NARCISSUS GUIDE

Towards an aesthetics of HYPERTEXTUAL NON LINEAR-LINEARITY.

IX Towards an aesthetics of HYPERTEXTUAL NON LINEAR-LINEARITY. Then if we explore, for the purpose of finding a new light in the making of Art rooted in the Information Age, we must appeal to Complexity Consciousness as well to the General Vision of Complexity's multidimensional emotional non linearity, and the unidimensional logics of linear visuality as both are fundamentals in the Knowledge of this Age: Therefore from definitions of linearity : "In our linear system the behavior is bound to be qualitatively similar to that in equilibrium, even in the presence of strongly NONEQUILIBRIUM constraints"(13). We could perform that NON LINEAR-LINEAR painting implies the new use of a set of general processes in the making of visual art. For instance: resounding HARMONY=HARMONY + DISHARMONY plus DISTURBANCES and PERTURBATIONS (visual-emotional-conceptual). A journey to NON LINEAR-LINEAR VISUAL THINKING is to use: Painting from a linear surface moving to another non linear process to another non linear-linear hypersurface-process(AD INFINITUM: tetrad-circular-spiral)?... to find new chances in a sort of non equilibrium-equilibrium...adding simply to the triad silogism a tetrad of new linear-nonlinear of possibilities, a way for a disrupted fruit of imagination the already mentioned tetrad-circular-spiral, the wave-quanta-string hypervisuality: NON LINEAR-LINEAR PAINTING is: the canvas + another non canvas...the narrative + the no narrative...historical processes + post-historical ones...the space + the non space... the bytes + the atom... the positive space + the negative space....the atom presence + the quanta abscence...the atom abscence + the quanta presence....the play may continue.... as we wish towards complex consciousness. NL-LP is: a flat surface with no holes + another with one to a million holes (impossible?..). NL-LP is: FAR-FROM-EQUILIBRIUM as a new law for painting: COMPLEX DISHARMONY. And again after the principle: "But a striking difference between Linear and Non Linear laws is whether the property of superposition HOLDS or BREAKS DOWN. In a LINEAR SYSTEM the ultimate effect of the combined action of two different causes is merely the superposition of the effects of each cause TAKEN INDIVIDUALLY" (14). Wherefore performing NL-LP complex visuality is precisely going to hold or breaking down by: TRANSITIONS from a small painting to a regular-size one to another big one.. AD INFINITUM?. Transitions of materials. Transitions of techniques. Transitions from chaotic-expressionism to hyper Carnivalesque metamedia. Transitions from abstract-pop-minimal-conceptual media to a metacomplex one. Transitions from analog to real-time computing to real-time realizing. Transitions from heptatonal color to cyber quantum ones. Transitions from the crude misrepresentation of the human body to the quantum poetry of her-his inner melodies and gestures. Transitions to hyper volumes and cybershapes. Transitions from analog to analog-neodigital. Transitions from primal planar composition to MetaQuantum. Transitions of content: from the static condition of being "qualitatively unchangeable" to the state of becoming "qualitatively and quantitatively hyperdynamic". Transitions from a passive aesthetic to a passive-responsive one. Transitions between reality-goggle systems to complex conscious interactions. Transitions from the activist viewer to the reflecting artist and viceversa... Transitions from virtual to complex reality. Transitions from the madness of separation to the temptations of participation and permanent change. Transitions from a historical-hysterical narrative to a post-historical-hysterical non narrative. Transitions from the artist as an audience to the public as a creator. Transitions from the unconscious fear to the unified field of complexity consciousness. Transitions from slavery towards liberation. Transitions from "Euclidean and Cartesian space to Einstenian space". (And Quanta space, the integral sensorium of both). NL-LP resonating imagery is the transfer of visual knowledge from one artprocess to another, from one area of the painting to another no area of the no painting... From the "hardware of centralism and connectiveness" (left brain) to its synthesis with the "software of decentralization and discontinuity" (right brain). From the rescue of our true ground: "Everything we are" to the recovery of the figure: "Everything we are not"... Reinventing the paradigms of"everything is possible" and "anything can be art"* because "it inaugurates the greatest era of freedom art has ever known."* But, "in a NON LINEAR SYSTEM adding a small cause to one that is already present can induce DRAMATIC effects that have no common measure with the amplitude of the cause"... Consequently imagery-symbols-metavisuals: From cellular to sub-cellular processes. From the Elemental to the Complex of Structures. From the Internal to the External Unity. From the Evolutionary Drama to the Revolutionary Comedy. From the Organic to the Inorganic Processes and viceversa. From a Bureaucratic oriented, and Market speculative oriented aesthetics to the new complex MetaQuantum-Democratic oriented aesthetics!... leading to a Third Millennia Complex Consciousness oriented aesthetics. Finally, perhaps we should say it has been the cyclical restraining of FORM, despite that the Sense of Space and Time in Representational & Narrative painting was truly broken and changed by Cubists, Abstracts and Futurists painters from Early 20th century, as well as the TECHNOLOGIES(15) used in traditional painting, as the most characteristic components of any particular "school" or "style", which must be breaking down again through the fundamental nonlinear linearity of our age, just to start the new complex cycle. Unnecessary to remark those somewhat limited concepts which name either "schools" or styles" are, more than probably, perhaps unfortunate to classify the current way of thinking and experiencing any Art History epoque before the advent of the Third Millennium Era. Consequently, it is not of important matter "to name" the new complex period, but to disclose the dangers of a linear inhumanism towards the expectations and joys of a new multidimensional humanism. *Arthur C. Danto. "After the end of art". 1997. Princeton University Press. New Jersey. U.S.A. Page114.