Michele Emmer

Soap Bubbles in Art and Science: From the Past to the Future of Math Art

The author examines the parallel history of soap bubbles and soap films in art and science. Noting that mathematicians in particular have been intrigued by their complex geometry, he traces the research in this field from the first experiments by Joseph Plateau in the late nineteenth century to recent work using computer graphics in the theory of minimal surfaces. He identifies the beginnings of what could be called ‘Math Art’.

Visual Art and Mathematics: The Moebius Band

The author discusses a topological form invented by A. F. Moebius and arrived at independently by the visual artist Max Bill. He describes briefly the mathematical properties of the Moebius band and its use in the works of several other artists. He points out that since the Renaissance few artists have been concerned with the relationships between mathematics and other manifestations of the human spirit.

Can Ideas and Words Be Useful

Almanac and then in Leonardo; at that time the war in Kosovo, which was called the “humanitarian” war, was taking place. Today, 1 October 2001, the U.S. is about to respond to the terrorist attack of 11 September 2001 on the Twin Towers of the World Trade Center in New York and the Pentagon in Washington, D.C. The war, the international police action, the operation, has changed names a number of times, but it is now ready to begin (some actions have in fact already been carried out, although they have remained secret). Undoubtedly it is difficult to respond with a sort of absolute pacifism to actions that call for a strong response, to actions that are violent, illegal, inhuman. Was it possible not to react to Hitler’s attacks? How could the Japanese attack on Pearl Harbor and their invasion of Asia have gone unanswered? That is just to mention two examples, about which few have any doubts. War was necessary in so far as it was not possible to block the expansionist ambitions of Nazism and Japanese militarism in any other way. Millions of people died all over the world, men from all over the world fought, died and were taken prisoner in countries that they perhaps did not even know. For example, I recently learned, at a show in Venice this summer, that Maori soldiers from New Zealand fought and died to conquer the Abbey of Montecassino in one of the most famous battles fought in southern Italy during the Second World War. Also in that war, my uncle participated in the Russian campaign; a cousin of my mother died in a concentration camp; my parents were able to flee to Switzerland; my wife’s father was taken prisoner in Africa. All over the world, families counted members dead, missing or wounded. Most of the dead were not soldiers but defenseless civilians. Entire populations were wiped out, including 6 million Jews. All this took place in Europe, in the center of Europe, 60 years ago, two generations ago. After the overwhelming destruction of that war, it was thought that there would be no more wars. There had been too many tragedies, too many dead. Actually, however, the next war had already begun, and wars have continued ever since, the more important ones, the less important ones, some remembered, some forgotten. But Europe, following the Nazi and Fascist folly, thought it had become a happy island, at least apart from the “local” conflicts in Ireland, in Spain, in Hungary, in Corsica, in Poland, in Yugoslavia . . . and apart from Germany, divided into two parts by the wall, and the concentration camps that continued to exist. But we thought that, all in all, Europe was at peace, and its development would be infinite. This could only improve our way of life. And so, bit by bit, the idea was born of a happy Europe, together with the U.S.A., Japan and a few others. And yet these happy places were as a besieged city, with the mass of “other” men and women looking toward it as toward a mirage of happiness. Indeed the phenomenon of migration may be perhaps the most important phenomenon of the entire history of humankind, as men and women since the beginning of history have migrated, married, merged with other populations, fought, killed, loved. Does history always repeat itself in the same way? I do not know whether history does repeat itself, but it is never the same. Every period, every population, every man and woman bears a different story. Perhaps these are obvious reflections that anyone might entertain when it is difficult to understand what to expect in the future—for us, for our children, for our friends, for our

Comments on A. L. Loeb's Correspondence with the Graphic Artist M. C. Escher

The author comments on a previous Leonardo article by A. L. Loeb on M. C. Escher, in particular on the so-called impossible objects in Escher’s works. The artist’s interest in all kinds of peculiar geometrical phenomena is explored through an examination of Escher’s letters and letters about Escher written by those close to him.

Artists and War: Answers?

In May 1999, I wrote a short text on the war in Kosovo. The article was entitled “Only Bombs Are Intelligent?” and it was first published on-line in Leonardo Electronic Almanac (LEA) and then printed in Leonardo [1]. In my article, I indicated concern for the war that was taking place in the center of Europe, 300 kilometers from Italy. Naturally we are always less worried about wars that take place far away from us; it is very human. At the end of March 2000, I had organized my annual meeting on “Mathematics and Culture” in Venice. One of the invited speakers, film director Peter Greenaway from Great Britain, was delayed for many hours at the airport in Amsterdam because the Venice airport had been closed due to the passage of the military planes taking off on their bombing missions. Finally Greenaway did manage to arrive in the middle of the night, and he gave his fascinating presentation on mathematics and cinema at 11 P.M. [2]. In the article in LEA and Leonardo, I asked a few questions:

Art and Visual Mathematics

The author takes a look at the recent explosion in collaborations between artists and scientists, largely resulting from the graphics capabilities of recent computers. Quoting from mathematicians and thinkers about the relationship between art and science, he comments on possible connections between some of the most recent mathematical research and the work of artists using visual techniques influenced by mathematical ideas.

Sebastian’s Space and Forms

A strong message that mathematics revealed in the late nineteenth and the early twentieth centuries is that geometry and space can be the realm of freedom and imagination, abstraction and rigor. An example of this message lies in the infinite variety of forms of mathematical inspiration that the Mexican sculptor Sebastian invented, rediscovered and used throughout all his artistic activity.

Artists and Scientists in Times of War: A Renewed Call for Papers

A few years ago, I sent out a call for papers on the subject “The Role of Artists and Scientists in Times of War.” I received several replies from around the world. This proposal is not time-bound. There seems to be no end to war. We are living in an age of conflict, tension, wars and terrorism. Some people feel that a new type of world war has begun, involving a clash between civilizations. Every day we see the slaughter of innocents, kidnapping and murder; we hear of conflicts whose causes have never been resolved and that continue to generate more conflicts and misery. I refer not only to countries that we Westerners consider “different” from our own. Think of the atrocious example set by highly civilized Europe during the 20th century. Therefore, I am not sure whether the question I posed years ago makes any sense—whether there is a role for artists and scientists, for intellectuals, in the attempt not so much to help in resolving conflicts and tension, but at least in understanding the causes. I begin to feel the only possible answer is that, in all truth, there is no role for them at all. However, I believe there is a word that has been forgotten by the media, by opinion makers and by governments: the word “ethical.” And I believe that this word is of vital importance. Viewed in terms of ethics, the role of scientists, artists and intellectuals is irreplaceable. It is clear that in a world that quickly forgets millions of victims who are dying of scourges like hunger or AIDS, the commitment is never-ending. Despite the difficulty of imagining any possibility of changing the world, I continue to believe that the role of art in the widest sense is essential. This is why I renew my request to send proposals to Leonardo on the subject “Artists and Scientists in Times of War.”

Selected Papers from Participants of the International Workshop on Art and Science

I amfully conscious that, not beinga literary man, certainpresumptuouspersons will think that they may reasonably blameme;allegingthat I am not a man of letters. Foolish folks!Do they not know that I might retort as Marius did to theRoman Patriciansl7y saying: That they, whodeck themselves out in the labours of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that whichI desire to treatof;but they do not know that mysubjects areto bedealtwith l7y experience rather than l7y words; and [experience] has been the mistress of those who wrote well. And so, as mistress, I will citeherin all cases.

Art and Science in Italy: Recent Events

In the past few years two major events directly connected to the relationships between art and science took place in Italy. In 1985 an interdisciplinary congress and an exhibition, both dedicated to the work of the Dutch graphic artist Maurits Cornelis Escher, took place in Rome. In 1986 the 42nd Biennale was held in Venice; it was without doubt one of the most important events in art and science of recent years.