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A single two-dimensional geometric shape and several arrangements in a simple polar distribution produce configurations that the eye / mind interprets in spatial parameters, with all the assumed implications (distance, volume, mass, duration, dynamics). I am intimidated by their casual beauty and create a few hundred. I want to see at what level of sophistication their beauty ceases to fascinate, and especially what causes this aesthetic satisfaction to my eyes.

They start with their geometric features - symmetry, complementarity, progression, proportionality, complexity, etc. I like rigor, I love the freshness of disorder. This analysis is static; I suspect additional meanings in the dynamics of their becoming, and I'm right.

I continue the investigation and find out that the duration of the observation plays a major role. I look at a single image for a long time - I follow the contours, I notice the arrangements, the colors, the positions, the transitions, the inflections, the inversions, I observe everything patiently. Aesthetic pleasure becomes cognitive satisfaction. I run the pictures faster now - the beauty becomes hard to detect, I rather guess it.

The video of a football scene reveals the dynamics between the ball and the players. At natural speed the synchronization of all movements in the field has aesthetic force. When viewed at low speed, the parts dilute to extinction - neither the direction of movement nor the coordination of the moving parts are obvious. The dynamics of the game lose their significance, and predictions become impossible.

The stroboscopic effect is what makes the wheels of a car or the rotor blades of a helicopter seem to move in the opposite direction. It is not an anomaly, but an artifact of the recording mechanism - the recording speed (number of frames per second) of the video camera, or, in the case of human vision, the frequency with which the optic nerve signals are picked up and processed by brain receptors (the principle of cinematography).

I speculate that the parameters of the observed object must be in correlation with those of the observer. An observer can at most appreciate the beauty that is revealed to him at a certain pace. Different significances may be revealed at different rates. Knowledge is a comprehensive process.


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