Pathways to new understanding

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edu/etd/1717 Recommended Citation Pagan, Candida. "Pathways to new understanding.

1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2015 Pathways to new understanding Candida Pagan University of Iowa Copyright 2015 Candida Pagan This thesis is available at Iowa Research Online: Recommended Citation Pagan, Candida. "Pathways to new understanding." MFA (Master of Fine Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Book and Paper Commons

2 PATHWAYS TO NEW UNDERSTANDING by Candida Pagan A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Book Arts in the Graduate College of The University of Iowa May 2015 Thesis Supervisor: Associate Professor Julia Leonard

4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL This is to certify that the Master s thesis of MASTER S THESIS Candida Pagan has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Book Arts at the May 2015 graduation. Thesis Committee: Julia Leonard, Thesis Supervisor Timothy Barrett Sara Langworthy Katherine Tachau Elizabeth Yale

5 PUBLIC ABSTRACT The conceptual foundation for my creative thesis work is based in research into the development of science, particularly the field of cosmology, and its related visual vocabulary. Three interrelated projects encompass my interests in unique artists books and variable editions, research based projects, codified presentation of data, and universal interconnectedness, or oneness in all things, that was at the heart of medieval cosmology and is embraced by some 21 st century subcultures. The thematic timeline of the artwork spans developments in the Early Middle Ages related to astronomy and cosmology and through 20 th century guidebooks and NASA s social media accounts. The resulting artwork includes an artist s book, sculptural bookwork, monoprints, and an edition of broadsides. ii

6 TABLE OF CONTENTS LIST OF FIGURES... IV PATHWAYS... 1 NEW PATHWAYS... 3 DIGRAPH PRESS... 7 CONCLUSION... 9 IMAGES iii

7 LIST OF FIGURES Figure 1. Byrhtferth s Diagram; Computus Diagrams... 9 Figure 2. Nebula, watercolor on mylar Figure 3. Explorer 1, screen-print monoprint on Arches 88 and mylar Figure 4. Primum Mobile, screenprint on mylar Figure 5. Diagrams of the Copernican, Ptolmeic, and Tychonic models Figure 6. Burning drawings for Hemispheres Figure 7. Hemispheres (detail) Figure 8. Hemispheres Figure 9. The Eccentricity is Zero: 1. Aristotle Figure 10. The Eccentricity is Zero: 2. Ptolemy Figure 11. The Eccentricity is Zero: 3. Copernicus Figure 12. The Eccentricity is Zero: 4. Tycho Brahe Figure 13. The Eccentricity is Zero: 5. Johannes Kepler Figure 14. The Eccentricity is Zero: 6. Galileo Galilei Figure 15. The Eccentricity is Zero: 7. Isaac Newton Figure 16. The Eccentricity is Zero: 8. Eighth Heaven iv

8 PATHWAYS The conceptual foundation for my most recent body of artwork is based in research into the development of science, particularly the field of cosmology, and its related visual vocabulary. Three interrelated projects encompass my interests in unique artists books and variable editions, research based projects, codified presentation of data, and universal interconnectedness, or oneness in all things, that was at the heart of medieval cosmology and is embraced by some 21 st century subcultures. The thematic timeline of the artwork begins with developments in the Early Middle Ages related to astronomy and cosmology. From visual depictions in scribal copybooks, such as Byrthfyrth s diagram (Fig. 1) St. John s College MS17, exemplifying the unified vision of the macrocosmic universe seen within the microcosm of man that was once common, through landmark books like De Revolutionibus by Copernicus, Astronomia Nova by Johannes Kepler, Sidereus Nuncius by Galileo, and Newton s Principia, to 20 th century astronomy guidebooks and digital images shared online by NASA; ideas and images presented that are connected to the development of humankind s understanding of the universe have inspired my creative output. The resulting artwork includes artist s books, sculptural bookwork, monoprints, and a fine press edition of broadsides. The process of inquiry often uncovers new unknowns. As cosmologists and astronomers moved from firm belief in geocentrism (Earth at the center of the solar system) to the Copernican theory of heliocentrism (Sun at the center) in the Early Modern Era, there arose a need for new physics. If the Earth was no longer the center of the 1

9 universe because of its material heaviness, how did we stay on it? Answers for old questions paved the way for new questions. Methods are followed to facilitate scientific research, but it also seems that an immense amount of guesswork goes into the process of discovery. For example, in 2014, an interesting event took place within the scientific community: gravitational waves thought to provide concrete evidence of the Big Bang were discovered light years away. The findings were shared through major news sources and caused much excitement. Independent analysis of the discovery suggests that it is not evidence of primordial gravitational waves that are visible, but rather, space dust. How incredibly frustrating it must be to come so close to having proof for what may be a physical reality, only to have those findings vanish into dust. To suggest, to convince, to prove, and to continue seeking answers in the face of potential failure or discovery is a process that has not changed. Curiosity has led us to ask questions and search for answers through philosophy and science for ages. As a result, new materials are invented, technological advancements are made, and incremental shifts develop in how we think we understand the universe. The inherent sense of wonder in relation to what is or is not possible seems to be present always. My creative process involves asking questions. These questions do not necessarily lead to concrete answers; more often, they lead to more questions. I am interested in addressing how humankind s knowledge base expands, where it begins, and how it evolves. Which discoveries change the course of knowledge seekers? What discoveries have allowed humankind to move further and further from the elements of mysticism that were once deeply embedded in our understanding of microcosmic man s place within the macrocosmic universe? 2

10 NEW PATHWAYS In addition to biblical study, 8 th century European monks studied natural science from such works as Etymologies, by Isidore of Seville ( CE), which contains a compendium of much of the essential learning of the ancient Greco-Roman and early Christian worlds 1. Book XIII of Etymologies addresses the Circles of Heaven and begins with, Our dwelling place is divided into zones according to the circles of the sky 2 The concept of a geocentric solar system held fast centuries until Copernicus published De Revolutionibus orbium coelestium in 1543, proposing the heliocentric model we believe in today 3. What steps are necessary to change the way we understand the universe? Is it possible to backtrack? Certainly missteps have been made in the process of defining a cosmology, the Earth is not the center of the universe, but the visual representations of misunderstanding are still fascinating and provide an entry into modes of thinking. Schematics of the paths of celestial bodies supplement informational texts from the beginning of cosmological study. How have these visual aids developed and worked to promote the spread of knowledge and the sharing of information? The level of detail involved and the clarity they offer the reader varies depending on the intended audience for the work. This line of thought led me to create a pair of mylar books, Nebula and Primum Mobile. In both books, the optical qualities of the material serve an important role in how 1 Stephen A. Barney, Introduction, The etymologies of Isidore of Seville. (Cambridge, UK: Cambridge University Press, 2006), 3. 2 Barney, XIII, V. 7-ix, Owen Gingerich, The Book Nobody Read: Chasing the Revolutions of Nicolaus Copernicus (New York: Walker & Company, 2004), 2. 3

11 the books are experienced. While looking through a single layer, the mylar seems clear, but accumulated pages become translucent and then nearly opaque. This creates a strange mirror-like vision in which the viewer is at once looking at themselves, at images on the top layer, and at murky imagery on lower layers. The viewer is able to see that something exists but is unable to clearly see what that something is. As the viewer pages through the book, under-layers become more visible, but the beginning pages have become obscured. New information replaces the old. Nebula is a handpainted book of 5 x 5 inch watercolor paintings on mylar polyester film. The imagery is nebulous and reminiscent of NASA photos of distant skies: an inexact illustration of space and the goings-on out there. Photographs and artists renderings from NASA s Instagram social media account related to 20 th and 21 st century astrophysics served as a visual source. Allusions to constellations and planetary paths through space are scattered throughout the book. The book measures 6 x 8 inches, allowing the viewer to hold the book in-hand while looking through the pages. Images change as the viewer leafs through the book and come together in new ways as the viewer switches their gaze from recto to verso. While exploring material possibilities for this book, I made a set of screen-printed monoprints (Fig. 3). The monoprints are composed of six squares: a color field is printed on paper, and watercolor drawings are printed onto mylar using a transparent base. The paper and mylar are paired together to make a wallpiece that references the bound book in color and compositional content. Primum Mobile contains screen-prints of line drawings and handwritten notes and definitions (Fig. 4). It measures 8 x6. Images are derived from and inspired by Byrhtferth s Diagram, the diagrammatic portrayal of the Ptolemeic, Tychonic, and 4

12 Copernican solar system models found in Astronomia Nova (Fig. 5), by Johannes Kepler, constellations in Sidereus Nuncius (Fig. 5), by Galileo Galilei, and imagery from 20 th Century astronomy guidebooks. As in Nebula, imagery comes apart as pages of the book are turned, and comes back together as the viewer looks to the verso of each page. Primum Mobile is slightly more complex, as one element of an image is printed on each page. In addition to printing line drawn imagery, I printed related terms, notes, and poetic definitions of those terms. Each term accompanies a specific image. A small portion of text is printed on a page and the text is interspersed throughout the drawing it accompanies. The purpose of the book is to serve as a reflection on how information evolves. In another creative response to the macrocosmic-microcosmic relationship between man and the universe, I explore the use of handmade paper in sculptural form as a means of assimilating ancient cosmology. The process of making the vessels of Celestial Bodies, provides space for elements of mysticism and oracle to exist in my artwork. In addition to the scientific cosmological philosophies such as the Platonic, Tychonic, and Cartesian models, I am drawn to the interconnectedness of the macromicro scheme and I find the imagery associated with this field fascinating and integral to understanding it, or at least attempting to. The process of painting and molding sheets of paper, drawing with ink and burning line drawings into the vessels in a reflective, methodical manner suggests a personal divinatory practice (Fig. 6). As the paper is molded into bowl shapes, the practice of making and brushing on paste, carefully placing sheets over the mold, and gently pressing them into shape are reminiscent of ritualistic practices and formalized acts 5

13 of preparation. When the bowls are dry, excess material is burned away and the interior is imbued with a burned line (Fig. 7, 8). The acts of burning away excess and adorning with symbolic imagery is again informed by ritual and a meditative practice. The forms these lines make reflect the practice of computing time, of finding my place in that time, of reflecting on how placement of celestial bodies influence terrestrial bodies. Because earlier philosophers in the field often relied on mythologies to explain existence, elements of mysticism seem all pervasive. Terms like astrology and astronomy, for example, could be used interchangeably, unlike today. The hemispherical paper vessels behave in accordance with what I find particularly fascinating about working in book form. The active space between nested vessels suggests pages and encourages the viewer to investigate, to learn more. Each individual vessel acts as a unique entity, but must also be seen as part of a whole. Unbound, the paper vessels allow the viewer freedom to form their own groupings. Bound volumes behave differently, restricting the viewer to the artist s specified narrative, but still encourage a type of search for links between pages. 6

14 DIGRAPH PRESS Throughout my time at the University of Iowa as a Center for the Book student, producing collaborative fine-press publications under the imprint of Digraph Press has played an important role in my creative life. Each year, Digraph Press has released a broadside and/or chapbook written by a selected author, designed and printed by me, with active communication between the author and myself. I see the work as collaborative because I strive to maintain open channels of communication to get a grasp on the author s aesthetic sensibility and discover where it aligns with mine. I also try to include an author in some stage of the making if possible. The latest Digraph Press edition is a suite of eight broadsides (Fig. 9-16). While researching early cosmology, I contacted poet Lauren Haldeman. She and I decided on eight categories based on my vein of study at the time: Aristotle, Ptolemy, Copernicus, Johannes Kepler, Tycho Brahe, Galileo Galilei, Isaac Newton, and Eighth Heaven. Throughout the next several months, we met regularly in person and shared files through Google Drive. I sent her bits of lines from readings that I found compelling, thematically linked television episodes, biographical stories, and timeline information. For example: Aristotle ( BCE) The universe is spherical and finite. Spherical, because that is the most perfect shape; finite, because it has a center, and a body with a center cannot be infinite. Ptolemy (90-168CE) Ptolemy named 48 constellations: Ursa Minor, Ursa Major, Draco, Cepheus, Bootes, Corona Borealis, Hercules, Lyra, Cygnus, Cassiopeia, Perseus, Auriga, Ophiuchus, Serpens, Sagitta, Aquila, Delphinus, Equuleus, Pegausu, Andromeda, Triangulum, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpius, Sagittarius, Capricornus, Aquarius, Pisces, Cetus, Orion, Eridanus, Lepus, Canis Major, Canis Minor, Argo, Hydra, Crater, Corvus, Cantaurus, Lupus, Ara, Corona Australis, Piscis Austrinus Epicycles: small circles going around a larger circle in revolution 7

15 Copernicus ( ) Copernicus On the Revolutions of the Heavenly Bodies was published when he was on his deathbed. In it, he proposed that the Sun, not the Earth, was the center of the Solar System. The heliocentric system. Planets were reordered. Newton/Eighth Heaven Watch the episode titled A Sky Full of Ghosts from the latest version of Cosmos with Neil Degrasse Tyson. She responded with eight poems, one for each category. I handset and letterpress printed each poem on a half-sheet of handmade paper based on 15 th century paper proportions, then made relief print imagery for each broadside based on both the background information and the poem written. In a sense, the process of making the broadsides fully exemplified my process of understanding new concepts. This collaboration allowed me to gather and see thoughts about subject matter that had been my primary concern as filtered through another person s creative process. Our discussions were illuminating and as I received the poems from her, my vision of the broadsides became more concrete. 8

16 CONCLUSION Following the information path of how humankind understands the universe has been fascinating. Medieval monk-scholars looked to the work of classical minds in order to understand the Creation in which they existed; natural philosophers like Copernicus and Kepler questioned those earlier findings and sought to prove or disprove them through observation, but their findings initially had limited accessibility. Scientists of the 21 st century are able to provide greater transparency regarding their tools and practices, and their findings are available to a wider public through modern modes of communication. Information is now more accessible that it has ever been, it is also highly difficult to control that access. These most recent creative projects held a particular draw for me because, while I respect science and the foundations of knowledge that exist, I wonder how exactly we can be sure that knowledge is definitive. These projects were set in motion by scholarly classwork and they reflect a general pattern in my creative work. I enjoy the process of discovery and often find myself delving a little further than I expect into intellectual interests, but this provides creative energy. Perhaps I hold the process of discovery in higher esteem than the discovery itself, but it is my intention that my creative output serve as a place where I can successfully present both an intellectual interest and a visual work of art that engages the viewer. 9

17 IMAGES Figure 1. Byrhtferth s Diagram; Computus Diagrams from the Thorney Computus Cambridgeshire, England; ca Saint John s College, Oxford, MS

18 Figure 2. Nebula, watercolor on mylar,

19 Figure 3. Explorer 1, screen-print monoprint on Arches 88 and mylar,

20 Figure 4. Primum Mobile, screenprint on mylar,

21 Figure 5. Diagrams of the Copernican, Ptolmeic, and Tychonic models of the solar system from Astronomia Nova by Johannes Kepler,

22 Figure. 6. Burning drawings for Hemispheres. 15

23 Figure 7. Hemispheres (detail), Handmade paper, gouache, watercolor, burned line drawing,

24 Figure 8. Hemispheres, Handmade paper, gouache, watercolor, burned line drawing,

25 Figure 9. The Eccentricity is Zero: 1. Aristotle, Handmade paper, hand-set type, relief print,

26 Figure 10. The Eccentricity is Zero: 2. Ptolemy, Handmade paper, hand-set type, relief print,

27 Figure 11. The Eccentricity is Zero: 3. Copernicus, Handmade paper, hand-set type, relief print,

28 Figure 12. The Eccentricity is Zero: 4. Tycho Brahe, Handmade paper, hand-set type, relief print,

29 Figure 13. The Eccentricity is Zero: 6. Johannes Kepler, Handmade paper, hand-set type, relief print,

30 Figure 14. The Eccentricity is Zero: 6. Galileo Galilei, Handmade paper, hand-set type, relief print,

31 Figure 15. The Eccentricity is Zero: 7. Isaac Newton, Handmade paper, hand-set type, relief print,

32 Figure 16. The Eccentricity is Zero: 8. Eighth Heaven, Handmade paper, hand-set type, relief print,

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