NARCISSUS GUIDE

Experiment and Hypothesis...Critic and Doubt in Art Making.

VIII Experiment and Hypothesis...Critic and Doubt in Art Making. If we artists are going to amplify the horizons of our understanding of art, as well our creation of it, we must establish by using thousands of years of experience from all periods in history -that our main rule to get any kind of beauty done -is based on INTUITION, experiment and hypothesis. Neither certainty nor formula are patterns to follow. For there is no logical rule by which to do a good painting but historical(hysterical?) models in which careful observation can help us improve the processes in the making of a new art. Those models were completely successful in their times (i.e. Perspective Italian Theory): Could you conceive Leonardo or even Michelangelo with no perspective?; Impressionism without any theory of light?9. Could you conceive Dali without Freud?(10). If the "Thematic hypothesis is precisely built as a bridge over the gap of ignorance" as Harry Woolf writes, ergo we artists have in the very way science behaves, a model to follow, at least in the way scientists ask, "How can we build up an understanding of the regularities of nature upon the consideration of pure number?". Likely from critic and doubt that statement by Niels Bohr reminds us that the same "old method of perceiving correspondences between certain observations and the predictions that follow"(11). in the making of art, has been our unwritten golden rule through the ages!. In the drafting of new processes for a hypertext aesthetics, it seems we are too cautious applying a causal thinking to the experience of the arts, just to explain ourselves, the most extraordinary heuristic of phenomena. And yet those complexity processes about linear and non linear phenomena may easily perform as paralleled metaphores with metacomplex visuality, though that is the reality of our complex nature. Will they govern a new behavior of aesthetics?...complex art is a working out with its most natural wonder, this new realm of transitions of bipolar, triad-tetrad polar relationships and analogies, continuities and discontinuities, as well non linear "resonating interval spaces"!(12).