research in the interests of extending knowledge is one of the most
important developments of our time. When this research involves the
convergence of Art and Science, the relationships between them assume
particular importance. In collaboration with a number of distinguished
research scientists, Attilio Pierelli has been working in this field for
over twenty years. The following are some of the works which testify to
(or cusp surface) 1965. The
structure is concerned with singularity, and coincides with subsequent
geometrical models illustrating
Theory of Catastrophes
is four dimensional space, completed in 1974 in collaboration with Giuseppe Arcidiacono
and exhibited at the Galleria
dell'Obelisco as part of the De Mathematica exhibition.
topological sculptures, extremal surfaces, carried out in collaboration
with Franco Ghione and exhibited at the "Triennale
di Milano" in 1986;
of Events in Space-Time),
1985-86, was exhibited at the 42nd Biennale di Venezia, on the theme of
Art and Science, and is intended for the Gallery of Modern Arts in Rome.
In this case, Pierelli has based the form of the sculpture on the black
holes discovered by the astrophysicist Remo Ruffini in the United States,
and represented on a computer model by Ruffini and his team of research
workers at Rome University.
On the basis of his own
research and experience, Pierelli is committed to founding a new artistic
DIMENSIONALISM aims to further the pursuit of knowledge wich
began with the building of the Gothic cathedrals and flowered in
is an intellectual and artistic movement, intent on exploring
beyond the barrier represented by three-dimensional space. In order to
achieve this, it undertakes to review the principles and practice of
artist of the Dimensionalist Movement is primarily a man of intellect,
engaged in investigating spatial dimensions beyond the third. His
works, like those of other artists, are the product of intuition, but
he also makes use of mathematical and scientific instruments.l
the while artists confined themselves to the exploration of three
dimensional space as the one and only reality, there was no need to
define, or re-define the term "dimension".
thought, wich involves the discovery and imaginative apprehension of
hyperspaces and the investigation of the topological properties of
geometrical figures, has inevitably broadened the concept of "dimension",
enhancing its significance until has its own specific characteristics,
differing from that understood by the term "three-dimensional".
This because each hyperspace has its own specific chrateristics,
differing from those coming before and after.
or world view, (often inappropriately conflated in the word science)
as the key to human evolution underlies the dimensionalist programme
and acts as its essential driving force.
the Renaissance and the Age of Humanism, the growth of knowledge was
largelt the result of artistic practice. the first important
scientific and aesthetic discoveries were made by artists, and in
particular by Leonardo da Vinci who clearly outlined the path that
future artists should follow in order to achieve a deliberate and
satisfying fusion of cognitive-scientific analysis together with
feeling and artistic intuition.nell'Umanesimo e nel
Rinascimento la conoscenza si sviluppò in gran parte
attraverso l'arte. Le prime importanti scoperte sia scientifiche che
estetiche, vennero compiute dagli artisti; corona questo periodo
Leonardo, che tracciò indelebilmente la via che nel futuro gli
artisti "avrebbero dovuto" seguire per fondere
sapientemente, e consapevolmente, l'analisi conoscitivo-scientifica
con l'emozionalità e l'intuizione artistica.