Art & Science
The wonder of the universe and our place in it is revealed through science in ways impossible to appreciate in images
I am piecing together the puzzle. My aim is to see the interconnectedness of it all- how all the bits fit together to produce something gloriously new
Gillianwearing- signs that say
‘everything is connected in life. The point is to know it and to understand it.
Much like a work of art, a beautiful equation has among it’s attributes much more than attractiveness- it wil have universality, simplicity, inevitability and an elemental power.
The artists experience of life is uncoordinated, dislocated, contingent, incomplete.
Emmanuel lemnas- art does not belong to the order of revelation, it is the very event of observing, a descent of night, an invasion of shadow
The term ‘super-position’ refers to the fact that an electron can be in two places at the same time, the concept of ‘entanglement’, that, once entangled, two particles are forever connected and able to affect each other’s behaviour, even if they travel to opposite ends of the universe.
The lengths we go to in order to perceive, measure and even predict ‘reality’ reflects a deep desire to master and control all nature, even while we marvel at it.
In art, he seems to suggest, life is arested and forever on the brink between anticipation and fulfilment.
It is the artists ancient role to communicate between a timeless other world and the physical world of the here and now.
Romantic period- 1780-130
Artists and poets- move the emotions in order to rouse the viewer to deeper contemplation
P34 burke- the sublime confronted man with the boundless infinity of the universe, curiously intense feeling of astonishment, terror and vastness, all culminating in a kind of cathartic pain
Kant- (less fear of the unknown- ) splendour, evidence of wonderous and divine spirit in nature which stimulated the alert and receptive mind. Cloud-tumbled skies, stormy seas, atctic barrenness, deep forests, wilderness- hitherto seen as uncivilised wastes became proper subjects for deeper feeling and contemplation and provided rich material for art and poetry
Turner, cole, church
Desire to control and own it- colonisation
Nostalgia, revulsion at industrialisation
Ruskin- artist=innocent eye
Divint, platonic beauty
Avant guarde- Brancusi, klee, gabo etc a vision of some profound omnificient spirit at the core of the universe
Artists- escaping the dysfunctional world with its confounding profusion of meanings to search for a silence at the heart of things. Some reach a kind of meditiative calm through the actual making of the work.
Natural rhythms- ancient relationships between art and nature
Permanent record of life- time based, multiple screen & soundscapes
An ancient yearning which is never fulfilled
A homage to transience- andy Goldsworthy
Gustav etzger- acid- traces
Art making= 60000 years ago- perhaps 70000
Signs and symbols fraught with layers of significance
P51 intendedto communicatio meaning at an intense level
A medium of communication which linked the natural and metaphysical worlds. Anthropomorphic and totemistic
Art makers- mediation between the real and imagined – shamanistic status
Addressing the mystery of death
Hamlet- the dread of something after death
The undiscovered country from whose borun
No traveller returns
Structural intuition- artists produce an exceptional ability to visualise and understand and reproduce deep processes in nature
Making of visual connections or unpredictable juxtapositions between disparate objets and concepts
Its links with a sense of otherworldliness suggest underlying meanings beyond the merely visual or verbal.
A poignancy that seems to memanate from an awareness of time passing in theis world, with suggestions that the ony way to challenge the idea of death is through defiant humour or through finding a continuum between the material world and a hidden metaphysical one.
Nature experienced intuitively as a living force of which human life is a part
Bill viola an eternal loop of time, birth, death, resurrection
As travellers on the raod, they move in an indeterminate space between two worlds.
Profoundly primitive resonances, which are intuitively attuned to concerns about the world
Makes connections with the ancient story of humankind
It relises our fears and our love for each other
Re-inventing the past
I am the family face
Flesh perishes, I live on
Projecting rail and trace
Through time to time anon
And leaping from place to place
Thomas Hardy, Heredity from moments of vision and miscellaneous verses 1916
Scientists are systemisers, artists are empathisers
Neuro scientist mark lythgoe
the artist's mind is simply a conduit- a 'vehicle' or 'replicator', as the memeticists would say.
Art images bear resemblence to things we literally know and they offer to the mind an opportunity to engage in puzzling out a meaning which is partly logical , but gestualy symbolic, partly decidable and rationally explicable, partly fraught still with hidden implications ad always physically ‘felt’ in our imaginations.
Jangling disorder, partial or ambiguous information sets up private reverbrations for each individual observer
Qualia- vivid immediacy
Flag the present in consciousness to avoid confusion with the past
A phantom memory
P111 (Gary Hill's piece Tall ships)
A new aesthetic phenomenology is emerging via advances in digital technology which might lead us to muse how far the paradoxically named ‘virtual’ brings us closer to lived experience
'Ships that pass in the night' whicch we use to describe the fleeting nature of our encounters with people in our lives, those who touch us for a short while and then dissapear, like our memories.
The black and white images...are creatures from a photographed past we all share, having similar images in our own albums.
Here they arrive momentarily ... ghosts from our own remembered past and so nearly alive and then they dissapear. Ships that pass in the night
Feminist psychoanalysis – Julia kristera, luce iriguary
Women artists= demonstrated a conviction that our very identity and cognitive take on the world in firmly grounded in physical function and senseation
The feeling of what happens- seamus heany
Body and emotherion in the making of consciousness
The mind and the body are part of a style self- regulatory sytem
(proust, joyce, woolf, Faulkner)
tried to capture in interior monologue the felt detai of private existence by recording an inchoate blend of sense- perceptions, thoughts, feeling and memories,
more conventionally we are used to an interplay between protagonist and narrator… a from which seems to echo the way we sometimes monitor our feelings in everyday life.
Neuroscience- we are mere bundles of impulses, sensations and chemical processes, with no guiding other self except one that is spontaneously improvised or performed (ackroyd, Sinclair, winterson, sebald, borges, calvino)
Present fiction as fact and fact as fiction
Thoreaux, Keiler, Kotting
Disembodied, reverie, fictionalising themselves, imaginary, real landscapes
A S Bayant- the biographers tale
How do we put the idea of a person together? Everywhere he looks he finds fragments and gaps, disconnected typrscripts, bores and husks, boxes of marbles, collections and photographs.
In the viusal arts, viewers subtly place themselves into the picture and share the artists own stream of consciousness in which autobiographical experience is blurred, presenting a ‘conscious’ objectification of the subject/object internalised view, linking the personal to the general and vice versa.
Where is it- in imagined territory on the high seas, or in the mind?
Many visual artists use cinematic tricks to create an immersive experience in which the viewer can give up her own identity and revel in emotions which are other than her own.
There may be ways of reproducing actual experience artificially
‘as to whether this would evoke the same response that the original viewer had experienced, if this is possible, could a historical digital archive of an individuals visual experiences, and the accompanying repertoire of evoked emotions and memories, be transferred to another individual? Stored mental information could be transferable between individuals in life, and to others after life.
We absorb images and ideas all the time but we make them our own by interpreting and remembering them uniquely
Art doesn’t ‘work’ unless it provokes some kind of visceral response.
Contemporary art has become an urban phenomenon and artists who engage with nature can no longer regard it as a sublime route to the ineffable
Personal responsibility and desire for action
We must combat science with science, not flagrant emotion, though wit is a useful amusement, or perhaps, art?
A beautiful sadness lingers about the work of late 20th century artists like violas works and long who operate, literally, in the field.
Childlike, spiritual faith in the eternal rhythms and cycles of nature poignant by contrast.
Works in memoriam
New York painter alexis rockman- predicts future evolutionary progressions
Obscure, draw, collect, the farm
The observer and the observed
Though aware that she will never capture a whole fixed reality, especially in a dynamic system, especially in a dynamic system, her process still gestures towards self- abnegation and the results are breathtaking, as though nature has been caught unexpectedly as the river surges towards the sea through the seasons. The rivers own view from below
A deep rhythm pulsing through nature, where every element is seen inevitably to be part of a hidden totality
Derges- ‘an inquiry into ways of representing nature and culture as a creative and dynamic process rather than as separated predetermined existencies unaffected by human consciousness
Internal forms of thought and consciousness.
We have evolved from nature so it is no wonder that our engagement with it takes the form of ceaseless Kantian interplay between outward form and inner constructions of it.
Allowing nature to interact on its own terms with our perception of it, stimulating the viewer to wonder where objective reality ends and imagination begins.
Sensuous interaction with nature
Naked-eye observatory- contempory understanding of perceptual psychology- ancient astronomic principles
Waterloo bridge light sculpture
Dusk to midnight slowly changing
Display of colour
Abstract shapes or arches on the bridge
Natural art in an urban setting
Dorothy cross- drawing on 19th century history but bringing it up to date with current research.
Cornelia hesse- Honegger- exquisite aquarelle paintings of jewel-like bugs and flies- distorted/deformed, bulges, tumours- radiation- Chernobyl/power stations
Science- sensationalist, not proper testing- art community- taken seriously
Lynette Wallworth- immerse viewer in moving experience of nature beyond normal perception
Luminescence, phosphorescence, timelapse, bioluminescence
Science imagers, ceramic vessels
We scoop up the image, finding the place where it is most clear, most defined. Not delivery but catchment; an experience of extreme visual intimacy. Bowls overflowing and replenished
[we are the only scale of reference for minute/vast natural phenomena] and to cup our hands to hold a vessel of precious liquid is a very ancient gesture. We both give and receive and we seem to hold the fate of the fragile universe in the palms of our hands. This is something which artists and scientists can share.
All but the most corrupt share the same desire to find some kind of truth about the structures, behaviours and contexts of the phenomena they study within their specialisms…the quest for knowledge, real knowledge, drives everyone before it
The art world does not as a whole believe that real knowledge can be found
These are two quite different forms of knowledge, not reconcilable, but mutually curous to each other as individuals we can accommodate both simultaneously
The work is rooted in human experience, as art always is
seeing the world through different lenses may be essential to our future well-being
beauty in contemporary art, as in literature, often derives from the incidental, the occasional and the marginal
An uncertain significance out of unsignificant things
Like all phorographs they may not be truths, but I tell the truth, they co-incide with me, they are strictly circumstantial and the only interference is my point of view, which I try to keep matter of fact
What we experience n cities are, literally and metaphysically, overheard conversations and the best of my work are images which stanf, for our unavoidable voyeuristic/gazing condition
Mild delight in detritus
Universality, simplicity, inevitability abd elemental power- graham farmelo- mathematical formulae
The clinging together of all the elements in a work to make some kind of whole which is psychically satisfying
A glimpse of a human intuition at work, uniquely and subjectively portraying a surface view that is partial, underlayers and semi-transcucent, revealing ‘outside and ‘inside’ simultaneously, inventing as much as it reproduces
The structure of the material universe
A serial inmage, between stillness and motion… my real is an inbetweeness, a cacophonous meeting ground of the invisibles, the thoughts, associations, pasts and futures with the physical presentnes of the surface
The fleeting impermanence of things
Her contact with reality centres on lived human experience; the ‘now’ is a disjunction between partial memories and uncertain desires, the unresolved and unresolvable nature of existence, moment which we try to capture on film, but her vision also resonates with current scientific views on the flow and patterns in dynamic systems over time in the wider universe.
Provisional, unstable and disintegrating
If I do have a sense of the real, it’s in the mutability of experience and that with all its invumbent melancholy
Light- obscuring, dematerialising
Gnostic mystics- truth in darkness
Dark matter- 1/10 ths of the universe and provides mystery for modern cosmologists
Science- the new art?
Science images- function: the unambiguous communication of specific information- encoded messages for a specialist cognoscenti to translate
But no subjective emotion
A shudder of revulsion- a burkean sublime
Gilchrist and joelson- how we encounter nature phenomenologically- meterology. Time into anant repsonses to changes in earths ambient light
The artist has to find a connection with the viewers felt physical and temporal experience
Night skky- we are able to recall a collective past as if it were part of our personal childhoods when the moon and stars were magical and strange
Felice fractal- coloured images of stars and galaxies
Light seeking light doth light of light beguile;
So, ere you find where light in darkness lies,
Your light grows dark bu loosing of your eyes.
David malin- horsehead nebula
Playing off the reality out there against a human selection and reconstruction of a part of it. Place ourselves in the wider picture
Looking up at the heavens is a very primitive experience and though these new images of our universe may render us infinitely ephemeral, paradoxically we also feel physically and tangibly present. For a moment we are simultaneously in the here and now and part of the wider reaches of space and time
Contemporary science provides astounding new views of phenomena and therefore new philosophical insights on experience
Manipulative nature- edge of terror
Iris Murdock- under the net- 1954
Events stream past us like these crowds and the face of each is seen only for a minute. What is urgent is not urgent for ever but only ephemerally. All work and all love, the search for wealth and fame, the search for truth, like itself , are made up of moments which pass and become nothing. Yet throught this shaft of nothings we drive onward with that miraculous vitality that creates our precarious habitations in the past and future.
So we live; a spirit that broods and hovers over the continual death of time, the lost meaning, the unrecaptured moment, the unremembered face, until the final chop that ends all our moments and plunges that spirit back into the void from whence it came.
The transcient nature of experience
Both science and art hint at truths we almost recognise
Enjoy that ceaseless Kantian interplay between intuitive imagination and conceptual understanfding that keeps us alert in the world.