Summary
A number of contemporary artists, when expressing themselves by abstract forms in art, are, at the same time, pervaded with the feeling and desire to express their philosophical and scientific attitudes. The critics of art are those who mainly emphasise these attitudes finding out appropriate definitions for such parallel and imbuing creations. Having in mind that me alone shall present most clearly the essence of my idea, I have undertaken to work out of this comperhensive study.
Giving a temporal dimension to the project, I do realize a possible infinite picture which travels, as the pictures in a series are linked with this factor as a driving force.
The extent of my research is slightly shifted from the existing achievements in science as well as in fine art, thus intensifying the penetration in this complex matter, with the scope to defend its construction.
Introduction
Complexity of many things and phenomena is so multi-layered that human mind is not able to unriddle it, therfore named it – chaos. I have undertaken to disintegrate this complexity by having realized the conditions of creating chaos and by reverse procedure realizing conditions of its disintegration. I use casualness, accidentaly selecting a unit introduced into special constructed objects which, by its geometrical regularities, conditions its moving through cycles of an infinite picture. Transposed into film, this picture/pictures imagines an order, rhythm, change of frequentions and their inter-relations in the nature of complexity chaos. Overlapping the picture over picture, I discover the second, third, forth and fifth degree of chaos and even further, till dense layerness of multi-degrees. At the end of this procedure all the coluors disappear because black colour is dominating.
The enclosed material has been produced by legalized sequence ant it encircles 303 pictures. The film, with all its degrees of complexity and disintegration of chaos is logicaly present in this opus. It is realized in fourteen stages/phases. The first part displays connected line of 303 pictures. Overlapping of the film has been displayed in twelve continuations, while the fourteenth part makes a vertical display of the entire circulation. Music is fundamentaly linked to the first part of the film and it has been composed by the same principle as the pictures (each casually chosen colour binds one note). It is respected in all the segments of the film evocating existing colours of previous phase. In this way sound effect produce the sensation of chaos disintegration.
Metodology
In the rectangle which frames the picture, horizontal middle line is mutual value of the upper and lover half, while the vertical middle line is the transposer of the contents of the right half to te left half. tendency of this moving is springing and sinking. The upper and lower half are being reflected one into another, and the middle horizontal line, like an aorta, unifies their movement (Scheme No. 1). The rectangular contains 132 squares and it is divided into four parts (Scheme No. 2). Through the first square of the horizontal right part of the middle, casually chosen colour has been introduced. it is shifted in a defined order by principle of growth, so that on the vertical missle line it begins to reduce the occupied number of fields, which dismissed quantity appeares in the external angles of the left side of the rectangle, moving towards the vertical and horizontal middle line, sinking into the middle of the seventeenth picture by principle of reduction after having passed around all 132 places.
Taking into consideration that the orbit of causally chosen colour has been nevertheless defined and tah it might be changed only by mistake, the object which serves to its expression I named as "fixed attractor". In the basic unit chaos seems to be captured, but flowing thourgh cycles, it is clearly expressed by its proper modifications. The artist reveals its significance and scientist is able to measure its movement. The shemes of the positions form 0 to 17 display the way of movement of the colour through the cycle. To the picture, in the scehems of positions, auxiliary planes have been added which support the fourth, time dimension, reflecting pre-future, present time, future and the flow of time.
Discussion
Complex results have also complex causes. Having seen that a chance rules between that what enters the system and that what comes out of it, physicists have supposed that in any realistic theory casualness should be incorporated. "Fixed attractor" is driven by the very casualness but its composition eliminates error because it precisely "leads" chaos to explicit itself in art by selection of colours and by change of its intensity through cycles. Its logic is relentless and one should make eneavours to accept it an understand it.
Each problem can be solved if conditions are previously made, i.e. such a composition through which man's imagination might be unfolded. Visionary is in fact condition of event before their realization, threfore a sort of "walk ahead of time". By this supposed method, such condition might be precisely determined as provable as the calculations of the planets' movement are precise, being based on measurements which forecats them and do not predict them.
Philospohical nut of science contains a thought that with approximate knowing the statement of the system and the law of nature, approximate behaviour of the system can be calculated. In the way of how matters do function there exists a factor of approximation, and arbitrary small influences do not grow in such an extent as to provoke potentially great effects (in cosmic relations). What is small for great space, it is immense and negligeable in human destiny, as the chain of events there might be a point of crisis which will magnify tiny changes. (Sensitive dependence on initial conditions).
Fixed attractor excludes a condition of approximation as it is reduced to exact measure. I have used the attractors of greater dimensions than this one enclosed, with a lot of more unit values. In their phase spaces, various figures carried varies numbers in the extent of 1 to 90, moving in determined dynamics. Their positions and inter-relations, as well as directions of movement, have been signed by markers (lines of direction). To these numerous surfaces with developed inter-action I gave a name of "model mathematics". The subject of my examination were 10 numbers which, for a certain time, would be casually drawn out. In very frequent samples it was noticed that the numbers which I separated as "favourite" ones, gave a result as follows: six precise and four of them moved far one number above or bellow (No. 11 was drawn as 10 or 12). Here occures the approximation point because all the three numbers in the range had equal chances.
By fate, when we take a decision among three numbers (events), one can not know which is the most favourable to us. The key point ahead the time should be observed which could be fatal to us, and then take one of its "alternatives" to alleviate undesired effect. It would not be boring to live perceiving the future as the "fate" could be created by man in its variations. Here, the conceiving of free will, given to us by divine inspiration, becomes intensified. Freedom is not only in bringing decidionjs abouth how we shall act as moral creatures, but in a given possibility to create our own life going round "black holes". To be able to reach this degree of freedom one should unit cognition with intuition.
The work on chaos comes amongst disciplines of physics, mathematics and art. Reflectiong about it, scientist felt the shift in mosaics, transformation of the way of reflection. Chaos became the way of conducting science. Creative physics and mathematical painting did happen to me, thus enabling me to touch the essence of chaos.
In the model mathematics I was amazed by the logic in which chaos disclosed itself through directions which incentived my invention. The supreme, infinite intelligence, always benevolent and above all educative, guided me. Chaos is shown in one universal moment and human cognition interpretates it through time, thus not succeding to percieve all its components. I do suppose that somewhere in space, in great velocities, the time slows down from the earth's aspect, entering into essential reduction, so that distant key points of chaos considerably come closer, and in such conditions, conclusions of researchers could be quick as lightning and concised (degree of achieving cosmic intelligence).
Casualness justifies itself in distant time and space quotas in which global space is reflected. When a part of any system is observed as being stable, for example a closed circle, seen to us inside the same but infinite shape whose only one point can be observed, we do consider it is arbitrary one, as we are unable to perceive the other parameters.
Chaotic system is stable if any sort of irregularities sustains less disturbances. I have not at disposal a chaotic system in advance, but I create conditions for displaying chaos by means or regular allowing and dismissing casualness after casualness through "fixed attractor". If we develop cyclic changes of these pictures long enough, we shall be able to reach all the points of unforeseenbility if our visual memory enables it.
Composed systems may create at the same time turbulation and coherence. My picture is growing and sinking in itself alone. It has a property of rectangualr and diagonal extending. Having stated dynamical growing and reducing the picture, I create conditions for its spatial moving.
To reduce phenomena might be considered inevitable, as in perceiving the space, built from minute particles, our imagination is unable to lead us sufficiently remote. If we undertake to reduce macrocosmos to make it nearer to our cognition, moving by the laws of reasonable perception of our reality, dispersing and dislayering intricate lines of microcosmos, we have succeeded to master only three times.
Equations of the fluid flow in a number of contexts are without dimensions, what means that they are applicable not with standing the measure. Turbulation is a mess of disorder in all measures, small whirpools inside greater ones. This movement is transformed into casualness. (Space and time are reduced into mess). In the movement presented herewith, each fragment (colour) represents a component as well as the entire turbulation. All the space is being bifurcated in various time quotas. By overlapping proposed pictures for one small picture-time, we can state that time with space begins to weave a mutual thread. Dynamic processes are transformed into shape. They are pressed into the weaving of movement. A number of values and phenomena could become measurable through the fixed attractor. Conditioned by geometric laws of the fixed attractor each point moving throungh the phase space has a drawn orbit, thus, in a certain way it is deprived of freedom. Since it is a question of colour, one can observe that one colour may appear several time consecutively or alternating with other colours in the same cycle. Its freedom is presented in its apparition, in the way of extension through cyclic systems as well as in inter-relation of colours. Overlapping of the pictures with the shift of picture-time, colours are transformed one into another (blue and yellow into green) or darken (black) all the others, one may conclude in which layer of that process the flow of the followed colour has been interrupted. In the film enclosed herewith, music, connected with the original state of picture, reminds us about it. Repeated recurring of colour prolongs its cycle, thus, linking several cycles.
Frequency of appearance of one colour conditions the length of belonging cycle. Its reiteratness gives to it a dynamic capacity of extension through definite time period. In some inter-period, which can be measured by this method, that colour will not appear and when it comes across again, it will not develop immediately dynamic capacity of the past cycle, as it is already overtaken by some other colur. Each point of the fixed attractor represents behaviour of the dynamic system. When less colours appear, there is more frequent repetition of one or more colours. In this system I have included 11 colours and its capacity is 17.
Is anything happening in space that makes counterpart to the fixed attractor? Anything happening in a reasonable mind makes only a small sample of the universal. Even chaotic minds partially express universal truths. A fact that some conclude that they are possible, external, moving force. At the moment of absence they maybe penetrate some other parallel system which touches and complements our own infinity. (Auxilary planes in the schemes of positions from 1 to 17).
The objectt without dynamic capacity, representing all the numbers in belonging fields, the aorta of the fixed attractor, as a static object, may be consciously and willingly constructed and set in motion at random. And then it may be concluded that around such possible points in the space the nuts of intelligent actions are extended. Fixed attractor may serve as philosophical object as it produces a principle of nature's selforganization. We shall establish cancelling of chaos if by mosaic precision we discover its constitution.
"God gambles with space...", said Joseph Ford "... but dice are fixed". main scope of physicists is to define the rules by which they are fixed and how to use these rules to our advantage."
Chaos expresses complexity and intricacy of a problem. Pre-basis of human beings complexiti is genom. Changes occuring in it make the basis of specimen variability which may be conducted from more levels, therfore we give rythm to the development of chaos to make it measurable. In the basis of the law on development of anything, gradual reasonableness is present. Time is included in this gradualness and inteligent action in reasonableness. by overlapping of a number of dimensions from space-time, complexity does happen, from the basic unit to integrality. Overlapping these ones with a unit variation which is reflected in the system and expresses intricacy which we consider as an error, we shall get an immenske change as a whole.
Transformations occur in nature and to a man as its integrative member, and a man should be superior individual to be able to employ them usefully in a given life time. Nature is being changed at the rate which discovers importancy or negligible quality of inconstancy. It is a mechanism moved by universal intelligence which can "oversleep" milleniums, as it had previously perfectuated its constitution.
Colours are elementary components which are reduced into white light and correspond to frequencies. What effect will produce application of these changes of frequencies in a gradual disintegration of chaos to human mind, to perception of the world and man's psyche? Everybody will produce a film of some of his own chaos, and through versatilities of all these arbitraries, cosmic quotas as mutual values, shall be always expressed.
Shall it be possible to end the time by possible walk in advance of it? Intuition is faster and far-reaching than cognition is. Using it we chose casualness going a pace ahead of time, with a purpose to unit the approaching moment eith present one. In John's Revelation, when the seventh trumpet blows, the angel swore oath that the time shall no more exist. That was not announcement of the world's end but a change of time dimension to which a dimension with some one in further order (here concretely with intuition and sensation) former understanding of time shall ne changed. Therefore, the annoucement of the "time end" we do not exspirience as possible cataclysm, but as ulterior, progressive change in moving through dimensions.
Conclusion
A man, gifted by spirit and mind, decides to develop maximally his potentials and to become assistant to nature. This tendency is in accordance with the intention of cosmis intelligence. Development of useful man's intelectual potentials is conditioned by morality. Crisis of morality causes absence or stagnation of creative thinking. There are stars much more older than present space, what makes one to conclude that big bang had occured in already existing, older, space. Because of such phenomenon, intricacy had to occur and it gradually have been solved in complexity. In pre-phenomenon of all cosmic events, intelligent action makes basis and foundation. This universal intelligence solves intricacy till complexity and man, as its compund part, contributes to it by his endeavours.
