Like the Italian artist and engraver Giovanni Battista Piranesi (1720-1778), whose follower he is, Jean-Pierre Luminet depicts space with passion and melancholy. By repeating ceaselessly black and white checkerboards, he evokes the notion of infinity and generates the dizziness of the glance. By disrupting the laws of classical perspective, he conjugates architectural immobility and time unsettledness. The artist immerses elements in a black ocean, and such a subtle interaction gives the sensation of perpetual time. Infinity is that aspiration felt by the man held on ground by gravitation. Jean-Pierre Luminet depicts this sensation by creating vanishing points towards which one feels irresistibly attracted.Anne de Commines, Art critics
As an astrophysicist and a poet, I am apparently well-prepared to talk about cosmic poetry. However it is not so obvious. During many years I conducted these two activities quite independently – I mean scientific investigation of the nature of the universe through the study of relativity, black holes, cosmology, topology, and poetic writing. I even refuted any relationship between these two ways of apprehending the world.
I began to publish poetry 30 years ago, at the same epoch when I also published my first scientific works, however my poetic works had nothing to do with astronomy. For me, poetry had to express feelings, emotions, and subjects that cannot not be reached by rational investigation, such as love, death, beauty, loneliness, despair, and so on.
The centre of the black hearth,
of setting suns on the shore :
ah ! well of magic
Arthur Rimbaud (Illuminations)
As probably all of you already know, the Interstellar movie tells the adventures of a group of explorers who use a wormhole to cross intergalactic distances and find potentially habitable exoplanets to colonize. For the scientific part, the film director, Christopher Nolan, has collaborated with a colleague of mine, the famous physicist Kip Thorne, a specialist in general relativity and black hole theory.
With such a scientific consultant, the promotion of the movie insisted a lot on the realism of the black hole images calculated by Kip Thorne and the team of visual effects company Double Negative. The most striking one shows a glowing accretion disk appearing above, below and in front of the black hole.
As soon as the movie was displayed on the screens, a lot of physics blogs have commented in details the “Science of Interstellar”. Kip Thorne himself has published a such entitled popular book, to explain how he tried to respect scientific accuracy despite the sometimes odd demands of Christopher Nolan, ensuring in particular that the depictions of black holes and relativistic effects were as accurate as possible.
Since, as soon as 1979, I was the first researcher to perfom numerical calculations and publish the simulated image of a black hole surrounded by a thin accretion disk (you can upload the technical article here), to inaugurate this new blog I’ll devote a series of 3 posts to the basics of black hole imaging. A good part is adapted from a chapter of one of my books, published in French in 2006, Le destin de l’univers – unfortunately not yet available in English. Continue reading
Luminet’s reinstated visualization of a finite Universe, albeit one from which we can exit through one face and simultaneously enter through the opposite one, relies upon a keplerian form of mental sculpture that may be described as plastic rather than algebraic. Luminet’s characteristic lithograph, Big Bang, exploits the spatial vocabulary of perspective to evoke realms beyond the three dimensional. Whereas Escher relied on contradictions and oscillating ambiguity in his graphic art, Luminet suggests plunging, interpenetrating and matter organizes itself into structures on the right; the tumbling dice on the left imply irreversible disorganization arising from chance. The remarkable range of Luminet’s creativity in art and science is integral to his agenda to recreate what he calls a « humanism of knowledge » — not that the arts and sciences are somehow to be conflated, because they work in very different ways, with illogical and logical means. But Luminet argues that they well up from the same instincts and intuitions: « I do not believe that we acquire at the beginning the ‘heart of an artist’ or the ‘heart of a scientist’. There is simply within oneself a single devouring curiosity about the world. This curiosity pushes us to explore it through various languages and modes of expression, » he says.
Martin Kemp, professor of the history of art at the University of Oxford. Excerpt from “Luminet’s Illuminations : Cosmological Modelling and the Art of Intuition”, Nature, 20 november 2003, vol. 426, p. 232