Visual representations of dimensional change.
At the beginning of the 20th century artists interests included the new ideas of mathematics and science, artists were concerned with how to represent the fourth dimension being described by mathematicians such as Einstein. Cubism attempted visual representations of this, Marcel Duchamp’s book ‘in the infinitive’ is a collection of notes Duchamp collated between 1912–1920 many are attempts to describe ‘an unknown object of four dimensions’. The large glass can be seen as a representation of a four dimensional object. Duchamp stated that she [the Bride] is the two-dimensional shadow of three dimensional object, which in turn is the projection of an unknown object of four-dimensions: the shadow, the copy of a copy of an idea.
In 1936 Charles Sirato wrote the Dimensionist Manifesto, this was signed by many of the prominent artists of the time including Duchamp. This brief manifesto attempts to theorise a method for the arts travelling through the dimensions, ANIMATED BY A NEW FEELING FOR THE WORLD, THE ARTS — IN COLLECTIVE FERMENTATION (Their Interpenetration) — HAVE BEEN SET INTO MOTION, AND EACH HAS ABSORBED A NEW DIMENSION, EACH HAS FOUND A NEW FORM OF EXPRESSION INHERENT IN THE NEXT DIMENSION (N + 1), opening the way to the weighty spiritual/intellectual consequence of this fundamental change. (his caps)
Perhaps whimsically geometric origami gives us a visual picture of how dimensions can be crossed, Two dimensional forms can be folded to create three dimensional objects. Alongside Buckminster Fuller geodesic domes, Mathematician Magnus Wenninger Spherical models show us how complex three dimensional objects can be Extrapolated from the Platonic five regular solids only using a ruler and compass. Another visual analogy of dimensional change can be seen with this magic ring geometric puzzle. A circular spiral sits as a two dimensional object, once activated it springs into another dimension, much as an algorithm exists ready to be operated.
The ideas that interest me are still sometimes contradictory, through rational enquiry over the last 300 years scientific discoveries have made our existence more knowable. This is achieved by focusing on defined elements, simplifying the experience of the world; of our multiple senses moving through time. Fixing these results primarily in the visual field. Society seems to continue to confuse the notion that problems are solvable with the notion that everything is in its right place, a continuation of an older religious concept. How do we attempt to keep in our awareness the unknown without rejecting it in a society that implies that all can, should or will be known or seen?
