I am very interested in artists projects which appropriate or generate scientific data. I call these micro science or intimate science. Examples would be Da Costa's pigeon blog which both generates new scientific data and also appropriates it for cultural purposes in an artistic context.
I think there is great potential for artists to appropriate scientific data to create otherwise impossible artwork. Such data may results in a kind of metaphoric synesthesia, radio frequency signals transduced into colour patterns for example, or mathematical equations transformed into the beautiful colour and form of fractals. I have used fractals and parts of fractals in some of my own digital artwork to convey a connection between human consciousness and the abstarct mathematical ontology of the universe. One caution, scientific data as such is not necessarily a work of art just because it has nice form for example, it must be developed into a work that has an embedded story over and above the raw data.
rob=totally agree that scientific data doesnt lead to good art any more than a beautiful landscape does !! but the act of appropriation of sensory data or scientific data, and its recontextualisation within a work of art is what i am interested in here=since so many parts of the world are not accessible to our unaided senses but only mediated through instruments of various kinds. I came across Greg Neimeyer's Oxygen Flute from 2O01 which uses oxygen levels in a room as one source of inputs for a sound installation. roger
I'm not sure that every picture has to tell a story, although that might help some people appreciate it. But maybe your definition of "story" is looser than mine. I would agree that an artist should take the data at least one step further than the scientist; using it in some way that illuminates its content from a different angle. For instance, I use natural forms, textures, and images in my art, but I don't just sit them there by themselves, I combine them in various unexpected ways. I don't consider the Natural World the exclusive property of scientists, but the heritage of the world as a whole, including us artists. We would be foolish to ignore any of the amazing beauty that still surrounds us, including the many new things that scientific research brings to our attention.
To foster year-round engagement and dialogue within the digital, electronic, computational and media arts. Facilitate dynamic scholarship and creative programming within the ACM SIGGRAPH organization. Promote collaboration between artists and the larger computer graphics and interactive techniques community.
ACM SIGGRAPH Digital Arts Community Committee:
Victoria Szabo, Chair
Jim Demmers, Sue Gollifer, Kathy Rae Huffman, John Hyatt, Bonnie Mitchell, Hye Yeon Nam, Derick Ostrenko, Jan Searleman, Ruth West.