The Perpetual Call Of Science To Understand Science

The way you understand the connection between art and creation is a reflection of your predestination towards union with demiurgic thinking.

I learned to do one thing very well: to play with science, with my science, not with the science of others, and to experience it with a little more perspective and understanding, to feel it like the fine caress of the piano keys offered by a virtuoso capable of masterfully combining intelligence with intuition, exceptional talent with fantasy, without abusing too much his possibilities of capturing the public’s attention.

Whereas this fun game with science, impeccable, endless, terribly satisfying, this index of sensitivity of subtle things, the delight of a real adventure lived and captured artistically, is related or coincides enormously with the inherent significance of a painting subject that stands out by exposing a single color in a single interior.

From delicate sounds to virtuosity, from a paddle to a writing-board, is a distance measured by the perfect moral agreement between the original, motionless and everlasting beauty of a work of art, and the forms of a moving multiple of a timeless show called: Semertahma(The unity of vision in a multiplicity of styles).

Of course, if someone were to ask me to determine the value of what I’m doing, and that’s very difficult to show because sometimes I don’t realize the value of what I’ve done, I’d tip the scales to adopt the Stradivarius violin chord and an exceptional violinist, more than the agreement between the inherent dynamics of beauty and the movement of a brush meant to give color to a life that vibrates continuously in another world or in another reality.

Can you make an installation of selective thinking by creating a state of suggestibility of the mind that will allow you to access the reality of a vision called to impose itself in the face of the relationship between vocation and predestination?

And seeing as how I keep going on and on about the science that helped me become aware of my vocation and predestination, between painting and music, therefore a science located beyond words, including an evolutionary view of the state variables of the intensity of the energy fields of the Universe, from which God does not can be ruled out, then I will say that any attempt at access to a new self-consciousness is an attempt by my intellect to rise above the worldly mind, through infallibility, to God.

It must also be said that no science must be motivated by the exposition of a single reality. But by exposing a theme that springs from the realities of a world inaccessible to “ordinary mortals”, that is, from the realities of a time line passed indirectly through a Frutessebitus, a kind of continuum between matter and spirit that latently becomes a test of sensibility of artistic, unitary, avant-garde language.

My vision is the man that became a Creator. My vocation is to offer a unique experience of knowing the area of artistic concern. And my predestination is the obligation to offer the right of creation to be known and promoted through artistic means. Finally, the demiurgic thinking that revives my soul, ordering me to walk through the labyrinth of life, includes the mediation of an image or an idea that tries through the sensible to enter the intelligible.

Can you subordinate the external reality to your own vision, force it to submit to your inner rhythm and recompose it into an image capable of exploring the dialogue between yourself and the universe?

I was reading in some random book about Goethe saying that colors arise from the light-dark interaction. He called the colors “accidents of light” that arise when light, making its way through physical environments, loses its virginal purity, absorbed and partially reflected. And from that same book it appears that Goethe started in the study of color from the understanding of the mechanism of visual perception as a fundamental moment of human existence, constituted in a real process of knowing shapes, color structuring and exploring its spatiality.

So, if I have to relate to science, and I will always refer to science, and not to any science, but to the science that I call the “Window Artwork”, then I must realize that everything that turns this world into one of beauty is based on the power of the chromatic universe and musical language (perceived as a form of artistic expression associated with a transcendental effect).

In this case I would opt for music as a form of expression of creation through an unusual combination of sounds, arranged more or less arbitrarily, according to certain aesthetic rules, in an order according to the practical requirements of the most valuable painter. And as for painting, evolving as a deep and sincere reflection on the emotional state of the viewer in the most pleasant way possible, I would tip the scales in favor of a more intuitive form of expression, similar to the suggestive expressiveness of a music that intonates “Pink - The Color Of Love” by Yakuro.

Here, then, is the essential: until I know the true pleasure in perceiving art, from which life itself absorbs from my eyes all the events, steps, resources of sacredness, I will not be able to know the true measure of the experience of being tangent to infinity.

The great force of science is that revelation of (idealistic) self-consciousness obtained through the act of creation which promotes the solidarity and consubstantiality of man with the universe.

The Perpetual Call Of Science To Understand Science is an invitation from man invested with the status of creator to complete the work that no one else has been able to accomplish: the demiurgic action of an emerging universe.
In other words, man can become a perfect creator only if his art is a work belonging to the infinite universe perceived as a reflection of his inner universe.