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Experimental physics, experimental art

机译:实验物理,实验艺术

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摘要

The concept of Signatures of the Invisible was sparked by a chance discussion I had with Maurice Jacob, high up in the Alps, on a snowy track in Briancon, France. It was December 1996, and I had got to know Maurice, then head of the Theory Division at CERN, Europe's particle-physics laboratory, through a social network entirely independent of science. Rather than a movement, Signatures of the Invisible became a discourse between artists and particle physicists. It led to the creation of works of art that have been exhibited internationally from Beijing to New York, and have been seen by over a million people. In line with Signature's general philosophy, the works are not illustrative of science as such, but are responses — conveyed in various media and conceptual frameworks — to this discourse between artists and scientists. If Signatures of the Invisible had any manifesto at all, it was that it should not conform to any single artistic dogma.
机译:我与阿尔卑斯山高处的莫里斯·雅各布(Maurice Jacob)在法国布莱恩松(Briancon)的一条雪道上进行了一次偶然的讨论,激发了“隐形人的签名”概念。那是1996年12月,我通过完全独立于科学的社交网络认识了当时的欧洲粒子物理实验室CERN理论部主任莫里斯(Maurice)。看不见的签名不是运动,而是艺术家和粒子物理学家之间的对话。它催生了从北京到纽约在全球范围内展出的艺术品,并有超过一百万的人参观。与Signature的一般哲学相一致,这些作品并不是对科学的说明,而是对艺术家和科学家之间这种对话的回应-通过各种媒体和概念框架传达。如果看不见的签名根本没有任何宣言,那就是它不应该符合任何单一的艺术教条。

著录项

  • 来源
    《Nature》 |2005年第7031期|p.310-311|共2页
  • 作者

    Ken McMullen;

  • 作者单位

    London's University of the Arts;

  • 收录信息 美国《科学引文索引》(SCI);美国《工程索引》(EI);美国《生物学医学文摘》(MEDLINE);美国《化学文摘》(CA);
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 自然科学总论;
  • 关键词

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