Like electrons, muons carry a negative charge. Every square centimeter of Earth at sea level, including the space at the top of your head, gets hit by one muon every minute. Muons are like electrons, but a bit heavier. In this chamber, you can see the cosmic rays, particularly those from a particle called a muon. You soak the felt in the alcohol, and the dry ice (which is super-cold solid carbon dioxide) cools down the alcohol vapor, which is streaming down from the felt. It’s possible to see this in action by building what’s called a cloud chamber out of a glass jar, felt, dry ice, and isopropyl alcohol (i.e.
Some of this atomic shrapnel even hits the ground. The particles from that explosion then keep bursting apart other bits of matter, in a snowballing chain reaction. In the memorial books, the Communist abstraction was concretized: the utopian future found its embodiment in multiple images of the first Soviet generation.When the particles in cosmic rays collide with the atoms in at the top of the atmosphere, they burst, tearing apart atoms in a violent collision. As the essay suggests, the 1924-25 memorial media campaign was instrumental in merging the abstract language of the Russian avant-garde with the concrete visual idioms of the documentary photography. Amalgamating ideology, text, painterly devices, and photographic images, photomontages in children's literature offered convincing visual models of plausible belonging and connectedness for the young reader: realist and spectacular at the same time. Often, these textual collages were interspersed with photo-illustrations and photomontages that prominently featured Lenin surrounded by children. Lenin's death in 1924 generated a wave of publications for children in which their own stories, recollections, and poetry about the leader were accompanied with texts written by adults. More specifically, it traces the transformation of photomontage by looking closely at a distinctive genre of the illustrated book: the so-called Leniniana for children.
The essay explores only one dimension of this campaign: the radical turn towards the optical in the early Soviet media. Deploying various genres and platforms, the state created a diverse network of institutions and mechanisms that could represent and disseminate important Communist ideas and concepts. During the first decade after the Russian Revolution, the new Soviet state went through a major mediatization campaign.
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