Alecio-thesis outline

SPIRALS AS A GENERATIVE FORM OF BEING

1. INTRODUCTION

1.1. Thesis Statement:

Spirals are a common shape found in nature, art, architecture and symbolism. It has been there in art, religion and philosophy from the most ancient times, in earth divination, event patterning, occult belief or "magical" systems, and in aspects of the studies of many sciences including astronomy, quantum physics, psychology, biology, anthropology and zoology.

Indeed, the spiral vortex, as found in whirlpools in water and in the double helix structure of the DNA molecule — just two of myriad examples — is nature’s favored form for the transmission of its energy, both economically and efficaciously, radiating out and drawing in simultaneously, infinitely and eternally.

This shape seems to be the "way" the universe tends to arrange itself, the perfect link between microcosm and macrocosm, a visibile and tangible example of the nature-culture dualism, a mysterious symbol and a generative mechanism.

1.2 Background

Through a conceptual and philosophical study, I’d like to highlight the tension between nature and culture, with a focus on the “spiral shape” as eternal sign of the creative and organizing principle at work in the universe, as a natural motif that inspired art, architecture and science.

In this work I will try to set out and subject to critical analysis the many analogies which have been made by a great variety of writers, researchers and artists, between science and visual arts, showing how this interpolation happened through the centuries.

I have come to the study through and interest in the theory of design and visual arts - especially photography - and a concern with what contribution, if any, systematic or scientific research can make to the art field.

There is a parallel concern in anthropological theory, some reference to which will be helpful in this context, with the distinction between the study of what features of human society, institutions and artifacts can be regarded as utilitarian and practical, and what features are to be seen cultural or symbolic.

1.3 Methodology

I will summarize the structure of the thesis, highlighting key topics and touchpoint.

2. THE BODY

2.1 First Topic: An overview of the primordial meaning of the spiral in the natural world in relation to the artificial realm

→ The vaste natural world of spirals → The Golden Section → Spirals in engineer and architecture → Spirals in visual arts

2.2 Second Topic: Anthropological and philosophical context of nature vs culture

→ The relation of the parts to the whole in the organism and in the work of art → Relationship between the human body and proportion in architecture → Technological and Organic evolution

2.3 Third Topic: Case Study: Karl Blossfeldt’s work analysis

→ Karl Blossfeldt - Mediating Nature → The New Objectivity Movement → Forensic Analysis of Blossfeldt’s photographs

3. CONCLUSIONS

3.1 Raising Questions:

→ Why the spiral was such an important and sacred symbol in many ancient cultures? → Why spirals are still used today in art, design and architecture?

3.2 Sum-up of main points

3.3 Final Memorable Statement

Ultimately, the implication is that the spiral form is integral to strength and growth and indeed, it may be that all curves of growth are based on it. Moreover, the spiral is a powerful example of how nature tends to repeat the use of a successful design over and over again on every level of its creative handiwork: indeed, this design is the most universal of all.

4. REFERENCES

Steadman, P. (1979). The Evolution of Designs Biological Analogy in Architecture and the Applied Arts /Philip Steadman. Cambridge University Press, 1979.

March L. and Steadman P. (1971), The Geometry of Environment (London, 1971), pp. 229-32.

Thompson, D. (1992). On Growth and Form (Canto) (J. Bonner, Ed.). Cambridge: Cambridge University Press. doi:10.1017/CBO9781107325852

Cook, Theodore Andrea, Sir. (1903). Spirals in nature and art. J. Murray. Retrieved from 10.5479/sil.25890.39088001368638

Cook, Theodore Andrea, Sir. (1914) The Curves of Life (London, 1914). J. Stoots. Karl Blossfeldt Indisputably Modern, 2011 Murata, H., Material Forms in nature: The Photographs of Karl Blossfeldt. Scholfield, Peter Hugh. “The Theory of Proportion in Architecture.” (2011).