Nawroski .

Art Metaphysical, Multi Dimension or Commercial.

All three-dimensional pieces of art viewed from a casual perspective appear to be of a flat surface plane. When engaged to with a varying perspective this surface transforms the flat solidity to a central undulating multi solid perspective object [4 dimensional]. This fourth dimension transforms the exterior surface areas of the object from inanimate surface to an animate visual experience that can translate the immediate surrounding area-areas. This is achieved through the artist who can represent a fourth dimension through interior examination’s of his intended subject matter that the art will eventually represent. The object to be appreciated within its immediate space gains greater recognition and appreciation when its resemblance to the natural form becomes ambiguous or indifferent within its own representation of it’s worth. In all cases 1.2.3.4.5 and more dimensional art is made more metaphysical when a alchemical representation is achieved to a surrounding environment, making stimulation to visual perceptions were the spectator can interact successfully, gaining experience, and more appreciation to a surrounding area.

‘ART’ seen from the perspective of commodity, reliance, or commercialism is often dismissed or seen religiously by lifestyles that are under constant pressure. This discontent is brought into effect by a constant influx of a commercial deity, that try’s to appease people’s needs. Not until ‘ART’ is shown through a multi status of the environment that forces a free commercial attitude does its status create viable change to the viewer and the environment. Intimacies, emotions and situational change of lifestyles can occur that substantiate environmental requirements. Through this potential greater understanding of fixed ideas that initially conceptualize commercial attitudes or situations within the environment reality can be shown as it really is. The ‘ART’ inside the public arena constitutes either a release or an informative language that creates debate that eventually causes change to it’s own environment. So the not spoken but visual language of art has sufficient importance, and may be compared as a vocabulary language, or multi-lingual giving high information to feed consumer materialism, environmental conceptualizations and conceptual understanding.

Gibson’s theory: [Perception Of The Human World 1950]

This theory concerning basic human visual perception underlines that the human environment always constitutes a solid ground surface with a sky above, and that most aspects of interest to the human perceptions lies on the surface, and the light that is reflected from surfaces. Such as the grassy meadows, beaches and pebbled streets that are most appreciated and appealing to them.

Gibson goes on to state that; A habitat consists of an arraignment of surfaces, that is a layout of planes at various angles to one another call them faces or facets depending on whether they are large or small. If this layout is illuminated the reflecting planes will generate a dense interlocking network of rays. At every point in the illuminated medium there will be a sheaf or pencils of rays converging from all directions. This ray-sheaf is simply an abstract mathematical statement of what is meant by ambient light. The fact to be noted here is that there is no limit to the number of possible convergence points in the medium.

This response to perceiving generated both through a visual and bodily experience, can be taken as a simple visual understanding of the forth dimension. Gibson sees a point through mathematical equations that cannot be understood by simply looking at object.

He states in the Senses Considered As Perceptual Systems [1966.] That an individual who explores a strange place by locomotion produces transformations of the optic array. For the very purpose of isolating what remains invariant during those transformations. It is not that he has to remember a series of forms but that the space emerges from those optical motions. What went out of sight as he moved one way comes into view as he returns, it does not vanish like smoke, but disappears by being hidden.

What Gibson simply means is that a human being who moves about in the world sees the angle’s of the objects constantly changing, but his recollection of the angles changing, or the objects seen are not necessarily remembered or recognized. Only the most appealing or exciting parts of objects are remembered within his memory system, and constantly changing angles are possibly a reflection of a forth dimension.

Analysis: The solid materiality’s within suburban-urban environments controlled by nature and a progressive society are initially responded to as angular, and become more approachable by human submissions when the natural environment is recreated. They become either the same or different inside their own realities, and have both restraints and constraints within a structured complexity, and respond to each others demands through each others complimentary attributes.

Conclusion: The fourth dimension can be explained by theoreticians through various mathematical equations, and be represented by the artist through abstraction, and romanticism. But to physically confront the insides of a multi dimension cannot in human boundary be possible. Occultism [magic], spiritualism, dream’s, E.S.P. and the soul are all a realm within the forth dimension. The artist becomes the pictorial representative for the forth dimension using any medium, and constitutes the human need and hunger to see what cannot be seen through what he creates.