HyperLightness ad absurdum (2012)
An optical illusion afterimage deconstructs geometrical solids structures and reveals their inherent divine progressions. Dynamic symmetry interlaces self reflective mirror images of the original icon and creates a hypnotic procedure leading to extreme consciousness and visual telepathy. The symbolism of Kabbalah's and Christian omnipotent God reveals itself as Buddhist or Taoist illusionary rotational mandalas or Yantras emphasizing Maya's attributes. The Infinitude in Brahma and in Ein Sof being the complete Void and nonetheless being the source of endless energy is reflected at a cosmological scientific level as singularity that contains the primordial energy whose explosion originated the four visible dimensions of the universe where space-time is an illusionary phenomena and paradox is latent in every polarized assumption only culminating in Absolute absurdity ad aeternum.
Sample of Dialogue Poem Colour is the eyes of Faith, Ideal forms Faith, Colour encodes Faith, Ideal images of Faith's symbols.
- HyperLightness ad absurdum is an animation where one sees several geometrical forms rotating when in fact theres only one (if you stop the animation youll only see one geometrical solid). By means of visual memory our sight produces an optical illusion afterimage that is explored to convey the relationship between geometrical solids ideal structures and their resultant divine progressions under a fractal rotational movement. The work reveals the metaphysical concern with religion and how it can be conveyed in a global consumerist, post-Nietzschean and post-Marxist society thus reflecting analogically but not arithmetically upon the progression of geometric symbols complementary to much of worldwide communications and human behaviour. It re-accesses the deconstruction of dogmas from a geometric-archetypal stand in which the relation between immutability and mutability is constantly challenged and reviewed through dynamic symmetry. The optical illusion produced by the HyperLightness ad absurdum animation is due to a very fast pace rotation producing an afterimage compounding self-reflective, or mirror-images, of the original one icon/symbol. It is a hypnotic procedure leading to "extreme consciousness - visual telepathy" which links to key philosophical postulates of "innate vibrational" geometry that together foreshadow future technologies and the evolution, thus, also the predicted involution of mankind at a microcosmic/subatomic and macrocosmic levels. The use of sacred geometry embodies an alchemical process of unification with light represented by the cosmic egg and the sphere reflecting the Kabbalistic steps and paths of the Tree of Life. The purpose of the work is to make a parallel between Eastern and Western faiths ideal symbolism having the concepts of the Kabbalah and Christian omnipotent God revealing themselves as Buddhist or Taoist rotational mandalas or yantras giving much emphasis on illusion - Maya. The ideal of infinitude in Brahma and in Ein-Sof being the complete Void and nonetheless being a source of endless energy is one of the many coincidences between the referred faiths and is reflected at a cosmological scientific level as complete emptiness Absolute Void corresponding to an infinitely small dimension of space-time singularity which contains the primordial atom (energy) whose explosion Big Bang originated the four visible dimensions of the universe where space-time continuum is an illusionary phenomena and paradox is latent in every polarised assumption only culminating in Absolute absurdity ad aeternum.
Written by Margarida Sardinha, United Kingdom & Portugal 2011