The ways in which the author, the sculptor Peter Randall-Page, has made use of the ideas of D’Arcy Thompson are described. How Thompson showed that commonalities of form and pattern exist across the biological and abiotic realms is described, and the implications that physical constraints limit and sometimes dominate the capabilities of evolutionary natural selection are explored. Since we evolved in a world shaped in this manner, the likelihood that this palette of forms is one that carries strong psychological meanings and associations is examined, and the ways in which these forms are a rich source of inspiration and allusion for visual artists are discussed, hinting at the play of opposing tendencies, the dance between order and randomness, and the ways in which nature can derive variations on a theme.
Exploring particular issue themes, articles will be created by contributors via invitation, commission and open submission from subscribers.
John D Barrow is a Fellow of the Royal Society and has been Professor of Mathematical Sciences at the University of Cambridge since 1999, carrying out research in mathematical physics, with special interest in cosmology, gravitation, and particle physics. He is the author of over 420 articles and 19 books, translated in 28 languages, a number of which deal with the relationship between art, maths and science. This article is taken from his latest book ‘100 Essential Things You Didn’t Know You Didn’t Know About Maths and the Arts’.
Artist, Maureen McQuillan, explores aspects of growth and unpredictability, repetition, replication and imperfection in the process and activity of drawing itself. Her work has often been compared to scientific imagery and encoding but paradoxically results from simple means. As she has stated, “I do not believe it is necessary to sacrifice working by hand in order to reflect my interest in the way technology has shaped, changed and enriched the way we see the world.”
“In Sugababe, we have regrown Vincent van Gogh’s ear….from tissue engineered cartilage, containing natural genetic information about him as well as genetically engineered components.” In an intriguing combination of art and science, Diemut Strebe used cells from Lieuwe van Gogh, nephew in 4th generation from Vincent van Gogh, descending in a direct uninterrupted male line, and other DNA to construct a living replica of the ear. One can even speak to the ear through a microphone system.
Many people associate transhumanism — the field of using science and technology to radically alter and improve the human being — with scientists, technologists and futurists. In this article, Zoltan Istvan discusses how transhumanist artists have recently been increasing in popularity and numbers. Whether it’s metal-welding sculptors, futurist-oriented video game developers or techno-musicians celebrating life extension, there is more of it being created every day, some of it in new forms of media.
Have you walked out of a pandemic movie lately with the hair raised on the back of your neck? Elaine Whittaker’s, I Caught it at The Movies, is a mixed media installation of digital images, painting and live bacteria that blurs the boundaries between what is real and what is manufactured, what is animate and what is inanimate.
Transhumanism has been around for nearly 30 years and was first heavily influenced by science fiction. Today, transhumanism is increasingly being influenced by actual science and technological innovation, much of it being created by people under the age of 40. It’s also become a very international movement, with many formal groups in dozens of countries.
The Soyuz capsule roared into the pre-dawn darkness just after 3 a.m. Monday (2100 GMT Sunday) from the Russian manned space facility in Baikonur, Kazakhstan, en route for the International Space Station. Aboard the capsule are Russian Anton Shkaplerov, NASA’s Terry Virts and European Space Agency astronaut Samantha Cristoforetti of Italy. There was also a small telescope, that will be used in an extraordinary project, Wigner’s friends, that will create a universal show consisting of all possible works of art at once.
Blending physics, psychology, and philosophy, internationally renowned writer, Peter Russell, leads us to a new worldview in which consciousness is a fundamental quality of creation. He is fascinated by how light is a recurrent theme in meditation, religion, philosophy and modern physics, and asks ‘Does physical reality and the reality of the mind share common ground in light?’
Dmitry Gelfand and Evelina Domnitch create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity.