Myriam Solar

Myriam Solar 1. Escape of the prey by one metallic profile 2. Destruction of a great area of the shell of the snail 3. Peer of snails 4. Detail of breakage of the shell of the snail 5. Loosening of a piece of shell 6. Snail exploring the environment  with a little bit of  shell on himself before to begin the reconstruction process 7. Detail of exploration of the snail on its new environment 8. Shell partially self-reconstructed with secretion of the snail 9. Estome or opening by which the snail shows the foot and edge of the same after of the first repairing, drawing and digital mixed media panoramic, 2011. From:  ‘Destruction and cognitive complexity in terrestrial gastropods and human interaction’


My research interest is focused on the interaction processes that share information with the surroundings and present degrees of communication, cognition and intelligence, subjects to the evolution and the emergence of the novel. The framework is the one of the natural complex systems open, able to process this information and to make decisions. This is based on provisional empirical facts and in my own experience with pets and small wild animal communities, bio-artficial animals, and the “Zoonarrative”, a  novel literary creation based in the language of animal fiction, the fractal representation and the animal Brownian movement named phisimorhisme. My challenge is to explore shared singularities and processes that exhibit learning, evolution and newness, as well as to get to know the diverse aspects the language animal beyond the instinctive thing, that includes models of expression and communication, memory, forms of thought, emotions and feelings, how the creativity is present in its interchange with the outer world and of an emergent attribute called “aesthetic”. The aesthetics of biodiversity in the nature of species opens perspectives to a great aesthetic that includes without distinction of species an unknown and emerging attribute that has its origin in actions of human-animal hybrid interaction that emerge as unique events, product of complex natural processes that link them in the unified field of the wave universe and the vortex created with the researcher artist. The thesis is that the aesthetic is a singularity in the expression of the species that present a sensitive knowledge of the aesthetic through unique and unrepeatable representations of an artistic character, as well as a scenic and dramatic nature. The aesthetics of biodiversity in the nature of species thus incorporates into its object the complex natural expressive dynamics of the wave universe in the interaction of interspecies. These manifestations reach their maximum aesthetic expression with the added value of Mixed and Augmented Reality of human origin.

The sensory, cognitive, affective and aesthetic reality of biodiversity in the world of species is manifested through the primary geometry of chance or Brownian movement, the fractal geometry called physimorphism, the Euclidean geometry as well as the development of manifestations in the three-dimensional space of highly complex and elaborate choreographic ideas and an unprecedented stage development in the animal world that shows creativity, beauty, parallel coordinations of performance and brilliance.

Myriam Solar 1.- Turtle, natural fractal of wave universe complexity art  2.- dog, physimorphism, AR, MR and and Aesthetics of Biodiversity 3.- Penguin, fractal natural of wave universe complexity art and partial corpus of research on Biodiversity in the Nature of Species: snail, duck, turtle, dog.

The new value of aesthetics has direct implications in the development of a complex aesthetics of biodiversity by revealing a sensorial, cognitive and affective nature of the natural world of species whose knowledge derives from interactions that, if they did not exist, would not be observable. The existence of emotions of biodiversity through beauty, taste and creation in the expression of realities that contain what Plato and Aristotle established in the human sphere: proportion, harmony, unity between the parts, symmetry and order and that in the new context it can be called complex biodiversity aesthetics, and may become what Paul Gobster calls dramatic and visual scenic aesthetics in complex representations that go beyond allegories to materialize in concrete, defined and meaningful works.

In this context my first findings were in the field of chance and chaos in the natural constructions of the terrestrial gastropods( snails), followed of a comparative study between the natural fractals and the Brownian motion executed by them. In my following works on complex dynamics in living beings it allows me to observe manifestations of its cognitive systems like a singularity of something which is new, presents patterns and can be evolutive. The significance of these new languages has led me to conceive art collections from the aesthetics of biodiversity in the nature of species in a new digital museum that approaches art on the planet from a new perspective and that includes human and species art. This museum is Biofractal e-Museum and encloses the following collections on the subject: Natural Languages & Complex Supra-Systems Collection, Physi-Morphisme, Ar, MR & Aesthetics of Biodiversity Collection and Biofractal Off line-Dancer Flamenca 391 Dada Club online The Exhibition:

In this framework my current proposal tries on the destruction and the cognitive complexity in terrestrial gastropods, where I research the answer of a peer of snails to the attack of a predator that destroys part of its shells and of that one of them achieve to be saved by means of the correct decision making. The used method is comparative, using like reference to validate the proposal the second gastropod that is not able to escape. During the attack, the answer of gastropod that survives reveals a degree of intelligence or adaptation to the environment (where it is the limit?) or to the own hazard that is in the origin of all creation – it mediates or not it human interaction – that as in this case gives an opportunity, when being an nonautomatic action, but chosen between the alternatives which they appear. The chosen option implies the flight by an aluminum profile of concave conformation that is on the land, getting up to centimeters of the ground, by which the snail can move with certain difficulty, but that the predator cannot reach due to its size, anatomical conformation and to the equilibrium conditions that demands the passage by the profile. In this knowledge what to choose, gastropod shows a cognitive capacity that is translated in perception of the facts, decision making and clear understanding of the emitted signals and the available resources, that in combination add an inherent property to all complex system, that is its creative capacity to produce a new or emergent event: its survival. Finally, this ability implies a process nonlinear of reason than it would be a sophisticated cognitive pattern of signals – valued between all the known interdependent patterns -, which allows him to identify the danger degree, to put itself out of danger and finally, with my aid to be transferred to a safe place to begin to repair the damage caused by means of the calcareous secretion production that in contact with the air and a process of iteration covers its visceral mass.


Myriam Solar is Naturalist Researcher, International Curator of Contemporary Art, Multi-Transdisciplinary Artist, Quantum Writer &  Multimedia Musician.The center of her experimental work concerns the wave universe and the fields of the organic shape as ultimate nature of the reality where she finds the creativity and the emergency of her lines of investigation that will have take contact with the sciences of water, fractal geometry, supramolecular chemistry, organicistic biology, the quantum physics, the ethology and the artificial intelligence.

She is pioneer in several Emerging Fields developed in interaction with complex systems present in the nature which allows her to create new narratives, poetics and thinking structures that include other species as well as an art and an aesthetics developed from the wave universe and quantum fields never before imagined or formulated on Earth such as the complexity art and aesthetics, quantum literature, zoonarrative and biodiversity aesthetics in the nature of species. From her earliest works about of the complexity art, the living systems, the new geometry, S-T Wave Universe Sensitive Network System and the Complexity Frontier she has worked with issues surrounding the aesthetics and languages of the biodiversity. She participed in Adaptation-Unruly ecologies biodiversity and art a Symbiotica Symposium, University of Western Australia, Australia, 2010 with Physimorphisme and Complexity Art and in  Animal People-a shared Environment, 4th Biennial Australian AASG Conference of the Australian Animal Studies Group & Environmental Futures Centre, Griffith University, Brisbane(Australia), 2011 with Destruction and cognitive complexity in terrestrial gastropods and human interaction, 2011 and continues to explores the communication between interspecies as part of her ongoing interest in the cognitive patterns in living systems with wild birds, snails, ducks in community, and aquatic and pet animals, the animal communication, the brownian language, biosemiotics and the animals and nature in the art and Literature.