This article discusses how two physicists—Etienne-Jules Marey and Friedrich Ahlborn—visualized turbulence in air and water around 1900. Their depictions are based upon several creative and conceptual presuppositions that can be revealed by comparing the work of the two, each of whom employed a field of parallel-aligned lines to depict results. Their similar means of visualizing comparable phenomena turn out to function differently, however, depending on the differences in the ways these lines were conceived and made.
Parallel Lines as Tools for Making Turbulence Visible
Inge Hinterwaldner is an Assistant of Modern Art History (a postdoctoral position dedicated to research, with a lecture appointment) at the University of Basel, Switzerland. Her research interests include computer-based art and architecture, image theory and visual studies, art and science since 1800, model theory, performativity and the sciences, and temporality in the visual arts. Her first book is entitled Das systemische Bild (The systemic image; Munich, 2010).
Inge Hinterwaldner; Parallel Lines as Tools for Making Turbulence Visible. Representations 1 November 2013; 124 (1): 1–42. doi: https://doi.org/10.1525/rep.2013.124.1.1
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