Figure 6

Figure 6: The process of generating and interpreting a representative dataset will be undertaken in this manner:



Fig. 6A

A group of 10 theorist/mathematicians individually present a visual and mathematical talk to a group of artists describing their work, the mathematics they use, and images they create for example visualizations, graphs and diagrams(1).

Aesthetics and relationships between the theorists talks are interpreted differently by each artist (2). Their unique interpretations are manifest through an art object, performance, media or layered, digital system.

The collaboration overall will generate a series of technical papers and other writings across several domains (3), one complete publication or book (10), a changing internet presence (5), two art exhibitions (6), and sets/series of discussions (7) including limitless series of panel discussions, a structured series of lectures, and simple questions from kids.

All of the words will be translated into an occurrence model (8) of ten natural languages to supplement the mathematical and aesthetic connections.

Each participant will produce at least one paper (9) describing and illustrating the connections they see among this group of ideas.

Both of the exhibitions and all of the discussion topics will be modeled as a set of ideas that have originated at the same time through the same series of theorist talks (10).



Fig. 6B

The two exhibits and discussion forums are divided and progress at their own pace in their own locations around the world. The pathways are mapped using arcs and points.

Constructions is an exhibition of painting, sculpture and performances in one place at one time. The scale of each piece is in relation to the viewer. The proportions, materials, lighting and appearance are known to be as intended by the artist.

This exhibition is methodically relocated to 10 different cultures that speak the 10 different natural languages used in the model.

The artworks and performances displayed in person through the Constructions exhibit are digitally documented and recorded.

During the time the Constructions exhibit predictably moves in time from one location to another, each artwork in this exhibition unfolds, expands or has variations of the same as the tour progresses (11). The art objects, actions, events and sequences are digitally mapped and recorded.

A second exhibit, unnamed at this writing, is simultaneously and spontaneously shown in a number of locations around the globe (12). Many of the reference points tied deep into the Constructions exhibit are lost. The scale is not related to the viewer because it varies according to presentation mode, device and environment.

The original artworks and systems in the second exhibit are set up in the first instance to be presented according to the artist, engineer or inventors original intent through non-constrained, non-remote finely adjusted presentation means. After that, individual viewers or venues take over control of the presentation, the original creator of the material just watches to see what happens.



An interactive shared system will be designed to present a series of screens in a circle. Viewers walk into a mini-theater in the center of this circle where high resolution images of the artwork in both exhibitions and the theorists examples are projected all around their field of vision.

Subtle sounds, language variations and audio translations of the other materials are gradually introduced to coincide with the imagery. Periodically, the interactive screens and mini-theater in the second exhibit coordinate to show one set of work created an individual participant.

Scale will be indicated for paintings and sculptures using an icon image of the artist themselves in a corner of the screen, adjusted to 1:1 scale in the theater but cannot be controlled on random screens, therefore the proportions of the artist to the art will be fixed for remote presentation. Since the performers are people and so are the viewers, scale is not corrected regardless of the presentation mode.

The theorists visualizations, graphs and other examples are not generally able to be shown in a scale with direct relationship to the maker or viewer using an icon that can work across ALL of the theorists examples from microbiology and math to astronomy. Documenting, and getting the shared system to understand and automatically associate scale relationships with information depending on the way it is presented is an important focus for the idealized running prototype (13).



The structure of the model is based on connections between the participants ideas, observations and conclusions. In effect, each project participant is assigned a dimension.

When it is too confusing to draw, the three roles (theorist/mathematician, artist, and integrator) will be narrowed to three dimensions, even if the relationship that attempting to be drawn has an unequal number of participants in any one role or one role is missing (14).

A series of connections between the participants using these dimensions – whether arbitrarily observed, clearly stated from the participants own view, or partially shown through the participants work – will be modeled using Context Driven Topologies to visualize and mathematically capture the connections using a configuration of arcs, mathematical patterns, audio and/or visual forms that change over time.

Regardless of the genuine proximity or distance of simultaneous exhibitions, the Constructions exhibits location on the round sphere of the earth during the time it is displayed in known places on a predictable path, is always recorded to be the center of each unique arrangement (15).

The second exhibition typically has one version in the same city as Constructions, may have one version stay in the same place and evolve over the course of the project, but generally, the second exhibitions path is unpredictable because it may be prompted and displayed in any number of locations for any length of time. These paths gives another set of things to draw and measure using the new system.

Because the schedules, duration and locations of the two exhibitions rarely coincide, the paths and the arcs drawn to show where each exhibition is in relation to the other one at any point in time will begin to form an evolving history that can be measured over time using the arcs.

These movements help place each of the participants dimensions against a structured background. The participants, the artwork, the theorists examples and the museum architectures can all be compared to the objects and spaces over time.




Fig. 6C

At the end of this process, all of the artwork, theorists examples, publications, digital presentations and other representations are brought together with all of the project participants in one large space at the same time.

Each of the people, their individual points of view and ideas, an example of how they work both in real life and as digitally represented – becomes one unit, at one time, in one place captured into one Context Driven Topology.

Each previous exhibition, discussion, paper, artwork, visualization, mathematical relationship and other references are smaller, self referring, expandable topologies leading to the final arrangement that is arbitrarily declared to be complete at the last exhibition.

The histories and paths of each participant, object, event, and point of view are traceable through the histories captured in the last Context Driven Topology, which will have evolved and been fine tuned over the course of the project, and made to work with 10 different natural languages, mathematics, individual aesthetics, and 10 different cultural understandings. The project generates a representative dataset using real life, real ideas, real art, real science, real mathematics, real cultures and real systems.

One benefit of the project is developing better ways to present scientific visualization and art museum content online. Another is mapping the progress of objects and ideas around the world in predictable vs unpredictable paths.

In the last exhibition, the art in Constructions and the art that can vary in scale and reference in the second exhibit will switch places to be shown both in person and on a screen. The relationship between these modes is captured mathematically and manipulated through an automatic audio and visual language.

Figuring out the switch between presentation modes, looking at the question of scale between image and viewer, getting a placeholder position to persist in the digital mode, and mapping between this one defined set of ideas, examples and a sampler set of work is the objective.

The working model, initially introduced THROUGH this project, will be formally presented to museums, libraries, and scientific research communities and made available for public use. The documented framework will be presented as a better way to capture ideas, map between ideas, and correspond with the way ideas are manifest through art, science and other systems.


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