No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Experimental physics, experimental art
Abstract
What happens when artists and particle physicists are brought together to exchange ideas? Ken McMullen describes the creative fallout.
... The connection between art and science has been extensively analyzed [1][2][3][4][5], with numerous sources acknowledging that, historically, both disciplines have frequently been concerned with the same fundamental concepts [6,7]. While their approaches are vastly different, both art and science seek to interpret the world around us. ...
The interface between art and science is an increasingly recognized source of innovation, yet explorations tend to skew toward art reaping the benefits of scientific developments. While, today, art is often freely embraced within scientific fields, it is rarely afforded the freedom to transform scientific research. The authors explore a new paradigm of “art-inspired science” by reimagining and computationally simulating an existing artwork as a dynamic body of cohesive particles. In the process, hanging forms of “granular stalactites” are identified and subsequently reproduced in an idealized simulated system. A resulting theoretical “stickiness” model could have wide technological application. Artworks may therefore serve as catalysts for distinctive scientific research, allowing a mutually productive relationship between the disciplines.
... Collaborating with scientists and researchers globally, Patterson (2007) created a phone line that could be called from anywhere in the world through which one could listen to a glacier melting. In addition to this, McMullen (2005) described how a group of artists worked with scientists at the European Organization for Nuclear Research (CERN) to create artworks which reflected theories in the realm of physics, such as the crumple effect. ...
The Earth and atmosphere are in constant motion. Volcanoes, glaciers, earthquakes, thunderstorms, and even the aurora borealis produce powerful low-frequency sounds known as infrasound. Infrasound is constantly passing through our atmosphere at frequencies of less than 20 Hz, below the range of human hearing, which is effectively an inaudible symphony. Inspired by wanting to allow physical access to this natural phenomenon, a collaboration between the worlds of contemporary art and meteorology has been developed. This led to a project called hertz, named after the 19th century physicist Heinrich Hertz, whose surname provides the scientific unit (Hz) for frequency. Hertz explores the manifestation of the hidden vibrations of our own planet and the secret harmonies of our stars. The manifestation of the hidden vibrations of our own planet was principally achieved using a subwoofer and furniture adapted to vibrate to the amplitude of infrasonic waves from pre-recorded sources and in real time. The project's motivations are to explore new methods for experiencing and re-engaging with parts of our planet through this phenomenon. Hertz has had a UK national tour in which 7000 people interacted with the piece, of which approximately 85 % felt more reconnected to the environment after interacting with the installation. This paper describes the concepts, creative ideas, technology, and science behind the project. It addresses its development, including the steps to make it accessible for all, and examines its impact on those who created and interacted with the work.
In scientific research we want to find answers to questions about the nature, generating even more questions. When we understand something, we felt pleasure, and that is the motivation which has brings us to our actual knowledge. The arts have three common characteristics. the pleasure experienced by the artist while he produces a work of art, the pleasure felt by the audience who observes such a work, and the need for aptitude or inspiration. In a similar way, when we understand something, we also experience a kind of pleasure, and such a pleasure can be transmitted, and it need inspiration. Therefore, we could say that thinking is an art. With demonstrations, experiments and question we will show that understanding is pleasurable. That pleasure motivates the researcher, as an artist. When we research a topic interesting to us, we have better ideas just because we think about it without effort. There are two profound consequences if scientific work is an art: in its teaching, because teaching an art is quite different as forming craftsman. In the profession, to practice an art is agreeable. When choosing a profession it is very important that we like its practice, we will found an increased efficiency.
ResearchGate has not been able to resolve any references for this publication.