Between Art and Science

First time shown at the ISDH 2018 Exhibition Art in Holography, Aveiro City Museum – Portugal June – September 30, 2018;

Heilung and holographic scream of human captured in hyperspace

 

Between Art and Science – Installtion of the artwork in Aveiro City Museum.

After „Heilung“, Dietmar worked on his representation of „The scream“. „Between Art and Science = mass–energy equivalence in the holographic scream“. He has started this work in 1980 when he studied natural science and art and encounter what Lord Snow described in his thesis the social split between art and science. But for Dietmar, it was no feeling of something wrong.

Between Art and Science = mass–energy equivalence in the holographic scream

More than communication by words, a work whatever form it takes, art, research, engineering, expresses emotions. For a mathematician a perfect formula is a piece of art. Plenty of scientists feel the same, they ear the formula in music, see equation in their dreams, and want to express their feeling in the art world, because for them their work is like an artwork.

pencil drawings with e=m x c^2

It seems too, that among the holographic community and researchers in visual media, we have a concentration of people stacks between art and science. For Dietmar, differentiation between art and science is purely artificial and just a social issue. For him, everything is acquisition of knowledge, and finding its place in the universe.

The scream of Eduard Munch touched peoples mind and it expresses sometimes the feeling you have when being in  the middle of some discussion about social split of communication. For Dietmar it goes much deeper. His first contact with holography is freezing cold. Holographic light itself has no political issue, no expressive explosion nor it cares about social issues. Light itself is very pure, like the surface of a giant sea untouched by the wind. From the so called  “joyful expressionistic German painter” moving down from his painting cabinet in the cold basement to Prof. Rod Murray changing his brush with laser light was a big challenge. One reason he did it gave holography a go, was a book from Paul Conrad Hoenich (1907-1997) about Sun-painting. Dietmar met Paul in Haifa, where Paul has been teaching a class of architecture.

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