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'THIS FANCIFUL AND COLOURFUL IMAGE': THE IMAGE OF NEW MEDIA
WITHIN THE CONTEMPORARY ART-SCIENCE NEXUS

In 1638 the Reverend John Wilkins, founder member of the prestigious Royal Society of
London, keen taxonomist and contemporary of Newton, Hooke, Boyle and Wren, published a
short discourse

‘…tending to prove,’ as he states on his title page, ‘that it is probable there

may be another habitable World in the Moon

’ (Wilkins, 1970). The hypothetical tone of its first

section entitled

‘That the Moon May Be a World’, gathers more steam as the treatise

continues, and moves from the general deduction that strange propositions can nonetheless
hold true, to the analogy in which he proposes that

‘as the World is our Moon, so our World is

their Moon

’. From here he moves to the grandest proposition of all, that future conveyance to

the moon may be possible in order to engage in commerce with its likely inhabitants. The piece
reads like a raw mix of wild conjecture and careful argument, dream and likelihood, drawing on
the Baroque taste for curious ideas but equally supported by the accepted astronomy and
mathematics of

‘the natural knowledge’ of its day.

Today we would more than likely read this

mixture as well-written science fiction, assigning it to the realm of fantasy and speculation
more clearly identified with artistic vision. And yet contemporary science accords fantastic
powers to the role of visualisation that currently take the image, particularly the computer-
generated image, into a realm of speculation and wonder. New media technologies associated
with delivering these marvellous images, such as virtual reality simulations, three-dimensional
visual fly-throughs and data modelling, also occupy a firm place within scientific speculation as
the key to unlocking increasingly fantastic visions of the world.

But it would be a mistake to credit the contemporary scientific imaginary with maintaining a
collaborative relation between its technical, informative function and its aesthetic, visual
display, in spite of rhetoric to the contrary. The status of the scientific image, and thus the
place and function of the imagination within science, fundamentally changes with the advent of
photography. As Vilelm Flusser has argued, the relation between photography and science is
more than historical contingency; it is evidence of an epistemological reorganisation between
image and world (2000: 15-17). Scientific images, the likes of which we see scattered
throughout treatises from the

‘scientific revolution’ are in Flusser’s terminology ‘pre-technical’.

The 1638 diagrams that accompany Wilkins

’ text are quite clearly symbols, supported by two

levels of abstraction: one from world to text or concept, and one from concept to diagram or
the symbolic rendering of concept.

The technical image proper is only ushered in with the intervention of an apparatus, such as
the camera, that stands between the conception and production of the scientific image. The
camera itself is constituted through a series of abstractions, no longer working to inform or
extract meaning from the world as other kinds of image-making tools such as pens might do,
but instead to store and process a new kind of world. The photographic image is related to the
world through an exponentially multiplying series of abstractions, which, if placed in the series
that starts with the scientific diagram, might proceed something like this: from world to concept/
text, concept to symbol, symbol to a series of complex scientific texts that then condense to
produce a scientific program aimed at extracting knowledge of the world through the capture of
images (Flusser, 2000: 25-6).

Yet the surface of the photographic image does not openly display its levels of abstraction:
'What one sees on them therefore do not appear to be symbols that one has to decode but
symptoms of the world through which, even if indirectly, it is to be perceived' (Flusser, 2000:

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15). Like any image, we may understand the technical image as a surface resplendent with
meaning. Unlike other images the technical image appears not as a symbol of the world
available for conceptual interpretation but as a symptom. The scientific photograph only allows
for an aesthetic of beauty as truth rather than the speculative wonder to which Baroque
scientific diagrams lent their support. As we have come to see (and hence to know), almost
330 years after Wilkins allowed himself to commit his wonder to argument, actual transport to
the moon only refuted the possibility of its prior occupancy. The famous

‘Earthrise’ photograph

taken by the Apollo 8 crew during their lunar orbit of 1968, presented in stark relief certain
confirmation of the absolute isolation and fragility of a planet, the Earth, which alone in the
known universe would be capable of supporting life. Both the hope of any correspondence,
encapsulated in Wilkin

’s hypothesis that ‘…our World may be their Moon’, and the elevation of

the earth to a position of ecological and imaginary grandeur in the solar system, were
accomplished through the stark contrasts conveyed in that one image. The desolate grey
tones of the moonscape provided a platform for a first person perspective that looked back to
the saturated colour of earth.

In fact, as a scientific image that gestures towards a certain poetry, even aesthetics,

‘that

photograph

’ resolutely states that the world could no longer be considered fantastic as might

have been suggested through Baroque visual display. In spite of its apparent poetry and the
anecdotal evidence that surrounds its serendipitous capture by the Apollo crew who were not
instructed to take lunar orbital photographs of the earth, the

‘Earthrise’ image is undeniably

scientific. Or rather we could say it is a technical image. In the technical image the meaning or
cause that produces the image appears directly on its surface. The world signified in the
technical image seems to also be the cause of the image. The clearest example of this occurs
with the fingerprint, also an image legacy of the nineteenth century, which leaves its
impression on the image surface and is likewise the cause of that image. In the photograph
shot from Apollo 8, the world literally, even captured somewhat poetically, seems to leave its
direct impression on film; its isolation and fragility, only a symptomatic reflection of the
perspective of the remote astronauts from which it was taken. The aesthetic quality of this
image derives from the extent to which its symptomatic status distorts the direct causal relation
between object and image. The symptom demands an interpretation of the image as
somewhat fantastic because its poetry signals a distortion of the direct relation between
manifest or surface content and causal content. Much the same way as the symptomatic
status of the fantasy within Freudian psychoanalysis represents the distorted fulfilment of
unconscious content.

The

‘Earthrise’ image that found its way into the public arena in 1968 via its publication in LIFE

magazine exists precisely as a symptom of scientific imagination pushed by distortion to the
brink of fantasy.

For the

actual photograph

taken by crewmember Will Anders was snapped

from the perspective of being in orbit about the lunar equator. His horizon was the spacecraft
in which he was travelling. The edge of the Moon was vertical, with Earth a little to the left and
with its poles aligned the same way as the North and South poles of the Moon. Rotating the
image 90 degrees clockwise, as was done in the published LIFE version, also flips the
perspective, simultaneously guaranteeing the production of a sublime moment

– the earth

‘rising’ up over the moon. As Flusser suggests, within the technical image, art, politics and
science are intimately conjoined (2000: 19). The mass reproducibility of the photographic
image ensures that the concepts of science may be amply demonstrated; the aesthetics of that
same image provide science with the public face of that demonstrability.

So, of course, the technical image within the scientific program, which we might also call the
scientific imagination, is permitted some leeway. It can stray into the realm of art and the
fantastic but only to the extent that it maintains, even indirectly, this fundamental relation to a
chain of causation. A license is granted to the scientific or technical image to wander into
fantastic realms as long as the relation between symptom and cause is maintained. This is
achieved precisely by locating the fantastic impulse solely at the level of the symptom. If
fantasy (specifically the visually fantastic) has the potential to distort and diverge from the
causal chain that connects the surface with its impresser, then the balance between distortion/

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fantasy and symptom/reality-indicator will require maintenance. In this essay I will develop
Flusser

’s analysis of the technical image in the context of the contemporary scientific program

and its extensive use of digital visualisation. This will require some exploration of the current
policing of the boundaries between science and fantasy that occur with respect to the place
and status of the image in science. In particular, I want to examine the impact of new media
technologies on technical images and how this changes the place of the imaginary within
science. There is a sense, conveyed through a spate of recent scientific popularisation, in
which computer-assisted and generated visualisation returns the affective capacities of wonder
to the scientific enterprise. At first glance, new media assisted and generated technical images
appear to reverberate with the double-edged nature of Baroque wonder, which saw the latter
accorded the status of both passion and aid to knowledge.

If computer modelled images of

science

’s virtual worlds, such as the

‘dark matter’

supporting the universe or the invisible

molecular robots

of nanotechnology, regain a place for the bizarre and purely speculative

within science, then metaphors connected with the impact of new media imaging capabilities
also drive this imaginative impulse. Many of these metaphors deploy or are fundamentally
shaped by the possibilities conjured by new media technologies, specifically in the realm of
visualisation.

Yet there is a simultaneous evocation and fear of the powers of metaphor and image in
contemporary science. This manifests itself in debates about whether wonder occupies a
necessary place in scientific explanations of the universe, in the associated belief that in
providing such a place science connects to a deep and underlying aestheticism, and in the
accompanying concern that too much metaphor leads to bad science. Mary Midgely has
commented upon the recent role of the fantastic in scientific texts, drawing particular attention
to the place of new technologies within the apotheosis of these fantasies (1996: 142).
Speculation about the marvels of new technologies attract readers and popularise science, she
argues, and in turn may act as a compensatory mechanism for scientists themselves, bored by
the arid ground of empirical proof and procedure. It is useful here to compare this current
experience of scientific legitimation, license and subsequent cultural anxiety to the parallel
debates surrounding wonder and the power of images during the seventeenth century. If, as is
usual in histories of the development of modern science, we take the seventeenth century as
its birthplace, we can see, in this comparison, that the place and role of the image has been at
the core of a scientific perspective upon the world. But this comparison also allows us to single
out what was quite specific about wonder and its relation to the sciences and arts of the
Baroque. The kind of correspondences, analogies and resemblances that litter the treatises of
natural knowledge in the seventeenth century, and that effectively allow for certain kinds of
correspondences between art and science, are no longer possible after the advent of the
technical image. An enormous shift occurs when industrial technology conjoins with the visual
to produce a new kind of image, and indeed a new kind of relation between science and art.

Consequently, although the computer-generated image within science opens the door to the
fantastic, it nevertheless shares in the photographic image

’s epistemological rearrangement of

the relations between truth and imagination. There is now a deep asymmetry at work between
science and art. Imagination and fantasy occur at the far reaches and boundaries of the image
and metaphor, in the spaces where distortion of the world

’s truth occurs. The image retains its

scienticity insofar as its core concept requires no decoding and inasmuch as it offers us,
axiomatically (however opaquely), a window to perception. Frequently though, the computer-
generated image in science visualises the imperceptible: worlds that are too small or too vast
to be directly seen or known. Here, the

‘art’ of the image lies in its capacity to lend its services

to the technical image through collaboration with science. Indeed, the most overused
metaphors describing the current relations between art and science are those of collaboration,
intersection and convergence. What is actually taking place when art

‘collaborates with

science

’? If, as I am claiming, there exists an asymmetry between art and science, to whom do

the benefits accrue in these collaborations? The more technically sophisticated contemporary
art wants to become, in particular technologically sustained and executed new media art, the
more it will have to rely upon access to the equipped and funded projects of scientific

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visualisation research. And perhaps in the grab for cash, science may see art, specifically art
that participates in an aestheticisation of science, as its necessary partner. Does new media
art, undertaking these collaborations with science and technical visualisation but positioned
asymmetrically within the field, continue to play the role of publicising and demonstrating the
scientific program, as did the scientific photograph?

Alternatively could there be intersections in which art is capable of changing the place that
fantasy plays in the technical image? Here fantasy would no longer be conceived as
symptomatic of a distorting process, but as constitutive of scientific visualisation itself. In other
words, science fantasy, propelled by new techniques of visualisation, becomes the core
activity of the scientific enterprise itself. It is time new media artists publicly challenged the
tangential role and delegation to the place of assistant that the image and hence imagination
are accorded in the contemporary scientific program. Rather than scientific visualisation and
new media technologies being deployed instrumentally as aesthetic assistants, we could more
critically assert the reliance upon image production as fundamental to the ongoing concerns of
science as a speculative enterprise. There are a number of savvy artists working within the
areas of new media art today whose work upends the familiar asymmetry of art-science
relations. In their practices, these artists indicate an understanding of the mutation that occurs
in the technical image with the advent of digital imaging technologies. We will see how they
place the fantasy or symptom right back at the core of the scientific imagination challenging
those anxiously policed boundaries between the aesthetic and the scientific. From the
standpoint of artists

’ claims to art-science convergence, these strategies that unpack the digital

technical image may have a greater impact than the ill-conceived claims for collaboration.

Initially it seems the technical and aesthetic status the contemporary scientific image enjoys is
reminiscent of the symmetry between the scientific and contrived image that inspired Baroque
wonder. In his 1999 book, Unweaving the Rainbow, Richard Dawkins argues for a

‘deep

symmetry

’ of art and science, based upon the wellspring of wonder, declaring that:

The feeling of awed wonder that science can give us is one of the highest
experiences of which the human psyche is capable. It

’s a deep aesthetic passion

to rank with the finest that music and poetry can deliver. (1998: xii)

The scientific illustrations or diagrams that littered Baroque natural history texts also provoked
the passion of wonder. It was not simply the revelation of fantastic, hidden worlds, revealed
through the perfection of optical technology by the Dutch microscopists in the seventeenth
century, but the art of imaging microscopic forms of life, evinced by the remarkable illustrations
that accompanied Robert Hooke

’s

Micrographia

of 1667. As historian Lisa Jardine notes,

Hooke

’s drawings were the outcome of imaging processes involving duplication and

compositing, processes we more readily associate with digital imaging (1999: 101-2).

True

form, in the Baroque scientific image, was not itself necessarily on display; rather artifice was
required in order to manage the series that manufactured perception into the final imaged
object. In this respect, the true form of an object and its representation through metaphor were
not considered at all far apart within Baroque culture. Metaphor, like truth, was a mode of
composing the world, using similar techniques as were used for contemplation of the natural
world, but leading instead to delight and pleasure. Debate concerning the role of the symbol,
emblem, device, metaphor and deceit waged strong in mid-seventeenth century Italy. The
influential academician Emanuel Tesauro, who published a book on the emblem in 1655,
argued for the precedence of metaphor over authenticity:

Metaphor packs tightly all objects into one word: and makes you see them one inside
the other in an almost miraculous way. Hence your delight is the greater, because it is a
more curious and pleasant thing to watch objects from a perspective angle than if the
originals themselves were to pass successively before one

’s eyes… (Praz, 1964: 18)

Comparatively, the capitulations to wonder in Dawkins' text that appeal to a revivification of the

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marvellous in contemporary science are tightly managed. He is quick to draw the line between

‘good poetic science’, in which wonder can inspire, and debased forms of colourful scientific
prose whose overwrought metaphors lead scientists to

‘bad poetic science’ and the public

down the road to charlatanism, superstition and seduction (1998: 18-25). The scientific image
or text, albeit aesthetic, that leaves us with an impression that the world may be an orderly
place is a useful addendum to the scientific worldview. We have here entered a world in which
the technical image has historically superseded contrivance, conceit and metaphor. Whereas
wonder could be equally invoked by scientific demonstration or artful contrivance in Baroque
visual culture, after the advent of the technical image, the scientific imaginary ceases to revel
in the marvels of its own making. It demonstrates instead the transparent encoding of the
scientific. Hence the odd, bizarre or fantastic can remain as revelations performed by the
technical image, provided that they maintain their chain of causal connection back to the truth
of the world and demonstrate the functioning of an orderly universe.

Now it is here that things start to become very interesting. Although Dawkins and other
contemporary scientists are keen to keep the boundaries closed to the excesses of wonder,
they nevertheless open them at the other end by permitting the most fantastical distortions to
emerge nonetheless, all in the name of maintaining explanatory order. Drawn to the
remarkable capabilities of new media imaging technologies and their production of fantastic
worlds, Dawkins is also constrained by the necessity of arguing for their instrumental
transparency in imaging the world as scientific truth. Accordingly he is both seduced by the
technicity of the digital image and swept away by its promise to immerse him in a fantastic
world, all the while being forced to argue new media

’s function as an aid to true vision.

Extolling the possibilities of virtual reality environments for medical discovery and procedure,
Dawkins recalls the science fiction film Fantastic Voyage, and imagines a telesurgery scenario
in which the virtual and the actual are brought into perfect visual alignment:

The surgeon of the future has no need to scrub up for she need not go near her patient.
She stands in a wide-open area, connected by radio to the endoscope inside the
patient

’s intestine. The miniature screens in front of her two eyes present a magnified

stereo image of the interior of the patient immediately in front of the tip of the
endoscope. When she moves her head to the left, the computer automatically swivels
the tip of the endoscope to the left. The angle of the view of the camera inside the
intestine faithfully moves to follow the surgeon

’s head view in all three planes. She

drives the endoscope forward along the intestine by her footsteps. Slowly, slowly for fear
of damaging the patient, the computer pushes the endoscope forwards, its direction
always controlled by the direction in which, in a completely different room, the surgeon is
walking. It feels to her as though she is actually walking through the intestine. It doesn

’t

even feel claustrophobic. Following present day endoscopic practice, the gut has been
carefully inflated with air, otherwise the walls would press in upon the surgeon and force
her to crawl rather than walk. (1998: 272)

The point, however, is that this 20/20 alignment is only achieved at the expense of a collapse
that Dawkins effects between the simulation/representation in which the future surgeon is
immersed, and the surgical action is which she is engaged. Why, presuming that the surgeon

’s

avatar presence inside the patient

’s body has been adequately shrunk to fit inside an intestine,

would the feeling of moving through a space inflated by gas need to be matched exactly at a
representational level in the virtual field? It is not for medical purposes that the

‘gut’ of the

patient must be inflated in Dawkins virtual scenario, but in order to produce the

‘feeling’ of

proprioceptive match between the surgeon

’s actual remote movement and location, and her

virtual immersion. Suddenly the surgeon is relocated, through the exact interactive correlation
between her movements and the endoscopic camera

’s actions, from image technology to the

experiential sensation of an environment. Dawkins has taken the virtual for the real, the
mediated, technical production for the actual situation; a move necessary to mask what is in
effect the scientific fantasy of a perfect fit between image and world. Almost aware of his own
speculative propensities, Dawkins admits that in his scenario for the future of digital images in
science a certain amount of engineering of vision between the virtual and actual environments

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might be required: 'The virtual world that was presented to the surgeon on her stereo screens
was admittedly constructed in a computer, but it was constructed in a disciplined way' (1998:
274). A certain order acts to ensure the correspondence between a constructed and
uninhabitable computational space and a experiential locale actually inhabited by the scientist;
an order, no doubt, that maintains a sense of the causal chain between the world and its
interface with new technologies. But as Katherine Hayles has insisted in a different context, a

‘seamless transition’ must be produced to conceal the difference between the material space
of the embodied world and the imagined space of an inhabitable computational environment
that in reality exists only as executable code (1999: 229).

The oscillation between speculative fantasy and transparency of the computational image to
the world arises the more the technical image appears in danger of losing its representational
function. In the field of nanotechnology, an area funded largely on the promise of future
advances, the computationally modelled image both illustrates

‘scientific procedure’ and

introduces a fabricated world, the scale of which is fundamentally imperceptible. As Richard
Wright has argued, the scientific image that exists purely as a result of techniques of electronic
visualisation promises direct access to knowledge about a world that is primarily
unrepresentable (1997: 24). Nanotechnology, encompassing research into the manufacture of
molecular machines, has emerged as a research area attracting both public interest and
prioritised public and private funding by government and the pharmaceutical and biotechnology
industries. On the website of the

Foresight Institute

, which declares itself to be

‘..a non-profit,

educational organization founded to help society prepare for nanotechnology

’, a gallery has

been created to help us image the actions and interactions of these unseeable yet visionary
machines (2000). The captions accompanying various of these images circumscribe their
fluctuation between the role of the technical image as direct representation of the world, and
the fantastic impulse that motivates the production of constructed scientific worlds. In the
image of

‘Drillers I’

, we encounter the transparent function of the scientific image, illustrating

laboratory procedure, with its caption reading:

In a classical laboratory experiment which all first-year nanomedical students are
required to perform, the simple mechanical drilling of a small tumor mass (seen in
foreground) induces nonspecific adhesions of red cells and later of other cells in vitro

…

(Viktor: 2000)

But in another

image

from the Foresight Gallery of Nanotechnological Art we move into

discovering the underlying order of the nanotechnological world, which it seems, if we are to
believe the accompanying caption, not only demonstrates that molecules obey laws but that
they intellectually function to manage these in a clever and friendly way:

‘A number of utility

foglets hold hands with their neighbours, forming a reconfigurable array of "smart
matter".

’ (Storrs: 1999)

What are we to make of these wonderful images drawn not from life but from the combined
power of speculation, the tradition of science fiction cartooning and the engine of 3D computer
imaging? Do they remain within the permissible boundaries of the contemporary scientific
imagination, retaining a relation to an underlying universe of order? And what should we make
of their claim to the status of art, and their subsequent display within an online gallery?
Perhaps this crossover into art permits a certain license to be taken with the image, driving it
across the regulated borders of scientific visualisation. Yet we cannot really make sense of
their art-science status unless we analyse what has happened to the technical image in the
age of digital technologies. By and large the technical image in science now represents not just
the very small or the very large but, by dint of its capacity for infinitesimal and infinite scalability
delivered via the digital, what cannot be humanly seen. Hence the world, however strange, no
longer leaves its impression on the image

’s surface. Too small or too large for representation,

the world must instead be made manageable. In the digital, technical image, it is technology
that marks itself on the image

’s surface as a managed visualisation of that world via its

conversion to data. When we look at a computer generated image we are seeing, not

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impressions of the world

’s refracted light, but small units of information or pixels assigned a

colour value by an algorithm that executes a command, decoding and encoding stored and
converted image data. It is the conversion of external material to these sequences through
digital image capturing devices, the storage of these sequences in the computer and the
programmatic assignation of colour values to varied strings of these sequences that
constitutes the technicality of the digital image. As Lev Manovich has demonstrated, a new
media image maintains its representative status in order to continue interfacing with other
cultural objects, but simultaneously loses its relation to the semantic, human world (2001: 46).
It becomes an object of the informatic universe through its conversion to data.

Now on the one hand, it appears that the digital image produces greater levels of abstraction
for scientific visualisation, removing us ever further from the thing or meaning that causes the
representation to be made on the image

’s surface. But on the other hand, the digital technical

image also moves back a step, for in a sense what we are seeing, particularly if we look at a
low-resolution bit-mapped image, are symbols. Or rather pixels, which are themselves symbols
for sequences of binary code, a code that, in the case of scientific visualisation, stands in for
the scientific concepts it is trying to demonstrate. Following Flusser

’s distinction between the

symbolic image signified in the scientific diagram, and the technical image, photographically
occluding the scientific concepts it is supposedly demonstrating, we could say that the digital
technical image sits at their intersection. It performs both a conversion/reduction of the image
to symbols while at the same time striving to appear more technical by simulating the
photographic and thereby edging closer to directly representing the world. In the case of the
purely synthetic digital image, which might be used to map and visualise scientific or
mathematical data, the relation between the symbol/pixel and the world/model reaches
extreme proportions. The potential for absolute resolution of the image, in which the symbolic
status of the pixel is completely visually obscured, is achieved in the algorithmic or purely
vector-image, such as one sees in the example of the infinitely repeating and infinitely scalable

fractal sequences

. Here, the process of data conversion, or in Manovich

’s term ‘transcoding’,

of the world to image is entirely transparent as it is the informatic world, produced within the
computer, that images itself (2001: 45-6). The likelihood that the synthesised scientific image
might slide into pure aestheticism is historically verified by the fate of fractals, which ended
their days as cheap wrapping paper. Science must labour visually to induce a faith in the
worlds being modelled or fabricated within the informatic universe. Perhaps this is why it relies
upon the resources of photorealistic imaging, particularly in the area of three-dimensional
modelling.

The heightened photorealism of the computer-modelled image in science is achieved through
a number of strategies, many of which are demonstrated through visualisations of
nanotechnology. In the image

‘Three Tumbling Respirocytes’

in the Foresight Gallery, the

nanomachines are isolated against a neutral background, as if removed for the purposes of
specimen display and carefully considered image capture. Simulated light refraction on the
models provides the sense of a scene lit for detail and exposure. The accompanying caption
ties the image to the function of illustration:

Surface features are elevated to false height in order to emphasize the station layout
and the dense-packing of molecular sorting rotors and molecular sensors on the
respirocyte surface. (Bishop and Maxwell: 1998)

Here, the caption references the image

’s own performance of manipulation but only to ensure

an underlying fidelity to the function of exact representation.

At the same time the scientific image has become nothing but pure demonstration of visual
technology, unmarked as an index in its place in the causal chain of connection to the world.
The digital image within contemporary science appears at once purely technical, in Flusser

’s

sense of the term, proffering itself up as window to the world, and purely aesthetic. Operating
in this latter respect, through what Andrew Darley has referred to as a visual digital culture of

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purely formal rather than representational difference, the digital scientific image can entertain a
conception of itself as belonging to both the realms of technology and art (2000: 140).
Importantly what has been circumvented here is the previous role the aestheticisation of
technical images served in demonstrating and disseminating science within the public arena.
The almost pedagogical role that photography such as Muybridge

’s played in consolidating the

status of the representative image within science as an evidential artefact, also revealed a
certain labour the image undertook to guarantee the public of the viability of the scientific
program. The purely synthetic image produced by the computer in the service of scientific
visualisation need not labour its evidential status; the fetish of its technicity has come to
function as assurance of its scientific status while also permitting it to operate as a formal
aesthetic object.

This leaves the digital technical or contemporary scientific image open to a certain

irresolvable tension. The abstraction of digital imaging conversion in effect denies the
possibility of that mark or trace of the world on the image

’s surface. But what if the

contemporary world of science is largely an unseen one? Would it matter under these
conditions if this unrepresentable infinitely small or large world were mostly digital fantasy, a
model of what the eye might see if only it were a computer? So, in fact, the orchestration of
fantastic worlds or models of worlds becomes necessary for the production of a contemporary
scientific imaginary devoted to bringing the world, now cast as unrepresentable via human
perception, closer to the surface of the image. The mission statement of the Foresight Institute
hosting the nanotechnological art aims

‘…to help prepare for nanotechnology’, and it is

precisely the function of nanotechnological art to prepare human vision for a perception of the
world that is too small and indeed too fantastic to be seen. Better then, in the case of the
unrepresentable, for scientific

‘art’ to model a world of benign micromachines using comic

devices and couched in a welcoming rhetoric that recalls the mid-twentieth century success of
sci-fi

’s diffusion of nuclear and cold war terror through the visual vocabulary of the cartoon.

It is exactly this tension that is beautifully and cannily exploited by a number of contemporary
artists using new media technologies. I will touch on the work of one of these artists, to
demonstrate what I believe may be the possibilities for revealing, if not entirely reorganising,
the asymmetries of current art-science relations. In Natalie Jeremijenko

’s

One Tree

project that

began in 1999, the exchanges between world and image, abstraction and materiality, the
artificial and the actual create a complex intermeshing that suggests both a convergence and
divergence of data-fantasy from and towards the empirical world. Working with a plant
geneticist, Jeremijenko had one hundred trees cloned from the DNA of a single original tree
and cultivated them to saplings. At the same time she released a CD-ROM with software
allowing a representation of a virtual tree to grow on a home computer. These

‘e-trees’ ‘grow’

using common artificial-life algorithms for simulating self-replicating electronic organisms.
These are roughly the same kind of algorithm used in the SIMCity, SIMLife games, and also
resemble those deployed by scientists to model replicating systems such as viruses.

But the outcome of Jeremijenko

’s double project is not a claim to model the vast processes

and systems we call life, a claim quite frequently made by a-life researchers for their
computational worlds (See Langton, 1999; Holland & Melhuish, 1997). Beginning with the
artificial or

‘cloned’ production of the natural, the one hundred saplings continue life in the soil

of various microclimates in San Francisco. The biological identity of the trees will materially
render, in each tree

’s growth and decay, the social and environmental differences to which

they are exposed in subsequent years. Their development will record the contingencies of
each public site in which they are planted. The artificial slowly diverges from the informational
universe of model, symbol and data and stretches outwards to life, materially comprehended
as diversity and contingency. In a move that echoes but does not mimic the way in which the
world might leave an impression on the image, here the hermetic technicity of the informatic
universe is disrupted by the trace of the world. The difference lies in the fact that the world is
now not a guarantee of truth but instead disrupts the chain of causality and its necessary order
by reintroducing strangeness in the form of chance and possibility.

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The

‘e-trees’ on the other hand, have to contend with a virtual world for their growth, but not

one that sustains the fantasy of a hermetic seal. They cannot replicate inside the computer
without the input of additional data, taken from readings of a carbon dioxide meter that is
distributed along with the CD-ROM and inserted into the back of one

’s computer. Actual CO2

levels in the computational environment control the growth rate of the virtual trees. Indeed the
implication here is that if biological science wants to take seriously its claim to model life
through computer simulation, then it must remain open to the very entity it claims to be
symbolising: that is, infinite complexity (Jeremijenko: 1999). The project of OneTree is
produced by working out the tension between the real and the symbol that marks the current
use of digital visualisation technologies within any discipline, be it art or science-based.

As Jeremijenko has herself remarked, scientific visualisation as a mode of representing the
interests of science is now backed by very large corporate factions, and we should not be so
naïve as to believe that under these conditions science and art can symmetrically stem from a
deep aesthetic appreciation for the wonders of life (Jeremijenko: 2000). Indeed part of the
strategy of the OneTree project is pitched against both aestheticisation and visualisation.
Exhibiting part of the project as six identical saplings of the original one hundred in the now
infamous

Paradise Now: Picturing the Genetic Revolution

show at New York

’s Exit art gallery

in 2000, Jeremijenko

’s work moved past the anti-aesthetic, operating instead as peripheral

scientific vision. In this installation there is precisely nothing to see, or rather nothing to picture,
if it is genetic information as a technical image that we hope to perceive. Instead we are
confronted by the differences of the saplings from each other, already yielded in the interaction
between their cloned origins and their growth as response to environment:

To demonstrate that you cannot see or picture genes; to demonstrate the
irreducible complexity of genetic information; to demonstrate that in the relatively
simple form of the tree (compared to such complex social behaviours as
alcoholism or violent tendencies) there is no simple set of transductions that you
can trace through. (Jeremijenko: 2000)

The reduction of the scientific imagination to a visualisation of scientific laws, or in the case of
the curatorial logic of Paradise Now, a

‘picture’ of genetic instructions, leaves us with no doubt

as to the functionary role aesthetics must play in disseminating the scientific program.
Jeremijenko

’s strategy is to recomplicate the relation between visuality and science by

throwing the complexity of corporate, scientific and human interests back into the mix; a
shakedown that reveals any proclaimed art-science symmetry to be a fantasy.

She leaves us with the question that returns us to Flusser

’s analysis of the function of the

technical image: 'What is it that the artists have that these corporate interests are interested
in? It is not the art, it is the access to the public imagination' (Jeremijenko: 2000). Perhaps
artists not prepared to service the digital technical image ultimately lose out under these
conditions. But if capturing this imagination is symptomatic of the lengths to which science is
prepared to go in order to adequately represent itself, it also indicates an unacknowledged
willingness on the scientist

’s behalf to fall right into the realm of sheer fantasy. In fact they can

hardly help themselves when the substance of science is increasingly mediated and
manufactured by computer-based visualisation and speculation about the instrumental
possibilities of new media technologies. And it is here that science can indulge its wildest of
fantasies: voyeuring the absolutely unseen.

Endnotes

T. Fonseca,

‘Image Description of Artery Cleaner III’, The Foresight Institute Gallery of

Nanotechnological Art (2001).

http://www.foresight.org/Nanomedicine/Gallery/Captions/Image162.html

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(accessed 5/10/02).

Bruno Latour has argued that the beginning of science as a knowledge system that proceeds

through the proffering of demonstrable proof occurs during the seventeenth century (Latour,
1993: 18). However, while it is certainly the case that a separation of opinion from proof occurs
through the activity of members of The Royal Society in their demand that experiment be
accompanied by eyewitness collaboration, conjecture and speculation remained part of
science

’s ‘style’ well into the early part of the eighteenth century. Rather than use a form of

periodisation that instils the legitimation of modern science such as

‘the scientific revolution’ I

will use the idea of the Baroque as an ongoing historical event, in keeping with Gilles
Deleuze

’s analysis (Deleuze, 1993).

Flusser

’s use of the term symbolic seems to draw on the algebraic sense of the word, where

the symbol abstracts from, substitutes for and generalises a more specific and defined entity.

The photograph, rotated ninety degrees clockwise, was published in Life magazine on

January 10, 1969.

For example, wonder was judged by Descartes to be a helpful passion, because the sudden

alertness and concentration it brought about assisted the retention of objective knowledge,
which in turn laid the foundation for systematically knowing the world (Descartes, 1985: 353).

In the text accompanying Hooke

’s drawings, he quite clearly states that a true rendition of

the microscopic objects could only be captured by draughting from many perspectives and
then handing over the rough sketches to a skilled artist who could draw a composite of the
many views (Jardine, 1999: 101-2).

Thomas Disch has examined the way in which science fiction writing and films throughout

the post WW11 period diffused the threat of nuclear war at the level of the Western cultural
imagination (1998: 78-96). I am extending this argument into the realm of science fiction
illustration.

References

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‘That Photograph’.

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‘Three Tumbling Respirocytes: Image Description 128, 1998.

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Disch, T. (1998),The Dreams Our Stuff Is Made Of. New York & London: Simon & Schuster.

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