Brief Introduction to Art

I chose to use number as a starting point even though I felt that there may be deeper structures awaiting discovery that are inaccessible to number alone . But,  I soon found that true to form number was to reveal a tantalising glimpse of that deep structure from within its own structure.

This was not surprising. Number is after all the fundamental element of perhaps our most powerful aid to model making, mathematics, whose abstract and self generating nature enables us to interrelate superficially dissimilar phenomena, to see common patterns buried in the structures of our interest and by application of the rules of its game watch them procreate, to feedback fresh insights or confirm the direction for further explorations of symmetry, broken symmetry and self similarity at the living edge of chaos.

Initially, I chose to constrain my use of number to the digits. This followed the exploration of Vedic Mathematics of ancient India referred to above.

The Rules:
* The Digits 0, 1, 2, 3, 4, 5, 6, 7, 8 and 9.
* Reduction: To restrain the model  when exploring larger numbers [ie composed of more than one digit]
the number is reduced by adding the digits together e.g. 144 is then read as 1+4+4 which = 9.
* Colour: To enhance the relationships between numbers and their different  functions and qualities,
each number is given a colour. The colours chosen are
Cyan[1], Blue[2], light Grey[3], Magenta[4], Green[5], mid Grey[6], Yellow[7], Red[8] and Black[9].
This produces three triads, the three additive primaries 1,4 and 7, the three subtractive secondariness 2,5 and 8
and three neutrals 3,6 and 9.
* Transformations - To adhere to the Laws of Symmetry [ ie Translation*, Rotation, Reflection and Dilation]
and to retain any other inherent structural principles should they appear  [ie Self similarity, Harmonics,
Form Generated by vibrating Wavelength, Amplitude etc.],  whatever the chosen transformation, across number, source material or mode
of operation [ie numeric, visual [in two and three dimensions], aural [and in time, a fourth dimension], animation etc.].
* Exemplars - The Prints demonstrate that playing [and sticking!] to the “Rules of the Game”  will generate rich,
complex and  evocative behaviour/forms that give us some insight into the way We, Nature and the Cosmos
create such diversity from such essentially simple elements.

From earliest times number, nature and art have been entwined in the mind of mankind. [The following Images from Art are examples of geometry in art and illustrate the sense of satisfaction gained from observing self similarity in art as in and from nature.]

Man's answer to the bubble - geodesic dome invented by Buckminster Fuller, U.S.A.

Painting by Mondrian - a modulor composition.

Interior of conical dome in the Alhambra, Spain.

The Greeks used the “Golden Mean” to maintain their compositions.
Digitally generated images from The Albarn Series

The images below are computer generated from a combination of the digits 1 - 9 derived from the Fibonacci and related Series commonly found in Nature and the Arts.

Their meaning lies in their genesis ... from simple beginnings [in this case digits] may develop complex structures ... they grow from and become metaphors for the processes of life itself and hint at the laws governing the processes of creativity in nature, our behaviour and here of course as art.

Sine Wave generated Image

Triangular Wave generated Image

Square Wave generated Image