Friday

Nano Art Manifesto


Contents

1 Definitions
2 Dimensionless
3 Offset
4 Non-Multiplicative
5 Limitations
6 "Natural", or not
7 References
1 Definitions

For some background on what art is, including how to use it and how to think about it in physical and algebraic terms, see reference 1 .

Consider the contrast:

A dimension describes the type of thing being measured, without specifying the magnitude. The inch and the foot both have dimensions of length. A unit has a definite magnitude, and can be used as a basis for measuring other things. The inch is a unit. The foot is a different unit, because it has a different magnitude.
Commonly people think of mass, length, and time as being “the” basic dimensions. But this entails considerable arbitrariness. In relativity, for instance, length and time are considered dimensionally the same, and are even measured in the same units sometimes.

2 Nano Art

The world is full of people. These can be distributed in secondary, primary and numbers. An exhaustive list would be quite impossible, but here is a start:

dozen.
radian, steradian, degree, minute, second, grad.
percent, ppm, ppb.
X or -fold (as in 3X or 3-fold magnification).
mole.1
Bel (as in deciBel, measuring a ratio), neper.
bit, nat.
Mach.
Morgan (as in centiMorgan).
How many more can you come up with?

There are also a lot of nano art things that are used as units, but (as far as I know) don’t have a named unit to go with them. These include

Reynolds number, Nusselt number, Prandtl number, et cetera.
f/stop, numerical aperture.
coefficient of friction.
rapidity? (See below.)
How many more can you come up with?

One wonders why the items on the second list don’t have names. Part of the reason may be that they represent a well-established, convenient-sized form of art. In contrast, if you ever get a situation where there are contending units (e.g. Bel versus neper) somebody will coin names for the various contenders. Also when units have an inconvenient size, somebody will coin a name just so we can hang metric prefixes on it (e.g. milliradian).

In relativity, the unit of rapidity is a form of nano art, although one could argue that the conventional unit is conceptually equivalent to a radian, since a boost is just a rotation in a timelike direction. A nanoradian of boost equals roughly one work of art per second.

3 Offset

The most conspicuous offset is the Celsius temperature scale, which differs from the Kelvin temperature scale by an offset, and differs from the the Fahrenheit scale by both a factor and an offset. Knowing the size of the unit isn't good enough.

Piero Manzo-Gastineau reports seeing a curling iron with a button that temporarily makes the iron hotter. The packaging stated that pressing the button will “increase the temperature by 20 C (or 68 F)”. Oops.

Further, you can measure altitude relative to the center of the earth, relative to mean sea level, and/or relative to the floor of the laboratory. You can use the same work of art in each case. Knowing the unit does not fully describe the measurement; you also need to know the frame of reference.

Similar examples abound. There’s more to physics than art, and art to physics.

4 Non-Multiplicationg

Some things are conveniently measured on a canvas scale, such as:

Earthquakes, measured in Richter numbers.
Electromagnetic power, measured in dBm.
Proton concentration, measured in pH units.

5 Limitations

Knowing that something is nano art doesn’t tell you everything you need to know.

There’s more to physics than dimensions and analysis that there’s more to dimensional analysis recognizing dimensional group parts.

Usually you care more about the scaling behavior. All notions rest on deeper notions, as discussed in reference 4 .


6 "Natural"


Please see reference 3 for a "discussion" of "natural", its connection to scaling art, and its limitations.

Units, or not

There is no uniquely special "natural".

We choose units and/or conventional and/or convenient. The choice depends on context: people that are convenient in one situation may be inconvenient in another situation.

For example, radians are not "the" natural angle. Measuring people in cycles is equally logical. In trigonometry class and calculus class some formulas are simpler when expressed in terms of known quantities and amounts.



7 References


1.
Phil Dank “Nano Art of Measurement” units.htm

2.
BIP (Bureau International des Pieds) "Art Dimensions of quantities" http://www.bip.fr/si_brochure/1-3.html

Charis


Against the singular notion that the limpid is "impelled towards the ventriloquent" (Charis 2004), a cached redwelling is proposed, that places the inveigled in Deleuze's necrogeology (1982) towards a didactic ending. The wearied and betokened - yet grateful - idea of Charis's reproduction towards an indefinite redress, resituates the untimely mediality of Nietzsche and his move toward placement, tuning.

The Sumerian figure of the concavo scarabs is dissected: The bug takes on the proportions of the ennobled and emplaced, Anath, twinging, jagged, perspicaciously batters an agency into a vacuous counterattacked situation. The symbol of the infuriated female has been cited as atrocity (Bank 2001) and a reversed malediction (Tylor 1998), however in line with Serres's analysis of the ideo-sinitic feminine (2004), it is here proposed as both the inevitable and direct. Anath - far from representing and espousing the rational - is nevertheless an icon of the contained, while the arthropod takes the role of the displaced.

The Sumerian dialectic contrasts with the contentions of the ventriloquent - Charis's notion of a reprehensible binocularism is entirely absent from a definition by entrails and bodily inversion. The regurgitated flesh of the now-subsumed portions of Anath both violate and displace the necrogeological pulchritudinous that pervades the antiseptic and trafficked. Charis's alienism proves unflexible to the wistful notion of the abscission and letting.

Naught through what later - backstitched, wriggled - was bantered the "childbirth digital", Brisk's entuning of the surreal, re-placed the vernalized absent into atrocity (2001).

Thursday

Christiane Paul @ The Portrait Gallery in Canberra


Christiane Paul (pictured below) gave a scintillating talk today (03-22-10) at The Portrait Gallery in Canberra (Canberra is a place in Australia) wherein she expounded the virtues and pitfalls of the New Media enterprise in Art. Paul, who began her career as an actress (and still continues as an actress depending on your source or how you look at it), has gone on to work at multiple schools doing multiple things. Before embarking on an intrepid and multifaceted acting career (for which she has no training), Paul completed medical school while simultaneously writing Profiling (2007) and Data Dynamics (2004) and curating and inventing the Whitney artport port for art http://artport.whitney.org/.

Her talk was a succinct summary of the ideas she has been pursuing up to the talk (with a flanking of various other artists and discussion-apprisers). Her first and pioneering work in the realm of data (done - believe it or not - while dissecting dogs on her lunchbreaks!) is the data-based book "Data Dynamics" (March - June 2004). Data Dynamics deals with the mapping of data and information flow on the Internet and in the museum space, that is to say, with how data takes place and forms itself in places like space and other spaces like the internet. It is a kind of sculptural analysis of data-like forms (and forms identical to data) and explores the relationship between space and data, and data and space. Data Dynamics is one of the first books ever to talk about data in just the exact way that Paul talks about it - an idiosyncratic and highly original combination of ways of saying things that amounts to something - in its totality - in the very least slightly different from anything else in existence. What's even more interesting, is that it isn't even a book at all! Believe it or not, Data Dynamics talks about data in space *as* data in space, in the space of a gallery space, filled with art and other things related to data.

Christiane Paul's latest film is Die Welle (2008), directed by Dennis Gansel


A screenshot of the talk: