Tegulas 2024 - Bio Data Visualised as Geometric Art

A Modular Image Field of a Living System

These images are created by translating electrical resistance measurements from a living plant (organism) into artistically meaningful vivid visual forms. Biological data are continuously sampled and mapped onto a geometric grid of modular tiles. Each tile represents a momentary condition of the biological system and forms a visual imprint of changing life processes. Each composition captures a transient state within an ongoing process of renewal.

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For the observer, the grid unfolds as a field in which the eye constantly searches for recognisable structures. Regularity is anticipated, yet repeatedly interrupted by local variations. Some tiles appear stable and contained, while others suggest motion or disturbance. The visual experience shifts between decorative order and a trace of life � between calm perception and active interpretation. The work invites repeated viewing, revealing new relationships over time.

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Although each tile appears as a still image, the series as a whole suggests continuous activity. Differences between neighbouring tiles refer to a process unfolding in time. In certain configurations, multiple layers are superimposed, with transparency acting as an additional variable. This layering can be adjusted within predefined limits, ranging from minimal stacking to complex overlapping structures. The result may represent a brief moment or a layered composition that embodies a longer temporal span. Through this process, time becomes not only sequential but also condensed into overlapping visual strata.

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Underlying this dynamic is a computational translation layer. The image is not manually composed in a traditional sense, but generated through an algorithmic system in which measured values are converted into visual parameters. Variables such as colour, rotation angle, scale and transparency can be adjusted within minimum and maximum ranges. This allows the visual output to shift across a spectrum from minimal restraint to maximal visual intensity. The aesthetic emerges not from predetermined form, but from the interaction between measurement and visualisation. The image is thus the visible outcome of a process in which sensing and drawing occur simultaneously.

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The images in this collection consist of square visual units functioning as modular tiles within a potentially infinite grid. Each square stands as an independent entity while simultaneously forming part of a larger system in which order and variation continuously interact. Within each tile, a tension arises between structure and deviation, as though a stable framework were exposed to an ongoing stream of change.

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The square format evokes associations with architectural materials such as ceramic tiles or structural elements. The term �tegula� intentionally references this architectural lineage. The origin of the grid structure lies in a visualisation principle related to variants of fractal imaging, such as those known from Mandelbrot-inspired representations. In this context, that principle becomes a visual framework through which biological data can manifest. The resulting series may be read as an artificial skin composed of living data � poised between architecture and organism.

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Marc Marc Amsterdam
The Netherlands.

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