There’s currently a very interesting exhibition on at the Science Museum in London called “The Art of Innovation”. It’s about the links and dialogue between the (natural) sciences and the arts.
Given my interest in the dialogue between the social sciences and the arts (have a scroll through some of the other posts in this blog if you’re new), the first part of the exhibition was a little wide of the mark. The artistic side of the first few exhibits included architecture, dress-making and textiles.
However the real showstopper for me was a piece designed by Theodore Olivier in 1830 (see below) in the section on “Meaningful Matter”. These were built to convey complex 3-dimensional ideas to a wide audience. The coloured strings could be adjusted using weighted beads in the frame, meaning that different surface shapes could be modelled according to the mathematical equation at question, revealing a number of surfaces and shapes simultaneously. These frames and models were eventually produced in significant numbers and sold across the world. The one in the picture below was made by French company Fabre de Lagrange.
However, as ideas progressed, these models fell out of favour with the mathematical and scientific communities. After the First World War, the models were displayed in museums as curios where they found a new audience; avant grade artists. The string models represented not the abstract thinking of the original mathematical equations, but the ability to explore shape and form in a new way.
Among those who drew inspiration from these models were Barbara Hepworth and Henry Moore. Hepworth modelled her sculpture on the mathematical models that she had seen at Oxford (see below).
As a member of the St Ives set, it was therefore no surprise to see Hepworth joined on the opposite wall by a set of sketches by Henry Moore.
Moore’s sketches drew inspiration from the string recreations of maths equations that he encountered on display at the Science Museum when he was a student in the 1920s. Moore immediately recognised the structural and artistic possibilities the models presented, noting that “it wasn’t the scientific study of these models but the ability to look through the strings as with a bird cage and to see one form within another which excited me”. The sketches on display in the exhibition eventually inspired several wooden string figures of his own.
There are similarities with some of the work I’ve been doing with zentangling interaction patterns, as you can see in my previous posts. I’ve also built 3 dimensional string models using the colours of strings to represent economic, legal and “other” aspects of each interaction, overlapping these to build complex patterns. Some of the questions I’ve been pondering are how models like these could help us explore complex patterns of interaction in the context of the social sciences? How could we visualise economic and legal aspects of interactions using colour to build up overarching patterns of interaction?
Stay tuned for more from the exhibition in Part 2….
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