Two quick points in response to your post, Stephen: One, what I'm most
interested in here is how art-science can pro-actively accelerate the
"slow-growing seedlings of doubt," the "slow decline of confidence in a
concept of the supernatural." Two, in response to your comment that
"metaphorically, pictorial and illusionistic space is to the painted
object, as imaginary and supernatural space is to science.... The
collaboration between art and science is a direct descendent of those
earlier artistic movements and scientific discoveries that faced away from
the window of illusion and unshackled the notion that what is real is
vastly more intricate in its emotional abundance, than what is not..."
Works of art such as those in REALSPACE (as far as I can tell from the
website), and others that take some real-world phenomenon of physical
nature and play with it, transpose it, underline it, or as Dissanyake would
describe, "make special," may be one of the most successful approaches for
the challenge described above. A few other works that come to mind in this
category are Natalie Miebach's work translating meteorological and
oceanographic data into musical compositions or woven basket sculptures,
Jeff Talman's "Nature of the Night Sky," Ned Kahn's works that translate
wind into visual patterns using arrays of thin, hinged metal scales, and of
course the work of the Wertheims and their many collaborators using crochet
to describe hyperbolic forms.
--
*Nancy Lowe*
*Director, Symbiosis Art + Science Alliance*
*http://symbiosisartscience.org <http://symbiosisartscience.org>*
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