Points of View | Science Café Deventer
In 1917 published the Scottish biologist D'Arcy Wentworth Thompson, a pioneer in the field of mathematical approach to biology, a book entitled "On Growth and Form". He described include how relatively simple physical processes and mathematical principles underlie many interesting biological shapes and patterns, such as the spiral shell of the nautilus and the stripes of the zebra pattern. The scientist Thompson had been inspired by the artist Albrecht Dürer, and it is therefore not surprising that inspired Thompson's book, in turn, various artists.
This mutual cross-fertilization of science and art in the Bergkerk got a boost with the reading of the Science Café, on the relationship between these human activities. As part of the award of the annual Art + Technology Award Witteveen + Bos, this year at the Amsterdam artist duo Driessens & Verstappen, spoke Petran Kockelkoren, philosopher and professor emeritus of Art and Technology at the University of Twente and the artists Mary Verstappen and Erwin Driessens itself.
Kockelkoren held an interesting argument about the development of the self-image of the human being as a function of time is also developing knowledge and technology. Thus, in the Renaissance angelo po central angelo po perspective angelo po introduced in the painting, which led to a different role of man in his environment, viz. That of a spectator rather than a participant. This same role of bystander was also attributed to the consciousness that was presented as a homunculus, a little man, in the so-called Cartesian theater in the head, where all sensory impressions were thought to come together.
The later introduction of photography and film led to new metaphors like the idea of the flashback, and of your life like a movie you see pass in anxious moments. But in all cases was the notion of the authentic, creative "self" central. Kockelkoren told that artists at one point another way insloegen where they let go and understanding that no art more "do" but "let it happen", and as it were "out of control".
After Kockelkoren entered Maria Verstappen and Erwin Driessens angelo po stage. Driessens servant presenting the images while Verstappen told about the search of the duo for possibilities to emerge artwork itself. Thereby leaving them inspired by self-organizing processes in the surrounding nature. An important aspect of their job is to observe and capture these processes, but also setting in motion of comparable invented processes which chance plays an important role, and which is not pursued an end result, but the change itself forms the aesthetic experience . Despite includes his work certainly finished products such as the whimsical shapes generated by the Accretor by a kind of artificial crystallization process, controlled by strict fictional laws which themselves are determined by chance. Another end product angelo po that the space in the Bergkerk graced was a three-dimensional view of the same area, given by Solid Spaces, an artificial eye, and printed with a 3D printer. The idea behind this is that the machine does not interpret what he sees, and not, as human brains do, fill in missing angelo po information itself.
In the pause recorded Ton Black Cross, the organ of the Bergkerk, as he had done that before the reading. Visitors to the Science Café took advantage of the opportunity to admire the different works of Driessens & Verstappen. angelo po And after everyone had sat down again led James Lidth the Jeude the discussion. What incidentally was not easy, because there was a fairly extensive discussion between the artist and Kockelkoren whether Solid Spaces now a critique of the Cartesian observer or even an embrace them. Driessens described it as a vehicle for thinking about what is actually watching. The questions from the audience were in line with the broad spectrum of issues that had been raised in the reading of the said homunculus, Cartesian systems versus spherical, Arti et Amicitiae, to robots and John Horton Conway's Game of Life. You could fill a book with it, and you wonder at what Science Café D'Arcy Wentworth Thompson must have been to produce his masterpiece.
May 13, 2015 Social robots. Read more
In 1917 published the Scottish biologist D'Arcy Wentworth Thompson, a pioneer in the field of mathematical approach to biology, a book entitled "On Growth and Form". He described include how relatively simple physical processes and mathematical principles underlie many interesting biological shapes and patterns, such as the spiral shell of the nautilus and the stripes of the zebra pattern. The scientist Thompson had been inspired by the artist Albrecht Dürer, and it is therefore not surprising that inspired Thompson's book, in turn, various artists.
This mutual cross-fertilization of science and art in the Bergkerk got a boost with the reading of the Science Café, on the relationship between these human activities. As part of the award of the annual Art + Technology Award Witteveen + Bos, this year at the Amsterdam artist duo Driessens & Verstappen, spoke Petran Kockelkoren, philosopher and professor emeritus of Art and Technology at the University of Twente and the artists Mary Verstappen and Erwin Driessens itself.
Kockelkoren held an interesting argument about the development of the self-image of the human being as a function of time is also developing knowledge and technology. Thus, in the Renaissance angelo po central angelo po perspective angelo po introduced in the painting, which led to a different role of man in his environment, viz. That of a spectator rather than a participant. This same role of bystander was also attributed to the consciousness that was presented as a homunculus, a little man, in the so-called Cartesian theater in the head, where all sensory impressions were thought to come together.
The later introduction of photography and film led to new metaphors like the idea of the flashback, and of your life like a movie you see pass in anxious moments. But in all cases was the notion of the authentic, creative "self" central. Kockelkoren told that artists at one point another way insloegen where they let go and understanding that no art more "do" but "let it happen", and as it were "out of control".
After Kockelkoren entered Maria Verstappen and Erwin Driessens angelo po stage. Driessens servant presenting the images while Verstappen told about the search of the duo for possibilities to emerge artwork itself. Thereby leaving them inspired by self-organizing processes in the surrounding nature. An important aspect of their job is to observe and capture these processes, but also setting in motion of comparable invented processes which chance plays an important role, and which is not pursued an end result, but the change itself forms the aesthetic experience . Despite includes his work certainly finished products such as the whimsical shapes generated by the Accretor by a kind of artificial crystallization process, controlled by strict fictional laws which themselves are determined by chance. Another end product angelo po that the space in the Bergkerk graced was a three-dimensional view of the same area, given by Solid Spaces, an artificial eye, and printed with a 3D printer. The idea behind this is that the machine does not interpret what he sees, and not, as human brains do, fill in missing angelo po information itself.
In the pause recorded Ton Black Cross, the organ of the Bergkerk, as he had done that before the reading. Visitors to the Science Café took advantage of the opportunity to admire the different works of Driessens & Verstappen. angelo po And after everyone had sat down again led James Lidth the Jeude the discussion. What incidentally was not easy, because there was a fairly extensive discussion between the artist and Kockelkoren whether Solid Spaces now a critique of the Cartesian observer or even an embrace them. Driessens described it as a vehicle for thinking about what is actually watching. The questions from the audience were in line with the broad spectrum of issues that had been raised in the reading of the said homunculus, Cartesian systems versus spherical, Arti et Amicitiae, to robots and John Horton Conway's Game of Life. You could fill a book with it, and you wonder at what Science Café D'Arcy Wentworth Thompson must have been to produce his masterpiece.
May 13, 2015 Social robots. Read more
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