Being, Vitruvian by daniela bertol

daniela bertol

FORM MIND BODY SPACE TIME

BEING, VITRUVIAN ADPML GALLERY, DEAKIN UNIVERSITY 1-12.02.2016 axes mundi press

T O WA R D A N I N T E R D I S C I P L I N A R Y K N O W L E D G E T H E W H O L E I S G R E A T E R T H A N T H E S U M O F I T S PA R T S

eing, Vitruvian is the first of two exhibitions encompassing the

visual narrative of Daniela Bertol’s creative research Form Mind Body Space Time, where practices of ‘making’ intersect practices of ‘moving’. Form Mind Body Space Time is an interdisciplinary approach to the art and science of human movement: ‘making movement’ is inspired by geometric configurations which are also archetypical shapes and symbols in several cultures and are deeply embedded in the human psyche. The title of the exhibition expresses the search for harmony in geometry already present in Vitruvius’ treatise translated as Ten Book on Architecture (15 BC). In chapter 1 of book III Vitruvius discusses symmetry and proportions of architectural space and the human body . Vitruvius’ theory on proportions is one of the most famous Western examples of explorations on the harmony of the human body in relation to geometry. Leonardo da Vinci illustrated this theory in his iconic drawing Vitruvian Man (c. 1490) which maps the human figure to regular geometric shapes. Rudolf Laban (1879-1958) initiated his theories on human movement from these ancient explorations expanding the harmony of the human body to the harmony of movement; his theories also extended the twodimensional symmetry in the plane to the three-dimensional symmetry of the Platonic solids.

Being, Vitruvian departs from such historical precedents using the classical iconography of these timeless theories in a contemporary digital framework. The symmetry of the five regular polyhedra (Platonic solids) is explored with computational models and digital fabrication technologies (3D printing), in a dialogue between the digital virtual world and its physical counterpart. The Platonic solids become a ‘Movement Infrastructure’ used in psychosomatic practices: movement sequences are inscribed into the solids whose geometric properties are used not only as framework but also as source of inspiration. The morphology of human movement and the manmade polyhedra inscribing movements are unified by geometry. The Platonic solids represent an ideal static geometry, counterpart to the ephemeral dynamic movement: an encounter between a time based phenomenon with a spatial framework. The ‘Movement Infrastructure’ is a conceptual framework and built modular system, inspiring and guiding human movement, where the subject moves and aligns to geometry inspired postures, achieving states of mindfulness and relaxation. The form of movements also aims to express the Vitruvian qualities of firmitas, utilitas, venustas: the geometric body defines not only the aesthetic intention behind each movement but also provides strength and balance. Vitruvius’ notion of venustas seems to align with D’Arcy Thompson’s statement that “form is a diagram of forces.” In human movement—as in the overall world of nature—form is not i

not an ornamental feature, but is connected to structural foundations. The form of the human body in space creates a structural essenceexistence changing at any moment in time.

Dasein of Movement in the Mathematical Sublime Movement is an existential temporal statement of a human subject’s presence in space. Geometry facilitates the encounter between morphology and phenomenology, transforming the Cartesian statement “Cogito ergo sum” (I think therefore I am) into “I move therefore I am”. The awareness of movement is realized as a morphological exploration in a geometric framework, where the human body expands into the surrounding space, potentially designed and defined by symmetry based properties. Heidegger’s concept of Dasein (being-there) can be explored in the subject’s knowledge of the world actuated by movement and its awareness, contextualized and framed by geometrical configurations, either mentally visualized or existing in the physical world. The knowledge of the outside world is obtained by the intersection between the self and the perception of the world. Movement embodies such perception, actualizing the encounter between the self and the world in a four-dimensional space-time reference system, becoming an agency of an ontological epistemology. Every bodily change of position in space and time establishes an awareness of the world outside the moving subject in an epistemological-ontological paradigm. Space can also be understood in terms of geometry since early childhood, according to the psychologist Jean Piaget. We perceive the outside world first in terms of topological relations and then according to the properties of euclidean and projective geometry. ‘Space consciousness’ relates to objects and subsequently to images. Expanding from Piaget’s theories, the awareness of space is obtained by geometry oriented movement: moving up, down, left, right, backward and forward creates perceptions of the world framed

by geometric primitives—lines, circles, triangles—as well as more complex curves and surfaces, such as spirals and helices. Galileo Galilei posited in1623 that the world can be described in terms of mathematics: “Philosophy is written in this grand book I mean the universe which stands continually open to our gaze, but it cannot be understood unless one first learns to comprehend the language and interpret the characters in which it is written. It is written in the language of mathematics, and its characters are triangles, circles, and other geometrical figure.” Human movement is no exception to this statement: a lexicon can be established by movement traces creating geometric primitive as in Laban’s traceforms. The lexicon of human movement based on geometry can be also linked to aesthetics intentions, contextualizing Vitruvius’s theories in a phenomenological framework. Geometric forms have an intrinsic beauty, as stated in philosophical investigations throughout the centuries. The beauty of mathematics has been explored since Plato and Kant’s aesthetics (the mathematical sublime) and has been validated in the current research in neuroaesthetics: empirical studies correlate the brain activity from mathematical reasoning to the emotional states created by other experiences of beauty. In the practice-based research Form Mind Body Space Time aesthetics is defined by the beauty of the geometric forms traced by the movement sequences, which are based on body rotations and spiraling and referencing to the Platonic geometries. Movements can be beautiful because the shapes traced by the moving body are beautiful in a reinforcing loop: movement follows the geometrical beauty and in turn generates an aesthetics.

Narrative Search: Media Method Message Methodology The creative research Form Mind Body Space Time has a complex narrative. Marshall McLuhan’s statement-slogan “the medium is the message” renders the narrative of a research where the practice is narrated with static and moving images as well as diagrams and ii

drawings in conjunction with text. The media are exploratory tools and extension of the content itself. The multiple media presented in the exhibition Being, Vitruvian are also the methods utilized in the research Form Mind Body Space Time: drawings, digital models and 3D printing seemingly merge with performative actions recorded with video and photography. Digital postproduction emphasizes the geometry of the movements in a dialog between the virtual world of ideal geometries superimposed to video recording of physical movements. The movement sequences, performed daily by the author, establish a practice-based research in a dialog between the live movement performance and its video-photographic recording, enhanced by the abstraction of the movement trace-forms emphasized by geometric diagrams. The exhibition is also a statement of how artistic production is a means of scientific exploration using video and built fabrications; the quantitative aspects of movement sequences—e.g. the fourdimensional (space-time) coordinate of a movement are analyzed through the qualitative filter of video visualizations and digital drawings. Video goes beyond recording to become an art expression with its own language and aesthetic connotations.

A square grid of black dots based on a 22.5 centimeter module continues from the walls enclosing one room to the walls of the next room. The grid defines a Cartesian coordinate system and serves as measurement of the three-dimensional volume of the gallery space according to two-dimensional planes. The suggested walking path for a visitor of the exhibition is a loop beginning and ending in the atrium (room 0 & 5); the rooms are listed below. Room 0 & 5: 'Movement Infrastructure' Room 1: Title and Research Aims Room 2: The Whole Is Greater Than The Sum of Its Parts Room 2-3: Parametrizing Geometry and Digital Models Room 3: Geometry of the Human Movement in Three-dimensional Space Room 4: Making and Visualizing

Exhibition Planning & Curation: Conceptual Paths The exhibition’s spatial layout is a reflection of the research’s conceptual path. The itinerary marks the framework of the Weltanschauung, which is characteristic of this research where practice turns into knowledge production. The photographs in the following chapters are installation views and also frames of a virtual tour/walkthrough of the exhibition. The work is displayed in four interpenetrating rooms which, similar to the research content, can identify different categories but also seamlessly flow into one another: multi-disciplinary content can become meta-disciplinary when the whole is greater than the sum of its parts.

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Superimposition of the exhibition layout with the gallery site (left) and the exhibition itinerary (right)

A virtual walkthrough

BODY & GEOMETRY IN ART HISTORY

Room 1 Research Title and Aim In Room 1 the visitor is introduced to the research aim, presented in

a poster: the room focus is the geometry of the human body. A photograph of the researcher practicing a movement sequence in an icosahedron (’Movement Infrastructure’) is superimposed to the

Vitruvian Man and combined with text. The poster image is a programmatic statement of the main themes of the research—human proportion, movement practices and geometric primitives—while the text introduces the research questions, intent and methodology. GALLERY 1.1 Human body configurations and geometry in art history and occult sciences

Carlo Urbino Codex Huygens (XVI century)

From the ‘Vitruvian’ Body to Parametric Movements

deconstructed into geometric shapes in Giovanni Battista Braccelli “Bizarrie di Varie Figure” (1624). In Braccelli’s “Alfabeto Figurato” the The combination of text with drawing is also a feature of the Vitruvian human body configurations are agency of geometric deconstructions Man, the 1490 iconic work by Leonardo da Vinci. The text, in archaic to signify alphabet letters. Italian, is placed by Leonardo above and below the drawing, and In the same period Robert Fludd also used geometric describes the human body in terms of proportions: the smallest unit frameworks in several of his diagrams. The human body is inscribed in this proportional system is a in polygons to illustrate the finger. Leonardo’s references in The geometry of the Vitruvian Man relationship between the human the text, as well as the visual microcosm and the macrocosm. content in the drawing, illustrate In the past century, Oskar the theory on human proportions Schlemmer, from the Bauhaus o f Vi t r u v i u s ‘ s t r e a t i s e D e school, has also offered a geometric Architectura. approach to the analysis of the Although the Vitruvian Man human body from an artistic is the most renowned example, a p p r o a c h . M o r e r e c e n t l y, L e over the centuries there are Corbusier defined human several other works, which offer proportions from an ergonomic a geometric interpretation of the standpoint in the Modulor. human body. The above precedents present In the 15th century, Leon a geometric interpretation of the Battista Alberti included Tabula human body, not as static, fixed Dimensionum Hominis in the form, but as a series of essay De Statua (ca. 1462) with configurations. The body’s proposed mathematical geometric configurations expand to proportions for the ideal human the space outside the body, often body. Less than a century later, suggesting built architectural Carlo Urbino’s drawings in the objects/containers. Codex Huygens depict different The research of Form Mind configuration of a male human Body Space Time departs from the body inscribed in geometric historical and modern examples to shapes. H. C. Agrippa also explore the impact of computational explored the human figure methodologies on the interpretation inscribed in a circle and and representation of movement. pentagon. The effort is to capture the scientific In the 17th century, human Anatomical joints and body geometry, from Form Geometry explorations within artistic movement is also shown as Structure 8

expressions as stated by the historical examples. In previous work (Bertol 2011) the proportions of the Vitruvian Man become parameters for a generative algorithmic procedure: anatomical parts

of the human figure are substituted by geometric shapes, visually recalling Oskar Schlemmerâ&#x20AC;&#x2122;s drawings (Schlemmer 1971).

GALLERY 1.2 Installation views of Room 1

Room 1 view 9

T H E W H O L E I S G R E AT E R T H A N T H E S U M O F I T S PA R T S

Room 2 The Whole Is Greater Than The Sum of Its Parts

“Movement defines FORM as embodiment of the MIND BODY relationship in SPACE and TIME” — Daniela Bertol (2013) ~~~

In Room 2 the visitor is immersed in a site specific installation, metaphor and literal expression of Aristotle's statement that “the whole is greater than the sum of its parts”. Such concept is graphically expressed in the south wall, covered by a Menger Carpet pattern—a fractal shape, recursive repetition of a square divided in a 3x3 grid. The Menger pattern is inserted in the grid based on a 22.5-centimeter modules which continues from one room to the next. The room presents a video projection as well as written text comprising thoughts, aphorisms, quotes and other motivational text based material: words which have been inspiring and defining the research, which, following a system thinking approach, integrates a holistic approach to knowledge. The different media present a different perceptual stance for the viewer. The written words present a more intimate reading space while the words in the video projection define an immersive environment. Some of the text presented in room 2 is listed here, while screen capture from the video projections are in image gallery 2.1.

“form is a diagram of forces” — D'Arcy Thompson (1917) ~~~ “La filosofia è scritta in questo grandissimo libro che continuamente ci sta aperto innanzi agli occhi (io dico l’universo), ma non si può intendere se prima non s'impara a intender la lingua, e conoscer i caratteri, ne' quali è scritto. Egli è scritto in lingua matematica, e i caratteri son triangoli, cerchi, ed altre figure geometriche, senza i quali mezi è impossibile a intenderne umanamente parola; senza questi è un aggirarsi vanamente per un oscuro laberinto.” — Galileo Galilei (1623) ~~~ "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know." — John Keats (1819)

GALLERY 2.1 Screen captures from the video projection

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GALLERY 2.2 Views of Room 2

Room 2-3 Parametrizing Geometry and Digital Models

enderings of the five regular convex polyhedra (Platonic solids)

are displayed on the wall shared by room 2 and 3: a transition between words and images, text and forms. The Platonic solids—tetrahedron, cube, octahedron, dodecahedron and icosahedron—are the only five configurations in three-dimensional space which hold complete symmetry. The five polyhedra as geometric primitives are solids bounded by planar surfaces—regular polygons. Nevertheless there are numerous complex configurations derived from these primitive forms and still holding the polyhedral spherical symmetry. For over three decades I have been exploring generative algorithms leading to parametric forms based on the Platonic solids. The prints shown in Room 2-3 are renderings from digital threedimensional models. The display of such work is contextualized in the current research as complexity derived from primitives forms— both as metaphor and literal expression of the development of a movement vocabulary which starts from simple static postures gestures to expand to dynamic choreographic routines. Linear gestures turn into curved and spiraling movements. 14

GALLERY 2.3 Views of wall of Room 2-3

GEOMETRY OF MOVEMENT

Room 3 Geometry of the Human Movement in Threedimensional Space

Room 3 deals with several dichotomies. In a dialog between physical and digital worlds, the making of objects merges with the making of movements. This room also deals with the dichotomy between representation and the object of representation, almost a reference to Magritte’s "Ceci n'est pas une pipe." A wall displays video projections from Il Corpo e lo Spazio, the seminal work behind Form Mind Body Space Time. The video includes three segments showing movement practices in three different places sharing the same theme: the relationship between the body of the movement maker and the surrounding three-dimensional space. The first part “Rolling” shows movements inspired by a a white sphere (a fitness ball), which symbolizes the search for a center and focus–which constantly shifts as the sphere rolls.and moves away from my body, whose movement causes and it caused at the same time by the sphere rolling and shifting. The site is Sun Farm. The existing architectural context merges into renderings of an imagined expanded geometric space originated from the existing place. The video recordings of movement sequences merge with diagrammatic representations. The second segment Moving in Virtual Space revolves about movement in virtual environments experienced at the facilities of PERCRO (Perceptual Robotics Laboratory).

Movement experiences, performed in the virtual environment of the XCAVE involved motion capture technologies and electroencephalography (EEG). Three virtual environments have been created. The first environment Cartesian World establishes a baseline from a three-dimensional orthogonal grids, Spherical symmetry was experienced in the other movement sequences Hypericosahedron and Torus Meditations. Vitruvian Yoga concludes the video projections; this video recording from 2013 introduces the research methodology. Geometric configurations are defined by the proprioception of the performer. Movements flow through a vocabulary of yoga asanas (postures).

GALLERY 3.1 Screenshots from Vitruvian Yoga

GALLERY 3.2 Views of Room 3

MAKING AND VISUALISING

Room 4 Making and Visualizing

Room 4 displays how abstract geometries become a physical presence, recreated by materials or drawn by a moving body. The iconic Platonic solids are 3D printed and also shown as two-dimensional images. Representations of polyhedra are

superimposed to photographs of human bodies: the images become an expression of the relationship between the inner world of the human mind and and the outside material world. In the making of geometry (Bertol 2015a, 2016b) ideal forms evolve in material objects: the 3D printed polyhedra are made as solid or, wireframe models and evolve in more complex shapes, which yet keep the rigorous laws of symmetry. The artwork is an expression of the taxonomy of a formal vocabulary and algorithmic generation of forms.

GALLERY 4.1 Views of Room 3

INTERACTIVE 4.1 Model of a 3D printed object

Tetrahedral symmetry inspires rotational spiraling movements

INTERACTIVE 4.2 Model of a 3D printed object

A tetrahedron developed as a minimal surface, reminiscent of a callimitra (Haeckel)

THE MOVEMENT INFASTRUCTURE

INTERACTIVE 5.1 Model of the ‘Movement Infrastructure’ based on the icosahedron 23

GALLERY 5.1 Views of the ‘Movement Infrastructure’ in the Atrium

Artist Talk & Performance, 8 February 2016

GALLERY 5.2 Photographs from the artist talk

We wish to acknowledge the Wathaurong people of the Kulin nations, the traditional owners of the land on which we are gathered today. We pay our respects to the local people for allowing us to have our gathering on their land and to their Elders; past, present and future. Welcome to Country Artist Talk and Performance: Daniela Bertol Introduction by Marita Batna and Michael Morgan Performance sounds: Josephine Lange Photography: Lance Youston The event opened with the traditional Welcome to Country and Acknowledgement of Country, followed by introduction by Marita Batna and Michael Morgan, co-curators of the exhibition. The artist talk was in conjunction with a tour of the exhibition, led by the artist, which followed a thematic itinerary developed in synergy with the spatial arrangement. The audience transitioned from viewing objects to interactions with the artist. The artist’s body slowly became immersed with the exhibition; the artwork turned dynamic while enacted by the artist’s movement, generating ever changing shadows. The exhibition tour was a participatory experience for the audience, which could interact with some of the objects and also generate viewing paths by moving in the different rooms of the spatial loop. The audience meanderings and moving among the artworks reinforced the approach to an artist expression as an itinerary—and not as destination: an itinerary constellated by thoughts and movements evoked, by geometric explorations in the everlasting search for harmony in humankind as embodiment of the ideal universe of geometry.

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GALLERY 5.3 Photographs from the performance

Credits

From FORM MIND BODY SPACE TIME to HEALING GEOMETRIES

about the Author

Daniela Bertol is a research artist, scholar, designer and a u t h o r, e x p l o r i n g t h e convergences between art, science, mathematics and t e c h n o l o g y. T h e c o m m o n denominator of these practices is the convergence of art and science with life experience in the investigation of form ,as space-time configuration. She co-founded space ink in 1992 as a design studio/laboratory for the integration of digital technologies with the tradition of architecture as place-making. Daniela’s work, encompasses hybrid processes at different scales and media, ranging from video, land art and performative actions to experiential places and functional body ornaments. Themes revolve around perception, space, time and movement; disciplines and media often considered disconnected come to a convergence in works where

video and digital design is integrated with nature in bio-art. The art in nature explorations are described in the films she directed and produced: Frames of Sky from Earth about her lifetime project Sun Farm, an experiential garden in the Hudson Valley encompassing several narratives where philosophical investigations intersect astronomical diagrams and performance art. Maker of objects and movements, Daniela narrates her creative journeys in essays and books, including: Visualizing with Cad, Form Geometry Structure | from Nature to Design SPACETECTURE, Designing Digital Space—the first book on virtual reality in architecture. For more information on Daniela Bertol’s projects visit her website. Several publications can be downloaded from academia and researchgate.

Form Mind Body Space Time has evolved further in Healing Geometries— a theory and praxis on meditation and embodiment of geometry as copying mechanism to mental, emotional and physical stress. Healing Geometries spans from psychosomatic practices to the 'Movement Infrastructure' and other design products—expressing the mindbody connection by geometric configurations. The brand is targeted to the wellness culture: forms found in 'sacred geometries', link abstract mathematical shapes to the world of nature and humankind expressions. The 'Movement Infrastructure' has currently being developed from prototypes to public art and home fitness products. It incorporates a "wholistic" approach to wellness, as a systemic process based on physical movement, art and design, deeply rooted in a spiritual approach. Healing Geometries also includes two-dimensional artwork and a collection of body ornaments based on geometrical archetypical shapes. Rings, bracelets, pendants and other wearables, as well as posters and wall compositions are physical aid to dynamic meditations. The ephemeral geometry of the moving meditation is assisted by interaction with the material objects in the intent of achieve mindfulness and relaxation.

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CONTRIBUTORS

Being, Vitruvian was co-curated with Marita Batna and Michael Morgan. Marita Batna is an independent curator based in Geelong and Melbourne, Victoria, Australia. Her curatorial practice draws from new media, social engagement and performative methodologies. Michael Morgan is an artist whose work expands across installation, mixed media, video, sound and sculpture, comprising objects and large scale installations for indoor and outdoor sites. Michael runs an art residency in Batesford (Victoria, Australia). Many thanks to: Deakin University Daphne Bertol-Foell production assistance Kristen Thornton ADPML Gallery director Lance Youston photography

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BEING, VITRUVIAN Form Mind Body Space Time

© 2018 Daniela Bertol  All rights reserved. This electronic book or any portion thereof  may not be reproduced or used in any manner whatsoever  without the express written permission of the author  except for the use of brief quotations in a review.

Axes Mundi Press

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