Arthur I. Miller: when art, science, and technology collide
What’s the story behind the development of Colliding Worlds?
AIM: In the first half of the 20th century, there was, as far as I can discern, there were few collaborations between major artists and scientists. One was Picasso responding to contemporary developments in maths, science, and technology. This is abundantly clear in his painting Le Demoiselles d’Avignon of 1907. Subsequently, other artists picked that up: Duchamp, Dali, but there was no collaboration. They were more interested in their own interpretation of ideas, of relativity theory and quantum physics, and of multi-dimensional space.
I can pinpoint that in the early 1960s, one had an abundance of war surplus, mainly from the Korean war. Electronic equipment and artists became fascinated by it, and wanted to use it. Another point is that in the first half of the 20th century, the artists were becoming more conceptual and less interested in materials. In the second half of the 20th century, artists became interested in materials because wonderful new things were available. It was a way to express themselves in a different way, to respond to nature in a different way, to be inspired in a different way. […]
Read full interview online: Imperica