'The scientist cannot capture the whole cosmos in thought.
He makes a kind of microcosm, which we see as an analogue
of the cosmos. In this way we try to get a feeling for the whole.'
(Art Meets Science and Spirituality, p.28, 1990)
In this project I wish to engage the reader in a different frame of consciousness. A consciousness which functions in the same manner as non-human realms or microcosms, enabling it to become an 'analogue of the cosmos'. The functions of this consciousness can be termed FRACTAL LOGIC, coined by Ellen Bishop in 1995 (Feminism and Postmodernism).
Firstly, I will assess the development of the fractal and its integration into academic consciousness. This leads me to assert the universality of fractal structures in all of nature's systems - from human signification of both concrete and abstract stimuli, to their manifestations in the unconscious mind; from the quantum realm to the physics of the animal kingdom. In all cases, I propose that these fractal structures are ignored due to the Westerner's logocentric obsession with systems based on binary opposition.
Secondly, I will examine fractal structures in differing aesthetic mediums - text, music and fine art. Once their existence is established, I will assimilate a linkage between the stimuli produced by such structures and the stimuli produced by the artform. I will not use my findings as a premise to declare the 'beauty' of fractal structures. This would result in a return to a dichotomous mode of thought, and the consequent negation of linear forms of expression. I will merely illustrate the intensity of fractal complexity on the human psyche, an intensity so favourably held by the Westerner.
Assisted by the theories of Deleuze and Guattari, I wish to illustrate that the contrasting discourses of philosophy, science and art criticism can be fused to create an alternative analytical framework to that offered by the Enlightenment/deconstruction dialectic.
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