NOTES and REFERENCES|
M.Kundera. "Testaments Betrayed".
1995.Harper Collins. New York.
Tetrad: "Whether syllogistic or Hegelian-dialectical, for some inherent reason
the triad eliminates ground. When a fourth term is added, the structure becomes resonant and
appositional and metaphoric; simile, metonymy, synecdoche yield to metaphor".
"The Global Village: Transformations in World Life and Media in the 21st
Century",. Marshall McLuhan
and Bruce R. Powers. 1992. Oxford University Press. New York. Oxford. Page 7.
"The computer is much more complex. It highlights certain kinds of knowledge -what "can be
reduced to discrete bits
of data" and stored. It stresses the explicit at the price
of the implicit, of ambiguity and of the metaphor, it offers
the objective over the interpreted, data and information over knowledge and wisdom; it
C.A.Bowers. "The Cultural Dimensions of Educational Computing: Understanding the
Technology".1988.N.Y.Teacher College Press. Page 36 and
elsewhere in his book. Cited by R.Cornwald. "Iterations: the
New Image." 1993. T.Duckrey & C.Stainback. N.Y., London. The MIT Press & International Center
for Technology. Page 43.
3. Chapter III.
"Steward: is someone who wants to manage the world as a precious resource."
"Extropian: is someone who wants to let some big impartial evolution -like process
run wild with it-."
Jaron Lanier, Wired Magazine 1995.
4. Chapter V.
"The essence of Prigonine argument:
Experimentally derived thermodynamical laws, based
on the behavior of complex systems are the true reality, while the apparently time-symmetric
behavior of little spheres bouncing off one another (the wise picture of HOW ATOMS BEHAVE) is
only an approximation to reality."
John Gribbin, "Shrodinger's kittens and the Search for Reality". Little
Brown and Co.Boston,Mass. U.S., 1995. Page 181.
5. Chapter V.
"Eternal is only the general principle of causality: it is eternal a knowledge
itself, for knowledge is a continuos process in which our causal conceptions of the surrounding
world are modified, characterized, clarified, and generally grow more complex".
B.Kuznetsov. "Einstein". 1965.
Translated by V.Talmy. Progress Publishers.
Moscow. Russia. Page 319.
6. Chapter VI.
Noam Chomsky. "Manufacturing Consent". 1994.
Black Rose Books. Montreal., Canada.
7. Chapter VII.
What about "the Expressionists and their Cult of Hysteria and Madness" as Milan
Kundera defines them?.
M. Kundera, "Testaments Betrayed". Harper Collins.N.Y.,U.S.,1995. Page 84.
Also to mention, "ultimate Minimalism John Cage's piano composition 4:30, which
consists of a pianist in a concert hall in formal dress sitting in silence at the piano?..."
L.B.Slobodkin. "Simplicity and Complexity in Games of Intellect". Harvard
University Press. Cambridge. Mass.U.S. 1992. Page 11.
We could easily parallel the subject of Warhol's Pop Visuals to Twitchell's
definition: "We have lost the aesthetic category of the vulgar because we have been overwhelmed
by it. We have ceased to recognize it because it has become the norm...in computer jargon
-the default mode of taste."
J.B.Twitchell. "Carnival Culture". 1992.
Columbia University Press.N.Y. Page 51.
8. Chapter VII.
"Brain Plasticity Characteristics:
-Synoptic functions where the communication
between different neurons actually takes place.
-We see that brain plasticity is not just an
incidental ampliation, it is an essential feature of the
activity of the brain!!!."
R.Penrose. "The Emperor's New Mind". 1989.
Oxford University Press. Page 396.
9. Chapter VIII.
J.Itten mentions in his "Art of Color", 1973: "De la Lei du Contrast Simultane
des Couleurs et de l'Assortiment des Object Coloris" by M.E.Chevreul,1839; as the scientific
foundation of Impressionist and neo-impressionist painting.
And M. & D. Gerhardus, "Cubism and Futurism", 1979 mention "Chronophotography"
as developed by Marey & Muybridge, as well "Photodynamics" by A.G.Bragaglia 1911 as influential
on the Futurism making.
10. Chapter VIII.
This Freud-Dali parallel shows, somehow, amazing coincidences of approach
between scientific, causal and speculative reasoning with an aesthetic-causal sense of
11. Chapter VIII.
From "Science as a Cultural Force" by Harry Woolf.1964.John Hopkins Press.
Baltimore, Maryland .U.S. Page 88.
12. Chapter VIII.
"Nothing could be more expressive than this interval of the properties of the
right hemisphere in contrast to the left, for to the left brain, the interval is a space which
must be logically connected, filled and bridged. Such is the dictate of linearity and visual
order in contrast to the resonating interval or gap of the simultaneous world of the right
Marshall McLuhan & Bruce R. Powers.
"The Global Village" (Transformations in world life and media in the 21st
Oxford University Press., New York., U.S.A
Pages 64 & 65.
13 & 14. Chapter IX.
"Exploring Complexity", by G.Nicolis & I.Prigonine.1989. Freeman & Co., New York.
15. Chapter IX.
Of course the use of brushes and canvasses as well oil and acrylics must be, in my opinion,
still used, so the New Aesthetics of Hypertext Non Linear Linearity could use that traditional
media as one of "the key superposition factors to hold or break down" when playing the
aesthetics of Linearity!.
16. Chapter X.
Marshall McLuhan & Bruce R. Powers.
"Global Village".(Transformations in world life and media in the 21st century".,
Oxford University Press. New York., U.S.A.
Pages 57 and 59.
17 & 18. Chapter X.
19 & 20. Chapter X.
"Exploring Complexity". Nicolis & Prigonine.
21. Chapter XI.
"Exploring Complexity". Nicolis & Prigonine.
22. Chapter XI.
..."cellular automata which are a beautiful example of HOW complexity arises out
of underlying simplicity...Some cellular automata STOP other are PERIODIC and other go FOREVER!.
In the behavior of cellular automata
first there is the "FIXED POINT" behavior the automata stops. Second is the "LIMIT CYCLE" in
which the automata undergoes "PERIODIC BEHAVIOR". The third class is "CHAOTIC BEHAVIOR";
forthly and finally is the most interesting class in which there is a quasi-periodic behavior
along with propagation of minor structures. This fourth REALM exists just before the onsets of
CHAOS and is the true realm of complexity"...
Heinz R. Pagels."The Dreams of Reason".
1988.Simon & Shuster. New York. Page 101.
Hence we could play a meta visual variation containing:
A "Fixed Point"...a "Limit Cycle"..."Chaotic Behavior" and "Propagation of varios
Structures"...! Just a methaphore of the Realm of Complexity before Chaos...!
23. Chapter XI.
"Quantum Mechanics: A particle can have states
which it occupies several positions at once."
R.Penrose interviewed by J.Brokman.
"The Third Culture". 1995. S. & Schuster,N.Y.
That definition is quite different from "the Russell paradox:
'Set R is the set of all Sets which are not members of themselves'..." Obviously adopted as a
visual approach by the minimalists of the 70s and 80s.
Cited by R.Penrose."The Emperor's New Mind"
1989. Oxford University Press. Page 101.
"Is there a role for quantum mechanics in brain activity?
...One might speculate however, that somewhere deep in the
brain, cells are to be found of
SINGLE QUANTUM SENSITIVITY!
If this proves to be the case, then quantum mechanics will
be significantly involved in brain activity."
Ibid. Page 401.
Consequently, when Complex Art metaphors quantum mechanics it plays like deeper processes in the
brain. In fact, finding out new ways for a Hypertext Aesthetics!...
24. Chapter XI.
We are not giving up aesthetics at the hands of scientific thought, instead we
are finding universal beauty also in the miraculous Drama of Ideas which is science.
The metaphoring of quantum mechanics myth helps us to speed up the process of searching for
limitless sources of beauty.
Somehow, Complex Aesthetics keeps making not only a criticism of the reign of determinism, but
the exaltation of unpredictability and stochastic processes as a real value in the endless
hyperdynamic process of creativity!.
25. Chapter XI.
Like when" Cubism and Futurism accept(ed) that painting is(was) a static medium
to establish patterns of mediation between planar stability and spatial instability, whereas
Futurism is(was) interested in exploring and revealing the energetic-dynamic possibilities of
the pictorial area."
M. & D. Gerhardus."Cubism & Futurism". 1979. Phaidon, Oxford.
26., 27., & 28., Chapter XII.
G.Nicolis & I.Prigonine.
29. Chapter XIII.
30. Chapter XIV.
31. Chapter XIV.
"Today's electronic entertainment' is modelled on command and control, while
genuine play and spontaneity take a back seat."
R.Cornwald."Iterations: The New Image". 1993 T.Duckrey & C.Stainback. N.Y. The
MIT Press for Technology. Page 46.
32. Chapter XIV.
"Technological Art is even less likely to fulfill the aesthetes 'divine regard for
timeless' art, since a good deal of the art produced with advanced tools can become obsolete
Ibid. Page 37.
33. Chapter XIV.
"Experiential Imagery is a provocation to traditions of images that have become
ragged in an environment that is itself immersed in Representation".
Ibid. Page 37.
34. Chapter XIV.
"In the repercussions of media theorization, one of the areas that has tremendous
effects on digital imaging is the ability to consume and refunction the media - including
Ibid. Page 30.
35. Chapter XV.
"There is no doubt the Faustian myth is all about us in the psychology of the late
Rollo May, "The Cry for Myth".1991.Norton & Co.
N.Y. Page 269.
36. Chapter XV.
"My hope," writes Donna Haraway" is "that power, the visual and sensory power of
the technology, can be a way of dramatizing the relativity of our place in the world, and not
the illusions of total power".
H.Reingold, "Tools for Thought".1986.S.& Shuster.
N.Y. Page 246.,Cited in page 19. "Iterations: The New Image".
37. Chapter XV.
"The Post-Information age is about acquaintance over time: machines understanding
individuals with the same degree of subtlety (or more than) we can expect from other human
N. Negroponte. "Being Digital".1995.Knopf.,N.Y.
38. Chapter XV.
"We have said that in the moments when eternity breaks into time, there we find
myth. Myth partakes of both dimensions: it is of the earth in our day-today experience, and is
a reaching beyond our mundane existence. It gives us the capacity to live in the spirit."
Rollo May, _The Cry for Myth".1991.Norton & Co.
N.Y. Page 269.
39. Chapter XVI.
"Phallic Absence of Presence is lack of content and purpose...It is negation of
meaning...It is absence of soul!...Real Presence of Lusty women is Realizing Presence. It is
active potency/power to create and to transform, to render present in place and time".
Mary Daly, Pure Lust."1984.Beacon Press, Boston.
"Lust: vigor, fertility, Eagerness, enthusiasm,":
Francis Bacon. Cited by M. Daly. "Pure Lust".
40. Chapter XVI.
"Gynergy it is a new word invented by Emil
Culpepper in 1975...It is woman-identified be-ing!."
Ibid. Page 16.
41. Chapter XVI.
"The word Metabeing is used here to name Realms of active participation in the
Powers of Be-ing."
Ibid. Page 26.
42. Chapter XVII.
Timothy Leary, "The Psychedelic Experience".
1964.1992. Citadel Press.N.Y. Page 41.
43. Chapter XVII.
For definitions please take a look to
J.B.Twitchell. "Carnival Culture". 1992.
Columbia University Press. N.Y. Page 55.
44. Chapter XVII.
Hypertextual expressionist, pop, minimal and conceptual visuals will be recurrent in the
context of early complex art pieces, just before the onset of full MetaQuantum Carnivalesque
transitions and bifurcations arrive. Naturally, all these cyclical 20th century notions and
stereotypes will persist through the whole work, overlapping "old realities" as essential
memory presences of a new consciousness of the real. Of course, those recurrent visuals will
be barely seen in later complex pieces, just when the full development of these takes place,
so the metapolilogic sense of the piece becomes complexity mature.
Personally speaking, I have developed already (1995-1998) the primary exertions of a poetry in
both "Rey Mercurio" in spanish, and "Aquarius:Complex Poetry" in english, as well new
referenciality for the project "Love Maps" which includes cyber visuals and neodigital windows.
There is another one entitled "Innovalue and Cloneverging" series with developments from a
complex primary recognition to the first generation of more advanced complex processes...
45. Chapter XVII.
T.Leary. "The Psychedellic Experience. Page 15.
46. Chapter XVII.
Ibid. Page 38.
47. Chapter XVII.
Ibid. Page 13.
48. Chapter XIX.
Shafica Karagulla.M.D., "Breakthrough to
Santa Monica, Calif: De Vorss & Co.Inc.1967.
page 19. Cited by Mary Daly in "Pure Lust". Page 328.
49. Chapter XXI.
"If we are unable to identify reality and therefore unable to act upon what we see,
then we are not simply childish but have reduced ourselves to figures of fun-ridiculous victims
of our unconscious."
John Ralston Saul,"The Unconscious Civilization".
1995, House of Anansi Press
Limited, Concord, Ontario. Canada. Pages 21 & 22.
50. Chapter XXII.
"Then there is the manifold text, which replaces the oneness of a thinking "I" with
a multiplicity of subjects, voices, and views of the world, on the model of what Mikhail
Bakktin has called "Dialogic" or "polyphonic"or "Carnivalesque", tracing its antecedents from
Plato through Rabelais to Dostoievsky".
Italo Calvino "Six Memos for the Next Millennium".
1988. Harvard University Press, Cambridge,Mass. Page 117.
51. Chapter XXII.
"Applied to Maxwell's equations, the principle of relativity requires, in
particular, that mass be a direct measure of a body's energy. Light carries mass. A fascinating
and intriguing idea. I only wonder if God might not just be feasting and making a fool
Quoted by B.Kuznetsov."Einstein". 1965.
Progress Publishers, Moscow. Page 162.
Yes...Light the essence of both plasticity and visuality...
"carrying any kind of mass from any kind of body's energy".
For visual arts that means, not only the representation of light, like the Impressionist Paris
School: Light represented by brilliant colors in contrast with dark ones, if not the whole
physicality and quantumness of light: such as complex "continuity-discontinuity" lightness
processes in painting. All which means "Painting as the art of MAKING LIGHT with resonating,
simultaneous, hyper concrete-spiritual-emotional-conceptual meanings, hence, giving a whole
aesthetical expression to our experiencing and sensing, as opposed to the fragmented, and very
limited notion of flat Painting Pigmented Light"...!!!
A. Toffler. "Future Shock".
Random House. New York. Page 408.
" Abstraction is historically self-conscious, instinctively cautious and
it remains.... almost retrograde.....Art wants real, durable, extensive surfaces to work on;
it does not
want to be limited by the refined surfaces of recent abstraction, inertly pliant and neatly
cropped cotton duck'
" Abstraction seems to be lost in a dream in which the materiality of pigment
reveals painting. It puts too much hope in the efficacy of clever, random gestures. What is
needed is a serious effort at structural inventiveness".
" Working Space ". Harvard Univ. Press. U.S.A. 1986. Pages 66
Abstract Expressionism, and Expressionism in general as "the Cult(ure) of Hysteria
and Madness" is not only a prevalent phenomenon but an extended one, the epicenter of North
American Culture. In fact, Hollywood Super-Movies and TV programs, Nintendo Games and Comics as
well Popular Fiction have taken that Cult as their "raison d' etre", consequently becoming a
degeneration of drama as a value in art making. However, the visuals of horror and pain will
remain for years as the unashamed mirror of real Pathos. So, whatever name and form we give to
our sense of drama other than Expressionism, tragedy will remain there in the inmensity of the
visual fresco of humanity as the deep characterization of our misery. Hence, it will be an
essential factor in the search for new analogies-transitions and bifurcations-propagations of
..."Ultimate minimalism may be pure commentary, without anything of what is usually
L.B.Slobodkin. "Simplicity and Complexity in Games of the Intellect".
1992. Harvard university Press. Cambridge, Mass.
of "Narcissus Guide" a fragment of the whole book originally
"Chita the Shining Muse".
Burnaby, B.C., Canada.
Nov. 5th. 1995-Oct. 8th. 1996 To June 1998.