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Two recent reads, Matila Ghyka's "The Geometry of Art and Life" and György Doczi's "The Power of Limits: Proportional Harmonies in Nature, Art, and Architecture," have profoundly influenced my perspective on the subject of intersection of mathematics and art. The two books got me thinking about the role of patterns in artistic expression. And whether there's a universal aesthetic that resonates with everyone. Both the authors make a compelling case for the deep connection between mathematical principles and artistic expression, emphasizing the significance of geometry and basic shapes like triangles and spirals.

Then there's the philosophical dimension. Kant's philosophy of aesthetics examines the concept of universal beauty, suggesting that certain aesthetic principles transcend individual preferences and cultural contexts. Kant argues that true beauty is characterized by its capacity to elicit a disinterested pleasure - it is appreciated for its own sake rather than for any personal interest or utility. And add to that Poincaré's observation about the scientist's fascination with nature's beauty which underscores the inherent allure of mathematical elegance, even when there is complexity. Yet, amidst these musings, Nietzsche's assertion that there are no absolute facts, only interpretations, introduces an element of ambiguity. 

It's in this abstract realm that this series finds its inspiration – a fusion of ideas exploring this duality through wave interference. 

The series simulates the interaction of multiple waves. Each wave is defined by a center point and utilizes different distance calculation methods. As the code loops through these waves, it computes the distance between a specified point and each wave center, determining the amplitude of interference. By summing up these amplitudes, constructive and destructive interference effects are simulated. The resulting interference pattern is normalized and mapped to a color palette.

This exploration into wave interference patterns serves as a study in aesthetic ontology, sparking contemplation on the subjective aspects of aesthetic experience and whether or not perfect, immutable and mathematical forms of beauties, or 'archetypes', exist. 

All works are designed with plottability in mind. The works are constructed using grids of four-sided pixels and for this series I developed an algorithm that allows me to draw a 'square-spiral' to solid-fill each polygon, and emulating smaller pixels within its spiral structure.

And this is a redeemable project in case you’d like to receive a physical plot. To redeem your plot, please click here.

Implemented in JS, this code utilizes the Perlin.js and Simple-noise.js libraries.

Pixel Love!

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