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The Aesthetic Universe of the Biodiversity of Species: Physimorphism, Complexity, Geometry, AR and MR
Corpus Research Base in Aesthetics of Biodiversity in the Nature of Species
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Base Corpus from which my research begins on Aesthetics of Biodiversity in the Nature of Species includes vertebrates and invertebrates. Their heterogeneity arises from having lived and interacted with them since my early childhood in the family home in Chile, later in Spain and Baltic
Sea(Germany).
Mammals, reptiles and birds are included in the first group and gastropods in the second group.
The first group includes herbivorous mammals (horses, goats, oxs), omnivores (pigs), carnivores (cats, dogs), oviparous (birds, chickens, turkeys, ducks, peacocks, blackbirds, magpies, parrows,pigeons),
reptiles (sea turtles) and in the second gastropod group (snails).
This almost limitless spectrum of the corpus in the world of the observed Species allowed me to establish correlations between this world and ours about the forms of communication, the expression of their various languages that do not differ substantially from human languages, their knowledge to move through a complex world, the handling of precise information for the development of a specific actions in space time, their rich and elaborate forms of expression to discover that in its background is stored essential data shared with the human species as its ability to develop ad hoc languages related to specific situations such as the presentation of a new member of a species or the request of a specific action for their own benefit or the simple playful game of making an impromptu escort as well as registering expressions with your body of euclidean and fractal geometric language, that their forms of communication between interspecies reach levels of semiological language, that their expression of love and of anguish before death is similar to human and most extraordinary it is the the multilevel of its aesthetic development whose planning and skill is unmatched by aesthetic developments achieved by man, for example in dance that I have been able to observe, amaze and record.
All this wealth of knowledge observed in the species investigated as similar and superior in some way in some respects to human knowledge can only have one origin: the unified field of the wave universe.
The Aesthetic Universe of Biodiversity in the Nature of Species
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The Aesthetics of Biodiversity in the Nature of Species opens perspectives to a great aesthetic that includes without distinction of species an unknown and emerging attribute that has its origin in actions of human-animal hybrid interaction that emerge as unique events, product of complex natural processes that link them in the unified field of the wave universe and the vortex created with the researcher artist. The thesis is that the aesthetic is a singularity in the expression of the species that present a sensitive knowledge of the aesthetic through unique and unrepeatable representations of an artistic character, as well as a scenic and dramatic nature.
The aesthetics of biodiversity in the nature of species thus incorporates into its object the complex natural expressive dynamics of the wave universe in the interaction of interspecies. These manifestations reach their maximum aesthetic expression with the added value of Mixed and Augmented Reality of human origin.
The sensory, cognitive, affective and aesthetic reality of biodiversity in the world of species is manifested through the primary geometry of chance or Brownian movement, the fractal geometry called physimorphism, the Euclidean geometry as well as the development of manifestations in the three-dimensional space of highly complex and elaborate choreographic ideas and an unprecedented stage development in the animal world that shows creativity, beauty, parallel coordinations of performance and brilliance.
The new value of aesthetics has direct implications in the development of a complex aesthetics of biodiversity by revealing a sensorial, cognitive and affective nature of the natural world of species whose knowledge derives from interactions that, if they did not exist, would not be observable. The existence of emotions of biodiversity through beauty, taste and creation in the expression of realities that contain what Plato and Aristotle established in the human sphere: proportion, harmony, unity between the parts, symmetry and order and that in the new context it can be called complex biodiversity aesthetics, and may become what Paul Gobster calls dramatic and visual scenic aesthetics in complex representations that go beyond allegories to materialize in concrete, defined and meaningful works.
animalstudies.org.au/myriamsolar
Design thinking of a well-defined human silhouette which can be valued for its final result.
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Physi-Morphisme, AR, MR & Aesthetics of Biodiversity Collection
Physi-Morphisme, AR, MR & Aesthetics of Biodiversity Collection
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The physi-morphisme can be defined as the representation of an object, idea or physical reality through a succession of small jagged lines that contain irregularities, disorder, chaos and self-organization. It is the language of physi-morphisme and mixed and augmented reality to display an environment where real and virtual worlds coexist naturally. The representation process is preceded by techniques of visual recognition based on edge detection, Brownian motion geometry and significant elements of artificial vision, identification of scenarios, image processing, system architecture and display a new environment where the physical and digital coexist in a new scenario. The process highly creative shapes compositions, structures and ways in their aesthetic constructions illuminates AR & MR, study of biodiversity and biodiversity aesthetic with forms of expression animal species, particularly terrestrial gastropods.
This collection contains 26 Pictures and you can see this here in Image Carousel.
Physi-Morphisme, AR, MR & Aesthetics of Biodiversity Collection
Physi-Morphisme, AR, MR & Aesthetics of Biodiversity Collection
The images of physimorphism display for the first time in the history of human thought a non-human aesthetic, but of Biodiversity in the Nature of Species linked to its interaction with the unified field as a complex supra-system of the wave universe. Their representations strike the known and break into the anthropocentric vision of man to throw overboard the idea that the aesthetic sense is characteristic of the human species.
The images of this collection have been made in human-non-human interaction with the help of visual recognition techniques based on the detection of limits, on the geometry of Brownian movement and artificial vision elements through which it is possible to reconstruct aesthetic constructions of known worlds that illuminate the mixed and augmented reality in this pioneering study of biodiversity aesthetics through forms of expression of animal species whose images constitute a natural heritage in the aesthetics of species biodiversity.
1. Biodiversity Art Collection
1. Biodiversity Art Collection
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The Biodiversity Art Collection has its origin in the successive investigations by Biofractal e-Museum on art and aesthetics of complexity at the intersection with basic sciences, technology and nature. With nearly a thousand images preserved in various collections, this collection of Museum can be seen as a primary source of information on natural heritage of a species of terrestrial gastropods that stand out for show first expressions of aesthetic biodiversity that come to light with Ar and MR in human- non human interaction. This historical background comprises a set of grouped works in a monographic and thematic exhibitions in progress that the museum treasures and discloses for the first time.
The scene corresponds to an animal representation of the nature on a stone.
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Dog of the AR & MR Languages in Nature & Physimorphisme Collection produced in a natural random process of species.
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2. AR & MR Languages in Nature & Physi-Morphisme Collection
2. AR & MR Languages in Nature & Physi-Morphisme Collection
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The identification of real and virtual environments enriched with information that does not exist in the original physical setting can be found both in the physi-morphisme as in nature. The visualization of real physical scenes that is added additional information associated with the primal scene creates an augmented and mixed reality in real-time where what always surprises is the creativity of the living in species of biodiversity and nature. So that evolutionary processes occur in both species through physi-morphisme and architectures nature itself through similar processes.
3. Natural Fractals, Physi-Morphisme, AR,MR & Aesthetics of Biodiversity Collection
3. Natural Fractals, Physi-Morphisme, AR,MR & Aesthetics of Biodiversity Collection
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Natural Fractals are geometric shapes of chaos contain coherence and can interact with their environment through a cloud of points or projections that explore space to find an area to be added or grow. Natural fractals attached to forms physi-morphisme, the AR and MR originate complex images and constitute new concept that explain there are new states can be transformed containing the previous, leading to discover unpredictable new visions of the aesthetics of biodiversity applied to the language of a new children's literature already has a name and literary creations that incorporate these design thinkings and combined aesthetics complexity and biodiversity.
4. Credits
4. Credits
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* Exhibition concept and design: Myriam Solar
* Graphic Design and Media technology: Myriam Solar
* Curator: Myriam Solar
* Images: Myriam Solar(Zolar)-Biofractal e-Museum
* Project Management and Coordination: Myriam Solar
* Research and Documentation: Solar Myriam, Complexity Art. Aesthetics
of Shape in Dynamic Systems, Madrid, 2002.
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