Contextual Landscaping Research Unlocks Environmental Potential

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Contextual Landscape; definition
An integrated measure of the quality of biotic
and abiotic factors, structures, and processes
surrounding the Element Occurrence (EO), and the
degree to which they affect the continued
existence of the occurrence.

Abstract:
The story begins with the escape of the apocalyptic reality, into the mind of a
genius of the brush and stroke. Being an ambitious and busy mind after the
Cézanne Drawing exhibition at the MoMA NYC I was compelled to apply acquired
energy into compelling research. Although my mind was still in a noisy state I
had a couple of thoughts on revisiting and reviving my old research from
2006/07. The main ambition was to make a significant imprint of earthshattering
beauty into a collective conscience.
Traveling from New York to Mexico, I have decided to execute the project in a
primordial beauty in the cultivated jungle paradise. Photographs were taken on
the 8th
of August 2021 at the exhibition at the MoMA NYC and projected on a
couple of locations at Tulum, Mexico in October 2021. The event was also filmed
with GoPro camera. It was therapy for me, as I am hoping the entire project can
have a therapeutic influence on the bruised collective soul and mind.
Progressing the research expanded to comprehension of laws of the universe
and into contextual landscaping, cognitive modeling, and intelligent
environment(s). In a tête-à-tête with a universe, my input was Cézanne’s artwork
and in return, I got answers in a form of puzzles, yet to be cracked.
The true power of the project is in unlocking the potential of the environment
by relinquishing or letting go of the role of creator, producer, and viewer. I have
sensitized the environment to be able to activate its self-producing force and
intelligence. While in the first research I have created a system that is implosive
by the nature, constantly generating systems without a recollection of the
previous one; in this one, I have emptied the referent point/space to activate the
environment yielding on the superposition property of the system to be able to
unlock the essence, to reach the energy-momentum and tap into cosmic reason.
The idea is also to dip the research into the NFT art world to gain an extra
perspective of art in blockchain technology and to test its reception on alternate
realities.

Intro – „Place and Space” Reexamined
The idea was not thoroughly meditated, it was a vague idea and a plan, more like
a drive, that finally came through in the moment of celestial inspiration by the
Mayan culture, as well as my constant inner striving and drive for absorbing and
actualizing beauty. Based on a group of projects executed in 2006 and 2007; after
15 years the media research gained its sequel inspired by Cézanne’s exhibition
at MoMA/NYC in the summer of 2021 and executed in the cultivated jungle by
the Caribbean Sea couple of months later.
Putting into different perspectives and multi-perspective, deconstructing,
contextualizing, researching, probing, poking, pushing, and hitting an envelope
is my raison d'etre. At first, I was thinking of projecting the exhibition in the
streets of New York, but as I was walking the streets with the projector in my
hand to test the setting and the environment I have realized there is too much
light everywhere; what a surprise! I have come to a decision I need an
environment far away from lights, billboards, and information overload; an
environment primordial and close to the primal soul, genuine and naïve in order
to generate a premise.
The idea and research quest have so many layers, that I had some difficulties
compiling the thoughts in a coherent body of text, as they were boxing out of
the envelope. When in production, and asking myself what actually is what I am
researching, the answers felt kind of blasé;- errr it’s an Ad Hock media research,
it is a reconsideration of and (re)positioning dissemination of fine art (that is why
streets of New York were compelling to me) outside of institutional context, it is
stretching the surface of the quantum mechanics, eer it is media research in a
narrowcasting and exclusive mode of the media, it is an analysis of the
postmodern art and the influence of citation in a context of deconstruction of
bourgeois living room, it is…

@ https://www.youtube.com/watch?v=APlbPnfkqeM
Place and Space; production 2007

I had all the theoretical backgrounds at the back of my head, however, I was
pushing to find a more compelling reason for this research, something that will
remove me from the theoretical blasé state, something that would inspire me to
find the real question. I had a tremendous feeling that the very act of creation or
production is enough, but the busy mind wouldn’t leave me alone. Karl Marx’s
premise that what we produce is in front of what we think haunted me. In the
end, it turned out for the best and proved to be a good starting point. Without a
definite clue as to what am I looking for, how the experiment would unfold, or
what the result and possible outcome would be, I have gained a tremendous
advantage.
Along the way, it became research in the genesis of art creation. The idea keeps
progressing and it will continue to grow. Deconstruction of the archetypal
elements, quest for its origin and the energy of the creation; the experience of
everyday life being dressed into fine art, into Cézanne, waking up with Cézanne
and going to bed with the art, as well as placing the art in the jungle (a cultivated
one) gave me the power to get the glimpse of the idea, which was gradually
revealing. Was I chasing the universal beauty or some elevated sensations,
striving for an intellectual stimulus, or something else? No, I was diving into the
exquisite beauty of the universe. I had a plan to go into a real jungle at night, but
they specifically told me NO, especially after the unfortunate shooting in Tulum
City. Did I lose some of the momentum and forte of expression by not risking, or
did I gain much more by residing in the cultivated space? What was the gain, it
is about to progress.
My research on playing with spaces and places and deconstructing hyperreality
began in 2006 when I created a group of projects exploring modern and
postmodern media and art production, technology, systems, and physics. With
its own distinct paradigms; like Kineticam, Media Monolith, Place and Space, etc.
the main result was a creation of a self-sustainable medium in which production,
distribution, and consumption are happening simultaneously thus rendering the
media superfluous, by emptying from references.
The premise of the work Place and Space (Tokyo/Japan @ Island of
Korcula/Croatia) was positioning one place into another in order to examine,
relax and disintegrate frames and infrastructure of space and respectively time
in order to gain a better understanding of the intelligence of the environment. I
have used some theories in deciphering the phenomenon, like Giddens’ theory

on emptying of the space (and time) consequently stumbling upon the idea of
emptying of the referent space.
@ https://www.youtube.com/watch?v=EBCyETUCOAA&t=148s
Place and Space 2; production 2007

In new art-media research, I was interested in exploring the overabundance of
beauty enclosed in a multilayered media environment placed in a cultivated
jungle, in order to deconstruct and destroy the rigidity, darkness, and lack of
sense. I was driven so much so to generate the overload of beauty because I was
somehow convinced that it could really matter, it could make a powerful input
to the subconscious mind of the collective. Maybe I was trying to destruct Borg’s
cube. That idea that overabundance of beauty will melt away and destroy all the
senselessness, sadness, and destruction, created and unleashed in the last
couple of years was so compelling.
Why do we need to project such a horrible vision, why do we submit to that
horrible mass projection? Escaping from the ugliness of the projection of the
monstrous mind, I was compelled to resort to a primordial beauty as my soul
was screaming for it. I knew I had to build something if I want to deconstruct. In
the beginning, it seemed like am I building sheer illusion, which I didn’t mind.
However, as I was contemplating, rethinking, and molding the reality, it started
to gain a body.
Ruminating even more expressively on the idea of Ad Hoc media; medium or
media happening immediately, without any intention to communicate the
message, exclusive and functioning predominantly in narrowcasting, I knew I
have to cross more boundaries, much more than in the previous research. In this
case, the Ad Hock medium is actualized in a praxis of a nonchalant and sudden
action of slideshow in a room and surroundings of the room. I have left the
slideshow roll and was capturing the compelling frames, perspectives, scenes,
constellations, and groupings as they were creating a unique and sudden
environment. In this pattern, I have misplaced the relation content-
environment, thus building a composition from distribution of lights, optics,
projected information, rearranging predetermined contexts in a new context,
and metatext testing the environment and its ability to build and create. Building
a contextual landscape, just as Cézanne would do.

@ https://www.youtube.com/watch?v=saZLiphoO64
Kineticam; production 2007

Effects of Perceiving
While in first research the apparatus created the project and was more extensive
and originally constructed (spycam(s), displays, 2,4 GHz link, projectors, robotic
vehicle), as I was dealing with the medium as a contingency. In the sequel the
equipment is basic, computer, projector, camera, as I was diving deep into the
fundamentals of the universal thought, thus apparatus was intended to be
marginal.
Cézanne wasn’t a stereotypical artist, driven to the core and expressing its
powerful vision until the world melts away. He was a thinker, a researcher, a
mathematician, and a physicist, as he might also have understood the basis of
quantum mechanics. His objects were, by his own words, enveloped in their own
environment, creating their relations and building their own landscape. He
understood space more like a physicist, which describes different optics he used.
He was puzzled by the variability of perception and was painting not reality but
the effects of perceiving. In that search, he resorted to unified field theory and
Einstein’s uncertainty principle (Appignanesi, Richard; 1995).
Lack of traditional perspective, especially the vanishing perspective, the “golden
ratio” shows his understanding of space, as he was calculating it to be able to
show the energy behind the objects. His perspective is either entirely flat, either
skewed, or the vanishing perspective of a “golden ratio” is cut off by the “wall of
paint”, an object that stops the spectator to look further in the vanishing point
and to ricochet the view back to the viewer. His perception that the view
contains the viewer relates to the perception of the world by quantum laws of
physics. Flat perspective my mind associates with the multi-probability
environment. Uncertainty is the only constant in his actuality, as well as the
repositioning of the viewer and the view.
His pencil and brush strokes and the ideas, ingenuity, passion, stubbornness, and
perception are so breathtaking and my simple game hopefully amplified all those
traits, but it was not about the amplification. I was so much afraid that I am not
creating anything original, that I am just interpreting the great master, that I am
parasiting on the artist’s ingenuity. And that may be so, however, I always forget
I am conducting research, and rethinking existing laws, thus any piece of art that
may occur from research is incidental and kind of a surplus since the moment
the experiment unfolds is the moment of creation conducted by the
environment.

@ https://www.youtube.com/watch?v=efXsSblF7L8
Contextual landscaping, Project Zero; testing the environment and setting the stage; production
October 2021

The very act of creating this media conundrum is to dig deeper into the totality
of creation. The art-media game in Caribbean jungle paradise, in Tulum, Mexico,
becomes an entanglement of physics, media, and art; playing with ideas, light,
perspectives, and respectively optics in deciphering the exquisite fabric of life
and the universe, giving me a sense of freedom and absolute beauty.
Contemplating on cosmic mysteries allowed me to be the viewer and the view
in so many different constellations of reality; my view and of many others. And
it crossed my mind that what I am building is a cognitive modeling tool, but I
needed to push further to see how far I can get.
I was furthermore interested, in relation to physics in the phenomenon of light
and respectively the wave and how its manipulation through camera and
projector could spawn superposition and generate some more questions and
perspectives. A particle or a wave is not a question anymore. The conundrum
may be in the position of a problem in the process of constant transformation
and its consequences if any. Furthermore, the research tool should never be
perceived and positioned as constant and constrained, as we should utilize the
volatility of the environment as well as the measuring tool.
The same as in my first research, the moving of the projector and the canvas
(which was actually me wearing a white shirt) and their convergence created
such an amazing constellation(s), environments, and realities that my conclusion
is that the constant change/movement/motion of the measuring tool and the
measured object can extrapolate the perception of the phenomenon and offer
a somewhat intellectually interesting solution since with its contingent nature it
is concurrent with the environment.

@ https://www.youtube.com/watch?v=HUrohVMmxh8
Contextual landscaping, Project Zero; testing the environment and setting the stage; production
October 2021

Research in the intelligence of the environment, using art, media, and some
similar methods do not seem unorthodox given the complexity of the subject
and the playfulness of the phenomenon. A double-slit experiment and a
contraption that carries it out seems not arbitrary enough, and could never
portray the scope and size of the phenomenon it is trying to grasp. One is in a
position to lose so many variables and perspectives. Furthermore, the origin in
the context of the starting point for building a tool should never be
predominantly scientific, as it is already constrained by what is known and
proven and by the fact that it is too focused on a result, thus unable to really
discover the unknown.
The art and the media generate a welcome shift from the entrenched scientific
method, able to provide with a ready-made conundrum with skewed
perspective; an abundance of variables, data, possible outcomes, contexts, and
amazing constellations, dissociated from the already proven thus removing one
more obstacle of having been plagued by the intellectual prejudice, which can
narrow or obscure the perspective.
The power of discovery comes from awkwardness, the one that makes you run
for cover, that makes you scream from the top of your lungs. Beauty can be
awkward, not in a sense of distortion, but in a sense of its denudation, shyness,
and simplicity of the bare soul. We want that awkwardness, that underwear that
sticks under the shirt. If you pull it, you could unwrap the universe and if you tuck
it in, the magic disappears. Just leave it there to stare at you and you could come
to a realization. Like the grid, you suddenly identify when looking awry.

Deconstructing Beauty or Rolling in Bed with Cézanne
There is idleness in the whole story, decadence perhaps, but paradoxically a
passion, some quiet muffled passion that bathes expertly in absolute beauty. My
goal was to get into that stroke, into the creative power of the stroke, the idea,
the vision of a genius, as I was interested to come to that archetypal point, urging
for the search of the god's particle or the energy behind the creation itself.
It is maybe tautologically to claim that the expression and the signature of the
author cannot be skewed even when deconstructed, projected, positioned in
different optics. I had a tremendous desire to understand its perception of the
space, environment, and the physics behind the objects. I was trying not to
impose too much light or shadows into his work, or not to distort the basis of the
work, however, some alterations were done in the name of the research and by
the constraints of a medium, and some manifested as an occurrence.
The question of the source of light in Cézanne’s work; it seems like there is no
evident source of light but the light comes from the color and constellation or
the grouping of the objects, from the energy of the objects and/or their
relationship(s). Geometry is extremely important in Cézanne’s work, rightfully so
since without understanding geometry as an archetypal entity, the perception of
reality wouldn’t be able to actualize.

Paul Cézanne; Madame Cézanne (Hortense Fiquet) in the Conservatory, 1895
Paul Cézanne; Seated Woman (Madame Cézanne), ca 1902-4

One more important idea was creating an environment for Heidegger’s
fundamental ontology to unfold. The idea of coming to a cognition instantly
without any intellectual tools, without dialectics, and any mediator whatsoever.
Paradoxically, to come to the fundamental ontology I am using so many
mediators, specifically media-technology apparatus. Precisely, because the same
apparatus is set to be in a condition of destabilizing the dialectical infrastructure.
The dialectical stage is empty, Baudrillard would contend. However, what I have
set is the stage for the new fluid structures to unfold bringing us closer to the
fundamental ontology.
Tvornost – When I was discussing it with my friend with a Ph.D. in English
language and linguistics; - he said, Tvornost, is that a word? Well if it is not, I
invented it. The idiom from the Croatian language; is a philosophical term
describing the ability to create and the very process of creation. The attribute of
an entity of being able to create (definition authors). Tvornost is a gerund
derived from the noun “tvar”, a noun, which stands for the matter, and “tvoriti”,
a verb, which stands for “to create, to build”. Heidegger’s Sein und Desein in his
native idiomatic expression doesn’t have such a clear differentiation as in the
Croatian language.
Bitak and Biće give the answer to the basic question of Heidegger’s philosophy
in their very idiomatic expression, making it ready for fundamental cognition
(ontology). I was trying to find an equally powerful idiom in the English language
as “tvornost”, because at some point the main question shifted toward the
ability, motivation, and actuality of the environment’s production force? I began
to believe that the ability to create actually belongs to the environment and not
to the one that is carrying apparent or immediate action. One more idea was
entering my mind; could it be that the superposition is a creative or productive
force, not just a probabilistic condition? Is the environment generating
superposition as it is taking the role of the creator, further destabilizing the
dialectical stage?

Revisiting and Rethinking Bourgeois Living Room
The idea of democratization of art and liberation from the curator’s choice and
decision making by shifting the art collection from an institution to any given
environment was partially motivated by the idea of removing the gatekeeper but
most of it was motivated by the idea of emptying of the referent point of the
institution. How does work of art function released from the constraints of the
museum, the curator’s choice, and art theory? Actualizing as a free entity,
basking in its own original beauty; loose frames, no proverbial walls of the
institution, and no gatekeeper. Released from the golden cage it started to run
wild, producing the contexts and landscaping the realities. Releasing this
tremendous energy manages the art to become the fabric of reality.

Paul Cézanne; Study of a Harlequin; 1888
What happens when one is juxtaposing or opposing the institution and the artist
with its own view? I hadn’t actually removed the work from the institution, I have
duplicated the institution, along with the artist and the audience and the
experience of museal (inventing idioms again?) sightseeing, thus enhancing the
idea to the point of breaking. The tension of such a generated space conveys
much more than the postmodern or modern condition of refuting to even
present the work or deserting the institution.

Contextual landscaping, Project Zero; MoMA, Cézanne Drawing exhibition 8th
of August 2021 @
Tulum, Mexico, 25th
of October 2021

I am releasing the energy of the artist’s expression from any ideological
constraints, semiotic boundaries, and processes of cognition via dialectical
reasoning, and opposing generated space to dialectical materialism. Realities
and environments can be generated before their own actualization; reaching or
actualizing pure being or essence that is not only unconstrained by the
environment, it is correspondingly not dividable from the environment; either
from the environment or from its actualization.
I wanted to portray some other dimensions in which the action, actualization,
and environment converge, warping the time-space continuum. The dimension
in which I have a will to put a universe in the pocket and skip across the
landscape, which was my friend. On my way, I will meet the conditions, as they
have told me to pursue further to the point of sadness. The sadness displayed
the way to the path of realization. As I was running away from dialectical
materialism I have fallen into a pool of opposed conditions. The swim was great.
Have I succeeded in my long quest to break Baudrillard’s simulacrum and to
abolish postmodernist sinister diagnosis of references collapsing into reality they
refer to or have I managed to introduce even more travesty into reality, art, and
social realm? In my first research, I have proved the media superfluous and
positioned the project as canceling the media. In this one, I have less doubt that
by deconstructing the body (of art) I have created the corpus, not misplaced it.
As was explored further, I have realized that some of the basic conditions of the
first research are repeating exactly in the same pattern as in the second one.

Citation, Urinal and Building the Body
The element of citation or direct referencing of an artist’s work addresses the
issue of the crisis of representation in contemporary art. What comes to mind is
Retrogardism, an art movement generated by the art group Irwin part of the
Neue Slowenische Kunst group from the 80-ties. Irwin’s were without any
reservation using Kazimir Malevich’s art as a direct quotation in their own art
production, to expose us not to a quotation but to a fascinating metatext as a
social tractate on a bourgeois living room and art without any significant
statement, reduced to a pure estheticism. Malevich himself in an urge to address
the crisis of representation created his white square on a white canvas. To come
to a reference point, he denied it.
The only “post” (movement or idea) that managed to build the body was truly
postmodern art and thought by the notion that to become modern you have to
become postmodern first. Transforming everything without touching literally
nothing (Appignanesi, Richard; 1995).
From Giotto to Chagall, from Chagall to Irwin, From Irwin to Bored Ape. Behind
the metatext could only be the text and behind the text, either primordial soup
either nothingness ad infinitum. Everything else is just a projection? What about
the creation? Is it just a random event without any will of the entities? Or all
these existences are not only probable but fundamental? For now, I will be
satisfied with the nothingness ad absurdum with an anomaly as an energy-
momentum.
The fragility of Cézanne’s drawings and the sturdiness of its paintings make me
so exuberant that I had to launch the energy I have acquired into the action of
contextual landscaping. Dipping it into a cultivated jungle I have created a
contextual landscape touching also the constraints of semiotic frames by
revisiting signified and signifier. What is happening with the signifier and
signified in this constellation? Do they lose their position(s), or some kind of
different shift or entanglement is happening? If I am “cleaning” the referent
space, am I denying any semiotic construct? I deconstruct to come to something
that is behind the text and metatext, therefore a semiotic construct. I
deconstruct, not to build again, but to destabilize the (rigid) infrastructure in
order to come to an energy-momentum.

Duchamp’s urinal as a museum exhibit was a challenge to art and a slap to a
bourgeois perception of art. What started as an Ad Hoc, strong and powerful
message ended up being part of the bourgeois estheticism it was deconstructing.
Is the reaction in abandoning the institution or in liberating the institution?
Duchamp and the DADA artist used the childlike perception of the world; not
abstract, fragmentary, and basically sensational. Although I have started with the
same reason, at the same time I was trying to avoid other postmodernist
eclecticism and deconstruct the object of beauty or creation to its very essence;
to the universal being, to its very fabric, to the reason why the dot became a dot
and the dot became a line, the power behind the artist's and the universe’s
raison d'etre; to arrive at a fundamental geometry and the reason per se.
Abandoning the dialectic comprehension in the moment of creation and coming
more to a Dada, child-like comprehension of the world as a sensational and as a
constant energy flow, using solely subconscious mind, I have managed to come
close to the momentum force.
Similar as the child does when it deconstructs or destructs the toy.
Subconsciously it is trying to find the essence, the being, the reason behind the
toy as a toy. The child does not look at the toy as a brand Mattel that was
designed in California and produced in China, it perceives it as a grouping of
fragments or grouping of elements. To come to a conclusion about the essence
of the toy or the reason behind it, the child has to disassembly it, or break it. One
more correlation to DADA I am addressing is arbitrariness. The research I am
conducting partially relies on arbitrariness to activate the environment.
It is not important that we decipher which Cézanne’s work it is, or to even receive
the basic information about the work, its goal is to expose the very act of
creation, the simple but complex act of forming by loosening the boxed-in
institutions of the museum or a galleria, disrupting it through the media
distribution and again, not exactly building it, but setting the more or less loose
infrastructure for the environment to play out the alternate reality so I can
contemplate a contextual body. By emptying the referent space, I am able to
relinquish my role as a creator, a producer, and even the viewer.

Technology, camera, predominantly, shapes and (re)positions me, an observer
as a tool for creating the body of art; the perception of reality which contains me
as I am projected into it. Where are the observers located; when the creation
begins, as well as who carries it out? Is it intentional or random? All observers,
me, the institutional observer, a gallery, and the art theory are in the
probabilistic state regarding the position and the direction. With the constant
exchange of the positions and with the uncertainty of the origin of the energy-
momentum we are on a pathway to arrange a tool for observing a phenomenon.
The creation does not have an origin nor the direction as it is imminent. By
personifying the entities in the system, which are more or less cognizant of the
production force; the phenomenon observes itself since it is created by the
environment, so respectively it stays intact.
While the photographs created outdoors are embodied in firmer forms, those
taken in the room are partially disintegrated as a form, content, or medium and
fully integrated with the environment. Is it important to get information on the
work; is it a Boy in a Red Vest or Madam Cézanne in a Conservatory, or Mercury
After Pigalle, or is it much more essential to experience the act of creation, to
immerse into an artist’s brush and pencil stroke to grasp on crazy energy and
passion of expressing oneself and to reach to and beyond the contemplation of
work by the artist?

Paul Cézanne; Boy in a Red Vest, 1888-90
Paul Cézanne; Madame Cézanne (Hortense Fiquet) in the Conservatory, 1895

NFT Art – Frisky Ridicule of the Superstructures?
And as a last but not least layer in deconstructing beauty is to give a new
dimension to the paradigm by minting it on a “blockchain” in 1’s and zeros
without escapism, eclecticism, and hyperesteticism, just the beauty and creation
in its purest form. The data and results will only be visible after I mint it to a
blockchain and dip it in related socio-economy context and with the equation
with the real audience and more or less intended message. The message has to
be latent in order to create an awry field of reception. The data and observations
will be compiled and structured analogously after the experience the project had
in the blockchain/NFT universe. Will it gain a new dimension, or will the value of
the work be destroyed is dependent on the interaction between environments.
Destruction can also represent a valuable asset of meaning. Beginning of a
beautiful journey possibly ending in the developing new form of causality? In the
first research I have canceled the media or proved media superfluous, in the
second, can I reshape the causality?
This is also in a way my diving into a mystery of a blockchain, my whitepaper, my
perception of the new realities. The art as a metaworld, the world as an alternate
reality, the alternate reality as a production force, generating multiple realities
and multiple existences of constant creation and constant shifting of the
selfproducing and selfactualizing environment(s). The definition of the
metaworld has to be something else than it already is because it stifles creativity
and imposes too many constraints. Recreating the world that already exists,
bearing the same rules, with slight alterations in representation feels so distant.
Metaworld(s) of today is already a predetermined reality with a suppressed
infrastructure without much room for growth, imploding its own value. The goal
of this and many other projects to follow is to recognize patterns and trends in
blockchain technology as well as to propose and generate new trends by
analyzing systems in unexpected environments. I shouldn’t be so pompous to
say to generate a new paradigm, but I anyhow will.

In cracking of the multidimensional worlds I almost always refer to Philip K. Dick's
novel, The Three Stigmata of Palmer Eldritch. Although the transcendental
religious experience is powered by the corporations, their journeys are always
characters’ own unique experiences, which bend the accepted laws and shape
the journey through an alternate reality by their rules. The plot with the
inhabitants on Mars and Moon, dealers in New York, illegal substances, UN,
speculations of Palmer Eldrich being a form of a God, for me is just information
noise, although it is a social examination and ridicule. The true experience I
acquire by joining their journeys through alternate universes.
What truly is NFT (Non Fungible Token) art? Is it really everything created for the
money? In this menagerie of eclectic postmodernism “kitsch, confusion and
anything goes” (Appignanesi, Richard, 1995), where is the real value? Is there a
value in the possibility that art production broke free from the chains of historic
materialism? Art being brought down to a pure production and its laws just feels
so mechanistic. However, redirecting the capital toward creativity and the mind
is a postmodern and postindustrial set of values that possibly deconstruct Marx's
historic materialism? By intentionally commodifying art has historic materialism
been disrupted?
Making the art as a product and product as art on a mass scale represents a
hurricane of non-meaning which will hopefully clear the path for the real
information art to be born. Some of it will stay, like Bored Ape with an intrinsic
value of originality and grasping of the new movements in solving the crisis of
representation, the rest will fade, clearing a new path to a real revolution in art
and representation.

The reproduced is taking the place of reality or replacing it as a hyperreality. In
the POMO theory, there is no original – references collapse into reality, image
consumerism, multiplication of images, without an original (Baudrillard, at
large). Yet again Baudrillard regards Andy Warhol as a powerful artist who
genuinely understands and transforms simulacrum. Can the NFT art do the
same? Spiraling from aesthetic nullity to commercial frenzy, art has become
transaesthetic, like society as a whole (Baudrillard, 2005).
Where is the conundrum, social critique, or a reexamination of social norms,
forms, and realities; a slap, a spit, a challenge, inner voice that shatters worlds
and transforms realities? In every real artwork, there is opposition to adopted
social norms, as it is setting the original rules, and bringing change into the social
reality. Bored Ape Yacht Club is precisely a slap, a spit, and a challenge not only
to the bourgeois living room but to the capitalist society not only via shifting the
means of production but by the frisky ridicule of the superstructures. Are we still
seeing the same constraints of historic materialism in a looser form, or can we
perceive a real disruption to the superstructures? The mind becomes a means of
production and capital/asset. The true transformation will come from art that
actually stems from information and that is the next step in my research.
Essentially, it transforms everything into a code and this is the point of the real
transformation.

THE CONCLUSION – Intelligent Environment and Cosmic Reason
Cézanne is avoiding using traditional vanishing point perspective and is
rethinking the perspective and optics in depicting the space, landscape, or group
of objects through dynamics contemplated via mass and the properties of
objects. The physic of his objects is stunning, as they gain momentum even if still
by the narrative. Without Cézanne who opened a chasm of perception, it
wouldn’t be any other important movement, predominantly cubism.
Picasso used Cézanne’s perception of space and surface filled with color as well
as geometry, in his perception of space and the optics as well as in conveying the
bodies; human bodies, objects, and finally the body of art. While Picasso is
looking at the object from all sides at once presenting the mathematical cross-
section in a “single” form, Cézanne was accomplishing space dynamics by
mathematical relations of the mass and the properties of the objects as well as
correlations of their properties to the environment. He didn’t even belong to any
movement, he was a movement, he was a change, a genesis, a creative entity of
modern art. Post-impressionism doesn’t mean anything, it stipulates that it is
not impressionism, but not what actually is. By escaping the nomenclature, it
could be proclaimed as the beginning, the infinite energy, and its tool for the
divine creation.
The first part is a study of Cézanne’s body of work, usage of lights, perspective,
the geometry of the body, and reasoning of space-time constraints. The second
part was contextualizing social relations and roles of the superstructures in
creation and dissemination. The third part was unleashing the power of the
environment and opening questions for further research.
What started as chasing the ultimate beauty, ended up in an abundance of
propositions which again generated intricate realities. I am not the one who sets
the environment, the environment is generating me. In one theory of causality,
a perceiver sees an object only if the object is a cause of the perceiver’s seeing
it. Does the object have an intention to become part of the perceiver’s gaze or
to become the cause of the gaze becomes the question of activating the motive
or intention of either the perceiver’s, an object’s, or environment’s immanence?
It could be contended that we are perceiving the environment’s takeover in
creating the realities. The question is if the motivation is activated externally or
is it intrinsic?

Paul Cézanne; The Eternal Woman, c. 1877

The paradigm is to arrange the elements by some preconditioned idea and wait
for the system to actualize the environment in self-organized (autopoiesis)
production. Like in Three Stigmata’s, they rearrange some items and embark on
a journey. Accept in this constellation we have more powerful tools that can
generate reality, like a camera and projector. Does it stifle the experience of the
journey or expand it? The camera that records the reality relocates or shifts me
as a viewer inside the system. As I am no longer a creator, nor the viewer with
the probability to become a viewer again, it makes it a question of motivation. I
am gladly relinquishing my role or assuming any other assigned, as long as the
result is a new reality, new cognition, new realization.
Yet again (as in first research) I was trying to create a research tool to be able to
explore and understand the environment and complex systems. First to be able
to come to the logic of creation and second of all to be able to understand the
law. What I have had found out in the first research is that only constant
motion/movement and constant shifting of the focal point can reveal some of
the layers of the examined phenomenon. In the second research (contextual
landscaping) letting go of the role of creator, or any role whatsoever and
becoming a tool of a self-producing environment we could find a perfect point
of convergence the result can be revealed unchanged by the observer. If we
generate superposition of the view, the viewer, and the environment,
respectively the measuring object stays intact. Do we need to confirm the result
by the scientific method? Art as the most comprehensive human expression is
the only tool we could use in understanding the laws of the universe. In
conjunction with geometry, there is a path for the new tools of human cognition.
Setting the loose elements in constellation dictated by the environment.
Sensitizing the environment by inputting fine art enables and empowers the
environment to present actuality which is a conundrum. The true transformation
will come from art that actually stems from information and that is the next step
in my thought.

Paul Cézanne; Full-length portrait of the Artist's son Paul, c. 1885
Paul Cézanne; Mercury after Pigalle, c. 1890

Cognition without dialectics is the only way we could hope to ever become
cognizant of the beauty of the universe and to play a somewhat significant role
in it. I am trying to stipulate beauty instead of the law since this game isn’t on
anymore. Medium is a contingency. In trying to impose laws and constraints on
an environment we are denying ourselves from reaching cognition.
Absolutely the same could be said about the double-slit experiment. The
experiment does not even begin to address the issue and it already destroys the
main properties of the phenomenon and the possibility of discovery of the true
power of the law. Allowing myself to be absorbed by the system, I have
relinquished my ego, my role, entire me, to become the tool for the environment
to carry out its self-producing or self-actualizing processes. It is like a game of Q
& A with a universe.
By forcing all those so-called laws and understanding of the matter one just
pushes away the true meaning and the cognition and what is left is a parasitical
infrastructure that is cold, sterile, and hollow. Sometimes it is better not to
understand, as the “understanding” ends the journey to cognition.
Beauty, art, poetry, as the highest human expressions bring us close to
understanding the truth and can create such extricable bonds of unknown,
uncanny, and unparalleled. That brings me to the only sensation that could be
associated with it and that is The Unbearable Lightness of Being as the title of
Milan Kundera's book beautifully describes. Nomenclature just stifles the soul,
rips it from the proverbial and primordial ability to fly. I relinquish my ego, myself
to the extension of the eye (and respectively the brain), the camera, and to the
intelligence of the environment. Alternate realities, complex systems,
superposition are just tools to arrive at the absolute information.

Paul Cézanne; Madame Cézanne, 1885-86

Somehow I keep bouncing back to the primordial soup of atoms and the idea of
a completely different layer of constant creation. A CONSTANT big bang?! Like
New York or Tulum, Mexico, an urban or cultivated jungle where sensations and
creation are constantly unfolding. Whilst one environment uses the power of
nature to shape the environment, the other uses the power of information.
However, I am not sure the universe was bearing the aforementioned message.
It has to be something more and it has to do with the information.
If we activated the space with nothing but pure beauty the intelligence of the
environment is given the ability to present the meaning. That is why I am
pertaining to Heidegger’s fundamental ontology and use of fine art since most
of the time intellectually I am coming to a dead end. The same experiment could
be played out solely in the mind of the thinker and the outcome would be the
same, as Nikola Tesla claimed, but where is the fun in such a praxis, as he also
immensely enjoyed playing in his laboratory. To come to that level, we need to
let go of any other apparatus but our mind, and the journey begins with a fresh
start. I was unreservedly enjoying tête-à-tête with the universe, but somehow it
seems I have just scratched the surface of cognition. I will enjoy every new one
until I reach the new potential of Being in the mind via tapping into a cosmic
reason.
John 1:1, In the beginning, was the Word. The religious perception contains
different truths to the one pertaining to the big bang. The word, an idea, became
cognizant of self and actualized through geometry, archetypal representation of
information. The idea was self-created through the process of cognition, which
neither precedes nor follows the genesis. Imminent in his nature, it is yet to
actualize, as it is permanent in a state of genesis or in the constant occurrence.

References:
Appignanesi, Richard; Introducing Postmodernism; Icon Books, 1995
Baudrillard, Jean; Simulacra and Simulation (The Body, In Theory: Histories of Cultural
Materialism) Éditions Galilée (French) & Semiotext(e) (English) 1994
Baudrillard, Jean; The Conspiracy of Art; MIT Press, 2005

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