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This book offers an artist's perspective on the intriguing relationship between quantum physics and fine art, focusing particularly on the role of probability, chance and uncertainty.
The author, rather than approaching quantum mechanics as a scientist, explores how its concepts shape perception and creative expression. Drawing inspiration from Walter Benjamin's approach to photography and art, Thomas reframes the question: not whether artists can interpret quantum mechanics, but how quantum ideas influence artistic thought. Through metaphors, signs and serendipitous experiences, the book examines how the language and imagery of quantum theory intersect with the intuitive, often contradictory nature of artistic practice. It argues that while science attempts to measure phenomena, art probes sensation-offering new ways to visualise, question and internalise complex realities and showing how intuition and uncertainty have always played roles in both scientific and artistic revolutions.
This text is ideal for scholars and artists interested in art education, art theory and scientific approaches to art.
The author, rather than approaching quantum mechanics as a scientist, explores how its concepts shape perception and creative expression. Drawing inspiration from Walter Benjamin's approach to photography and art, Thomas reframes the question: not whether artists can interpret quantum mechanics, but how quantum ideas influence artistic thought. Through metaphors, signs and serendipitous experiences, the book examines how the language and imagery of quantum theory intersect with the intuitive, often contradictory nature of artistic practice. It argues that while science attempts to measure phenomena, art probes sensation-offering new ways to visualise, question and internalise complex realities and showing how intuition and uncertainty have always played roles in both scientific and artistic revolutions.
This text is ideal for scholars and artists interested in art education, art theory and scientific approaches to art.
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