An artist has to understand the key role played by the object in the home in the formation of imagination and interest. Home in this case extends into community, into the domain of the public and eventually the urban icon. The situation of the presented object in an array in the focal area is critical, and ought to be handled with care. If, for instance, an object is moved, it should be done mindfully, intentionally. An engaged viewer will notice. The easy or obvious nature of the singular and the binary configuration matches the effort required in manipulating a scenario in which single and binary objects appear. Environmental awareness is the programming area in which the artist and presenter are playing. The over-time aspect of manipulation for objects in an array indicates the nature of conditioning of our minds and imagination to change, and the value of the controlled environment for testing the awareness apparatus.
Within the physical boundary of the painting’s rectangular edge exists a space in which the image may subvert narrative representation as an enforcement of dimensional reality. The artist has an option to signal glitches in the coding of symbol chains, so that the viewer recognizes when visual logic in the art is warped or upended. The effect of integrating dream protocols into the conceptual formation of a complex visual composition is to stipulate the poetic response, rather than the prose mode of auditing the image. Shadow, distorted topology, impossible physics and other tools add appropriate strangeness to the story rendered in 4D narrative art. The secondary order of such tactics and effects generate problem- or puzzle-solving tasks for the viewer, absorption and/or “zoning out” responses, and other linked behaviors and/or modal shifts in and post-reception. Best of all, the anomalous incident within the frame can spark asymmetrical dynamics that we identify as “inspiration” in and for both viewer and artist.
Prefiguration + Color
A sketch (2D) is a prime utility for the artist, especially for the artist who works in a concept2object mode. Prefiguration is an element in effective design, a facilitation tool that helps with problem solving and avoidance, but also contributes to visualization of possible outcomes. As such, the sketch exists in the realms of the estimate and of fancy. When the artist colors the 2D sketch, another layer of potentiality is established. The coloring of the sketch settles the form in a defining “world.” Color is defining, and the irony of hue is its capacity for both abstraction and specificity. Repetition of color, its pattern feature, introduces the conceptual for light-spectrum or visible aesthetics. The concept prime for light-color is expectation related to the cyclic. This point or light (color) form event in the spectrum of the possibly visible actually coincides with sonic phenomena, as a function of circularity.
Art is a negation of perfect symmetry. The network dynamics of social organization naturally merge circularity and the square in the medium of time. The fallacy of visual perfection correlating to experience of divinity for finite creatures has been subsumed by digital technique. The process is rudimentary for creating optically reflexive images for virtual usage. The practical contradiction with imaginary and spiritual evolution is manifest, and obvious. However, the phenomenon of all-directional mimesis does remain contiguous to the prevailing sensation of the beautiful, as a function of perfect balance — even as the urge in us remains, that we must include an incident of intentional imperfection in man-made perfect objects, as in the Navajo weaving tradition.
Painting Is Performance
Coexistent realism is a key feature of 4D painting practice. Autonomous layers within the rectangular frame enables the artist to assemble complex compositions. Layers do not necessarily need to reconcile their inherent logic with other layers’. Dimensional time adds more options for the artist, in the formation of meaning through narrative. The structure of the painting itself provides stabilization for the content presented in more than three dimensions. Reconciling material and immaterial facets of the art is the task performed through objectification. Painting, art, is a particular, peculiar type of objectification, one which references other types. Simultaneous with the referential quality of art is the insistence on singularity represented in the existence of art, itself. The uniqueness of art is tied to the nature of dimensional time, and specifically the traits of events in time.
Performance Is Kinetic Sculpture
The reassessment of movement in 4D space suggests an opening for new modes of artistic creation. The variable quality of time in more than three dimensions can render objects in motion as simultaneously static. Therefore, the object in the variable state(s) of being can be rendered in space as its own representation. The multiplicity of existence then is possible to represent more realistically than is possible within simpler systems with few dimensions. Capture technology is supplanted by technology that conveys a sense of parallel seams for reality, especially in scenarios that feature duplicate reproduction. The copy is infused with the potential of autonomy. The collective of autonomous single creations with uniform, shared characteristics upends the binary of infinite or unity and finite and particular. A remarkable 4D notation for the artistic imagination is the concept of moving sculpture, created objects, behaving with individuated consciousness extending to a viewer, as in performance.
The notation and anecdote are part and parcel of 4D art systems. The interpretive zones that exist in the intersections and interstices of exchange for art (object) and the attaching immaterial are the zones in which are is activated and becomes a peculiar creation that is more than a generic thing. The artist material resonates with the directional movement of transits within the borders of art itself. One’s imagination can complete the geometric progression inferred beyond a designating frame. Our universe, apparently, cannot possibly be captured inside any box or contraption of restraint, as far as we know. Truly dimensional art must conform to this quality of the universe, if the art is to be naturally representative. In this aspect the human and the human art conform.
Transcendence for Mythic Images
Magnetism is a feature of the iconic. What in art attracts the eye is specific to the nature of humanity. The optics of transcendence present a special feature of humanity, which is the mundane and magical or mystic quality of attraction. In each person a narrative is formed on a timeline for existence, not only of that person, but all personhood. Narrative is a collectively gathered, individually experienced phenomenon. Art operates in an inversion of the narrative dynamic. The content that integrates the narrative and the artistic is transcendent. As narrative, the transcendent content appears as comic, then proceeds through a mesh for interpretation. Eventually, the transcendent progresses into the mythic, which is easier to think of in spatial terms, rather than linguistic ones. If almost all language is fictional, we realize, transcendence is without fail epic. Since the epic must evoke the mythical, the transcendent must also encompass myth in its variations.
Internal Movement of Color through Form
By establishing a container for color, the artist can begin lineal experimentation with spectral optics as an expressive tool. Motivation is inherent in the gradient, and artist inspiration is a form of movement. The nature of harmony is so appealing to certain artists, because it is a source of power. The potency of color in the signalling of power is inarguable. It is also diverse and global. Virtual perfection of the form for color is not necessarily any sign of improvement in the understanding of color contained by shape. The continued prevalence of bad sculpture and graphics should serve as adequate proof for that statement. It is beneficial for the artist to study the range of options for balancing a color scheme to purpose, then abandon those parameters for the creation of art, in which such purposes are negated.
Rules of Scale
Tension is created by integrating 3D systems of representation in 4D scenarios for the image. Relationships among elements can be assigned, and subsequently neutralized via simple processes of composition and repetition. Patterns do not mean the same thing in virtual and actual arrangements. Modular arrays will not reflect consistent parameters, limits or rules, unless the multi-dimensional artist decides otherwise. The logic of composition is therefore arising from a dynamic of superimposition in the combinative dimensional situation, and the origin of that force dynamic is the artist in response to the nature of the system’s interplay. The opposite of the superimpositive force is randomized machine production, which I like to think of as spray, or to refer to a brush in Painter, the image hose.
Absence of Color in Layered Form
Without color to key from, the shape of things within the frame becomes metaphorical. The presence of bitmap for structural reinforcement adds optical integrity to an image, when architecture is essentially vacant and illogical. The value of open spatial quadrants is an inverse of the concept of content. Any narrative applied to white and black is prima facie fictional. To the extent that angles, lines, points and other elements of geometry are minimized in a composition, the referential is optioned in the total image. For the 4D composer, the complexity of the flattened cube, incorporating motion and the circular establishes open internal dynamism within a constrained imaginary environment. Thus the potential set of re-compositions generated through the application and interplay of elements is infinite — a definition and proof of 4D art systems.
Topological Fields in All Directions
The imaginary landscape is a consistent presence in the artistic practice. It is a venerable form. The modifiable features of the genre drives many types of innovation, e.g., directional compartmentalization, the honeycombing of content, traction through contrast, etc. For the artist, the pretended world always affords an opportunity to discover a new technique, perspective or construct. Topological pretension as artistic exercise links the dramatic worlds of performance to the static surface of the art object. The protocols of representing the landscape and invention balance the scales of imagination and the categorical, which the armature of epistemological processes. The landscape is at its best a generative engine of imaginary play, primarily through the modes of projection, reflection and transference. Mysteriously, these modes are prominent in the fashioning of freedom, the preeminent imagining to liberate the collective and individual mind.
Stacked and Woven Forms
The circuits binding consolidating form exert energetic pressure inward toward the core. An image representing the wovenform will consist of shifting planes and cyclic bodies. Fluidity doubles as a notation of substance and signal of mimetic properties being advanced within the pictorial area. The progressive quality of the layered visual proposition can be adjusted through the application of color. The production of a visceral response in the viewer depends on the natural intensity infusing the image design. Offset the concentration peak with the echo of humor. In the image project the funniest thing is material illusion: of course that is not stone, wood, water, clouds in the sky, an “actual reflection,” and so on.
Patterned constructs work in both directions: toward and away from congregation; and resolution by dissolving. So the savvy artist employs the pattern in the service of ambiguity. The frame can be understood as an ambivalent element relative to the content contained by the limits the frame imposes. The frame, aside from its utilitarian purpose, has a correlate in fiction. The narrative is that which exists within the frame is worthy the protection the frame provides, as well as the attention the frame directs to the content within itself. A pattern, like a frame, does not unequivocally determine itself to be a sign of art. Patterns express natural purpose, e.g., in camouflage. A frame is a man-made device provisioned for anything the life of which one might seek to extend, like a pharoah’s sarcophagus. A frame, in one aspect, is an art casket. A pattern in one facet decomposes the image and stipulates non-representation in its singular form, arguing instead (optically) for the systematic, by way of visible explication and exposition.
The sense of touch is definitive for us. The tactile is a zone for exchange between our outer and inner worlds. The perceptual apparatus in touch is blind and deaf, but nonetheless sensational, sensual, sensitive. Virtuality proposes a novel configuration by which the touch sense is identified. The digital touch is in actuality an anti- or non-touch, machine-touch which is oxymoronic so long as our machines are plastic, metal things. The VR glove is a marketing contraption, because if it becomes the defining mode for touch for humans, humanity disappears and ceases to hear the songs it sings. Freedom of expression in 4D systems includes the permission to express the suicidal urge. “Touched” is a term that must be understood comprehensively, in the polysemic sensibility, when one considers at depth the implications of false tactility.
Flow-through Grid Manifold
The integration of content moving within a multi-layered grid system is maintained through particle identity, as in the signature of person, marker of place and sign of thing. Tracking motion of material is possible. Chronicling the sequence of thoughts is possible. Assessing the compounding effects of materialized thought through fluid systems is impossible. The impossibility can be reframed as fictional narrative, and manifested in printed matter (for instance) as story, and yet none of the subsequent outcomes will congeal into recognizable art, e.g., Seth Price. The artificial inclination of the aggregator or “maker” is the same as the theatrical or cinematic prop designer. Baudrillard had this much correct. The unnatural grid is an imaginary container for fluid substance. The only reality in such a construction is in the portals connecting each grid cell. Freedom as a notional prospect can exist but in the opening of the hollow block. Art is the prime vehicle for this liberation in transition.
Circling the Rectangle
Spinning the square is fundamental action, for 4D art processing. The base levels of a 4D construct require the cyclic to generate vitality and momentum within the image. The turning is also a basic facet of realism in representation. The ancient 2D tooling of 3D scenarios today is insufficient. Our eyes are gearing to the virtual scenario. We have grown accustomed to the conceptual horizon beyond the frame. Tipping the plane to create a wobble in the sphere of our consciousness is a task we undertake voluntarily. The definition of entertainment is unscripted, and its nemesis is the viewer’s sophistication in recognizing patterns of falsehood in presentation and projection. Everywhere we look we find nothing and something simultaneously, and this is acceptable in the partnering of the actual and virtual in enhanced systems. The hype promotes the impossible notion that every bit of data is understood, because it has a name and number. The truth violently contradicts the estimation inherent in the banal schematic, which is a sign of ownership.
The Space in Stilled Motion
The narrative logic in a sequence of images becomes comparison, when the set is reduced to a juxtaposed couple of frames. Art storytelling prospects in the tension between the incomparable object and the literal urge to contextualize everything. The absurdity of disbelief suspension for the realist image shifts to paranoiac ideas of artistic grift in short order, given cameras and digital processing. The viewer can never assume the truth of the visual in the virtual image platform. Motion is a casualty of the global technological advances in image production. Which is funny, given that 2D techniques in well-known genres (e.g., Eastern scroll painting) obviated motion in the image for dependence on the capacity of the viewers’ minds to activate colored drawings conveying code. Memory is the critical ingredient in manipulating perception of movement in the illusive image.
De-orientation in 4D Systems
Navigation in 4D systems requires the user to abandon outcome expectations. Instead most successful 4D code adopters adopt methods that improve function in the system’s infinite possible outcome environment. Variations, as such, cannot be anomalous. The normal is novel. Social media as it exists currently will fail, because the user becomes exceedingly bored with other users and coders who for whatever reason fail to embrace the endlessly expanded experimental parameters in 4D reality. Speed and duration cease to push usage and agitate the user. The dumb operation of numbering — and monetizing is a numerical valuation, generally — gradually loses its power. Those who insist on resisting or oppressing 4D perceptual drive shifts will eventually be systematically crushed, and this phenomenon is playing out in public and private circuits across the sectors of civilization. To test the proposition, reflect on the Vertical as a relative idea with multiple applications.
Coverage, Cross and Fill
The relaxed viewing mode is best suited for 4D art, allowing the eye to drift over patterns, vents or portals, wovenform, etc. The color saturation and selection establishes rhythms and sensational density within the contours of the framed image. The object is not to deny satisfaction, nor serve its urgency. Form becomes projection. The image is scalable and can be cloned and infinitely reproduced in all directions. It can be layered to increase complexity. The hues are open to bar-shifting, and so on. One responsibility of the dimensionist artist is to remember the difference between natural phenomena and those processes that can be codified for machined imaging. With that understanding the artist is free to develop whatever image processing that makes sense, is relevant, valuable and visionary, etc., and to address nature in a progressive continuum for art.