the mains and two of the recent solar panels , the curves of these cast and weaved against the same cardboard . 

Solar panels placed near the doorway, power a series of pumps, with rain water diverted from the rooftop of Zona Mista, into the project space, and irrigating a series of cardboard placards and noticeboards, onto which have recycled paper posters (for both the show itself, and old posters for previous events) pasted and pinned. These were made with detritus and seeds in the press, so with the water they begin to sprout. 

Saint Nazaire

 Digging in the bins of Boeing and Airbus factories in Saint Nazaire to find scrap material or prototypes or propellers, wings etc.

Electricity pylons

 Electricity pylons unearthed as huge tapeworms

Swampy

And this wrinkly swamp creature bringing his webbed hands up through the water, sifting up, hands together, through the murkiness, with fingers spread to make a wide gauged sieve, dredging up an orange bottle cap, red biro lid, with saturation sliding toward full vibrance as they come through the water and up toward the camera.

Glitter

The word glitter (from Proto-Germanic origin *glit-, preceding something shining, bright, and Old English glitenian, to shine, to be distinguished) has remained intangible through literature since the 1600s, you could find it glistening across the surface of the eyes, lining the edges of waves. In the 1930s it was assigned it's physical product, developed in a New Jersey farm, on the east coast of the USA, where a machine was constructed which could cut scrap material down into very small pieces. This farm became Meadowbrook Inventions Inc, which still produces bulk glitter today, down to 50 microns, or 0.05mm. 

Microplastics are classed as any plastic fragments less than 5mm. Microbeads measure from 0.5mm down to 0.0005mm, and are often added to cosmetic products: toothpaste, exfoliants and household cleaning products. Also known as primary microplastics (secondary microplastics being deteriorations of larger plastic objects), microbeads have begun recieving a series of worldwide bans on their applications, which have been coming into effect since 2018. Nanoplastics are a further disintegration down, to a scale small enough to begin passing through biological barriers, from gut to blood, blood to brain, and are identified with a size less than 0.001mm. At this size plastic can interact with our body on biological terms; known to disrupt certain hormones, and to easily transport and deliver toxins. 

This puts glitter as an example of a microbead plastic that you can buy in bulk from most supermarkets and local shops. With a scale similar to sand, which is defined as particles between 2mm and 0.05mm, glitter and other plastic particles easily corrode, often in water and aided by UV exposure from the sun, tracing the same erosion that divides rocks into sand, into silt, into clay. Whilst glitter is only a small percentage of a wider range of microplastics (visible mainly in the sea, but also found in earth samples and airborne) it is also well on it's way to disintegrating into a nanoplastic . In it's original form it is not on the scale to enter the bloodstream, but it can easily pass through the digestive system, with current human fecal samples almost always containing traces of microplastics. For this reason glitter is commonly used by zoologists: mixed into animals food to then be able to colour co-ordinate their poo, for various health tests as well as providing hormonal data sets, one outcome of this being to determine how stressed the animals are.

The raw sheet material of glitter is aluminium metalised polytheylene terephthalate. Polytheylene is the most widely used plastic, in carrier bags, plastic bottles, thermoset toys; with more tightly knitted composites producing fibers strong enough to replace Kevlar in bullet proof vests, and a loosely knitted, low density version such as cling-film. Polytheylene terephthalate (PET plastic), because of its transparency in raw form and ability to retain liquids, is used to make water bottles, whilst a version with wider mesh can be seen in polyester clothing, and wider in the fabric used for screenprinting. These reels of PET material are almost chromed, or metalised, with a layer of aluminium powder applied, to give it a reflective, mirrored surface, and then cut.

made from petroleum ?

I would like to look into the ban on microbeads that was speculated in the UK over the last years, maybe only banned for festivals? Or a countrywide ban on it as a material ? 

When dozens of British music festivals pledged to ban single-use plastics by 2021, the proposed ban included plastic glitter

To look into the currently legalities of it, with an interest in when law and materials cross, thinking asbestos, and with the insulation that caused Grenfell, maybe not to specifically talk about these, but just in terms of how to approach this section. 

There is one specific case from Florida of glitter being used to prove a case of homocide within this car crash,, I'd like to look into, where airborn glitter found on a vehicle linked with the driver who was denying responsibility, and it's similarity with other forensic or materials for security, fingerprint dust, dye packs to mark stolen money, etc. 

BIBLIOGRAPHY

Glitter production

https://meadowbrookglitter.com/wp-content/uploads/meadowbrook-glitter-size-chart.pdf

https://www.wral.com/what-is-glitter-/18080362/?version=amp

https://www.youtube.com/watch?v=NwjiMneRnWw

Polythene / PET

https://pslc.ws/macrog/pe.htm

https://omnexus.specialchem.com/selection-guide/polyethylene-terephthalate-pet-plastic

https://www.livescience.com/60682-polymers.html

Microplastics + Nanoplastics

https://oceanservice.noaa.gov/facts/microplastics.html

https://www.wired.co.uk/article/microbeads-international-ban-damage-marine-life-plastic

https://www.nature.com/articles/s41565-019-0437-7

https://phys.org/news/2019-10-nanoplastics.html

https://publiclab.org/notes/maxliboiron/07-19-2018/how-to-analyze-plastics-forensically

https://www.chemistryworld.com/voices-in-chemistry/microplastics-a-chance-discovery-leads-to-a-research-passion/3010711.article

Microbeads/plastics, Glitter + Law

https://www.bbc.com/news/science-environment-42621388

https://www.dailymail.co.uk/sciencetech/article-7777837/Scientists-call-complete-ban-GLITTER-particles-polluting-oceans.html

https://www.theguardian.com/environment/2019/mar/24/glitter-sales-ban-supermarkets-microplastics

Sand/Silt/Clay

https://oceanservice.noaa.gov/facts/sand.html

https://archive.lib.msu.edu/tic/stnew/article/1991sep4.pdf

Nanoplastics + Health / toxins

https://enveurope.springeropen.com/articles/10.1186/s12302-018-0139-z

https://www.smithsonianmag.com/smart-news/microplastics-found-lurking-human-stool-first-time-180970613/

https://link.springer.com/chapter/10.1007/978-3-319-61615-5_1

https://www.ncbi.nlm.nih.gov/pubmed/31476765

Glitter use - Zoology + Criminology

https://royalsocietypublishing.org/doi/10.1098/rsos.161017

https://nationalzoo.si.edu/conservation/news/much-ado-about-poo-behind-scenes-endocrine-laboratory

Extras/ old:

Glitter should be banned over environmental impact, scientists warn

While many microplastics result from plastic debris breaking down into ever-smaller pieces, tiny particles called microbeads are manufactured specifically for addition to cosmetic and health products.
A ban on microbeads will come into force in the UK next year, after scientists and campaigners made the devastating impact clear. Glitter could be an overlooked component in the wider problem of marine plastic pollution, and they are used in a wide range of products.
Most glitter is made of aluminium and a plastic called PET. Dr Farrelly has investigated how PET can break down to release chemicals that disrupt hormones in the bodies of animals and humans. Such chemicals have been linked with the onset of cancers and neurological diseases.

“No one knows that glitter is made of plastic,” says Noemi Lamanna, co-founder of eco- friendly glitter distributor Eco Glitter Fun. “We were heartbroken when we found out.”

Glitter as forensic evidence in Florida car crash homocide
A highway in Florida had a center lane that was only supposed to be used for turning. A vehicle containing a mother and her daughter was stopped in this lane when a pickup truck driving in the center lane smashed into the stopped vehicle and both the mother and daughter were killed. When police arrived no one was in the pickup truck. However, an intoxicated woman was found hiding nearby in the brush. She denied being the driver, but she was wearing cosmetic glitter and at the instant of impact some of her glitter was transferred to the driver’s side airbag.

Dream about eating battery

Dream About Eating Battery

Dream about eating and swallowing a battery, suggests that you are on the wrong path to spend your time and energy. You are motivated to do things that will bring negative results. You are overindulging in the sense of fake power and energy, these negative actions will ultimately destroy your own well being.

Dream About Broken Battery Leaking Acid

Seeing broken battery that is leaking fluid or acid, indicate serious health problems may be developing. You are likely to suffer health conditions that result in fatigue and lack of energy. Consider seeing a doctor and get your regular health check up.

To see of eating, swallowing or tasting a battery in your dream indicates that by abandoning your environment where you stay for a long time, you will try to make friendships with new people. If the taste of battery is bitter or you have a difficulty when you swallow it, you will be excluded from your new environment. Otherwise, you will adapt to your new environment easily.