Letter T

Maryam Taheri

Video https://drive.google.com/file/d/1weGBhyuWoOrfL9SM_mo05XnAKXbFjX6A/view?usp=sharing

"Temporal Weavings" is a captivating dance project delving into the connections between time, choice, and life's diversity. Through innovative choreography, two dancers reflect on the threads shaping our journeys.

"Temporal Weavings" contemplates how timing shapes lives, reflecting on pivotal choices. 

After immigrating, the concepts of time and place became central to me. I kept revisiting the past — the paths I took, the ones I didn’t, and the alternate versions of my life that could have unfolded. Temporal Weaving was born from this state of mind.

This work doesn’t focus on choreography of bodies, but on the choreography of time. In the editing process, I treated the Adobe Premiere timeline as a space to build emotional logic — aligning and layering clips with precision and intention. Each second mattered. I played with overlapping durations, simultaneous moments, and echoing sequences to explore how time can feel fragmented yet connected.

Every visual layer was placed deliberately, resonating with a moment and meaning. Some events unfold side by side, others interrupt or respond to one another. This process shaped a structure where meaning emerges through timing, repetition, and variation.

The result invites the viewer into a non-linear experience of time, where past and present are interlaced, and emotion coexists with rhythm and structure — an attempt to shape an internal experience through the organization of time.

Marita Tairova

In traditional paint mixing, pigments like magenta and blue are combined subtractively, making it nearly impossible to separate them once blended. This artwork reimagines an anomalous diffusion phenomenon that defies these physical laws, allowing mixed colors to retrace their steps and reveal their original hues. Might this disturbance in randomness be the key to creating a more refined and ordered structure?

Eglė Tamulytė

This painting explores the poetic intersection of anomalous diffusion and spiritual emergence. The central form, reminiscent of a dynamic particle or celestial womb, symbolizes the birth of motion in a system governed not by uniformity, but by chaotic flux and irregularity. Fragmented human forms orbit and penetrate the core, suggesting feedback loops, interacting paths, and non-linear dynamics—echoes of memory, adaptation, and boundary-reflective behavior.

The vibrant gradients and checkered corners imply environmental anisotropy, while the overlapping anatomies represent interacting agents in a complex system—similar to particles avoiding self-crossing in polymer dynamics or creatures adapting their movement based on history. This evokes anomalous paths shaped by internal memory and external structure.

In a world where creation itself might stem from divine randomness, this piece frames motion not as mechanical, but as sacred—where mathematics meets myth, and diffusion becomes metaphor.

Tatjana Tarasenko (Entry 1)

The painting "Colour Fusion" reflects the natural process of change, when one element, coming into contact with another, does not destroy, but transforms. Colour does not assert itself, but fits in - softly, precisely, with respect for the environment.

Tatjana Tarasenko (Entry 2)

Title: Incompatibility

A green leaf, almost whole. 

A red liquid — entering.

What was once stable now begins to dissolve from within.

The process is irreversible.

This is not destruction — it is truth in motion.

Some things cannot merge.

Some borders, once crossed, change everything.

Liam Taylor-West

Video drive.google.com/file/d/1F26KCKDif5O44aV8mwIhCA0y9J00gO4U/view?usp=sharing 

‘Crossing Paths’ explores random movement and spontaneous decision-making. The visuals and audio are created uniquely each time the piece plays, determined by the behaviour of a group of ‘snakes’. 

The snakes begin in a totally free environment, where each new direction is chosen at random. They try to avoid colliding with themselves, and are only guided by the appearance of food, which leads to them growing in length, and splitting to create new snakes. 

For a snake to get longer it must remember more of the locations it has just visited. It therefore has an increasing awareness of its past, which has an impact on the decisions it makes going forwards. 

As more of the snakes’ histories are revealed, patterns begin to emerge - showing regions where many snakes have been, and others where none have ventured. Individual movements become hidden within a shifting cloud of interconnected pasts. 

Gradually, the snakes’ freedom becomes guided by external influences that set out which future paths are available to them. Increasingly intricate zones dictate the routes snakes must take to reach each other, and it is only through head-on collisions, by crossing paths, that the snakes are able to progress through the piece.

Roshni Thomas

This piece explores the mathematical underpinnings of neural connectivity through the lens of stochastic diffusion and random graph theory. Inspired by the self-organising principles of neuronal networks, the composition evokes the dynamic interplay between structure and chance. The gold clusters, irregular yet interconnected, mimic the behavior of Erdős–Rényi random graphs, where nodes (neurons) establish probabilistic links, forming the intricate web of cognition.

The undulating green surface, sculpted from texture paste, represents the brain’s cortical landscape—an ever-shifting medium through which signals propagate. The golden pathways, applied in an organic, irregular manner, allude to diffusion-limited aggregation, where stochastic processes dictate the formation of dendritic branching and synaptic connectivity. The final pearlescent highlights serve as an abstraction of neurochemical transmission—momentary flashes of thought crystallized in motion.

Mathematically, this work captures the tension between order and randomness, mirroring the brain’s balance between deterministic processes and probabilistic interactions. Just as neural circuits emerge from stochastic fluctuations yet give rise to structured intelligence, this painting embraces the unpredictability of its medium to reveal an underlying harmony. In doing so, it transforms abstract mathematical theory into a tactile, visual experience—an intricate synthesis of art, science, and the beautifully chaotic nature of thought.

Zhenzhen Tian (Entry 1)

"Repetitive Symphony" is the painted form of my installation artwork, which consists of 40 flowerpots, 20 raindrop sensors, audio modules, speakers, and an Arduino IDE to simulate rainfall. Water drips from the upper flowerpots onto raindrop sensors in the lower ones, each preloaded with a note from the C major scale. When water droplets strike the sensors, random musical notes are produced. These notes layer upon one another, creating a natural symphony.

The work reflects an uncontrolled environmental mapping of random probabilities within the external world. It seeks to reveal uncontrollability and collective non-hierarchical epistemology through time, water, sound, sensors, and recording software. It also examines the historical frequencies of events and humanity's attempts to predict the unpredictable.

Zhenzhen Tian (Entry 2)

Fragmented Blaze captures the chaotic yet structured nature of anomalous diffusion. Inspired by the unpredictable movement of particles, this piece translates mathematical randomness into an abstract composition of explosive colors and intersecting data points. The red and black splashes mimic the dynamic paths of particles influenced by external forces, while the white numerical connections hint at hidden patterns within the apparent disorder.

This painting reflects how diffusion processes deviate from traditional models, influenced by memory effects, environmental constraints, and complex interactions. The network-like structures represent the interwoven pathways of stochastic motion, illustrating how randomness can still form an intricate system. By visualizing these unpredictable movements, Fragmented Blaze challenges our perception of order and chaos, making the invisible structures of mathematical phenomena tangible.

Zhenzhen Tian (Entry 3)

"Miracle Tone" visualizes the unpredictable flow of sound and movement. Inspired by anomalous diffusion, it reflects how randomness shapes patterns in nature.

Fluid acrylic spreads across the canvas, mimicking the movement of particles in chaotic systems. Sharp lines and numbers interrupt the fluidity, symbolizing hidden mathematical structures. Like sound waves traveling through space, the elements in this piece interact dynamically, creating a sense of motion and rhythm. The painting captures the balance between chance and structure, where randomness forms its own harmony. It invites the viewer to see disorder as a source of beauty and meaning.

Tina

The black and white photograph captures the essence of simplicity and elegance through the use of repetition.The monochromatic palette creates a striking contrast, drawing the viewer's attention the intricate patterns and shapes within the image.The repetition of lines, shapes,and textures adds depth and rhythm to the composition, guide the eye through the photograph in a captivating journey.

Joy Tirade

Video https://drive.google.com/file/d/1vNrfcqAEJWmrWhlXZb8f9HXjycgwnEVr/view?usp=sharing

The Stranger explores the themes of diffusion and anomalous diffusion through its manipulation of found footage and kaleidoscopic digital interventions. By reshaping vintage imagery into mirrored, shifting compositions, the film mirrors the unpredictable movement of particles in space, where repetition and redirection create new, evolving trajectories.

The kaleidoscopic effect introduces structured randomness—akin to anomalous diffusion—where past states influence future evolution. This process is visually represented through boundary reflections, where imagery is continuously redirected, much like a particle encountering spatial constraints. These boundaries exist both aesthetically (through the film’s symmetrical compositions) and conceptually (as the historical context of the footage is transformed through digital manipulation).

Additionally, the film engages with ideas of stochastic sampling, a process found in machine learning and computational statistics, where iterative exploration refines meaning over time. Just as diffusion models inform adaptive processes, The Stranger reconfigures archival material to generate fluid, shifting narratives.

Through this lens, the film becomes an audiovisual meditation on memory, history, and perception—where movement is not linear but shaped by constraints, reflections, and disruptions. It embodies anomalous diffusion as both a visual and conceptual framework, revealing how images, like matter, evolve through unpredictable yet patterned transformations. 

Claudia Tong (Entry 1)

Video https://drive.google.com/file/d/1i4flRqEhhojSV6oHLbHjmichWcvT6-4i/view?usp=sharing

Machine Processed is a multimedia artwork that fuses algorithmically generated animations with original music.

The visuals are driven by mathematical principles—random point selection from probability distributions, Brownian motions, and constructing 3-dimensional objects. These geometric patterns are inspired by my background in math and computer science, as well as my daily work in quantitative finance, where distributions and statistical models play a fundamental role—reimagined here through a creative lens. 

For the music, I also employed a structured mathematical approach, alternating between major and minor scales and crafting harmonies with precision. To introduce an element of stochasticity, I incorporated surprise notes and human voices, blending algorithmic structure with organic spontaneity.

Claudia Tong (Entry 2)

Stochastic Convergence is a series of three photographs and seven algorithmically generated graphics that examine the interplay of randomness, order, and convergence through a mathematical and artistic lens.

The photographs capture everyday objects—Christmas lights, room lighting—unveiling stochastic yet structured elements in daily life. For the computer-generated graphics, I designed algorithms that anchor a fixed central point while introducing stochastic components, such as randomly varying arc angles, colours, and shades of grey. Each program run generates a unique image, with this series representing a curated selection.

This process reflects concepts such as stochastic gradient descent, where each iteration optimises a randomly chosen data point rather than the entire dataset, yet still converges toward a defined solution. With a background in math and computer science, working in quantitative finance, I find this intersection of stochasticity and order deeply compelling—both in theory and artistic expression.

Claudia Tong (Entry 3)

Video https://drive.google.com/file/d/1kSqTg4Db94wwXppPqssCztbF4dH-6L4O/view?usp=sharing

Colours & Sounds is a multimedia artwork that fuses algorithmically generated animations with original music, highlighting the deep connection between math and art. The visuals are driven by mathematical principles—random point selection from probability distributions, trigonometric motion shaping dynamic movement, and polar coordinates mapping circular transformations. These geometric patterns are inspired by my background in math and computer science, as well as my daily work in quantitative finance, where distributions and statistical models play a fundamental role—reimagined here through a creative lens. Even the music follows a structured mathematical approach, using the major scale and harmonies composed with precision. Through this blend of art and computation, the piece explores the beauty of mathematical order within creative expression.

Balint Toth and Balazs Maga

Video https://drive.google.com/file/d/1krUY0f5wYT18sImWS_NGfvPNE8dg4Du1/view?usp=sharing

Video https://drive.google.com/file/d/1knIDMVd_sNoEFP7hlbCH-eNpRBG_lAhy/view?usp=sharing

Video https://drive.google.com/file/d/1kebJ_i5nMGkrEmmspMCKmDfH7DISSyzV/view?usp=sharing

Video https://drive.google.com/file/d/1vHCKG4Ip_6eEvNd7m5bhZ84jrOsS7nCf/view?usp=sharing

Title: Miraculous Hydrodynamics

Our movies illustrate phenomena of hydrodynamics arising as limits of large systems of "atomic" particles. Deriving the laws of fluid motion at a macroscopic level from first principles at microscopic (particle) level is a major challenge of statistical physics. Plainly said: Understand the motion of waves and whirls of a river or around a flying airplane, explained from laws of physics acting at the scale of molecules.

We illustrate these phenomena by simulation of a simplified model, consisting of four types of particles moving on a (microscopic) square grid. Blue, Red, Yellow and Green particles jump to North or East, South or West, North or West, and South or East, respectively. However, they interact: At any time at most one particle can occupy any site. Whenever a particle jumps, it forces the particle occupying the target site to swap position. Boundaries are periodic: particles exiting the container enter on the opposite side. 

We see the apparently macroscopic (box size 500x500, far from ∞x∞!) fluid motion starting from various non-equilibrium initial states. We see waves, whirls, shocks and rarefactions, various eye-catching patterns arising from these oversimplified elementary rules. Imagine how rich in phenomena, patterns and beauty is the real physical world!

Assia Touzene

This artwork represents Lévy flights, a type of random walk observed in nature among various animal species and an example of anomalous diffusion. A bee visiting a flower and an albatross soaring over the sea illustrate how organisms employ Lévy flights—characterized by many short moves punctuated by occasional long leaps—to optimize their search for resources.

I drew inspiration from two research studies exploring these movement strategies and their impact on natural foraging behaviors. By blending art, mathematics, and biology, the piece aims to showcase the interdisciplinary nature of this mathematical concept.

Iman Tovbulatova

My work focuses on the fascinating concept of random walk, which is one of the most intriguing models of random change processes that we encounter in mathematics and in life. Random walk is not just an abstract mathematical idea, but also a metaphor that allows us to understand the dynamics of chaos and uncertainty that surround us at every turn. This model assumes that the change at each step is independent of the previous step and time, which creates the illusion of an endless dance between randomness and probability.

Imagine a canvas that becomes an arena for the dance of chaotic trajectories, each of which symbolizes the path of a particle thrown into a vortex of randomness. This metaphor of life and movement reflects how numerous factors, often unpredictable, can influence our fate. By visualizing random walk, I aim to create a network of intertwining lines resembling a spider web that tells a unique story in a chaotic way.