The Invention of Space
What most consider real is in fact a sophisticated engineered simulation; a body of knowledge describing a "reality out there" is necessarily false; there is no reality anywhere. Life is not only a dream within a dream but a dream that is not a dream there; in spite of convincing senses there is no dream and the very question the very meaning of life is moot. The triumph of the organization of information one accessed, managed and constantly updated updated; the birth, control and future guaranteed expansion of a database is in place. information t hat is organized into rows, columns, tables, and indexed to find relevant information, this is the birth of artificial intelligence, a centralized intelligence the fruits of which are total control by surveillance with and by a conceptual tool tat is as effective as it is invisible, a type of three dimensional net that is mapped over time and exist as conceptual matrix-space that is rarefied, mental and perfect. Meaning is void in this context and all we can possibly see are objects in a space where rhetoric never absent and it all location, weights and measures are packaged according to a built in system of control and surveillance, it is a master database, a system ...... . And as perspective was the symbolic form of the previous age, i n that it had location and direction dictated be some rational thought; we appropiate the archive as its. (1 Accomplished by an explosive force, devoid of rhetoric, a kind of divine madness and facilitated by the spirit if nothing else of revelry; classicism provides an aesthetic of restrained representation often based on personal desire, there is expression, control and liberation the ever sought after catharsis but why ekse go near this thing called modern. An art of imitation makes anything in the ether of representation twice removed from any subject it claims to faithfully represent; it is thus capable of rhetoric but not truth. Art is relegated to advertize a political power agenda in control of commercial affairs; classical art eventually is reduced to propaganda. The soulful, deep seated Dionysian affirmation at once celebrating life, evoking private, unspeakable emotions give voice to forces to transmute and mutate all discourse and thus the birth of personal and artistic expression. Classicism's modes of representation anchored anchored as they are to a given time and place is a further way to isolateWe have mainly called modern various philosophic-aesthetic, socio-political-economic systems that share a particular type of space, one that may be identified not so much with information but with its cataloguing and retrieval. Cassirer would have associated the current symbolic form with the archive, the database, the computer an example of an ideal database supplants the prevous perspectival system.
Described as an epoch, a certain style, a mode of being in tension, 'the ever present now;' The seemingly innocent overlay of a system arising out of philosopphy, a certain 'radical doubt,' over classical space has not been noticed by many; it has never been compared to the opening of Pandora's box. It was a new syntax, a set of rules, that created what still to most seems like the miracle of a new space that supplanted, overthrew, a symbolic order going back to the beginning. This space is Euclidean like the classical space but it is digital insead of the 'old world' analogue , of the left brain and by its omnipresence, paintings are in space; its opposite, fat space, is analogue, it is of the right brain and in its ability to contain and define, paintings are of space. Flat space had a short, if significant existence at the beginning of the last century through the investigation of geometric abstraction, the multiplicity of vision through time and the deconstruction, always a parasitic endeavor, of the classical space of painting. Art and Illusion: A Study in the Psychology of Pictorial Representation What disappeared was
Various commentators have proposed their own understading of and provide certain links from modernity to the region of the classical through a certain perenial symbolism. We gained a definition of a particular kind space of space; that wich we call modern. An opaque picture plane of zero depth, one which we have never come to understand, replaces the transparent picture plane into a movable stage; the only depiction of "actual" space the West had ever known. There was to be no more a 'painted space', reduced to a kit of parts, modules: a set of parts that can be connected or combined to build or complete something. There is a natural inability to transcend; transcendance is alien to this space..... any cultural or aesthetic limit; to be in this space, is to be controlled. It is for the most part, mute, all one space, neutral, emotionless; under the heading of modern; and it is the same space the painting, the room; the museum and the viewer are located in the same space: "Flat Space." Flat Space is what we have come to know as 'modern space' is all pervasive, mental and conceptually eternally located in the present; representing nothing. Dealing only with real objects devoid of misticism; imagination. This space has no configulation; in other words, it is Eucledian space with certain rules overlaid; similar to the Federal Zip Code Zone overlaid over the land of the states. Everything in this space free but it is highly structured, defined and controlled at every level. has supplanted the old order It is no coincidence that the appearance of modern space coincides with photography and Benjamin’s essay on the reproducibility of art; not only was art itself reproducible and thus its very originality questioned but on a more subtle level space was for the first time liberated en masse. This new space would morph into the international corporate surveillance state of fiat curencies; a digital space, of the left brain; a space of omnipresence, paintings are in space; its opposite, fat space, is analogue; the right brain and in its ability to contain and define, paintings are of space. Flat space had a short, if significant existence at the beginning of the last century through the investigation of geometric abstraction, the multiplicity of vision through time and the deconstruction, always a parasitic endeavor, of the classical space of painting.
Objects that exist in space are self referential and devoid of illusion.
….TO BE CONTINUED...
Is the flat space of painting different in structure to the previous deep space? Is the new space of surveillance and the space of "art" ; a space of transitory poetics, illusions and psychic phenomena? Painting is an aesthetic hoax because it lacks the ability to call into question its own status (as a work) with its own history and therefore has no transcendent operation beyond an economic and decorative function. Furthermore, in a space of surveillance (museum) where all is safe and predictable, the notion that a painting, or a work of art, might be in any way challenging or subversive to the system is the real illusion. Paintings mimic each other; they are mostly safe, meaningless ornament without much of a message and gain their currency from the same self monitoring, aesthetically bankrupt industry.
Art and Illusion: A Study in the Psychology of Pictorial Representation
"'The adventure of modern art is over. Contemporary art is contemporary only with itself. It no longer knows any transcendence either towards past or future; its only reality is that of its operation in real time and its confusion with that reality'" Jean Baudrillard
Triumph of the Immaculate, 1710-1715 by Paolo de Matteis (1662-1728). Gemaldegalerie, Berlin,
1.Olve Sande. Vinduskutt (Vempro II) Acrylic marker on wind barrier 170 x 125 cm 2016.
6.Francesco Borromini. Rifacimento della Basilica di San Giovanni in Laterano. (Remake of San Giovanni in Laterano) Roma (1646-1650...1656-1657)