(Excerpt is part of an article, placed on hold during patenting, released soon)
"In biologically-inspired engineering, one can touch a "synthetic shark's skin" while looking at the structure of a "real shark" modeled on a computer. In the cosmologically based work of de Riordan, she explores her concept of synthetic versions of cosmological data. Initially thought of while she was an undergraduate at Princeton, she developed her idea as a PhD student at the ENS, Visiting PhD student at Princeton and Visiting PhD student at Harvard, where she developed her first prototypes. The objects begin to explore synthetic versions of difficult cosmological phenomena: her objective being to form a sensory experience of being "closer in touch" with the very obtuse and abstract regions both in quantum space and astronomical space, which often seem less accessable to our human physical reality than our biological world. She encourages "visual bridging" to understand what creation is, during the process of accessing what we can think of as the greater archaic mathematical universe (based on ideas of her adviser Alain Connes, and herself) that firmly extend far beyond our human physical reality. Often seen in visions or "caught" randomly in creation (Zhang, on his solving of prime gaps, as another example), the greater mathematical reality is where the innate design of nature lies. Her PhD thesis worked beyond perception -- and when the word synthecially is used, this does not mean artificiel intelligence but an opposing concept-- to synthetically interact with a difficult area while still holding all the mystery of the unsolved concept the prevailing spirit of human nature and the creativity and intution of human spirt transends. Often during a moment of doing something entirely differently, or looking at a problem from a different way it was created or stuck, a new form of percetion will fly into the mind, a new creation will occur. Her thesis looked at work of Jean Pierre Changeux and Alain Connes , often, in "Conversations on Mind Matter and Mathematics"(Princeton University Press). It also looked at the euphoria of knowing a conclusion is correct when new creation occurs, and the frustration of not having found "the door" yet (Zhang) and that feeling of being blocked.
The author’s belief is that the sophistication, elegance and internal brilliance of Nature’s design and Nature’s innate information resides outside of mankind’s physical reality in what Alain Connes calls the “greater archaic mathematical reality”. It can be bridged into mankind’s physical reality when a relationship arrives via a mix of accuracy mathematically and intuitively.To form new, accurate, maps of difficult scientific phenomena, and the visuals that can describe them, mankind needs to access that which resides outside our own limited progress and access, this “greater archaic mathematical reality”. What this means is the physical universe in which we reside, needs to reach outside into the greater archaic mathematical reality and bring back new mathematical breakthroughs, which very few in the world can do. Mathematically, one such person is the co-adviser of the thesard, Alain Connes. This is similar to the same as the way that she “catch” melodies in music with no notes or information except a puzzle to solve first. Like Rubin’s Vase, and like the work of Thomas Banchoff in “beyond the third dimension” this way of experiencing is a way to, in a lateral field, contribute to bridging the greater mathematical archaic reality with our human physical reality. In the opinion of the author, using visuals in a new way can both add to the beauty aesthetically of these difficult scientific phenomena and perhaps add to bridging thought processes between the a) unknown and the known, and b) the formulated and the yet to be invented. Areas of invisibility and unknown - in the Universe - are hard to grasp, many of them being hypothetical. Hypothetical places are the most difficult to have a physical, tangible experience with.
Christine-Angel works on the intersection between certain equations and data representing nature's underlying architecture, and in creating visual outlays/expositions (Seeables) and audibles of these certain areas. How to visualize the fabric of space, how to think about time visually, how to take noncommutative geometry visually to look QM and GR all part of the thesis research... this is a part of dressing and reconstructing different types of mathematical spaces, propelling us as humankind into tangible learning and conceptually fulfilling experiences."