File Size: 13609 KB
Print Length: 455 pages
Publisher: W. W. Norton & Company; 1 edition (June 16, 2014)
Publication Date: June 9, 2014
An overall interesting read, with a of the creators anecdotal insights and opportunities., Excellent and comprehensive text on permutations of art-science. Among the best sources on this intersection. Highly recommended., Great, We really enjoyed this book and also learnt quite a lot from it. It’s a gripping account of what’s heading on in the world of art, where artists work alongside researchers to create works that express our modern medical age. There are all kinds of extraordinary artists and artworks described here, from some who experiment on their own bodies to some who make sculptures describing data and others who work in sound. Many informative and very enjoyable and lots of good illustrations, This is a fascinating and hugely knowledgeable and wide-ranging account of the relationship between artwork and science in the twentieth and twenty-first hundreds of years. From the creative conversation between Einstein and Picasso, through the mechanical tests in New York of Rauschenberg and Kluvier to the weird transformations of their own bodies performed by Stelarc and ORLAN, Arthur I. Miller traces what he calls the new avant-garde, when the restrictions between the disciplines of fine art and science and technology are breaking down. Along the way he boosts some important questions, about whether we must find a new kind of aesthetics and whether our idea of beauty is transforming, and he highlights some very interesting repercussions of the science/art interface: the role of fractal research, for example, in authenticating a Jackson Pollock artwork, or the extent that art can make visible the invisible at the Hadron Collider in CERN. I was not entirely convinced by his debate that the boundaries between art and science only really started blurring in the early twentieth-century; it seems to me that creative thinkers have always already been interested and deeply read across subject areas. Think Newton and Blake on optics, or Coleridge and Humphrey Davy. But We guess Miller had to get started the narrative somewhere for the book to be at all manageable. Overall, this is a highly engaging, well-written and enthusiastic analysis of a very important subject, which should be essential reading for artists and scientists likewise., We were very happy with the book, especially the chapter on our buddy Dr. Richard Taylor., C. P. Snow inside the A couple of Cultures and the Scientific Revolution (1959) never imagined someone like Arthur Burns would come along. Burns is a physicist, he's an encyclopedic knowledge of contemporary art, and this individual writes well. When We started out hanging out in the New York artwork scene in the 1960’s, nearly all of the artists were crazier than the well known mad scientist. The artwork community was staunchly anti-science, really anti-everything but sex drugs and rock and roll. Art now is nothing like it used to be, even for performers who still mix colors. Miller’s book reads like a great history of the mayhem that made contemporary art the dominant art, at least for the minute. Historians in the future, however, will study the work as associated with their time. Colliding Worlds conveys Miller’s singular experience of the revolution.
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