We are surrounded by complex structures and systems that appear to be lawless and disorderly. Mathematicians try to look for patterns in the seemingly chaotic behaviour and build models that are simple, and yet have the capacity to accurately predict the reality around us. But can a scientific or mathematical model have any artistic value? It seems that the answer is yes. There is a group of digital and algorithmic artists that use science and computational mathematics to create visual art. However, there is an even smaller group of people whose art and science coincide. Meet Mark J Stock. Continue reading
Suman Vaze sits on her small balcony in crowded, bustling Hong Kong, with a view, just about, of a beautiful Chinese Banyan tree tenaciously growing on a steep stony slope, and paints mathematics. Inspired by the abstract expressionism of Rothko, the radical and influential work of Picasso, and the experimental models of Calder, she fully embodies Hardy’s belief that mathematicians are ‘maker[s] of patterns’. Our front cover is one of her pieces: the bold colours proclaim the eponymous Fermat Point – the point that minimises the total distance to each vertex of a triangle – along with its geometrical construction. Add an equilateral triangle to each side of the original triangle then draw a line connecting the new vertex of the equilateral triangle to the opposite vertex of the original: the intersection of these lines gives the Fermat point. Not only do these lines all have the same length, but the circumscribed circles of the three equilateral triangles will also intersect at the Fermat point.
This issue’s cover picture is a creation of Anthony Lee, a young British artist, who has always been fascinated by exploring the possibilities of creating images through light. In Anthony’s eyes, this experimental process is the result of “the idea of an ephemeral substance or state, the idea that the captured moment was never intended to last or be repeated. In my light images neither the light nor the shape can last and yet they stay captured in the image I present.”
It is interesting to notice where both the artistic and scientific processes intersect and interact with each other – and where they do not. The artist, Anthony, is looking for a way to use scientific knowledge to express his personal emotions and inner thrills; and the resultant art is the outcome and purpose that elevates and distinguishes the science. And yet Anthony is bending and filling reality with his own meanings – his “ephemeral” ideas of light and shape – that are changeable and unique to him. Contrast this with the aims of scientists, who look for permanent truths that affect every observer, irrespective of their uniqueness in this space-time continuum.