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SUMMARY:Hydrodynamic instabilties and modern artistic painting - Roberto Z
 enit (Universidad Nacional Autonoma de Mexico (UNAM))
DTSTART:20171128T133000Z
DTEND:20171128T141000Z
UID:TALK96079@talks.cam.ac.uk
CONTACT:INI IT
DESCRIPTION:<span>Co-author: Sandra Zetina		(Universidad Nacional Autonoma
  de Mexico)        <br></span><br>Painting is a fluid mechanical process. 
 The action of covering a solid surface with a layer of a viscous fluid is 
 one of the most common human activities\; virtually all manmade surfaces a
 re covered with a layer of fluid\, which eventually cures and solidifies\,
  to provide protection against the environment or simply for decoration. T
 he process of applying layer of fluid of uniform thickness on a surface ha
 s been vastly studied and it is well understood. In the case of artistic p
 ainting\, the objective is different. Painters learn how to manipulate the
  fluid\, through lengthy empirical testing of the action and the physical 
 properties of the fluids\, to create textures that can be used to create p
 atterns and compositions of aesthetic value. In other words\, artists aim 
 to create non uniform paint coatings\, produced at will and in a controlle
 d manner. It has been recently identified that\, for the case of modern ar
 tistic painting\, one successful way to create such patterns is by provo k
 ing hydrodynamic instabilities in a controlled manner. In this presentatio
 n we analyze several particular cases used by notable modern artists in th
 eir works: David A. Siqueiros used the Rayleigh-Taylor instability for his
  &lsquo\;accidental painting&rsquo\; technique\; Jackson Pollock learned t
 o control the curling instability of viscous filaments in his dripping tec
 hnique\; Max Ernst used the Saffman-Taylor instability to paint with decal
 comanias\, etc. Furthermore\, we analyze other modern painting techniques 
 and their relation with modern and very active fluid mechanics areas of re
 search. We also discuss the importance of the properties of modern materia
 ls and how their evolution could have influenced the emergence of new arti
 stic painting techniques. The aim of this investigation is to create an ex
 plicit relation between the body of knowledge of modern fluid mechanics an
 d those of art history and conservation.<br><br>Related Links<ul><li><a ta
 rget="_blank" rel="nofollow" href="http://www-old.newton.ac.uk/cgi/http%3A
 %2F%2Fwww.iim.unam.mx%2Fzenit%2Fresearch.html">http://www.iim.unam.mx/zeni
 t/research.html</a> - Prof. Zenit&#39\;s research page.</li></ul>
LOCATION:Seminar Room 1\, Newton Institute
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