Aesthetics of Biodiversity in the nature of Species

Sources of randomeness in the physical world include Brownian motion, here Physi-Morphisme, Math of Small Irregular Lines, Zoonarrative & Aesthetic Universe to decipher the dark side of Species

Corpus Research Base in Aesthetics of Biodiversity in the Nature of Species

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Base Corpus from which her 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 her early childhood in the family home in Chile, later in Spain and Baltic

Sea( Germany), where she lived the most extraordinary experience that no human being has seen or recorded never finished setting the background of the new aesthetic.

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 her to establish correlations between this world and yours 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 she 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.

Panoramic of Complexity Art Wave Universe and Aesthetics of Biodiversity in the Nature of Species

Panoramic of Physimorphisme, Wave Universe and Aesthetics of Biodiversity in the Nature of Species

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.

About Aesthetics of Biodiversity in the Nature of Species visit: Natural Languages of Complex Supra-Systems Collection, Physi-Morphisme,AR, MR & Aesthetics of Biodiversity Collection and Biofractal Offline-Dancer Flamenca 391 Dada Club online The Exhibition :

Biofractal e-Museum

Myriam Solar | Australasian Animal Studies Association

animalstudies.org.au/myriamsolar

Art Gallery, AASA Australasian Animal Studies Association, Australia

Online Gallery AASG 4th Biennial Australian AASG Conference of the Australian Animal Studies Group & Environmental Futures Centre Griffith University, Brisbane(Australia)

Destruction and cognitive complexity in terrestrial gastropods and human interaction, 2011, Animal People-a shared Environment.

Illustrated documents of the Aesthetic Biodiversity connected to the Wave Universe in the Nature of the Species and the Zoonarrative jointly with Natural Fractals for the History of the Fantastic, that kind of discipline of the imagination invented by Novalis in the XVIII Century.

"Riddle of The Animated Forest"

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The books of stories and poetry for children of Myriam Solar are built on three pillars of exception that connect the writing with an unknown structure of the reality, its unpublished languages and the artistic multidisciplinarity, allowing the access to the possible worlds with its unusual characters as in a dense network where everything interacts with everything on the border with magic.

The fantastic is embodied in a narrative that is born genetically from the new languages emerged from the secret heart of things.

These languages are the natural fractal language and the zoonarrative language.

The natural fractal language produces moving images on the water by hazard and chaos that create the events and the characters, bringing the surprise of the unpredictable and unexpected.

The language of the zoonarrative consists of making speak and draw those who do not have words or hands, according to the human canonical model, the beings of other species through of primary hazard known as Brownian movement.

These language are called to become a tool for the mobilization of knowledge, the imaginary and the aesthetic in a new childhood education where the artistic, the humanistic and the scientific are inextricably linked.

" The Bears and Strawberry Tree "

This picture contains the natural fractal language and zoonarrative language.

" Male Silhoutte" and " Female Physi-Morph"

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The Thought, Art and Aesthetics of Biodiversity in the Nature of Species Revolution contains the first lessons of the discipline of the imagination, by mixing visible and invisible worlds, probable and improbable events and possible and impossible universes that, as in any process, correspond to an evolving domain.

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"The images are unpublished, never before has anyone seen them or been imagined."

¡Look at them several times, open your eyes! Let them cross your heads and move again, stressing with their vital effects the cheer up and the spirit!.

¡Look at them as they lengthen and open roads at the edge of the known!

¡Feel your weight in the intangible of the infinity of worlds!

¡Listen to them with a clean ear and let the subtlety of their art resonate in your intelligence moved forever!"

The Author

The thesis of Myriam Solar based in her research work is that the aesthetic is a singularity of the expression in some species that present aesthetic sense knowledge through unique and unrepeatable performances. These manifestations reach aesthetic forms with an added value as MR and AR (Mixed and Augmented) Reality and as scenic aesthetics of dramatic nature and visual.

Such case studies, referring to a small population of terrestrial gastropods, magpies and Baltic ducks enable propose an extension of the aesthetic sense knowledge in animal nature based on a random primary geometry and aesthetics, which leads to develop an epistemic concept unusual, strange and emergent that transcends the human sphere of the rational to move to enrich it with a sensory reality that takes place in the geography of biodiversity.

The new value of the aesthetic has direct implications for the development of a complex aesthetic of biodiversity to uncover a sensory, cognitive and affective nature of natural world of species whose knowledge derives from interactions, which would not be observable in the absence. The Author attempts to develop a epistemological and aesthetics framework introducing new biodiversity aesthetic relied on the principle of a complex aesthetic and a sensory, cognitive and affective reality of natural world in which natural geometric constructions have been observed such as Brownian motion called here “ Physimorphisme” at the same time detected the existence of biodiversity emotions through beauty, taste and creating in the expression of realities containing what Plato and Aristotle established in the human: proportion, harmony, unity parts, symmetry and order and that in the new context may be called complex aesthetic of biodiversity in the nature of species, being able to be what Paul Gobster calls “ scenic aesthetic of dramatic nature and visual” that in complex representations that go beyond allegories and imagination.

In the framework of the Biodiversity Aesthetics of the Nature of Species are born and developed the own aesthetics of the biodiversity and the zoonarrative jointly with natural fractals for children, a new children's literature based on human-non-human interaction and the geometry of the Nature for children's education.

This natural language of species that contain irregularities, disorder, chaos and self-organization. to which is added techniques of visual recognition based on edge detection, Brownian motion geometry and significant elements of artificial vision, AR and MR allow to develop aesthetics compositions as representations of objects, ideas or physical realities through a succession of small jagged lines and literary creations that give origin to an aesthetics and a new litterature never before formulated neither imagined.

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