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  • Hyperbolic Hyparxis - Exhibition Flyer 2017

    Enviado por

    Margarida Sardinha
    53 visualizações2 páginas
    “Henceforth, space by itself, and time by itself are doomed to fade away into mere shadows, and only a kind of union between the two will preserve an independent reality.” – Hermann Minkowski Hyperbolic Hyparxis is an exhibition comprising 60 new works by the artist Margarida Sardinha for the Faculty of Sciences of the University of Lisbon. The monochromatic site-specific exhibition consists of Hyperbolic Hyparxis (an experimental film), Hyperbolic Curves (a 10ft diameter floating sphere filled with helium), Hyperbolic Polyhedra (4 large scale sculptures), Shadow Symbols and Points, Lines and Distances (respectively 36 and 20 works containing a digital background photograph and a three-dimensional polyhedron overlaying it). The five sets of works complement each other in a liminocentric way, thus, they repeat each other akin to recursive definitions in hyperbolic spaces. Its general concept relates to the following scientific, mathematical and geometrical notions: Interconnected with the supersymmetric model of Calabi-Yau manifolds, Hyperbolic Hyparxis, conveys the symbolism of geometric sacred structures as shadows of liminocentric or fractal images contemporarily developed through multiverses. It does so by using elements of hyperbolic geometry, which was developed independently by Lobachevsky and Bolyai and it models spaces analogous to Euclidean space, but such that the Euclid's parallel postulate is no longer assumed to hold as true. Instead, the parallel postulate is replaced by the following statement (in two dimensions): • Given any line L and point P, not on L, there are at least two distinct lines passing through P, which do not intersect L. This postulate allows, in fact, for an infinite number of such lines to intersect P. However, this axiom still does not characterise the hyperbolic plane uniquely up to isometries; there is an extra variable, the curvature K<0, which must be specified. However, it does characterise this geometry up to homotheties, meaning up to bijections, which only change the notion of distance by an overall factor. By choosing an appropriate length-scale, one can thus suppose, without loss of generality, that K=-1. There are several important models of hyperbolic space: the Klein model, the hyperboloid model, and the Poincaré model. The existence of model spaces implies that the parallel postulate is logically independent of the other axioms of Euclidean geometry. On the other hand, all these models can be related by a transformation, which preserves all the geometrical properties of the space: they are isometric. Thus Hyperbolic Hyparxis uses a stream of multiple hyperbolic optical illusions structured as a rhizomatic polyhedral system (hyparxis). These polyhedra are deconstructed into seemingly Calabi-Yau manifolds, which are described in certain branches of mathematics such as algebraic geometry. The Calabi-Yau manifolds’ properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes thought to take the form of a 6-dimensional Calabi-Yau manifold, which led to the idea of mirror symmetry amongst these types of spaces. Written by Margarida Sardinha and revised by Professor Carlos Florentino (Fac. Ciências, ULisboa).

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    “Henceforth, space by itself, and time by itself are doomed to fade away into mere shadows, and only a kind of union between the two will preserve an independent reality.” – Hermann Minkowski Hyperbolic Hyparxis is an exhibition comprising 60 new works by the artist Margarida Sardinha for the Faculty of Sciences of the University of Lisbon. The monochromatic site-specific exhibition consists of Hyperbolic Hyparxis (an experimental film), Hyperbolic Curves (a 10ft diameter floating sphere filled with helium), Hyperbolic Polyhedra (4 large scale sculptures), Shadow Symbols and Points, Lines and Distances (respectively 36 and 20 works containing a digital background photograph and a three-dimensional polyhedron overlaying it). The five sets of works complement each other in a liminocentric way, thus, they repeat each other akin to recursive definitions in hyperbolic spaces. Its general concept relates to the following scientific, mathematical and geometrical notions: Interconnected with the supersymmetric model of Calabi-Yau manifolds, Hyperbolic Hyparxis, conveys the symbolism of geometric sacred structures as shadows of liminocentric or fractal images contemporarily developed through multiverses. It does so by using elements of hyperbolic geometry, which was developed independently by Lobachevsky and Bolyai and it models spaces analogous to Euclidean space, but such that the Euclid's parallel postulate is no longer assumed to hold as true. Instead, the parallel postulate is replaced by the following statement (in two dimensions): • Given any line L and point P, not on L, there are at least two distinct lines passing through P, which do not intersect L. This postulate allows, in fact, for an infinite number of such lines to intersect P. However, this axiom still does not characterise the hyperbolic plane uniquely up to isometries; there is an extra variable, the curvature K<0, which must be specified. However, it does characterise this geometry up to homotheties, meaning up to bijections, which only change the notion of distance by an overall factor. By choosing an appropriate length-scale, one can thus suppose, without loss of generality, that K=-1. There are several important models of hyperbolic space: the Klein model, the hyperboloid model, and the Poincaré model. The existence of model spaces implies that the parallel postulate is logically independent of the other axioms of Euclidean geometry. On the other hand, all these models can be related by a transformation, which preserves all the geometrical properties of the space: they are isometric. Thus Hyperbolic Hyparxis uses a stream of multiple hyperbolic optical illusions structured as a rhizomatic polyhedral system (hyparxis). These polyhedra are deconstructed into seemingly Calabi-Yau manifolds, which are described in certain branches of mathematics such as algebraic geometry. The Calabi-Yau manifolds’ properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes thought to take the form of a 6-dimensional Calabi-Yau manifold, which led to the idea of mirror symmetry amongst these types of spaces. Written by Margarida Sardinha and revised by Professor Carlos Florentino (Fac. Ciências, ULisboa).

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    © All Rights Reserved
    Sinalizar o conteúdo como inadequado
    53 visualizações2 páginas

    Hyperbolic Hyparxis - Exhibition Flyer 2017

    Enviado por

    Margarida Sardinha
    “Henceforth, space by itself, and time by itself are doomed to fade away into mere shadows, and only a kind of union between the two will preserve an independent reality.” – Hermann Minkowski Hyperbolic Hyparxis is an exhibition comprising 60 new works by the artist Margarida Sardinha for the Faculty of Sciences of the University of Lisbon. The monochromatic site-specific exhibition consists of Hyperbolic Hyparxis (an experimental film), Hyperbolic Curves (a 10ft diameter floating sphere filled with helium), Hyperbolic Polyhedra (4 large scale sculptures), Shadow Symbols and Points, Lines and Distances (respectively 36 and 20 works containing a digital background photograph and a three-dimensional polyhedron overlaying it). The five sets of works complement each other in a liminocentric way, thus, they repeat each other akin to recursive definitions in hyperbolic spaces. Its general concept relates to the following scientific, mathematical and geometrical notions: Interconnected with the supersymmetric model of Calabi-Yau manifolds, Hyperbolic Hyparxis, conveys the symbolism of geometric sacred structures as shadows of liminocentric or fractal images contemporarily developed through multiverses. It does so by using elements of hyperbolic geometry, which was developed independently by Lobachevsky and Bolyai and it models spaces analogous to Euclidean space, but such that the Euclid's parallel postulate is no longer assumed to hold as true. Instead, the parallel postulate is replaced by the following statement (in two dimensions): • Given any line L and point P, not on L, there are at least two distinct lines passing through P, which do not intersect L. This postulate allows, in fact, for an infinite number of such lines to intersect P. However, this axiom still does not characterise the hyperbolic plane uniquely up to isometries; there is an extra variable, the curvature K<0, which must be specified. However, it does characterise this geometry up to homotheties, meaning up to bijections, which only change the notion of distance by an overall factor. By choosing an appropriate length-scale, one can thus suppose, without loss of generality, that K=-1. There are several important models of hyperbolic space: the Klein model, the hyperboloid model, and the Poincaré model. The existence of model spaces implies that the parallel postulate is logically independent of the other axioms of Euclidean geometry. On the other hand, all these models can be related by a transformation, which preserves all the geometrical properties of the space: they are isometric. Thus Hyperbolic Hyparxis uses a stream of multiple hyperbolic optical illusions structured as a rhizomatic polyhedral system (hyparxis). These polyhedra are deconstructed into seemingly Calabi-Yau manifolds, which are described in certain branches of mathematics such as algebraic geometry. The Calabi-Yau manifolds’ properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes thought to take the form of a 6-dimensional Calabi-Yau manifold, which led to the idea of mirror symmetry amongst these types of spaces. Written by Margarida Sardinha and revised by Professor Carlos Florentino (Fac. Ciências, ULisboa).

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    © All Rights Reserved
    Sinalizar o conteúdo como inadequado
    de 2

    impressão digital em papel fotográfico, acrílico impressão digital em papel fotográfico, acrílico impressão digital em papel fotográfico, acrílico

    o, acrílico impressão digital em papel fotográfico, acrílico impressão digital em papel fotográfico, acrílico
    dimensões - 100x120x46cm dimensões - 100x106x46cm dimensões - 100x100x46cm dimensões - 123x100x46cm
    (escultura vista de frente e de trás) (escultura vista de frente e de trás) (escultura vista de frente e de trás) (escultura vista de frente e de trás)
    Hyperbolic Polyhedra - Hexagon Hyperbolic Polyhedra - Pentagon Hyperbolic Polyhedra - Square Hyperbolic Polyhedra - Triangle

    Hyperbolic Hyparxis – exposição de Margarida Sardinha


    6 de Abril a 6 de Junho
    Faculdade de Ciências da Universidade de Lisboa
    A primeira vez que deparei com obras da Margarida Sardinha foi no stand da Galeria
    de Arte Hélder Alfaiate, no espaço da Cordoaria Nacional, em 2014 (Feira de Arte e
    “De agora em diante, o espaço por si só, e o tempo em si estão condenados a Antiguidades de Lisboa). Fui atraído pelas formas geométricas, e, principalmente, pelas
    desaparecer em meras sombras, e apenas uma espécie de união entre os dois irá simetrias dos seus “objectos” (que me recordaram alguns “objectos” de Escher). Em
    preservar uma realidade independente.” - Hermann Minkowski 2016, também na Cordoaria, perante novas obras da artista, tive a ideia de a convidar
    para expôr na Faculdade de Ciências, no espaço do átrio do edifício C6, um local ple-
    Hyperbolic Hyparxis é uma exposição de novos trabalhos da artista Margarida Sar- no de luz, entre o pátio central e a jardineta.
    dinha para a Faculdade de Ciências da Universidade de Lisboa. A exposição site-spe-
    cific monocromática consiste em Hyperbolic Hyparxis (um filme experimental), A Margarida e o Hélder aceitaram prontamente o desafio, depois de fazerem uma
    Hyperbolic Polyhedra (quatro esculturas), Hyperbolic Curves (uma esfera de 3m flu- visita ao espaço proposto, que os cativou, e de trocar algumas ideias com colegas
    tuante com hélio), Shadow Symbols e Points, Lines and Distances (respectivamente do Departamento de Matemática. E aqui está o resultado – a exposição Hyperbolic
    36 e 20 trabalhos que consistem numa fotografia digital de fundo e um poliedro tridi- Hyparxis, que agora se inaugura.
    mensional sobreposto). Os cinco conjuntos de trabalhos complementam-se de uma
    forma liminocêntrica ou recursiva e o seu conceito geral associa-se com as seguintes Não farei qualquer tentativa de me iniciar publicamente na crítica de arte nem de
    noções científicas, matemáticas e geométricas:. racionalizar os objectos gerados pela Margarida. Primeiro porque não sou matemáti-
    co nem geómetra. Segundo porque, tendo uma formação em ciências duras, quando
    Interligada com o modelo supersimétrico das variedades de Calabi-Yau, Hyperbolic observo uma pintura, uma escultura, um objecto, prefiro esquecer o que aprendi e

    HYPERBOLIC
    Hyparxis, transmite o simbolismo de estruturas geométricas sagradas como som- reagir de forma (quase) puramente emocional. Terceiro, porque penso que o valor da
    bras de imagens liminocêntricas ou fractais contemporaneamente desenvolvidas arte é essencialmente medido pela intensidade com que o objecto “mexe” connosco.
    Este é um tema recorrente, explorado por vários autores (e.g. José Carlos Pereira, O
    HYPARXIS
    através de multiversos. Fá-lo, usando elementos de geometria hiperbólica, que foi
    desenvolvida de forma independente por Lobachevsky e Bolyai e modela espaços Valor da Arte, Fundação Francisco Manuel dos Santos, 2016; S. Bringezu, D. Kramer, J.
    análogos ao espaço euclidiano, mas de tal forma que o postulado das paralelas de Schmutz, What is Art? 27 Questions, 27 Answers, Hatje Cantz, Fondation Beyeler,
    Euclides já não é assumido como verdade. Em vez disso, o postulado das paralelas 2013).
    passa a ter o seguinte enunciado (em duas dimensões):
    Sendo a Faculdade de Ciências uma casa de muitos olhares, será interessante recolher
    • Dada qualquer recta L e ponto P que não pertence a L, existem pelo menos duas a variedade de opiniões sobre os objectos da Margarida.
    rectas distintas que passam por P, e não intersectam L.
    Este postulado admite, de facto uma infinidade de tais linhas através de P, mas ainda
    José Artur Martinho Simões
    MARGARIDA
    não caracteriza completamente o plano hiperbólico a menos de isometria; existe
    uma variável adicional, a curvatura K<0, que deve ser especificada. No entanto, ele
    caracteriza esta geometria a menos de homotetia, ou seja, a menos de bijeções, que
    SARDINHA
    só mudam a noção de distância por um factor global. Ao escolher uma escala apro-
    priada, pode-se, assim, supor, sem perda de generalidade, que K=-1. Existem diver-
    sos modelos importantes de espaço hiperbólico: o modelo de Klein, o modelo do
    hiperbolóide, e o modelo de Poincaré. A existência destes espaços modelo implica
    que o postulado das paralelas é logicamente independente dos outros axiomas da
    geometria euclidiana. Por outro lado, quaisquer dois destes modelos podem ser rel-
    acionados por uma transformação que preserva todas as propriedades geométricas
    do espaço: eles são isométricos.
    Assim, Hyperbolic Hyparxis usa uma corrente múltipla de ilusões ópticas hiperbóli-
    Points, Lines and Distances cas estruturadas como um sistema poliédrico rhizomático (hyparxis). Estes poliedros
    são desconstruídos à semelhança de variedades de Calabi-Yau, que são descritos
    em certos ramos da matemática, tais como a geometria algébrica. As propriedades
    Point #1 Waves #2 das variedades de Calabi-Yau, tal como a curvatura de Ricci ser nula, também têm
    Parallel Lines #2 Knot aplicações em física teórica. Particularmente na teoria de supercordas admite-se a
    existência de dimensões extra do espaço-tempo que adquirem a forma de uma var-
    Shortest Distance #2 Convex Plane iedade Calabi-Yau de dimensão 6, o que levou à ideia de simetria de espelho – mirror
    symmetry – entre esse tipo de espaços.
    dimensões - 30x42x15cm Hyperbolic Hyparxis
    impressão digital em papel fotográfico, acrílico Texto de Margarida Sardinha; revisto pelo Professor Carlos Florentino (Fac. Ciências, ULisboa). filme de animação experimental com 25 min.
    Para mais informações por favor visite www.margaridasardinha.com
    Som de António Vilhena d’Andrade
    Hyperbolic Curves
    dimensão - 3m de diâmetro
    Hélio, impressão digital em PVC transparente, peso de 10kg, fio de nylon

    Shadow Symbols 2016


    (da esquerda para a direita e de cima para baixo)

    Icosahedron
    Rhrombicuboctahedron
    Octahedron
    Step Pyramid
    Third Stellation of Icosahedron
    Cube
    Double Hexagonal Pyramid
    **Tetrahedron
    Compound of Five Tetrahedra
    Cuboctahedron
    Small Stellated Dodecahedron
    Cross of Octahedra
    Stella Octangula
    Tetrahemihexahedron
    Pentagonal Prism
    **Cone
    *Great Stellated
    Dodecahedron
    *Rhombicosidodecahedron
    Octamiahedron
    **Cylinder
    Icosidodecahedron
    Dodecahedron
    Rhomboid
    Spiky Cuboctahedron
    *14-Gon
    Rhombic Dodecahedron
    Rhombic Triacontahedron
    Snub Cube
    Snub Dodecahedron
    Truncated Cube
    Truncated Cuboctahedron
    *Truncated Dodecahedron
    Truncated Icosahedron
    Truncated Icosidodecahedron
    **Truncated Octahedron
    Truncated Tetrahedron
    dimensões - 30x30x15cm
    impressão digital, em papel fotográfico, acrílico
    * Cortesia de Colecção Figueiredo Ribeiro
    Quartel da Arte Contemporânea de Abrantes
    ** Cortesia de Colecção Particular

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