Edition 1|1 - Dark matter is a hypothetical matter that comprises 27% of our universe. It is believed to be at the origins of the first particles, which ultimately helped to form the galaxies. Comparable to glue, its purpose is to unify.
The ‘Fragments from Theories of the Cosmos’ series includes 17 artworks, produced using a video recording of the installation Monolithe de l’Infini.
The content projected through this infinite screen is artistic interpretations of 6 scientific theories: the Theory of Black Holes, String Theory, Chaos Theory, Wormhole Theory, Theory of Dark Matter and Theory of the Eleven Dimensions. These artistic interpretations, presented as an interlacing of choreographed volumes, vectors and sounds.
The artist invites reflection on the status of a scientific theory. Even if, today, these theories are the most supported by scientists, we are reminded that this knowledge still remains speculative hypotheses. At any moment, another major observation or experiment could come forth, calling them in to question. Does this make them obsolete? Or do they serve as mathematical and metaphysical fragments for the writing of a new theory which will replace them?
The Theory of Dark Matter, Fragments #4
- 価格米ドル価格数量有効期限送信元
- 価格米ドル価格数量最低価格差有効期限送信元
The Theory of Dark Matter, Fragments #4
- 価格米ドル価格数量有効期限送信元
- 価格米ドル価格数量最低価格差有効期限送信元
Edition 1|1 - Dark matter is a hypothetical matter that comprises 27% of our universe. It is believed to be at the origins of the first particles, which ultimately helped to form the galaxies. Comparable to glue, its purpose is to unify.
The ‘Fragments from Theories of the Cosmos’ series includes 17 artworks, produced using a video recording of the installation Monolithe de l’Infini.
The content projected through this infinite screen is artistic interpretations of 6 scientific theories: the Theory of Black Holes, String Theory, Chaos Theory, Wormhole Theory, Theory of Dark Matter and Theory of the Eleven Dimensions. These artistic interpretations, presented as an interlacing of choreographed volumes, vectors and sounds.
The artist invites reflection on the status of a scientific theory. Even if, today, these theories are the most supported by scientists, we are reminded that this knowledge still remains speculative hypotheses. At any moment, another major observation or experiment could come forth, calling them in to question. Does this make them obsolete? Or do they serve as mathematical and metaphysical fragments for the writing of a new theory which will replace them?