A Painter’s Thesis: Quantum Physics as an Inspiration for Art

motor activated by a motion detector, and hit a series of suspended rods that respond with rhythmic movement. The longer the cues are activated, the more complex the rhythm becomes. Thus, the motions and sounds reflect the duration of the viewer’s observations or movements. I use timer switcheswith certain objects to generate a sustained rhythm in the space, such as in Creaking Shutters: Section I and Section 2 (Color Plate A No. Z), which consists of vertical facades fronted by shutters. The shutters open and shut by means of plastic tubing and string and motors attached to the back of the structure. The two sections can be placed facing each other or adjacent to one another. The creaking of the shutters opening and shutting sets up a disjunctive narrative; the motors of each structure are on separate timer switches, allowing periodic synchronization. The combination of the architectural and figurative elements in my work allows the viewer to become an integral component. Once the viewer engages the work, changes to it begin to occur and associations are revealed. Note 1. The piece was first installcd at Albany Center Galleries in Novcniher 1995; in 1996 it appeared at JMobiiis,Boston; No BIAS Gzllcy, North Bennington ; and Thi-cadN’axing Space, New York. A PAINTER’S THESIS: QUANTUM PHYSICS AS AN INSPIRATIONFOR ART Guy Levrier, 7, rue Henri Le Bret, 78320 Le Mesnil Saint Denis, France. Received 28 May 1995. Accepted for publication by Roger I. I am hoping to generate sufficient momentum among people of goodwill to obtain concrete results. References and Notes art and science; however, I find it challenging -and disturbing-to compare, 1. F. Dayid Peat, Cnskin ihfoo,r (Cliicago, IL Contel ,lporary p,ooks, 1990) ”.112, . I at least in terms of inspiration, three paintings from the standpoint of auingsy the 2. M.Stapp, Nzrouo Cimmlo 40B (1977) p. 191. 3. Nick Herbert, ~ 1 1 ~ l t l l l ? l &Ol$ (GartlCn city, thorship. I,ookillg at the three paintAnchor Books/Donhleday, 1985) p. 51. According to Herbcrt, “Arpninpfi-omqnantum theon/ plus a may wonder whether model of reality whatsoever-\\,lietlicr ordinary or contextirzl-niiist be non-local. Bell’s thcorem has who created them, and from what origin (s)-scientific or artistic (liter- since been proved en~irely in t e r m of ~ ~ ~ ~ l l t l l l l l ary)-the painters came. I hope you facts;no reference to qnantinn theory is necessary. In its most uyto-da~c version Bell’stheorem reads: The qunntuni facts plus ;I bit of aritlimctic require find the interesting: the first two works appeared 011 the front and that reality be non-lbcal. 111 ;I local reality. inflhences Fig. 2. Guy Levrier, Untitled, oil painting, 100 x 81 cm, 1991. A case of convergence between two scientific minds and one purely artistic one:why does a simple painterpaint like two scientists? 268 Artists’ Statements cannot travel faster than light. Bell’s theorem says that in any realityof this sort, information does not get around fast enough to explain the quantum facts:realitymust be non-local.” 4. Amit Goswami, TheSel/-AioareUniverse(New York Putnam, 1993) p. 2. 5. Quoted inJean Eisenstaedt, “Chercheursou artistes?Un point de w e tres relatif,” in Sm’eMufationsNo . 158 (Editions Autrement, 1995) p. 93. 6. I made this painting 3 years before Alcopley’s and Mandelbrojt’s paintings were published on the covers of Leonardo 27, No. 3 (1994). SCULPTURAL CREATIONS BASED ON ASTRONOMICAL, PHENOMENA Jiii MatouSekwithJiE Valoch, Milady Horikovk 23, Prague ’7,170 00, Czech Republic. Received 12June 1996.Acceptedfor publication by Rogerl? Malina. I do not want to point my finger in any particular direction. The structure of matter, with its “theory” mysteriously hidden from us, is everywhere. Rational science is changing to pure poesy. Straight lines have become curves. Numbers have different meanings. Art and science are becoming one. My interest in the phenomena of nature is a connectingfeature among my various activities.In 1992,I started to focus my attention on a topic that I personally identify with. The basis of my work consistsof translating information from a sphere outside of art to a form that can be...