Drawing Thoughts (Part 2)

Drawing Thoughts (Part 2) continues exploring current thinking on the practice and theory of Drawing, its creative, expressive and educational value, as well as its fundamental importance to translating and analysing the world.

 

Solveig Settemsdal is a Norwegian multi-disciplinary artist working across mediums including sculpture, video, photography and drawing. In Drawing in a Fluid Space she discusses her ideas and work and, in particular, her video piece ‘Singularity’ which won the 2016 Jerwood Drawing Prize.

In Drawing is political, Jack Southern examines the ever changing context which determines the politics of how we might look at, see, and understand Drawings today.

Caroline Burraway’s body of work aims to confront socio-cultural issues that lie at the core of modern society and with what lies hidden beneath in the everyday lived experience of the marginal individual and their relationship with the world they always already inhabit. In The abject ‘Other’ she discusses the ideas behind her work.

The resulting image of Anthony Lyttle’s drawings is a mêlée or a wall of drawn marks that appear as a field of repeated actions. The size of the drawings is often large or human in scale, with the viewer encountering the space of the drawing. He discusses his work in Visualizing the verbal.

Tamarin Norwood is an artist and writer working with text, video and sculptural installation to examine gesture and pictorial figuration in drawing and writing. In Unpredictable Structures she explores her practice of ‘blind drawing’.

Former Veterinary Surgeon, Michael Geddis, is an emerging Northern Irish visual artist who specialises in drawing. He delights in the elegant beauty of natural forms and finds tiny microscopic structures particularly inspirational. In an exclusive interview, Micro-Macro-Patterning, he discusses his drawings.

In Thinking on the Pages of Sketchbooks, Elisa Alaluusua attempts to get a better understanding of how thinking happens on sketchbook pages and what visual form it might take.

Making visible the intangible is ever-present in the work of Julia Hutton, which relates to exploring everyday experiences and questions about our changing physical worlds, landscapes, time and memory. She discusses her drawing process in Drawing the intangible present.

In an exclusive interview, Temporary Material, Steven Maybury discusses his art practice which practice focuses on our relationship with materials and materials temporary nature.

In Emerging Drawing: the drawing as a complex adaptive system, Simon Downs argues that drawing, if it is to be understood, needs to be seen as something that happens simultaneously inside the heads of all the participants of the drawing and in the world between them.

The connections between drawing process and music is explored in the work of artists Naomi Kashiwagi in Sound Works and Fiona Robinson in Drawing as thought.

Anouk Mercier’s artworks present fictional, collaged landscapes and scenes creating melancholic worlds that deliberately escape definition. In a ‘visual article’, Fictional Fragments, she shows some of her work.

In Flood Story-Drawing the Anthropocene, Gerry Davies shows drawings from his latest exhibition which speculate on the effect of global warming and rising sea levels.

And in Brainscapes, and Richard Bright shows drawings from his recent series of works whichexplore the relationship of drawing and thought.

 ………………

Drawing Thoughts (Issue 20, January 2016) included exclusive interviews with Deanna Petherbridge, Gemma Anderson, Zaria Forman, Anita Taylor and Angela Eames; articles by James Faure WalkerKaren Kurczynski, Wendy SmithMaureen McQuillanStanzaEve Andrée Laramée, Jaq Chartier, Danielle Groves, Richard Bright and Garry Kennard; plus a video by Sir Roger Penrose: ‘How Drawing Is Used for Maths and Science.’

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Pattern and Meaning

People want to see patterns in the world. It is how we evolved. We descended from those primates who were best at spotting the telltale pattern of a predator in the forest, or of food in the savannah. So important is this skill that we apply it everywhere, warranted or not.

Benoît MandelbrotThe Misbehavior of Markets (2004)

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.

Alfred North WhiteheadThe Dialogues of Alfred North Whitehead (1954)

 

Pattern can be discerned at all scales that exist between the infinitesimal and the infinite. The arts and sciences expose and amplify pattern in the world. This issue looks at pattern as a primary aspect of our encounter with the world, as a container of meaning and how these meanings resonate in different cultures around the world.

In Pattern and Meaning, Interdisciplinary artist and Professor of Sculpture, Simeon Nelson, explores how pattern is both a function of our perception and an attribute of the world. He also shows examples his artwork in Sculpture. Installation. Drawing. Text.

Artist Rachel Kneebone’s intricate works address and question the human condition: renewal, transformation, life cycles and the experience of inhabiting the body. In an exclusive interview, Experiencing the human condition ‘in-between’, she discusses her work and her interest in addressing the human condition that is centred on the human body.

In Pattern and Prejudice, Sculptor, Graphic Artist and Author, David Wade, explores the status of pattern in visual culture and design. He also shows examples of his own artwork in Fluid Geometries and Pattern Pieces.

Internationally renowned artist, architect and engineer, Cecil Balmond transcends the conventional boundaries of discipline working in the crossover between art and science. from ‘Element’ is the central essay from his book of the same name.

From 2013-2015, artist Joyce Kozloff challenged herself to bring the decorative and cartographic together, the result is a group of works titled “If I Were a Botanist” and “If I Were an Astronomer

Daniel Hill is an abstract painter and sound artist whose work is an exploration between vision and sound and the power of this connection to generate compelling visual environments.

In an exclusive interview, A world over-amplified and speeding up, Tod Hanson discusses his interest in architecture, the decorative arts, diagrams and mapping.

Julius Colwyn explores meaning within a metaphor, a metaphor in a pattern, the pattern within a form, in Signs of Life.

In an exclusive interview, The Mathematics of Life, Kit Yates discusses his research and work in Mathematical Biology.

In Time and Memory, visual artist and Zen Buddhist practitioner, Robyn Ellenbogen, shows examples of pattern in her work that encompasses a broad range of media including metalpoint, encaustic, sewing, and photography.

In A phenomenological and process approach to patternPsychologist and Psychotherapist, Monia Brizzi discusses the notions of pattern, meaning and consciousness.

And in Pattern Finding and the Thirty-Seventh Move, Professor Simon DeDeo discusses ways to discover, match, and predict the patterns of a complicated world.

Plus, there’s the Pattern and Meaning video talk blog featuring Benoit Mandelbrot: Fractals and the art of roughness ; Keith Critchlow: Cambridge Mosque Geometer ; Gavin Schmidt: The emergent patterns of climate change ; Max Tegmark: Consciousness is a mathematical pattern ; and Ron Eglash: The fractals at the heart of African designs.

 

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Future Thoughts and Meeting Points

Everyone here has the sense that right now is one of those moments when we are influencing the future. – Steve Jobs

 

The aim of Future Thoughts and Meeting Points is to explore future thinking and to feature work that creates connections between art, science and nature.

Connections are made by-

Hunter Cole, who creates Living Drawings with bioluminescent bacteria. These Living Drawings depict the cycle of life and death calling attention to our own mortality. She shows and discusses her work in Living Light: Bioluminescent Art.

Andy Thomas , who creates a visual fusion between Nature and Technology, by taking photos and sound recordings of flora and fauna and producing audio responsive animations that visually represent the subject matter in beautiful and abstract ways. In Visualising the Sound of Nature he shows some of his work.

And Jody Rasch, a New York–based artist who explores the duality of nature through scientifically influenced abstractions. In Exploring the UnSeen he reveals the invisible, inviting the viewer to look beyond the seen to appreciate the beauty and mystery of the unseen.

Ideas and thoughts on the future are explored by –

Philosopher and writer, Keith Frankish, in The mind isn’t locked in the brain but extends far beyond it.

Assistant professor in philosophy and ethics of technology, Saskia K Nagel, and Professor and co-founder of the National Core for Neuroethics, Peter Reiner, in Embedded beings: how we blended our minds with our devices.

Bertrand Russell Professor of Philosophy, Huw Price, in Now it’s time to prepare for the Machinocene.

And physicist, Daniel Hoak, in Gravitational waves will bring the extreme universe into view.

Plus, there’s the Future Thoughts and Meeting Points video talks blog featuring –

Sam Harris: Can we build AI without losing control over it? ; Monica Byrne: A sci-fi vision of love from a 318-year-old hologram ; Juan Enriquez: What will humans look like in 100 years? ; and Kevin Kelly: 12 Inevitable Tech Forces That Will Shape Our Future.

 

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The Heart of the Brain

The aim of The Heart of the Brain is to feature the work of artists and scientists that explore the brain, its imagery and its disorders.

Elizabeth Jameson’s artwork lives at the intersection of science, art and technology. Inspired by the brain’s ability to change and adapt, Jameson’s work expands the conventional definition of portraiture by using her own brain scans as way of confronting what it means to be human. Diagnosed with multiple sclerosis (MS) in 1991, she became obsessed with the inside of her mind. With no background in art, she began using her brain scans to celebrate her mind, reinterpreting the images that represented her ever-changing understanding of living with a progressive disease. In the process, she became an artist. Her work is discussed in Communicating the complexities of chronic illness through art.

Rick L Garner research interests lie in the relationships between cognitive neuroscience, creativity, and the visual arts, as well as technology and disabilities. He has produced a range of artwork, much of which is inspired by neuroscience and his work using art for brain injury rehabilitation. He discusses this work in Dendritic Forms and Virtual Worlds.

Kindra Crick is an artist who gives visual expression to the wonder and process of scientific inquiry and discovery. In her installations and layered mixed-media work, she incorporates drawings, diagrams, maps and imagery from under the microscope. In Bound in a Net of Memories, she discusses her 2016 installation, ‘Joys, Sorrow, Memory and Ambition’.

Ralph Helmick is a sculptor who is interested in how referential forms and images can be broken down and subsequently re-formed anew. The approach is often paralleled by a fascination with how small three-dimensional components can collectively create larger sculptures, forging a microcosmic/macrocosmic dynamic. In an exclusive interview, Anamorphosis, he discusses his work and ideas.

Amanpreet Badhwar is currently a postdoctoral fellow at the Institut universitaire de gériatrie de Montréal, where she works on Alzheimer’s disease (AD) and related dementias. Her research combines structural and functional imaging with clinical and genetic assessments to relate variations in brain connectivity to clinical status, and to develop early markers of AD pathology. She is also an artist. In this exclusive interview, In Dialogue with Art and Science, she discusses her relationship between art and science.

Mint Labs has created a cloud-based neuroimaging platform with data management, analysis, and 3D visualisation capabilities, using advanced MRI technology to look inside the brain. In Neuroimaging in the cloud, its co-founder, Paulo Rodrigues, shows some of its work.

Artist, Megan McGlynn, is inspired equally by architecture and neuroscience. “Through a layering of geometric networks, my work provides a glimpse into the complexity and functionality of neural processes. It explores human perception from the inside and out: how we take in and recollect visual information through the anatomy of our brains, and the unruly imagery it creates in the mind’s eye.”

In Brain Connectivity Leap, Filipe Rodrigues, shows a video of his app in which you can interact with a 3D Reconstruction of an actual human Brain and its underlying Network of Connectivity Graphs.

The Heart of the Brain video blog features talks by – Carl Schoonover: How to look inside the brain ; Jill Bolte Taylor: My stroke of insight ; Ed Boyden: A new way to study the brain’s invisible secrets ; Nancy Kanwisher: A neural portrait of the human mind ; and Oliver Sacks: What hallucination reveals about our minds.

Plus, there’s new features in ‘Emerging Ideas’ with Stephen Magrath: A journey into Sci-Art ; Asier Marzo: Acoustic Manipulation; Claudia Stocker: Vivid Biology ; Martin Hewer: Cosmology; and David Lewis-Baker: Life Essence.

 

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Memory Networks

You have to begin to lose your memory, if only in bits and pieces, to realise that memory is what makes our lives. Life without memory is no life at all…. Our memory is our coherence, our reason, our feeling, even our action.

Without it, we are nothing

Luis Buñuel, Memoirs

 

Memory Networks is co-edited with Julia Buntaine, Director of the SciArt Center of New York (www.sciartcenter.org) and Editor-in-Chief of SciArt Magazine (www.sciartmagazine.com). The aim of the issue is to feature the work of artists and scientists that explore the brain, the nature of memory and networks.

Richelle Gribble creates mixed media paintings and drawings, prints, videos, puzzles and sculptures. Her artwork is inspired by concepts of virality, biology, networks, group dynamics, and social trends that connect us all. In Networks and Living Systems she discusses the multiple networks that inspire and run through life and work.

In Dendrites, Brains and Frontiers Reimagined, Dr Marius Kwint, Reader in Visual Culture in the School of Art and Design at the University of Portsmouth, UK, discusses his work studying dendritic structures and his involvement in the major exhibitions Simply Complex ; Brains: the Mind as Matter ;and Frontiers Re-imagined: Art That Connects Us.

Self Reflected has been described as “your brain perceiving itself”. In an exclusive interview, artist and neuroscientist, Greg Dunn, discusses this extraordinary artwork that aims to reveal the nature of human consciousness, bridging the connection between the mysterious three pound macroscopic brain and the microscopic behaviour of neurons.

In Brainscapes, Mind Masks and States of Mind interdisciplinary artist-designer and filmmaker, Karen Ingham, explores the interplay between brain and mind, matter and metaphysics, our inner ‘self’ and our public visage.

In Memory-Connections Matter, artist Patricia Moss-Vreeland discusses memory as a meditation on who we are. Her paintings, drawings, prints, mixed media collages, and artist books evoke an awakening of feelings, experiences, and imagery embedded in our everyday memories, probing the unexplored territory where art and science meet.

The nature of memory is also explored in the work of artists China Blue in Memory Networks, MindDraw and Imagining Blue ; Judith Modrak in Dendrites and Memories ; and Laura Krasnow in Memories photographed.

Eran Gilat is a neuroscientist and avid fine art photographer. In From ‘Life Science’, he shows images from his latest book, which reflects his long lasting confrontation with biological tissues, contemplating issues of materialism, erotica, and mortality, corresponding with the complicated and intriguing category of “animal reminder” in the visual arts.

The relationship between Science and Surrealism is explored in the work of cognitive scientist and artist, Albert Barque-Duran, in Cognitive Science and Surrealism and artist Steve Sangapore in Known unknowns.

As an artist, Julia Buntaine is interested in what has proven to be the most complex puzzle, the epitome of emergence, the deepest well our sciences have examined; the brain. In Neuroscience Art she shows some of her work that provides the viewer an alternative way to understand the wonders of biology we have discovered in ourselves.

Artwork that has been influenced by neuroscience is also featured in articles by Bonnie Cutts in Brainbow and beyond and Richard Bright in Brainscapes, Slices and Thoughts.

Plus, there’s an essay ‘imagining possibilities’ by painter and writer, Garry Kennard, titled Memory: What exactly happened?

 

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Creativity and Metaphor

The moment of truth, the sudden emergence of a new insight, is an act of intuition. Such intuitions give the appearance of miraculous flashes, or short-circuits of reasoning. In fact, they may be likened to an immersed chain, of which only the beginning and the end are visible above the surface of consciousness. The diver vanishes at one end of the chain and comes up at the other end, guided by invisible links.

Arthur Koestler: The Act of Creation.

Human creativity is something of a mystery, not to say a paradox. One new idea may be creative, while another is merely new. What’s the difference? And how is creativity possible? Creative ideas are unpredictable. Sometimes, they even seem to be impossible — and yet they happen. How can that be explained? Could a scientific psychology help us to understand how creativity is possible?

Margaret A Boden: Creativity in a Nutshell.

I define creativity as the production of new knowledge from already existing knowledge. Creativity is essentially problem solving. Not very romantic but what else can it be?

Arthur I Miller: On Creativity and Metaphor in Art and Science

 

This issue explores Creativity and Metaphor in the arts, sciences, education, language and music. The very notion of creativity is being redefined in this age of machines and we may have to re-think what we mean by thinking and the creative process. Creativity is a vast subject and can occur in many ways. The aim of this issue is to focus on particular areas were creativity occurs, with the hope of getting closer to a definition and an understanding of its process.

In an exclusive interview, Arthur I Miller discusses ideas that will be the subject of his forthcoming book, in which he explores creativity and metaphor in art and science.

Jasmine Pradissitto describes herself as “painter who sculpts with light and colour using the scientific knowledge accumulated over years of experience”. In Joining the creative dots: A personal journey through Science to Art, she discusses her work and her thoughts on the creative process, on the role of metaphors and how to communicate them.

The ‘forms of creativity’ and ‘creativity and computers’ are explored by Margaret A. Boden in Creativity in a Nutshell and in Authenticity and Computer Art, she asks whether the notion of authenticity can be applied to any/all types of computer art.

In the first months of 2016, twenty Dutch artists with a background in comics devoted themselves to the early medieval songbook Utrecht Psalter.They had received an assignment from the Utrecht University, who have custody of the book, to illustrate one given psalm in their own, modern style. With essays and exclusive interviews with a number of the artists, Utrechts Psalter 2016 A.D relates the creative process that was involved in the project.

In Are some cultures more creative than others? Stuart Boydell, explores the differences between Western and South-East Asian ideas of creativity, and asks the question that if “there are two differing conceptualisations of creativity broadly divided down an east-west divide, what then does all this mean for the future?”

In exclusive interviews, Ronald Carter explores the idea that creativity, far from being simply a property of exceptional people, is an exceptional property of all people in Creativity and Language,, and Mark A Runco discusses Metaphorical thinking and creativity.

As well as being an artist, Lynne Cameron has also been a Professor of Applied Linguistics; a teacher of children and adults; and a trainer of teachers. In Empathy, metaphor and ‘dynamic painting’ she discusses not only her artwork but also the relationship between metaphor and dynamics of empathy.

The employment of metaphors in the representational problems of modern physics is explored by Tor-Finn Malum Fitje in The Color of Quarks

And, in Mr. Turner, artist, meets Mrs. Somerville, scientist, Sidney Perkowitz explores the connection and influence between the two.

Plus, there is a Creativity and Metaphor video blog featuring – Sir Ken Robinson: Can Creativity Be Taught? ; an interview with David Cope ; ‘Beautiful Minds: The Enigma of Genius’: a discussion between Brian Greene, R. Douglas Fields, Philip Glass, Rex Jung, Dean Keith Simonton, Julie Taymor and Marcus du Sautoy ; and ‘Madness Redefined: Creativity, Intelligence and the Dark Side of the Mind’: a discussion between James Fallon, Kay Redfield Jamison, Susan McKeown and Elyn Saks.

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The Art in HeArt

“The heartbeat marks both the beginning and the end of life. It symbolizes our finitude. The symbolic meaning of the heart can hardly be overestimated as a temple of the feelings of fear, love, purity and identity”

Chantal Pollier: Taxonomy of Love

“I’m more interested in what the heart actually is, as a material and psychic entity, than what it symbolises, although I grant that its symbolic power in our culture has undoubtedly shaped and informed my understanding of it. What interests me about the heart is its surprising capabilities and the growing body of evidence supporting the notion of its entanglements with emotional states.”

Helen Pynor: The Body is a Big Place.

 

The Art in HeArt is co-edited with Vasia Hatzi, PhD Geneticist, artist and creator and director of MEDinART (www.medinart.eu). The aim of the issue is to explore the work of artists that are inspired by the human heart, together with a scientist and medical illustrator who the discuss the relationship between cardiology and art.

In an exclusive interview, Hybrid Thinking from the Heart, Vasia Hatzi talks about LaB, MEDinArt, hybrid thinking and the heart.

With her training in psychology and art, Chantal Pollier explores the symbolic meaning of the heart in Taxonomy of Love.

The Body is a Big Place is a collaborative installation work by Helen Pynor and Peta Clancy In exclusive interviews, they discuss the installation from their own personal perspectives, exploring their work, the subject of organ transplantation and the ambiguous thresholds between life and death.

Benjamin A. Vierling is an American artist who is widely respected for his trademark rendering of arcane mysticism. In The Mystic Heart he talks about the symbolism and meanings of the heart in his work.

Federico Carbajal, an architect based in Montreal, creates beautiful artworks based on human anatomy. Using galvanized wire, stainless steel, and acrylic, The Spatial Heart exude the essence of life.

The heart in science is explored in two features. Joanna Culley is the Lead Medical and Scientific Illustrator & founder of Medical-Artist.com, producing large scale medical and scientific artworks. In The Heart in Art she shows some of her work. Julia Grapsa is a consultant cardiologist and organiser of “Cardio MEDICINE 2016: A Field of Science – Art & Economics”. In Cardiology and Art, she talks with Vasia Hatzi (founder of MEDinART) about the conference and the relationship between cardiology and art.

And the heart as inspiration and symbol is explored in Textile Anatomy by textile artist Valentina Stefanescu and in The Metaphorical Heart by artist Κonstantinos Patsios.

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Micro-choreography

Imagery and visual metaphors are essential to effective scientific practice, because they enable a concise way to capture complex information, and also convenient ways to think about complicated natural systems……Images are excellent ways to capture information, to guide our thinking, and to help us imagine domains which we cannot easily ‘see’ with our physiological sensory apparatuses…..The mental representations that we form of these microscopic domains is closely linked to the imagery that we develop, and in fact forms our intuition for how they behave.

David Glowacki

If we were to name the most powerful assumption of all, which leads one on and on in an attempt to understand life, it is that all things are made of atoms, and that everything that living things do can be understood in terms of the jigglings and wigglings of atoms.

Richard Feynman

 

Micro-choreography is co-edited with scientist, artist, and cultural theorist, David Glowacki. The aim of the issue is to highlight examples where aesthetic practice draws inspiration from the molecular sciences and ways in which science uses aesthetics to create representations of nature which are invisible to our eyes. We are particularly interested in how to capture dynamical molecular and microscopic processes.

Eric Heller is a Professor of Chemistry and Physics at Harvard University, known for his work on time dependent quantum mechanics. In addition to his scientific accomplishments, Heller is also a practicing artist. He is best known for digital renderings based on the results of his physics research. In this Painting’ with electron flow he shows some of his artwork, as well as giving an exclusive interview with David Glowacki.

David Glowacki is a scientist, artist, and cultural theorist. A Royal Society Research Fellow based at the University of Bristol, and a visiting scholar at Stanford University. In Hidden Fields he discusses these projects, the aesthetics of scientific imagination and the fusion of scientific and artistic practice.

Luke Jerram’s multidisciplinary practice involves the creation of sculptures, installations and live arts projects. Since 2004, he has been turning viruses and other pathogens into stunning glass sculptures, in an ongoing series titled “Glass Microbiology.” Covering maladies such as AIDS, Ebola and Swine Flu, his works are both beautiful and disturbing, challenging observers to reinterpret their view of the tiny organisms.

Günes-Hélène Isitan is a professional transdisciplinary artist; her practice, anchored in biomedia arts, is an interweaving of visual and interactive art, life sciences and philosophy. In Humanscapes she uses microorganisms to explore the cultural barriers humans have built in the life continuum, questioning the Nature/Culture dichotomy and offering a new perspective on our relationship to non-human agents.

David S. Goodsell is an Associate Professor of Molecular Biology at the Scripps Research Institute. He is also an artist, using ink and watercolor painting to represent cells and their compartments: anything from a bacterium to the Golgi apparatus of a eukaryotic cell, nerve synapses or even viral particles. His series of paintings Nanotransport capture different aspects of the active transport of molecules in and out of living cells.

Lisa May Thomas is a dance artist trained at Laban London and specializes in working with the moving image. In Virtual Connections she discusses her involvement in the multi-award winning project and her latest work.

Drew Berry is a biomedical animator at the Walter and Eliza Hall Institute of Medical Research in Melbourne, Australia. His scientifically accurate and aesthetically rich visualizations are elucidating cellular and molecular processes for a wide range of audiences. Biomedical Animations shows some of his award-winning work.

Simon Park is a Senior Teaching Fellow at the University of Surrey, where he teaches Microbiology and Molecular Biology. For nearly 10 years now, he has also worked at the fertile intersection between art and science and here, his practice has been inspired by the aesthetics and processes of the usually invisible microbiological and chemical world. As well as collaborating with artists, he also produces his own work. Crystal Worlds is an example.

We sent out a call to artists and scientists for images of their work that ‘aesthetically represent the dynamics of microscopic & molecular processes’. A selection of the best images (assessed in terms of their aesthetic impact and scientific content) are included in the Micro-choreography gallery, which includes images by Florian Stroehl, Ljiljana Fruk, Ula Alexander, Susanna Monti, Craig Russell and Becca Rose.

Plus, there are videos on Molecular vibration by danceroom Spectroscopy (dS) and Richard Feynman talking about Jiggling Atoms.

 

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Code as Muse

The issue aims to explore the different approaches artists and scientists have to using algorithms, code and programming languages as their media. For example, artists may use simple instructions and code to produce complex visual outputs (and sometimes vice versa), and scientists have used genetic coding to create virtual creatures.

The relationship between code and output to produce visual meanings will be explored.

Jean-Pierre Hébert is an independent artist of algorithmic art, drawings, and mixed media. He co-founded the Algorists in 1995 with Roman Verostko. Hébert produces works on paper, including ink and pencil drawings, paintings, etchings and dry points from polymer and copper plates, and recently digital prints. In Drawing is just a thought he shows some of his work.

In Code as Muse, Alex May discusses his use of a wide range of digital technologies, most notably video projection onto physical objects, interactive installations, generative works, full-size humanoid robots, performance, and video art.

Fernanda Viégas and Martin Wattenberg are pioneers in data visualization and analytics. As leaders of Google’s data visualization research group, they focus on finding new ways for users to understand and explore data. In The Color of Data they show how they created specialized color languages for different visualizations.

In Notes Towards a History of Art, Code and Autonomy, artist Paul Brown presents a view of developments in the history of art, code, and autonomy from his own perspective.

Thomas Ray is an ecologist who uses self-replicating machine code programs evolved by natural selection to create Aesthetically Evolved Virtual Pets.

There is also a blog on Raven Kwok’s Algorithmic Videos

Plus there’s a ‘Code as Muse’ video blog featuring the Cybernetic Serendipity Exhibition (ICA 1968), The story of Cybernetic Serendipity MusicKarl Sims Evolving Virtual Creatures with Genetic AlgorithmsThomas Ray’s Project Tierra, and Robert Rowe on Iannis Xenakis and Algorithmic Composition.

 

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Place and Space. Inside and Out.

A space that is an integral part and an extension of the natural world around it, yet reveals the individuality of those who reside there and allows people to interact meaningfully to create a deep sense of belonging. (Marilyn Finnemore: Importance of Place)

Space and Place are familiar words denoting common experiences. They are basic concepts of the lived world. We tend to take them for granted. However, when we think of them, they may assume unexpected meanings and raise questions we have not thought to ask.

This issue explores the sense of place and space, both as an exterior phenomena (physical space) and as a source of internal personal transformation (altered mental space).

In Visual Perception, Abstraction and Invention: an Exploration, artist Nathan Cohen explores the question that “what we see we must inevitably have recourse to our experience of the physical world around us” and how we see the world around us can be altered through images and physical interaction with space and visual form.

Acclaimed photographer and anthropologist, Martin Gray, has spent the last 20 years on an amazing pilgrimage: visiting 1,000 sacred sites in 80 countries around the world. In The Power of Place: Sacred Sites and the Presence of the Miraculous he reveals just how devoutly pre-industrial cultures everywhere worshiped and respected the Earth.

The indelible connect between art, faith, and life that transcends stylistic, geographical, chronological and ideological boundaries, and the profound bond between arts and spirituality is discussed by Sushma K Bahl & Archana B Sapra in Multiple Contemporaries & Sacred Indian Art.

In an exclusive interview on his latest book, Time, Light and the Dice of Creation, Philip Franses invites us to travel through a journey, and a life, full of surprise and ambiguity, from paradoxes in physics to the meaning of time and the mythology of creation.

An altered sense of place and space inside us is explored by Luciana Haill in Revelations by Flicker, Dreamachines and Electroencephalographic signals in art and Flickering Phrontisterion.

Louise K Wilson’s article, In Surgical Sleep, discusses how artists have explored different states of (un)consciousness by placing themselves in intense and sometimes risky situations, where their experiences and perceptions of these states are recorded and re-contextualised.

In Caress of the Gaze, architect and interaction designer, Behnaz Farahi asks “What if our clothing could behave as an artificial skin capable of changing its shape and operating as an interface with the world, defining social issues such as intimacy, gender and even personal identities?”

The Reader is a large six foot sculpture of the artist Stanza wearing a hoodie reading a book. The artwork is a metaphor for the engagement of reading in the digital age.

Plus, there are two reviews by Garry Kennard - In Their Right Minds: The Lives and Shared Practices of Poetic Geniuses by Carole Brooks Platt and The Encounter: A new play by Complicite/Simon McBurney.

 

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