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Maghsoudi
Maghsoudi
Dynamic Growth: Anomalous Diffusion & Stochastic Geometry
This digital artwork is a cutting-edge exploration of the interplay between mathematics and art. It focuses on the phenomena of anomalous diffusion, fractal geometry, and stochastic systems. The composition begins with a singular luminous seed that triggers a generative cascade reminiscent of reaction-diffusion models. Each element evolves under probabilistic rules, memory effects, and barrier constraints. As these forms expand, intricate fractal patterns emerge and interlace, showcasing self-similarity and recursive subdivisions that mirror the unpredictable behavior of complex systems. Bold, vibrant color gradients shift seamlessly from deep, rich hues to shimmering metallic accents, emphasizing the metamorphosis from rigorous order to dynamic chaos. Rendered in ultra-detailed, high-resolution digital art with cinematic lighting and fluid animation, the piece invites viewers to immerse themselves in an evolving visual narrative. It encapsulates the emergent behavior of stochastic processes and the delicate balance between randomness and structure. By harnessing advanced generative algorithms and state-of-the-art 3D modeling techniques, the artwork stands as a testament to the harmonious fusion of scientific inquiry and creative expression—an illustration of a modern vision where mathematics inspires art. This evolving visual narrative challenges the viewer to contemplate the delicate interplay between chaos and order, and to appreciate hidden geometries underlying natural phenomena.
Nadzeya Makeyeva
Nadzeya Makeyeva
The artwork brings Brill-Noether curves to life by depicting key points on the curve as if they are shaped by giant celestial iridescent hands, compressing the surrounding space. These hands serve as a metaphor for the fundamental constraints imposed by Brill-Noether theory, where the existence of special divisors dictates the structure and embeddings of algebraic curves.
The gripping hands symbolize the mathematical forces that shape the geometry of the curve, illustrating how these distinguished points influence its behavior and possible mappings in projective space. The contrast between the fluidity of the curve and the firm grasp of the celestial hands highlights the tension between mathematical freedom and restriction, echoing the balance at the core of Brill-Noether theory.
By merging abstraction with mathematical precision, this visual interpretation captures the profound interplay of combinatorial conditions, geometric constraints, and the almost cosmic inevitability of mathematical order.
Vishwadeep Mane
Vishwadeep Mane
Title: The Polarised Identity
This artwork captures the intricate role of genetic and protein patterning in shaping leaf identity and polarity. Leaves, as multicellular structures, establish distinct polarity through the precise expression of genes and proteins that define their developmental fate.
The image presents two leaves with their cell boundaries highlighted in red. On the left, a complete leaf is shown in two dimensions, while on the right, only an optical-sagittal section of its companion leaf remains. A green protein is selectively expressed on the surface layer of the right leaf. In contrast, on the left, the same protein appears to form a gradient, attempting to diffuse inward but unable to penetrate due to its size.
This visualisation echoes the biological process of proteins moving across tissue layers to establish polarity and define organ identity. Under normal conditions, diffusion allows proteins to traverse these layers seamlessly. However, when a protein's size increases, its movement is hindered, disrupting the delicate balance of identity formation and affecting the leaf’s development.
Thumbprints symbolise the proteins in this artwork—unique biological markers, just as fingerprints serve as individual identifiers in daily life. The composition poetically illustrates how molecular constraints shape the architecture of life, offering a striking intersection of art and science.
Bari Marsh
Bari Marsh
INTRODUCTION TO LOBSTER POTS
Lobster pots are specialized traps used in fishing to capture lobsters. Typically constructed from wooden slats or metal frames, these pots are designed with openings that allow lobsters to enter while preventing their escape. The functional design incorporates natural materials such as rope and mesh, enhancing both utility and beauty. This combination of effectiveness and aesthetic appeal creates intricate patterns that reflect mathematical principles, showcasing the artistry behind their craftsmanship.
MATHEMATICAL PATTERNS IN DESIGN
Lobster pots exhibit a variety of geometric shapes and patterns that serve both practical and artistic purposes. Common designs include:
- Symmetry: Many pots feature mirror-image structures for balance and efficiency.
- Repetition: Patterns often repeat to enhance strength while creating visually appealing forms.
- Proportion: The sizes of components are carefully chosen to maintain functionality and aesthetics.
These elements contribute to a striking visual language, where the mathematical foundation reflects a blend of engineering and artistic expression that captivates both users and spectators alike.
LOBSTER POTS AS ARTISTIC EXPRESSION
Lobster pots transcend their utilitarian purpose, embodying a form of artistic expression that resonates with both fishermen and artists. The fusion of functionality and beauty creates structures that are not only effective in trapping lobsters but also serve as cultural artifacts.
Jenny Marshall (Entry 1)
Jenny Marshall (Entry 1)
Title: Do Mathematicians Believe in Fairies?
In a shaft of sunlight, midges hover and swirl, their motion both chaotic and strangely rhythmic. Watch them long enough, and patterns begin to emerge—then dissolve—then reform, always on the edge of reason. Dust motes do the same, drifting in tangled, unpredictable paths. A mathematician might call it a random walk. A child might say it’s the work of fairies. Who’s to say who’s right?
Suspended in air, this sculpture of rusted wire captures this fleeting dance, interwoven with the chaotic beauty of random mathematics. Each twisted filament follows logic, tracing the erratic paths of particles as they collide and drift through space. The structure is both intricate and unpredictable.
Scattered through the mesh, mirrors catch the light, offering fleeting glimpses of the tangled network—reflections that stretch, distort, and multiply. The random walks traced in wire follow a mathematical certainty: individually unpredictable, yet governed by statistical laws. But the mirrors defy such logic. Their reflections create an illusion of endless recursion, while also casting sudden flashes of light into the woodland’s shadows. For an instant, the glimmers dart and dance like something just out of sight—something neither proven nor disproven, mathematical yet magical, from fairyland?
Jenny Marshall (Entry 2)
Jenny Marshall (Entry 2)
"Memory Blocks" is a visual metaphor for anomalous diffusion—how movement and memory can be unpredictable shaped by obstacles, history, and chance. Some memories remain vivid, others fragment or fade. Each shape in this piece represents a memory forming a shifting network of connections, much like anomalous diffusion spreading unevenly through time.
Reclaimed wood has an inherent memory. From branch to charcoal, old typeface to mahogany pulpit, each block holds traces of past transformations. Just as knowledge hooks onto previous experience, anomalous diffusion connects past and present data in unexpected ways. Layered at varying depths, the blocks profile the uneven nature of memory and anomalous diffusion.
Hidden clues—pips, blossoms, leaves, a rosy bloom—hint at something yet unseen.
Scattered elements resolve into the traced shape of an apple. A symbol Newton’s moment of insight, the apple must be pieced together, much like understanding in mathematics and science. Meaning emerges through fragmented data points, pattern recognition, and nonlinear connections. Each viewer brings their concept of ‘apple’ shaped by memory and experience. Through shared perception, the apple is revealed—not through a single, direct path but through the unpredictable interplay of connection, interpretation, and collective discovery. Can you find an apple?
Shittu Muyide Marvel
Shittu Muyide Marvel
I believe that there are laws governing even the most random events. This is a scribbled artwork. The goal is to use lines of same thickness moved randomly as curves or straight lines to create an illusion of 3 dimensional reality. As the scribbling progresses, the rough form of an elephant ensures which inspired the creation of a herd of them. There are three logic behind this process: lines far apart represent areas of shadow, those closer together appear as the visual midtone, those that intersect brighten by a factor of 1 forming highlights depending on the number of interactions.
Though the lines were moved in random forms, their cluster is guided by a purpose such that a replication of this process might give same visual information far away but different information by individual lines. The existence of our world has this beautiful quality. Many random events happen, but they are guided by laws from those written in organism's DNA to laws of attraction including those that attract these elephants together as a herd.
Volha Maslouskaya
Volha Maslouskaya
Title: Anomalous Regularities and Digital Performativity: At Home: The Private is Public
A daily videos, a long-term online performance, a final film documenting the process and its evolution.
Every day in my garden I perform the same action: breaking a plate or other piece of dishes, recording it on video. This action creates a visual and acoustic rhythm, where the structure of an everyday ritual is combined with elements of chance and anomaly.
The project touches on the themes of reflective processes, diffusion and anomalous diffusion through repetition, destruction and transformation, revealing new ways of perceiving chance and order in artistic practice, forming a new order out of chaos, modeling the principles of sustainability in changing conditions.
Repetition creates an “archive of destruction”, balancing between the documentary and the performative, the mundane and the ritual, the physical and the digital.
The use of Aesopian language, absurdism, and layering of meanings creates coded messages where things mean more than they seem in the context of total control and censorship in Belarus. The element of absurdity inherent in the repetition and escalation of the project reflects the absurdity of suppression itself - where the ordinary becomes dangerous, and resistance takes unexpected forms.
Mohammad Reza Masoumi (Entry 1)
Mohammad Reza Masoumi (Entry 1)
This aerial image of the Lut Desert and the Kaluts of Shahdad is a stunning example of natural expressionism, where anomalous mathematical patterns emerge. The white lines branching across the surface strikingly resemble fractals—structures where smaller patterns self-repeat throughout the entire formation.
The concept of natural occurrence is vividly portrayed here, as these patterns have formed randomly yet possess a distinct aesthetic appeal. The salty water flows that have moved across the arid desert bed create lines of beauty that intertwine, as if crafted by a master artist.
Random patterns are clearly visible in this scene; the paths of water flow unpredictably between the sandy hills (Kaluts), forming intricate, seemingly chaotic networks. Despite the apparent disorder, there is a hidden harmony and symmetry within these natural formations, making them a perfect example of anomalous mathematical patterns.
This image not only reflects the geometry of nature but also serves as a reminder of how nature spontaneously creates patterns of remarkable complexity and beauty.
Mohammad Reza Masoumi (Entry 2)
Mohammad Reza Masoumi (Entry 2)
This black-and-white image of the Sefid Chah Cemetery unexpectedly presents a composition of random mathematical patterns. At the center of the image, a veiled woman stands as the focal point, drawing the viewer’s attention. This central-axis composition weaves the intricate surrounding structure into her presence, making her the core of meaning within the chaotic arrangement.
The stone graves, scattered in various directions, form a seemingly random distribution that evokes unexpected statistical patterns. At first glance, they appear disordered, yet they possess an underlying structure and coherence. These patterns take the shape of diagonal, vertical, and horizontal lines, aligned in a way that resembles a random network often seen in natural geometry.
The symmetry observed here is asymmetric, where hidden order emerges from apparent chaos. This phenomenon is reminiscent of maximalist complexity, where abundant details accumulate within a space, forming a comprehensible whole despite their scattered nature.
The graves resemble mathematical points on a coordinate plane, randomly positioned yet subtly connected through invisible hypothetical lines. This irregular distribution hints at a form of random geometry, as if following an unknown algorithm.
The image powerfully conveys the contrast between human presence and natural disorder.
Mohammad Reza Masoumi (Entry 3)
Mohammad Reza Masoumi (Entry 3)
This aerial image of the Kaluts of Shahdad in the Lut Desert is a manifestation of anomalous mathematical patterns that have remarkably formed in nature. These wind- and water-eroded hills have taken shape naturally, stretching continuously in alignment. Their behavior appears random, yet they exhibit a kind of recurring pattern reminiscent of self-similar behavior.
The pattern formed by these Kaluts exhibits asymmetric symmetry; although the patterns may initially seem irregular, they contain an underlying hidden order. The narrowness at the beginning and prominence at the end of many of these hills follow what seems like an unknown natural law.
This fusion of nature and art in recreating forms where the ratio between length and width and the spacing between the Kaluts sometimes reflect the golden ratio demonstrates a kind of unexpected geometric harmony. The recurrence spans from the largest visible elements in the frame to the smallest changes caused by water, wind, evaporation, salt accumulation, and cracks from drying after rainfall.
These repetitions transform into a sort of fractal pattern on a grand scale, as if nature itself has designed them using a random algorithm. Each hill acts like an individual component of a larger whole, maintaining its distinctiveness while preserving the overall shape and continuity of the landscape.
Hannah Mayel T. De Guia
Hannah Mayel T. De Guia
Inspired by the captivating realm of mathematical patterns, this work explores the delicate balance between regularity and anomaly. It investigates the dynamic behavior of interacting particle systems, drawing parallels with the fluid and gas dynamics observed in nature. The complex structures of random networks are also examined, complemented by the concept of reflecting processes, adding another dimension to the exploration.
A key focus is the analysis of interacting random walks and their inherent geometric properties. The study of diffusive processes further enriches the investigation, highlighting the intricate nature of these systems. Integrating elements of kinetic art, the work seeks to bridge the divide between abstract mathematical concepts and tangible artistic expression.
By interweaving these diverse mathematical threads, this exploration aims to provide a fresh perspective on the interplay of order and chaos. It delves into how these seemingly opposing forces manifest within mathematical frameworks, offering insights into both the inherent beauty of mathematical structures and their potential for artistic interpretation. Ultimately, this work seeks to illuminate the profound connections between mathematics and art, revealing the underlying harmony in their shared exploration of pattern and form.
Siddharth Meena
Siddharth Meena
Title: Fractured Symmetry
I used to believe in randomness—that some things just happen without meaning or cause. But over time, it all started to feel too precise. Maybe nothing is truly random—only governed by rules too complex for us to see.
Fractured Symmetry is a visual exploration of that idea. Inspired by anomalous diffusion, it reflects motion that defies classical expectations. Unlike simple random walks, anomalous diffusion describes how particles behave in complex environments—sometimes getting stuck, sometimes leaping far, often remembering where they’ve been.
The dense black lines represent regions of recurrence—paths the system revisits again and again. The fading strokes are traces of forgotten motion, still quietly shaping what follows. What seems chaotic is actually motion with memory—a structure beneath the mess.
This piece captures symmetry breaking not as destruction, but as transformation. Patterns don’t disappear—they fracture, shift, and re-emerge in new forms.
Because in mathematics, and maybe in life too, the closer we look, the more we realize:
Randomness isn’t random. It’s just complexity we haven’t understood yet.
Manoah Metzler (Entry 1)
Manoah Metzler (Entry 1)
Spatially represented is a pedestal made of floral foam, which is pierced or even penetrated by bamboo sticks. At first glance, the pattern of the pierced sticks may appear random; however, there is a simple random process behind it. When one stick penetrates the pedestal, the next stick has a 2/3 chance of penetrating it again. As a result, the object acquires a very aesthetic effect, with chains of penetration and, similarly, chains of piercing forming. Before creating the object, a total of 72 puncture holes were predetermined, and for each, it was decided randomly whether the sticks would only pierce or fully penetrate. The probability of this exact final puncture pattern is approximately 1.56*10^-21, making it virtually impossible to recreate this pattern under the given conditions. The object measures 20x10x7.5 cm and presents an intriguing composition between two materials that could hardly be more different, much like the two outcomes of the random experiment, which represent complete opposites. This contrast is clearly evident in the object through the mass contrast above and below the pedestal.
The work was created in June 2024 and is currently exhibited at the Technical University of Chemnitz (Germany), though it will be dismantled in the coming weeks.
A video of the object also exists, in which the random process is captured.
(https://www.youtube.com/watch?v=DTDWc2FCJ4g)
Manoah Metzler (Entry 2)
Manoah Metzler (Entry 2)
"End of Beginning" is an open artwork—a process without a clear beginning or defined end. The structures and patterns on the canvas could extend infinitely in all directions, much like anomalous diffusion, where movement does not follow a linear path but is shaped by random influences and past states.
This 150 × 100 cm piece was created through an experimental, physics-inspired process. Marbles soaked in acrylic paint were rolled across the canvas, driven by minimal impulses, collisions, and the laws of motion. Each path, each trace, is both random and subtly governed by invisible patterns. The colors—red, blue, and white—layer dynamically, resembling the traces left by particles or living organisms in natural processes.
Like diffusion itself, the interplay of paint, movement, and material does not follow rigid order but emerges from interactions, unexpected directions, and constant change. The artwork remains open-ended, as if it could continue beyond the edges of the canvas, capturing just one moment in an ongoing process.
"End of Beginning" invites viewers to lose themselves in the structures, discover their own patterns, and reflect on the balance between control and chance. It serves as a visual metaphor for diffusive motion, transformation, and the ceaseless flow of time—a beginning that never truly ends.
Manoah Metzler (Entry 3)
Manoah Metzler (Entry 3)
In my performance, I used chance as a driving force by repeatedly rolling a die to roll the same number five times in a row – a highly unlikely event. This experiment reflects the irregular and unpredictable patterns typical of anomalous diffusion.
The documented results were recorded on a long strip of paper, which represents the sequence of rolled numbers. This strip was gathered into a large pile, with the end protruding from the pile, showing the sequence of five consecutive identical numbers. This arrangement symbolizes the rare occurrence of an unlikely event and refers to mathematical models that can describe such phenomena.
Through this work, I invite viewers to reflect on the role of chance in our lives and recognize the underlying mathematical principles that govern the behavior of systems with anomalous diffusion. The intersection of mathematics and art offers new perspectives on our environment and fosters a deeper understanding of the complex processes that shape our universe.
The performance itself was documented on video. The three-dimensional artwork serves as a physical reminder of the performance.
This work was created as part of my final project in art education at the Technical University of Chemnitz and is aptly titled W411-5 (W = 'würfeln' in German, meaning 'to roll a die', 411 rolls until the same number was rolled five times).
Giulia Mezza
Giulia Mezza
I decided to focus on the process of diffusion in our body that happens in every single organ and tissue to exchange oxygen and carbon dioxide. I have shown this process as a tridimensional paper sculpture made with several handmade illustrations.
Aubrey Meyer
Aubrey Meyer
The relationship between uncertainty based on oscillations and harmonic certainty are explored from the viewpoint of music (violin strings) within the inclusive concept of 'stringularity'.
Steve Meyfroidt (Entry 1)
Steve Meyfroidt (Entry 1)
Discord and Light (luminous) photographic print, acrylic paint, silver leaf, wooden panel 1280x640mm
This is a live music performance seen through a statistical lens: a triptych of snapshots in time, made as computational drawings in response to an audio stream, made into a physical work gilded with silver leaf. The piece exploits intrinsic randomness in live audio data in contrast to artists who have sought extrinsic “chance events” to make their art.
Several dimensions of the data in live samples of an audio stream are flattened into a colour palette using a self-organising map technique, making the final colours a characteristic of the music rather than a subjective choice.
Layers of marks accumulate as details in the audio stream feed through k-means analysis that determines “interesting” positions in 2D space, which in turn guide the disturbance of a background fluid simulation, as well as the placement of a dense network of non-intersecting lines and crystallising ghost memories around cluster positions when they have remained stable for some time.
The result is a drawing that balances order with chaos, using statistical means to reveal both the complexity of its musical subject and its gross structure over time.
Steve Meyfroidt (Entry 2)
Steve Meyfroidt (Entry 2)
Echoes of Treganna (luminous), photographic print, acrylic paint, silver leaf, wooden panel 1280x640mm
This is a live music performance seen through a statistical lens: a triptych of snapshots in time, made as computational drawings in response to an audio stream, made into a physical work gilded with silver leaf. The piece exploits intrinsic randomness in live audio data in contrast to artists who have sought extrinsic “chance events” to make their art.
Several dimensions of the data in live samples of an audio stream are flattened into a colour palette using a self-organising map technique, making the final colours a characteristic of the music rather than a subjective choice.
Layers of marks accumulate as details in the audio stream feed through k-means analysis that determines “interesting” positions in 2D space, which in turn guide the disturbance of a background fluid simulation, as well as the placement of a dense network of non-intersecting lines and crystallising ghost memories around cluster positions when they have remained stable for some time.
The result is a drawing that balances order with chaos, using statistical means to reveal both the complexity of its musical subject and its gross structure over time.
Rayhan Miah
Rayhan Miah
The Hidden Data Centre visualises a speculative but mathematically grounded question:
Could there exist a secret facility that stores all of the world’s data — and remain completely undetected?
This architectural drawing represents a system built on probability theory. Using ideas from Poisson processes, it reflects the vanishingly small chance of avoiding detection over time. The layout is designed like a visual probability distribution — structured yet dense, suggesting a world of compressed information hidden in plain sight.
Inspired by Bayesian inference, the drawing functions as a belief update mechanism: viewers arrive with low prior belief in such a place existing, but the artwork itself becomes evidence that challenges that assumption, shifting their posterior belief.
The visual density and complexity evoke Shannon entropy — quantifying uncertainty and the vast information content packed into each structure. This piece transforms abstract mathematical ideas into a visual form that’s intuitive and unsettling, asking the audience to confront how modern systems of data, control, and surveillance could statistically exist beneath our awareness.
By turning equations into aesthetic experience, this work bridges mathematical theory with visual storytelling — inviting collaboration, interpretation, and imagination.
Reza Mirshafiei (Entry 1)
Reza Mirshafiei (Entry 1)
The artwork is constructed based on the principles of statistical distribution and probability theory. Each point finds its place not only according to visual principles but also following controlled stochastic algorithms (stochastic process). Despite its seemingly simple structure, the repetition of points suggests a micro-scale fractal pattern. These patterns are inspired by Poisson distribution models, commonly observed in nature and self-organizing systems.
In terms of ambiguity, the piece stands at the boundary between clarity and obscurity: from a close distance, it appears as a collection of unrelated points, but from afar, a human face emerges. This effect activates Moiré patterns and the parallax phenomenon, both of which are studied in image processing theory.
Geometrically, the composition is a fusion of points within a probability-driven space, oscillating between randomness and order. This transition between the duality of chance and determinism challenges the viewer’s perception, engaging them in discovering the hidden mathematical structures within the artwork. From a geometric perspective, this composition represents a form of digital sampling of a continuous function in a two-dimensional space, which can also be analyzed through Fourier transform techniques.
Reza Mirshafiei (Entry 2)
Reza Mirshafiei (Entry 2)
Title: Statement of the Second Artwork (Face with Vertical Lines - Vertical Line Distortion)
This piece explores the interplay between symmetry, sequence, and visual interaction. The vertical lines, which initially appear uniform, actually represent a mathematically structured distribution of a multivariate probabilistic system. As the viewer moves, the change in perspective creates a perceptual distortion similar to the moiré effect in optics and wave theory.
The piece utilizes bounded random systems to present a combination of order and disorder. The spacing of the lines and their arrangement are designed based on dithering algorithms, commonly used in image processing and digitization models.
From an anomalous perspective, this piece oscillates between presence and absence, between clarity and blurring. The face that appears in the artwork is visible at certain moments and hidden at others, serving as a representation of the uncertainty principle in quantum mechanics.
The geometry of the work may seem simple at first glance, but with a deeper analysis, one can observe relationships involving the golden ratio, Fibonacci sequences, and harmonic intervals, revealing its connection to mathematics.
Reza Mirshafiei (Entry 3)
Reza Mirshafiei (Entry 3)
Title: Statement for the Third Artwork (Abstract Geometric Composition)
This piece creates a link between Euclidean and non-Euclidean spaces, oscillating between algebraic order and random systems. At first glance, its geometric forms evoke a self-organizing system of interwoven polygons inspired by Voronoi diagrams and Delaunay triangulation. These two concepts play a crucial role in modeling nature, from biological cells to crystalline structures.
From a probabilistic perspective, the distribution and arrangement of these forms resemble a Markov chain, where each change in the system is dependent on the previous state. This artwork represents Brownian motion paths within a confined space, which are observed in economic, physical, and biological models.
The anomaly in this piece lies in the asymmetric changes and the simultaneous presence of Euclidean geometry (such as triangles and circles) and nonlinear topology. The interaction between these contradictory systems engages the viewer in a perceptual challenge, prompting them to uncover hidden structures behind this controlled chaos.
From an artistic standpoint, this work is a visual code that transcends an image, reflecting the probabilistic logic of mathematics embedded in art.
Mohammad (Entry 1)
Mohammad (Entry 1)
My artworks have been created using artificial intelligence. Each of these images reflects the interaction between mathematics, nature, the cosmos, and architecture. The first image is a surreal interpretation of the similarities between natural structures, such as rivers and tree branches. The second image is an abstract representation of the cosmos, utilizing vibrant colors and intricate mathematical patterns. The third image blends modern architecture with cosmic concepts, emphasizing the overlap between mathematics, space, and human-made structures
Mohammad (Entry 2)
Mohammad (Entry 2)
This works explores the intricate relationship between mathematics and Islamic architecture, revealing the hidden mathematical principles that govern traditional designs. The submitted images capture geometric patterns, fractal-like structures, and complex symmetries embedded within historical architectural elements. These structures exemplify advanced mathematical concepts such as self-similarity, symmetry groups, aperiodic tiling, and the golden ratio, which have been naturally incorporated into the built environment centuries before their formal mathematical discovery.
Each image highlights a unique aspect of mathematical complexity: from muqarnas formations that demonstrate fractal geometry, to intricate tessellations that align with discrete mathematical models. The study of these patterns is not only an aesthetic pursuit but also a fundamental exploration of how mathematical principles shape visual and spatial harmony.
By capturing and analyzing these designs through high-resolution photography, this work serves as a bridge between art, history, and mathematics, making abstract mathematical ideas tangible and visually compelling. These images invite viewers to perceive architecture not just as a structural endeavor, but as an ongoing mathematical experiment encoded in history. The work aligns perfectly with the competition's theme of anomalous mathematical patterns, providing a fresh perspective on the hidden logic of traditional design.
Jose Morales
Jose Morales
Numerical solution for the steady state of an open quantum system with non-Markovian noise, presenting the numerical steady state Wigner quasi-probability density function in position-momentum phase space. Heat map and sample point distribution represent graphically the quasi-distribution for the problem.
Roya Imani Motlagh
Roya Imani Motlagh
Title: Light Equations: From Discrete to Continuous
This photograph captures the mathematical transformation of discrete city lights into continuous luminous functions through camera motion. Initial light points (xᵢ,yᵢ) undergo shear transformations, creating vector trails describable by differential equations. Vertical streaks represent dy/dx=∞ solutions, while { }-shaped curves model inverse exponential functions (y=a(1-e⁻ᵇˣ)).
The image demonstrates:
Sampling theory: Points → Lines → Surfaces
Nonlinear dynamics:
Base points = Initial conditions
Trails = Phase-space trajectories
Fractal geometry: Pattern dimension 1<D<2
Light density follows Poisson-like distributions, with compressed areas forming integral-like surfaces. The { } curves act as strange attractors in this optical system.
Artistically, this work bridges abstract mathematics and photography:
Camera shake becomes a mathematical operator
Light behaves as both variable and function
Randomness and order coexist geometrically
The result is a luminous equation where:
Physics defines the rules
Chance provides the variables
Beauty emerges from their intersection
This experiment visualizes the hidden mathematics in motion and light, proving photography can be both artistic expression and mathematical demonstration.
Sophie Florence Mullins-Poole
Sophie Florence Mullins-Poole
These come from a larger body of work in which I have been trying to understand the implications and relationship between quantum mechanics and the macroscopic mechanisms of culture and society. I have been using the quantum mechanical atom, and subatomic particle as a point of reference, through which to abstract and scale fundamental materialities of our worlds. Electrons in the orbit of a nucleus move insistently and so in order to ascertain an electron’s momentum or position the uncertainty principle (∆x) is used, which takes into account that the electron’s position and speed can never be known simultaneously. The painting Uncertainty Principle is essentially a visual depiction of my process in trying to understand the implications of quantum mechanics on our social lives. I incorporated cyclical diagrams which visualise the act of breathing, a constant motion experienced by humans, alongside cumulative text pulled from multiple sources including poetry, lyrics and protest chants. The second work Insistent Wandering is a depiction of the frenetic and unpredictable movement of an electron around a nucleus, traditional diagrams of an atom tend to be vastly oversimplified and static, while the actual movements of our atoms are far more frantic, constant and unpredictable.
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