Math, Art, and the Geometry of Wonder

    This week’s exploration of mathematics and art challenged my assumptions about math being purely logical or rigid. Instead, I learned that math has long been a foundational tool for creative discovery—shaping how we see, structure, and imagine the world.

    One key insight came from Matila Ghyka’s The Geometry of Art and Life, which shows how the Golden Ratio and geometric patterns have historically guided artists and architects in their pursuit of visual harmony (Ghyka 22). This reading made me realize that math isn’t just applied to art—it’s embedded within it. Leonardo da Vinci’s Vitruvian Man, for example, isn't only a drawing—it’s a demonstration of mathematical ideals manifested through the human form.


    Charles Csuri’s early computer-generated works, like Random War, amazed me in how they translate algorithmic logic into visual form. Csuri's work emphasizes that even machines, with the right code, can be used to explore randomness, emotion, and complexity (Csuri). Nathan Selikoff’s generative art, which blends mathematical formulas with motion and interaction, further emphasized how math can feel deeply alive and expressive (Selikoff).



    Flatland by Edwin A. Abbott offered a surprisingly emotional and philosophical lens. It critiques the limits of perception through geometry—reminding me that dimensions aren't only physical, but also intellectual and cultural (Abbott 14). This metaphor stayed with me, especially when considering how mathematical “truths” can often expand our understanding of art and science.

    Roy Ascott’s writing on technoetics introduced the idea that math, art, and science intersect in the realm of consciousness and spirituality (Ascott). His ideas pushed me to think of math not only as a structure but also as a portal—bridging human intuition and emerging technologies.

    Ultimately, I’ve come to see mathematics, art, and science not as opposites but as overlapping lenses. Each discipline asks us to see patterns, solve problems, and reimagine possibilities. Together, they create not just answers—but wonder.


References

Abbott, Edwin A. Flatland: A Romance of Many Dimensions. Dover Publications, 1992.

Ascott, Roy. “Technoetics.” Technoetic Arts: A Journal of Speculative Research, vol. 1, no. 1, 2003, pp. 1–5.

Csuri, Charles. “Charles Csuri: Father of Computer Art.” The Charles Csuri Project, www.charlescsuri.com. Accessed 10 Apr. 2025.

Csuri, Charles. Random Growth Drawing. 1967. The Charles Csuri Project, https://www.charlescsuri.com. Accessed 10 Apr. 2025.

Da Vinci, Leonardo. Vitruvian Man. c. 1490. Gallerie dell’Accademia, Venice. Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Da_Vinci_Vitruve_Luc_Viatour.jpg. Accessed 10 Apr. 2025.

Ghyka, Matila. The Geometry of Art and Life. Dover Publications, 1977.

Selikoff, Nathan. Beautiful Chaos. 2016. NathanSelikoff.com, https://www.nathanselikoff.com/project/beautiful-chaos/. Accessed 10 Apr. 2025.

Selikoff, Nathan. “Projects.” NathanSelikoff.com, www.nathanselikoff.com. Accessed 10 Apr. 2025.


Comments

  1. TylerApril 13, 2025 at 7:43 PM

    Hi Reiley!

    I completely agree with your perspective, and I also found it so eye opening to see how deeply intertwined mathematics and art are. Like you, I used to think of math as purely logical and rigid, but learning how it serves as a foundation for creativity has completely changed my view. The idea that math and art work together as overlapping lenses is a powerful way to look at the world!

    ReplyDelete

Post a Comment

Popular posts from this blog

Week 3: Mechanization, Reproduction, and the Evolution of Art

Image
    The intersection of industrialization, robotics, and art has transformed how we define creativity and authenticity. This week, I was especially drawn to Walter Benjamin's essay, "The Work of Art in the Age of Mechanical Reproduction," which explores how mass production strips a work of its "aura" — its originality and ritual value (Benjamin). When art is copied and distributed, it loses its historical uniqueness.      Douglas Davis expands on Benjamin's argument in "The Work of Art in the Age of Digital Reproduction," explaining that the line between original and copy has blurred to the point where even the "authentic" becomes unstable in digital space (Davis). Our interactions, likes, and shares become part of the artwork itself.      Arduino and Raspberry Pi are modern tools that allow artists to create interactive pieces using code and robotics (Arduino; Raspberry Pi). These platforms, along with Adafruit and Bantam Tools, empower ...
Read more

Week 1 Blog - Walking Between Worlds: Creativity, Science, and the UCLA Divide

Image
    Hi everyone! I’m a Public Affairs and International Development Studies double major—so I live almost entirely on UCLA’s North Campus. My academic path is deeply rooted in the humanities, where I’m drawn to big-picture questions about equity, justice, and systems of power. I’ve never felt particularly connected to the sciences taught on South Campus, and this course is helping me better understand why that disconnect exists—and why it matters.      UCLA physically reflects the “two cultures” that C.P. Snow described. The first image of North Campus—with its brick buildings and relaxed atmosphere—feels warm, reflective, and rooted in history (UCLA Newsroom). The second image of South Campus is sharp, clean, and buzzing with busy energy (UCLA Capital Programs). To me, North Campus values questions and creative thought, while South Campus feels more focused on productivity and precision.      C.P. Snow, writing as both a scientist and novel...
Read more

Week 4: Redefining the Body through Medicine, Technology, and Art

Image
     This week's materials prompted me to reconsider the profound ways in which medical technology shapes not only healthcare practices but also broader expressions of identity, memory, and human experience. Silvia Casini's essay on MRI scans was particularly impactful. She frames MRI technology not merely as a diagnostic tool, but as a method of visualizing the body—almost akin to creating a portrait (Casini). This perspective expanded my understanding of medical imaging as an expressive and performative medium rather than solely a clinical instrument. Figure 1: Justine Cooper, RAPT I (1998), MRI video installation. (Image source: QAGOMA Learning)      Artists like Justine Cooper further highlight this idea. By incorporating her own MRI scans into her video work, Cooper transforms clinical data into deeply personal visual narratives. Similarly, Laura Splan’s "Embodied Objects" series reimagines sterile medical imagery as intricate textile sculptures, promp...
Read more