WimLiamSquared
First Draft
Error: undefined - Four-dimensional reality, portals, changes of perception, and Universal Expansion.
When we speak of reality, we actually speak of the four dimensions in which we express our views of the world we inter-act with: length, width, depth, and time. Our work deals with the tension between on the one hand our need for a tangible and verifiable reality, and on the other hand the inter-action between our creativity and its dimensional representation.
Dimensions are funny playthings in the generation of photographic imagery. Let's say I want to represent four dimensions in two; I'll select a long shutter speed, and photograph an object moving through three-dimensional space. The time period of the shutter opening will be represented in the motion blur of the object, and the total scene will be projected onto a two-dimensional plane, according to the perspective of the chosen focal length.
We can go further than that, and express everything in one-dimensional space. Technically this is impossible, because one dimension can – by definition - not express space... a one-dimensional representation is an incomprehensible and destructive projection of any four-dimensional space. It is best imagined as an infinitely small dot, and the finite resolution of even the most powerful electron microscope would not be sufficient to show an infinitely small dot. In fact, by virtue of the lovely mathematical construct of (minus) infinity, the smallness of the one-dimensional representation of reality can only be approximated.
One-dimensional space is therefore imaginary, and never real. The mere fact that we can imagine it, brings it into an existence of sorts, which is nonetheless undefinable. This paradoxical existence may have inspired Ellsworth Kelly to present us with a white canvas, and make us discuss usefulness, representation, and definitions of art, merely by representing nothing. This white canvas is a four-dimensional (real) depiction of one dimension, ironically yet empathetically laughing at our incapability to grasp (minus) infinity.
When we extend our imagination beyond four dimensions into the direction leading to (plus) infinity, we immediately stumble into Einstein's relativity theory, where time and space are relative as a function of velocity. Theoretically, if we would approach the speed of light, which is the highest velocity we have defined, time slows down. In an imaginary spaceship, travelling at light speed to some far away galaxy, and returning back to Mother Earth 20 years later, the astronauts would find a world inhabited with their grand grand grand grand children, who would be older than themselves, effectively turning them into space-time travellers. This first step beyond our four-dimensional reality transforms dimensions into relative entities, instead of the shapes, sizes, and timing we have grown accustomed to.
We are entering unknown territory now. If we accept the relativity of our four-dimensional reality, and the idea that a shift in these four dimensions (e.g. through extremely high velocity) alters the very nature of this reality, we are left with a nothingness that resembles one-dimensional representation of reality very well, but now in the direction of plus infinity. Depending on how we transform reality, we continuously create a limitless amount of relative dimensions. Reality is not distorted, there is no smoke & mirrors trickery or sleight of hand involved: it is as is, created as we consciously start to grasp it with our senses and imagination.
In our daily life, we rarely approach high enough velocities to notice these alterations of reality. In other words, our world is stable because the relative velocity of the objects inside it is not high enough to notice the relativity of reality. This doesn't mean that there are no more than four dimensions, it just means that, on average, we are extremely unlikely to directly observe them. The possible dimensional transformations can be imagined, though, which is exactly the playground described by our work. Our work presents portals to the observer, like the teleporters in science-fiction movies, inviting us to peer through them, and catch a glimpse of what reality lies on the other side. Through transformations of four-dimensional reality, realised with photographic and/or digitally created perspective distortions, we continuously push the uneasy boundaries of our comfortable presupposed world view, asking the question where the tangible ends, and where infinity starts to be imagined into existence. We would like to welcome you into the imagined reality of Universal Expansion.
First Draft
Error: undefined - Four-dimensional reality, portals, changes of perception, and Universal Expansion.
When we speak of reality, we actually speak of the four dimensions in which we express our views of the world we inter-act with: length, width, depth, and time. Our work deals with the tension between on the one hand our need for a tangible and verifiable reality, and on the other hand the inter-action between our creativity and its dimensional representation.
Dimensions are funny playthings in the generation of photographic imagery. Let's say I want to represent four dimensions in two; I'll select a long shutter speed, and photograph an object moving through three-dimensional space. The time period of the shutter opening will be represented in the motion blur of the object, and the total scene will be projected onto a two-dimensional plane, according to the perspective of the chosen focal length.
We can go further than that, and express everything in one-dimensional space. Technically this is impossible, because one dimension can – by definition - not express space... a one-dimensional representation is an incomprehensible and destructive projection of any four-dimensional space. It is best imagined as an infinitely small dot, and the finite resolution of even the most powerful electron microscope would not be sufficient to show an infinitely small dot. In fact, by virtue of the lovely mathematical construct of (minus) infinity, the smallness of the one-dimensional representation of reality can only be approximated.
One-dimensional space is therefore imaginary, and never real. The mere fact that we can imagine it, brings it into an existence of sorts, which is nonetheless undefinable. This paradoxical existence may have inspired Ellsworth Kelly to present us with a white canvas, and make us discuss usefulness, representation, and definitions of art, merely by representing nothing. This white canvas is a four-dimensional (real) depiction of one dimension, ironically yet empathetically laughing at our incapability to grasp (minus) infinity.
When we extend our imagination beyond four dimensions into the direction leading to (plus) infinity, we immediately stumble into Einstein's relativity theory, where time and space are relative as a function of velocity. Theoretically, if we would approach the speed of light, which is the highest velocity we have defined, time slows down. In an imaginary spaceship, travelling at light speed to some far away galaxy, and returning back to Mother Earth 20 years later, the astronauts would find a world inhabited with their grand grand grand grand children, who would be older than themselves, effectively turning them into space-time travellers. This first step beyond our four-dimensional reality transforms dimensions into relative entities, instead of the shapes, sizes, and timing we have grown accustomed to.
We are entering unknown territory now. If we accept the relativity of our four-dimensional reality, and the idea that a shift in these four dimensions (e.g. through extremely high velocity) alters the very nature of this reality, we are left with a nothingness that resembles one-dimensional representation of reality very well, but now in the direction of plus infinity. Depending on how we transform reality, we continuously create a limitless amount of relative dimensions. Reality is not distorted, there is no smoke & mirrors trickery or sleight of hand involved: it is as is, created as we consciously start to grasp it with our senses and imagination.
In our daily life, we rarely approach high enough velocities to notice these alterations of reality. In other words, our world is stable because the relative velocity of the objects inside it is not high enough to notice the relativity of reality. This doesn't mean that there are no more than four dimensions, it just means that, on average, we are extremely unlikely to directly observe them. The possible dimensional transformations can be imagined, though, which is exactly the playground described by our work. Our work presents portals to the observer, like the teleporters in science-fiction movies, inviting us to peer through them, and catch a glimpse of what reality lies on the other side. Through transformations of four-dimensional reality, realised with photographic and/or digitally created perspective distortions, we continuously push the uneasy boundaries of our comfortable presupposed world view, asking the question where the tangible ends, and where infinity starts to be imagined into existence. We would like to welcome you into the imagined reality of Universal Expansion.