IMPOSITION- A META- VISUAL DISCOURSE

IMPOSITION- A META- VISUAL DISCOURSE

Our inner space is filled with images

2META

Filled with images that we constantly carry with us, our inner space can't be regarded as an EX- position, but as an IM- position.
An exposition relates to the exterior space and generally to all that pertains to EX-(exteriority, exclusion, expression, existence), to what is "outwards", to what is represented on the surface, outside the painting or sculpture, to the visible shell of forms. It "locates matter in a particular space", "abusively separating the geometrical properties (defined by form, mass, volume) from the temporal ones", as Bachelard would put it. "While matter is perceived by basic intuition under its located aspect, as if it were marked out, encased in a well delimited volume, energy evades all shape; it is only in an indirect manner that the latter can be configured, by being assigned a number". Imposition comes to make up for this arbitrary separation, revealing the spatial dimension of time and, in a certain way, rendering this dimension visible. Imposition can be regarded as a state of space (just like energy in fact).
"Modern science shows us that what we do is leave the world of static solid forms and enter the world of the fields of dynamic energy. Our ancient world, consisting of solid and concrete objects, is surrounded and penetrated by a fluid world of radiating, perpetually moving energy, which, just like the sea, is given to permanent change, being accessible to us only because we ourselves are part of it."
It is legitimate to ask ourselves what kind of coordinates the inner space can have, since it entirely lacks physical coordinates. How can we qualify it after all? Is it: semantic? psychological? emotional? mental? homogeneous? linear? discrete? Is it "a space without a place" just like the Internet? Can it be considered as immaterial, parallel with the physical world? Can it be defined by the temporal dimension of instantaneousness? How can one describe our inner rooms, which are so palpable, so close to us?
As fluctuant, dynamic, uneven, perpetually changing, unstable, extremely familiar spaces?
Imposition "saves us from being imprisoned in the interior of a sphere of meaning" and doesn't make use only of the visual codes. "The concept extended by art", the extended concept of art, goes beyond and beneath the visual, in a universe that is saturated with invisible places, but filled with images. What we're preoccupied with is the visual interface as a way of approaching things, as an attitude, as a habit of looking at things, as an interior practice, as the domain of what is visible; what we're also preoccupied with is the meaning of the look we cast.
"Your inner being/is none other than your inner sky./ The clouds come and go,/ the planets are born and then disappear/the stars appear and then die,/ but the inner sky stays unchanged, untouched, unblemished./Go in, delight in the inner sky./ Remember: no matter what you watch, that thing isn't yourselves./ You can see thoughts,/so you're not thoughts,/you can see feelings,/ so you are not feelings,/you can follow your dreams, desires, memories/, fantasies, projections,/so you're not all this./ Continue to eliminate everything that you can see/And one day you will live that moment,/ the most important of your life/, when there is nothing else to refuse./Everything that can be seen has disappeared/only the seer is left./The seer is the clear sky."

The inner universe, saturated by the invisible, but filled with images

The space of Imposition is represented precisely by this inner universe, "by your inner sky", saturated with the invisible, but filled with images.
Physicists talk about a universe that has been saturated with the invisible. "We are made of the nuclear matter that belongs to the visible universe, but there undoubtedly exists yet another kind of matter, non-nuclear, too dark (or maybe too bright) for our eyes and probably considerably richer than our own". We should be able to imagine, as our conversation partners, a group of non nuclear beings, too dark or too bright, and probably much more apt than us, from a mental and emotional point of view, to see these images absorbed into the invisible, which so far we have been unable, untrained or untaught to see.
"The visible is only the trace of the invisible- Leon Bloy writes, and what makes us, visual artists, interested in Imposition is precisely this valorization of the invisible.
"Everything that is visible clings to the invisible,
The audible to the inaudible,
The tangible to the intangible,
Maybe also the imaginable to the unimaginable." (Novalis)
The space of Imposition is inhabited by images, which sometimes pertain precisely to the invisible, intangible, and unimaginable. The extremely limited experience over reality springs also from "the rough properties of the visible universe", as astrophysicists call them.
We are looking for "...an invisible dimension because we can't see it with our eyes..." (Duchamp)
The invisible carries the resonance of images in it.

Visualization- visible, invisible, unimaginable

We can't always visualize inner images, or we don't always want to. Being diffuse, they form a background, they create a state, they initiate vague sensations; the progress of visualization can be difficult in this case and the essential vibration might be missed. How could we come to capture entirely, in visual codes, the mental, sensorial, etc. complex images? We already know that a considerable amount of information can't be selected directly on the retinal level. We should remember that we see only small portions of reality. " Billions of possible images remain hidden from us".
Our physical eye, which is "sensitive to a very narrow interval of frequencies of luminous radiations" stands as a proof of our limited or rough, still unused genetic resources".
"We can't claim we can see without our eyes, but we can neither claim that our eyes see." (Fichte)
"We expect that there should be a limit of our abilities of observation of the nature of things. There will be things we can't see, events we won't be able to record, possibilities which we won't be able to exclude".
Nevertheless, the part played by visualization and the visual is essential.
"Rather than suppressing our emotions or indulging in them, we should actually visualize them, together with our thoughts and everything that turns up, accepting them with generosity, as openly as we can. The Tibetan masters say that this wise generosity has the savor of infinite space, so warm and comfortable, that you feel enwrapped in and protected by it, as if it were a blanket woven by sunlight".
We've become used to regarding a visual artist as a protector of the state of the visual, of what is included in the visual. Centering upon the state of the visual might involve several levels: being in the visual, in the visible, in the non- visible, in the invisible, in the visualization machine, being visible in a fluctuating manner, having a degree of visibility etc. In this context, looking means crossing several spaces, going up several levels of the visual and of visualization, finding sensors for these spaces, for these levels, processing the data in question.
The constraints of the visual diminish considerably. Maybe sometimes we can intuit or perceive these inferior spaces together with their images, but what we lack is the program of processing this kind of information, which is sometimes diffuse, fluctuating, mobile, and inconsistent. This is precisely the part assigned to IMPOSITION.
Nowadays, there are intellectual technologies which act directly upon our senses or upon our perception: the microscope, the telephone, the photographic techniques, the image recording, the reproducing and transmission procedures, the techniques of visualizing what can't be perceived, the X rays or the infrared cameras, the scanning technique or the screening of numeric or anatomic data. All this has expanded the domain of the visible and the significance of looking, bearing consequences in the artistic, scientific and social domain.
Although it doesn't belong to an intellectual technology or to a meditation technique, in another way, Imposition also brings about the revaluation of the domain of the visible and of the significance of looking. Scanning the inner images, which are neither stable, nor fluctuating, neither obvious nor apparent, neither material, nor immaterial, is probably a matter belonging to the future, a difficult matter, but by no means an impossible one. ("We could call difficult the thing that cannot be done immediately. The impossible is that thing that takes longer.")
Perceiving the inner space as an imperceptible space or as a physical space with zero dimensions, saturated with the invisible, but filled with images, as a dynamic space, fluctuating, unequal, continuously modified, makes us conceive it as a set of inner rooms, not exhibition or exposition rooms, but imposition rooms, where the image has a different status and looking acquires another meaning.

Your image filled inner rooms

You are a carrier of images: anytime, anywhere, you take with you your inner universes, rooms, spaces, your inner horizons that are not EX but are IM- positions, with live, personal, maybe invisible paintings, without physical dimensions, filled with images which turn or pour into one another, which are entirely your own- imagery data bases that you constantly actualize and combine. It is them that are the codes of your identity.
The tradition of meditation teaches us that „you are supposed to have a generous, open and compassionate attitude towards your thoughts and emotions, because in fact your thoughts are your family, the family of your mind." The concept of art and of the domain of art becomes expanded, more nuanced; it becomes enriched by "the family of your mind", by your inner images from the Imposition. These are subtle images, sprung from the concept of a matter that goes beyond or beneath the visual, beyond the rough properties of the visible, material universe. Matter understood as energy, field, information, space, time. The more we direct our gaze inwards, the more we will feel that the matter has become "dematerialized", reduced to the codes of its own identity.
Imposition starts from your images, visualized or not, on the verge of being visualized or kept in the silent darkness of the visual non-codes. You alone are the artist, the one who opens his inner eye to see this universe that's invisible but filled with images that belong to the family of your mind. You are the one who creates, selects and combines all inner images, no matter if they are mental, sensorial, logic or illogic, visualized or not, on the verge of being visualized, so hard to capture in a unique formula. Thus belonging to space, imposition helps us to look towards the uniqueness of the inner dimension.

The cyborg, synthetic images, synthetic IM- positions

As imposition is related to the subjective time, that was spent, lived, we can't very easily imagine a computer carrying our inner spaces, these rooms filled with all kinds of images belonging to our personal memory, that are defining for us.
While some are convinced that the human mind differs from a computer only in power and homogeneity, others claim that the two are completely different. The question logically arises: if there is artificial intelligence (in the sense that it was actually possible to create it), why wouldn't it be possible to have artificial sensitivity as well (wouldn't it be possible to create it?)? The synthetic inner spaces, which are artificial, the synthetic impositions, which are analogous to the human ones, could constitute a point of departure in this respect. "It is in the tumultuous flux of phenomena, in the perpetually moving reality, that the physicist can discern permanencies"(M.Juvet) - and it is these very permanencies, these invariants, these constants that should be taken into account when we talk about the impositions of synthesis.
It would be desirable to have their formalization, their harmonization with mathematical constants and information bits in an area of reference, which implies the perturbations of physical experience. Of course we will have to abide by a certain limit in applying the concept, but this won't prevent us from going further and from thinking about imposition as about an open, shaping reality.
If we take into account the fact that imposition, as a state of space, is connected on the one hand to the code of its own identity and, on the other, that predictable or strange attractors can govern it (as mathematicians and physicists call them), if we take into account that the universe can be regarded as an alternative, chaotic universe, as an unrepeatable and unpredictable behavior or, on the contrary, as an ordered chaos, we could look into a logic of fluctuations.
The geometry of fluctuating spaces will also be of some help here.
What should be built is a program that opens towards the inner world, which has synthetic images, coming from a synthetic memory, which has several possibilities of visualization that could render one's personal mark. Such a program would encompass these rooms, these spaces filled with inner images, spaces that no longer abusively divide the geometrical properties from the temporal ones. The space-time complex constitutes the essence of the phenomenon we are talking about.
The images will be classified not only in databases, but they will also intersect, forming constellations, being associated or only selected in order to be processed. The program of imposition should not only "teach us" to look inside, to acquire the perception of this look, but also help us to understand what we see, process the data offered by perception.
Determining the constants that could acquire particular values, the visual constants that could free us of the routine of meaning, which makes us the victims of experience, whose character is unilateral- this would be the role of the program called imposition. " De- concretizing" the visual constants and associating them with bytes of information won't constitute an impediment in the program; on the contrary, it will help us to formalize the visual information.
Images, as the spaces of evocation, of memory, deposited images, consolidated in time, which make the personal archives become structured, are part of the space of imposition. Time is an essential component for these spaces: "Our temporal intuitions are still very primitive, reduced to the intuitions of a total beginning and of a continuous duration... In the new domain of microphysics what is essential is the discontinuous aspect. Here time operates more by repetition than by duration". The permanencies in the personal archives of the inner images and spaces that have been deposited in time, their frequency, the probability of their repetition, ultimately the statistics of their emergence and frequency, their degree of fluctuation and of irregularity could be the basis of synthetic archives, of artificial memory, even of artificial sensitivity.
We can ask several questions regarding the synthetic impositions: how singular (personalized) can one's personal mark be? What would the images that have been associated, actualized or kept in the latent memory in order to "populate" the world inner universes, look like? How much of this would be visualization and how much will be kept in the black holes of the non- representation? Will this "world" be beautiful? Harmonic? Or will we be the ones to stop at this beauty? etc.
All this should be taken into account if a conscious and sensitive object could be built.
"The philosopher, who follows the topics related to quanta- la schola quantorum- accepts to think about reality in its mathematical organization, and, even more, becomes used to metaphysically measuring the real within the possible, in a direction that is strictly opposed to realistic thought." We will add that it is the same for the meta- visual artist who is preoccupied with imposition.

Exterior/Interior
Exposition/Imposition

" Should we invent some other 'outside'? "
" Something such as this could be only inside us. "

In this acceptance of "looking", we will be surprised by what can go on inside us. " There is a reality that's already present in each of us- but we never look inside. Our inner world has its specific taste, its specific smell and light. It is completely silent, infinitely silent, and eternally silent. There has never been heard a noise inside and never will it be heard. No word can enter there, but you can."
Subject to IMPOSITION, the inner world rests between the domain of physics and of metaphysics.
"As we become better acquainted with the inner universe, the meaning of our life and death becomes gradually insignificant and even absurd. Could the atrophy of our inner being be the price paid for our scientific knowledge?" a physicist like Basarab Nicolescu asks himself.
It is IMPOSITION that plays the part of returning the inner being, of making it significant.
IMPOSITION should be conceived as an open reality, adapted as much as possible to the visual codes that are so changing, so fluctuating contextually. It should be situated beyond the routine of meaning.
Only when it has finally become operational, when it has finally directed our attention towards the inner images, spaces and rooms, towards these dimensions of the visual, of the visible, of the personal marks and of the codes of one's own identity, only then can IM- position, as a universe complementary to exposition, become used and thus retreat.
Once attained, the dimension in which the inner ambience becomes personalized and visualized, together with the intimacy of this visualization, can become so well established in one's custom, conscience and everyday life, that all discussion and comments related to it become useless.
The consequences of the way in which this visual concept changes the perspectives of our looking, succeeding in building not only intelligent, but also sensitive " objects", bearing personal marks, can go beyond the confines of the visible; IMPOSITION refers to the meta- visual.
It contributes to configuring a world where our inner ambience will be a better place to live in, where our own inner universes, our own being, our own selves will be more comfortable to be in, where we will be able to integrate our knowledge and emotions in a more personal, more personalized way. It is the assimilation of creativity in one's psyche, as a force upon which the force of the ego is based, that opens mankind the gates towards their own creativity.

This narrative 'reading' of the images in imposition has to be gradually erased, forgotten, as we start to perceive our own inner worlds and use the coordinates of our own inner space in order to navigate, because, after all, it is here that the art of each of us starts...