Event 1: The Origami Revolution

I attended The Origami Revolution, which explored an interesting intersection of math

and art. While origami appears to be solely an aesthetic practice, it has applications in

engineering, biology, and robotics. Additionally, while traditional origami was motivated

by human creativity, now geometry, proofs, and computer modeling are creating intricate

crease patterns that take the capabilities of origami to a new level.

One person spotlighted was Tomohiro Tachi, an engineer and architect by training. Tachi

is currently working on perfecting a computer program Origamizer that can generate a

crease pattern for any object, effectively demonstrating that any 3D shape can be

generated by folding a flat piece of paper. This work relies on various proofs that show

shapes can be folded out of a sheet of paper. This was especially interesting to me as the

math I do is proof based, but focused on learning how to reprove things that are already

considered truth. It's cool that Tachi is working to prove something that has not yet been

shown, especially since it is out of the realm of typical mathematics. In an interview with

Demi Fang, Tachi says that interdisciplinary collaboration is dependent on “learning each

other’s “language [and] way of thinking.”

Teapot by Tachi (Venezian)

Additionally, I was interested in the work by Vincent Floderer. Unlike Tachi, Floderer was

first educated in the arts and wanted to pursue sculpting. However, his origami practice is

very focused on replicating organic structures, and can be seen as a form of biological

research and exploration. In an interview with Don Stewart, Floderer “explained that the

art has scientific, mathematical and theoretical applications...even for unlocking the

secrets of the mysterious designs we find in nature.” In order to mimic the plants and

fungi he observes, Floderer uses a crumpling, rather than folding technique that creates

thousands of tiny creases. 

Organic Origami (Jerde)

The work of these two origami creators gives hope for bridging the divide between the

Two Cultures spoken about by C.P. Snow. While one started in science and the other in art,

both have found their way to the same interdisciplinary study, and are adamant about

applying their work across fields. 

I would recommend this event as it clearly bridges the traditional gap between math and

art. Also, it goes into applications in many fields, so anyone could find something that

interests them and relates to their field of study.

Selfie from Waiting Room (Smith)

Sources:

Fang, Demi. “What I am thinking: origami artist and mathematician Tomohiro Tachi.” Form Finding Lab, https://formfindinglab.wordpress.com/2018/10/09/what-i-am-thinking-origami-artist-and-mathematician-tomohiro-tachi/. Accessed 20 April 2021.

Jerde, Eric. “Vincent Floderer, Viereck Verlag Exhibition.” Origami Tessellations, https://www.origamitessellations.com/2012/02/a-visit-with-vincent-floderer/. Accessed 20 April 2021.

Smith, Marlene. Selfie. 2021.

Snow, C.P. “The Two Cultures and the Scientific Revolution.” Cambridge University Press, 1961, pp. 1-58. 

Stewart, Don. “Origami: It's not just for cranes anymore.” Greenfield Recorder, https://www.recorder.com/Archives/2015/03/AE-040215-GR-stewart-orgami. Accessed 20 April 2021.

Venezian, Warhaftig. “Origami Teapot, Tomohiro Tach.” Treasures of Origami Art, http://www.giladorigami.com/Tikotin/MA_Tachi.html. Accessed 20 April 2021.

Post 4: Medicine, Technology, and Art

Experience with MRI

Silvia Casini reflects on the use of MRI as an artistic medium, as well as the experience of MRI as a reflective, inherently artistic experience. As someone who has undergone MRI, the second part of her argument resonated with me. Casini quotes Kenneth Wilkes, who reflects that “within the tight, claustrophobic compartment...one is forced to observe [their mental states]. One has the serendipitous opportunity to explore one’s true nature” (79). Although the environment within an MRI machine is inherently stressful, eventually the body settles into this environment and the lack of outside stimulus forces one to connect with their own internal monologue. The idea of MRI as a process that allows for self-examination, through the final images but also through the actual act of being imaged, is interesting and relevant. 

MRI Machine (Stanford)

Structure of Biological Systems 

In “The Architecture of Life,” Donald Ingber discusses the concept of Tensegrity--the idea that systems self-structure in response to tension and pressure--in regards to organic structures. In the article, Ingber mentions that “hexagons, pentagons and spirals, predominate in natural systems” (57). These shapes are famously found in DNA, the study of which was heavily dependent on Rosalind Franklin’s use of “X-ray crystallography [to] reveal the helical shape of the molecule” (PBS). I have always been interested in these organic structures, as they are structurally intricate and incredibly effective; the disciplines of sculpture and architecture have a lot to learn from them, especially in terms of stability and material efficiency. 

Structure of DNA (Pray)

GMOs and Art

I am taking a class on the science and politics of GMOs, so I was interested in Eduardo Kac’s piece "Natural History of the Enigma," in which he uses a Petunia genetically engineered to express a protein sourced from his genes to comment on “the contiguity of life between different species.” Because DNA is a universal code, genes from any organisms can be combined, and this piece is a direct representation of this scientific truth. Additionally, Erwin Driessens and Maria Verstappen’s piece “Vegetable Collections,” takes a more cynical approach to the widespread use of GMOs by preserving “rejected products...of a crop that the food industry is trying to standardize.” This piece seems to comment on the loss of diversity a perceived threat of new technologies.

Process for Creating Recombinant Plasmids to Make GMOs (BioNinja)

Sources:

Casini, Silvia. “Magnetic Resonance Imaging (MRI) as Mirror and Portrait: MRI Configurations between Science and the Arts.” Configurations, vol. 19, 2011, pp. 73-99.

Driessens, Erwin and Maria Verstappen. “Vegetable Collections.” Driessens & Verstappen, https://notnot.home.xs4all.nl/morpho/vegetables/vegetables.html. Accessed 20 April 2021.

“Genetic Modification: Bacteria Producing Human Insulin.” BioNinja, https://ib.bioninja.com.au/standard-level/topic-3-genetics/35-genetic-modification-and/gene-transfer.html. Accessed 20 April 2021.

Ingber, Donald. “The Architecture of Life.” The Scientific American, 1997, pp. 48-57.

Kac, Eduardo. “Natural History of the Enigma.” BioArt, http://www.ekac.org/nat.hist.enig.html. Accessed 20 April 2021.

Pray, Leslie. “The double-helical structure of DNA.” Scitable, https://www.nature.com/scitable/topicpage/discovery-of-dna-structure-and-function-watson-397/. Accessed 20 April 2021.

 

“Stanford Health Care's PET/MRI Scanner.” Stanford Health Care, https://stanfordhealthcare.org/medical-tests/p/pet-mri-scan.html. Accessed 20 April 2021.

“The Discovery of DNA’s Structure.” PBS, https://www.pbs.org/wgbh/evolution/library/06/3/l_063_01.html. Accessed 20 April 2021.

 

Post 3: Robotics & Art

 Blade Runner explores the possibility of artificially intelligent lifeforms becoming indistinguishable from human beings. In the film, a replicant (humanoid robot) named Rachel has been programmed with memories, leading her to believe that she is human. Deckard, who is tasked with killing replicants, develops feelings for Rachel, complicating the societal differentiation between humans and robots. 

The movie asks the question: if robots act human, appear human, and think that they’re human, how different are we, really? If artificially intelligent life is convinced of its humanity, how sure can we be of our own? According to some, the movie subtly suggests that Deckard is a replicant; as Schoenberg argues, “his name bears a resemblance to...Rene Descartes, who famously said ‘I think, therefore I am.’”

Blade Runner Movie Poster (Alvin)

Artists Ken Feingold, Ken Rinaldo, and Gijs Van Bon engage with the film’s theme: the possible convergence of humanity and artificial intelligence.

In Feingold's “Hell,” two human heads converse using speech recognition technology. Their conversation is full of misinterpretations and miscommunications, as Feingold points out, “they’re constantly searching for something that will reaffirm their desire to connect with the other one. And it’s always undermined.” This piece negates the idea that AI will ever attain human connection. Despite the robots’ ability to simulate conversation, their inability to engage with one another emphasizes their inhumanity.

Hell (Feingold)

Alternatively, in Rinaldo’s 3-Story Robots, a projected humanoid speaks of a future where “humans are...forming loving relationships with robots.” This piece mimics the ideas in Blade Runner: that AI might one day reach a place where they are not only able to simulate human behavior, but internalize humanity.

3-Story Robots (Rinaldo)

Similarly, Van Bon’s exhibit BLOM emphasizes the human characteristics already attained by robots. BLOM exhibits creativity and socialization as it interacts with children to create chalk art. 

These artistic works are motivated by the concept of AI adopting human traits, something that Mindy Weisberger argues sews a “seed of unease” in society. During the industrial revolution, machines began replacing humans in the workplace, and as technology continues to progress, AI becomes capable of more human activities. This fear of being replaced by AI, is what fuels society’s fear of industrialization and technological advancement. Our response to industrialization is characterized by this discomfort, the idea that humanity itself can be replicated, and therefore devalued.

Sources:

Alvin, John. “Blade Runner.” Wikipedia, https://en.wikipedia.org/wiki/Blade_Runner. Accessed 15 April 2021.

Feingold, Ken. “Hell.” GGM,  Ryszard Kluszczyński, https://www.ggm.gda.pl/en,0,0,1081,Ken_Feingold_FIGURES_OF_SPEECH_stolen_voices,0,0,index.php. Accessed 15 April 2021. 

Feingold, Ken. “Hell.” Ken Feingold, http://www.kenfeingold.com/Hell_L.html. Accessed 15 April 2021. 

Rinaldo, Ken. “3-Story Robots.” 21st Century Digital Art, http://www.digiart21.org/art/motion. Accessed 15 April 2021. 

Rinaldo, Ken. “3-Story Robots.” Ken Rinaldo, https://www.kenrinaldo.com/portfolio/3-story-robots/. Accessed 15 April 2021.

Schoenberg, Henrik. “AI in the year of Blade Runner.”

New Humanist, https://newhumanist.org.uk/articles/5424/ai-in-the-year-of-blade-runner. Accessed 15 April 2021. 

Van Bon, Gijs. “BLOM.”  Gijs Van Bon, http://www.gijsvanbon.nl/blom1.html.  Accessed 15 April 2021.

Weisberger, Mindy. “Why Does Artificial Intelligence Scare Us So Much?” LiveScience, https://www.livescience.com/62775-humans-why-scared-of-ai.html. Accessed 15 April 2021.

Post 2: Math and Art

As a math major and artist, I am constantly reminded of the connection between math and art, and this week’s material served to solidify and expand on this thinking: specifically I gained insight on the subjects of perspective, dimension, and sound.

Perspective and vanishing point are aspects of art that are heavily dependent on math. In his lesson on vanishing points, Marc Frantz explains technical geometric techniques to transfer 3D shapes into 2D space. I often apply this skill (first learned in engineering classes) to painting.

Additionally, “The Fourth Dimension,” examines the effects on art caused by the concept of multidimensional space. While Einstein was studying the fourth dimension and ultimately generating the concept of “spacetime,” artists like Dalí were experimenting with the idea as well. In one painting, “the legs of [a] dachshund [churn] away as he walks down the boulevard,” an artistic hypothesis of ‘seeing’ in 4D. 

Lastly, in “The Transformation of Sound by Computer,” effects like reverb are discussed. Traditionally, reverb was achieved by recording music in unlikely places or using abnormal built environments. Now, however, computers are capable of modeling the physics of sound through mathematics; reverb can be generated synthetically in a typical recording studio, or even a bedroom. 

Dynamism of a Dog on A Leash (Balla)

Gaudí’s architecture reflects many mathematical concepts, including spacetime and fractals. As mentioned by Lorentzi and Francaviglia, “Einstein’s revolution was...a revenge of Time and Dynamism against Space and Staticity.” “Dynamism” sums up the essence of Gaudí’s work, his walls ungulate, his railings grow; everything is seemingly alive and ever-changing. Additionally, fractals are present throughout Gaudí’s work. The intricate Mandelbrot set justifies fascination with these repeating, self-similar shapes. In a way, their infiniteness ties into concepts of time and dimensional mutability.

   
Left: Sagrada Família (Thomas), Right: Casa Batlló (Cardlús)

Art and math have been linked since inception, and breakthroughs in each field have fueled shifts in the other. Math is often used to make art more lifelike, but it can also be a starting point for artistically hypothesizing things that do not yet exist tangibly. Often, math predicts anomalies that science has not yet discovered; an artist’s imagination and comfort with the unknown can uniquely position them to guess at these mysteries. It is important to juxtapose math and art, as while their methodologies are different, they share a common focus on space, pattern, and movement.  

Sources:

Balla, Giacomo. Dynamism of a Dog on A Leash. 1912. Albright-Know Art Gallery, https://en.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash.

Burk, Phil, et al. “Reverb.” Music and Computers, http://musicandcomputersbook.com/chapter5/05_02.php. Accessed 6 April 2021.

Cardelús, David. "Antoni Gaudí Casa Batlló." Divisare, 29 Sept. 2016, https://divisare.com/projects/326593-antoni-gaudi-david-cardelus-casa-batllo.

Frantz, Marc. “Lessons 3: Vanishing Points and Looking at Art.” 2000, pp. 1-10.

Lorenzi, Marcella, and Mauro Francaviglia. “Art and Mathematics in Antoni Gaudí’s Architecture: La Sagrada Família.” Journal of Applied Mathematics, vol. 3, no. 1, 2010, pp. 125-146. 

“The Fourth Dimension.” Math and the Art of MC Escher, https://mathstat.slu.edu/escher/index.php/The_Fourth_Dimension. Accessed 6 April 2021.

Thomas, Janine. "La Sagrada Familia Interior." Gastrotravelouge, 5 May 2019, https://www.gastrotravelogue.com/travel/what-you-should-know-before-visiting-the-sagrada-familia/.

Weisstein, Eric. “Mandelbrot Set.” MathWorld, https://mathworld.wolfram.com/MandelbrotSet.html. Accessed 6 April 2021.

Post 1: Two Cultures

    C.P. Snow’s perspective felt familiar to me as I have also occupied space in the humanities and the sciences. I have always been interested in topics across disciplines: as a kid I enjoyed drawing as well as logic puzzles, in high school I wrote music for my band while also participating in Mathletes, and currently I am working towards a major in Applied Math alongside an emphasis in the Arts.

Map of UCLA, a campus where humanities and science buildings are separate (Porter)

    From an early age, I was pushed to commit to one interest or way of thinking, and the fabricated oppositional binary between humanities and sciences was constantly enforced. As Snow writes, most literary intellectuals “dismiss [scientists] as ignorant specialists,” pitying them for their naivety surrounding the important things in life. On the other hand, Stephen Wilson points out that scientists doubt that “artists have much to tell them about their business.” These remarks ring true to my experiences; artists tell me shamelessly that they cannot add fractions while mathematicians dismiss me for approaching problems with an artistic framework. These dismissive attitudes are silly and ultimately detrimental to both sides; as David Bohm points out scientists and artists are ultimately similar, their common goal to “create something new that is whole and total, harmonious and beautiful.” 

Illustration highlighting the common motivation between sciences and the arts (Vick)

    Kevin Kelly and Victoria Vesna both assert the existence and need for a Third Culture. While Kelly sees the Third Culture as synonymous with nerd culture, Vesna emphasizes the role of modern artists with work based in technology in bridging the gap between the Two Cultures. While Vesna's idea of the Third Culture is slightly more specific, both agree that it will be people who create and tinker with modern technologies who are situated in this in-between. I agree, and see the role of the Third Culture as not just fostering mutual respect, but communication and collaboration between humanities and science. I truly believe my greatest strength as a mathematician is my artistic ability and my greatest strength as an artist is my understanding of math. Having multiple frameworks with which to approach a problem makes you a better problem solver in any discipline; in my mind, the Third Culture must not just bridge the gap but dissolve it.

Example of art being used to explore mathematical concepts (Muspratt)

Sources:

Bohm, David. “On Creativity.” Leonardo, Vol. 1, No. 2, 1968, pp. 137-149. 

Kelly, Kevin. “The Third Cultrue.” Science, https://science.sciencemag.org/content/279/5353/992.full. Accessed 1 April, 2021. 

Muspratt, James. "The Art of Mathematics." Tangible Math, http://www.sci.sdsu.edu/tlcm/index.php/case-studies/gallery/the-art-of-mathematics#1.

Porter, Dolph. Ldngardener.com, 2020, https://ldngardener.com/campus/ucla-campus-map.

Snow, C.P. “The Two Cultures and the Scientific Revolution.” Cambridge University Press, 1961, pp. 1-58. 

Vesna, Victoria. “Toward a Third Culture: Being in between.” Leonardo, Vol. 34, No. 2, 2001, pp. 121-125. 

Vick, Danielle. Copy for Change, https://copyforchange.com/2015/10/30/when-art-and-science-collide/.

Wilson, Stephen. “Myths and Confusions in Thinking about Art/Science/Technology.” College Art Association Meetings, 2000.