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About the new art current  “THE PROBABILITY REALITY” (XX – XXI age)

By AGUILA

This art, of the present times, is far away from the symbology. That relates to that, which it refers to. Symbols  just signs in their virtual space, in the functioning of the human brain.

The symbol cannot transform itself into a living reality. When we talk about symbolism, we talk about the implicit alienation of reality. And symbolic depicting is being made by means of color, form, composition, inventiveness and expression.

The emphasis of symbolism lies on the human brain which, by means of symbols, arouses notions and illusions. But symbolism has no understanding of reality and cannot break through into the real world, but on the contrary, gets lost in a labyrinth of abstraction. This art not only invites to purely sensory and emotional experiences, but also to discuss the interpretation of this emotional and visible world.

Much has been written and speculated about the relation between biology and art which would lie in each other’s line. Art and science do not necessarily have to merge, possibly a hybrid may take shape, namely the beauty of art and science. It is remarkable that in art, contrary to in sciences, older theories exist beside the new ones, although they get modified.

By applying in the painting organic and/or synthetic and/or inorganic pigments, in certain colors, (light), by the composing of colors, possessing each of them their own wave length, frequencies, energy and matter in a well determined organization, by interaction in space, by putting in the relative near space of the painting matter – energy or other forms of energy.

By interaction between the painting and other energy forms in space, electromagnetic interchanges arise, subject to gravity interchanges, in an intrinsically dynamic character. Every change in the created electric field creates as change in the magnetic field, a change in the magnetic field creates an electric field. Alternating, each other invoking electric and magnetic fields in chocking processes in a string of transformation and mutation, in a network of interchanges.

Waves of a lineal surface and fascinating hyper dimensional patrons are being created. These probability waves, these reaction probabilities of chocks, interchange of creative orbits make tails and waves, directly by attraction and repulsion of resonances, continuously forming and dissolving among particles, impulses and compound waves. as a vibrating string a frequency of identities of probabilities are being created brief and continuously which might give birth to fractals.

It concerns an exciting experience of idea, in which has been absorbed energy of the artist of this powerful play as well as the energy of the person experiencing this probability reality as the interaction of his space; it is an ever changing play of beautiful colors and forms between the two extremes in space.

The painting itself, where the four dimensional phi is being spotted, does not exclude the emotional experience of the visual painting itself in an open experience which the spectator can add his own interpretation to.

The four dimensional art work that occurs in space, is a probability reality, directed by the energy painting with the aid of an opposite, electric or magnetic, depending on whether the painting itself is electric or magnetic, in the space near to the painting

This new approach evokes philosophical, ethic, scientific and cultural questions that are not taken into account in the scientific research itself. What is the relevance of a reflection on natural sciences and as to humanities?

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