Unit 2 – Future of the Mind – Grid cell context/research

My research into AI and artificial minds took me into the latest developments of DeepMind, the research arm of Google. I was intrigued to learn in this article that the increasing sophistication of AI is in turn advancing our understanding of the human brain – specifically here in relation to how we navigate space. It particularly fascinated me this notion of there being cells specialised to certain sensations (a bit like the individual conscious agents that Hoffman mentioned in the interview I posted – the specialised cells all contributing to one seamless conscious experience of space) – one type acting as a ‘you are here’, one for the direction of your head, and another forming a grid for relative position/spacing.

This regular pattern of grid cells was especially intriguing for me – here it referenced a hexagon, though it could also be considered a tesselated pattern of triangles. It has previously been proven in rat brains, and only in the past few years have we seen early proofs it could too be present in humans.

I love this notion of a secret/hidden mental map that is created to help us navigate the world, that is underlying our visual interpretation of the world. I wondered too if there could be a future in which we could ‘hack’ this secret mental mapping system, to make familiar spaces that we are new to, or allow you to immediately understand the best route through a maze, for instance. Use of this regularised grid could help you to better predict or adjust to new situations, which of course the Future is the ultimate one.

This strikes me as similar to the dots used in motion capture technology – to help digital imaging ‘navigate’ an actor’s body/face in order to best map it to a 3D computer generated image.

That this should be in a hexagonal grid was also very intriguing for me. Instinctively, I imagine organic forms and shapes to be irregular, curved, amorphous, but hexagons are geometric, regular, straight edged. That said it is a form we do see in nature, for instance in honeycomb structure, or the basalt columns visible in places such as a the Giants Causeway. It is described as being the most ‘efficient’ shape, and hence why the cooling rock forms in this way. It is also described as the strongest shape – hence it’s use in the structure of the strongest known material, graphene.

Giants Causeway basalt columns

It was thus especially eery to come across this display in the Whitworth, just a day after reading of grid cells.

I was interested too to see what these grid cells might look like in reality. Unfortunately it does not seem there are specific electron microscope images of these in existence, so I instead looked to images of generic neurons.

These images, magnifying the molecular to amazing detail, show an intriguing textural quality, and complex intricacy of connection
I experimented recreating this texture using gummed tape and tissue paper, along with ink and paint. I could not quite achieve the level of intricacy I might have liked but it was an intriguing effect. I particularly liked using the gummed tape to make the 2D surface more structural
With another, less magnified image (the original here on the right), I found hexagonal areas within it and cut or drew over to indicate these, before overlaying it with a regularised pattern on tracing paper. I particularly like the effect this produced, the juxtaposition of the geometric and irregular, organic and structured.

Unit 2: Fine Art – Dérive (pt 3)

On one of my walks, I was interested in drawing, and drawing with, natural forms and materials. This began with an interest in the trace I was leaving through my action of walking, the impact I was leaving – my footprint.

I then proceeded to print my muddy footprint on pieces of paper that I had brought with me, using different types of mud that I found around me (varying in their viscosity). Here I prefer the clearest print – the one from the path itself – and I feel this most clearly represents the impact of my walk. I enjoyed using the surface on which I was walking as a material in itself and transposing this onto another surface. It felt a fitting way of capturing the moment. I chose then to experiment with drawing one of the leaves I had been stepping on in the mud, using the mud itself. I used a dipstick to achieve a linear sketch, and printed the leaf itself. I found it interesting how similar the linear structure of the leaf came out in the print and my sketch.

Top: Dipstick drawing with mud of leaf, Bottom: Mud print of leaf
I repeated this exercise using drawing ink back in the studio
I repeated this once more with the remains of a pine cone that I found at the base of a tree, which had been gnawed and deconstructed by a squirrel. To the left, I experimented using ink wash as well as drawing, and on the right I also used pencil to sketch the pine cone, to gain a more in-depth study of tonality and shade.

This exploration of structural forms in nature, and their linear form, is interesting to me. Most interesting for me in the printing is how it reveals hidden forms that might otherwise be missed by the eye – particularly in the pine cone above. It was also interesting to see the transition of the printed image from when saturated with ink to after several prints – the big contrast and interesting silhouetted shapes created in the saturated images are very abstracted and intriguing I think.