On June 2nd, I attended the opening reception of the DMA Senior Exhibition - Staring in the Age of Destruction (S.A.D.). This is the first Design Media Arts Exhibition I have participated in and it was a great experience. Though I might not resonate with most pieces, it is quite interesting to read through their descriptions and understand the artists’ motivations through them. The pieces are all incredibly creative in their own way, from the media chosen to the topics covered. I found it rather hard to connect the topics the pieces are trying to convey, however. I was not able to get hold of most artists since they are probably walking around and enjoying the exhibit themselves. I would love to have the chance to talk to them about their pieces in the future!
Fortunately, I did had the chance to learn about one of the pieces from the artist himself. The piece is a paper model of several buildings resembling skyscrapers found in just about all major cities around the world. A projector is used to illustrate the appearance of the buildings throughout the day. As explained by the artist, this piece reflects the lack of identity in cities nowadays. Since the model is so generic, it is hard to pinpoint the exact city it portrays yet at the same time, portrays most if not all cities around. I agree with the artist regarding the uniformity of the cities. Due to globalization, the architecture all around the world are getting more and more similar. Apart from cityscape, the once disparate cultures are slowly merging together as technology allows for the quick exchange of information across regions. The artwork brings attention to the downside of globalization, which is often overlooked for the advantages.
The artwork is a prime example of what I think art should be: bringing issues that need to be acknowledged into the limelight in a more understandable and viewer-friendly manner. As I read through the other artworks’ descriptions, I began to understood that these pieces are like a gateway to understanding the artists behind them. They represent issues that they care about and expressed through media that they enjoy working with. It is an enjoyable experience getting to understand and admire these artwork as well as learn to see the world from the artist's’ point of view.
On June 2nd, I attended the ART+BRAIN and MORPHO Nano Catalogue Launch at the ArtSci Gallery in UCLA California NanoSystems Institute. The event started off with brief introductions from Professor Victoria Vesna of UCLA, Professor Patricia Olynyk of Washington University, Professor Mark Cohen of UCLA, David Familian of UCI, and Professor James Gimzewski of UCLA. They all provided an overview of the work they do as well as their contribution to the projects mentioned. It is interesting to learn about how artists and scientists can work together to create something this interesting and thought-provoking. Afterwards, we were encouraged to talk to the speaker regarding their field of interest as well as their work in academia. There were copies of the projects both in digital and printed format for us to read and gain a more holistic understanding of these collaborations between art and science.
Being the last event of the quarter, the reception certainly did not disappoint. Throughout the quarter, we have learned so much about the relationship between art and science, how artists and scientists work together to come up with amazing innovations. This event provided a chance for us to not just understand more about the collaboration but also learn about it directly from artists who have been working with scientists and vice versa. As mentioned by the speakers, I believe that art+science is indeed going to be a powerful force moving forward if the materials we learned in the course was any indication.
It is also nice to see how these projects can bring academics and researchers together, not just across fields but also institutions. While the majority of the speakers are from UCLA, these projects also brought along Professor Olynyk and Familian from their respective institutions to speak to us about their work. Overall, I enjoyed the event. It provided us with the opportunity to meet and talk to innovators face-to-face, understand their work and see them through their point of view. It was also a great chance for them to showcase what they have been working on and present their idea to the public.
Carl Sagan once said: imagination will often carry us to worlds that never were but without it, we go nowhere. Long before space exploration was considered a reality, artists have been creating countless pieces depicting the version of outer space they fashioned in their own mind. These artistic masterpieces served as inspiration to space explorers in the 20th century, and continue to inspire young minds til this day.
Buzz Aldrin on the surface of the moon
Space is a culmination of all the topics we have covered so far in this course, and similarly, owes much of its success to art. The lack of knowledge in this field allows artists to craft their work without the restraint of reality. From 2001: A Space Odyssey to the Martian, film makers have been exploring the idea of life in space for decades. Not only did these pieces inspired many to pursue a career in space exploration, they also provided a surprisingly realistic look at life in space in the future. Some may even say that they directly influenced the development in space exploration technologies.
Poster for 2001: A Space Odyssey
Take 2001: A Space Odyssey as an example, it is important to note the similarity between the space stations on film and in reality, flat-screen computer monitors and in-flight entertainment on film that were only invented after the movie was aired. These films not only brought space exploration into the spotlight but also provided inspiration for inventions crucial to the program.
At the same time, the imagination of artists also illustrates the downsides regarding this field. While many have devoted their lives to connecting with unknown civilizations, fictional work depicting hostile aliens serve as note-worthy cautionary tales.
Daleks on Doctor Who
On the other hand, the advancement in space technologies allowed for a new field of artistic expression, 'Space Art'. Artists such as Chesley Bonestell work with scientists to create fascinating depiction of the universe aimed to publicize space exploration to the public. These pieces introduce the wonders of the universe and space exploration technologies. At times, spacecrafts are not only the subject of the artwork but also their carrier. Paintings, sculptures, and many more have flown in them and might even be left on the moon!
Exploring Mars by Chesley Bonestell(1953)
As proven time and time again throughout this course, art and science are inseparable. Their subtle yet undeniable connection allow both fields to flourish under the influence of one another and I look forward to seeing what the future holds for them.
Citations:
2001, a Space Odyssey. Dir. Stanley Kubrick. Prod. Stanley Kubrick. By Stanley Kubrick, Arthur C. Clarke, Geoffrey Unsworth, and Ray Lovejoy. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. Metro-Goldwyn-Mayer, 1968.
"45th Anniversary of Apollo 11's First Human Landing on the Moon." Arabian Business. N.p., 21 July 2014. Web. 08 May 2016.
"Dalek." Tardis Wikia. N.p., n.d. Web. 08 May 2016.
"N.A.S.A. Space Shuttle Columbia Mission STS-61-C January 12, 1986 G-481." Vertical Horizons. Vertical Horizons, n.d. Web. 08 May 2016.
"The 1st Art Exhibition in Earth Orbit on EUROMIR 95." Ars Ad Astra - The 1st Art Exhibition in Earth Orbit. OURS Foundation, n.d. Web. 08 May 2016.
Vergano, Dan. "Who Was Carl Sagan?" National Geographic. National Geographic Society, 17 Mar. 2014. Web. 08 May 2016.
Woods, Athur. "Cosmic Dancer - a Space Art Intervention by Arthur Woods." The Cosmic Dancer Project : Art In Space : Arthur Woods. Arthur Woods, n.d. Web. 08 May 2016.
On May 7th, I attended the AIX Scent Fair at the Hammer Museum. Co-presented by The institute of Art and Olfaction and Luckyscent/Scent Bar, the three-day scent fair contains a myriad of events and activities, such as a Kickoff Keynote & Panel, Workshops, Award Show, and more. During our visit, none of these events are on-going and we only visited the 43 showcases on the third floor of the museum.
Since this is a fair regarding the art of fragrances, it was quite an different experience than other art fairs I have attended. The fragrance makers are all kind enough to share with us the inspiration behind their work, and it is fascinating to see how they chose different scents to portray their ideas. The way they select the components of the fragrances are not just based on how they can complement each other to produce a pleasant aroma but also how well they fit into the story they want to tell through the fragrance.
Douglas Bender and I
Another aspect I found interesting regarding the exhibits are how they are decorated so deliberately to help with the story telling. From the table stands to the tester design, it is easy to tell how much effort was put into the planning process.While some opt to let visitors test the fragrance out of the bottle, others chose to put the fragrance on other objects. The showcase that I found the most remarkable is the one by Douglas Bender from Charenton Macerations. The three fragrance he brought to the showcase are 'Asphalt Rainbow', 'Christopher Street', and 'Eye, Hatshepsut' as part of his Nothing2See piece. As he was telling the story of each fragrance, visitors are shown the contents of a box and smell the fragrance in it. The boxes are great visual aids that helped us understand the meaning of the fragrance.
Although the fragrances showcased in the fair are not the most aromatic, the stories behind them make them the most remarkable ones around. I highly recommend this exhibition to anyone interested in an atypical way of storytelling (who is not sensitive or allergic to fragrance and perfumes).
A tip for those who plan on attending the fair: the fragrance can cause headaches after a while, it helps to bring and smell a can of coffee bean in-between trials to neutralize the fragrance and lessen the headache.
Throughout this quarter, we have been encouraged to explore the relationship between art and science. In fact, the subject of this week's discussion is the perfect example of their symbiotic relationship.
Due to the nature of nanotechnology, the field was merely conceptual until a major breakthrough in early 1980s when Scanning Tunneling Microscope (STM) was invented, allowing for the imaging and manipulation of particles at the atomic level. Since then, nanotechnology has been applied in countless consumer and military products, and is commonly regarded as the key to the future technological advancements. I believe that if the technology is applied properly, not only will it provide a new way to create art, it can also revolutionize the field of art conservation.
Zinc Oxide Nanorod Landscapes by Kajene Murugathasan and Xufan Li
Funded by the European Union, the Research Center for Colloids and Surface Science in Italy had been experimenting withproducts that can clean and conserve artwork in a safer manner. Four classes of preservation and cleaning products are created for different materials using nanotechnology: Nano-particle dispersions for plaster, marble and other carbonate materials; Alkaline nano-particle dispersions for pape, parchment and leather; Oil-in-water micro-emulsion as coating removal; and Thin gel for cleaning oil paintings. These methods are already being used at museums and poised to be commercialized in the near future.
Fresco from the S.Cristoforo Church in Milan
(Before and After cleaning with microemulsion)
Aside from art restoration, nanotechnology are often used as a tool by artists in their work. Through the use of STM, scientists and artists are able to produce illustrations and images during their research that turned out to be quite beautiful. Researchers from IBM even produced a minute-long animated film using these images.
'Rose Petal' by Parize Romain
On the other hand, art can also be the key to understanding scientific concepts. In the exhibitions created by Professor Victoria Vesna and Professor James Gimzewski, the audience are able to experience nanotechnology first-hand. The nature of nanotechnology makes it very difficult for the general public to understand without first having a scientific background. This project offered visitors the chance to manipulate carbon molecules using their shadows, all while viewing the changes in atomic behavior.
The symbiotic relationship between science and art is irrefutable. Nanotechnology without art would be nearly impossible for everyone to grasp while without nanotechnology, we could soon lose some of history's most remarkable pieces and new illustrations at a nano-scale would never see the light of day.
Kapoor, Aarti. "NanoScienceWorld." NanoArt: When Science And Technology Meet Art by Aarti Kapoor. NanoScienceWorld, 2 May 2010. Web. 06 May 2016.
Lovgren, Stefan. "Can Art Make Nanotechnology Easier to Understand?" National Geographic. National Geographic Society, 23 Dec. 2003. Web. 06 May 2016.
MediaArtTube. "Victoria Vesna and James Gimzewski - Zero@wavefunction, Responsive Environment/ Nano Art, 2001." YouTube. YouTube, 21 Sept. 2009. Web. 06 May 2016.
Murugathasan, Kajene, and Xufan Li. "Pan Group." Pan Group. University of Georgia, n.d. Web. 06 May 2016.
Newsroom Editior. "The Fine Art of Nanotech - Horizon 2020 - European Commission." Horizon 2020 - The EU Framework Programme for Research and Innovation. European Compission, 23 June 2015. Web. 06 May 2016.
On May 3rd, I attended a lecture hosted by Anne Niemetz, a media artist and UCLA alumni. During the hour-long lecture, Niemetz briefly introduced her work in interactive installation and wearable technology as well as the work by her students in World of Wearable Art, a leading international design competition.
Dancer Performing Standing Waves
The lecture started off with a short yet engaging introduction to her work in installation and stage, namely REVOLVE, Standing Waves, and The Dark Side of the Cell, giving the audience a insightful look into the artist's process. Throughout her presentation, she repeatedly stressed the importance of science in her work. I am particularly impressed by the presentation she gave regarding Standing Waves, a piece integrating the study of sound and sleep patterns into dance choreography. She showed a thorough understanding of beats as well as the human physiological cycle. Through the use of different frequencies, she was able to demonstrate the concept of beats in a simple yet comprehensive manner. This is rather surprising since it never occurred to me that artwork can be such a useful tool in introducing scientific concepts! I remember learning about the same concept in a physics lecture and although the professor tried using demonstrations to make it as interesting as possible, Niemetz did a much better job at explaining the basics in a more straightforward manner.
'Ura ra' by Rachel Hockin
She then moved on to introducing some of her students' best works in World of Wearable Art. WOW is described as a annual gathering of the most innovative minds in the field of wearable art, and needless to say, the work presented are stunning and beyond impressive. The way technology is integrated into the designs are spectacular and is the perfect example of how technology and art can join forces to create something both beautiful and functional. Out of all the garments presented, Rachel Hockin's work 'Ura ra' is the most memorable piece. This piece is inspiring not only because of the level of through behind each and every piece of this elaborate costume but also the way technology is incorporated to take it to the next level.
Compared to the first art|sci event I attended, I enjoyed this event a lot more and would recommend it to anyone interested in design. All the pieces presented are truly fascinating and I am grateful for the chance to be introduced to such wonderful pieces of art.
On April 19th, I attended an Art|Sci DMA lecture by Toni Dove, a New York-based artist and pioneer in the field of interactive cinema. During the lecture, Dove started off by describing her work with interactive narrative since the 90s, and how she experiments with experimental theater as well as film-making. She went on to introduce some of her more noted pieces, such as 'Spectropia: A Ghost Story on the Infinite Deferral of Desire', and 'Lucid Possession'. They are all created from a feminist standpoint with hints of science fiction and unlike any other art pieces I have seen before because the performance incorporate both pre-made films as well as movement of the artist at that moment. Dove demonstrated how she manipulates the films during her performance using a computer interface. I found it particularly fascinating to see how her hand gestures are able to control the speed and presentation of the movies. This is a perfect example of how art and science can collaborate to create a new art form, one dubbed as "cyber-theater" by Dove based on its interactive nature. A computer program is responsible for translating the artist's motions into instructions that can control the film.
A sketch of one of her pieces
Although the work she presented are quite intriguing and unusual, I found it strange that she was unable to present a reasonable answer when asked about the purpose and motivation behind her work. To me, art is not only a way for people to express their emotion but more often, one to portray an idea and present it to the public. Throughout her lecture, Dove never addressed the reason behind creating such pieces and even when prompted, failed to explain in a way that I and several others could understand. While I acknowledge that one does not need to have a reason to create art, I am very curious about the means she used to obtain the sponsorship for the creation of these pieces when so many research projects developed for the betterment of the society are forced to shut down every year due to lack of funds.
That being said, I highly recommend Dove's lectures and performances. It is wonderful to see how the collaboration between art and science has give birth to a myriad of art forms that would otherwise never have existed and I look forward to attending more similar lectures.
As Picasso once said: 'Art washes away from the soul the dirt of everyday life', art has long been considered as a method for people to express themselves and relieve stress from their daily life. Indeed, recent studies in cognitive research have shown that art, both the creation or the appreciation of work, can significantly improve the brain's functionality.
The study, 'How Art Changes Your Brain', focuses on understanding the effects of visual art at a neural level. Participants are divided into two groups: the visual art production group actively produce art in an art class while the cognitive art evaluation group asses artworks at a museum. The paper explains how those producing art showed greater spatial improvement in functional connectivity as well as greater psychological resilience than the others. Although many people have stood by the relaxing effect that art creation supposedly brings, this finding provides concrete proof regarding the neurological effect of art and begs the question: if art had such a significant effect on the brain, what would be the brain's influence on the perception of art?
Neuroesthetics, the study of neural bases for the contemplation and creation of art, is a field devoted to understnad the aesthetic perception of art at the neurological level. Since primitive visual stimuli like lines prompts the repeated activation of neutrons and result in the viewers' aesthetic enjoyment, understanding the working of the brain can not only explain why some artworks are more appealing to the audience but also how they look the way they do.
A classic example explained through neuroesthetics is 'Mona Lisa' by Leonardo Da Vinci. Through focusing on different areas of the painting, the expression on Mona Lisa's face seems to change. Since there is a discrepancy in our peripheral and central vision system, Mona Lisa's smile appear to extend as our focus move from Mona Lisa's mouth to eyes. This is because the shadows from her cheek is considered part of the smile by the peripheral system and affect the image processed by the brain.
Mona Lisa
Simulation of the perception of Mona Lisa when viewed in the peripheral vision, on the left and middle, and straight-on.
It is very interesting to understand the effects the brain and art have on one another. I believe as the field of neuroesthetics develop, it will only help foster the development in art by finding new ways to appeal to the brain.
Research in neuroesthetics shows that blurry images connect more directly with emotional centers of the brain, adding emotional appeal with the blurriness of the face.
Citations
Alban, Deane. "The Mental Health Benefits of Art Are for Everyone." Be Brain Fit. Be Brain Fit, 21 Oct. 2015. Web. 25 Apr. 2016.
Bergado, Gabe. "Science Shows Art Can Do Incredible Things for Your Mind and Body." Mic. Mic, 15 Dec. 2014. Web. 25 Apr. 2016.
Bolwerk, Anne, Jessica Mack-Andrick, Frieder R. Lang, Arnd Dörfler, and Christian Maihöfner. "How Art Changes Your Brain: Differential Effects of Visual Art Production and Cognitive Art Evaluation on Functional Brain Connectivity." PLoS ONE 9.7 (2014): n. pag. Web.
Brooks, Katherine. "Study Says Making Art Is Good For Your Brain, And We Say You Should Listen." The Huffington Post. TheHuffingtonPost.com, 08 July 2014. Web. 25 Apr. 2016.
Clow, Angela, and Cathrine Fladhoi. "Normalisation of Salivary Cortisol Levels and Self-report Stress by a Brief Lunchtime Visit to an Art Gallery by London City Workers." WestminsterResearch. University of Westminster, 2006. Web. 25 Apr. 2016.
"Imagerie Très Haute Defintion :: Le Joconde." Centre for Research and Restoration of the Museums of France. Centre for Research and Restoration of the Museums of France, 2013. Web. 25 Apr. 2016.
Landau, Elizabeth. "What the Brain Draws From: Art and Neuroscience." CNN. Cable News Network, 15 Sept. 2015. Web. 25 Apr. 2016.
Mallonee, Laura C. "Study Finds Making Art May Keep Our Brains Healthy." Hyperallergic RSS. Hyperallergic RSS, 07 July 2014. Web. 25 Apr. 2016.
'Riddle of Life' by Joe Davis with the message: 'I am the riddle of life. Know me and you will know yourself.'
What interests me the most in the topic discussed this week is how genetic manipulation are used to create BioArt that in turn, encourages discussion about the consequences of genetic engineering.
While humans have been experimenting with genomes for centuries through selective breeding, direct manipulation of DNA is a relatively new field. Since then, scientists have been assembling different types of DNA, creating transgenic animals and genetically modified organisms (GMO). Although GMO production has greatly alleviated world hunger, its consequences have been the center of a heated debate ever since. Artists are able to bring these controversies to light through BioArt.
One of such artists is Eduardo Kac, who first coined the term BioArt. Kac is a pioneer in many genres but his most publicized works center around the usage and critique of biotechnology. His first transgenic artwork, 'Genesis', is a particularly thought-provoking piece. It explores the relationship between biology, computer science, and the ethics behind these sciences. Kac created an 'artist's gene' by translating a quote from Genesis 1:26 in the bible (about human's superiority over nature) into Morse Code and DNA base pairs. They are implanted and displayed into an E.coli bacterium. Viewers are able to shine an UV light on the bacterium to cause mutation in its genes, as well as the biblical quote. This piece is especially interesting since the act of changing it stems from the viewer's disagreement with the quote but at the same time, it only reaffirms the quote's meaning.
Genesis
Similar to Kac, Joe Davis has also experimented on genetic engineering in his work, from genetically engineering silk worm to spin metallic gold to encoding a map of the Milky Way into the ear of a mouse. The most intriguing of all is titled 'Malus Eccelsia', a project to insert a DNA-encoded version of Wikipedia into an apple and create a literal living tree of knowledge. Since the apple was referred to the forbidden fruit in the bible and the U.S. government restricts unregulated eating of genetically altered plants, the mutated apple would literally be twice forbidden. This project, just like Davis's career as an Artist Scientist, is a perfect example of the collaboration between arts and sciences.
Transgenic silk from genetically modified silk worms
Since BioArt is still a relatively new field, I look forward to seeing how it would develop in the future and its impact on society's view on biotechnology.
Lynch, Lisa. "Trans-Genesis: An Interview with Eduardo Kac." Kac Web. Eduardo Kac, Spring 2003. Web. 24 Apr. 2016.
Osthoff, Simone. "Eduardo Kac's Genesis: Biotechnology Between the Verbal, the Visual, the Auditory, and the Tactile." Kac Web. Eduardo Kac, Oct. 2001. Web. 24 Apr. 2016.
If I were to describe the relationship between medicine, technology, and art with one sentence, I would say that the technological advancement in the field of medicine provided a new medium for the expression of art.
Nowadays, it is not uncommon to see art in the form of make-up. With make-up, people compose incredible work on themselves and alter their outlooks temporarily, their own bodies representing their standard of beauty, their own faces becoming movable art installations.
The most-watched make-up tutorial on youtube with more than 100, 000, 000 views in total
Aside from make-up, plastic surgery also offers a way for people to use their body as a medium of art.
In this week's lecture, Professor Vesna introduced a brief history of plastic surgery and examples in which artists are able to create artwork by changing their body. When it comes to plastic surgery, the kind of augmentation that first comes to mind are cosmetic surgeries, performed simply to increase attractiveness. I am fascinated to find that plastic surgeries were first documented over 4000 years ago. It is also interesting to see how techniques first developed to reconstruct damaged body parts are now being used more often as an art form.
The work of ORLAN, The Reincarnation of Saint-Orlan, is particularly fascinating to me. ORLAN underwent multiple plastic surgeries to acquire beauty as depicted by male artists. The unrealistic idealization of female beauty is often observed in paintings by male artists. While such impractical conception is usually criticized by female artists, ORLAN chose to embrace and portray it using her own body. Without the advancement in plastic surgery, this and many other artworks alike, would not have been possible.
ORLAN during one of her plastic surgeries
While plastic surgery acts as a medium for art, other fields of medicine inspire the creation of artwork instead. As mentioned by Professor Vesna, images from medical imaging systems are often interpreted as art. This belief is shared by Laura Jacobson, inspired by MRIs of the human brain to create clay sculptures, etchings, and acrylics. Using her own brain scans, Jacobson was able to create works that connects society, mind, and brain, as well as investigate the connection between neuroscience and society.
A piece from Jacobson's collection, Brain Scapes I
A piece from Jacobson's collection, Brain Scapes I
This week's discussion offers a lot of insight into the connection between technology and art in ways unexpected. I am surprised to learn that medicine, a field seemingly unrelated to art, could have such impact on the work of body artists as well as traditional artists.
Citation
"Contoversial Artist Orlan The Reincarnation of Saint-Orlan - Creative Mapping." Creative Mapping. Creative Mapping, 04 Aug. 2014. Web. 21 Apr. 2016.
Donald, Brooke. "Artwork Inspired by MRI Brain Scans Installed at Stanford Imaging Center." Stanford University. Stanford University, 5 June 2013. Web. 21 Apr. 2016.
Technology, especially robotics, have been long regarded as a tool used for the advancement of arts. From 3D printers to computer aided drawings, the development in robotics has given artists new ways to envision and create their work. However, we often neglect the effect that art has on robotics. Creative minds are always imagining new ways that robotics can evolve, playing a huge role in shaping the future of robotics. The most prominent way that art influences robotics is through science fiction movies.
Sci-fi movies are known to depict futuristic technologies that are yet to invented or discovered. While the technologies are often deemed impossible at the time they were introduced, many turned out to be quite feasible as our technology improves, and serve as inspirations to real life inventions.
Robot Duel in Movie "Robot Jox"
An example of how ideas portrayed in movies inspired scientific mind is through the movie 'Robot Jox'. This movie, along with many others, introduced the idea of robotics to the general public. Generations of children grew up watching giant robots face off one another during battles and fantasizing the possibility of those dramatic duels coming to life one day.
The Robot by Megabots - MK II
This is reflected in the similarity between the fictional robots and those in real life when technological advancement finally caught up with the imagination of artistic minds. The advancement allows people to make their childhood dream come true - recreating the iconic robot duel seen in numerous movies. The work of screenwriters and movie directors motivates people in pursuing technological advancement and is the driving force behind the improvement in robotics.
Another example of art influencing robotics is how the Iron Man suit as illustrated in comics, printed artwork, and movies, is helping the world rethink armor designs for military usage. It has always been a priority to countries around the world to protect their soldiers during combat using the latest technologies. The suit worn by the fictional superhero has inspired scientists in the US army to approach it from a new perspective, a more high-tech and electronically powered option.
Despite the notion proposed by Walter Benjamin that the mass production of art results in the loss of originality, I do believe that the goal of art is to influence as many people as possible and would be worth sacrificing the 'aura' of the original work if it leads to advancements that will benefit the humankind.
Citation
Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
Iron Man. Dir. Jon Favreau. Prod. Avi Arad and Kevin Feige. By Mark Fergus, Hawk Ostby, Art Marcum, and Matthew Holloway. Perf. Robert Downey, Terrence Howard, Jeff Bridges, and Gwyneth Paltrow. Paramount Pictures, 2008.
Person, and John Biggs. "A Million Dollar Robot Suit Is Available On." TechCrunch. TechCrunch, 16 Jan. 2014. Web. 17 Apr. 2016.
Robot Jox. Dir. Stuart Gordon. Prod. Charles Band. Screenplay by Joe Haldeman. Perf. (Gary Graham, Anne-Marie Johnson, Paul Koslo. Trans World Entertainment, 1990.
"Support Team USA in the Giant Robot Duel!" Kickstarter. Megabots, 18 Aug. 2015. Web. 17 Apr. 2016.
"US Army Tests Real Life Iron Man Suit." YouTube. The Next News Network, 28 Feb. 2014. Web. 17 Apr. 2016.
Mathematics and art are often described as subjects of polar opposite natures: one being a subject of logic and objectivity, another focusing on the expression of emotions and subjectivity. At school, the way we are encouraged and taught to think when approaching math problems are methodical, a step-by-step process designed to result in a designated answer; while the approach for art is more free-formed with no right or wrong answer. Portrayed as completely separate entities at school, it is ingrained in children's mind that there are no significant link between mathematics and art. I for one, have never considered the connection between these two subjects. The lecture and readings this week acts as a very good introduction on how mathematics influenced the evolution of arts, and vice versa.
The way artists uses mathematical principle to enhance the authenticity of their artwork was particularly memorable to me. As Marc Franz explained in his lesson regarding vanishing points, the technique is helpful in establishing the space in the painting and how the different elements in the artwork are interacting in the space. Accurate portrayal of depth and proportion are essential in depicting the scene accurately. The significance of this technique can be seen by comparing between pieces from before and after the renaissance period.
The painting on the left, Old Testament Trinity, is a representation of how artworks from the pre-renaissance era often lacks the realism present in more recent work. The lack of understanding in mathematical principles might be the contributing factor towards the disproportional objects in the painting. An examination of a more recent painting displayed on top proves the importance of vanishing points in accurately portraying a three-dimensional space on a two-dimensional medium.
One of the more memorable concepts mentioned in this week's lecture is how nature, art, and architecture can be described using the mathematical concept of the golden ratio. Upon researching more about the use of golden ratio in art, I am surprised to find how deeply rooted the concept is in the paintings of renaissance artists. From Leonardo Da Vinci to Raphael, many artists utilize the concept of golden ratio to construct and impart a sense of balance in their paintings. The video below offers a detailed explanation of Da Vinci's use of the golden ratio and helps viewers better appreciate the work of Da Vinci using mathematical concepts.
The discussion this week regarding the relationship between mathematics and art encouraged me to look for traces of mathematics present in both art and around us. Indeed, although the mathematical concepts we learn about in school seems purely theoretical at times, they are often useful in explaining phenomenons of the world we are in, as well as helping us appreciate elements in art that would otherwise never be developed.
Fortunately, I did had the chance to learn about one of the pieces from the artist himself. The piece is a paper model of several buildings resembling skyscrapers found in just about all major cities around the world. A projector is used to illustrate the appearance of the buildings throughout the day. As explained by the artist, this piece reflects the lack of identity in cities nowadays. Since the model is so generic, it is hard to pinpoint the exact city it portrays yet at the same time, portrays most if not all cities around. I agree with the artist regarding the uniformity of the cities. Due to globalization, the architecture all around the world are getting more and more similar. Apart from cityscape, the once disparate cultures are slowly merging together as technology allows for the quick exchange of information across regions. The artwork brings attention to the downside of globalization, which is often overlooked for the advantages.
