From:
Norman Watts <Norman_Watts@zzzzzzz>
Date:
Tue, 14 Feb 2006 06:06:41 -0500
Subject:
Pollock and fractals
On Feb 13, 2006, at 6:09 PM, daedelus lanthanien wrote:
Quoted text begins.Hi Norman, Fractals are one of my favorite subjects. I find
fractals in my stone work
End of quote.
As a graduate student I also used to have an interest in Rene Thom's
catastrophe theory, reading and wondering how it applied to
biological systems. I didn't have the math for it and had to deal
with it on a sort of intuitive level. In that situation you never
know if you are deluding yourself with such stuff. But there are
things in art that can move you and you wonder where they are hidden.
Can tool marks, or even more interestingly, whole organic shapes
speak a "language"? Can they repeat and mirror, act in harmony and
dissonance, sympathize and contrast? And how would you ever prove it?
You probably can't test it objectively (though maybe Taylor has done
it with paintings). Last night went to listen to the Baltimore
Symphony Orchestra perform work by a contemporary composer called
Rouse. I heard the full experience of developing cancer; the erie
early intimations, the sledgehammer news, the violence of
chemotherapy and surgery, the rise and ebb of coming to acceptance,
and the eventual dying and loss. Geri only heard noise and wished it
were over. Now sculpture doesn't have nearly as much time and detail
(and theory) to work with, but somehow it can speak, can't it?
n
- Follow-ups
- message 00391: Pollock and fractals - sue (14 Feb 2006)
- References
- message 00378: Pollock and fractals - daedelus lanthanien (13 Feb 2006)
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