The imaginary is what tends to become real.
André Breton
Visual art always goes hand-in-hand
with scientific research and discovery: from the very beginning, with the first
humans’ drawings and carvings which visua-lized objects of interest and expressed
day-to-day life, followed then by the first steps in science in ancient Egypt, Mesopotamia,
and Greece, ancient natives in both the Americas, and in China. Visualization became
a part of scientific research because drawings better explain the gist of the results
of the research and the discoveries. For this reason artists were often included
in overseas expeditions.
At certain periods in our history,
some artists successfully combined visual art practices with scientific research.
The most known example of such a combination is Leonardo da Vinci (1452-1519), a
polymath of the Italian Renaissance. His talents had a long reach, and spread far
beyond his paintings. Another example is Russian Mikhailo Lomonosov (1711-1765),
one of the brightest minds of the XVIII century.
However, these examples just prove
the supporting role that visual art played in scientific research of that time.
The situation changed at the beginning of the XX century when the world experienced
simultaneous break-through developments in physics, mathematics, space - time theories,
neuroscience, and psychology. These subjects quickly became subject to a wide array
of discussions in popular publications from Europe; and as a result gave birth to
new theories and concepts in philosophy and revolutionary ideas in visual arts.
Andre Breton, the founder and major
brain of the Surrealist movement, wrote in 1952: “...neuroscience was, from the
beginning, at the heart of Surrealism, shaping creative and critical enquiry and
informing poetic response to the question that so preoccupies the Surrealist imagination:
‘What is it to be human?” (André Breton, Conversations: The Autobiography
of Surrealism, New York, Marlowe and Company, 1993).
He believed that Surrealists like
scientists, could “lead the exploration into new areas and methods of investigation”.
Breton paid attention to the new findings in modern science and was impressed by
the concepts of the theory of relativity and quantum mechanics. He constantly drew
the parallels between these theories and Surrealism and pointed out their mutual
connections. He once mentioned that if “Einstein had been a writer or artist
rather than a scientist, he would have been a Surrealist”.
The theory of relativity influenced
not only Andre Breton. The painting “Persistence of Memory” (1931) by Salvador
Dali (1904-1989) is a classic surrealistic work that is directly related to quantum
mechanics, space - time concepts, and the theory of relativity. Thus, in The
Coming of the Unconscious (1966), reprint at A User’s Guide to the Millennium,
London: Flamingo, 1996) J.G. Ballard (1930-2009), an English novelist and essayist,
wrote: “The empty beach with its fused sand is a symbol of utter psychic alienation.
Clock time here is no longer valid, the watches have begun to drip and melt. Even
the embryo, symbol of secret growth and possibility, is drained and limp. These
are the residues of a remembered moment of time”.
Max Ernst (1891-1976), being a passionate
reader of the popular scientific magazine Naturwissenschaften, also admired
developments in quantum mechanics and theory of relativity. As per observation of
Andre Breton, Ernst was influenced by them, and this influence got reflected in
Max Ernst’s collages.
For a better understanding of the
artworks influenced by quantum mechanics and theory of relativity let us take a
step back to the end of the XVII century - when, almost simultaneously, two major
concepts of light were developed. One was Isaac Newton’s corpuscular theory which
states that the luminous objects emit tiny particles that spread in all directions
and when they fall into the eye they cause the sensation of light. Another was Christiaan
Huygens’ wave theory that advocates that a luminous object induces vibration spread
in a substance that fills the entire Universe like waves.
Both theories were supported by experiments
and it was assumed that the light has a dual nature. In 1924, one of the founders
of quantum mechanics, Louis de Broglie (1892-1987), assumed that such dualism is
not just a feature of light optical phenomena but thet it has a universal character.
His hypothesis got dubbed “uncertainty relation”, which was taken into account
by Andre Breton.
For inspiration Breton also took
into account Freud’s developments in psychoanalysis as well as Breton’s own medical
studies and experience of treating patients in neuropsychiatric centres during World
War I.
Wolfgang Paalen (1905-1959) was another
philosopher and artist, who joined the Surrealist movement in 1935, through his
art, he consistently developed a belief that the human’s understanding of the Universe
is restricted by mechanistic postulates of the traditional Newton physics. The key
element of Paalen’s vision on the role of art was that art has to step out from
its classically descriptive nature, following and witnessing continuous change instead.
In the early 1940’s Paalen abandoned the Surrealist movement (he returned back in
1950’s) and turned to abstract impressionism. Paalen’s artworks of this period are
distinguished with his wish to follow and catch the behaviour of the surrounding
reality in light of “uncertainty relation”.
In Seeing and Showing (Dyn, # 1, 1942)
he wrote: “...not to paint after nature, but
to work according to its great rhythms, not to follow its fortuitous aspects, but
to grasp its universal procedures”. Paalen’s philosophy of art based on quantum
mechanic ideas was introduced and developed in the same issue of Dyn in the essay
L’Image nouvelle / The new image.
Considering the influence and connections
between Surrealism and new physics we can’t avoid mentioning the art of Roberto
Matta (1911-2002) - Chilean artist who moved from Chile to Europe in 1935 and joined
the Surrealist movement two years later. Like Wolfgang Paalen, he was fascinated
by the new physics developments and discoveries. His drawings and paintings of that
time were mostly focused on the microcosm of particles, their connections between
each other, the enigmatic attractions of non-Euclidean geometry. At the same time
he was interested in the Freudian theory of the unconscious, expressing connections
between the inner and outer worlds. Matta wrote in his essay: “Einstein was as
important as Freud for the modern artist” (The Logic of Hallucination,
City Museum & Art Gallery, Plymouth, 1984). The non-Euclidean geometry is traceable
through many artworks of Matta which started from the beginning of the 1940s’. The
best known ones are La Vertu Noire (1943) and The Verigo of Eros (1944).
There is another concept that started to be seen clearly in Matta’s artworks of
that period - the concept of fragility of space and, therefore, of the world that
we live in. We should say that Matta’s understanding and interpretation of certain
areas of new physics and psychoanalysis theories was quite primitive. Nevertheless,
we pay a tribute to his intuition and his attempt to establish and explain philosophical
connections between art and science.
There is another interesting observation
that can explain the Surrealists’ interest in science during the 1930s-40s’: the
significant changes in politics in Europe, which inevitably lead to their loss of
interest in politics. We know that politics were one of the constituents of the
philosophy of Surrealism, however the aim to transform the world through new physics
and other scientific discoveries became more realistic in the minds of Surrealists
at the time.
My personal experience confirms the
relationship between art and science. Being an artist and a mathe-matician myself,
I have always been interested in the progress made within the fields of mathematics,
physics, the general theory of development, and, later, psychology. Involvement
in research and mathematical modelling of very complex natural processes gave me
an opportunity not only to get familiarized with many areas of human knowledge and
their links to mathematics, but also an opportunity to see the picture on a global
scale.
Such a combination of interests within
my background is the reason why I often, unconsciously, introduce the elements of
some of these theories in my artworks. For example, “Flying over clouds”
can be considered as an illustration of the spin effect in quantum mechanics, although,
when I started this artwork, I had no idea what it would be. Usually I start to
create a space - the living world for further personas and objects. Then I take
the time to observe the space I’ve created and try to imagine what kind of inhabitants
it would have. Other paintings such as “Lovely expectations of upcoming presence”,
“Communication with reflection”, “Offbeat”, and “Elements II” illustrated
the tunnel effect in quantum mechanics, the key phenomena of this theory. The tunnel
effect happens when electrons move through a barrier that they shouldn’t be able
to move through. This was a postulate of classical Newton corpuscular theory. However,
electrons have wavelike features and this allows them, with certain probability,
to move through.
Let us turn to the engravings, woodcuts,
and lithographs of the Dutch artist Maurits Escher (1898 - 1972). In one form or
another, all of them are based on the Penrose illusion. The formulation of the principle
of this illusion was made in 1958 and belongs to a Bri-
tish psychologist L.S. Penrose (1898-1972)
and his son Roger - a physicist. There are several simple rules of how to draw such
kind of objects of different complexity. Here we are approaching very interesting
and very complex areas of mathematics – topology and the theory of surfaces. Many
contemporary artworks, mostly paintings and sculptures, are inspired by topological
objects. The most popular is the Möbius strip. The mysterious and famous Möbius
strip was invented in 1858 by the German geometer Augustus Ferdinand Möbius (1790-1868).
The story tells that when his beloved wife appeared on the threshold of the room
she was angry and categorically demanded immediately to dismiss a servant who was
so stupid that she was not even able to properly sew the ribbon. Watching gloomily
at the ribbon, the professor exclaimed: “Ah yes, Martha! The girl is not that
stupid. After all, this is a one-sided annular surface. The ribbon does not have
a wrong side!”
There is another topological object
that quite often appears in the works of art and is actually considered a work of
art itself - the Klein bottle. This bottle has no edges. Originally it was a mathematical
model, which in 1882 was invented by the German mathematician Felix Klein (1849-1925).
Its inner surface is external and its outer surface is internal simultaneously.
My enthusiasm with topology and the
theory of surfaces resulted in a few paintings: “The Swan Lake” and “The
Birth” from the “Life” series. However, an object that I put on the both
canvases is more complex than the Möbius strip or the Klein bottle. It is a projection
or “shadow” of the Boy Surface: a nonorientable surface that is one possible parametrization
of the surface obtained by sewing a Möbius strip to the edge of a disk.
These days, cutting edge computer
technology gives an opportunity to create art just by using known formulas and algorithms.
The best example is fractals. A fractal is a set that has the feature of self-similarity;
an object that exactly or roughly coincides with a part of itself, that is, the
whole has the same form as one or more parts. There are many objects in nature which
have fractal properties, for example: coasts, clouds, tree crowns, snowflakes, human
and animal alveoli systems, etc. The first descriptions of fractals appeared in
the XIX Century, however the term “fractal” was introduced by a Polish - American
mathematician Benoit Mandelbrot (1924-2010) in 1975 and became widely known with
the release of his book Fractal geometry of nature (1977). Fractals became
especially popular with the development of computer technologies, which allow us
to strikingly visualize these structures. This has been immediately taken into account
by artists all over the world. Whatever our attitude to this new form of connection
between science and art is - we must agree that we have just entered a new phase
of Surrealism development, different from the period during the 1930-40’.
*****
Agulha Revista de Cultura
UMA AGULHA NO MUNDO INTEIRO
Número 150 | Fevereiro de 2020
Artista convidado: Daniel Cotrina Rowe (Peru, 1966)
editor geral
| FLORIANO MARTINS | floriano.agulha@gmail.com
editor assistente
| MÁRCIO SIMÕES | mxsimoes@hotmail.com
logo & design
| FLORIANO MARTINS
revisão de textos
& difusão | FLORIANO MARTINS | MÁRCIO SIMÕES
ARC Edições ©
2020
Nenhum comentário:
Postar um comentário