Gurdjieff, String Theory, Music
Visionary Painting as a System of Knowledge. Visionary Painting as a System of Knowledge For most of his career, beginning in the s, painter Paul Laffoley labored outside the main institutions and familiar movements of twentieth-century art. So unique are his paintings that there was no place for him in the narrowly written, largely formalist narratives of art since In the latter case, the fourth dimension and P.
First popularized in E. A Romance of Many Dimensions by a Square, the fourth dimension was embraced by a variety of advocates. Well before the discovery of the X-ray in , which made it impossible to deny higher dimensions just because they could not be seen, Englishman Charles Howard Hinton developed such a philosophical system in his book A New Era of Thought That was followed by The Fourth Dimension of , a hugely influential book that reached audiences in Europe and the United States.
Leadbeater, who likewise adopted the idea. Wells, Robert Heinlein, H. Lovecraft, all of whom would be important for Laffoley, also found important stimulation in the idea. Just as a cube is bounded by six planes and contain an infinity of planes within it , a hypercube will be bounded by eight cubes and, remarkably, contain an infinity cubes within it. The eight bounding cubes of the hypercube can be folded down into three-space. To the left of the cruciform hypercube, is its perspective projection, with the central cube smaller in size, just as a square within a square with corners connected will be read as the perspective projection of a cube.
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It is little wonder that artists in so many modern movements—from Cubists and the pioneers of abstraction to Surrealists and now artists using computers have sought ways to evoke the highly elusive fourth dimension. Instead, he would create diagrammatic systems of knowledge meant to augment consciousness, and these systems went beyond only a fourth spatial dimension to engage multiple levels of both space and time.
The overall form of the Tesseract House fig.
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When the unfortunate architect takes his clients to see their new home, however, an earthquake has folded it into the fourth dimension, leaving architect and clients perplexed at where the rest of the house has gone. Once in the house, all manner of strange phenomena occur, but Teal reassures them: As I see it, in a four-dimensional figure a three- dimensional man has two choices every time he crosses a line of juncture, like a wall or a threshold. Stepped through and arrived in the dining room, where he stood, still talking.
It must be a matter of subconscious orientation. On the first page of the project fig. The Manifestation of Fate fig. A member of a Spiritualist church in Boston and a practicing trance medium, his father also firmly rejected the existence of gravity. When Laffoley entered eighth grade, his father hired as a tutor a Hindu mathematics student at Harvard, who introduced the young Laffoley to Indian thought, Buddhist mandalas, and the Theosophical Society, of which the Harvard student was a member.
There, too, he began in earnest his encyclopedic reading, ranging across Western and Eastern philosophy, classics, literature, popular mathematics and geometry, and science fiction as well as mysticism and occultism. Dismissed from Harvard, he decided to seek employment with Kiesler and moved to New York in the spring of After receiving a barrage of letters from Laffoley, Kiesler finally agreed to meet the young man and accepted him as an apprentice in April Unfortunately, his intense polishing on one of the elements of the multi-part sculpture gradually began to abrade the surface, and, according to Laffoley, his employment with Kiesler ended abruptly in December , with the angry artist chasing him out of the studio and down the stairs.
By that time, however, his focus had shifted to painting, and in he founded the Boston Visionary Cell, named in honor of the Jesuit paleontologist and philosopher Teilhard de Chardin , whose writings loomed large in American culture in the s and Here the impact of Pop art--particularly, the work of Robert Indiana--is apparent, especially in the numbered rectangles 9 and 5. Gurdjieff as promulgated by Ouspensky, both of whom he acknowledges in rectangle 1, along with Anthroposophist Rudolf Steiner. Infinity followed soon thereafter. Science fiction would have introduced Laffoley to both temporal and spatial fourth dimensions and their interaction: Hinton in The Fourth Dimension had illustrated a spiral passing through a plane to demonstrate the way a lower dimensional observer would understand the spatial phenomenon of the spiral as a temporal one of dots moving in a circle fig.
Ouspensky quoted extensively from Hinton and reprinted his spiral image in Tertium Organum. As demonstrated in The Urban Fossickated Octave, he also became interested for a period in the ideas of Gurdjieff, whom Ouspensky had met in after he had published his fourth dimension-based philosophy in Tertium Organum. Ouspensky would continue to serve as a source for the painter on both temporal and spatial dimensionality.
Between the strange phenomena of quantum physics, itself at odds with Relativity Theory, and new developments in work on General Relativity from the late s onward, there were plenty of subjects for a new genre of popular science writing. One of the pioneers of this field was British physicist Paul Davies, whose texts Laffoley read.
Certainly a lot of the topics in the coming chapters will test the imagination of the reader, but the issues are so profound and important to us all, that some attempt at bridging the gulf of understanding must be made.
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Kaluza and Klein had explored five-dimensional models for Relativity Theory, and, in fact, Einstein himself had been interested in their work and was still considering into the s the possibility that an extra dimension would allow him to unify gravity and electromagnetism. Simultaneously, he continued to work out his ideas in the process of his artmaking.
Beyond journals in the field, Scientific American published a few specialized articles in the early s, with popular treatments first appearing in sources such as Science Digest in The striking central image is the gaping mouth of Hell, with an angel locking its door, from a Last Judgment in the twelfth-century Winchester Psalter British Library , which was misattributed to Giusto di Menabuoi in a source of the period.
At the base of the central square Laffoley represents the secular counterpart to the mouth of Hell: Toward a state of zero volume, infinite density, infinite entropy. Toward a state of infinite volume, zero density, infinite negentropy. Therefore all possibilities must exist; everything must be in manifestation in some dimension.
In the Tesseract House project figs. In The Orgone Motor of fig. Here the scale is placed in the frame at left and right, in contrast to his Dimensionality: The Manifestation of Fate, joined by additional hyper-dimensional forms. Laffoley focused on his dimensional scale again in the painting The Orgone Motor, with its central theme of energy.
Abbott, Claude Bragdon, C. In addition to the Levogyre project, he has produced a number of other time machine designs, including the The Time Machine: First Phase Design and The Geochronmechane: The Manifestation of Fate.
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Bruno, Leonardo of Pisa, O[liver] L. Brisson, and Richard Heffern. The painting sets forth the most fully developed version of his octave of spatial dimensions: The corresponding full octave of temporal dimensions, also first set forth in , appears at the left: As he had first done in The Black- White Hole fig. Thus, he ties the four- dimensional solvoid to infrared and ultraviolet radiation one range beyond visible light and invisible to the human eye , while he relates X-rays, traditionally linked to clairvoyance and other aspects of the spatial fourth dimension in the early twentieth century, to the five- dimensional vosolid.
Here he also discusses dimensions as qualitative notes of the octave, not only as quantitative mathematical spaces at ninety-degree angles to one another. Apprehending space through sound or resonance in confinement offers a better understanding of space for what it is: I object to mathematicians or physicists simply assuming into existence what dimensions are necessary to sustain a current theory.
And I disagree with the position that any attempt to enlarge the definition of dimension will fail to yield real knowledge. Reiser, whose writings offered the painter support on this topic. The winds of change, according to superstring theory, gust through an Aeolian universe. Instead, he diagrams his ideas, combining visual symbols and text. The Manifestation of Fate exemplifies his view that the knowledge useful to a seeker of higher understanding must be conveyed symbolically, an argument made by Ouspensky as well. The symbol creates a suggestion which moves one through imaginative projections to something beyond itself a new reality, a new ontic status.
Utopic Space, which is this new reality, has been waiting for humanity since the beginning of time. Rather, they are objects for study and contemplation that are meant to transform consciousness gradually, akin to the mnemonic diagrams of Giordano Bruno, whom Laffoley acknowledges in this and other works. Dunne, Nikola Tesla, all of interest to Laffoley. Visualizing Complex Relationships in Art, Science and Technology, which stands as an early landmark in the resurgence of interest in the spatial fourth dimension.
Their film The Hypercube: At MIT in Laffoley had actually seen the experimental computer-generated, stereoscopic film of the rotating hypercube in perspective projection that Michael Noll had made at Bell Labs in , and he was deeply engaged with the spatial fourth dimension by the time he met Banchoff in the early s.
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He subsequently invited Laffoley to Brown to give a lecture. That Thom is included among the homages of Dimensionality: In particular, the dimension of the space and the number of degrees of freedom of the local system are quite arbitrary—in fact, the universal model of the process is embedded in an infinite-dimensional space. As suggested at the start of this essay, Robert Smithson, too, offers points of comparison to Laffoley, particularly since the two were both working in s New York.
They read many of the same sources related to the fourth dimension—science fiction including Wells , Dunne, Borges, and Jarry and likely Ouspensky for Smithson —and were both interested in the dimension-challenging effects of mirror reflections e. The art of Paul Laffoley bridges these two approaches, putting painting at the service of the mind as well as seeking to expand consciousness. His systems of information are meant to fundamentally transform his viewers, a goal far removed from the aims of Duchamp and Smithson and much closer to artists in the visionary tradition already named, but also to figures like the filmmaker Jordan Belson, another reader of Teilhard de Chardin.
Austin Museum of Art, For the beginning of this broadening of the history of twentieth-century art, see, e. Abstract Painting Los Angeles: The MIT Press, These informing musical scales become the obvious links to the three branes of the quantum physicists, at the same time providing substantive evidence for why a three brain system is absolutely essential for the completion of the soul of manan idea that students of the Gurdjieff Work will find very familiar, and perhaps very intriguing.
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