Art visionary POP: what can be considered visionary art?
There is no simple answer to this, however in a nutshell its based on a philosophy that at minimum involves a concept of mind/body dualism, or panpsychism for those with a more naturalist sense, and for the more extreme version it’s idealism that entails objectivity as projections of a mind. Material monism emphasis is on properties of observable particles as non representational and abstraction that are reductive from the manifest images in the world.
The classic dualism of visionary art.
Art visionary POP is based on the philosophy of mind-body dualism. In order to represent a realist perspective, I use the term POP (point-of-light-person). The artwork has four distinct viewable perspectives. The picture plane of side A and B contain abstractions along with emergent resemblances. This is contrasted with both edges that contain base reliefs with print elements. The conceptual schema is that of property dualism as opposed to the classic mind body dualism.
How is this expressionism achieved through art?
There are in effect two sets of binaries which are interdependent. The schema as a whole is constructed to depict an emergent property dualism.
This is a classic Yogic perspective (one of the six schools in classic Indian metaphysics) and that of early modern Western philosophy often associated with Descartes. The person as a non material point is the intuitive sense of an enduring social centre that places the subject in a relative position through a sociological matrix. So in that sense POP (ostensible title to artwork) multi media art form (practice emerged from mixed media 2008) is an abstract of a possible mind/body to social matrix.
Point of light person, Side B: figurative abstract.
Side B takes on the abstract figurative of POP as point of light theory of mind through the depiction of a red centre region within the correlates of a side on view of a human face. This is part of a series that dates back to part 2 of my materialist stage where I built three dimensional forms that attempted to bring philosophical thought experiments into the realm of consciousness as affiliated with philosophy. Though soon after I developed sculptural forms in line with how yoga as is popularly known in nations outside the Indian national identity.
The edge hypothesis: how is expressionsim achieved by an artist?
The side view attempts to represent qualitative experience. The side of this artefact resembles manifest image of consciousness. The qualitative image correlates with the larger abstract figurative sides of A and B. The whole construct indicates that consciousness is embedded yet generated through forms of complex interaction. The visual separation of the sides has a family resemblance with the usual diptych.
Depicting the theory of a quantum effect on consciousness
The viewer in order to view the entire work must by necessity view the digital prints that are placed on either of the edges. This movement of subjective perspective aims through a artwork capture intuitively the hypothesis that consciousness may be a quantum state that collapses the quantum field into what is consciousness from the perspective of a human point of view. This implicates non humans too as having consciousness. It may even extend to non organic forms as having rudimentary states of consciousness.
Th abstract to manifest image as key driver of the double binary artworks.
The brain as an abstract observable is similar the picture plane. The subjectively conscious experiences represented at the edges vanishes when moving to view side B of the binary. However something is distinct from viewing side A because we learn of the images on the edge of the picture. So the observer now sees a after image.
What is the difference between abstract and non representational art?
Therefore the side view denotes a theoretical proposition that the possibility of consciousness is realisable by token of perception of boundary conditionals. So by observing Side B which is the abstract there is an after image of the previously viewed digital prints that act as non representations of side A which is also an abstract content bearing observable. Its the supervening nature of the after image that drives the intuition of resemblances. So the difference between the abstract and non representational images is the artistic rendition of our everyday subjective conscious states. The hypothesis this artwork ventures is that brains superimpose non-representational states, realisable as conscious experience. The experience in itself as for example the direct perception of a colour hue and its corresponding value and intensity is not psychologically representational of other intentional states as planing to visit a person, or go to a place. So its a thesis proposed through the art objects system of double binaries that complex informational systems such as human brains along with other systems (other persons and tools) construct consciousness through sets of interdependent binaries that independently would be rendered as simple possible states of experience but from a complex system observable the particle/wave binary holds as true.
This feature of observer contingent realism needs abstract forms interacting with manifest normative forms of the everyday world. The representation of consciousness is realisable upon change in perspective due to a shift in the whole body functional organisation and content of consciousness correlations within the field of vision. That is as the abstract perspective becomes obscured from view consciousness manifests then vanishes but remains as a residual afterimage that influences observable phenomenon.