Does Richard Anuskiewicz’s, Summer Sunset Reds, 1982, evoke transformation of spatial and temporal dimensions of movement?
When aesthetic judgement isn’t fixed on elements of the nonrepresentational, non-objective acrylic painting or the painting’s ideal virtual qualities of beauty, do the interactive, dynamic aspects involve objective perception? Is motion perceived with openness and curiosity without bias, filters or intention?
What colors, geometric shapes, forms and sounds arise during an expanded state of existential aesthetic awareness? Are they different during the transitional and transmutation states? If measured from the perspective of a time-based mode, is distance a factor?
Does differentiation within expanded awareness require an exchange of energy or vibrational displacement? Using water as an example, when snow or water transforms from mass to a gaseous state, the weight of the reassembled water and gas equals the weight of the individual, separated components. The weight is constant regardless of state. The relationship is a bi-directional energy exchange. Geometric shape becomes visible in snowflakes during the vibrational frequency process when information transitions to a different state.
Becoming aware that one is in an infinite expanded state of awareness localizes it and if both states are maintained simultaneously, can a time-based outcome be selected? When possibilities are holographically equidistant, can the quantum channel be changed to another nonlocal resonant frequency?
Are the fractal patterns of the geometric shapes in Summer Sunset Reds scaling differently in the fractal dimension, as they fill the space they’re embedded in, between the canvas and where I stood?
Is the movement one perceives a manifestation of geometric patterns repeating recursively in the fractal dimension or representative of spatial/temporal branching of the fractal patterns? Can fractals collectively display emergent behavior?
If I change my POV from art and science to tech, the geometric patterns in the painting are data. And if the fractal is branching, I’d speculate the data becomes encoded with information and quantum motion instruction sets.
Was this sublime Performance Art .. a spatial-temporal reveal of the unseen masquerading as oscillating movement?
Sublime Performance Art
A spatial-temporal reveal of the “unseen”, masquerading as oscillating movement.
- Art Gallery Lighting & Visitors
- Richard Anuskiewicz, Summer Sunset Reds, 1982
- Quantum Motion
- Instruction Sets
- Art (non-objective)
- Data Sciences
- Speculative Theory