The Curve of Representation

Sharing a dream with Joseph Beuys about a system that transforms social organism into a work of art, I have one exception. The idea of transformation performed not only on a social platform but primarily on a platform of reality perception itself. The artist of so-called "pure perception" discovers and realizes the aesthetics of objects on the conceptual level. Then we need to resolve the issue with its representation. Is representation taking place already in the mind processes during perception?

There are two major factors related to the quality of an author's transformation of perception:

1. The moderator is serving as a moderator without decoding perceived information. The question is: is selfless transfer of information is even possible? Stage of pre-perception refers to the out-of-mind cognitive limits of personal consciousness. This approach produces selfless creation of something I call "wisdom form" that is the analysis of mediation.

2. Moderator is polluting the perception and is involved. He does not serve as a transferring medium, but is actively moderating and changing the stream of perception. Moderator manipulates it for selfish reasons. Moderator-artist is using a package of aesthetic criteria to come up with a model of personal reflection. I call this approach demoralization, degeneration of pure forms. This approach is an elemental and superficial analysis of mediation.

To achieve the highest goal of creation, either one needs to work beyond limits of historical possibilities and beyond personal interests, or to sink into transformation of reality using personal absorption toward the limits of icon, redesigning the modes of personal signature, and create an interpretation of reproduction of the universe.

The extreme example of such a realm, one beyond the conventional mind, is independent creation of fools, the mentally ill and demigods. The celebration of this last category is known from history as "slaves" who entertained kings. (Jokers were not featured in the original playing cards popular in the 15th and 16th centuries.)

THE CURVE OF REPRESENTATION

The revision of the idea of representation are attached or detached to the frame, pushing the limits of outside space, as part of the larger installation (known from "baroque altar installations") were frequently reformulated in modern time. It would be a difficult task to track the milestones in the process of developing the curve from reticular meaning of art back in the mind, a tendency that is the main concern of this study. The curve of mind-only art, which is like the break down (raster) of visuals lie RGB mode on screen or CMYK combinations of dots in press, lead toward the "in between" dots, and goes to the vibration level between particles. The achievement that this curve is striving for is mental image of the acknowledgement of the conceptual level of art. This achievement is determined by historical possibility. Once this vision is adopted, it has easy and practical usage. The perception of reality would be an aesthetical experience.

The historical curve runs through the different types of representations, from gross to subtle level of approaches of mind-only art.

The structure of this article allows one to formulate dramatic statements, because I am creating a visionary model and borrowing elements to support it, without obstructions of fear from the demolition of concept and relevance of the statements to any other structure. This structure is created with intention to build the mode for the comparison to the existing structures, hoping that from this new comparison view will be generated.